April 2012: Yuja Wang Performs Rach III at the Atlanta Symphony Orchestra

Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

April

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contents April 2012

encoreatlanta.com 20

features

the music

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I can’t change what happened to these composers, but I can change their legacy.’

25 This week’s concert and program notes

Conductor Michael Christie shines a light on Jewish works banned by the Nazis.

12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

46 Remarkable Partners

The Orchestra and the Alliance Theatre give life to The Remarkable Farkle McBride.

48 Community Corner

Meet Ahmad Mayes the Atlanta Symphony Orchestra’s Community Programs Coordinator.

8 Atlanta Symphony Orchestra/aso.org

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Bret Love, Kimberly Nogi and Madeline Rogers

atlanta symphony orchestra Rob Phipps Karl Schnittke program annotator Ken Meltzer

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Welcome Ever wonder about what happens in Symphony Hall when you’re not here for a concert? Symphony Hall is alive with music and filled with children!

Through its renowned education programs — programs like Concerts for Young People, Symphony Street and Next Generation — the Atlanta Symphony Orchestra brings music into the lives of more than 54,000 school-aged children each year.

Earlier this year more than 600 students from Springdale Park Elementary School spent a day with the ASO. When asked by their teacher, Brianne Turgeon, to reflect on what they had learned in their time with us, three students created websites about their favorite composers, 60 students developed PowerPoint presentations, and dozens more made posters, drew portraits, created sculptures and wrote stories. Here’s a glimpse of one: fourth-grader Hannah-Rose’s James Price Johnson keyboard presentation. She lists the facts under the keys!

For a more in-depth look at what the Springdale Park students took away from their day in Symphony Hall, visit springdaleparkmusic.blogspot.com/2012/02/ awesome-projects-2012.html.

The ASO is making a difference in Atlanta — through the inspiring concerts you attend, and by engaging the youngest members of our community.

Our music education initiatives are made possible by generous donors like you. On behalf of the 54,000 children whose lives we will touch this year — children like Hannah-Rose and her classmates from Springdale Park — thank you for supporting your Atlanta Symphony Orchestra!

Wishing you all the best,

Stanley E. Romanstein, Ph.D. President

12 Atlanta Symphony Orchestra/aso.org

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leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson Meghan H. Magruder Chair Vice Chair Karole F. Lloyd D. Kirk Jamieson Chair-Elect Vice Chair

Joni Winston † Secretary Clayton F. Jackson Treasurer

Directors Jim Abrahamson Pinney L. Allen Joseph R. Bankoff* Neil H. Berman Paul Blackney Janine Brown C. Merrell Calhoun Donald P. Carson S. Wright Caughman, M.D. Ann W. Cramer † Sylvia Davidson * Carlos del Rio, M.D. Richard A. Dorfman Lynn Eden David Edmiston Gary P. Fayard

Dr. Robert M. Franklin, Jr. Paul R. Garcia Carol Green Gellerstedt Thomas Hooten Tad Hutcheson † Mrs. Roya Irvani † Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson III Mark Kistulinec Steve Koonin Carrie Kurlander James H. Landon Michael Lang Donna Lee Lucy Lee Karole F. Lloyd

Kelly L. Loeffler Meghan H. Magruder Belinda Massafra* Penny McPhee Howard D. Palefsky Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Martin Richenhagen † John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski William Schultz John Sibley H. Hamilton Smith

Lucinda B. Smith Thurmond Smithgall Paul Snyder Gail Ravin Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Ray Uttenhove Chilton Davis Varner † S. Patrick Viguerie Rick Walker Thomas Wardell Mark D. Wasserman John B. White, Jr. † Richard S. White, Jr. † Joni Winston † Patrice Wright-Lewis Camille Yow

Board of counselors Mrs. Helen Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin

Charles Ginden John T. Glover Frances B. Graves Dona Humphreys Aaron J. Johnson Herb Karp Jim Kelley George Lanier

Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Joyce Schwob Mrs. Charles A. Smithgall, Jr.

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Arthur L. Montgomery * ex officio † 2011-2012 sabbatical

14 Atlanta Symphony Orchestra/aso.org

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Robert Spano music Director

M

usic Director Robert Spano, currently in his 11th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001, he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have together explored a creative mix of programming, including Theater of a Concert performances, which explore different formats, settings, and enhancements for the musical performance experience, such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008 and the production of Puccini’s Madama Butterfly in June 2011. The Atlanta School of Composers reflects Mr. Spano’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, Michael Gandolfi and Adam Schoenberg. Since the beginning of his tenure (to date), Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works (composed since 1950).

angela morris

Mr. Spano has a discography with the Atlanta Symphony Orchestra of 19 recordings, six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall and Lincoln Center, as well as the Ravinia, Ojai, and Savannah Music Festivals. Mr. Spano has led the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles. Mr. Spano was Musical America’s 2008 Conductor of the Year.

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In March 2010, Mr. Spano began a three-year tenure as Emory University’s distinguished artist-in-residence, in which he leads intensive seminars, lectures, and presents programs on science, math, philosophy, literature and musicology.

In March 2011, Mr. Spano was announced as the incoming music director of the Aspen Music Festival. He was in residence in Aspen for the 2011 summer season as music director-designate and will assume the full role of music director in 2012.

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Robert Spano

Donald Runnicles

Michael Krajewski

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

Principal Pops Conductor

FIRST VIOLIN

SECOND VIOLIN

VIOLA

CELLO

David Coucheron Concertmaster William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

David Arenz Principal The Atlanta Symphony Associates Chair* Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair* Jay Christy Assistant Principal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

Reid Harris Principal The Edus H. and Harriet H. Warren Chair* Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair * Catherine Lynn Assistant Principal Wesley Collins Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Ardath Weck

Christopher Rex Principal The Miriam and John Conant Chair* Daniel Laufer Associate Principal The Livingston Foundation Chair* Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

18 Atlanta Symphony Orchestra/aso.org

BASS

Ralph Jones Principal The Marcia and John Donnell Chair * Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer Thomas Thoreson

Jere Flint

Norman Mackenzie

Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

Director of Choruses The Frannie and Bill Graves Chair

FLUTE

BASS CLARINET

TROMBONE

HARP

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Paul Brittan Carl David Hall

Alcides Rodriguez

Colin Williams Principal Stephen Wilson Associate Principal Nathan Zgonc George Curran

Elisabeth RemyJohnson Principal The Delta Air Lines Chair

PICCOLO

Carl David Hall OBOE

Elizabeth Koch Principal The George M. and Corrie Hoyt Brown Chair * Yvonne Powers Peterson Associate Principal Ann Lillya † CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez E-FLAT CLARINET

Ted Gurch

BASSOON

Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

BASS TROMBONE

George Curran

CONTRA-BASSOON

TUBA

Juan de Gomar

Michael Moore Principal

HORN

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane Bruce Kenney

TIMPANI

TRUMPET

PERCUSSION

Thomas Hooten Principal The Madeline and Howell Adams Chair* The Mabel Dorn Reeder Honorary Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

Mark Yancich Principal The Walter H. Bunzl Chair* William Wilder Assistant Principal

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian John Wildermuth Assistant Librarian

‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically

encoreatlanta.com/Atlanta’s Performing Arts Publication 19

‘I can’t change what happened to these composers, but I can change their legacy.’

Conductor Michael Christie shines a light on Jewish works banned by the Nazis.

Concerts: April 26-28 Mieczyslaw Weinberg

By Madeline Rogers

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I

Marcel Tyberg

n one of history’s darkest hours, being Jewish could cost you your life — or at the very least your good name, even if you had been dead for decades. When he died in 1847, Felix Mendelssohn, who was lionized in his lifetime as a genius of Mozartean stature, could not have imagined that within a few years his reputation would be so sullied by anti-Semitic slurs that it would never fully recover. Even his conversion to Christianity could not save him, first from a scurrilous attack by Richard Wagner in the pamphlet “Judaism in Music,” published in 1857, and later at the hands of the Nazis, who banned Mendelssohn’s works, along with those of other Jewish musicians.

Mendelssohn, whose Piano Concerto No. 1 will be performed by the Orchestra led by Michael Christie, with pianist Behzod Abduraimov (April 26–28), was far more fortunate than his 20th-century counterparts. Many perished or were marginalized at the hands of the Nazis and Stalinists; others were forced into exile or were consigned to oblivion, their musical output forgotten. Two such composers, Mieczyslaw Weinberg (1919–1996) and Marcel Tyberg (1893–1944), are represented on the program alongside Mendelssohn. “I can’t change what happened to these composers, but I can change their legacy. I feel that sense of responsibility,” says Mr. Christie, who is on something of a mission to seek out and perform works

by Holocaust-era composers.

has called “the absurd charge of plotting to set up a Jewish republic in the Crimea.”

It was Weinberg’s good fortune that Stalin died months later, and he — along with thousands of other inmates — was liberated.

Despite the persecution and censorship, Weinberg soldiered on, producing an astonishing body of work, including 26 symphonies, seven concertos, seven operas, several ballets, incidental music for 65 films, and a slew of chamber works. Little known when he died in 1996, his music is now being rediscovered by a younger generation of musicians.

The other Holocaust-era composer on the program is Marcel Tyberg, who is represented by his completion of Shubert’s “Unfinished” Symphony.

Tyberg died in the Felix Mendelssohn Auschwitz concentration camp in 1944 — an ironic The lives of Weinberg and Tyberg illustrate the various ways in which fate given that he was barely Jewish (his greatthe 20th century’s pervasive anti-Semitism grandfather was the only Jew in his lineage). senselessly destroyed lives and careers. Before he was transported, the composer Weinberg, whose Rhapsody on Moldavian entrusted his compositions to his friend Dr. Themes opens the concert, was born in Milan Mihich. In 1948, Dr. Mihich’s son, Poland. When the Nazis invaded and Enrico, who had been Tyberg’s harmony killed his entire family, he fled to the Soviet student, became the caretaker of Tyberg’s Union, ending up in remote Tashkent. legacy. Enrico eventually settled in Buffalo, In 1943, he sent the score of his First N.Y., where he introduced the composer’s Symphony to Dmitri Shostakovich, who works to JoAnne Falletta, music director of was so impressed that he invited Weinberg the Buffalo Philharmonic Orchestra. to Moscow, where the younger composer would live out his days. Despite a climate of “The common thread linking these virulent anti-Semitism, Weinberg felt safe, composers,” says Ken Meltzer, the Atlanta but in January 1953, he was imprisoned Symphony Orchestra’s program annotator, in a gulag on what writer Robert R. Reilly Continued on page 44

22 Atlanta Symphony Orchestra/aso.org

program

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concerts Thursday, Friday and Saturday, April 19, 20 and 21, 2012, at 8:00 p.m.

Roberto Abbado, Conductor Yuja Wang, Piano Dmitry Kabalevsky (1904-1987) The Comedians, Opus 26 (Suite for Small Orchestra) (1940)

I. Prologue: Allegro vivace

II. Galop: Presto

III. March: Moderato

IV. Waltz: Moderato

V. Pantomime: Sostenuto e pesante

VI. Intermezzo: Allegro scherzando

VII. Little Lyrical Scene: Andantino semplice

VIII. Gavotte: Allegretto

IX. Scherzo: Presto assai e molto leggiero

X. Epilogue: Allegro molto e con brio Peter Ilyich Tchaikovsky (1840-1893) Serenade for Strings in C Major, Opus 48 (1880)

I. Pezzo in forma di Sonatina: Andante non troppo—Allegro moderato

II. Walzer: Moderato. Tempo di Valse

III. Élégie: Larghetto elegiaco

IV. Finale: Tema russo. Andante—Allegro con spirito Intermission Sergei Rachmaninov (1873-1943) Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 (1909)

I. Allegro ma non tanto

II. Intermezzo: Adagio

III. Finale: Alla breve Yuja Wang, Piano “Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator.

The use of cameras or recording devices during the concert is strictly prohibited. encoreatlanta.com/Atlanta’s Performing Arts Publication 25

sponsors

is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra.

Delta is proud to be celebrating our 70th anniversary as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

Delta is an active, giving corporate citizen in the communities it serves. Delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to utilize many aspects of Delta’s currency — our employees time and talent, our free and discounted air travel, as well as our surplus donations. Together, we believe we can take our worldwide communities to new heights!

The Atlanta Symphony Orchestra’s concert on November 5, 2011 at Carnegie Hall was made possible through the generous support of Delta Air Lines, Thurmond Smithgall and the Massey Charitable Trust.

Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin.

The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation.

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

The Atlanta Symphony records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels.

Media sponsors: WABE, WSB AM, and AJC. Trucks provided by Ryder Truck Rental Inc.

26 Atlanta Symphony Orchestra/aso.org

program Notes on the Program

By Ken Meltzer The Comedians, Opus 26 (Suite for Small Orchestra) (1940) Dmitry Kabalevsky was born in St. Petersburg, Russia, on December 30, 1904, and died in Moscow, Russia, on February 14, 1987. The first performance of The Comedians took place in Moscow in 1938. The Comedians Suite is scored for piccolo, flute, oboe, English horn, two clarinets, bassoon, two horns, two trumpets, trombone, tuba, timpani, military drum, tambourine, bass drum, cymbals, xylophone, triangle, piano and strings.

Approximate performance time is fifteen minutes.

These are the first ASO Classical Subscription Performances.

D

mitry Kabalevsky was a prolific and highly influential musician in 20th-century Russia. His compositions span a wide variety of genres, including operas, symphonies, concertos, and various other orchestral works, as well as choral and chamber music. Kabalevsky was also active as a writer, teacher and administrator.

Throughout his life, Dmitry Kabalevsky took special interest in children’s involvement with music. Starting with his years as a student at the Moscow Conservatory, Kabalevsky wrote numerous works for performance by young musicians. He also frequently incorporated child performers into large-scale compositions. Kabalevsky wrote two books concerning children’s music. He also developed a method for introducing music to young students. These efforts earned Kabalevsky several honors from the Soviet government.

One of Dmitry Kabalevsky’s most famous works also relates to his interest in music for children. Kabalevsky composed The Comedians for a play presented by the Children’s Theater of Moscow in 1938. The Comedians depicts the antics of a clown troupe. For the play, Kabalevsky provided breezy, energetic, and brilliantly-scored music that continues to delight audiences of all ages. In 1940, Kabalevsky fashioned a Suite for Small Orchestra, incorporating music from The Comedians.

The Suite from The Comedians is in ten very brief movements.

I. Prologue: Allegro vivace II. Galop: Presto III. March: Moderato IV. Waltz: Moderato V. Pantomime: Sostenuto e pesante VI. Intermezzo: Allegro scherzando VII. Little Lyrical Scene: Andantino semplice VIII. Gavotte: Allegretto IX. Scherzo: Presto assai e molto leggiero X. Epilogue: Allegro molto e con brio encoreatlanta.com/Atlanta’s Performing Arts Publication 27

Serenade for Strings in C Major, Opus 48 (1880) Peter Ilyich Tchaikovsky was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first public performance of the Serenade for Strings took place in St. Petersburg on October 30, 1881, with Eduard Nápravník conducting. The Serenade for Strings is scored for first and second violins, violas, cellos, and double-basses. Approximate performance time is thirty-one minutes.

First ASO Classical Subscription Performance: December 7, 1949, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: November 20, 1965, Robert Mann, Conductor.

“I wrote from an inner compulsion”

I

n 1880, Peter Ilyich Tchaikovsky wrote to his patroness, Nadezhda von Meck: “So it seems there is no way to occupy my time and satisfy my inner need to work — apart from composing. The result is that I am now planning a symphony or a string quintet; I don’t know which I will settle on.”

The work Tchaikovsky contemplated took a somewhat different form. By October 22, Tchaikovsky was able to report to Von Meck: My muse has been so well-disposed towards me of late that I have written two works very quickly: (1) a Grand Ceremonial Overture, I have done this for the exhibition at Nikolay Grigoryevich’s (Rubinstein’s) request; (2) a Serenade, for string orchestra, in four movements. I am scoring both of them little by little.

The first work Tchaikovsky mentioned in his letter to Von Meck is the composer’s 1812 Overture, Opus 49. The latter, the culmination of Tchaikovsky’s original plan to compose “a symphony or a string quintet,” is one of the Russian composer’s most beautiful and elegant works — the Serenade for Strings in C Major, Opus 48.

In his letter to Von Meck, Tchaikovsky made no secret of a preference for one of his most recent creations: The overture will be very loud and noisy, but I wrote it without warmth or love so it will probably not have any artistic merit. But the Serenade, by contrast, I wrote from an inner compulsion; it is deeply felt and for that reason, I venture to think, is not without real merit.

Tchaikovsky completed his Serenade on November 4, 1880. He informed his publisher, Jürgenson: “To my surprise I have written a serenade for string orchestra in four movements.

Whether it is because it is my most recent child, or because it really isn’t bad, I really do love this serenade.”

Jürgenson referred the score to Nikolay Rubinstein, founder of the Moscow Conservatory, where Tchaikovsky had taught for several years. When Tchaikovsky paid a visit to the Conservatory on December 3, the musicians surprised him with a performance of the

28 Atlanta Symphony Orchestra/aso.org

program Serenade. The first public performance of the Serenade took place the following year in St. Petersburg on October 30, 1881, at a Russian Musical Society concert, led by Eduard Nápravník. The performance was a brilliant success, and included an encore of the secondmovement Waltz.

Throughout the remainder of his life, Tchaikovsky maintained a profound affection for the Serenade for Strings. He frequently programmed the work as part of his conducting tours, invariably to great audience and critical acclaim. The Serenade for Strings continues to impress as one of Tchaikovsky’s finest works.

Musical Analysis I. Pezzo in forma di Sonatina: Andante non troppo — Allegro moderato — The Serenade’s first movement opens with a grand and extended slow introduction (Andante non troppo), based upon a melody introduced at the very outset. The introduction journeys to a pianissimo close. A brief pause leads to the principal Allegro moderato, and the first violins’ introduction of a lilting, waltz-like melody. The key changes from C to G Major for a scurrying sixteenth-note theme that, from time to time, also incorporates fragments of its predecessor. Tchaikovsky reprises the principal themes, this time both in C Major. After another pause, a forceful restatement of the slow introduction resolves to a rich, ffff chord.

II. Walzer: Moderato. Tempo di Valse — Tchaikovsky composed many gorgeous waltzes, and this is one of his finest. The first violins sing the elegant principal Waltz theme, marked dolce e molto grazioso. The melody culminates in a shimmering passage, scored for first and second violins. An agitated, minor key episode serves as the Waltz’s Trio portion. A reprise of the opening Waltz leads to a brief and delicate coda, capped by two pizzicato chords.

III. Élégie: Larghetto elegiaco — The Serenade’s slow movement begins with a noble introduction, based (like the preceding Waltz) upon an ascending scale. The first violins, over pizzicato accompaniment by the remaining strings, present the Élégie’s molto cantabile central melody. A series of variations on this melody culminates in a cadenza-like passage for the muted first violins, and a pause. The introduction returns (Tempo I.), with all the strings now muted, leading to the Élégie’s ethereal pppp final bars.

IV. Finale: Tema russo. Andante — Allegro con spirito — The Serenade’s Finale incorporates two Russian folk melodies. The first serves as the basis for the Finale’s slow introduction (Andante), again scored for muted strings. Toward the close of the introduction, the first violins begin to offer suggestions of yet another theme. During a brief pause, the strings remove their mutes, and then launch into the brisk Allegro con spirito. Here, the first violins play another Russian folk melody, hints of which appeared toward close of the slow introduction. The second principal theme is a noble, flowing melody, in E-flat Major.

The two themes undergo a lively development, often in tandem with each other. The recapitulation of the themes suddenly comes to halt. After a pause, the ensemble reprises the first movement’s slow introduction (Molto meno mosso). In the final measures, the relationship between that introduction and the Finale’s second Russian melody becomes crystal-clear, as the Serenade jaunts to a vibrant close. encoreatlanta.com/Atlanta’s Performing Arts Publication 29

Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 (1909) Sergei Rachmaninov was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of the Third Piano Concerto took place at the New Theater in New York City on November 28, 1909, with the composer as soloist, and Walter Damrosch conducting the Symphony Society of New York. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, snare drum, suspended cymbals and strings. Approximate performance time is forty-two minutes.

First ASO Classical Subscription Performance: October 30, 1951, Thomas Brockman, Piano, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: September 24, 26 and 27, 2009, Garrick Ohlsson, Piano, Robert Spano, Conductor.

ASO Recording: ASO Media CD-1003, Garrick Ohlsson, Piano, Robert Spano, Conductor.

“I’ll be able to buy myself that automobile”

I

n the summer of 1909, Sergei Rachmaninov received an invitation to make his first concert tour of the United States. The Russian pianist/composer/conductor had grave misgivings about leaving his family and homeland for such an extended period of time. However, considerations of a decidedly non-musical nature seemed to provide some consolation. According to biographer Oskar von Riesemann, in the early part of the twentieth century Rachmaninov developed a passion for motorcars: While in the country he frequently made long or short expeditions…

These journeys were his greatest recreation, and never tired him; he invariably returned happy and refreshed and in the best of tempers. As he said himself, it was only when driving the car that he could get away from the musical visions which constantly pursued him.

Rachmaninov considered the generous fees he would earn during the American tour, and finally accepted. As he confessed to his friend, Nikita Morozov: “I don’t want to go. But then perhaps after America I’ll be able to buy myself that automobile … It may not be so bad after all!”

The American concert tour featured Rachmaninov as both pianist and conductor in performances of his compositions. During the summer of 1909, he authored a new work to be premiered during that tour — his Third Piano Concerto. Rachmaninov composed the D-minor Concerto while vacationing at his retreat in Ivanovka, located some 300 miles south of Moscow. In October of that year, Rachmaninov began his voyage to the United States. The composer later recalled: As during the previous summer I had not found much time for practicing and was not familiar enough with some passages, I took a dumb piano (i.e., silent keyboard) on the boat with me and practiced during the journey. I believe it is the only time that I have resorted to this mechanical toy, which, however, at the time proved very useful.

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program Rachmaninov and Mahler On November 28, 1909, Rachmaninov appeared as soloist in the world premiere of his Third Piano Concerto, which took place at the New Theater in New York City. Walter Damrosch conducted the Symphony Society of New York. On January 16, 1910, an historic collaboration took place at Carnegie Hall, when Rachmaninov again performed his Third Piano Concerto — this time with the New York Philharmonic. The conductor was the Orchestra’s Music Director, the great Austrian composer, Gustav Mahler. Rachmaninov deemed Mahler: the only conductor whom I considered worthy to be classed with (Arthur) Nikisch. He touched my composer’s heart straight away by devoting himself to my Concerto until the accompaniment, which is rather complicated, had been practiced to the point of perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important — an attitude which is unfortunately rare amongst conductors.

The rehearsal began at ten o’clock. I was to join it at eleven, and arrived in good time. But we did not begin to work until twelve, when there was only a half hour left, during which I did my utmost to play through a composition that usually lasts thirty-six minutes. We played and played … Half an hour was long passed, but Mahler did not pay the slightest attention to this fact…

Forty-five minutes later Mahler announced: “Now we will repeat the first movement.”

My heart froze within me. I expected a dreadful row, or at least a heated protest from the orchestra. This would certainly have happened in any other orchestra, but here I did not notice a single sign of displeasure.

The musicians played the first movement with a keen or perhaps even closer appreciation than the previous time. At last we had finished.

I went up to the conductor’s desk, and together we examined the score. The musicians in the back seats began quietly to pack up their instruments and disappear. Mahler blew up: “What is the meaning of this?”

The leader (i.e., concertmaster): “It is half-past one, Master.”

“That makes no difference! As long as I am sitting, no musician has a right to get up!”

The talents and hard work of Rachmaninov, Mahler and the Orchestra produced a sterling performance of the new Concerto. As the New York Herald reported the following day: The impression made at the earlier performances of the essential dignity and beauty of the music and the composer’s playing was deepened, and encoreatlanta.com/Atlanta’s Performing Arts Publication 31

the audience was quite as enthusiastic in its expression of appreciation as at the performance at The New Theater on 28 November last and at the Carnegie Hall two days later.

Then, the New York Herald critic offered this prophetic commentary about the Rachmaninov Third: The work grows in impressiveness upon acquaintance and will doubtless rank among the most interesting piano concertos of recent years, although its great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers.

We’re fortunate that there have been many superb artists willing to tackle the phenomenal technical demands imposed by Rachmaninov, who was, after all, one of the greatest virtuoso pianists. When the hurdles are overcome, the Rachmaninov Third emerges as a summit of the Romantic piano concerto repertoire — a masterful fusion of virtuoso pyrotechnics, unforgettable melody and lush orchestration.

Musical Analysis I. Allegro ma non tanto — After two bars of orchestral introduction, the soloist enters with the undulating principal melody, scored in octaves, with each hand playing a single note.

The soloist’s lightning-quick passagework serves to accompany the orchestra’s restatement of the theme. A brief unaccompanied episode for the soloist leads to a broader presentation of the opening theme. Fanfares herald the second theme, soon played in its complete form by the soloist. The development section begins in much the same manner as the opening of the movement, but soon ventures into flights of stunning display for the soloist. An extended, fully-composed cadenza for the pianist also briefly incorporates the solo flute, oboe, clarinet and two horns. Instead of the traditional full recapitulation, the movement closes with a restatement of the opening melody and a brief reminiscence of the second theme.

II. Intermezzo: Adagio — The Intermezzo begins with an extended, somber orchestral introduction whose central theme — initially played by a solo oboe — bears a kinship to a portion of the principal melody of the opening Allegro. The soloist enters with rhapsodic variants of the theme. A contrasting, vivacious scherzando passage features yet another transformation of the opening movement’s principal melody, now played by a solo clarinet and bassoon. After a brief reprise of the opening portion of the Intermezzo, the soloist launches a dramatic passage. This serves as the bridge to the Finale, which follows without pause.

III. Finale: Alla breve — The soloist presents the fanfare-like opening theme, derived from the introductory measures of the first movement. A series of syncopated chords by the soloist develops into the flowing second theme. Two subsequent episodes — a breezy Scherzando and more reflective Lento — present echoes of the opening Allegro. A varied reprise of the Finale’s first section leads to the grand resolution of the Concerto — a glorious declaration of the second theme, capped by a dazzling cascade by the soloist.

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program ROBERTO ABBADO, Conductor

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cclaimed as “a conductor you want to hear again and again,” Roberto Abbado’s crisp, dramatic music-making, instinctive lyricism and evocative command of varied composers and styles have made him an esteemed conductor among orchestras and opera companies today. He is both a sophisticated and energetic conductor, which, combined with superb communicative skills have made him a favorite among musicians and public alike.

Roberto Abbado

Mr. Abbado was honored with the Franco Abbiati award from the National Association of Italian Music Critics — Italy’s most prestigious classical music award — as Conductor of the Year in 2008 for “the maturity of interpretation and for his breadth and curiosity of repertoire” as evidenced by his performance and leadership in Mozart’s La Clemenza di Tito (Teatro Regio Torino), in the contemporary opera Phaedra by Hans Werner Henze (Maggio Musicale Fiorentino), in Rossini’s Ermione (Rossini Opera Festival, Pesaro); and in the rare Der Vampyr by Heinrich Marschner (Teatro Comunale di Bologna).

A popular figure in the United States, Mr. Abbado enjoys an extensive relationship with the St. Paul Chamber Orchestra, where he is an artistic partner, a position that has been extended for an unprecedented third three-year term. He has performed regularly with the orchestras of Boston, Philadelphia, Chicago, Atlanta, St. Louis, San Francisco and Houston as well as New York City’s Orchestra of St. Luke’s.

During the 2011-12 season, Mr. Abbado conducts Rossini’s La Donna del lago at Teatro alla Scala, a production by Lluis Pascual that he premiered at the Paris Opera in June 2010.

He also conducts Terry Gilliam’s production of Berlioz’s La Damnation de Faust as well as a concert program of Verdi Requiem at the Teatro Massimo in Palermo, Italy; Donizetti’s Anna Bolena at the Teatro del Maggio Musicale Fiorentino; and symphonic concerts in Milan, Turin, Parma, Bologna and Naples. In the Unites States, he returns to the symphony orchestras of Atlanta and Seattle, in addition to a special “CSO Gives Thanks” concert with the Cincinnati Symphony Orchestra, where he made his debut in April 2011. Mr. Abbado continues his collaboration with the St. Paul Chamber Orchestra in programs that explore four of the five Mendelssohn symphonies.

Born into a dynastic musical family, his grandfather was a famous pedagogue of violin, his father was director of the Milan Conservatory, and his uncle is Claudio Abbado, the esteemed maestro.

As Chief Conductor of the Munich Radio Orchestra (1991-98) he made seven recordings with the orchestra, and has worked extensively elsewhere in Europe, including the Royal Concertgebouw, Orchestre National de France, Orchestre de Paris, Dresden Staatskapelle, Gewandhaus Orchester (Leipzig), NDR Symphony Orchestra (Hamburg), Vienna Symphony, Swedish Radio Symphony, and Israel Philharmonic Orchestras. In his native Italy, he has particularly strong relationships with the great orchestras, and regularly conducts the Filarmonica della Scala (Milan), Orchestra dell’Accademia Nazionale di Santa Cecilia (Rome), Orchestra del Maggio Musicale (Florence) and the Orchestra Sinfonica Nazionale della RAI (Torino). encoreatlanta.com/Atlanta’s Performing Arts Publication 33

YUJA WANG, Piano

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wenty-four-year-old Chinese pianist Yuja Wang is widely recognized for playing that combines the spontaneity and fearless imagination of youth with the discipline and precision of a mature artist. Regularly lauded for her controlled, prodigious technique, Yuja’s command of the piano has been described as “astounding” and “superhuman,” and she has been praised for her authority over the most Yuja Wang complex technical demands of the repertoire and the depth of her musical insight as well as her fresh interpretations and graceful, charismatic stage presence.

Yuja is an exclusive recording artist for Deutsche Grammophon. Her debut recording, Sonatas & Etudes, released in the spring of 2009, “suggests a combination of blazing technique and a rare instinct for poetry” wrote Gramophone magazine, which named Yuja the Classic FM Gramophone Awards 2009 Young Artist of the Year. Her second recording, Transformation, was released in spring of 2010 to great critical acclaim, and was selected by Gramophone Magazine as the July 2010 Record of the Month. Most recently, Yuja collaborated with Maestro Claudio Abbado and the Mahler Chamber Orchestra to record her first concerto album featuring Rachmaninoff’s Rhapsody on a Theme of Paganini and his Piano Concerto No. 2 in C minor. This recording was released in spring 2011.

In the few years since her 2005 debut with the National Arts Center Orchestra led by Pinchas Zukerman, for which the Canadian press reported “a star is born,” Yuja has already performed with many of the world’s prestigious orchestras including the Baltimore Symphony, Boston Symphony, Chicago Symphony, Dallas Symphony, Detroit Symphony, Houston Symphony, Los Angeles Philharmonic, National Symphony, New World Symphony, Philadelphia Orchestra, Pittsburgh Orchestra and the San Francisco Symphony. Abroad, she has performed with the Tonhalle Orchestra, China Philharmonic, Filarmonica della Scala, Gulbenkian Orchestra, London Philharmonic, Nagoya Philharmonic, the NHK Symphony in Tokyo and Orchestra Mozart, among others. In 2006 Yuja made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season under Lorin Maazel during the Philharmonic’s Japan/Korea visit. In 2008 Yuja toured the United States with the Academy of St. Martin in the Fields led by Sir Neville Marriner and, in 2009, she performed as a soloist with the You Tube Symphony Orchestra led by Michael Tilson Thomas at Carnegie Hall. She also toured the United States with the Shanghai Symphony Orchestra led by Yu Long in honor of the orchestra’s 130th anniversary, and performed with the Lucerne Festival Orchestra conducted by Claudio Abbado in Beijing, the Royal Philharmonic Orchestra in Spain and London, and the Hong Kong Philharmonic.

Each season Yuja makes a number of important debuts, both with major orchestras and in recital. In the 2011-12 season Yuja performs with the Israel Philharmonic, La Scala, London Symphony, NDR Symphony and Santa Cecilia in Europe, and the U.S. orchestras of New York, Philadelphia and Los Angeles. She made her Carnegie Hall (Stern Hall) debut in October 2011.

34 Atlanta Symphony Orchestra/aso.org

support The Atlanta Symphony Orchestra gratefully acknowledges the generous gifts of individuals, corporations, foundations, government and other entities whose contributions help the Orchestra fulfill its mission to be a vigorous part of the cultural fabric of our community. The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives from 2011 and 2012.

(Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+

Mrs. Thalia N. Carlos** The Mabel Dorn Reeder Foundation Delta Air Lines The Zeist Foundation, Inc. The Andrew W. Mellon Foundation $250,000+

Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers

The Coca-Cola Company Mrs. William A. Schwartz

$100,000+

Lynn Eden GE Asset Management Abraham J. & Phyllis Katz Foundation Mr. & Mrs. Charles H. McTier

Turner Broadcasting System The Vasser Woolley Foundation, Inc. Woodruff Arts Center

$75,000+

Thalia & Michael C. Carlos Foundation

Fulton County Arts Council National Endowment for the Arts

UPS

$50,000+

Anonymous AT&T Real Yellow Pages GE Energy The Graves Foundation InterContinental Hotels Group Invesco

The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall Robert Spano Susan & Thomas Wardell

SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation – Walter H. and Marjory M. Rich Memorial Fund Sutherland Asbill & Brennan LLP

$35,000+

Georgia Natural Gas Massey Charitable Trust

Porsche Cars North America Publix Super Markets Charities

Patty & Doug Reid

John H. & Wilhelmina D. Harland Charitable Foundation, Inc. King & Spalding Lucy R. & Gary Lee, Jr. MetLife Foundation The Sara Giles Moore Foundation Terence L. & Jeanne P. Neal*

Victoria & Howard Palefsky Mr. & Mrs. Solon P. Patterson* Printpack Inc. & The Gay & Erskine Love Foundation Ryder System, Inc. Mrs. Charles A. Smithgall, Jr. Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams

$25,000+

Jim & Adele Abrahamson Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart Georgia Council for the Arts Ann & Gordon Getty Foundation

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

encoreatlanta.com/Atlanta’s Performing Arts Publication 35

$17,500+

Anonymous (2) Alston & Bird LLP The Arnold Foundation, Inc. Kelley O. & Neil H. Berman Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr. City of Atlanta Office of Cultural Affairs Gary & Nancy Fayard Mr. & Mrs. Paul R. Garcia Jane & Clay Jackson

Amy & Mark Kistulinec Karole & John Lloyd Kelly Loeffler & Jeffrey C. Sprecher Mr. Kenneth & Dr. Carolyn Meltzer Loren & Gail Starr

Alison M. & Joseph M. Thompson Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow

Mr. Donald F. Fox Charles & Mary Ginden Global Payments, Inc. D. Kirk Jamieson, Verizon Wireless Ann A. & Ben F. Johnson III* Sarah & Jim Kennedy Steve & Eydie Koonin

Carrie & Brian Kurlander Michael & Cindi Lang Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Nordstrom, Inc. Suzanne & Bill Plybon Dr. Stanley & Shannon Romanstein

Joyce & Henry Schwob Irene & Howard Stein Mary Rose Taylor Mike & Liz Troy Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.

Dr. John W. Cooledge Trisha & Doug Craft Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin Mr. & Mrs. Lawrence L. Gellerstedt III Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould Joe Guthridge & David Ritter* Jan & Tom Hough Mr. Tad Hutcheson

Roya & Bahman Irvani Robert J. Jones Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law Pat & Nolan Leake The Livingston Foundation, Inc. Mike’s Hard Lemonade Morgens West Foundation Primerica Margaret & Bob Reiser Bill & Rachel Schultz*

Mr. John A. Sibley III Siemens Industry, Inc. John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Turner Foundation, Inc. Charlie Wade & M.J. Conboy Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner

Atlanta Federation of Musicians Jeff & Ann Cramer*

Jere & Patsy Drummond Mr. & Mrs. Jesse Hill, Jr. JBS Foundation

The Hellen Plummer Charitable Foundation, Inc.

Christopher & Sonnet Edmonds Dr. & Mrs. Carl D. Fackler David L. Forbes James F. Fraser The Fraser-Parker Foundation, Inc. Betty Sands Fuller Sally & Carl Gable Dick & Anne Goodsell Mr. & Mrs. David Gould The Robert Hall Gunn, Jr. Fund The Jamieson Family Paul & Rosthema Kastin

Philip I. Kent Lanier Parking Solutions George H. Lanier The Sartain Lanier Family Foundation, Inc. Links Inc., Azalea City Chapter Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Dr. & Mrs. Mark P. Pentecost, Jr.

Margaret H. Petersen Hamilton & Mason Smith* Sandy & Paul Smith The Southern Company Peter James Stelling Mrs. C. Preston Stephens Triska Drake & G. Kimbrough Taylor, Jr. Ms. Kimberly Tribble & Mr. Mark S. Lange Russell Williamson & Shawn Pagliarini

Ellen & Howard Feinsand Four Seasons Hotel Atlanta Herbert & Marian Haley Foundation

Steven & Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel

Mr. & Mrs. Daniel H. Hollums JoAnn Hall Hunsinger Dr. & Mrs. James T. Laney*

$15,000+

Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff The Boston Consulting Group Mr. & Mrs. David Edmiston Admiral James O. Ellis, Jr. in memory of Polly Ellis $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Mr. David Boatwright The Breman Foundation, Inc. The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Dr. & Mrs. S. Wright Caughman $7,500+ The Aaron Copland Fund for Music, Inc.

$5,000+ Anonymous (2) Aadu & Kristi Allpere* Ms. Julie M. Altenbach Arnall Golden Gregory LLP The ASCAP Foundation Irving Caesar Fund Ms. Suzanne Dansby Bollman Bubba Brands, Inc. Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell Mary Helen & Jim Dalton Richard A. & Lynne N. Dorfman

$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock*

36 Atlanta Symphony Orchestra/aso.org

support

$3,500+ continued Mr. & Mrs. William C. Lester* Mr. & Mrs. Albert S. McGhee Deborah & William Liss Mr. & Mrs. Harmon B. Miller III Dr. & Mrs. James T. Lowman Walter W. Mitchell Ruth & Paul Marston

Leslie & Skip Petter Mr. & Mrs. Joel F. Reeves S.A. Robinson Nancy & Henry Shuford

In memory of Willard Shull Elliott Sopkin Burton Trimble H. & T. Yamashita*

Sally & Larry Davis Drs. Carlos del Rio & Jeannette Guarner Gregory & Debra Durden Ms. Diane Durgin Francine D. Dykes & Richard H. Delay The Robert S. Elster Foundation John & Michelle Fuller Mr. & Mrs. Edward T. Garland Dr. Mary G. George & Mr. Kenneth Molinelli Ben & Lynda Greer Dr. & Mrs. Alexander Gross Paul B., Paul H., & M. Harrison Hackett Darlene K. Henson Mr. Thomas Hooten & Ms. Jennifer Marotta Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Dr. & Mrs. James M. Hund Dorothy Jackson** Ms. Cynthia Jeness Mr. & Mrs. Robert A. Johnson Mr. W. F. & Dr. Janice Johnston Dr. Maurice J. Jurkiewicz** Hazel & Herb Karp

Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball* Mr. & Mrs. Daniel J. King Dr. & Mrs. Scott I. Lampert Thomas C. Lawson Dr. Fulton D. Lewis III & Mr. Neal Rhoney Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie The Devereaux F. & Dorothy McClatchey Foundation, Inc. Birgit & David McQueen Gregory & Judy Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Robert & Mary Ann Olive Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Elise T. Phillips Mr. & Mrs. Rezin Pidgeon, Jr. Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue John & Kyle Rogers

Dr. Paul J. Seguin Elizabeth S. Sharp Angela & Morton Sherzer Kay R. Shirley Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Lynne & Steven Steindel* John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo Mr. William C. Voss Mr. & Mrs. Randolph O. Watson Dr. & Mrs. Roger P. Webb Dr. & Mrs. James O. Wells, Jr. David & Martha West Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

Heike & Dieter Elsner George T. & Alecia H. Ethridge Bill & Susan Gibson Carol & Henry Grady Mary C. Gramling Mr. Lewis H. Hamner III Thomas High In memory of Carolyn B. Hochman Stephanie & Henry Howell Mr. & Mrs. William C. Humphreys, Jr. Mary B. & Wayne James Aaron & Joyce Johnson Baxter P. Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Mr. & Mrs. Craig P. MacKenzie Kay & John Marshall

Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Virginia K. McTague Angela & Jimmy Mitchell Mrs. Gene Morse** Barbara & Sanford Orkin Keith & Dana Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Mr. Robert Peterson Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology, Inc. Mr. & Mrs. David M. Ratcliffe Ms. Susan Robinson & Ms. Mary Roemer The Gary Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral

Alida & Stuart Silverman Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Dr. Elizabeth Glenn Stow Kay & Alex Summers Poppy Tanner Elvira Tate Mr. & Mrs. William M. Tipping Ms. Sheila L. Tschinkel Drs. Jonne & Paul Walter Alan & Marcia Watt Drs. Julius & Nanette Wenger William & Rebecca White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Charlie & Dorothy Yates Family Fund Herbert & Grace Zwerner

$2,250+ Anonymous (3) Mrs. Kay Adams* & Mr. Ralph Paulk John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo Paul & Marian Anderson Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Edith H. & James E. Bostic, Jr. Family Foundation Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Ms. Marnite B. Calder Mr. & Mrs. Beauchamp C. Carr Ralph & Rita Connell Chip & Darlene Conrad Mr. & Mrs. Thomas G. Cousins Mr. Robert Cronin & Ms. Christina Smith

$1,750+ Anonymous Dr. David & Julie Bakken Mr. & Mrs. Ron Bell Dr. & Mrs. Joel E. Berenson Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Brant Davis* Mrs. H. Frances Davis Deloitte Peter & Vivian de Kok Elizabeth & John Donnelly Xavier Duralde & Mary Barrett Cree & Frazer Durrett Mary Frances Early Ree & Ralph Edwards

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

encoreatlanta.com/Atlanta’s Performing Arts Publication 37

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Appassionato

William Randolph Hearst Endowed Fund

Meghan Magruder, Appassionato Chair

The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our ambitious aritistic and education initiatives.

Patron Partnership

Thomas J. Jung, Chair

The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support.

Henry Sopkin Circle Honoring the Atlanta Symphony Orchestra’s first Music Director, the Henry Sopkin Circle recognizes our friends who have planned bequests and other gifts to benefit the Orchestra’s future. We remain grateful to all Henry Sopkin Circle members – past and present – for their generosity, trust, and vision.

Madeline & Howell E. Adams, Jr. Mr.* & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.* & Mrs. Sol Blaine W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Elizabeth Etoll Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher

A. D. Frazier, Jr. Nola Frink Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G.* & Joseph F.* Haas James & Virginia Hale Miss Alice Ann Hamilton* Dr. Charles H. Hamilton* John & Martha Head Ms. Jeannie Hearn Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.* & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen* Kitchell

38 Atlanta Symphony Orchestra/aso.org

Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Mr. & Mrs. William Lester Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Dan R. Payne Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram The Reiman Foundation Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr. & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser

Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling Barbara Dunbar Stewart* C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mr. & Mrs. John B. White, Jr. Adair & Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12)

*Deceased

corporate & government support

Classical Series Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor

Holiday Title Sponsor Muhtar Kent Chairman of the Board and Chief Executive Officer

Richard Anderson Chief Executive Officer

Darryl Harmon Southeast Regional President

Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chairman and Chief Executive Officer

Jerry Karr Senior Managing Director

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

Atlanta Symphony Orchestra programs are supported in part by an award from the National Endowment for the Arts.

Major support is provided by the City of Atlanta Office of Cultural Affairs.

encoreatlanta.com/Atlanta’s Performing Arts Publication 39

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2011-2012 board Sabine Sugarman Treasurer Camille Kesler VP Administration Dawn Mullican VP Public Relations Paula Ercolini VP Youth Education Ruth & Paul Marston VP Membership Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians Judy Schmidt Nominating Committee Chair Amy Musarra, Chair, Decorators’ Show House & Gardens Natalie Miller & Hillary Inglis Co-Chairs, Decorators’ Show House & Gardens

Janis Eckert, Nancy Fields & Gail Spurlock Chairs, ASA Fall Meeting Poppy Tanner Chair, ASA Night at the ASO Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon Pat King ASA Notes Newsletter Editor Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk Helen Marie Rutter Bravo Chair Elba McCue Concerto Chair Joan Abernathy Encore Chair Liz Cohn & Betty Jeter Ensemble Chairs Karen Bunn Intermezzo Chair Whitley Greene Vivace Chair

Terry Shivers

Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Elba McCue Secretary

Stanley Romanstein, Atlanta Symphony Orchestra President, and Amy Musarra, Decorators’ Show House and Gardens Chair. Celebrating its 42nd Anniversary, the Atlanta Symphony Orchestra Announces its Decorators’ Show House & Gardens at the magnificent Phillip Trammel Shutze’s Knollwood Estate from April 21 through May 13, 2012. Organized by the Atlanta Symphony Associates, proceeds will support the Atlanta Symphony Orchestra’s (ASO) Education and Community Engagement programs, including the Atlanta Symphony Youth Orchestra and the Talent Development Program. For more information visit decoratorsshowhouse.org .

40 Atlanta Symphony Orchestra/aso.org

Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions — the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences — these outstanding Annual Corporate Campaign donors helped us raise more than $8.9 million last year. Thank you!

Chairman’s Council ★★★★★★★★★★★★ $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. UPS

KPMG LLP, Partners & Employees The Rich Foundation, Inc. Wells Fargo

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42 Atlanta Symphony Orchestra/aso.org

Devyne Stephens Sutherland Asbill & Brennan LLP The Zeist Foundation, Inc. ★★★★ $35,000+ Katharine & Russell Bellman Foundation Bryan Cave LLP Mr. & Mrs. Bradley Currey, Jr. GE Energy Georgia-Pacific The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation Siemens Industry, Inc. Alex & Betty Smith Foundation, Inc. Harris A. Smith Frances Wood Wilson Foundation, Inc ★★★ $25,000+ Accenture & Accenture Employees Air Serv Corporation Atlanta Foundation Julie & Jim Balloun BB&T Corporation Laura & Stan Blackburn CIGNA Foundation Cousins Properties Incorporated Crawford & Company Ford & Harrison LLP Jack & Anne Glenn Foundation, Inc. GMT Capital Corporation Infor Global Solutions ING Sarah & Jim Kennedy Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc.

LexisNexis Risk Solutions The Blanche Lipscomb Foundation Macy’s Foundation Katherine John Murphy Foundation Patty & Doug Reid Family Foundation RockTenn SCANA Energy Southwire Company Sprint Foundation Towers Watson Troutman Sanders LLP Waffle House, Inc. Gertrude & William C. Wardlaw Fund ★★ $15,000+ A. E. M. Family Foundation ACE Charitable Foundation AlixPartners Alvarez & Marsal Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch The Capital Group Companies Charitable Foundation Roxanne & Jeffrey Cashdan Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman

Chartis Chick-fil-A, Inc. CornerCap Investment Counsel Duke Realty Corporation Egon Zehnder International Eisner Family Foundation Feinberg Charitable Trust Fifth Third Bank First Data Corporation Gas South, LLC Genuine Parts Company Georgia Natural Gas Dolores & Javier C. Goizueta Grant Thornton LLP Harland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester Jamestown Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones Jones Day Foundation, in honor of James H. Landon Mr. & Mrs. Muhtar Kent Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions The Latham Foundation Barbara W. & Bertram L. Levy Fund Livingston Foundation, Inc. Karole & John Lloyd Lockheed Martin Marsh-Mercer Mohawk Industries, Inc. & Frank H. Boykin Mueller Water Products, Inc. Gail & Bob O’Leary Vicki R. Palmer

Paul, Hastings, Janofsky & Walker LLP Piedmont Charitable Foundation, Inc. Printpack Inc./The Gay & Erskine Love Foundation Mary & Craig Ramsey Mr. & Mrs. David M. Ratcliffe Emily Winship Scott Foundation Skanska USA Building Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. Sysco Atlanta United Distributors, Inc. WATL/WXIA/Gannett Foundation Sue & John Wieland Mr. & Mrs. James B. Williams Sue & Neil Williams Carla & Leonard Wood The Xerox Foundation Yancey Bros. Co. Mr. & Mrs. Robert A. Yellowlees *Annual Campaign Donors from June 1, 2010 May 31, 2011

encoreatlanta.com/Atlanta’s Performing Arts Publication 43

Continued from page 22

“is the pernicious nature of the Nazis and how they categorized someone as Jewish. Tyberg was only one-sixteenth Jewish. Mendelssohn had converted to Christianity. Nevertheless, as far as the Nazis were concerned — for purposes of oppression — they were Jewish.”

The other common thread, and perhaps the most important one, according to Michael Christie, is the quality of the music by Holocaustera composers. “The craftsmanship is remarkable. The fact that these works, in most cases, have not been heard in the United States is ridiculous.” Of the Weinberg Rhapsody, he says, “The first time I heard it, I was joyful because it is so virtuosic. It has all those Eastern European and Slavic dance elements.

The orchestra sounds so boisterous and feisty. I was just really excited about it because I knew the audience will get it the first time they hear it.”

Both Christie and Ken Meltzer agree that concert music, whatever its backstory, has to stand on its own merits. But, Meltzer adds, “We’re at a stage in our history when the majority of people are not aware of what happened to these composers.

There is an important lesson here — one that can be applied to our own lives and to larger issues of artistic freedom. We always have to be vigilant about allowing people to express themselves freely. We become freer and richer ourselves in the process.”

“ The first time I heard it, I was joyful because it is so virtuosic … the audience will get it the first time they hear it.”

The Tyberg, he admits, is more controversial, because “purists say no one can complete Shubert’s symphony.” On the other, hand, he adds, “audiences who are new to classical music sometimes find Schubert slow and boring, but they like the Tyberg.”

44 Atlanta Symphony Orchestra/aso.org

Michael Christie, too, feels an obligation to right a terrible wrong, while bringing to light music that he deeply believes in: “I know so many composers and the time they put into their writing. They offer their music in the hope that you will love and understand it, that their pieces will have a life beyond the premiere. I can only imagine that has been true through all generations. I’m not Jewish myself, but my aim is to celebrate the legacy of these composers who were subjected to this horrendous treatment. It is the right thing to do.”

Madeline Rogers, a freelance writer and editor, is the former Director of Publications at the New York Philharmonic.

Remarkable Partners

The Orchestra and the Alliance Theatre give life to ‘The Remarkable Farkle McBride,’ April 29

By Bret Love

T

he latest collaboration between the Atlanta Symphony Orchestra and the Alliance Theatre is The Remarkable Farkle McBride, at 1:30 and 3:30 p.m.

Sunday, April 29, in Atlanta Symphony Hall. Conductor Jere Flint and Alliance Theatre Education Director Christopher Moses recently chatted about the stage adaptation of actor-author John Lithgow’s children’s book.

Christopher: Most of our musical family

What are the unique challenges and rewards of a collaborative effort such as this?

What appeals to you about John Lithgow’s story?

Jere Flint: The challenge is in marrying dialogue to the strict time of the music. By blending the arts we create equal entities on stage, each enhancing the other in bringing the story out of the book and into life.

Jere: It follows the universal story of

Moses: Harnessing the expertise of our organizations, we can give the audience a first-class artistic experience.

The challenges lie in the different rehearsal processes. At the theatre, we’re used to a standard four-week rehearsal, six days a week, running the show over and over, and we negotiated these different artistic processes to produce a remarkable performance.

Christopher

How will this production be different from a typical show by your respective companies?

Jere: We’re attempting to go beyond mere narration with orchestra to interaction with musicians, hopefully drawing the audience into the story. The emphasis is on the instruments and the people who play them.

46 Atlanta Symphony Orchestra/aso.org

performances use [pre-recorded] tracks or two to three musicians. Having the entire orchestra makes this completely different.

Also, our focus is about encouraging a love for music and all of the storytelling and design elements support this goal. It’s not just a story that happens to be told musically: It’s a concert that uses the art of theatre to support and engage the symphony audience.

seeking one’s own passion, but using an orchestra as the vehicle. Bill Elliot’s brilliant score, which John Lithgow commissioned, really captures the essence. Many of the children will have read the story, and to see a live performance will further spark their imagination.

Christopher: The whimsical nature of the storytelling is tailor-made for the stage. I really can’t wait to see this character come to life!

Atlanta-based freelancer Bret Love is the music editor of Georgia Music Magazine, national managing editor for INsite Magazine, and founder of Green Global Travel, a website devoted to ecotourism and global culture.

Our Professional Ensemble Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner

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community corner Ahmad Mayes

What’s your favorite part of your job?

I love being able to see firsthand the immediate impact the music we share has on the people of Atlanta — many of whom would not have access to the Atlanta Symphony without our community programs. I also enjoy hearing the remarkable individual talents of our musicians. Orchestra members typically perform throughout greater Atlanta as soloists or in small chamber ensembles, which allows them to really shine and demonstrate their personal musicianship.

That’s something that you don’t always get to see when they perform as part of the full Orchestra at Atlanta Symphony Hall!

What kinds of programs fall under community engagement?

The Orchestra is committed to becoming more connected within the Atlanta community through several channels. The Orchestra’s Community Ticketing Program partners with dozens of Atlanta nonprofit organizations to provide access to concerts for hundreds of people from the community for whom the magic of live music is often beyond reach. We expect to host nearly 48 Atlanta Symphony Orchestra/aso.org

1,000 individuals in the inaugural year of this program.

One of our other programs, Musicians in Action, places our musicians in dozens of community locations each year. For example, Associate Principal Viola Paul Murphy and some of his Orchestra colleagues share music with the homeless during lunch hour at Crossroads Community Ministries several times each year. Recently, the Atlanta Symphony Brass Quintet volunteered as guest teaching artists for the Atlanta Music Project, helping the organization empower underserved youth through the study of music.

We also partner with Latino-based organizations, such as the Latin American Association and Instituto de México, to better serve as an arts resource to the rapidly growing Latino community in Atlanta. We’ve already held five outreach performances and events this year, reaching nearly 2,000 people.

How do the musicians feel about performing in the community?

The musicians are the first to recognize the importance of having a community presence; in fact, 70 players are currently involved in our efforts. For example, cellist Joel Dallow’s passion is performing in-school chamber music concerts to elementary and middle-school children.

Violinist Juan Ramirez has a real desire to help connect the Orchestra to Latino audiences, and violinists Ruth Ann Little and Tom O’Donnell really enjoy bringing music into retirement communities. There

Jeff Roffman

Meet the Atlanta Symphony Orchestra’s Community Programs Coordinator. Ahmad manages all of the Orchestra’s community programs and partnerships, in addition to coordinating all activities outside of Atlanta Symphony Hall. He also provides administrative support to the Orchestra musicians for the hundreds of hours of service they do each season.

are many more stories, too. In short, all of our musicians recognize that music can be powerful in many different ways — whether it is to strengthen neighborhoods, serve the elderly, heal the sick, or champion diversity.

It’s already been a very busy year for the Orchestra in the community. What are some highlights?

We recently held our first “Martin Luther King, Jr. Days of Service” in conjunction with our annual “A King Celebration” concert, and Orchestra musicians served more than 900 individuals through music. We’ve also increased our Latino partnerships, teaming up with the Mexican Consulate and DeKalb Public Libraries to better serve this fast-growing segment of Atlanta’s population.

What’s ahead?

The Orchestra recently entered into a partnership with the Georgia Humanities Council and the Smithsonian Institution to celebrate music throughout the state, and we’ve been invited to participate in “New Harmonies” — a traveling museum exhibit about American roots music.

Through this collaboration, we’re looking forward to establishing a stronger presence in the outlying parts of Georgia and also connect what we do at the Atlanta Symphony to the different American music traditions being featured in the exhibit.

We’re currently planning outreach events in Calhoun and Madison as part of this program, and we hope to have a presence in all 12 communities that will host the exhibit throughout the state over the next two years.

What single Orchestra community event stands out in your mind?

50 Atlanta Symphony Orchestra/aso.org

Last September a group of musicians performed a program of Latin music at a Mexican Independence Day celebration with the Instituto de México and the Mexican Consulate. What made the evening so memorable was how the audience responded to the music. During one piece — a song in the Mexican musical style, Huapango — it was only a matter of seconds before the audience erupted with cheers and applause! It was quite obvious that many of them knew this folk dance and that it was an important part of their heritage. Their appreciation and enjoyment for the art being performed by our musicians was palpable, and I was honored that we could connect to this audience this way.

Why do you think it is so important for the Orchestra to be involved with the community?

Music is too important and powerful to not share with the community! As the premier music performance organization in the Southeast, it’s the Atlanta Symphony Orchestra’s responsibility to make great music available to everyone and provide people the chance to experience it in different ways. While we’re proud of the reach of our programs, the real magnitude of our efforts can be felt through the stories we hear from those who are directly impacted. We are constantly hearing from young music students who have been inspired by personal interactions with our musicians and from people from all walks of life who enjoy an Orchestra concert for the first time. The work we do here is very important, and also incredibly rewarding.

Edited and condensed by Kimberly Nogi.

Be mom’s favorite this Mother’s Day! Give the best in theatre, music and art with The Woodruff Arts Center Gift Card!

The Woodruff Arts Center Gift Card is good for tickets, programs, memberships or subscriptions at:

• • • •

Alliance Theatre Atlanta Symphony Orchestra High Museum of Art Young Audiences.

It can also be used for parking, dining and shopping on The Woodruff Arts Center campus. Purchase today at the Box Office (404.733.5000) or on our website, www.woodruffcenter.org.

calendar Motown Music May 4/5 SuperPOPS! Fri/Sat: 8pm The Music of Motown featuring Spectrum Michael Krajewski, conductor Rhapsody and Copland’s 3rd May 10/11/12 Delta Classical Thu/Fri/Sat: 8pm Alvin Singleton: Different River World Premiere Gershwin: Rhapsody in Blue Copland: Symphony No. 3 Robert Spano, conductor Leon Bates, piano Finale May 13 Atlanta Symphony Sun: 3pm Youth Orchestra Smetana: Moldau Mahler: Finale from Symphony No. 1, “Titan” Jere Flint, conductor Concerto Competition Winners

Russian Mastery May 17/19/20 Delta Classical Thu/Sat: 8pm/Sun: 3pm Elgar: Cockaigne Overture Shostakovich: Piano Concerto No. 2 Rachmaninov: Symphony No. 2 Vasily Petrenko, conductor Kirill Gerstein, piano Go for Baroque May 24/25/26 Delta Classical Thu/Fri/Sat: 8pm Handel: Concerto Grosso in G Bruch: Scottish Fantasy Gluck: Orfeo-Dance of the Blessed Spirits Mendelssohn: Symphony No. 4, “Italian” Nicholas McGegan, conductor Stefan Jackiw, violin The Concertmaster and The Sibelius May 31/June 1/2 Delta Classical Thu/Fri/Sat: 8pm Magnus Lindberg: Arena Sibelius: Violin Concerto Tchaikovsky: Symphony No. 5 Robert Spano, conductor David Coucheron, violin

404.733.5000 | aso.org Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:

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staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Brien Faucett Assistant to the President ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Mala Sharma Assistant to the Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager Artistic Evans Mirageas Vice President for Artistic Planning Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator David Zaksheske Artist Assistant

EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Senior Director of Education & Community Engagement Ahmad Mayes Community Programs Coordinator Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate

ASO Presents (cont.)

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President Verizon Wireless for Marketing Amphitheatre at & Symphony Pops Encore Park Alesia Banks Katie Daniel Director of Customer VIP Sales Manager Service & Season Tickets Jenny Pollock Ted Caldwell Operations Manager Group & Corporate Sales Assistant Rebecca Simmons Box Office Manager Meko Hector Marketing Production Deborah Honan Manager Customer Service Manager & Venue Rental Coordinator Jennifer Jefferson Director of e-Business & Interactive Media DEVELOPMENT Melanie Kite FINANCE & Sandy Smith Subscription ADMINISTRATION Vice President Office Manager for Development Donald F. Fox Shelby Moody Executive Vice President Rebecca Abernathy Group & Corporate for Business Operations Development Services Sales Manager & Chief Financial Officer Coordinator Seth Newcom Shannon McCown Zachary Brown Database Administrator Assistant to the Director of Executive Vice President Kimberly Nogi Volunteer Services for Business Operations Publicist Corey Cowart & Chief Financial Officer Robert Phipps Director of Susan Ambo Publications Director Corporate Relations Vice President of Finance Melissa A. E. Sanders Janina Edwards Kim Hielsberg Senior Director, Grants Consultant Director of Financial Communications Tegan Ketchie Planning & Analysis Christine Saunders Development Coordinator April Satterfield Group & Corporate Ashley Krausen Senior Accountant Sales Associate Special Events Coordinator Peter C. Dickson Karl Schnittke Sarah Levin Staff Accountant Publications Editor Volunteer Project Manager Michael Richardson Robin Smith Melissa Muntz Venues Analyst Subscription Development Coordinator & Education Sales Stephen Jones Meredith Schnepp Symphony Store Manager Bill Tarulli Prospect Research Officer Marketing Manager ASO Presents Tammie Taylor Rachel Trignano Assistant to the Clay Schell Manager of Vice President, Programming VP for Development Broad Based Giving Trevor Ralph Sarah Zabinski General Manager and Senior Individual Giving Manager Russell Wheeler Director of Group Director of Operations & Corporate Sales Holly Clausen Christina Wood Director of Marketing Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist

54 Atlanta Symphony Orchestra/aso.org

Chastain Park Amphitheater Tanner Smith Program Director

general info LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements.

SYMPHONY STORE The ASO’s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to T-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERS Concert Hotline 404.733.4949 (Recorded information) Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345

ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 Mon.—Fri., 10 a.m.– 8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks prior to the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Mon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon–8 p.m. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change.

GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

Create a Jewish Legacy and ensure their Jewish future is a bright one.

Who will be around to teach them the meaning of

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Find out more at AtlantaJewishLegacy.org Create a Jewish Legacy is an initiative of the Jewish Federation of Greater Atlanta.

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Passions & Premieres!

gallery

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2 GALA GAL Broadway-and-beyond icon Bernadette Peters greeted admirers following her performance at the second annual Symphony Gala in February. Left to right: InterContinentalExchange Chairman and CEO Jeffrey C. Sprecher; Ms. Peters; Atlanta City Council President Lisa Borders; and Board member Kelly L. Loeffler.

3 FIRST HEARING The world premiere of Adam Schoenberg’s La Luna Azul last month was cause for celebration for (left to right) Mr. Schoenberg, the youngest member of Robert Spano’s Atlanta School of Composers, Mr. Spano, and President Stanley Romanstein.

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all photo JD Scott

1 RIVETING THEATER The color and drama of Bach’s St. Matthew Passion was palpable in the Orchestra’s Theater of a Concert presentation (Anne Patterson, direction and design), March 8/10. Robert Spano conducted, with the Chamber Chorus and a splendid vocal cast giving glorious voice.

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