Digital Classics Series - Delaware Symphony Orchestra
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Contents Delaware Symphony Orchestra Digital Classics Series 2021 Recorded live at Copeland Hall at The Grand Opera House Orchestra Roster .................................. 4 From the Music Director .................... 5 From the Board President .................. 7 From the Executive Director............... 8 Classics I Program ............................... 9 Program Notes ..................................... 10 Donors ................................................ 16 DSO Board and Staff ......................... 23
2020 - 2021 Delaware Symphony Orchestra David Amado, Music Director Tatiana and Gerret Copeland Chair, endowed in perpetuity Violin I Cello Horn David Southorn Philo Lee Karen Schubert concertmaster principal, Raymond F. and principal, Dr. Lanny Edelsohn Chair Veronica M. Eid Chair Luigi Mazzocchi Lisa Dunham Naomi Gray associate concertmaster associate principal James Rester Jeongmin Lee Katy Ambrose assistant concertmaster Mark Ward Julie Bougher assistant principal Trumpet Donna Grantham Carolyn Ellman Brian Kuszyk Eliezer Gutman Cheryl Everill principal Hanbing Jia Paul Eves Frank Ferraro Mary Loftus Ismar Gomes Jie Jin Trombone Emily Nicholl Todd Thiel Austin Westjohn Tess Varley principal Elissa Wagman Bass Richard Linn Stefan Xhori Daniel McDougall John McGinness Yehong Xiong principal principal bass trombone, Grace Kwon- Kuback and David Kubacki Chair Violin II Douglas Mapp Lisa Vaupel associate principal, Lee M. Kallos Tuba Chair principal second Brian Brown Arthur Marks principal Sang Wook Peter Bahng assistant principal associate principal second Elizabeth Cochran Timpani Ha-Young Kim Marc Seidenberg Bill Wozniak assistant principal second principal , Hanson H. Hodge Memorial William Zinno, Jr. Chair Martin Beech Natasha Colkett Flute Percussion James Finegan Kimberly Reighley William Kerrigan Catherine Kei Fukuda principal, Sharon K. Babcock Chair principal, Donald and Abigail Greene Thomas Jackson Eileen Grycky Chair Ruth Kreider Elena Yakovleva Thomas Blanchard Audrey Kress piccolo assistant principal Rosaria Macera Harp Kristopher Miller Oboe Vacant Sarah Elizabeth Fuller Irina Schuck principal principal Viola Stephanie Wilson Piano Julia DiGaetani Lloyd Shorter Lura Johnson, principal principal English horn, Mrs. Micki Edelsohn Chair Elizabeth Jaffe associate principal Clarinet Yuan Qi Charles Salinger Assistant Principal principal, Charles W. Babcock Chair Nina Cottman Daniel Spitzer second/bass clarinet Ruth Frazier Personnel Manager and Jonathan Kim Bassoon Principal Librarian Amy Leonard Erik Höltje Joshua Kovach Pamela Nelson principal, Mr. and Mrs. A. Duer Pierce Chair Petula Perdikis Jon Gaarder Alexandra VandeGeijn
Dear Music Lovers, We at the DSO always strive to create memorable seasons—and what a memorable season this is already! At a time when the normal course of events, of life, of culture and music, is disrupted at best, and hobbled, or extinguished at worst, we are beyond thrilled to present great mu- sic for you—extraordinary nourishment at a time of extraordinary need. This season the power of great music stands in startling relief to notions of social distancing and mask-wearing. Music is about social closeness—from its ordinary method of performing and of consuming, music is a close-quarter pursuit. Music is intimate. It brings people together, rather than keeping them apart. Mask- wearing too is antithetical to what we do. Masks hide, music reveals. Even with these impediments, the great music of great masters speak—even across DSL and fiber optic lines. And even with masks, great music shines a bright light on the power and beauty of humanity. This is a memorable season. But my hope is that in the near future we will remember the past year not for the pandemic, but for the heartening, nourishing displays of humanity that we see every day—people in unideal circumstances making an effort to make the world more bearable and more beautiful. Thank you for being with us. David Amado Music Director
David Amado Music Director David Amado has been music director of the Delaware Symphony Or- chestra since 2003, and in July, 2016 he began a second music director- ship at the Atlantic Classical Orchestra in Florida. As a guest conductor, Amado has led numerous prominent orches- tras. In addition to the St. Louis Symphony, where he served as associate conductor from 2001 to 2004, he has led the Philadelphia Orchestra, Los Angeles Philharmonic, Royal Stockholm Philharmonic, Rochester Phil- harmonic, and the Chicago, Detroit, Houston, Milwaukee, National, New World and Toronto symphonies. Recent engagements have included the Mobile and New Bedford symphony orchestras, California’s Symphony Silicon Valley, and the New Haven Symphony Orchestra. Amado has been praised by the media, audiences, and fellow musi- cians for his deep musical insight and visceral energy. These qualities have allowed him to reinvigorate the Delaware Symphony, which has become a premiere regional orchestra during his tenure. In 2010, the DSO released a critically acclaimed CD on the Telarc label, partnering with the Los An- geles Guitar Quartet in concertos by Joaquin Rodrigo and Sergio Assad’ the recording debuted at number 11 on the Billboard charts and earned a Latin Grammy nomination. Its second commercial CD, The Book of Signs, featuring double guitar concertos by Leo Brouwer and Paulo Bellinati with the Brasil Guitar Duo was released in April, 2018, on the Naxos label and received a Latin Grammy Award nomination for Best Classical Album. Amado began his musical training in piano, studying in The Juilliard School’s pre-college and college divisions before going on to Indiana University, where he received a master’s degree in instrumental conducting. He pursued further conduct- ing studies at Juilliard with Otto-Werner Mueller. His first professional conducting post, an apprenticeship with the Oregon Symphony, was followed by a six-year tenure with the St. Louis Symphony, where he served as both a staff conductor at the orchestra and music director of of the St. Louis Symphony Youth Orchestra.
DSO Patrons & Friends, The dictionary definition of a “silver lining” is: (n) a sign of hope in an unfortunate or gloomy situation; a bright prospect: Every cloud has a silver lining. Since the pandemic began over six months ago you may have encountered several silver linings in your life. For me, it has been unexpected time with my wife and daughter, more time outdoors on our front porch, renewed relationships with family and friends (albeit, from a dis- tance), and a newfound appreciation for our Delaware Symphony musicians’ dedication to their craft and innate need to perform. The DSO, too, has had its share of silver linings since the pandemic began: Our new Executive Director, J.C. Barker, moved to Wilm- ington and got right down to business; David Amado found new, innovative ways to connect with our audience; the generosity of our patrons and donors allowed us to support our DSO musicians during a time that many musicians across the country were being furloughed. Of course, there have always been silver linings, however, the pandemic has made them a little more meaningful…more easily savored. I look forward to the DSO’s 2020-2021 Season’s digital format as a silver lining that will empower us to reach for the stars as we continue to present a first-class, intimate experience during these challenging times. Thank you, David J. Kubacki President
Dear Friends, I am truly delighted to welcome you to this year’s season of the Delaware Symphony Orchestra! The past few months have challenged us to create an offering of music that we can bring to you in the safest way possible, while still holding the highest standards of artistic excellence that you have come to expect from your DSO. We are very proud of what we have been able to create, and equally proud that you have chosen to be with us on this journey. From our Chamber concerts in the fall, to our carefully selected Classics series that you will enjoy in the winter and spring, we will bring you a wealth of musical riches. As David mentioned in his letter, this is indeed a memorable season. Your support is crucial to our continued success. The DSO remains committed to improving the quality of life in our community. You can help with this mission. Please share the word about your passion for what we do, and invite them to join us in supporting our efforts this season and beyond! Gratefully, J.C. Barker Executive Director
CLASSICS SERIES I Delaware Symphony Orchestra Recorded Live on January 22, 2021 Copeland Hall at The Grand Opera House Italian Serenade Hugo Wolf (1860 - 1903) Pulcinella: Suite Igor Stravinsky (1882 - 1971) I. Sinfonia II. Serenata III. Scherzino - Allegretto - Andantino IV. Tarantella V. Toccata VI. Gavotta (con due variazoni) VII. Vivo VIII. Minuetto - Finale Symphony No. 4 in A Major, Felix Mendelssohn Op. 90 “Italian” (1809 - 1847) I. Allegro vivace II. Andante con moto III. Con moto IV. Presto and Finale: Saltarello
Program Notes Italy and its culture have long been inspirational to authors, poets, artists, and composers. Perhaps the country's place at the forefront of arts and culture can be linked back to Rome and its role as caput mundi, or head of the world. Traditionally Italy conjures images of food, wine, the Mediterranean Sea, and Rome's ancient ruins. However, it also boasts the title as the home of modern opera. Italy is the country most often associated with the art form as well as other performing arts. Its musical and theatrical traditions have also inspired many composers to write music in an Italian style or an Italian theme. Despite being recognized as the birthplace of modern opera, Italy is not the only country to produce influential opera composers. Germany's Richard Wagner is widely acknowledged to be one of the late nineteenth century's most influential musical figures. He would also be a significant influence on Hugo Wolf. Before the Wagnerian era, art song, or Lied, was a prominent form of vocal music in Germany and Austria. Composers set German romantic poets' work to music, transcribing the words into song that gave audiences a new way of hearing and feeling the poetry. The best-known composers of lied, such as Franz Schubert and Robert Schumann, were extraordinarily prolific and led surprisingly short lives. Wolf also ranks among the greatest com- posers of lied. Tragically, his life ended when he was only 42 after he checked himself into an asylum several years prior due to syphi- litic insanity. Wolf was discouraged from pursuing a compositional career. He was expelled from several secondary schools due to his erratic temperament and lack of interest in any coursework—other than music. He would eventually enroll at the Vienna conservatory but would also be expelled due to breach of discipline Hugo Wolf and clashing with its conservative authorities. Music was said to be the only thing upon which he cared to focus,
and his decision to pursue composition as a career placed a great deal of strain on the relationship he had with his family. Wolf 's personal life dictated his compositional output in the sense that he went through somewhat brief periods of writing in which he churned out many works and endured extended bouts of depression that caused him to suffer from from musical writer's block. One such period occurred after the death of Wagner, whom Wolf idolized. Many believe he wrote the song "Zur Ruh, zur Ruh" as an elegy to the late composer. For a time, Wolf worked as a critic, offering scathing reviews of any music he deemed inferior. Franz Liszt encouraged Wolf to expand his compositional output from song to larger works. Wolf firmly believed that he would only gain the notoriety he felt he deserved through full orchestral pieces and opera. By the time of his death, Wolf left many compositions unfinished, one of which was the expansion of his Serenade in G Major. He planned to transform it from a piece for string quartet to a full orchestral work. Wolf referred to the work as "an Italian serenade," which is how it has come to be known. Italian Serenade was meant to have additional movements, but his attempts in 1893, 1894, and 1897 were never realized beyond sketches. Wolf, who detested absolute music and academic forms of composition, did not use an expected sonata-like form for the ser- enade. Instead, he utilized a programmatic style, with a free rondo form and recitative-like passages. The piece is viewed as unlikely joyful for someone who had such a troubled life. The music, which dances about, is reminiscent of Italian comic opera. The work opens with a motif that might suggest the tuning of guitars or mandolins and leads into a dance-like melody. Wolf 's signature use of chromatic harmony soon appears, along with trills and rapid scales. A slower moving motif then gives way to the opening material, which appears several times throughout the short work. Wolf further embellishes the motifs, giving rise to lively outbursts before a calmer handing off of thematic material from one instrument to another. The work concludes in a light-hearted manner, in much the same way as it opened.
Those who are familiar with Wolf 's music often lament that he never completed subsequent movements to his Italian Serenade. It is thought to be one of his best orchestral works, and most accurately illustrates the evolution of his compositional maturity. In the same way his Serenade was influenced by Italian culture and marked a turn in Wolf 's compositional style, Igor Stravinsky found himself inspired by works of the Italian composer Giovanni Battista Pergolesi as well as the commedia dell'arte. These would eventually become the basis of a ballet that was reconciliation of sorts between Stravinsky and his good friend, the impresario Sergei Diaghilev, after a falling out. It also marked his compositional transition to the neoclassical style. Stravinsky is perhaps best known for his collaborations with Diaghilev for the Ballets Russes: The Firebird, Petruskha, and The Rite of Spring. The last of the three ballets solidified Stravinsky's reputation as a revolutionary composer, pushing the boundaries of music in terms of rhythmic structures, and their relationship to harmonic structures. Stravinsky grew up Igor Stravinsky in what one might call a more traditional musical household. His father, Fyodor, was a bass with the Kyiv Opera (now the National Opera of Ukraine) and the Mariinsky Theatre. His musical studies began at a young age, and his interest in ballet occurred at about eight years old when he saw a production of Tchaikovsky's The Sleeping Beauty. As was the case with many musicians, Stravinsky's parents wanted him to study law. He did, for the most part, stick to his law studies during his first year at the University of St. Petersburg. His focus shifted in 1902 after befriending the son of the composer Nikolai Rimsky- Korsakov, Vladimir. Nine years later, Stravinsky met Diaghilev, and their collaborations for the Ballets Russes began in earnest. The two would have a falling out, though, when after World War I Russia/ the emerging USSR did not permit Stravinsky to collect royalties on performances of his works from the Ballet Russes. Stravinsky blamed Diaghilev for this, despite it not being his fault.
Well aware of Stravinsky's animosity toward him, Diaghilev lured his friend back to composing a work for a resurrected Ballet Russes by giving him Pergolesi manuscripts. Later it was found out that the majority were not actually written by Pergolesi, but the ploy worked. Selecting the music as inspiration for this new work proved to be an easy task for Stravinsky. He also took an episode from the commedia dell'arte involving the stock character Pulcinella, the traditional Neapolitan hero. When composing the work, Stravinsky stated, "I began by composing on the Pergolesi manuscripts themselves, as though I were correcting an old work of my own." He also stated, "... I could not produce a 'forgery' of Pergolesi because my motor habits are so different; at best, I could repeat him in my own accent." Stravinsky did create something that was entirely his own, mainly altering the inner harmonies and rhythms of the manuscripts. The something that he created was initially quite misunderstood, especially by Diaghilev, who was unsure to credit Stravinsky as the composer or arranger. Others criticized him for deserting modernism and felt his interpretation was sacrilegious. None the less, Pulcinella premiered in Paris in 1920. The ballet is divided into 21 sections and has vocal parts. Two years later, Stravinsky revised the score, creating the Pulcinella Suite, which consists of eight movements. He further revised the suite in 1949 and 1965. The plot conveyed through the music involves Pulcinella and his girlfriend, Pimpinella, their friends Furbo, Prudenza, Rosetta, Florindo, and Cloviello. The story begins with Florindo and Cloviello serenading Prudenza and Rosetta, but the ladies are unimpressed by their suitors. Rosetta dances for Pulcinella, and they kiss. Pimpinella witnesses this and is infuriated. It also fills Florindo and Cloviello with jealousy. Pulcinella is stabbed, but this is a setup in order to gain Pimpinella's forgiveness. Furbo, disguised as a magician, resurrects the 'slain' Pulcinella in front of everyone, and he earns the forgiveness he seeks. Pulcinella and Pimpinella, along with the other two couples, wed at the end of the ballet.
While Stravinsky was inspired by Italian music and theatre, Felix Mendelssohn drew inspiration from his experiences visiting Italy. Traveling throughout Europe was often customary for well-to-do and educated families in the nineteenth and early twentieth centuries. It would, therefore, not be surprising as something that Mendelssohn experienced during his life. His father was a banker, and his grandfather was a philosopher, so he and his siblings grew up in a well-off and intellectual household. The Mendelssohn children grew up with artists, musicians, scientists, and intellectuals visiting the salon in their parents' Berlin home. Both Felix and his sister Fanny displayed great musical talents in their youth, and despite their father believing Fanny initially had greater musical abilities, Felix became a very successful composer and performer. It was not viewed as appropriate for a woman to pursue a career in music in the early 1800s – a conception that has, thankfully, changed. Fanny did compose and played piano to great acclaim but was only viewed as an amateur during her lifetime. In 1830, Mendelssohn embarked on a grand tour of Europe, visiting England, Scotland, Wales, and Italy. His sojourn to Italy lasted ten months, and he documented the trip in a series of watercolors and a musical travelogue. In addition to composing, Mendelssohn was an accomplished painter and illustrator. His tour began in Venice and ended in Rome, with stops in Bologna and Florence on the way south, and Naples, Pompeii, Felix Mendelssohn Genoa, and Milan on his return trip to Germany. While in Rome, he witnessed the ceremonies, devotions, and festivities of Holy Week, as well as the coronation of Pope Pius VIII. In Symphony No. 4, Mendelssohn evokes the sights and impressions of Italy from his excursion: the sunshine, countryside, the Mediterranean Sea, religious ceremonies, and the country's art and architecture. The work, which Mendelssohn once described as "blue sky in A major," opens with breathless excitement and a jubilant melody,
depicting the warm, bright Italian sky; a stark contrast to the often cloud-filled and seemingly less vibrant northern European atmosphere. He does, however, include a turbulent minor development section as a nod to northern Europe and his "Scottish" Symphony (in A minor), which he was working on at the same time. In the second movement, Mendelssohn illustrates the ceremonies he witnessed during Holy Week in Rome. The slower moving passages evoke the solemn processions in which the faithful and clergy alike slowly move toward and throughout churches in devotion. In somewhat of a contrast, or perhaps more of a continuation of his journey, the third movement depicts Italy's art and architecture. The fanfare-like motif suggests a grandeur of colossal structures and their harmonic symmetry. The fourth and final movement is the one that is overtly Italian. It is based on the Neapolitan saltarello, a dance that originated in medieval Tuscany and is known for its leaping step. The movement presses forward, as does the lively dance, and comes to a close with a variation of the symphony's opening theme.
Thank you for your continued support. This listing represents annual contributions received from December 1, 2019 to January 15, 2021, including the value of donated tickets. Government Corporate State of Delaware Wilmington Trust | M&T Bank Delaware Division of the Arts Christiana Care New Castle County Hotel DuPont Bank of America Foundation Gallo Realty, Inc. Delaware Community Foundation The Buccini/Pollin Group C.E. Bennett Foundation Fidelity Investments The Presser Foundation Weymouth Swayze & Corroon Maurice Amado Foundation FMC Matching Gifts Program Aware Foundation Crestlea Foundation Marmot Foundation Ellason Downs Perpetual Charitable Trust Starett Foundation Charles Delmar Foundation Kent County Fund for the Arts Nor' Easter Foundation Red Clay Education Foundation Individual Contributions $250,000+ $2,500 - $4,999 Tatiana and Gerret Copeland Dolores Borowitz* $100,000+ George Christensen Mr. and Mrs. A. Duer Pierce James M. Ellison The Hon. Alicia Hughes $25,000+ Lee M. Kallos Mrs. William H. Frederick, Jr. Shelley Kinsella and Rafael Zahralddin Greg and Ruth Lavelle $10,000 - $24,999 RoseLynn and David Malarek Ralph Amado and Anne Rodig Elizabeth R. Masterson Sharon and Charles Babcock Michael and Toni Maxwell Dr. and Mrs. Lanny Edelsohn Virginia S. Mayforth $5,000 - $9,999 Alan B. Palmer Anonymous Nancy and David Saunders Karl and Kristin Bennett Naomi Pliskow and Louis Wagman Ellason Downs Perpetual Charitable Trust $1,500 - $2,499 The Family of Dorothy Chambers Flynn Marilyn H. Bromels Mr. and Mrs. Donald L. Greene Stephanie Carpenter Dr. Grace Y. Kwon-Kubacki MD and Robert and Barbara Davis Mr. David J. Kubacki Matthew and Christine Di Guglielmo Mr. and Mrs. David C. McBride Mrs. Arthur G. Diver Howard and Debbie Green Jimi and Tricia Honochick
Nancy Hough Anna M. D'Amico and Andrew E. Feiring Kenneth and Mary Louise Kubacki Catherine Fieber and John Lewnard Mary Jane Mallonee Steve and Sally Fillion Bob and Toni Newton David and Kathy Fleming Richard and Marie Nye Sydney W. Fleming and Helen C. Meredith Elizabeth and David Rhoads Karen and Peter Flint Mark Sharnoff and Marcia P. Halio Catharine Z. Ford Drs. Joan K. and Edward J. Stemmler Dr. Margaretta Frederick and Robert D. and Judith L. Stoddard Mr. Michael Martin Curtis and Kathy Tompkins Shirley R. Giffin Patricia Zaharko Mrs. E. R. Graef Shirley and Karl Grieshaber $1,000 - $1,499 Richard and Mary Kay Haden George E. Alderman Hanna Zyruk and James Hainer E.F. and Sandra D. Anderson Lisa Ganon and Louis Hering Alex Bodenstab Mary D. Herr Susan Brynteson Patrica Hodgson Allan and Mary Ann Champion Joan and Alan Irwin The Hon. Barbara D. Crowell Mr. and Mrs. Robert Jarvis Mr. and Mrs. Thomas Crumplar Diane Lawson and Guy V. Johnson Bert and Betsy Diemer Chris Jording Mr. and Mrs. John B. Fields Lynn and Fred Keilhorn Joseph Francis and Gale Rutan Gary Kulik and Barbara Melosh Mitchell and Anne Glass Gordon and Susan Lipscy Mr. and Mrs. K. Peter Hurd Austina and Harvey Maclary Jan Jessup Frank A. Maderich Richard and Jean May Phyllis and William Matthews Albert L. Moore Mr. and Mrs. Donald McDougall Richard Morgante and Edward McHale Emil and Phyllis Mikity Mr. Martin J. Murafsky Charles and Judith Miller Barbara Noseworthy Mrs. Frank B. Murray Dr. Mary P. Richards and Parry and Nancy Norling Mr. Robert G. Netherland Mr. and Mrs. David Onn Tim Rodden and Randy Clayton Red Clay Education Foundation Mr. and Mrs. Sheldon Sandler John and Debra Roberts Paul and Faith Silver Charles and Pat Robertson Eric and Paula Taylor Ernest F. Ruppe David P. Schelat and Grant Youngblood Rafael Shapiro $500 - $999 Geoffrey and Mayura Simon Dr. and Mrs. Thomas A. Ford Elizabeth W. Snyder Joan Appleby John and Susan Stafford Ronald and Mary Lew Bergman Nancy Stevens Harry and Diane Burlew Jonathan Summers Jon Alan Conrad Kevin and Susan Waesco Tom and Chris Ditzler Bill and Peg Walker Lyle and Terry Dykstra Vera Wilson Don and Nancy Edwards Mr. and Mrs. Frederick Zumsteg Robert and Marion Ehrlich $250 - $499 Michael and Janet Elling Anonymous Mary Page and Tom Evans
David Argentar Mr. and Mrs. Brian Kelley Gregory and Sally Barclay Gerard and Kathleen Kennealey Karen Baumgartner Dr. and Mrs. Kevin Kerrane Martin and Donna Beech Bill and Hazel Kirk Richard Bender and Alison Frost Nagomi Kitamatsu Richard and Deanna Benson Anna-Maria Klopping Duane and Carolyn Benton Stan and Margot Lamar Anne Bookout H. Thomas Littel Stuart and Ruth Brahs Richard and Molly Logan Mr. and Mrs. Thomas C. Breske Douglas G. Adolphson and Mr. and Mrs. Charles D. Broll Peggy Chaplin Louie Mr. and Mrs. Robert Cassels Shannon Maier Pam and J. Richard Cerchio Douglas Mapp Robby and John Chabalko Steven and Carol Marino Henry and Ruth Ann Chisholm Diana W. Maxmin Charles H. Collier III Leo McDermott Alan and Eleanor Craig Amy Nelson Christopher Daniels Pam Nelson Renate Delvecchio Paul Nielsen Michael Deptula Maynard Pearlstine Mr. and Mrs. Joseph J. DeStefano John and Neta Potter Mrs. Frank B. Dilley Nancy Powel Mr. and Mrs. Thomas Donahue Lourdes I. Puig J. Douglas Druliner Anna Quisel and Bret Snyder Richard and Lorraine Fleming Annette Rabasca John and Carol Flood Johanna Ray Henry and Joanne Foehl Wayne and Mary Reimann Lisa Fries Richard and Alice Rizzo Betty B. Garrett Regina and Jeffrey Ruben Rev. Daniel W. Gerres Susan and William Ryan Judy Gibson and David Nelson Bernard and Julianna Saydlowski Richard Gilmore Richard A. and Sheila G. Sharpe Raul and Iris Gonzalez Joan Short MD Peter and Catherine Gordon Clifford Simpson Mr. and Mrs. Richard Grenville Robert A. Smiley Gregory and Deborah Griffin Constance M. Smith Eileen Grycky Henry Smithies Raymond and Marie Hahn Douglas Spencer Wesley and Cynthia Hamlin John and Helen Springer Susan J. Hannell Paul and Judy Stoffer Candice L. H. Hegedus Susan Swan and Warren Pratt Peter and Su Horty Dr. and Mrs. Stephen Toy Carroll Humphrey and Mr. Robert L. vanDyke Joanne Newlin Humphrey Michael Vest Dorothy R. Jacobson Wakefield Family Fund Rick and Deb Johnson Zelda and Ed Wasserman Joyce P. Johnson Mary Wheeling and Dave White Marjorie Johnson Clara Zahradnik Dr. and Mrs. John L. W. Jones Mr. and Mrs. Fred Jones
$100 - $249 Mr. and Mrs. Raymond Eid Anonymous (2) Norman and Carolyn Ellman Marcia Schiff Acero Beth Emmons Alp Akalin Scott Enright Regina Allen David Epstein Stuart Baird Nancy Goyne Evans Harry and Maud Banks Eric and Judy Fahone William and Joan Barber Rebecca Farabaugh Ann and Glenn Barnhill Edgar W. Fasig, Jr. Thomas Barton Edward and Irene Fick David and Constance Beattie Israel and Patricia Floyd Walter and Nancy Bercaw Ann Freeman Philip and Diane Berger Sarah French Donald Blythe Linda and Charles Frick John E. Boliek Gordon Fung John Bragger Paula L. Gatos Anna French Brantley Mitch Ginsburgh Mr. and Mrs. Arthur Brill Harry S. Glaze Watson Brown William Collins Barbara and William Buckley Hilary Goodman Judy Burns Elsie Gould Hays and Judy Butler Jeanne C. Haley Judith Calhoun Mary Hannagan The Hon. and Mrs. Thomas R. Carper Ellen Harbeson Lillian and William Cassel George Harding Ken and Trish Cavender Mr. and Mrs. James Hennessy Eleanor Charles* Chip Herrington Richard Clark and Dorene F. Meiers John Hesselberth Nancy Colbert Moe and Ronna Hochman Daniel N. Colburn II and Helen M. Holleger J. S. Edward Tatnall Marion Howarth Andrew M. Corbett Benjamin Hoyer Sara Corbishley Carol M. Hughes Patricia Crabb William and Sarah Ivey Anthony and Judy Cucuzzella Dr. Xiaojiao Jiang Mary Culnane Paul Johnston Alida Cutts Linda Jupin Gregory Dell Jonathan Justice and Melissa Pavone Douglas and Donalyn DeVoll Leslie M. Kelly William Dietrich Michael and Elaine Kipp Francesca and Jim Di Guglielmo Richard and Janice Kirk Philip and Kimberly Doucette Daniel Kraiter Katharine L. Downham Harry and Ruth Kreider Drs. R. & F. Doyle Constance Kreshtool Diane Dury Mr. and Mrs. Daniel M. Kristol Susan and Herb Duffield Kathleen Lassahn Robert and Janice Dumin Mr. and Mrs. F.B. Law Virginia S. Eberly Lisa Elliott and Thomas Leitch Mrs. Philip Ebert Linda Loomis Susan Eckstein Dorothy Deh Lovett
Virginia Sue Lunger Kristin Shilkitus Carol Luttrell Minnie Waters Shorter Susan Macpherson Stephen Silagy David Margolies and Sheila Hochhauser Mrs. Marion A. Simeral Vincent and Mary Ann Marinelli Mr. and Mrs. E. N. Simons Daniel McDougall Phyllis W. Sisk John McGinnis Joanne Smeltz Mrs. Meredith McGregor Gregory Smith Mrs. William McGregor David Southorn Dr. and Mrs. George E. McLaughlin Bruce and Mary Swayze Burly Melton Irene Talley Frank and Jennifer Mercadante Judith Tellier Mrs. Arthur B. Metzner Suzanne and Harry Tether Robert and Ellen Meyer Harry and Betty Ann Themal Sandra S. Michel Marguerite Thew Doris Miklitz Susan Thomas-Holder Norbert and Ulrike Mikiltz Gillian Timon Dr. Elinor Miller Jehangir Vevai Margaret Mitchell Suwah Waitieh-Kabehl Arthur Moffa Jan and Michael Weiss Norman and Marcia Monhait Susan Welles Donald and Neuza Morgan Paul and Linda Welsh John Muir Betsy and Douglas Wenny Marilee Mullett Robert Wheatley J. Sue Muzzi Betty Wier Donna M. Myers Hirsch and Amelia Wierzbicki George and Bette Neuman Gary L. Willoughby Elena Norman and Darryl Flaherty Steve Zimmerman and Laurie Ross M.J. Oakberg Niina Oja Up to $100 Aileen and Frank Parrish Anonymous (5) Mr. Juergen N. Peters Rosita M. Abel Robert C. Porta Alp Akalin Susan Swan and Warren Pratt David Allen Michael Lavelline and Jacqueline Prior Jean Basore Coralie Pryde James Beatson Ben and Cathy Raphael Shazia Bhat Sergio Ricardi Joyce Bischoff Mr. and Mrs. Alexander Roe Nancy H. Blance David and Deborah Ross Mary Eugenia Bonner Margaret Rovner Agnes and Carl Boxhill Peggy and Richard Sacher Robert and Margaret Bradley Ronald Samuels Susan Brandes Patricia Saunders Gary and Susan Bryde Richard Scalenghe John Burke Connie Schappell and Grant Reed Stanley and Roberta Burnett Randall Schuler and Suzanne Jackson Tony Burns Ida and Isador Schutzman Fund Susan Burns John and Barbara Sheridan Thomas M. Butler Mr. and Mrs. C. Shields Peter and Frances Buttenheim
Laura Casalvera Claudia Hughes Alan Centa Amy Hunter H. Beatty Chadwick Peter Jansson Yetta Chaiken Holly Jones Carla Chance Douglas Jumps Joel Chodos Doria Keating Jon Clow Rob Kennan Elizabeth Cochran Edward Kepka Susan C. Corkran Joan Kilburn Douglas Cox James Klingensmith Ida Crist Tamara Knehnetsky Susan Davi Joshua Kovach and Naomi Gray John Day Daniel and Barbara Krieger Joan Delfattore Margaret M. Krivda Charmaine Denver Ursula Kroll Ken Dickens James Krum Marianne Dolente Harry and Evelyn Kutch Mick Donnelly Leo and Mary Landoll Sue Driscoll Deborah Layton Luther Dunn Bertram and Rochelle Levin Jamie Dybdahl Joanne Linton Bob Emmons Irene Lipperini Anne Ennis Joyce Longworth Robert Erdody Jeffrey and Wendy Lott Bronwen Everill Rosaria Macera Cheryl and Richard Everill Lianna Magerr Mary M. Fasano Hank and Lloyd Maier Frank Fawcett Gerda Malone Barbara Fedeler Barry and Barbara Marrs Francis and Carolyn Fierro Michael and Janine Martin Richard Fischer Roger and Mary Clare Matsumoto Rebecca Fisher Nancy Mayer Thomas Foster Robert McGovern Masaaki Fujiki Millie Miller Dennis Gallagher Jon Moynihan Catharine Glober Joseph and Marion Mulshenock Larry Good Luis Murillo Richard Gordon Mrs. Richard B. Murray Nancy Gower Mark Noveck Grayfred and Lois Gray Lynne Olive Ronald and Margaret Gray Jeffrey Ostroff Anne Gross Sandra Pace Peter and Suzanne Grumbacher Eleanor Pages Olga Grushin Todd and Susan Palmer Robert Guy Mary Joan Pancoast Karan Hamel Judith G. Payson Anne Marie and Thomas Higley David and Sharon Peacefull Louis and Karen Himelreich Joseph Pitula Mr. George Hooper Mr. and Mrs. Paul Pringle Pamela Hugelin and Clem Padin Julieanne Reeder
Margo Reign Leonard Rissolo Kate A.W. Roby Julie Rodowsky David and Lisa Rosenstein Marie Russell MD Dennis Schuell Simon and Jill Shute Russ Smale Suzanne Smiley Kathleen D. Smith Margaret Smith John and Phyllis Smoyer Lita Sohn George Spae Mr. and Mrs. Robert Statz Paul Steel Francis and Ann Trzuskowski Barbara Tucker Anne Zwick Turner Robert D. Ullrich Dr. Andrew W. Urquhart Lisa Vaupel Betty Wagner Mr. and Mrs. Richard L. Waibel Mark and Anya Ward Barbara Warnell David and Jane Waterman Bernice Weinacht Cathleen White Mary C. Wilcosky Mrs. Marcia Wilson Mrs. Frederick A. Wolff Katharine Wolverton Maryanne Yingst Margo Zitin Rebecca and James Zug Michael Zwicke *deceased
2020-2021 Board of Directors Officers Board of Directors David J. Kubacki Matthew D. Di Guglielmo, MD, PhD President Jim Ellison, MD, MPH Charles W. Babcock, Esq. Jimi Honochick Vice President Shelley A. Kinsella, Esq. Alicia R. Hughes, Esq. Michael Maxwell, Esq. Vice President David McBride, Esq. Patricia Zaharko Robert D. Stoddard Treasurer David Amado, ex-officio Debbie L.W. Green J.C. Barker, ex-officio Secretary Elizabeth Cochran, Musician Representative Rosaria Macera, Musician Representative Tatiana Copeland, President Emerita DSO Staff David Amado Music Director J.C. Barker Executive Director Susan Driscoll Director of Finance Elizabeth Jaffe Education Director Joshua Kovach Orchestra Personnel Manager and Librarian Stephen Manocchio Technical Director Martin Martinez Director of Communications and Marketing Michael Mekailek Director of Patron Services
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