Frederick Delius – Air and Dance before Concerto
Concerto, Oboe & Strings, A minor – Ralph Vaughan Williams with Dwight Parry, oboe
Symphony No.29, K.201 (186a), A major – Wolfgang Amadeus Mozart
This concert is presented in partnership with the Loudonville Theatre and Arts Committee and the Hugo Young Foundation.
On behalf of the Board of Directors of the Ashland Symphony Orchestra, welcome to our 56th season! I feel such warmth and pride that our small town supports a professional symphony orchestra. The ASO is truly a gem of our community, sharing the joy of orchestral music with people of all ages and backgrounds. Our Grammy-award winning Music Director and Conductor Michael Repper and the talented professional musicians of the ASO have created another incredible season for your enjoyment. We are eager for you to hear the beautiful, powerful, soul-filling music that they have prepared for you. Meanwhile, our Executive Director Martha Buckner continues to provide innovative opportunities, such as the ASO Fan Club, that support the development of young musicians throughout Ashland County and beyond. I am deeply thankful to our musicians, staff, board members, and supporters for making this season possible. And to our patrons, please know that your presence at ASO performances means so much! Whether you are joining us for a pops concert, a concert in our Saturday night subscription series, or one of our concerts presented especially for young people, your attendance lifts up the ASO. Thank you for choosing to spend your time with us!
Diane Bonfiglio, Ph.D.
President, ASO Board of Directors
Dear Friends,
Welcome to the Ashland Symphony Orchestra’s 2025–2026 season! It is a joy and an honor to continue this musical journey with you as your Music Director.
This year, we invite you to come aboard for a season of imagination, discovery, and connection—a musical journey that takes flight and carries us to every corner of the world. Like a great plane ride full of wonder and anticipation, each concert is a stop on a global adventure. You’ll hear the brilliance of Beethoven, the soul of Coleridge-Taylor, the energy of Jessie Montgomery, the lyricism of Schubert, the fervor of Borodin, and so much more. These works, drawn from across time and cultures, remind us that music is a language that speaks to the heart.
One of the highlights of our season is a groundbreaking spring concert that reflects our deep commitment to community and innovation. In partnership with Goldberry’s Coffee, we’ll combine music with global storytelling and curated coffee tastings—an immersive, sensory celebration that brings people together in a truly unique way. This collaboration is one of many ways we continue to grow as a vibrant cultural hub in Ashland and beyond.
Whether you’ve been with us for years or are joining us for the first time, your presence is what gives our music life. Thank you for supporting live orchestral music and for being a vital part of our ASO family.
I look forward to sharing the season with you—and to welcoming you on this musical adventure.
With warmest regards,
Michael Repper
Music Director
Ashland Symphony Orchestra
Executive Director’s Message
I am thrilled to have you join us on our ‘round the world tour of classical music! From the old masters to the new trailblazing composers, the musicians of the ASO will bring the pieces to life.
Hanna Strickland, ASO Administrative Assistant, and I had great fun creating the theme of “Your Passport to Great Music” and naming the concerts, and we hope you enjoy the journey.
The $100,000 challenge set forth by Bob and Jan Archer was met and they have established a new $1 million endowment to benefit the ASO. My challenge to you is to invite friends and family to each of the concerts this season.
Sit back, relax, and enjoy the flight!
Martha Buckner, Executive Director
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.
DELIUS, Frederick: Air and Dance
Instrumentation: Strings
Duration: 5 minutes
Frederick Delius’ (1862-1934) Air and Dance is a ‘wartime’ work that was composed in 1915 whilst the composer and his wife were living at Grove Mill House near Watford. Thomas Beecham had most likely taken a lease on this house, which was near his estate, to allow the couple to escape the rigours of the war in Grez-sur-Loing. Whilst at Watford, Delius also wrote his Double Concerto for violin, cello and orchestra.
The Air and Dance remained unpublished until the score was ‘discovered’ by Peter Warlock when visiting Delius at Grez during 1929. The work was originally scored for string orchestra, however a number of arrangements have been made subsequently, including for piano solo by Eric Fenby and for flute and piano by James Galway.
The premiere was at a private concert held at Lady Cunard’s London house during 1915 under Sir Thomas Beecham. The first public performance was given at the Aeolian Hall in London on 16 October 1929 also conducted by Beecham. Alan Jefferson in his study of the composer stated that the work’s dedication to the National Institute for the Blind dated from 1929 and was not ‘any premonition of…his [Delius’] impending blindness’ during the First World War.
The form of this delightful work is extremely simple. The piece opens with a dreamy, reflective tune that meanders towards the livelier ‘dance’. However near the end of the work the original air is reprised for a few bars before the piece closes on a positive note. It is a touching work that fully reflects Frederick Delius’s mature style.
Listen to the Academy of St Martin’s in the Field, under the baton of Neville Marriner performing Delius’s Air and Dance, on YouTube, here. The video includes the score.
With thanks to the English Music Festival where this note was first published.
Posted by John France https://landofllostcontent.blogspot.com/2024/11/frederick-delius-air-dance-for-string.html
VAUGHAN WILLIAMS, Ralph: Concerto, Oboe & Strings, A minor
Rondo pastorale
Minuet and Musette
Finale (Scherzo)
Instrumentation: Strings and solo oboe
Duration: 19 minutes
Vaughan Williams started to compose his oboe concerto in 1943, immediately after the Fifth Symphony, and it was completed in 1944. His friend and biographer Michael Kennedy wrote that ‘a discarded scherzo from the symphony was turned into part of the oboe concerto’, and he described it as a ‘satellite work’ to the symphony. It was written for the oboist Léon Goossens and the premiere was planned for the 1944 Proms. That concert was cancelled due to the risk of flying-bombs over London and Goossens gave the first performance in Liverpool on 30 September 1944.
The bucolic first movement – an unconventional rondo – is marked Allegro moderato and it uses both the oboe’s spiky agility and its lyrical capabilities, with short cadenzas near the start and finish. In his book on Vaughan Williams, Frank Howes noted that the Minuet and Musette was ‘wayward in its key scheme’ and described the whole movement as ‘pseudo-classical’ in character. The central ‘Musette’ section is based on drones, played by the oboe. Headed ‘Finale (Scherzo)’, the last movement is predominantly very fast, but perhaps the highlight of the whole Concerto is the slower central section, the soloist musing over richly-harmonised string chords, before a return of the fast material and a quiet, sustained close.
© Nigel Simeone
https://musicintheround.co.uk/programmes/vaughan-williams-ralph-concerto-for-oboe-and-strings/
MOZART, Wofgang Amadeus: Symphony No.29, K.201, A major
Allegro moderato
Andante
Menuetto and Trio
Allegro con spirito
Instrumentation: oboes, horns, strings
Duration: 28 minutes
At a festival’s closing concert this symphony of Mozart’s was followed by a suitably festive and droll conclusion: the same composer’s A Musical Joke. This unintentionally revealed that Mozart himself was ‘guilty’, in the rushing scales of the symphony’s last movement, of the same mechanical and inept writing at which he poked fun in Ein musikalischer Spass. Or was he? Context and handling are everything.
Eighteenth-century composers used simple musical materials, sometimes little more than tags which could be found in works by any composer of the time. At the risk of offending, it could be said of some of Mozart’s early symphonies that they are conventional in just this way. It should be remembered that the symphony then was not the dominant genre that Haydn and Beethoven were to make it – many symphonies of the 1770s were there not to be listened to very carefully, but to make a good festive noise. Worth saying, because the Symphony in A that Mozart completed in Salzburg on 6 April 1774 is the first of his symphonies which is by common consent not only worth listening to closely, but a masterpiece from start to finish.
Right from the start something arresting is happening: the violins have a theme proceeding in upward sequences and marked at each step with a falling octave. It has a strong rhythmic pulse. But simultaneously and equally the lower parts are proceeding gently, glidingly, in long notes – a rising bass. Instead of a loud attention-getter, Mozart begins with expanded chamber music, or more exactly what Jens-Peter Larsen calls a fusion of symphonic and chamber-musical styles, the fusion explored by Haydn in his symphonies of the same period. The previous year Mozart stayed in Vienna for months, and no doubt heard there symphonies by Haydn and his Viennese contemporaries, in the weightier and more argumentative four-movement form they were developing.
The profusion of material and the imitative discussion between the parts in the first movement poses a dilemma for interpreters: how broad a gait is required by the time signature in 4, and the Allegro moderato of the tempo indication? A feature which gives this movement a memorable charm is the character of the graceful second subject, which to the Mozart-lover recalls the same place in later works in the same key, such as the Piano Concertos K.414 and 488. The clearly defined coda is another feature of the Viennese style, and continues the development of the themes.
Many of Haydn’s slow movements show the same telling through economical use of the wind instruments against a texture of muted strings as Mozart does in his stately, processional, but intimate slow movement, where the pace of movement increases with the triplet figures which dominate the development. At the end, the winds on their own intone a fanfare while the strings remove their mutes, joining in the fanfare’s conclusion and repeating it to impose a conclusion.
Staying in the mind from the Minuet are the humor of the loud restarts on unexpected notes, and of the comic tailpiece for the winds, having the last word. The Trio in E major is mostly in sustained notes, in contrast to the angular rhythms of the Minuet.
The finale, it has already been said, is made up entirely of formulaic scraps, including those rushing scales – but how brilliantly organized they are to combine noise, excitement and musical interest! No trumpets, but the horns, which are allowed to go so wrong in the Music Joke, have to be on their mettle here: their parts reach dizzying heights by the end.
©2003 David Garrett
For Sydney Symphony Orchestra, August 15, 2019
Dwight Parry
Dwight Parry is the principal oboist of the Cincinnati Symphony Orchestra, Professor of Oboe at Bowling Green State University Adjunct Faculty at the Cincinnati College-Conservatory of Music. Mr. Parry is a versatile and passionate soloist, chamber musician and advocate for new music, performing and teaching around the world. A background in jazz led Mr. Parry to pursue a career that spans from concert halls to the streets of New Orleans, where he has improvised with Dixie bands.
In May of 2022, Mr. Parry premiered a wonderful new oboe concerto, Les Belles Heures, by Guillaume Connesson, which was commissioned by the Cincinnati Symphony Orchestra. Later that year, Mr. Parry gave the US premiere of Carl Vine’s Oboe Concerto with the Ohio Valley Symphony. In recent seasons, he performed the Martinů Oboe Concerto with the CCM Chamber Orchestra and the Strauss Oboe Concerto with the Prague Summer Nights Orchestra and with the Jakarta Symphony Orchestra. He has also been a soloist with the Saint Paul Chamber Orchestra in Bach’s Brandenburg Concertos 1&2. After hearing his performance of the Vaughan-Williams Oboe Concerto in Mexico City, he was invited by Hansjorg Schellenberger to judge the Sony International Oboe Competition in Tokyo.
Mr. Parry was formerly principal oboist of the San Diego Symphony and a Fellow with the New World Symphony. He has appeared as guest principal oboist with the New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, LAPhil, Minnesota Orchestra, San Francisco Symphony, Saint Paul Chamber Orchestra, Guangzhou Symphony, Deutsche Symphonie of Berlin and Korean Broadcasting Symphony.
Originally from Southern California, he found his passion for music early on through piano, voice, and saxophone. In high school, Mr. Parry took up the oboe and decided to make a life in music. He went on to study at CIM with John Mack and USC with Allan Vogel and David Weiss, a gentleman who also taught him to surf!
During the summer, he is in residence at Interlochen, the Grand Teton Music Festival, Mainly Mozart Festival, Lakes Area Music Festival and the Stellenbosch International Chamber Music Festival in South Africa. In those rare moments when he is without his oboe, he is often attending concerts, plays, and other community events. He spends the rest of his time hiking, reading, volunteering, tossing frisbees, and creating curiosities in the kitchen.
Mr. Parry is a Lorée artist.
Samuel Rotberg, Concertmaster
James E. Thomas Endowed Chair
Jane Reed
Mary Ann Basinger
Kia-Hui Tan
Krista Solars
Aiden Nease
Mary Kettering, Principal
Ania Kolodey
Wanda Sobieska
Michael Sieberg
Eva Mondragón, Principal
Joshua Bowman
Jamie Thornburg
David Ellis, Principal
Matthew Rhee
Rosa Balderrama
Bryan Thomas, Principal
Jeff Weeks
Alexander Pons, Principal
Melanie Garcia
Laura Makara, Principal
Timothy Stewart
Loudonville Theatre and Arts CommitteeHugo H. and Mabel B. Young FoundationThe 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 10/02/2025.
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 County Community Foundation
Ashland University, in-kind support
ASO Podium Endowment Fund in Honor of Maestro Arie Lipsky est. 2018
The Dean and Joan Bartosic Fund (ACCF)
STAN AND DIANA BRECHBUHLER
Jim and Barb Chandler‡
Hugo H. and Mabel B. Young Foundation
Vicky Lippert
Loudonville Theatre and Arts Committee
Ohio Arts Council
The Elizabeth Pastor Fund (ACCF)
Samaritan Hospital Foundation‡
CHARLES AND PEGGY ULRICH
Anonymous
The John R. Donelson Fund (ACCF)
GRANDPA’S CHEESEBARN & SWEETIES CHOCOLATES‡
MICHAEL AND SEIKO HUPFER
Susan Lime
SUELLEN McBURNEY
ALAN AND MARJORIE POORMAN
Trinity Lutheran Church – Rybolt Fund‡
Dr. JoAnn Ford Watson*
Ashland City Schools‡
ASO Rev. John H. Landrum Memorial Endowed Chair for Flute 2 est. 2020
ASO Fund in Memorium of James E. Thomas est. 1999
Campbell’s Corporation in honor of Kayla Selan
Forrest Conrad
JAMES AND KRISTI CUTRIGHT
Denbow-Gasche Funeral Home & Crematory with onsite reception center‡
Thomas and Kristie Donelson‡
BETTI AND JOHN FRAAS
Barbara Glenn
CATHERINE HINER
David Kowalka
Antonio and Karen Marallo
TOM AND MARY McNAULL*
OneTable Strategy
JOHN AND DIANE PAULSON‡
Ken Seidner and Dr. Lorena Surber
JOHN AND DANA SHERBURNE*
JOHN AND JEANIE SHULTZ
SPRENG-SMITH AGENCY‡
The J. Robert and Ruth L. Tipton Fund (ACCF)
BCU Electric‡
Charles and Melody Barnes
The Dr. Beverly M. Bixler Fund (ACCF)
JEFF AND DIANE BONFIGLIO‡
MARTHA BUCKNER
ANGIE AND ADAM CIRONE
TIM AND ANNE COWEN
Jean Dierks
Germain Honda of College Hills
Ann K Guthrie: In honor of Arie Lipsky in gratitude for his leadership and talents.
The Ann K Guthrie Endowment Fund (ACCF)
Bud and Cuda Ingmand
The Nancy Kopp Fund (ACCF)
KEVIN AND CAROL OBERHOLTZER
Packaging Corporation of America‡
Peace Evangelical Lutheran Church‡
Jon Parrish Peede and Rev. Nancy Hollomon-Peede
Patricia Perez
JANE ROLAND
MICHAEL AND DEBORAH SULLIVAN
ALLAN AND MARY-ROSE ANDERSEN
Ron and Lisa Blackley
John and Lori Byron
The Billy M. Harris Fund (ACCF)
The Arie Lipsky Honorary Endowment Fund ℅ Ann Guthrie (ACCF)
Ron and Carolyn Marenchin‡
Bob and Jane Roblin*
Thomas and Jane Reed
Bill and Chris Strine
Dr. Stephen and Peggy Yoder*
Armodyne Computer Solutions‡
Ashland Dental Associates
ASO Harold Weller Music Education Endowment Fund est. 2019
Baker Bowman & Co.
Mary Ball
Sandra Bally
Bella’s 220
Doug and Susan Blake
Ted and Patricia Byerly
The Mary M. Case Memorial Fund (ACCF)
Charles River Laboratories
Coldwell Banker Ward Real Estate
Robert and Jan Cyders
Ray and Cherie Dever
Explore Ashland
MIMI AND JOHN FERNYAK
Fulmer Farms
The Dr. Alvin W. Garrett Fund (ACCF)
BETTY GARRETT
Ed and Karen Grose
Louise E. Hamel
The Lawrence and Catherine Hiner Endowed Chair for Percussion (ACCF)
Jan W. and Sharon Howe
Irwin & Associates, CPA’s
Loretha Kline
Charles Kobb
TOM AND MARILYN KOOP
Fred Lavender
Ron and Barb Leddy
Mechanics Bank‡
Lighthouse Wealth Management
John and Donna Rae Maiken
Dann and Connie Marble
Mel McKeachie and Melody Snure
Miller’s Hawkins
Ken and Sheila Milligan
Larry and Diane Moretz
Pam and Mike Mowry
DAN AND LISA PETERSON
LANA M. POTTER
BARB QUEER
Brittany Reep ℅ ACCF Staff Grants Program
Ken Rinehart and Barb Schmidt-Rinehart
The William and Marlene Rose Fund (ACCF)
Gordon and Jane Ruggles
Deborah Seaman*
D.R. and C.L. Sedwick
Sarah Shepherd
Eric and Melissa Sponseller
Dorothy Stratton*
MICHAEL AND NANCY UDOLPH
Scott and Ann VanScoy
Cora Walker
Sterling Ward
The Dr. JoAnn Ford Watson Fund (ACCF)
Russell and Jan Weaver
Whitcomb & Hess CPAs & Financial Advisors
SUSAN WHITTED
Women’s Philharmonic Advocacy‡
Tim and Linda Workman
Abbott Laboratories
Advantage Marketing, Inc.
Lucy Amsbaugh
Myron and Carolyn Amstutz
Ashland Noon Lions
Joe and Pat Denbow
Janice Eitelgeorge
Janice Fridline
John Giglio/In Tune Piano
Johnson Controls
Susan Gregg and the late Dr. Robert Gregg
Jan Hamilton
GARY AND CHERYL HILDEBRAND
Henry N. Hiner
LAW OFFICE OF ANDREW BUSH
Robert and Shirley Matz
R. Lee and Marianne Mowry
Roger Price
Tom and Diane Rohr
Robin Ryland
St. Matthew’s Episcopal Church
Ralph and Betty Jo Tomassi
Jenny Whitmore
Anonymous
The Robert M. and Janet L. Archer Fund (ACCF)
Elizabeth Arnold
Tim and Laura Baker
Patricia Saunders and Soren Brauner
Brethren Care Village
Maryanne Chengelis
Madeline Cole
Freda Cook
Denny and Polly Davis
Cara Dziak/Rosewood Music Studio
Bonnie Graves
David and Debby Gray*
Robert Groenke
Gene and Jan Haberman
FRANCES HAMILTON
Tom and Chris Herron
Pamela Hinton
Stan and Joyce Hunt
Bob and Colleen Jackson
Arie Lipsky
Maurer Photography
Tom and Bonnie McGee
PATRICIA PECK
Lee and Dawn Peters
Karen Reaume
Michael Repper
Paul and Barbara Schantz
S. Kris Simpson
Jack and Nancy Smith
Rev. And Tom and Kitty Snyder
Glen and Judy Stewart
Steven and Marla Willeke
Douglas and Rebecca Abel
Teresa Durbin-Ames and Larry Ames
Mary Ann Basinger in memory of Bob Gregg
Darcie Gilbert and Chris Koch*
Deann Markle
Alice L. Metcalf
Nicole Paradis
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 and 2025
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 est. 2025
Martha Landrum Buckner Fund for the benefit of the ASO est. 2025
