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ASHEVILLESYMPHONY ASHEVILLE SYMPHONY

ASHEVILLE SYMPHONY PROGRAM BOOK

Fall 2023

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CONTENT KEEP IN TOUCH Letter from Executive Director

Staff

Board of Directors

About the Cover

Past Presidents & Directors Emeriti

Letter from Board President

Venue Information

Music Director

Orchestra Personnel

Asheville Symphony Guild

Asheville Symphonettes

Asheville Symphony Chorus

Masterworks 1: Out of the Shadows · September 23, 2023

Star Wars: Celebrating a Galaxy of Film Music · October 1, 2023

Masterworks 2: The Great Gate · October 21, 2023

Phone 828.254.7046

ALT ASO @ Highland Brewing · November 7, 2023

Masterworks 3: American Portraits · November 18, 2023

Online AshevilleSymphony.org/donate

New Year's Eve: She's Got Soul · December 31, 2023

ALT ASO @ The Orange Peel · January 23, 2024

Piano Recital with David Fung · January 30, 2024

Artist Residency: A Celebration of the Violin

Food & Beverage Partners

Season & Concert Sponsors

Donors

Asheville Symphony Youth Orchestra

Fund-A-Need Recognition

Legacy Society

Advertisers Index

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

828.254.7046

info@ashevillesymphony.org

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

WE'RE "HITTING THE ROAD" THIS SEASON! An HVAC failure in Thomas Wolfe Auditorium has caused us to relocate most of our season performances to other venues. Scan the QR code to learn more about the changes to our season.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 5

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EXECUTIVE DIRECTOR

DANIEL M. CRUPI Dear Asheville Symphony friends and family, Welcome to an extraordinary and unprecedented Asheville Symphony season! Already one of creativity and resilience, we are grateful for your unwavering support as we’ve faced the need to unexpectedly relocate the 2023-2024 season from Thomas Wolfe Auditorium. I want to thank the Symphony’s staff, musicians, Board of Directors, and community partners who enabled us to pivot the season quickly and with grace. We are especially grateful to the teams at First Baptist Church of Asheville, Brevard Music Center, Wortham Center for Performing Arts, and Salvage Station, all of whom have welcomed us with open arms. In addition, I want to thank the team at Harrah’s Cherokee Center - Asheville for their transparency and flexibility as we worked to transition our season. This outpouring of support has shown that your Symphony is a true part of the fabric of Asheville’s arts and culture community — and while we may not know the future of Thomas Wolfe Auditorium, we do know that it is possible for the Symphony to continue to thrive, even without a truly permanent home. Transitioning our season has given us an opportunity to reaffirm our commitment to our mission, which is to serve, delight, and educate the people of Western North Carolina through symphonic music. Consequently, we are continuing to expand our reach and impact by increasing our pops programming, offering new music education opportunities, and even launching a brand new initiative through the Asheville Symphony’s first-ever Artist Residency, which for its inaugural year will celebrate the impact and legacy of the violin. While we are proud that we remain able to present the 2023-2024 season despite the loss of our home venue for the last five decades, this shift has not been accomplished without significant effort and expense. In order to continue serving our audience, we must nearly double our number of performances, which requires additional staff to manage the expansion. And, by adding repeat performances and altering our rehearsal schedule significantly, our artistic costs have risen by over 20% in order to compensate our musicians and soloists fairly. The financial impact of this transition will be enormous. This is a pivotal moment for your Asheville Symphony, and we need your support more than ever. Whether that means purchasing a subscription, donating for the first time, increasing your giving, or telling your friends about our shows, now is one of the most important times in the Symphony’s history for you to engage and help us weather these challenges. Your ambassadorship enables us to continue shaping the vibrant tapestry of our community. Thank you for your support, and we look forward to seeing you this season! Warm regards,

Daniel M. Crupi Executive Director

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 9

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BOARD OF DIRECTORS & STAFF OFFICERS

ASHEVILLE SYMPHONY STAFF

Sue Luther • President Michael Andry • Past President Sallie Broach • Secretary G. Edward Towson • Treasurer

Daniel M. Crupi Executive Director DEVELOPMENT Sara Henley Director of Development Madeline Womack Assistant Director of Development FINANCE Sherry Blakely Controller MARKETING Alex Hill Director of Marketing & PR Claire M. Allen Art Director ORCHESTRA OPERATIONS Sally J. Keeney Orchestra Manager Michael Di Trolio Principal Librarian Paul Stroebel Stage Manager PATRON SERVICES Hannah Williams Patron Services & Festival Manager Matt Howe Ticketing & Office Administrator Laura Berry House Manager

DIRECTORS Jack Anderson* Mary Kirby Michael Andry Pam Lowe-Hoyte Thomas C. Bolton* Sue Luther Sallie Broach Elizabeth McCorvey Susan Harrington Butts Carol McCollum* Dr. Nancy J. Cable Patrick O’Cain Stephanie Carpenter Jeffrey Owen Dr. John Cuellar Cristian Rubiano George Dambach Richard Schaffer John W. Ellis Rachel Sossoman Dr. Bolling Farmer James S. Thompson Betty Fox Sandra Tompkins Adarrell Gadsden Ed Towson* Bill Gettys* Sarah Van Gunten Debbie Green Olivia Zahler Fred Groce *Distinguished Directors (continued on next page)

YOUTH ORCHESTRA Cynthia Roop General Manager Dr. Alexandra Dee Music Director, Youth Philharmonic & Concert Conductor Dilshad Posnock Woodwind & Honors Coach Franklin Keel Strings & Honors Coach Dr. Jason Slaughter Brass & Honors Coach Dr. Brian Tinkel Percussion Director Judah Barak Honors Percussion Coach Jared Dunn Honors Percussion Coach Amber Svetik Overture Class Conductor Ashlee Booth Divertimento Conductor Amanda Tant Sinfonia Conductor Cheryl Lewis Operations Manager Rodney Workman Site Coordinator Jason Posnock Advisor Cara Jenkins Advisor

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PAST PRESIDENTS Chuck Killian  Ed Towson

Shon Norris

Harvey Jenkins  Eric Michael

James Plaster

Dan Mullinix Services Include:

Services Include: 

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Investment Advisory

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Individual Tax Planning and Preparation

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Group and Individual Insurance

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Comprehensive Financial Planning

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100 Coxe Avenue, Asheville, NC 28801 Gould Killian  828-258-0363  www.gk-cpa.com Altamont  828-236-0610  www.altamontcapitalmgmt.com Where Quality Counts

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, MD. 1987-1989: George Goosmann, III 1989-1992: John J. Sherman, Jr. 1992-1994: G. Edward Towson, II

1994-1995: Stephen L. Barden, III 1995-1997: Joyce R. Dorr, Ph.D. 1997-1999: C. David Pheil 1999-2001: George M. Bilbrey, MD. 2001-2003: W. Herbert Smith, Jr. 2003-2004: James P. Topp 2004-2006: Thomas C. Bolton 2006-2008: Carol McCollum 2008-2010: Jack Anderson 2010-2012: Carolyn L. Hubbard 2012-2014: William L. Gettys 2014-2017: Irene Stoll 2017-2019: Doris Phillips Loomis 2019-2021: Bolling Farmer 2021-2023: Michael Andry

DIRECTORS EMERITI George M. Bilbrey, Jr. M.D.* J.K. MacKendree Day Joyce R. Dorr, Ph.D. George F. Goosmann, III

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Karl S. Quisenberry, Ph.D.* John J. Sherman, Jr. W. Herbert Smith, Jr. *Deceased

BOARD PRESIDENT

SUE LUTHER Dear Asheville Symphony friends and family, On behalf of the Asheville Symphony musicians, management, and Board of Directors, welcome to our new season and new performance venues. This is the beginning of a new era for the ASO! I am honored to serve as President and pleased to have the opportunity to work with the board, our talented staff, and devoted supporters. Through the partnerships we have in place throughout the community, we continue to extend the Symphony’s reach by helping fans of all ages experience classical music. To our sponsors, advertisers, and donors, thank you for your support of our organization and for investing in the richness of our community through the arts. To our audience, thank you for joining us to share our love of music. A special thank you to our talented Music Director Darko Butorac for his creative and thoughtful music selections and to our musicians for bringing each piece to life. I am looking forward to another exceptional and exciting year ahead. I hope this season will stir your heart and bring you back again and again!

Sue Luther Board President

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 13

New venues, matinees, and more: the Asheville Symphony is “hitting the road” for the season! The Harrah’s Cherokee Center - Asheville’s Thomas Wolfe Auditorium (our usual performance venue) experienced an HVAC failure and can no longer offer ticketed events for the foreseeable future. Thus, we have moved all shows to alternate venues including First Baptist Church of Asheville, Salvage Station, Brevard Music Center, and more. Our goal in this move has been to keep Asheville Symphony musicians fully employed and to change repertoire as little as possible. We are pleased that with the venue changes, we have been able to keep much of the originally scheduled season intact, continue serving our entire audience, and continue fully employing all of our musicians! We remain grateful for the support of our partners and audience as we have navigated these changes! 14 ∙ www.AshevilleSymphony.org ∙ Fall 2023 Program Book

2023--2024 VENUE INFORMATION 2023 Most Masterworks performances this season will take place at First Baptist Church of Asheville. Below is a floor plan of the ground level.

MASTERWORKS 1: OUT OF THE SHADOWS First Baptist Church of Asheville Saturday, Sept. 23, 2023, 2:00 p.m. + 8:00 p.m. STAR WARS Salvage Station's Outdoor Stage Sunday, October 1, 2023, 5:00 p.m. MASTERWORKS 2: THE GREAT GATE First Baptist Church of Asheville Saturday, Oct. 21, 2023, 2:00 p.m. + 8:00 p.m.

MASTERWORKS ENTRANCE

ALT ASO Highland Brewing Tuesday, November 7, 2023, 7:00 p.m.

CA L IL W

RAMP TO ELEVATOR

SMALL ATRIUM

NEW YEAR’S EVE: SHE'S GOT SOUL Harrah's Cherokee Center - Asheville Sunday, December 31, 2023, 8:00 p.m.

TO HOUSE RIGHT

MASTERWORKS 3: AMERICAN PORTRAITS First Baptist Church of Asheville Saturday, Nov. 18, 2023, 2:00 p.m. + 8:00 p.m.

ALT ASO The Orange Peel Tuesday, January 23, 2024, 7:00 p.m. = RESTROOMS = ELEVATOR = STEPS

TO HOUSE LEFT

SANCTUARY Performance Space

= STAIRS TO BALCONY

PIANO RECITAL WITH DAVID FUNG Central United Methodist Church Tuesday, January 30, 2024, 7:00 p.m. MASTERWORKS 4: CLASSICAL ROMANCE Wortham Center for the Performing Arts Saturday, February 17, 2024, 8:00 p.m. Sunday, February 18, 2024, 3:00 p.m. ALT ASO Asheville Masonic Temple Tuesday, March 12, 2024, 7:00 p.m.

CHAPEL Location of Symphony Talk ACCESSIBILITY & SYMPHONY TALK ENTRANCE

VIOLIN RECITAL: SOLO BRAVURA Central United Methodist Church Thursday, March 14, 2024, 7:00 p.m. MASTERWORKS 5: VIOLIN VIRTUOSI First Baptist Church of Asheville Saturday, March 16, 2024, 2:00 p.m. + 8:00 p.m.

Visit AshevilleSymphony.org for more details on the 2023-2024 season, our performance venues throughout the year, how you can support the Symphony, and much more.

MASTERWORKS 6: GOLDEN GLAMOUR First Baptist Church of Asheville Saturday, April 20, 2024, 2:00 p.m. + 8:00 p.m. MASTERWORKS 7: TITAN Brevard Music Center Saturday, May 18, 2024, 2:00 p.m. ALT ASO The Mule @ Devil's Foot Beverage Co. Tuesday, May 21, 2024, 7:00 p.m.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 15

SETTING THE STAGE FOR

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MUSIC DIRECTOR

DARKO BUTORAC (Serbia), the Tallinn Sinfonietta (Estonia), the Rubinstein Philharmonic of Lodz (Poland), the Xiamen Symphony (China), and the Slovenian Radio and Television Orchestra, among others. He has appeared at such prestigious venues 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. From 2009 to 2013 he served as the principal conductor of the Fidenza Opera Festival. In January he led the 2022 European Capital of Culture Opening Gala concert in Novi Sad, featuring clarinet virtuoso Andreas Ottensammer. Praised by the Westdeutsche Zeitung for his “exceptional combination of passion, elegance and well-timed pacing”, Darko Butorac has established himself as a conductor in demand with orchestras both in Europe and the Americas. He currently serves as Music Director of both the Asheville Symphony and the Tallahassee Symphony Orchestra. Notable guest conducting engagements include performances with the Deutsche Kammerphilharmonie Neuss and the Georgische Kammerorchester Ingolstadt (Germany), the Belgrade Philharmonic

As the Grand Prix Laureate and Gold Medalist of the Fourth International Vakhtang Jordania Conducting Competition Butorac was invited to conduct orchestras across four continents. He was also selected to participate at the Bruno Walter National Conductor Preview hosted by the League of American Orchestras and the Jacksonville Symphony. Butorac served as the Music Director of the Missoula Symphony from 2007-2019, marking a period of tremendous artistic growth of the orchestra. He challenged the ensemble with a broader repertoire leading to greater engagement with the community, and frequently sold-out performances.

Distinguished collaborations include soprano Renee Fleming, pianist Garrick Ohlsson, tenor Lawrence Brownlee, cellist Colin Carr, and clarinetist Anthony McGill. He has also collaborated with banjo legend Béla Fleck, pop artists Ben Folds and Kishi Bashi, as well as Oscar-winning actor J.K. Simmons, among others.

Butorac is also in demand as a public speaker on leadership. His TEDx Montana talk on the “Language of Conducting” has over a 150K views on YouTube. He has appeared as a speaker on behalf of Brighthouse, a division of BCG, and was the headline speaker at the Birla International Leadership Summit in Bangkok in 2018.

Highlights of the 2023-2024 season include performances with pianists Olga Kern and Jon Kimura Parker, guitar sensation Jiji, as well as a festival celebrating the art of the violin curated in conjunction with Noah Bendix-Balgley, concertmaster of the Berlin Philharmonic.

He is an avid traveler, having visited almost seventy countries, and is passionate about discovering the world and bringing people together through the beauty of music.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 17

ORCHESTRA PERSONNEL VIOLIN Jason Posnock • Concertmaster Martha Gardner • Associate Concertmaster ⁺Lilly West • Assistant Concertmaster ⁺Taya Ricker • Principal Second Violin Debra L. Anthony Associate Principal Second Violin ⁺Alina Nelson Assistant Principal Second Violin Marianna Brickle Teresa M. Curran Elizabeth Fee-Elliott Lori G. Hammel Rachael Kistler-Igo Dorothy L. Knowles Virginia Kowal LuAda Malcom Ruben Orengo Mariya S. Potapova Inez Hullinger Redman Essena Setaro *Paul E. Stroebel

VIOLA Kara F. Poorbaugh • Principal ⁺Jennifer Kozoroz • Associate Principal Leigh Dixon Martha L. Geissler Gina Mashburn Heath Karen Pommerich Edward J. Smith

CELLO Daniel Mumm • Principal J. Franklin Keel • Associate Principal Open Chair • Assistant Principal Cherylonda F. Fitzgerald Paul S. GhostHorse Katie Hamilton Patricia Koelling Johnston

BASS *M. Lee Metcalfe • Co-Principal Vance M. Reese • Co-Principal Michael Di Trolio Matthew P. Waid

FLUTE

TIMPANI

Lissie J. Shanahan Principal Kellie Henry •

PICCOLO Dilshad B. Posnock

OBOE Alicia Chapman • Principal *Cara Mia Jenkins

ENGLISH HORN

Todd D. Mueller • Principal

PERCUSSION Caleb Breidenbaugh • Principal Matthew Richmond *Brian Tinkel Michael Morel

HARP

Amanda J. LaBrecque

Open Chair • Vetust Study Club Chair

CLARINET

KEYBOARD

Harry H. “Chip” Hill • Principal Karen Farah Hill

Open Chair • Susanne Marcus Collins Chair

BASS CLARINET Shannon Thompson

BASSOON Michael J. Burns • Principal Amber Ferenz Spuller

CONTRABASSOON William L. Peebles

HORN Jeffery B. Whaley • Principal *Michael L. Brubaker Anneka A. Zuehlke Travis A. Bennett

Supporting Our Musicians INSTRUMENT ENDOWMENT

Your support of the Asheville Symphony Society’s endowment is the ticket to a secure, stable financial future for your Symphony. Consider endowing your favorite instrument in perpetuity! To learn more about endowment, please contact the ASO's Development Department at development@ashevillesymphony.org or 828.254.7046.

TRUMPET T. Mark Clodfelter • Principal ⁺Christopher Underwood ⁺William Stowman

TROMBONE Justin Croushore • Principal L. Rienette Davis

BASS TROMBONE Jeremy Marks

TUBA Bethany Wiese • Principal

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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

Musician Hosts MUSICIAN HOSTS

Thank you to our incredible Musician Hosts! Their generosity and warmth creates a welcoming home-away-from-home for our traveling musicians. Thank you for being an integral part of the Asheville Symphony community! Linda and Tom Bushar Georgia Case Sylvia Cassel Patty and Gary Coleman Wendy and John Cuellar Teresa Curran Kathy and George Dambach Sharron Davis Sharon and Roger Eschroeder Adarrell Gadsden Clair Griffith and Geoffrey Mitchell Suzanne and Steven Hageman Mary and Peter Holmes Stan Ingber and Laura Robbins Pam and David Lane Jill and Joe Lawrence Robin and Cliff Lively Sue and George Luther Carol and Hugh McCollum Janet Thatcher Connie and Gary Wald

Full Service Accounting & Consulting for Individuals & Businesses 828.274.5524 59 Turtle Creek Dr. www.crawleyleeandco.com Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 19

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CRESCENDO.

Proud supporter of the Asheville Symphony Society and its continuous commitment to the people of Western North Carolina. mwblawyers.com 828.254.8800

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 21

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

The Asheville Symphony Guild proudly supports the Asheville Symphony and Asheville Symphony community initiatives through volunteer support and fundraising. For over 50 years, the Guild has worked as a volunteer organization providing numerous ways for members to contribute to the community, share a mutual love of music, and make a difference in the lives of children through support of music education programs.

Symphonettes

The Asheville Symphonettes is a high school girl’s service group that has been serving the Asheville area since 2011. The Symphonettes forge lifelong friendships and collaborate to better their community while experiencing live symphony concerts and developing a love and appreciation of music. Last season, the Symphonettes served as ushers for the Asheville Symphony, helped organize for a blood drive, paired up with the Asheville Symphony Guild to put on the “Pass the Hat” fundraiser, and more. For Symphonette membership or funding inquiries, please contact Erin Renfro at erinrenfro@gmail.com.

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How does the Guild provide support? GUILD-SUPPORTED MUSIC EDUCATION PROGRAMS

GUILD GATHERINGS: SHARE THE LOVE!

From garden parties to barbecues to elegant evenings — join the Guild and experience these fun Musical Feasts while supporting our Symphony!

The Guild introduces thousands of elementary school children to classical music each year through the Music in the Schools program. The Guild also helps support our wonderful Asheville Symphony Youth Orchestra.

From our Fall Potluck to the annual May Gathering, Guild members enjoy getting together to share their love of music and our wonderful Symphony.

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

MUSICAL FEASTS: YOUR SOCIAL AGENDA AWAITS!

If you love music and want to form a deeper connection to the Asheville Symphony, your community, and your peers, we invite you to join the Guild today! For more information and to join, visit AshevilleSymphonyGuild.org or scan the QR code.

NOVEMBER 12, 2023

DECEMBER 5, 2023

Brahms Libeslieder Waltzer, Op. 52

Handel Messiah Community Singalong

Bartók Four Slovak Folk Songs Bárdos Selected Folk Songs

CLASSICAL ROMANCE WITH THE ASHEVILLE SYMPHONY Haydn St. Nicholas Mass Hummel Trumpet Concerto

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

The Asheville Symphony Chorus (ASC) seeks to enrich and inspire our community through impactful performances of the masterworks of choral music. Under the direction of Conductor Kyle Ritter, the ASC invites you to take part in their 32nd season.

Mozart Symphony No. 40

Spring dates forthcoming! Visit AshevilleSymphonyChorus.com to learn more about the chorus, performances, and how to audition! Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 23

Blue Ridge Public Radio is honored to support the Asheville Symphony Orchestra.

bpr.org BPR celebrates the arts and the role they play in enriching the quality of life in Western North Carolina.

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Dear Friends of the Asheville Symphony Orchestra, In 1960, you were created by a devotion to music, and the passion to share it. You continue to inspire countless patrons who share that passion and devotion - and exemplify the nature of Asheville's creative spirit. 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.

Delivering Balanced & Sustainable Growth

Encouraging Safe & Responsible Travel

Engaging & Inviting More Diverse Audiences

Promoting & Supporting Asheville's Creative Spirit

漀渀攀ⴀ漀昀ⴀ愀ⴀ欀椀渀搀漀爀椀最椀渀愀氀搀攀猀椀最渀猀昀氀愀眀氀攀猀猀渀愀琀甀爀愀氀最攀洀猀琀漀渀攀猀攀琀栀椀挀愀氀氀礀猀漀甀爀挀攀搀

Young People's Concert March 2024

戀氀甀攀

Your Asheville Symphony is proud to present a free performance for our area's fourth- and fifth-graders for another year. Call 828.254.7046 for details.

戀椀氀琀洀漀爀攀瘀椀氀氀愀最攀眀眀眀⸀戀氀甀攀最漀氀搀猀洀椀琀栀猀⸀挀漀洀㠀㈀㠀⸀㈀㜀㜀⸀㈀㔀㠀㌀

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 25

INDEPENDENT

•

FAMILY OWNED

•

WOMEN LED

Highland Brewing Company is Asheville’s pioneer in craft beer. In 1994, Highland became the first brewery in Asheville since Prohibition and it has grown into NC’s largest native brewer. We make beers that blend tradition and innovation for fans across the Southeast. HIGHLANDBREWING.COM

12 OLD CHARLOTTE HWY. ASHEVILLE, NC

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FEATURED SPRING 2024 EVENTS

VIOLIN VIRTUOSI

CLASSICAL ROMANCE

February 17 + 18, 2024 Wortham Center for the Performing Arts with the Asheville Symphony Chorus

March 16, 2024, 2:00 p.m. + 8:00 p.m. First Baptist Church of Asheville

MARCH 12, 2024

Haydn St. Nicholas Mass Hummel Trumpet Concerto Mozart Symphony No. 40

Folk, klezmer, jazz, fiddle, and classical music: violinist Noah Bendix-Balgley presents just about every genre where you could find a violin

Alisa Crüger-Cain, Trumpet

— ON SALE JANUARY 16 —

GOLDEN GLAMOUR

April 20, 2024, 2:00 p.m. + 8:00 p.m. First Baptist Church of Asheville Mozart Le nozze di Figaro Overture Korngold Violin Concerto Mahler Adagietto from Symphony No. 5 Strauss Der Rosenkavalier Suite Blake Pouliot, Violin

TITAN

Zhanhao/Gang Butterfly Lovers’ Concerto J.S. Bach Double Violin Concerto Brahms Violin Concerto As part of the 2024 Artist Residency, Noah Bendix-Balgley and Shanshan Yao will participate in several events, including this performance. See page 64 for details.

MAY 21, 2024

Tchaikovsky Piano Concerto Mahler Symphony No. 1, “Titan”

Artist and Asheville resident Adam Larsen’s video projection designs create a unique immersive experience paired with an innovative symphonic program

Olga Kern, Piano

— ON SALE MARCH 26 —

May 18, 2024, 2:00 p.m. Wittington-Pfohl Auditorium at Brevard Music Center

Visit AshevilleSymphony.org for more events and details Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 27

OUT OF THE SHADOWS MASTERWORKS 1 First Baptist Church of Asheville September 23, 2023

"To follow in Beethoven’s footsteps," Brahms once said, "transcends one’s strength." And yet, with his final symphony, Beethoven’s successor steps out from the shadow of his greatest inspiration and reaches new depths of drama and tragedy. Composed during his summer retreat to the Austrian countryside, the Fourth "is like a dark well, the longer we look into it, the more brightly the stars shine back." Coupled with Brahms’s darkest symphony is Beethoven’s Leonore Overture — which sets the stage for his heroine to rescue her love — and Elgar’s stunning Cello Concerto, a poignant response to the tragic cost of World War I. Darko Butorac, Conductor Sterling Elliott, Cello

PREMIUM SEASON SPONSORS

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OFFICIAL AUTOMOTIVE COMPANY OF THE ASHEVILLE SYMPHONY

28 ∙ Masterworks 1: Out of the Shadows

Ludwig van Beethoven Leonore Overture No. 3, Op.72b

PROGRAM NOTES

Leonore Overture No. 3, Op.72b

Ludwig van Beethoven (1770 - 1827) Beethoven was a perfectionist. He made numerous major revisions to his only opera, Fidelio, before he arrived at the final version we know today. The overture to the opera underwent even greater transformations. The composer wrote four different overtures, all quite different from each other and all still popular in the concert hall. The first three are called Leonore Nos. 1, 2 and 3 respectively, after the name of the heroine of the opera and originally the opera’s title; the fourth is known as Fidelio, the pseudonym she adopts when disguised as a young man. Leonore, a brave and faithful wife – hence her adopted name – saves her husband, Florestan, from his unjust incarceration by his villainous and powerful enemy Pizzaro. Disguised as Fidelio, she enters into the service of Florestan’s jailer to be nearer her husband. In the end, she manages to liberate not only Florestan, but a whole band of political prisoners when the prison is inspected by the Minister, who has heard rumors of the illegal incarcerations. Beethoven's difficulties with the three Leonore overtures stemmed from the fact that they were too dramatically and musically explicit, thus giving away the most exciting moments of the opera, including the appearance of the Minister. Beethoven composed Leonore No. 3 in 1806 for an abridged performance of the second version of the opera but realized at once how inappropriate it was. It became an independent orchestral composition with one of the most dramatic trumpet calls heralding the Minister’s arrival – and, of course, revealing the denouement before the action even starts.

Cello Concerto in E minor, Op.85 Edward Elgar (1857 - 1934)

If you look at photographs of Edward Elgar, read about his likes and dislikes or listen to his music, the picture that

emerges conjures the stereotype of Imperial Britain’s aristocracy or, as Constant Lambert put it, “... an almost intolerable air of smugness, selfassurance and autocratic benevolence...” Elgar’s military bearing, walrus mustache, country gentleman’s attire were in keeping with his conservative, violently anti-Liberal politics. His music sounded fully sanctioned by the Royal College of Music. The reality was quite different. Elgar was born to a lower middle-class family. Worst of all, his father was a music storeowner — “in trade,” as the upper crust in turn-of-the-century Britain would say. Elgar was nervous, insecure, hypochondriacal and depressive; he had a chip on his shoulder for not being “fully accepted.” He never served in the army. And he was a devout Catholic. He was, however, a model Edwardian composer, whose imperialist ideals fitted the pre-World War I era, for which he served as musical spokesman. His music was a natural product of late nineteenthcentury Romanticism, containing a healthy infusion of Schumann, Brahms, Wagner, Dvořák and even early Strauss and Mahler. To the chagrin of Britain’s music establishment, the “outsider” Elgar was the first English composer since Henry Purcell to achieve world fame; his Enigma Variations propelled him in 1899 from parochial obscurity to worldwide recognition. The trauma and social change spawned by World War I perplexed and embittered him, turning him into an anachronism in his own lifetime. His work went into decline and neglect and the Cello Concerto, premiered in October 1919, was his last great musical effort. Subsequent compositions from the last 15 years of his life were mainly limited to salon pieces, marches and other potboilers. The Cello Concerto has been called Elgar’s “War Requiem.” It isn’t, however, a requiem for the war dead, but rather for a lost way of life, the end of a civilization. He himself considered it his swan song,

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Edward Elgar Cello Concerto in E minor, Op.85 Sterling Elliott, Cello I. Adagio – Moderato II. Lento – Allegro molto III. Adagio IV. Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio

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Johannes Brahms Symphony No. 4 in E minor, Op.98 I. Andante sostenuto II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco

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noting in his catalogue: “Finis. R.I.P.” The premiere was a disaster. For the concert, Elgar shared the podium with Albert Coates, described by his contemporaries as a nasty little tyrant. Coates, who was on a Scriabin kick, was to conduct the Poem of Ecstasy and ended up hogging all the rehearsal time. This is a concerto of sadness and disillusion. It owes much to Dvořák, especially to the Cello Concerto, which Dvořák also composed late in life and reflects his personal regrets and heartache. The kinship extends to some of the technical aspects as well. Elgar wanted the cello to dominate the work. While the orchestral forces are large, the writing is always scaled down, economical, never overpowering the soloist who plays nearly continuously. The Concerto commences with a cello recitative that comes across as a challenge and sets the tone for the whole work, reappearing in the second and fourth movements. With the voice of a “wise old man,” it leads to the main theme, introduced by the violas. Despite the 6/8time signature that so often suggests an air of lightheartedness, here the rocking quality that persists throughout the movement comes across almost as selfcomforting keening. The second theme is more dreamy and yearning, but the mood never truly picks up. The transition into the second movement, one of the classical repertory's more “un-playful” scherzos, is mysterious and eerie, accented by orchestral outcries, cello pizzicatos, hesitant, stuttering and bowed sighs. The perpetual motion has a frantic quality. The Adagio is one long meditation, again strongly recalling Dvořák’s Cello Concerto. It ends with an impassioned song, first on the cello alone, then with soloist and orchestra. The parallels with Dvořák continue into the Finale, where a battle seems to take place between the melancholy soloist with its passionate outbursts and brooding recitatives, and more energetic orchestra. But at the end, with sudden impatience, as if he has suddenly caught himself revealing too much of his personal feelings, Elgar cuts the work short by introducing the opening cello recitative and a final short flourish from the orchestra. 30 ∙ Masterworks 1: Out of the Shadows

Symphony No. 4 in E minor, Op.98

Johannes Brahms (1833 - 1897) The Fourth Symphony nearly didn’t make it to the concert stage. Brahms spent the summers of 1884 and 1885 in Mürzzuschlag, in the high Austrian Alps, composing the symphony. Coming back from his walk one day, he found his lodgings in flames. Luckily, his friends and neighbors had saved most of his books and papers, including the manuscript of the Fourth Symphony. Brahms had his doubts about how the new work would be accepted by the general public, especially in light of its somber tone and of the unusual fourth movement. In a letter to his friend, the conductor Hans von Bülow, he wrote: ”It tastes of the climate here – the cherries are hardly sweet here, you wouldn’t eat them!” Even his friends, including Clara Schumann, had their reservations and suggested changes, including scrapping the third movement and the finale. Luckily, Brahms trusted his own judgment and changed nothing. The symphony was only a moderate success, taking its time to win public favor. It has been said that this symphony was the culmination of Brahms’s development of the symphonic structure and especially of the blending of modern harmonic idioms with formal structures of the past. Brahms was a committed classicist, to the point that such avant garde musical thinkers as Richard Wagner set themselves at ideological odds with him, generating considerable acrimony on the German music scene. The symphony opens with a gentle four-note motive, which is ingeniously crafted into the fabric of the entire movement, often subtly transformed but always perceptible. The principal contrast is created by a fanfare-like second theme. Classical slow movements were generally cast in ternary (ABA) form. The structure is common both in Western classical music and folk music worldwide; it was seriously over-farmed in the eighteenth-century opera as the da capo aria. Symphonic composers, however, frequently used the basic structure as a launching pad for their own

modifications. The Andante moderato is a modified ABA structure, to which Brahms adds a repeat of the B section plus a coda. The flowing main theme is introduced by a horn solo that leaves the key of the movement temporarily in question. The entrance of the clarinets, however, clears things up, although in a surprising way. The third movement is a scherzo, but in sonata form instead of the Classical “minuet/trio” structure. In sharp contrast to the flowing theme of the preceding movement, it employs a somewhat quirky, angular first theme with irregular phrase lengths and pauses. The movement features some unusual orchestration, including the heavy use of the timpani, as well as the triangle, piccolo and contrabassoon. The fourth movement is in the unusual form of a passacaglia, a baroque dance form in which a short motive in the bass is continually repeated as the upper parts perform variations over it. Brahms’s movement presents a chromatic eightnote motive, or ground, taken from Bach’s Cantata 150, with thirty variations. The opening, with a fanfare-like statement for all the woodwinds and brass, ensures that everyone can recognize the ground before Brahms submerges it in inner voices. He breaks the potential monotony of the form by varying the orchestration, creating seamless elisions between the repetitions of the ground and continually ramping up the musical tension by falsely suggesting that the movement is coming to a close, when it is only reaching one of several internal climaxes. Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

GUEST ARTIST

Sterling Elliott, Cello Acclaimed for his stellar stage presence and joyous musicianship, cellist Sterling Elliott is a 2021 Avery Fisher Career Grant recipient and the winner of the Senior Division of the 2019 National Sphinx Competition. Already in his young career, he has appeared with such major orchestras as the Philadelphia Orchestra, the New York Philharmonic, the Boston Symphony, the Cleveland Orchestra, the Los Angeles Philharmonic, the Detroit Symphony, and the Dallas Symphony, with noted conductors Yannick Nezet-Seguin, Thomas Wilkins, Jeffrey Kahane, Bramwell Tovey, Mei Ann Chen and others. This summer, he made his Aspen Festival debut, performing the Brahms Double Concerto with Gil Shaham, and he made his German debut in Munich in May 2022, performing chamber music with Daniel Hope. The 2022-2023 season saw his debuts with the Colorado Symphony, Cincinnati Symphony, North Carolina Symphony, and Ft. Worth Symphony, among others, with return appearances including the Buffalo Philharmonic. He appeared in recital under the auspices of the San Francisco Symphony, the New York Philharmonic, Shriver Hall in Baltimore, the Tippett Rise Festival and Capitol Region Classical in Albany, NY. In October he participated in the Caramoor Music Festival’s prestigious Evnin Rising Stars series, a weeklong program of coaching and chamber music culminating in a performance in Katonah, NY. In April 2023, Sterling Elliott was selected by The Chamber Music Society of Lincoln Center for its Bowers Program, a three-year residency for exceptionally talented young artists. As a Bowers Program artist, he will participate in CMS tours nationally, and perform in subscription concerts at Alice Tully Hall.

As the youngest of three siblings, Sterling did not want to play the cello but the violin like his older brother and sister. After a bit of encouragement, he completed The Elliott Family String Quartet by learning to play the cello at the age of three under the direction of Suzuki Cello teacher Susan Hines. He went on to make his concerto debut at the age of 7 by winning the Junior Division of the PYO Concerto Competition, and later the 2014 Richmond Symphony Concerto Competition and the Bay Youth Orchestra of Virginia Concerto Competition. Sterling has a long history with the Sphinx Organization where he first received 2nd place in the 2013 National Sphinx Competition Junior Division, then won the 2014 Junior Division. In 2016 he received the Organization’s Isaac Stern Award and toured with the Sphinx Virtuosi in 2018 before winning in 2019. Sterling is a two-time alum of NPR’s From the Top where he was a recipient of a scholarship from The Jack Kent Cooke Foundation and performed several concerts in Switzerland at the 2019 World Economic Forum. He is a Young Strings of America ambassador for SHAR Strings. In 2019, he was the first recipient of The National Arts Club’s Herman and Mary Neuman Music Scholarship Award. In Spring 2022, Sterling participated in Performance Today’s Young Artist Residency, which featured educational events, interviews and a feature on the nationally syndicated radio program. Sterling Elliott is currently a Kovner Fellow at the Juilliard School where he recently completed his Master of Music degree studying with Joel Krosnick and Clara Kim. He completed his undergraduate degree in cello performance at Juilliard in May 2021. He currently performs on a 1741 Gennaro Gagliano cello on loan through the Robert F. Smith Fine String Patron Program, in partnership with the Sphinx Organization.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 31

STAR WARS Salvage Station's Outdoor Stage October 1, 2023

This is not a trap. The Asheville Symphony is proud to present a Star Wars program with Beer City Comic Con. Journey to a galaxy far, far away and experience your favorite musical moments from the Battle of Hoth to the Death Star run, exploring themes from Hoth, Tatooine, Mustafar, Coruscant and every planet in between. May the Force be with us as we bring iconic Star Wars moments to life in the only way they should be: with thunderous applause. Darko Butorac, Conductor PRESENTED IN COLLABORATION WITH

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32 ∙ Star Wars: Celebrating a Galaxy of Film Music

Main Title John Williams

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THE GREAT GATE MASTERWORKS 2 First Baptist Church of Asheville October 21, 2023

Art inspires art in turn. This is particularly true for Mussorgsky’s iconic Pictures at an Exhibition, which were inspired by a series of works by Viktor Hartmann, an architect and painter. Mussorgsky’s ten movements, originally written for piano, depict subjects like the legendary Baba Yaga, The Old Castle, and the Great Gate of Kiev. The symphonic work we know today was orchestrated after Mussorgsky’s death by Ravel, who makes an additional appearance on the program with his first piano concerto. Rounding out the program is an Evening Serenade by Silvestrov, Ukraine’s foremost composer. Darko Butorac, Conductor Drew Petersen, Piano

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36 ∙ Masterworks 2: The Great Gate

Valentin Silvestrov Stile Musik (Silent Music)

PROGRAM NOTES

II. Abendserenade (Evening Serenade) Music Sponsors

From Silent Music No. 2, "Evening Serenade" Valentin Silvestrov (b. 1937)

Valentin Silvestrov belongs to a generation of composers that straddles the cultural gap between the aesthetic strictures of the former Soviet Union and the cultural individualism and eclecticism that has reigned since its collapse and the resurgence of national identities. Ironically, his works regularly appear on the list of Grammy nominees. Born in Kiev, Silvestrov studied at the Kiev Conservatory, where his music was regarded as avant-garde, bringing him into conflict with the Soviet authorities, who in 1974 expelled him from the USSR Composer’s Union. In response he dropped out of public eye rather than renounce his unique style. Silvestrov's music is difficult to classify. He is a prolific composer in all genres except opera, including seven symphonies. While his early Soviet era compositions were criticized for being too modern, atonal and serialist, he has subsequently espoused a kind of neo-romanticism – although often with sarcastic overtones, as in his Kitsch Music for Piano (1977). He has, in a sense, adopted the ancient concept of the inspired artist, who serves only as the medium for expressing the voice of the muse: "I do not write new music. My music is a response to and an echo of what already exists." His A Metaphor for Schubert and Chopin sounds as if it must have been written by a nineteenth-century composer, for whose voice Silvestrov only serves as a conduit. Conversely, Silvestrov’s name is often paired with the term “avant-garde,” but the association can be deceptive, suggesting inaccessibility or just plain kookiness. He writes: "the most important lesson of the avant-garde was: to be free of all preconceived ideas, particularly those of the avant-garde..." The result is a kind of eclectic but emotionally accessible musical communication that is both new and retrospective. The Evening Serenade, composed in 2002, is a musical throw-back to sophisticated salon music of the late 19th century, with barely a hint of the musical developments since.

Piano Concerto in G major Maurice Ravel (1875 - 1937)

In the annals of classical composers, Maurice Ravel was in a lucky minority. Born into a cultured middle-class family, he is one of the few composers whose parents encouraged his professional musical ambitions from the start. From the time Ravel turned seven, his father provided him with the best private musical instruction; at 12, he went on to the preparatory school for the Paris Conservatoire, graduating into the regular course of study at 14. In a surprisingly single-minded manner, the youthful Ravel marched to his own drummer in terms of his musical language. He could not – or would not – conform to the rigorous, and by then dated, strictures of the Conservatoire and repeatedly lost the contests for composition prizes awarded to young composers who have now pretty much lapsed into oblivion. Even before the Harlem Renaissance, jazz had captivated Europe and especially France, and Ravel was one of the earliest classical composers to incorporate the jazz idiom in his compositions. In 1929 Ravel began work on the Piano Concerto in G at the same time as the Piano Concerto for the Left Hand, commissioned by the Austrian pianist Paul Wittgenstein who had lost his right arm in World War I. At the time of its conception, Ravel had intended the G major Concerto for his own use. But by the time he completed it in 1931, his health was not up to the physical rigors of practicing. Because of the Concerto’s light-hearted mood, Ravel originally wanted to call it a “divertissement.” It opens with a crack of the whip, or slapstick, followed by a perky tune on the piccolo, which is in turn taken over by a trumpet solo, all the time accompanied by gossamer arpeggios on the piano. In an exaggeration of the convention of a contrasting second theme, Ravel switches into a languid blues style making use of a short jazz refrain for the clarinet, which he appends as a cadence figure throughout the

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Maurice Ravel Piano Concerto in G major Drew Petersen, Piano I. Allegramente II. Adagio assai III. Presto

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Modest Mussorgsky, orch. by Maurice Ravel Pictures at an Exhibition Promenade 1. Gnomus Promenade 2. Il vecchio castello 3. Tuileries 4. Bydlo Promenade 5. Ballet of the Chicks in their Shells 6. Two Polish Jews Promenade 7. The Marketplace of Limoges 8. Catacombs — "Cum mortuis in lingua mortua" 9. The Hut on Fowl's Legs 10. The Great Gate of Kiev

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(continued on next page) Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 37

movement. While the piano, with its jazzy, syncopated rhythm, is clearly the dominant instrument, Ravel provides abundant solo opportunities for the orchestral instruments, especially the winds. According to Ravel, he modeled the graceful slow movement Adagio on the Larghetto from Mozart’s Clarinet Quintet. It opens with a long piano solo, an “unending melody,” resolving only many bars into the orchestral part. Ironically, the seemingly easy and natural spinning out of the melody, with its inherent tension born of delayed resolution, belies the difficulties the composer had with it: Ravel said he pieced it together bar by bar. The dazzling Presto finale is a virtuoso piece for the soloist, the drumming of repeated notes suggestive of a Baroque toccata. But this is no Baroque imitation, punctuated as it is by jazz riffs for solo winds and “blue notes.” A strategically placed whip crack leads into the final cadence, a repeat of the opening bars of the first movement.

Pictures at an Exhibition

Modest Mussorgsky (1839 - 1881) Orchestrated by Maurice Ravel Modest Mussorgsky, one of the wild cards of nineteenth century Russian music, left very few completed scores by the time of his early death from alcoholism. Of his meager output, the operas Boris Godunov and the uncompleted Khovanshchina, some songs, the short orchestral score St. John’s Night on Bald Mountain and the piano suite Pictures at an Exhibition, have withstood the test of time, and are now considered among the highlights of Russian music. In July 1873 Mussorgsky’s close friend, the young architect and painter Victor Gartman, died suddenly. The following year a posthumous showing of his drawings, paintings and designs was presented in St. Petersburg. The fantastic and bizarre elements of much of Gartman’s work fascinated Mussorgsky, who set out to create a musical memorial to his friend in the form of a suite of piano pieces. He depicted his impressions of ten of the pictures, portraying himself as the observer in the Promenade that

38 ∙ Masterworks 2: The Great Gate

introduces the work and serves as connector between the tableaux. A striking aspect of the suite is the nearly complete absence of any subjective emotion in a work directly inspired by a great personal loss. Mussorgsky gives us his personal impressions of Gartman’s art, but rarely of his feelings about Gartman’s death. Even in the Promenade, strolling from picture to picture, he usually portrays a cool, objective viewer rather than a grieving friend. There is no evidence that Mussorgsky ever planned to orchestrate the suite, although many of the pieces stretch the piano to its limits, crying out for orchestration. The score was not published until five years after the composer’s death, at which point other composers started its long history of orchestrated versions. The most popular and by far the most successful arrangement is by Maurice Ravel, commissioned 1922 by the conductor Serge Koussevitzky. One of the most striking features of Mussorgsky’s piano version, further enhanced by Ravel’s orchestration, is the vivid tone painting that enables the listener to actually visualize the painting. And it’s a good thing too since the originals of some of Gartman’s works upon which the suite is based are lost. The musical “exhibition” comprises the “Promenade” and musical renditions of ten pictures: 1. Gnomus: A sketch of a little gnome on crooked legs, said to be a design for a nutcracker. 2. Il vecchio castello: A medieval castle before which a troubadour sings a love song. The mournful sound of the alto saxophone was Ravel’s stroke of genius. 3. Tuileries: Children quarreling and nurses shouting on a path in the Tuileries garden in Paris. 4. Bydlo: A Polish oxcart with enormous wheels is heard in the distance as it approaches, passes and gradually disappears again. 5. Ballet of chicks in their shells: A design for a scene for the ballet Trilby; the orchestra imitates the pecking birds.

6. Two Polish Jews: One rich, the other poor. No picture by Gartman corresponding to this tableau has ever been found. The subtitle “Samuel Goldenburg and Schmuyle” is a late addition, not by Mussorgsky. Ravel uses the basses and a solo muted trumpet to represent the two characters. 7. The Marketplace of Limoges: Chattering strings imitate French women haggling violently in the market. 8. Catacombs: A sudden, grim shift of mood transports the listener into the catacombs in Paris illuminated by lantern light with the figure of Gartman himself in the shadows. “Cum mortuis in lingua mortua” (“With the dead in a dead language”): The Promenade, in the minor mode, constitutes the second part of the Catacombs. 9. The Hut on Fowl’s Legs: BabaYaga, the hideous crone of Russian folklore, who lives in a hut supported on fowl legs and flies around in an iron mortar was Gartman’s design for the face of a clock. 10. The Great Gate of Kiev: Gartman’s design for a memorial gate in Kiev in honor of Tsar Alexander II. The design is in the massive Old Russian style, topped by a cupola in the shape of the helmet of the old Slavic warriors. Musorgsky portrayed the quintessential deep Russian church bells at the bottom of the keyboard; Ravel employs low brass, harps and percussion in the bass with woodwinds and strings for the faster bells. Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

GUEST ARTIST

Drew Petersen, Piano Acclaimed young American pianist Drew Petersen is a sought-after soloist, recitalist, and chamber musician. He has been praised for his commanding and poetic performances of repertoire ranging from Bach to Zaimont, and is the recipient of the 2018 Avery Fisher Career Grant, 2017 American Pianists Award, and the Christel DeHaan Fellow of the American Pianists Association. With the resumption of live concerts his 21/22 season will include orchestras in Cincinnati, Santa Fe, Buffalo, Delaware, Columbus and Indianapolis and recitals in San Francisco, Madison and Sanibel, FL. Recent highlights have included debuts with the Sarasota, Houston, Phoenix, Pacific, Milwaukee, Fort Smith, Buffalo, Waco and Allentown symphonies as well as his recital debut at the Kennedy Center. In solo recital Petersen has appeared at the Gilmore International Keyboard Festival, University of Indianapolis, Williams College Concert Series, Dame Myra Hess Concerts in Chicago, Lincoln Center’s Mostly Mozart Festival, Brevard Music Center’s Summer Festival and Chicago’s Ravinia Festival. 2018 marked the release of his first solo recording of music by Barber, Carter,

and other American composers on the Steinway & Sons label for which BBC Music Magazine acknowledged his presence as a rising star. A frequent radio contributor, Petersen has performed on McGraw-Hill Young Artists Showcase, From the Top, and Performance Today. Profiles include The New York Times, New York Magazine, and the documentary “just normal” by award-winning director Kim A. Snyder. A champion of chamber music, Petersen has appeared on French radio’s France Musique while a member of a Verbier Festival piano trio. Drew Petersen’s firm belief in the importance of music in contemporary society led to collaborations with Young Audiences NY that presents performances in New York City’s public schools. His appearance in Andrew Solomon’s New York Times bestselling book, Far From the Tree, sparked a nation-wide conversation on raising extraordinary and different children who test the willpower and capabilities of their families and society. Petersen continually advocates for the necessity of classical music and other arts in society, and was named a 2006 Davidson Fellow for his portfolio entitled Keeping Classical Music Alive.

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42 ∙ ALT ASO @ Highland Brewing

ALT ASO @ HIGHLAND BREWING Darko Butorac, Conductor Alisha Humphries, Vocalist Join us as ALT ASO returns to Highland Brewing featuring the royalty of totally tubular 80s music. We dare you to resist busting a move and dancing along to hits from Madonna, Michael Jackson, The Police, and much more. Practice your big hair routine, throw on those leg warmers, and get ready to party to the max alongside members of your Asheville Symphony. On sale September 12, 2023.

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Symphony Talks with Music Director Darko Butorac Get closer to the music and learn the stories behind the programs at our regular and free Symphony Talks! Join Darko and our visiting guest artists in the Chapel at First Baptist Church of Asheville (see page 15 for a venue map) at 3:00 p.m. on Thursdays before every Masterworks performance. Can't make it on Thursday? Come early to the show and get the quick version! Pre-Concert Talks occur one hour before the start of each Masterworks performance.

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AMERICAN PORTRAITS MASTERWORKS 3 First Baptist Church of Asheville November 18, 2023

Few have made a greater impact on the history of our nation than its sixteenth President, Abraham Lincoln, and its first, George Washington. Copland chose Lincoln as his subject to express "the magnificent spirit of our country," using selections from his speeches in the narration — which will be voiced by Bryan Terrell Clark, best known for starring as George Washington in Broadway's Hamilton. This all-American program begins with a newly commissioned Jennifer Higdon suite and concludes with Dawson's 1934 masterpiece, a work that is uniquely representative of its Black roots. Darko Butorac, Conductor Bryan Terrell Clark, Narrator & Vocalist

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46 ∙ Masterworks 3: American Portraits

Jennifer Higdon Cold Mountain Suite

PROGRAM NOTES

Cold Mountain Suite

Jennifer Higdon (b. 1962) Jennifer Higdon is among the fortunate contemporary composers whose music receives frequent performances to enthusiastic reception. Audiences and performers alike take to it, and she is swamped with commissions. It didn’t used to be like that for contemporary composers of the late twentieth century. During the 1970s and ‘80s when Higdon was a composition student at the University of Pennsylvania, the field of contemporary music was dominated by composer/academicians who espoused serialism and/or strict atonality. Their students espoused it too – or rebelled. But if the rebels became academic outcasts, there were audiences out there waiting for them and their more accessible, expressive – even tonal – music. Fortunately for these audiences, a new generation of composers, including Higdon, recognized that orchestras, chamber ensembles, choruses, opera companies and their audiences are the juries of the real world – and they have voted with their pocketbooks. Growing up, Higdon was exposed to a wide range of musical styles, with a particular fondness for the Beatles. Her music, she says, “…is probably an amalgamation of all the music I ever heard.” When asked whether she decides on a style before she starts, she responded, “I guess I’m too close [to my work]. I never, never, never analyze while I am composing.” From 1994 to 2021 Higdon held the Rock Chair in Composition at the Curtis Institute of Music in Philadelphia, her Alma Mater. Her first opera, Cold Mountain, based on the 1997 novel by Charles Frazier, was premiered by the Santa Fe Opera in 2015. Higdon composed the suite on a commission from New Music for America, a program of the League of American Orchestras, which tries to enlist at least one orchestra from every state in the USA. The premiere by the Delaware Symphony in September 2022, will be followed by 36 other orchestras across the land.

Stormy opening and closing sections, reflecting the opera's stormy story, bookend a middle section of lyrical solos and lush strings.

Lincoln Portrait

Aaron Copland (1900 - 1990) In December 1941, conductor André Kostelanetz commissioned Aaron Copland to write a musical portrait of a great American statesman. Copland initially considered George Washington, but decided that our first president was too stiff and formal an individual. He finally settled on Lincoln because he saw him as epitomizing American ideals of simplicity, democracy and individual responsibility. Copland picked out sections from Lincoln’s letters and speeches and interspersed them with short biographical details. In his autobiography the composer wrote: “My purpose was to draw a simple but impressive [musical] frame around the words of Lincoln himself.” He gave the text to a narrator, rather than a singer, and set out to write music that would speak directly to a large audience, in a folksy style similar to his “American” ballets. He did, in fact, incorporate two popular ditties: the first a quote from “Springfield Mountain,” a lively comic song, which he transformed into a majestic theme by stretching the fourth note of each four-note group; the second is a quote from Stephen Foster’s “The Camptown Races.” Copland dedicated the work to Kostelanetz, who premiered it in Cincinnati in May 1942, six months after Pearl Harbor. It was an instant success and has remained popular, especially during periods of patriotic fervor. Actors, orators and politicians have always enjoyed narrating Lincoln’s words to such an extent that one acerbic critic called it a “Concerto for Politician and Orchestra.”

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Aaron Copland Lincoln Portrait Bryan Terrell Clark, Narrator

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Lin-Manuel Miranda "History Has Its Eyes On You" from Hamilton Bryan Terrell Clark, Vocalist

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INTERMISSION

William Dawson Negro Folk Symphony I. The Bond of Africa: Adagio Allegro con brio II. Hope in the Night: Andante Allegretto, all scherzando III. O, Le' Me Shine, Shine Like a Morning Star: Allegro con brio

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Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with ASO, on BPR Classic and bpr.org on Feb. 13, 2024 at 7:00 p.m. and Feb. 15, 2024 at 9:00 a.m.

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"History Has Its Eyes on You" from Hamilton

Lin-Manuel Miranda (b. 1980) New York-born songwriter, actor, filmmaker and playwright Lin-Manuel Miranda was a student at Wesleyan University in 1999 when he started work on his first Broadway musical, In the Heights. In 2015-16 he wrote the book and the score for Hamilton: An American Musical, and acted the role of Hamilton as well. In "History Has Its Eyes on You", Washington promotes Hamilton, then tells him the story of his first command, which was a disaster because of his ineptitude. Fearing of being judged harshly by history, Washington warns Hamilton that now history has its eye on him as well.

Negro Folk Symphony

William Dawson (1899 - 1990) Composer, choir director and musicologist William Dawson was born in Alabama and ran away from home at 13 to study music at the Tuskegee Institute, paying his tuition by serving as music librarian and working in the fields of the school's Agricultural Division.

With degrees from the Chicago Musical College and the American Conservatory of Music, he first taught in public schools, and then served for 25 years on the faculty of the Tuskegee Institute, developing its music program and especially the Tuskegee Institute Choir. Most of his compositions are choral arrangements of African-American spirituals. Dawson's main venture into orchestral music is the Negro Folk Symphony, composed in 1930-34 and premiered by Leopold Stokowski and the Philadelphia Orchestra. It was received enthusiastically at the premiere, but after four performances in Philadelphia and New York – including one radio broadcast – it fell into neglect. After a visit to West Africa, Dawson revised the Symphony in 1952, especially the last movement, incorporating African rhythms he discovered on his trip. Stokowski recorded the new version in 1961. In an interview before the premiere, Dawson said: “I’ve not tried to imitate Beethoven or Brahms, Franck or Ravel— but to be just myself, a Negro. To me, the finest compliment that could be paid my symphony when it has its premiere is that it unmistakably is not the work of a white man. I want the audience to say:

‘Only a Negro could have written that.’” The Symphony uses spirituals – which Dawson preferred to call "Negro Folk music" – in the first and third movements, although their themes do not necessarily serve as the main themes: 1. The Bonds of Africa. Opens with a dialogue between a horn solo and the orchestra, like the call-andresponse heard in spirituals. The spiritual “Oh, My Little Soul Gwine Shine Like a Star” is introduced as a second theme. 2. Hope in the Night. Not based on a spiritual, it opens with an English horn presenting Dawson's own theme. 3. "O Le' Me Shine, Shine Like a Morning Star". Introduces the West African polyrhythms Dawson encountered on his visit. It opens with the spiritual “O Le’ Me Shine,” followed by “Hallelujah, Lord, I Been Down into the Sea.” Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

GUEST ARTIST

Bryan Terrell Clark, Narrator & Vocalist Bryan Terrell Clark is an accomplished actor and singer/songwriter who has performed in hugely successful Broadway shows and a wide range of popular television programming for various networks. In 2019, Bryan reprised his role as George Washington in the record-breaking Broadway hit Hamilton. He made his Broadway debut playing the iconic role of Marvin Gaye in Motown: The Musical, which received a 2014 Grammy Award nomination for “Best Musical Theater Album”. Bryan also starred opposite Laurence Fishburne and Angela Bassett in the acclaimed drama Fences at the Pasadena Playhouse. Additional theater credits include the Mark Taper Forum’s production of Immediate Family directed by Phylicia Rashad, the Alliance Theatre’s Sophisticated Ladies and His Girl Friday at the Guthrie Theater. Most recently, Bryan appeared in Ava DuVernay’s 2020 Peabody Award winning Netflix mini series When They See

48 ∙ Masterworks 3: American Portraits

Us, Cherish the Day and Queen Sugar on the OWN network. He will appear in Shonda Rhymes’ Inventing Anna on Netflix and Warner Brothers Snowpiercer in 2020. Among his other numerous television appearances include CBS’s NCIS: New Orleans, Blue Bloods, Person of Interest, Unforgettable, CSI: NY and The Unit. He has also had roles on NBC’s The Mysteries of Laura, FOX's Empire, USA Network’s Royal Pains as well as BET’s The New Edition Story and Tyler Perry’s House of Payne. In addition, Bryan appeared in the film Collateral Beauty, which was released in 2016 by Warner Bros. As a singer, songwriter and producer, he was co-writer on Mary J. Blige’s "Irreversible" on the album My Life II and has performed with such artists as Maxwell, Brandy, Ne-Yo, Anita Baker, Michael Bublé and many others. Bryan Terrell Clark graduated from the Yale School of Drama and Temple University. He is a native of Baltimore, Maryland and currently lives in Los Angeles, California.

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NEW YEAR'S EVE: SHE'S GOT SOUL ExploreAsheville.com Arena Harrah's Cherokee Center Asheville December 31, 2023 Ring in the New Year with soul, symphony, and style. The Asheville Symphony proudly presents a lineup of legendary divas such as Whitney Houston, Gladys Knight, Chaka Khan, Adele, and many others. These powerhouse vocals will be brought to life by none other than the fabulous Capathia Jenkins, joined by a talented trio of backup singers. Don’t miss this once-in-alifetime opportunity to be swept away into 2024 by the soulful sounds of these iconic artists, all backed by your Asheville Symphony. Darko Butorac, Conductor Capathia Jenkins, Vocalist Sydney Harper, Vocalist Randy Chalmers, Vocalist Rajdulari, Vocalist

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50 ∙ New Year's Eve: She's Got Soul

Celebration

Bell, Smith, Brown, et. al., arr. Sam Shoup Sponsored by Cristian Rubiano

Rolling in the Deep

Adkins, Epworth, arr. Daryl McKenzie Sponsored by Debbie Green

Ain't Nobody

David Wolinski, arr. Daryl McKenzie

Sweet Love

Baker, Johnson, Bias, arr. Daryl McKenzie

Sir Duke

Stevie Wonder, arr. Michael Mossman Sponsored by Adarrell Gadsden & Marcie Ownbey

Love Train

Gamble, Huff, arr. Daryl McKenzie Sponsored by Olivia & Gary Zahler

Midnight Train to Georgia Jim Weatherly, arr. Sam Shoup

Soul Man

Hayes, Porter, arr. Roger Holmes

Happy

Pharrell Williams, arr. John Bachalis

I Will Always Love You

Dolly Parton, arr. Daryl McKenzie Sponsored by Daniel & Caroline Crupi

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Thriller

Rod Temperton, arr. Bill Holcombe Sponsored by Adarrell Gadsden & Marcie Ownbey

Theme from Skyfall

Adkins, Epworth, arr. J.A.C. Redford

Unbreak My Heart

Diane Warren, arr. Sam Shoup Sponsored by Adarrell Gadsden & Marcie Ownbey

September

White McCay, Willis, arr. Chris Walden Sponsored by Adarrell Gadsden & Marcie Ownbey

Smooth Operator Adu, St. John, Cy Payne

I Am Strong

Maurine McFarlane, arr. Matt Podd

Papa's Got a Brand New Bag James Brown, arr. Sam Shoup

I Got You (I Feel Good) James Brown, arr. Sam Shoup

This Little Light of Mine arr. Matt Podd

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GUEST ARTIST

Capathia Jenkins, Vocalist The Brooklyn-born and raised singer/actor, Capathia Jenkins, premiered her new show, She’s Got Soul, with the Houston Symphony in October 2022, with upcoming performances including Cleveland Orchestra, Seattle Symphony, Baltimore Symphony, Utah Symphony, Colorado Springs Philharmonic, Asheville Symphony, Arkansas Symphony, Tucson Symphony, Phoenix Symphony, Calgary Philharmonic, among others. Ms. Jenkins starred as ‘Medda’ in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of ‘Turn Back, O Man’ which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits. Ms. Jenkins then created the roles of ‘The Washing Machine’ in Caroline, Or Change and ‘Frieda May’ in Martin Short-Fame Becomes Me where she sang ‘Stop the Show’ and brought the house down every night. In 2007 she went back to Off-Broadway and starred in (mis) Understanding Mammy-The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. She was also seen in Nora Ephron’s Love, Loss, and What I Wore.

An active concert artist, Ms. Jenkins has appeared with numerous orchestras around the world including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Cincinnati Pops (with John Morris Russell), Philly Pops, San Francisco Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, Toronto Symphony, San Diego Symphony, the Hong Kong Philharmonic, and many others. She was also a soloist with the Festival Cesky Krumlov in the Czech Republic multiple times. Capathia had the great honor of performing in the ‘Broadway Ambassadors to Cuba’ concert as part of the Festival De Teatro De La Habana. She will be returning to Carnegie Hall with the New York Pops for Get Happy: That Nelson Riddle Sound and also sang in a Tribute to Marvin Hamlisch at the Library of Congress. Her Television credits include 30 Rock, The Practice, Law & Order SVU, The Sopranos, Law & Order, as well as on her critically acclaimed CD Phenomenal Woman with Louis Rosen and her most recent single, ‘I am Strong’. She can be seen in the film Musical Chairs directed by Susan Seidelman. Ms. Jenkins was also seen in The Wiz in a live performance on NBC. She can be heard on the following film soundtracks: Nine, Chicago, Legally Blonde 2.

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C ommunity C ommitment C ove n a n t

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54 ∙ ALT ASO @ The Orange Peel

ALT ASO @ THE ORANGE PEEL Darko Butorac, Conductor JIJI, Guitar We’re headed back to Asheville’s most iconic music venue to rock out to some epic rock ’n’ roll and heavy metal guitar riffs. From Led Zeppelin to classical Spanish guitar back to Metallica and more, our “mesmerizing” guitarist, JIJI, will hop across genres to present a mind-blowing program where symphonic elegance meets hard-hitting rock ‘n’ roll. On sale November 21, 2023.

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David & Dianne Worley BOHEMIAN SPONSORS This project is generously funded by:

The William R. Kenan, Jr. Charitable Trust

Craig Allen & Julie Cowden Donald Gavin & Jayne Schnaars GOLDEN SPONSORS

Olivia & Gary Zahler

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PIANO RECITAL Central United Methodist Church January 30, 2024

Award-winning pianist David Fung has curated a star-studded lineup of pieces that showcase the full range and emotional depth of the piano. The performance will take place at Central United Methodist Church — an intimate and acoustically stunning venue — and will feature several works by legendary piano masters including: Rachmaninoff's Moment Musicaux — widely regarded as some of the composer's most innovative and revolutionary works for piano — and Beethoven's passionate "Pathetique" Sonata plus works by two other piano icons, Schubert and Liszt. David Fung, Piano

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56 ∙ Piano Recital with David Fung

Ludwig van Beethoven Piano Sonata No.8, Op.13, "Pathetique"

PROGRAM NOTES

Piano Sonata No.8, Op.13, "Pathetique"

Ludwig van Beethoven (1770 - 1827) Published in 1799, but probably written the previous year, the Piano Sonata Op. 13 quickly became one of Beethoven’s most popular compositions. Its somber mood and the title “Grande Sonate pathétique” gave it an air of mystery that had an immediate appeal for the public. The title appears in the original edition and was probably inserted by the publisher with Beethoven’s approval. The Sonata had its detractors as well as fans. Its extreme contrasts and violent energy puzzled and shocked Vienna’s more conservative listeners. The young pianist and composer Ignaz Moscheles, who some years later became Beethoven’s student, was warned by his teacher in 1804 to stay away from such eccentric music, as if it were a disreputable acquaintance. The Sonata opens with a slow introduction, an unusual feature in Beethoven’s sonatas. Its dark mood sets the tone for an almost hysterical first theme, a series of short breathless phrases in an ascending chromatic sequence. The second theme, while more lyrical, maintains the same nervous energy, enhanced with a pounding repeated chord underlying the melody – a figural device Beethoven used repeatedly in his piano sonatas. The slow movement, Adagio cantabile, is in ternary form and opens with a beautiful lyrical theme, with a multi-voiced polyphonic accompaniment. A middle section maintains the lyrical mood and leads back to the opening theme. The Rondo finale was probably the first part of the sonata to be written; early sketches indicate that it was originally meant as a duet, probably for violin and piano. Its main theme is identical to the start of the second theme of the first movement and Beethoven subsequently recalls the theme from the second movement.

Fantasy in C Major, Op.15 (D.760) "Wanderer" Franz Schubert (1797 - 1828)

During the years 1818 to 1822 Franz Schubert was going through a maturing

process, both in his personal life and in his musical style. His first six symphonies had been adolescent works, and he abandoned the composition of his seventh, the “Unfinished,” to work on the “Wanderer” Fantasy. The Fantasy, composed in 1822, holds a special place in the corpus of Schubert’s works. Not only is it the most virtuosic of his piano works, but it represents an explosion of creative energy that produced a form quite unlike anything heard before: a complete “four-movement” sonata compressed into a single movement and based throughout on unifying thematic material. The Fantasy was the first of three instrumental pieces based on the composer’s Lieder: The others were piano Quintet in A major, K. 667, “The Trout;” and the String Quartet in D minor, K. 810, “Death and the Maiden.” As a pianist of modest virtuosic talents, Schubert himself was unable to get through some of the Fantasy’s difficult passages. The Fantasy begins with an aggressive motive, whose rhythm and melody form a unifying device for three of the four distinct sections of the work. The opening section leads without a break into the second section (slow movement), presenting a sharp contrast in mood to the aggressive opening. It is based on the second strain of Schubert’s grim song, “Der Wanderer.” Die Sonne dünkt mich hier so kalt, Die Blüte welk, das Leben alt, Und was sie reden, leerer Schall Ich bin ein Fremdling überall.

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Franz Schubert Fantasy in C Major, Op.15 (D.760) "Wanderer"

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Sergei Rachmaninoff Moment Musicaux in E minor, Op.16, No.4 Robert Nathaniel Dett "Incantation" from Enchantment INTERMISSION

Franz Liszt "Vallée d’Obermann" from Années de Pèlerinage (Suisse), S.160, No.6 Robert Nathaniel Dett "Beyond the Dream" from Enchantment Edvard Grieg Notturno, Op.54, No.4

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Sergei Rachmaninoff Moment Musicaux in C Major, Op.16, No.6

The sun here seems to chill me The blossom wilted, life is old Their voice is merely hollow noise I am an alien everywhere Most instrumental adaptations of songs or arias employ the song as a theme for a set of variations. In this case, however, Schubert recasts the melody into a free, rhapsodic form of the most intense melancholy.

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There follows a classic scherzo in triple time based on the opening theme of the work. The scherzo intertwines the (continued on next page) Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 57

aggressive qualities of the opening section with the pessimism of the second; there follows the customary trio, but the return of the scherzo is not an exact repeat and breaks off abruptly for the fugal finale, also based on the opening motive.

and piano works, remembered best for adapting spirituals to a European late Romantic style. He wrote of his goal, clearly influenced by Antonín Dvořák, with whose ideas about the importance of fostering a characteristic American style music he was familiar:

Moments Musicaux, Op.16, No. 4 in E minor and No. 6 in C Major

“We have this wonderful store of folk music – the melodies of an enslaved people ... But this store will be of no value unless we utilize it, unless we treat it in such manner that ... our musical architects take the rough timber of Negro themes and fashion from it music which will prove that we, too, have national feelings and characteristics, as have the European peoples whose forms we have zealously followed for so long.”

Sergei Rachmaninoff (1873 - 1943) Sergei Rachmaninov was a master of the small piano piece. Between 1887 and 1917 he poured out a constant stream of such compositions in sets with such titles as Morceaux, Moments Musicaux, Préludes, Etudes-tableaux, etc. These ranged in character from superficial salon pieces to highly complex and emotionally involved ones. Most of the groupings were for publication purposes only, and often can stand as independent short compositions. The common element in all of them is that they are technically challenging. Rachmaninov composed the six Moments Musicaux, Op. 16 in a rush in the fall of 1896, probably to shore up his tattered finances. They are Rachmaninov’s first pieces in his distinctive style of piano writing: a sure grasp of the expressive possibilities of the instrument with a masterful use of dynamics; a striking gift for yearning themes; and an air of melancholy that permeates most of his works. No. 4, Presto, is a challenge of precision and endurance. No. 6, Maestoso, is densely scored and employs every technical and emotional piano technique – or trick – posing a challenge to the great virtuosos of the time.

Enchantment, No. 1 "Incantation" and No. 4 "Beyond the Dream"

Robert Nathaniel Dett (1882 - 1943) Born in Canada but spending most of his professional life in the USA, African-American composer Robert Nathaniel Dett started playing the piano at age three. He studied at Oberlin Conservatory, Harvard University and with Nadia Boulanger in France. From 1913 to 1932 he was Director of Music at Hampton College in Virginia. Dett was a prolific composer, especially of choral 58 ∙ Piano Recital with David Fung

Dett composed Enchantment in 1922, dedicating it to the Australian composer and pianist Percy Grainger. He subtitled it "A Romantic Suite for the Piano on an Original Program". He headed each of the four movements with somewhat mystical quotes: No. 1, "Incantation:" A soul obsessed by a desire for the unattainable, journeying on an endless quest, wanders into a pagan temple, and there yields to an overpowering impulse of the moment to utter an Incantation before the shrine of an unknown goddess. No. 4, "Beyond the Dream:" And, as in a vision, the soul sees itself transfigured, appearing unto itself as an ever-shifting shoal of pale, opalescent fire, from which there rises in a visible exaltation, like smoke from smoldering incense, the still unsatisfied longing for the unattainable.

Années de Pèlerinage: Première année, No. 6 "Vallée d’Obermann" Franz Liszt (1811 - 1886)

Between 1835 and 1839 Franz Liszt, together with his current inamorata Comtesse Marie d’Agoult, toured Switzerland and Italy for four years, the composer recording his musical impressions in the first two books of his Années de pèlerinage (Years of Pilgrimage). The title derives from Goethe’s Bildungsroman (coming-of-age novel), Wilhelm Meister’s Apprenticeship. Liszt’s “coming of age” with the married Countess produced three children, one of whom, Cosima, followed in her mother’s

tracks to become the adulterous lover and later wife of Richard Wagner. Liszt’s first book covered Switzerland and primarily contained musical reflections on nature, the second was inspired by the Italian poetry of the quattrocento (fourteenth century), specifically Petrarch and Dante. He added a third volume, also descriptive of Italy’s art and landscape, between the years 1867 and 1877. There is no geographical location called Vallée d’Obermann (The Valley of Obermann). Obermann is the name of a Romantic novel by Étienne Pivert de Sénancour (1770-1846), the story of a solitary and world-weary character who searches for a new home in a lonely valley in the Swiss Jura Mountains. The score is headed by two quotations from the book describing Obermann’s torment and sense of helplessness. Another excerpt, from Byron’s Childe Harold, is also in the heading. Liszt captures the shifting moods, from gloomy and sinister to mystical and transcendent.

Lyric Pieces, Op.54, No. 4 "Notturno" Edvard Grieg (1843 - 1907)

Norwegian composer Edvard Grieg was not happy with the constraints of the classical sonata form; of all his surviving output, only eight works fall into this category. In all his other compositions he insisted on the freedom of form so dear to the Romantic tradition. He felt most comfortable with and excelled in smaller musical forms: songs, miniature piano pieces, orchestral dances and reworkings of folk melodies. Between 1867 and 1901 he published ten sets of short piano pieces, entitled Lyric Pieces, many of which exploit Norwegian folk idioms. Volume V, Op. 54, was composed in 1891. The evocative titles are typical for nineteenth-century miniatures, which were designed for both home and concert performance. The gentle Notturno is broadly romantic and imitates the sound of the nightingale. Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

GUEST ARTIST

David Fung, Piano Praised for his “ravishing and simply gorgeous” performances in The Washington Post, pianist David Fung is widely recognized for interpretations that are elegant and refined, yet intensely poetic and uncommonly expressive. A frequent guest of the world’s premiere orchestras, Mr. Fung has collaborated with the Cleveland Orchestra, the Detroit Symphony, the Israel Philharmonic, the Los Angeles Philharmonic, the National Orchestra of Belgium, and the San Francisco Symphony, as well as the major orchestras in his native country of Australia, including the Melbourne Symphony, the Queensland Symphony, and the Sydney Symphony. An incisive interpreter of Mozart and Bach, Mr. Fung has collaborated with the Israel, Los Angeles, Melbourne, Orpheus, and Saint Paul Chamber Orchestras, and the Orchestra of St. Luke’s. He has captivated audiences at such venues as Carnegie Hall, the Kennedy Center, Lincoln Center, the Louvre, Gewandhaus, Palais des Beaux-Arts, and Zürich Tonhalle, as well as the major halls in Asia, including the Beijing Concert Hall, Guangzhou Opera House, Hong Kong Town Hall, Seoul Art Center, Shanghai Oriental Art Center, Taiwan National Concert Hall, and the Tianjin Grand Theater. Notable festival appearances include Aspen, Blossom, Caramoor, Edinburgh, Hong Kong Arts, and Ravinia Festival. Mr. Fung garnered international attention as laureate of the Queen Elisabeth International Music Competition in Brussels and the Arthur Rubinstein Piano International Masters Competition in Tel Aviv, where he was further distinguished by the Chamber Music and Mozart Prizes. He is the first piano graduate of the Colburn Conservatory in Los Angeles, where he studied with John Perry, and later worked with Peter Frankl, Claude Frank and Arie Vardi at Yale University and the Hannover Hochschüle. He is a curator at the Chan Center for the Performing Arts in Vancouver and is a Steinway Artist.

Morgan Stanley Private Wealth Management Is Proud To Support Asheville Symphony

Michael Andry Family Wealth Director Senior Vice President Private Wealth Advisor 500 College Street Asheville, NC 28801 +1 828 250-8744 Michael.andry@morganstanley.com The Andry-Harris Group at Morgan Stanley Private Wealth Management NMLS: 663185

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60 ∙ www.AshevilleSymphony.org ∙ Fall 2023 Program Book

Join fellow friends of the Asheville Symphony on board a classical music-themed Danube River cruise with AmaWaterways departing from Vienna on November 9, 2024, with Maestro Darko Butorac as your host! Venture inside the magnificent Budapest Opera House, discover Mozart’s birthplace in Salzburg, follow in the footsteps of Beethoven and Schubert, and be treated to unforgettable live performances on board and on shore.

Contact kathryn@largaytravel.com to learn more and reserve your stateroom today!

LE CONSORT Friday November 3 7:30 p.m.

Vivaldi, Purcell, Corelli, Bach

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

Friday October 13 7:30 p.m. Beethoven, Marx, Fisher, Schumann

ACAdemy of St. martin in the Fields

Wind ENSEMBLE + PIANo Sunday February 11 4 p.m. Poulenc, Molbe, Francaix, Mozart

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 63

W g NCE ominring! p This S

ARTIST RESIDENCY A Celebration of the Violin featuring Noah Bendix-Balgley and Shanshan Yao

In March 2024, Asheville Symphony presents its first-ever Artist Residency, celebrating the impact and the legacy of the violin and featuring world-renowned violinists Noah Bendix-Balgley and Shanshan Yao. Our biennial residency initiative honors and explores one musical instrument at a time in collaboration with a preeminent musical artist. Through an exploration of genre, instrumentation, solo performance and more, this week-long residency concept offers programmatic content for a wide range of audiences with an emphasis on education. At each residency, Asheville Symphony audiences will discover new ways to appreciate and understand a musical instrument and its role in an orchestra. The Asheville Symphony’s Artist Residency: A Celebration of the Violin will include a Masterworks concert, an ALT ASO concept, a solo recital, a student workshop, a historical lecture, and a performance with the Asheville Symphony Youth Orchestra. Whether you are a music student who is new to the violin or a longtime Symphony patron with a favorite violin concerto, the Artist Residency will deepen your insight and increase your esteem for this amazing instrument’s place in the musical canon.

64 ∙ www.AshevilleSymphony.org Artist Residency: A Celebration ∙ Fallof2023 the Violin Program Book

FEATURED RESIDENCY EVENTS More Artist Residency events coming soon!

ALT ASO Asheville Masonic Temple March 12, 2024, 7:00 p.m.

Solo Bravura Central United Methodist Church March 14, 2024, 7:00 p.m.

Folk, klezmer, jazz, fiddle, and classical music: Noah BendixBalgley presents a wildly varied program full of violin-centric works from just about every genre where you might expect to find a violin — and a few unexpected genres, too! On sale January 16, 2024.

Either a violinist’s dream recital or their worst nightmare, Bendix-Balgely takes the stage alone for a daunting program featuring a series of technical Everests for solo violin by Paganini, Bartók, Bach, and Corigliano.

Masterworks 5: Violin Virtuosi First Baptist Church of Asheville March 16, 2024, 2:00 p.m. and 8:00 p.m.

Asheville Symphony Youth Orchestra Performance with Noah Bendix-Balgley Asheville High School March 18, 2024, 6:30 p.m.

Husband and wife duo Noah Bendix-Balgley and Shanshan Yao headline this all-violin, all-concerto for Butterfly Lovers and Bach's Double Violin Concerto. BendixBalgley takes on the grand finale alone: Brahms's demanding and stunning violin concerto.

Noah Bendix-Balgley takes the stage with our talented Youth Orchestra students, an exciting opportunity to hear Bendix-Balgley one last time during the Residency and for young musicians to perform with a world-renowned soloist and ensemble performer.

Noah Bendix-Balgley, Violin Noah Bendix-Balgley enjoys a wide-ranging musical life as a violinist. He is First Concertmaster of the Berliner Philharmoniker and tours both as a soloist and as a chamber musician. Born in Asheville, North Carolina, Noah began playing the violin at age 4 and played for Lord Yehudi Menuhin at age 9. He graduated from the Jacobs School of Music at Indiana University and the Munich Hochschule. A laureate of the 2009 Queen Elisabeth Competition, he also won top prizes at the Long-Thibaud Competition in France and the Postacchini Competition in Italy. Shanshan Yao, Violin Shanshan Yao, who joined the roster of the New York Philharmonic in 2013, will join Bendix-Balgley during the 2024 Asheville Symphony’s Artist Residency. As a soloist, Yao has performed with the Calgary Philharmonic Orchestra, the Sendai Philharmonic Orchestra, and more. She has won numerous competitions including the Calgary Concerto Competition and Morningside Music Bridge Concerto Competition and has degrees from the Curtis Institute of Music and The Juilliard School.

Join in the Artist Residency and celebrate the violin! Take part in the first instance of this exciting new Asheville Symphony initiaive and gain exclusive access and unique benefits. Opportunities to support the residency include participating as a sponsor, becoming a member of the Artist Residency Circle, and more. Call 828.254.7046 or reach out to development@ashevillesymphony.org for more details.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 65

SEASON

UPCOMING PERFORMANCES ARTRAGEOUS

Sept. 23 at 7 p.m.

KATHY MATTEA

Oct. 7 at 8 p.m.

BLACK VIOLIN

Oct. 12 at 7 p.m.

THE COMEDY ZONE

Oct. 13 & 14 • Dec. 1 & 2 Jan. 19 & 20 • Feb. 23 & 24 at 7 p.m. & 9 p.m.

THE ACTING COMPANY presents THE ODYSSEY

Oct. 20 at 8 p.m.

ANDREW FINN MAGILL Oct. 27 at 8 p.m.

WHEN YOU WISH UPON A STAR A Jazz Tribute to 100 Years of Disney

Nov. 2 at 7 p.m.

TREY McLAUGHLIN & THE SOUNDS OF ZAMAR Nov. 11 at 7 p.m.

A SWANNANOA SOLSTICE

Dec. 17 at 2 p.m. & 7 p.m.

EMMA LANGFORD

Jan. 12 at 8 p.m.

PARSONS DANCE

Jan. 26 & 27 at 8 p.m.

DRUM TAO

Feb. 13 & 14 at 7 p.m.

INDIAN INK presents MRS. KRISHNAN’S PARTY

Feb. 27 & 28 at 7 p.m.

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wo r t h a m a r t s . o r g

FOOD & BEVERAGE PARTNERS Many of Asheville’s greatest local businesses are those that serve the best food and drinks. Your Asheville Symphony is proud to partner with some of Asheville’s best restaurants, breweries, bars, and more. They serve Symphony patrons all year long; now they are doing more by supporting the Symphony as advertisers and sponsors. Visit our Food & Beverage Partners to support your Symphony, and send these partners our love when you visit their establishments!

spirit animal beverages

Do you work at or own a local restaurant or bar and want to be on this list? Contact the ASO's Development Department by phone (828.254.7046) or email (development@ ashevillesymphony.org).

ARDEN . ASHEVILLE . CANDLER . CLYDE . FLETCHER . HENDERSONVILLE . MARS HILL . WAYNESVILLE

9 ACTIVE COMMUNITIES Offering Townhomes & Single Family Homes from the mid $300s – the mid $500s*

*Home and community information, including pricing, included features, terms, availability and amenities are subject to change and prior sale at any time without notice or obligation. Pictures, photographs, drawings, features, colors, square footage and sizes are approximate for illustration purposes only and will vary from the homes as built.

DRHORTON.COM Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 67

SEASON & CONCERT SPONSORS SEASON SPONSORS

OFFICIAL AUTOMOTIVE COMPANY OF THE ASHEVILLE SYMPHONY

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

$50,000+

Dr. John Hazlehurst

The William R. Kenan, Jr. Charitable Trust $25,000+

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

Drs. Joanne & Tom Parker

$10,000+

Thomas C. Bolton Diane & Rich Byers

in Memory of Katherine Armitage & Jack Jones

Lynne & John Eramo Donald Gavin & Jayne Schnaars Henry A. LaBrun David & Pamela Lane Robert & Mercedes Eichholz Foundation $5,000+

Timothy Butts & Susan Harrington Butts Dr. Bolling Farmer Perry N. Rudnick Endowment Fund Community Foundation of Henderson County

David & Dianne Worley Olivia & Gary Zahler $3,000+

Craig Allen & Julie Cowden Michael & Catty Andry Jerry & Diane Cunningham Mountaine Mort Jonas Katie & Phil Osborn MEDIA SPONSORS

SEASON MEDIA SPONSOR

SEASON RADIO SPONSOR

68 ∙ www.AshevilleSymphony.org Asheville Symphony Supporters ∙ Fall 2023 Program Book

MEDIA PARTNER

Families and businesses provide vital support through a variety of dynamic sponsorships that fund our artistic, community engagement, and educational programs. Sponsorship of Asheville Symphony programming offers unparalleled promotional and hospitality opportunities among sophisticated audiences at our innovative performances.

We believe music matters. We believe it changes lives.

The Asheville Symphony has a track record of helping companies accomplish key business objectives through exclusive benefits such as:

$50

• • • •

Category exclusivity (per concert or program) Entertaining opportunities Targeted access to key demographics Logo inclusion in broad marketing campaign and prominent onsite presence • Brand transfer; establish lasting affiliation with one of Asheville’s most prestigious cultural institutions We are more than happy to work with each sponsor to develop a customized, targeted sponsorship package with your business objectives in mind. Call 828.254.7046 or email development@ashevillesymphony.org to learn more about sponsorship opportunities.

Here’s how we make music with your dollars:

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

$375 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

$1,000 Provides tuition scholarships for two Asheville Symphony Youth Orchestra students

$1,300 Covers the purchase of music for a single Beethoven symphony

$2,500 Covers the cost of renting and moving a concert grand Steinway piano into our venue for piano recitals

$5,000

Support Your Symphony

Allows for one workshop for the Asheville Symphony Youth Orchestra

When you sponsor or donate to the Symphony, you support our artistic, community engagement, and educational programs. To learn more please call 828.254.7046 or email development@ashevillesymphony.org.

$7,500

To make a donation to the Annual Fund, visit AshevilleSymphony.org/donate

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

Pays the fees and travel for one guest soloist

$20,000

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 69

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 • Asheville Symphony's Artist Residency: A Celebration of the Violin • Asheville Symphony Youth Orchestra • Music Education Initiatives • Endowment The following recognition encompasses contributions made from January 1 through August 9, 2023.

January 1, 2023 - August 9, 2023 ASO SUPPORTERS

$50,000+ Asheville Symphony Guild Flow Volkswagen Porsche Audi of Asheville Dr. John Hazlehurst iHeart Media Kimpton Hotel Arras Ingeborg Meeke* Noretta L. Taylor* North Carolina Arts Council The William R. Kenan Jr. Charitable Trust

$25,000 - $49,999 Blue Spiral 1 Thomas C. Bolton Explore Asheville Bill and Nancy Gettys Henry A. LaBrun David and Pamela Lane Drs. Joanne and Tom Parker

70 ∙ Asheville Symphony Supporters

The Payne Fund Maurice and Bonnie Stone

$10,000 - $24,999 Craig Allen and Julie Cowden Michael and Catty Andry ArtsAVL Audrey Love Charitable Foundation Diane and Rich Byers The Chaddick Foundation Clover CBD George and Kathy Dambach Lynne and John Eramo Dr. Bolling Farmer Donald Gavin and Jayne Schnaars Debbie Green Hatchworks Coworking Helle Creative Highland Brewing Company Hi-Wire Brewing Keith Keener Brouwerïj Cursus Kĕmē Jim and Mary Kirby

Gerald and Nancy Kitch Jill and Joe Lawrence Max and Victoria Dreyfus Foundation Carol and Hugh McCollum McGuire, Wood & Bissette National Endowment for the Arts Bob and Martha Pierce Richard Schaffer and Anastasia Bartlett Robert & Mercedes Eichholz Foundation James S. Thompson Ed and Cindy Towson Sarah Van Gunten David and Dianne Worley Olivia and Gary Zahler

$7,500 - $9,999 Anonymous Mary and Jack Anderson Roberts & Stevens, P.A.

Awaken Skin & Body Diana Bilbrey Timothy Butts and Susan Harrington Butts Givens Communities William Harlan and Stephanie Carpenter HomeTrust Bank Bill and Kitty Hunt Kathryn Theodore Travel Advisors Amy Loether Dr. and Mrs. Ralph C. Loomis Barbra and Keith Love Northwestern Mutual Jennifer Marlowe and Kevin Pasarilla Phil and Katie Osborn

$2,500 - $4,999 Brad and Diane Arnold Dr. and Mrs. Luther Barnhardt Beverly Briedis Ed and Donna Broadwell Crawley, Lee & Company, PA Gene and Lee Casey Charles Clogston Jerry and Diane Cunningham John and Suzie Donahoe Fred and Cindy Groce D.R. Horton John and Suellyn Felker Betty Fox Richard and Yolanda* Hall Mountaine Mort Jonas Jon and Ann Kemske Living Stone Design + Build Ann and Jerry McLellan Morgan Stanley Foundation The Sabri Foundation Gary and BA Schenk Bill Schulz and Odile Perrenoud Irene and Michael Stoll Thomas G. Tachovsky and Lynn G. Baird Hank Young

$1,000 - $2,499 Anonymous David and Sydney Atkinson William Bond and Johnny Ko Lucy and Kirk Borland Claude and Sallie Broach

Robin and Gordon Gaiser

Karen K. Brown Bill and Clarita Burton Guadalupe Chavarria II and Candace Matthews Blanchard Karen L. Cianciulli Don and Nancy Ackermann Cole Gary and Patty Coleman John and Jeanne Condren Daniel and Caroline Crupi Dr. John and Wendy Cuellar Jurgen and Leslie Dierks Marvin and Patricia Eargle Nancy and Ron Edgerton John and Marsha Ellis Dr. Alan and Suzanne Escovitz IBMA Foundation The Leever Foundation Joseph Gigliotti Michael J. Grillot Rhonda and Marcus Grimes Dr. and Mrs. Heinz K. Grohs Sam and Robin Harben Robert and Linda Hollis Jennine Hough Anne Jarema and Clifford Albertson Barry E.A. Johnson Bebe Landis John and Janet Long Sue and George Luther Carol Marin Lois S. Carlson and Jerome Mrowca Russell and Ladene Newton Ralph Protsik and Susan Wolin Stan Ingber and Laura Robbins Sabrina and Isaac Rockoff Robin T. Rutledge and Karen Keeler Rogers Martha G. Rowlett Susie and John Ruhl Margaret K. Storey Betty Walker

Al and Betsy Gumpert Fred and Heather Hudson Mrs. Edeltraut Gilgan-Hunt Gail Jolley Jonas and Lauren Karlsson Tom and Dian Leeper Virginia and Drew Litzenberger Henry and Elizabeth Mainwaring Diane and John Martin Lee and Merri McLean James H. McMillan and Carol H. Kaufman Kitti Reynolds Frank Rutland Wade and Mary Margaret Saunders Dr. and Mrs. Larry R. Versteegh Judy Watson Donna and Randy Weast Paul B. Williamson Marla Woeckener

$500 - $999

$250 - $499

Thomas and Denise Bernard Tony McLean Brown David Cappiello Grace Chappell and Patrick O'Cain Sharron Davis Mack Day Mary Ellen Dendy and Aaron Dahlstrom Drs. Louis Dwarshuis and Marilyn Kolton William and Carol Falender

Carole and Joel Cotter Rick and Elizabeth Devereaux Kristen Dusenbery Kim Eiring Sara Henley Marian and Thomas Jerdee Pat and Bud Kofron Elfi LaPlante Chuck Lockwood and Patrick Ryan James Losse and Ellen Haack

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 Boeing Eaton Corporation IBM Corporation McMaster - Carr Supply Company Prudential Financial, Inc. State Farm Companies Foundation Steelcase Foundation Shell Oil Company Foundation

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 71

ASO SUPPORTERS

$5,000 - $7,499

ASO SUPPORTERS

Support Your Symphony's Annual Fund Ticket revenue covers less than one third of the Symphony’s operating cost. Your generosity enables your Asheville Symphony to continue to perform and promote symphonic for the people of Western North Carolina! Make a donation online today at AshevilleSymphony.org/donate. Curious about customized benefits for you or your business through sponsorships? Contact the Development Department at development@ashevillesymphony.org.

Gail and Ron Manheimer Anne McKenzie Cristian Rubiano Ilona and Michael Sena James Storey and Janice Collins

$100 - $249 Richard Bogner Adlai and Karen Boyd Allan Brown Clinton Bugg and Jeff Nucey Lana Burns Linda and Tom Bushar Jim Cahill Lynne Cannady Jane Caris John Carpenter Bishop Charles and Karen Crutchfield Alan Davis Gail Dosik Martin and Ivy Dyckman Edward and Amy Euler Cathy and Tom Farmer Polly S. Feitzinger Stephen and Jackie Finstad Ellenor Frelick Jennifer and Bruce Garner Mary Goodkind 72 ∙ Asheville Symphony Supporters

Donor benefits include:

>> Special events invitations ($500+ to the Annual Fund) >> Reserved parking at Masterworks concerts ($1,000+ to the Annual Fund) >> Priority access to purchase ALT ASO tickets ($2,500+ to the Annual Fund)

Amanda Hall and Robert Zeid Barry and Ellen Halperin Peter Wortham Hawes Virginia W. Hayes Ralph and Sheryl Husby Tom and Libby Irwin Thorunn Ivey Sherree Roller and David Janson Daisy Karasek Margaret Kelso Karen Lachow William McKenna and Suzanne Landis Walter Leginski Dr. Ken and Mrs. Marjorie Loken Rev. Alexandra Lusak Manny and Karen Medeiros Rita Nilsen and Carl Brickman Rosaire Nottage Francis Nullet William O'Connell Jeffrey and Lisa Owen Lori Oxford and Alberto Centeno-Pulido John Paar Donald and Brenta Poole Richard and Deborah Reynolds Don Roberts Donna Robertson Evan and Susan Rosenberg

Katherine and Robert Silvers Thomas Southwick Mark and Rachel Sossoman Jacqueline Stevens John and Mary Tadey Kate Townsend and Michael Hawkins George Wilds and Steve Connell Larry and Janie Wilson

$1 - $99 Alex Appanaitis Jennifer Aregood Jane Aylor Terry Bailey Eric Bank Jessica Barker Bill and Carol Barley Bryan Benenati Diego Blanc Barry Boyce John Braukman Diana Brewster Elizabeth and Kemper Brown Lucinda Buhr Ken Carrig Alice Cohen Linda Coye Alexa and Rich Dann

Gary Kott Jeanne Lambert Joel Levine Catrina Macaraig Mike Macino Barbara Mayer Jeffrey Maynard Jerry McAninch The Rev. Nancy McCarthy Katie McDaniel Michael Miale Frank Moretz Thomas Norman Joseph Olson Eric and Lynn Ordnung Stephen V. Pascale Joseph Piccolo Clarence Prevatt Molly Ramage Tom Ray Brianna Rivera Lee Rock Holley Ross Gary Schneider Trystin Scott Leonora Sharpe

Matthew Sharpe Robin Shellito Michael Sierra Stephanie Simpson Randall Smith Rachel Smith Richard Sterling Barbara and Marty Stickle Kelly Stokes Paul Stubbs Kenji Sullivan Colleen and Jimmy Sullivan Janet Thatcher Barbara Thompson Sandra Tompkins Adi Toth J Adrian Verkouteren Shelley Wilburn James Williamson Tom Winsch Melissa Wittke Amy Yasuhara Diane Zolnaski and Rob Feldleit

*Denotes Deceased

TRIBUTE GIFTS In memory of Katherine Armitage and Jack Jones

Diane and Rich Byers

In honor of Bill Burton

Tony McLean Brown

In memory of our son Rikki Hall

Richard and Yolanda* Hall

In memory of Yolanda Hall

Richard Hall Manny and Karen Medeiros Irene and Michael Stoll

In memory of Dr. Elizabeth Pierce Litteral

Bob and Martha Pierce

In honor of Sally Keeney

Mountaine Mort Jonas

In memory of Linda Medeiros

Manny and Karen Medeiros

In memory of Ingeborg Meeke

Irene and Michael Stoll

In memory of Chuck Briedis

Anonymous Ed and Pat Argue Asheville Symphony Guild David and Ann Bottomy Peter and Biruta Briedis Ned and Bunny Cabaniss Patricia Coldiron Sylvia Cassel Frederick and Cathy Detroia Nancy and Ron Edgerton Susan Evans Ruth Hall Jill and Milton Lambert Carol and Hugh McCollum Margaret Murphy Susie and John Ruhl Fran Sandfort Irene and Michael Stoll

Every effort has been made to ensure the accuracy of this list. If you believe that an error or omission has occurred, please contact 828.254.7046 or development@ashevillesymphony.org.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 73

ASO SUPPORTERS

Kathryn Daughton Rod and Cyndy Douglas Karen Dugas Don and Joy Erbes Matthew Evanoff Henry Fox Elaine and Michael Fulbright Joel Goodrich George and Elaine Goosmann Richard Gordon Jason Hayes John Bibb Hickman Kathleen Holmes Michael and Laura Hoskins Tom Hudson Jacob Jackson Javier Jasminoy Susan Jensen and Lew Gelfond Seth Johnson Walter and Anne Justice Jennifer Kaylor John Kenney Sydney Kilgus-Vesely Julie Klement Rebecca Knight Alan Kotch

ASO SUPPORTERS

Friends of the ASYO Tuition covers less than half of the Asheville Symphony Youth Orchestra’s operational costs. Your gift empowers students to participate in performances, special workshops, retreats, masterclasses, and touring performances regardless of their economic circumstances. Visit AshevilleSymphony.org/friends-of-the-asyo to donate online today! Anonymous in memory of Chuck Briedis Mary and Jack Anderson Michael and Catty Andry Ed and Pat Argue in memory of Chuck Briedis David and Sydney Atkinson Diana Bilbrey David and Ann Bottomy in memory of Chuck Briedis Beverly Briedis Peter and Biruta Briedis in memory of Chuck Briedis Bill and Clarita Burton Ned and Bunny Cabaniss in memory of Chuck Briedis Patricia Coldiron in memory of Chuck Briedis Sylvia Cassel in memory of Chuck Briedis Grace Chappell and Patrick O'Cain Jerry and Diane Cunningham Jurgen and Leslie Dierks Frederick and Cathy Detroia in memory of Chuck Briedis Nancy and Ron Edgerton in memory of Chuck Briedis Kim Eiring Susan Evans in memory of Chuck Briedis

Dr. Bolling Farmer Robin and Gordon Gaiser Jennifer and Bruce Garner Bill and Nancy Gettys Erika Gifford and Sean Comeaux Mary Goodkind Rhonda and Marcus Grimes Asheville Symphony Guild in memory of Chuck Briedis Al and Betsy Gumpert Ruth Hall in memory of Chuck Briedis Fred and Heather Hudson Bill and Kitty Hunt Tom and Libby Irwin Keith Keener Jon and Ann Kemske Jim and Mary Kirby Henry A. LaBrun Jill and Milton Lambert in memory of Chuck Briedis David and Pamela Lane Jill and Joe Lawrence Tom and Dian Leeper Sue and George Luther Dr. and Mrs. Ralph C. Loomis Gail and Ron Manheimer James H. McMillan and Carol H. Kaufman

Carol and Hugh McCollum in memory of Chuck Briedis Anne McKenzie Margaret Murphy in memory of Chuck Briedis William O'Connell Drs. Joanne and Tom Parker Donna Robertson Susie and John Ruhl in memory of Chuck Briedis Fran Sandfort in memory of Chuck Briedis Irene and Michael Stoll in memory of Chuck Briedis Paul Stroebel Maurice and Bonnie Stone James S. Thompson Terrance and Carol Tinkel Kate Townsend and Michael Hawkins Sarah Van Gunten Larry and Janie Wilson Olivia and Gary Zahler

Scholarships for ASYO Students Philharmonia Scholarship Given by Keith Keener

Drs. Joanne and Tom Parker Scholarship Fund Given by Drs. Joanne & Tom Parker

Terrence and Carol Tinkel Scholarship Fund Given by Terrence and Carol Tinkel 74 ∙ Asheville Symphony Supporters

Bu Scherf Memorial Scholarship Michael Di Trolio Lee and Sharon Metcalfe Dr. Vance M. Reese Charlene Scharf

At the ASYO, we believe that all students deserve access to incredible musical experiences regardless of their economic circumstances. These scholarships have been created to assist ASYO participants with tuition, ensuring that all students have equal access to the best musical training and resources that Asheville has to offer. Thank you to our generous donors!

The Asheville Symphony Youth Orchestra (ASYO) is Western North Carolina’s premier orchestral training program, serving nearly 200 students ages 8-19 across four counties. With two string orchestras, two full orchestras, a beginner string class, a percussion ensemble, an honors string quartet, a brass quintet and a woodwind quartet, there’s an ensemble for every instrument and experience level. Throughout the year, ASYO students have the chance to participate in masterclasses, retreats, and workshops, where they learn from professional musicians and guest artists alongside some of the best music educators in Western North Carolina. Through the ASYO, students grow as individuals, learn to work together as an ensemble, and gain everyday skills like perseverance, hard work, planning, self awareness, creativity, self evaluation and goal settings. YOUTH PHILHARMONIC & CONCERT ORCHESTRA RETREAT CONCERT October 22, 2024 at 4:00 p.m. • Appalachian State University A free concert where the members of the Youth Philharmonic and Concert Orchestra will perform side-by-side with the Appalachian State University Orchestra WINTER CONCERT December 4, 2023 at 6:30 p.m. • Asheville High School Featuring Overture Strings, Divertimento Strings, Sinfonia Strings, Concert Orchestra, Youth Philharmonic Orchestra, and Percussion Ensembles MID-WINTER CONCERT WITH NOAH BENDIX-BALGLEY March 18, 2024 at 6:30 p.m. • Asheville High School Featuring Overture Strings, Divertimento strings, Sinfonia strings, Concert Orchestra, Youth Philharmonic Orchestra, and Percussion Ensembles with violinist Noah Bendix-Balgley SPRING CONCERT April 29, 2024 at 6:30 p.m. • Mars Hill University Featuring Overture Strings, Divertimento Strings, Sinfonia Strings, Concert Orchestra, Youth Philharmonic Orchestra, Percussion Ensembles, and various chamber ensembles

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 opportunities for students to engage in chamber music and our annual retreat.

HONORS CHAMBER ENSEMBLES CONCERT May 13, 2024 at 6:30 p.m. • Asheville High School Featuring the ASYO percussion ensembles, woodwind, brass, and string honors ensembles

Concert dates and times are subject to change. Visit AshevilleSymphony.org/asyo to learn more about ASYO concerts and details on how to join the ASYO.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 75

ASO SUPPORTERS

ASHEVILLE AMADEUS FESTIVAL GALA Fund-A-Need Donors

A memorable evening making a big impact for music education. On May 19, 2023, Symphony supporters gathered at the Wortham Center for the Performing Arts for a world-class evening honoring Thomas C. Bolton’s leadership and generosity over more than four decades. Guests enjoyed a private performance by Béla Fleck, bespoke cocktails, top-notch food and wine, and an auction filled with amazing travel and art opportunities, among other luxury packages. A special thanks to the 2023 gala committee for their hard work and passion, including Olivia Zahler, Stephanie Carpenter, Lynne Eramo, Suellyn Felker, Nancy Gettys, Mary Kirby, Sue Luther, Ann McLellan, and Carol McCollum.

Join community leaders and fellow music lovers at future Asheville Symphony special events, which are a highlight of Asheville’s cultural scene. For more information about future opportunities, including the Asheville Symphony’s Artist Residency Benefit in March 2023, please contact development@ashevillesymphony.org.

76 ∙ Asheville AshevilleSymphony SymphonySupporters Supporters

Thank you to the following Festival Gala attendees who pledged to support Asheville Symphony music education programs during the live auction: Michael and Catty Andry Denise and Thomas Bernard Ed and Donna Broadwell Buster and Karen Keil Brown David and Trudy Cappiello Georgia Case Sean Comeaux and Erika Gifford George and Kathy Dambach Mack Day Rick and Elizabeth Devereaux Dr. Bolling Farmer Bill and Nancy Gettys Joseph Gigliotti Debbie Green William Harlan and Stephanie Carpenter Bill and Kitty Hunt Gail Jolley Jim and Mary Kirby Henry A. LaBrun Barbra and Keith Love Carol and Hugh McCollum Ann and Jerry McLellan Russell and Ladene Newton Richard Schaffer and Anastasia Bartlett Jacqueline Stevens Thomas G. Tachovsky and Lynn G. Baird Ed and Cindy Towson David and Dianne Worley Hank Young Olivia and Gary Zahler

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 77

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78 ∙ www.AshevilleSymphony.org ∙ Fall 2023 Program Book

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80 ∙ www.AshevilleSymphony.org ∙ Fall 2023 Program Book

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82 ∙ www.AshevilleSymphony.org ∙ Fall 2023 Program Book

Assisted Living | Memory Care

LEGACY SOCIETY MEMBERS 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 Jeanne Etter Dr. Linda Sokalski Farrell Dr. Bolling Farmer Francis Fee 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 Bill and Kitty Hunt Bill Jacobs and Susan Posey Pat and Doug Johnston 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 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 * John Schuler* Robert Sorton Bonnie Stone Norretta L. Taylor* Edna Thompson* Mr. and Mrs. Ed Towson Albert and Lucia Ward* Eleanor Weil Schulmon*

The Asheville Symphony Legacy Society recognizes members who have planned a gift to the Symphony in their will or estate plans. Make the Asheville Symphony a part of your legacy by investing today in the Asheville Symphony’s tomorrow. Your support will enable the Asheville Symphony continue to be a vital part of the community for generations to come.

*Deceased

If you have questions or have already included the Asheville Symphony in your estate plans, please let us know so we can include you on this list by reaching out at 828.254.7046 or development@ashevillesymphony.org.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 83

John and Susan

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 85

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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 17 performances during the 2023-2024 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!

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Contact us to receive an investor prospectus or to discuss loan options 88 ∙ www.AshevilleSymphony.org ∙ Fall 2023 Program Book 828.776.8632 / 19 Arlington Street, Asheville, NC 28801

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