And the Symphony said, “Amen!”

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.

Amen!

Composer: Carlos Simon

Year: 2017 (Revised 2019)

The orchestral arrangement of AMEN! (2017) was commissioned by the Reno Philharmonic (Laura Jackson, conductor), Gateways Music Festival (Michael Morgan, conductor) and the American Composers Orchestra.

AMEN! (2017) was commissioned by the University of Michigan Symphony Band and is a homage to my family’s four generational affiliation with the Pentecostal church. My intent is to re-create the musical experience of an African American Pentecostal church service that I enjoyed being apart of while growing up in this denomination. Pentecostal denominations, such as: Church of God in Christ (C.O.G.IC.), Pentecostal Assemblies of God, Apostolic, Holiness Church, among many others, are known for their exuberant outward expressions of worship. The worship services in these churches will often have joyous dancing, spontaneous shouting, and soulful singing. The music in these worship services is a vital vehicle in fostering a genuine spiritual experience for the congregation.

The three movements in AMEN! are performed without break to depict how the different parts of a worship services flows into the next. In the first movement, I’ve imagined the sound of an exuberant choir and congregation singing harmoniously together in a call and response fashion. The soulful second movement quotes a gospel song, “I’ll Take Jesus For Mine” that I frequently heard in many services. The title, AMEN!, refers to the plagal cadence or “Amen” cadence (IV-I), which is the focal point of the climax in the final movement. Along with heavily syncopated rhythms and interjecting contrapuntal lines, this cadence modulates up by half step until we reach a frenzied state, emulating a spiritually heightened state of worship.

©Carlos Simon, 2017
https://www.carlossimonmusic.com/works/amen-2017-rev-2019

Faust Overture, op.46

Composer: Emilie Mayer (1812–1883)
Year: 1855

Overview:
Emilie Mayer’s “Faust” Overture, composed in 1855, stands as a vibrant testament to her unique voice in the classical music landscape of the 19th century. Mayer, a prominent German composer, was known for her orchestral works and her ability to infuse dramatic narratives into her music. This overture, inspired by Johann Wolfgang von Goethe’s monumental play Faust, captures the essence of the play’s profound themes through a vivid orchestral palette.

Inspirations and Context:
Goethe’s Faust is a rich tapestry of existential questions and dramatic conflicts, exploring themes of ambition, morality, and redemption. Mayer’s overture serves as a musical prologue to this epic story, encapsulating the emotional depth and complexity of Faust’s quest for meaning and salvation. Mayer’s choice to interpret Goethe’s work through music allowed her to engage with these themes in a purely instrumental form, showcasing her ability to convey narrative through orchestral color and texture.

Musical Analysis:
The overture begins with a dramatic and imposing introduction, setting a tone of tension and foreboding. This initial section reflects the existential struggle and the dark elements of Faust’s journey. The music quickly evolves into a more lyrical and introspective theme, representing Faust’s contemplative moments and his search for enlightenment.

As the overture unfolds, Mayer introduces a series of contrasting motifs that represent different aspects of the play’s narrative. The music transitions between turbulent, dramatic passages and more serene, reflective sections, mirroring the internal and external conflicts faced by the protagonist. The use of dynamic contrasts and thematic development demonstrates Mayer’s skill in creating a compelling and engaging musical narrative.

The overture’s climax builds to a powerful and evocative conclusion, capturing the dramatic intensity and unresolved tension of Goethe’s play. Mayer’s orchestration emphasizes both the grandeur and the turmoil of Faust’s journey, culminating in a dramatic finish that leaves a lasting impression.

Performance Considerations:
Performers of the “Faust” Overture will find that it demands both technical precision and interpretative depth. The conductor should highlight the contrasting moods and thematic elements, guiding the orchestra through the work’s shifting dynamics and emotional landscapes. Attention to the interplay between different sections of the orchestra—particularly the tension between the strings and brass—will be crucial in achieving the overture’s full expressive potential.

Legacy:
Emilie Mayer’s “Faust” Overture remains an important part of her oeuvre, illustrating her ability to combine literary inspiration with musical innovation. Though Mayer was a contemporary of more widely recognized composers like Mendelssohn and Wagner, her work deserves recognition for its own merits. The overture not only reflects her skill in orchestral writing but also offers a compelling example of how women composers of the 19th century contributed to the rich tapestry of classical music.

Jesu, Joy of Man’s Desiring (from Cantata No.147)

Composer: Johann Sebastian Bach (1685–1750)
BWV: 147
Year: 1723

Introduction:
Johann Sebastian Bach’s “Jesu, Joy of Man’s Desiring” is one of the most beloved and frequently performed pieces in the classical repertoire. Part of Bach’s larger work, the Cantata No. 147 (“Herz und Mund und Tat und Leben”), this piece exemplifies Bach’s mastery of choral and instrumental writing. Written in 1723, “Jesu, Joy of Man’s Desiring” is celebrated for its lyrical beauty and profound emotional impact.

Historical Context:
“Jesu, Joy of Man’s Desiring” is taken from the cantata BWV 147, which Bach composed for the feast of the Visitation of Mary. The cantata is a multi-movement work originally written for a church service, with “Jesu, Joy of Man’s Desiring” being one of the final movements. The text of this movement, set to a hymn by Johann Schop, reflects a deep religious devotion and joy in Christ, capturing a sense of spiritual fulfillment and reverence.

Musical Structure and Analysis:
The piece is written in a Baroque style, featuring a blend of choral and instrumental elements that highlight Bach’s intricate counterpoint and harmonic skill.

1. Melodic and Harmonic Structure: The melody of “Jesu, Joy of Man’s Desiring” is both simple and profound, characterized by its flowing lines and repetitive, comforting phrases. It is based on a hymn tune by Johann Schop, but Bach’s arrangement adds a rich harmonic texture and counterpoint. The piece is set in a gentle 3/4 time signature, which contributes to its flowing and serene quality.
2. Instrumentation: The movement is typically performed with a string orchestra and continuo, along with a choir. The instrumental accompaniment provides a lush, supportive texture, while the choir’s voices weave through the melody with clarity and grace. Bach’s use of counterpoint in the instrumental parts enriches the texture and supports the hymn’s thematic material.
3. Text and Translation: The text of “Jesu, Joy of Man’s Desiring” is a hymn verse that praises Jesus as the source of joy and comfort. The lyrics speak of Christ’s role as a guiding light and a source of divine love, reflecting the Christian ideals of faith and devotion.

Legacy and Impact:
“Jesu, Joy of Man’s Desiring” has become an iconic piece in both sacred and secular contexts, frequently performed in concert halls, weddings, and other celebratory occasions. Its timeless appeal lies in its combination of simple yet profound melody with Bach’s sophisticated harmonic and contrapuntal techniques. The piece exemplifies Bach’s ability to express deep religious sentiment through music, making it a staple of classical repertoire and a cherished favorite among audiences and performers alike.

Sheep May Safely Graze (from Cantata No.208)

Composer: Johann Sebastian Bach (1685–1750)
BWV: 208
Year: 1713

Introduction:
Johann Sebastian Bach’s “Sheep May Safely Graze” is a cherished and evocative piece from his “Birthday Cantata” (BWV 208), composed in 1713 to celebrate the birthday of Duke Wilhelm Ernst of Weimar. This movement, originally written for solo voice and orchestra, is renowned for its serene and pastoral character, capturing the essence of the Baroque ideal of reflective and comforting music.

Historical Context:
The cantata BWV 208, also known as the “Hunt Cantata,” was commissioned to honor Duke Wilhelm Ernst, a patron of Bach during his tenure in Weimar. “Sheep May Safely Graze” is the third movement of this cantata and is a prominent example of Bach’s ability to convey pastoral imagery through music. The cantata celebrates the duke’s rule and the prosperity and peace it brings, with “Sheep May Safely Graze” serving as a musical ode to his reign’s idyllic and peaceful state.

Musical Structure and Analysis:
“Sheep May Safely Graze” is characterized by its gentle, flowing melody and rich harmonic texture. The piece is written in a lilting 3/4-time signature, which enhances its pastoral, bucolic quality.

1. Melody and Harmony: The melody of “Sheep May Safely Graze” is graceful and flowing, evoking a sense of calm and security. The text is set in a simple yet elegant manner, with a steady, rhythmic accompaniment that reinforces the pastoral imagery. The harmony is warm and consonant, supporting the melody with a rich, supportive texture that underscores the peace and tranquility described in the text.
2. Instrumentation: The piece is often performed with a small orchestra, including strings and continuo. The instrumental parts provide a lush, yet unobtrusive accompaniment to the vocal line, with the strings playing a prominent role in establishing the serene atmosphere. The gentle interplay between the vocal and instrumental lines contributes to the overall sense of calm and contentment.
3. Text and Translation: The text of “Sheep May Safely Graze” is a hymn-like verse that uses pastoral imagery to convey themes of safety and peace. The lyrics speak of the security and tranquility provided by a benevolent ruler, using the metaphor of sheep grazing safely in a protected pasture to symbolize the harmony and stability brought about by good governance.

Legacy and Impact:
“Sheep May Safely Graze” is celebrated for its lyrical beauty and its representation of Bach’s pastoral style. The piece has transcended its original context, becoming a favorite in both concert settings and as a standalone work. Its enduring appeal lies in its ability to evoke a sense of peace and security through its melodic simplicity and harmonic richness, showcasing Bach’s skill in creating music that is both emotionally resonant and technically refined.

Program Notes: MENDELSSOHN

Symphony No.5, op.107, D major (Reformation)

I. Andante – Allegro con fuoco

II. Allegro vivace

III. Andante

IV. Chorale: Andante con moto – Allegro vivace

Composer: Felix Mendelssohn (1809–1847)
Year: 1830–1832 (revised 1834)
Premiere: 1832 in Berlin

Introduction:
Felix Mendelssohn’s Symphony No.5, known as the “Reformation” Symphony, is a remarkable work that commemorates the 300th anniversary of the Augsburg Confession, a significant document of the Protestant Reformation. Completed between 1830 and 1832 and revised in 1834, this symphony stands out for its inventive orchestration and its incorporation of a Lutheran hymn into the symphonic framework.

Historical and Thematic Context:
The “Reformation” Symphony reflects Mendelssohn’s deep connection to his Lutheran faith and his admiration for the historical and spiritual impact of the Reformation. The symphony was commissioned to celebrate the Reformation’s role in shaping modern Protestantism. Mendelssohn’s incorporation of the hymn “Ein feste Burg ist unser Gott” (A Mighty Fortress Is Our God) into the final movement emphasizes the symphony’s thematic focus on faith and spiritual fortitude.

Musical Structure and Analysis:
The symphony is structured in the traditional four-movement format, each contributing to a cohesive narrative:

1. Allegro: The symphony opens with an energetic Allegro, characterized by its lively rhythms and vibrant orchestration. Mendelssohn sets a triumphant tone with a bold and engaging theme that is both dynamic and richly orchestrated. The movement showcases Mendelssohn’s skill in thematic development and classical form.
2. Andante: The second movement, Andante, provides a contrasting, serene atmosphere with its lyrical and introspective character. The movement features flowing melodic lines and a gentle, reflective quality, highlighting Mendelssohn’s ability to convey emotional depth and subtlety through orchestral color.
3. Allegro vivace: The Allegro vivace, the third movement, introduces a spirited and playful character. Its rhythmic vigor and engaging themes reflect Mendelssohn’s energetic style. The movement is notable for its buoyant rhythms and bright orchestral textures, maintaining a lively and joyful spirit throughout.
4. Allegro: The final movement is where the symphony’s Reformation theme comes to the forefront. Mendelssohn skillfully integrates the Lutheran hymn “Ein feste Burg ist unser Gott,” which serves as a powerful symbol of Reformation resilience. The chorale theme is presented in various forms and is woven into the movement’s fabric, culminating in a rousing and celebratory conclusion. This integration of the hymn into the symphonic structure underscores the symphony’s thematic focus on faith and renewal.

Performance Considerations:
Performers should approach the “Reformation” Symphony with an emphasis on its thematic contrasts and structural coherence. The conductor must balance the energy of the outer movements with the introspection of the Andante, while also highlighting the significance of the chorale in the final movement. Attention to the dynamic contrasts and orchestral color will enhance the overall impact of the symphony.

Legacy and Impact:
Felix Mendelssohn’s “Reformation” Symphony remains a distinguished piece in the symphonic repertoire, celebrated for its innovative use of chorale themes and its reflection on historical and spiritual themes. The symphony illustrates Mendelssohn’s ability to merge classical traditions with personal and historical influences, creating a work that is both musically sophisticated and deeply meaningful.

The Ashland Symphony Orchestra thanks

Our ushers and volunteers

Philip McNaull, Technical Director
Aidan Campbell, Assistant Technical Director
Seth Morrison, Stage Manager
Bryce Bishop, Assistant Stage Manager
Linda Hawk, Administrative Assistant

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.

Thank you for your cooperation.

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.

The Ashland Symphony Orchestra is thankful for the following funds:

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