ASO 2017-2018 Spring Program Book

Asheville Symphony 2017-2018 Season

finalists Six candidates.

Six audition performances.

Help choose your next conductor.

Spring 2018

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Asheville Symphony Orchestra 2017-2018 Spring PROGRAM BOOK Music Director Fund . . . . . . . . . . . . . . . . . . . 5 President’s Letter . . . . . . . . . . . . . . . . . . . . . 7 Board of Directors and Staff . . . . . . . . . . . . . . 7 2017-2018 Season . . . . . . . . . . . . . . . . . . . . 9 2017-2018 Sponsors . . . . . . . . . . . . . . . . . . 11 Patron Information . . . . . . . . . . . . . . . . . . . 12 2017-2018 Music Sponsors . . . . . . . . . . . . . .

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Past Presidents . . . . . . . . . . . . . . . . . . . . . 15 Orchestra Personnel . . . . . . . . . . . . . . . . . . 19 Masterworks 4 Program . . . . . . . . . . . . . . . . 21 Garry Walker Biography

. . . . . . . . . . . . . . . 22

Elena Urioste Biography . . . . . . . . . . . . . . . 22 Masterworks 4 Program Notes . . . . . . . . . . . 23 Donors Make Our Big Year Possible . . . . . . . . . 27 ASO Donors . . . . . . . . . . . . . . . . . . . . . . . 27 Sponsor Spotlight: Joel Adams . . . . . . . . . . . . 33 Masterworks 5 Program . . . . . . . . . . . . . . . . 41 Nicholas Hersh Biography . . . . . . . . . . . . . . . 42 Itamar Zorman Biography . . . . . . . . . . . . . . . 42 Masterworks 5 Program Notes . . . . . . . . . . . . 43 Friends of the Youth Orchestra . . . . . . . . . . . . 49 Leave Some Music . . . . . . . . . . . . . . . . . . . . 51 Asheville Symphony Legacy Society . . . . . . . . . 51 Masterworks 6 Program . . . . . . . . . . . . . . . . 53 Jayce Ogren Biography . . . . . . . . . . . . . . . . . 54 Joyce Yang Biography . . . . . . . . . . . . . . . . . . 55 Masterworks 6 Program Notes . . . . . . . . . . . . 57 Endowment Information . . . . . . . . . . . . . . . . 63 Asheville Symphony Chorus Information . . . . . . 64 Masterworks 7 Program . . . . . . . . . . . . . . . . 67 Jacomo Bairos Biography . . . . . . . . . . . . . . . 68 Jennifer Frautschi Biography . . . . . . . . . . . . . 69 Masterworks 7 Program Notes . . . . . . . . . . . . 70 Advertisers Index . . . . . . . . . . . . . . . . . . . . 76 3

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We wish to acknowledge the generous individuals who have contributed to the Asheville Symphony’s Music Director Fund. The fund was created to honor the tradition of professional excellence and performing legacy Daniel has created at the Asheville Symphony Orchestra. The Music Director Fund sponsored Daniel’s final concerts, will provide support for the transition to a new music director, and will be the basis of a discretionary fund for the next music director. Thank you to these donors for their generous contributions to the Music Director Fund.

There is still time! If you would like to contribute to this fund, or would like more information on the Music Director Fund, please contact Amy McGuire at (828) 318-8181 or almcguire@ashevillesymphony.org

Music Director Fund Donors Max and Lillian Alexander Mike and Lorna Anderberg Kathleen Askier Asheville Symphony Orchestra Board of Directors Charles and Stephanie Baer Mrs. George Bilbrey Mr. and Mrs. Thomas C. Bolton Ed and Donna Broadwell Amy and John Campbell Gene and Lee Casey Drs. Porter and Martha Claxton Charles and Patricia Clogston Gary and Patty Coleman Dr. John and Wendy Cuellar III Henrietta and Alvin Cuttler Nancy and Ron Edgerton Polly S. Feitzinger Dr. and Mrs. David J. Fugazzotto Linda G. Furr Dr. and Mrs. Heinz K. Grohs Phil and Connie Haire Ann Hartzog Hall Richard and Yolanda Hall Dot and Wade Hampton Hal and Valerie Hogstrom Robert and Linda Hollis Bill and Kitty Hunt Horace Hunt Marian and Thomas Jerdee Ann Karson Sally Keeney and Michael Faulkner Kitty Kemp James and Mary Kirby Hannah and Paul Kirschenfeld Gerald and Nancy Kitch Henry A. LaBrun Debbie Lee

Dr. Ken and Mrs. Marjorie Loken Dr. and Mrs. Ralph C. Loomis Barbra and Keith Love Carolyn MacGregor and Russ Palmeri Dr. William M. Madison, Jr. Dr. and Mrs. Carlo Mainardi Bill and Jerry McAninch Hugh and Carol McCollum Elwood and Margaret Miles Elizabeth Minus Gay D. Mothershed William Osborne Drs. Tom and Joanne Parker Phyllis Patton, CRS, GRI, Broker Gloria and Dan Pincu Don Printz Don Roberts Liz and Bill Rupp Rhonda Sachais Margaret Saylor Rosemary Scheuerman Lorna Schultis Frieder and Liz Shulz JoAnne Setzer Lawrence E. Sklar Wayne and Jan Stanko Ruth G. Stewart Irene and Michael Stoll Norretta Taylor Shirley Tenney and Paul Merriken Ed and Cindy Towson UBS Financial Services Sarah Van Gunten David and Jessica Whitehill Barbara S. Wilson Larry and Janie Wilson Hank and Nancy Young 5

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PRESIDENT’S MESSAGE Dear Asheville Symphony Supporters: Your Asheville Symphony and our community were busy this fall and winter welcoming our first music director finalists to town as we bid farewell and said thank you to Daniel Meyer who conducted his final concerts as our longtime musical leader. We proudly offered to each of our visiting conductors the richness of our area in the arts, education and hospitality, both as an industry that moves the region and as an attitude we share among us and with others.

Following each of the concerts conducted by our first two finalists, our Music Director search committee asked you to share your opinion of the performances. This spring, the committee will ask our community to continue sharing feedback and will use a compilation of your responses early this summer as it considers the best choice of music director for the Symphony. Our Search Committee is comprised of three ASO board members, five orchestra musicians and one community member. It is this devoted and hard-working committee which narrowed down our list of applicants for the music director position from more than 400 applicants to the six finalists we are presenting to you, so please take your role in the process seriously. Your input is crucial in the committee’s decision-making process.

We continue to be thrilled with the expansion of the Asheville Symphony Youth Orchestra and the support it receives in the community. This fall and winter, our ASYO performed two wonderful concerts to full halls. We have formed a new Friends of the ASYO group to support our four youth orchestras. We warmly solicit your membership in this new organization and your continued and enthusiastic interest in all of our young musicians.

We also invite you in March to our new offices located at 27 College Place, in the same building as our great friends and valued partners, the Explore Asheville Convention & Visitors Bureau. Feel free to take advantage of an ASO reserved parking space and come in for a tour -- our staff is happy to show off the new offices. Amenities in the new space are certain to help everyone with their work which assures that we can enjoy the classical music we all treasure.

Enjoy spring in our mountains, and remember how valuable your guidance is as we move toward our big decision in June!

Doris Phillips Loomis Board President Asheville Symphony

2017-2018 DIRECTORS AND STAFF OFFICERS

DIRECTORS

Doris Phillips Loomis • President

Michael Andry

Irene Stoll • Past President

Thomas C. Bolton

G. Edward Towson • Treasurer

Michael S. Cortes

Eugene Casey • VP Artistic Affairs and Education

Dr. John P. Cuellar, III George Dambach

STAFF

Bolling Farmer • VP Governance

Nancy Edgerton

David N. Whitehill • Executive Director

Bill Gettys

Amy McGuire • Director of Development

Dawn H. Grohs

Sally J. Keeney • Orchestra Manager

Bill Hunt

Sherry Blakely • Patron Services Manager

Gerald C. Kitch

Mary Kirby • Guild President

Claire Allen • Development Associate

Barbra Love

Robin Roberts • Patron Services Associate

Ron Hershberger • Chorus President

Kathleen Mainardi

Brian Garland • Patron Services Associate and Youth Orchestra Operations

John Donohoe • VP Finance Carol McCollum • VP Development Jack Anderson • VP Human Resources

Michael Selverne Elizabeth Schulte Roth

DIRECTORS EMERITUS George M. Bilbrey, Jr. M.D.

Karl S. Quisenberry, Ph.D.

J.K. MacKendree Day

John J. Sherman

Joyce R. Dorr, Ph.D.

W. Herbert Smith

George F. Goosmann, II

Cara Jenkins • Education Coordinator and Youth Orchestra Manager Michael DiTrolio • Principal LIbrarian 7

“I remember going to hear the Asheville Symphony and I fell in love with it. That's what made me take lessons.”

Lillian Chase, ASYO Violinist

beginning Hear the future of music today and watch the next generation of leaders take shape. The Asheville Symphony Youth Orchestra program serves more than 200 of the very best young musicians in the greater Asheville area. The program consists of four orchestras, in addition to woodwind, brass, percussion, and chamber music ensembles. ASYO musicians participate in masterclasses, retreats, workshops, tours, and social events. They also receive superb music instruction from many of the region’s most respected professional conductors and musicians and have the opportunity to perform throughout the community. Most importantly, whether or not students continue their music studies, they leave with a strong sense of discipline, increased confidence, and a deep appreciation for music and the arts.

Emily Schaad, Music Director

2017-2018 Concerts Sunday, February 25, 7 p.m.

Thomas Wolfe Auditorium featuring Triton Brass Tuesday, May 15, 7 p.m.

Asheville High School Auditorium

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Asheville Symphony 2017-2018 Season

finalists

Six candidates.

Six audition performances.

Help choose your next conductor.

September 24 • 4 p.m.

emperor

Beethoven's Piano Powerhouse

February 10 • 8 p.m.

scot free

Mendelssohn and Mates Tour the Highlands

Daniel Meyer Conductor Yefim Bronfman Piano

Garry Walker Conductor Elena Urioste Violin

October 21 • 8 p.m.

March 17 • 8 p.m.

Music That Transports the Soul

Romanticism Revisited and Revived

Rei Hotoda Conductor Sandeep Das Tabla

Nicholas Hersh Conductor Itamar Zorman Violin

November 18 • 8 p.m.

April 14 • 8 p.m.

Works of Contrast and Connection

Nationalism's Musical DNA

journeys

versus

reborn

patriots

Darko Butorac Conductor Lisa Smirnova Piano

Jayce Ogren Conductor Joyce Yang Piano

Sun., December 31 • 7:30 p.m.

May 12 • 8 p.m.

A Most Colorful Farewell Carmina Burana

Masterpieces in Genre-shifting

new year’s eve

Daniel Meyer Conductor Isabelle Durrenberger Violin

bend it

Jacomo Bairos Conductor Jennifer Frautschi Violin

ashevillesymphony.org • 828-254-7046 9

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Business & Corporate Law • Civil Litigation • Construction Law • Criminal Law • Elder Law • Real Estate • Estate Planning & Administration 828-255-7641 • www.psrmlaw.com

2017-2018 SEASON SPONSORS

The Layden Family Foundation

Henry A. LaBrun

THE PAYN E FUND

Mr. & Mrs. Henry W. Kramer

Drs. Tom and Joanne Parker

The Chaddick Foundation

Audrey Love Charitable Foundation Phyllis Patton, CRS, GRI, Broker

BMW of Asheville

Katherine Armitage in memory of Jack Jones

2017-2018 MEDIA SPONSORS

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INFORMATION FOR PATRONS Doors open to the public for admission one hour prior to the concerts.

Latecomers will not be seated until the first convenient pause in the program.

Parking is available in the City parking garage adjacent to the U.S. Cellular Center Asheville and various private lots.

Emergency Medical Technicians are available at every performance. For assistance contact the nearest usher, or go to the lobby.

Cellular phones and electronic pagers should be turned off or put on silent mode.

Handicapped Services: Any patrons with special needs will be accommodated. Wheelchairs, special seating and assistance are available. Please call the Symphony office prior to the concert for any special requests.

Smoking/e-cigarettes/vaping are prohibited in the center.

Refreshments may be purchased in the lobby prior to the performance and during intermission. You may bring drinks only into the auditorium. If you choose to do so, please be mindful of your neighbors.

Cameras and recording equipment in any form are not permitted in the auditorium.

Group ticket arrangements: Special group discounts are available for most concerts.

Please call the Symphony office at 828-254-7046 for details.

Lost and Found: Anyone finding stray property should return it to an usher or official. Patrons seeking to retrieve lost articles should inquire at the center office during regular working hours or call 828-259-5736.

Ticket returns: We are unable to issue refunds or exchanges for unused tickets. If you are unable to attend a concert, please give your ticket to a friend or call the Symphony office at 828-254-7046 by noon the Friday before the concert to release your seats for re-sale. We will issue you a receipt for tax purposes for the donation of your tickets.

Additional tickets: Season ticket holders desiring to purchase additional tickets for a single concert may do so by calling the Symphony office. Additional tickets are subject to availability.

Asheville Symphony • P.O. Box 2852 • Asheville, NC 28802 • 828-254-7046 • 828-254-1761 fax www.ashevillesymphony.org

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2017- 2018 MUSIC SPONSORS Asheville Symphony Guild, in honor of Daniel Meyer

Mary & Jim Kirby Pamela & David Lane

Thomas & Betsy Bolton Dr. & Mrs. Ralph C. Loomis Charles & Beverly Briedis Barbra & Keith Love Tom & Linda Bushar, in honor of Irene Stoll Kathleen & Carlo Mainardi Gene & Lee Casey Charles & Patricia Clogston

Hugh & Carol McCollum, in memory of Dorel Abbott

Michael & Marilyn Cortes

Amy McGuire & Brian Wallace

Dr. & Mrs. John P. Cuellar III, in honor of Daniel Meyer for his tremendous leadership & legacy of excellence

Ann & Jerry McLellan Fred & Donna Meyer, in honor of Daniel, Mary, & Leo

George & Kathy Dambach Allan Morse John & Suzie Donahoe Phil & Katie Osborn Ronald & Nancy Edgerton Pat & Mike, in celebration of us Alan & Suzanne Escovitz Shelia Rains & Marjorie Sullivan Bolling Farmer, in memory of her parents John Hoyt & Bolling Brown Farmer Dawn & Heinz Grohs, in honor of Daniel Meyer

Carole Roskind, in memory of Bill Roskind Gary & B.A. Schenk Barbara & Marty Stickle

Dick & Yolanda Hall, in memory of Rikki Hall Dick & Yolanda Hall Sam & Robin Harben, in honor of the Asheville Symphony Guild

Robert & Noretta Taylor David & Jessica Whitehill, in celebration of Sadie’s Fifth Birthday Claude Wilson & Sharon Smith, in celebration of Daniel Meyer

George Hellyer & George Wagner Carolyn & Lloyd Horton

Hank & Nancy Young, in memory of our son Justin Young

Bill & Kitty Hunt

Gary & Olivia Zahler

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Celebrating over 30 years of support for the Performing Arts.

Empty Seats?

What A Shame!

If the seat next to you is empty, it doesn’t neccessarily mean that no one bought a ticket for it. What it could mean is that someone was unable to attend the concert and didn’t turn in the ticket for a tax credit. It’s too bad that the ticket-holder was unable to come, but even more sad that the seat went empty when others would gladly have purchased it.

Emergencies do happen, but if you know in advance you won’t be able to attend a concert, why not give your ticket to someone else? Or, if you prefer, you may donate your ticket to us for resale. If you do:

• You’ll benefit, because you’ll get a statement acknowledging your tax-deductible contribution.

• Someone else will benefit by being able to purchase your ticket.

• The organization benefits from the extra income generated from the sale of your seat.

• The musicians benefit.

Performers love to play to a full house.

Just call our office at 828-254-7046 by noon the Friday before the concert to turn in your ticket.

That way everyone benefits.

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Asheville Symphony PAST PRESIDENTS 1962-1964: Gaylord Davis

Photo by Sascha Vaughn

1964-1966: Rudolf Gumpert 1966-1968: John W. Rutland 1968-1970: Robert K. Weiler Les Ballets Trockadero de Monte Carlo

1970-1971: Robert Saenger 1971-1972: William C. Spencer, Jr.

DIANA WORTHAM THEATRE

2017/2018 Mainstage Series Pablo Sáinz Villegas • DIAVOLO Ronald K. Brown/EVIDENCE • A Swannanoa Solstice Lucia Micarelli • Les Ballets Trockadero de Monte Carlo Montana Repertory Theatre in On Golden Pond and much more www.dwtheatre.com | (828) 257-4530

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

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finalists Who will become ASO’s next conductor?

The search is on! A committee of symphony board members, orchestra musicians, and community members began the music director search process in spring 2016. After receiving nearly 400 applications, the committee narrowed it down to six conductors. These top-notch finalists represent an incredible diversity of experience, style and philosophy. Each of the finalists is coming to Asheville to conduct one of the symphony's 2017-2018 Masterworks concerts. There will be opportunities for the public to meet and greet each finalist, and the ASO will survey the audience at each concert to gather feedback. The ASO expects to announce its new music director in mid-2018.

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Rei Hotoda

Darko Butorac

Rei Hotoda is rapidly becoming one of America's most sought-after and dynamic artists and was recently appointed music director of the Fresno Philharmonic. She has appeared as a guest conductor with many of today’s leading ensembles, including the symphony orchestras of Baltimore, Chicago, Dallas, Edmonton, Fort Worth, Jacksonville, Utah, Toronto, and Winnipeg, as well as the Colorado and St. Louis symphonies, among others. Her repertoire spans the staples of the classical canon to works by leading composers of today, and she is equally at home leading the orchestra from the piano and from the podium.

Darko Butorac has established himself as an exciting conductor, in demand with European and American orchestras.

He currently serves as the music director of both the Tallahassee and Missoula symphony orchestras. He has appeared at prestigious venues such as the Vienna Konzerthaus, the Gran Teatro Nacional of Lima, Belgrade’s Kolarac Hall, Teatro Magnani in Italy, as well as at the Tartu, Aspen and Brevard summer music festivals.

He has collaborated with soprano Renee Fleming, cellist Colin Carr, and Oscar-winning actor J.K. Simmons. Butorac is an avid traveler, passionate about bringing people together through the beauty of music.

Garry Walker

Nicholas Hersh

Jayce Ogren

Jacomo Bairos

Winner of the 1999 Leeds Conductor's Competition, Scottish-born Garry Walker was recently appointed music director of Germany's Rheinische Philharmonie Koblenz. He is also artistic director of conducting at the Royal Conservatoire of Scotland. Walker was permanent guest conductor of the Royal Philharmonic Orchestra, principal guest conductor of the Royal Scottish National Orchestra, and now enjoys a close association with Red Note Ensemble, Scotland’s premier contemporary music ensemble. Walker’s acclaimed American conducting debut was with the Utah Symphony Orchestra in the 2011-2012 season.

Nicholas Hersh is associate conductor of the Baltimore Symphony Orchestra. As guest conductor, Hersh made his debut with the North Carolina Symphony in 2017, and has appeared with the New World Symphony, New Jersey Symphony, Auburn Symphony, and others. He is a frequent collaborator at the Peabody Conservatory as well as the BSO’s OrchKids program for Baltimore City schoolchildren. His symphonic arrangement of Queen’s “Bohemian Rhapsody” saw worldwide success as a viral YouTube hit.

Jayce Ogren is building a reputation as one of the finest young conductors to emerge from the United States in recent seasons.

He is the artistic director of Philadelphia's Orchestra 2001. Ogren began the 2016-2017 season leading concerts with the Utah Symphony, the Brevard Music Festival, and the Colorado Symphony, and performances of Rufus Wainwright’s Prima Donna—a work he recorded for Deutsche Grammophone. As a composer, Ogren’s works have been performed at the Royal Danish Conservatory of Music and the Brevard Music Center.

Jacomo Bairos has earned a reputation for versatility, superb musicianship, and creativite ingenuity. He is currently the Amarillo Symphony’s music director and conductor, as well as co-founder and artistic director for Miami’s Nu Deco Ensemble, an eclectic chamber orchestra reimagined for the 21st century. Recent highlights include debuts with the National, Atlanta, Houston, Grand Rapids, and Sarasota symphony orchestras.

Bairos is a graduate of the Peabody Conservatory’s distinguished Orchestral Conducting Program and the American Academy of Conducting at Aspen.

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ORCHESTRA PERSONNEL 2017-2018 VIOLIN

BASS

TROMBONE

KEYBOARD

Jason Posnock Concertmaster Martha Gardner Associate Concertmaster Frances Shin-Yee Hsieh Assist. Concertmaster Kathryn B. Gardner Principal Second Violin Debra L. Anthony Associate Principal Second Violin Janet K. Barringer Teresa M. Curran Elizabeth Fee-Elliott Lori G. Hammel Dorothy L. Knowles Virginia Kowal Krisztina Krivatsy-Stern John R. Malloy Oleg Igorevich Melnikov Ruben Orengo *Mariya S. Potapova Inez Hullinger Redman Essena Setaro Paul E. Stroebel

*M. Lee Metcalfe Co-Principal Vance M. Reese Co-Principal Michael DiTrolio Bu P. Scherf Eliot D. Wadopian

James Sparrow Principal L. Rienette Davis

Patricia S. Black Susanne Marcus Collins Chair

BASS TROMBONE

PRINCIPAL LIBRARIAN

FLUTE

TBD

Lissie J. Shanahan Principal Leonard E. Lopatin

TIMPANI

PICCOLO

PERCUSSION

VIOLA Kara F. Poorbaugh Principal Emily Schaad Associate Principal Gina M. Caldwell Judith B. Craycraft Lucie W. Fink Martha L. Geissler Edward J. Smith

CELLO Daniel Mumm Principal J. Franklin Keel Associate Principal Frances B. Duff Assistant Principal Cherylonda F. Fitzgerald Kathleen Foster Paul S. GhostHorse Katie Hamilton Patricia Koelling Johnston Brenda H. Leonard

TBD

OBOE Alicia Chapman Principal *Cara Mia Jenkins

ENGLISH HORN Amanda J. LaBrecque

TBD

Michael A. Di Trolio

TUBA

STAGE MANAGER

Todd D. Mueller Principal Mario A. Gaetano Principal Matthew Richmond *Brian Tinkel

Brian Garland

* Orchestra Committee Member Section string players are listed alphabetically.

HARP TBD Vetust Study Club Chair

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

BASS CLARINET Shannon Thompson

BASSOON Michael J. Burns Principal Amber L. Ferenz

CONTRABASSOON William L. Peebles

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

TRUMPET T. Mark Clodfelter Principal P. Bradley Ulrich TBD

END O W Y O U R FAV O R ITE INS TR U M ENT Your support of the Asheville Symphony Society’s endowment is the ticket to a secure, stable financial future for the Symphony.

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 is never touched — and it builds a legacy that provides a stable, constant resource that we can count on every year.

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Masterworks 4 Mendelssohn and Mates Tour the Highlands

scot free Asheville Symphony Orchestra

February 10, 2018 • 8 p.m.

Garry Walker, conductor Elena Urioste, violin Malcolm Arnold (1921 - 2006)

Four Scottish Dances op.59 (1957)

Music Sponsors: Dick and Yolanda Hall, in memory of Rikki Hall

Gary and B.A. Schenk

1.

2.

3.

4.

Claude Debussy (1862 - 1918) Music Sponsors:

Marche ecossaise sur un theme populaire (1908) (Scottish March on a Popular Theme)

Pesante Vivace Allegretto Con brio

Dr. and Mrs. Ralph C. Loomis

Max Bruch (1838 - 1920)

Music Sponsors: Charles and Patricia Clogston Bill and Kitty Hunt

Violin Concerto No. 1 in G minor, op.26 (1867) I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico Elena Urioste, Violin

INTERMISSION Felix Mendelssohn (1809 - 1847)

Symphony No. 3 “Scottish” in A minor, op.56 (1843)

Music Sponsors: Gary and Olivia Zahler Ann and Jerry McLellan Hank and Nancy Young, in memory

I. Andante con moto - Allegro un poco agitato II. Vivace non troppo III. Adagio IV. Allegro vivacissimo - Allegro maestoso assai

of our son Justin Young

SEASON SPONSOR

CONCERT SPONSOR

Phyllis Patton, CRS, GRI, Broker

GUEST ARTIST SPONSOR

SEASON MEDIA SPONSOR

Henry A. LaBrun

Tonight’s concert is being recorded for broadcast on BPR on Tuesday March 13, 2018 at 10am and Thursday March 15, 2018 at 8pm 21

MASTERWORKS 4 • CONDUCTOR

Garry Walker Winner of the 1999 Leeds Conductor Competition, Scottish-born Garry Walker currently presides as Artistic Director of Conducting at the Royal Conservatoire of Scotland and Chief Conductor of the Staatsorchester Rheinische Philharmonie Koblenz.

Previously the Permanent Guest Conductor of Royal Philharmonic Orchestra, Principal Guest Conductor of Royal Scottish National Orchestra, and Principal Conductor of Paragon Ensemble, Garry Walker now enjoys a close association with Red Note Ensemble Scotland’s première contemporary music ensemble.

This opening season with the Staatsorchester Rheinische Philharmonie Koblenz, Mr. Walker conducts a host of fascinating, thoughtful programs, including Ibert’s Homage a Mozart paired with Mozart’s “Jupiter” Symphony No. 41 and Mahler’s Symphony No. 1, as well as works by Kodály, Bartók, Haydn, Sibelius, Dvořák, and Brahms, among others.

He leads the Orchestra of Opera North in the United Kingdom in a program of Britten, Mozart, and Elgar with violinist Elena Urioste, and conducts the world premiere of a new opera at Garsington Opera, The Skating Rink, written by British composer David Sawer and librettist Rory Mullarkey. In North America, Walker serves as guest conductor of the Asheville Symphony (North Carolina) in a program celebrating the impact of Scottish culture and music on the classical traditions, with a program that includes Arnold’s Four Scottish Dances, Debussy’s Marche ecossaise, Bruch’s Violin Concerto No. 1, and Mendelssohn’s “Scottish” Symphony. Recent highlights include engagements with the Auckland Philharmonia, Aberdeen Sinfonietta and Orchestra della Toscana as well as concerts with the Adelaide Symphony Orchestra, Orquestra Metropolitana de Lisboa, Teatro dell’Opera Roma, and Philharmonie Zuidnederland. Last season, Mr. Walker made his debut with Opera North conducting Britten’s Billy Budd, lauded by The Herald (Scotland): “Conductor Garry Walker draws out every detail of the superb orchestration…” Mr. Walker has enjoyed collaborations with many of the finest soloists today, including Nicola Benedetti, Mischa Maisky, Truls Mørk, Branford Marsalis, James Ehnes, and Maxim Vengerov, among others.

Walker’s acclaimed American conducting debut was with the Utah Symphony Orchestra in the 2011-12 season, followed by his debut with the Pacific Symphony in 2012-13. Orange County Register named his performance of Rimsky-Korsakov’s Scheherazade “one of the highlights of the (PSO) season.” In the UK Garry Walker has worked with every BBC orchestra, the Hallé, London Philharmonic, London Sinfonietta, Royal Liverpool Philharmonic Orchestra, Philharmonia, City of Birmingham Symphony Orchestra, National Youth Orchestra of Scotland, English Chamber Orchestra and Academy of St Martin in the Fields.

Outside the UK, Walker’s orchestral engagements have included the Nieuw Ensemble, the Gothenburg Symphony Orchestra, Orchestra dell’Opera Roma, Orchestre Philharmonique de Luxembourg, Deutsches Symphonie Orchester Berlin and Orchestra della Toscana, Auckland Philharmonia in New Zealand, and the Adelaide, Tasmanian, and Melbourne Symphony Orchestras in Australia.

An experienced opera conductor, Garry Walker conducted Janacek’s Cunning Little Vixen for Garsington Opera in 2014 and has led productions at the Edinburgh International Festival, Royal Opera House, English National Opera, Scottish Opera, Ruhr Triennale and Lyon Opera.

MASTERWORKS 4 • GUEST ARTIST

Elena Urioste violin Violinist ELENA URIOSTE, hailed by The Washington Post as “a drop-dead beauty who plays with equal parts passion, sensuality, brains and humor,” was a BBC New Generation Artist from 2012 to 2014 and a first-place laureate in both the Junior and Senior divisions of the Sphinx Competition. She has given acclaimed performances with major orchestras throughout the United States, including the Philadelphia Orchestra, Cleveland Orchestra, and Boston Pops; the New York and Buffalo philharmonics; and the Chicago, San Francisco, National, Atlanta, Baltimore, Detroit, Pittsburgh, Columbus, Austin, Charleston, Richmond, and San Antonio symphony orchestras. Abroad, Elena has appeared with the London Philharmonic Orchestra, Hallé Orchestra, BBC Symphony, BBC Philharmonic, BBC National Orchestra of Wales, Edmonton Symphony, Würzburg Philharmonic, and Hungary’s Orchestra Dohnányi Budafok and MAV orchestras. She has performed regularly as a featured soloist in Carnegie Hall’s Stern Auditorium and has given recitals in such distinguished venues as Wigmore Hall in London, Carnegie Hall’s Weill Recital Hall, Konzerthaus Berlin, Sage Gateshead in Newcastle, Bayerischer Rundfunk Munich, and the Mondavi Center at the University of California-Davis.

Highlights of her 2017-18 season include solo debuts with the Los Angeles Philharmonic, IRIS Orchestra, and England’s Philharmonia and Opera North orchestras; return engagements with the Delaware and Asheville symphony orchestras; and three

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separate concerto and chamber-music appearances in Carnegie Hall’s Zankel Hall. Recent seasons have seen return performances with the Cleveland and Hallé Orchestras and the Chicago and Detroit symphony orchestras; a recital debut at the Kennedy Center with pianist Michael Brown; and a series of live BBC Radio 3 broadcasts from England’s Roman River Music Festival.

Elena made her debut at Carnegie Hall’s Isaac Stern Auditorium in 2004 and has returned frequently as soloist. She has collaborated with acclaimed conductors Sir Mark Elder, Yannick Nézet-Séguin, Christoph Eschenbach, Robert Spano, and Keith Lockhart; pianists Mitsuko Uchida, Dénes Várjon, and Ignat Solzhenitsyn; cellists Peter Wiley, Colin Carr, and Carter Brey; violists Kim Kashkashian and Michael Tree; and violinists Joseph Silverstein, Arnold Steinhardt, and Cho-Liang Lin. An avid chamber musician, Elena has been a featured artist at the Marlboro, Ravinia, La Jolla, Bridgehampton, Moab, and Sarasota Music Festivals, as well as Switzerland’s SionValais International Music Festival, the Verbier Festival’s winter residency at Schloss Elmau. She is a regular guest at the Roman River Music Festival in Essex, England. Elena performs extensively in recital with pianists Michael Brown and Tom Poster.

Other accomplishments include first prize at the Sion International Violin Competition; the inaugural Sphinx Medal of Excellence, presented by Supreme Court Justice Sonia Sotomayor; articles in Symphony, Latina, and La Revista Mujer magazines; and the lead female role in But Not For Me, an independent feature film that was honored with Audience Choice and Best Original Score awards at the 2015 Brooklyn Film Festival. Her second album, Echoes, a recital disc with Michael Brown, was released on BIS Records in October 2016. A disc of violin and piano miniatures with Tom Poster will be released in 2017. Elena is the founder and artistic director of Chamber Music by the Sea, an annual summer chamber-music festival on Maryland’s Eastern Shore, and is co-founder and artistic director of Intermission Sessions & Retreat, a new program that combines music and yoga.

Elena is a graduate of the Curtis Institute of Music where she studied with Joseph Silverstein, Pamela Frank, and Ida Kavafian. She completed graduate studies with Joel Smirnoff at The Juilliard School. Other notable teachers include David Cerone, Choong-Jin Chang, Soovin Kim, and Rafael Druian.

The outstanding instruments being used by Elena are an Alessandro Gagliano violin, Naples c. 1706, and a Nicolas Kittel bow, both on generous extended loan from the private collection of Dr. Charles E. King through the Stradivari Society of Chicago.

Elena Urioste is under general management with the New York-based firm Sciolino Artist Management http://www.samnyc.us/, and is represented in Europe by Thomas Hull of Maestro Arts http://maestroarts.com.

MASTERWORKS 4 • PROGRAM NOTES February 10, 2018 Four Scottish Dances, Op. 59 Malcolm Arnold 1921-2006 Approximate performance time is 10 minutes.

One of the most prolific English composers of the twentieth century, Malcolm Arnold had a roller-coaster career. He entered the Royal College of Music at 16, studying the trumpet. Due to the wartime shortage of professional players, he regularly appeared in the ranks of major orchestras even before graduating, and was acknowledged as an outstanding player. His unhappy two years of military service ended when he deliberately shot himself in the foot. A fellowship in 1946 gave him the confidence to pursue a full-time composing career, but his frenzied pace of work was repeatedly interrupted by bouts of depression and alcoholism, often necessitating long stretches of hospitalization.

Arnold’s style was conservative and popular; his shorter works were especially appropriate for youth and amateur orchestras.

But because of his musical conservatism the academic establishment ignored his music in favor of more difficult atonal and serial language. At the core of his output are nine symphonies, 20 concertos and two operas. He also composed 132 film scores, the most famous being The Bridge on the River Kwai, for which he received an Oscar in 1958. The score took him all of ten days to write.

Arnold composed the Four Scottish Dances in 1957 for the BBC Light Music Festival. While the music suggests folk song origins, three of the dance tunes are original. The second, which includes a tipsy bassoon, is based on a theme of Robert Burns Arnold used in his film score to The Beautiful Country of Ayr.

Marche écossaise sur un theme populaire (Scottish March on a Popular Theme) Claude Debussy 1862-1918 Approximate performance time is 7 minutes.

Always in financial distress, Claude Debussy could not be too discriminating about commission opportunities. To help him, friend often directed commissions his way.

In 1891 Debussy received an unannounced visit from a Scottish officer, General Meredith Reid. Debussy spoke no English and Reid not a word of French. After a perplexed stand off, an interpreter was found in a nearby tavern and Reid offered Debussy a commission to arrange and orchestrate a march traditionally associated with Clan Ross, of which Reid was a descendant.

Debussy made the arrangement for piano four-hand, and it is unknown whether the General ever had it performed. In 1908, again short of cash, Debussy orchestrated it at the demand of his publisher.

While, in part, the music sounds adequately Scottish, the piece progresses as something of a contest between traditional Scotland and fin de siècle France. The constantly shifting instrumentation demonstrates Debussy’ mastery of orchestration.

M a ste rworks 4 cont i nued on p age 24

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Masterworks 4 continu e d f rom page 23

Violin Concerto No. 1 in G minor, Op. 26

Symphony No. 3 in A minor, Op. 56, “Scottish”

Max Bruch 1838-1920

Felix Mendelssohn 1809-1847

Approximate performance time is 24 minutes.

Approximate performance time is 40 minutes.

One of the hallmarks of nineteenth-century Romanticism in music was the rise of the virtuoso violin or piano soloist, epitomized by those two great showmen, Niccoló Paganini and Franz Liszt respectively. The demand for new virtuosic concertos inspired nearly all composers of the period to try their hand at this new kind of bravura work. One composer remembered primarily for his contribution to this genre was German composer, conductor and music teacher Max Bruch.

We are all familiar with the romantic stereotype – and often the reality – of the struggling composer struggling for his daily bread and artistic survival. Probably the greatest exception to this picture was Felix Mendelssohn, an economically secure composer from a culturally sophisticated and highly supportive family. The Mendelssohn household was a Mecca for the intellectual elite of Germany, and the many family visitors fawned over the prodigy and his talented sister Fanny.

Fortunately for the development of his rare abilities, his carefully selected teachers were demanding and strict.

One of the minor figures of German late Romanticism, Bruch had a singularly peripatetic career moving around Germany from one minor post to another. Only in 1891 were his talents finally recognized, and he became professor of composition at the prestigious Berlin Conservatory. Among his students were Ottorino Respighi and Ralph Vaughan Williams.

Bruch was a musical conservative who, drawing his inspiration from Mendelssohn, Schumann and Brahms, had little use for the musical innovations of the second half of the nineteenth century.

Since his youth, he had been a prodigious composer, best known for his choral works. Today, however, he is remembered mainly for the Violin Concerto No. 1, the Scottish Fantasy for Violin and Orchestra, and Kol Nidrei for cello and orchestra, based on a melody from the Jewish Yom Kippur liturgy.

Bruch began work on the Concerto in 1857 but finished it only in 1866. Then once again, immediately after the premiere, he revised the manuscript upon the advice of the great violinist Joseph Joachim, who premiered the revised version two years later. Joachim called it the “richest and most seductive” of the Romantic violin concertos – quite a compliment from Europe’s leading virtuoso.

Bruch had originally called the first movement IntroduzioneFantasia because, lacking much of a development section, it does not conform to classical sonata form; he finally settled on the simpler title, Vorspiel (Prelude.) The melancholy mood of the first movement is intensified by the slow tempo and brooding presence of the timpani, which opens the movement and literally provides a heartbeat throughout. The Adagio, which follows without pause, is the heart of the Concerto, intensifying the emotional tone set in the previous movement. The fiery Finale: Allegro Energetico is aptly named. Its pyrotechnics may have inspired Brahms, who composed his Violin Concerto with its folk-like final movement more than ten years later.

Mendelssohn’s financial security gave him the opportunity to take the Grand Tour in what was then considered the civilized world, Western Europe, Italy and Britain. In 1829, he traveled to England and then on to Scotland, where his visit to Fingal’s Cave in the Hebrides Islands inspired The Hebrides Overture. It also produced the ideas that became the Scottish Symphony.

Started in Italy in 1830 but not finished until 1842, the Scottish Symphony was Mendelssohn’s last – the numbering of the five symphonies reflecting their order of publication rather than composition. He dedicated the Symphony to Queen Victoria and Prince Albert, whom he had met and charmed during one of his visits to England (the Queen actually sang with Mendelssohn accompanying her on the piano.)

While the music has an undeniably Scottish flavor, it does not quote any authentic folk melodies, a device that Mendelssohn despised. Writing to his father from Wales, he commented: “... anything but national music! May ten thousand devils take all folklore... a harpist sits in the lobby of every inn of repute playing so-called folk melodies at you – dreadful, vulgar, fake stuff; and simultaneously a hurdy-gurdy is tooting out melodies - it’s enough to drive you crazy...” That being said, it’s difficult to distinguish Mendelssohn’s invented Scottish style melodies from the kind of musical nationalism he so despised.

Beginning with the introduction and the succeeding allegro agitato, the gloomy atmosphere gave rise to the myth that it was somehow inspired by the tragic life of Mary Queen of Scots. More likely, the Symphony reflects the bleak and stormy weather so prevalent in the Scottish highlands, lowlands and outlying islands. The climax of the first movement is a veritable hurricane, replete with chromatic moaning in the strings.

The second movement provides a little sunshine, its main theme as near to a Scottish folksong – with “Scotch snap” and all – as Mendelssohn could get without actually using one. The third movement comes through as passionate, at times even anguished. Its middle section suggests a horn-call summons of doom. Then, it’s back to the Sturm und Drang of the finale.

But – perhaps with a bow to Beethoven’s Ninth Symphony – Mendelssohn ends the Symphony with a shift again to the major mode and a new and optimistic theme to end it. .

Program notes by: Joseph & Elizabeth Kahn

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DONORS make our BIG year possible Our donors have made it possible for the 2017-18 Symphony season to be a BIG one.

We are presenting an exceptional season which would not be conceivable without the steadfast support of our donors. We also want to welcome our many new donors. Our donors believe in the power of music to make the world a better place, to teach young people, and uplift the community. The Asheville Symphony Orchestra, the Board of Directors and staff are deeply grateful for your support! Please enjoy our remarkable and BIG season.

Your gifts help raise the next generation of musicians through our music in schools programs, Young People’s Concerts, and supporting the Asheville Symphony Youth Orchestra.

Your gifts sustain Asheville’s vibrant music community as one of the largest employers of the performing artists in WNC and provide a reliable source of income for some of the area’s most highly trained musicians.

Your gifts strengthen the local economy by helping us create jobs, attracting new homeowners and creating and maintaining a vibrant public space.

It is a great source of pride that Asheville has a dynamic, well supported and accomplished symphony-thank you!

Your gift is the wonderful gift of music! Thank you!

Thank you for your support! Please enjoy the beautiful music tonight and if you have any questions

about supporting the Asheville Symphony please contact Amy McGuire, Director of Development, almcguire@ ashevillesymphony.org (828) 318-8181

The list includes new donations from April 1, 2016 through December 31, 2017. This list does not include 2017 Asheville Amadeus gifts. Every effort has been made to insure the list is accurate, however if you have noted an omission or error please contact Amy McGuire almcguire@ashevillesymphony.org (828) 318-8181.

ASO DONORS

April 1, 2016 through December 31, 2017

Season Underwriters $25,000 + Asheville Symphony Guild Thomas and Betsy Bolton/Payne Fund Henry A. LaBrun Jean Oldenwald Mattson Estate North Carolina Arts Council Drs. Tom and Joanne Parker

Composer Circle $10,000 -$24,999 Dorel A. Abbott Estate Katherine Armitage Mrs. George Bilbrey Robert and Mercedes Eicholz Foundation Dr. Bolling Farmer Bill and Nancy Gettys Mr. and Mrs. Henry W. Kramer Henry A. LaBrun Dr. and Mrs. Ralph C. Loomis Audrey Love Charitable Foundation Mable Marsbary Estate Phyllis Patton, CRS, GRI, Broker Rick and Maggi Swanson

UBS Financial Services Wells Fargo Foundation

Conductor’s Circle $7,500-$9,999 Gerald and Nancy Kitch Barbra and Keith Love Olivia and Gary Zahler

Orchestra Circle $5,000-$7,499 BMW of Asheville Gene and Lee Casey Chaddick Foundation Nancy and Ron Edgerton Harmony Motors Joscelyn W. Hill Jill and Joe Lawrence Phil and Katie Osborn Chuck and Jennifer Riner

Benefactor $2,500- $4,999 Craig Allen and Julie Cowden Mary and Jack Anderson Charles and Beverly Briedis Donna and Ed Broadwell Ted and Linda

Dr. Ted Bussey Margret Butler, Lawrence C. Holt, Jr. Fund Dr. John and Wendy Cuellar III George and Kathy Dambach Lori Doerr Richard and Yolanda Hall Bill and Kitty Hunt Randall and Mary Johnson James and Mary Kirby David and Pamela Lane Bill and Jerry McAninch Hugh and Carol McCollum Ann and Jerry McLellan Bob and Martha Pierce Don Printz Rosemary Scheuerman Maurice and Bonnie Stone Norretta L. Taylor Ed and Cindy Towson Hank and Nancy Young

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ASO DONORS Impresario $1,000-$2,499 Don and Nancy Ackermann Cole Nina and Clyde Allen Michael and Catty Andry Brad and Diane Arnold Susan and Howard Arnold Dr. J.S. Atwater and Allergy Partners of WNC Ervin Ball, Jr. and Carol Cousins Dr. Luther and Ruth Barnhardt Mr. and Mrs. Robert T. Bayer Kirk and Lucy Borland Tom and Sandy Bowles Marilyn and Bill Brown Bill and Clarita Burton Teresa Cantrell Thomas and Lee Chapman Grounds for Grace Karen Cianciulli Drs. Porter and Martha Claxton Charles and Patricia Clogston Gary and Patty Coleman Elinor Cotts Mrs. Hal Davis Mack and Yvonne Day The Rev. and Mrs. Edward de Bary John and Suzie Donahoe Kathryn and Harry Durity Marvin and Patricia Eargle

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Dr. Alan and Suzanne Escovitz Cathy and Tom Farmer Evelyn Fay Cary and Koni Findlay Betty Fox Linda and Jeff Fromson Georg and Elaine Goosman Clementine Gregory Michael J. Grillot Dr. and Mrs. Heinz K. Grohs George Hellyer and George Wagner Robert and Lori Herlin Robert and Linda Hollis Jon and Ann Kemske David and Pamela Lane Michael and Amalia Lawrence Vito Lenoci Ludy Marie Fund Dr. and Mrs. Carlo Mainardi Ingeborg Meeke Donna and Fred Meyer Gail Miller Miss Monte F. Richardson Charitable Fund Ruth and Jimmy Morris John and Patsy Morrison C. Allan Morse Dana Newman Anonymous

Mary L. Powell Joyce Pressley and Mike Schumacher Pamela and Rex Prosser Cornelia and Patrick Reagan Revs. Bob and Jeannette Reese Bob and Ann Rennard Karen Keeler Rogers and Robin Rutledge Thomas and Elizabeth Roth Martha G. Rowlett Susie and John Ruhl Gary and B.A. Schenk Starks Financial Group Mrs. Beth Stickle and Mr. Charlie Schoneheit Robert and Kathy Stiles Irene and Michael Stoll Margaret Storey Thomas Tachovsky and Lynn Baird Shirley Tenney and Paul Merriken James S. and Diane T. Thompson Jim and Peggy Tobin James and Pamela Turner Jay and Carol Verneuil Stephanie and Greg Ward Donna and Randy Weast James Weil and Vicki Cleary Dee Weiner Frieda Weiss and Jeffrey Miller

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Claude Wilson and Sharon Smith Anonymous

Sustainer $750-$999 Asheville Symphony Musicians Dr. and Mrs. David J. Fugazzotto Sam and Robin Harben David and Lisa Hendricks Dr. and Mrs. Ronald Manheimer Butch and Kathy Patrick Inez Hullinger Redman Bill Schulz and Odile Perrenoud John and Ylonda Spears Sarah Van Gunten David and Jessica Whitehill

Proud to play a part in our community, here to play a part in your financial life We are proud to continute our tradition of strong community sponsorship by saluting the Asheville Symphony Society, Inc. To learn more about how The Private Bank can help you achieve your financial goals, contact: Sue Henderson, CFP®, Regional Managing Director 336-732-4003 | sue.henderson@wellsfargo.com © 2014 Wells Fargo Bank, N.A. Member FDIC.

Patron $500-$749 Stephen Anderson Mary Bartholomew Kathy Bellizio Laurie and Fred Bloch Marion Boone Marilyn and Bill Brown Anonymous Mrs. Nancy Crosby Dr. David Crouch Drs. Carl and Susan Eisdorfer William and Carol Falender Dr. and Mrs. David J. Fugazzotto Neil and Cindy Garroway Tom Gurley Dr. and Mrs. John L. Hazlehurst Anna Hayward Christian and Claudia Hickl Lloyd and Carolyn Horton Fred and Heather Hudson Beth Hunt Ichiban Restaurant Bill Jacobs and Susan Posey Pat and Doug Johnston Barbara Joshi Elizabeth Justice Amy and John Kelso Drs. Paul and Hwa-Jin Kim Al and Margareta Koch Howard and Elfi LaPlante Dian and Tom Leeper Barbara Lenschmidt Joanne Lincoln Virginia and Drew Litzenberger Bob MacPherson Dr. and Mrs. Ronald Manheimer Larry and Billie Marzullo Jerome Mrowca & Lois Carlson Kathleen Quinlan and Marc Parham Shelia Rains and Marjorie Sullivan Pat Reader Carole Roskind William Selden and Daphne Murdock Wallace Shealy and Catherine Serota

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ASO DONORS David and Wendy Smith Nam and Beth Vo Joseph Walc Alison Webb Paul B. Williamson Stephen and Lynne Weinrib

Contributor $250-$499 Mike and Lorna Anderberg Charles and Stephanie Baer Jocelyn Baumgarten David and Ann Bottomy William and Penny Clark Kathryn Daughton Darilyn Dealy and Lee Pagel William N. Dorfman, Ed.D. Bruce and Day Ann Emory Robert and Jeane Etter David and Susan Feuer Bill and Judy Fore Robin and Gordon Gaiser Peter and Jasmin Gentling Sam and Robin Harben Tom and Libby Irwin Marian and Thomas Jerdee Ann Batchelder and Henri Kieffer Sandra Kirchner for the Kirchner/ Soucaze Family Bill and Judy LaMee Susan and David Leader

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Debbie Lee Russ and Marcia Lindstrom Chuck Lockwood and Patrick Ryan Robert and Suzanne Mayer Amy McGuire and Brian Wallace Roberta McGuire Lee and Merri McLean James H. McMillan and Carol H. Kaufman Manny and Karen Mediros Eve Miller Dwight and Shirley Oltman John K. Orr Gloria and Dan Pincu Don Roberts Donna Robertson C. Allan Morse Wade and Mary Margaret Saunders Ilona and Michael Sena Ron Goudreau and Martin Snyder Barbara and Marty Stickle Cameron Stone Jan Van Ess Ken and Ann Vasilik Mildred H. Wald Mike Wang and Patricia Phillips Lloyd and Susan Weinerman Marla Woeckener Marlene and John Yokim

Members $100-$249 Max and Lillian Alexander Larry and Cris Ammons Dr. Leanne Apfelbeck and Ms. Bonnie Snyder Kathleen Askier Patricia and Sidney Bach Viva Banzon & Robert Evans Dr. and Mrs. Tom Beardsley Jason Bergman, D.D.S., M.S., P.A. Josh and Elizabeth Bernstein Donald and Judith Bliss David and Tracy Booth Ruth Summers and Bruce Bowen Don and Peggy Brann Rita Nilsen and Carl Brickman G. Allan Brown Tony Brown Jim Cahill and Roger Bailey Amy and John Campbell Carol Carson Sylvia Cassel Chris Chay and Clara Chay Theodore and Wendy Chiappini Charles and Patricia Clogston Anonymous John Condren Joel and Carole Cotter Henrietta and Alvin Cuttler Larry and Valerie Cypress

Your gift is your Instrument!

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.

GET CLOSER TO THE MUSIC: Donor benefits are designed to give you a thrilling behind-the-scenes experience you can only get at the Asheville Symphony. As your donor level increases, so do your opportunities to meet the ASO musicians and guest artists, and receive complimentary reserved parking, invitations to special events, post-concert receptions and more.

CHOOSE HOW YOU WANT TO GIVE: Donate securities, name the ASO as an insurance policy or IRA beneficiary, request a matching gift from your company, and include the symphony in your will.

Monthly or quarterly payment options are available.

IT’S EASY TO HAVE AN IMPACT: Donations may be made by calling the ASO office at 828 254-7046 or through our website www.ashevillesymphony.org.

Contributions to the ASO are tax-deductible to the extent allowed by law.

For more information, contact Amy McGuire, Director of Development, at 828.318.8181 or almcguire@ashevillesymphony.org.

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Charles W. and Suzanne M. Davis Jurgen and Leslie Dierks Dr. Louis Dwarshuis and Dr. Marilyn Kolton-Dwarshuis Martin and Ivy Dyckman Mary Frances Early Eugene and Barbara Earnhardt Kim Eiring Lewis Herron and Polly Feitzinger Mr. and Mrs. John D. Field Paul and Ellenor Frelick Benard and Ann Fried Sonya E. Friedrich Linda G. Furr Judy and Don Galloway Lindley Garner and Mary Goodkind Renee Gentry Charles Gershon The Hollis Gieger, Sr. Family Arnie Gnilka Bill and Lynnell Goacher Anonymous Elizabeth Gomes Stephen Griffith Ned and Babs Guardenier Al and Betsy Gumpert Phil and Connie Haire Amanda Hall and Robert Zeid Dot and Wade Hampton Jerry and Charlene Hawthorne Anonymous Ron Hershberger Roger and Nancy Hill Dave and Haywood Hillier Mr. and Mrs. James R. Hobson Janet F. Hovis Dr. and Mrs. James D. Hull Stanley Ingber and Laura Robbins Harry and Jane Jackson John and Martha Jackson Anne Jarema Jennifer Jones and Robert Steffen Joan C. Kaplan Bob and Donna Kaye Dick and Cheryl Keefer Kitty Kemp Christine Kerns Jess and Phyllis Key Hannah and Paul Kirschenfeld Hannah and Paul Kirschenfeld James Huizenga and Susan L. Koch Barbara Kruszewski Peter and Bebe Landis Jim and Susan Lapis Mrs. Brian Lavelle Jeffrey Lawson Mona Lax Jeremy and Susan Lerner Ned and Jane Lesesne Cindy Lewis cont inu e d on page 3 2

Co-Creating The Care Experience C o m p a s s i o n

by Positively Impacting Lives

Concerts for Children Grades 4&5

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BRO Revels 2017 Nutcracker Selections Holiday pops

Mendelssohn | Vivaldi

October 6, 10am & 1pm

Haywood Community College

Cello Cielo

Franklin Keel Soloist

October 28, 2pm & 4:30pm Lipinsky Auditorium UNC Asheville

Music for the

Haydn Cello Concerto in D Major

March 3, 2pm & 4:30pm Biltmore United Methodist

New World

December 9, 3pm

Lipinsky Auditorium, UNC Asheville

December 10, 3pm Folk Art Center

“Asheville is lucky to have this wonderful orchestra!”

Dvorák ˇ | Márquez

May 5 & 6, 3pm

Lipinsky Auditorium UNC Asheville

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ASO DONORS Libby and Mark Lewis Dr. Ken and Mrs. Marjorie Loken Carolyn MacGregor and Russ Palmeri Dr. William M. Madison, Jr. Henry and Elizabeth Mainwaring Diane and John Martin John and Catherine Martin J. D. Mason Robert & Lou Ann McAfoos Brian and Gail McCarthy Reid, Alyson, Ellis, and Tess McCollum Anne McKenzie Manny and Karen Medeiros Elwood and Margaret Miles Martha and Thomas Mills Ruth W. Mims Elizabeth Minus Mary Raine Moore Gay D. Mothershed The Reverend and Mrs. Richard Nygren Eric and Lynn Ordnung William Osborne Mr. and Mrs.Charles D. Owen, Jr. Lori Oxford and Alberto CentenoPulido John Paar Esther and Leonard Pardue Drs. Tom and Joanne Parker Emily Partin John and Lita Perkins Stephen Pascale and Willis Preston Mrs. Joyce Reaume and Mr. Raymond Perrin LaDean Peterson Patricia Propst Susan and Marc Propst Susan and Marc Propst Grant and Carla Reece Lynnell W. Reese Richard and Deborah Reynolds Jeff and Misty Rice V. Richards Carl and Janis Ricker Julene R. Roberts Drs. Gerard and Judith Rothschild Frank Rutland Anonymous Margaret Saylor Lorna Schultis Nancy and Sam Schuman Jan Schwartz Dr. Mary Helen Schwarzkopf Brett, Jeri, and Olivia Senor JoAnne Setzer Diane Sharp Leslie Shaw Anita Shields Mark Siler and Kiran Sigmon Katherine and Robert Silvers Lawrence E. Sklar 32

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Fred and Vivian Lee Smith Betty Snyder Gail and Nelson Sobel Ron and Sherry Sparks Tom and Linda Sprouse Ann Squire Bernard and Sue Stanek Wayne and Jan Stanko Mike and Susan Stevenson Ruth G. Stewart Ruth G. Stewart Robert and Patricia Stolz Mark Strom Guillermina Sweeney Paula and John Symanski Anonymous Martinez Teira Family Fran and Doug Thigpen Bob and Mary Thompson Earl Thompson and Marjorie Marsh Alan and Leigh Verm Jeffrey Wald Phillip and Cindy Walker Reverend and Mrs. Mark Ward Warren and Bonnie Wheeler the Whelan Family Lashea Wilkie Barbara S. Wilson Larry and Janie Wilson Kim Winters and Mathe Mennell Wlfred Wood Bobby and Elizabeth Yount Gregory Zack

Friend $1-$99 Linda Alexander Arlene Alford Anonymous Chris and Linda Alstrin Mr. and Mrs. David R. Andrew Benita Auge and Ronald Griswold Marianna Bailey Meredith and Edward Baldridge Deanna and Aaron Banks John and Sue Banks Theodora Bean and Jeffrey Tomberlin Jon and Gaillard Bellows Lynn Bellows Darren and Jennifer Boice David and Nancy Bourne Marvin Brauer Charles and Betze Brown Melinda Brown Susan and Reed Bryan Ronald Bryson Fred and Regan Burnham Jim Cahill and Roger Bailey John and Rebecca Callahan Peter Candler Jr. Janice Carpenter Ann C. Carver

Anonymous Kristina Chapman Sam and Ruth Coco Leigh Condie Patti Corozine Carlton and Carol Craig Veronica Crook Mrs. Nancy Crosby Karen Crutchfield Jann-Marie Culhane Jeanne Cummings Teresa and Michael Curran Peter and Joan Dallos Jean Dalton Madeline Davis Mary Ann Davis Marilyn Denison Susan Denne Harley and Linda Dininger Hugh Duncan, Jr. and Mary Dorris Malcolm and Patricia Douglas Sharon Duckett Cecil and Susan Durham Kristen Dusenbery Eric and Lauren Edgerton Don and Kay Elliott Scott and Phyllis Engels Angela Everett Anita Field Leonard Fine Patricia Fitzpatrick Jane and William Fowler Linda Frank and Steven Corbin Jonathan Gaines Robin and Gordon Gaiser Leslie Goldstein Marian and Mike Goodman Marcia and Dan Gottlieb Betsy Greene Paula J. Grillot Bob and Sara Gruen Rodney and Cheryl Hagans Ann Hartzog Hall Dr. and Mrs. Anthony D. Hall William Hardy Mitchell Hartis Virginia Hayes Mary Henry Mary Henry Dr. Melanie Heying James Hilderbrandt Sybel Hoffman Hal and Valerie Hogstrom Eugene and Joanne Horner Joanne E. Horner Mr. and Mrs. Horner Richard and Sylvie Horvath Michael and Laura Hoskins Susan and Robert Huckaby cont i nued on p age 34

Sponsor Spotlight: Joel Adams Raymond James Financial Services, Inc. Financial advisor and Asheville native Joel Adams is passionate about the arts. This is evident from even a short conversation with him, or merely stepping into his North Asheville office. In 2017 Joel and his team, Bray Creech and Khrista Wood, chose to sponsor “Mozartistic,” the Asheville Symphony’s kid-centric musical collaboration with kid-hop artist, Secret Agent 23 Skidoo.

In the following excerpts from an interview with Joel, he talks about his own early experiences with the arts and why he feels it’s important to support the arts and introduce children to them.

L-R: Khrista Wood, Joel B. Adams Jr., Bray Creech

ASO: What’s

an early or first memory that you have of going to a performing arts event?

ASO: How does

supporting a project such as “Mozartistic” relate to your personal interests and personal philanthropy goals?

ASO: What do

you hope that kids will gain from exposure to this project and to the arts in general?

JA: The first thing I can remember is that the North Carolina Symphony used to come to town every year and do a school concert, a tradition that the Asheville Symphony continues today. I remember all the school buses lined up at the Civic Center—back when the Civic Center was just the Thomas Wolfe Auditorium. I remember them performing a piece called “The Typewriter” [by Leroy Anderson], which was this whimsical piece that was great for kids. The main instrument was a typewriter with all its clicking and then the symphony music behind it.

JA: When I look at the history of the world, the business people and politicians make it possible for the culture to thrive through their patronage of the arts. But they’re eventually forgotten while the art lives on. Mozart lived in Austria—do you know who the ruler was when he was in Austria? It was Joseph II of the Habsburgs, who was considered an enlightened ruler. He created an environment for the advancement of humanity, as it were. To me, that’s our role. We create that environment. We’re very temporal. We don’t last long. But if you’ve got a society that’s prosperous and peaceful, then the arts flourish and that’s what we remember. [“Mozartistic”] is kind of a fun way to introduce kids to high art. Very similar to the way that Hamilton introduced people to history—just putting a different beat to it and a different context, it’s got a different kind of appeal.

JA: One of the things with the arts that people forget—and it’s an important piece—is that the arts open your mind, and when your mind is open, other things fall in. I remember back when I got started in this business, I was in the BB&T building and I had to study for an exam. It was a really technical exam about laws and math and just really boring stuff—it was four months of study. I would sit there and burn out so I would just go over to the art museum and wander around and that would refresh my mind and then I could stuff things back in it. That’s something that the arts do—they allow your mind to open and think.

To learn more about sponsorship opportunities with the Asheville Symphony contact Amy McGuire, Director of Development at 828.318.8181 or almcguire@ashevillesymphony.org.

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ASO DONORS Horace Hunt Steve and Nancy Hurst Ralph and Sheryl Husby Gregory and Nancy Hutchins Susan and Clarence Ikerd Laura Ingle Nicki Ingle Kyle and Meredith Jambon Paul Jelenchick Susan Jensen and Lew Gelfond Marian and Thomas Jerdee Doug Jones Leah R. Karpen Ann Karson Lisa and Dan Kayser The Keefe Family Michelle Keenan Russell and Mary Ellen Keeney Sally Keeney and Michael Faulkner Elizabeth Kelser Jay and Jackie Kemp Jon and Dottie Kemp Stanley and Elaine Kend Dan and Juli Kirby Beth Kissling Jennie Lynn Krichbaum Susan Krueger Barry Lanier Lance Laurehass Dr. Ronald Lawson Marianne Lee Walter Leginski Rita Lenderman Janet E. Lincoln and Robert J. Kessler Michael and Joy Lintz Alan Lipsky and A.J. Rhoades Rita and James Livezey Barbara Loeb Will and Diane Lopez Beatriz Lothrop Carole Lyman Shona MacIntyre Gail and Bob MacLean David and Eleanor Maloney Dr. John and Xandra Manley Mr. and Mrs. Clement Markarian Kevin and Jill Workman Martin Peter and Patricia Marvel Suzanne Maughan The Rev. Nancy McCarthy Helen McClintock Irma M. Mellert Dorothy A. Metzger Leslie and Betsie Meyer Alan and Lois Mills Sheree and Ron Montgomerey Annie Moore Jerome W. Morris Georgeann Murphy, Ph.D. Nan Murphy Linda and Charles Nelms 34

cont ’d f rom p age 3 2

David Nelson and Nancy Warren Laura Nugent Francis Nullet Jeffrey and Lisa Owen Amy Owenby Ellen Pappas Robert Peebles Brenda Pfeiffer Dana Phillips Kevin and Noel Pietsch Donald and Brenta Poole Dr. and Mrs. Leonard Porter Howard and Nancy Powell Don and Marge Rankin Pat Reader Helen Reilly Janet S. Reinhardt Nina Reinhart Nancy Renick Thomas and Jeanne Rennard Paula Robbins Jacquelyn Roshay Liz and Bill Rupp Gabrielle Sabharwal Rhonda Sachais Dorothy Sagel Frank Sands Arthur Sargent JoAnn Scholz

Kathy Schubert Frieder and Liz Shulz Harold and Trudy Scott Stephen and Robin Seal Albert Seale Stephen Sedgwick Frederick Selph Loma Shafer Abigail Sheppard Craig and Lisa Sheppard Douglas and Claudia Sherry Ronald and Bertha Siegenthaler Don and Yvette Slawter Ann Snell Stephanie Snider Sandra Sonner Mary Miller Staiir Keith and Cathy Steincamp Dwight Stobbs Peggy Swicegood  The Staff at the Hands of Sean Perry Co. Leslie Ann Tichich Walter and Joan Tolley Robert M. Tomasulo and Michael R. DiPaola Joe, Kelly, and Leann Tullock Elise Van Audenhove Regina J. Van Horn

Chal and Hugh Vaughn Claude and Saundra Vess Mr. and Mrs. Trudi Walend Kendall Walker Stephen and Jackie Wellons Michelle Wenzl John West and Edward Sheppard Michael and Sabrina West Janet Whitworth Dr. and Mrs. Robert Wiggins Harriette Winner Barbara Wise Bill and Sherry Wothke Caralee and Jon Wright Scott and Amy Ziegler Rachel Zitin

TRIBUTES In Memory of Dorel Abbott Mary Bartholomew Charles and Beverly Briedis Veronica Crook Jeanne Cummings Mack and Yvonne Day Malcolm and Patricia Douglas Nancy and Ron Edgerton Polly S. Feitzinger Amy McGuire and Brian Wallace Howard and Nancy Powell Bob and Ann Rennard Diane Sharp Douglas and Claudia Sherry David and Jessica Whitehill

A Perfect Orchestration of Deliciousness Baba Nahm • Battery Park Book Exchange & Champagne Bar Burgerworx • Carmel’s Kitchen & Bar Fresh Quarter Produce • Modesto Trattoria Nutz About Fudge • Santé Wine Bar + Tap Room Thai Tara • True Confections

And Essentials Asheville Barber and Beard • The Eye Center - Vision Source Marc Edward & Company Hair Design • Printville Studio Flora Diva ~ the art of floristry

In Honor of Claire Allen Nina and Clyde Allen In Honor of Asheville Symphonettes Marilyn and Bill Brown In Honor of The Asheville Symphony Orchestra Christian and Claudia Hickl In Memory of Beeson Rita Lenderman In Honor of Jacey Bergman Sam and Ruth Coco In Memory of Dr. George Bilbrey Patricia and Sidney Bach Charles and Beverly Briedis Jim Cahill and Roger Bailey Chaddick Foundation Kristina Chapman Gary and Patty Coleman Mrs. Nancy Crosby Madeline Davis Jane and William Fowler The Hollis Gieger, Sr. Family Bill and Kitty Hunt Doug Jones

THE HISTORIC

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cont inu e d on page 3 6

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ASO DONORS Gerald and Nancy Kitch Mr. and Mrs. Clement Markarian Hugh and Carol McCollum Linda and Charles Nelms Mike and Susan Stevenson Paula and John Symanski The Staff at the Hands of Sean Perry Co. James and Pamela Turner David and Jessica Whitehill Olivia and Gary Zahler In Memory of Stephen Bitter Bob and Ann Rennard In Honor of Anna Rose Bourne David and Nancy Bourne William Hardy Jennie Lynn Krichbaum In Honor of Emmerette Boice Darren and Jennifer Boice In Honor of Regan Booth David and Tracy Booth In Honor of Melinda Brown’s birthday Linda Alexander Patricia Fitzpatrick Mitchell Hartis Susan and Clarence Ikerd Russell and Mary Ellen Keeney Rita and James Livezey Peter and Patricia Marvel Helen McClintock LaDean Peterson Jan Schwartz Ann Snell In Honor of Charlotte Buckeley Marilyn and Bill Brown In Honor of Earl Coleman Pat and Doug Johnston In Honor of Sara Grace Duarte Jerome W. Morris In Memory of her parents John Hoyt and Bolling Brown Farmer Dr. Bolling Farmer In Honor of Isabella Field Anita Field In Honor of Emily Fine Janet Whitworth In Memory of Don Galloway Jacquelyn Roshay In Memory of Rikki Hall Richard and Yolanda Hall In Honor of Audrey Hill Loma Shafer Scott and Amy Ziegler 36

cont ’d f rom p age 3 5

In Honor of Paige Horner Eugene and Joanne Horner Mr. and Mrs. Horner In Honor of Emma Hutchins Dr. and Mrs. Anthony D. Hall Gregory and Nancy Hutchins Susan Krueger Marianne Lee Hutchins Nina Reinhart In Honor of Isabelle Ingle Laura Ingle In Memory of Jack Jones Katherine Armitage In Memory of Allison Kissling Beth Kissling In Honor of Olivia Kemp Jon and Dottie Kemp In Honor of Kennedi Green Annie Moore Angela Everett

In Memory of Eva Lapp Eric and Mala Lapp In Honor of Eliza Lewis Libby and Mark Lewis In Memory of Ann Marie Haggerty MacPherson Bob MacPherson In Honor of Ava Manley Caralee and Jon Wright In Honor of Carol McCollum Reid, Alyson, Ellis, and Tess McCollum In Memory of Eleanore McCann Barbara Lenschmidt In Honor of Daniel Meyer Asheville Symphony Guild Dr. John and Wendy. Cuellar III Donna and Fred Meyer Claude Wilson and Sharon Smith In Memory of Linda Medeiros Manny and Karen Medeiros

In Honor of Elliott Kerns Christine Kerns

In Honor of Grace Mellert The Whelan Family

In Honor of Mary and Jim Kirby Dan and Juli Kirby

In Honor of Ariana Milner

ASHEVILLE Historic Biltmore Village 9 Kitchin Place 828-274-2630 STORE HOURS Mon.-Fri. 9:30am-7pm Sat. 9:30am-6pm Sun. 12pm-5pm

cont i nued on p age 38

Second opinion service Does your financial advisor help you pursue what matters most ?

With so much at stake when it comes to protecting everything you’ve worked so hard to achieve, it never hurts to get a second opinion about your financial future. At UBS, our approach starts by understanding your life and what you want to accomplish. Then we work together to create a framework designed to give you the confidence to do what matters most, no matter what the markets are doing.

We want to help ensure you have all you need for today, tomorrow and for generations to come. Let’s start the conversation.

Jerome G. Hornowski Branch Manager 828-258-9860 jerome.hornowski@ubs.com Asheville, NC Branch Office UBS Financial Services Inc. 138 Charlotte Street Asheville, NC 28801 828-258-9860 800-438-6503

UBS supports the Asheville Symphony

ubs.com/branch/ashevillea8

As a firm providing wealth management services to clients, UBS Financial Services Inc. offers both investment advisory services and brokerage services.

Investment advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate arrangements. It is important that clients understand the ways in which we conduct business and that they carefully read the agreements and disclosures that we provide to them about the products or services we offer. For more information visit our website at ubs.com/workingwithus. © UBS 2017. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-294493717

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ASO DONORS Michael and Sabrina West In Honor of Mary Ellis Orr Ron and Sherry Sparks In Honor of Tiffany Pine Harold and Trudy Scott In Honor of Katie Pritchard Jean Dalton Mary Henry In Memory of Jack Redman Theodora Bean and Jeffrey Tomberlin Don and Peggy Brann Michael and Teresa Curran Betsy Greene Paula J. Grillot Stanley and Elaine Kend Hugh and Carol McCollum Kevin and Noel Pietsch Donna Robertson Martinez Teira Family David and Jessica Whitehill In Honor of Grace Reinhardt Marilyn Denison In Honor of Paige Rice Joe, Kelly, and Leann Tullock In Memory of Bill Roskind Charles and Beverly Briedis Daniel Carp David Chilinski Larry and Valerie Cypress Bob and Dottie Davis Nancy Leigh and Bob Douglas Patti and David Dresdner Nancy and Ron Edgerton David and Francine Ephraim Linda G. Furr Leslie Goldstein Stuart and Iris Goldstein The Jacobs, Taitler, Dickson, Frank, Segall and Nathanson families.

Donna and Paul Kelman

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cont ’d f rom p age 3 6

The Land’s Sake Staff and Board of Directors Jill and Joe Lawrence Hugh and Carol McCollum Manny and Karen Medeiros Lauren and Keith Rabin William and Carole Roskind Diane Sharp Your Friends at Vertex Hank and Nancy Young In Memory of Vivian Smith Fred Smith In Honor of Olivia Steinke Linda Frank and Steven Corbin Brett, Jeri, and Olivia Senor Regina J. Van Horn In Honor of Irene Stoll Linda and Tom Bushar In Memory of Dr. Robert Taylor Mr. and Mrs. David R. Andrew Gary and Patty Coleman Mary Frances Early Bill and Kitty Hunt Mona Lax Ned and Jane Lesesne Janet E. Lincoln and Robert J. Kessler Joanne Lincoln Carole Lyman David and Eleanor Maloney Hugh and Carol McCollum Norretta Taylor In Memory of Jim Topp Paula J. Grillot In Memory of Sondra Cohen Walc Joseph Walc

In Honor of Mildred Wald Jeffrey Wald In Honor of Kelsey Walker John and Rebecca Callahan Carl and Janis Ricker In celebration Sadie’s Fifth Birthday David and Jessica Whitehill In Honor of Anna Wilkie Sheree and Ron Montgomerey Lashea Wilkie In Honor of Lily Winters Michael and Sabrina West In Honor of Lilly Winters and Alice Miken Kim Winters and Mathe Mennell In Memory of Our Son Justin Young Hank and Nancy Young In Honor of Eleanor Zitin Rachel Zitin

OF SERVICE Angie and Dan Baechtold Chip Kaufmann Dick Kowal Susan Propst Beth Stickle from Bloomin’ Art Jessica Whitehill Echo Mountain Julian Dreyer Jessica Tomasin BMW of Asheville The Official Transportation of the Asheville Symphony

Every effort has been made to insure this list is accurate. If you note an omission or error please contact Amy McGuire at almcguire@ashevillesymphony.org(828) 318-8181.

All names received after December 31, 2017 will be noted in the Fall 2018 program.

MATCHING GIFTS

The Asheville Symphony extends appreciation to the following

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.

companies who have matched donor gifts this year: American International Group, Inc.

IBM

Prudential

Macy’s

Bristol-Myers Squibb

Shell Oil Company Foundation

Eaton Corporation

State Farm Foundation

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Masterworks 5 Romanticism Revisited and Revivedl

reborn Asheville Symphony Orchestra

March 17, 2018 • 8 p.m.

Nicholas Hersh, conductor Itamar Zorman, violin

Ludwig van Beethoven (1770 - 1827)

Leonore Overture No. 3, op.72b (1806)

Music Sponsors: Dr. and Mrs. Ralph C. Loomis Bill and Kitty Hunt

Jonathan Leshnoff (1973 -)

Chamber Concerto for Violin and Orchestra (2015)

I. Slow II. Fast

Itamar Zorman, Violin Freddie Mercury (1946 - 1991) arr. Hersh

Bohemian Rhapsody for Violin and Orchestra (1975)

Music Sponsors: Amy McGuire and Brian Wallace

INTER MISSION Sergei Rachmaninoff (1873 - 1943)

Symphony No. 2 in E minor, op.27 (1907)

I. Largo - Allegro moderato Music Sponsors: Bolling Farmer, in memory of

II. Allegro molto her parents John Hoyt and III. Adagio Bolling Brown Farmer IV. Allegro vivace

SEASON SPONSOR

CONCERT SPONSOR

GUEST ARTIST SPONSOR

Drs. Tom and Joanne Parker

Henry A. LaBrun

SEASON MEDIA SPONSOR

Tonight’s concert is being recorded for broadcast on BPR on Tuesday April 10, 2018 at 10am and Thursday April 12, 2018 at 8pm 41

MASTERWORKS 5 • CONDUCTOR

NIcholas Hersh Nicholas Hersh is Associate Conductor of the Baltimore Symphony Orchestra and Artistic Director of the Baltimore Symphony Youth Orchestras. Since joining the BSO as Assistant Conductor in 2014, he continues to make his mark on the mid-Atlantic region with exciting, innovative programming-notably as conductor and co-curator of the acclaimed BSO Pulse series, bringing together indie bands and orchestral musicians in unique collaborations.

Nicholas directs the BSO’s educational and family programming, including the celebrated Academy for adult amateur musicians, as well as a variety of classical and popular programs. Nicholas made his BSO subscription debut stepping in for an indisposed Yan Pascal Tortelier, and has since conducted the BSO in a set of subscription concerts each season. In the 17-18 season, Nicholas makes his debut with the Alexandria and Asheville Symphonies, and conducts the BSO with pianist Joyce Yang. He debuted with the North Carolina Symphony in 2017, and has appeared with the New World Symphony, New Jersey Symphony, Auburn Symphony, National Repertory Orchestra, and the Southern Great Lakes Symphony.

Nicholas is a frequent collaborator and guest faculty at the Peabody Conservatory as well as the BSO’s OrchKids program for Baltimore City schoolchildren.

Nicholas grew up in Evanston, Illinois and started his musical training with the cello. He earned a Bachelor’s Degree in Music from Stanford University and a Master’s Degree in Conducting from the Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. In 2011 and 2012, he was a Conducting Fellow with the prestigious American Academy of Conducting at Aspen, studying with mentors Robert Spano, Hugh Wolff, and Larry Rachleff, and has participated in master classes with Bernard Haitink and Michael Tilson Thomas.

Nicholas is a two-time recipient of the Solti Foundation Career Assistance Award.

Nicholas is a skilled arranger and orchestrator; he has had frequent arrangement commissions from the Baltimore Symphony as well as from the Cleveland Pops, the National Repertory Orchestra, and the Jackson Symphony. His symphonic arrangement of Queen’s Bohemian Rhapsody saw worldwide success as a viral YouTube hit.

MASTERWORKS 5 • GUEST ARTIST

Itamar Zorman violin Itamar Zorman is one of the most soulful, evocative artists of his generation, distinguished by his emotionally gripping performances and gift for musical storytelling. Since his emergence with the top prize at the 2011 International Tchaikovsky Competition, he has wowed audiences all over the world with breathtaking style, causing one critic to declare him a “young badass who’s not afraid of anything.” His “youthful intensity” and “achingly beautiful” sound shine through in every performance, earning him the title of the “virtuoso of emotions.”

In the 2017-2018 season, Itamar Zorman will appear with the Classical Tahoe and Asheville Symphony Orchestras to perform Jonathan Leshnoff’s Chamber Concerto for Violin and Orchestra, as well as with the Southwest Florida Symphony and Gonzaga Symphony Orchestra. International performances include concertos with the Kremerata Baltica, the Meininger Hofkapelle and NFM Leopoldinum Orchestra, Wrocław. Recital and chamber music appearances include the Kravis Center, Billings Symphony Orchestra Recital Series, Dublin-Laurens Arts Council, Juilliard School, Pro Musica (SMA), Hudson Valley Music Club, String Theory at the Hunter Museum of Art, Argenta Concert Series, and returns to the Marlboro and Swannanoa Festivals.

The 2016-2017 season featured performances at the Philadelphia Chamber Music Society, Spivey Hall, Schneider Concert Series at the New School, Morgan Library, Chamber Music Tulsa, Chautauqua Festival, Chamber Soloists of Detroit, Hart Performing Arts Center, Chamber on the Mountain, and international successes with the Mahler Chamber Orchestra, RTE National Symphony Orchestra in Dublin, Israel Philharmonic, Belgrade Philharmonic, and the Lithuanian State Symphony Orchestra.

As part of an ongoing exploration of the music of Paul Ben-Haim, he is recording a CD of the works for violin and orchestra with BBC National Orchestra of Wales and Philippe Bach for BIS Records. His first solo CD recording, entitled “Portrait”, features works by Messiaen, Schubert, Chausson, Hindemith, and Brahms and was released by Profil - Editions Günther Hänssler.

In recent years, Itamar Zorman has appeared with major orchestras across four continents - USA, Europe, Asia and South America - including the American Symphony Orchestra, the Tokyo Symphony, the KBS Symphony, the Orchestre National du Capitole de Toulouse, Het Gelders Orkest, Frankfurt Radio Symphony Orchestra, the Israel Philharmonic, and the St. Petersburg Philharmonic.

He has given recitals at Carnegie Hall in the ‘Distinctive Debuts’ series, the Louvre Recital Series in Paris, Tokyo’s Suntory Hall, the

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Laeiszhalle Hamburg, Muziekgebouw Frits Philips in Eindhoven, the HR-Sendesaal Frankfurt and the Kolarac Hall in Belgrade; and at festivals including Marlboro, Classical Tahoe, Chamberfest Cleveland, Kronberg Academy, Rheingau, and the Copenhagen Summer Festival. He has also collaborated with a number of legendary artists such as Richard Goode (including performances at Carnegie Hall and Library of Congress) and Mitsuko Uchida.

He is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust award, and, in addition to receiving top prize at the 2011 International Tchaikovsky Competition, other competition successes include first prize at the 2010 International Violin Competition of Freiburg and the Juilliard Berg Concerto Competition in April 2011.

Described as a “poet of the violin”, Itamar Zorman is also a committed chamber player. He is a founding member of the Israeli Chamber Project and a member of the Lysander Piano Trio, with which he won the 2012 Concert Artists Guild Competition, the Grand Prize in the 2011 Coleman Chamber Music Competition, 1st prize in the 2011 Arriaga Competition, and a bronze medal in the 2010 Fischoff National Chamber Music Competition.

Born in Tel-Aviv in 1985 to a family of musicians, Itamar Zorman began his violin studies at the age of six with Saly Bockel at the Israeli Conservatory of Music in Tel-Aviv. He graduated in 2003 and continued his studies with Professor David Chen and Nava Milo.

He received his Bachelor of Music from the Jerusalem Academy of Music and Dance as a student of Hagai Shaham, and his Master of Music from The Juilliard School in 2009, where he studied with Robert Mann and Sylvia Rosenberg. He then went on to receive an Artist Diploma from Manhattan School of Music in 2010 and an Artist Diploma from Julliard in 2012 under the tutelage of Sylvia Rosenberg, and he is an alumnus of the Kronberg Academy where he studied with Christian Tetzlaff and Mauricio Fuks. He is also the recipient of scholarships from the America-Israel Cultural Foundation and has taken part in numerous master classes around the world, working with Itzhak Perlman, Pinchas Zuckerman, Shlomo Mintz, Ida Haendel, and Ivry Gitlis.

He plays on a 1734 Guarneri del Gesu, from the collection of Yehuda Zisapel.

MASTERWORKS 5 • PROGRAM NOTES March 17, 2018 Leonore Overture No. 3, Op. 72b

Concerto for Violin and Orchestra

Ludwig Van Beethoven 1770-1827

Jonathan Leshnoff b. 1973

Approximate performance time is 14 minutes.

Approximate performance time is 15 minutes.

Beethoven was a perfectionist. He made numerous major revisions to his only opera, Fidelio, before he arrived at the final version we know today. The overture to the opera underwent even greater transformations. The composer wrote four different overtures, all quite different from each other and all still popular in the concert hall. The first three are called Leonore Nos. 1, 2 and 3 respectively, after the name of the heroine of the opera and originally the opera’s title; the fourth is known as Fidelio, the pseudonym she adopts when disguised as a young man.

New Jersey born Jonathan Leshnoff is a graduate of Peabody Conservatory and the University of Maryland. He is currently Professor of Music at Towson University, teaching theory, orchestration and composition; he is composer-in-residence with the Baltimore Chamber Orchestra.

Leonore, a brave and faithful wife – hence her adopted name – saves her husband, Florestan, from his unjust incarceration by his villainous and powerful enemy Pizzaro. Disguised as Fidelio, she enters into the service of Florestan’s jailer to be nearer her husband. In the end, she manages to liberate not only Florestan, but a whole band of political prisoners when the prison is inspected by the Minister, who has heard rumors of the illegal incarcerations.

Beethoven’s difficulties with the three Leonore overtures stemmed from the fact that they were too dramatically and musically explicit, thus giving away the most exciting moments of the opera, including the appearance of the Minister.

Beethoven composed Leonore No. 3 in 1806 for an abridged performance of the second version of the opera but realized at once how inappropriate it was. It became an independent orchestral composition with one of the most dramatic trumpet calls heralding the Minister’s arrival – and, of course, revealing the denouement before the action even starts.

Leshnoff’s musical language is lyrical and accessible, and his works have been commissioned by major orchestras and performed by more than 50 orchestras worldwide. His catalog is extensive, including several symphonies and oratorios, in addition to numerous concerti, solo, and chamber works.

Leshnoff writes: “When I write a concerto, I have to become the instrument. It’s a double refraction: it has to go through me and then through the solo instrument. I have to become a violin and produce what it sounds like, what it likes to do.“ Being a violinist himself was definitely a benefit in composing the Chamber Concerto for Violin and Orchestra, composed in 2015, commissioned by Shriver Hall Concerts of Johns Hopkins University for violinist Gil Shaham.

Leshnoff’s musical language bears a strong resemblance to that of Samuel Barber and the neo-romantics of the mid twentieth century, with an Eastern European Jewish cast. The Concerto is in two movements.

While in college, Leshnoff became interested in his Jewish heritage, especially the mysticism of the Kabbalah, according to which, there are ten Sefirot (Emanations) through which God reveals himself. Leshnoff plans to write a composition for each of the Sefirot.

The first movement of the Concerto, marked Slow, refers to the tenth Sefira, the Hebrew letter , Malchus, meaning summation.

The violin is expressive, rather than virtuosic and is based on

‫ﬣ‬

M a ste rworks 5 cont i nued on p age 44

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Masterworks 5 continu e d f rom page 43

a long melody, which Leshnoff transforms, rather than varies.

In other words, he does not pack the variations into a strict framework of so many measures, but rather incorporates and builds it into new melodic contexts.

The fireworks are left for the second movement, marked Fast. It follows the same principle, although now with in a more flashy, virtuosic style. Occasionally, the violin breaks out of the pattern for a more lyrical theme much in the mold of a contrasting second theme in a sonata form. Nevertheless, the means by which the composer does or doesn’t integrates kabbalistic mysticism into the music remains obscure to the general audience.

Program notes by: Joseph & Elizabeth Kahn

Bohemian Rhapsody for Violin and Orchestra Freddie Mercury 1946-1991 arr. Nicholas Hersh Approximate performance time is 6 minutes.

A piece with the title “Bohemian Rhapsody” might as easily have been a tone poem by Dvořák as a chart-topping rock single by the British band Queen—but Freddie Mercury’s genre-bending composition is probably closer to Czech Romanticism than it is to his rock contemporaries when it was released in 1975.

True to its title, Mercury’s “Rhapsody” is a fantasy-like sequence of musical sections with varying styles and tempi, eschewing the traditional verse-chorus structure and single-pattern beat loops of most rock songs. A dreamlike introduction (“Is this the real life? Is this just fantasy?”) melts into a yearning ballad of a young man on the lam (“Mama, just killed a man”), before a sudden up-tempo shift to what Mercury described as the “opera section,” filled with raucous outbursts and mock-drama (“I see a little silhouette-o of a man. Scaramouche! Will you do the fandango?”). A climactic return to the opening ballad heralds a nihilistic coda, softly proclaiming, “Nothing really matters.”

While I didn’t realize it at first, the richness and diversity of this material is certainly what led me to adapting it for orchestra. It was originally intended simply a one-off encore for a concert during my grad school years at Indiana University, which featured Walton’s Viola Concerto—thus the uncommon addition of a solo viola. When I set to arranging I quickly found the instrument neatly suited Mercury’s distinctive voice, and with the variegated timbres of the orchestra I could easily recreate and even enhance Queen’s musical effects—ghostly strings for the dreamy introduction, a strident trumpet for the fiery guitar solo, kettledrums for the shouts of “Bismillah!”

Program notes by: NIcholas Hersh

Symphony No. 2 in E minor, Op. 27 Sergey Rachmaninov 1873-1943 Approximate performance time is 60 minutes.

The premiere performance of Rachmaninov’s First Symphony took place in St. Petersburg in 1897. It was a dismal failure, in large part due to the shoddy conducting of Alexander Glazunov, who was drunk. The disappointment brought on a severe depression, and for three years Rachmaninov was unable to do any significant composing. Finally in 1900 he went for therapy and hypnosis to Dr. Nikolay Dahl*. The result was one of the first

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well-known successes of modern psychotherapy. Rachmaninov was consequently able to return to creative work on his Second Piano Concerto, dedicated to Dahl. Relapses into depression dogged Rachmaninov, however, for the rest of his life. And significantly, all his large instrumental compositions, as well as most of the rest of his oeuvre, are in minor keys.

Rachmaninov refused to publish the failed symphony, and only acknowledged its existence by calling his next one No. 2. The Second Symphony was composed in 1906-07 in Dresden, where Rachmaninov had escaped from the social and professional demands in Russia. This expansive work, reflecting the composer’s love for long Romantic themes, was premiered with Rachmaninov on the podium in St. Petersburg in January 1908 to great applause.

The Symphony opens mysteriously, with a somber slow introduction, the low strings softly introducing a motto that reappears throughout the work. The violins introduce the first theme, an urgent, driving variant of the motto. A solo clarinet followed by the other woodwinds, introduces the lyrical second theme, answered by murmuring strings. The tension and passion increase, culminating in a series of climaxes accentuated with a liberal use of timpani and ending with a passionate transformation of the first theme as a coda.

The second movement is an energetic scherzo. Two of its most stunning aspects is Rachmaninov’s use of hushed fragments of his principal themes, to make suspenseful transitions between the large sections, and his use of the glockenspiel. The movement has three major themes, instead of the traditional two. It opens with the four horns in unison declaring the principal theme, a whirling melody. He then abruptly changes the mood and pace, introducing one of his broadly romantic themes on the violins.

The next section starts as a sparkling fugue on the violins, the nemesis of every violin audition. Upon the return of the first two themes, Rachmaninov is said to have inserted one of his trademark musical quotations of the plainchant Dies irae, from the Mass for the Dead. But in this case, we beg to differ with the traditional analysis. While the melodic shape of the eightnote motive is the same as the chant, the important intervals are significantly altered and, in fact, outline the skeleton of first theme rather than introducing symbolic new musical material.

The best word for the Adagio is lush. Here Rachmaninov’s melodic talents created one of his most appealing and extended melodies, with which Hollywood has unfortunately had a heyday, shredding it into trivialized fragments. It opens with the violas, then the violins in a long string of triplets as an introduction. A clarinet solo presents the seamless theme and sets the mood of the movement. One by one, the other woodwinds repeat the melody, which they pass on to the strings. As the movement continues Rachmaninov brings in a variant of the introduction to the first movement, which is finally heard in its original form at the movement’s end.

The wild but festive rush of the exultant finale, marked Allegro vivace, recalls a tarantella. The movement is an expanded sonata form, for which Rachmaninov introduces the obligatory lyrical second theme for the strings. Throughout the movement, fragments from the three preceding movements reappear. The tarantella theme returns and the movement ends with a radiant and joyous coda. *Dr. Dahl left Russia in 1925 and settled in Beirut, Lebanon, practicing general medicine. He played the viola in the orchestra of the American University of Beirut

Program notes by: Joseph & Elizabeth Kahn

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FRIENDS OF THE YOUTH ORCHESTRA The Asheville Symphony Youth Orchestra is proud to announce the Friends of the Youth Orchestra program (Friends). The Friends is a fundraising and support group committed to ensuring ASYO has the resources to offer the best musical training and experiences for young musicians. The goal of the Friends is for every young musician to have access to music education and in turn enrich the community through music.

Below are members of our inaugural Friends of the Asheville Symphony Youth Orchestra.

For more information on this group, how you may join, and the benefits of joining, please contact Claire Allen, Development Associate, cmallen@ashevillesymphony.org (828) 318-8176.

Benefactors Mr. and Mrs. Thomas C. Bolton Drs. Tom and Joanne Parker

Vivace ($500+) Brad and Diane Arnold Asheville Symphony Guild Dr. Luther and Ruth Barnhardt Laurie and Fred Bloch Ed and Donna Broadwell Marilyn and Bill Brown Gene and Lee Casey Gary and Patty Coleman Dr. David Crouch Dr. John and Wendy. Cuellar III George and Kathy Dambach William and June Dula Dr. Bolling Farmer Linda and Jeff Fromson Bill and Nancy Gettys Dr. and Mrs. Heinz K. Grohs Ichiban Restaurant, Inc. Randall and Mary Johnson Drs. Paul and Hwa-Jin Kim James and Mary Kirby Gerald and Nancy Kitch David and Pamela Lane Jill and Joe Lawrence Donald and Barbara Layden Dr. and Mrs. Ralph C. Loomis

Barbra and Keith Love Dr. and Mrs. Carlo Mainardi Hugh and Carol McCollum Ann and Jerry McLellan Gail Miller Phil and Katie Osborn Karen Keeler Rogers and Robin Rutledge Thomas and Elizabeth Roth David and Wendy Smith Robert and Kathy Stiles Maurice and Bonnie Stone Thomas Tachovsky and Lynn Baird James S. and Diane T. Thompson Nam and Beth Vo Stephanie and Greg Ward Henry and Beth Whitehill Olivia and Gary Zahler

Allegro ($250-$499) Don and Nancy Ackermann Cole Sandra Kirchner for the Kirchner/ Soucaze Family Dr. and Mrs. Ronald Manheimer

Andante ($100-$249) Chris Chay and Clara Chay Elisabeth Ervin Benard and Ann Fried Dr. and Mrs. David J. Fugazzotto

Cindy Lewis Amy McGuire and Brian Wallace Patricia Propst Susan and Marc Propst V. Richards Mark Siler and Kiran Sigmon Hank and Nancy Young

Adagio ($25-$99) Chris and Linda Alstrin Mary and Jack Anderson Deanna and Aaron Banks John and Sue Banks Charles and Beverly Briedis Carlton and Carol Craig Betty Fox Robin and Gordon Gaiser Susan Jensen and Lew Gelfond Elizabeth Kelser Jeremy and Susan Lerner Alan Lipsky Will and Diane Lopez Anonymous Donald and Brenta Poole Bob and Ann Rennard Kathy Schubert Larry and Janie Wilson

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A planned gift entitles you to join the Asheville Symphony Legacy Society, a very special group of patrons who have included the Asheville Symphony in their estate plans. The Asheville Symphony Legacy Society recognizes patrons who have left a gift or advised the Symphony they have made provisions for a gift in their will or estate plans. By alerting us to your plans, you enable us to recognize you during your lifetime.

Speak to your financial advisor about leaving a legacy gift to the Asheville Symphony. If you have questions about The Asheville Symphony Legacy Society please contact Amy McGuire, Director of Development, (828) 318-8181 or almcguire@asheville symphony.org

Asheville Symphony Legacy Society Ms. Dorel Abbot* Mrs. Nancy M. Anthony* Dr. & Mrs. Luther Barnhardt Mr.* † & Mrs. Stephen L. Barden III Kathy Bellizio George* and Diana Bilbrey Mrs. Marion Bleyler* Mr. & Mrs. Thomas C. Bolton Mrs. Charles M. Butler* Ken & Alma Chatfield* Barbara* & Beirne Chisolm Mrs. Joan T. Clarke, in memory of Robert A. Clarke* Mr. & Mrs. Charles F. Cole* † Dr. & Mrs. John P. Cuellar III Mr. & Mrs. Gary Coleman Nancy S. Crosby Robert D. DiDiego Delores (Lori) Doerr Mr. & Mrs. David M. Dolan, in memory of Dr. Daniel L. Dolan* Dr. Joyce R. Dorr† Mrs. C.H. Elmslie* Robert & Jeane Etter Dr. Bolling Farmer Frances C. Fee† Glenna Florence* Lindley Garner and Mary Goodkind Bill & Nancy Gettys

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Ms. Sidney Powell Karl* & Shirley Quisenberry Mrs. Monte Richardson* Mr. Ernest J. Rosenau†* Dr. & Mrs. Joel B. Rosenberg† William* & Carole Roskind Dr. & Mrs. Wade H. Saunders Mr. John C. Schluer* August Schmidt* Mr. & Mrs.* W. Herbert Smith, Jr. Dr. Linda D. Y. Sokalski Robert Sorton Norretta & Robert* Taylor Mr. & Mrs. G. Edward Towson II Mr.* & Mrs. John W. Traw† Dr. William Turbyfill, in memory of Lamar Stringfield*† Mrs. Betty Swain Turbyfill, in memory of Lamar Stringfield*† Albert & Lucia Ward*† Steve & Frosene Zeis *Deceased † Endowment gift

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October 21, 2017

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music that transports the soul : journeys November 18, 2017

Darko Butorac

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reborn : romanticism revisited & revived April 14, 2018

Jayce Ogren

nationalism’s musical DNA : patriots May 12, 2018

Jacomo Bairos

bend it : masterpieces in genre-shifting 52

Masterworks 6 Nationialism’s Musical DNA

patriots Asheville Symphony Orchestra

April 14, 2018 • 8 p.m.

Jayce Ogren, conductor Joyce Yang, piano

The Chairman Dances; Foxtrot for Orchestra (1985)

John Adams (1947 - ) Music Sponsors: Allan Morse

Manuel de Falla (1876 - 1946) Music Sponsors:

Noches en los jardines de España (1915) (Nights in the Gardens of Spain)

Dick and Yolanda Hall En el Generalife (In the Gardens of the Generalife) Charles and Beverly Briedis Danza lejana (A Dance Is Heard in the Distance)

En los jardines de la Sierra de Córdoba

(In the Gardens of Sierra de Córdoba)

Joyce Yang, Piano

IN TERMISSION Jean Sibelius (1865 - 1957)

Symphony No. 2 in D major, op.43 (1902)

Music Sponsors: George and Kathy Dambach

I. Allegretto II. Andante; ma rubato III. Vivacissimo IV. Finale: Allegro moderato

SEASON SPONSOR

CONCERT SPONSOR

GUEST ARTIST SPONSOR

Katherine Armitage, in memory of Jack Jones

Henry A. LaBrun

SEASON MEDIA SPONSOR

Tonight’s concert is being recorded for broadcast on BPR on Tuesday May 8, 2018 at 10am and Thursday May 10, 2018 at 8pm 53

MASTERWORKS 6 • CONDUCTOR

Jayce Ogren With mounting success in both symphonic and operatic repertoire, Jayce Ogren is building a reputation as one of the finest young conductors to emerge from the United States in recent seasons. He has recently been named the new Artistic Director of Orchestra 2001 in Philadelphia.

The summer of 2017 brought Jayce return engagements at the Colorado Symphony, the National Arts Centre Orchestra in Ottawa, and concerts at the Breckenridge Festival. Other re-invitations in the 2017/18 season include the Dallas, Indianapolis, and Edmonton Symphonies, and debuts with the Nashville, Columbus and Asheville Symphonies and with the Louisville Orchestra. Jayce debuts also this season with the Melbourne Symphony Orchestra and Chorus for Terence Malick’s The Voyage of Time at the Melbourne Festival (Wordless Music project), and with the Hong Kong Philharmonic, leading the orchestra with film in Bernstein’s West Side Story. Repertoire ranges from Beethoven, Schubert, Mendelssohn and Mozart through several major Sibelius symphonies and works by de Falla, Copland, John Adams; a program of opera arias, and several film scores with orchestra.

With Orchestra 2001 Ogren leads staged performances of Peter Maxwell Davies’ Eight Songs for a Mad King at the Philly Fringe Festival, Steve Mackey’s Slide, in Princeton at the Sound Kitchen, National Sawdust in Brooklyn and at the Venice Island Performing Arts Center in Philadelphia. Jayce and Orchestra 2001 also present the Philadelphia premiere of the complete Yellow Shark by Frank Zappa.

Also in Philadelphia he leads the Symphony for a Broken Orchestra, a new work that Pulitzer prize-winning composer David Lang is writing for sounds that only broken instruments can make: some 400 of them found in the Philadelphia school system will be played by Orchestra professionals, Curtis Institute and Temple faculty and students plus school kids -- 350 players arranged in teams around the periphery of the 23rd St. Armory – after which the instruments will be repaired and returned to the schools for future use.

In the fall of 2017, Jayce will also be a Visiting Lecturer at Princeton University’s Lewis Center for the Arts, collaborating with stage director Michael Counts on an inter-disciplinary studio class that fuses classical music and immersive theatre.

As an opera conductor, Ogren has led the world premiere of Jack Perla’s Shalimar the Clown with the Opera Theatre of St. Louis; the US premiere of Rufus Wainwright’s Prima Donna, Britten’s Turn of the Screw, Mozart’s The Magic Flute, Bernstein’s A Quiet Place, Rossini’s Mose in Egitto, and more.

Jayce has also established a notable reputation in contemporary music, having led The Ensemble Intercontemporain in Paris, projects with ICE (International Contemporary ensemble) at Lincoln Center, at the Wien Modern Festival, and at Columbia University’s Miller Theater; and concerts with the New York Philharmonic’s CONTACT! and BIENNIAL series. He has led all-Stravinsky performances with the New York City Ballet and Basil Twist’s production of The Rite of Spring at Lincoln Center’s White Light Festival.

He led the European premiere of Bernstein’s re-mastered West Side Story film with live orchestra with the Royal Philharmonic Concert Orchestra at the Royal Albert Hall, which he has repeated with the Dallas, Detroit, and Pittsburgh Symphonies and with the National Arts Centre Orchestra.

Abroad he has led Robert Carsen’s production of My Fair Lady at the Chatelet, and appeared with the BBC Symphony at the Barbican, Deutsches Symphonie Orchester Berlin, the Copenhagen Philharmonic, the RTE Symphony Orchestra in Ireland, the Asturias Symphony, the KwaZulu-Natal Philharmonic in South Africa, and led Le Nozze di Figaro at the Verbier Festival Academy.

A native of Washington State, Ogren received his Bachelor’s Degree in Composition from St. Olaf College and a Master’s Degree in Conducting from the New England Conservatory. With a Fulbright Grant, he completed a postgraduate diploma in orchestral conducting at the Royal College of Music in Stockholm where he studied with the legendary Jorma Panula and spent two summers at the American Academy of Conducting at Aspen. He was appointed by Franz Welser-Möst as Assistant Conductor of the Cleveland Orchestra and Music Director of the Cleveland Youth Orchestra and has led the Cleveland Orchestra in regular season subscription concerts and at The Blossom Festival.

As a composer, Ogren’s works have been performed at the Royal Danish Conservatory of Music, the Brevard Music Center, the American Choral Directors Association Conference and the World Saxophone Congress. His Symphonies of Gaia has been performed by ensembles on three continents and is the title track on a DVD featuring the Tokyo Kosei Wind Orchestra.

Jayce Ogren is an award-winning triathlete, recently completing the Boston 2 Big Sur Challenge running the Boston Marathon and the Big Sur Marathon back to back. He also completed the 2014 Ironman Lake Placid Triathlon and one week later finished fourth in his age group in the 2014 New York City Triathlon.

He makes his home in Brooklyn, New York.

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MASTERWORKS 6 • GUEST ARTIST

Joyce Yang piano Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity. As a Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, Yang showcases her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians.

Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work.

Since her spectacular debut, she has blossomed into an “astonishing artist” (Neue Zürcher Zeitung). She has performed as soloist with New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, the Baltimore, Detroit, Houston, Milwaukee, Pittsburgh, San Francisco, Sydney, New Jersey, and Toronto symphony orchestras, Royal Flemish Philharmonic, Deutsches Symphonie-Orchester Berlin, and BBC Philharmonic (among many others), working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Manfred Honeck, Jacques Lacombe, Leonard Slatkin, David Robertson, Bramwell Tovey, Peter Oundjian, and Jaap van Zweden. In recital, Yang has taken the stage at New York’s Lincoln Center and Metropolitan Museum, The Kennedy Center in Washington, D.C., Chicago’s Symphony Hall and Zurich’s Tonhalle.

In the 2017/2018 season, Yang embarks on a series of debuts, collaborations, and premieres. Highlights include her debut with New Zealand Symphony Orchestra under Edo De Waart performing Rachmaninov’s Piano Concerto No. 3 in five New Zealand cities, a performance with Albany Symphony at The Kennedy Center in Washington D.C. featuring works by Michael Torke (Three Manhattan Bridges, written expressly for Yang and commissioned by Albany Symphony) and Joan Tower (Still/Rapids), a reunion with Baltimore Symphony Orchestra for three performances of Prokofiev’s Piano Concerto No. 3, and her first collaboration with Aspen Santa Fe Ballet on a new work for dancers and solo piano choreographed by Jorma Elo which will receive its world premiere in Aspen (March 24) with repeat engagements in Santa Fe (March 31), Costa Mesa (April 5) and Los Angeles (April 7). This season Yang will also perform alongside Nashville Symphony Orchestra, Lexington Philharmonic, Eugene Symphony, Santa Rosa Symphony, Rochester Philharmonic, Milwaukee Symphony, Reno Philharmonic, Allentown Symphony, Oklahoma City Philharmonic, Vancouver Symphony, and Asheville Symphony. She continues her enduring partnership with longtime collaborators Alexander String Quartet with performances of works by Schumann and Brahms in California and New York.

Recent recordings include Yang and Augustin Hadelich’s collaborative Works for Violin and Piano for Avie Records (“One can only sit in misty-eyed amazement at their insightful flair and spontaneity,” – The Strad) and the world premiere recording of Michael Torke’s piano concerto Three Manhattan Bridges, created expressly for Yang and commissioned by Albany Symphony. Yang has also “demonstrated impressive gifts” (The New York Times) with the release of Wild Dreams (Avie Records), on which she plays Schumann, Bartók, Hindemith, Rachmaninoff, and arrangements by Earl Wild; a pairing of the Brahms and Schumann Piano Quintets with Alexander Quartet; and a recording of Tchaikovsky’s Piano Concerto No. 1 with Denmark’s Odense Symphony Orchestra that International Record Review called “hugely enjoyable, beautifully shaped … a performance that marks her out as an enormous talent.” Of her 2011 debut album for Avie Records, Collage, featuring works by Scarlatti, Liebermann, Debussy, Currier, and Schumann, Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

Other recent season highlights include her 12th consecutive appearance as a guest artist at Aspen Music Festival and debuts with Minnesota Orchestra, San Diego Symphony, and Charleston Symphony. She was featured in a five-year Rachmaninoff cycle with Edo de Waart and Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal). Yang has joined the Takács Quartet for Dvorak in Lincoln Center’s Great Performers series and impressed The New York Times with her “vivid and beautiful playing” of Schubert’s “Trout” Quintet with members of Emerson String Quartet at The Mostly Mozart Festival at Lincoln Center. She has performed solo recitals across the United States and Canada, including a recent performance at the Wallis Annenberg Center for the Performing Arts in Beverly Hills that was hailed by the Los Angeles Times as “extraordinary” and “kaleidoscopic.”

Yang has fostered enduring partnerships with Alexander String Quartet, with whom she has recorded the Brahms and Schumann Piano Quintets (recent appearances in New York and Charlottesville) and violinist Augustin Hadelich (recent appearances in Palm Desert, La Jolla, Costa Mesa, Santa Barbara, Saint Paul, Dallas, New York, San Francisco, Cincinnati and Hong Kong). “It was hard to imagine finer performances by any violin-and-piano pairing,” wrote The Dallas Morning News of one of Yang and Hadelich’s recent recitals.

Born in 1986 in Seoul, South Korea, Yang received her first piano lesson from her aunt at the age of four. She quickly took to the instrument, which she received as a birthday present, and over the next few years won several national piano competitions in her native country. By the age of ten, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of The Juilliard School with Dr. Yoheved Kaplinsky. During her first year at Juilliard, Yang won the precollege division Concerto Competition, resulting in a performance of Haydn’s Keyboard Concerto in D with the Juilliard Pre-College Chamber Orchestra. After winning The Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third M a ste rworks 6 cont i nued on p age 57

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Piano Concerto with that orchestra at just twelve years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th Annual William A. Petschek Piano Recital Award.

Yang made her celebrated New York Philharmonic debut with Maazel at Avery Fisher Hall in November 2006 and performed on the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea. Subsequent appearances with the Philharmonic included the opening night of the Leonard Bernstein Festival in September 2008, at the special request of Maazel in his final season as music director. The New York Times pronounced her performance in Bernstein’s The Age of Anxiety a “knockout.”

Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.

MASTERWORKS 6 • PROGRAM NOTES April 14, 2018 The Chairman Dances “Foxtrot for Orchestra” John Adams b.1947

Noches en los Jardins de España (Nights in the Gardens of Spain)

Approximate performance time is 12 minutes.

Manuel de Falla 1876-1946

John Adams is generally associated with minimalism, a style of composition pioneered by Terry Riley, Phillip Glass and Steve Reich in which short musical motives are repeated, although undergoing gradual transformations in melody, harmony or rhythm one note at a time. While repetition in the works of Riley, Glass and Reich can seem interminable, Adams adds more drama and musical direction, as well as a more accessible tonal and melodic language to his scores.

Approximate performance time is 23 minutes.

Born in Worcester, MA, Adams studied at Harvard University before settling in California. From 1979 to 1985, during his tenure as composer-in-residence with the San Francisco Symphony, , he established a fine reputation in the musical establishment with such works as Harmonium, settings of three poems by Emily Dickenson.

Born in Cadiz, Manuel de Falla received his first music lessons from his mother. He studied piano and composition in Madrid,where he became interested in Spanish music, especially Andalusian flamenco. But he realized early on that he was not good enough to make a career as pianist, and the symphonic institutions in Spain were too limited to make a living as a classical composer. In 1907, he left Spain in order to achieve international exposure for his music, settling in Paris where he came under the influence of Paul Dukas, Claude Debussy and Maurice Ravel. His music, however, even during the height of the French influence, remained solidly Spanish in style. With the outbreak of World War I, he returned to his native country.

In 1987, Adams’s collaboration with stage director Peter Sellars catapulted him into international fame with the Grammywinning opera Nixon in China, based on Richard Nixon’s breakthrough trip in 1972. In 1991, Adams composed The Death of Klinghoffer, also based on an historical event, the terrorist murder of a passenger aboard a cruise ship. Not only did both works become the most performed contemporary operas in recent history, but they were also televised by PBS. Klinghoffer was filmed in 2003 on location in the Mediterranean aboard a cruise liner, the most authentic venue for the presentation of opera on film. In September of 2003 Adams succeeded Pierre Boulez as Composer in Residence at Carnegie Hall.

The Chairman Dances, composed in 1985, had been intended for Nixon in China but was dropped in the final version. According to Adams, it began as a quasi flashback for Chairman Mao and his bride, Chiang Ch’ing (Jiang Qing), former movie star, firebrand, revolutionary, executioner, and architect of China’s calamitous Cultural Revolution.

Adams composed The Chairman Dances according to the following scenario: It is set in Beijing’s Great Hall of the People where Nixon is hosting a huge banquet for his Chinese counterpart: “Chiang Ch’ing, a.k.a. Madame Mao, has gatecrashed the Presidential Banquet. She is first seen standing where she is most in the way of the waiters. After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle and slit up to the hip. She signals the orchestra to play and begins dancing by herself. Mao is becoming excited. He steps down from his portrait on the wall and they begin to foxtrot together. They are back in Yenan, dancing to the gramophone…”

While composers of all periods of Western music have at times made use of popular or folk tunes in their music, the Spaniards seemed obsessed with the practice. The Italian import keyboard composer, Domenico Scarlatti (1685-1750), set the fashion for incorporating “street music” into his sonatas for the brilliant harpsichordist, Queen Maria Barbara. The practice continues to this day.

A deeply religious – almost fanatic – Catholic, de Falla expressed his faith in a magnum opus, Atlántida, an epic based on what he regarded as the holy mission of his boyhood hero Christopher Columbus. The cantata, in which the Spanish nation, rising from the ruins of Atlantis, goes forth under the banner of Christ to the New World, remained incomplete at de Falla’s death. He actually submitted parts of it to Church authorities for approval.

De Falla began Noches en los Jardins de España in 1909 in Paris as a set of three nocturnes for piano. But friends, and especially the pianist Ricardo Viñes, advised him to transform it into a work for piano and orchestra. Instead, the composer put the work aside and did not return to it until 1915, after his return to Spain. He described the work as “Symphonic impressions,” insisting that it was not a piano concerto, and that the piano was an integral part of the orchestral fabric. Originally de Falla planned a fourth movement, based on a tango rhythm, but that movement ended up as the “Pantomime” movement of El amor brujo.

Nights is a purely atmospheric work, at times almost hypnotic in its simple melodies and understated orchestration. The first movement En el Generalife, describes the famous Palace garden of the Generalife (from the Arabic Jannat al-’Arif - Architect’s Garden) on the Alhambra hill in Granada. It opens with what sounds like an accompaniment, but is actually the main theme that recalls Debussy. The theme has a Moorish flavor, first heard M a ste rworks 6 cont i nued on p age 57

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as if played on a guitar; the strings imitate the strumming sound, while the piano part is often a single line avoiding chords.

In the second movement, Danza lejana (Distant Dance), once again the themes are brief and simple, the rhythm and harmonies evoking the Flamenco style. The dance gradually increases in volume and tempo before receding again into the distance. The piano leads without interruption into the third movement, En los jardines de la Sierra de Córdoba (The gardens of the Sierra Cordoba mountains). In the middle, the piano takes the role of the singer of cante jondo, a vocal Flamenco style in which a florid melody in the high treble sings over a throbbing bass. The movement begins energetically but slows to a brooding conclusion.

Symphony No. 2 in D major, Op. 43 Jean Sibelius 1865-1957 Approximate performance time is 43 minutes.

Jean Sibelius’ first success as a composer came in 1892 with Kullervo, Op. 7, a nationalistic symphonic poem/cantata that met with great success but was never again performed in his lifetime.

During the next six years he composed numerous nationalistic pageants, symphonic poems and vocal works, mostly based on the Finnish national epic, the Kalevala. In order to enable him to work undisturbed, the Finnish administrative government gave him a pension for life in 1897. For the next 28 years he composed the symphonies and tone poems that made him famous. But in 1925, at the age of 60, he essentially abandoned composing probably as the result of the ravages of alcoholism and the bipolar disorder that had plagued him throughout his life. He remained silent until his death 32 years later.

Writing symphonies was for Sibelius a lifelong preoccupation that he described as “confessions of faith from different periods of my life.” Composed in the winter 1901-02, close on the heels of his

patriotic Finlandia, the Symphony No. 2, with its blazingly affirmative conclusion and optimism, reflected the nationalistic spirit of the time. His statement that all his music was either consciously or unconsciously programmatic opened up a Pandora’s box for interpretation. The public’s belief that the Symphony contained a fundamental political message made it an instant success despite the fact that Sibelius himself ascribed no program to it.

The first movement opens with a lyrical theme by a pair of oboes in their middle range accompanied by the lower strings, creating the dark, cold sound characteristic of Sibelius, which hints at the stark Finnish climate and landscape. The movement consists of a string of melodic fragments, rather than full themes, woven together into a classic sonata form.

A timpani roll and a long pizzicato passage on the basses open the second movement, spiraling higher and higher, preparatory to a stark Russian-sounding theme for the bassoons. It creates an even more desolate sound than the chilly oboes of the first movement. The ominous mood builds up to an outburst in the strings that has been interpreted as symbolic of Russian oppression.

The Scherzo for strings alone has a frantic quality about it, particularly in its irregularity of its phrasing and refusal to settle on a tonic. The pace slows down considerably for the Trio, a low oboe solo accompanied by winds. While the Trio begins on an emotionally neutral plane it quickly adopts a plaintive mood that is taken up by the entire orchestra.

The Finale, which to its first audiences symbolized nationalistic triumph, is indeed both optimistic and grandiose, with heavy use of a trumpet fanfare motive. Like the first movement, it consists more of freely developed motives than full themes, but they are so frequently repeated as to be unforgettable even on first hearing.

Program notes by: Joseph & Elizabeth Kahn

2017-2018 SEASON FINALE

bend it

Masterpieces in Genre-shifting

Saturday, May 12 • 8 p.m.

Bernstein

Overture to Candide

Hyken

Four - A reimagining of Vivaldi’s Four Seasons

Brahms

Symphony No. 2

CONCERT SPONSOR

Jacomo Bairos Conductor

Jennifer Frautschi Violin

THOMAS WOLFE AUDITORIUM • CALL FOR TICKETS: 828.254.7046 • ashevillesymphony.org 58

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ENDOWMENT The Asheville Symphony established the Asheville Symphony Endowment Fund at the Community Foundation of Western North Carolina in 1986. The purpose of the endowment is to ensure there will be adequate additional funding to support the orchestra’s mission to perform and promote symphonic music for the benefit, enjoyment and education of the people of Western North Carolina.

As the Asheville Symphony is a 501(c) 3 non-profit organization, incorporated in the State of North Carolina, gifts to the endowment are fully tax deductible. We have been fortunate to receive estate bequests, as well as many individual contributions.

It is our hope that our supporters will recognize the importance of the Asheville Symphony Endowment Fund, and include this endowment in their charitable giving. It is so easy to do, a monthly gift over a period of time grows, and becomes a gift that keeps on giving. The endowment can receive an outright donation, be included in estate planning, or an insurance policy.

Your support of Asheville Symphony Endowment Fund means that the Asheville Symphony will be able to maintain a high standard of artistic excellence. Your endowment gift will ensure that the Asheville Symphony will have a financial resource that grows over time.

For more information on how to give to the endowment please contact Amy McGuire, Director of Development at almcguire@ ashevillesymphony.org or 828-318-8181.

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ASHEVILLE SYMPHONY CHORUS Music Director and Conductor Dr. Michael Lancaster Accompanist/Associate Conductor Kyle Ritter The Asheville Symphony Chorus (ASC) adds a rich vocal component to the Asheville Symphony Orchestra (ASO), complementing the sophisticated sound and repertoire of the orchestra. Our goal is to perform a wide range of classical and contemporary music for an audience with a wide range of tastes. The ASC not only performs the major classical choral works familiar to much of the audience, but seeks to introduce new and high quality works written for large choral presentations. The ASC, formed in 1991 by conductor Dewitt Tipton as an integral part of the Symphony family, performs with the ASO. In addition, ASC gives independent concerts each year, focusing on both the classics and modern choral ensembles written for a classical music audience. In addition to these concerts, during the holiday season, we perform “flash mobs” at multiple locations around the Asheville area, sponsored by The Chaddick Foundation. The ASC currently numbers more than 120 members from all walks of life, spanning 7 decades in age, and ranging from professional musicians to talented high-schoolers. The group has performed major classics including the Verdi Requiem, Beethoven Mass in C Minor and the Ninth Symphony; Brahms’ Requiem; Vivaldi Gloria; the Durufle Requiem; and Handel’s Messiah. More contemporary composers are featured in the programs as well: Lux Aeterna by Lauridsen; Carmina Burana by Orff; Ola Gjelio Sunrise Mass; the Poulenc Gloria; Vaughan Williams’s Five Mystical Songs; Mass of the Children by John Rutter; and the world premiere of Stephen Paulus’ Heritage Songs.

In the Fall of 2016, Dr. Lancaster recreated the Asheville Symphony Chamber Chorus and modeled it on an accomplished touring choir. The Chamber Chorus is comprised of 33 singers re-auditioned and selected from the Asheville Symphony Chorus for beauty of tone, fine musicianship and ability to blend. The repertoire for the Chamber Chorus is timeless and varied; a typical performance will feature Renaissance motets, Brahms quartets, Appalachian folk songs and African-American spirituals. They have performed in Asheville, Highlands, Waynesville, at the Omni Grove Park Inn and with the Asheville Symphony Orchestra.

Upcoming concerts: Missa Brevis and Dona Nobis Pacem from Mass in b minor (BWV232) by Johann S. Bach.

The concert will begin with the Asheville Youth Choirs High School Chorale performing.

They are a part of the Academy for the Arts and First Baptist Church Asheville.

Saturday April 28, 2018 Asheville Symphony Chamber Chorus “Spring Concert” Friday May 18, 2018 Featuring Brahm’s ‘Leibeslieder Waltzes’, settings of ‘O salurtaris hostia’, American folk hymns and Mountain folk tunes.

Website: ashevillesymphonychorus.com

ASHEVILLE SYMPHONY CHORUS DIRECTOR & CONDUCTOR MICHAEL LANCASTER Michael Lancaster was appointed Music Director of the Asheville Symphony Chorus in the fall of 2012. In this capacity he prepares the ASC for performances with the Asheville Symphony Orchestra as well as independent concerts. He formerly was the Director of Choral Activities in the School of Music at Western Carolina University, where he conducted the Concert Choir, University Chorus and Early Music Ensemble and taught conducting, choral methods and voice. Dr. Lancaster serves as Director of Worship and Music at First Presbyterian Church, Highlands, NC.

has sung in the Festival Chorus of the Oregon Bach Festival many times, singing incidental solos on a few occasions.

In the summers of 1980 and 1981 Lancaster studied conducting at the Oregon Bach Festival under renowned conductor and Bach scholar Helmuth Rilling. Since then, he

Lancaster has participated as a chorister on several recordings, including the Grammy Award-winning Credo

by Penderecki with the Oregon Bach Festival Orchestra

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In the summer of 1988 he was selected from applicants across the country as one of sixty singers to sing under the direction of Robert Shaw in Souillac, France in the “Robert Shaw Festival Singers.” He was asked to return in 1989, 1990, 1992 and 1996 as well. He also participated as a member of the paid professional core in the “Robert Shaw Choral Workshop” in November 1990, which culminated in a performance of Ein Deutsches Requiem by Brahms in Carnegie Hall with the Orchestra of St. Luke’s and soloists Sylvia McNair and Samuel Ramey. He was invited to participate in the same capacity in the “Robert Shaw Choral Workshop” and the “Carnegie Hall Choral Workshop” many times in subsequent years.

and Chorus conducted by Helmuth Rilling; Amazing Grace and Brahms: Liebeslieder Waltzes with the Robert Shaw Festival Singers; and Britten: War Requiem with the Atlanta Symphony Orchestra and Chorus.

Hogwood), the Los Angeles Chamber Orchestra (under the direction of Gerard Schwartz), the William Hall Chorale, the Long Beach Bach Festival (under the direction of Sir David Willcocks) and the Disneyland Dickens Carolers.

As a professional soloist or chorister, Lancaster has sung with many organizations, including the Carmel (CA) Bach Festival, the San Luis Obispo (CA) Mozart Festival, the Santa Fe Desert Chorale, the Los Angeles Master Chorale (under the direction of Roger Wagner), the Hollywood Bowl Festival Chorus (under the direction of Christopher

He holds the BME from Chapman College (Orange, CA), the MM from California State University Fullerton and the DMA from the University of Southern California. His wife, Dr. Linda Lancaster, is a free-lance flutist. They have two children, Kevin and Katherine.

ASHEVILLE SYMPHONY CHORUS BOARD of DIRECTORS 2017- 2018 Executive Committee President Ron Hershberger

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Masterworks 7 Masterpieces in Genre-shifting

bend it Asheville Symphony Orchestra

May 12, 2018 • 8 p.m.

Jacomo Bairos, conductor Jennifer Frautschi, violin

Leonard Bernstein (1918 - 1990)

Overture to Candide (1956)

Music Sponsors: Barbara and Marty Stickle Michael and Marilyn Cortes Pat and Mike, in celebration of us

Sam Hyken (1981 - ) Four - The Vivaldi Project (2017)

Jennifer Frautschi, Violin Music Sponsors: John and Suzie Donahoe

INTERMISSION

Johannes Brahms (1833 - 1897)

Symphony No. 2 in D major, op.73 (1877)

Music Sponsors:

Kathleen and Carlo Mainardi

Hugh and Carol McCollum,

in memory of Dorel Abbott

I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito

SEASON SPONSOR

CONCERT SPONSOR

GUEST ARTIST SPONSOR

SEASON MEDIA SPONSOR

Henry A. LaBrun

Tonight’s concert is being recorded for broadcast on BPR on Tuesday Sept. 11, 2018 at 10am and Thursday Sept. 13, 2018 at 8pm 67

MASTERWORKS 7 • CONDUCTOR

Jacomo Bairos Described as a “genuine talent” (Atlanta Journal-Constitution) and having a “splendid sense of musicality” (Knoxville Mercury), Portuguese-American Jacomo Bairos is consistently sought after for his energetic leadership and dynamic artistry. Annually in demand by some of America’s finest orchestras, Bairos has earned a reputation for versatility, superb musicianship, and “creativity ingenuity” (Miami Herald). Bairos is the Amarillo Symphony’s 17th Music Director and also co-founder and co-artistic director for Miami-based Nu Deco Ensemble; a virtuosic and eclectic chamber orchestra designed for the 21st century. Through critically acclaimed imaginative performances and a profound dedication to young musicians and living composers, Bairos has fostered immense artistic growth, positivity community impact, and a collaborative spirit for the presentation of compelling art at the highest levels.

In 2016/17, Bairos performed and commissioned nine world-premieres, debuted with the Detroit Symphony Orchestra, and continued his strong relationships with the National (directing their critically acclaimed DeClassified Series), Atlanta, Sarasota, and Grand Rapids symphony orchestras. In the previous season, Bairos made debuts with the Houston, Knoxville and Oaxaca (Mexico) symphony orchestras, and returned to the St. Louis Symphony, the San Diego Symphony, and the Florida Orchestra. Previous subscription engagements include appearances with the Malaysian Philharmonic Orchestra, Orquesta Sinfónica Provincial de Santa Fe (Argentina), Orquesta Sinfónica de la Universidad de Guanajuato (Mexico), and the Singapore, Alabama, Leipzid, and Charleston symphony orchestras, for which he conducted on every series.

Additionally, he has appeared with the Los Angeles Chamber Orchestra, Orquesta Sinfónica do Porto Casa da Música (Portugal), the Louisiana Philharmonic, and the Jacksonville, North Carolina, and Charlotte symphony orchestras.

In 2013, Bairos was appointed as the Amarillo Symphony’s 17th Music Director, where his modern and engaging approach to programming has brought about the creating of SymphonyKids, Happy-Holiday Pops Series, and captivating outreach initiatives such as Class Act. Bairos has not only presided over tremendous fiscal and artistic growth for the Amarillo Symphony, but has also achieved consistent sold-out performances for the first time in decades. Bairos and the Amarillo Symphony also established the first-ever Composer-inResidence with American Chris Rogerson. Prior to that, Bairos was Associate Conductor for the Charlotte Symphony from 2010-2013 and programmed and conducted a broad spectrum of performances on all series to include the innovative KnightSounds concerts.

Bairos is also co-founder and co-artistic director, along with composer Sam Hyken, for Nu Deco Ensemble—Miami’s critically acclaimed, genre-bending chamber orchestra. Nu Deco Ensemble presents compelling and transformative live musical experiences that inspire, enrich, and connect new and diverse audiences and artists. Bairos and Hyken curate adventurous and exciting classically based collaborative performances that are not only socially conscious, but also ignite the passions of new and seasoned music lovers of all ages. Nu Deco Ensemble has commissioned/word-premiered over 60 pieces since its 2015 inception and has created a unique model for sustainability and relevance in today’s world. Fusing an enthusiasm for new music with classical, popular, electronic, and multi-discipline performances, Nu Deco Ensemble aims to represent Miami’s cultural renaissance on the world stage.

The wide range of Bairos’s artistic collaborators include famed pianists Jeremy Denk, Garrick Ohlsson, and Anne-Marie McDermott, as well as internationally acclaimed guitarist, Pablo Sáinz Villegas. Bairos closely collaborates with some of today’s most groundbreaking artists such as Academy Award-winning guitarist-composer Bryce Dessner, singer-songwriter-violinist Kishi Bashi, neo-funk soulsinger Bilal, and the classical crossover group Project Trio. Since 2014, Bairos also continues to work closely with multi-platinum singer-songwriter Ben Folds.

With education and outreach as core tenants of his work, Bairos passionately presents insightful and engaging musical performances to schools and children across the United States and abroad. Bairos has crafted interactive programs and concerts for orchestras such as Amarillo’s Class Act and SymphonyKids, Nu Deco Ensemble’s Imagine Series, and Carnegie Hall’s Link-Up Program, which annually enrich the lives of tens of thousands of chindren.

Bairos’s musical mentors included esteemed teacher of conductors Gustav Meier, as well as Robert Spano, Jorma Panula, and Kurt Masur. After participating in the 2012 Kurt Masur Conductors Seminar in New York City—where he shared the podium with Maestro Masur in concert—Bairos was awarded the prestigious Felix Mendelssohn-Bartholdy Scholarship by the U.S. Mendelssohn Foundation and Kurt Masur. Bairos subsequently traveled to Germany to conduct concerts with the Leipzig Symphony Orchestra, assist the Gewandhaus Orchestra, and further his studies and mentorship with Maestro Masur. Jacomo is a graduate of the famed conducting programs of both the Peabody Institute and Aspen Music Festival.

A graduate of The Julliard School, Bairos is an accomplished and award-winning tubist, having given master classes and concerts with major festivals and orchestras around the world. Bairos has performed, toured, and recorded with the New York Philharmonic as well as with the symphony orchestras of Chicago, Cincinnati, and Seattle. He has held principal positions with orchestras in America and Spain, and from 2004-2007, Bairos was principal Tuba for the Singapore Symphony Orchestra.

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MASTERWORKS 7 • GUEST ARTIST

Jennifer Frautschi violin Two-time GRAMMY nominee and Avery Fisher career grant recipient Jennifer Frautschi has garnered worldwide acclaim as a musically adventurous violinist with a wide-ranging repertoire. As the Chicago Tribune noted, “violinist Jennifer Frautschi is molding a career with smart interpretations of both warhorses and rarities.” Equally at home in the classic and contemporary repertoire, her recent seasons have featured innumerable performances and recordings of works ranging from Brahms and Schumann to Berg and Schoenberg. She has also had the privilege of premiering several new works composed for her by prominent composers of today.

In the 2017-18 season, Ms. Frautschi appears as soloist with Cincinnati Symphony Orchestra, performs a ‘reimagining’ of Vivaldi’s Four Seasons with Asheville Symphony, and gives two repeat performances of the James Stephenson’s Violin Concerto, a work she premiered with Minnesota Orchestra and Osmo Vänskä, at the Cabrillo Festival, and Elgin Symphony. She will also perform with the Brevard, Des Moines, Elgin, Kalamazoo, Santa Barbara, and Wheeling Symphonies, as well as at the Seattle Chamber Music Society’s Winter Festival, Chanel’s Pygmalion Series in Tokyo, and the St. Barth’s Music Festival.

Ms. Frautschi has appeared as soloist with Pierre Boulez and the Los Angeles Philharmonic, Christoph Eschenbach and the Chicago Symphony Orchestra at the Ravinia Festival, and at Wigmore Hall and Lincoln Center’s Mostly Mozart Festival.

Highlights of recent seasons include the Barber Concerto with the orchestra of Teatro di San Carlo Opera House in Naples, James Conlon conducting; and performances with Minnesota Orchestra, St. Paul Chamber Orchestra, Boston and Buffalo Philharmonics, the Eugene, Jacksonville, Milwaukee, New Jersey, Tucson, and Utah Symphonies, as well as return engagements with Rhode Island Philharmonic and the Alabama, Arkansas, Belo Horizonte (Brazil), Chattanooga, Portland, and Phoenix Symphonies.

Selected by Carnegie Hall for its Distinctive Debuts series, she made her New York recital debut in Weill Hall; and as part of the European Concert Hall Organization’s Rising Stars series, debuted at ten of Europe’s most celebrated concert venues, including the Salzburg Mozarteum, Vienna Konzerthaus, Amsterdam Concertgebouw, La Cité de la Musique in Paris, and Brussels’ Théâtre Royal de la Monnaie. She has also been heard in recital at the Ravinia Festival, La Jolla Chamber Music Society, Washington’s Phillips Collection, Boston’s Gardner Museum, Beijing’s Imperial Garden, Monnaie Opera in Brussels, La Chaux des Fonds in Switzerland, and San Miguel de Allende Festival in Mexico. ​ s. Frautschi performs regularly at Caramoor Center for the Arts, where she was first invited by André Previn to play as a “Rising M Star” at the age of 18, during her freshman year at Harvard. As a chamber artist she has appeared at the Boston and Lincoln Center Chamber Music Societies; the Cape Cod, Charlottesville, Lake Champlain, La Musica (Sarasota), Moab, Newport, Ojai, Salt Bay, Santa Fe, Seattle, and Spoleto USA Chamber Music Festivals; Bravo! Vail, Chamber Music Northwest, La Jolla Summerfest, and Music@Menlo; and at the Library of Congress, New York’s Metropolitan and Guggenheim Museums of Art, the 92nd Street Y, Philadelphia Chamber Music Society and Mainly Mozart in San Diego. Internationally, she has performed at the Cartagena International Music Festival in Columbia, the Spoleto Festival of the Two Worlds and Rome Chamber Music Festival in Italy, Pharo’s Trust in Cyprus, Kutna Hora Festival in the Czech Republic, St. Barth’s Music Festival in the French West Indies, and toured England with musicians from Prussia Cove, culminating in a concert in London’s Wigmore Hall. She has premiered important new works by Barbara White, Mason Bates, Oliver Knussen, Krzysztof Penderecki, Michael Hersch, and others, and has appeared at New York’s George Crumb Festival and Stefan Wolpe Centenary Concerts.

Her extensive discography includes several discs for Naxos: the Stravinsky Violin Concerto with the Philharmonia Orchestra of London, conducted by the legendary Robert Craft, and two GRAMMY-nominated recordings with the Fred Sherry Quartet: Schoenberg’s Concerto for String Quartet and Orchestra [nominated for ‘Best Instrumental Soloist Performance (with Orchestra)’ in 2006] and the Schoenberg Third String Quartet [nominated for ‘Best Chamber Music Performance’ in 2011]. Her most recent releases are with pianist John Blacklow on Albany Records. The first is devoted to the three sonatas of Robert Schumann, including the rarely performed posthumous sonata (released in 2014); the second, American Duos, an exploration of recent additions to the violin and piano repertoire by contemporary American composers Barbara White, Steven Mackey, Elena Ruehr, Dan Coleman, and Stephen Hartke (released in 2015). She also recorded three widely-praised CDs for Artek: an orchestral recording of the Prokofiev concerti with Gerard Schwarz and Seattle Symphony; the violin music of Ravel and Stravinsky; and 20th century works for solo violin. Other recent recordings include a disc of Romantic Horn Trios, with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk.

Born in Pasadena, California, Ms. Frautschi began the violin at age three. She was a student of Robert Lipsett at the Colburn School for the Performing Arts in Los Angeles. She also attended Harvard, New England Conservatory of Music, and The Juilliard School, where she studied with Robert Mann. She currently teaches violin in the graduate program at Stony Brook University. She performs on a 1722 Antonio Stradivarius violin known as the «ex-Cadiz,» on generous loan to her from a private American foundation.

MW 7 cont i nued on p age 6 6

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MASTERWORKS 7 • PROGRAM NOTES

MW 7 cont i nu e d from p age 69

May 12, 2018 Overture to Candide Leonard Bernstein 1918-1990 Approximate performance time is 5 minutes.

During Senator Joseph McCarthy’s Communist witch hunts of the early 1950s, which particularly targeted artists, writers and musicians, Leonard Bernstein and playwright Lillian Hellman decided to use Voltaire’s satirical novel Candide as a vehicle to make a political statement. According to Hellman, the novel attacks “all rigid thinking...all isms.” Bernstein thought that the charges made by Voltaire against his own society’s puritanical snobbery, false morality and inquisitorial attacks on individuals were identical to those that beset American society.

After Hellman and Bernstein spent two years of intermittent cooperative work, the play opened in the fall of 1956. It failed – that is, all but the overture. In its orphaned state, the Overture became a staple of the orchestral repertoire and one of Bernstein’s most frequently performed works. It reflects the breakneck pacing of Voltaire’s satire with its worldwide adventures and buffoonery, interspersed in places by mocktender moments.

In 1974, equipped with a new libretto that concentrated on madcap humor rather than a political and social message, Candide was successfully revived. The musical saw 741 packed performances in the Broadway Theater, but Bernstein was still not satisfied. Two operatic versions followed in 1982 and 1989, and a CD of the final version, one of Bernstein’s last recordings, became a bestseller.

Four - The Vivaldi Project (2017) Sam Hyken 1981Approximate performance time is 40 minutes.

Four- A re-imagining of Vivaldi’s Seasons was commisioned by the Adrienne Arsht Center for the performing arts in Miami as a work for violin soloist, hip-hop dance and chamber orchestra and was created in collaboration with choreographer Jennifer Weber (Decadeance Theater). As with the original composition, each season is is presented in three movents, beginning with summer and ending with spring.

Some movements such as Summer I, Summer II, Winter I, and Winter II are purely re-orchestrations of Vivaldi’s original material, with the composer adding new elements such as woodwinds, brass, percussion, and moog synthesizer. The remaining movements are complete re-imagitions of the original composition and contain elements of hip-hop, jazz, and other contemporary idioms. Some examples of the composer playing with Vivaldi’s source material include the changing the tonality of the melodies, time, and legnth of musical phrases.

Symphony No. 2 in D major, Op. 73 Johannes Brahms 1833-1897 Approximate performance time is 43 minutes.

Unsure of his ability to compose symphonies, Brahms took 14 years to finish his first in 1876. Its critical and popular success, while far from overwhelming, gave him the confidence to try his hand at a symphony again, and this time with much greater

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assurance; thus it took him just a few months in the summer and fall of 1877 to compose his Second Symphony. The contrast between the two is analogous to that between Beethoven’s Fifth and Sixth Symphonies, and the parallel can be extended to the environment surrounding their creation. Brahms spent the summer of 1877 in Pörtschach, an out-of-the-way village in the Austrian countryside, from where he wrote to Vienna’s chief music critic, Eduard Hanslick: “So many melodies fly about, one must be careful not to step on them.” The symphony’s sunny ­ and relatively spirit – especially the last two movements – transparent orchestration harks back to the young Brahms of the two orchestral Serenades (1856-60) and has less of the dense orchestration that permeates much of Brahms’s symphonic writing. It induced one of the composer’s friends to exclaim: “It is all rippling streams, blue sky, sunshine and cool green shadows. How beautiful it must be at Pörtschach!” But true to Brahms’s nature, the Symphony has its darker moments.

Clara Schumann commented on the somber mood in parts of the first movement; and when a friend objected to the gloom and harshness of the trombones in the second movement, the composer replied that it reflects his habitual melancholy.

Brahms kept all but his closest friends in the dark about the character of the new work, hinting that it was tragic, somber, dirge-like, and – adding facetiously – would require the orchestra members to wear black crêpe armbands. The premiere in Vienna on Dec. 30, 1877, under the baton of Hans Richter, was an unqualified success, and the ebullient third movement had to be repeated at the insistence of the enthusiastic audience.

The first movement begins gently, only gradually building in dramatic intensity. The opening three notes in the cellos and basses represent a three-note motivic element (motto) that pervades the first movement sometimes in the melody, at others as an accompanying figure. Yet, offsetting this persistent kernel is a considerable array of themes, some of which find the little motive embedded within them. Various discussions of this movement refer to it as “sunny,” but it is more like a sun that frequently hides behind clouds. The second theme in the distant key of f-sharp minor is one of the darker moments and becomes the heart of the development section. Nevertheless, good weather prevails by the end with a gentle coda recalling the motto and ending with a restatement of the first theme.

Like the preceding movement, the Adagio non troppo is packed with melodies, but this time the sunshine pretty much stays behind the clouds from the start. Here Brahms breaks down his longer themes into fragments, using the three-note motto from the first movement as well.

The Scherzo opens with a beautiful allegretto grazioso solo for the reed woodwinds, accompanied by pizzicato cellos. In an unusual move, Brahms uses the Scherzo theme again in the Trio – only speeded up to Presto and in 2/4 time instead of 3/4. The repeat of the Scherzo is a free variation with only brief reprises of the original woodwind melody.

The Finale, the most festive movement Brahms ever wrote, begins with a gray sotto voce (subdued) rhythmic variation of the three-note motto from the opening movement, once again in the cellos and basses. Here Brahms incorporates it into the beginning of the principal theme. The mood becomes gradually more excited, and the Symphony concludes in blazing optimism with a trumpet fanfare.

Program notes by: Joseph & Elizabeth Kahn

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Here’s how we make music with your dollars: $9,000: Covers the cost of presenting one Young People’s Concert. $7,500: Pays the fees and travel for one guest soloist. $5,000: Allows for one workshop for the Asheville Symphony Youth Orchestra. $1,800: Provides for four one-week scholarships to summer music camp.

$1,300: Covers the purchase of music for one Beethoven symphony. $750: Allows us to offer one Master Class for emerging young musicians with an esteemed guest soloist. $375: Pays for one Music in the Schools program (one quintet, one school, one hour).

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Altavista Wealth Management . . . . . . . . 48

Fairway Outdoors. . . . . . . . . . . . . . . . . . 72

Patla, Straus, Robinson & Moore, PA. . . . 10

Arts NC. . . . . . . . . . . . . . . . . . . . . . . . . . 75

Four Seasons CFL . . . . . . . . . . . . . . . . . . 31

Phillips & Schmitt, DDS, PA. . . . . . . . . . . 39

Asheville Chamber Music . . . . . . . . . . . . 76

Frugal Framer. . . . . . . . . . . . . . . . . . . . . . 6

Phyllis Patton . . . . . . . . . . . . . . . . . . . . . IFC

Asheville Citizen-Times. . . . . . . . . . . . . . IBC

Timothy E. Gillespie . . . . . . . . . . . . . . . . 20

Rapid River. . . . . . . . . . . . . . . . . . . . . . . 74

Asheville Community Theatre. . . . . . . . . 75

Givens Estates . . . . . . . . . . . . . . . . . . . . 47

Red Maple Dental. . . . . . . . . . . . . . . . . . 59

Asheville Dental - Dr. Kennerly . . . . . . . . . 1

Gould Killian CPA Group . . . . . . . . . . . . 14

Santé Wine Bar and Tap Room . . . . . . . . 71

Asheville Eye. . . . . . . . . . . . . . . . . . . . . . . 6

Groce Funeral Home . . . . . . . . . . . . . . . 50

Sisters of Mercy . . . . . . . . . . . . . . . . . . . 75

Asheville School . . . . . . . . . . . . . . . . . . . BC

Grove Arcade. . . . . . . . . . . . . . . . . . . . . 35

Southern HIghland Craft Guild . . . . . . . . 15

Asheville Music Professionals. . . . . . . . . . 50

Happy Hill Restaurant. . . . . . . . . . . . . . . 34

Swannanoa Chamber Music. . . . . . . . . . 61

Asheville Music School . . . . . . . . . . . . . . 10

Harmony Motors. . . . . . . . . . . . . . . . . . . 18

Swannanoa Cleaners . . . . . . . . . . . . . . . 49

Asheville Symphony Guild. . . . . . . . . . . . 46

Healing Arts Mission. . . . . . . . . . . . . . . . 71

The Cliffs . . . . . . . . . . . . . . . . . . . . . . . . 25

Asheville Symphony Youth Orchestra. . . . . 8

Highland Farms . . . . . . . . . . . . . . . . . . . 73

The Salt Spa of Asheville. . . . . . . . . . . . . 75

Hotel Indigo . . . . . . . . . . . . . . . . . . . . . . 52

The Spice & Tea Exchange. . . . . . . . . . . . 72

Huthmaker Violins . . . . . . . . . . . . . . . . . 10

Tops for Shoes . . . . . . . . . . . . . . . . . . . . 10

Blue Ridge Orchestra. . . . . . . . . . . . . . . . 31

Isa’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Tryon Estates. . . . . . . . . . . . . . . . . . . . . . 29

Bloomin’ Art. . . . . . . . . . . . . . . . . . . . . . 14

Joel Adams & Associates. . . . . . . . . . . . . 63

UBS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

BPR / WCQS. . . . . . . . . . . . . . . . . . . . . . 56

Jos. A. Bank . . . . . . . . . . . . . . . . . . . . . . 36

Van Winkle Law Firm . . . . . . . . . . . . . . . 28

Brevard Music Center . . . . . . . . . . . . . . . 45

Laurel of Asheville. . . . . . . . . . . . . . . . . . 26

Wasabi. . . . . . . . . . . . . . . . . . . . . . . . . . 45

Corner Kitchen. . . . . . . . . . . . . . . . . . . . 39

Legerton Architecture . . . . . . . . . . . . . . . 2

Wells Fargo. . . . . . . . . . . . . . . . . . . . . . . 29

Deerfield . . . . . . . . . . . . . . . . . . . . . . . . 12

McGuire Wood and Bissette PA . . . . . . . 40

WNC Cheese Trail. . . . . . . . . . . . . . . . . . 65

Diana Wortham Theatre. . . . . . . . . . . . . 15

Mission Health . . . . . . . . . . . . . . . . . . . . 66

WNC Magazine . . . . . . . . . . . . . . . . . . . 62

Celebrating Our 65th Season!

Biltmore Estate. . . . . . . . . . . . . . . . . . . . . 4 BlackBird Frame & Art. . . . . . . . . . . . . . . 31

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2017 ~ 2018 Friday, September 22, 2017 ~ 8 PM

DOVER STRING QUARTET

Friday, October 27, 2017 ~ 8 PM

AMERICAN CHAMBER PLAYERS Friday, January 26, 2018 ~ 8 PM

CAMERATA CHAMBER ENSEMBLE of the ROYAL CONCERTGEBOUW ORCHESTRA Friday, February 23, 2018 ~ 8 PM

CHAMBER MUSIC SOCIETY of LINCOLN CENTER Friday, March 23, 2018 ~ 8 PM

ST. LAWRENCE STRING QUARTET

828.575.7427 | AshevilleChamberMusic.org

Creating culture every day.

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A proud sponsor of the Asheville Symphony

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An Education for an Inspired Life Asheville School prepares high school students for a lifetime of education. Motivated by a challenging academic experience, our students develop critical thinking skills, communicate effectively, and form strong study habits. Students learn life lessons in a nurturing, close-knit community of 288 students from 21 states and 14 countries. The majority of our recent graduates are attending colleges and universities Barron’s rates as “highly selective” and “most selective.”

For more than a century, Asheville School has fostered lives of leadership and service. We invite you to discover Asheville School and learn why our students have a competitive edge.

Contact us today to schedule a visit, request an admission packet, attend an open house, or inquire about our merit scholarships.

Rated #7 among the top 50 U.S. boarding schools - GreatSchools.org 78

ashevilleschool.org Asheville • North Carolina admission@ashevilleschool.org

828.254.6345

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