Featuring Kenneth Holzworth, trumpet
& members of the ASO Fan Club
Coriolan Overture – Ludwig van Beethoven
Four Hymns without Words – Adolphus Hailstork
Kumbaya – Arranged by Tim Berens
Symphony No.5, op.67, C minor – Ludwig van Beethoven
6:50 p.m. Preconcert talk, Archer Auditorium
Dear Friends,
The Ashland Symphony Orchestra warmly welcomes you to our 55th season! Our Grammy Award-winning Music Director and Conductor, Michael Repper, with his unwavering enthusiasm, creativity, and passion, is embarking on his third year leading the orchestra. Michael continues to curate a diverse repertoire that blends both traditional and innovative selections, expanding the boundaries of ASO’s musical exploration. Guided by the exceptional talents of our ensemble of musicians, whom we wholeheartedly applaud for their outstanding contributions, we eagerly anticipate another year filled with high quality performances. Together, our musicians, conductor, board of directors, and Executive Director work in a collaborative spirit to deliver symphonic experiences that unite, educate, and enrich our community through the transformative power of orchestral music. Please join us on the journey. We hope you find it inspiring and refreshing. We sincerely thank you for your support.
Happy Listening!
Allan Andersen, President
ASO Board of Directors
Dear Ashland Symphony Orchestra Patrons,
I’m finding it hard to believe that this is already the start of my third season as Music Director of the Ashland Symphony. Ashland is one of the most special places anywhere in the world. Nowhere else that I have traveled exhibits the same level of community spirit and harmony, two of the most important ingredients for sustaining orchestral music. The symphony truly lives up to its moniker of being a jewel of Ashland County — indeed it is a jewel of the world!
An Ashland Symphony Orchestra Fan Club member named this season “Invigorated!” I couldn’t agree more. Each concert packs an excitement that you will feel viscerally, and the orchestra will continue to cement its reputation for energetic performances and versatile programming. We look forward to performing music from across the spectrum, new and old, familiar and unfamiliar, in an accessible and inviting way. Please, don’t forget to come early to the pre-concert talks, where we have the opportunity to connect deeper about the music!
See you at Archer, everyone! It’s going to be a great year —
Michael Repper
Music Director and Conductor
Ashland Symphony Orchestra
Here’s to another decade (I hope!) with the ASO. As the season title suggests, I am invigorated and looking forward to the exciting and unexpected works programmed by Michael Repper. This year will combine new pieces with old favorites and showcase music composed by women and people of color as well as the old masters; and we will share the stage with the magnificent violinist Grace Park and the Columbus duo Honey and Blue.
When I asked the Fan Club to help with titles for the season and the concerts, Ashland High School student Eva Early got to work. She came up with “Invigorated” and titled 4 of the 6 concerts. We are fortunate to have so many young listeners attend our concerts and support the ASO with their enthusiasm and volunteerism. For more information about the Fan Club, visit https://www.ashlandsymphony.org/fan-club/.
Be sure to invite your friends, family, and colleagues to come “Listen to what people are talking about!”
Martha Buckner
Executive Director
Ashland Symphony Orchestra
Conductor Michael Repper’s work spans six continents. In 2023, he became the youngest North American conductor to win a Grammy® Award in Best Orchestral Performance. He has an international reputation for engaging and exciting audiences of all spectrums, and for promoting new and diverse musical talents.
Repper is currently the Music Director of the Ashland Symphony Orchestra, Mid-Atlantic Symphony Orchestra, and the Northern Neck Orchestra of Virginia. He recently concluded tenures as Music Director of the New York Youth Symphony at Carnegie Hall, and as Principal Conductor of Sinfonía por el Perú, the elite youth orchestras and choruses of one of South America’s most versatile social impact music programs. Repper was the Baltimore Symphony Orchestra Conducting Fellow for two seasons, and he served as the BSO’s New Music Consultant. Recognizing his success at these ensembles, and his growing profile as a guest conductor all over the world, Repper was awarded a Solti Foundation US Career Assistance Award in 2020, 2021, 2022, and 2023.
His album with the New York Youth Symphony, which features debut recordings of works by Florence Price, Jessie Montgomery, and Valerie Coleman, achieved widespread critical acclaim, reached #1 on the Billboard Chart, and won a Grammy® Award, marking the first time a youth orchestra achieved this milestone.
Repper has collaborated on large-scale productions of symphonic and theatrical works with the Weill Music Institute at Carnegie Hall, the Chicago Symphony Orchestra, Ravinia Festival, Peabody Institute of Music, and the New School of Music, among others. An avid pianist, he regularly performs as a soloist alongside his orchestras.
Alongside the standard repertoire, Repper is especially invested in programming new music and showcasing fresh talent. His ensembles have performed dozens of world premieres and pursued innovative commissions, as well as a variety of Carnegie Hall premieres from established and emerging composers.
His experience with choruses has been recognized with significant positions, including his tenure as the Music Director at the Baltimore Basilica, the first Catholic Cathedral in the United States. Internationally, Repper has performed with highly regarded ensembles and in the world’s greatest venues, including the São Paulo Symphony, and at the Palau de la Musica in Barcelona, Carnegie Hall, and others.
His discography includes the aforementioned album of music with the New York Youth Symphony, alongside an album with the Grammy®-Nominated Metropolis Ensemble and Grammy®-Winning Brooklyn Youth Chorus (“Musical America”), and several with the Peabody Institute as an Assistant Conductor. With the New York Youth Symphony during the Coronavirus pandemic, he was one of the first to pioneer the practice of distanced orchestral performance videos, and he made two performance appearances on CNN, the final one with Platinum-Artist Billy Ray Cyrus.
Repper complements his work with professional orchestras with a firm commitment to education, and travels worldwide to work with ensembles of young musicians. As Artistic Director of the Chamber Music Society of Maryland, he ushered in a slate of innovative educational programming, such as the Reinecke Youth Chamber Music Scholarship and Fellowship Program. He has conducted several masterclasses for orchestras from all over the United States on behalf of the New York Philharmonic, and conducts side-by-side and educational concerts with major orchestras, including the Baltimore Symphony, the Colorado Symphony, and the Sarasota Orchestra.
Repper’s most influential conducting mentors are Marin Alsop and the late Gustav Meier. He believes that a conductor’s main role is to connect people and to use performance as a vehicle for positive change. He aims to promote a diverse and inclusive future for the arts, and to pay forward the passion for community that his mentors demonstrated to him.
BEETHOVEN, Ludwig van: Coriolan Overture, op.62 (1807)
Instrumentation: flutes, oboes, clarinets, bassoons, horns, trumpets, timpani, strings
Duration: 8 minutes
Beethoven wrote almost a dozen overtures, the most famous, of course, being the four that are connected with his only opera, Fidelio. Some are awful, like Wellington’s Victory, and others are of the stellar quality that the composer’s name evokes. Coriolanus was a play about the tragic Roman general, who was torn between his plan to revolt and the entreaties of his mother and wife to abandon his scheme. Beethoven was familiar with the story through both the works of Shakespeare and Plutarch, but Beethoven’s overture was written for the play of a minor literary contemporary, Heinrich von Collin. Completed in 1807, after having written and revised the overtures to Fidelio, Beethoven obviously approached the composition of this overture immersed in the themes of moral conflict and their resolution that inform the opera. It is easy to hear this conflict from the beginning in the dynamic and incisive themes that vie for superiority in the structure of the composition. It is typical of Beethoven in that–although the overall form is the usual sonata allegro form, with its characteristic recapitulation at the end–he does not simply resolve conflict with traditional musical “consensus.” Rather, he transforms and alters one of the themes in a way that parallels the movement of Coriolanus’ change in personal character–reaching a new plateau of psychological identity. In a nutshell, then, we see one of Beethoven’s characteristic concerns in his approach to drama in music.
–Wm. E. Runyan
© 2015 William E. Runyan
HAILSTORK, Adolphus: Four Hymns Without Words (2018)
Instrumentation: flute, oboe, clarinet, bassoon, horns, trombones, timpani, strings, solo trumpet
Duration: 10 minutes
Adolphus Hailstork’s Four Hymns Without Words for Solo Trumpet and Orchestra is a work that explores themes of spirituality, reflection, and musical expression without the use of traditional lyrics. Hailstork, known for his blending of classical music with elements of African-American traditions, uses the trumpet as a solo voice that conveys deep emotion, with the orchestra providing a rich sonic landscape to complement the trumpet’s narrative.
The title Four Hymns Without Words reflects Hailstork’s intent to create pieces that convey the solemnity and depth of hymns but do so through instrumental means alone. The work is structured in four movements, each one serving as a distinct musical expression, allowing the listener to experience the varying emotional and spiritual qualities that can be captured through instrumental music.
Many composers have written some versions of “songs without words,” most notably Felix Mendelssohn, who wrote forty-eight such works of music between 1829 and 1845. By and large, these are short melodies, which could easily have lyrics – but where the melodies speak for themselves without words.
Hailstork’s Four Hymns Without Words each 2-3 minutes long. The opening movement introduces the listener to the rich, lyrical qualities of the trumpet. It is marked by sustained notes and sweeping phrases that give the movement a prayer-like character. The orchestra provides an understated accompaniment that supports the trumpet’s emotional expressiveness, setting a contemplative tone for the rest of the work.
The second hymn is a march that is reminiscent of a church procession. The third hymn is slower, lyrical, and reserved, and the fourth is exuberant. The fourth begins with a short cadenza (solo section) by the trumpeter, who heralds the orchestra into action.
Overall, Four Hymns Without Words demonstrates Hailstork’s command of both orchestral color and the expressive capabilities of the trumpet. Through its four movements, the piece invites the listener into a deeply spiritual realm, where emotion and musical narrative are conveyed solely through instrumental means.
–Michael Repper
TRADITIONAL, Arranged Tim Berens: Kumbaya
Instrumentation: strings, djembe
Duration: 4 minutes
“Kumbaya” is a traditional spiritual song whose origins are often traced to the Gullah people of the South Carolina and Georgia coastal regions in the early 20th century. The title, “Kumbaya,” is derived from the Gullah phrase “Come by here,” a call for divine presence, help, or intervention during times of struggle or distress. Its gentle, repetitive melody and poignant lyrics evoke a sense of yearning, community, and hope, reflecting the deep spiritual connection that often characterizes African American folk traditions.
The song gained widespread popularity in the 1930s and 1940s, especially through its inclusion in various hymnals and folk music compilations. Over the decades, “Kumbaya” has become a staple of campfires, protests, and religious services, transcending its origins to serve as a universal symbol of unity and compassion. In its simplest form, the song is a call for togetherness, with its heartfelt refrain inviting individuals to come together in peaceful solidarity.
Each repetition of the phrase “Kumbaya, my Lord” builds on the emotional resonance, drawing the listener into a shared experience of both longing and comfort. As you listen to this performance, consider the enduring power of “Kumbaya” to bring people together, reminding us of the need for compassion and understanding in the face of adversity. Whether sung in times of joy or sorrow, its message remains timeless and its spirit, ever-relevant.
The Ashland Symphony Orchestra is joined in its performance of Kumbaya today by students: Violin – Myles Bunt, Lukas Christian, Lucy Huestis, Kloey Kaeser, Emmalena Kalisz, Cecilia Kettering, Elliana Selvage, and Audrie Shirley; Cello – Addie Cohen and Scarlett Wilhelm; Bass – Claire Huestis and Mile McDonald; Sign Language – Elizabeth Arnold.
–Michael Repper
BEETHOVEN, Ludwig van: Symphony No.5, op.67, C minor (1807-1808)
Instrumentation: flutes, piccolo, oboes, clarinets, bassoons, contrabassoon, horns, trumpets, trombones, timpani, strings
Duration: 36 minutes
Beethoven’s fifth symphony is the iconic work of classical music. It pervades the whole world of symbols and imagery of musical art as an evocation of a welter of ideas. In a sad way it is almost impossible to escape all of these associations extrinsic to the work itself and to focus only on Beethoven’s composition. But distancing oneself from it all and listening to the symphony as if for the first time can be a joy—as this writer has found, sitting in the best seat in the house (in the back of the orchestra).
By the time that Beethoven had composed this work he was a well-respected composer in Vienna, but certainly not hailed as a genius. The first three symphonies, three piano concertos, piano sonatas, string quartets—all had bolstered his growing reputation before he finished this symphony. It took him rather a long time, almost four years, as he interrupted his work frequently to produce some significant compositions: The Razumovsky string quartets, the fourth symphony and fourth piano concerto, and the first version of his only opera, Fidelio. Beethoven was a practical man, and when a commission materialized, he shifted his work to where the money was. He finally ground out the completion of the fifth symphony and presented it on an ill-starred concert at the Theater an der Wien on December 22, 1808. It was an all-Beethoven affair, presenting the premières of not only the Fifth Symphony, but also the Sixth Symphony, the Fourth Piano Concerto, and the Choral Fantasy (a precursor to his Ninth Symphony), as well as various other compositions. The concert was four hours long and the hall was literally freezing. Moreover, Beethoven, who was conducting, had to start over in one work after a mistake derailed things. The proceedings were not helped by his awkward, grand-eloquent conducting which led to knocking over some lamps and accidentally smacking an unfortunate stagehand in the face. All of this was soon forgotten and the written record shows that Beethoven’s fifth symphony was quickly accorded general acclaim and was on its way to immortality.
The defining characteristics of the work are well known, and focus upon rhythmic vitality, a thitherto unknown sense of drama, and imaginative structural details–but most of all, upon a stunning coherence and economy of elements. The latter is the foundation of the first movement, famous for its four-note motto beginning and the “wringing” almost to death of every musical possibility of the short idea. Forget “fate knocking at the door,” this is simply a dramatic tour-de-force of musical coherence. And even if one ignores the adroit manipulation of the melodic content of the opening idea, it is astonishing how well the movement stands upon its own feet from a purely rhythmic perspective.
The second movement is an elegant set of variations on two themes. The key of the movement is A-flat , and even if most of us do not have perfect pitch, it just “sounds” fresh and unexpected when the violoncellos and violas enter with one of Beethoven’s most ingratiating melodies in that particular key. The second theme is a more triumphant one, in C major, another remote and refreshing key. The variations gracefully work themselves out with these contrasting themes in a movement quite different from the first.
The third movement is the traditional dance movement, here cast in Beethoven’s innovative “scherzo” rhythm—the stately dance of his predecessors being sped up considerably. But it’s not a rollicking good time to be had by all, here. Rather, it opens with a mysterious arpeggio in the low strings that ends shortly on some chords with enigmatic meaning. Soon this is shatteringly interrupted by the unison horns in a virile melody that seems related to the opening of the symphony. The middle of the movement, called the “trio,” is usually an opportunity for contrast, and we do get it. It starts out contrapuntally with a vigorous and challenging passage for the violoncellos and double basses—it’s a famous one! They snarl and shake it like a dog. Ultimately, a truncated version of the opening returns, but even softer, and here is where real magic occurs.
Beethoven “bridges” the transition into the last movement with a delicate solo passage in the first violins played over pianissimo sustained notes in the seconds and violas—the basses and timpani softly “throb.” In one of the most eerie and tension-building passages in all the literature the melody snakes up and down in a crescendo that jubilantly leads to the C major theme that resolves all previous “troubled thought.” For this glorious moment Beethoven brings in three trombones, contra-bassoon, and piccolo—thitherto found only in the opera orchestra. The last movement is long, as three themes are worked over, interrupted only by the striking innovation of a brief reference to the third movement. It’s as if Beethoven is saying, “OK, we win, but it may be only a brief victory.” The recapitulation ensues, followed by an enormous coda—longer than any other section so far. We hear the main three themes again, only in a kind of reverse order. The long coda is needed to erase all doubt as to what prevails over the diversions and dark moods of the other three movements. Victory is ours, and the fifty or so measures of emphatic C major chords seal the finale.
–Wm. E. Runyan
© 2015 William E. Runyan
Kenneth Holzworth, Principal Trumpet, Ashland Symphony Orchestra
Ken Holzworth served 20 years in the United States Army Band (Pershing’s Own) in Washington DC. While serving in the Army Band, he performed in 5 Inaugural Parades, 2 Olympic Games and many national and international military band events, including International “Tattoos” in Canada, Turkey, and Holland. Ken was also selected to perform with the elite “US Army Herald Trumpets” which performed regularly at the White House for presidential ceremonies. In addition to military duties, Ken was able to serve as a private instructor, clinician, adjudicator as well as a free-lance artist in the Washington D.C. area. Having a security clearance, he was asked to play a different role at the White House as Rudolph the Red-Nosed Reindeer for inner-city children during the Christmas season.
Ken received a Doctor of Musical Arts degree from The Ohio State University. He holds the principal trumpet positions with the Ashland and Mansfield Symphonies. Ken’s interest in music education led him to become an adjudicator for several musical organizations, including the Ohio Music Education Association, Central States Judging Association, World Strides On Stage, and Music in the Parks. He is also active as a performer and clinician.
Samuel Rotberg, Concertmaster
James E. Thomas Endowed Chair
Jane Reed
Stephen Domka
Joshua Chan
Mary Ann Basinger
Cassandra Bryant
Mary Kettering, Principal
Ania Kolodey
Wanda Sobieska
Michael Sieberg
Eva Mondragón, Principal
Joshua Bowman
Jamie Thornburg
Lee Wilkinson
Jeffrey Singler, Principal
Rosa Balderrama
Matthew Rhee
Eric Hoffman
Bryan Thomas, Principal
Moses Carreker
Jeff Weeks
Lisa Jelle, Principal
Carol Oberholtzer
John H. Landrum Endowed Chair
Denise Rotavera-Krain
Andria Hoy, Principal
Stefanie Minter
Thomas Reed, Principal
Joe Minocchi
Zachary Elmore, Principal
Luis Torres
Derek Schraufstetter, Contrabassoon
Laura Makara, Principal
Timothy Stewart
Kenneth Holzworth, Principal
Isaac Winland
Michael Grady, Principal
Brian Griffin
Charles Bradley II
Kirk Georgia, Principal
Torrell Moss, Principal
Lawrence & Catherine Hiner Endowed Chair
Our ushers and volunteers
Philip McNaull, Technical Director
Aidan Campbell, Assistant Technical Director
Seth Morrison, Stage Manager
Bryce Bishop, Assistant Stage Manager
Garth Boyd, Substitute Stage Manager
Jen Burford, House Manager
Ashland City Schools for its continued support of the arts
Roger Price, Professional Voice Actor & Announcer, www.RogerzVoice.com
Please silence all electronic devices.
No flash photography or audio/visual recording permitted.
No food or drink permitted in the Robert M. & Janet L. Archer Auditorium.
Music Sponsor: Bella's 220The individuals and associations listed on this page, by their support of the orchestra’s operating fund, make possible the continuance of the Ashland Symphony Orchestra. Additional support is needed and will be most welcome at any time throughout the year. If there is an error, please notify the office. Donations listed as of 01/25/25.
Celebrate A Birthday! Welcome A New Neighbor! Honor A Memory! Celebrate A Promotion!
The Ashland Symphony will recognize the people or events in your life with a letter that you have donated in their honor to the Ashland Symphony Orchestra. Please send us that person’s name, address and the event along with your donation and we will send a personalized note acknowledging your thoughtfulness along with the printed celebration text in the upcoming program. Call 419-289-5115 for more information.
‡Sponsor – sponsorships are still available for this season. Call 419-289-5115.
*Additional gift given to the Change for Music Education Campaign
Pacesetters – patrons who pledged on or before July 31, 2023 are indicated in bold.
Name in italics – increased pledge by at least 10%
NAME IN ALL CAPS – increased pledge to move up to a new giving level
Robert M. and Janet L. Archer‡
Ashland University, in-kind support
Hugo H. and Mabel B. Young Foundation
Ohio Arts Council
Samaritan Hospital Foundation‡
Susan Lime
Loudonville Theatre and Arts Committee
Trinity Lutheran Church – Rybolt Fund‡
Charles and Peggy Ulrich
Anonymous
Ashland City Schools‡
Stan and Diana Brechbuhler
Forrest Conrad
THOMAS AND KRISTIE DONELSON‡
Barbara Glenn
Grandpa’s Cheesebarn & Sweeties Chocolates‡
Michael and Seiko Hupfer
DAVID C. KOWALKA
Antonio and Karen Marallo
JOHN AND DIANE PAULSON‡
Alan and Marjorie Poorman
BCU Electric‡
CHARLES AND MELODY BARNES
Martha Buckner
James and Kristi Cutright
JEAN DIERCKS
GRETCHEN AND G. DAVID EMERY
BETTI AND JOHN FRAAS
Catherine Hiner
TERRI COOPER HUDSON
Bud and Cuda Ingmand‡
PACKAGING CORPORATION OF AMERICA‡
PEACE EVANGELICAL LUTHERAN CHURCH‡
Jon Parrish Peede and Rev. Nancy Hollomon-Peede
John and Dana Sherburne*
John and Jeanie Shultz
Spreng Smith Agency‡
Wappner Funeral Directors
Dr. JoAnn Ford Watson*
ALLAN AND MARY-ROSE ANDERSEN
Ron and Lisa Blackley
John and Lori Byron
Angie and Adam Cirone
RON AND CAROLYN MARENCHIN‡
Thomas and Jane Reed
Bill and Chris Strine
Dr. Stephen and Peggy Yoder*
BAKER BOWMAN & CO.
Dr. Sara Battison
Bella’s 220‡
Doug and Susan Blake
Brethren Care Village‡
TED AND PATRICIA BYERLY
Doug and Ruth Cellar
Betsy Chapman
Charles River‡
Coldwell Banker Ward Real Estate
Comfort Control‡
Tim and Anne Cowen
Robert and Jan Cyders
BROOKE DaHINDEN
Ray and Cherie Dever
Explore Ashland‡
Fig & Oak
Dr. Lucille Ford
Don and Barb Gilbert
Robert and Vickie Groenke*
ED AND KAREN GROSE
Louise E. Hamel
Jan W. and Sharon Howe
Loretha Kline
Stan and Carol Kopp
Fred Lavender
Lighthouse Wealth Management‡
Dann and Connie Marble*
Mel McKeachie and Melody Snure
Tom and Mary McNaull*
Miller’s Hawkins Market‡
PAM AND MIKE MOWRY
KEVIN AND CAROL OBERHOLTZER
Bob and Jayne Roblin*
GORDON AND JANE RUGGLES
Debbie Seaman*
D.R. and C.L. Sedwick
SARAH SHEPHERD
Dorothy Stratton*
Michael and Deborah Sulllivan
Robert and Trina Swan
Ralph and Betty Jo Tomassi
Ann and Scott VanScoy
Russell and Jan Weaver
Whitcomb & Hess Inc.
Tim and Linda Workman
Abbott Laboratories
Lucy Amsbaugh
Myron and Carolyn Amstutz
Ashland Noon Lions
SHIRLEY BOOKMYER
Joe and Pat Denbow
Roger and Nancy Fox
Dr. Robert and Susan Gregg
Jan Hamilton
Dan and Linda Hawk*
Henry and Norma Hiner
Barbara Hoshiko
Irwin & Associates, CPA’s
Tom and Jane Jacques
RON AND BARB LEDDY
Robert and Shirley Matz
TIM AND BEVERLY MCMILLAN
JACK AND DIANE MESSNER
Ken and Sheila Milligan
Larry and Diane Moretz
Dick and Carol Obrecht
DAN AND LISA PETERSON
Lana M. Potter
Thomas and Diane Rohr
ST. MATTHEW’S EPISCOPAL CHURCH
Glen and Judy Stewart
Gene and Sally Telego
LEROY WEAVER
Hal and Betsy Weller
Susan Whitted
Daniel and Rita Wierbiki
Steven and Marla Willeke
ANONYMOUS in honor of Martha Buckner
Sally Ahlers
Larry Ames and Teresa Durbin-Ames
ASHLAND MUSICAL CLUB
Denise Brown
William L. Buckingham
Law Office of Andrew Bush
Dr. and Mrs. Thomas Castor
MADELINE COLE
Dennis and Polly Davis
Dave Early
John and Diane Emser
Betty Garrett
David and Debby Gray*
Gene and Jan Haberman
Tom and Chris Herron
Gary and Cheryl Hildebrand
Rebecca Humrichouser*
Stanley and Joyce Hunt
Bob and Colleen Jackson
Tom and Marilyn Koop
John and Laurie Maurer
Maurer Photography
Shirley Minner
Barb Queer
KAREN REAUME
Jane Roland
Rita M. Roper
Patty Saunders and Soren Brauner
Paul and Barbara Schantz
Jack and Nancy Smith
Melody Snure in honor of Mel McKeachie’s 90th birthday
Roger Snyder
Rev. Tom and Kitty Snyder
Michael and Nancy Udolph
RUSS AND KATHY WHISLER
RON AND JP WHITELHILL
Dr. JoAnn Ford Watson in memory of Dr. Lucille Ford
Anonymous
DOUGLAS AND REBECCA ABEL
Ashland Board of Realtors
Athena Study Club in memory of Donna Weaver
Jeffrey and Diane Bonfiglio
Joe Gorsuch
Darcie Gilbert and Chris Koch*
Bonnie Graves
FRANCES HAMILTON
Rev. J.D. Hylden
Kay Krueger
Bill and Barb Latham
Carl and Sandra Leedy
Josiah L. Mason
Gaylord and Carol Meininger
Alice L. Metcalf
Patricia Peck
Patricia Perez in memory of Donna Weaver
Petal Pushers Garden Club in memory of Donna Weaver
Pamela Potter
James H. Prinz
Doug and Natalie Scott
S. Kris Simpson
Dorothy Stitzlein
Dale and Jody Thomae
In 1997, Bob and Jan Archer established the first donor fund through the Ashland County Community Foundation to benefit the Ashland Symphony Orchestra. The ASO then partnered with the ACCF in 1999 and created the “Ashland Symphony Orchestra Fund in Memorium of James E. Thomas”. Since then, three new agency funds and fourteen additional donor advised or designated funds have been established! The Ashland County Community Foundation can assist you in creating a fund to benefit the Ashland Symphony Orchestra now or as part of your estate plan. For more information, call the Foundation at 419-281-4733.
Donations may be made to existing endowments at any time. Contact the Foundation for more information www.ashlandforgood.org.
*To contribute to these funds, please send donation to Ashland Symphony Orchestra, 401 College Ave., Ashland, OH 44805.
Robert M. & Janet L. Archer Fund est. 1997
Ashland Symphony Orchestra Fund in Memorium of James E. Thomas est. 1999*
ASO Podium Endowment Fund in Honor of Maestro Arie Lipsky est. 2018*
ASO Harold Weller Music Education Endowment Fund est. 2019*
gift from Nick & Edna Weller Charities: Harold & Betsy Weller and Thomas Weller
ASO Rev. John H. Landrum Memorial Endowed Chair for Flute 2 est. 2020*
gift from Marybelle H. Landrum
Ashland Symphony Orchestra est. 2000
Mary M. Case Memorial Fund est. 2005
Ann K. Guthrie Fund est. 2009
Arie Lipsky Honorary Endowment Fund est. 2010
Kopp Family Fund est. 2011
Dr. Alvin W. Garrett Fund est. 2017
William and Marlene Rose Fund est. 2017
J. Robert and Ruth L. Tipton Fund est. 2017
Dr. JoAnn Ford Watson Fund est. 2017
Dr. Beverly Bixler Fund est. 2018
Billy Harris Charitable Fund est. 2018
Lawrence and Catherine Hiner Endowed Chair for Percussion of the ASO Fund est. 2020
John R. Donelson for the benefit of the ASO est. 2021
Elizabeth Pastor Fund for the benefit of the ASO est. 2021
F. Dean and Joan Bartosic Family Fund for the benefit of the ASO est. 2023
Julia A. Wright Fund for the benefit of the ASO Fund est. 2024
