Asheville Symphony Fall 2024 Program Book

Asheville Symphony Program Book

Fall 2024 Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 1

Business | Commercial Personal | Mortgage

HomeTrust Bank proudly supports the Asheville Symphony 10 Woodfin St., Asheville, NC 28801 1825 Hendersonville Rd., Asheville, NC 28803 5 Northridge Commons Pkwy, Weaverville, NC 28787 192 Airport Rd., Arden, NC 28704 240705-1241893527

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Orchestrating Your Perfect Smile Hitting the high notes of dental care. We’re accepting new patients. Contact us today!

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 3

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Visit Us Online To Learn More About TEAM BILLY TAYLOR or Call Us Today at 828-484-3130

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ADV Symphony Ad 7.5 x 4.875 Ad 2023.pdf

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B U YA D VA N TA G E P R I N T I N G . C O M 4 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 5

LUXURY LIVING takes center stage Just as each note contributes to a beautiful symphony, every detail matters in finding your perfect home. Walnut Cove Realty consistently delivers exceptional service and record breaking results. Let us help you orchestrate your journey toward harmonious living.

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(828) 684-5151 walnutcoverealty.com 6 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

KEEP IN TOUCH Asheville Symphony Office 27 College Place, Suite 100 Asheville, NC 28801

828.254.7046

info@ashevillesymphony.org

DONATE Mail or Visit 27 College Place, Suite 100 Asheville, NC 28801 Phone 828.254.7046 Online AshevilleSymphony.org/donate

THIS SPRING Asheville Amadeus is back for its fifth iteration featuring Chris Thile and Time for Three

The Asheville Amadeus Festival brings together some of Asheville’s most talented musicians, artists, creators, and entertainers for 11 days of performances, education programs, collaborations and much more. Visit page 90 for more details.

Letter from Executive Director

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Asheville Symphony Staff

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About the Cover

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Board of Directors

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Letter from Board President

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Past Presidents & Directors Emeriti

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First Baptist Church of Asheville Venue Information

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Music Director

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Orchestra Personnel

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Asheville Symphony Guild

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Asheville Symphonettes

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Asheville Symphony Chorus

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Violin Recital with Alexi Kenny · September 17, 2024

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Masterworks 1: Echoes · September 21, 2024

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ALT ASO: Broadway @ Highland Brewing · October 1, 2024

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Masterworks 2: Legacy · October 26, 2024

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Masterworks 3: Messiah · November 22 + 23, 2024

48

Cirque de la Symphonie · December 5, 2024

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New Year’s Eve: Music of ABBA · December 31, 2024

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Food & Beverage Partners

63

Season & Concert Sponsors

64

Donors

68

Legacy Society

74

Asheville Symphony Youth Orchestra

80

Asheville Symphony Youth Orchestra Faculty & Staff

81

Asheville Amadeus Festival 2025: The Art of Storytelling

90

Advertisers Index

94

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 7

Focused areas of practice.

Collaborative teams.

Client-centered service.

Community support.

These four principles guide the values and business philosophy of McGuire Wood & Bissette. We are proud to support the Asheville Symphony Society and its continuous commitment to the people of WNC.

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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!

Warm regards,

Daniel M. Crupi Executive Director

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

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.

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38 BILTMORE AVENUE DOWNTOWN ASHEVILLE 828.251.0202 BLUESPIRAL1.COM

About the Cover Artist

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

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.

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

SELECTED IN COLLABORATION WITH

Laura Berry House Manager Sue Fair House Manager

Support your Asheville Symphony when you shop at Blue Spiral 1!

10% of Blue Spiral 1 gallery sales in November and February will be donated to the Asheville Symphony when you mention the Asheville Symphony during the time of purchase.

KEEP IN TOUCH Asheville Symphony Office 27 College Place, Suite 100 Asheville, NC 28801 828.254.7046 info@ashevillesymphony.org

Asheville Symphony ∙ AshevilleSymphony.org ∙ 11 Asheville Symphony ∙ www.AshevilleSymphony.org

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

Explore Asheville is honored to support your mission and talent in capturing the heart of the people of Western North Carolina and its guests.

We are dedicated to shining our spotlight on the artists, makers, and musicians who help shape our community's distinct story.

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

Delivering Balanced & Sustainable Growth

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Promoting & Supporting Asheville's Creative Spirit

and even better banking.

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

Visit one of our 8 branches across Buncombe County.

Loans subject to credit approval.

Equal Housing Lender. Member FDIC. NMLS #474504

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 13

Board of Directors OFFICERS Ed Towson • Harvey Jenkins • Eric Michael Shon Norris • Travis Keever

Shon Norris

Cheryl McCormick • Dan Mullinix Terry Andersen

Services Include:

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♦ Business Audit and Tax Service

♦ Investment Advisory

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Sue Luther President Adarrell Gadsden President-Elect Michael Andry Immediate Past President Sallie Broach Secretary G. Edward Towson, II⁺⁺ Treasurer DIRECTORS Cliff Albertson Jack Anderson⁺⁺ Michael Andry Thomas C. Bolton⁺⁺ Sallie Broach Susan Harrington Butts Sean Comeaux Dr. John Cuellar George Dambach John W. Ellis Dr. Bolling Farmer Adarrell Gadsden Bill Gettys⁺⁺ Debbie Green Scott Gregg Fred Groce Mary Kirby Pam Lowe-Hoyte Sue Luther Carol McCollum⁺⁺ Kevin Pasarilla Patrick O’Cain Jeffrey Owen Cristian Rubiano Richard Schaffer Jayne Schnaars Rachel Sossoman James S. Thompson G. Edward Towson, II⁺ Sarah Van Gunten David Worley Olivia Zahler ⁺ Distinguished Directors

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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!

Warm regards,

Sue Luther Board President

Asheville Asheville Symphony Symphony ∙ www.AshevilleSymphony.org ∙ AshevilleSymphony.org ∙ 15

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George F. Goosmann, III Gerald C. Kitch

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Karl S. Quisenberry, Ph.D.* John J. Sherman, Jr. W. Herbert Smith, Jr. PAST PRESIDENTS 1962-1964: Gaylord Davis

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

1964-1966: Rudolf Gumpert 1966-1968: John W. Rutland 1968-1970: Robert K. Weiler 1970-1971: Robert Saenger 1971-1972: William C. Spencer, Jr.

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.

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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

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2014-2017: Irene Stoll 2017-2019: Doris Phillips Loomis 2019-2021: Bolling Farmer 2021-2023: Michael Andry * Deceased

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 17

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.

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CA L IL W

RAMP TO ELEVATOR

TO HOUSE LEFT

SMALL ATRIUM

TO HOUSE RIGHT

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MASTERWORKS ENTRANCE

SANCTUARY Performance Space

CHAPEL Location of Symphony Talk ACCESSIBILITY & SYMPHONY TALK ENTRANCE

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

STEINWAY CAROLINAS - SERVING THE SOUTHEAST WITH 4 LOCATIONS

CHARLOTTE, NC

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Morgan Stanley Private Wealth Management Is Proud To Support Asheville Symphony Andry-Harris Group at Morgan Stanley Private Wealth Management Michael Andry Family Wealth Director Senior Vice President Private Wealth Advisor 500 College Street Asheville, NC 28801 +1 828 250-8744 michael.andry@morganstanleypwm.com https://advisor.morganstanley.com/the-andry-harris-group Insurance 15850592 NMLS 663185

© 2024 Morgan Stanley Smith Barney LLC. Member SIPC. PWM003B CRC 5067527 11/22 CS 9899356

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 21

SETTING THE STAGE FOR

A love of the arts and a sense of hospitality inspired George Vanderbilt’s masterpiece: Biltmore.

Share in that legacy today by joining our Annual Passholder family.

BILTMORE.COM/JOIN

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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.

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

Flute Violin Lissie J. Shanahan • Principal Open Chair • Concertmaster Martha Gardner • Associate Concertmaster Kellie Henry ⁺Karen Pommerich Piccolo Assistant Concertmaster Dilshad B. Posnock Katheryn Gardner Otwell Principal Second Violin Oboe Debra L. Anthony Alicia Chapman • Principal Associate Principal Second Violin *Cara Mia Jenkins ⁺Pedro Oseias Maia Assistant Principal Second Violin English Horn Marianna Brickle Amanda J. LaBrecque Teresa M. Curran Clarinet Elizabeth Fee-Elliott Harry H. “Chip” Hill • Principal Lori G. Hammel Karen Farah Hill Dorothy L. Knowles Bass Clarinet Virginia Kowal Shannon Thompson LuAda Malcom Ruben Orengo Bassoon Mariya S. Potapova Michael J. Burns • Principal Inez Hullinger Redman Amber Ferenz *Paul E. Stroebel Contrabassoon Viola William L. Peebles Kara F. Poorbaugh • Principal Horn Open Chair • Associate Principal Jeffery B. Whaley • Principal Martha L. Geissler (loa) *Michael L. Brubaker Kathryn Bracewell Anneka A. Zuehlke Hannah Dara Travis A. Bennett Gina Mashburn Heath Trumpet Edward J. Smith T. Mark Clodfelter • Principal Daphne Waggener ⁺Christopher Underwood Cello ⁺William Stowman Daniel Mumm • Principal Trombone J. Franklin Keel • Associate Principal Justin Croushore • Principal Paul Maxwell • Assistant Principal L. Rienette Davis Cherylonda F. Fitzgerald Paul S. GhostHorse Bass Trombone Katie Hamilton ⁺Michael Hosford Patricia Koelling Johnston ⁺Bill Reichenbach E. Sojeong Park Tuba Bass *M. Lee Metcalfe • Co-Principal Vance M. Reese • Co-Principal Michael Di Trolio Matthew P. Waid

Bethany Wiese • Principal

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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

©2023 Robert W. Baird & Co. Incorporated.

Member SIPC. MC-1279805.

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 27

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

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

How does the Guild provide support?

MUSICAL FEASTS: YOUR SOCIAL AGENDA AWAITS!

GUILD-SUPPORTED MUSIC EDUCATION PROGRAMS

GUILD GATHERINGS: SHARE THE LOVE!

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

The Guild introduces thousands of elementary school children to classical music each year through the Music in the Schools program.

The Guild also helps support our wonderful Asheville Symphony Youth Orchestra.

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

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.

28 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

MESSIAH WITH THE ASHEVILLE SYMPHONY November 22 + 23, 2024

MESSIAH COMMUNITY SING-ALONG December 3, 2024

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

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

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

The Asheville Symphony Chorus (ASC) seeks to enrich and inspire our community through impactful performances of the masterworks of choral music. Under the direction of Kyle Ritter, the ASC invites you to take part in their 33rd season.

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.

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

Symphonettes

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.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 29

With Merrill, the bull always has your back Merrill’s insights and experienced advisors can help you design a financial future tailored to your personal situation.

Visit ml.com/Bullish to find a Merrill advisor in our area.

April Brown Asheville Market Executive

What would you like the power to do? ®

Investing involves risk.

Merrill Lynch, Pierce, Fenner & Smith Incorporated (also referred to as “MLPF&S” or “Merrill”) is a registered broker-dealer, registered investment adviser, Member SIPC and a wholly owned subsidiary of BofA Corp.

Investment products:

Are Not FDIC Insured Are Not Bank Guaranteed May Lose Value © 2024 Bank of America Corporation. All rights reserved.

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ENT-732-AD

THE AV LA VING R E

S

A RE

30

YEARS

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Every great town...

Deserves a great

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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)

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.

PREMIUM SEASON SPONSORS

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

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

32 ∙ Violin Recital with Alexi Kenney

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

Rafiq Bhatia Descent 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)

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

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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

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.

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Mario Davidovsky Synchronisms No. 9 for Violin & Tape

Nocturne for Solo Violin

Matthew Burtner Elegy for Violin & Glacier Sonification(Muir Glacier 1889 - 2009)

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.

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

Kaija Saariaho (1952-2023)

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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.

34 ∙ Violin Recital with Alexi Kenney

Parker Concert Hall 2024-25 Series The Sphinx Virtuosi Chamber Orchestra

NOVEMBER 7, 2024

Raphaël Feuillâtre– Virtuoso Guitar DECEMBER 5, 2024

Handel’s Messiah

DECEMBER 14, 2024

Soprano Larisa Martínez in Concert MARCH 13, 2025 A ST. PATRICK’S DAY CELEBRATION with Dervish

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APRIL 8, 2025

Pianist Zlata Chochieva in Recital MAY 13, 2025 SEASON FINALE with

Roberto Díaz, Peter Wiley, and The Erinys Quartet

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Kruger Brothers– In The Holiday Spirit

FEBRUARY 20, 2025

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OCTOBER 11, 2024 OPENING NIGHT with

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

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

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PREMIUM SEASON SPONSORS

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

MASTERWORKS 1 First Baptist Church of Asheville September 21, 2024 2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor Alexi Kenney Violin

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

36 ∙ Masterworks 1: Echoes

“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.

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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.

Jean Sibelius Violin Concerto in D minor, Op. 47

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.

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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.

Alexi Kenney, Violin I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Music Sponsor

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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.

Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with the Asheville Symphony, on BPR Classic and bpr.org on Tuesday, October 22 at 7:00 p.m. and Thursday, October 24 at 9:00 a.m.

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 (continued on next page)

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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.

38 ∙ Masterworks 1: Echoes

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.

Asheville Symphony ∙ AshevilleSymphony.org ∙ 39 Asheville Symphony ∙ www.AshevilleSymphony.org

40 ∙ ALT ASO @ Highland Brewing

ALT ASO @ HIGHLAND BREWING Darko Butorac, Conductor Jonathan Christopher, Vocalist Prepare to be dazzled as ALT ASO brings the magic of Broadway to Highland Brewing! Featuring the dynamic Jonathan Christopher, cast member of the Tony-winning 2023 Sweeney Todd revival, this concert will offer an unforgettable evening of Broadway hits, timeless classics from the American Songbook, and beloved classical pieces.

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Craig Allen & Julie Cowden Donald Gavin & Jayne Schnaars David & Dianne Worley BOHEMIAN SPONSORS

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42 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

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PREMIUM SEASON SPONSORS

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

MASTERWORKS 2 First Baptist Church of Asheville October 26, 2024 2:00 p.m. + 8:00 p.m.

Darko Butorac Conductor Terrence Wilson Piano

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

44 ∙ Masterworks 2: Legacy

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.

C. P. E. Bach Symphony in D major, H. 663

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.”

I. Allegro di molto II. Largo III. Presto

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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.

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

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.

I. Allegro II. Adagio un poco mosso III. Rondo: Allegro

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.

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Terrence Wilson, Piano

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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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Dr. Bolling Farmer Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with ASO, on BPR Classic and bpr.org on Tuesday, November 19 at 7:00 p.m. and Thursday, November 21 at 9:00 a.m.

Asheville Symphony ∙ www.AshevilleSymphony.org Asheville Symphony ∙ AshevilleSymphony.org ∙ 45

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

46 ∙ Masterworks 2: Legacy

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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MASTERWORKS 3 First Baptist Church of Asheville November 22, 2024 at 8:00 p.m.

November 23, 2024 at 2:00 p.m.

November 23, 2024 at 8:00 p.m.

Darko Butorac Conductor

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

48 ∙ Masterworks 3: Messiah

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.

George Frideric Handel Messiah

Messiah

George Frideric Handel (1685-1759)

1. “Sinfonia” 2. “Comfort Ye”

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3. “Ev’ry Valley”

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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, (continued on next page)

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4. “And the Glory of the Lord”

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Ruth Sieber Johnson

Timothy Butts & Susan Harrington Butts

Ashley Sayre Bell

Adarrell Gadsden & Marcie Ownbey

Clair Griffith & Geoffrey Mitchell

Adarrell Gadsden & Marcie Ownbey

5. “Thus Saith the Lord” 6. “But Who May Abide” 7. “And He Shall Purify”

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Music Sponsor 17. “Glory to God” 18. “Rejoice Greatly”

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Music Sponsor 21. “His Yoke Is Easy” INTERMISSION 22. “Behold the Lamb of God”

Music Sponsor 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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GUEST ARTIST SPONSOR Media partner Blue Ridge Public Radio will air a recording of this performance, featuring conversations with ASO, on BPR Classic and bpr.org on Tuesday, February 11 at 7:00 p.m. and Thursday, February 13 at 9:00 a.m.

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

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

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.

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.

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

50 ∙ Masterworks 3: Messiah

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.

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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.

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52 ∙ Cirque de la Symphonie

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.

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Johannes Brahms Symphony No. 3 in F major, Op. 90, III. Poco allegretto Music Sponsor

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Carlos Gardel Por una Cabeza Georges Bizet L’Arlésienne Suite No. 2, IV. Farandole

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Leroy Anderson Sleigh Ride

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Sarah Van Gunten

Claude Debussy Clair de Lune

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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 INTERMISSION

Johann Strauss II 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

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

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Harrah’s Cherokee Center Asheville Thomas Wolfe Auditorium December 31, 2024 at 8:00 p.m.

56 ∙ New Year’s Eve: Music of ABBA

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

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Knowing Me, Knowing You

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

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UPCOMING PERFORMANCES KAREN MORGAN

Sept. 26

CIRQUE KALABANTÉ

Oct. 4

Lightwire Theater presents DINO-LIGHT

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CAPITOL FOOLS

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THE COMEDY ZONE

Oct. 18 & 19 • Dec. 6 & 7 Jan. 24 & 25 • March 14 & 15 BREABACH

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DASAN AHANU

Oct. 25 & 26

SOME ENCHANTED EVENING

Nov. 1

J2B2 | JOHN JORGENSON BLUEGRASS BAND

Nov. 7

AMERICAN BALLET THEATRE STUDIO COMPANY

Nov. 14 & 15

MIGUEL ZENÓN

Nov. 23

A SWANNANOA SOLSTICE

Dec. 22

THE STAKEOUT

Jan. 9–11

DUO BALDO Nov. 21

RENNIE HARRIS PUREMOVEMENT

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CHANTICLEER

Jan. 31

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Hayes School of Music

Study with these Asheville Symphony musicians at Appalachian State University’s Hayes School of Music and Cannon Music Camp! music.appstate.edu

Dr. Alexandra Dee

Dr. Pedro Oseias Maia

Dr. Alicia Chapman

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

Assistant Principal Second Violin Assistant Professor of Violin at App State

Principal Oboe Associate Professor of Oboe at App State

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Visit our Food & Beverage Partners to support your Symphony, and send these partners our love when you visit their establishments!

Do you work at or own a local restaurant or bar and want to be on this list? Contact the development department by email at development@ashevillesymphony.org or by phone at 828.254.7046.

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OFFICIAL AUTOMOTIVE COMPANY OF THE ASHEVILLE SYMPHONY

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

$50,000+

Drs. Joanne & Tom Parker $25,000+

Thomas C. Bolton Bill & Nancy Gettys David & Pamela Lane

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

$15,000+

Henry A. LaBrun $10,000+

Craig Allen & Julie Cowden Diane & Rich Byers in memory of Katherine Armitage & Jack Jones

George & Kathy Dambach Dr. Bolling Farmer Donald Gavin & Jayne Schnaars

Gerry & Nancy Kitch Richard Schaffer & Anastasia Bartlett David & Dianne Worley Olivia & Gary Zahler

$5,000+

Gary & Patty Coleman Dr. & Mrs. Ralph C. Loomis Billie Marzullo, Rhonda & Marcus Grimes, and Kathy & George Dambach in fond memory of “Lambo” Larry Marzullo

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

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

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

$170

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

$375

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

$750

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

$1,000

Provides tuition scholarships for two Asheville Symphony Youth Orchestra students

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.

$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

MEDIA SPONSORS

$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

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

MEDIA PARTNER

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 65

66 ∙∙ AshevilleSymphony.org AshevilleSymphony.org ∙∙ Fall Fall2024 2024Program ProgramBook Book

We proudly support the Asheville Symphony Orchestra

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 67

$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

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.

$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

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.

68 ∙ Asheville Asheville Symphony Symphony Supporters Supporters

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

$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

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 69

ASHEVILLE SYMPHONY SUPPORTERS

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

ASHEVILLE SYMPHONY SUPPORTERS

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 70 ∙ Asheville Symphony Supporters

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

Support your Annual Fund

$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

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)

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 71

ASHEVILLE SYMPHONY SUPPORTERS

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

ASHEVILLE SYMPHONY SUPPORTERS

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

You’re the reason the Asheville Symphony is able to share exhilarating performances.

Your ticket and subscription mean the world to us. But did you know that tickets and subscriptions cover less than 35% of our operating costs? Donations to the Annual Fund make up the difference. Thank you.

72 ∙ Asheville Symphony Supporters

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

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

In honor of Sharron Davis Mindy and Irvin Jaffe

In memory of Mildred Jonas Mountaine Jonas

In memory of my father Dr. Sausan Campbell

In celebration of Charlie Lance Rebecca Lance

In honor of Bill & Nancy Gettys Jeff Sturkey and Beth Gettys Sturkey

In fond memory of “Lambo” Larry Marzullo George and Kathy Dambach Rhonda and Marcus Grimes Billie Marzullo

*Denotes Deceased

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 memory of Yolanda Hall Richard Hall

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

Carole and Joel Cotter

In memory of our son Rikki Hall Richard and Yolanda* Hall

In memory of Chuck Briedis Beverly Briedis

In memory of Linda Medeiros Manny and Karen Medeiros

In memory of Porter Claxton Robert Baldwin

In honor of Frederick Mitchell Hudson II Charles Hudson

In honor of Daniel Crupi Dale and Barbara Phipps

In memory of Doug Johnston Kathy Baker

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 828.254.7046 or send an email to development@ashevillesymphony.org.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 73

ASHEVILLE SYMPHONY SUPPORTERS

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

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.

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

74 ∙ Asheville Asheville Symphony Symphony Supporters Supporters

Francis Fee Doris Kistler and Fred Wightman William and Nancy Gettys Lindley Garner* and Mary Goodkind Mr. and Mrs. George Goosman Michael J. Grillot Paula J. Grillot Mr. and Mrs. Steven Hageman Dr. and Mrs. Matthew Hahner Eleanor Hall* Dick and Yolanda* Hall Virginia and Emmet* Hayes Anna and Anthony* Hayward 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

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 75

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WATER • FIRE • SMOKE • MOLD

WATER • FIRE • SMOKE • MOLD • STORM 76 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

Serenity at 3,494 feet.

Discover the cool mountain oasis that is Lake Glenville, one of the highest lakes east of the Rocky Mountains, less than two hours from Asheville. Landmark has a great selection of vacation rental homes that will have your family right on the water so you can enjoy every second of your getaway. Contact us today!

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 77

When you know music heals,

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 79

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.

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

80 ∙ Asheville AshevilleSymphony.org Symphony Youth ∙ FallOrchestra 2024 Program Book

Asheville Symphony Youth Orchestra Faculty & Staff Tyson Hamrick ASYO General Manager ADMINISTRATIVE STAFF Rodney Workman Site Coordinator Mika Hood Operations Coordinator Jason Posnock Advisor

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.

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.

Asheville Asheville Symphony Symphony ∙ www.AshevilleSymphony.org ∙ AshevilleSymphony.org ∙ 81

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+

$500 – $999

Drs. Joanne and Tom Parker

Gerald and Nancy Kitch Henry A. LaBrun

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

$2,500 – $4,999

$250 – $499

Thomas C. Bolton Bill and Nancy Gettys David and Pamela Lane The Payne Fund

Anonymous Al and Betsy Gumpert Gail Jolley Carol and Hugh McCollum Bonnie Wheeler Olivia and Gary Zahler

$15,000 – $24,999 Keith Keener

$5,000 – $14,999

$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

$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

82 ∙ Asheville AshevilleSymphony.org Symphony Youth ∙ FallOrchestra 2024 Program Book

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

THE ASYO’S FIRST EUROPEAN TOUR 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

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

Asheville Asheville Symphony Symphony ∙ www.AshevilleSymphony.org ∙ AshevilleSymphony.org ∙ 83

ensemble 4.1 Friday November 1 7:30 p.m.

POIESIS QUARTET Bringing world-class chamber music to WNC for over 70 years ASHEVILLECHAMBERMUSIC.ORG AdforASO 2024 Fall.indd 1

84 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

WITH GUEST AMER HASAN (CLARINET)

Sunday September 1 4 p.m.

Beethoven, Mozart, Lau, Pizzolla

Holst, Rice, Beethoven, Gershwin

Lysander Piano Trio Sunday January 12 4 p.m.

Schumann, Shostakovich, Mendelssohn

7/30/24 9:27 AM

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 85

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

BPR’s news and music services inform, inspire, and connect Western North Carolina.

Learn more at bpr.org

86 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

Plan your visit!

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Encore.

Your ad could be here!

See your ad in the next Asheville Symphony Program Book! Our program book consists of advertisements from sponsors, paid advertisers, and even donated ad space. We distribute over 10,000 copies of the program book between September and May each season.

Interested in seeing your ad in the next program book?

Email info@ashevillesymphony.org or call 828.254.7046 for more details on how to advertise or sponsor!

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 87

Have You Considered Brevard?

Brevard offers the best of small town living with the conveniences of a modern city.

Rich in natural beauty, cultural heritage, and social amenities, Brevard is a wonderful place to call home.  A Relaxed Lifestyle  A Vibrant Music and Art Scene  World-Class Fly Fishing  Extensive Hiking and Biking Trails  Pisgah National Forest  DuPont State Forest  Gorges State Park  Headwaters State Park  Brevard Music Center  Brevard College  The Paul Porter Center For The Performing Arts

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Our 78th Mainstage Season

September 20-October 13, 2024

December 6-22, 2024

February 7-23, 2025

April 11-May 4, 2025

June 13-July 6, 2025

Asheville Community Theatre - Building Community One Show At A Time 88 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

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ASHEVILLEAMADEUS.ORG 90 ∙ AshevilleSymphony.org ∙ Fall 2024 Program Book

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.

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.

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.

PARTNERS INCLUDE

ASHEVILLE SYM PHONY CHORUS

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Live the life you love.

Glenn, always in tune

Find out how at AboutActs.com/Symphony or call (888) 529-2962.

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HARMONIOUSLY PASSION + PURPOSE + COMMUNITY

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Committed to surpassing my clients’ needs before, during, and after the transaction.

CAROL MARIN REALTOR | 828.545.2712 | Carol@MyMosaicRealty.com It was my great pleasure to work with Carol Marin as the listing agent on the recent sale of my home in Asheville. Throughout the process Carol handled every detail from listing to showings to closing with unmatched thoroughness, expertise and professionalism.

— E. Workman

Mosaic Community Lifestyle Realty is proud to have contributed over $1,000,000 to hundreds of nonprof its and events, including:

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Your ad could be here!

See your ad in the next Asheville Symphony Program Book! Our program book consists of advertisements from sponsors, paid advertisers, and even donated ad space. With over 25 performances during the 2024-2025 season, we’ll distribute over 10,000 copies of the program book between September and May. Interested in seeing your ad in the next program book? Call 828.254.7046 or email info@ashevillesymphony.org for more details on how to advertise or sponsor!

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