New Orchestra NOW of Washington Alejandro Hernandez-Valdez, Artistic Director

LIFT EVERY VOICE: PART ONE

Saturday, February 27, 2021 | 7:00PM ET Online Presentation e believe in the transformative power of music to bring W us closer and connect us to one another, an experience only made richer by the variety of our backgrounds. Our society is deeply hurt by racial and economic injustice, with politics and the pandemic exacerbating this pain. We hope that our Lift Every Voice series will provide a place for dialogue and discovery, understanding and connection. Through our creative efforts, we hope to ignite our community and inspire

Photo: Emilio Madrid Kuser Madrid Emilio Photo: enlightenment, engagement, and action. President John F. Kennedy once said, “Art is the great democrat, calling forth creative genius from every sector of society, disregarding race or religion or wealth or color. What freedom alone can bring is the liberation of the human mind and a spirit which finds its greatest flowering in the free society.” So join us this spring, as we introduce you to the music and story behind the composers and performers whose voices are finally receiving the recognition and celebration they truly deserve. Join us as the New Orchestra of Washington continues its founding promise of creating a more equitable classical performing arts stage. Join us as we Lift Every Voice. —Austin Scott, host

—2— New Orchestra of Washington Presents

Lift Every Voice Part One: Florence Price, Andy Akiho, Allison Loggins-Hull, and Viet Cuong

Hosted by Austin Scott

Aeolus Quartet Sandbox Percussion Allison Loggins-Hull, flute

New Orchestra of Washington Alejandro Hernandez-Valdez, conductor

Lift Every Voice concerts are made possible in part through the generous contributions from Nancy and Morris Deutsch Ann and Knight Kiplinger Dianne and Frank Peterson PROGRAM

FLORENCE PRICE (1887 - 1953) String Quartet in G major (1929) I. Allegro II. Andante moderato - Allegretto Recorded in September 2020 in Detroit, Michigan

ANDY AKIHO (b. 1979)

Pillar IV (2014)

Recorded in September 2018 in Boscawen, New Hampshire

ALLISON LOGGINS-HULL (b. 1982)

Hammers (2018)

Recorded in June 2020 from artists’ homes in Brooklyn, New York and Montclair, New Jersey

VIET CUONG (b. 1990)

Re(new)al (2017) I. Hydro II. Wind III. Solar Recorded in May 2019 in Washington, DC Program Notes

Florence Price: String Quartet in G major lorence Beatrice Price (née Smith) was born in Little Rock, Arkansas, on April F 9, 1887, to James H. Smith and Florence Gulliver Smith. Price first received piano lessons from her mother. Price was a precocious child. She graduated as Valedictorian of her class by the age of 16, and she had already published some of her musical compositions in high school. Price graduated with a dual degree in organ and piano teaching from the New England Conservatory in 1907. Upon graduation, she returned to Little Rock to teach at the Cotton Plant- Arkadelphia Academy and later at Shorter College in Little Rock. She moved to Atlanta, Georgia, in 1910, where she was head of the Music Department at Clark University. In 1912, Price returned to Little Rock and married attorney Thomas Jewell Price, who worked with Scipio Jones, a well-known Arkansas attorney who has successfully defended the appeals of twelve African American men sentenced to death after the Elaine Massacre of 1919. While in Little Rock, Florence Price established a music studio, taught piano lessons and composed mostly piano works, many for teaching purposes. As racial tensions grew worse in Arkansas, including a horrible lynching in the Prices’ neighborhood in Little Rock, the family moved in Chicago in 1927. There Florence Price experienced growing professional opportunities for further education, performance, and publication and was active as a teacher, pianist, and organist. One of her important memberships was in the Chicago Club of Women Organists. However, she was not accepted by the Arkansas branch of the Music Teachers National Association because of her race. Unhappily, her marriage did not survive. In 1932, Price won first prize in the Rodman Wanamaker Foundation composition competition for her Symphony in E Minor, her first of four symphonies. The work premiered with the Chicago Symphony Orchestra on June 15, 1933, under the direction of Frederick Stock. She was the first African American woman to be recognized as a symphonic composer, and the first to have a composition played by a major symphonic orchestra. Incidentally, the first male Afro-American composer to have the same recognition was Little Rock’s William Grant Still (1931, Rochester Philharmonic). Later in life, despite health problems, Price continued to compose prolifically, having composed over 300 compositions in her lifetime. Her compositional output encompassed every genre except opera. Her musical style, especially in her instrumental works, displays mastery of the language of European classical music, with an homage to her Southern heritage. Her pieces are inspired by spirituals, blues, and perhaps most notably rhythms associated with the Juba dance. Price died in Chicago on June 3, 1953, while planning a trip to Europe. In 1964, a Chicago elementary school took her name as its own recognition of her legacy as both a Chicago musician and an important African-American composer. Notes by Er-Gene Kahng (Copyright 2017)

—5— Program Notes

Andy Akiho: Pillar IV illar IV is a movement from Andy Akiho’s extended work Seven Pillars, a P 75-minute work that includes 7 quartets and 1 solo for each member of the group. This movement is the first in the full work that Andy composed, and it is inspired by two rhythmic ideas. The first is a motive—2 long notes, followed by 2 short notes. This motive is presented and developed in a multitude of ways throughout the work—in extremely fast subdivisions and in extremely slow ones, with multiple versions of the motive layered on top of each other, and with different pulses underneath the motive—quarter notes, dotted quarter notes, etc. The second idea is one of expansion and contraction. A player will play a note that is 8 beats long, followed by one that is 7 beats long, then 6, until they get all the way down to 1, and then the process is reversed back up to 8. Both of these ideas represent a kind of rhythmic expressivity that Andy features throughout his compositions. Rather than relying on melody or harmony as the sole tools of expression, Andy explores how rhythm can be used to shape the emotional arc of a piece of music. The pitch content for Pillar IV consists of a unique scale Andy invented that repeats at the major tenth, rather than the octave in the way a traditional major or minor scale would. Notes by Ian Rosenbaum

Allison Loggins-Hull: Hammers ammers was inspired by construction noise and other industrial type H sounds one can hear when living and walking around the busy streets of New York City. While the sounds created are often cacophonous and erratic, there is still a sense of order and focus to get the job done. If you listen closely, you can sometimes hear ostinato rhythms and accented patterns. Hammers borrows these ideas, using the percussion instruments to represent massive tools at work. The flute is busy working through the noise, but is often interrupted and has to frequently stop, start, and repeat itself, similar to when one is trying to communicate or complete a task while there’s disruptive noise. There is a moment when it feels like the work is quieting down and one can finally concentrate, but it doesn’t last long and sure enough, the noisy work picks right back up. Notes by the composer

—6— Program Notes

Viet Cuong: Re(new)al have tremendous respect for renewable energy initiatives and the I commitment to creating a new, better reality for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe new life into traditional ideas, and the solo quartet therefore performs on several “found” instruments, including crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way, and even the accompaniment was written with these ideas in mind. Cooperation and synergy are also core themes of the piece, as I believe we all have to work together to move forward. All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed between the four soloists (for those interested, the fancy musical term for this is a "hocket"). The music would therefore be dysfunctional without the presence and dedication of all four members. For example, the quartet divvies up lighting-fast drum set beats in the second movement and then shares one glockenspiel in the last movement. But perhaps my favorite example of synergy in the piece is in the very opening, where the four soloists toast crystal glasses. We always toast glasses in the presence of others, and oftentimes to celebrate new beginnings. This is my simple way of celebrating everyone who is working together to create a cleaner, more efficient world. Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a dizzying wind turbine, playing seemingly-impossible 90’s-inspired drum and bass patterns over a bass line that quotes and expands upon a few bars from one of my favorite drum and bass tracks by DJ Hype. The closing movement simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was originally written with a sinfonietta accompaniment, and in its original form was commissioned for the 2017 American Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable Energy. A full orchestra version was commissioned in 2018 by the Albany Symphony, and this final version for wind ensemble was commissioned by a consortium of universities and community ensembles. Heartfelt thanks to everyone who has been involved in any of the three versions of this piece. Notes by the composer

—7— Meet the Artists

ustin Scott most recently received critical acclaim on A Broadway for his performance in the Bob Dylan musical Girl From the North Country. Immediately prior to that he spent two years starring as Hamilton on Broadway and National Tour. Other theater credits include One Day (Off- Bway, 3LD), Douglas Carter Beane’s Hood (World Premiere, Dallas Theater Center), Gotta Dance (World Premiere, directed by Jerry Mitchell), In the Heights (Hangar), Choir Boy (Geffen). On television, he recently guest starred on the FX series Pose, and was featured on The Tonight Show with Jimmy Fallon.

raised by the Baltimore Sun for P combining “smoothly meshed technique with a sense of spontaneity and discovery,” the Aeolus Quartet is committed to presenting both time- seasoned masterworks and new cutting-edge works to widely diverse audiences with equal freshness, dedication, and fervor. Formed in 2008, the Quartet is comprised of violinists Nicholas Tavani and Rachel Shapiro, violist Caitlin Lynch, and cellist Alan Richardson. The Aeolus Quartet has been awarded prizes at nearly every major competition in the United States and performed across the globe with showings “worthy of a major-league quartet” (Scott Cantrell, Dallas Morning News). Mark Satola of the Cleveland Plain Dealer writes, “The quartet has a rich and warm tone combined with precise ensemble playing (that managed also to come across as fluid and natural), and an impressive musical intelligence guided every technical and dramatic turn.” They were the 2013–2015 Graduate Resident String Quartet at the Juilliard School, and they currently make their home in New York City. The Aeolus Quartet is the ensemble-in-residence with Musica Viva NY and the New Orchestra of Washington (DC). Thanks to the generosity of the Five Partners Foundation, the four members play on a set of instruments by famed Brooklyn luthier Samuel Zygmuntowicz. The Quartet is named for the Greek god Aeolus, who governed the four winds. This idea of a single spirit uniting four individual forces serves as an inspiration to the members of the Aeolus Quartet as they pursue their craft.

—8— Meet the Artists

escribed as “exhilarating” by The D New York Times, and “virtuosic and utterly mesmerizing” by The Guardian, Sandbox Percussion has established themselves as a leading proponent of this generation of contemporary percussion chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum, and Terry Sweeney seek to engage a wider audience for classical music. In addition to maintaining a busy concert schedule, Sandbox has also led masterclasses and coachings at schools such as the Peabody Conservatory, Curtis Institute, the University of Southern California, Kansas University, Cornell University, and Furman University. While there, they coached students on some of the most pivotal works in the percussion repertoire including Steve Reich’s Drumming, György Ligeti’s Síppal, Dobbal, Nádihegedüvel, and John Cage’s Third Construction. These teaching experiences have inspired the quartet to pursue a role of pedagogy and mentorship for today’s young generation of musicians. In 2016, Sandbox Percussion founded the NYU Sandbox Percussion Seminar– this week-long seminar invites percussion students from across the globe to rehearse and perform some of today’s leading percussion chamber music repertoire at the iconic Brooklyn venue National Sawdust. Sandbox Percussion endorses Pearl/Adams musical instruments, Zildjian cymbals, Vic Firth sticks and mallets, Remo drumheads, and Black Swamp accessories.

llison Loggins-Hull is a flutist, composer, and producer Awith an active career performing and creating music of multiple genres. In 2009 she and Nathalie Joachim co- founded the critically acclaimed duo Flutronix, which was praised by The Wall Street Journal for being able “to redefine the instrument.” Similarly, MTV Iggy recognized Flutronix for “redefining the flute and modernizing its sound by hauling it squarely into the world of popular music.” Allison has performed at The Mostly Mozart Festival at Lincoln Center, Carnegie Hall, Orchestra Hall (Chicago), World Cafe Live, and several other major venues and festivals around the world. She has performed or recorded with a wide-range of artists including the International Contemporary Ensemble, Imani Winds, Lizzo, The National Sawdust Ensemble, and others. With Flutronix, she has released two full studio albums (Flutronix and 2.0), a live album (Live From the Attucks Theatre), an EP (City of Breath) and is signed to Village Again Records in Japan. As a member of The Re-Collective Orchestra, Allison was

—9— Meet the Artists co-principal flutist on the soundtrack to Disney’s 2019 remake of The Lion King, working closely with Hans Zimmer. On the small screen, she has been featured in an internationally broadcast ESPN Super Bowl commercial, the 62nd annual GRAMMYs Award Show and the Black Girls Rock! Awards Show. Allison has composed for Flutronix, Julia Bullock and others and has been commissioned by The Metropolitan Museum of Art, Carolina Performing Arts, Alarm Will Sound and The Library of Congress. She was a co-producer of Nathalie Joachim’s celebrated album Fanm d’Ayiti, which was nominated for a 2020 GRAMMY for Best World Music Album. In support of her work, Allison has been awarded grants from New Music USA and a fellowship at The Hermitage Artist Retreat in Englewood, Florida. Allison is on the flute faculty of The John J. Cali School of Music at Montclair State University. She’s a teaching artist at The Juilliard School’s Global Ventures and is a former faculty member of The Juilliard School’s Music Advancement Program. Allison lives with her family in Montclair, New Jersey.

steemed conductor and pianist Dr. Alejandro EHernandez-Valdez was named Artistic Director of Musica Viva NY and Director of Music of the historic Unitarian Church of All Souls in Manhattan in 2015. He is also Co-Founder of the New Orchestra of Washington and Artistic Director of the Victoria Bach Festival. He has earned accolades from The Washington Post as a conductor “with the incisive clarity of someone born to the idiom,” as well as praise from The New York Times for leading “a stirring performance” of Brahms’ Ein Deutsches Requiem. At a concert commemorating the 100th Anniversary of the WWI Armistice (featuring the world premiere of Joseph Turrin’s cantata And Crimson Roses Once Again Be Fair) Oberon’s Grove wrote: “Maestro Alejandro Hernandez- Valdez drew rich, warm sounds from the musicians” in “a beautiful and deeply moving program.” He is featured in El mundo en las manos/Creadores mexicanos en el extranjero (The World in Their Hands/Creative Mexicans Abroad), a book by the Mexican Ministry of Foreign Affairs honoring Mexican nationals who are leading figures in diverse artistic fields. He is the recipient of a 2016 Shenandoah Conservatory Alumni of Excellence Award for his exemplary contribution to his profession, national level of prominence, and exceptional integrity. He resides in New York City and Washington, D.C. As the Artistic Director and Co-Founder of the New Orchestra of Washington, a chamber orchestra that “has constituted itself in the forefront of this smaller- is-better movement” (The Washington Post), Hernandez-Valdez has led two performances for Trinity Wall Street’s concert series: the New York premiere of Julian Wachner’s Chamber Symphony (a New Orchestra of Washington commission), and Gustav Mahler’s Fourth Symphony, which the ensemble also recorded. In October of 2017, the New Orchestra of Washington released Bespoke, a new CD featuring works by Joel Friedman, Elena Ruehr, and Julian Wachner that were tailor-made for the innovative Washington D.C. based ensemble.

—10— New Orchestra NOW of Washington Alejandro Hernandez-Valdez, Artistic Director

ew Orchestra of Washington (NOW) is a one-of-a-kind ensemble. As a small chamber orchestra with flexible instrumentation, N NOW elevates every member to his or her highest potential as an individual virtuoso and an ensemble player, creating a unique and engaging live performance experience for its audience. NOW’s programming is neither strictly classical nor purely academic. Rather, each program is conceived to be attractive, inspirational and memorable. Founded in 2012 by rising stars of the local area’s professional community including husband and wife team Alejandro Hernandez-Valdez (Artistic Director) and Grace Cho (Executive Director), NOW embodies mutual respect and admiration for one another’s artistry and a shared belief in the importance of revitalizing the role of music in our lives. NOW’s mission is to make music relevant to new generations of audiences through virtuosic performances that combine a range of genres with fresh interpretations of classic works. Unconstrained by the structure or repertoire of traditional orchestras, NOW is modern and sustainable, proving how orchestral and chamber music can survive and flourish in the 21st century.

—11— Artist Roster

Aeolus Quartet Sandbox Percussion Nicholas Tavani, violin 1 Ian Rosenbaum Rachel Shapiro, violin 2 Jonny Allen Caitlin Lynch, viola Terry Sweeney Alan Richardson, cello Victor Caccese

New Orchestra of Washington Alejandro Hernandez-Valdez, conductor Violin I Cello Saxophone Akemi Takayama, Alan Richardson Jeremy Koch, soprano concertmaster Chelsea Bernstein Carolyn Braus, baritone Sandy Choi Deborah Katz Double Bass Horn Amelia Giles Sam Suggs Laura Crook Brisson Jessica Powell Eig Violin II Trumpet Rachel Shapiro Flute Chris Carrillo Conor Nelson Matthew Richardson Trombone Lydia Lui Oboe Corey Sansolo Stephen Key Viola Piano Caitlin Lynch Clarinet Wei-Han Wu Eva Mondragón Jeremy Eig Catherine Amoury Bassoon Stephen Duncan

Aeolus Quartet’s appearance is sponsored by Tom and Elizabeth Patton Jessica and Brian Markham Sandbox Quartet’s appearance is sponsored by Joan Lewis and Robbie Hopkins Heather Hippsley and Paul Connor Viet Cuong’s appearance is sponsored by Sarah Wilson Alejandro Hernandez-Valdez’s appearance is sponsored by Patti Tice

—12— New Orchestra of Washington

Board of Directors Staff Morris Deutsch, Chair Alejandro Hernandez-Valdez Dianne Peterson, Vice Chair Artistic Director Ann Yonemura, Secretary Grace Cho Executive Director Paul Connor Abby Carlson Louis Harkavy Manager of Operations Neeta Helms Laurel Bahar Joan Lewis Director of Patron Relations Jessica Markham Will Esterling Juan Montesinos Assistant Conductor Tom Patton Claire Kuttler Marketing and Social Media Ryuji Ueno Jessical Powel Eig Gail Wides Grant Writer Sarah Wilson David Gradin Grace Cho, ex-officio Digital Media Alejandro Hernandez-Valdez, ex-officio

—13— Friends of NOW The Friends of NOW is a vital group of donors supporting the mission of the New Orchestra of Washington: to make music relevant to new generations of audiences. Thanks to your support, NOW is able to create virtuosic live and virtual orchestral performances, commission new works, produce commercial recordings, feature chamber ensembles, and more. Thank you for being a Friend of NOW!

Game Changer Patti Tice in honor of Arts & Humanities Council of Grace and Alejandro Montgomery County Sarah Wilson and Louis Lappin in Nancy and Morris Deutsch honor of Jerome Wilson Ann and Knight Kiplinger Nancy Witherell in memory of Sachiko Kuno Foundation Marjorie Coffin Maryland State Arts Council Ryuji Ueno Foundation Mover Ann Yonemura Gilbert Adams Anonymous Visionary Steve and Katie Capanna Grace Cho and Carol and Robert Deutsch in honor of Alejandro Hernandez-Valdez Morris Deutsch Yolanda Cole Linda and Dennis Deutsch in honor of Neeta Helms and Johan Van Zyl Nancy and Morris Deutsch Jessica and Brian Markham Rachel Dougan Dee Daly and Phil Mazzara in honor of Gail and John Edie Dee Daly Louise and Jon Harkavy Dianne and Frank Peterson IBM Daphne Kiplinger and Dave Steadman Shaker in honor of Grace and Alejandro Betsy and David Bennett Nancy La Vigne Suzie and Devar Burbage Rosalie Mandelbaum and Perry D. Cohen Patricia and Alton Frye Ruth and Joe McInerney Greater Washington Community Foundation Juan Montesinos and Alana Purdy Ava and Neal Gross in honor of Undine and Carl Nash Morris and Nancy Deutsch Debra Neumann and Ron Oechsler Heather Hippsley and Paul Connor Laura Pruitt Kay and Don Jansky in honor of David and Susan Rockefeller, Jr. Alejandro and Grace Mary Jo and Douglas Smith Joan Lewis and Robbie Hopkins Temple Emanuel Robert Myers Gail and Barry Wides Pat and Tom Nelson Elizabeth and Tom Patton Believer Elyse and Trevor Rudolph Susan Alexander Barbara Shepp and Jonathan Hiatt Anonymous Elaine and Warren Stone Laurel and Hadi Bahar in memory of Valerie Tate and Gregory Arms Suzie Burbage

—14— Bill Bechman and Tom Garlock in Christine Swearington and honor of Grace and Alejandro Louis Steadwell Scott and Diana Carlson Andy Tangborn and Sara Zhang Charles Cerf and Cynthia Dunbar Maria Teran in memory of Cassie Conley Ariel Teran Vargas Heather Coryell and NancyPat and Leon Weaver Shubham Chaudhuri Jane Williams and George Singleton Tad Czyzewski and Matt Turley in Peggy Blake Wilson honor of Grace and Alejandro Ryo Yanagitani DC Concert Orchestra Society Herta and Jim Feely Grassroot Supporter Elizabeth Fox Jun and Sungkee Ahn Marta Goldsmith and Gary Rosenthal Leigh and Kathleen Alexander Polly Gordon Anonymous Robert Green in memory of Anonymous Manu Dibongo Jane and Tom Aylward Melissa Herman Eunae Baik-Kim Jonathan Hiatt in honor of all Ann Meier and Robert Baker unemployed musicians Ken and Sandy Barnhart Reiko Hirai Nancy Batson Fran and Will Irwin Robert and Elizabeth Benton Karen Jerome in memory of Pat and John Bevacqua Stanley Dorf Maria Blanton Kim and Kevin Jones Sherrie Brady Susan and Stephen Langley Leslie Britton Rose Lee and Steven Butler in honor Martha Brown of Ann Yonemura Miles Chapin in honor of Judith Leonard in honor of Nancy and Grace and Alejandro Morris Deutsch Yuri Chayama Terri Lesko Hsin-Yi Chen Elizabeth and Jan Lodal Gary Childress Linda Mabbs in honor of Grace Cho Sandy Choi Kathleen Madigan Rachel Clark Linda and Bob Maddox Thomas Colling in honor of The Merck Foundation Freya Salmi-Colling Janet and Edward Moyer Alison Combes Sydney and Brandon Park Dana and Jon Crepeau Elizabeth Peterson Caitlin Czajka and Robert Allen Kathleen Plunkett and Robert Fruit Pete and Jacqueline Davis Scott Pritchett Nina Di Leo Connie Schroyer in honor of Holly Drew Richard and Barbara Schroyer John Driscoll Ellen and John Shapiro Stephen Duncan Geoffrey Silver Jessica and Jeremy Eig Howard Spendelow Carol Farris and Judd Kessler Garret and Andrea Stevens Sid Fowler and Jeffrey Catts Carol and Doug Stuart Joel Friedman

—15— Jess Gersky Colleen Perret Ruth Ann Gieser Samuel Pollard Julie Graf Margaux Rogers Nate Gross Charles Rosencrans Wayne and Judy Guenther Gary Rosenthal Linnea Hamer Diana Saez Kristin Hayes in memory of Magalie Roman Salas Preston Hayes Sherry Schiller Holly Hexter Robert Schroyer Allen Hirsh in honor of Nancy and Susan and Albert Schultz Morris Deutsch Ron Schwarz Hollenbach Family Rita Shapiro Robert Holloway Peter Simpson and Penny Mills Ellen Hwangbo in honor of Grace Cho Gini Smith Andy Ireland Ryan Choi and Tony Smith Jean Jawdat Cynthia Speas and John Clewett Steve Kaffen Kyle Stubbings Robert and Noriko Kaproth Shirley Stubbs Joanne and Joe Kelly Akemi Takayama Stephen Key Richard and Jeanie Teare Joyce Korvick Jayci Thomas Bob and Jeanette Kreiser Carleen Dixon Webb Laura Kumin and Kevin Mulshine Barbara Wolanin Susan and Stephen Langley Li Yu Jennifer Leach Rachel Ziemba Chase Maggiano Doreen Mannion Sis and Jim McKay Patrick McCoy Tim McReynolds Susanne Mentzer Mimi Michel Warren Mullison Marilynn Murphy Undine and Carl Nash Conor Nelson Network for Good Harold Norris and Julliard Kell Winifred Olsen in honor of Grace and Alejandro

This list reflects gifts received in the past 365 days. If you have any questions, please contact Grace Cho at [email protected]. If you enjoyed today’s program and would like to contribute to NOW, we invite you to join and renew your Friends of NOW membership today. Visit us online to make a gift or download a mail-in donation form.

—16— Meet Our Sponors

NOW GRATEFULLY ACKNOWLEDGES THE SUPPORT OF OUR 2020–2021 SEASON SPONSORS:

New Orchestra of Washington Inc. is supported in part by funding from the Montgomery County Government and the Arts & Humanities Council of This performance is supported Montgomery County in part by the Maryland State Arts Council (msac.org)

neworchestraofwashington.org [email protected] 240-745-6587