Asheville Symphony Fall 2024 Program Book

Orchestrating Your Perfect Smile

Welcome to an exciting new chapter in the Asheville Symphony’s history! This marks the first full season in our new Masterworks home of First Baptist Church of Asheville. Together, we are forging a dynamic new path for this organization and our musical community.

Because of your support, the Asheville Symphony has been on an amazing growth trajectory over the last few years. Our subscriber base is surging to new heights, sponsorships and philanthropy hit record highs last season, and we are offering our widest variety of experiences to educate and delight the people of Western North Carolina.

Last year, we welcomed more than 3,300 new patrons to our concerts, and more than 44% of last year’s donor base were new donors to the organization. The Asheville Symphony Youth Orchestra, our core music education program, continues its impressive growth trend, increasing enrollment by 62%, setting new philanthropic records, and boasting higher retention rates than ever before.

I am thrilled that Music Director Darko Butorac has renewed his contract with the Asheville Symphony for three more years, which allows us to develop the artistic quality and deepen the creativity of our programming. We continue to draw top international artistic talent like Alexi Kenney and Joshua Roman. And, we are delighted to showcase the incredible talent of our own orchestra members as featured soloists this season, such as Principal Flute Lissie Shanahan.

One of our principal goals at the Asheville Symphony is to deepen our engagement with the community. To that end, our new Solo Recital Series aims to provide new ways to experience our soloists in a more intimate setting. In December, members of the Asheville Symphony Youth Orchestra will join the Asheville Symphony side-by-side on stage for a collaboration with Cirque de la Symphonie at the ExploreAsheville.com Arena. Most excitingly, this season will see the continued expansion of the Asheville Amadeus Festival, which returns in May of 2025. This year’s Festival, co-headlined by electrifying classical trio, Time for Three, and genre-bending MacArthur Fellow Chris Thile (all GRAMMY Award winners in their own right), will bring our season to a stunning conclusion.

The bottom line: there has never been a more exciting time to be part of the Asheville Symphony community. Consider making a gift to support the Symphony’s Annual Fund and help fuel the passion and creativity that make our performances unforgettable. Invite your friends and neighbors to experience the magic of a live concert and share in the joy of music. Volunteer your time to help us continue our mission of bringing exceptional music to our community. The future of your Asheville Symphony is incredibly bright, and with your support, we can reach even greater heights together.

Please join us on this year’s thrilling journey and be a part of something truly extraordinary!

Daniel M. Crupi Executive Director

WITH EACH VISIT, AN OPPORTUNITY TO BE INSPIRED.

For over 30 years, Blue Spiral 1 has been an anchor for downtown Asheville's thriving art scene. As part of our 2024-2025 partnership with the Asheville Symphony, we're celebrating our longtime collaboration by donating 10% of gallery sales in November and February when you mention the Asheville Symphony during the time of purchase.

Experience exceptional art and support our vibrant community with Blue Spiral 1 and your Asheville Symphony. 38

Patti Quinn Hill

Patti Quinn Hill’s basketry is rooted in traditional techniques, drawing from Shaker, Nantucket, and Native American influences. She innovatively combines these historical methods with a contemporary approach, imbuing each piece with a distinct character. Hill works with archival paper, specifically 100% cotton heavyweight paper, which is intricately woven with metallic thread lashing. The paper is painted on both sides using a variety of surface design techniques before being cut into strips and then woven into embellished baskets.

Daniel M. Crupi Executive Director

DEVELOPMENT

Sara Henley Director of Development

Madeline Womack Assistant Director of Development

Dana Alward Development Associate

EDUCATION

Tyson Hamrick ASYO General Manager

FINANCE

Amy E. Tipps 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

Melissa Starkweather Ticketing & Office Administrator

Laura Berry House Manager

Sue Fair House Manager

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

Dear Friends of the Asheville Symphony Orchestra, and even better banking.

Encouraging Safe & Responsible Travel

& Inviting

Supporting your goals is what we do best. From checking accounts to loan options, keep the good going with your local First Bank team.

Engaging

More Diverse Audiences

Promoting & Supporting Asheville's Creative Spirit

Board of Directors

OFFICERS

Sue

Michael

DIRECTORS

Cliff Albertson Jack

Thomas

Sallie Broach

Susan

Sean

Dr.

George

John

Dr.

Bill

As I begin the second and final year of my term as President of the Asheville Symphony Board of Directors, I look back and am so grateful for all the support our wonderful Symphony has received. The Asheville Symphony has been a cornerstone of the arts in Asheville for over 60 years, and this institution is stronger than ever after our 23-24 venue adaptations. From the bottom of my heart, I want to express my deep appreciation to my fellow board members, our professional staff, the musicians, volunteers, and our wonderful patrons. We all pulled together to make our 23-24 season a resounding success!

On a personal level, I am deeply proud of our growing Music Education initiatives. Our Music in the Schools program continues to introduce the wonder of music to all 1st-4th grade students in Buncombe County and Asheville City Schools classrooms. 5th-graders experience a live, professional performance specifically curated for first-time concertgoers at our Young People’s Concerts. The Asheville Symphony Youth Orchestra engages more student musicians than ever before, providing in-depth and high quality musical training and performance experience, including the opportunity to perform alongside Symphony artists. Our Board of Directors has also organized a Music Education Committee which for the last two years has offered scholarships for promising young students to Mars Hill University’s summer band camp. This committee has also provided a musical education component to Project Lighten Up, a summer program at Rock Hill Missionary Baptist Church in Shiloh. The dedicated generosity of our board members, patrons, and donors continues to ensure that each of these education programs flourishes, engaging Western North Carolina youth in music for years to come.

I am looking forward to another exceptional and vibrant year ahead. We still have work to do to ensure that the Asheville Symphony continues to grow with our community. Together, we are united in our passion for this orchestra and in a passion for sharing the richness of classical music with new fans of all ages. Thank you to our entire community for your support.

For those who are new to the Symphony, I look forward to welcoming you in person. Please join me in celebrating the 24-25 season ahead!

DIRECTORS EMERITI

George M. Bilbrey, Jr. M.D.*

J.K. MacKendree Day

Joyce R. Dorr, Ph.D.

George F. Goosmann, III

Gerald C. Kitch

Karl S. Quisenberry, Ph.D.*

John J. Sherman, Jr. W. Herbert Smith, Jr.

PAST PRESIDENTS

1962-1964: Gaylord Davis

1964-1966: Rudolf Gumpert

1966-1968: John W. Rutland

1968-1970: Robert K. Weiler

1970-1971: Robert Saenger

1971-1972: William C. Spencer, Jr.

1972-1975: John K. Knight

1975-1977: Lawrence D. Ford

1977-1979: Mortimer Ryon

1979-1982: James E. Dooley

1982-1984: J.K. MacKendree Day

1984-1985: George Saenger

1985-1987: Spencer Atwater, 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

* Deceased

Cristian Rubiano Financial Advisor 828.275.6041 cristian.rubiano@ml.com

Merrill Lynch Wealth Management 1 North Pack Square 2nd Floor Asheville, NC 28801

Merrill Lynch, Pierce, Fenner & Smith Incorporated (MLPF&S) is a registered broker-dealer, registered investment adviser, and Member SIPC. Bank of America, N.A., Member FDIC and MLPF&S are wholly owned subsidiaries of Bank of America Corporation. The Bull Symbol and Merrill are registered trademarks of Bank of America Corporation. © 2024 Bank of America Corporation. All rights reserved. MAP6209646 | AD-07-24-0564 | 470944PM-0124 | 08/2024

LEAH WONG ASHBURN FAMILY OWNER, CEO

All seven Masterworks concerts will take place at First Baptist Church of Asheville.

The following page includes a floor plan of the ground level indicating entrances in addition to the surrounding streets and parking areas.

Following our successful performances at First Baptist Church of Asheville during the 2023-2024 season, we are pleased to announce it as the home of the Masterworks Series for three more years.

FBCA offers excellent acoustics, an intimate setting, ample parking, accessible seating, and many patron improvements. We are excited to extend our partnership with FBCA and produce more incredible, acoustically stunning performances for our dedicated audience.

We extend our sincere gratitude for your continued support. Your contributions to our Annual Fund sustain our artistic endeavors. Please consider donating to support our mission of promoting symphonic music for the people of Western North Carolina. Your generosity allows us to continue bringing outstanding performances to all.

Visit AshevilleSymphony.org for more details on the 20242025 season, our performances, how you can support your Asheville Symphony, and much more.

MASTERWORKS ENTRANCE

CHAPEL Location of Symphony Talk Performance Space SANCTUARY TO HOUSE LEFT

ACCESSIBILITY & SYMPHONY TALK ENTRANCE

Andry-HarrisGroup atMorganStanleyPrivateWealthManagement MichaelAndry FamilyWealthDirector SeniorVicePresident PrivateWealthAdvisor

500CollegeStreet Asheville,NC28801 +1828250-8744

michael.andry@morganstanleypwm.com

https://advisor.morganstanley.com/the-andry-harris-group Insurance15850592 NMLS663185

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

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

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

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

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

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

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

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

Violin

Open Chair • Concertmaster

Martha Gardner • Associate Concertmaster

⁺Karen Pommerich

Assistant Concertmaster

Katheryn Gardner Otwell

Principal Second Violin

Debra L. Anthony

Associate Principal Second Violin

⁺Pedro Oseias Maia

Assistant Principal Second Violin

Marianna Brickle

Teresa M. Curran

Elizabeth Fee-Elliott

Lori G. Hammel

Dorothy L. Knowles

Virginia Kowal

LuAda Malcom

Ruben Orengo

Mariya S. Potapova

Inez Hullinger Redman

*Paul E. Stroebel

Viola

Kara F. Poorbaugh • Principal

Open Chair • Associate Principal

Martha L. Geissler (loa)

Kathryn Bracewell

Hannah Dara

Gina Mashburn Heath

Edward J. Smith

Daphne Waggener

Cello

Daniel Mumm • Principal

J. Franklin Keel • Associate Principal

Paul Maxwell • Assistant Principal

Cherylonda F. Fitzgerald

Paul S. GhostHorse

Katie Hamilton

Patricia Koelling Johnston

E. Sojeong Park

Bass

*M. Lee Metcalfe • Co-Principal

Vance M. Reese • Co-Principal

Michael Di Trolio

Matthew P. Waid

Flute

Lissie J. Shanahan • Principal

Kellie Henry

Piccolo

Dilshad B. Posnock

Oboe

Alicia Chapman • Principal

*Cara Mia Jenkins

English Horn

Amanda J. LaBrecque

Clarinet

Harry H. “Chip” Hill • Principal

Karen Farah Hill

Bass Clarinet

Shannon Thompson

Bassoon

Michael J. Burns • Principal

Amber Ferenz

Contrabassoon

William L. Peebles

Horn

Jeffery B. Whaley • Principal

*Michael L. Brubaker

Anneka A. Zuehlke

Travis A. Bennett

Trumpet

T. Mark Clodfelter • Principal

⁺Christopher Underwood

⁺William Stowman

Trombone

Justin Croushore • Principal

L. Rienette Davis

Bass Trombone

⁺Michael Hosford

⁺Bill Reichenbach

Tuba

Bethany Wiese • Principal

Timpani

Todd D. Mueller • Principal

Percussion

Caleb Breidenbaugh • Principal

Michael Morel

Matthew Richmond

*Brian Tinkel

Harp

Open Chair • Vetust Study Club Chair

Keyboard

Open Chair • Susanne Marcus Collins Chair

Be a part of Asheville Symphony history!

This season, five outstanding finalists will audition for the role of our Concertmaster. Join us throughout the 2024-2025 Masterworks Series to experience all five candidates!

Masterworks 1

Nash Ryder

Masterworks 2

Benjamin Sung

Masterworks 4

Brian Allen

Masterworks 6

Jackie Tso

Masterworks 7

Evgeny Zvonnikov

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

Thank you to our incredible musician hosts!

The generosity and warmth of our musician hosts creates a welcoming home-awayfrom-home for our traveling musicians. Thank you for being an integral part of the Asheville Symphony community!

Mary and Jack Anderson

John Boneparth and Gail Harris

Madison Brightwell

Linda and Tom Bushar

Georgia Case

Teresa Curran

Kathy and George Dambach

Suzanne and Steven Hageman

Stan Ingber and Laura Robbins

Mary and Peter Holmes

Mountaine Jonas

Pam and David Lane

Jill and Joe Lawrence

Robin and Cliff Lively

Susan and David Leader

Sue and George Luther

Jim McAllister

Carol and Hugh McCollum

Geoffrey Mitchell and Clair Griffith

Connie and Gary Wald

Discover

the

Power

of the

Arts

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

“Where Words Fail, Music Speaks” – Hans Christian Andersen

The Brookshire Garside Group Private Wealth Management 828-239-8781 BrookshireGarsideGroup.com

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.

How does the Guild provide support?

MUSICAL FEASTS: YOUR SOCIAL AGENDA AWAITS!

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

GUILD-SUPPORTED MUSIC EDUCATION PROGRAMS

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.

GUILD GATHERINGS: SHARE THE LOVE!

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

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.

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 Kyle Ritter, the ASC invites you to take part in their 33rd season.

MESSIAH WITH THE ASHEVILLE SYMPHONY

November 22 + 23, 2024

Join ASC and Asheville Symphony Orchestra for Handel’s Messiah as part of the Asheville Symphony Masterworks series. See page 48.

MESSIAH COMMUNITY

SING-ALONG

December 3, 2024

Want to join in on the fun of performing Messiah? Join us for our beloved community sing-along.

Check our website for Spring concerts and updates! ASC will be performing as part of the May 2025 Asheville Amadeus Festival and also feature a Chamber Chorus Concert this spring; dates and details forthcoming. You can also find more information about the chorus as well as audition dates online by scanning the QR code on this page or by visiting www.AshevilleSymphonyChorus.com.

The Asheville Symphonettes is a high school girl’s service club dedicated to supporting the Asheville Symphony since 2011. By involving students in the production of live symphony concerts, the club fosters a lifelong appreciation for classical music, while also cultivating enduring friendships and community improvement. The Symphonettes actively contribute to the Buncombe County music community by greeting Asheville Symphony patrons, distributing program books, and organizing service projects. Last season, the Symphonettes ran an instrument drive to donate lightly used instruments to local school music programs.

For membership and funding inquiries, please contact Lisa Owen at lisacort1@yahoo.com.

First Baptist Church of Asheville

September 17, 2024

7:00 p.m.

Shifting Ground is an innovative recital project that weaves together pieces for solo violin and violin/electronics by J. S. Bach and composers of other eras to form a program with dramatic arc, flow, and scope.

Descent

Rafiq Bhatia (b. 1987)

A native of North Carolina — born in Hickory and raised in Raleigh — composer, producer and guitarist Rafiq Bhatia graduated from Oberlin College with degrees in neuroscience and economics, before moving permanently to Brooklyn. He is guitarist with rock band Son Lux.

Descent is part of the Alone Together project, an artistic response to the pandemic and the financial hardship it has placed on many in the music community. It was an online commissioning project.

Selections from the Sonatas and Partitas for Solo Violin

J.S. Bach (1685-1750)

Unique in structure and in sound, Johann Sebastian Bach’s three sonatas and three partitas for violin solo are the ultimate technical and musical challenge for any violinist; among their most interesting aspects is Bach’s ability to create contrapuntal lines and the sound of complete harmonies by judicious use of double stops and arpeggiated chords. Bach composed the six works during his tenure as Capellmeister at the princely court of Cöthen (1717-1723), although they are based on earlier work from his Weimar period. The surviving manuscript in Bach’s hand is dated 1720. To judge from the many copies that have survived, including some copied by his second wife, Anna Magdalena, the works must have become popular even beyond Germany’s borders.

The pièce de résistance of the six compositions is the Chaconne, the final movement of Partita No. 2 in D minor. This variation form, in which a short, repeated bass pattern underlies increasingly complex contrapuntal figuration in the upper voices, was but one of the many works in which Bach set rigidity of form against the highest level of musical creativity and expressiveness. Although the Chaconne is written for a single line, Bach either supplied the

harmonic context by using broken or rolled chords, double stops, and, most importantly, by sustaining a pitch on one string while simultaneously playing a contrapuntal voice on the others. The ears and experience in Western harmony also have a role. The effect is to provide a satisfactory solution to the musical conundrum of creating 31 unique variations. Moreover, while the chaconne genre generally assumed that repeated phrase resided in the bass (hence the English term “ground bass”), Bach offers his theme as a melody, which he ingeniously maneuvers above, below and around the attendant figurations; frequently, he omits it entirely, relying on the listener to “hear” the missing tune while the violin supplies the figurations or counterpoint.

Allemande from X Suite for Solo Violin

Paul Wiancko ( b. 1983)

Composer and cellist for the Kronos Quartet, which he joined in 2023, Paul Wiancko studied music at the University of Southern California and the Colburn School in Los Angeles. In 2009 he joined the Harlem Quartet for three years and also toured with Chick Corea.

The X Suite is a set of seven movements named and patterned after Baroque suite movements, most of them dances. This piece was composed in 2018 and premiered by Alexi Kenney. The Allemande is the second movement.

The Violinist for Violin & Electronics

Angélica Negrón ( b. 1981)

A Puerto-Rican composer and multi-instrumentalist who currently lives in Brooklyn, Negrón studied at New York University and City University of New York. She writes music for accordions, robotic instruments, toys, and electronics as well as for chamber ensembles, orchestras, choir, and film, specializing in combining acoustic instruments with electronics. The Violinist was commissioned by Alexi Kenney specifically for this project.

Alia Fantasia

Nicola Matteis, Jr. (ca. 1650-1713)

Italian violinist and composer Nicola Matteis spent most of his life in London, where he gained fame with his violin playing. He introduced the ‘modern’ Italian style of violin playing to London, using a longer bow, closer in shape to the modern bow. He published four books of Ayres intended for the amateur, with detailed instructions on bowing, tempos and ornamentation — a great help for today’s study of Baroque performance practices.

Nocturne for Solo Violin

Kaija Saariaho (1952-2023)

Finnish composer Kaija Saariaho studied music in Finland, Germany and Paris, where she studied computer music at IRCAM. She lived in Paris for most of her life. In her music she mixed electronic with traditional instrument sounds. In 2016 the Metropolitan Opera staged her opera L’amour de Loin, the first opera by a female composer staged by the Met in 113 years.

Rafiq Bhatia

Descent

(continued on next page)

Music Sponsor Clair Griffith and Geoffrey Mitchell

J. S. Bach

Allemande from Partita No. 2 in D minor, BWV 1004

Paul Wiancko

Allemande from X Suite for Solo Violin

Angélica Negrón

The Violinist for Violin & Electronics

Music Sponsor Debbie Green

J. S. Bach

Grave from Violin Sonata No. 2 in A minor, BWV 1003

Nicola Matteis, Jr. Alia Fantasia

Kaija Saariaho

Nocturne for Solo Violin

Salina Fisher

Hikari for Solo Violin

Music Sponsor Daniel & Caroline Crupi

Mario Davidovsky

Synchronisms No. 9 for Violin & Tape

Matthew Burtner

Elegy for Violin & Glacier

Sonification(Muir Glacier 1889 - 2009)

J. S. Bach

Chaconne from Partita No. 2 in D minor, BWV 1005

Nocturne, composed in 1994, elicits some of the most eerie sounds ever demanded from a violin. It was composed as a tribute upon the passing of Polish composer Witold Lutoslawski.

Hikari for Solo Violin

Salina Fisher (b. 1993)

New Zealand composer and violinist Salina Fisher is a multiinstrumentalist, drawing inspiration from her background of mixed Japanese heritage. She is a graduate of Manhattan School of Music, and New Zealand School of Music — Te Kōkī, Victoria University of Wellington, where she was appointed Composer-in-Residence (2019-2020) and Teaching Fellow in Composition. She currently resides in New York.

Fisher writes: “Composed in 2023, this piece entitled Hikari, meaning light, brightness, or radiance, leans

into the violin’s natural resonance and brilliance. Its musical language integrates the instrument’s expressive warmth and lyricism with more ‘transparent’ timbres, in a constant search for light. The featured open string-crossing is an homage to Bach’s Chaconne, a work that is both central to this recital and to my own relationship with the violin.”

Synchronisms No. 9 for Violin and Tape

Mario Davidovsky (1937-2019)

Argentine-American composer Mario Davidovsky started his musical training at the University of Buenos Aires, moving in 1958 to the US to study, first at Tanglewood and then, under the influence of Milton Babbitt, at the Columbia-Princeton Electronic Music Center.

Best-known of Davidovsky’s works are his 11 electro-acoustic Synchro-

nisms, all combining acoustic with electronic sounds. Synchronism No. 9 for violin and tape was composed in 1988.

Elegy for Violin and Glacier Sonification

Matthew Burtner (b. 1971)

Alaska-born composer Matthew Burtner describes himself as a sound artist and eco-acoustician whose work explores embodiment, ecology, polytemporality and noise.

Elegy, composed in 2017, combines the violin with sounds recorded on Muir Glacier, a glacier in Glacier Bay National Park in Alaska. Since the glacier is rapidly receding, the dominant sound it emits is that of gurgling water.

Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

Alexi Kenney, Violin

Alexi Kenney is forging a career that defies categorization, following his interests, intuition, and heart. He is equally at home creating experimental programs and commissioning new works, soloing with major orchestras around the world, and collaborating with some of the most celebrated musicians of our time. Alexi is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award.

In recent seasons, Alexi has soloed with the Cleveland Orchestra, San Francisco Symphony, l’Orchestre de la Suisse Romande, Detroit Symphony, Rochester Philharmonic, Oregon Symphony, and more. Winner of the 2013 Concert Artists Guild Competition and laureate of the 2012 Menuhin Competition, Alexi has been profiled by Musical America, Strings Magazine, and The New York Times, and has written for The Strad. Chamber music continues to be a major part of Alexi’s life, regularly performing at festivals including Caramoor, ChamberFest Cleveland, La Jolla, Ojai, Marlboro, Music@Menlo, Ravinia, Seattle, and Spoleto. He is a founding member of Owls — an inverted quartet hailed as a “dream group” by The New York Times — alongside violist Ayane Kozasa, cellist Gabe Cabezas, and cellist-composer Paul Wiancko.

Born in Palo Alto, California in 1994, Alexi is a graduate of the New England Conservatory in Boston. He plays a violin made in London by Stefan-Peter Greiner in 2009 and a bow by François-Nicolas Voirin.

Parker Concert Hall 2024-25 Series

OCTOBER 11, 2024

OPENING NIGHT with The Sphinx Virtuosi Chamber Orchestra

NOVEMBER 7, 2024

Raphaël Feuillâtre–Virtuoso Guitar

DECEMBER 5, 2024

Handel’s Messiah

DECEMBER 14, 2024

Kruger Brothers–In The Holiday Spirit

FEBRUARY 20, 2025

Soprano Larisa Martínez in Concert

MARCH 13, 2025 A ST. PATRICK’S DAY CELEBRATION with Dervish

APRIL 8, 2025

Pianist Zlata Chochieva in Recital

MAY 13, 2025

SEASON FINALE with Roberto Díaz, Peter Wiley, and The Erinys Quartet R

Kruger Brothers Dervish

PREMIUM SEASON SPONSORS

MASTERWORKS 1

First Baptist Church of Asheville September 21, 2024

2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor

Alexi Kenney Violin

“Music begins where language ends.” Sibelius’s profound words echo deeply through this program steeped in nostalgia and emotional gravitas. Our Masterworks series begins with a defiantly optimistic WWII-era overture by Polish composer Grażyna Bacewicz as she lived through the war in Warsaw. Sibelius’s haunting and exquisite Violin Concerto follows, delivering an achingly beautiful tribute to a dream slipping just out of reach. Last is Dvořák’s sun-soaked Eighth Symphony, a nostalgic reflection of summertime bird calls, windswept trees, and happier times.

Overture for Orchestra

Grażyna Bacewicz (1909-1969)

A professional violinist, pianist and composer, Grażyna Bacewicz graduated from the Warsaw Conservatory in 1932. The first concert dedicated exclusively to her compositions was held there only two years later. She spent 1933-34 in Paris studying composition with Nadia Boulanger and violin with Carl Flesch, while continuing to perform her own music at concerts dedicated to the works of young artists. By 1939 her reputation in France was high enough to merit scheduling a chamber music concert of her works in Paris. After returning to Poland, she gave performances of her compositions for violin as well as piano and also played first violin with the Polish Radio Orchestra as a way to learn the intricacies of orchestration.

During World War II Bacewicz remained active in the underground musical life of Warsaw. After the collapse of the 1944 Warsaw uprising against the German occupation, she ended up in a concentration camp and later was deported to Germany. The end of the war found her homeless and wandering around Poland, giving concerts together with her pianist brother.

After the war she returned to Warsaw and picked up her career as violinist and composer. Over the years she taught composition and harmony at the Lódz Conservatory and the State Academy of Music in Warsaw.

Ms. Bacewicz was a prolific composer, adopting a neo-classical style, although she disliked the term. Her music is characterized throughout by a pronounced rhythmic pulse. Most of her compositions are instrumental, both orchestral and chamber. As with most Polish composers, her post-war compositions were strongly influenced by folk music. With the partial liberalization in Poland following Stalin’s death, her idiom became more varied and incorporated some modern harmonies but usually retained the classical structures.

Bacewicz composed the Overture in the dark days of 1943, during the Nazi occupation, but it was not premiered until 1945, after the liberation. Except for one short elegiac interlude dominated by the woodwinds, it is a pounding orchestral rush.

Violin Concerto in D minor, Op. 47

Jean Sibelius (1865-1957)

Jean Sibelius was by no means a child prodigy. He began playing piano at nine, didn’t like it and took up the violin at 14. Although he also started composing at 10, Sibelius’s ambition was to become a concert violinist and throughout his adult life regretted not following his dream. Lifelong addiction to alcohol produced a persistent tremor in his hands that precluded a concert career.

Sibelius’s first success as a composer came in 1892 with a nationalistic symphonic poem/cantata titled Kullervo, Op. 7. The work met with great praise but was never again performed in his lifetime. During the next six years he composed music for numerous nationalistic pageants, symphonic poems and vocal works, mostly based on the Finnish national epic, the Kalevala. In appreciation and in order to enable him to compose undisturbed, the Finnish governing council gave Sibelius a pension for life in 1897. For the next 28 years he

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Grażyna Bacewicz

Overture for Orchestra

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Jean Sibelius

Violin Concerto in D minor, Op. 47

Alexi Kenney, Violin

I. Allegro moderato

II. Adagio di molto

III. Allegro, ma non tanto

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Antonín Dvořák

Symphony No. 8 in G major, Op. 88

I. Allegro con brio

II. Adagio

III. Allegretto grazioso

IV. Allegro ma non troppo

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composed the symphonies and other orchestral works that made him famous. In 1926, at the age of 60, he suddenly ceased composing for reasons never disclosed – although probably from the combined ravages of alcoholism and bipolar disorder. His pen remained silent until his death, 31 years later.

Sibelius wrote the Violin Concerto as a testimony to his failed ambition to become a violinist, pouring into it every known technical difficulty and then some. Composed on a commission in 1903, its Helsinki premiere received mixed reviews and Sibelius withdrew it for revision. Violinist Karl Halir, under the baton of Richard Strauss, premiered the thoroughly revised version in 1905 in Berlin. Sibelius forbade the performance of the first version, which was eventually released by the composer’s family in 1989, when it was finally recorded.

The First movement is by far the weightiest. It explores Sibelius’s particular take on sonata form with the themes evolving from one another without a true development section. The soloist opens the Concerto with a stunning theme, which is continually broken up into its motivic elements –particularly the opening three notes – and transformed throughout the movement. The orchestra introduces a second theme, which Sibelius subsequently uses as a refrain. Rather than constructing the movement as a continual dialogue between soloist and orchestra in the standard concerto style, Sibelius intersperses the movement with several cadenzalike passages, beginning with the opening. The principal cadenza at the end of the movement is based mainly on the opening theme and requires spectacular technical virtuosity.

The second movement has always been considered the weakest and has been occasionally called sentimental, self-indulgent salon music. It is unusual in the amount of music given to the violin in its lowest register and — as much as Sibelius himself would have cringed to hear it — resembles closely the expansive emotive utterings of Tchaikovsky.

Predictably, the final movement is technically thrilling and exceptionally challenging. It focuses on two themes, the first introduced by the soloist accompanied only by an insistent pounding ostinato in the timpani and the basses. Its second theme has a lumbering rhythm, once described as “A Polonaise for polar bears.” Towards the end the violin repeats the first theme in eerie harmonics.

Symphony No. 8 in G major, Op. 88

Antonín Dvořák

(1841-1904)

Given his place as one of the foremost composers of the nineteenth century, Antonín Dvořák was something of a late bloomer, but not for want of musical talent and promise. Dvořák’s father was a butcher and had expected his son to go into the family trade. Only after his uncle had agreed to finance the boy’s musical education was he able to follow his passion for music. Trained as a church organist, his first job was as a performer, playing principal viola in Prague’s new Provincial Theatre Orchestra. During this time, he practiced composition, producing songs, symphonies and entire operas but achieved no recognition until he was in his 30s.

After winning national prizes for several years in the 1870s, however, his work came to the attention of Johannes Brahms, who gave him his first real break. The older composer, whose reputation was at its height, promoted Dvořák to his own publisher, Simrock, who in turn offered Dvořák his first commission, the Op. 46 set of Slavonic Dances. Brahms and the music critic Eduard Hanslick urged him to move to Vienna, but Dvořák’s love for his native soil kept him in Prague. Like his older nationalist compatriot Bedrich Smetana, he freely incorporated folk elements into his music, utilizing characteristic peasant rhythms and melodic motives but never actually quoting entire folk melodies.

Dvořák was never happier than when he could work in a simple rural environment with its Czech language and customs. It was in just such surroundings that, in a white heat,

he composed the Symphony No. 8 in 1889. He began sketching it on August 26, finished the orchestration on November 8 and premiered it in Prague in February the following year. More than his other symphonies, it reflects his love for his native culture. It is the most “national” of his nine symphonies.

By the time he composed the Eighth Symphony, Dvořák was well known and respected, but he nevertheless had problems publishing it. Simrock now saw quicker profits in short piano pieces — more Slavonic Dances, chamber music and songs — and offered a trifling sum for the Symphony. As a result, it was known for a long time as Dvořák’s “English Symphony” because it was published by London’s Novello, who paid the composer handsomely.

The Symphony constantly shifts between the major and minor modes. It opens in G minor with a solemn introduction for cellos and the lower winds, not unlike a funeral march. This contrasts with the cheery flute melody like a birdsong that dominates the movement, although the solemn introduction reappears twice, once unchanged and the second time brighter with the full orchestra and in a higher register.

The slow movement, the longest and most complex of the four, creates a particular kind of tension, both musical and emotional. It begins with what might best be described as a recitative for orchestra. The long opening, sometimes discursive, sometimes halting, consists of numerous motivic fragments that are later developed throughout the movement — including another bird call heard first in the flute and oboe — resolving finally into the movement’s single full-fledged melody. However, Dvořák does not linger on the sunny optimism of this melody, returning to the more passionate, tonally unstable material in which he further develops his expansive collection of motivic ideas. After several more mood swings, including a passionate climax in the brasses, it is the birdcall – perhaps representing the calming power of nature – that has the final say.

The Scherzo is a sad, waltz-like peasant dance with a nostalgic woodwind melody. The lovely Trio, a gentle waltz, is also used for the coda, but at double the tempo, a device Brahms had used in his Second Symphony.

The Finale opens with a trumpet fanfare theme. It is transformed into a slow dance tune in the lower strings that undergoes a series of variations. A lively transformation of the main theme, including a resounding trill for the entire horn section, serves as a refrain.

Alexi Kenney, Violin

Alexi Kenney is forging a career that defies categorization, following his interests, intuition, and heart. He is equally at home creating experimental programs and commissioning new works, soloing with major orchestras around the world, and collaborating with some of the most celebrated musicians of our time. Alexi is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award.

In recent seasons, Alexi has soloed with the Cleveland Orchestra, San Francisco Symphony, l’Orchestre de la Suisse Romande, Detroit Symphony, Rochester Philharmonic, Oregon Symphony, Louisville Orchestra, and l’Orchestre de Chambre de Lausanne, as well as in a play-conduct role as guest leader of the Mahler Chamber Orchestra. He has played recitals at Wigmore Hall, on Carnegie Hall’s ‘Distinctive Debuts’ series, Lincoln Center’s Mostly Mozart Festival, Philadelphia Chamber Music Society, 92nd Street Y, and the Isabella Stewart Gardner Museum. Winner of the 2013 Concert Artists Guild Competition and laureate of the 2012 Menuhin Competition, Alexi has been profiled by Musical America, Strings Magazine, and The New York Times, and has written for The Strad

Chamber music continues to be a major part of Alexi’s life, regularly performing at festivals including Caramoor, ChamberFest Cleveland, La Jolla, Ojai, Marlboro, Music@ Menlo, Ravinia, Seattle, and Spoleto. He is a founding member of Owls — an inverted quartet hailed as a “dream group” by The New York Times — alongside violist Ayane Kozasa, cellist Gabe Cabezas, and cellist-composer Paul Wiancko.

Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

Born in Palo Alto, California in 1994, Alexi is a graduate of the New England Conservatory in Boston, where he received an Artist Diploma as a student of Miriam Fried and Donald Weilerstein. Previous mentors in the Bay Area include Wei He, Jenny Rudin, and Natasha Fong. He plays a violin made in London by Stefan-Peter Greiner in 2009 and a bow by François-Nicolas Voirin.

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Terrence Wilson Piano

Iconic, legendary, epic — the Emperor stands alone as an unrivaled titan among concertos. With his fifth and final piano concerto, Beethoven crafts an innovative and epic masterpiece that surpasses his predecessors’ wildest dreams. Sharing the program with Beethoven is one of his early inspirations: C.P.E. Bach, son of J.S. Bach and a master in his own right. Rounding out the program is Brahms, the man perhaps most preoccupied with Beethoven’s legacy. As Beethoven’s de facto successor, Brahms revered, grappled with, and eventually transcended his idol’s legacy.

Symphony in D major, Wq 183/1, (H. 663)

Carl Philipp Emanuel Bach (1714-1788)

The second son of Johann Sebastian Bach, Carl Philipp Emanuel had something of a musical split personality. In his autobiographical essay (1773) he writes, “Because I have had to compose most of my works for the public, I have always been more restrained in them than in the few pieces that I have written mainly for myself. At times, I have even had to follow ridiculous instructions.”

For over 30 years, C.P.E. Bach’s patron was the proficient flutist and musically conservative Frederick the Great of Prussia, and when Bach finally managed to wangle his way out of the king’s employ in 1767, there was apparently little love lost between the two. Bach then went to Hamburg as Kantor and music director, a position vacated by his godfather Georg Phillip Telemann.

The most characteristic features of C.P.E. Bach’s style were violent shifts in dynamics, rhythm and key. It is a representative of the socalled Sturm und Drang (Storm and Drive) movement which strongly influenced Haydn and Mozart. Bach always preferred the company of literati and intellectuals to that of musicians, and it is little wonder that his own style is so reflective of the stormy, emotional writing of the poets of this time. Even listeners today get a sense of musical whiplash when confronted with the composer’s surprises. Granted, however, to us his music seems delightfully quirky, rather than emotionally overwrought — but then we’re listening through ears accustomed to nineteenth-century Romanticism and twentiethcentury dissonance.

All C. P. E. Bach’s symphonies were three-movement affairs, with a sentimental slow movement sandwiched between two allegros; all three movements are played without pause. The four symphonies Wq 183 were probably composed in 1775 and published in 1780 with a dedication to Crown Prince Friedrich Wilhelm of Prussia.

The Symphony is particularly fraught with instability; from the first note Bach sets up a series of expectations of the tonic, or key, only to derail them a measure or two later. But there’s method in this madness. The first movement sets up a stormy narrative, with an operatically somber response in the largo slow movement, while the finale — also typical of opera at the time — resolves everything in a jaunty presto rondo.

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”

Ludwig van Beethoven (1770-1827)

Two of the signature aspects of Western thought are the importance of progress and individuality. Nowhere are these concepts more apparent than in the history of music, where we give special attention to innovation in form and harmony. While not always appreciated at first hearing — witness the audience riot over Stravinsky’s Rite of Spring — innovators eventually receive their due — in hindsight.

In his greatest works, Beethoven was both an innovator and an individualist who attempted to put his personal stamp on everything from harmony and musical structure to advances in piano construction.

C. P. E. Bach

Symphony in D major, H. 663

I. Allegro di molto

II. Largo

III. Presto

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Ludwig van Beethoven

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”

Terrence Wilson, Piano

I. Allegro

II. Adagio un poco mosso

III. Rondo: Allegro

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Johannes Brahms

Symphony No. 3 in F major, Op. 90

I. Allegro con brio

II. Andante

III. Poco allegretto

IV. Allegro

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While retaining the three-movement form of the concerto, he expanded the internal structure of the individual movements, especially in the Fourth and Fifth Piano Concertos. The dramatic use of the piano in the opening phrases of these concertos was tried only once before — by Mozart in his Piano Concerto in E-flat major, K. 271 — and did not occur again in any major piano concerto until the B-flat major Concerto of Brahms. The thunderous opening of the Fifth Concerto was without precedent, as was Beethoven’s refusal to allow the performer to improvise a cadenza.

Beethoven composed the Concerto in Vienna during the summer of 1809, under conditions hardly conducive to creativity. Following a day of heavy bombardment, Vienna surrendered to the French army under Napoleon, and those citizens who could afford to flee did so, including Beethoven’s patron and friend the Archduke Rudolph. Prices and taxes skyrocketed, food was scarce, parks were closed to the public and Beethoven remained in the city, alone and lonely. In spite of the hardships during those trying months, he managed to compose some of his greatest works: the Piano Sonata Op. 81a (“Les adieux”), the Quartet in E-flat, Op. 74 (the “Harp”) and the “Emperor” Concerto (the title bestowed on it by one of the publishers, without Beethoven’s approval.)

The Fifth Piano Concerto was premiered in Leipzig in 1811 to an enthusiastic reception. It was the only one of Beethoven’s piano concertos without the composer himself at the keyboard, since by that time his hearing had deteriorated too far for him to perform in public, especially with an orchestra. Two months later, however, the first performance in Vienna was a total failure, primarily because the Concerto was on the program of a Charity Society performance featuring three living tableaux on Biblical subjects — hardly a suitable milieu.

The Concerto opens with a powerful orchestral chord, followed by a sweeping cadenza-like flourish by the piano solo. Only after two more

orchestral chords interrupted by the piano outbursts, does the orchestra introduce the principal theme. The movement is stormy and driving with some of the same harmonic ambiguity as in the first movement of the Fourth Concerto. At the point where traditionally, one would have expected a cadenza, the pianist’s score bore Beethoven’s directive: “Do not play a cadenza!” The music that follows, however, has all the characteristics of a cadenza as if the composer wanted to be sure that his ideas, not the performer’s, would prevail.

The hymn-like lyrical second movement opens with the muted violins introducing the theme, followed by a pianissimo aria by the piano. There follow two variations, the first by the piano, the second by the orchestra. Then follows one of Beethoven’s most mysterious musical moments, the hushed transition leading without pause into the exuberant Rondo. Beethoven builds up immense tension by subtle changes in key and tempo with hints of the rondo refrain to come, until the Finale bursts out in its jubilant mood.

Symphony No. 3 in F major, Op. 90

Johannes Brahms (1833-1897)

Unlike Beethoven, Johannes Brahms allowed not a trace of his compositional process to be revealed to the public. Any sketches, drafts or pre-orchestrations were consigned to flame, along with early works the composer considered inferior. We know, therefore, virtually nothing about the genesis of the Symphony No. 3, only that it was composed during the summer of 1883 in the German town of Wiesbaden, some six years after the Second Symphony. There has been some discussion about one of the composer’s many infatuations, this time with a talented young contralto, Hermine Spies, with whom the 50-year-old composer kept up an intense — but almost certainly chaste — relationship for several years. He apparently spent the fruitful summer in Wiesbaden because of her, but the extent of her influence on his creative output of that period, beyond

a number of vocal works, is impossible to ascertain.

The Symphony premiered on November 9, 1883 in Vienna. It was a tremendous success, far greater than anything Brahms had ever experienced. Apparently, he was more than a little unnerved by the acclaim, remarking, “The reputation [it] has acquired makes me want to cancel all my engagements.”

The Third is the shortest of Brahms’s symphonies, containing thematic interrelationships among the movements that to some degree determine its compact structure. It is unusual also in the fact that three of its movements are in sonata form, in the absence of a true scherzo/trio and in the general uniformity of tempo of all but the final movement.

One cannot discuss the Symphony without spending some time on the dramatic opening measures whose major-minor ambiguity pervades the entire work. Brahms’s biographer, Jan Swafford, notes the strong similarity, especially in rhythm, between the theme and the opening theme of Schumann’s Symphony No. 3. Given the close personal relationship between the two composers during Brahms’s youth, Swafford considers the thematic relationship as probably deliberate.

In the second movement Andante, Brahms continues to play with the major-minor ambiguity. In the recapitulation, he omits repeating the second theme altogether, saving it for the Symphony’s final movement.

The third movement was the “hit” of the entire Symphony and was frequently encored at performances in Brahms’s time, when such concert etiquette as applause between movements and internal encores were common. Its triple meter and slightly contrasting middle section are all that remain of the traditional classical minuet or scherzo and trio. More of a romanza, it opens with a wistful, almost longing theme, replete with sighing figures.

In the Classical symphony, the first

movement is nearly always the most substantial, raising “issues” that are finally resolved in an exciting finale. After Beethoven’s Ninth, composers frequently appended to the finale a triumphant coda, as did Brahms in his First Symphony.

The Third Symphony exemplifies a slightly different take on the custom. Certainly, the darkest and most tempestuous movement in the Symphony, the finale begins clearly in F minor, accentuating the major/minor ambiguity that Brahms had set up from the start. Immediately after the fluid opening theme, Brahms brings back in slightly altered form the second theme from the second movement that he had omitted in the recapitulation. But this symphony is not a Beethoven’s Ninth nor even a Brahms’s First: rather than concluding in a resounding climax, the darkness and ambiguity dissolve gently in the final measures.

Terrence Wilson, Piano

Acclaimed by the Baltimore Sun as “one of the biggest pianistic talents to have emerged in this country in the last 25 years” pianist Terrence Wilson has appeared as soloist with the symphony orchestras of Atlanta; Baltimore; Cincinnati; Dallas; Detroit; Houston; Washington, DC (National Symphony); San Francisco; and more. Abroad, Terrence Wilson has played concerti with such ensembles as the Lausanne Chamber Orchestra in Switzerland, the Malaysian Philharmonic, the Royal Scottish National Orchestra, and more.

An active recitalist, Terrence Wilson made his New York City recital debut at the 92nd Street Y, and his Washington, DC, recital debut at the Kennedy Center. In Europe he has given recitals at the Verbier Festival in Switzerland, the Louvre in Paris, and countless other major venues. In the US he has given recitals at Lincoln Center in New York City, the Ravinia Festival in Chicago, and many more. An avid chamber musician, he performs regularly with the Ritz Chamber Players. Festival appearances include the Blossom Festival, Tanglewood, Wolf Trap, with the San Francisco Symphony at Stern Grove Park, and an appearance with the Grant Park Symphony Orchestra.

Terrence Wilson has received numerous awards and prizes, including the SONY ES Award for Musical Excellence, an Avery Fisher Career Grant, and the Juilliard Petschek Award. He has also been featured on several radio and television broadcasts, including NPR’s “Performance Today.” In 2011, Wilson was nominated for a Grammy in the category of “Best Instrumental Soloist With an Orchestra” for his (world premiere) recording with the Nashville Symphony conducted by Giancarlo Guerrero of Michael Daugherty’s Deus ex Machina for piano and orchestra — written for Wilson in 2007.

Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

Terrence Wilson is a graduate of The Juilliard School, where he studied with Yoheved Kaplinsky. A native of the Bronx, he resides in Montclair, New Jersey. In March 2021, Wilson was appointed to the piano faculty at Bard College Conservatory of Music.

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November 22, 2024 at 8:00 p.m.

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Darko Butorac Conductor

featuring the Asheville Symphony Chorus under the direction of Kyle Ritter

When asked to name the greatest composer of all time, Beethoven exclaimed without hesitation, “Handel — to him I bow the knee.” Mozart too held the English master in high regard: “Handel understands effect better than any of us… When he chooses, he strikes like a thunderbolt.” Experience the full might and awe-inspiring emotional weight of Handel’s legendary Messiah featuring four outstanding soloists and the Asheville Symphony Chorus.

Messiah

George Frideric Handel (1685-1759)

By now probably the best known, best loved and most performed choral work of all time, Messiah was in many ways an experiment for Handel. Faced with a sharp decline in popularity in England of the Italian opera seria, the composer’s first love and musical priority, Handel somewhat reluctantly toyed with a new musical form of his own devising. The oratorio, a musical dramatization of a sacred theme, performed without staging or scenery, was developed in Italy at the beginning of the seventeenth century. About the same time in Germany, un-staged renditions of Christ’s passion according to the Evangelists were performed in church during Holy Week. But the English oratorio, as developed by Handel, while owing something to these early ancestors, was quite a different creature.

Necessity is the mother of invention, and for Handel, the oratorio was something of a compromise. It was a way to continue to compose and perform opera-like works in the face of the decline in popularity of opera proper, and at those times when the theaters were closed (as for Lent or for the death of Queen Caroline). A side benefit was that the oratorio was much cheaper to produce as it required no scenery. In 1734, Charles Jennens sent the composer a libretto for the Jewish Scriptures account of King Saul that served as the catalyst for what was to become the main compositional pursuit of Handel’s late career.

By the time Handel began to compose his first oratorios, he was nearly 50 and a consummate master of all the musical genres of the high Baroque. He had composed dozens of operas and instrumental works for large and small ensembles, as well as large choral compositions, including various liturgical pieces for the Anglican Church and the Anthems for the coronation of George II. His technical expertise, combined with a deep sensitivity in portraying human feelings in music, provided him with the tools for creating something truly original.

Most of Handel’s oratorios were musical dramas based on biblical stories. Religious themes were considered inappropriate for staging in the theater, but the oratorios shared with the opera heroic action combined with compelling human drama. Handel’s dramatic use of the chorus was indirectly borrowed from Greek tragedy, where it serves both to portray the community and to comment on the action. And because scene structure was no longer wedded to the operatic formula of the da capo aria in strict ABA form, Handel expanded the structural possibilities of the aria itself as well as its placement within the drama.

Messiah, however, is not a dramatic oratorio, but rather a collection of biblical extracts compiled as a complement and response to the story of Christ’s incarnation, death and resurrection. There are no dramatic characters, the soloists adopting a primarily prophetic voice and the chorus responding as a kind of universal congregation. It is unique among all the composer’s works. Perhaps that is why Israel in Egypt,

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George Frideric Handel

1. “Sinfonia”

2. “Comfort Ye”

3. “Ev’ry Valley”

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4. “And the Glory of the Lord”

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5. “Thus Saith the Lord”

6. “But Who May Abide”

7. “And He Shall Purify”

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8. “Behold, A Virgin Shall Conceive”

9. “O! Thou that Tellest”

10. “For Behold! Darkness Shall Cover the Earth”

11. “The People that Walked in Darkness”

12. “For Unto us a Child is Born”

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13. “Pastoral Symphony”

14a. “There Were Shepherds”

14b. “And Lo! The Angel of the Lord”

15. “And the Angel Said Unto Them”

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16. “And Suddenly There was With the Angel”

17. “Glory to God”

18. “Rejoice Greatly”

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19. “Then Shall the Eyes of the Blind”

20. “He Shall Feed His Flock / Come Unto Him”

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21. “His Yoke Is Easy”

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22. “Behold the Lamb of God”

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24. “Surely He Hath Borne our Griefs”

36. “Thou Art Gone Up on High”

38. “How Beautiful Are the Feet”

42. “He That Dwelleth in Heaven”

43. “Thou Shalt Break Them”

44. “Hallelujah”

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47. “Behold, I Tell You a Mystery”

48. “The Trumpet Shall Sound”

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53. “Worthy is the Lamb / Amen”

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rather than Messiah, was the model followed by future composers, including Haydn in The Creation and Mendelssohn in Elijah.

Handel composed Messiah in a little over three weeks, typically dipping into earlier compositions when it suited his taste and probably his schedule: “And He shall purify,” “For unto us a child is born” and “His yoke is easy” were originally Italian secular cantatas for two voices. Remnants of moribund opera seria style can be heard in the da capo aria “Rejoice greatly,” but the repeat of the first part is by no means exact, driving to an emotional and musical climax that ends the aria. Another distinction in this aria is that Handel notated the ornamentation instead of allowing the singer carte blanche to improvise, as was the custom with the castrati who dominated the operatic stage.

Messiah was commissioned by the Lord Lieutenant of Dublin and was an enormous success at its premiere performance in 1742, but it fell flat the same year in London. Only after it had been revised and presented in concert for the benefit of the Foundling Hospital in London (which continued to make over £600 at each of its annual benefit performances) did it take off on the way to its current popularity. But nothing boosted the work so much as its adoption every Christmas by traditional English civic choral societies, in which “casts of thousands” continue to belt out the choruses that at its premiere comprised only 33 instrumentalists and 32 singers.

Always attentive to matching words and music, Handel, like Bach, frequently used tone painting to accentuate important textual elements: Note the trills on the word “shake” in the bass recitative “Thus saith the Lord” and the twisting chromatic vocal line in the bass aria to portray “The people that walked in darkness.” On the other hand, note how difficult it is for the chorus to sing the word “easy” in “His yoke is easy.” The instrumental “Pastoral symphony” portrays the shepherds

through the use of the drone in the bass, representing a simple rural bagpipe and the lilting rhythm of traditional Italian folk music.

The first part of Messiah deals primarily with the prophecies of Christ’s birth, mainly from the Book of Isaiah, and more meditative psalm texts. The texts are all optimistic, focusing on redemption through acceptance of a merciful and gentle savior. The actual Christmas story is told only in the three central numbers, the chorus “For unto us a child is born,” the recitative “There were shepherds abiding in the fields,” and the chorus “Glory to God,” in which the soprano soloist serves as “Evangelist” and the chorus as “Mankind” and the heavenly host respectively.

Part Two is distinct from the Passion oratorios in that is does not tell the story of the crucifixion but is rather a meditation on Christ’s death and mankind’s need for redemption. The events surrounding the crucifixion occur as indirect allusions; there is no dramatic representation of the Passion. The meditation begins with the chorus, “Behold the lamb of God, who taketh away the sins of the world.” These words become the theme of Part Two, Jesus’ sacrifice as a means of saving humankind. The chorus, “And with his stripes we are healed,” conveys a redemptive message to the scene of Jesus’ torture. (Incidentally, Mozart used the fugue subject of this chorus in the Kyrie of the Requiem.) Handel lightens the tone a bit in the chorus, “All we like sheep have gone astray,” by writing the vocal lines in meandering and sometimes incorrect counterpoint, one of the most brilliant tone painting devices of Messiah. The recitatives and arias in Part Two, “He was despised,” “Thy rebuke hath broken his heart” and “Behold and if there be any sorrow,” and “And they that see him laugh him to scorn,” are more intimate and are a contemplation of Jesus’ suffering.

The aria, “But thou didst not leave his soul in hell, is the transition aria that introduces the second half of

Part Two, the Resurrection. It refers to the belief that Jesus descended into hell on Holy Saturday to bring out the souls of the righteous –particularly the Jews, who believed in one God. At this point, the musical atmosphere lightens considerably, much of it welcoming Jesus into heaven as in the chorus, “Lift up your heads, Oh ye gates.” The text then turns to the earthly concerns, particularly the spreading of the Christian message in the chorus, “Their sound is gone out.” Nervous strings support the aria, “Why do the nations so furiously rage together.” Once again, the texts are taken primarily from the Hebrew Scriptures, which Christians believe anticipate Christ’s sacrifice. Part Two concludes with the “Hallelujah” chorus, celebrating the redemption of man rather than the tragedy of Christ’s death.

Part Three is a musical consideration of the significance for humankind of the message of redemption and even looks forward to the second coming and the end of days when the Messiah will return (the aria, “I know that my redeemer liveth”). Every one of the nine numbers in Part Three treats the theme of eternal life. The final enormous chorus, “Worthy is the lamb that was slain,” is a joyous celebration of praise and thanks.

Program notes by: Joseph & Elizabeth Kahn www.wordprosmusic.com

Jessica Beebe, Soprano

Lauded by Opera News as “evocative and ethereal,” “a honey-colored tone,” and “the most radiant solo singing,” soprano Jessica Beebe is steadily gaining international attention as an affecting interpreter of repertoire spanning over four centuries, ranging from Renaissance music to contemporary American opera. In recent seasons, she has appeared as a guest soloist in concert with The New York City Chamber Orchestra at Carnegie Hall, The Los Angeles Philharmonic at Walt Disney Hall, and more. In the realm of opera, Ms. Beebe has performed a variety of roles including Barbarina in Le nozze di Figaro, Zerlina in Don Giovanni, Despina in Così fan tutte, and more.

Timothy Parsons, Alto

Timothy Parsons is an acclaimed and GRAMMY®-nominated countertenor and choral conductor. He has travelled and performed extensively — as an ensemble and consort singer, and as soloist — in such venues as New York’s Carnegie Hall, Metropolitan Museum of Art, and Alice Tully Hall, London’s St John’s Smith Square, Montreal’s Salle Bourgie, and Utrecht’s Tivoli Vredenburg. Timothy has performed with many of North America’s top early music ensembles, including TENET Vocal Artists and Apollo’s Fire. He has had the great privilege of premiering two Pulitzer-prize winning operas, Ellen Reid’s p r i s m, for LA Opera and the Prototype Festival, and Du Yun’s Angel’s Bone for the Prototype Festival.

Brian Giebler, Tenor

Praised for “lovely tone and deep expressivity” by The New York Times, GRAMMY®nominated tenor Brian Giebler radiates “shine and clarity” (Opera News) in every phrase using “his high-placed tenor with great skill” (Opera Magazine). His debut solo album a lad’s love garnered high praise from Gramophone, Opera News, and San Francisco Classical Voice, and earned him his first GRAMMY® Award nomination for Best Classical Solo Vocal Album. “The sweetness of Giebler’s impressive high tenor” and his “expressive and elegant phrasing” (Cleveland Classical) have been heard as Apollo in Handel’s Semele with The English Concert; Stravinsky with The Cleveland Orchestra; Adam in REV 23 at the Prototype Festival; and more.

Jonathan Woody, Bass

Jonathan Woody is a versatile and dynamic musician who maintains an active schedule as a performer and composer in New York and across North America. Cited by the Washington Post for singing “with resonance and clarity,” Woody is in demand as a bass-baritone soloist, appearing regularly with historically informed orchestras including Boston Early Music Festival, Apollo’s Fire, Trinity Baroque Orchestra and New York Baroque Incorporated. An accomplished chamber musician, Woody often performs as a member of the GRAMMY®-nominated Choir of Trinity Wall Street, where he has earned praise from the New York Times for his “charismatic” and “riveting” solos.

Harrah’s Cherokee Center Asheville ExploreAsheville.com Arena

December 5, 2024 at 7:00 p.m.

The Asheville Symphony Youth Orchestra and the Asheville Symphony combine forces with the incredible Cirque de la Symphonie for a familyfriendly holiday-themed performance featuring favorite tunes from Tchaikovsky, John Williams, Brahms, and much more — all while acrobats perform death-defying feats, tumbling through the air and across the stage.

Leroy Anderson

A Christmas Festival

Company of Cirque de la Symphonie, Guest Artists

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

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

Cirque de la Symphonie performs with dozens of orchestras across North America and beyond each season. Sold-out venues feature a wave of new faces that includes families, students and young professionals, many witnessing a live orchestra for the first time. Something magical happens when these cirque veterans take the stage in front of the live orchestra. Audiences are mesmerized by aerialists flying over their heads. Children are amazed at the wizardry of juggling feats and magic acts. The strength and flexibility of strongmen and contortionists leave audiences astounded. Everyone departs with smiles beaming from their faces.

CONCERT SPONSOR

GUEST ARTIST CO-SPONSORS

Music Sponsor

Olivia & Gary Zahler

Johannes Brahms

Symphony No. 3 in F major, Op. 90, III. Poco allegretto

Music Sponsor

Debbie Green

Carlos Gardel

Por una Cabeza

Georges Bizet

L’Arlésienne Suite No. 2, IV. Farandole

Leroy Anderson

Sleigh Ride

Claude Debussy

Clair de Lune

Music Sponsor Hank Young

Music Sponsor

Sarah Van Gunten

Music Sponsor

Judith Van Horne and Stephen Hendricks in celebration of the Asheville Symphony Youth Orchestra

Pyotr Ilyich Tchaikovsky

“Dance of the Reed Pipes” from The Nutcracker

John Williams

“Flight to Neverland” from Hook

Johann Strauss II

INTERMISSION

Unter Donner und Blitz Polka, Op. 324

Pyotr Ilyich Tchaikovsky

“Danse des petite cygnes” from Swan Lake, Op. 20

Nikolai Rimsky-Korsakov

“Dance of the Buffoons” from The Snow Maiden

Pyotr Ilyich Tchaikovsky

“Trepak” from The Nutcracker

Jeff Tyzik

Chanukah Suite

Pyotr Ilyich Tchaikovsky

“Dance of the Sugar Plum Fairy” from The Nutcracker

Music Sponsor Debbie Green

Pyotr Ilyich Tchaikovsky

“Pas de Deux” from The Nutcracker

Traditional

We Wish You a Merry Christmas

Music Sponsor Adarrell Gadsden & Marcie Ownbey

Donald Gavin & Jayne Schnaars

CAROL MARIN

Harrah’s Cherokee Center Asheville

Thomas Wolfe Auditorium

December 31, 2024 at 8:00 p.m.

Ring in the New Year with an unforgettable ABBA tribute show featuring Direct From Sweden backed by your Asheville Symphony! Grab your shiniest disco boots and let’s take a chance on 2025 the way old friends do with hits like “Mamma Mia,” “Dancing Queen,” and more!

Waterloo

Music Sponsor

Daniel & Caroline Crupi

Knowing Me, Knowing You

Music Sponsor

Mary Ellen Dendy & Aaron Dahlstrom

Super Trooper

When All Is Said and Done

SOS Fernando Name of the Game

Money, Money, Money

Mamma Mia!

Music Sponsor

Judith Van Horne and Stephen Hendricks in celebration of The Asheville Symphony Youth Orchestra

INTERMISSION

Gimme! Gimme! Gimme!

Music Sponsor

Mary Ellen Dendy & Aaron Dahlstrom

Does Your Mother Know

I Have a Dream

The Winner Takes It All

Chiquitita

Dancing Queen

Music Sponsor

Al & Margareta Koch

Music Sponsor Al & Margareta Koch

Music Sponsor Adarrell Gadsden & Marcie Ownbey CONCERT SPONSOR GUEST ARTIST SPONSOR

Graphic design studio crafting notice-worthy brands, websites + more for creatives + creators. Proud to collaborate with your Asheville Symphony. HELLECREATIVE.COM

Hayes School of Music

Dr.

Music Director of the Asheville Symphony Youth Orchestra Director of Orchestral Studies at App State

Dr. Pedro Oseias Maia

Dr. Alicia Chapman

Alexandra Dee

Drs. Joanne & Tom Parker

Thomas C. Bolton

Bill & Nancy Gettys

David & Pamela Lane

Henry A. LaBrun

Craig Allen & Julie Cowden

Diane & Rich Byers

George & Kathy Dambach

Dr. Bolling Farmer

Donald Gavin & Jayne Schnaars

$5,000+

Gary & Patty Coleman

Dr. & Mrs. Ralph C. Loomis

Billie Marzullo, Rhonda & Marcus Grimes, and Kathy & George Dambach

Phil & Katie Osborn in fond memory of “Lambo” Larry Marzullo

Gerry & Nancy Kitch

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

Richard Schaffer & Anastasia Bartlett

Olivia & Gary Zahler in memory of Katherine Armitage & Jack Jones

David & Dianne Worley

Adarrell Gadsden & Marcie Ownbey Mountaine Jonas

$3,000+

CAROL MARIN

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

The Asheville Symphony is committed to providing unparalleled customer service to its corporate partners. Each sponsorship package can be tailored to meet your specific business objectives.

CORPORATE SPONSORSHIPS & BENEFITS

If your company or business is interested in sponsoring Asheville Symphony concerts, special events, or artists please call the Development office at 828.820.2520 or email development@ashevillesymphony.org to learn more about partnership opportunities and associated donor benefits.

IN-KIND SPONSORSHIPS

An in-kind sponsorship is a great way to introduce your products and/or services to an upscale audience while supporting your Symphony. Needs vary from season to season but generally include such items as wine, liquor, and catering. For more information, please contact the Development office at 828.820.2520 or email development@ashevillesymphony.org.

Here’s how we make music with your dollars:

$50

$170

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

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

$1,000

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

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 Allows for one workshop for the Asheville Symphony Youth Orchestra

$10,000 Pays the fees and travel for one guest soloist

$30,000

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

MEDIA

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 Amadeus Festival

• Asheville Symphony Youth Orchestra

• Music Education Initiatives

• Endowment

The following recognition encompasses contributions made from January 1, 2024 through August 13, 2024.

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

$100,000+

Ingeborg Meeke*

JoAnne Setzer*

$50,000 - $99,999

Asheville Symphony Guild

Flow Volkswagen Porsche Audi of Asheville

iHeart Media

Kimpton Hotel Arras

Drs. Joanne and Tom Parker

$25,000 - $49,999

Thomas C. Bolton

Clover CBD Dispensary

Bill and Nancy Gettys

Gerald and Nancy Kitch

David and Pamela Lane

North Carolina Arts Council

The Payne Fund

James S. Thompson

Sarah Van Gunten

$15,000 - $24,999

Michael and Catty Andry

Blue Spiral 1

Lynne and John Eramo

Explore Asheville

Donald Gavin and Jayne Schnaars

Givens Communities

Keith Keener

Jim and Mary Kirby

Henry A. LaBrun

Ralph Protsik and Susan Wolin

Olivia and Gary Zahler

$10,000 - $14,999

Craig Allen and Julie Cowden

ArtsAVL

Audrey Love Charitable Foundation

Diane and Rich Byers

Chaddick Foundation

Gary and Patty Coleman

George and Kathy Dambach

Dr. Bolling Farmer

Hatchworks Coworking

Helle Creative

Carolyn L. Hubbard

Jill and Joe Lawrence

Amy Loether

Barbra and Keith Love

Carol and Hugh McCollum

Tony McLean Brown and Kelli Darlin

Morgan Stanley Private Wealth Management - The Andry / Harris Team

Northwestern Mutual - Marlowe Pasarilla Wealth Management Group

Penley Produce Vacation Homes

Bob and Martha Pierce

QC Kinetix

Richard Schaffer and Anastasia Bartlett

Ed and Cindy Towson

David and Dianne Worley

$7,500 - $9,999

Mary and Jack Anderson

Kathryn Theodore Travel Advisors

Dr. and Mrs. Ralph C. Loomis

McGuire, Wood & Bissette

Phil and Katie Osborn

Roberts & Stevens, P.A.

Gary and Neesa Warlen

$5,000 - $7,499

Anonymous

Awaken Skin & Body Bank of America

Ashley Sayre Bell

The Balgley Family Charitable Foundation

Diana Bilbrey

Buncombe County

City of Asheville

Dr. E. Brown Crosby

Dr. John and Wendy Cuellar

John and Suellyn Felker

First Bank

Adarrell Gadsden and Marcie Ownbey

Highland Brewing Company

HomeTrust Bank

Kathryn and Peter Muhs

Gary and BA Schenk

Dr. Tony Sciara, Ph.D and Dr. Jill Vargo

Tito’s Handmade Vodka

$2,500 - $4,999

Anonymous

Lucy and Kirk Borland

Beverly Briedis

Bill* and Clarita Burton

Margaret Butler

Jane Christiansen*

Crawley, Lee & Company PA

D.R. Horton

Nancy and Ron Edgerton

Elaine and Michael Fulbright

Debbie Green

Clair Griffith and Geoffrey Mitchell

Rhonda and Marcus Grimes

Anne Jarema and Clifford Albertson

Mountaine Jonas

Carolyn Marlowe

Ann and Jerry McLellan

Mercy Urgent Care

Morgan Stanley Foundation

Carol Marin, Mosaic Community

Lifestyle Realty

Publix Super Markets Charities

Jim Reeves

The Sabri Foundation

Bill Schulz and Odile Perrenoud

Irene and Michael Stoll

Tom Tachovsky and Lynn Baird

Alan and Kathleen Young

$1,000 - $2,499

Anonymous

Brad and Diane Arnold

David and Sydney Atkinson

The Brookshire Garside Group of BAIRD

Mr. and Mrs. Robert T. Bayer

Blue Mountain Pizza

William Bond and Johnny Ko

Claude and Sallie Broach

Ed and Donna Broadwell

Timothy Butts and Susan

Harrington Butts

Lynne Cannady

Randy and Martha Carson

Gene and Lee Casey

Charles Clogston

John and Jeanne Condren

Daniel and Caroline Crupi

Darilyn Dealy and Lee Pagel

Jurgen and Leslie Dierks

Lori Doerr

John and Suzie Donahoe

Karen Dugas

Patricia Eargle

Richard and Bridget Eckerd

John and Marsha Ellis

Dr. Alan and Suzanne Escovitz

Betty Fox

Peter and Jasmin Gentling

Michael J. Grillot

Dr. and Mrs. Heinz K. Grohs

Sam and Robin Harben

Paul and Liz Hosier

Jennine Hough

Fred and Heather Hudson

Barbara and Bill Hume

Bill and Kitty Hunt

Judy and John Johnston

Gail Jolley

Jon and Ann Kemske

Susan and David Leader

The Leever Foundation

Rita Lenderman

Nancy Lilly and Marie-Odile Froment

John and Janet Long

Sue and George Luther

Billie Marzullo

Lois S. Carlson and Jerome Mrowca

Barbara Mueller

Russell and Ladene Newton

Dale and Barbara Phipps

Precision Restoration Services

Robin T. Rutledge and Karen

Keeler Rogers

Rotary Club of Asheville Foundation, Inc.

Cristian Rubiano, Merrill Lynch Wealth

Management

Susie and John Ruhl

Patrick Ryan

Wade and Mary Margaret Saunders

Dianne and Charles Sawyer

J. Howard and Honey Solomon

Gary and Jeanne Ann Stroebel

Cathy Stryker

Kelly Thompson

Judith Van Horne and Stephen

Hendricks

Betty Walker

Steven and Michele Warner

Hank Young

$500 - $999

Appalachian Mountain Brewery

Tom and Kay Beardsley

Nan Buschmann

Georgia Case

Karen L. Cianciulli

Carole and Joel Cotter

Virginia Craig

Al and Jamye Davis

Mary Ellen Dendy and Aaron Dahlstrom

Kristen Dusenbery

Drs. Louis Dwarshuis and Marilyn Kolton

Bruce and Day Ann Emory

William and Carol Falender

Linda and Jeffrey Fromson

Robin and Gordon Gaiser

Mrs. Edeltraut Gilgan-Hunt

Scott and Sally Gregg

Clementine Gregory

Rhonda and Marcus Grimes

Al and Betsy Gumpert

Richard and Yolanda Hall in memory of Rikki Hall

Stan Ingber and Laura Robbins

Bill Jacobs and Susan Posey

Elizabeth Justice

Al and Margareta Koch

Pat & Bud Kofron

Tom and Dian Leeper

Ned and Jane Lesesne

Virginia and Drew Litzenberger

Chuck Lockwood and Patrick Ryan

James Losse and Ellen Haack

Dr. Linda Lutz and Gary Ticknor

Henry and Elizabeth Mainwaring

Gail and Ron Manheimer

Diane and John Martin

Carol and Pedro Martinez

Robert Maxwell and Shelia Elingburg

Anne McKenzie

James H. McMillan and Carol H. Kaufman

Shirley Oltman

Jeffrey and Lisa Owen

Julene Reese Roberts

Irene Dillingham Richards Family Foundation

Frank Rutland

William Scarborough

Kenneth and Elizabeth Schapira

Beth Stickle Schoenheit

Larry and Marilyn Shames

James Storey and Janice Collins

Linda Walker

Paul B. Williamson

Gregory and Marjorie Zack

$250 - $499

Anonymous

Altura Architects

Mike and Lorna Anderberg

Bank Of America

David and Ann Bottomy

William Harlan and Stephanie Carpenter

Bill and Meg Clontz

Kay Dambach

Ellie Daniels

Kim Eiring

Polly S. Feitzinger

Cary and Koni Findlay

James and Linda Focareto

Peter Wortham Hawes

John and Carol Jackson

Marian and Thomas Jerdee

Ruth Sieber Johnson

Katherine and Jon Karraker

Elfi LaPlante

Meredith Lenell

David Miller

Martha and Thomas Mills

John K. Orr

Todd and Kaye Phillips

Pam and Rex Prosser

Donna and Edward Reigner

Vicki Richards

Barbara Robinson

David Russell

Ilona and Michael Sena

Courtney Smith

Jeff Sturkey and Beth Gettys Sturkey

Donna and Randy Weast

Bonnie Wheeler

George Wilds and Steve Connell

$100 - $249

Asheville Alumnae Chapter of Sigma

Alpha Iota

Sally Atkins

Betsy G. Atkinson

Robert Baldwin

Richard Bogner

Rita Nilsen and Carl Brickman

Doris Brooks

Allan Brown

Clinton Bugg and Jeff Nucey

Bob and Bonnie Busby

Elizabeth Button

Dr. Sausan Campbell

Meredith Candler

John and Gail Carpenter

Grace Chappell and Patrick O’Cain

Michael and Marilyn Cortes

Scott and Katherine G. Counce

Bishop Charles and Karen Crutchfield

Mary Cunningham

Alexa and Rich Dann

Alan Davis

Erin and Tom Doyle

Martin and Ivy Dyckman

Linda Engwell

Edward and Amy Euler

Stephen and Jackie Finstad

Ellenor Frelick

Jennifer Garnett

Mary Goodkind

Amanda Hall and Robert Zeid

Gail Harris and John Boneparth

Richard Henderson

Phil and Jolene Hocott

Joel Horwich

Michael and Laura Hoskins

Charles Hudson

Ralph and Sheryl Husby

Lisa Huxley

John and Jill Hyman

Tom and Libby Irwin

Thorunn Ivey

Mindy and Irvin Jaffe

Karen Lachow

Rebecca Lance

Eric and Mala Lapp

Jeffrey Linzer

Alan Lipsky and A.J. Rhodes

Rev. Alexandra Lusak

Shane and Sarah Lympany

Suzanne and Jay Mahler

Margaret McAlister

Jerry McAninch

Amy McGuire and Brian Wallace

Elwood and Margaret Miles

Gina and Dale Nelson

Francis Nullet

Eric and Lynn Ordnung

Lori Oxford and Alberto Centeno-Pulido

Nicole Pasternak

Gayle Petty-Johnson

Joseph Piccolo

Matching Gifts

Many companies offer a matching gift program for employee (and retiree!) charitable donations — this can double or triple your gift! Thank you to the following companies who have recently matched donor gifts:

AIG

Bank of America

Boeing

Steelcase Foundation

Shell Oil Company Foundation

Jack and Susan Pierce

Donald and Brenta Poole

Lynnell W. Reese

Erin Renfro

Don Roberts

Sherree Roller and David Janson

Evan and Susan Rosenberg

Dorothy Sagel

Salt Face Mule

Bob Sarabia

Thomas and Christena Southwick

Barbara and Marty Stickle

John and Mary Tadey

Matthew and Sarah Volk

David Walters

Mariana G. Warner

Raymond Watkins

Norman and Janet Weeks

Wellford Wilms

Larry and Janie Wilson

Barbara Witt

$1 - $99

Jennifer Aregood

Alicia Albee

Frances Alexander

Max and Lillian Alexander

Jannice Ashley

Mary Ault

Anne Babcock

Shannon Baggett

Eric Bank

Sylvia Bassett

Marty and Barbara Beckerman

Joseph and Sophie Beckham

Kathy Bellizio

Mark Bigelow

Diego Blanc

Adlai and Karen Boyd

Diana Brewster

Elizabeth and Kemper Brown

Chris Brownback

Rebecca Bruce

Nancy Buchanan

Sarah Cayson

Ana Margarita Cebollero

John Chapman

Karen Clarke

Memphis Clayton

Marvin Cole

Samuel Coley

Douglas and Lousia Combs

Harriet Cone

Karen Cowman

Support your Annual Fund

Your gift to the Asheville Symphony’s Annual Fund allows us to direct support to the area of greatest need.

The Annual Fund is the foundation of support for your Symphony. Your generosity will allow us to drive artistic collaborations with renowned musicians; enhance music education programs serving WNC kids ages 8-18; create new opportunities to experience the power of live orchestral music in unusual settings; and provide thought-provoking and inspiring programming for families, students, and audiences of all ages.

Visit AshevilleSymphony.org/donate to make gift today.

To learn more about Annual Fund giving, contact the Development office at development@ashevillesymphony.org or call 828.820.2520.

Annual Fund Donor Benefits include:

Invitations to Patron Receptions featuring musicians, guest artists, and the Music Director ($500+ to the Annual Fund)

Access to exclusive, reserved parking section at Masterworks concerts ($1,000+ to the Annual Fund)

Priority access to purchase ALT ASO tickets ($2,500+ to the Annual Fund)

Thomas Crabtree

Adrienne Crowther

Tala Dajani

Patti D’Angelo

Matthew Daughtry-Grubbs

Johnny Davis

Roger and Janese Derrough

John Dickson

Karen Doerr

Amy Dragon

David Eads

Diane Edwards

Gaynor Eisenberg

Kyle Eliason

Nancy Sue Ellyson

Don and Joy Erbes

Carolyn Estes

Linda Fallowes

Steve Felix

Shawn Feurer

Douglas Flemons

Deborah Francis

James Gatto

Martha Gettys

Thomas Golden

Chowdhary Gondy

David Good

Susannah Gopalan

Michael Groothuis

River Guerguerian

Brandi W. and Todd Henson

Summer Hettinger

Fredia Higgins

Gene Hill

Carey Horne

Amanda Hughes

John Inman

Javier Jasminoy

Seth Johnson

Beth Juliar

John Kapitan

Jennifer Kaylor

Christopher Keene

Deborah Kenney

Dr. Donna Kerr

Alan Kotch

Mr. and Mrs. Henry W. Kramer

Margaret Krusch

Walter Leginski

Jeremy and Susan Lerner

Debra Liles

Erynne Liniker

Gregory Lomas

Kathryn Long and Axel Graumann

Will and Diane Lopez

Beatriz Lothrop

Rudsel Lucas

Gary Mannies

Dallas Martin

Josh Matz

Barbara Mayer

Bill McClain

Carol McCrory

Michael McDermott

Goitzen Meindertsma

Manny and Karen Medeiros

Michael Miale

Hanne Miska

Nancy Miller

Julie Modaff

Frank Moretz

Nathanael Moretz

Alan Morgan

Joanne Neary

Aaron Nichols

Thomas Norman

Theresa Oscarson

Rebecca Pace

Tribute Gifts

In memory of Jack Jones and Katherine Armitage

Diane and Rich Byers

In celebration of the Asheville Symphony Youth Orchestra

Judith Van Horne and Stephen Hendricks

In memory of Luther Barnhardt

Carol and Hugh McCollum

In celebration of “Big G” on his 70th Birthday!

Carole and Joel Cotter

In memory of Chuck Briedis

Beverly Briedis

In memory of Porter Claxton

Robert Baldwin

In honor of Daniel Crupi

Dale and Barbara Phipps

Sue Ann Pinger

Jon Prater

Caryn Preston

Rachel Raab

Philip Ramsey

Ryan Rapsys

Gail Reagan

Dan Richards

Jason Rodrigue

Carol Rosenblum

James Rowal

Christopher Rupp and Karine Rupp-Stanko

S.H. Burgess, Inc.

Larry Schadler

Jan Schochet

Katherine Schofield

Richard and Eula Shaw

Michael Sierra

Robert Sihler

Carl Smedberg

Mikki Sodergren

Jeremy Spurlin

Jill Stevenson

In honor of Sharron Davis

Mindy and Irvin Jaffe

In memory of my father

Dr. Sausan Campbell

In honor of Bill & Nancy Gettys

Jeff Sturkey and Beth Gettys Sturkey

In memory of Yolanda Hall

Richard Hall

In memory of our son Rikki Hall

Richard and Yolanda* Hall

In memory of Linda Medeiros

Manny and Karen Medeiros

In honor of Frederick Mitchell

Hudson II

Charles Hudson

In memory of Doug Johnston

Kathy Baker

Paul Stroebel

Kenny Sudnik

Rachel Sudnik

Marcus Thompson

Maria Eugenia Jael Vela Tijerina

Adi Toth

Dale Twomley

Agnes and Jeff Vandergrift

Virginia Weaver

Natalya Weinstein Miller

Terence Whitt

Richard Wilfong

Bob and Mary Williamson

Laura Williamson

Mathew Winer

Tom Winsch

Jackie Wintle

Wooju Yang

John Yuder

*Denotes Deceased

In memory of Mildred Jonas

Mountaine Jonas

In celebration of Charlie Lance

Rebecca Lance

In fond memory of “Lambo” Larry Marzullo

George and Kathy Dambach

Rhonda and Marcus Grimes

Billie Marzullo

In memory of Alexander McKinney, MD

Ned and Jane Lesesne

In memory of Ingeborg Meeke

Irene and Michael Stoll

In honor of Jason Posnock

Patrick Ryan

Every effort has been made to ensure the accuracy of this list. If you believe that an error or omission has occurred, please call

or send an email to development@ashevillesymphony.org.

Dorel Abbott*

Don and Nancy Ackermann Cole

Jack Jones and Katherine Armitage*

Mr.* and Mrs. Stephen Barden III

Dr.* and Mrs. Luther Barnhardt

Mary and Leland Bartholomew*

George* and Diana Bilbrey

Marion Bleyler*

Mr. and Mrs.* Thomas C. Bolton

Joyce Bost Hogan*

Mrs. Charles Butler*

Ken and Alma Chatfield*

Barbra and Beirne Chisolm*

Jane Christiansen*

Mr. and Mrs. Gary Coleman

Nancy Crosby

Dr. and Mrs. John Cuellar

Robert DiDiego

Lori Doerr

Mr. and Mrs. David Dolan

Drs. Joyce and Lawrence* Dorr

Mrs. C.H. Elmslie

Robert and Jeane Etter

Dr. Linda Sokalski Farrell

Dr. Bolling Farmer

Francis Fee

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

For more information about joining the Legacy Society and supporting the Endowment (including naming opportunities), contact the Development office by emailing development@ashevillesymphony.org or calling 828.820.2520. If you have already included the Asheville Symphony in your estate plans, please let us know so that we may include you on this list and recognize your generosity.

Doris Kistler and Fred Wightman

William and Nancy Gettys

Lindley Garner* and Mary Goodkind

Mr. and Mrs. George Goosman

Michael J. Grillot

Paula J. Grillot

Mr. and Mrs. Steven Hageman

Dr. and Mrs. Matthew Hahner

Eleanor Hall*

Dick and Yolanda* Hall

Virginia and Emmet* Hayes

Anna and Anthony* Hayward

Carolyn L. Hubbard

Bill and Kitty Hunt

Bill Jacobs and Susan Posey

Pat and Doug* Johnston

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*

Jill Vargo and Tony Sciara

John Schuler*

JoAnne Setzer*

Robert Sorton

Bonnie Stone

Norretta L. Taylor*

Edna Thompson*

Mr. and Mrs. Ed Towson

Sarah Van Gunten

Albert and Lucia Ward*

Eleanor Weil Schulmon*

*Denotes Deceased

ASHEVILLE SYMPHONY YOUTH ORCHESTRA

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

With two string orchestras, two full orchestras, a beginner string class, a percussion ensemble, and various honors chamber groups, 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-setting.

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

CIRQUE DE LA SYMPHONIE

December 5, 2024, at Harrah’s Cherokee Center Asheville

The ASYO, Asheville Symphony, and talented company of Cirque de la Symphonie combine forces for a family-friendly holiday performance. See page 52 for details.

WINTER CONCERT

December 9, 2024 at Asheville High School Auditorium

Featuring the Overture, Divertimento, Sinfonia, Concert, Youth Philharmonic, and Percussion Ensembles

SPRING CONCERT

May 5, 2025 at Asheville High School Auditorium

Featuring Time for Three as part of the 2025 Asheville Amadeus Festival. See page 90 for more details on the festival.

Concert dates and times are subject to change. For more information, please visit AshevilleSymphony.org.

Asheville Symphony Youth Orchestra Faculty & Staff

Tyson Hamrick ASYO General Manager

ADMINISTRATIVE STAFF

Rodney Workman Site Coordinator

Mika Hood Operations Coordinator

Jason Posnock Advisor

Cara Jenkins Advisor

Cynthia Roop Advisor

TEACHING STAFF

Dr. Alexandra Dee

Music Director, Youth Philharmonic & Concert Conductor

Amanda Tant Sinfonia Conductor

Ashlee Booth Divertimento Conductor

Amber Svetik

Overture Class Conductor

Dr. Brian Tinkel Percussion Director

Dilshad Posnock

Woodwind Coach, Honors Chamber Ensemble Coach

Franklin Keel

Strings Coach, Honors Chamber Ensemble Coach

Dr. Jason Slaughter

Brass Coach, Honors Chamber Ensemble Coach

Jared Dunn

Honors Percussion Coach

William Pooser

Honors Percussion Coach

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

Tuition covers less than half of the ASYO’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-theasyo to donate online today.

Friends of the ASYO

$25,000+

Drs. Joanne and Tom Parker

$15,000 – $24,999

Keith Keener

$5,000 – $14,999

Gerald and Nancy Kitch

Henry A. LaBrun

$2,500 – $4,999

Thomas C. Bolton

Bill and Nancy Gettys

David and Pamela Lane

The Payne Fund

$1,000 – $2,499

Michael and Catty Andry

Diana Bilbrey

Blue Mountain Pizza

Gene and Lee Casey

Clover CBD Dispensary

Lynne and John Eramo

Dr. Bolling Farmer

Donald Gavin and Jayne Schnaars

Jim and Mary Kirby

Jill and Joe Lawrence

Susan and David Leader

Barbra and Keith Love

Patrick Ryan

Terrence and Carol Tinkel

Steven and Michele Warner

$500 – $999

Mary and Jack Anderson

Appalachian Mountain Brewery

Drs. Elizabeth and Josh Bernstein

Clarita Burton

Shannon Candler

Dr. John and Wendy Cuellar

Jon and Ann Kemske

William Scarborough

David and Dianne Worley

Roger Zare and Alexandra Dee

$250 – $499

Anonymous

Al and Betsy Gumpert

Gail Jolley

Carol and Hugh McCollum

Bonnie Wheeler

Olivia and Gary Zahler

$100 – $249

Anonymous

Mike and Lorna Anderberg

Asheville Alumnae Chapter of Sigma

Alpha Iota

Beverly Briedis

Dr. Sausan Campbell

Meredith Candler

Georgia Case

Virginia Craig

Daniel and Caroline Crupi

Andrew and Jennifer Dukowicz

Kim Eiring

John and Marsha Ellis

Polly S. Feitzinger

Betty Fox

Jennifer Garnett

John and Jill Hyman

Rebecca Lance

Mr. and Mrs. John B. Lattimore

Alan Lipsky and A.J. Rhodes

Sue and George Luther

Aaron Maret

Margaret McAlister

Amy McGuire and Brian Wallace

Chris McNabb

Joseph Piccolo

Donald and Brenta Poole

Barbara Robinson

Dorothy Sagel

Salt Face Mule

J. Howard and Honey Solomon

Steelcase Foundation

Shirley Steffen

Irene and Michael Stoll

Paul Stroebel

$1 – $99

Tate Addis

Anne Babcock

Shannon Baggett

Joy Bagley

Andrea Canavan

Chick-Fil-A

Karen Cowman

Erin and Tom Doyle

Clair Griffith and Geoffrey Mitchell

Tom and Libby Irwin

Deborah Kenney

Jeremy and Susan Lerner

Gail and Ron Manheimer

Manny and Karen Medeiros

S.H. Burgess, Inc.

Meredith Springs

Jill Stevenson

Matthew and Sarah Volk

Bob and Mary Williamson

Laura Williamson

Scholarships

These scholarships have been created to assist ASYO students with tuition, ensuring that all students have equal access to the best musical training and resources that Asheville has to offer. Thank you to all of our generous donors!

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 & Carol Tinkel

THE ASYO’S FIRST EUROPEAN TOUR

This summer, the ASYO embarked on its first-ever

European Tour!

This incredible tour included visits to Salzburg, Vienna, and Prague. The talented students of the ASYO performed two concerts at the Theatre Bad Reichenhall in Germany and the Culture House Novodvorska in Prague, where ASYO ticket sales supported local residents in hospice care. Beyond performances, the tour allowed students to immerse themselves in the musical heritage of these historic cities, providing them with a once-in-a-lifetime cultural experience.

This tour was made possible by the generous support of these donors. Thank you so much for making this incredible experience a reality for these young musicians!

Appalachian Mountain Brewery

Joy Bagley

Blue Mountain Pizza

Thomas C. Bolton

Meredith Candler

Shannon Candler

Chick-Fil-A

Karen Cowman

Andrew and Jennifer Dukowicz

John and Marsha Ellis

Polly S. Feitzinger

Jennifer Garnett

Bill and Nancy Gettys

John and Jill Hyman

Gail Jolley

Deborah Kenney

Henry A. LaBrun

Rebecca Lance

David and Pamela Lane

Margaret McAlister

Carol and Hugh McCollum

Joseph Piccolo

Patrick Ryan

Salt Face Mule

William Scarborough

Meredith Springs

S.H. Burgess, Inc.

Bob and Mary Williamson

Laura Williamson

Roger Zare and Alexandra Dee

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

ASHEVILLECHAMBERMUSIC.ORG

POIESIS QUARTET

Sunday September 1 4 p.m.

Beethoven, Mozart, Lau, Pizzolla

ensemble 4.1

Friday November 1 7:30 p.m.

Holst, Rice, Beethoven, Gershwin Lysander Piano Trio

Sunday January 12

4 p.m.

Schumann, Shostakovich, Mendelssohn

The Asheville Symphony’s biennial Asheville Amadeus Festival returns this spring featuring co-headliners Chris Thile and Time for Three.

Chris Thile Mandolin & Vocals

MacArthur Fellow and Grammy Award-winning mandolinist, singer, songwriter Chris Thile, who The Guardian calls “that rare being: an all-round musician who can settle into any style, from bluegrass to classical,” and NPR calls a “genredefying musical genius,” is a founding member of the critically acclaimed bands Punch Brothers and Nickel Creek. For four years, Thile hosted public radio favorite Live from Here with Chris Thile (formerly known as A Prairie Home Companion). With his broad outlook, Thile creates a distinctly American canon and a new musical aesthetic for performers and audiences alike, giving the listener “one joyous arc, with the linear melody and vertical harmony blurring into a single web of gossamer beauty” (New York Times).

Most recently, Chris recorded Laysongs, out June 4, 2021 on Nonesuch. The album is his first truly solo album: just Thile, his voice, and his mandolin, on new recordings of six original songs and three covers, all of which contextualize and banter with his ideas about spirituality.

Time for Three

Ranaan Meyer, Double Bass

Nick Kendall, Violin

Charles Yang, Violin

Grammy and Emmy-winning ensemble Time For Three (TF3) defies conventions with their genre-bending excellence. Spanning classical music, Americana, and singer-songwriter styles, their unique sound merges eras, styles, and traditions. TF3’s remarkable blend of instruments and voices resonates with listeners globally. The trio has collaborated with a wide range of artists from Ben Folds to Arlo Guthrie to Chris Brubeck to Pulitzer Prize winners Jennifer Higdon and Kevin Puts. In 2023, TF3 won a Grammy for their album “Letters for the Future,” conducted by Xian Zhang and featuring the Philadelphia Orchestra. Time for Three’s charismatic performances on major stages and commitment both on and offstage to encouraging the next generation of musicians showcase their unwavering dedication to pushing creative boundaries and captivating audiences worldwide.

Asheville Amadeus Festival is back for its fifth iteration, Asheville Amadeus: The Art of Storytelling. The festival brings together some of Asheville’s most talented musicians, artists, creators and entertainers for 11 days of performances, education programs, collaborations and social events. Join us April 30 - May 10. For information on the festival, events and ways to get involved, visit AshevilleAmadeus.org.

Invest In Your Community

Asheville based, real estate focused private debt fund serving the Carolinas

What Is ALFIE? ALFIE is a private debt fund established in 2015. Based in Asheville, NC, our fund works by pooling investor capital to provide short term construction and bridge loans to builders, developers, and real estate entrepreneurs in NC and SC.

How Does ALFIE Fit My Portfolio? An allocation to ALFIE can complement a traditional stock and bond investment portfolio. Our historically consistent returns have a low correlation with other investment options.