Twenty-Fifth Anniversary Season
Trinity Chamber Orchestra
Richard Fazio, Music Director and Conductor
Dannice Crespo, Assistant Conductor
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Age of Elegance
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October 1, 2023
4:00 P.M.
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St. Francis Episcopal Church
10033 River Rd.
Potomac, MD 20854
Program
*Overture to The Italian Girl in Algiers Gioachino Rossini
2000, 07
*Sinfonia Concertante Wolfgang Amadeus Mozart
2003
Allegro, Adagio, Andantino con Variazioni
Oboe, Mary McClain
Clarinet, Angela Murakami
Horn, Avery Pettigrew
Bassoon, Mary Lee Young
~ ~Intermission ~~
*Mélodie from “Souvenir d’un lieu cher” Peter Ilyich Tchaikovsky
2006, 2017
Semyon Ziskind, Violin
*Symphony No. 25 Wolfgang Amadeus Mozart
2001
Allegro con brio, Andante, Allegro
* played in past years
Trinity Chamber Orchestra
Violin I
**Jennifer Houck
Semyon Ziskind
Tetyana Royzman
Tom Dunn
Wayman McCoy
Michele Bartlow
Charles Flesch
Violin II
*Greg Hiser
A.N. Seth
Mary Dickerson
Peter Clamp
Elizabeth Sefen
Dr. Rodney D. Allen, Ph.D
Viola
*Samer Chiaviello
Caroline Saccucci
Sarah Baxter
Karen Umbrell
Cello
*Elizabeth Davis
Frank Pellegrino
Karen Schneider
Daren Shumate
Bass
*Jeremy Ford
Phil Ravita
**Concert Master
*Section Leader
Flute /Piccolo
*Julianne Martinelli
Caitlyn McGillen
Oboe /English horn
*Mary McClain
Robin Barr
Nathaniel Wolff
Clarinet
*Angela Murakami
Jim Bensinger
Bassoon
*Mary Lee Young
Daniel Levine
Horn
Nielsen Dailey
Wendy Chinn
Ilycia Silver
Mark Meuschke
Percussion
Craig B. Teer
Igor Kozlov
Richard Fazio, originally from Pittsburgh, received his Master of Music and his
Doctor of Musical Arts from the Catholic University of America School of Music.
He also completed advanced studies in conducting/Master Classes at the Juilliard
School, Philadelphia Professional Ensembles Institute, the Brockport Music
Festival in New York, and the American Summer Conductors’ Institute held at
West Virginia University. His teachers include Giampaolo Braccali, Otto-Werner
Muller, Dr. Robert Garofalo, Sergiu Commissiona, Piotr Gajewski, and Donald
Portnoy. In 1984 Dr. Fazio was one of 25 conductors selected nationally to
participate in the Gino Marinuzzi International Conducting Competition in San
Remo, Italy. He was also selected as a participant for Master classes in opera
performance and conducting with Sarah Caldwell at the Wolf Trapp Center for the
Arts.
Dr. Fazio served for five years as Artistic Director for The Metropolitan Bach
Festival in Maryland and was Music Director/Conductor for the Washington
Savoyards, a Gilbert and Sullivan (G&S) Opera Company, for 11 years. During
that time, he conducted the entire G&S repertoire. He has returned on several
occasions, including a November, 2008 production of Patience. Maestro Fazio has
also served as conductor for the Summer Opera Theatre Company in Washington,
DC, for their production of The Merry Widow. He has conducted the Catholic
University Orchestra and the Trinity Chamber Orchestra for the Metropolitan
Ballet Theater Company in Maryland.
Dr. Fazio has taught instrumental music in the Montgomery County School
System in both the elementary and secondary levels for 46 years. From 2001-2005
he served as a part-time faculty member at the Catholic University of America as
director of the Wind Ensemble and lecturer in Instrumental Music Curriculum,
Pedagogy and Brass Methods. He has also served as conductor for the Potomac
Valley Youth Orchestra of Maryland and the Montgomery County Honors String
Orchestras.
Dr. Fazio welcomed the new millennium as founder and Music
Director/Conductor of the Trinity Chamber Orchestra, now in its 23 nd Season,
which performs outstanding music from the Baroque through the 21 st century.
Under Maestro Fazio’s continued leadership, the TCO has grown in excellence,
outreach and programing, performing new works and giving young talents
performing opportunities. The TCO has been awarded multiple grants from the
Montgomery County Council of the Arts for their diversity and innovative
programming.
Dr. Fazio is the author of two Study Guides and Reference Manuals in Western
Music History and Theoretical Functions.
Dannice Crespo started violin lessons at age 9 with maestro Daniel Perego at the
Instituto de Bellas Artes in Santa Cruz, Bolivia. When coming to the United States
of America she graduated in Violin Performance from the University of Central
Arkansas, where she was a scholarship student under Dr. Linda Hsu. In addition,
Ms. Crespo found herself very inspired by famous young American violists and
started studying the viola while in undergraduate school. In 2002 Ms. Crespo
joined The Madeira School as the violin/ viola instructor. In 2017 she obtained an
M.M in Viola performance from George Mason University. She studied with Mr.
Philippe Chao from the Kennedy Center National Opera.
While completing her instrumental studies Ms. Crespo decided to take a
position as a conductor of a children’s orchestra at the prestigious Westminster
School in Northern Virginia. During the first year, she took her orchestra to a
competition. She brought them the Best Orchestra Award, as well as the Overall
Grand Champion Award. The following year Dannice started studying conducting
at Catholic University under the expertise of maestro Murry Sidlin. In 2020 she
was appointed as Assistant Conductor with Trinity Chamber Orchestra.
Mary McClain is a professional oboist who earned her Bachelor of Music degree
in Oboe and English Horn Performance from Indiana University, where she
studied with Jerry Sirucek. In addition to being Principal Oboe and soloist with
Trinity Chamber Orchestra, Mary is also Principal Oboe in Fredericksburg (VA)
Symphony, as well as Shippensburg (PA) Community Orchestra. Mary has
performed with Two Rivers Chamber Orchestra in Shepherdstown, WV since its
inception 15 years ago. She plays Second Oboe and often solos on English Horn.
She can often be heard performing with Prince George’s Philharmonic. Mary
established 143 Music Collaborative (formerly East Meets West Music
Collaborative) in 2017 in Pennsylvania, which is now expanded to include the
DMV and West Virgina. This project was started as a vehicle for professional
musician friends to perform chamber music of their choice with new and old
friends in their “off-season” in intimate, often unusual, venues. Past performances
have been held in a bicycle shop and funeral home in PA and in The Station at
Shepherdstown this past August (renovated train station). Swander Duo, with
double bassist Raymond Irving, was formed as a result of the powerful musical
and personal connection discovered when performing together with the 143 Music
Collaborative in PA.
Angela Murakami – is a native of the Washington, DC area. She earned her
Bachelor of Music degree in Clarinet Performance from the University of
Maryland where she studied with Dr. Norman Heim and her Master of Music
degree from Northwestern University where her teachers included Clark Brody
and Robert Marcellus. In addition to being the principal clarinetist of Trinity
Chamber Orchestra, Ms. Murakami plays with Ensemble à la Carte (a woodwind
quintet) and Fuse Ensemble (a new music/new visual art group). She has also
played with a number of orchestras and musical groups in the area including:
Trinity Chamber Players, the Washington Sinfonietta, Pro Arte Chamber
Orchestra and the Washington Savoyards. Ms. Murakami is also actively involved
as a member of the board of Fuse Ensemble Arts Collective, a new 501(c)(3)
nonprofit that supports underrepresented composers and artists in the area of new
contemporary classical music/visual arts.
Ms. Murakami currently lives in Washington, DC with her husband and
three cats (one of which enthusiastically participates as the sixth member of the
quintet). In addition, she loves keeping fit with Zumba, definitions and
paddleboarding.
Mary Lee Young is a native of Maryland, first studying bassoon under the
guidance of Walter Maciejewicz. She earned a Bachelor of Music in Music
Education and Bassoon Performance at the University of South Carolina where
she studied with W. John Williams and Carol Cope and earned a Master of Music
Education and Bassoon Performance degree from the University of Maryland,
having studied with Linda Harwell. In addition to being a member of The Trinity
Chamber Orchestra of Washington, Mary Lee freelances with numerous groups
throughout the Washington, D.C. area and maintains an accomplished bassoon
studio.
Mrs. Young has served in Montgomery County Public Schools for over
22 years as a music educator and honor band conductor. She is the director of the
vibrant Redland Middle School instrumental music program, where she directs
three concert bands, two orchestras, jazz band and chamber music. Mary Lee
currently lives in Olney, MD with her husband, 2 children, Edna the English
bulldog, Evie the puggle, Truffle the guinea pig and Kabob the bearded dragon.
Dr. L. Avery Pettigrew is a freelance musician and music educator engaged
throughout the DC area and is currently serving a one-year position as Utility
Horn with Virginia Symphony Orchestra. She performs regularly with several of
the local orchestras including the Baltimore Symphony, the Maryland Symphony,
and the Mid-Atlantic Symphony. She has been the featured soloist with several
community ensembles including the Washington Sinfonietta, the Manassas
Symphony, and the Pro Arte Chamber Orchestra of Greater Washington.
As a student with Samantha La Pointe-Woolf at Tulane University in New
Orleans, she earned both a Bachelors of Fine Arts in Music Performance and a
Bachelors of Science in Ecology and Evolutionary Biology. Dr. Pettigrew earned
both her Doctorate of Musical Arts and Master of Music degrees at the University
of Maryland-College Park, where she held a performance-based graduate
assistantship as a student of Gregory Miller and Phil Munds. Her additional
teachers include Denise Tryon, Michael Thornton, and Shawn Hagen.
In addition to operating a large and successful private studio based in
Chantilly, Dr. Pettigrew has been the horn instructor at Frostburg State University
since 2019. She teaches online students across the east coast and is the horn
specialist instructor with several schools in Fairfax and Loudoun County. Her
students regularly place into their state's honors ensembles and have earned
scholarships to top music schools in the country.
Program Notes
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Age of elegance
Welcome back to the Trinity Chamber Orchestra’s 25 th Anniversary Season!
Today’s program features gems from the past 25 years.
In the summer of 1999, the foundational work of the TCO was nearing
completion. In October, a preview concert was performed in Holy Trinity
Catholic Church to introduce this new orchestra to the community. The concept
for our opening was, “A new Millennium – a new Orchestra!” With much hard
work, our dream came true. In the new millennium, on January 16, the Trinity
Chamber Orchestra performed its first concert in Holy Trinity Catholic Church to
a very excited and enthusiastic audience. For several years, the concerts were
given in the Trinity Theater, Georgetown.
Over the course of its twenty-five seasons, The TCO has performed a
fabulous variety of classical and new works. In addition, the TCO has developed
several annual events including a collaboration with “Partners for the Arts” and
“An Afternoon at the Opera” featuring promising new vocal artists.
Gioachino Rossini (1792-1868)
L’italaina in Algieri
Gioachino Rossini was the world’s most recognized opera composer in
his day. His fame caught the attention of composers such as Beethoven, who said
to him, “Ah! Rossini, you, the composer of the Barbiere di Seviglia? My
congratulations; that is an excellent opera buffa; I have read it with pleasure and I
enjoyed myself. It will be played so long as Italian opera will exist. Do never try
your hand at anything but opera buffa; you would be doing violence to your
destiny by wanting to succeed in a different genre.” This was quite the compliment
for a young composer who had many struggles at the beginning of his career. Born
in Pesaro, Italy in 1972 Rossini received some of his most important musical
education in the Liceo Musicale in Bolgna. However, he worked as a public singer
and accompanist to singers and ballet dancers to support himself.
Rossini’s first success came at the age of eighteen with the opera La
cambiale di matrimonio. At age twenty-one his opera seria Tancredi put Rossini in the
international map. It was weeks after Tancredi that Rossini was commissioned to
write L’a italiana in Algieri. This commission came quite late as Carlo Coccia failed
to produce an opera for the Spring season of 1813 for the Teatro San Benedetto.
Rossini was asked to fill the task, and for expediency’s sake as well as in the hope
of a surefire success, he was given an existing libretto by Angelo Anelli. Rossini
alleged that he wrote L’a italiana in Algieri in eighteen days, but some other sources
claim that it was actually twenty-seven days. Nonetheless, this expedited
composition successfully premiered at the Teatro San Benedetto in Venice on 22
May 1813.
L'Italiana in Algeri was written at the style of Haydn’s “Surprise
Symphony” as the quiet string pizzicatos lead to a sudden loud burst giving the
overture that comic effect. In addition, Rossini’s Bell Canto style can be heard in
the oboe and clarinet, which take center in the slower part of the Overture and in
the flute in the Allegro section.
Rossini’s legacy was not only a vast compendium of his incredible
compositions, more than thirty stage works, both comic and tragic, culminating at
age thirty-seven with his fantastic and celebrated Guillaume Tell overture, but also,
he has left a fervent stamp in the Venetians hearts. In 1868, the year of his death,
Teatro San Benedetto was renamed in Teatro Rossini. In 1937 this building
became a movie theater with the name of Cinema Rossini.
–Dannice Crespo
Wolfgang Amadeus Mozart (1756-1791)
Sinfonia Concertante, k. 297b
In April 1778, Mozart wrote from Paris to his father that he was about to
compose a Sinfonia concertante for three virtuosos from the Manheim orchestra.
The new work was to be performed at the Concerts Spirituels but nothing came of it,
unfortunately the score was lost. However, Mozart told his father that he intended
to write down the Sinfonia from memory. The autographed score has never been
recovered. However, some 70 years after Mozart’s death a manuscript copy of this
score as we know it today turned up among the papers of the famous Mozart
biographer Otto Jahn.The genre of a sinfonie concertante came into fashion
suddenly around 1770 and it was the rage in musical circles, but unfortunately died
out around 1830. This was a two or three- movement work for a group of soloists,
usually two, three, or four, possibly up to nine, and orchestra. Almost all in a
major key and lighthearted. The solo group is treated somewhat like a single solo
instrument in a classical concerto. Unlike its baroque counterpart, the concerto
grosso, the orchestra in the sinfonia concertante usually accompanies the soloist.
The emphasis is more on melody than on development.
The sinfonia concertante is different from the concerto because the
soloists have advance melodic material and participate in moving along the
development schematic design functioning as in a symphony, rather than
performing a single, showy musical part in the manner of a concerto. However, it
is a concerto for a group of solo players; it is usually lighter than a concerto and
almost always in a major key. The form was particularly popular in Paris in the
1770s. Mozart visited Paris in 1778 and is commonly associated with just two
Sinfonie Concertanti. The most frequently played, and the only one known to
have been completed by Mozart, is K 364 in E-flat for violin and viola with
orchestra – a magnificent and justly popular work. Almost as well-known is that
for oboe, clarinet, horn and bassoon with orchestra, K. 297b; however, its only
extant manuscript is an arrangement by another hand and scholarly opinion is
divided as to its relationship to a lost earlier piece by Mozart for flute, oboe, horn,
bassoon, and orchestra.
In the nineteenth century there appeared, in manuscript copy, a Sinfonia
concertante in E-flat major for oboe, clarinet, horn, bassoon and orchestra, for
which Mozart was claimed to be the author. Despite the difference in scoring, this
piece was identified with the Paris Sinfonia concertante, then believed to be lost.
Although it was long thought to be genuine, for the last twenty-five years or so
serious doubts have been raised concerning its authenticity, with regard not only
to the scoring of the solo parts but also its orchestration.
No composer understood wind instruments better than Mozart, so the
solo lines are composed with a clear feeling for their special qualities: the oboe’s
expressive, penetrating voice; the clarinet’s liquid fluency over a wide range; the
horn’s elegant adventures in its upper octave; and the bassoon’s many functions as
bass line, tenor line, or tune. Their interplay is balanced and lucid,
After an extended orchestral tutti announcing the principal themes, the
solo quartet is introduced in typical concerto fashion. The oboe is the first to take
up this theme which is developed by each of the soloists. Each instrument plays
virtuosic music uniquely. The horn is used in a very high register and the different
clarinet registers are contrasted. They are also passages of rapid runs. This was
probably written for the Manheim musicians who accomplished players.
The first movement is the richest of the three in thematic development, as
in any Mozart concerto. It is in sonata form with three expositions rather than the
two – one played by the orchestra, the other two by the soloists. There is an
elegant cadenza toward the end. It is fully written out and exploits the interaction
of the four winds timbers.
The second movement is in the key of E-flat major and is marked adagio,
but musicologist agree that it was originally and andante. The adagio marking is
out of character for this graceful music. One of the most striking passages being
the typically Mozartean minor -key entrance of the bassoon midway through the
movement, in a brief development section.
The finale is a set of ten variations, in a light-hearted melody plus coda
where one phrase from this melody is taken directly from the second main melody
of the first movement, reproducing the outline of the theme. The theme in each
variation features one or two instruments answered by the full quartet. The
variation successfully highlight clarinet answered by the horn and bassoon
answered by clarinet arpeggios. Each variation is separated by a decorative,
orchestral ritornelli. Then the tenth variation softens into an Adagio. Toward the
end the melancholy tune turns into a jig-like coda in 6/8 time typical of the
Parisian sinfonie concertante.
–Richard Fazio
Pyotr Ilyich Tchaikovsky (1840-1893)
Souvenir d'un lieu cher, Op. 42 (1878)
In 1878, while in Switzerland, Pyotr Ilyich Tchaikovsky (1840-1893) wrote
the first part of his op. 42 cycle for violin and piano, Souvenir d’un lieu cher (Memory
of a dear place). The three movements, Méditation, Scherzo, and Mélodie were
published in 1842 and the ‘dear place,’ which was the dedicatee of the work, the
Ukrainain country estate of his patroness, Nadazhda von Meck. The original
manuscript was given to Nadeja von Meck. In an accompanying letter
Tchaikovsky wrote "I have left my pieces with Marcel (the estate manager) to give
to you. On giving these pieces to Marcel I experienced an indescribable
melancholy, which stayed with me even as I sat down to write this; until I saw the
lilacs still in full bloom, the grass still long, and the roses only just starting to
blossom!"
The pieces were written for violin and piano, the only time Tchaikovsky
wrote for that instrumental combination. The work is very characteristic of
Tchaikovsky's style. It is built on beautiful melodies, with a Russian folk inflection,
and contains a variety of contrasting sections. The solo part exemplifies
Tchaikovsky's mastery of violin writing, using as it does a wide range of timbres
and effects. In 1896, three years after the death of Tchaikovsky, the work was
orchestrated by Alexander Glazunov and most of its subsequent fame comes from
the orchestral version. The Mélodie, the third part carries us to the romantic
Tchaikovsky, the master of melody. The movement originally had the title
of Chant sans paroles (Song without words) and we can hear the song-like qualities
of the work. –Richard Fazio
Wolfgang Amadeus Mozart (1756-1791)
Symphony No. 25, K. 183
One composer who has captivated young and mature audience through
the ages has been Wolfgang Amadeus Mozart. Though he was lived form 1756 to
1791 he truly acquired his rock-star status in 1984 with the Hollywood movie
Amadeus. In addition, his Symphony N. 25 in G minor obtained a well-deserved
rendition in the opening scene of this Oscar-winning biographical drama film.
Mozart’s Symphony N. 25 in G minor was premiered on October 5, 1773,
in his native Salzburg, shortly after the success of his opera seria Lucio Silla in
Milan. Only at seventeen years old Mozart was more industrious than many
leading composers of his time. Besides composing symphonies N. 23 through 26
Mozart also wrote his Violin concerto N. 1 in B b Major, his Piano Concerto N. 5 in
D Major, Missa brevis in G Major “Pastoral,” Mass in C Major, and eleven string
quartets. However, at seventeen, no longer considered a child prodigy Mozart was
dealing with the prospects of a worthy and lucrative music position. In addition,
more restrictive terms of his employment with the Archbishopric of Salzburg
started being enforced with the newly elected Prince Archbishop Hieronymus
Colloredo, with whom Mozart had a very tumultuous boss and employee
relationship that resemble more the relationship between a master and a servant.
Despite his great efforts, a four-month tour in the beautiful Austrian capital to
gain an appointment with the Viennese court, Mozart failed to obtain a
nomination to the court as a musician. Despite the blunt realizations the young
composer was experiencing there were some positive parts in this chapter of his
life. The Mozart family upgraded their residence. They moved to what is known as
the “Mozart Residence,” a spacious eight-room apartment across the beautiful
Hannibalplatz.
The key of G minor is a striking feature in Mozart’s Symphony N. 25,
nicknamed “The Little.” Up to this point he had only composed symphonies in
Major keys. In fact, the only other minor key symphony is N. 40 “The Great,” also
in G. The dramatic style of Symphony N. 25 correlates with the new “Sturm und
Drang” compositional style of this period. In fact, it was in one of his last trips to
Vienna that Mozart heard Haydn’s Symphony N.39 “Tempesta di Mare,” also in
G minor and in the Sturm und Drang style. Even the striking pause on the first
movement of Symphony N. 25 resembled the dramatic pause in Haydn’s
symphony first movement. However, it was not only Mozart who demonstrated
his admiration for Haydn’s through his works, but also Haydn returned the
sentiment. Hence, the Agnus Dei from Haydn’s 1779 St. Theresa’s Mass quotes
the opening notes of Mozart’s Symphony 25, reinforcing the reciprocity to
Mozart. Mozart cleverly uses a binding feature of monophony through this
symphony, which is clearly used in the Allegro’s opening theme. This adds a
dramatic orchestral unison texture to the opening theme. The second movement,
Andante, is a constant interplay and imitation between the higher and the lower
tessitura’s in the orchestra. The third movement, Menuetto, though is very typical
in form, features the very powerful instrumentation through a general orchestra
unison melody. The trio features only the winds in the joyful key of G Major,
offering a glimpse of Mozart’s Galant style. The fourth movement, Allegro, still
uses a powerful unison opening but quickly develops into a dualistic and intense
tug-of war between monophony and polyphony.
Mozart’s legacy is infinite. Though, while he was alive, he did not achieve
the level of success, fame, and fortune as his well stablished cotemporaries, he
forever influenced western music through the eras. Now, according to Google he
is ranked top three in history.
–Dannice Crespo
Conductor’s Circle
Anonymous
Benefactor
Dr. Elaine R. Walter
Partners for the Arts
James Phippard & Melinda Kimble
(in Honor of Judge Bruce Mencher)
Jean Comstock
Supporter
Mrs. Eleanor Fazio
Craig Mysliwiec
Richard & Eileen Hoffmann
Patron
Craig Mysliwiec
Mr. and Mrs. Richard Humbert
Donor
Trudy Luria Fleisher
(in honor of Judge Bruce Mencher)
Glenn & Elise Silver
Celeste King
Dr. Joseph Santo
Dr. and Mrs. William Ott
Richard & Mary Gillenwater
Luke, Charles, and Meredyth Havasy
Friend
Steven & Karen Umbrell
Lisa and Eric Cohen
Ilya Pesin
Vivian Crespo-Almond
Danielle Sultan
Helen Tangiers
Khalid & Vandy Alamdeen
Erik Turkman
Mark Marshall
Stephen J. Feinberg and Wendy Garson
Shiraji and Aruna Seth
Lahir Albadawi
Frank & Laurie Saenz
Norman Engler
Ilene Slatko
James M & Caroline S. Russel
Cornelia Pierre
Robert and Mette Beecroft
Officers and Board of Directors
Richard Fazio, President
Nancy Fazio, Chief Financial Officer
Frank Pellegrino, Secretary
Julianne Martinelli, Publicity
Richard Humbert, Community at Large
Richard Hoffman, Community at Large
TCO Production Staff
Nancy Fazio General Manager, Treasurer
Elizabeth Molina Tickets
David Molina
Julianne Martinelli Publicity, Assistant to the Directors and
Coordinator of Wind Ensemble & Special Events
Frank Pellegrino Personnel Manager, TCO
Craig B. Teer Stage Manager
Al Rise Assistant Stage Manager
Robin Barr, Ph.D. Consulting Linguist
Mark Meuschke Coordinator of Brass Ensembles
Steve Schwadron Coodinator of String Ensembles
Acknowledgments
As set forth in our Bylaws, the mission of the Trinity Chamber Orchestra is "to perform
outstanding sacred and secular music from the Baroque period through the 21st century, all for
the Honor and Glory of God, under the patronage of the most Holy Trinity: Father, Son and
Holy Spirit." We gratefully acknowledge the musicians of all beliefs who come together to make
this possible for us, and thank them all for giving so generously of their time and talents in
performing with this orchestra.
We would like to thank Rev. Mark Michael and Rev. Jonathan Musser of St. Francis
Episcopal Church for all their support to make our concerts possible.
The TCO wishes to acknowledge the Kindler Foundation of the MLK Library, and EAM
for the loan and rental of selected orchestral music and Kensington Baptist Church for their
rehearsal space. We also thank the Arts and Humanities Council of Montgomery County for
their generous grants.
Trinity Chamber Orchestra
~ Twenty -Fifth Anniversary Season ~
You can now buy tickets and make donations online:
visit: trinitychamberorchestra.org
November 19, 2023 #tickets ________@ $25.00 Total $
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March 17, 2024 #tickets ________@ $25.00 Total $
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June 16, 2024 #tickets ________@ $25.00 Total $
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Ticket Donation: $25.00 at the door
~ Students: $10.00 in advance and $15.00 at the door ~
Additional Donations in Support of the TCO
Concert Sponsor $5,000.00 Supporter $500 – 999
Conductors Circle $3,000 – 4,999 Patron $250 – 499
Benefactor $1,000 – 2,999 Donor $100 – 249
Friend $25 – 99
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Your support is greatly appreciated and vitally essential to our continued ability to
bring beautiful music to the Washington area. The Trinity Chamber Orchestra is a
non-profit organization. All donations are tax-deductible.
Make checks out for tickets and donations to:
Trinity Chamber Orchestra
P.O. Box 348
Germantown, Maryland 20875-0348
301-926-0936
Visit us at: trinitychamberorchestra.org
November 19, 2023
4:00 PM
~ ~ ~
Musical Gems Around Europe
Featuring
Jennifer Houck, Violin
Emily Casey, Soprano
Felix Mendelssohn
Violin Concerto
Sergei Rachmaninoff
Russian Songs
Ludwig van Beethoven
Overture to The Creatures of Prometheus
Johann Baptist Vanhal
Sinfonia in A Minor