Stargazing
Concert Program:
Stargazing
Starburst – Jessie Montgomery
Variations on a Rococo Theme, op.33, TH 57 – Piotr Ilyich Tchaikovsky
Aurelia Faidley-Solars, cello
Symphony No.4, op.60 B-flat major – Ludwig van Beethoven
President's Message
Dear Friends,
It is my honor to welcome you to the 54th season of the Ashland Symphony Orchestra. We look forward to seeing and hearing what our Grammy Award winning Music Director and Conductor, Michael Repper, in his second year, has in store for us. Michael’s enthusiasm, talent, and ability to “think outside the box” in dynamic, innovative, and delightful ways were evident in his inaugural year. He and our outstanding musicians presented an array of both familiar and new musical offerings and we look forward to more of that this year. As always, we strive to unite, educate and enrich our community through the engaging and transformative power of orchestral music experiences. We hope you find it inspiring and refreshing. Happy listening!
Music Director's Message
Dear Ashland Symphony Orchestra Patrons,
It is my great privilege to welcome you to our concerts at the marvelous Robert M. & Janet L. Archer Auditorium. I am incredibly proud to be taking the helm as Ashland’s new Music Director, and to continue to grow this jewel of Ashland County. We are going to make tremendous music together and enjoy a wonderful communal spirit. Our concerts are a place for everyone – come and enjoy, and be sure to introduce yourself! Our musicians and I are incredibly proud to share our work with you, and we hope you enjoy every minute!
Michael Repper
Music Director and Conductor
Ashland Symphony Orchestra
Executive Director's Message
I am excited to be celebrating my 10th season with the ASO! This “Fabulously (un)familiar” season will bring you works by the old masters: Beethoven, Brahms, Mozart, and Tchaikovsky. But you will also hear the world premiere of Stefan Swanson’s Symphony No.2 “Lipsky”, Iubilo by Brian Nabors, Starburst by Jessie Montgomery, and the artistry of the young cellist Aurelia Faidley-Solars, just to name a few of the unfamiliar musical experiences you will have.
Free tickets for children and students and the ASO Fan Club, for students in 9th-12th grade and college students, and the new ASO Fan Club Jr, for students in 4th-8th grade, bring young listeners to our concerts.
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
Music Director & Conductor
Michael Repper is one of the most sought-after young conductors in the world. With work spanning four continents, Mr. Repper has an international reputation for engaging and exciting audiences of all spectrums, and for promoting new and diverse musical talents. In 2023, he became the youngest American conductor to win a Grammy® Award in Best Orchestral Performance.
Mr. Repper is the Music Director of the Ashland Symphony Orchestra, Mid-Atlantic Symphony Orchestra, New York Youth Symphony, Northern Neck Orchestra of Virginia, and the Principal Conductor of Sinfona por el Peru, the elite youth orchestras and choruses representing one of South America’s most versatile social impact music programs. Recognizing his success at these ensembles, and his growing profile as a guest conductor all over the world, Mr. Repper was awarded a Solti Foundation US Career Assistance Award in 2020, 2021, and 2022.
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, a won a GRAMMY® Award, the first youth orchestra to achieve this milestone.
Mr. 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 and choruses, and as an orchestral player as well. Most recently, he played in the Chicago Symphony for their performances of Bernstein’s Mass, which was broadcast on PBS Great Performances.
Alongside the standard repertoire, Mr. 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. Mr. Repper was the Baltimore Symphony Orchestra Conducting Fellow for two seasons, and he served as the BSO’s New Music Consultant. A trusted ear, Mr. Repper is asked to assist and cover at orchestras nationwide, including the St. Louis Symphony, and for Naxos recordings with the Peabody Symphony Orchestra. 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, Mr. Repper has performed with some of the most highly regarded ensembles and in the world’s greatest venues, including the Sao Paulo Symphony, and at the Palau de la Musica in Barcelona.
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.
Mr. 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 conducts several masterclasses each year 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 and the Colorado Symphony.
Mr. 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.
Program Notes: MONTGOMERY
MONTGOMERY, Jessie: Starburst
Instrumentation: Strings
Duration: 3 minutes
Montgomery is a native New Yorker, a graduate of the Juilliard School in violin performance, and holds a master’s degree from New York University in music composition. Her publications focus on various combinations of strings, and enjoy wide performance popularity with noted ensembles throughout the country. She is a devoted supporter of educational activities, and youth musical ensembles. Her musical style is, if anything eclectic, and is obviously a reflection of the enormous variety of musical art in her native New York City. Mahler once somewhat fatuously remarked something to the effect that a symphony should contain “everything”. Well, Montgomery dips into a remarkable universe of musical traditions, and reinterprets them in her own voice just not all in one piece, of course.
Starburst was written in 2012 for the “Sphinx Virtuosi” the professional touring ensemble of the Sphinx Organization. The latter supports young African-American string players in the Detroit area; Montgomery is composer-in-residence for the organization. Starburst takes its title from the composer’s feeling that the young members of the “Sphinx Virtuosi”are rather like “new stars in a galaxy.”
A brief, but scintillating, affair, Starburst is a winsome example of much of new music of the twenty-first century. Montgomery is typical of young contemporary composers unhindered by the siren calls that dominated “academic” music of the second half of the twentieth century: complexity, dissonance, adherence to systems, and a general tendency to value art that is esoteric and recondite. Rather, the cheerful staccato perpetual motion and constant interplay of a seemingly endless variety of ideas and motives creates a vivacious sparkle that perfectly encapsulates the title of the work. While not exactly clearly establishing a key for the audience, Starburst is a pleasant exploration of familiar scales, chords, arpeggios, and melodic ideas that anyone can enjoy and recognize. But, of course, adroitly woven together into quite a new composition. Who should know better than the composer herself how to describe it?
“This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst, the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly, lends itself almost literally to the nature of the performing ensemble that premiered the work, the Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.”
—Wm. E. Runyan
©2021 William E. Runyan
Program Notes: TCHAIKOVSKY
TCHAIKOVSKY, Piotr Ilyich: Variations on a Rococo Theme, op.33, TH 57
Instrumentation: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, Strings, Solo Cello
Duration: 18 minutes
Tonight we have the pleasure of performing Tchaikovsky’s Variations on a Rococo Theme for Cello and orchestra. Except we won’t really hear Tchaikovsky at all. If that sparks some confusion, please allow me to clarify.
Tchaikovsky was commissioned to write the Rococo Variations (the title most commonly used today) by a colleague, the virtuoso cellist Wilheml Fitzhagen, at the Moscow Conservatory. Out of respect for the great cellist’s abilities and reputation, Tchaikovsky gave the soloist permission to amend or edit the solo part if there were things that the cellist felt needed to be changed. Tchaikovsky may have regretted this, after all, because Fitzhagen changed the piece quite a bit! Reordering some of the variations, rearranging, moving a cadenza, and even getting rid of a variation!
While both Tchaikovsky’s original, and Fitzhagen’s rearrangement, are published, Fitzhagen’s edition became immensely popular and is the version most commonly performed today, and is the one that we will present at the Ashland Symphony. No less fantastic than Tchaikovsky’s original, I like to think of it as great work done by-committee.
A relatively short work for cello and orchestra (approximately 20 minutes), it is sincerely virtuosic for the cellist, and is also a direct homage that Tchaikovsky was paying to Mozart, a composer who was immensely influential in the composer’s life.
-Michael Repper
BEETHOVEN, Ludwig van: Symphony No.4, op.60 B-flat major
Instrumentation: 1 Flute, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, Timpani, Strings
Duration: 34 minutes
This symphony, along with the first and second symphonies of Beethoven, has not nearly the reputation of the rest of them. It especially stands in great contrast to its immediate predecessor, the monumental third – the “Eroica” a work that changed forever the significance of the genre. Any great work of art must be judged by its intrinsic qualities, yet it often is illuminating to consider it in the context of the life of the artist. Beethoven finished this symphony in 1806 at a propitious time in his life; he was thirty-six years old, and widely recognized for his genius. Moreover, he had just finished a series of significant compositions that, had he never composed again, alone would have been sufficient to establish his reputation permanently. They include: his opera, Fidelio; the piano sonatas “Pathetique ” “Moonlight ” “Waldstein,” and “Appassionata” the “Rasumovsky”quartets; the violin concerto; the first four piano concertos; and, of course, the aforementioned “Eroica.” What is more, he had endured some of his typically hopeless infatuations with unobtainable women, and was gradually coming to terms with his deafness having considered suicide. And then comes the charming, light, fourth symphony, that for all the world seems like a reversion to the style of some ten years earlier when Joseph Haydn was the toast of the world and Beethoven was a journeyman.
The symphony begins with a slow introduction a Haydnesque touch that mysteriously wanders through some pretty remote keys: Bb minor and Gb major and minor. It concludes with a wonderful example of a Beethoven crescendo into the triumphal allegro of the movement proper. Note throughout this movement his imaginative use of the wind instruments in thematic statements. The slow movement eschews Beethoven’s wont to manipulate and develop, and simply unwinds a beautiful melody over a throbbing accompaniment. The usual dance-like third movement a Beethovenian scherzo entertains with his characteristic manipulation of accents that surprise. Ever the innovator even in this modest work he expands the usual form from three parts to five, more or less repeating the last two sections. The last movement is a kind of perpetual motion of continuous sixteenth notes, driving merrily along to a happy ending.
Although this symphony sits in the middle of works with considerable gravitas, Beethoven obviously felt a need to compose a cheerful work of affirmation as relief. It is not light in quality, only in mood, and reveals to us a side of the stormy and enigmatic composer that, while rare, is nonetheless genuine.
–Wm. E. Runyan
© 2015 William E. Runyan
Soloist Aurelia Faidley-Solars
A leading young artist of her time, Aurelia Faidley-Solars has been heralded by the New York Classical Review as “a wonderfully gifted 12-year-old with remarkable technique and a musical understanding beyond her years.” At the age of four, frustrated by having been made to play the violin, she took a child-sized violin, placed it between her knees, and exclaimed to her parents that she wanted a cello for her birthday, and it was then that her career as a cellist began.
At age 11, she made her solo debut with the Amati Orchestra in Lausanne, Switzerland. Since then, she has performed with the Sempre Musick Symphony (Boston), the Metropolitan Symphony of New York, the Blue Ash Montgomery Symphony, the New Jersey Sinfonietta, and the New York Concerti Sinfonietta. She has performed in recitals in New York, Prague, Budapest, Vienna, Barcelona, and London.
Aurelia studies currently at the Juilliard Pre-College Division under Fred Sherry. Her other teachers have included Hans Jorgen Jensen and Natasha Brofsky. She has appeared in masterclasses with Laurence Lesser, Richard Aaron, Darrett Adkins, Brannon Cho, Phillipe Muller, David Finckel, Ralph Kirschbaum, Amit Peled, Stephen Doane, Rosemary Elliot, Peter Stumpf, Jean-Michel Fonteneau, Fred Sherry, Clive Greensmith, and Pablo Ferrandez.
Aurelia is an accomplished prize winner in numerous competitions. This includes the Fox Valley Concerto Competition, the Ambler Symphony Concerto Competition, the Hill Concerto Competition, the Sound Symphony Concerto Competition, the Vienna International Music Competition, the CelloWorld Concerto Competition, the Petrichor Competition, the Birmingham International Competition. She is the youngest prizewinner in the history of The Ronald Sachs International Competition, as well as the two-time New Eastern regionals winner for the Music Teachers’ National Association. She was also awarded the prestigious Aaron Rosand Memorial Prize and is the 2023 Menges Scholarship recipient. Aurelia is the youngest finalist in the history for the Artist Presentation Society and was the only student featured in a solo performance celebrating the 130th Anniversary of the New World Symphony, a joint project between the United States and The Czech Republic. Aurelia was the 2023 soloist chosen for the “Young Artists Performers” series in South Carolina and has toured throughout the northeastern and southeastern United States.
At age 12, Aurelia released her first album “From Bach to Summerland, receiving praise from reviewers. Her second album will feature the Elgar Cello Concerto in E Minor, due out on Petrichor Records in the summer of 2023.
Aside from the cello, Aurelia is a dedicated ballet dancer, studying in the Pre-Professional division at the School of American Ballet. She has performed numerous times in featured roles in the New York City Ballet’s “The Nutcracker” and as a consequence, can be seen in the Disney Plus documentary series On Pointe. She has also performed in the New York City Ballet’s production of “A Midsummer’s Night Dream”. In 2023, she attended the Royal Ballet School’s Summer Intensive Program in London.
Composer Stefan Swanson
Professional
Stefan Swanson is an award-winning composer for film, media, and concert, with over a decade of film scoring experience and over fifty scoring credits. He has also enjoyed tremendous success composing for the concert hall with over sixty compositions ranging from solo instruments to full orchestra, including River Thoughts, his first symphony. His music has been heard all over the world including Lincoln Center, Cannes, Aspen, along with broadcasts on HBO, Cinemax, NBC, and BET.
In 2011, the award-winning dramatic feature film GUN HILL ROAD, starring Esai Morales (NYPD Blue, La Bamba) and Judy Reyes (Scrubs, Hawthorne), along with Swanson’s score, enjoyed tremendous success at the Sundance Film Festival and later was released in theaters worldwide (Motion Film Group). Over the years Swanson’s scores for the award-winning dramas STONE CARS, PREMATURE and CUTS, have aired on HBO, Cinemax, and BET. Currently you can find ESCAPING FED and HARD LAUGHTER streaming on Amazon.
His recent commissions include ARIA AND ALLEGRO FOR BASS TROMBONE AND PIANO for bass trombonist JJ Cooper, and THE WIND, commissioned and premiered by the Harmonium Choral Society under the direction of Anne Matlack.
Education
Stefan holds a PhD in music composition at Rutgers University where he studied with Charles Fussell. He earned his Masters degree at New York University’s scoring for film and multimedia program where he studied composition with Ira Newborn (FERRIS BUELLER’S DAY OFF, NAKED GUN, ACE VENTURA: PET DETECTIVE).
In the spring of 2007 he received the Scholarship from the Film Music Museum in Los Angeles to attend the NYU/ASCAP Foundation Film Scoring Workshop in Memory of Buddy Baker. While there he received instruction from Mark Snow (THE X-FILES, SMALLVILLE), orchestrator Sonny Kompanek (THE GOOD SHEPHERD, HOLLYWOODLAND), and music editor Tim Starnes (LORD OF THE RINGS trilogy).
The following summer, Stefan attended the Aspen Summer Music Festival for a third time, where he received the Susan and Ford Schumann Scholarship. There he studied film scoring with Academy Award nominated composer Bruce Broughton (SILVERADO, TOMBSTONE) and Jeff Rona (HOMOCIDE: LIFE ON THE STREET, WHITE SQUALL).
Other
Stefan is also an experienced conductor (both concert and film), orchestrator, arranger, and producer. He conducted and co-orchestrated Ron Sadoff’s score to the critcally acclaimed documentary CHUCK JONES: MEMORIES OF CHILDHOOD (Gladeyes Films) which premiered on Turner Classic Movies. He also conducted the Manhattan Camerata at the Consulate General of Argentina in New York City (March 10, 2010). He worked with the tremendously successful sample library company Embertones and you can hear his work on their website. You can also hear his arrangement of the Ron Sadoff/Ira Newborn theme for NYU Doctor Radio on Sirius Satellite Radio.
Maestro Arie Lipsky
Born in Israel where he received extensive training as a cellist and as a flutist, Arie Lipsky was just nine when he won the first of many prestigious musical competitions allowing him to solo with his town’s orchestra. After this impressive success, he began to appear in concerts throughout Israel and Europe. Mr. Lipsky subsequently began serious study of composition and conducting. His mentors include Semyon Bychkov, Yoel Levi and Kurt Mazur in conducting and Pablo Casals and Leonard Rose on cello.
He holds degrees in Aeronautical Engineering and Music which he received before serving in the Israeli Army.
After moving to the United States, Mr. Lipsky served as Assistant Conductor of the Cleveland Institute of Music and the Ohio Opera. He moved to Buffalo in 1984 to become the Buffalo Philharmonic’s principal cellist and in 1990, he became its Resident Conductor. In early 1995, on short notice, Arie replaced the late Eduardo Mata conducting the Israel Chamber Orchestra, where his success resulted in return engagements with many of Israel’s leading orchestras. Lipsky served as Music Director of the Ann Arbor Symphony Orchestra and the Ashland Symphony Orchestra and has conducted major orchestras in the United States, Israel, Canada, Europe and South Korea.
An elegant and expressive conductor, Lipsky garners high praise from some of the world’s best conductors. Semyon Bychkov, former Music Director of Orchestre de Paris, calls Mr. Lipsky. . . a born conductor, and Yoel Levi, former Music Director of the Atlanta Symphony Orchestra, says that As a musician Arie is first class; his technique is excellent, his memory outstanding . . . he knows how to communicate and is well deserving of respect and admiration.
Lipsky grew a tremendous and loyal audience in Southeastern Michigan with concerts where both discerning and casual listeners alike praised what was known as an Ann Arbor Symphony sound of confidence and clarity. As one reviewer said, under the baton of Music Director Lipsky, the Orchestra played with finesse and polish that experience brings to bear. Under his baton the Ashland Symphony Orchestra has been known as “The Jewel of Ashland County.”
The Ann Arbor Symphony Orchestra released its first CD under the direction of Maestro Lipsky on the NAXOS label in 2009. Mr. Lipsky also has recorded on the Fleur de Son Classics label. His CD, New Arts Trio in Recital at Chautauqua was reviewed by Fanfare Magazine: affirm that this is one of the most interesting and exciting discs of piano trios, or any chamber music, or any classical music I have ever heard. Other critically acclaimed CD recordings include Schubert Overtures and Concertos by Sierra and Bruch and Guitar Concerti with the Castellani-Andriaccio Duo and the Israel Chamber Orchestra. Arie was also a member of the New Arts Trio in residence at the Chautauqua Institute, where he served as Director of Chamber Music.
Arie now resides in Israel, plays chamber music and guest conducts Symphony Orchestras around Israel. He also teaches online young musicians in Israel, Europe and the US how to prepare auditions with professional orchestras.
ASO Musicians
Violin I
Samuel Rotberg, Concertmaster
James E. Thomas Endowed Chair
Corrie Anne Riberdy
Jane Reed
Stephen Domka
Mary Ann Basinger
Cassandra Bryant
Kai-Hui Tan
Violin II
Mary Kettering, Principal
Ania Kolodey
Wanda Sobieska
Michael Sieberg
Pamela Fiocca
Steve Ostrow
Frances Hamilton
Viola
Eva Mondragon, Principal
Joshua Bowman
Lee Wilkinson
Geoffrey Fischer
Rosalind Soltow
Cello
Jeffrey Singler, Principal
Lindsay Brown
Renee Danko
JeeYoun Yoo
Aidan Sullivan
Daniel Domka
Bass
Bryan Thomas, Principal
Jeff Weeks
Merideth Eshelman
Rachel Kost
Flute
Lisa Jelle, Principal
Carol Oberholtzer
John H. Landrum Endowed Chair
Denise Rotavera-Krain
Oboe
Andria Hoy, Principal
Janae Cox
Clarinet
Thomas Reed, Principal
Joe Minocchi
Bassoon
Ian Hoy, Principal
Zachary Elmore
Nicholas Shields, Contrabassoon
Horn
Laura Makara, Principal
Michael Metcalf, Assistant Principal
Timothy Stewart
Benjamin Hottensmith
Jason Riberdy
Trumpet
Kenneth Holzworth, Principal
Ted Clark
Isaac Winland
Trombone
Michael Grady, Principal
Brian Griffin
Charles Bradley
Tuba
Charles Kobb, Principal
Timpani
Kirk Georgia, Principal
Percussion
Torrell Moss, Principal
Lawrence and Catherine Hiner Endowed Chair
Dominik McDonald
Hunter Wirt
Harp
Elizabeth Johnson, Principal
Piano
Deborah Logan, Principal
Other Info
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
Jen Burford, House Manager
Mark Gorsuch, Volunteers Coordinator
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.
Sponsors
Soloist Sponsor: Jonathan Solars Fine Violins
Music Sponsors: Ron and Carolyn Marenchin
Music Sponsor: Charles River
Donor List
The 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 01/17/23.
Make Your Giving Memorable
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
Sustainers’ Circle
$5,000 and up
Robert M. and Janet L. Archer*
Ann K. Guthrie*
Hugo H. and Mabel B. Young Foundation
Ohio Arts Council
Samaritan Hospital Foundation*
Encore Circle $3,000-$4,999
Dr. JoAnn Ford Watson*
Susan Lime
Trinity Lutheran Church – Rybolt Fund*
Charles and Peggy Ulrich
Artists’ Circle $1,500-$2,999
Stan and Diana Brechbuhler
Forrest Conrad
Barbara Glenn
Grandpa’s Cheesebarn & Sweeties Chocolates*
Johnathan Solars Fine Violins*
Alan and Marjorie Poorman
Spreng-Smith Agency*
Symphony Circle $1,000-$1,499
Anonymous
Martha Buckner
Dr. and Mrs. Carlos Campo*
James and Kristi Cutright
Germain Honda of College Hills*
Catherine Hiner
Bud and Cuda Ingmand*
John and Diane Paulson*
Patricia A. Perez
Premier Bank Foundation*
John and Dana Sherburne*
Ben and Brenda Uselton*
Wappner Funeral Home and Crematory*
Maestro’s Circle $650-$999
Charles and Melody Barnes
Ron and Lisa Blackley
Michael and Seiko Hupfer
Tom and Mary McNaull*
Packaging Corporation of America*
Peace Evangelical Lutheran Church*
Tom and Jane Reed
Bob and Jayne Roblin
Bill and Chris Strine
Dr. Stephen and Peggy Yoder*
President’s Circle $300-$649
Allan and Mary-Rose Andersen
Dr. Sara Battison
Bella’s 220*
Doug and Susan Blake
Brethren Care Village
Betsy Chapman
Charles River*
Comfort Control*
Tim and Anne Cowen*
Coldwell Banker Ward Real Estate
Bob and Jan Cyders
Ray and Cherie Dever
Thomas and Kristie Donelson
Explore Ashland*
Justina Fabich
Dr. Lucille Ford
Gibson Family Dental LLC*
Robert and Vickie Groenke*
Louise M. Hamel
Loretha A. Kline
Lighthouse Wealth Management*
John and Donna Rae Maiken
Dann and Connie Marble*
Ron and Carolyn Marenchin*
Mel McKeachie and Melody Snure
James H. Prinz
Rev. Jim and Mrs. Joan Scott
Deborah Seaman*
D.R. and C.L. Sedwick*
Carolyn and Jim Smith
Rev. Tom and Kitty Snyder
Dorothy Stratton*
Michael and Deborah Sullivan
Robert and Trina Swan
Russell and Jan Weaver
Whitcomb & Hess CPAs & Financial Advisors*
Marla and Steve Willeke
Tim and Linda Workman
Concertmaster’s Circle $200-$299
Abbott Laboratories ECG
Lucy Amsbaugh
Myron and Carolyn Amstutz
Ashland Noon Lions
Sandra Bally
Ted and Patricia Byerly
Brooke DaHinden
Gretchen M. Emery
Roger and Nancy Fox
Dr. and Mrs. Robert E. Gregg*
Ed and Karen Grose
Gene and Jan Haberman
Jan Hamilton
Henry and Norma Hiner
Barbara Hoshiko
Irwin & Associates CPA’s
Robert D. and Shirley Matz
Ken and Sheila Milligan
Brian Minner in honor of Sheila Minner
Larry and Diane Moretz
Pam and Mike Mowery*
Kevin and Carol Oberholtzer*
Dick and Carol Obrecht
Lana M. Potter
Tom and Diane Rohr
Glen and Judy Stewart
Stefan Swanson
Dr. Gene and Mrs. Sally Telego
Trinity Lutheran Church Choir Camp
Susan Whitted
Musicians’ Circle $100-$199
Sally Ahlers
Baker Bowman & Co.
Shirley Bookmyer
Bill Buckingham
Dennis and Polly Davis
Larry Ames and Teresa Durbin-Ames
John and BettiLu Fraas
David and Debby Gray*
Tom and Chris Herron
Gary and Cheryl Hildebrand
Rebecca Humrichouser*
Stan and Joyce Hunt
Bob and Colleen Jackson
Tom and Marilyn Koop
Ron and Barb Leddy
Maurer Photography
Tom and Bonnie McGee
Tim and Beverly McMillen
Jack and Diane Messner
Rebecca A. Owens
Dan and Lisa Peterson
Jane Roland*
Rita M. RoperPaul and Barbara Schantz
Bill and Patti Schumaker
Jack and Nancy Smith
Jim and Cheryl South
Mike and Nancy Udolph
Leroy and Donna Weaver
Daniel and Rita Wierbiki
Ensemble Circle $50-$99
Anonymous
Erin Beebe
Jeff and Diane Bonfiglio
Madeline Cole
Mrs. Pat Hildebrand
Shirley Maurer
Virginia McKinley
Gaylord and Carol Meininger
Alice Metcalf
Karen Reaume
Natalie and Doug Scott
Sarah Shepherd
S. Kris Simpson
Dale and Jody Thomae
Noel and Juanita Watson
Paula Watson
Russ and Kathy Whisler
Ron and JP Whitehill
Endowments
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
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SPONSORS
Robert M. and Janet L. Archer
Jim & Barb Chandler
Vicki
Lippert