WashMetPhil May 10, 2024 Concert Program Booklet

2023/2024 Season

Anna Binneweg, Music Director

May 10, 2024 at 7:30 pm

George Washington Masonic National Memorial

A MESSAGE FROM ANNA . . .

Tonight’s electrifying season finale Music of the Americas features a splendid array of music from North, Central and South America Puerto Rican composer Angélica Negrón’s Tornasol is a work that focuses on the vibrancy of color and how it changes through scientific experimentation, all portrayed throughout each section of the orchestra. In stylistic and tonal contrast, soloist Colin Davin will perform Concierto del Sur, a masterpiece for guitar and orchestra by Mexican composer Manuel Ponce The second half of the program includes music that is animated, lively and depicts different cultural landscapes of the region. El Salón México by legendary American composer Aaron Copland, depicts scenes and imagery from his experience at a popular dance hall in Mexico City. Four Dance Episodes from Alberto Ginastera’s ballet La Estancia, incorporates Argentinian folk music that represent the dance, character, and settings of life on the ranch We conclude the program with Danzón No. 2 by Arturo Márquez – a seductive, yet melancholy and irresistible ballroom dance inspired by the Cuban Habanera performed by full orchestra

As I conclude my first season as the new Music Director of the Washington Metropolitan Philharmonic, I would like to thank our wonderful orchestra members, Caroline Mousset, our dedicated Board of Directors, and our fabulous patrons for making this a year to remember!

I wish all of you a fun, relaxing summer holiday, and we hope to see you at our summer Lyceum Series

All my best

SAVE THE DATES FOR OUR 53RD SEASON IN 2024/2025!

SUNDAY, OCTOBER 6, 2024 @ 3 PM

SUNDAY, DECEMBER 8, 2024 @ 3 PM

SUNDAY, MARCH 2, 2025 @ 3 PM

SUNDAY, MAY 4, 2025 @ 3 PM

PROGRAM

AngélicaNegrón Tornasol(Iridescent)

ManuelMaríaPonceCuéllar

ConciertodelSur

AllegroModerato

Andante

Allegromoderatoefestivo

ColinDavin,guitar

Intermission

AaronCopland ElSalónMéxico

AlbertoGinastera FourDances,Op.8a

Lostrabajadoresagrícolas(TheLandWorkers)

Danzadeltrigo(WheatDance)

Lospeonesdelhacienda(TheCattlemen)

Danzafinal(Malambo—FinalDance)

ArturoMarquez

DanzónNo.2

PROGRAM NOTES

AngélicaNegrón Tornasol(Iridescent)

Born1981inSanJuan,PuertoRico

ThisworkwaspremieredonApril29,2022, at Orchestra Hall in Detroit, Michigan, by the Detroit Symphony Youth Orchestra conducted by Oriol Sans. It was commissioned by the Detroit Symphony Orchestratocelebratethe50thAnniversary oftheirCivicYouthEnsembles

PROGRAM NOTES (cont'd)

Puerto Rican-born composer and multi-instrumentalist Angélica Negrón writes music for accordions, robotic instruments, toys, and electronics as well as for chamber ensembles, orchestras, choir, and film Her music has been described as “wistfully idiosyncratic and contemplative” (WQXR/Q2) while The New York Times noted her “capacity to surprise ” Negrón has been commissioned by the Bang on a Can All-Stars, Kronos Quartet, loadbang, Prototype Festival, Brooklyn Youth Chorus, Sō Percussion, the Dallas Symphony Orchestra, National Symphony Orchestra, Opera Philadelphia, the Louisville Orchestra and the New York Botanical Garden, among others.

Negrón received an early education in piano and violin at the Conservatory of Music of Puerto Rico where she later studied composition under the guidance of composer Alfonso Fuentes. She holds a master’s degree in music composition from New York University where she studied with Pedro da Silva and pursued doctoral studies at The Graduate Center (CUNY), where she studied composition with Tania León.

"

Also active as an educator, Negrón is currently a teaching artist for New York Philharmonic’s Very Young Composers program She has collaborated with artists like Sō Percussion, Lido Pimienta, Mathew Placek, Sasha Velour, Cecilia Aldarondo, Mariela Pabón & Adrienne Westwood, among others and is a founding member of the tropical electronic band Balún. She was recently an Artist-in-Residence at WNYC’s The Greene Space working on El Living Room, a 4-part offbeat variety show and playful multimedia exploration of sound and story, of personal history and belonging.

She was the recipient of the 2022 Hermitage Greenfield Prize. Upcoming premieres include works for the Seattle Symphony, LA Philharmonic, Louisville Orchestra and NY Philharmonic Project 19 initiative and multiple performances at Big Ears Festival 2022 Negrón continues to perform and compose for film

She has composed numerous film scores, including Landfall (2020) and Memories of a Penitent Heart (2016), in collaboration with filmmaker Cecilia Aldarondo She was the recipient of the 2022 Hermitage Greenfield Prize. Negrón continues to perform and compose for film

The composer explains her piece with great passion:

“Tornasol (Iridescent) is inspired by unexpected moments of finding joy and beauty in simple things around us The idea for the piece came after an experience of encountering a tiny oil slick by a river in Utuado (Puerto Rico) and being instantly transported by the profound beauty in the different textures and colors of that reflection while simultaneously joking with a friend that this was going to be the inspiration for my next piece Through playful patterns, incessant repetition of fragmented grooves and dreamy textures, this piece explores the feeling of getting lost in the splendor of something unforeseen and surrendering to the present moment It’s a celebration of these seemingly small moments that spark wonder and continue to reverberate afterwards.”

ConciertodelSur

–ManuelMaríaPonceCuéllar

BornDecember8,1882,inFresnillo,Zacatecas,Mexico

DiedApril24,1948,inMexicoCity,Mexico

This work was premiered on October 4, 1941, in Montevideo,Uruguay,withAndrèsSegoviaassoloist Itis scoredforsologuitar,singlewoodwindswithpercussion, timpani,andstrings

Manuel Ponce, one of the most imp a child prodigy. He started piano l sister play and repeating one of her assignments from memory At 19 he enrolled in the National Conservatory of Music where he later taught. Two years later Ponce moved to Italy to attend the Conservatorio Giovanni Battista Martini in Bologna After further studies in Germany, he returned to Mexico but also spent some time in Cuba Ponce was a champion of popular and folk music. Much of his music is in the style of these genres, including his most famous song, “Estrellita,” which is often heard in both the concert hall and on popular concerts. Although it seems almost ridiculous in modern times, there was quite a backlash against Ponce for his integration of this music However, he felt that the folklore of his people told their story more completely than any other music could.

The origin of Ponce’s Concierto del Sur began in 1926 during an eight-year stay in Paris Having met the legendary guitarist Andrès Segovia three years earlier, Ponce decided to write a concerto for him He sketched a few pages in 1926 but failed to finish the work In 1941 Segovia invited Ponce to visit his home in Montevideo, Uruguay. During his four months there, Ponce conducted concerts of Mexican orchestral music, which included his concerto with Segovia as soloist Although some references say that Ponce conducted the concerto’s premiere, a contemporary newspaper review states that he left the podium to sit in a theatre box with Señora Segovia and left the premiere to a staff conductor. One point that needs to be examined is the small orchestra for this work. Although the usual orchestra for most concertos includes at least pairs of winds and brass instruments, Ponce’s concerto has only single woodwinds and no brasses This is certainly because of the relative quietness of the solo guitar. Ponce’s approach is akin to chamber music in this regard The musical style throughout is heavily influenced by the Arabian-Andalusian flamenco tradition.

The opening Allegro moderato has the barest of beginnings before the soloist introduces the angular opening theme. Drawing upon the rhythms of Seville, this is still undoubtedly music of Mexico with tinges of Baroque style throughout Single-line guitar passages are peppered with chords on the strong beats and a string-dominant accompaniment. Woodwind solos are interjected, often as an answer to melodic snippets played by the soloist The first movement includes an extensive cadenza before the final coda Ponce’s second movement, Andante, is graceful and lush. Strings play an introduction with chordal elaboration in the guitar part, which states the main theme An aminated

PROGRAM NOTES (cont'd)

section with an undeniable Arabic flavor provides florid interplay and much fancy finger work for the soloist. The opening material returns and finally has a much-awaited turn with the orchestra Marked Allegro moderato e festivo, the finale is a flamenco showpiece In 3/8 meter, the movement unfolds in a series of fast runs and rasgueados (that finger strumming pattern used so often in Spanish-flavored music). As the movement progresses, the solo part becomes showier and more difficult until the overthe-top final measures become overwhelming.

ElSalónMéxico

–AaronCopland

BornNovember14,1900,inBrooklyn,NewYork

DiedDecember2,1990,inNorthTarrytown,NewYork

ThisworkwaspremieredonAugust27,1937,bythe MexicoSymphonyOrchestraconductedbyCarlos Chávez Itisscoredforpiccolo,twoflutes,two oboes,Englishhorn,E-flatclarinet,twoclarinets, bassclarinet,twobassoons,contrabassoon,four horns,threetrumpets,threetrombones,tuba, timpani,percussion,piano,andstrings

Described by Leonard Bernstein as the “Dean of American Music,” Aaron Copland delighted in his role as its elder statesman in the later years of his life Perhaps this is due to the seventy years he was involved in various musical endeavors. Before launching his compositional career with his resounding Organ Symphony in a 1925 New York concert, he had studied at the American Conservatory at Fontainebleau in Paris since 1921 Among the distinguished faculty, noted pedagogue Nadia Boulanger’s reputation stood above all others, teaching generations of American composers from Copland to Philip Glass Barely in his twenties, Copland’s reputation rested as a renegade among composers, using harmonies that were often dissonant and abrasive

In the 1930s, Aaron Copland began to face the reality of shrinking audiences at orchestral concerts. He knew there must be a way to draw people back into the concert hall and to energize orchestral music Copland’s new “simple” style, which often quoted folk music, used an approachable musical language in an effort to remedy the problem. He often incorporated jazz-inspired rhythms and elements of popular music to express his ideas while drawing listeners closer to his music

In 1932, Copland accepted an offer to visit his friend, composer Carlos Chávez, in Mexico City. The two of young composers visited several tourist locations, but Copland took special enjoyment in the dance halls During the next four years, Copland assembled a collection of Mexican dances into the tone poem El Salon Mexico, which drew its inspiration from the trip, but garnered its melodic materials from the sheet music for four Mexican songs “El Palo Verde,” “La Jesusita,” “El Mosco,” and “El Malacate.” The composer wrote:

“Perhaps my piece might never have been written if it hadn't been for the existence of the Salón México. I remember reading about it for the first time in a tourist guide book: "Harlem-type nightclub for the peepul [sic], grand Cuban orchestra Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for

“the barefoot. When I got there, I also found a sign on the wall which said: ‘Please don't throw lighted cigarette butts on the floor so the ladies don't burn their feet ’ In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people the electric sense one sometimes gets in far-off places, of suddenly knowing the essence of a people their humanity, their separate shyness, their dignity and unique charm ”

FourDancesfromEstancia,Op.8a

–AlbertoGinastera

BornApril11,1916,inBuenosAires,Argentina DiedJune25,1983,inGeneva,Switzerland

Theballetfromwhichthissuitewasdrawndatesfrom 1941.However,thesuiteitselfwasassembledin1942. ItwaspremieredonMay12,1943,bytheTeatroColón OrchestrainBuenosAires,withFerruccioCalusio conducting Itisscoredforpiccolo,twoflutes,two oboes,twoclarinets,twobassoons,fourhorns,two trumpets,timpani,percussion,piano,andstrings

Argentinean composer Alberto Ginastera was one of the most important composers to emerge from the Western Hemisphere in the twentieth century As part of a worldwide nationalist trend among composers that included William Walton in England, Ottorino Respighi in Italy, and a host of American composers including Aaron Copland and Leonard Bernstein, Ginastera incorporated folk elements – sometimes actual folk tunes – in his many scores from the 1930s until the 1950s. His final three decades featured much more experimental techniques, including serialism.

Trained solely in Argentina, he remained in his homeland until he was nearly thirty After a series of successes with his ballet scores, he received a Guggenheim Grant to study in the United States with Copland, among others As an opponent of Juan Peron’s regime, Ginastera found limited successes in Argentina until after the dictator’s defeat in 1955 Because of the political climate, he traveled extensively, most notably to Europe in 1951 to participate in the annual convention of the International Society of Contemporary Music (ISCM), at which his String Quartet No. 1 was given its European premiere. It was through this visit that Ginastera’s work received widespread performances in Europe.

Ginastera composed in many genres, but was especially comfortable writing for the stage, with operas and ballets holding prominent spots in his catalog Foremost among these works is his ballet Estancia (The Ranch), commissioned by ballet impresario Lincoln Kirstein for his Ballet Caravan’s 1941 tour of South America Kirstein’s colleague George Balanchine provided the choreography. Initial delays pushed the work from the 1941 season and, with the Ballet Caravan disbanding in 1942, the work did not reach the stage until 1952. Ginastera decided that his music needed to be heard, so he extracted a suite of music from the score in 1942. It was premiered the following May in Buenos Aires Estancia tells the story of life among the Argentinean cowboys, called gauchos A city boy comes to the ranch and sees a beautiful young woman He falls in love with her, but she spurns him in favor of the rugged gauchos Only through defeating the cowboys in a joust does he prove his manliness She accepts him after

PROGRAM NOTES (cont'd)

all. Ginastera’s music reflects the ruggedness of the gauchos. Los trabajadores agrícolas (The Workers of the Land) is infused with the shifting triplet patterns of Argentinean folk music A decidedly earthy quality dominates this portrait of the noble and hardy farmers Danza del trigo (Wheat Dance) is the lyrical and gentle foil to the rhythmic brutality heard throughout the rest of the suite Los Peones de Hacienda (The Cattlemen) has a jagged and frantic quality, leading to the hypnotic rhythms of the final Malambo that combines the triplets of the first movement with musical depictions of the cheering and whistling crowd during the final joust.

Danzón–ArturoMarquez

Born1950inAlamos,Sonora,Mexico

Thisworkwaspremieredin1994,inMexicoCityunder thedirectionofFranciscoSavin.Itisscoredforpairsof woodwinds,fourhorns,twotrumpets,threetrombones, tuba,timpani,percussion,piano,andstrings

Arturo Márquez is one of the most popular living composers of Mexico. His music is highly influenced by the folk traditions he learned growing up as the

on of a mariachi performer Living for a time in Southern California, he began musical studies in the United States, but went on to study at the National Music Conservatory in Mexico City After a brief period of study in Paris, Márquez attended the California Institute of the Arts, where he earned a masters degree in composition. He has been awarded many honors, including a Fulbright fellowship, the 2006 Gold Medal of Fine Arts of Mexico, and the Austrian Mozart Medal, and has had many concerts given in his honor, most notably the Arturo Marquez International Music Festival in Caracas, Venezuela

Marquéz’s most popular works are his series of six danzóns based on a sultry and elegant Cuban folk dance that is also popular in the Mexican state of Veracruz. Marquez describes Danzón No 2:

“The idea of writing the Danzón No 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music Danzón No 2 was written on a commission by the Department of Musical Activities at México’s National Autonomous University and is dedicated to my daughter Lily ”

THE PHILHARMONIC

VIOLIN I

Timothy Kidder, Concertmaster

Anne Anderson

Sophie Bouwsma

Rosan Choi

Joseph Keum

Claire Gron Randall

Lynn Rovelli

Cheryl Stickley

VIOLIN II

Slavica Ilic, Principal

Isabelle Beegle-Levin

Rebecca Edelstein

Elizabeth Fogel

Perry Francis

Marisa Wright

VIOLAS

Sharon Bingham Wolfolk, Principal

Claire Bradfuhrer

Kevin Kirby

Rebecca Walker

Kelley Williams

CELLOS

Samuel Runolfson, Principal

David Bates

Alex Cooper

Riley Francis

Alix Gates

John Matzner

Amy Medearis

BASSES

Robyn Ambrose, Acting Principal

David Lowe

Greg Ondo

FLUTES

Crystal Lee, Principal

Julia Amadee

Rachel Minto

OBOES

Joshua Faison, Acting Principal

Alicia McMahan

Jane Hughes, English horn

CLARINETS

Brittany Pemberton, Principal

Chris Epinger

Alicia Coleman, bass clarinet

BASSOONS

Walter Wynn III, Principal

Hillary Burchuk

Robert Goler, contrabassoon

HORNS

Bernard Baiden, Principal

Elijah Kee

Aaron Meitz

Jon Ohmart

TRUMPETS

Andy Schuller, Acting Principal

Aislin Carpenter

Joshua Silva

TROMBONES

Chris Reaves, Acting Principal

Robb McDonald

Andrew Skaggs

TUBA

Karl Hovey

HARP

Erin Baker

TIMPANI

Bruce Davies

PERCUSSION

Randy Eyles, Principal

Riley Barnes

Jim Bartelt

Julie Choi

Emily Curran

Glenn Paulson

KEYBOARD

Tzuyi Chen

MEET OUR MUSIC DIRECTOR

"Collaborative... Engaging... Audience-ingratiating..." - Baltimore Sun

As Music Director of the Washington Metropolitan Philharmonic, Music Director/ Conductor of the Londontowne Symphony Orchestra, the AACC Symphony Orchestra at Anne Arundel Community College, and a frequent guest conductor on the national and international scene, ANNA BINNEWEG repeatedly captures audiences with her enthusiasm and passion for music. Putting her musicians, not herself, in the spotlight, Binneweg brings out the best in them. Her orchestras’ shared focus and energy makes orchestral music sound new, fresh and exciting.

Her programs and performances are alluring, engaging and attract diverse audiences of all ages, particularly making classical repertoire more appealing to younger generations. Over the course of her career, Binneweg has performed in some of the nation’s most reputable concert venues including the Kennedy Center’s Concert Hall, Meyerhoff Symphony Hall, and the Walt Disney Concert Hall. Her international conducting experiences include tours to Austria, Spain and debut appearances with the Chernihiv Philharmonic (Ukraine), Lviv Virtuosi (Ukraine) and the Minsk Conservatory Orchestra (Belarus). A committed music educator, Binneweg’s youth orchestra experience includes appointments with the Houston Youth Symphony (Houston, TX) and the San Luis Obispo Youth Symphony, in addition to her guest conducting appearances with colleges and universities throughout the United States. She is in frequent demand as an orchestra clinician and adjudicator throughout the Mid-Atlantic region and served on the national executive board of directors for the College Orchestra Directors Association (CODA) from 2014-2018. Binneweg has worked with conductors such as Leonard Slatkin, Daniel Barenboim, Robert Spano, James Paul, Michael Morgan, Duaine Wolfe, Nurhan Arman and David Effron through various engagements sponsored by the League of American Orchestras, the Conductors Institute of New York and the Royal Conservatory of Music in Toronto. Most recently, she was elected to the board of directors of the International Conductors Guild (2021). Earning a doctorate degree of music in orchestral conducting from Northwestern University where she studied with Victor Yampolsky, Binneweg has also served on the conducting faculties at Loyola University, the Sherwood Conservatory of Music, and American University.Like all conductors, Binneweg is the most visible part of the orchestra, the advocate and face of the ensembles she leads. As an active conductor of the 2022-2023 season, she remains committed to reigniting her community’s passion for live music and collaboration during these pandemic times.Binneweg is the recipient of the 2015 Annie Award for the Performing Arts awarded by the Arts Council of Anne Arundel County. www.annabinneweg.com

MEET OUR SOLOIST

Hailed as “the real thing, a player with a virtuoso’s technique, a deeply expressive musicianship, and a probing imagination” (American Record Guide) who “has the distinct ability to wring the depths of expressiveness from all that he plays” (Classical Guitar Magazine), and for his “precision, musical intelligence and passion” (Cleveland Classical), guitarist

COLIN DAVIN has emerged as one of today’s most dynamic artists Performance highlights include concertos with the Wisconsin Chamber Orchestra, New Mexico

Philharmonic, Champaign-Urbana Symphony Orchestra, and Richmond Symphony; collaborationswithguitaristSharonIsbin,violinistTessaLark,andcellistEdwardArron; andsoloandchambermusicperformancesattheAspenMusicFestivalandMaui ClassicalMusicFestival

DavinappearedasafeaturedmusicalguestontheLateShowwithDavidLetterman alongsidethelateJessyeNorman.Hehasperformedatvenuesaroundtheworld, includingCarnegieHall,AliceTullyHall,theAlhambraPalace,theParisConservatoire, theFridgeFringeinDubai,andtheCanadianEmbassyinKabul,Afghanistan.

AnactiveplayerintheAmericancontemporarymusicscene,Davinhasperformedwith Contemporaneous,TaleaEnsemble,NuDecoEnsemble,andensemblenewSRQ His frequentcollaboratorsincludeGRAMMYAwardwinningsopranoEstelíGomez,and DallasSymphonyOrchestraprincipalharpistEmilyLevin

ColinDavinisthenewlyappointedDirectorofGuitarStudiesandAssociateProfessorof GuitaratShenandoahConservatory HepreviouslyservedasCo-Headoftheguitar departmentattheClevelandInstituteofMusic,andonthefacultyoftheBaldwin WallaceConservatoryIndemandforhisinsightsinmasterclassesandlectures,hehas beeninvitedtoteachinaguestcapacityatinstitutionsincludingTheJuilliardSchool, PeabodyInstitute,andOberlinConservatory HeholdsaMasterofMusicfromThe JuilliardSchool,withSharonIsbin;aBachelorofMusicfromtheUniversityofSouthern California,withWilliamKanengiser;andunderwentpreparatorystudiesattheCleveland InstituteofMusic,withJasonVieaux.

ColinDavinplaysaguitarbyJoshiadeJongewithAugustineStrings.

https://colindavin.com

WE OUR DONORS!

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WMPAwouldliketoexpressitswarmestgratitudetoourgrowingfamilyofdonorswhohavehave demonstratedacommitmenttotheperformingartsandimprovingourcommunityThefollowing reflectsgiftsreceivedfromMay31,2023throughSpring2ACTionDayonApril24,2024Friend levelshonorAmericancomposerswhoseworksfeatureinourconcerts

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Ries Family

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Bruce Davies**

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Karl Hovey, DMA** In honor of Ul

James

Jane Hughes** & William Jokela

Ulysses S James**

John Kean^

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William McDaniel

Robb McDonald and Brittany

Pemberton

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Deidre Pistochini

Carole A Pyle^

Margaret Ann Roddy

Mr. David C. Schwark & Mrs.

Suzanne C Schwark

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WILLIAM GRANT STILL $500-$999

Anonymous

Anna Binneweg**

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Gary Bravy

Cedar Knoll*

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Sallie Forman

Inés Garcia

Kay & David Green

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LIBBY LARSEN $250-$499

Barre3 - 14th Street*

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Margie Chadwick

Sallie Forman

Julie Geshunskaya

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Saruhan & Kavita Hatipoglu

David Labovitz

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Nancy Sage

Stephen Salyer

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REBECCA CLARKE $100-$249

Reinaldo Luis Andujar

Susan Bairstow

Sanja Basaric

Suzana Basaric-Ilić In honor of Slavica Ilić

Vanja Basaric

David Bell

Stephanie Bisson

The Bodeens

Carter Bryan, II**

Hillary Burchuk**

Carol Burke

Jessica Burmester^

Carolyn Carmack

William & Peggy Chadwick^

Joseph H. Coleman, Jr.

Marcia Crockett In honor of Ulysses James

Richard Darilek

Kristin Dillon

Kevin & Sharon Dooley^

Shannon M Dubicki^

John Sutherland Earle In honor of Ulysses James

Rebecca Edelstein**

Christopher Epinger** In honor of Frank Joseph Epinger

Richard & Kathleen Fonda

Gay Gardner^

Carol Goodloe

Kay & David Green

Julia Greenway

Stanley Gryskiewicz

Margaret Harrison

Gary & Christel Hignett^

Ann Houpt

Anthony Iannaccone In honor of Ulysses James

David Jourdan In memory of

Kathleen jourdan

Ken & Barbara Kauke

Carol Anne Kelly

John Kilduff

Elizabeth Kluegel In memory of Daena Kluegel

Crystal Lee**

Barbara R Lowrey

Donna MacPherson

Margaret Martinez

John Matzner**

Carol & Robert McGinnis

Marlene McHugh

Michelle Mellgren

Laura Miller

Lisa Motley

REBECCA CLARKE

Thomas Nichols & Virginia Keeley

Ruth O'Connell^

Sean O'Keefe

George H. Parks

Mark Pistochini

Gail Richmond

Melissa Roy

Elsy Salas In honor of Caroline Mousset

Krishna Sarma^

William K. Schultz

Greg & Chelsey Simpson

Joan & Irwin Singer

Lee Smith

Heidi Sturniolo**

Robert Sutter

Virginia Thackery In honor of Chris Thackery**

Jane Thell**

Stu & Ruth Tucker

Edward P Walker & Brenda L Kurlansik

Melinda Ward**

Gayle & Joe White^

Sheri & Raymond Wolfe

Walter Wynn III**

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WMPA STAFF

ANNABINNEWEG,MUSICDIRECTOR/CONDUCTOR

ANGELA ANDERSON, PHOTOGRAPHER

JOSEPH ANTONUCCI, WMYO ASST. MUSIC DIRECTOR

MARTIN GARFIELD-LEVINE, WMCO MUSIC DIRECTOR

JOHN KEAN, SOUND ENGINEER

CAROLINE MOUSSET, EXECUTIVE AND ARTISTIC

PLANNING DIRECTOR

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JOSHUA SILVA, ORCHESTRA LIBRARIAN

KELLEY WILLIAMS, WMP PERSONNEL MANAGER

JOSHUA VILLA, WMP STAGE MANAGER

BOARD OF DIRECTORS

LAWRENCE RIES, PRESIDENT

MARGARETBALLARD,TOURS&COMMUNITYOUTREACH

ANNA BINNEWEG, MUSIC DIRECTOR/CONDUCTOR

HELENMARIE A. CORCORAN, YOUTH AND BILINGUALCONCERTS

MARTIN GARFIELD-LEVINE, WMCO MUSIC DIRECTOR

KARL HOVEY, ORCHESTRA REPRESENTATIVE

ULYSSES JAMES, MUSIC DIRECTOR LAUREATE

DONNA REUSS, VOLUNTEER COORDINATOR

ALBERTO RODRIGUEZ, WMYO MUSIC DIRECTOR

WARREN C. ZWICKY