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ASHEVILLESYMPHONY

ASHEVILLE SYMPHONY PROGRAM BOOK

Winter 2021

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Contents KEEP IN TOUCH Asheville Symphony Office 27 College Place Suite 100 Asheville, NC 28801 Harrah’s Cherokee Center Asheville Box Office 87 Haywood St Asheville, NC 28801

828.254.7046

info@ashevillesymphony.org

DONATE Mail or Visit 27 College Place Suite 100 Asheville, NC 28801 Phone 828.318.8176 Online AshevilleSymphony.org

Letter from Executive Director

Staff

Board of Directors

About the Cover

Past Presidents & Directors Emeritus

Letter from Board President

Music Director

Orchestra Personnel

Masterworks 1: Uncaged · November 20, 2021

New Year’s Eve: Queens of Soul · December 31, 2021

Masterworks 2: Roaring Rhapsody · February 12, 2022

Season Sponsors

Donors

Asheville Symphony Chorus

Asheville Symphonettes

Asheville Symphony Youth Orchestra

Asheville Symphony Guild

Music Sponsors

2021-2022 Season

Legacy Society

Advertisers Index

New Year’s Eve Page 26

Masterworks 1 Page 20

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 5

Masterworks 2 Page 30

We proudly support the Asheville Symphony Orchestra 7 PATTON AVENUE | ASHEVILLE, NC 28801 | 825.255.0303 | HOTELARRAS.COM

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Executive Director

DANIEL M. CRUPI

Dear friends and family of the Asheville Symphony, It is my honor to greet you as the new Executive Director of the Asheville Symphony! My wife, Caroline, and I have experienced such a warm and gracious welcome from this entire community, and we are delighted to call North Carolina home once more. The ASO has a national reputation for excellence and creativity, and it is widely regarded as one of the most innovative orchestras in the country. Between the immense success of the Asheville Amadeus Festival, its unique recording projects featuring Boyz II Men, Steep Canyon Rangers, Secret Agent 23 Skidoo, and countless local artists, and the enormous growth experienced over the last five years, the Symphony has much of which to be proud. I bring to Asheville a passion for partnership and collaboration, a steadfast belief in the importance of diversity at every level of decision making, and a desire to make the Asheville Symphony truly representative of its entire community. And I am thrilled to work in partnership with Darko and the incredible staff, musicians, chorus, Board, and Symphony Guild to make a bold new vision possible for the ASO – one that embeds the orchestra in the community, diversifies our audience and artist base, invests in our music education infrastructure, works in partnership with the local arts scene, and tackles systemic issues in our community and world. Our September return to the concert stage was remarkable on every level. Thousands of community members flocked to downtown’s Pack Square Park for a glorious evening of symphonic music representing every genre. The excitement in the air was palpable, both on the stage and off. Now, we are thrilled to bring you an inspiring 2021-2022 season, offering masterworks from W.A. Mozart, Ludwig van Beethoven, Igor Stravinsky, Johannes Brahms, and more, as well as an eclectic array of contemporary, female, and Black composers including Errollyn Wallen, William Grant Still, Will Marion Cook, and Joan Tower. December marks the return of ASO’s annual New Year’s Eve concert, featuring vocal superstars Morgan James and Erica Gabriel for Queens of Soul, showcasing the best of Motown, R&B, and Soul. And we are hard at work finalizing several exciting NEW series to continue ASO’s mission of engaging every corner of Asheville and Buncombe County with outstanding music. Thank you for your support for the Asheville Symphony – there is no place that I would rather be than building this extraordinary organization alongside each of you. Welcome back. Warm regards,

Daniel M. Crupi Executive Director

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 7

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Board of Directors & Staff OFFICERS

ASHEVILLE SYMPHONY STAFF

Michael Andry • President Dr. Bolling Farmer • Past President John Ellis • Secretary Ed Towson • Treasurer

Daniel Crupi Executive Director Jessica May Director of Development Amanda Durst Development Manager Sally J. Keeney Orchestra Manager Sherry Blakely Controller Hannah Williams Patron Services & Office Manager

DIRECTORS

Jack Anderson Michael Andry Mr. Thomas C. Bolton Mrs. Sallie Broach Timothy Butts Dr. Nancy J. Cable John Condren Dr. John Cuellar George Dambach John Donahoe Harry Durity Nancy Edgerton John Ellis Dr. Bolling Farmer Adarrell Gadsden Bill Gettys Fred Groce Stan Ingber

Mary Kirby Gerald Kitch Doris Phillips Loomis Barbra Love Pam Lowe-Hoyte Sue Luther Kathleen Mainardi Elizabeth McCorvey Carol McCollum Jeffrey Owen Irene Stoll Candace Taylor James S. Thompson Sandra Tompkins Ed Towson Sarah Van Gunten Olivia Zahler

Mary Ellen Dendy Marketing Strategy Consultant Claire M. Allen Marketing Manager & Graphic Designer Michael Di Trolio Principal Librarian Paul Stroebel Stage Manager

YOUTH ORCHESTRA STAFF

(continued on next page)

Leigh Dixon Manager Hunter Kopcznski Symphony Conductor Joseph Falconer Chamber Conductor Ashlee Booth Prelude Conductor

Jason Posnock Advisor Brian Tinkel Percussion Director Dilshad Posnock Woodwind Coach

CONTACT

828.254.7046 info@ashevillesymphony.org 27 Colllege Place Suite 100 Asheville, NC 28801

ABOUT THE COVER “AQUA” Mixed media on canvas, 48 x 30 in. Scott Upton has been represented by Blue Spiral 1 for 30 years. His abstract paintings are filled with color and texture and his distinctive compositions reflect strong geometric shapes, often with a subtle suggestion of a landscape. The canvases glow with multilayers of paint and concealed reflective textures using silver and gold leaf, all sealed under a varnish of his own devising. “My work has always been about color and light; its effect on our emotions, how it inspires passion, offers peace, feeds the soul and calms the mind. When I begin a painting I have an idea of what I am going for and I work fast and strong. As it evolves, I pull back and let the direction of the painting determine the outcome. Subtle washes are pushed back with opaque layers of paint that closes away everything else on the canvas. Scatter spots of color come through to remind you that more is going on than just on the surface, creating a calm moment to reflect on what has been hidden from view.” — Scott Upton SELECTED IN COLLABORATION WITH

Upton received his BFA degree from the University of North Carolina and attended the Art Institute of Atlanta (GA). He has exhibited at the Asheville Art Museum (NC) and the Art Institute of Atlanta (GA). His work is in the collections of the Knoxville Art Museum (TN), Four Seasons Hotel (GA), Bank of America (GA), Chase Manhattan Collection (NY) and Chase Collection (IL). For more information visit bluespiral1.com.

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PAST PRESIDENTS

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We are grateful to the Asheville Symphony for the invaluable role they play in our community. We are honored to play our small part in supporting our arts community through our sponsorship.

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

1992-1994: G. Edward Towson, II 1994-1995: Stephen L. Barden, III 1995-1997: Joyce R. Dorr, Ph.D. 1997-1999: C. David Pheil 1999-2001: George M. Bilbrey, MD. 2001-2003: W. Herbert Smith, Jr. 2003-2004: James P. Topp 2004-2006: Thomas C. Bolton 2006-2008: Carol McCollum 2008-2010: Jack Anderson 2010-2012: Carolyn L. Hubbard 2012-2014: William L. Gettys 2014-2017: Irene Stoll 2017-2019: Doris Phillips Loomis 2019-2021: Bolling Farmer

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

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

Board President

MICHAEL ANDRY Dear Asheville Symphony friends and family, In January of 2020, we were wonderfully oblivious to all that we would face over the next 20 months. Who knew that we would be forced to cancel nearly two years of live performances, including an entire Amadeus Festival? Who knew that our then Executive Director would take an exciting new career opportunity, necessitating a national search for his successor? And who knew that the Asheville Symphony would rise to the occasion and deliver a fantastically diverse series of events, staying connected with its patrons and re-emerging stronger than ever before? Many of you likely participated in the ASO’s Splendor on Your Grass program, offering intimate chamber music concerts on the front lawns, driveways, and backyards of our patrons for months. And many of you likely also enjoyed Aaron Diehl’s virtual piano recital, broadcast from Steinway Hall in New York City, or the world-class virtual performances that we created in the Diana Wortham Theatre, featuring Darko, ASO musicians, and a variety of soloists. Some of you may even have experienced the multi-cultural, virtual educational experiences developed for our Music in the Schools program, in collaboration with Secret Agent 23 Skidoo, aka Cactus. In July, we welcomed a new Executive Director, Daniel M. Crupi, who joined us from The Santa Fe Symphony Orchestra & Chorus. With his new energy, connections and vision, there are great things ahead for the ASO in the next few years. Pay attention—this should be very fun. This past September, as COVID restrictions allowed, we presented a fantastic, free performance to an absolutely packed Pack Square Park. We estimate that about 7,000 Ashevillians enjoyed the energy, weather, and community of that extraordinary evening. We hope that you are delighted to return to live performances. We know that our musicians, Darko, and the ASO staff and Board are excited to be back and thrill audiences once again, while simultaneously abiding by government mandates to ensure that we are providing as safe an environment as possible. As this season evolves, and best practices on COVID evolve, please work with us as we continue to focus on your safety. The Board is proud of the manner in which we made it through the last 20 months. It wasn’t easy—but we have emerged stronger and wiser, with excellent new leadership, and look forward to engaging and delighting you this season and into the future.

Michael Andry Board President

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 13

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Music Director

DARKO BUTORAC

the Deutsche Kammerphilharmonie Neuss and the Georgische Kammerorchester Ingolstadt (Germany), the Rubinstein Philharmonic of Lodz (Poland), the Xiamen Symphony (China), the Tallinn Sinfonietta (Estonia), and the Slovenian Radio Symphony Orchestra. He has appeared at such prestigious venues as the Vienna Konzerthaus, the Gran Teatro Nacional of Lima, Belgrade’s Kolarac Hall, the Teatro Magnani in Italy, and the Tartu, Aspen and St. Olav summer music festivals. From 2009 to 2013 he served as the principal conductor of the Fidenza Opera Festival.

Praised by the Westdeutsche Zeitung for his “exceptional combination of passion, elegance and well-timed pacing”, Darko Butorac has established himself as a conductor in demand with orchestras both in Europe and the Americas. He currently serves as the Music Director of the Asheville Symphony and the Tallahassee Symphony Orchestra. Following his debut with the Belgrade Philharmonic in January 2011, Butorac was reengaged to conduct both the season finale and the opening concert of the 2012 season. Other notable guest conducting engagements include performances with

Distinguished collaborations include soprano Renee Fleming, pianists Garrick Ohlsson and Jon Kimura Parker, tenor Lawrence Brownlee, cellist Colin Carr, clarinetist Anthony McGill, and Oscarwinning actor J.K.Simmons among others. Highlights of the 2021-22 season include performances with pianists Aaron Diehl and Stewart Goodyear, violinists William Hagen and Blake Pouliot, cellist Jamal Aliyev, and a New Year’s Eve gala with vocalists Morgan James and Erica Gabriel. Butorac helped his orchestras emerge from the pandemic by creating programs featuring over 75 short works for chamber orchestra formations, with a focus on presenting works by underperformed composers and minorities. The Tallahassee Symphony was one of the first orchestras in the United

States to move to a fully virtual format, by committing to webcasting live performances in April of 2020. As the Grand Prix Laureate and Gold Medalist of the Fourth International Vakhtang Jordania Conducting Competition Butorac was invited to conduct orchestras across four continents. He was also selected to participate at the Bruno Walter National Conductor Preview hosted by the League of American Orchestras and the Jacksonville Symphony. Butorac served as the Music Director of the Missoula Symphony from 2007-2019, marking a period of tremendous artistic growth of the orchestra. He challenged the ensemble with a broader repertoire leading to greater engagement with the community and frequently sold-out performances. Butorac is also in demand as a public speaker on leadership. His TEDx Montana talk on the “Language of Conducting” has over a 150K views on YouTube. He has appeared as a speaker on behalf of Brighthouse, a division of BCG, and was the headline speaker at the Birla Carbon International Leadership Summit in Bangkok in 2018. He is an avid traveler, having visited almost seventy countries, and is passionate about discovering the world and bringing people together through the beauty of music.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 15

Orchestra Personnel VIOLIN Jason Posnock Concertmaster Martha Gardner • Associate Concertmaster Open Chair • Assistant Concertmaster Kathryn B. Gardner • Principal Second Violin Debra L. Anthony Associate Principal Second Violin Janet Barringer (loa) Teresa M. Curran Elizabeth Fee-Elliott Lori G. Hammel Rachael Kistler-Igo Dorothy L. Knowles Virginia Kowal LuAda Malcom John R. Malloy Oleg Igorevich Melnikov Ruben Orengo Mariya S. Potapova Inez Hullinger Redman Essena Setaro *Paul E. Stroebel •

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

FLUTE

TIMPANI

Lissie J. Shanahan • Principal

Todd D. Mueller • Principal

Kellie Henry

PERCUSSION

PICCOLO Dilshad B. Posnock

OBOE Alicia Chapman • Principal *Cara Mia Jenkins

Michael Morel

HARP Open Chair • Vetust Study Club Chair

ENGLISH HORN

KEYBOARD Open Chair • Susanne Marcus Collins Chair

CLARINET Harry H. “Chip” Hill • Principal

Endow Your Favorite Instrument

Karen Farah Hill

BASS CLARINET Shannon Thompson

BASSOON Michael J. Burns • Principal Amber Ferenz Spuller

CONTRABASSOON William L. Peebles

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

TRUMPET

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

T. Mark Clodfelter • Principal

BASS

*Brian Tinkel

Amanda J. LaBrecque

CELLO

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

Matthew Richmond • Interim Principal

P. Bradley Ulrich Christopher Underwood

TROMBONE James Sparrow • Principal

Your support of the Asheville Symphony Society’s endowment is the ticket to a secure, stable financial future for your Symphony. Consider endowing your favorite instrument in perpetuity! When you make an endowment gift, the principal of your gift is invested and grows over time. Annual distributions from the endowment fund ensure our mission – to perform and promote symphonic music for the benefit, enjoyment and education of the people of Western North Carolina. Your donation builds a legacy that provides a stable, constant resource that we can count on every year. To learn more, contact Director of Development Jessica May at 828.318.8181 or jcmay@ashevillesymphony.org.

L. Rienette Davis

BASS TROMBONE Jeremy Marks

TUBA Bethany Wiese • Principal

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Michael Di Trolio • Principal Librarian Paul Stroebel • Stage Manager * Orchestra Committee Member Section string players are listed alphabetically.

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 19

MASTERWORKS 1 Thomas Wolfe Auditorium Saturday, November 20, 2021, 8:00 p.m.

The Asheville Symphony’s triumphant return to Thomas Wolfe Auditorium features Wallen’s Amazing Grace-inspired Mighty River, dancing violins in Bach's Double Violin Concerto, and Beethoven’s Fifth Symphony: the ultimate, heroic triumph over fate (and four notes).

20 ∙ Masterworks 1: Uncaged

Darko Butorac, Conductor Alina Kobialka, Violin Megan Lin, Violin

Errollyn Wallen Mighty River

PROGRAM NOTES

Mighty River

Errollyn Wallen (b. 1958) Errollyn Wallen composed Mighty River in 2007 to mark the bicentenary of the Abolition of the Slave Trade Act in England. She explains: “Composing for the orchestra is my favourite challenge [and this] work is an especially important one for me. It is an innate human instinct to be free, just as it is a law of nature that the river should rush headlong to the sea. That is the concept behind Mighty River. “Slavery claimed the lives of countless people, but somehow my ancestors found the grit and determination to persist in spite of the conditions in which they found themselves. I dedicate Mighty River to my great-great-great-great-greatgreat grandmother. Though I never knew her, I am driven on by her courage in the face of dreadful odds and am inspired by her example not merely to survive, but to thrive.” Beginning and ending with a simple rendition of “Amazing Grace,” Mighty River is a fantasy on the hymn with snatches of other hymns and spirituals. It is interspersed with passages of lively tone painting portraying the various “personalities” of the river. Belize-born British composer Wallen started as a dancer at the Dance Theater of Harlem, to study composition at the universities of London and Cambridge. She established her own ensemble, Ensemble X, whose motto is “We don’t break down barriers in music...we don’t see any”.

Concerto for Two Violins in D minor, BWV 1043

Johann Sebastian Bach (1685-1750) Johann Sebastian Bach composed the bulk of his instrumental secular music during his employment at the court of Prince Leopold of Anhalt-Cöthen from 1717 to 1723. Since the court was Calvinist, there was no call on Bach to compose church music. From that period came the Brandenburg Concertos, the first book of the Well-Tempered Clavier, the Orchestral Suites and many of the works that appear to have been lost in their original versions but crop up later as concertos for one, two, three and four harpsichords. Bach was an accomplished violinist. During his late teens he earned badly needed money as “lackey and violinist” to

Duke Johann Ernst, the younger brother of the Duke of Weimar (whose employment Bach entered five years later). We know that during his years in Cöthen he composed at least four concertos for one violin and two for two violins. After his death, however, half his manuscripts went to his son Wilhelm Friedemann, who, perennially short of money, probably sold them for scrap paper, a valuable commodity at the time. The other half of the manuscripts, including those of the A minor and E major violin concertos and the D minor concerto for two violins, ended up in the hands of his more fastidious son, Carl Philipp Emanuel, who took good care of them. We do not know when and by whom the Concerto for Two Violins was first performed, but it probably was at the court of Cöthen with its modest orchestra. In the Concerto, Bach seems to have delighted in the many ways he could make the two soloists interact in dialogue, intertwining and playing tag with the melodies. In fact, all three movements are short on thematic material in order to emphasize the flexibility of the main themes, which are shared equally by the two violins. The Concerto is composed in the high Baroque style “invented” by Antonio Vivaldi. Bach was a great admirer of the Italian composer, adopting his style and even resetting his Concerto for Four Violins as a concerto for four harpsichords. The first and third movements have strong, driving ritornellos (thematic refrains), while the violin dialogue plays the intervening episodes. But the second movement belongs to the soloists alone, playing a gentle, serpentine melody in imitative counterpoint. It is among the most sensuous and emotive of all Bach’s concerto movements. The themes assiduously avoid tonic cadences in order to increase the harmonic tension. The movement includes a number of repeats, as if the young composer had been reluctant to release them. Around 1739, while Kantor of the Thomaskirche in Leipzig, Bach transcribed this Concerto for two harpsichords, to be performed by the Bachisches Collegium, the weekly concert of secular vocal and instrumental music held in Zimmermann’s Coffee House, a high-class bourgeois establishment spacious enough to accommodate a large ensemble. (continued on next page)

Music Sponsors J. Howard & Honey Solomon George & Kathy Dambach Larry & Billie Marzullo

J.S. Bach Concerto for Two Violins in D minor, BWV 1043 I. Vivace II. Largo ma non tanto III. Allegro Alina Kobialka, Violin Megan Lin, Violin

Music Sponsors John & Jeanne Condren Susan Jensen & Lou Gilfond Dr. Nancy J. Cable INTERMISSION

Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro – Presto

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CONCERT CO-SPONSORS

GUEST ARTISTS SPONSORS

Mr. & Mrs. Thomas C. Bolton SEASON MEDIA SPONSOR

This performance will be recorded for broadcast on Blue Ridge Public Radio on February 8, 2022 at 7:00 p.m. and February 10, 2022 at 9:00 a.m.

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 21

Symphony No. 5 in C minor, Op. 67 Ludwig van Beethoven (1770-1827)

The four most clichéd notes in classical music were once the most revolutionary. For the first time a rhythm, rather than a melody, became the main subject of a symphonic movement – and not merely as a first theme to be stated and picked up again for a while in the development and recapitulation sections. Beethoven wove the rhythm into the entire fabric of the first movement, and subsequently into the rest of the Symphony. The motive first appears as a repeated demand, subsequently expanded into a genuine melody in the first theme. It recurs as a throbbing accompaniment in bass and timpani in the second theme, all the way to the final cadence of the exposition. Such an original symphonic structure did not come easily, especially to a composer who lacked the ever-ready melodic genius of a Mozart, Bach or Haydn who all produced copiously on demand. A collection of the composer’s sketchbooks bears witness to the lengthy and often painful gestation of some of his greatest music. The Fifth Symphony took four years to complete, between 1804 and 1808. But Beethoven also had to eat, and during those four years he also produced the Fourth Symphony, the Fourth Piano Concerto, the three String Quartets Op. 59, the Mass in C and the Violin Concerto.

Although Beethoven had already been at work on what was to become the Fifth Symphony, he composed the Fourth in fairly short order in 1806 on commission from Count Franz von Oppersdorff. The Count eventually paid the 500 florins agreed upon for the work and in 1807 commissioned another symphony with a down payment of 200 florins. Beethoven notified Oppersdorff in March 1808 that the Fifth Symphony was ready and that he should send the remaining 300 florins. But the Count sent only another installment of 150 florins, and by November Beethoven, in one of his less than ethical moves, apparently felt justified in selling the score to the publisher Gottfried Härtel. Upon finally paying in full, Oppersdorff received a copy. The Symphony No. 5 was premiered at one of those monster public concerts common in the nineteenth century; on the program were premieres of the Sixth Symphony and the Fourth Piano Concerto, the aria “Ah! Perfido,” the Choral Fantasia and several movements of the Mass in C. One can only imagine the bewilderment of the audience on its first encounter in a single evening with the “Pastorale” and the Fifth. Because the Fifth Symphony is now so familiar, it is difficult to think of it as innovative, but it was not only the integration of the four-note rhythmic motif into the entire fabric of the first movement that was new. The second movement, Andante con moto, involves its own kind of novelty. It is

made up of two short juxtaposed, contrasting themes: the first in dotted rhythm in the strings, the second a slow almost military theme in the brass. Beethoven produces from the two themes a double set of variations. And it should be noted that the second theme contains within it in augmentation (in longer note values) the germinal four-note rhythm of the first movement. For the Scherzo, Beethoven again prominently takes up the motivic rhythm in the horns, this time in augmentation. The Trio is a fugue. The repeat of the Scherzo theme is scored for clarinet and bassoon over pizzicato strings playing pianissimo. Symphony No. 5 has frequently been referred to as a struggle from darkness to light, but it is a commonplace that has palpable grounding in truth. Not only does the symphony begin in C minor and end in C major, but there is also the magnificent transition between the third and fourth movements, a kind of sunlight breaking through the clouds with violins stammering over the timpani as it throbs out the motto. The emergence into the triumphant Finale paved the way for the symphonic writing of the future, including Beethoven’s own Ninth Symphony, Mendelssohn’s Third (The “Scottish”) and Brahms’s First. Program Notes by Joseph & Elizabeth Kahn (www.wordprosmusic.com)

ABOUT THE CLEVELAND INSTITUTE OF MUSIC The Asheville Symphony and the Cleveland Institute of Music (CIM) share a special bond. We are proud to continue that relationship through our 2021-2022 season. Each season, the ASO hosts a current CIM student or recent graduate. This year, we are pleased to welcome two violinists, Alinka Kobialka and Megan Lin, for our first Masterworks performance of the season. The Cleveland Institute of Music is one of just seven independent conservatories of music in the United States, one of three devoted exclusively to classical music performance. CIM’s graduates command the most celebrated and revered stages in the world as soloists, chamber musicians and ensemble members; compose award-winning repertoire; and are sought-after teaching artists, administrators and thought leaders. More than half of the members of The Cleveland Orchestra are connected to CIM as members of the faculty, alumni or both.

22 ∙ Masterworks 1: Uncaged

GUEST ARTISTS

Alina Kobialka, Violin Alina Kobialka has been praised as a remarkable violinist due to her beautiful tone, effortless precision, and musical maturity beyond her years. After her first guest solo appearance with orchestra at the age of ten, she has toured and performed with many ensembles throughout the world. The San Francisco Classical Voice described her as a “jaw-droppingly assured” soloist, who “made present and future converge.” The Las Vegas Review Journal wrote, “Watch for her name. She appears to be bound for greatness.” Alina began her studies at the age of five with Li Lin. She continued on to the San Francisco Conservatory Preparatory Program, where she studied with Wei He. Leaving San Francisco at age 16, she attended the Colburn Music Academy in Los Angeles, where she studied with Robert Lipsett and Danielle Belen. Most recently, Alina graduated from the Cleveland Institute of Music with her Master’s in Violin Performance, under the tutelage of Ilya Kaler. At age 14, Miss Kobialka made her solo debut with the San Francisco Symphony at their 100th Anniversary Reunion Concert in Davies Symphony Hall, where she has since returned three times as a soloist. Soon after, she was featured live on the nationally acclaimed radio show NPR’s From the Top. Since then, Alina has performed with various American orchestras, including the Las Vegas Philharmonic, ProMusica Chamber Orchestra, California Symphony, the Colburn Academy Virtuosi Orchestra, and others. In 2015, Miss Kobialka made her performance debut in Asia with the Macau Youth Symphony for their New Years’ Concert. She returned in

2016 to tour Japan with the Kagawa International Youth Orchestra, and in 2017 to perform in the Shanghai International Arts Festival gala concert.

named a Texas Young Master by the Texas Commission on the Arts. More recently, she was the 2021 recipient of the Dr. Jerome Gross Prize in Violin.

Alina was awarded second prize as the youngest competitor of the 2017 Elmar Oliveira International Violin Competition. Other competition accolades include being a laureate of the 2016 Irving M. Klein International Competition and receiving the Grand Prize at the Mondavi Center National Young Artists Competition.

Megan has been a member of local youth orchestras such as the Dallas Asian American Youth Orchestra, Greater Dallas Youth Orchestra, and New Conservatory of Dallas, as well as the TMEA All-Region and All-State orchestras. She has also attended many festivals as a recipient of the Dorothy Richard Starling Foundation Scholarship, including the Meadowmount School of Music, The Institute for Strings, Heifetz International Music Institute, and New York String Orchestra Seminar.

Recent concert highlights include performing with world-renowned conductor Michael Tilson Thomas and the San Francisco Symphony and making her debut with Vadim Gluzman and the ProMusica Chamber Orchestra. She also performed a guest artist recital at Southwestern University in Texas, and Brahms Double Concerto for Violin and Cello with cellist Oliver Herbert & the California Symphony. An avid chamber musician, Alina has been an artist at the Marlboro Music Festival for the last few years. During her time there, she had the great honor of performing with acclaimed pianist Mitsuko Uchida. Other celebrated musicians she has worked with include pianist Jonathan Biss, violist Kim Kashkashian, cellist Peter Wiley, and violinist Scott St. John. Future concerts include performing Nielsen Violin Concerto with the Camellia Symphony, embarking on a Marlboro National Tour, and returning to the Marlboro Music Festival next summer.

An active chamber musician, Megan received the Grand Prize at the 7th Coltman Chamber Music Competition as a member of the Elless Quartet. The group was also a semifinalist at the 47th and 48th Fischoff National Chamber Music Competition and has played in masterclasses given by members of the Emerson, Orion, Dover, and Miami String Quartets. Megan plays the beautiful 1910 Scarampella violin, nicknamed “the Bolton Violin.” It was given to the Cleveland Institute of Music by John Bolton in 2019 to be put on loan to one of its top violin students, and Megan is the first recipient of the loan.

Megan Lin, Violin Megan Lin, 20, was born in Plano, Texas and began her violin studies at age 5. She is currently an undergraduate student at the Cleveland Institute of Music, where she studies with Jaime Laredo and Jan Sloman. As the winner of the 2019 Lynn Harrell Concerto Competition, Megan made her debut with the Dallas Symphony Orchestra performing the Tchaikovsky Violin Concerto. She has also performed with the Lewisville Lake Symphony and the Fort Worth Symphony Orchestra as the grand prize winner of both organizations’ Young Artist Competitions. In 2018, Megan was

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 23

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Ring in the New Year like a queen

Darko Butorac, Conductor Morgan James, Vocalist Erica Gabriel, Vocalist

26 ∙ New www.AshevilleSymphony.org Year’s Eve: Queens of Soul ∙ New Year’s Eve: Queens of Soul

Thomas Wolfe Auditorium Saturday, December 31, 2021, 8:00 p.m.

I Put a Spell on You

Screaming’ Jay Hawkins, Herb Slotkin, arr. LaBolt

GUEST ARTISTS

Baby I Love You musical side. She cultivated a new world of fans with her viral YouTube videos, and while connecting with them on social media and at her live shows, she found the support and strength to go out on her own as an independent artist. With viral sensation Postmodern Jukebox, and her own channel, Morgan has amassed more than 250 million views on YouTube, (and climbing). Over the last several years, James has built her own empire and established herself as a touring powerhouse, allowing her to raise the funds to create her albums and make every decision from the ground up.

Morgan James Let’s start with the voice, an instrument through which she can communicate anything. A gift bestowed upon her that she has expertly trained, meticulously nurtured, and passionately galvanized into action by an urgency to make real music. Next, the stories, and she has them in spades. They are full of truth and beauty, heartache and thoughtfulness. They reveal colors we weren’t expecting to see. They make us close our eyes and relate. And finally, the soul – the emotional and intellectual energy through which these parts are fueled. That special something that prompted The Wall Street Journal to herald her as “the most promising young vocalist to come along so far this century.” That young vocalist is Morgan James. And Morgan James is a soul singer. Morgan’s latest full album “Memphis Magnetic” is the culmination of a lifelong love affair with music. The album was recorded live to analog tape in Memphis Tennessee, and is an original soul album packed with emotion and real musical ingredients. She grew up listening to everyone from Joni Mitchell to Paul Simon to Prince to Aretha Franklin, cultivating an insatiable love for strong songwriters. After graduating from The Juilliard School with a classical music degree, and performing in the original companies of five Broadway productions, James began writing and recording her own music. Meeting her mentor Berry Gordy, Jr. led to a record deal at Epic Records, where she recorded and released her solo album Hunter in 2014. In addition to her three studio albums, James recorded and released a full album cover of Joni Mitchell’s seminal “Blue” as well as The Beatles’ “White Album” in 2018 to celebrate the 50th anniversary. Through her unique and varied career, there have been many ups and downs, but James cites her failures as more important than her successes in shaping the artist she is today. After her tenure with Epic Records, she took charge of her career from the business and

“I feel like I am a part of the lineage of soul music. My guiding force throughout my creative process is ‘What would Aretha say? What would Otis say?’ It’s not a retro or throwback by any means. This music is me: classic elements, timeless melodies, and lyrics from my soul and experience. We need that right now. We need real music now more than ever.”.

Jeff Barry, Ellie Greenwich, Phill Spector, arr. Keelen

Rock Steady

Aretha Franklin, arr. Globus

If You Only Knew

Cynthia Biggs, Kenny Gamble, Dexter Wansel, arr. Globus

(You Make Me Feel like a) Natural Woman Aretha Franklin, arr. Shirar

I Say a Little Prayer Burt Bacharach, arr. Keelen

Think

Aretha Franklin, arr. Keelen INTERMISSION

Lady Marmalade

Kenny Nolan, Bob Crew, arr. Cassidy

At Last

Harry Warren, arr. Cassidy

Killing Me Softly

Charles Fox, arr. Cassidy

I Wanna Dance with Somebody

Shannon Rubicam, George Merrill, arr. Cassidy

Ain’t No Mountain High Enough

Nikolas Ashford, Valerie Simpson, arr. Globus

Erica Gabriel

Feeling Good

Erica Gabriel received her Bachelor’s Degree in Vocal Performance and Pedagogy from Oakwood University. Her training also includes a Master’s degree from the University of Michigan. She has performed with the Chicago Symphony Orchestra, the Jacksonville Symphony, the Savannah Philharmonic, and the Jackson Symphony. She was cast in Ravinia’s production of Bernstein’s Mass under the baton of Marin Alsop, which Aired on the PBS Television Network as a part of their “Great Performances” series. She has also toured with the renowned American Spiritual Ensemble, under the direction of Dr. Everett McCorvey. Her competition credits and awards include The Alma Blackmon Scholarship Award, Winner of Classical Singer Regional University Competition, winner of the Hartford Memorial Scholarship Competition, Second place winner of the Alltech Scholarship competition, and the 2018 Gold Medal winner of the American Traditions Vocal Competition.

Anthony Newley, Leslie Bricusse, arr. LaBolt Additional surprises will be announced from the stage on the night of the performance.

CONCERT SPONSOR

GUEST ARTISTS SPONSOR

SEASON MEDIA SPONSOR

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 27

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28 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

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MASTERWORKS 2 Thomas Wolfe Auditorium Saturday, February 12, 2022, 8:00 p.m. Darko Butorac, Conductor Xiayin Wang, Piano

There was once a dream for the future of American music: symphonic music inspired by black songs and spirituals, a uniquely American musical tradition. This program brings that dream to life. Step into 1920s New York and explore a golden age of orchestral works by black composers alongside Gershwin’s Rhapsody in Blue and Dvořák.

30 ∙ Masterworks 2: Roaring Rhapsody

Will Marion Cook Overture from In Dahomey

PROGRAM NOTES

Overture from In Dahomey Will Marion Cook (1869-1944)

In Dahomey: A Negro Musical Comedy, is considered the first full-length Blackproduced and performed musical comedy to be staged on a major Broadway stage. The musical is a parody on the white American Colonization Society’s attempts early in the 19th century, to repatriate blacks to Africa. Premiered in 1903 at the New York Theater, it was a limited success there but a smash in England. Composer, violinist and conductor Will Marion Cook is best-known for his musicals featuring Black poets, writers, producers and casts. He was known for his irascible temper and rigidity. According to Eubie Blake “he was trying to ape Richard Wagner.” But Duke Ellington called Cook “the master of all masters of our people.” He graduated in violin from Oberlin Conservatory, and later studied at the Berlin Hochschule für Musik, then in New York with Antonín Dvořák. He was, however, a victim of the blatant racism of the period: “The terrible difficulty that composers of my race have to deal with, is the refusal of American people to accept serious things from us” he wrote. With his popular songs, he helped introduce ragtime to Broadway. The plot of In Dahomey, which has had to be reconstructed from several different scripts, concerns two conmen (Rareback and Shylock) who attempted to strike it rich by colonizing Dahomey (Benin) in much the way white colonizers conned Blacks. The Overture is in several sections, based on songs from the musical – some of whose titles are now unprintable. The musical style derives directly from the vaudeville stage where blacks and white performers in blackface were extremely popular, mostly dance tunes like the cakewalk, waltz and ragtime.

Rhapsody in Blue

George Gershwin (1898-1937) George Gershwin was the first American composer to make jazz acceptable to the American classical music audience. The son of poor Jewish immigrants in lower Manhattan, he was a natural-born pianist and left school at 16 to become a pianist with a Tin-Pan Alley firm, plugging their new songs. He soon commenced writing songs himself, eventually teaming up with his brother Ira as lyricist to become one of the most successful teams of song and musical comedy writers on Broadway. They created a string of immensely successful musicals from Lady be Good

in December 1924 to Let ‘em Eat Cake in October 1933. The opening night of a George Gershwin musical comedy was a social and media event with Gershwin himself usually leading the orchestra. Gershwin received the commission for an extended jazz composition from a conductor of popular music, Paul Whiteman, who promoted concerts of jazz music in New York’s Aeolian Hall. Whiteman was the self-styled “King of Jazz” who attempted to make jazz more symphonic and respectable. Whiteman’s commission followed an Aeolian Hall concert in the fall of 1923, at which Gershwin had played piano arrangements of a few of his songs. Gershwin composed the Rhapsody in a mere three weeks early in 1924, in a two-piano version. Lacking the skills to orchestrate the work, he turned it over for piano and jazz orchestration to Ferde Grofé, a popular composer, pianist and arranger, who served as Whiteman’s factotum. Grofé practically lived in Gershwin’s house, orchestrating the work page-by-page as it came from the composer’s pen. He also rescored the Rhapsody two years later for full symphony orchestra. The premiere, on February 12 1924, was a smashing success. Although the critics – true to form – mostly panned it, the audience loved it. Virtually overnight, jazz became respectable. Gershwin himself played the piano part, becoming an instant celebrity. Significant credit for the success must go to Grofé’s imaginative orchestration, which has ended up as his most enduring contribution to music, along with his Grand Canyon Suite.

Music Sponsors Irene & Michael Stoll Larry & Billie Marzullo Robin & Gordon Gaiser

George Gershwin Rhapsody in Blue Xiayin Wang, Piano

Music Sponsors Olivia & Gary Zahler Gene & Lee Casey Dr. John & Wendy Cuellar Barbra & Keith Love

INTERMISSION

Antonín Dvořák Symphony No. 9 in E minor, “From the New World,” Op. 95 II. Largo

Music Sponsors

Bill & Kitty Hunt Dr. Alan & Suzanne Escovitz Richard & Yolanda Hall in memory of our son, Rikki Hall

William Grant Still Symphony No. 1 in A-flat major, “Afro-American” I. Moderato assai II. Adagio III. Animato IV. Lento, con risoluzione

Music Sponsors Sarah Van Gunten Carol & Hugh McCollum Adarrell Gadsden & Marcie Ownbey

CONCERT SPONSOR

Symphony No. 9 in E minor, “From the New World,” Op. 95, II. Largo Antonín Dvořák (1841-1904)

GUEST ARTIST SPONSOR

Antonín Dvořák’s sojourn in the United States from 1892 to 1895 came about through the efforts of Mrs. Jeanette B. Thurber. A dedicated and idealistic proponent of an American national musical style, she underwrote and administered the first American music conservatory, the National Conservatory of Music in New York. Because of Dvořák’s popularity throughout Europe, he was Thurber’s first choice for a director. The fact that he spoke no English was of little consequence since the language

SEASON MEDIA SPONSOR

This performance will be recorded for broadcast on Blue Ridge Public Radio on March 15, 2022 at 7:00 p.m. and March 17, 2022 at 9:00 a.m.

(continued on next page)

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 31

of musical discourse was German. He, in turn, was probably lured to the big city so far from home by both a large salary and convictions regarding musical nationalism that paralleled Mrs. Thurber’s own. Thirty years before his arrival in New York, Dvořák had read Henry Wadsworth Longfellow’s Song of Hiawatha in a Czech translation and was eager to learn more about the Native American and AfricanAmerican music, which he believed should be the basis of the American style of composition. He also shared with Mrs. Thurber the conviction that the National Conservatory should admit AfricanAmerican students. While his knowledge of authentic Native American music is questionable – his exposure came through samples transcribed for him by American friends and through Buffalo Bill’s Wild West Show – he became familiar with AfricanAmerican spirituals through Burleigh, as well as indirectly via the songs of Stephen Foster. He incorporated both of these styles into the Symphony No. 9, composed while he was in New York.

disavowed in favor of simpler harmonic and melodic approaches. In the late 1920s his music became more lyrical and romantic as he began drawing his material from ethnic and popular sources. But while he occasionally made use of actual folk songs and blues, he invented most of his thematic material. Still was a prolific composer, with ballets, songs, piano pieces, choral works, chamber music, five symphonies and eight operas. He made his living, however, as a successful arranger for popular musicians, among them Paul Whiteman, Artie Shaw and Sophie Tucker. He also worked as arranger and conductor for the major radio networks and later for television. He provided orchestration for several Broadway musicals and wrote music for films, including Lost Horizons, Pennies from Heaven and Stormy Weather. The Afro-American Symphony was composed in 1930 and premiered in 1931. In notes for a 1965 recording, Still wrote that “It was not until the Depression struck that I went jobless long enough to let the symphony take shape.”

Just as Dvořák never quoted Bohemian folk music directly in his own nationalistic music, he did not use American themes in their entirety. Rather, with his unsurpassed gift for melody, he incorporated characteristic motives into his own themes. Nevertheless, any listener with half an ear can discern “Massa Dear” (also known as “Goin’ Home”) in the famous English horn solo in the second movement. The second motive in the Largo movement is a phrase of wrenching musical longing that many listeners interpret as the composer’s nostalgia for his native Bohemia. The New York music critic and Dvořák’s friend, Henry Krehbiel, claimed that the movement was inspired by incidents from Henry Wadsworth Longfellow’s The Song of Hiawatha. Incidentally, Dvořák had also intended to compose an opera on Hiawatha, which never left the drawing board.

The symphony is based on an original blues theme that recurs in each movement. Still’s stated purpose was “To demonstrate how the blues, so often considered a lowly expression, could be elevated to the highest musical level.” The harmonies employed throughout the symphony are by and large conventional, as is the overall symphonic structure. The four movements are aptly described by their subtitles: “Longing,” “Sorrow,” “Humor” and “Aspirations.” Quotes from four colloquial poems by Paul Laurence Dunbar head the movements.

Symphony No. 1 in A-flat major, “Afro-American”

The third movement presents a dramatic contrast, lively and full of syncopated dance rhythms, accentuated by the extensive use of a banjo. The symphony culminates in a majestic and proud finale that unites all previous themes and ends on an upbeat mood.

William Grant Still (1895-1978)

Often called “Dean of Afro-American Composers,” William Grant Still was born in Mississippi and grew up in Arkansas in a musically-oriented middle class family. While his mother wanted him to become a physician, there was never any doubt that his heart and soul were in music. His musical training covered the whole spectrum, from studying the blues with W.C. Handy to composition with George Chadwick at the New England Conservatory of Music and with Edgar Varèse. His music reflects these diverse influences. His early works shows the influence of Varèse, whose style he later

32 ∙ Masterworks 2: Roaring Rhapsody

The first movement introduces the blues theme followed by a second major theme resembling a spiritual for solo oboe. The theme for the mournful second movement is again introduced by the oboe; it is answered by a second theme on the flute, a variation of the opening blues theme.

Program Notes by Joseph & Elizabeth Kahn (www.wordprosmusic.com)

GUEST ARTIST

Xiayin Wang, Piano Pianist Xiayin Wang is an artist of keen musicality and sweeping virtuosity. Praised by The New York Times for her “estimable grasp of pianistic color and her ability to maintain and illuminate a strand of melody within the thickest of textures,” Ms. Wang has released numerous celebrated recordings and performed throughout the world, from New York’s Carnegie Hall and Lincoln Center, to music centers in South America, Europe, and Asia. As Musical America put it: “She can be at one moment sensual and the next rhythmically driving…with such assuredness, such delicacy, that one forgets the difficulties inherent in the performance, and is left breathless in musical awe.” Ms. Wang’s discography has received international acclaim, with her most recent Chandos recording of Tchaikovsky and Scriabin piano concerti being hailed as “terrific” (Gramophone) and “the model of refinement” (The Herald). Her recording of Alberto Ginastera’s Piano Concertos Nos. 1 and 2 with the BBC Philharmonic and their Music Director Juanjo Mena were commended by Gramophone as “jaw-droppingly impressive” and singled out by The New Yorker’s Alex Ross. Ms. Wang’s 2018 release of a lesser-known collection of works by Granados on Chandos was praised by the BBC Music Magazine as catching “the spirit of youthful Spanish ardour.” Ms. Wang has performed with the Baltimore, Houston, and Pittsburgh Symphonies, the Vienna Chamber Orchestra, Israel Chamber Orchestra, Royal Scottish National Orchestra, and the Orchestra Sinfonica di Roma. She has appeared in recital in New York at Carnegie Hall and Alice Tully Hall, Vienna at Mozartsaal, as well as in France, Italy, Hungary, Russia, Mexico, Cuba, Chile, Costa Rica, and her native China. She completed her studies at the Shanghai Conservatory and garnered an enviable record of first prize awards and special honors for her performances throughout China. Ms. Wang, who began piano studies at the age of five, came to New York in 1997. She holds Bachelor’s, Master’s, and Professional Studies degrees from the Manhattan School of Music.

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34 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

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Season Sponsors $25,000+

Season Sponsors are critical to the Asheville Symphony’s success each year. Sponsors support a variety of key Symphony offerings including events, special projects, guest artists, multi-day festivals, concert series, donor events, and even an entire season. Thank you so much to the individuals, foundations, and businesses who support the Asheville Symphony and recognize the importance of arts organizations in our community.

$10,000+

OFFICIAL HOTEL OF THE ASHEVILLE SYMPHONY

Rich & Diane Byers in Memory of Katherine Armitage & Jack Jones

Explore

Buncombe County Tourism Development Authority

$5,000+

Kathryn & Harry Durity Dr. & Mrs. Marcus Grimes

$3,000+

Henry A. LaBrun

Maurice & Bonnie Stone

in Celebration of the Return of Our Symphony

MEDIA

SEASON MEDIA SPONSOR

36 ∙ www.AshevilleSymphony.org Asheville Symphony Supporters ∙ Winter 2021 Program Book

Olivia & Gary Zahler

Katie & Phil Osborn

MEDIA PARTNER

With options ranging from $3,000 to more than $25,000, sponsorship is a great way to partner with your Asheville Symphony. Each sponsorship package includes benefits custom tailored to your needs or the needs of your business. If you would like to see your name or business on this list of philanthropic individuals and businesses, contact Director of Development Jessica May at (828) 318-8181 or jcmay@ ashevillesymphony.org.

Asheville Symphony Supporters The Asheville Symphony Board of Directors, staff and musicians want to extend our deepest appreciation to our patrons. 20202021 was certainly a year unlike any other. Like many orchestras around the world, the Asheville Symphony Orchestra’s plans for this past year were halted, and few of us could have imagined such a season of change and uncertainty. However, we are delighted to report that the Asheville Symphony is BACK thanks to the support of our donors. Your gifts cultivate the next generation of music lovers by supporting our Music in the Schools program, the Young People’s concert and our spectacular Asheville Symphony Youth Orchestra! Your gifts sustain our vibrant music community by allowing us to be one of the largest employers of performing artists in WNC; we are proud we are able to employ and retain the area’s most highly trained and talented musicians! Your gifts strengthen the local economy by creating jobs and attracting home owners. The Asheville Symphony is a source of great community pride and your support ensures we continue our positive development trajectory! To learn more about supporting the Asheville Symphony please contact Jessica May, Director of Development at (828) 318-8181 or jcmay@ashevilleysmphony.org.

January 1, 2021 - October 20, 2021*

SEASON UNDERWRITERS ($25,000+) Asheville Symphony Guild Kimpton Hotel Arras North Carolina Arts Council

COMPOSER CIRCLE ($10,000-$24,999) Anonymous Anonymous Asheville Citizen Times Audrey Love Charitable Foundation Blue Spiral 1 Gallery Mr. and Mrs. Thomas C. Bolton Burial Beer Co. Rich and Diane Byers Chaddick Foundation

Robert & Mercedes Eichholz Foundation Explore Asheville Dr. Bolling Farmer Flow Automotive Bill and Nancy Gettys Gerald and Nancy Kitch David and Pamela Lane Jill and Joe Lawrence

CONDUCTOR CIRCLE ($7,500 - $9,999) Henry A. LaBrun Olivia and Gary Zahler

ORCHESTRA CIRCLE (5,000-$7,499)

ASO Supporters

Asheville Area Arts Council Diana Bilbrey George and Kathy Dambach Kathryn and Harry Durity Gan Shan West Dr. and Mrs. Marcus Grimes Highland Brewing Company Hi-Wire Brewing Joscelyn W. Hill Jim and Mary Kirby Amy Loether Dr. and Mrs. Ralph C. Loomis Barbra and Keith Love Carol and Hugh McCollum McGuire Wood & Bissette Phil and Katie Osborn Parsec Financial Bob and Martha Pierce Ed and Cindy Towson

Mary and Jack Anderson Michael and Catty Andry

* This list includes new donations and previously unrecorded donations from January 1, 2021 to October 20, 2021. Every effort has been made to ensure the accuracy of this list, however, if you note an omission or an error please contact Jessica May at (828) 318-8181 or jcmay@ashevillesymphony.org. Thank you!

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 37

Anonymous Charles and Beverly Briedis John and Jeanne Condren Nancy and Ron Edgerton Margaret Butler Hatchworks Coworking Bill and Kitty Hunt Jon and Ann Kemske Margarete W. Moon Endowment of the CFWNC Ann and Jerry McLellan Morgan Stanley Jim Reeves Bill Schulz and Odile Perrenoud Maurice and Bonnie Stone Norretta L. Taylor Sarah Van Gunten Hank Young

IMPRESARIO ($1,000-$2,499) Advantage Direct Blue Ridge Public Radio Don and Nancy Ackermann Cole Craig Allen and Julie Cowden Brad and Diane Arnold Lucy and Kirk Borland Ed and Donna Broadwell Bill and Clarita Burton Dr. Nancy J. Cable

Randy and Martha Carson Gene and Lee Casey Teresa Caton Cantrell Karen L. Cianciulli Charles and Patricia Clogston Caroline and Daniel M. Crupi Dr. John and Wendy Cuellar John and Suzie Donahoe Marvin and Patricia Eargle Richard and Bridget Eckerd John and Marsha Ellis Dr. Alan and Suzanne Escovitz John and Suellyn Felker Betty Fox Adarrell Gadsden and Marcie Ownbey Neil and Cindy Garroway Michael J. Grillot Dr. and Mrs. Heinz K. Grohs Sam and Robin Harben Jill and Dwight Healy Robert and Linda Hollis Jennine Hough Anne Jarema and Cliff Albertson Randall and Mary Johnson Keith Keener Mr. and Mrs. Paul Lerwick Dr. and Mrs. Carlo Mainardi Lois S. Carlson and Jerome Mrowca Russell and Ladene Newton Osada Construction LLC Robert and Ann Rennard Carole R. Roskind Martha G. Rowlett Susie and John Ruhl

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

ASO SUPPORTERS

BENEFACTOR ($2,500 - $4,999)

38 ∙ Asheville Symphony Supporters (continued from Page ##)

Jeremy Samsky Gary and BA Schenk State Farm Companies Foundation Steelcase Foundation Irene and Michael Stoll Margaret K. Storey Gary and Jeanne Ann Stroebel Ray and Patricia Strong Shirley Tenney and Paul Merriken Jay and Carol Verneuil Dr. and Mrs. Larry R. Versteegh

SUSTAINER ($750-$999) Mr. and Mrs. Claude Broach Stan Ingber and Laura Robbins Susan and David Leader Sue and George Luther McMaster-Carr Supply Company Kathleen Quinlan and Marc Parham Linda Walker

PATRON ($500-$749) Anonymous Anonymous David and Sydney Atkinson Mr. and Mrs. Robert T. Bayer Carol and Morty Blumberg Marion Boone Kimberly Bottoms Mr. and Mrs. William Brown

ASHEVILLE SYMPHONY CHORUS Rossini Petite Messe Solennelle April 2, 2022, 7:30 pm • Location TBA Beethoven Symphony No. 9 with the Asheville Symphony June 4, 2022, 8:00 pm • Thomas Wolfe Auditorium

ASHEVILLE SYMPHONY CHAMBER CHORUS “Wolcum Yole!” a Twelfth Day Concert January 7, 2022 • The Basilica of St Lawrence Spring Concert May 13, 2022 • Location TBA May, 15, 2022 • First Presbyterian Church (Highlands, NC)

Ann and Steve Weinstein Paul B. Williamson Pamela H. Winkler Marla Woeckener Charles Zellerbach

CONTRIBUTOR ($250-$499) Anonymous Mike and Lorna Anderberg Charles and Stephanie Baer Jocelyn Baumgarten Tony McLean Brown The Crawford Family Darilyn Dealy and Lee Pagel Jan Duwelius Drs. Louis Dwarshuis and Marilyn Kolton Mary Farmer Lindley Garner and Mary Goodkind Dr. Earl Stephen Hunt and Mrs. Edeltraut Gilgan-Hunt Lois Hannold Marc Harkness Sandi and Peter Heckman Sandra Houts Marian and Thomas Jerdee Van and Lorraine Lane Walter Leginski Barbara Loeb Ferris L. Lyle Gail and Ron Manheimer

James H. McMillan and Carol H. Kaufman Dana Newman Wade and Mary Margaret Saunders Ilona and Michael Sena Ron Goudreau and Martin Snyder J. Howard and Honey Solomon Barbara and Marty Stickle Robert Stone Jim and Peggy Tobin Walter and Joan Tolley Susan and Don Watson in memory of Ann Rennard John D. West and Edward Sheppard Barbara S. Wilson H.W. Winstead Household

ASO SUPPORTERS

Timothy Butts and Susan Harrington Butts Gary and Patty Coleman Douglas and Lousia Combs Mrs. Nancy Crosby Jurgen and Leslie Dierks Bruce and Day Ann Emory William and Carol Falender Robin and Gordon Gaiser Peter and Jasmin Gentling Marian and Mike Goodman Fred and Heather Hudson Bill Jacobs and Susan Posey Susan Jensen and Lew Gelfond Vinod and Manju Jindal Pat and Doug Johnston Bebe Landis Tom and Dian Leeper Virginia and Drew Litzenberger Chuck Lockwood and Patrick Ryan Diane and John Martin Larry and Billie Marzullo Amy McGuire and Brian Wallace Lee and Merri McLean Eve Miller Dwight and Shirley Oltman William and Joyce Ossmann Phyllis Patton, CRS, GRI, Broker Gina and Otis Philbrick Sam Kohn and Leslie Pollitt Kitti Reynolds James Storey and Janice Collins Donna and Randy Weast Barbara Weatherall

MEMBER ($100-$249) David Askew Nancy Baker Viva Banzon & Robert Evans Dr. and Mrs. Luther Barnhardt Tom and Kay Beardsley Greg and Bobbie Bicket Adlai and Karen Boyd Rita Nilsen and Carl Brickman Allan and Jean Brown David G. and Lin Brown Clinton Bugg and Jeff Nucey Lana Burns Jan Butler Jim Cahill

ASHEVILLE SYMPHONY SOCIETY AFFILIATE Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 39

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

ASO SUPPORTERS

Jane Caris Carol Carson Scott Coates Barbara Colon Joel and Carole Hampton Cotter Virginia Craig Bishop Charles and Karen Crutchfield Mary Ann Davis Philip C. Davis Sharron Davis Kimberley DeSimone Erin and Tom Doyle Karen Dugas Kristen Dusenbery Martin and Ivy Dyckman Kim Eiring Don and Joy Erbes Edward and Amy Euler Ellenor Frelick Gertrude Galynker Sue Humphries Gibson Household Al and Betsy Gumpert Amanda Hall and Robert Zeid Barry and Ellen Halperin Peter Wortham Hawes Jerry and Charlene Hawthorne Patrick and Nanette Hill Kathleen Holmes Nancy Houha Steve and Nancy Hurst Tom and Libby Irwin Thorunn Ivey John and Karla Jalocha David & Eleanor Johnson

Daisy Karasek Bob and Donna Kaye Margaret Kelso Jess and Phyllis Key Ann Batchelder and Henri Kieffer Gerald and Frances Labaza Elfriede LaPlante Eric and Mala Lapp Debbie Lee Laura W. Lever Dr. Ken and Mrs. Marjorie Loken Barbra and Keith Love Linda and Gary Ticknor Alice Magee Timothy Mainardi Henry and Elizabeth Mainwaring William D. and Linda Mashburn Jerry McAninch The Rev. Nancy McCarthy Dr. and Mrs. Ben McCarty John and Jansen McCreary Anne McKenzie Elwood and Margaret Miles Ruth and Jimmy Morris Francis Nullet John K. Orr Jeffrey and Lisa Owen Lori Oxford and Alberto Centeno-Pulido John Paar Betty J. Paine Harry Pierson Bob and Lorraine Poe Donald and Brenta Poole

Symphonettes The Asheville Symphonettes is a high school girls’ service club that has been serving the Asheville Symphony since 2011. Exposing high-schoolers to live symphony concerts creates a lifelong love and appreciation of classical music, and Symphonettes experience this while forging lifelong friendships and bettering their community.

40 ∙ Asheville Symphony Supporters (continued from Page ##)

Dr. and Mrs. H. Leonard Porter Susan and Mike Portland Kim Presley Don Roberts Donna Robertson Betsy and Jim Robson Robin T. Rutledge and Karen Keeler Rogers Sherree Roller and David Janson Evan and Susan Rosenberg Frank Rutland Marcy and Michael Salemi Stephen Sedgwick Katherine and Robert Silvers Ann H. Skoglund Joe Sloan Jane and Edward Smith Gail and Nelson Sobel Barbara and Barry Stagg Barbara Stalzer Jan and Wayne Stanko John and Mary Tadey Janet Thatcher Jan Van Ess Mariana G. Warner Judy Watson George Wilds and Steve Connell Larry and Janie Wilson Bobby and Elizabeth Yount

This season, Symphonettes participated in a Lock-In fundraiser on Monday, November 15th at the Biltmore Park Clubhouse, while Senior and Junior Symphonettes will walk the runway at Celine and Company on Broadway on Friday, April 22nd, with all proceeds from both events going to benefit the Asheville Symphony. The Asheville Symphonettes serve the Buncombe County music community in a multitude of ways and look forward to the Symphony season to come. For Symphonette membership or funding inquiries, please contact Emily West at emilyhwest@yahoo.com.

Erin Abernethy Linda Afredson Dr. Leanne Apfelbeck and Ms. Bonnie Snyder Douglas Atchley and Lee Davis Julian and Martha Biller Elinor Bowman Elizabeth and Kemper Brown Linda and Tom Bushar Jacalyn Carden and Jane Dupont John Carpenter Mr. and Mrs. Bill Harlan Louise L.Cate Gary and Patty Coleman The Connor Family in memory of Ann Rennard Mary Celia Coulombe Alexa and Rich Dann Alan Davis Lisette de Groot Harley and Linda Dininger Rod and Cyndy Douglas Omer Erdmann David and Susan Feuer Stephen and Jackie Finstad Cathy Fischer Beverly Fitzpatrick James Focareto Linda Freshwater Randee Goodstadt Scott and Sally Gregg

Eleanor and Stuart Grinnell Phil and Connie Haire Reni N. Hamner Richard Henning Patricia Hobbs Michael and Laura Hoskins Ralph and Sheryl Husby Ginger and Dan Jones Katherine and Jon Karraker Jess and Phyllis Key Lynn Lederer and Leslie Long Philip and Kathleen Leftwich Ned and Jane Lesesne John and Janet Long Lise Lotte Gammeltoft Dr. William M. Madison, Jr. Suzanne and Jay Mahler Barbara Mayer James and Alice McDowell Allen and Joyce Moore Uta Myers The Donna Pacheo Household Norma Pereira and Tom Dunn Silvia Rabin Clive Rickett Barbara Robinson Dr. and Mrs. John and Constance Russell Patrick Ryan Dean Schmelter The Schultheiss Family Brenda Scott and William Hunt Frederick W. Selph Marie Sherill

Brian and Caron Smith Bill and Frances Smyth Sandra Sonner Ruth G. Stewart Cathy Stryker Richard and Frances Swing Sydnor and Kelly Thompson Anonymous Norman and Janet Weeks Barbara Witt Suzanne Wodek Diane Zolnaski and Rob Feldleit Norman and Janet Weeks Barbara Witt Suzanne Wodek Diane Zolnaski and Rob Feldleit

ASO SUPPORTERS

FRIEND ($1-$99)

Support the Asheville Symphony Annual Fund Asheville’s passion for music helps shape the quality of our community. It also inspires our musicians and the guest artists who work with us. This passion culminates in the incredible live experience we offer people of all ages and backgrounds through our programs, in and outside of the concert hall. We are only able to achieve our mission because of the generous support of people like you who are passionate about music, education and their community. Ticket revenue covers less than half of the symphony’s operating cost. Help us set the stage for the present and future of classical music by making a contribution to the Annual Fund.

ASHEVILLE SYMPHONY SOCIETY AFFILIATE Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 41

In memory of Katherine Armitage and Jack Jones Rich and Diane Byers

In memory of our son Rikki Hall Richard and Yolanda Hall

In memory of Howard LaPlante Elfriede LaPlante Marian Peterson and Beth Kirby Bob and Lorraine Poe

In honor of Doris Loomis Lise Lotte Gammeltoft

In memory of Boo Boo Lovelace Pamela H. Winkler

In Celebration of Kathleen Mainardi Timothy Mainardi

In honor of Carol McCollum Mr. and Mrs. Claude Broach

In honor of Phyllis Patton Tony McLean Brown

In honor of Lloyd Penley Phyllis Patton, CRS, GRI, Broker

In memory of Ann Worthington Rennard Charles and Beverly Briedis Paul and Cheryll Christianson Gary and Patty Coleman The Connor Family in memory of Ann Rennard Kimberley DeSimone Sue Humphries Gibson Household Eleanor and Stuart Grinnell Patricia Hobbs Thorunn Ivey David and Eleanor Johnson Jess and Phyllis Key KeyBanc Capital Markets Gerald and Nancy Kitch Gerald and Frances Labaza Mr. and Mrs. Paul Lerwick Barbra and Keith Love Hugh and Carol McCollum The Donna Pacheo Household Susan and Mike Portland Kim Presley

Dr. and Mrs. John and Constance Russell Marcy and Michael Salemi Marie Sherill Irene and Michael Stoll Susan and Don Watson Robert and Jean Williams H.W. Winstead Household

In Celebration of the Return of Our Symphony Maurice and Bonnie Stone

On behalf of Lily and Nick Swing Richard and Frances Swing

In memory of my wife, Nancy V. Young Hank Young

In honor of Roberta McGuire The McGuire Family

Every effort has been made to ensure this list is accurate. If you note an omission or error please contact Jessica May at (828) 318-8181 or jcmay@ashevillesymphony.org. All names received after October 25, 2021 will be noted in the Spring 2022 program.

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

ASO SUPPORTERS

Tribute Gifts

The Youth Orchestra’s 2021-2022 season features 100 student musicians across Western NC, led by an artistic staff of educators and musicians in the area! Ashlee Booth, Joseph Falconer, Hunter Kopczynski, and Brian Tinkel are directing these talented young musicians and look forward to presenting you

42 ∙ Asheville Symphony Supporters (continued from Page ##)

with an evening of music making at our first concert on December 21st at 7:00pm! For more information about ASYO, including a season calendar and information on how to join, please visit www.ashevillesymphony.org/ asyo/ or scan the QR code to the right.

Many companies offer a matching gift program for employee charitable donations – this can double or triple your gift! Check with your company’s human resources or payroll department to see whether it offers a matching gift program. And take note: many companies extend this opportunity to their retired employees. The Asheville Symphony extends appreciation to the following companies who have matched donor gifts this year: AIG Eaton Corporation IBM Corporation McMaster - Carr Supply Company Prudential Financial Inc. State Farm Companies Foundation Steelcase Foundation Shell Oil Company Foundation

Friends of the ASYO The Friends of the Asheville Symphony Youth Orchestra, established in 2017, is a fundraising and support group committed to ensuring the Asheville Symphony Youth Orchestra (ASYO) has the resources to offer the best musical training and experiences for these young musicians. The goal of the Friends is for every young musician who joins the ASYO to have access to excellent music education and in turn enrich the community regardless of their economic circumstance. These donors are all essential to the success of the ASYO and we offer all of you our thanks! Mary and Jack Anderson Diana Bilbrey Mr. and Mrs. Thomas C. Bolton Charles and Beverly Briedis Tony McLean Brown Linda and Tom Bushar Lindley Garner and Mary Goodkind Bill and Nancy Gettys Bill and Kitty Hunt Keith Keener Jon and Ann Kemske Carol and Hugh McCollum Phyllis Patton, CRS, GRI, Broker Donna Robertson Richard and Frances Swing

To learn more please contact Jessica May, Director of Development at (828) 318-8181 or jcmay@ashevillesymphony.org

ASHEVILLE SYMPHONY SOCIETY AFFILIATE Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 43

ASO SUPPORTERS

Matching Gifts

ASHEVILLE SYMPHONY SOCIETY AFFILIATE

We believe music matters. We believe it changes lives. Here’s how we make music with your dollars:

$20,000 Covers the cost of presenting one Young People’s Concert for school children The Asheville Symphony Guild proudly supports the Asheville Symphony and the part it plays in our community through volunteer support and fundraising. In the more than 50 years since it was founded, the Guild has raised over $1 million to support the Asheville Symphony Orchestra. If you love music and want to form a deeper connection to other music-lovers and to the Asheville Symphony, we invite you to join the Guild today! For more information or to join the Guild, visit ashevillesymphonyguild.org or scan this QR code.

MUSICAL FEASTS: YOUR SOCIAL AGENDA AWAITS! From garden parties to barbecues to elegant evenings — join the Guild and experience these fun Musical Feasts while supporting our Symphony!

GUILD-SUPPORTED MUSIC EDUCATION PROGRAMS The Guild introduces more than 7,000 elementary school children to classical music each year through the Music in the Schools program. The Guild also helps support our wonderful Asheville Symphony Youth Orchestra.

GUILD GATHERINGS: SHARE THE LOVE! From our Fall Potluck to the annual May Gathering, Guild members enjoy getting together to share their love of music and our wonderful Symphony.

44 ∙ Asheville Symphony Supporters (continued from Page ##)

$7,500 Pays the fees and travel for one guest soloist

$5,000 Allows for one workshop for the Asheville Symphony Youth Orchestra

$2,500 Covers the cost of moving a concert grand Steinway into our venue for Piano Recitals

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

$1,000 Provides tuition scholarships for ten Youth Orchestra students

$750 Allows us to offer one Masterclass for emerging young musicians with an esteemed guest soloist

$375 Pays for one Music in the Schools program (one quintet, one school, one hour)

$170 Covers the cost of one Symphony Talk at UNCA’s Reuter Center

Support Your Symphony Donations to the Symphony’s Annual Fund support all of these programs and more. To learn more please contact Jessica May, Director of Development (828) 318-8181 jcmay@ashevillesymphony.org

Music Sponsors Becoming a Music Sponsor at any level is a unique opportunity to directly support your favorite pieces, composers, and instruments. Sponsorships can also be made in honor of a loved one or to celebrate a special occasion. This is list of our current 2021-2022 Music Sponsors as of October 20, 2021, but many pieces on our programs are still in need of sponsorship. If you are interested in sponsoring a piece of music, reach out to Director of Development Jessica May at (828) 318-8181 or jcmay@ ashevillesymphony.org

Mary and Jack Anderson Michael and Catty Andry Brad and Diane Arnold Timothy Butts and Susan Harrington Butts Dr. Nancy J. Cable Gene and Lee Casey Charles and Patricia Clogston John and Jeanne Condren Dr. John and Wendy Cuellar George and Kathy Dambach John and Suzie Donahoe Dr. Bolling Farmer Drs. Louis Dwarshuis and Marilyn Kolton Lynne and John Eramo Dr. Alan and Suzanne Escovitz Adarrell Gadsden and Marcie Ownbey Robin and Gordon Gaiser Fred and Cindy Groce Richard and Yolanda Hall in memory of our son Rikki Hall Sam and Robin Harben Bill and Kitty Hunt Susan Jensen and Lew Gelfond Gail Jolley Jim and Mary Kirby Barbra and Keith Love Sue and George Luther Larry and Billie Marzullo Carol and Hugh McCollum The McGuire family in honor of Roberta McGuire Ann and Jerry McLellan Osada Construction LLC Gary and BA Schenk J. Howard and Honey Solomon Irene and Michael Stoll Maurice and Bonnie Stone Norretta L. Taylor James S. and Diane T. Thompson Sarah Van Gunten Marla Woeckener Hank Young in memory of my wife, Nancy V. Young Olivia and Gary Zahler

Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 45

46 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

September 19, 2021 was an incredible night to be in Asheville. We hope you were able to enjoy the incredible Symphony season opener outdoor concert on Sunday, September 19 in Pack Sqaure Park. We have been deeply touched by the outpouring of appreciation and that awe the evening inspired. The weather, the audience, and the musicians were spectacular — it could not have gone better. Symphony supporters Bill and Judy LaMée remarked in a Citizen Times Letter to the Editor, “Kudos to the Asheville Symphony for the extraordinary gift they bestowed on the people of our area on Sunday night. Their free concert in the park at Pack Square hit every single right note in engaging an eclectic audience. From lifelong aficionados of great music to those too young to know what it was that kept them dancing, the program thrilled one and all.”

Generous Sponsors of this Event

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 47

Elevate Your Perspective

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48 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

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50 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

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Legacy Society Members Dorel Abbott* Don and Nancy Ackermann Cole Jack Jones* and Katherine Armitage* Mr. and Mrs. Stephen Barden III* Dr. and Mrs. Luther Barnhardt Mary* and Leland* Bartholomew Kathy Bellizio 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 Mr. and Mrs. Gary Coleman Nancy Crosby Dr. and Mrs. John Cuellar Robert DiDiego Lori Doerr Mr. and Mrs. David Dolan Drs. Joyce and Lawrence Dorr Mrs. C.H. Elmslie Robert and Jeanne Etter Dr. Linda Sokalski Farrell Dr. Bolling Farmer Francis Fee Doris Kistler and Fred Wightman William and Nancy Gettys Lindley Garner and Mary Goodkind Mr. and Mrs. George Goosman Paula J. Grillot Mr. and Mrs. Steven Hageman

Dr. and Mrs. Matthew Hahner Eleanor Hall* Dick and Yolanda Hall Virginia and Emmet* Hayes Anna and Anthony* Hayward Bill 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 Arch and Zeffie Nichols* Mr. and Mrs. David Pheil Mary L. Powell Education Fund in memory of Beatrice Wells Monte Richardson* Ernest Rosenau* Dr. and Mrs. Joel Rosenberg William* and Carole Roskind August Schmidt * John Schuler* Robert Sorton Bonnie Stone Norretta L. Taylor Edna Thompson* Mr. and Mrs. Ed Towson Albert and Lucia Ward* Eleanor Weil Schulmon*

Tomorrow is listening. Will Isabella’s Asheville Symphony be the same vital part of the community as it is now? Plan a gift today, so when tomorrow listens... she’ll hear you.

*Deceased

The Asheville Symphony Legacy Society recognizes people who have planned a gift to the Symphony in their will or estate plans. Speak to your financial advisor and contact Jessica May, Director of Development, to learn more about the Legacy Society: (828) 318-8181 or jcmay@ ashevillesymphony.org.

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 51

52 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

Improving Lives Music gives us the power to connect, enriching ourselves and our culture. Givens Communities values the arts as part of our mission to improve the lives of older adults with life-enhancing services and a plan for quality healthcare. These assurances promote individual fulfillment and personal growth.

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Judy H. Givens resident since 2017 Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 53

Advertiser Index Advantage Direct

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Blue Ridge Public Radio

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Blue Spiral 1 Gallery

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Burial Beer Co.

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Asheville Area Arts Council

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Kimpton Hotel Arras

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Citizen Times

Mars Hill Retirement Community

Asheville Dental

Clover CBD Dispensary

Gould Killian CPA Group, P.A.

McGuire Wood & Bissette Law Firm

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Asheville Eye Associates

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Deerfield

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Explore Asheville

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Asheville Symphony Guild

Flow Automotive – Audi Asheville

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Living life and looking ahead 54 ∙ www.AshevilleSymphony.org ∙ Winter 2021 Program Book

Want to see your ad in future Asheville Symphony program books? Our advertisers are made up of both sponsors and ad buyers, meaning they all support your Asheville Symphony in some way. You can join them! Ads and sponsorships range in cost and benefits depending on ad size, support level, and more. Interested in joining the Symphony support family? Contact the ASO team at info@ashevillesymphony.org for more information.

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Asheville Symphony ∙ www.AshevilleSymphony.org ∙ 55

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