Regional Reflections Program Book

ANNAPOLIS SYMPHONY ORCHESTRA

2013 - 2014 SEASON

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The ASO performs at Maryland Hall for the Creative Arts 801 Chase Street, Annapolis, Maryland, 21401.

Artists and programs are subject to change.

2013 - 2014

José-Luis Novo, Music Director

artsCOUNCIL

of anne arundel county

Lexus Classic SeriesFREE Pre-Concert Lectures at 6:45pm

TICKETS FROM $25 · STUDENT TICKETS $10

SEPTEMBER 27 & 28, 2013 · 8PM OPENING NIGHT WITH THE ASO Mark Kosower, cello

NOVEMBER 1 & 2, 2013 · 8PM PETER SERKIN PLAYS BRAHMS Peter Serkin, piano

FEBRUARY 28 & MARCH 1, 2014 · 8PM AUSTRIAN MELODIESAPRIL 4 & 5, 2014 · 8PM REGIONAL REFLECTIONS Soovin Kim, violin

MAY 2 & 3, 2014 · 8PM NAKAMATSU PLAYS RACHMANINOV Jon Nakamatsu, piano

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The Annapolis Symphony Orchestra2013-2014 Season

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Annapolis Symphony Orchestra 2013 - 2014 1

A MESSAGE FROM THE CHAIRMAN

Dear Patron, As we finally greet the spring, we are

excited to have you as our guest for this wonderful evening of beautiful “Regional Reflections.” Tonight promises to be an enchanted evening. Featured is the virtuosity of violinist Soovin Kim, performing the Bartók Violin Concerto No. 2. Soovin Kim is an esteemed graduate of the Curtis Institute of Music and currently on the faculty of the Peabody Institute. We are excited to have him perform tonight.

The Annapolis Symphony Orchestra would like to thank you for your patronage this season. With one more Lexus Classic Series concert scheduled this season, we are feverishly preparing for next season, during which the ASO will be performing in a newly renovated space here at Maryland Hall. The work on the new acoustic shell is slated to begin in June and will be completed by October. The facility will have upgraded seating, improved acoustics, and enhanced sight lines to take in our wonderful symphony. We look forward to all of this, along with a greatly improved aesthetic appeal. Please consult the Maryland Hall website for updates related to the theater improvements and how you may help.

This year we have been working in all aspects of the organization to improve the experience for our audience members. From our work on thematic programming to working collaboratively with our fellow Maryland Hall companies, we remain enthusiastic about the future. Our players are passionate about performing with the Annapolis Symphony Orchestra. We invite you to read more about one of our musicians on page 32 of this playbill. Your pledges and contributions allow us to support the musicians, engage renowned guest artists, and provide the excellent programming that has become the hallmark of the Annapolis Symphony Orchestra.

If you like what you hear this evening please tell your friends! We welcome you to visit our website at www.annapolissymphony.org. Additionally, like us on Facebook at www.facebook.com/annapolissymphony. Please feel free to share these sites with your friends and neighbors. We depend on your word of mouth regarding the ASO because without you, we could not support this organization.

It requires an entire community to keep an arts organization like the Annapolis Symphony Orchestra prosperous and growing. I would like to thank our volunteers, FASO, and my fellow trustees for all of the hard work they provide. The Annapolis Symphony Orchestra is a huge family, and we welcome you to participate more in the festivities. Please do not hesitate to ask a board member how you might further participate with the symphony. Thank you for your patronage, and we look forward to seeing you at our final concerts of this season which are around the corner on May 2 and 3.

Cheers!

Harley E. Flack, Chairman, Board of Trustees

2013 – 2014 Board of Trustees

OfficersHarley E. Flack Chairman of the Board

Clay Henry Vice Chair, Finance

Karen W. SmithVice Chair, Personnel

Laurie H. BermanSecretary

David A. HugginsTreasurer

TrusteesMartha O. Blaxall Douglas Brandt ByerlyFaye CurriePeter EvansAdrian FremontAl From John S. Goldthwait, Jr.Julie Grudzinskas Gay Wood HenriksenJonathan P. KaganLaird LottPeter Martino William MouldenJessica Jordan ParetJoyce E. Pratt Joseph RubinoBarbara Sophios SantosConstance L. ScottRussell B. Stevenson, Jr.J. Steven Wise

Ex Officio TrusteesJosé-Luis Novo Music Director

Jeth Mill Executive Director The Patricia Edwards Chair

Paula Abernethy President, Friends of the ASO

Lysiane Gravel-LacombeOrchestra Representative

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2 Annapolis Symphony Orchestra 2013 - 2014

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

With a 52 year history of artistic excellence, the Annapolis Symphony Orchestra is recognized as the largest and

most distinguished performing arts organization in Maryland’s capital city. Under the direction of Maestro José-Luis Novo, the ASO continues to rise in excellence and national reputation, performing Classic, Pops, Family concerts, and special events. The ASO reaches thousands annually with its free Pops in the Park concert, joint concerts with the United States Naval Academy, and

collaborative projects with other arts organizations and touring headliners. Additionally, the ASO sponsors numerous award-winning education concerts and outreach programs in community schools, sharing the joy of music-making with thousands of school children.

Youth Education ProgramsThe ASO serves a growing population of Anne Arundel County school children with

several initiatives designed to increase the awareness, enjoyment, and appreciation of music among the future generations of both musicians and audiences. The ASO operates three programs: Education Concerts, introducing students to professional symphonic performances; the Music Van, encouraging hands on participation in music in the classroom; and the Adopt-a-School program, enhancing students’ musical development through direct interaction with professional musician mentors. The ASO reaches a broad range of students who would otherwise be unable to experience live classical music.

All of these programs are made possible through the generosity of corporate and individual donors. To learn more about how you can support these programs, please call Jeth Mill at 410-269-1132.

Annapolis Symphony Orchestra Staff

José-Luis NovoMusic Director

Jeth MillExecutive Director

The Patricia Edwards Chair

Marshall MentzGeneral Manager

Heather McMunigalBox Office and Business Manager

Kirsten StriegelPatron Services Coordinator

Lois Sowell, CPAAccountant

Carol PattersonMusic Librarian

Fred GeilRecording Engineer

ARTISTRY ENGAGEMENT CONTINUITY INNOVATION

Annapolis Symphony Orchestra801 Chase Street

Annapolis, MD 21401410-263-0907 (Box Office)

410-269-1132 (Admin) | 410-263-0616 (Fax)

www.annapolissymphony.org www.annapolissymphonyblog.org

www.facebook.com/annapolissymphony pinterest/ASOMUSIC/@AnnapSymphony

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MUSICIAN ROSTER

Violin INicholas Currie, Acting Concertmaster The Peggy Peach Chair

Jonathan Richards, Acting Associate Concertmaster

Julie Ahn

Yoon Young Bae

Susan Benac

Sarah Dudas

Heather Haughn

Abby Oliver

Brent Price

Sara Schneider

Chaerim Smith

Hyun Hanna Yoo

Violin IIChristian Tremblay, Principal

Lysiane Gravel-Lacombe, Associate Principal

Glenn Angus

Sally Stallings Amass

Lorraine Combs

Gavin Fallow

Megan Gray

Paul Herman

Karin Kelleher

Nicholas Montopoli

ViolaSarah Hart, Principal

Derek Smith, Associate Principal

Daphne Benichou

Louise Elder Chestnut

Michele DeHaven

Rachel Holaday

Matthew Maffett

Katherine Zahradnik

CelloTodd Thiel, Principal The Hildegard Strothman Martin Chair

Yoni Draiblate, Acting Associate Principal

April Chisholm

Peter Kibbe

Alison Bazala Kim

Catherine Mikelson

Mary Ann Perkel

Daniel Shomper

BassRobert Kurz, Principal

Jeremy Barth, Associate Principal

Peter Cohn

Adriane Irving

Joshua Lebar

Broc Mertz

FluteKimberly Valerio, Principal

Genevieve Eichman

OboeFatma Daglar, Principal

Sandra Lisicky

ClarinetKathleen Mulcahy, Acting Principal

Edna Huang

BassoonBenjamin Greanya, Principal

Kari Shea

French HornJonathan Clark, Acting Principal

David Smith, Acting Associate Principal

Steven Barzal

Michael Hall

Anthony Valerio

TrumpetChristopher Sala, Principal The Philip Richebourg Chair

Kevin Businsky

TromboneDavid Perkel, Principal

Jeff Gaylord

Bass Trombone Dana Landis

TubaEdward Goldstein, Principal

HarpMarian Rian Hays, Acting Principal

CelesteKirsten Taylor

TimpaniCurt Armbruster, Principal

PercussionDonald Spinelli, Principal

Greg Herron

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ANNAPOLIS SYMPHONY ORCHESTRA

L E X U S C L A S S I C S E R I E S

REGIONAL REFLECTIONS

April 4, 2014 8:00pm April 5, 2014 8:00pm

José-Luis Novo, conductorSoovin Kim, violin

Violin Concerto No. 2 Béla BartókAllegro non troppo (1881-1945)

Andante tranquillo

Allegro moltoSoovin Kim

~ I N T E R M I S S I O N ~

Symphony No. 6 in D Major, op. 60 Antonín DvorákAllegro non tanto (1841-1904)

Adagio

Scherzo. Presto

Finale. Allegro con spirito

2013-2014 guest artist accommodations provided by The O’Callaghan Hotel, the official hotel of the Annapolis Symphony Orchestra.

The Annapolis Symphony Orchestra is funded by operating grants from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive;

and the Arts Council of Anne Arundel County, which receives public support from Anne Arundel County, the City of Annapolis, and the Maryland State Arts Council. Funding for the Maryland

State Arts Council is also provided by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

artsCOUNCIL

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Photography and video/audio recording are not permitted in the concert hall.Please turn off all electronic devices. Thank you.

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José-Luis Novo

MUSIC DIRECTOR

Since his appointment as Music Director and Conductor of the Annapolis

Symphony Orchestra in 2005, José-Luis Novo has instilled a new and vibrant artistic vision. Maestro Novo’s continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists, have resulted in unprecedented artistic growth, praising audiences, and enthusiastic reviews.

Some of the ASO’s highlights during Maestro Novo’s tenure include a 2006 debut concert appearance at Strathmore Hall, a 2008 ASCAP Adventurous Programming Award, a national broadcast on NPR’s Performance Today, a 2012 return appearance at the Clarice Smith Performing Arts Center with world-renowned mezzo-soprano Denyce Graves for the ASO’s 50th Anniversary Gala Concert, and the launching of the ASO’s first commercial CD commemorating the 300th anniversary of the signing of Annapolis’ Royal Charter. Additionally, the League of American Orchestras recognized the ASO’s potential and selected it nationwide as one of only five participants in the Institutional Vision Leadership Initiative two-year seminar (2005–2007). The successful partnership between Mr. Novo and the ASO has received consistent critical acclaim: “Not only did he have an outstandingly clear

view of Ravel’s piece, but he was able to bring his musicians to the peak of instrumental execution as they kept up with his every nuance and inflection. The end result was one of the most extraordinary readings of Ravel’s well-known piece that I have even encountered: fast without blurring instrumental lines; sinuous and alluring without distortion or over-statement; and just plain wonderful.” The Capital Gazette. “Novo’s feeling for Bartók’s arch form unified it all and gave this performance a sweep and power that were truly memorable.” The Washington Post. “…the Annapolis Symphony Orchestra unleashed a nasty, unremittingly exciting Shostakovich 10th that showed off the strengths of the ensemble that already has been reconfigured during Novo’s brief tenure.” The Baltimore Sun.

In addition to his post at the helm of the ASO, Maestro José-Luis Novo has been Music Director and Conductor of the Binghamton Philharmonic (New York) since 2003. Prior to these appointments, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under the direction of both Music Director Emeritus Jesús López-Cobos and former Music Director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel.

Recent and upcoming guest conducting engagements include return appearances

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José-Luis Novo

MUSIC DIRECTOR continued

with the Baltimore Symphony, Symphoria (former Syracuse Symphony), Tulsa Symphony Orchestra, and an impressive Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra in a last minute replacement for an ailing Maestro Otto Werner Mueller. Prior guest conducting engagements have included, among others, appearances with the Symphony Silicon Valley, the Minnesota Orchestra, the Syracuse, Modesto, Tulsa, Windsor, Stamford, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics; the Tenerife, Principado de Asturias, and Castilla y León Symphony Orchestras; the City of Granada Orchestra; the Andrés Segovia Chamber Orchestra at the National Auditorium in Madrid, the Vallés Symphony Orchestra at the Palau de la Música in Barcelona, and the Echternach Festival Orchestra at the Kennedy Center

and on tour in Luxembourg and Germany.A committed advocate of contemporary

music, Maestro Novo has led more than a dozen world premieres of commissioned compositions. In the operatic field, he made his debut conducting a production of Smetana’s The Bartered Bride in collaboration with Maestro Julius Rudel and subsequently has conducted productions of Britten’s Albert Herring, Menotti’s Old Maid and the Thief, and Vaughan Williams’ Riders to the Sea.

While maintaining a relevant professional conducting career, Mr. Novo has also developed a reputation as a keen educator of young musicians. He has held the positions of Music Director of the Cincinnati Symphony Youth Orchestra and the Miami University Symphony Orchestra, Associate Conductor of the National Repertory Orchestra, and Assistant Conductor of the National Youth


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Orchestra of Spain and the Yale Symphony Orchestra. Since 1999 he has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina, where he currently holds the position of Associate Conductor. In addition, he has conducted many noteworthy college and youth orchestras. Among these are the Curtis Institute Orchestra, the National Repertory Orchestra, the University of Maryland Symphony, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema. In the summer of 1998 he took the National Youth Orchestra of Spain on a concert tour of Spain and Portugal, with performances at the Teatro Real in Madrid and the World Exposition in Lisbon.

As a violinist, Mr. Novo has appeared in concerts and recitals in Europe and in the United States and has made recordings for the Spanish and Norwegian National Radios. He is a founding member of several important ensembles in which he has held leading positions: as concertmaster and soloist with the Youth Chamber Orchestra of Spain, as principal second violin of the New Amsterdam Sinfonietta, and as concertmaster of the National Youth Orchestra of Spain.

José-Luis Novo began his musical studies at the conservatory of Valladolid—his hometown, obtaining the degree of Profesor

Superior de Violín with honors in solfege, harmony, and violin. A scholarship from the Spanish Ministry of Culture allowed him to continue his studies at the Royal Conservatory of Music in Brussels, where he earned a First Prize in violin. In 1988, he came to the United States as a Fulbright Scholar, obtaining both Master of Music and Master of Musical Arts degrees from Yale University, where he was also bestowed the Frances G. Wickes Award and the Yale School of Music Alumni Association Prize. In 1992, the Spanish foundation La Caixa awarded him a fellowship to study at the Cleveland Institute of Music where he completed a Master of Music degree in orchestral conducting. He concluded his conducting studies at the University of Cincinnati College-Conservatory of Music. His conducting teachers have included Gerhard Samuel, Carl Topilow, Louis Lane, Edmon Colomer, James Ross, and Charles Bruck (at the Pierre Monteux School in Maine). In addition, Mr. Novo has attended seminars and master classes with Günther Herbig, Lorin Maazel, Cristoph von Dohnänyi, Leonard Slatkin, Larry Rachleff, Daniel Lewis, and Victor Yampolsky.

Mr. Novo is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 ASCAP Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.

MUSIC DIRECTOR continued

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GUEST SOLOIST

S oovin Kim VIOLIN

Korean-American violinist Soovin Kim is an exciting young player

who has built on the early successes of his prize-winning years to emerge as a mature and communicative artist. At the age of 20 he captured first prize in the Paganini International Competition and subsequently was the recipient of the prestigious Borletti-Buitoni Trust Award, an Avery Fisher Career Grant, and the Henryk Szeryng Foundation Career Award. Now Mr. Kim enjoys a broad musical career, regularly performing repertoire such as Bach sonatas and Paganini caprices for solo violin, Mozart and Vivaldi concerti without conductor as well as big romantic concerti, sonatas for violin and piano by Beethoven, Brahms, and Ives with duo partner Jeremy Denk, and new world-premiere works almost every season.

In recent seasons he has been acclaimed for his “superb…impassioned” (Berkshire Review) performance of Alban Berg’s Chamber Concerto at the Bard Festival with the American Symphony Orchestra and a “sassy, throaty” (Philadelphia

Inquirer) rendition of Kurt Weill’s Concerto with the Curtis Chamber Orchestra. His Dallas Symphony performance of the Mendelssohn Double Concerto with music director Jaap van Zweden was noted for its “gorgeous tone, effortless brilliance and eloquent musicality” (Dallas Morning Star). He has performed in past seasons with the Philadelphia Orchestra, San Francisco Symphony, Stuttgart Radio Symphony, Salzburg Mozarteum Orchestra, and the Seoul Philharmonic and Accademia di Santa Cecilia Orchestra with Maestro Myung-Whun Chung.

Soovin Kim performs as 1st violinist of the Johannes String Quartet. The quartet recently toured together for two seasons with the famed and now-retired Guarneri String Quartet in an unusual program that included world-premieres of quartets by Esa-Pekka Salonen and Derek Bermel, and an octet by William Bolcom. Mr. Kim maintains a close relationship with the famed Marlboro Music Festival where he often spends his summers. He is well-known in Korea as a member of MIK, his

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GUEST SOLOIST continued

ground-breaking piano quartet ensemble.Soovin Kim’s latest CD, Gypsy, was

released in September 2010. It is his third collaboration between American label Azica Records and Korea-based Stomp/EMI. They previously released a French album of Fauré and Chausson with Jeremy Denk and the Jupiter Quartet in 2008, and Niccolò Paganini’s demanding 24 Caprices for solo violin in February 2006 was named Classic FM magazine’s Instrumental Disc of the Month (“he emerges thrillingly triumphant…a thrilling debut disc.”). He made his first solo recording with Jeremy Denk for Koch-Discover in duo works by Schubert, Bartók, and Strauss.

Soovin Kim is the founder and artistic director of the Lake Champlain Chamber Music Festival in 2009 in Burlington, Vermont. After only two years the festival has already established a reputation as one of the finest in the U.S. Mr. Kim is also a sought-after teacher; he previously

taught at Yale University and is currently a professor at Stony Brook University in the U.S. and an International Visiting Scholar at Kyung Hee University in Seoul. In the Fall of 2012 he began teaching at the Peabody Institute. Mr. Kim studied when he was younger at the Cleveland Institute of Music with David Cerone and Donald Weilerstein, and graduated from the Curtis Institute of Music with Victor Danchenko and Jaime Laredo.

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PROGRAM NOTES

Violin Concerto No. 2 Béla Bartók 1881 - 1945ASO Premiere

By the end of the nineteenth century, classical music based on Hungarian folk music had come to a dead end. In fact, the themes and rhythms that Liszt and Brahms had incorporated into their classical compositions were not folk music at all; rather, they were the popular music heard in the cafés and bars of the cities and were mostly derived from the music of the itinerant Rom (Gypsies). The extreme nationalism that swept Hungary, starting with the failed revolution of 1848, revived interest in the authentic folk culture, precipitating the search for an indigenous style in clothing, food, language and literature, as well as music.

Although born in the midst of this ethnic revival, Bartók began his musical career in a more traditional vein, his early compositions emulating Brahms, Richard Strauss and Liszt. But he was soon swept up in the nationalist movement and, together with his friend Zoltán Kodály, became one of the first “modern” ethnomusicologists. In 1906 they began collecting peasant folk songs of Hungary and Romania, using that newfangled invention, the Edison wax cylinder. In later years Bartók extended his collecting to other East European and to North African sources, the last one in Anatolia in 1936.

The folk music Bartók collected strongly influenced his own musical output. He edited and published many of the melodies he had recorded, while others he adapted and incorporated into his own compositions. In his original works, such as his concerti or string quartets, he used the modes, rhythms and style of the folk music, but the melodies were his own.

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PROGRAM NOTES continued

Bartók composed his Violin Concerto No. 1 in 1908 as a gift to his intimate friend, the violinist Stefi Geyer. She never performed it and he never acknowledged or mentioned it among his works. This Concerto was discovered among Geyer’s belongings only after her death in 1956 and was not premiered until 1958, 13 years after the composer’s death.

For the Violin Concerto No. 2, composed in 1937-38, Bartók cooperated of with one of his close friends and chamber music partners, the violinist Zoltán Székely. The violinist suggested that Bartók compose for him a traditional three-movement concerto, although the composer originally had in mind a one-movement theme and variations.

The result was a compromise. The second movement is a theme with six variations, and the finale, according to Bartók’s letter to Székely, “…strictly speaking, it is a free variation of the first

movement (so I managed to outwit you. I wrote variations after all.)”

Early in March 1939, when Bartók and Székely were rehearsing the concerto together in Paris, the violinist asked Bartók for a different ending, one with a larger role for the violin; Bartók obliged. While originally the Concerto had concluded with the orchestra alone, Székely wanted it to end “…like a concerto, not a symphony.” He premiered it in Amsterdam later that month. The published score actually contains both endings, and the symphonic one is occasionally used in performance.

Although there is no evidence that the haggling over the nature of the Concerto was in any ways acrimonious, there are moments when the violin actually seems to launch into pitched battle. In this emotionally erratic piece, moments of lyricism suddenly give way to violent outbursts. But it is studied chaos; Bartók

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carefully controls the reappearance and development of his material in classic structures.

Two melodies form the essence of the work, the opening theme of the Concerto and the second movement theme, the basis of six variations. The former is a slow march-like dance based on music that Bartók collected among Transylvanian peasant violinists. This theme, with its dotted rhythms is closely related to the Hungarian national dance, the verbunkos. Other examples of this style appear in his Violin Rhapsodies. The principal secondary theme of the first movement, a slow melody for the soloist accompanied by a “mysterious” orchestration, is a twelve-note tone row, developed according to the composer’s unique – and certainly not strict – take on serialism. The contrasting moods in the movement, therefore, are matched by melodic contrasts – tonal, modal and atonal.

The hauntingly beautiful, sinuous theme of the second movement is less obviously ethnic than that of the first movement. For the variations, Bartók retains the length and contour of the original theme. Each variation features a different technique for the soloist and each is accompanied by a different combination of instruments.

The final movement uses material from the first movement – but transformed and varied (Note the opening violin solo

compared with the beginning of the concerto.) In this manner, the composer creates an arch structure for the concerto as a whole; it was his preferred form in all his later works and can best be observed in the three last string quartets and the Concerto for Orchestra.

Symphony No. 6 in D Major, Op. 60

Antonín Dvorák 1841-1904Last ASO Performance October 1994

Given his current stature as one of the foremost composers of the nineteenth century, Antonín Dvorák was something of a late bloomer, but not for want of musical talent and promise. Dvorák’s father was a butcher and had expected his son to go into the family trade. Only after his uncle had agreed to finance the boy’s musical education was he able to follow his passion for music. Although trained as a church organist, Dvorák’s first job was as a performer, playing principal viola in Prague’s new Provincial Theatre Orchestra. During this time, he practiced composition, producing songs, symphonies and entire operas but without recognition

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– much less appreciation – until he was in his 30s.

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

Another prominent musician who took great interest in Dvorák’s music was Hans Richter, the famed conductor of the Vienna Philharmonic. Following the successful premiere of the Slavonic Rhapsody No. 3 (Op.45/3), Richter asked Dvorák to compose a symphony for Vienna. The result was the Symphony No. 6, composed in white heat between August and October 1880 and dedicated to Richter. Sadly, the musicians of the Vienna Philharmonic refused to perform a second work in two years by the “outsider” from the Bohemian provinces, leaving it to the Prague Philharmonic to do the honors

in 1881 (70 years later – even after the collapse of Nazism – the chauvinistic Vienna Philharmonic musicians refused to perform the symphonies of Gustav Mahler, a Czech Jew, until Leonard Bernstein virtually forced it on them.) Richter finally conducted it in London the following year. It was Dvorák’s first symphony to propel him to international fame. Since Dvorák’s five earlier symphonies had remained unpublished, the Sixth was originally published as Symphony No. 1.

Especially in the sweep of the first movement, The Symphony pays homage to Brahms’s Symphony No. 2; Dvorák spins out a stream of melodies accompanied by easily recognizable Brahmsian harmonic progressions. One of the hallmarks of this Symphony is that the composer develops short motivic fragments, rather than expansive themes.

The Symphony opens with an oboe duet echoed by the bassoons and cellos.



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A lilting cello theme serves as a bridge on the way to the principal secondary theme introduced by the solo oboe. For the development Dvorák extracts the essential motives from each of these themes, also producing some shadow in an otherwise sunny atmosphere

The Adagio is built essentially on a single theme. The three-note motive that opens the movement is a hint that the movement will concentrate on variations and transformations of this brief fragment. At only one point does a burst of anguish break the tranquil mood.

The Scherzo is a furiant, a Czech folk dance and could be easily mistaken for one of the Slavonic Dances. The Trio is distantly related to a fragment of the Scherzo melody, reducing it to an almost Rococo theme for the upper winds. Dvorák then adds a melancholy waltz for a second Trio,

The Finale again recalls Brahms’s Second Symphony. However, the second, and dominant, theme is a distinctly Bohemian dance. The interplay between the Germanic and Czech motives continues throughout the movement. For the coda Dvorák ramps up the tempo and a triumphant conclusion.

Program notes by:Joseph & Elizabeth [email protected]

Visit our audio enhanced program notes before the concert at www.annapolissymphony.org.



You are cordially invited to join Friends of the Annapolis Symphony Orchestra

for a Rite of Spring, an afternoon of champagne, hors d’oeuvres, sweets, music, and fellowship.

Champagne Sunday2 to 4pm

Sunday, April 13, 2014

Music by Chesapeake Youth Symphony Orchestra members

$40 per person

Proceeds benefit the FASO Scholarship Fund, which provides a year of music lessons to

a talented CYSO student.

This event will be held at the beautiful home of Drs. Karen and William Gonzalez

1586 Eaton Way, Annapolis MD 21401

For reservations call: Joan Russell at 410-507-1188

or Paula Abernethy at 410-703-3554

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Board MembersPaula Abernethy, President

Tessie Ballard, Vice President, Membership

James W. Cheevers, Recording Secretary

Marthena Cowart, Treasurer

Renee Ehler, Corresponding Secretary

Ginger From, Vice President, Ways and Means

Lorraine CarrenBernadine CrosbyVirginia DeLucaDonald K. DementPatricia DuvallRobert FoyeKaren GonzalezAnna E. GreenbergValerie GuttersonCindy HooperMichael KurtzLois A. McGovernCarol RichardsJoan RussellTheodora SchulmanJoyce Spotz

The Friends of the Annapolis Symphony Orchestra supports the ASO and its programs through fundraising and volunteer work and encourages and fosters an interest in music of young people. FASO is a 501 (c) (3) organization. Dues and donations are tax deductible to the fullest extent of the law, provided no goods or services are realized by joining.

Join the Friends of the Annapolis Symphony Orchestra (FASO) for our 50th Anniversary season as we continue to support our superb Annapolis

Symphony Orchestra. FASO raises funds to support the ASO and to develop the next generation of

musicians, by sponsoring major fundraising events including the Concert of Tastes in November and

Champagne Sunday in the spring.

FASO members also host several smaller events such as “Guess Who’s Coming to Dinner”,

evenings and a New Year’s Eve party, all designed to raise money for the ASO and to foster

a spirit of fun and enjoyment.

FASO actively participates in the ASO’s music education and outreach programs, including

volunteering to work with local schools through the orchestra’s award-winning Music Van program. In addition, FASO awards scholarships for private music lessons to local, young musicians who may

otherwise be unable to acquire lessons.

Join FASO, support our great Symphony Orchestra, and help us foster the

next generation of young musicians.

FRIENDS OF THE ANNAPOLIS SYMPHONY ORCHESTRA

Champagne Sunday photo by Don Dement


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ANNUAL FUND

The Board of Trustees of the Annapolis Symphony Orchestra gratefully acknowledges the generosity of the following businesses, foundations, community organizations, and

individuals for their support of the ASO’s artistic and education programs. Names in bold type indicate new contributors, or those who increased their gifts to the Annual Fund by a minimum of one level over the previous season. Members of the Golden Baton Society have committed to a five year Annual Fund pledge. These donors are distinguished by the next to their listing.

Philip Richebourg Encore Circle ($50,000 +)Organizations

Baltimore Annapolis Lexus Dealers AssociationMaryland State Arts Council

IndividualsPatricia and Arthur* EdwardsElizabeth Richebourg Rea, founding member

Stradivarius Circle ($25,000 - $49,999)Organizations

Arts Council of Anne Arundel County

Maestro Circle ($10,000 - $24,999)Organizations

Paul M. Angell Family FoundationCFG Community BankFriends of the Annapolis Symphony OrchestraPNC Wealth Management

IndividualsGay and Lars Henriksen Laird Lott and Linda GoodenJoyce Pratt, Jeff Harris and the Martin Family

Virtuoso Circle ($5,000 - $9,999)Organizations

Anonymous Baldwin, Kagan and Gormley, LLCBank of America Foundation M&T BankThe Severn Companies Wells Fargo Foundation

IndividualsDr. and Mrs. Lou BermanMartha Blaxall and Joe DickeyJames W. CheeversDavid and Eleanor Huggins Thea and Howard Pinskey Anne S. PotterBarbara and Everett Santos Martha and John T. Schwieters

Concertmaster Circle ($2,500 - $4,999)Organizations

BB&TMusic Performance Trust FundPennsylvania Performing Arts on Tour

IndividualsAnonymous Bee and Bud Billups Dr. Jesse Cunitz and Mrs. Faith Goldstein CunitzMarilyn Eason and Forbes LelandAl and Ginger From John and Sandra GoldthwaitCharles and Julie GrudzinskasJonathan and Marnie Kagan Peter and Manelle MartinoMr. John P. McKimMichael and Sage Mumma Russell Stevenson and Margaret Axtell

Platinum Circle ($1,000 - $2,499)Organizations

The Dealy Foundation The J. M. Kaplan Fund The Ditti and Ronald Morse Fund

IndividualsAnonymous Paula AbernethySergio and Ellenor AlvarezJoe and Tessie BallardMelvin and Judy BenderPrue and Robert CloppMs. Angela Eggleston-HowardPeter and Sarah Evans Adrian and Eric Fremont David and Susan Green Mrs. Anna E. Greenberg Joanna Hanes-Lahr and Jack LahrPierre and Danalee HenkartDavid and Jan Hoffberger Mr. and Mrs. Kevin KeeltyPat Krzeminski*Mary M. MelvinMrs. Linda Osburn Mr. and Mrs. Philip A. PattersonKathy and Chris Potter William and Constance Scott Admiral and Mrs. Guy H. B. Shaffer Chris and Lisa Smith Douglas and Karen SmithRay and Patricia Strong Mr. Rodney Tomlinson and Ms. Sari Kiraly Geoffrey VoigtMr. and Mrs. J. Steven Wise

SUPPORTERS OF THE ANNAPOLIS SYMPHONY ORCHESTRA

* Deceased

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ANNUAL GIVING continued

Gold Circle ($500 - $999)Individuals

AnonymousLisa Abercrombie Drs. William Adler and Rebecca Elon Marilyn BockmanMrs. Elana ByrdHarley and Kristina FlackMr. Mark FontaineMrs. Ralph C. Graber Clarence and Patricia Harris Mr. and Mrs. Clay T. HenryJanet Little William and Barb Moulden Anita and Christopher Rizek Mrs. Barbara Simerl Richard and Mary SteadMr. and Mrs. David R. Tanner

Silver Circle ($250 - $499)Organizations

David and Betsy Lewis Foundation

IndividualsDr. Jacqueline AgnewElizabeth and Richard Almeida Mr. and Mrs. Martin Beer Mr. and Mrs. Robert C. ClarkKatie and Jib EdwardsMr. and Mrs. Robert O. Felter Patricia Frese Jane and Gerald Garbacz Mr. and Mrs. Robert M. HechtTylar and Carol Ann HechtD. Gayle HensleyDale and Joyce Hutchins Ben and Margaret HutchinsonNancy KennedyCherie Loustaunau and Michael Kurtz Leon and Elizabeth McKenzieGeorge and Barbara Muller Diane Oksanen-Gooden and Mike Gooden Jean Opilla Ralph C. and Margene V. Reeder Bill and Lois Ross Theodora SchulmanMaxine and Irwin Silber Lois I. SowellLarry V. and Betty ThompsonPeter ThreadgillMrs. Tamara and Dr. Stephan Tymkiw Mr. and Mrs. Damien Wanner Bernard Warshaw and Liat MillerNicole R. Wolf Frederick and Nancy ZimmermanDr. Elliot Zuckerman

Bronze Circle ($100 - $249)Individuals

Anonymous Anne Agee

Mr. Don Alexander Ms. Linda R. Allen Philip Allen Robert and Kathleen Arias Lillian S. ArmstrongSusan E. Armstrong Adele BaronElsie L. BeardmoreMr. and Mrs. Charles W. BennettDr. Nicholas and Janet BerryMrs. Ted Blumenstock Kier and Bertina BoydJack Brandenburg Dr. Barbara Dwyer BrownPat and Karen BrownMardy Burgess and Albert Brown Douglas Brandt ByerlyYtta and Glenn CarrDr. and Mrs. Don Carren Leonard and Barbara Ceruzzi Charles and Naomi Cline Col. and Mrs. George W. Curran IIFaye Currie Dr. Timothy Dangel Peter W. D’AnnaMargaret DardenMr. and Mrs. W. Douglas Davidson Thomas J. Dekornfeld Don and Keren Dement Ann L. Dixon Arlene T. Drewes Fred and Susan EckertEdith Edson Mrs. Samuel Elder Linda EpsteinNancy M. ErmenidisSvend Esborg Mrs. Harlow G. FarmerBetty H. Feldmann Janet FischerJeff Ford David and Cindy FoxWilliam B. and Sarah Garrett Al and Rhoda Goldman Vincent Gooden Frank and Karen Gould Basil and Joanne GreenJerry Green Patrick M. GreenArnold and Phyllis Gruber Brian Hanks and Judy Crews-HanksBob and Diane HeaneyShelley and John Henderson Paul Herman and Karen Goldman Don and Diana HirschMargaret Hosmer Victoria HutchinsMrs. Kate Hutchinson Mr. and Mrs. Richard L. Irvine Ms. Maggie Ann Jackson


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ANNUAL GIVING continued

Ms. Joanne Johnson Jack and Carolyn KammeierPeter and Carol Katz Mr. and Mrs. H. Hunter Kennard Leon and Barbara Kestenbaum Dr. and Mrs. Stephen Killian Julie and Bill KrauseFlorence Beck Kurdle Alice F. Kurs Mr. and Mrs. Joseph Labrum Mr. and Mrs. James Leanos Don and Carol Lee Norman and Susanne Lieberman Ms. Patricia Lilek and Mr. David Demers Michael and Deborah Lynch Elizabeth A. MaasMargaret MacAdamSteven and Lynn Malley Ms. Linda McKeough Marshall MentzSheila MentzDr. Gregory MestanasDonna Mikelson Mr. and Mrs. Richard J. Miles Jim and Marci MillerMr. and Mrs. Michael Miller, Jr. Len and Eileen Mitchard Bill and Priscilla Mitchell Amy and Jim MorrisEd MosesClarene MullinSusan Okula Bruce and Gail Olmstead Mr. and Mrs. Richard O’SullivanMr. and Mrs. Gerald OudensMr. and Mrs. Edgar H. Paglee Mary Petricoin Mr. and Mrs. Robert M. Pollock Donna Porricelli

Ms. Lee Posner Arian Ravanbaksh Ken and Maureen Reightler Mr. and Mrs. Daniel RisherEveline and Stanley RobbinsCarolyn Robertson and Earl Kelly Paul and Joan RosenbergSusan Rosenfeld and Fred Stielow Mr. and Mrs. Meade RudasillMr. and Mrs. Ronald C. Sander Monty and Susan Schumpert Mr. and Mrs. Thomas J. ScottLinda Settle and Frank ElwardRobert ShererMr. and Mrs. Robert N. Slawson Russell and Maureen SmithArt and Angela Smookler Mr. and Mrs. Clifford Stein Susan and Gary Storm Victoria Stright Judy Templeton Louis TerenzoniMr. and Mrs. Frederick J. Tower D. Romaine TowersHarriet Underwood Ms. Norma Underwood United States Naval Academy Museum StaffLaura and Jack Van GeffenVictoria C. Waidner Dr. Frederic and Mrs. Irene WeinfeldRick and Dona Weingarten Glenn S. and Ann E. S. Wolfgang Mr. and Mrs. Clifford W. Woodward, Jr. Mr. and Mrs. Francis D. WrightBernard and Louise Wulff Mrs. Cecelia WyattMr. John D. YarbroMs. Sue Youngs Dr. and Mrs. Norbert Zacharias

In Recognition of GiftsIndividuals

Ytta and Glenn Carr, In Memory of Ernest H. HalpernJames W. Cheevers, In Memory of John and Helen

Ford and Robert PeachPatricia Edwards, In Memory of Joan KehlerVincent Gooden, In Honor of Laird Lott F. Joan McMahon, In Memory of Grant Striegel Diane Oksanen-Gooden and Mike Gooden, In Honor of Laird Lott

Mr. and Mrs. Richard O’Sullivan, In Memory of Blanche Lussier

Bill and Lois Ross, In Memory of Joan KehlerUnited States Naval Academy Museum Staff, In Memory of Albert C. Cheevers

In Kind DonationsAnnapolis Mobile PowerBasmati Indian CuisineCPS GumpertGiant FoodsMaryland Hall for the Creative Arts

Contribution listings reflect all gifts and pledges received between May 1, 2013 and March 10,

2014. While we make every effort to ensure accuracy, we regret any errors or omissions in the above listings. The Annapolis Symphony Orchestra greatly appreciates all contributors of any amount. We regret that limited space permits us to only list those who have contributed $100 or more to our Annual Fund.

The Annapolis Symphony Orchestra is supported by a grant from the Maryland State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts; and also by a grant from the Cultural Arts Foundation of Anne Arundel County, Inc., which receives contributions from Anne Arundel County, the City of Annapolis, and the Maryland State Arts Council.

Michael Designs FloristMicroPerformance, Inc.Music & Arts CentersThe O’Callaghan Hotel Annapolis

RCI Sound Shawe Rosenthal, LLPShoppers Food & PharmacyWhat’s Up Publishing

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“It has been an honor and a thrill to be a part of the ASO’s

evolution over the last thirty years. Because of the immense enjoyment

and sense of fulfillment I have received from my experience with the

ASO, I have planned a gift for the Symphony as a way to invest in

its future so that future generations may benefit as well.”

– James W. Cheevers

James W. Cheevers, ASO Legacy Circle Member

LEGACY CIRCLE SPOTLIGHT

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ASO LEGACY CIRCLE

LEGACY CIRCLE

It is with our deepest gratitude that we acknowledge the following Legacy Circle Members for their commitment to the future of the ASO and its place in our community.

AnonymousAnonymousAnonymousBud and Bee Billups

Captain James H. Carman*

Jack* and Lois CarrJames W. Cheevers

Ronald E. CouncilPatricia and Arthur*

EdwardsAudrey English*

Anna E. GreenbergForbes LelandAnne S. Potter

*Deceased

Ensuring a Legacy of Musical

Excellence for Future Generations.Building upon a solid foundation of community support, the Annapolis

Symphony Orchestra has grown in its 50-year history to become the premiere musical organization that it is today in Maryland’s beautiful capital. The ASO Legacy Circle helps to guarantee a secure future for ASO’s performances as

well as education and outreach programs for future generations of music lovers.

For more information on the ASO Legacy Circle or to become a member, please call Jeth Mill at 410-269-1132.

The ASO wants to know what you think!

Watch your inbox next week for an important survey about your experiences at the ASO.

This survey is being conducted exclusively via email.

If we do not have your email address, please visit the table in the lobby or room 204 to sign up.


MUSICIAN CHAIR SPONSORSHIP

Sponsoring a musician chair is a wonderful way to show your support not only for the orchestra but for the musicians themselves. Musician Chairs sponsorships are $2,500

and will be accompanied by the following distinguished benefits and recognition:

• Selectionoftheinstrumentormusicianofyourchoice

• Yournameprominentlylistedbythemusician’snamein2013-2014ASOprograms

• RecognitionattheConcertmasterCirclegivinglevelin2013-2014ASOprograms

• Invitationtothe2014ASOAnnualMajorDonorParty

If you would like to sponsor a musician chair for the 2013-2014 season, please contact the ASO office at 410-269-1132. Chairs are sponsored on a first come, first served basis and therefore subject to availability. If you prefer, the ASO can select a musician on your behalf.

2013 - 2014 Sponsored Musician Chairs

VIOLIN INetanel Draiblate, Concertmaster The Peggy Peach Chair

Nicholas Currie, Associate Concertmaster Sponsored by Laird Lott and Linda Gooden

Heather Haughn Sponsored by Dr. Jesse Cunitz and Mrs. Faith Goldstein Cunitz

Rachael Stockton Sponsored by Tara Clifford

VIOLIN IIChristian Tremblay, Principal Sponsored by Jonathan and Marnie Kagan

Lysiane Gravel-Lacomb, Associate Principal Sponsored by Martha Blaxall and Joe Dickey

Glenn Angus Sponsored by Martha Blaxall and Joe Dickey

VIOLASarah Hart, Principal Sponsored by Charles and Julie Grudzinskas

CELLOTodd Thiel, Principal The Hildegard Strothman Martin Chair

Natalie Naquin, Associate Principal Sponsored by Joyce Pratt and Jeff Harris

FLUTEKim Valerio, Principal Sponsored by Mr. and Mrs. John S. Goldthwait

Genevieve Eichman Sponsored by Russ Stevenson and Margaret Axtell

OBOEFatma Daglar, Principal Sponsored by Michael and Sage Mumma

CLARINETMarlena Dillenbeck, Principal Clarinet Sponsored by Peter and Manelle Martino

Kathleen Mulcahy Sponsored by Al and Ginger From

BASSOONPatricia Dusold Sponsored by Laird Lott and Linda Gooden

HORNAnthony Valerio Sponsored by Pat Edwards

TRUMPETChristopher Sala, Principal The Philip Richebourg Chair

TROMBONEDave Perkel, Principal Trombone Sponsored by Eleanor and David Huggins

TIMPANICurt Armbruster, Principal Timpani Sponsored by Thea and Howard Pinksey

PERCUSSIONDonald Spinelli, Principal Sponsored by Lou and Laurie Berman

The mission of the Annapolis Symphony Orchestra is to produce, present and promote memorable

symphonic music that increases awareness, enjoyment, and appreciation of music for

all ages throughout the region.

Give a gift …The Annapolis Symphony is your symphony. For over 50 years it has been our privilege to present symphonic music and music education of the highest quality to our community, adding to the cultural vitality of our schools and our region. We look forward to playing for you this season and engaging and inspiring the next several generations of music lovers.

But did you know that ticket sales cover only 21% of operating expenses?

Generous private donors help make up the difference enabling us to produce and present first class concerts for all to enjoy. Gifts enhance the artistic advancement and help build the next generation of artists and music-lovers by supporting programs like ASO’s free summer concert, the Music Van and Adopt-a-School community outreach. Donors enjoy a variety of benefits especially a sense of closeness to our orchestra and musicians.

… leave a le gac yAs a 501(c)(3) organization, gifts to the ASO are tax deductible as allowed by law. Please consider making a gift to the ASO today. We invite you to join the Legacy Circle. The Legacy Circle consists of those who have made provisions for the ASO in their estate planning to perpetuate the gift of music for generations to come. If you have made plans to remember the ASO, please let us know so that you may be honored in the Legacy Circle. If you wish to receive more information about the Legacy Circle, please contact the ASO Office at 410-269-1132.

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TICKET INFORMATION

Subscription Tickets:Receive advance purchase discounts, seating priority, and unlimited Subscriber Guest Passes, which allow you to buy half price tickets to any Lexus Classic Series concert. Contact the ASO Box Office at 410-263-0907 for more information or visit our website at www.annapolissymphony.org.

Single Tickets:Advance purchases are always recommended. If available, tickets may be purchased at the door one hour prior to each concert. Tickets may be purchased through the ASO Box Office at 410-263-0907 or online at www.annapolissymphony.org. All single tickets are non-exchangeable and non-refundable.

Group Sales:Bring your group to the ASO and receive up to 20% off your total order. Rooms may be reserved for your private pre- or post-concert receptions or for your child’s birthday party. Call 410-263-0907 for more information.

Gift Cards:Call 410-263-0907 to purchase gift cards in any denomination.

Ticket Exchanges:Subscribers may exchange their tickets for the alternate performance of the same concert only. Exchanges are subject to availability. Bring your tickets to the Box Office at least 24 hours prior to the scheduled performance, or mail them at least 10 days prior to the scheduled performance to ASO, 801 Chase St., Annapolis, MD 21401.

Ticket Release/Donation:If unable to use tickets, patrons may donate them to the “Ticket to Health” ticket bank as a tax-deductible contribution. The Ticket to Health program offers complimentary tickets for caregivers, patients, and families of Hospice of the Chesapeake and the Annapolis Wellness House. Bring your tickets to the Box Office at least 24 hours prior to the schedule performance, or mail them at least 10 days prior to the scheduled performance to ASO, 801 Chase St., Annapolis, MD 21401. We will mail you a receipt for your tax purposes. Tickets released after 6:00pm on concert night will not be eligible for a deduction.

All ticket sales are final. No refunds.


CONCERT INFORMATION

Electronic Devices:Please turn off cell phones and tablets. Use of cameras or recording devices during the performance is strictly prohibited.

Latecomers:Latecomers will only be seated at the conclusion of a musical selection.

Children:ASO Family Concerts are designed for ages four and up. The ASO recommends that children be at least age eight to attend a Lexus Classic or Pops concert.

Candies or Lozenges:Please help yourself to one of the cough drops made available in the lobby. Please remember to unwrap candies or lozenges before the concert begins.

In Case of Fire:Please note the exit nearest to your seat. In the event of fire or other emergency, WALK—do not run—to that exit.

Pre-Concert Lectures:All ticket holders are invited to attend at 6:45pm, before each Lexus Classic Series Concert, a free 45-minute discussion about the evening’s program. Lectures take place in the auditorium. Patrons should sit as close to the stage as possible.

Inclement Weather:In the event of severe weather, every effort will be made to continue with scheduled concerts. No refunds will be given if a concert is performed during severe weather but not attended by the ticket holder.

No Smoking:Maryland Hall for the Creative Arts is a SMOKE-FREE Facility. Smoking is PROHIBITED in and on the grounds of the building.

Lexus Preferred Parking:The first row of spaces in the first parking lot on the right upon entering from Spa Road will be reserved as Lexus Lane. Parking spaces are available on first-come, first-served basis to any Lexus owner who drives their vehicle to a Lexus Classic Series performance.

Lexus Lounge:ASO’s Lexus Lounge is available at all Lexus Classic Series Concerts, for all Gold Circle donors ($500 and up). Patrons can enjoy a complimentary glass of wine or soft drink, snacks and conversation. The Lounge will be open one hour prior to each concert and during intermission. The Lexus Lounge is also available to any Lexus owner who shows their Lexus key.

Access for Persons with Disabilities:Parking, ramp, and elevator facilities are available at the entrance nearest Spa Road. Wheelchair accessible seating is also available. Please call 410-263-0907 to make arrangements.

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ASO SPOTLIGHT

When Karin was five and living in Illinois, her best friend started

playing piano. She begged her mother to let her take lessons, but her mom was sure she’d quit and said no. So Karin made her friend teach her the piano.

She finally began music lessons at age ten when they handed her a violin in school. Karin says, “Mom figured it would be a lot cheaper to buy a violin than a piano. She knows better now!”

Because her high school didn’t have an orchestra, she confined her musical activities to choir and playing bassoon (badly she says) in the band. She continued violin at home, traveling 40 miles a week to take private lessons and play in a string quartet. Karin went on to study violin in college, where she met her husband Mike in a music theory class, and later pursued her master’s degree.

After playing with the ASO in 2008, Karin became a permanent member in 2009. She says, “It’s a great orchestra. I enjoy our programming. Maestro Novo is inspiring and conveys his intention so clearly. It is hard for me to pick a favorite piece of music because I love playing so many different styles. Our Spanish music

concert was particularly memorable and I always enjoy Mozart and Beethoven symphonies.”

Karin began her career as a violinist in the Knoxville (TN) Symphony. Her professional work has been varied – she has played with the Milwaukee Symphony, Milwaukee Ballet Orchestra, and Elgin Symphony, and has served as concertmaster for the Racine Symphony and Woodstock Mozart Festival in Illinois. When the opportunity arises, she has performed with touring bands, including the Moody Blues, Natalie Cole, Barry Manilow, Kansas, Tom Jones, and Earth, Wind and Fire (as part of the ASO).

She is currently freelancing in the DC area and has a small teaching studio. In addition, she and Mike, an accomplished jazz vocalist, are working on an album of original music and arranged jazz standards, with a twist of classical style thrown in.

In her spare time, Karin loves to garden, swim, and travel (but doesn’t get away often enough).

She hopes the ASO will continue to make wonderful music for all to enjoy because “music communicates feelings about the world that can’t be expressed any other way. I was drawn to it when I was in kindergarten and can’t imagine a life without it.”

Karin

Kelleher VIOLIN

The city is built To music, therefore never built at all, And therefore built forever Alfred Tennyson

My father Philip Richebourg conducted his own orchestra every day of his life with consistency and order; he applied an exact Science, a common thread, to numerous Board memberships and Presidential appointments, serving sixty-five years in his community. This same exactitude and precision was reflected in his life-passions as pilot, musician, and as a master archivist. My father approached all things in life as if resolute in achieving one goal, that of perfect harmony.

The very essence and purposeful meaning the trumpet represents is symbolic of a devout spiritual vision that carried my father through all aspects of his life. The sound of the trumpet has been called on to glorify God; it empowers the ability to revive or to represent closure; it is a medium portraying clarity, precision and purity. These characteristics are emblematic of everything my father endeavored to achieve.

As Founder and First Board President, my father’s mission for the Annapolis Symphony during the formative years was to solidify the orchestra financially and administratively, insuring its longevity. Today the Annapolis Symphony Orchestra has soared to the heights my father dreamed would one day come true.

For me, listening to music now represents a conduit to my father as if he never left. He is standing in the wings with quiet dignity and pride and we are resoundingly singing his praises.

Elizabeth Richebourg Rea

1919 - 2011 Annapolis Symphony Orchestra

Founder and First Board President

The future enters into us, in order to transform itself in us, long before it happens. Rainer Maria Rilke

2013_ASO_PhilipRichebourg_01j.indd 1 9/4/2013 12:48:03 PM

Bravo!

Maestro Novo and the musicians of the Annapolis Symphony Orchestra applaud Elizabeth Richebourg Rea for her continued

support honoring the legacy of her father Philip Richebourg ASO’s Founder and First Board President.

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The Annapolis Symphony Orchestra, performing since 1962.

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MISCHA MAISKY, CELLO LILY MAISKY, PIANOSunday, October 6, 2013 » 5:30 pm

MUSICIANS FROM MARLBORO Sunday, October 20, 2013 » 5:30 pm

NELSON FREIRE, PIANOSunday, November 17, 2013 » 5:30 pm

MIRÓ QUARTET SHAI WOSNER, PIANOSunday, December 15, 2013 » 5:30 pm

GERALD FINLEY, BASS-BARITONE JULIUS DRAKE, PIANOSunday, February 9, 2014 » 5:30 pm

GIL SHAHAM, VIOLINSunday, February 23, 2014 » 5:30 pm

SCHAROUN ENSEMBLE BERLINSunday, March 16, 2014 » 5:30 pm

TINE THING HELSETH, TRUMPET HÅVARD GIMSE, PIANOSunday, April 6, 2014 » 5:30 pm

EMANUEL AX, PIANOSunday, May 11, 2014 » 5:30 pm

ORDER ALL 9 CONCERTS!

9-CONCERT SUBSCRIPTION Regular $249 // Students $129

INDIVIDUAL-CONCERT TICKETSRegular $39 // Students $19

For more information about Shriver Hall Concert Series call 410.516.7164 or visit www.shriverconcerts.org

STEPHEN DUNLAP SAXOPHONE CHOO CHOO HU, PIANO 2013 Yale Gordon Concerto Competition WinnerSaturday, November 2, 2013 » 3 pm

MINETTI QUARTETTSaturday, March 8, 2014 » 3 pm

YEVGENY SUDBIN, PIANOSaturday, May 3, 2014 » 3 pm

Discovery SeriesS H C S @ H O D S O N H A L LLOCATED ON THE JOHNS HOPKINS UNIVERSITY HOMEWOOD CAMPUS

FREE!

WH

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STARS

AL

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2013

–2014

SEASON

IS F SPORT SHOWN. ©2013 Lexus.

ISYou can join the crowd. Or, you can leave it behind. When you choose bold styling, a supercar-inspired interior

and thrilling handling, you choose the all-new 2014 Lexus IS. A car designed with one purpose. To stand apart.

lexus.com/IS #LexusIS

REGION:VERSION:MARKET:

DATE:

EASTERNPLAYBILLBALTIMORE (SHEEHY FIRST)07/12/13

Cyan Magenta Yellow BlackClient - Team One Job # - 130022 Ver. - AD21

Documents

Regional Reflections Program Book