Asheville Symphony Fall 2025 Program Book

Asheville Symphony Program Book

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Dear Friends of the Asheville Symphony Orchestra, A deeply rooted pillar of Asheville’s creative community, the Asheville Symphony Orchestra has embodied a devotional

passion for music since 1960. From innovative collaborations to genre-defying performances, ASO’s ever-evolving programing

reflects the pulse of our city — each note captivating audiences and pushing beyond the boundaries of traditional concert experiences.

Explore Asheville is honored to support your mission and talent in

capturing the heart of the people of Western North Carolina and its guests. We are dedicated to shining our spotlight on the artists,

makers, and musicians who help shape our community's distinct story.

After all, we wouldn't be Asheville without artists like you.

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828-747-7267 37 LIBRARY STREET MARS HILL, NC 6 ∙ Fall 2025 Program Book

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CONTENT Letter from Executive Director

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KEEP IN TOUCH

Season Overview

12

Asheville Symphony Office 27 College Place, Suite 100 Asheville, NC 28801

Subscription Information

13

About the Cover

17

Asheville Symphony Staff

17

Board of Directors

18

828.254.7046 info@ashevillesymphony.org

Letter from Board President

19

Past Presidents & Directors Emeriti

20

DONATE

Music Director

23

Mail or Visit 27 College Place, Suite 100 Asheville, NC 28801

Orchestra Personnel

24

Plan Your Visit

31

Asheville Symphony Guild

35

Asheville Symphony Chorus

36

Online AshevilleSymphony.org/donate

Asheville Symphonettes

37

Asheville Symphony Youth Orchestra

38

THIS SPRING

Masterworks 1: Eroica · September 20, 2025

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The Asheville Symphony’s Artist Residency returns in 2026 featuring international opera star Isabel Leonard.

ALT ASO @ White Horse Black Mountain · October 7, 2025

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Ben Folds with the Asheville Symphony · October 10, 2025

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Masterworks 2: Convergence · October 25, 2025

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This celebrated vocalist will lead a dynamic week of musical experiences as part of the 2026 Artist Residency. From starring in Masterworks 5: Nightingale to performing an intimate voice and piano recital, working with young musicians from the Asheville Symphony Youth Orchestra, and hosting community events throughout the Asheville area, Isabel Leonard will bring her extraordinary artistry to every corner of Asheville.

Visit page 82 for more details.

Masterworks 3: Renegade · November 15, 2025

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Bach Cello Suites with Elinor Frey · November 18, 2025

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Cirque de la Symphonie · December 4, 2025

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Handel’s Messiah · December 20, 2025

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ALT ASO @ The Orange Peel · January 27, 2026

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2026 Artist Residency: A Celebration of Voice · March 16-23, 2026

82

Institutional Supporters

88

Donors

94

Legacy Society

104

Advertisers Index

110

Monday - Friday 10:00 a.m. - 4:00 p.m.

Phone 828.254.7046

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DANIEL M. CRUPI Executive Director

Welcome to the 2025-2026 Season Dear Friends, The Asheville Symphony exists to spark connection and inspiration — and it’s your enthusiasm and support that make it all possible.

This season marks several exciting milestones. We are proud to introduce Dr. Brian Allen as our new First Concertmaster and Jackie Tso as our first-ever Second Concertmaster: an expansion of artistic leadership that reflects the growing scope and ambition of our orchestra. We are also thrilled to present the second Asheville Symphony Artist Residency, featuring the incomparable operatic star, Isabel Leonard.

Other major highlights include appearances by Emanuel Ax, Ben Folds, and Awadagin Pratt, as well as a partnership with the Black Mountain College Museum + Arts Center for Masterworks 2: Convergence, a program that could only authentically take place here in Asheville.

Your Symphony is also experiencing strong growth in subscriptions and philanthropy, even as arts organizations around the country face challenges.

Thanks to your support, we are expanding our reach and deepening our artistic excellence, hosting acclaimed soloists on stage and impacting thousands of students across Western North Carolina.

The Asheville Symphony is about so much more than music.

It’s about creating moments of joy, reflection, and unity in a world that deeply needs them. It’s about community. Whether you’re here as a subscriber, a first-time guest, a donor, a volunteer, or a parent of a young musician — we are so glad to welcome you.

There are many ways to engage with your Symphony this season: attend a concert, join the Guild or Chorus, volunteer at events, or support our music education programs. However you choose to connect, know that you are part of something meaningful.

We can’t wait to share this extraordinary season with you.

Warmly,

Daniel M. Crupi Executive Director

Asheville AshevilleSymphony Symphony∙ ∙AshevilleSymphony.org AshevilleSymphony.org ∙ 9

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Symphony in the Park August 31, 2025 Masterworks 1: Eroica Emanuel Ax, Piano September 20, 2025 ALT ASO @ White Horse Black Mountain October 7, 2025 Ben Folds with the Asheville Symphony October 10, 2025 Masterworks 2: Convergence Natalie Brennecke, Viola October 25, 2025 Masterworks 3: Renegade Elinor Frey, Cello November 15, 2025 Bach Cello Suites with Elinor Frey November 18, 2025 Cirque de la Symphonie December 4, 2025 Handel’s Messiah December 20, 2025 ALT ASO @ The Orange Peel January 27, 2026 Masterworks 4: Scottish Geneva Lewis, Violin James Lowe, Guest Conductor February 14, 2026 ALT ASO @ Warren Wilson College February 24, 2026 Voice Recital with Isabel Leonard March 17, 2026 Masterworks 5: Nightingale Isabel Leonard, Voice March 21, 2026 Masterworks 6: Requiem with the Asheville Symphony Chorus April 18, 2026 ALT ASO @ Highland Brewing May 5, 2026 Piano Recital with Awadagin Pratt May 12, 2026 Masterworks 7: Unbroken Awadagin Pratt, Piano May 16, 2026 Scan the QR code or visit AshevilleSymphony.org to learn more about the 2025-2026 season.

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Become a Masterworks Series Subscriber and experience more music, more savings, and more exclusive benefits!

Apply the value of today’s ticket towards a subscription to secure the following benefits all season long: Exclusive Savings Save up to 15% on single ticket prices and avoid extra fees.

First Access Subscribers get early access to pops concerts and recitals.

Worry-Free Convenience Change of plans? You can swap tickets to any other Masterworks performance.

Tax Deduction Perks Donate unused tickets for a tax deduction upon request.

Don’t miss out on this year’s unforgettable season — secure your seats today!

Remember: you can apply the cost of today’s ticket to a Masterworks Series Subscription! Call 828.254.7046 or stop by the Asheville Symphony box office (visit page 7 for location and hours) to upgrade today’s ticket into a subscription that you can enjoy all season long!

FULL SERIES SUBSCRIPTION BENEFITS Get 15% off the entire seven-concert Masterworks Series.

Keep your favorite seats year after year when you renew your full subscription by the subscription renewal deadline.

Enjoy priority seating for the best available seats as a new subscriber.

Plus all the subscriber benefits to the left.

COMPOSE YOUR OWN SUBSCRIPTION BENEFITS Choose three or more Masterworks concerts and save up to 10%.

Upgrade your Compose Your Own Subscription at any point during the season and save.

Plus all the subscriber benefits to the left.

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WITH EACH VISIT, AN OPPORTUNITY TO BE INSPIRED.

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About the Cover Artist

ASHEVILLE SYMPHONY STAFF EXECUTIVE OFFICE Daniel M. Crupi Executive Director Ines Lopes Assistant to the Executive Director DEVELOPMENT Sara Henley Director of Development Dana Alward Development Manager Caitlin Duncan Development Associate EDUCATION Tyson Hamrick ASYO General Manager Mika Hood ASYO Programs & Operations Coordinator Rodney Workman ASYO Site Coordinator FINANCE Allie Lorette Controller

Hayden Wilson Hayden Wilson, a second-generation glass artist from the mountains of Western North Carolina, has been immersed in glass his entire life. After earning a BFA in sculpture from UNC-Asheville, he pursued glass professionally. He was a founding force behind the Asheville Glass Center, serving as Studio Manager and Director for nine years following its transition to the non-profit North Carolina Glass Center. Hayden has played a key role in supporting and growing the regional glass community. His work is featured nationally in galleries such as Habitat Gallery (MI) and Blue Spiral 1 (NC). In addition to creating custom glass and lighting for clients, he runs a private studio in Asheville, producing a range of work from utilitarian designs and decorative vessels, to one of a kind sculptures.

SELECTED IN COLLABORATION WITH

MARKETING & PATRON RELATIONS Alex Hill Director of Marketing & Patron Relations Claire M. Allen Art Director Melissa Starkweather Patron Relations & Communications Manager Michelle Troszak Patron Relations & Office Coordinator ORCHESTRA OPERATIONS Sally J. Keeney Orchestra Manager Michael Di Trolio Principal Librarian Paul Stroebel Stage Manager

KEEP IN TOUCH Asheville Symphony Office 27 College Place, Suite 100, Asheville, NC 28801 Monday - Friday ∙ 10:00 a.m. - 4:00 p.m.

828.254.7046 info@ashevillesymphony.org

Asheville AshevilleSymphony Symphony∙ ∙AshevilleSymphony.org AshevilleSymphony.org ∙ 17

Board of Directors OFFICERS Adarrell Gadsden • President Sue Luther • Immediate Past President Sallie Broach • Secretary G. Edward Towson, II ⁺ • Treasurer DIRECTORS

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⁺ Distinguished Directors

ADARRELL GADSDEN Board President

As I begin my first year as President of the Asheville Symphony Board of Directors, I’m filled with a deep sense of gratitude and excitement for the work ahead. To help steward this beloved institution — one that has been a cornerstone of the arts in Asheville for more than 60 years — is both a great honor and a great responsibility.

This year, the Symphony steps into a season that is vibrant, imaginative, and truly reflective of the diverse, creative spirit of our city. Asheville is a city that thrives on creativity — and the Symphony is proud to be part of that energy.

From timeless masterworks to fresh and unexpected collaborations, this season is a celebration of both musical excellence and artistic exploration. We are committed to building experiences that inspire — and to ensuring those experiences are welcoming and accessible to all.

I am especially excited about the impact of our education programs, which reach thousands of young people across Western North Carolina each year.

Introducing young people to the wonder of live orchestral music is one of the most rewarding parts of what we do. Investing in the next generation of musicians and music lovers ensures that the spirit of the Symphony will continue to thrive well into the future.

I’m incredibly grateful to our board, our dedicated staff, the talented musicians, our amazing volunteers, and, of course, the patrons who make this work possible.

Welcome to the Asheville Symphony’s 2025–2026 season. It is a privilege to share this journey with you as we continue to expand our reach, deepen our impact, and celebrate the transformative power of music together.

Adarrell Gadsden Board President

Asheville AshevilleSymphony Symphony∙ ∙AshevilleSymphony.org AshevilleSymphony.org ∙ 19

DIRECTORS EMERITI George M. Bilbrey, Jr. M.D.* J.K. MacKendree Day Joyce R. Dorr, Ph.D. George F. Goosmann, III Gerald C. Kitch Karl S. Quisenberry, Ph.D.* John J. Sherman, Jr. W. Herbert Smith, Jr.

* Deceased

PAST PRESIDENTS 1962-1964: Gaylord Davis 1964-1966: Rudolf Gumpert 1966-1968: John W. Rutland 1968-1970: Robert K. Weiler 1970-1971: Robert Saenger 1971-1972: William C. Spencer, Jr. 1972-1975: John K. Knight 1975-1977: Lawrence D. Ford 1977-1979: Mortimer Ryon 1979-1982: James E. Dooley 1982-1984: J.K. MacKendree Day 1984-1985: George Saenger 1985-1987: Spencer Atwater, M.D. 1987-1989: George Goosmann, III 1989-1992: John J. Sherman, Jr. 1992-1994: G. Edward Towson, II

Discover the Power of the Arts

1994-1995: Stephen L. Barden, III 1995-1997: Joyce R. Dorr, Ph.D. 1997-1999: C. David Pheil 1999-2001: George M. Bilbrey, M.D. 2001-2003: W. Herbert Smith, Jr.

We applaud the Asheville Symphony Orchestra for sharing one of life’s greatest treasures with our community.

2003-2004: James P. Topp

“Where Words Fail, Music Speaks”

2004-2006: Thomas C. Bolton

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2006-2008: Carol McCollum 2008-2010: Jack Anderson 2010-2012: Carolyn L. Hubbard 2012-2014: William L. Gettys 2014-2017: Irene Stoll

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DARKO BUTORAC

Music Director

Darko Butorac stands out as one of the most compelling conductors of his generation, praised for his “exceptional combination of passion, elegance, and well-timed pacing” (Westdeutsche Zeitung). He serves as the Music Director of the Asheville Symphony Orchestra, where his innovative programming and dynamic leadership have captivated audiences.

Butorac has guest-conducted numerous prestigious orchestras across Europe, Asia, and the Americas. Notable performances include the Deutsche Kammerphilharmonie Neuss and the Georgische Kammerorchester Ingolstadt (Germany), the Rubinstein Philharmonic of Lodz (Poland), the Xiamen Symphony (China), the Tallinn Sinfonietta (Estonia), the Belgrade Philharmonic, and the Slovenian Radio Symphony Orchestra. His passionate and precise interpretations have earned him widespread acclaim.

He has collaborated with world-renowned artists such as Renée Fleming, Garrick Ohlsson, Olga Kern, Lawrence Brownlee, Jon Kimura Parker, Noah Bendix-Balgley, Anthony McGill, and Oscar-winning actor J.K. Simmons. He has appeared at prestigious venues such as the Vienna Konzerthaus, the Gran Teatro Nacional of Lima, Belgrade’s Kolarac Hall, the Teatro Magnani in Italy, and the Tartu, Aspen, and St. Olav summer music festivals.

In addition to his work in Asheville, Butorac served as the Music Director of the Tallahassee Symphony, where he was known for innovative programming and community engagement. He broadened the orchestra’s reach, introducing eclectic repertoires that attracted new audiences and fostered a deeper appreciation for orchestral music.

A cornerstone of Butorac’s career is his commitment to education and outreach. He has led masterclasses and workshops worldwide, sharing his expertise with the next generation of musicians. During the COVID-19 pandemic, he pioneered virtual formats to keep the orchestral experience alive for audiences and students alike.

As a Grand Prix Laureate of the Vakhtang Jordania International Conducting Competition, Butorac’s accolades reflect his exceptional talent and dedication to the art of conducting. His TEDx talk on leadership and the role of the conductor has garnered nearly 200,000 views, resonating with a wide audience and highlighting his ability to inspire both within and outside the concert hall.

Fluent in multiple languages and deeply rooted in a multicultural background, Butorac brings a unique perspective to his work, blending tradition with innovation. His vision for the future of orchestral music emphasizes inclusivity, accessibility, and artistic integrity, continually striving to break down barriers and bring the transformative power of music to all.

For more about Darko Butorac and his upcoming engagements, visit his official website, www.darkobutorac.com.

Asheville AshevilleSymphony Symphony∙ ∙AshevilleSymphony.org AshevilleSymphony.org ∙ 23

ORCHESTRA PERSONNEL Flute Violin Lissie J. Shanahan • Principal Brian Allen • First Concertmaster Kellie Henry Jackie Tso • Second Concertmaster Martha Gardner • Associate Concertmaster Piccolo ⁺Karen Pommerich • Assistant Concertmaster Dilshad B. Posnock Kathryn Gardner Triplett Oboe Principal Second Violin Alicia Chapman • Principal Debra L. Anthony Associate Principal Second Violin *Cara Mia Jenkins ⁺Pedro Oseias Maia English Horn Assistant Principal Second Violin Amanda J. LaBrecque Marianna Brickle Teresa M. Curran Clarinet Elizabeth Fee-Elliott Harry H. “Chip” Hill • Principal Lori G. Hammel Karen Farah Hill *Dorothy L. Knowles Bass Clarinet Virginia Kowal Shannon Thompson LuAda Malcom Bassoon Ruben Orengo Michael J. Burns • Principal Mariya S. Potapova Amber Ferenz Inez Hullinger Redman Paul E. Stroebel Contrabassoon William L. Peebles Viola Kara F. Poorbaugh • Principal Jenny Kozoroz • Associate Principal Kathryn Bracewell Hannah Dara Gina Mashburn Heath Edward J. Smith Daphne Waggener Cello Daniel Mumm • Principal J. Franklin Keel • Associate Principal Paul Maxwell • Assistant Principal Cherylonda F. Fitzgerald Paul S. GhostHorse Katie Hamilton Patricia Koelling Johnston E. Sojeong Park Bass *M. Lee Metcalfe • Co-Principal Vance M. Reese • Co-Principal Michael Di Trolio Matthew P. Waid

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Timpani Todd D. Mueller • Principal Percussion Open Chair • Principal Michael Morel Matthew Richmond *Brian Tinkel Harp Open Chair • Vetust Study Club Chair Keyboard Open Chair • Susanne Marcus Collins Chair

Horn Jeffery B. Whaley • Principal *Michael L. Brubaker Anneka A. Zuehlke Travis A. Bennett Trumpet T. Mark Clodfelter • Principal Christopher Underwood Open Chair Trombone Justin Croushore • Principal L. Rienette Davis Bass Trombone Jeremy Marks Tuba Bethany Wiese • Principal

Michael Di Trolio • Principal Librarian Paul Stroebel • Stage Manager * Orchestra Committee Member ⁺ One Year Appointment Section string players are listed alphabetically. (loa) = Leave of Absence

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WELCOMING TWO NEW CONCERTMASTERS Two distinguished violinists will lead the Asheville Symphony into its next chapter alongside Music Director Darko Butorac: Dr. Brian Allen has been appointed First Concertmaster and Jackie Tso makes history as the orchestra’s first Second Concertmaster.

Dr. Brian Allen Steps Into First Concertmaster Role

regarding his raw talent, musicality, and joyful presence within the orchestra,” said Executive Director Daniel Crupi.

Dr. Allen expressed enthusiasm about his new role: “The concertmaster sets the standard for preparedness… More broadly speaking, the concertmaster’s attitude tends to be infectious.”

Allen emerged from a years-long selection process that drew five national finalists.

He succeeds Jason Posnock, who held the role for over 15 years before becoming President and CEO of the Brevard Music Center.

Dr. Allen, a seasoned orchestral musician and educator, made his official debut at Symphony in the Park on Sunday, August 31, 2025. He currently serves as Principal Second Violinist of the Hilton Head Symphony Orchestra and recently held a one-year contract with the St. Louis Symphony. He holds a Doctorate in Violin Performance from the University of Michigan, studying with David Halen, and earned his bachelor’s and master’s degrees at the Cleveland Institute of Music with Jaime Laredo and William Preucil.

“Brian is a brilliant artist, garnering sincere and effusive praise from an overwhelming majority of musicians

Jackie Tso Named First-Ever Second Concertmaster

Tso has performed as a soloist with the Cincinnati Symphony Orchestra and the Beijing Broadcasting Orchestra. A Juilliard graduate, she currently serves as Concertmaster of the Greenville Symphony Orchestra.

Both Allen and Tso played in the St. Louis Symphony Orchestra’s violin section during the 2022-2023 season.

New Leadership Promises Continued Artistic Growth As First and Second Concertmaster, both musicians will play critical leadership roles within the orchestra and work closely with Music Director Darko Butorac. “I am really happy we were able to attract two such excellent musicians,” said Butorac.

Their appointments signal an exciting new chapter for the Asheville Symphony, promising enhanced leadership and artistic excellence.

In a historic move, the Asheville Symphony has appointed Jackie Tso as its Second Concertmaster.

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30 ∙ Fall 2025 Program Book

PLAN YOUR VISIT

LODGING PARTNERS

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OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

In the local hospitality scene and want to be on this list? Contact the Development team by email at development@ ashevillesymphony.org or by phone at 828.254.7046.

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ASHEVILLE SYMPHONY SOCIETY

ASHEVILLE SYMPHONY SOCIETY The Asheville Symphony Society is the nonprofit organization at the core of everything we do — from world-class concerts to meaningful education and community programs.

Through the Society, the Asheville Symphony brings together musicians, educators, volunteers, and supporters who believe in the power of music to inspire and uplift.

In addition to the Asheville Symphony, the Asheville Symphony Society supports a family of affiliate organizations: the Asheville Symphony Guild, Asheville Symphony Chorus, Asheville Symphonettes, and the Asheville Symphony Youth Orchestra. It also champions music education through initiatives like Music in the Schools. Together, these programs enrich lives across Western North Carolina and help ensure that music remains a vital part of our community.

Visit AshevilleSymphony.org to learn more.

34 ∙ Asheville Symphony Society

The Asheville Symphony Guild is a volunteer organization that has been supporting the Asheville area by raising funds and sponsoring music education programs in local schools for more than 50 years.

What does the Guild do?

MUSICAL FEASTS From festive garden parties to elegant evenings with Asheville Symphony soloists, Musical Feasts are a chance to gather with friends, share great food, and support the Symphony you love while hearing from some of the greatest musicians playing today. Each event helps fund the Symphony’s inspiring programs.

GUILD GATHERINGS

SUPPORTS MUSIC IN THE SCHOOLS The Guild helps bring classical music to thousands of elementary school children across Western North Carolina.

Through Music in the Schools, professional musicians visit local classrooms — planting seeds of creativity and joy for the next generation.

Make Friends. Make Music Matter.

The Guild unites music lovers who want to give back, stay connected, and enrich our community.

As a member, you’ll enjoy meaningful volunteer opportunities, vibrant social events, and the satisfaction of supporting music education for the next generation.

Whether it’s the Fall Potluck or the annual Spring Gathering, our members treasure the friendships, laughter, and shared passion for music that the Guild provides.

Join the Asheville Symphony Guild and be part of something joyful and lasting.

For more information and to join, visit AshevilleSymphonyGuild.org

Asheville Symphony ∙ AshevilleSymphony.org ∙ 35

ASHEVILLE SYMPHONY SOCIETY

ASHEVILLE SYMPHONY GUILD

ASHEVILLE SYMPHONY SOCIETY

ASHEVILLE SYMPHONY CHORUS The Asheville Symphony Chorus is a volunteer vocal ensemble that has been performing in the Asheville area for 33 years.

Upcoming Events FERN HILL November 22, 2025 First Baptist Church of Asheville Join us for a concert of great American choral works, featuring John Corigliano’s mid-century epic Fern Hill.

A MESSIAH SING-ALONG December 2, 2025 Trinity Episcopal Church Our most popular concert, the Messiah Sing-along brings together the WNC community each year for a joyous night of favorites from Handel’s oratorio.

HANDEL’S MESSIAH WITH THE ASHEVILLE SYMPHONY December 20, 2025 First Baptist Church of Asheville Visit page 70 for details.

MASTERWORKS 6: REQUIEM April 18, 2026 First Baptist Church of Asheville The Chorus joins the Asheville Symphony for a performance of Mozart’s Requiem alongside four incredible soloists.

36 ∙ Asheville Symphony Society

Join the Asheville Symphony Chorus and help bring the beauty of choral music to WNC. We rehearse once per week on Tuesday nights from 7:00 p.m. - 9:30 p.m. in downtown Asheville. We warm up. We practice hard. We have a lot of fun.

For more information on auditions, performances, and more visit AshevilleSymphonyChorus.com.

Inspiring the Next Generation Through Service and the Arts The Asheville Symphony Symphonettes fosters leadership, confidence, and a lifelong appreciation for music. Since 2011, Symphonettes have supported the Asheville Symphony by welcoming concertgoers, distributing programs, and participating in meaningful service projects that strengthen our local music community.

Through hands-on experiences and regular engagement with the arts, students build strong communication skills, form lasting friendships, and develop a sense of pride and responsibility in giving back.

For membership and funding inquiries, please contact Karen Westmoreland at kkwestmoreland12@gmail.com.

ASHEVILLE SYMPHONY SYMPHONETTES Asheville Symphony ∙ AshevilleSymphony.org ∙ 37

ASHEVILLE SYMPHONY SOCIETY

The Asheville Symphony Symphonettes is a volunteer organization and high school girls’ service club.

ASHEVILLE SYMPHONY SOCIETY

ASHEVILLE SYMPHONY YOUTH ORCHESTRA

The Asheville Symphony Youth Orchestra (ASYO) is Western North Carolina’s premier orchestral training program, serving approximately 200 students ages 8 -19.

With two string orchestras, two full orchestras, a beginning strings class, percussion ensembles, a flute choir, and various chamber groups, the Asheville Symphony Youth Orchestra offers an ensemble for nearly every instrument and experience level.

Throughout the season, ASYO students participate in retreats, masterclasses, and workshops led by professional musicians, guest artists, and some of the top music educators in Western North Carolina. Through these experiences, students grow as individuals, develop ensemble skills, and gain life skills such as perseverance, hard work, planning, self-awareness, creativity, and self-evaluation — skills they can carry with them long after their time in the ASYO.

Visit AshevilleSymphony.org/ASYO to learn more about the Youth Orchestra including details about upcoming performances, audition information, and more.

38 ∙ Asheville Asheville Symphony Symphony Society Affiliates

Tyson Hamrick ASYO General Manager ADMINISTRATIVE STAFF Rodney Workman Site Coordinator Mika Hood Operations & Program Coordinator Jason Posnock Advisor Cara Jenkins Advisor Cynthia Roop Advisor TEACHING STAFF

Experience these talented young musicians at one of their performances this season.

CIRQUE DE LA SYMPHONIE December 4, 2025 Harrah’s Cherokee Center, Asheville The ASYO, Asheville Symphony, and the talented company of Cirque de la Symphonie combine forces for a family-friendly holiday performance. See page 68 for details.

WINTER CONCERT December 8, 2025 Asheville High School Auditorium Featuring the Overture, Divertimento, Sinfonia, Concert, Youth Philharmonic, Percussion Ensembles, and Flute Choir.

ARTIST RESIDENCY CONCERT FEATURING ISABEL LEONARD March 23, 2026 Asheville High School Auditorium Featuring the Youth Philharmonic with GRAMMY-award winning vocalist Isabel Leonard as part of the 2026 Artist Residency. See page 82 for details.

SPRING CONCERT: “MAY THE FOURTH BE WITH YOU” May 4, 2026 Asheville High School Auditorium Featuring the Overture, Divertimento, Sinfonia, Concert, Youth Philharmonic, Percussion Ensembles, and Flute Choir.

Concert dates and times are subject to change. For more information, please visit AshevilleSymphony.org. To learn more about the ASYO program and how to join, email jthamrick@ashevillesymphony.org or visit AshevilleSymphony.org/ASYO.

Dr. Alexandra Dee Music Director, Youth Philharmonic & Concert Conductor Amanda Tant Sinfonia Conductor Ashlee Booth Divertimento Conductor Cady Robison Overture Class Conductor Dr. Brian Tinkel Percussion Director Dr. Sophia Anastasia Flute Choir Conductor Dilshad Posnock Woodwind Coach, Honors Chamber Ensemble Coach Franklin Keel Strings Coach, Honors Chamber Ensemble Coach Dr. Jason Slaughter Brass Coach, Honors Chamber Ensemble Coach

A special thank you to Drs. Joanne and Tom Parker for their generous support of the ASYO this season. Their financial support will positively enhance music education for hundreds of students across Western North Carolina by providing scholarships, access to instruments, and unique experiences.

Asheville Asheville Symphony Symphony ∙ AshevilleSymphony.org ∙ 39

ASHEVILLE SYMPHONY SOCIETY

Asheville Symphony Youth Orchestra Faculty & Staff

ASHEVILLE SYMPHONY SOCIETY

Tuition covers less than half of the ASYO’s operational costs.

Your gift empowers students to participate in performances, retreats, masterclasses, special workshops, and touring performances regardless of their economic circumstances.

Visit AshevilleSymphony.org/friends-of-the-asyo to donate online today.

Friends of the ASYO $25,000+ Drs. Joanne and Tom Parker $15,000 – $24,999 Keith Keener $2,500 – $4,999 Paul and Patty Gaumond Bill and Nancy Gettys Henry A. LaBrun Russell and Ladene Newton Sarah Van Gunten $1,000 – $2,499 Michael and Catty Andry Diana Bilbrey Dr. John and Mrs. Wendy Cuellar Kelli Darlin & Tony McLean Brown Jerry and Diane Cunningham Jim and Mary Kirby Jill and Joe Lawrence Jayne Schnaars and Donald Gavin Bill Schulz and Odile Perrenoud Gary and Jeanne Ann Stroebel Steven and Michele Warner $500 – $999 Mary and Jack Anderson Beverly Briedis Jon and Ann Kemske Carol and Hugh McCollum Rich and Stacy Ridenour William and Martha Scarborough Carol and Terrence Tinkel Thomas Young $250 – $499 Gary Clark Michael Cleveland and MariaGrazia Nunzi

40 ∙ Asheville Asheville Symphony Symphony Society Affiliates

Daniel and Caroline Crupi Betty Walker Matthew and Sarah Volk Olivia and Gary Zahler $100 – $249 Asheville Alumnae Chapter of Sigma Alpha Iota Charles Baker Drs. Elizabeth and Josh Bernstein Adlai and Karen Boyd Claude and Sallie Broach Kim Eiring Cary and Koni Findlay Gayle Freeauf Michael J. Grillot Betty Gumpert Nan Jackson Susan Jensen and Lew Gelfond Kathryn and Peter Muhs Barbara Pettigrew Kathleen Quinlan and Marc Parham Vicki Richards Don Roberts Carol and Michael Rosenblum Wade and Mary Margaret Saunders Irene and Michael Stoll Bonnie Wheeler Larry and Janie Wilson David and Dianne Worley $1 – $99 Deborah Aiton Pauline Aridas Shannon Baggett Sherry Banner Kate Bashford John and Roberta Birken

Elinor Bowman Hannah Boyd Howard Brodt Catherine Brown Melinda Brown Sheryl Brown Christine Calso Alexis Champion Marvin Cole Tracy Conte Dayton Costlow Gary Demyan Betty Duggan Mercedes Field James and Linda Focareto Deborah Francis Linda and Jeffrey Fromson Robin and Gordon Gaiser Linda Gilpin Adam Griffith Michael Groothuis Dante and Cindy Gumucio Arthur Kirby Xinni Guo Household Teresa Hammack Charles Hardy Gretchen Hardy Tami Hindin Philip Hogue Tom and Libby Irwin Ginger and Dan Jones Julie Klement Renee Lampila Elizabeth and Greg Love Adam Matar Don McAdam Swig Mueller Dagi Murphy

ASHEVILLE SYMPHONY SOCIETY

Judy Murren Travis Peck Donald and Brenta Poole Allison Quigley Carolyn Ramsey Robert Randall Gail Reagan and Jim Graham Ellen Robbins Liz Rollins David Russell Kevin Scanlon Beth Stickle Schoenheit Brian and Caron Smith Jillian Smith J. Howard and Honey Solomon Carole Sorrenti Charles and Sue St. Clair Barbara and Barry Stagg Paul Stroebel Kenny Sudnik Alina Suprunchik Paige Taylor Margot Voorhees Virginia Waymouth Melanie Welty Paul B. Williamson Don Wright

Making Music Accessible Gifts to the ASYO ensure that every young musician can access impactful educational experiences, regardless of financial circumstances. Every dollar you give reduces the cost of participation for every student.

PROGRAM HIGHLIGHT

ASYO Performs with GRAMMYAward Winning Trio Time for Three as part of the 2025 Asheville Amadeus Festival.

Last spring, members of the Asheville Symphony Youth Orchestra had the extraordinary opportunity to perform alongside GRAMMY Award-winning ensemble Time for Three as part of the biennial Asheville Amadeus Festival.

Every ASYO student — from the youngest string players to the most seasoned high school musicians — took part in rehearsals and shared the stage with the genre-defying trio. The program featured an eclectic mix, including selections from Hamilton, a classic hit by Guns N’ Roses, and a performance of Time for Three’s chart-topping original Joy. The experience was both inspiring and unforgettable, offering students a rare chance to collaborate with world-class artists in a professional setting.

These kinds of transformative musical experiences are made possible through the generosity of the Friends of the ASYO — our community of donors who ensure that Western North Carolina’s most dedicated young musicians have access to high-quality artistic opportunities.

Thank you for making this unforgettable performance possible.

Asheville Asheville Symphony Symphony ∙ AshevilleSymphony.org ∙ 41

Proud to Support the Asheville Symphony

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MASTERWORKS 1 First Baptist Church of Asheville September 20, 2025 2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor Emanuel Ax Piano The resilience of our community shines in this Hurricane Helene milestone program. Experience renewal and rebirth through Beethoven’s Third Piano Concerto featuring piano legend Emanuel Ax, Beethoven’s “Heroic” Symphony, and a stirring new commission by Asheville Symphony musician Amber Ferenz honoring the heroes who led us through our darkest hour.

A portion of the proceeds of this concert will benefit the River Arts District Artists (RADA) Foundation, who is leading the way for the revitalization of this critical arts district.

Dedicated, with gratitude, to our community’s heroes 44 ∙ Masterworks 1: Eroica

Amber Ferenz The Things We Say to Death

The Things We Say to Death

Amber Ferenz (b. 1972) ∙ Approximately 7 minutes Resilience is the thread that runs through this season-opening program.

That theme connects Amber Ferenz’s poignant world premiere The Things We Say to Death to the works by Beethoven, especially the German composer’s Third Symphony, a testament of defiance. The Things We Say to Death was commissioned by the Asheville Symphony to honor all those who endured loss during Hurricane Helene.

Ferenz, a bassoonist with the Asheville Symphony for the past 15 years, wrote the following notes about the seven-minute piece: “I experienced Hurricane Helene in the metro Atlanta area. We were spared the worst of it as the storm tracked farther east than we were expecting as it came through. The storm rainfall total where we live was around 12 inches, and only a few trees came down in the immediate area during a very windy night, which we spent in the basement of our house, and in the morning, we went outside to assess damage. Finding none, we were relieved until harrowingly catastrophic reports of loss and flooding started coming in from Western NC. After over 15 years of performing regularly as a section bassoonist with the Asheville Symphony, this was devastatingly horrific and personal news, and I spent a great deal of time over the next week combing news sources and social media for information and hoping for sitreps from my musician family and other friends in the mountains.”

“None of us dared to dream that the resilient community that is Asheville might band together and get to work immediately, using indomitable will to move mountains of mud, ruined tree trunks, and debris. I consider it a miracle of the highest order that the orchestral season only took a brief hiatus and was back on track as soon as power and water were restored. The City of Asheville’s water boil notice was lifted exactly two days before we came to town to begin rehearsals for the Asheville Symphony’s Messiah in November. During rehearsals, Music Director Darko Butorac asked me if I might be interested in writing a piece to commemorate the one-year milestone of the storm to open the 2025-26 season, and I joyfully accepted the challenge.’

“It’s a tall brief, being asked to take a cataclysmic event and make beauty out of it, but writing this piece was a true delight. It’s in four sections. The first section depicts life on any given day in the mountains: the sunshine, birds, and wind in the trees that we all know and love. The second section brings in the devastation brought by Helene. The third section is a dream interlude, where Life and Death dance together, outside of Time’s constraints.

The fourth section brings the devastation theme back, rather like waking up from a pleasant dream back into unpleasantness, with Death having the final word. What do we say to Death? Always, we say ‘NOT TODAY.’ Sometimes, that day comes. We bargain, we scream, we cry, we rail at the unfairness of it, we grieve the losses and the change forced upon us, and we struggle to comprehend the ways our lives are made anew from the ashes of what was.

Sometimes, Death comes as a blessing in the guise of ultimate healer, bestowing the grace of ultimate transformation upon our reluctant and unwilling selves.”

Ludwig van Beethoven Piano Concerto No. 3 in C minor, Op. 37 Emanuel Ax, Piano I. Allegro con brio II. Largo III. Rondo: Allegro

Ludwig van Beethoven Symphony No. 3 in E-flat major, Op. 55, “Eroica” I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

CONCERT CO-SPONSORS

Olivia & Gary Zahler Henry A. LaBrun MUSIC SPONSORS ARE LISTED ON PAGE 100

Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with the Asheville Symphony, on BPR Classic and bpr.org on Tuesday, October 21 at 7:00 p.m. and Thursday, October 23 at 9:00 a.m.

PREMIUM SEASON SPONSORS

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

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Asheville Symphony ∙ AshevilleSymphony.org ∙ 45

“With deep gratitude to my colleagues in the Asheville Symphony, my family, my friends, and everyone who has been touched by Hurricane Helene, I leave this piece with you. It is my hope that this piece brings the exact healing needed for everyone who hears it.”

Piano Concerto No. 3 in C minor, Op. 37

Ludwig van Beethoven (17701827) ∙ Approximately 34 minutes Ludwig van Beethoven’s Piano Concerto No. 3 in C minor stands as a pivotal work in the evolution of the piano concerto, bridging Classical clarity with the emerging spirit of Romanticism. Composed around 1800 and premiered in 1803 with Beethoven himself as soloist, this concerto reflects the composer’s growing maturity and boldness, showcasing both structural ingenuity and emotional depth.

The concerto opens with an orchestral exposition that introduces the primary themes in the stormy key of C minor — a key Beethoven often associated with drama and intensity, as seen in works like the “Pathétique” Sonata and Fifth Symphony. The mood is tense and foreboding, setting the stage for the piano’s entrance.

When the soloist finally enters, it is not with virtuosic display, but with a subdued, thoughtful restatement of the first theme, highlighting Beethoven’s narrative sense and his desire to integrate soloist and orchestra more organically than his Classical predecessors.

The first movement (Allegro con brio) features a vigorous dialogue between piano and orchestra. Beethoven pushes the boundaries of the concerto form here, allowing the piano to engage in dramatic development rather than merely decorate the orchestral material. A notable feature is the cadenza, which Beethoven wrote out himself — a departure from the then-common practice of improvised cadenzas — underscoring the work’s architectural precision and personal expression.

46 ∙ Masterworks 1: Eroica

The second movement, Largo, is a lyrical and introspective contrast in E major, an unusual and distant key from C minor. The piano opens alone with a gentle, hymn-like theme, almost like a Chopin nocturne, setting a mood of serene contemplation. Throughout the movement, Beethoven crafts a subtle and moving dialogue between piano and orchestra, evoking a profound spiritual calm that offers emotional relief from the drama of the outer movements.

The final movement, Rondo: Allegro, returns to C Minor and features a recurring, playful main theme that undergoes a variety of transformations. Beethoven combines wit, intensity, and rhythmic vitality, leading to a jubilant and triumphant coda in C major. This ending, shifting from the minor-key tension to a radiant major-key resolution, feels earned and cathartic.

Beethoven’s Piano Concerto No. 3 occupies a unique place in his output.

While still strongly influenced by Mozart and Haydn, it hints at the more heroic and revolutionary spirit of his later works, including the Third Symphony. It remains a staple of the repertoire, admired for its bold contrasts, formal sophistication, and emotional depth.

Symphony No. 3 in E-flat major, Op. 55, “Eroica” Ludwig van Beethoven (17701827) ∙ Approximately 47 minutes

Two notable developments in Beethoven’s life inspired the German composer’s revolutionary Symphony No. 3. One was deeply personal: Beethoven’s worsening deafness brought him in 1802 to an emotional breaking point and even thoughts of suicide. He despaired of his hearing loss, “an infirmity in the one sense which should have been more perfect in me than in others, a sense which I once possessed in highest perfection,” as he wrote in the famous Heiligenstadt Testament.

Yet, Beethoven was saved by music and the hope that he had great things still to accomplish. “I will seize fate by the throat,” he wrote to a friend.

“It shall not wholly overcome me.”

Beethoven’s so-called “heroic period,” 1803-1812, can be thought of as the musical embodiment of the composer confronting his formidable personal challenges, seizing fate by the throat.

The other major inspiration for the Third Symphony was Napoleon Bonaparte, whom Beethoven admired as a symbol of Enlightenment ideals and revolutionary spirit. Beethoven dedicated the symphony to Napoleon.

However, when Napoleon declared himself Emperor in 1804, Beethoven famously scratched out the dedication in fury. “Now he, too, will tread underfoot all the rights of man, and indulge only his ambition,” Beethoven exclaimed. “He will become a tyrant!”

The symphony’s published title became simply “Sinfonia Eroica, composed to celebrate the memory of a great man.”

The Eroica (Italian for “Heroic”) Symphony marked a turning point for Beethoven and Western classical music between the Classical and Romantic eras. Completed in 1804 and premiered in 1805, the Third Symphony is notable for its emotional depth, structural innovation, and dramatic scope. At approximately 45–55 minutes in length, it was the longest symphony ever composed at that time and challenged audiences’ expectations with its bold ambition and expressive intensity.

The Eroica begins with two striking E-flat major chords that serve as a forceful introduction. The first movement (Allegro con brio) is expansive and dynamic, filled with conflict, resolution, and dramatic development. It introduces a wealth of thematic material and features complex harmonic progressions, including daring modulations and dissonances. The movement is notable for its length and the sheer emotional weight it carries, blending heroic struggle with moments of introspection.

The second movement, a funeral march (Marcia funebre: Adagio assai), stands as one of the most profound musical elegies ever written. Set in C minor, it reflects solemnity and searing grief yet it is not without hope. It alternates

grandeur with striking dissonance.

Many listeners and scholars have interpreted it as a lament not just for a fallen hero, but also for lost ideals or the human condition more broadly.

The third movement, a lively Scherzo (Allegro vivace), returns to E-flat major and provides an energetic contrast to the somber second movement.

It is fast, rhythmic, and filled with playful spirit. The Trio or middle section features prominent hunting horn calls, which add a rustic and jubilant character. This movement was innovative in replacing the traditional minuet with a scherzo, which became a common practice in later symphonies.

The finale (Allegro molto – Poco Andante – Presto) is a set of variations on a theme Beethoven had previously used in his ballet The Creatures of Prometheus and his Eroica Variations for piano.

Beethoven transforms a simple theme through a wide array of textures, moods, and harmonic treatments. The movement culminates in a triumphant conclusion, bringing the heroic journey full circle.

Beethoven’s Eroica revolutionized the symphonic form. It expanded the expressive and structural possibilities of the genre and paved the way for the Romantic symphony. Its themes of heroism, struggle, loss, and triumph continue to resonate with audiences, making it one of the most influential and frequently performed works in the classical repertoire.

Program notes by Paul Hyde © 2025 Paul Hyde, a longtime arts journalist, is an English instructor at Tri-County Technical College in South Carolina. He writes regularly for the Greenville Journal, the S.C. Daily Gazette, EarRelevant, ArtsATL, and the Atlanta Journal-Constitution. Readers may write to him at pah598@g.harvard.edu.

Emanuel Ax, Piano

Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Mr. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.

In recognition of the 50th anniversary of his first appearance with the orchestra, the 2025/26 season begins with the Philadelphia Orchestra in Carnegie Hall on October 31. Fall also includes an Asian tour that will take him to Tokyo, Seoul and Hong Kong. Following the world premiere at Tanglewood in summer 2025, the concerto written for him by John Williams will have its Boston Symphony subscription debut in January with the NY premiere one month later with New York Philharmonic. As a guest artist he will return to orchestras in Dallas, St. Louis, Los Angeles, San Francisco, Pittsburgh, Charleston, Madison, Naples and New Jersey. In recital he can be heard in Philadelphia, Baltimore, Santa Barbara, Des Moines, Cedar Falls, Schenectady and Princeton. An extensive European tour will include concerts in Munich, Prague, Berlin, Rome and Torino.

Mr. Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio of which the first three discs have been released. He has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of GRAMMY-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/05 season Mr. Ax contributed to an International EMMY® Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano).

Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University. For more information about Mr. Ax’s career, please visit EmanuelAx.com.

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48 ∙ Fall 2025 Program Book

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50 ∙ ALT ASO @ White Horse Black Mountain

TUESDAY, OCTOBER 7, 7:00 P.M. Darko Butorac, Conductor Emily Danger, Vocalist Launched in 2022, ALT ASO has quickly become a sensational hit. From opera to country to jazz, folk, heavy metal and more, ALT ASO brings a mobile chamber orchestra to iconic Asheville venues like The Orange Peel, Highland Brewing, and the Asheville Art Museum. Returning to White Horse Black Mountain, join us for this concert celebrating iconic hits from film featuring vocalist Emily Danger!

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Craig Allen & Julie Cowden Paul & Patty Gaumond David & Dianne Worley BOHEMIAN SPONSORS

Michael & Catty Andry

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54

Harrah’s Cherokee Center Asheville Thomas Wolfe Auditorium October 10, 2025 at 8:00 p.m.

Darko Butorac Conductor Ben Folds Piano & Voice North Carolina-native Ben Folds brings his unique, genre-bending style to Asheville for an incredible evening of symphony-backed favorites.

CONCERT CO-SPONSORS

Travis Worl & Richard Lindau

Ben Folds Ben Folds is widely regarded as one of the major music influencers of our generation.

The Emmy-nominated singer-songwriter-composer has created an enormous body of genre-bending music that includes pop albums with Ben Folds Five, multiple solo albums, and numerous collaborative records.

His latest album features a live orchestral performance of his hits captured just before he stepped down as Artistic Advisor to the National Symphony Orchestra (NSO) at the Kennedy Center in DC. He currently tours as a pop artist, while also performing with some of the world’s greatest symphony orchestras.

A New York Times Best Selling author, Ben is also working on new compositions for film, tv and theatre.

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OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

A long time arts advocate and philanthropist, Ben founded a music education charitable initiative in his native state of North Carolina entitled “Keys For Kids,” which provides funds and keyboards to existing nonprofits that offer free or affordable piano lessons to hundreds of school-age children each year from economically-disadvantaged households. He also advocates for public funding of the arts in schools and communities as a member of Americans For The Arts and the Arts Action Fund.

O F F I C I A L A U T O M O T I V E C O M PA N Y OF THE ASHEVILLE SYMPHONY

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MASTERWORKS 2 First Baptist Church of Asheville October 25, 2025 2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor Natalie Brennecke Viola Celebrating 90+ years of the enduring legacy of Black Mountain College, this unique program traces a journey from European romanticism to American avantgarde with Brahms’s mountain-inspired Second Symphony, Bartók’s ethereal Viola Concerto (written in part during his time in Asheville), and more alongside groundbreaking works by John Cage that emerged from this transformative haven for creatives in the Blue Ridge Mountains.

56 ∙ Masterworks 2: Convergence

PRESENTED IN COLLABORATION WITH

Erik Satie orch. Claude Debussy Gymnopédies No. 3

Gymnopédies No. 3

Erik Satie (1866-1925); orch. Claude Debussy (1862-1918) ∙ Approximately 7 minutes

John Cage Seventy-Four, Version II

This is surely one of the most exquisite pieces in the classical music repertoire. French composer Erik Satie wrote the work for solo piano (1888) and Impressionist composer Claude Debussy orchestrated it (1897). (Debussy caused some confusion by renaming Satie’s Gymnopédie No. 1 as Gymnopédie No. 3, which we hear on this program.)

Béla Bartók Viola Concerto

The word Gymnopédie evokes an ancient Greek festival of dances and athletic contests — in the most graceful sense.

Satie/Debussy embraced a minimalist style in this work, which was highly unconventional in a Romantic era known for excess. They opt for simplicity and serenity, with sustained notes and gossamer harmonies. Strings softly announce the main theme, answered by horns. A solo oboe offers a nocturne-like countermelody. The music is sensuous and intimate, barely rising above a whisper, and lasting only a few minutes. In the short time it takes you to read this, it’s over, all too soon.

Seventy-Four, Version II

John Cage (1912-1992) ∙ Approximately 12 minutes The experimental American composer John Cage taught at Black Mountain College near Asheville during the summers of 1948 and 1952 and held a residency there in the summer of 1953. An influential liberal arts school, Black Mountain College flourished between the years 1933 and 1957. Its legacy is maintained by the Black Mountain College Museum + Arts Center in downtown Asheville.

Cage’s piece Seventy-Four, Version II is one of about 40 works the composer wrote between 1987 and 1992, the final years of his life.

He designated them only by numbers, indicating the number of musicians required.

Seventy-Four, Version II usually is performed without a conductor.

It is structured using time brackets, allowing performers to start and end sounds within flexible time windows. Each performer has their own part and follows their individual timing, often cued by a stopwatch or a timer. Each performance is inherently unique, shaped by the decisions of the individual musicians. They determine dynamics, phrasing, and subtle expressive elements such as vibrato, resulting in an expansive, slowly evolving and often haunting soundscape. The lack of a consistent rhythm gives the 12-minute piece a meditative and perhaps even hypnotic quality. Cage’s performance instructions encourage musicians to push some notes “out of tune.” Surprising chords emerge to create what Cage called “anarchic harmony.” The piece reflects Cage’s advocacy of indeterminacy in music where unpredictable elements play a vital role in performances.

Natalie Brennecke, Viola I. Moderato II. Lento – Adagio religioso – Allegretto III. Allegro vivace INTERMISSION

John Cage 4’33” Johannes Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito

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(continued on next page) OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with the Asheville Symphony, on BPR Classic and bpr.org on Tuesday, November 11 at 7:00 p.m. and Thursday, November 13 at 9:00 a.m.

Asheville Symphony ∙ AshevilleSymphony.org ∙ 57

Viola Concerto

Béla Bartók (1881-1945) ∙ Approximately 21 minutes Concertos for violins are plentiful and varied, but similar compositions for the deeper-voiced viola are few. It was in the hope of adding to the viola repertoire that the great ScottishAmerican violist William Primrose commissioned Hungarian composer Béla Bartók to write a viola concerto in 1944. Bartók may have worked on the piece in Asheville, which he visited from late 1943 to April 1944, seeking relief from health issues and financial challenges. Bartók stayed in what is now the Albemarle Inn. The composer seemed particularly enthused by the viola project as he completed the solo part and sketched out the orchestral score in the summer of 1945. However, Bartók succumbed to leukemia in September 1945, leaving the Viola Concerto still unfinished.

It fell to Bartók’s friend and student Tibor Serly to complete the score.

Some consider the concerto to be Bartók’s last work, although as David Bynog points out in his fine monograph Notes for Violists: A Guide to the Repertoire, some scholars refuse to even recognize the work as Bartók’s composition.

But the concerto stands as a powerful and introspective work, blending Bartók’s Hungarian folk influences with a modern harmonic language.

Structured in three movements, the concerto showcases the viola’s lyrical depth and expressive range while challenging a virtuoso’s technique.

I. Moderato — The opening movement introduces a gentle, searching theme that highlights the viola’s warm timbre.

The soundscape becomes increasingly complex, with the solo viola alternating between contemplation and passionate intensity.

II. Adagio religioso — The second movement is the emotional heart of the piece.

A meditative chorale-like section suggests a spiritual or

58 ∙ Masterworks 2: Convergence

sacred dimension, echoing the composer’s personal struggles and declining health. The music here is sparse, introspective and haunting, occasionally interrupted by more dramatic passages that hint at unresolved tension. The third movement generally follows without pause.

III. Allegro vivace — The final movement provides a striking contrast. Infused with Bartók’s signature folk-inspired rhythms and asymmetrical meters, it bursts with energy and humor.

Dance-like motifs and virtuosic demands on the soloist lend the short movement a playful, almost improvisational character, bringing the concerto to a spirited conclusion.

Bartók’s Viola Concerto remains a cornerstone of the viola repertoire.

Its fusion of lyricism, introspection, and vitality captures the essence of Bartók’s mature style, offering a poignant farewell from one of the 20th century’s greatest composers. The concerto is both a technical showcase for the violist and a deeply human artistic statement.

4’33”

John Cage (1912-1992) ∙ Approximately 4 minutes If “everything we do is music,” as John Cage once suggested, is silence music, too? Cage’s most famous and perhaps most controversial composition is 4’33” — consisting of four minutes and 33 seconds of silence.

The score, which premiered in 1952, is divided into three movements, all marked “Tacet” — instructing musicians not to play their instruments.

The first movement lasts 30 seconds, the second should be two minutes and 23 seconds, and the third movement is one minute and 40 seconds.

A conductor begins and ends the three movements, and usually pauses between the movements, but the musicians often remain stock still.

The piece challenges traditional notions of music and silence. It’s built on silence, but not complete

silence — and that perhaps gets to the heart of the work’s meaning. What concert-goers may notice is ambient noise, the sounds often covered up by music. An audience member may hear a cough, the humming of an air conditioner, the nervous shuffling of feet, a siren outside, a whisper of confusion, a suppressed laugh or just the soundtrack of the mind.

Is 4’33” music? Or the absence of music? Is it a blank canvas? Or a canvas full of ambient sound composed in real time? The audience, not the musicians, are the real performers in the piece. Cage asks us to actively listen to the world as if we’re listening to great music.

Symphony No. 2 in D major, Op. 73

Johannes Brahms (1833-1897) ∙ Approximately 43 minutes Great composers often start young.

Mozart wrote his first symphony at age nine, Prokofiev wrote his first in that genre at age 11, Mendelssohn was 12, Schubert was 15. But Brahms?

In his early 40s and with many of his celebrated compositions behind him, including his First Piano Concerto and the great choral work A German Requiem, Brahms still couldn’t bring himself to write a symphony. The problem was Beethoven, whose shadow towered over many a composer of the 19th Century. Brahms famously exclaimed, “I shall never write a symphony! You can’t have any idea what it’s like always to hear such a giant marching behind you!”

But Brahms did finally write his First Symphony in 1876, coming to grips with the marching giant Beethoven, who actually had died six years before Brahms was born. Then the floodgates opened. Brahms may have waited until his 43rd year to compose a symphony, but his Second Symphony followed the very next year. If Brahms’ First Symphony is stormy and epic in conception, the Second is shorter, more economical, more lyrical and certainly more jubilant. Composed in the summer of 1877, the work is often considered Brahms’ pastoral symphony. Written during a peaceful

stay in the Austrian lakeside town of Pörtschach, the symphony exudes warmth, serenity, and a bucolic charm reminiscent of Beethoven’s Pastoral Symphony.

Natalie Brennecke, Viola

I. Allegro non troppo — The first movement opens with a gentle theme introduced by cellos and basses, soon followed by a horn call that evokes the tranquility of nature. Brahms weaves these themes into a seamless tapestry, employing rich orchestration and his signature contrapuntal technique.

II. Adagio non troppo — The second movement offers a more introspective soundscape, with a noble, somber theme in the cellos.

This movement unfolds with quiet dignity, gradually exploring darker harmonies before returning to a sense of calm.

III. Allegretto grazioso (Quasi andantino) — The third movement provides a lighthearted contrast. A lilting oboe melody dances over a gentle rhythmic accompaniment, giving way to quicker, more spirited sections. Its alternation of tempo and character highlights Brahms’ wit and elegance.

IV. Allegro con spirito — After a quiet introduction, the finale bursts forth with cheerful energy. Strings exchange shouts of joy with the timpani. The movement features cascading string passages, triumphant brass, and a radiant D major resolution that brings the symphony to an exuberant conclusion.

Often dubbed Brahms’ “sunny” symphony, the Second demonstrates composer’s mastery of classical form with personal expression. While its surface is idyllic, its structure and development remain sophisticated and deeply expressive, revealing Brahms’ balance of tradition and innovation.

Today, it stands as one of the most beloved works in the symphonic repertoire for its warmth, clarity, and emotional richness.

Natalie Brennecke is a violist currently pursuing her Masters at The Juilliard School under the guidance of Heidi Castleman and Hsin-Yun Huang. She received her Bachelors from the Cleveland Institute of Music in 2024, where she studied with Jeffrey Irvine.

Natalie has participated in masterclasses with Kim Kashkashian, Antoine Tamestit, Emanuel Ax, the Jupiter Quartet, and the Miro Quartet, and has received coachings from various members of the Cleveland Orchestra. She has had the privilege of collaborating with notable artists, including Itzhak Perlman and Charles Neidich, and has engaged with various faculty members at The Juilliard School.

Her accolades include winning the 2024 CIM Concerto Competition, which included a performance of Penderecki’s Viola Concerto at Severance Hall. She also received the 2019 Wendel Irish Viola Award. In 2020, she was a co-winner of the Cleveland Orchestra Youth Orchestra Concerto Competition and was featured on “From the Top” as a Jack Kent Cooke Young Artist. She received first prizes in the Ohio Viola Society’s Collegiate, Senior, and Junior Division Competitions in 2023, 2016, and 2011, respectively.

As a committed chamber musician, Natalie participated in CIM’s Advanced String Quartet Program with the Estella Quartet. Together, they achieved 2nd place at the 2023 Glass City Chamber Music Competition, were recognized as prizewinners in the 2023 Plowman Chamber Music Competition, and competed in the 2023 Fischoff Chamber Music Competition.

She attended the Kneisel Hall Music Festival in 2024, the Bowdoin Music Festival as a Fellow in 2023, and the Aspen Music Festival as a Fellow in 2022. She also attended the Perlman Music Program in 2016 and 2017. Natalie currently performs on a viola beautifully crafted Gabrielle Kundert.

Program notes by Paul Hyde © 2025

Asheville Symphony ∙ AshevilleSymphony.org ∙ 59

MASTERWORKS 3 First Baptist Church of Asheville November 15, 2025 2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor Elinor Frey Cello

60 ∙ Masterworks 3: Renegade

Discover the defiant spirit of four Classical revolutionaries. Boccherini and Haydn explore their dark sides, bringing new depth to their work. C.P.E. Bach challenges aristocratic tastes and elevates the cello to new heights, while Stravinsky resurrects the Classical style through a bold 20thcentury lens.

Symphony No. 6 in D minor, G. 506, Op. 12, No. 4 “Casa del Diavolo” Luigi Boccherini (1743-1805) ∙ Approximately 22 minutes

Boccherini’s Sixth Symphony, composed in the late 1760s or early 1770s, exhibits a more stormy and dramatic character than one often encounters in works of the same period. It is written in D minor, a key often associated at the time with intensity, drama, and darkness.

The third movement finale of the symphony borrows directly from Christoph Willibald Gluck’s ballet music for Don Juan (1761), which includes a scene where the wicked Don is dragged to hell by demons.

That’s how Boccherini’s symphony earned its curious subtitle, though it was likely not given to the work by the composer. Despite the dramatic content of the third movement, other musical episodes are lyrical or vigorously spirited in the style of Boccherini’s better-known contemporaries Haydn and Mozart.

The symphony is cast in three movements: I. Andante sostenuto: Allegro assai — The opening movement is dramatic and energetic, showcasing Boccherini’s use of dynamic contrasts and expressive phrasing. The minor key contributes a dark, almost turbulent quality that is somewhat unusual for the composer, known more for his graceful and gallant idiom.

II. Andantino con moto — The slow second movement provides lyrical relief, featuring flowing melodies and delicate orchestration. Here, Boccherini’s background as a cellist is evident in the warm, singing lines that often highlight the lower strings.

III. Allegro con molto — After a repetition of the symphony’s opening material, the finale is off to the races. It’s here that Boccherini evokes the infernal dance scenes from Gluck’s Don Juan ballet, giving the movement a frenzied, almost demonic, energy.

The work concludes in a blaze of downward running scales.

Overall, the Fourth Symphony showcases Boccherini’s distinctive voice within the Classical tradition — graceful, often dramatic, and finely crafted. It remains a lesser-known gem that reflects both his Italian lyricism and sensitivity to instrumental color and balance.

Cello Concerto in A Minor, H. 432

Carl Philipp Emanuel Bach (1714-1788) ∙ Approximately 24 minutes

Luigi Boccherini Symphony No. 6 in D minor, Op. 12, “Casa del Diavolo” I. Andante sostenuto. Allegro assai II. Andantino con moto III. Allegro con molto

C.P.E. Bach Cello Concerto in A Minor, H. 432 Elinor Frey, Cello I. Allegro assai II. Largo III. Allegro assai INTERMISSION

Igor Stravinsky Concerto in E-flat, “Dumbarton Oaks” I. Tempo giusto II. Allegretto III. Con moto

Franz Joseph Haydn Symphony No. 44 in E minor, Hob. I:44, “Trauer” I. Allegro con brio II. Menuet: Allegretto; canon in diapason III. Adagio IV. Presto

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C.P.E. Bach may be overshadowed today by his famous father, Johann Sebastian, but the son’s music was highly regarded by Haydn, Beethoven and Mozart, the latter of whom called C.P.E. Bach his “musical father.”

C.P.E. Bach wrote three cello concertos. Elinor Frey, the cello soloist in this program, wrote recently that “these tempestuous and dramatic

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Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with the Asheville Symphony, on BPR Classic and bpr.org on Tuesday, February 10 at 7:00 p.m. and Thursday, February 12 at 9:00 a.m.

Asheville Symphony ∙ AshevilleSymphony.org ∙ 61

concertos, replete with fragmented and blustery exchanges, bear witness to C.P.E. Bach’s vigorous imagination.

In Bach’s music, emotions are fleeting and instantaneous and, above all, the beauty of melody is emphasized.”

The Cello Concerto in A Minor is a striking example of the Empfindsamer Stil (“sensitive style”) that defined much of C.P.E. Bach’s works.

Composed around 1750, the concerto bridges the Baroque and Classical eras, blending contrapuntal complexity with expressive freedom and emotional nuance. The concerto showcases the cello’s expressive range and agility while making considerable demands on a virtuoso soloist’s technique.

The concerto movements:

consists

of

three

I. Allegro assai — The opening movement is energetic and bold, marked by sharp dynamic contrasts, unexpected harmonic shifts, and expressive phrasing.

The movement’s restless character and dramatic tension distinguish it from the more balanced and symmetrical structures of later Classical concertos.

II. Largo — The second movement provides a stark contrast. It unfolds slowly and lyrically, giving the solo cello space to sing with a deeply expressive, almost improvisational quality.

The orchestra remains restrained, creating an intimate atmosphere in which the cello’s voice emerges with striking emotional clarity.

III. Allegro assai — The final movement brings a return to high energy and rhythmic momentum.

It is lively and playful, demanding considerable technical precision and agility from the soloist. Rapid passages, syncopations, and dynamic contrasts give the music a sense of urgency and exuberance.

Unlike his father, J.S. Bach, C.P.E. prioritized expressive immediacy over formal complexity, and this concerto exemplifies his innovative spirit. It stands today as a vital work in the cello repertoire, admired for

62 ∙ Masterworks 3: Renegade

its originality, dramatic character, and compelling synthesis of Baroque intensity and early classical elegance.

Concerto in E-flat, “Dumbarton Oaks”

Igor Stravinsky (1882-1971) ∙ Approximately 15 minutes Igor Stravinsky’s Dumbarton Oaks, formally known as the Concerto in E-flat, is a chamber concerto composed in 1937–38. Commissioned by Mildred Bliss as a 30th wedding anniversary gift for her husband, diplomat Robert Woods Bliss, the work was named after their estate in Washington, D.C., where it premiered in May 1938.

The influential French composer and conductor Nadia Boulanger led the premiere for Stravinsky while the latter was hospitalized with tuberculosis.

The piece is scored for a chamber orchestra of only 15 instruments, reflecting a neoclassical style that dominated much of Stravinsky’s output between the two world wars.

Strongly inspired by J.S. Bach’s Brandenburg Concertos, particularly the third, Dumbarton Oaks blends Baroque contrapuntal techniques with modern rhythmic vitality and harmonic boldness. The piece’s three movements — Tempo giusto, Allegretto, and Con moto — are performed without pause, contributing to a sense of formal continuity and cohesion.

Stylistically, the concerto marks a high point in Stravinsky’s neoclassical phase. While its clear textures and formal elegance pay homage to the past, the music is unmistakably modern in its syncopation, biting dissonances, and frequent shifting meters.

The first movement opens in jaunty style, with the instruments briskly tossing themes back and forth. The meter changes often, posing considerable challenges to the musicians, and the energetic momentum never flags. The second is more lyrical and reflective, with an antic wit popping up occasionally. The third movement, meanwhile, returns to a driving intensity, building toward a brisk, celebratory conclusion.

Dumbarton Oaks illustrates Stravinsky’s ability to absorb historical models and reframe them within a contemporary idiom. Though it looks back to Bach, it never imitates; instead, it transforms Baroque principles through the lens of early 20th-century modernism.

Today, it remains a staple of the chamber orchestra repertoire, admired for its clarity, wit, and inventiveness — a testament to Stravinsky’s compositional ingenuity and his deep, often surprising connections to musical tradition.

Symphony No. 44 in E minor, Hob. I:44, “Trauer” Franz Joseph Haydn (1732-1809) ∙ Approximately 22 minutes

Franz Joseph Haydn’s Symphony No. 44 in E minor, subtitled “Trauer” (German for “Mourning”), is a landmark work composed around 1771.

It is one of Haydn’s Sturm und Drang (“storm and stress”) symphonies, characterized by emotional intensity, dramatic contrasts, and a minor key tonality, which was relatively rare in symphonic writing of the time.

The symphony is cast in the typical four movements: I. Allegro con brio — The opening movement features an energetic intensity with running passages, sharp dynamic contrasts, and use of dissonance, all establishing a serious, even anxious tone. The movement exhibits a relentless forward momentum, evoking a sense of restlessness and mystery. It exemplifies Haydn’s mastery of tension and economy of means.

II. Menuet: Allegretto; canon in diapason — A minuet often occupies the third movement in a Haydn symphony, but here it’s placed second. Rather than the lilting dance one might expect, this evocative minuet is somber if also graceful, a dance perhaps for ghosts. The contrasting Trio section in E major offers a gentler and more lyrical episode, though the overall atmosphere remains subdued.

III. Adagio — The lovely third movement is the emotional heart of the symphony. Written in E major, it offers a moment of lyrical introspection and serene beauty amidst the surrounding turbulence.

Legend has it that Haydn requested this movement be played at his funeral, which is likely how the “Mourning” nickname originated.

The melodic lines are long and expressive, highlighting Haydn’s gift for lyrical writing within the symphonic form.

IV. Presto — The finale is a busy affair, surprisingly short but exhibiting the intense energy of the first movement. It is a tightly wound rondo, a musical form with an opening theme that recurs throughout the movement, interspersed with other material.

The rondo theme drives forward with relentless urgency, culminating in a stormy conclusion that avoids the expected majorkey resolution, leaving the work in its original minor mode. This was strikingly unusual for the Classical period, emphasizing the work’s emotional gravity.

Overall, Symphony No. 44 spotlights Haydn’s innovative spirit and deepening emotional expression during his Sturm und Drang period. It blends structural rigor with expressive depth, anticipating the emotional range that would later be expanded by composers like Beethoven. The symphony remains a powerful example of Haydn’s ability to convey profound feeling within formal Classical structure.

Program notes by Paul Hyde © 2025 Paul Hyde, a longtime arts journalist, is an English instructor at Tri-County Technical College in South Carolina. He writes regularly for the Greenville Journal, the S.C. Daily Gazette, EarRelevant, ArtsATL, and the Atlanta Journal-Constitution. Readers may write to him at pah598@g.harvard.edu.

Elinor Frey, Cello

Born in Seattle and living in Montréal, Elinor Frey is a leading American-Canadian cellist, gambist, and researcher. Her albums on the Belgian label Passacaille and Canadian label Analekta – many of which are world premiere recordings – include Giuseppe Clemente Dall’Abaco Cello Sonatas, winner of a Diapason d’Or, and Early Italian Cello Concertos, winner of the 2023 JUNO Award for Classical Album of the Year (small ensemble). Her critical editions of Dall’Abaco’s cello music is published in collaboration with Walhall Editions.

Elinor is the artistic director of Accademia de’ Dissonanti, an organization for performance and research. She has performed throughout the Americas and in Europe in recital and with numerous chamber ensembles and orchestras including the Australian Brandenburg Orchestra, London Symphonia (ON), Orchestre Symphonique de Québec, Symphony Nova Scotia, Rosa Barocca, Il Gardellino, Tafelmusik, and Pacific Baroque Orchestra, among others.

Recipient of dozens of grants and prizes supporting performance and research, including the US-Italy Fulbright Fellowship, a research residency at the Orpheus Institute in Ghent, and a collaborative research project in 2025 with musicologist Nicholas Baragwanath working on using hexachordal solfeggio in practice, supported by CALQ and UK Impact Accelerator grants. Elinor holds degrees from McGill, Mannes, and Juilliard. She teaches Baroque cello and performance practice at McGill University and the Université de Montréal and was a Visiting Fellow in Music (2020–2023) at Lady Margaret Hall, Oxford University. Frey was awarded Québec’s Opus Prize for “Performer of the Year” in 2021.

Elinor Frey will also perform three of J.S. Bach’s Cello Suites for a solo recital on November 18; visit page 66 for details.

Asheville Symphony ∙ AshevilleSymphony.org ∙ 63

ASHEVILLE SYMPHONY CHORUS Did you know that Western North Carolina’s premier vocal ensemble lives right here in Asheville?

For over 30 years, the Asheville Symphony Chorus has partnered with the Asheville Symphony to bring to life great works from the world of opera, oratorio, and large-scale choral compositions — Carmina Burana, La Traviata, Vaughn Williams’ Sea Symphony, and last year, three sold-out performances of Handel’s Messiah.

In addition to its performances with the Asheville Symphony, the Chorus presents its own programs each year, celebrating choral music from across the centuries and the globe.

This year, join the Asheville Symphony Chorus, under the direction of Kyle Ritter, for one — or both! — of our enchanting choral performances.

Visit page 36 for more information on this season’s performances.

64 ∙ Fall 2025 Program Book

For more information on performances, tickets, and auditions, visit AshevilleSymphonyChorus.com.

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Solo Cello Suites Nos. 3, 1 and 5

Johann Sebastian Bach (1685-1750) At the heart of the repertoire of nearly all cellists, Bach’s six cello suites are among the most appreciated works of music lovers around the world. The suites highlight how Bach is particularly adept at writing for the cello, an instrument that shares qualities with Bach’s two main instruments: keyboards and the violin.

The cello’s unique range, one that extends from the low bass to the soprano, is a characteristic that helps create the illusion of multiple voices. The inspired polyphony in the suites, created by harmonies and melodies intertwined, showcases Bach’s wonderful compositional techniques that intrigue the ear at every moment.

BACH CELLO SUITES with Elinor Frey First Baptist Church of Asheville November 18, 2025 7:00 p.m.

Experience the beauty and depth of three of Bach’s Cello Suites in an intimate solo recital.

These beloved works come to life in a performance that blends Baroque mastery with emotional nuance, a rare chance to hear some of the most iconic cello music performed with exceptional Baroque insight.

66 ∙ Bach Cello Suites with Elinor Frey

The suites were probably composed in the early-1720s when Bach lived in Cöthen in the service of Prince Leopold, a time when he composed much secular and instrumental music, including works for solo violin and the famous Brandenburg concertos. It is possible, however, that he finished their composition in Leipzig, where Bach moved in 1723. This is perhaps evidenced by the sixth suite that calls for a five-string cello, an instrument that was also featured in various cantatas, but only after his move to Leipzig.

For our concert, the main source is the manuscript copy of Anna Magdalena Bach, as no Bach autograph copies survive.

However, the fifth suite also exists in a version for lute for which we have an autograph score in Bach’s hand. This version, in G minor, provides interesting additional chords and articulations that enhance our understanding of the C-minor cello suite.

There is no known dedicatee for Bach’s cello suites, although a few musicians in Bach’s circle could have likely played them.

Two cellists, Bernard Christian Linike and Christian Ferdinand Abel, also a gambist, moved to Cöthen after the dissolution of the Berlin court chapel around 1713.

Abel’s son, Carl Friedrich, became the closest friend and collaborator to Bach’s youngest son, Johann Christian.

Interestingly, many prominent cellists of the time played with an underhand bow grip, as typically used for the viola da

gamba. However, the underhand and overhand bow grips were both used in Bach’s time, as were other non-standardized practices on the cello such as different postures, numbers of strings (5 strings for the Sixth Suite), and tunings. An alternate tuning, or “scordatura,” is used for the Fifth Suite. The cello tuned to C-G-d-g (meaning the top string tuned a whole tone lower than standard tuning) suits the resonances of C minor and harkens to earlier tuning practices in Bologna and elsewhere.

The use of ornamentation in Bach’s suites is a topic of constant debate and changing practices among today’s performers. While many of the more florid ornamental gestures, such as adding typical trills, turns, and harmonic diminutions, are already provided by Bach in the score, there is still ample space for the performer to improvise articulations, further embellishments, tone colorations, and other rhetorically communicative devices.

For music of this era, performers share their unique interpretations with an actively engaged audience. The listener’s familiarity with “Baroque” or “Galant” musical language enhances the communication possible between them. Balancing elegance, clarity, and creative freshness becomes part of the performer’s art.

Musicologist and cellist Marc Vanscheeuwijck, asserts that “in the stylistic languages of early 18th-Century painting, architecture, or literature and rhetoric, stating the obvious is never considered to be tasteful, witty, creative, or even appropriate. Much in the language of late-Baroque ornamentation is anchored precisely in concealing the structure — or delaying the listener’s or viewer’s feeling of gratification or confirmation in order to intensify the pleasure of the unknown — but always maintaining the characteristic Baroque tension between two opposite qualities (the structure vs. the ornament).”

Each suite is ordered with six movements, a Prélude, an Allemande, a Courante, a Sarabande, a set of dance movements (minuets, bourées, or gavottes), and ends with a Gigue. The opening Prélude is designed to introduce the piece and attract the attention of the audience with an improvisatory, instrumental quality.

The major-key suites (Nos. 1 and 3) follow the customary “loosening” of the fingers with arpeggiations, scales, and flourishes. Suite No. 5 follows the form of the typical “French Overture” style, meaning a slow section with characteristic dotted rhythms, followed by a fugue (in the Italian sonata style), and then a return to the slow section, here accomplished by the Allemande itself.

Overall, Bach’s Allemandes demonstrate a dignified and stately manner, suitable for the “entrée” of a “VIP” into an evening’s entertainment.

Other movements of the C-minor suite also reflect a more “French” style: the Courante is more majestic and rhythmically complex than the more “running” Italianate counterparts of the other suites, and the C-minor Gigue uses the typical French “sautillant” (skipping) rhythm replete with lively syncopations and hemiolas.

Bach’s Sarabandes manifest a typical early-18th-Century approach to this dance, a dance that was originally sensual and tempestuous, however tamed by the French to be balanced, tender, grave, and ceremonious.

The “gallantries” in each suite, Minuets (Suites 1 and 2), Bourrées (Suites 3 and 4), or Gavottes (Suites 5 and 6), offer a French folk style that delightfully blends both the serious and merry. Lively and rhythmically infectious, the concluding Gigue draws on the spirited character of English and Irish folk dances.

J.S. Bach Solo Cello Suite No. 3 in C major, BWV 1009 I. Prélude II. Allemande III. Courante IV. Sarabande V. Minuet I/II VI. Gigue

J.S. Bach Solo Cello Suite No. 1 in G major, BWV 1007 I. Prélude II. Allemande III. Courante IV. Sarabande V. Minuet I/II VI. Gigue

J.S. Bach Solo Cello Suite No. 5 in C minor, BWV 1011 I. Prélude II. Allemande III. Courante IV. Sarabande V. Minuet I/II VI. Gigue

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Visit page 63 to learn more about Elinor Frey and visit page 60 to learn more about her performance with the Asheville Symphony.

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OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

Program notes by Elinor Frey.

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Harrah’s Cherokee Center Asheville ExploreAsheville.com Arena December 4, 2025 at 7:00 p.m.

Darko Butorac Conductor Cirque de la Symphonie Guest Artists

with members of the Asheville Symphony Youth Orchestra 68 ∙ Cirque de la Symphonie

The Asheville Symphony Youth Orchestra (visit page 38 to learn more) and the Asheville Symphony combine forces with the incredible Cirque de la Symphonie for a family-friendly holiday-themed performance featuring beloved holiday and classical tunes from Tchaikovsky, John Williams, Brahms, and much more — all while acrobats perform death-defying feats across the stage.

Leroy Anderson A Christmas Festival Johannes Brahms Symphony No. 3 in F major, Op. 90, III. Poco allegretto

Company of Cirque de la Symphonie Guest Artists

Carlos Gardel Por una Cabeza

Cirque de la Symphonie is a unique and exciting production designed to bring the magic of cirque to the music hall. An elegant fusion of cirque and orchestra, the program showcases many of the best cirque artists in the world, thrilling the audience with aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These accomplished veterans include world record holders, gold-medal winners, Olympians, and some of the most original talent ever seen.

Georges Bizet L’Arlésienne Suite No. 2, IV. Farandole

Alexander Streltsov created the concept of cirque paired with symphony in 1998 in a special PBS production with the Cincinnati Pops. Streltsov, a circus veteran from Moscow, is the only aerialist to perform with the Bolshoi Ballet. After winning the gold medal at the prestigious Festival du Mondial in Paris, he starred in a Broadway production. His music and programming sensibilities combined with performance background to provide a program with stunning three dimensional visual and musical elements. Classical masterpieces are perfectly choreographed to the elegant movements of cirque artists, elevating cirque artistry to a fine arts level.

Cirque de la Symphonie performs with dozens of orchestras across North America and beyond each season. Sold-out venues feature a wave of new faces that includes families, students and young professionals, many witnessing a live orchestra for the first time.

Something magical happens when these cirque veterans take the stage in front of the live orchestra. Audiences are mesmerized by aerialists flying over their heads. Children are amazed at the wizardry of juggling feats and magic acts. The strength and flexibility of strongmen and contortionists leave audiences astounded. Everyone departs with smiles beaming from their faces.

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Claude Debussy Clair de Lune Leroy Anderson Sleigh Ride Pyotr Ilyich Tchaikovsky “Dance of the Sugar Plum Fairy” from The Nutcracker John Williams “Flight to Neverland” from Hook INTERMISSION

Pyotr Ilyich Tchaikovsky “Danse des petite cygnes” from Swan Lake, Op. 20 Nikolai Rimsky-Korsakov “Dance of the Buffoons” from The Snow Maiden Johann Strauss II Unter Donner und Blitz Polka, Op. 324 Pyotr Ilyich Tchaikovsky “Trepak” from The Nutcracker Jeff Tyzik Chanukah Suite Traditional O Holy Night Pyotr Ilyich Tchaikovsky “Dance of the Reed Flutes” from The Nutcracker

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O F F I C I A L A U T O M O T I V E C O M PA N Y OF THE ASHEVILLE SYMPHONY

Pyotr Ilyich Tchaikovsky “Pas de Deux” from The Nutcracker Traditional We Wish You a Merry Christmas

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First Baptist Church of Asheville December 20, 2025 2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor Jessica Beebe Soprano Clifton Massey Alto Jacob Perry Tenor Kenneth Overton Bass

70 ∙ Handel’s Messiah

Celebrate the holiday season with the might and emotional weight of Handel’s iconic Messiah. One of our biggest performances of the season, the Asheville Symphony Chorus (visit page 36 to learn more) shares the stage with four incredible soloists and your Asheville Symphony.

George Frideric Handel Messiah

Messiah

George Frideric Handel (1685-1759) ∙ First half: approximately 57 minutes ∙ Second half: approximately 34 minutes In a time of trouble, the contemporary historian Charles King turned to George Frideric Handel’s great choral work Messiah in the hope of finding a “healing light.” Five years ago, the world seemed upside down: Politicians were at each other’s throats, the pandemic raged almost unchecked, and then King’s wife suffered a serious illness.

Though the historian and his wife were not particularly religious, one night they listened on an old phonograph to Handel’s tenor conveying God’s reassurance, “Comfort ye, my people.” King and his wife burst into grateful tears.

King, a best-selling author and professor of international affairs at Georgetown University, relates this story in his recent book Every Valley: The Desperate Lives and Troubled Times that Made Handel’s ‘Messiah.’ The central idea of King’s superb narrative is that Handel’s Messiah (1742) was not created in idyllic circumstances but in a dark era of much suffering, armed conflict and political turmoil. But the choral work was intended for future generations as a testament of hope amid adversity.

Handel’s Messiah is an affirmation of Christian faith, but King suggests it also conveys an admonition to believer and nonbeliever alike to “live bravely in the face of disaster and defeat.” Handel’s healing light may provide hope and comfort to local communities still suffering in the aftermath of Hurricane Helene.

Messiah is undoubtedly the most often-performed work in the choralorchestral repertoire — and it has maintained that distinction for 280 years. It is an English-language oratorio, a work for orchestra and voices that features a narrative on a religious theme but without theatrical costumes and scenery.

Unlike Handel’s other oratorios and operas, however, Messiah does not have a storyline. It can be considered a reflection or meditation on Jesus Christ’s life, death and resurrection, using texts from the King James Bible and the Book of Common Prayer. The chorus plays a central role, acting almost like a narrator or commentator, similar to the Greek chorus in ancient drama.

1. “Sinfonia” 2. “Comfort Ye” 3. “Ev’ry Valley” 4. “And the Glory of the Lord” 5. “Thus Saith the Lord” 6. “But Who May Abide” 7. “And He Shall Purify” 8. “Behold, A Virgin Shall Conceive” 9. “O! Thou that Tellest” 10. “For Behold! Darkness Shall Cover the Earth” 11. “The People that Walked in Darkness” 12. “For Unto us a Child is Born” 13. “Pastoral Symphony” 14a. “There Were Shepherds” 14b. “And Lo! The Angel of the Lord” 15. “And the Angel Said Unto Them” 16. “And Suddenly There was With the Angel” 17. “Glory to God” 18. “Rejoice Greatly” 19. “Then Shall the Eyes of the Blind” 20. “He Shall Feed His Flock / Come Unto Him” 21. “His Yoke Is Easy” INTERMISSION 22. “Behold the Lamb of God” 24. “Surely He Hath Borne our Griefs” 36. “Thou Art Gone Up on High” 38. “How Beautiful Are the Feet” 42. “He That Dwelleth in Heaven” 43. “Thou Shalt Break Them” 44. “Hallelujah” 47. “Behold, I Tell You a Mystery” 48. “The Trumpet Shall Sound” 53. “Worthy is the Lamb / Amen”

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The text was compiled and adapted by a wealthy, devout Anglican and part-time poet, Charles Jennens, who often collaborated with Handel and had something of a love/hate relationship with the composer. The moody Jennens, as detailed in King’s insightful book, was not actually impressed with Handel’s music for Messiah! Jennens thought his text had been shortchanged, but he continued to collaborate with Handel.

“I must take him as I find him,” Jennens grumbled in a letter to a friend, “and make the best use I can of him.”

Sarah Van Gunten

Handel composed the three-part work for orchestra, chorus and four soloists (soprano, alto, tenor, bass) in just 24 days, working day and night in a blaze of inspiration. After writing the “Hallelujah” chorus, Handel wrote to a friend, “I think I saw all Heaven before me, and the great God himself.”

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Messiah at Christmas Though originally conceived and performed during Easter, Messiah has become a beloved fixture of the Christmas season, as omnipresent as other classic gems of the performing arts such as The Nutcracker ballet and A Christmas Carol on stage.

It remains popular at Christmas in the United Kingdom and some countries of continental Europe as well, although Americans often observe one tradition that is almost never seen elsewhere: We stand when we hear the famed “Hallelujah” chorus. That tradition is said to have begun when King George II stood up during a performance of the chorus.

However unusual it may be, it’s an endearing tradition — and long may it continue.

Christmastime performances of Messiah focus on Part I, which centers on Old Testament prophecies of the Messiah and the birth of Christ. These performances invariably include a few selections from Parts II and III. “Hallelujah,” for instance, comes from Part II of the oratorio.

Messiah premiered in Dublin in 1742, with a mere 21 choristers and 37 instrumentalists. The performance was a such a success that women were asked to remove their hoops to make more room. But it took more than 75 years for the work to make its way to the United States, with the Bostonbased Handel and Haydn Society giving the American premier in 1818.

That group arguably influenced the Christmastime preference for Messiah. The still-thriving Handel and Haydn Society has performed Messiah every Christmas since 1854.

That’s 171 consecutive years so far.

Throughout the years, ensembles of all sizes have performed the work.

In Handel’s time, ensembles would be rather modest in size. In the 19th and 20th centuries, however, the combined forces tended to be larger, sometimes gargantuan. At the 1857 Great Handel Festival in London’s Crystal Palace, a Messiah performance featured a chorus of 2,000 and an orchestra of 500.

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The “Hallelujah” chorus may be the best-known piece in Messiah, but other iconic moments stand out as well. Here are a few: » “Comfort ye, my people” (Tenor Recitative): Opens the oratorio with a lyrical and gentle tone, introducing the idea of redemption. » “And the Glory” (Chorus): The first chorus number is a jubilant exclamation. » “And He Shall Purify” (Chorus): A bright, uplifting chorus with spirited vocal runs. » “For Unto Us a Child is Born” (Chorus): A rapturous announcement of the birth of Jesus that starts quietly and builds up to the climatic “Wonderful, Counselor.” » “Rejoice Greatly” (Soprano Solo): A highly ornamental aria for soprano. » “The Trumpet Shall Sound” (Bass Aria): A triumphant aria anticipating the Resurrection, featuring brilliant trumpet writing.

Enduring Masterwork Handel is particularly skilled in tone painting, using atmosphere and specific musical gestures to emphasize the meaning of the text.

The tenor aria “Every Valley Shall Be Exalted,” for example, features a rising melodic line to symbolize God exalting the humble and descending scales to represent God humbling the proud.

The trumpet-tinged chorus “Glory to God in the Highest” has singers reaching to the top of their range on the word “high.” The poignant chorus “Surely He Hath Borne Our Griefs” features striking dissonance to represent the sufferings of Christ.

One of the best-known examples of Handel’s tone painting occurs in the chorus “All We Like Sheep,” in which the composer sets the phrase “All we like sheep have gone astray” to wandering, meandering musical lines, imitating sheep straying. It’s a witty moment in a solemn work.

There are inside jokes as well: The

chorus “His Yoke Is Easy” is anything but easy for the singer.

Indeed, despite the abundance of Messiah performances nationwide, the oratorio is a challenging work for performers, with complex vocal runs, intricate fugues, and demanding passages for both soloists and chorus. Because choral groups, such as the Asheville Symphony Chorus, are often made up of volunteers, a Messiah performance often requires several weeks of diligent preparation.

Particularly challenging for vocal soloists and a chorus are Handel’s ornamental musical lines sung on one syllable — known as melismas. As Handel moved away from composing operas (he wrote 40 of them), he often brought his opera techniques to oratorios, including his love of ornamental arias and choruses.

Messiah may even be getting more difficult to perform with each passing year: Musicologists have noted a tendency among conductors to adopt faster tempos when performing Messiah today than in decades past.

That trend, many argue, has been driven by the historically informed performance movement that aims to recreate the sound and style of music as it might have been heard in the composer’s time. Concert-goers thus have all the more reason to appreciate a fine performance of the challenging work.

Handel’s Messiah endures not just because of its musical brilliance, but because of the spiritual, emotional, and communal resonance it has maintained for nearly 300 years.

Messiah transcends time, doctrine, and performance tradition as both a personal devotional work and a public musical celebration.

Program notes by Paul Hyde © 2025 Paul Hyde, a longtime arts journalist, is an English instructor at Tri-County Technical College in South Carolina. He writes regularly for the Greenville Journal, the S.C. Daily Gazette, EarRelevant, ArtsATL, and the Atlanta Journal-Constitution. Readers may write to him at pah598@g.harvard.edu.

Jessica Beebe, Soprano Lauded by Opera News as “evocative and ethereal,” “a honey-colored tone,” and “the most radiant solo singing,” soprano Jessica Beebe is steadily gaining international attention as an affecting interpreter of repertoire spanning over four centuries, ranging from Renaissance music to contemporary American opera.

In recent seasons, she has appeared as a guest soloist in concert with The New York City Chamber Orchestra at Carnegie Hall, The Los Angeles Philharmonic at Walt Disney Hall, and more. In the realm of opera, Ms. Beebe has performed a variety of roles including Barbarina in Le nozze di Figaro, Zerlina in Don Giovanni, Despina in Così fan tutte, and more.

Clifton Massey, Alto Countertenor Clifton Massey’s career spans an expansive repertoire, with a focus on the music of Bach. With “a voice that has a truly unique, special quality,” he has performed as a soloist in the St. Matthew and St. John Passions with Trinity Church Wall Street, the Christmas Oratorio at the Oregon Bach Festival, over 60 cantatas, and more. He is a frequent soloist in New York’s “Bach at One” and Bach Vespers series. An accomplished chamber musician, Clifton has collaborated with ensembles including Apollo’s Fire, Voices of Ascension, Washington Bach Consort, and more. As a member of the GRAMMY-award-winning group Chanticleer, he sang over 200 concerts in major venues spanning the globe.

Jacob Perry, Tenor Lauded for his stylish interpretations of early music, Jacob Perry lends his graceful sense of phrasing and luminous tone to engagements with American Classical Orchestra, Apollo’s Fire, Bach Collegium San Diego, Philharmonia Baroque, Portland Baroque Orchestra, the Washington National Cathedral, and more. In 2024, he was nominated for a GRAMMY award as a soloist on a recording of Handel’s Israel in Egypt with Apollo’s Fire. Career highlights include his recent solo debut with the New York Philharmonic singing Handel’s Israel in Egypt, headlining the inaugural festival of Western Early Music at the Beijing Central Conservatory of Music with Les Canards Chantants, and English Orpheus.

Kenneth Overton, Bass Kenneth Overton is lauded for blending his opulent baritone with magnetic, varied portrayals that “emanate from deep within body and soul.” His symphonious baritone voice has sent him around the globe, making him one of the most soughtafter opera singers of his generation. He is a 2020 GRAMMY-Award winner for Best Choral Performance in the title role of Danielpour’s The Passion of Yeshua with the Buffalo Philharmonic Orchestra and Chorus. This season, Overton will reprise his most celebrated role of Porgy in Porgy and Bess with Opera Carolina and North Carolina Opera, lead two productions with the Welsh National Opera(the new work Migrations, and the world premiere of The Shoemaker), and much more.

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76 ∙ ALT ASO @ The Orange Peel

TUESDAY, JANUARY 27, 7:00 P.M. Darko Butorac, Conductor Emily Redden, Vocalist Launched in 2022, ALT ASO has quickly become a sensational hit. From opera to country to jazz, folk, heavy metal and more, ALT ASO brings a mobile chamber orchestra to iconic Asheville venues like The Orange Peel, Highland Brewing, and the Asheville Art Museum. Join us at The Orange Peel for this concert celebrating country and folk classics featuring vocalist Emily Redden! Tickets will be available to the general public eight weeks before the performance.

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AMBER SPONSORS

Craig Allen & Julie Cowden Paul & Patty Gaumond David & Dianne Worley BOHEMIAN SPONSORS

Michael & Catty Andry GOLDEN SPONSORS Travis Worl & Richard Lindau Olivia & Gary Zahler Jayne Schnaars & Donald Gavin Asheville Symphony ∙ AshevilleSymphony.org ∙ 77

Morgan Stanley Private Wealth Management Is Proud To Support Asheville Symphony The Andry-Harris Group at Morgan Stanley Private Wealth Management Michael Andry Family Wealth Director Senior Vice President Private Wealth Advisor 500 College Street Asheville, NC 28801 828-250-8744 michael.andry@morganstanleypwm.com advisor.morganstanley.com/the-andry-harris-group NC Insurance Lic. #15850592 NMLS #663185

© 2025 Morgan Stanley Private Wealth Management, a division of Morgan Stanley Smith Barney LLC. Member SIPC. PWM003B CRC 4064990 12/24 CS 1463820-5201673 12/24

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REDEFINE THE WEEKEND

Open Studios. Festivals.

Galleries. Artist Demos.

Concerts. Art Markets.

Performances. Museums.

Tours. Public Art Trails.

Let the weekend revitalize you. ArtsAVL, the hub for all things art in Buncombe County, offers itineraries and ideas to extend your visit beyond the usual eat-drink-stay into a vibrant, unforgettable experience.

Photos are courtesy of Asheville Mardi Gras, River Arts District Artists, LaZoom Comedy Bus Tour, NC Glass Center, and LEAF Global Arts.

Learn more at artsavl.org

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APPLAUDS THE ASHEVILLE SYMPHONY

VISIT OUR MUST SEE BREWERY DESTINATION

40-acre Campus | Live Music | Small Batch Beer 80 ∙ Fall 2025 Program Book

Experience Grammy, Tony, and Emmy-winning artists, global artistry, daring dance, and music legends.

Highlights include: PILOBOLUS Oct 10 & 11 A SWANNANOA SOLSTICE Dec 21 The Acting Company presents A MIDSUMMER NIGHT’S DREAM • Jan 23 GREAT EXPECTATIONS • Jan 24 AILEY II THE NEXT GENERATION OF DANCE Feb 17 & 18 JANE LYNCH & KATE FLANNERY Mar 3 NICOLE ZURAITIS 2X Jazz Grammy-winner Mar 4 ALL THINGS EQUAL: THE LIFE & TRIALS OF RUTH BADER GINSBURG Sponsored by Roberts & Stevens, P.A.

Mar 26 & 27

BREABACH Apr 11 STEWART/OWEN DANCE + GUESTS May 1 & 2

DOWNTOWN ASHEVILLE BODYTRAFFIC Mar 13 & 14 Photo by Guzman Rosado

wo r t h a m a r t s . o r g 828-257-4530

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Featuring three-time GRAMMY Award-winning vocalist Isabel Leonard, the Asheville Symphony’s Artist Residency returns March 16-23, 2026.

Asheville Symphony’s Artist Residency is a biennial initiative that celebrates the legacy and expressive power of one instrument — this time, the most personal of all: the human voice.

In 2026, we welcome acclaimed vocalist Isabel Leonard to Asheville for A Celebration of Voice, a weeklong residency that showcases the beauty, versatility, and storytelling power of vocal music. Known for her captivating stage presence and remarkable vocal range, Leonard has performed iconic roles at every major opera house in the world, including The Metropolitan Opera, La Scala, Wiener Staatsoper, and Opéra National de Paris.

Through a diverse slate of performances, educational engagements, and community experiences, this residency invites audiences of all ages and backgrounds to explore the voice as an instrument — from classical arias to folk songs and contemporary works. Whether you’re a young singer, a seasoned opera lover, or someone simply curious about the magic of the human voice, this week is for you.

Visit AshevilleSymphony.org to learn more and get involved.

A Celebration of Voice with Isabel Leonard 82 ∙ Artist Fall 2025 Residency Program Book

FEATURED RESIDENCY EVENTS Voice Recital with Isabel Leonard Tuesday, March 17, 2026 at 7:00 p.m.

First Baptist Church of Asheville

Accompanied by pianist John Arida, Isabel Leonard presents an intimate recital featuring selections by García Lorca, Montsalvatge, Bizet, traditional Spanish songs, and more.

Experience the passion and poetry of vocal music through the artistry of one of today’s most sought-after performers.

Masterworks 5: Nightingale Saturday, March 21, 2026 at 2:00 p.m. + 8:00 p.m.

First Baptist Church of Asheville This centerpiece of the residency celebrates the full range of Leonard’s talent and the expressive potential of the voice.

From Samuel Barber’s nostalgic Knoxville: Summer of 1915 to highlights from West Side Story, the program also includes works by Bizet, de Falla, Gabriela Lena Frank, and more.

ASYO Performance Monday, March 23, 2026 at 6:30 p.m.

Asheville High School Auditorium As part of her residency, Isabel Leonard will also appear with the AshevilleSymphony Youth Orchestra, offering young musicians the unforgettable opportunity to perform alongside one of the world’s greatest vocalists.

Isabel Leonard, Vocalist Three-time GRAMMY Awardwinning artist Isabel Leonard is one of today’s most in-demand performers, equally at home on the world’s grandest opera stages and in intimate recital settings. Known for her nuanced storytelling and rich vocal tone, Leonard’s career spans major roles in Carmen, Der Rosenkavalier, West Side Story, and La Cenerentola, among many others. In addition to her global opera appearances, she is a celebrated recitalist, crossover collaborator, and a passionate advocate for arts education.

Support the Artist Residency Asheville Symphony’s Artist Residency is made possible through the generous support of our community. If you’re inspired by this initiative and want to help bring more world-class artists to Asheville, consider joining the Artist Residency Circle or becoming a Residency sponsor.

Contact the Asheville Symphony’s Development team at 828-820-2520 or development@ashevillesymphony.org for more information.

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E x p e r i e n c e t h e A r t s i n t h e H e a r t o f B l a ck M o u n t a i n

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Tickets and event information available at HarrahsCherokeeCenterAsheville.com

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Here’s how we make music with your dollars: $50

Covers the music for one Asheville Symphony Youth Orchestra Honors Strings Ensemble performance

$170

Covers the cost of orchestra folders for ten Asheville Symphony Youth Orchestra students

$450

Pays for one Music in the Schools program (one quintet, one school, one hour)

$750

Allows us to offer one masterclass for emerging young musicians with an esteemed guest soloist

$1,300

Covers the cost of one Asheville Symphony Youth Orchestra student’s participation throughout the school year, including tuition and other program expenses

$5,000

Allows for one workshop for the Asheville Symphony Youth Orchestra

$10,000

Pays the fees and travel for one guest soloist

$40,000

Covers the cost of presenting one Young People’s Concert for Asheville City’s and Buncombe County’s fifth graders

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INSTITUTIONAL SUPPORTERS

The Asheville Symphony recognizes the following organizations whose generous commitment to the arts in WNC enables us to present top-quality concerts and music education programs in our 2025-2026 season:

PREMIUM SEASON SPONSORS

OFFICIAL AUTOMOTIVE COMPANY OF THE ASHEVILLE SYMPHONY

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

$25,000+

This project was supported by the North Carolina Arts Council, a division of the department of Natural and Cultural Resources.

$15,000+

$10,000+

$5,000+

88 ∙ Asheville Symphony Supporters Fall 2025 Program Book

$3,000+

PARTNERSHIPS WITH IMPACT Every Asheville Symphony performance represents an opportunity for meaningful connection with a multigenerational audience of more than 45,000 individuals per year. When you partner with the Asheville Symphony, you support our mission to transform lives with the power of music while engaging with business leaders, community advocates, and local decisionmakers who recognize the organizations that invest in our community’s artistic ecosystem.

Corporate and business sponsorships provide vital support through a variety of dynamic funding opportunities that enable our artistic, community outreach, and music education programs.

Partnering with us will enable your company to: • • • •

Increase brand awareness Receive complimentary tickets and discounts Entertain clients and reward employees Enjoy access to Asheville Symphony artists, leadership, and guest performers • Market your company in creative ways

MEDIA SPONSORS

MEDIA PARTNER

Contact the Development team at 828.820.2520 or development@ashevillesymphony.org to learn more about how a partnership can achieve your organization’s goals while strengthening our community’s cultural fabric. We look forward to customizing a sponsorship package that maximizes your impact.

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Asheville Area Piano Forum Creating a Kinder World Through Music Please Join Us For The Asheville Area Piano Forum’s Annual Benefit Concert Series FALL CONCERT October 19, 2025 Warren Wilson Presbyterian Church SPRING CONCERT April 12, 2026 First Congregational UCC, Asheville

Please visit www.ashevillepiano.org or scan QR code for tickets and info on becoming a member.

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LET’S COUNT THE REASONS WE’RE THE HOSPITAL WNC COUNTS ON.

1. We were ranked as the top hospital in North Carolina, alongside Duke University and Wake Med. 2. We were named one of America’s 100 Best Hospitals for Orthopedic Surgery.

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Learn more reasons at MissionShowsUp.com.

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ASHEVILLE SYMPHONY SUPPORTERS Thank you for supporting your Asheville Symphony.

Contributions to the Asheville Symphony support our artistic and educational programming — everything from the music performed on stage by our highly trained and talented musicians to the education programs our musicians implement when visiting local elementary schools.

You can choose how to direct your support: • • • • • •

Annual Fund Sponsorship Artist Residency Asheville Symphony Youth Orchestra Music Education Initiatives Endowment

The following recognition encompasses contributions made from January 1, 2025 through July 31, 2025, including support from the 2025 Asheville Amadeus Gala.

$50,000 - $99,999 Asheville Symphony Guild Dr. E. Brown Crosby Bill and Nancy Gettys Flow Volkswagen Porsche Audi of Asheville iHeart Media John and Carol Jackson in honor of Doris Harwitz Kimpton Hotel Arras Drs. Joanne and Tom Parker

$25,000 - $49,999 Thomas C. Bolton Lynne and John Eramo Keith Keener Jim and Mary Kirby Henry A. LaBrun North Carolina Arts Council Northwestern Mutual: Marlowe Pasarilla Wealth Management Group Kevin Pasarilla and Jennifer Marlowe The Payne Fund Sarah Van Gunten Olivia and Gary Zahler

$15,000 - $24,999 Michael and Catty Andry Sean and Erika Comeaux Explore Asheville Givens Communities Hatchworks Coworking Gerald and Nancy Kitch David and Pamela Lane Amy Loether Morgan Stanley Private Wealth Management: The Andry / Harris Team Tony McLean Brown and Kelli Darlin Penley Produce Vacation Homes Jayne Schnaars and Donald Gavin Travis Worl & Richard Lindau

$10,000 - $14,999 Every effort has been made to ensure the accuracy of this list. If you believe that an error or omission has occurred, please call 828.820.2520 or send an email to development@ashevillesymphony.org.

94 ∙ Asheville Asheville Symphony SymphonySupporters Supporters

Craig Allen and Julie Cowden ArtsAVL Audrey Love Charitable Foundation

$7,500 - $9,999 Mary and Jack Anderson Nancy and Ron Edgerton HomeTrust Bank Dr. and Mrs. Ralph C. Loomis McGuire, Wood & Bissette Russell and Ladene Newton Roberts & Stevens, P.A. Thomas G. Tachovsky and Lynn G. Baird Gary and Neesa Warlen

$5,000 - $7,499 Brad and Diane Arnold Awaken Skin & Body Bank of America Diana Bilbrey Blue Spiral 1 Beverly Briedis Buncombe County City of Asheville Clover CBD Dispensary Dr. John and Mrs. Wendy Cuellar The Community Foundation of Western North Carolina George and Kathy Dambach Robert & Mercedes Eichholz Foundation First Bank Adarrell Gadsden and Marcie Ownbey Highland Brewing Company Mountaine Jonas Kathryn Theodore Travel Advisors

$1,000 - $2,499

Jon and Ann Kemske Jill and Joe Lawrence Margarete W. Moon Endowment of The CFWNC Robert Maxwell and Shelia Elingburg The Matt & Molly Team Carol and Hugh McCollum Mercy Urgent Care Kathryn and Peter Muhs National Endowment for the Arts Nova Kitchen and Bath Publix Super Market Charities Dr. Rachel E. Raab and Dr. Francois Archambault B.A. and Gary Schenk Dr. Tony Sciara, Ph.D and Dr. Jill Vargo James S. Thompson

$2,500 - $4,999 The Brookshire Garside Group of BAIRD Meredith Balgley and Erik Bendix Lucy and Kirk Borland Ed and Donna Broadwell Crawley, Lee & Company, PA Jerry and Diane Cunningham John and Suzie Donahoe Betty Fox Anne Gatling Peter and Jasmin Gentling Debbie Green Rhonda and Marcus Grimes Fred and Cindy Groce Richard and Yolanda* Hall in memory of Rikki Hall Paul and Liz Hosier Anne Jarema and Clifford Albertson John and Janet Long Carolyn Marlowe Ann and Jerry McLellan Gail Reagan and Jim Graham Jim Reeves Susie and John Ruhl The Sabri Foundation J. Howard and Honey Solomon Irene and Michael Stoll Alan and Kathleen Young Hank Young

Anonymous Mike* and Lorna Anderberg David and Sydney Atkinson Mr. and Mrs. Robert T. Bayer William Bond and Johnny Ko Claude and Sallie Broach Buster and Karen Brown Bill* and Clarita Burton Linda Bushar Timothy Butts and Susan Harrington Butts Amy Campbell Georgia Case Gene and Lee Casey Gary and Patty Coleman John and Jeanne Condren Virginia Craig Daniel and Caroline Crupi Darilyn Dealy and Lee Pagel Jurgen and Leslie Dierks Karen Dugas Jan Duwelius Patricia Eargle Richard and Bridget Eckerd John and Marsha Ellis Dr. Alan and Suzanne Escovitz Susan Fisher Elaine and Michael Fulbright Scott and Sally Gregg Clementine Gregory Clair Griffith and Geoffrey Mitchell Stephen Griffith Michael J. Grillot Dr. and Mrs. Heinz K. Grohs Virginia W. Hayes Jennine Hough Fred and Heather Hudson Barbara and Bill Hume Bill and Kitty Hunt Judy and John Johnston Suzanne Jones Bebe Landis Susan and David Leader Tom and Dian Leeper Rita Lenderman James Losse and Ellen Haack Sue and George Luther Linda Lutz and Gary Ticknor

Asheville Symphony ∙ AshevilleSymphony.org ∙ 95

ASHEVILLE SYMPHONY SUPPORTERS

Rich and Diane Byers Chaddick Foundation Dr. Bolling Farmer John and Suellyn Felker Paul and Patty Gaumond Helle Creative Randall and Mary Johnson Barbra and Keith Love Phil and Katie Osborn Bob and Martha Pierce Ralph Protsik and Susan Wolin QC Kinetix Richard Schaffer and Anastasia Bartlett Bill Schulz and Odile Perrenoud Ed and Cindy Towson David and Dianne Worley

ASHEVILLE SYMPHONY SUPPORTERS

Cynthia MacLeod James H. McMillan and Carol H. Kaufman Roberta Moll Lois S. Carlson and Jerome Mrowca Barbara Mueller Lucille Mueller Jeffrey and Lisa Owen Dale and Barbara Phipps Pam and Rex Prosser Irene Dillingham Richards Family Foundation Robin T. Rutledge and Karen Keeler Rogers Wade and Mary Margaret Saunders Larry and Marilyn Shames Edward Sims Mark and Rachel Sossoman Evelyn Spies Gary and Jeanne Ann Stroebel Cathy Stryker Judith Van Horne and Stephen Hendricks Paul and Valorie Vliek Betty Walker Steven and Michele Warner Gregory and Marjorie Zack

Pat & Bud Kofron Bebe Landis Virginia and Drew Litzenberger Chuck Lockwood and Patrick Ryan Henry and Elizabeth Mainwaring Gail and Ron Manheimer Diane and John Martin Ricky McGrath Anne McKenzie Leslie Newman John K. Orr Amy Plankenhorn Julene Reese Roberts Kitti Reynolds Rich and Stacy Ridenour Brent and Lee Ann Russell Frank Rutland William and Martha Scarborough James Storey and Janice Collins Carol and Terrence Tinkel Dr. Larry R. Versteegh Donna and Randy Weast Jeff and Susie Wellington Bonnie Wheeler George Wilds and Steve Connell Paul Williamson Thomas H. Young

$500 - $999

$250 - $499

Anonymous Claude and Sallie Broach Elizabeth Button Lynne Cannady Jeannette and Robert Cannon Todd and Paula Clossin Joel and Carole Hampton Cotter Ellie Daniels Mary Ellen Dendy and Aaron Dahlstrom Kristen Dusenbery Drs. Louis Dwarshuis and Marilyn Kolton Brad Edmonds Bruce and Day Ann Emory Carol Falender Betty Gumpert Tom and Libby Irwin Pat Johnston Elizabeth Justice Sean Kelley

Anonymous Altura Architects Joseph Beckham David and Ann Bottomy David G. and Lin Brown Bob and Bonnie Busby Gary Clark Michael Cleveland and Maria-Grazia Nunzi Bill and Meg Clontz Gerald Davies Daniel Durand Kim Eiring Polly S. Feitzinger Milton and Murphy Fletcher Lauren Flickinger Mrs. Edeltraut Gilgan-Hunt Lorraine Harrison Peter Wortham Hawes Sara Y. Henley

96 ∙ Asheville Symphony Supporters

Joel Horwich Robert Stone and Jan Hundhausen Marian and Thomas Jerdee Margaret Kelso Elfi LaPlante Pamela Lowe-Hoyte and Otho Hoyte Karen Medeiros David Miller Martha and Thomas Mills Barbara Phelan Vicki Richards Don Roberts Carol and Michael Rosenblum Cristian Rubiano David Russell Richard Schaffer, Sr. Ilona and Michael Sena Robert Stone and Jan Hundhausen Stephen and Lynne Weinrib Andy and Betsy White

$100 - $249 Asheville Alumnae Chapter of Sigma Alpha Iota Bill and Sally Atkins Don Bafford Shannon Baggett Paul Ballard Tom and Kay Beardsley Marty and Barbara Beckerman William Berenson Drs. Elizabeth and Josh Bernstein Adlai and Karen Boyd Richard Brandsma Rita Nilsen and Carl Brickman Allan and Jean Brown Dr. Stephen D. and Mrs. Linda B. Brown Clinton Bugg and Jeff Nucey Jane Caris John and Gail Carpenter Charles Baker Bishop Charles and Karen Crutchfield Mary Cunningham Alexa and Rich Dann Martin and Ivy Dyckman Linda Engwall Don and Joy Erbes Edward and Amy Euler Laura Evans

Your gift to the Asheville Symphony’s Annual Fund makes a difference in our community.

A donation to your Symphony makes it possible for you to be a part of the magic that happens in our Masterworks series at First Baptist Church of Asheville and all across our region throughout the year. Ticket and subscription sales cover about 35% of our operating costs, and contributions to the annual fund make up the difference.

Powerful, world-class performances

Your donation, no matter the size, directly supports our mission and helps us reach even more people. To learn more about Annual Fund giving, contact the Development office at 828.820.2520 or development@ashevillesymphony.org.

Visit AshevilleSymphony.org/ Donate to make gift today.

Bringing the joy of music to WNC kids ages 8-19

Uniting our community through music

Asheville Symphony ∙ AshevilleSymphony.org ∙ 97

ASHEVILLE SYMPHONY SUPPORTERS

SUPPORT YOUR ANNUAL FUND

ASHEVILLE SYMPHONY SUPPORTERS

Cary and Koni Findlay Stephen and Jackie Finstad Gayle Freeauf Ellenor Frelick Michael Groothuis Carolyn Guthrie Amanda Hall and Robert Zeid Caprice Hamlinkrout Gail Harris and John Boneparth Ralph and Sheryl Husby Thorunn Ivey Nan Jackson and Heinz Sauer Susan Jensen and Lew Gelfond Edward Joffe Ruth Sieber Johnson Christopher Keene Donald Kehrberg James King Mr. and Mrs. Lawrence Koupal Karen Lachow Eric and Mala Lapp Walter Leginski Deborah Lewis Barbara Loeb Dr. Ken and Mrs. Marjorie Loken Rev. Alexandra Lusak Shane and Sarah Lympany Suzanne and Jay Mahler Jerry McAninch Robert Moench Mr. and Mrs. George Morosani Gina and Dale Nelson Thomas Norman Francis Nullet

Matching Gifts Many companies offer a matching gift program for employee (and retiree!) charitable donations — this can double or triple your gift! Thank you to the following companies who have recently matched donor gifts: AIG Bank of America Boeing Steelcase Foundation Shell Oil Company Foundation 98 ∙ Asheville Symphony Supporters

Christopher Okopny Eric and Lynn Ordnung Betty J. Paine Virginia Pett Barbara Pettigrew Donald and Brenta Poole Kathleen Quinlan and Marc Parham K. Ramaswamy Lynnell W. Reese Richard and Deborah Reynolds Sherree Roller and David Janson Liz Rollins Evan and Susan Rosenberg Stephanie Rosener Jeffrey and Bea Russell Bob Rymer Barbara and Marty Stickle Kathy Stiles John and Mary Tadey Janet Thatcher Kathleen Busby and Razz Waff Norman and Janet Weeks Larry and Janie Wilson Christy Winer Barbara Witt

$1 - $99 Deborah Aiton Roger Ames Margot Ammidown Pauline Aridas Catherine Ashe Charles and Stephanie Baer Jeff and Elizabeth Baker Sherry Banner Kate Bashford Gregory Bergee Fernando Bertoli John and Roberta Birken Diego Blanc Elinor Bowman Hannah Boyd Art Brantigan Diana Brewster Howard Brodt Catherine Brown Sheryl Brown Melinda Brown Joe Bruen

William Buchanan Nancy Buchanan Lee Buckley Julie Burch Lana Burns Chris Bussa Christine Calso Casey Campfield Catherine Anne Walsh Alexis Champion Kyle Chapin Horace Clark Boyd Clines Marvin Cole Tracy Conte Charlotte Cooke Dayton Costlow Patti D’Angelo Tala Dajani Lisa Darling Johnny Davis Katherine DeGroff Robert Delfoe Gary Demyan Tom Doebber Amy Dragon Betty Duggan Ramon Duque Gary Eiben Kyle Eliason James Ellis Laura Fackler Russel Fallis Thomas Ferguson Mercedes Field Katherine Fisher James and Linda Focareto William Forrester Chris Foster Deborah Francis Francois Archambault Linda and Jeffrey Fromson Jonathan Gaines Robin and Gordon Gaiser Vinnie Gibaldi Brandi Gilliland Linda Gilpin Chowdhary Gondy Adam Griffith Darrell Grigsby

Carol Marin Canter Martin Adam Matar Don McAdam Bill McClain Jim Messer Michael Miale Douglas and Jill Miller Swig Mueller Eric Munoz Amy Murashige Dagi Murphy Judy Murren William Mustelier Joanne Neary Frederic Nguyen Reyna Novak Reed Olszack John Onestinghel Marcy Onieal Rebecca Pace Travis Peck Virginia Pena Lynne Petty Kert Phillips Rachel Phillips Todd and Kaye Phillips William Pope Mark Potts Bradley Preslar Allison Quigley Carolyn Ramsey Philip Ramsey Robert Randall Carlos Reyes Amanda Ridenhour Ellen Robbins Robert Pechacek Thomas Roman Christopher Rupp and Karine RuppStanko Megan Santana Kevin Scanlon Wade Scheuritzel Allen Sebrechts

Angela A Sherzer Michael Sierra Joseph Simpson Ronald Sinclair David Slobodin Jillian Smith Brian and Caron Smith Carole Sorrenti Hannah and Matthew Spear Olga Spirina Jeremy Spurlin Charles and Sue St. Clair Barbara and Barry Stagg Kathleen and Howard Stanton Edmund Starowicz John R. Sterling Mark and Cathy Stevens Beth Stickle Schoenheit Paul Stroebel Thomas Stultz Kenny Sudnik Colleen and Jimmy Sullivan Alina Suprunchik Thomas Swaney Anita Szybillo Trisha Taris Sandra Tart Paige Taylor David Treadway Diane Turpin Molly Von Mitschke-Collande Douglas Vonada Margot Voorhees Charles and Marjorie Waddell David Waldron Virginia Waymouth Melanie Welty Terence Whitt David Willette Alexander Wilson Theodore Woolsey Don Wright David Wulle Susan Yost Michael Zabel

Every effort has been made to ensure the accuracy of this list. If you believe that an error or omission has occurred, please call 828.820.2520 or send an email to development@ashevillesymphony.org

*Denotes Deceased

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ASHEVILLE SYMPHONY SUPPORTERS

Steve Grimes Dante and Cindy Gumucio Xinni Guo Household Stanley H Wayne Hadler Teresa Hammack Robert Hammet Charles Hardy Diane Hardy Gretchen Hardy Michael Hart William Hasskamp Daniel Hatton Sherry Heacock Tami Hindin Philip Hogue Kathleen Holmes Michael and Laura Hoskins E. Paul Huisking Jr. Gavin Iddings Jody Jacobs Alisha Jamerson John Johnson Ginger and Dan Jones Rebecca Jones Geoffrey Kapler Sharon Kaufman Kelley Hinsley John Kennedy John Kenney Arthur Kirby Julie Klement Deborah Klopp Linda Kooiker Alan Kotch Margaret Krusch Renee Lampila John Law Lynn Lederer and Leslie Long Jeremy and Susan Lerner Amy Little Thomas E. Lodge Kathryn Long and Axel Graumann Beatriz Lothrop Elizabeth and Greg Love

ASHEVILLE SYMPHONY SUPPORTERS

Music Sponsorships Masterworks 1: Eroica

Masterworks 2: Convergence

Masterworks 3: Renegade

Bach Cello Suites with Elinor Frey

Cirque de la Symphonie

Amber Ferenz The Things We Say to Death Sponsored by Anne Jarema and Clifford Albertson Ludwig van Beethoven Piano Concerto No. 3 by Sponsored by Carol and Hugh McCollum Ludwig van Beethoven Symphony No. 3, “Eroica” Sponsored by John and Janet Long Erik Satie orch. Claude Debussy Gymnopédies No. 3 Sponsored by Hank Young John Cage Seventy Four, Version II Sponsored by David and Dianne Worley Béla Bartók Viola Concerto Sponsored by Carol and Hugh McCollum John Cage 4’33” Sponsored by Adarrell Gadsden Johannes Brahms Symphony No. 2 Sponsored by Dick Hall in memory of Yolanda Hall Luigi Boccherini Symphony No. 4, “Casa del Diavolo” Sponsored by Irene and Michael Stoll in memory of Ingeborg Meeke C.P.E. Bach Cello Concerto Sponsored by Joel and Carole Hampton Cotter in memory of Carole’s brother, Wade Hampton III Igor Stravinsky Concerto in E-flat, “Dumbarton Oaks” Sponsored by Mary Ellen Dendy and Aaron Dahlstrom J.S. Bach Solo Cello Suite No. 3 Sponsored by Travis Worl and Richard Lindau J.S. Bach Solo Cello Suite No. 1 Sponsored by Jim and Mary Kirby J.S. Bach Solo Cello Suite No. 5 Sponsored by Adarrell Gadsden Claude Debussy Clair de Lune Sponsored by Sarah Van Gunten Pyotr Ilyich Tchaikovsky “Dance of the Sugar Plum Fairy” from The Nutcracker Sponsored by Adarrell Gadsden John Williams “Flight to Neverland” from Hook Sponsored by Adarrell Gadsden Pyotr Ilyich Tchaikovsky “Danse des petite cygnes” from Swan Lake Sponsored by Penley Produce Vacation Homes Johann Strauss II Unter Donner und Blitz Polka Sponsored by Keith Keener Pyotr Ilyich Tchaikovsky “Trepak” from Swan Lake Sponsored by Keith Keener Jeff Tyzik Chanukah Suite Sponsored by Keith Keener Traditional O Holy Night Sponsored by Keith Keener Pyotr Ilyich Tchaikovsky “Pas de Deux” from The Nutcracker Sponsored by Sara Henley

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ASHEVILLE SYMPHONY SUPPORTERS

Tribute Gifts In memory of Michael Anderberg Lorna Anderberg In memory of Chuck Briedis Beverly Briedis In memory of Bill Burton Jack and Mary Anderson In memory of John B. Campbell Amy Campbell In memory of Lindley Garner Mary Goodkind To honor the kind memory of Kent Gatling and in gratitude for his generous shared gift from his wife Anne Gatling Caprice Hamlinkrout In memory of Al Gumpert Jack and Mary Anderson In memory of wife Yolanda Hall Richard Hall In memory of son Rikki Hall Richard Hall In memory of Carole’s brother, Wade Hampton III Joel and Carole Hampton Cotter In memory of Gail Jolley Keith Keener Betty Walker In honor of Franklin Keel Beverly Briedis Ellie Daniels In memory of Linda and Manny Medeiros Estate of Manuel Medeiros

Thank you for being part of what brings the concert hall to life and builds memories for audiences for years to come.

Your support in action in the 2024-2025 season:

In memory of Manny Medeiros Karen Medeiros

• Welcomed an estimated 10,000 guests at a free Symphony in the Park in Downtown Asheville

In memory of Ingeborg Meeke Irene and Michael Stoll

• Served thousands of Asheville City and Buncombe County elementary students with music education programs

In honor of Phyllis Penley Patton Kelli Darlin and Tony McLean Brown

• Provided nearly $15,000 in scholarships to young musicians in the Asheville Symphony Youth Orchestra

In honor of my Students Paul Stroebel

• Distributed over 1,500 complimentary tickets to students, families, and seniors who otherwise might not have been able to attend Our partnerships with senior living communities, public libraries, and outreach initiatives ensure that music reaches every corner of our city.

Whether on stage or in our communities, music brings us together — lifting our spirits, connecting generations, and strengthening the fabric of our community.

Asheville Symphony ∙ AshevilleSymphony.org ∙ 101

ASHEVILLE SYMPHONY SUPPORTERS

This is one of the best ways to invest in the future of kids in Asheville and what music can do for them. It’s a legacy that will have benefits far beyond our lifetimes.

JOHN CUELLAR

Legacy Society Member & Board Member

102 ∙ Asheville Symphony Supporters

John’s love for classical music was instilled in him as a child, attending concerts with his mother in Texas.

“We weren’t wealthy, and music lessons were beyond our budget, but my mother loved classical music,” he recalls. “Hearing amazing musicians as I grew up made a lasting impression on me.

I’ve had the good fortune to see and hear wonderful symphonies and performances across the country since.” John’s passion continued with the Asheville Symphony after his move here.

At one particular Asheville Symphony Annual Meeting, John stood up and spoke, sharing his admiration for the organization’s exceptional music and leadership, “The quality and musicianship in a city of this size was striking.”

Shortly after, board member Jack Anderson invited him to lunch along with Steve Hageman, then executive director, and John was asked to join the Asheville Symphony’s board.

“Since then, I’ve seen the Symphony thrive under incredible leadership,” he says. “It’s a real pleasure to be part of something so inspiring and impactful.”

For John and his wife Wendy, that outreach is personal. Their daughter found her own connection to music at Asheville High School, and then on to the Asheville Symphony

Youth Orchestra, playing bassoon.

“Music became her community,” John explains. She went on to study Music Therapy at Appalachian State University and now works as a music therapist at a children’s hospital. Seeing firsthand how music shaped their daughter’s life led John and Wendy to think about the future.

“The developmental data on children who play music is impressive, and we’ve seen firsthand what music can do for kids,” he shares. “It motivates them, teaches them skills they can carry throughout their lives, and creates opportunities they might not otherwise have.”

As members of the Asheville Symphony Legacy Society, John and Wendy know their gift will help sustain the Symphony for years to come. These contributions often support the Symphony’s endowment, providing vital resources and ensuring the Symphony’s excellence endures.

“This is one of the best ways to invest in the future of kids in Asheville and what music can do

for them,” John says. “It’s a legacy that will have benefits far beyond our lifetimes.”

The Asheville Symphony Legacy Society recognizes individuals who make planned gifts to the Symphony.

Members enjoy unique benefits, including special events and educational opportunities, as well as acknowledgment in the season program. Please visit the following page to see Legacy Society members.

For John, the decision to give was simple. “Live music played by a full orchestra is such a rare and special experience. To sit in a concert hall and hear music that has been cherished for centuries is both invigorating and profoundly moving,” he reflects.

“Ensuring that experience continues for others is something I’m proud to be part of.”

Orchestrate Your Legacy Today For more information about the Asheville Symphony Legacy Society and how you can make a difference, contact the Development team at development@ashevillesymphony.org or 828.318.8181.

Asheville Symphony ∙ AshevilleSymphony.org ∙ 103

ASHEVILLE SYMPHONY SUPPORTERS

When Dr. John Cuellar attended the Asheville Symphony’s performance of Carmina Burana several years ago, little did he know that it would lead to an on-going, years-long commitment to the symphony. Awe-struck by the performance, he called the Symphony office the next morning and purchased season tickets. He has subscribed ever since.

ASHEVILLE SYMPHONY SUPPORTERS

ASHEVILLE SYMPHONY LEGACY SOCIETY The musicians of the Asheville Symphony Society, Inc., are the lifeblood of your Symphony: uniting our community, lifting hearts, and inspiring with the power of orchestral music. By making a Legacy Society pledge to the Endowment during your lifetime, you are demonstrating a commitment to the Asheville Symphony’s musicians today and our vibrant future.

For more information about joining the Legacy Society and supporting the Endowment (including naming opportunities), contact the Development office by emailing development@ashevillesymphony.org or calling 828.318.8181. If you have already included the Asheville Symphony in your estate plans, please let us know so that we may include you on this list and recognize your generosity.

Dorel Abbott* Don and Nancy Ackermann Cole Jack Jones and Katherine Armitage* Mr.* and Mrs. Stephen Barden III Dr.* and Mrs. Luther Barnhardt Mary and Leland Bartholomew* George* and Diana Bilbrey Marion Bleyler* Mr. and Mrs.* Thomas C. Bolton Joyce Bost Hogan* Mrs. Charles Butler* Ken and Alma Chatfield* Barbra and Beirne Chisolm* Jane Christiansen* Mr. and Mrs. Gary Coleman Nancy Crosby Dr. and Mrs. John Cuellar Robert DiDiego Lori Doerr Mr. and Mrs. David Dolan Drs. Joyce and Lawrence* Dorr Mrs. C.H. Elmslie Robert and Jeane* Etter Dr. Linda Sokalski Farrell Dr. Bolling Farmer Francis Fee

104 ∙ Asheville AshevilleSymphony SymphonySupporters Supporters

Doris Kistler and Fred Wightman William and Nancy Gettys Lindley Garner* and Mary Goodkind Mr. and Mrs. George Goosman Michael J. Grillot Paula J. Grillot Mr. and Mrs. Steven Hageman Dr. and Mrs. Matthew Hahner Eleanor Hall* Dick and Yolanda* Hall Virginia and Emmet* Hayes Anna and Anthony* Hayward Carolyn L. Hubbard Bill and Kitty Hunt Bill Jacobs and Susan Posey Pat and Doug* Johnston Gail Jolley* Mountaine Jonas James Laird* Christine Longoria Dr. and Mrs. Carlo Mainardi Mabel Marlsbury* Mr. and Mrs. Arthur Mattson* Carol and Hugh McCollum Ann and Gerald McLellan Manuel* and Karen Medeiros

Ingeborg and Kenneth Meeke* Fred Meyer Russell and Ladene Newton Arch and Zeffie Nichols* Mr. and Mrs. David Pheil Mary L. Powell Education Fund in memory of Beatrice Wells Monte Richardson* Ernest Rosenau* Dr. and Mrs. Joel Rosenberg William* and Carole Roskind August Schmidt* Jill Vargo and Tony Sciara John Schuler* JoAnne Setzer* Robert Sorton Bonnie Stone Norretta L. Taylor* Edna Thompson* Mr. and Mrs. Ed Towson Sarah Van Gunten Albert and Lucia Ward* Eleanor Weil Schulmon*

*Denotes Deceased

Training physicians, dentists, pharmacists, and other healthcare professionals with a passion for excellence and a heart for service since 1974.

MAHEC Biltmore Campus

WWW.MAHEC.NET Asheville Symphony ∙ AshevilleSymphony.org ∙ 105

106 ∙ Fall 2025 Program Book

2025-26

Fall PARKER Winter CONCERT Spring HALL SERIES OCT 10, 2025

OPENING NIGHT THE SPHINX VIRTUOSI CHAMBER ORCHESTRA NOV 13, 2023

CHOPIN THE MASTER OF THE PIANO DEC 4, 2025

AMERICAN ROOTS with THE WILDWOODS DEC 9, 2025

HANDEL’S MESSIAH FEB 10, 2026

STELLA COLE sings THE GREAT AMERICAN SONGBOOK MAR 18, 2026

A ST. PATRICK’S DAY CELEBRATION with DANÚ APR 16, 2026

BRAHMS AMONG FRIENDS MAY 21, 2026

SEASON FINALE with THE ULYSSES QUARTET

BUY TICKETS 828.862.2105 brevardmusic.org

Plan your visit!

World-Class Art in the Heart of Downtown 20th and 21st Century American Art | ashevilleart.org

Asheville Symphony ∙ AshevilleSymphony.org ∙ 107

Blue Ridge Public Radio is honored to support Asheville Symphony

BPR informs, inspires, and connects Western North Carolina with news, classical music and late-night jazz.

Learn more at bpr.org.

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W H E R E E V E RY D AY FINDS ITS RHYTHM At Deerfield, life is rich with harmony, purpose, and connection. Located just minutes from downtown Asheville, our warm and welcoming community invites residents 61 and older to embrace each day with creativity and joy.

Whether you’re learning a new instrument, painting in the studio, gardening with friends, or strolling through wooded trails, every moment offers an opportunity to grow, connect, and feel inspired. Discover a place where friendships flourish, wellness is nurtured, and each day brings something meaningful.

Discover your rhythm. Schedule a tour today!

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Bringing world-class chamber music to WNC for over 70 years ASHEVILLECHAMBERMUSIC.ORG

QUARTETO LATINOAMERICANO Friday February 28 7:30 p.m.

Roman, León, d’Rivera

Haydn, Frank, Debussy

Manhattan Chamber Players with David Fung Sunday February 8 4:00 p.m.

Schumann, Brahms, Fauré

Asheville Symphony ∙ AshevilleSymphony.org ∙ 109

ADVERTISER INDEX Advantage Direct

27

Allard + Roberts Interior Design, Inc.

107

American Vocal Traditions

91

Ardenwoods Community

Bottinelli Fine Art

2

Hatchworks Coworking

106

Brevard Music Center

107

Helle Creative

11

Brock Builders

18

Highland Brewing

80

HomeTrust Bank

10

iHeart Radio

4 33

Northwestern Mutual - Asheville

52

Panashe Real Estate

90

Parkway Playhouse

109

Penland School of Craft

43

Penley Produce Vacation Homes

BC

Q Evon Fine Jewelry

21

80

The Brookshire/Garside Group BAIRD

20

ArtsAVL

79

Brunk Auctions

42

Asheville Area Piano Forum

91

Center for Craft

91

Katherine Alexander Fine Jewelry

Asheville Art Museum

107

Chorus Asheville

93

Clover CBD Dispensary

111

Kathryn Theodore Travel Advisors

53

QC Kinetix

65

Kimpton Hotel Arras

48

Roberts & Stevens, P.A.

26

Lazoom Tours

33

Smart Feller Tree Works

80

109

Mars Landing Galleries

6

SoundLab Studios

43

Explore Asheville

5

The Matt & Molly Team

53

South Slope Cheese Company 18

First Bank

11

Fisher Realty

85

McGuire Wood & Bissette Law Firm

8

Mercy Urgent Care

74

Mike’s Heating & Cooling

18

Mission Health

Asheville Chamber Music Series

109

Asheville Citizen Times/ LocalIQ

32

Asheville Community Theatre 79 Asheville Dental

3

Asheville Sister Cities, Inc.

86

Asheville Symphony Chorus

64

Awaken Skin & Body

74

Bank of America

25

Biltmore Estate

22

Black Mountain Center for the Arts

85

Blue Mountain Pizza

107

Blue Ridge Public Radio

108

Blue Spiral 1

16

Crawley Lee & Company, P.A. 33 Deerfield Episcopal Retirement Community

Strada Italiano

27

Swannanoa Cleaners

109

Tryon Estates

93

92

Western Carolina University - Bardo Arts Center

87

78

WNC Nature Center

10

Working Wheels

26

Wortham Center for the Performing Arts

81

Flow Automotive

30, 75

Frugal Framer

105

Fyzical Therapy & Balance Centers

91

Morgan Stanley

Gillespie Dental Associates

84

Givens Communities

14

Mountain Area Health Education Center (MAHEC) 105

Gould Killian CPA Group, P.A. 21 Harrah’s Cherokee Center Asheville

86

Mountain Xpress

28

North Carolina Stage Company

105

Your ad could be here!

See your ad in the next Asheville Symphony Program Book! Our program book consists of advertisements from sponsors, paid advertisers, and even donated ad space. With over 25 performances during the season, we’ll distribute over 10,000 copies of the program book between September and May. Interested in seeing your ad in the next program book? Call 828.254.7046 or email info@ashevillesymphony.org for more details on how to advertise or sponsor!

110 ∙ Fall 2025 Program Book

for Premium Hemp Products

Asheville Symphony ∙ AshevilleSymphony.org ∙ 111

Eight Vacation Homes Accommodations for 1 - 68 Vacations, Weddings, Reunions Over 500 Five Star Reviews For Booking Contact: Mike Patton (828) 216-9003 Mike@MountaineerConstruction.com Scan to read our story or visit www.bit.ly/Penley-Produce