April 2012: Mendelssohn & Schubert 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

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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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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

20

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 26, 27 and 28, 2012, at 8:00 p.m.

Michael Christie, Conductor Behzod Abduraimov, Piano Franz Schubert (1797-1828) Symphony No. 8 in B minor, D. 759 (“Unfinished”) (1822) (Completed, Marcel Tyberg)

I. Allegro moderato

II. Andante con moto

III. Scherzo. Allegro

IV. Finale. Allegro vivace

Intermission Felix Mendelssohn (1809-1847) Concerto No. 1 in G minor for Piano and Orchestra, Opus 25 (1831)

I. Molto Allegro con fuoco

II. Andante

III. Presto; Molto Allegro e vivace Behzod Abduraimov, Piano Mieczysław Weinberg (1919-1996) Rhapsody on Moldavian Themes, Opus 47, No. 1 (1949)

“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 this Delta Classical Concert of the Atlanta Symphony Orchestra.

Porsche Cars North America has enjoyed many successes throughout its 15 years of being headquartered in Atlanta. Among its many community achievements, Porsche supports the Atlanta Symphony Orchestra, the Ronald McDonald House, Kate's Club and The Ryan Cameron Foundation. Porsche recently solidified its commitment to Atlanta when the company announced plans to build a 26.4-acre complex in the new Aerotropolis redevelopment site near the International Terminal at Hartsfield-Jackson Atlanta International Airport. The complex will be comprised of modern office facilities for a workforce that will eventually number 400 employees, as well as a leading-edge Customer Experience Center that will feature a test track designed to show the capabilities of Porsche's industry-leading vehicles. For 62 years, Porsche technologies have revolutionized vehicle performance, improved safety and spurred environmental innovation, offering the most technically advanced high-performance vehicles in the world. Recent examples of these advancements include its two four-door hybrid vehicles — Cayenne S Hybrid and the Panamera S Hybrid and the forthcoming 918 Spyder plug-in hybrid sports car.

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 Symphony No. 8 in B minor, D. 759 (“Unfinished”) (1822) (Completed, Marcel Tyberg) Franz Schubert was born in Vienna, Austria, on January 31, 1797, and died there on November 19, 1828. The first performance of the “Unfinished” Symphony took place in Vienna on December 17, 1865, with Johann Herbeck conducting the Gesellschaft der Musikfreunde. The Symphony No. 8 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings.

Approximate performance time (with the Tyberg completion) is thirty-eight minutes.

These are the first ASO Classical Subscription Performances of the Tyberg Completion of the Schubert Symphony No. 8.

First ASO Classical Subscription Performances: February 4, 1945, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: March 24, 26 and 27, 2011, Robert Spano, Conductor.

“A treasure”

N

o one is certain why Franz Schubert completed only two movements of what, by tradition, should have been a four-movement symphony. Schubert worked on the B-minor Symphony in October and November of 1822.During that time, he composed and orchestrated the first two movements. Schubert also sketched the third-movement Scherzo in almost complete form, and orchestrated its first nine bars. No other music survives from this Symphony, nicknamed the “Unfinished.”

Schubert originally gave the score to his friend, composer Anselm Hüttenbrenner, as thanks for securing his Honorary Membership in the Music Society of Graz. Some thirty years later, Anselm’s brother, Joseph, wrote Johann Herbeck, conductor of the prestigious Vienna Gesellschaft der Musikfreunde. Anselm informed Herbeck that the Hüttenbrenners possessed “a treasure in Schubert’s B-minor Symphony, which we put on a level with the great Symphony in C (No. 9), his instrumental swan song, and any one of the symphonies

by Beethoven.”

Five years after this correspondence, Herbeck visited Anselm Hüttenbrenner in Graz.

Herbeck informed Hüttenbrenner that he wanted to present a concert featuring one of his works, as well as compositions by Schubert and Franz Lachner. When Herbeck suggested that it would be “very appropriate to represent Schubert by a new work,” Hüttenbrenner produced a large stack of papers that included the score of the B-minor Symphony. One can only imagine Herbeck’s reaction as he perused this unknown masterpiece!

When Herbeck asked permission to copy the music at his own cost, Hüttenbrenner graciously told the conductor to take the score with him. Herbeck and the Gesellschaft der encoreatlanta.com/Atlanta’s Performing Arts Publication 27

Musikfreunde premiered the B-minor Symphony on December 17, 1865, 37 years after Schubert’s death.

While Schubert never completed his B-minor Symphony, the two surviving movements stand proudly on their own as a dramatic and fulfilling work, much like the three movements of Anton Bruckner’s Ninth (1896). Indeed, Schubert’s “Unfinished” Symphony is one of the most eloquent and beloved orchestral works of the first half of the 19th century.

Marcel Tyberg’s Completion of the Schubert 8th Nevertheless, it is not surprising that there have been attempts to present this unfinished masterwork in the standard four movements. One frequent solution has been to pair a completion of the third-movement Scherzo with the B-minor Entr’acte from Schubert’s incidental music to Rosamunde. The latter, composed around the same time as the “Unfinished,” features the same orchestration and home key as the Schubert 8th. Indeed, many scholars have theorized that Schubert intended this Rosamunde music to serve as the Symphony’s finale.

But another, and quite compelling, take on Schubert’s “Unfinished” has only recently come to light. During 1927-1928, the Austrian composer, conductor and pianist, Marcel Tyberg (1893-1944) created his own completion of the Schubert 8th. Tyberg used Schubert’s sketches for the third movement as the basis for the Symphony’s Scherzo. Tyberg composed the entirety of the Finale, although it is very much in the spirit of Schubert’s musical approach.

When Marcel Tyberg authored his completion of the Schubert 8th, he and his mother were living in Abbazia, located on the Adriatic Sea between Italy and Yugoslavia. There, Tyberg remained until the close of 1943. Marcel Tyberg’s great-great grandfather was Jewish. Tyberg realized that it was only a matter of time before the Nazis would come for him. In anticipation of this impending tragedy, Marcel Tyberg entrusted all his writings and compositions to his friend, Dr. Milan Mihich. Marcel Tyberg died in the Auschwitz Concentration Camp on December 31, 1944.

Dr. Mihich later emigrated to the United States, settling in Buffalo, New York. In the summer of 2005, thanks to the joint efforts of Dr. Mihich, conductor JoAnn Falletta, and the Foundation for Jewish Philanthropies in Buffalo, New York, Marcel Tyberg’s works began to be disseminated, through the auspices of the Marcel Tyberg Legacy Fund. Among these works was Tyberg’s completion of the Schubert “Unfinished” Symphony. In November of 2010, Michael Christie and the Phoenix Symphony Orchestra gave the world premiere of the Schubert “Unfinished” Symphony, as completed by Marcel Tyberg.

There is, of course, a heartbreaking symmetry in the creation, re-discovery and premieres of Franz Schubert’s “Unfinished” Symphony, and Tyberg’s subsequent completion. The tragic and untimely deaths of these gifted Austrian composers prevented both from hearing a performance of their contributions to this masterwork. When listening to the “Unfinished,” as lovingly completed by Marcel Tyberg, we may well apply to both composers Franz Grillparzer’s inscription on Schubert’s monument: “The art of music here entombed a rich possession, but even fairer hopes.”

28 Atlanta Symphony Orchestra/aso.org

program Musical Analysis I. Allegro moderato — A brooding motif introduced by the cellos and basses resolves to a restless string figure, and a plaintive melody, played by the oboe and clarinet. After a powerful climax, the cellos sing one of the most beloved themes in the symphonic literature. The tension builds once again as members of the orchestra trade fragments of the famous theme. A series of pizzicato chords introduces the stormy development section.

A recapitulation of the principal themes is followed by a brief, but imposing coda, based upon the introductory motif.

II. Andante con moto — The slow movement begins peacefully, with the introduction of the first principal theme by the violins and violas. After a majestic statement by the orchestra, the clarinet (followed by the oboe) offers the melancholy second theme. The sudden onset of an episode of great violence shatters the Andante’s tranquil mood. A reprise of the two themes (this time the oboe precedes the clarinet) meets with yet another turbulent outburst.

However, the final pages reinstate the serenity with which the Andante began.

This marks the conclusion of the music Schubert completed for his Eighth Symphony.

III. Scherzo. Allegro — The third movement opens with the ensemble’s fortissimo introduction of the Scherzo’s bold principal theme. The theme journeys throughout the orchestra, sometimes adopting a far more genial guise. The key shifts from B minor to B Major for the lovely central Trio (written by Tyberg). The third movement concludes with a reprise of the opening Scherzo.

IV. Finale. Allegro vivace — As previously noted, the Finale is entirely Marcel Tyberg’s creation. The first violins lead the introduction of the Finale’s first principal theme —marked dolce espressivo, and based upon a repeating eighth-note figure that plays a unifying role throughout the Finale. The cellos sing the flowing second principal theme, marked espressivo and in the major key. The eighth-note figure returns to close out the exposition. The development section focuses more upon the melodic content of the two principal themes than upon their manipulation. Once again, the first violins inaugurate the recapitulation of the principal themes. The coda hurtles to a resolute conclusion, capped by a brief decrescendo.

Concerto No. 1 in G minor for Piano and Orchestra, Opus 25 (1831) Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and died in Leipzig, Germany, on November 4, 1847. The first performance of the Piano Concerto No. 1 took place in Munich, Germany, on October 17, 1831, with the composer as soloist. In addition to the solo piano, the Concerto No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is twenty-one minutes.

First ASO Classical Subscription Performances: February 20, 1954, Rudolf Firkusny, Piano, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: October 2, 3 and 4, 2003, Valentina Lisitsa, Piano, Yoel Levi, Conductor. encoreatlanta.com/Atlanta’s Performing Arts Publication 29

“We flirted dreadfully”

O

n May 8, 1830, 21-year-old Felix Mendelssohn departed Berlin for Italy.

During his Italian sojourn, Mendelssohn received the inspiration for one of his most famous works, the Symphony No. 4 in A Major, Opus 90. But in addition to the “Italian” Symphony, Mendelssohn’s travels during this period led to the creation of yet another work — one that would prove to be remarkably popular during the German composer’s lifetime.

While en route to Italy, Mendelssohn stopped in Weimar to visit his dear friend, author Johann Wolfgang von Goethe. After his stay in Weimar, Mendelssohn traveled to Munich.

While there, Mendelssohn encountered a beautiful 16-year-old pianist by the name of Delphine von Schauroth, whom Mendelssohn described as “adored here — and deservedly.”

Mendelssohn confided to his sister, Fanny: “We flirted dreadfully, but there isn’t any danger because I’m already in love with a young Scotch girl whose name I don’t know.”

In any event, while in Rome, Mendelssohn composed a Piano Concerto in G minor, which he dedicated to Delphine. In September of 1831, Mendelssohn returned to Munich. On October 17, Mendelssohn took part in a charity concert at the Munich Odeon Theater. Mendelssohn conducted his Symphony No. 1 in C minor, as well as the Overture to A Midsummer Night’s Dream. Mendelssohn was also the soloist in the premiere of his G-minor Piano Concerto.

The concert was a brilliant success. Mendelssohn informed his family: The whole thing was very animated and everything worked. The orchestra played wonderfully and the poor must have received a good whopping sum.

In the evening when I arrived and heard the noise of all the carriages I began to take pleasure in the whole business. At half-past six the court arrived; I took my little English baton and conducted my Symphony. The orchestra played superbly, with love and with fire, such as I have never heard any orchestra play under my direction: the fortes were all like a thunder clap and the Scherzo was very delicate and light. The audience was very pleased and the King led the applause. Then I came to my Concerto and was applauded long and loud. The orchestra accompanied well and the work itself was really mad: the audience really liked it. They applauded to make me come out and take a bow, which is the custom here, but I was too modest and didn’t. During the intermission the King caught me by the arm, praised me highly and inquired about everything under the sun…

One of the King Ludwig’s “inquiries” focused on Delphine von Schauroth. According to Mendelssohn: The main thing the King said to me, though, was that I should marry Fräulein von Schauroth; that would be an excellent match, and why didn’t I want to do it? That, from a king, annoyed me, and somewhat piqued, I was going to answer him, when he, not waiting for my answer, jumped to a different subject and then to a third.

30 Atlanta Symphony Orchestra/aso.org

program “A dramatic scene for the piano” Mendelssohn’s Piano Concerto soon enjoyed great success throughout Europe. The following winter, Mendelssohn traveled to Paris. There, Mendelssohn encountered the young Franz Liszt, who, while sight-reading the score, gave a dazzling rendition of the Concerto. In the late spring of 1832, Mendelssohn enthralled London audiences with a series of performances of his G-minor Piano Concerto. One London critic called the Concerto “a dramatic scene for the piano, and the performance an astonishing exhibition of piano playing.”

Mendelssohn declined to follow King Ludwig’s marital advice. Both Mendelssohn and Delphine von Schauroth later wed others. Still, Delphine neither forgot Mendelssohn, nor the work he dedicated to her. The composer died in 1847, at the age of 38. Twenty-three years later, at a February 3, 1870 concert held to commemorate Mendelssohn’s birthday, Delphine von Schauroth appeared as soloist. She performed the G-minor Piano Concerto.

Musical Analysis I. Molto Allegro con fuoco — After a brief orchestral crescendo, the soloist enters with a dramatic presentation of the agitated first thematic group. Later, the soloist also introduces the introspective and lyrical second theme, marked tranquillo. The orchestra soon takes up this theme, as the movement proceeds to a brief development section. Another orchestral crescendo heralds the varied recapitulation of the central themes. Instead of the traditional virtuoso solo cadenza, Mendelssohn concludes the first movement with a horn and trumpet fanfare, followed by a brief and introspective passage for the soloist. The slow movement follows without pause.

II. Andante — The violas and cellos sing the slow movement’s lovely central melody.

The soloist soon offers a more elaborate version of the melody. The melody serves as the basis for a series of lyric flights by the soloist that maintain a rapt, hushed atmosphere throughout. The Andante concludes with an ethereal ascending passage for the soloist, leading to the finale, which again follows without pause.

III. Presto; Molto Allegro e vivace — A reprise of the fanfares from the close of the first movement lead to a rapid-fire dialogue between the soloist and orchestra (Presto). This episode is prelude to the finale’s main section (Molto Allegro e vivace), which opens with the soloist’s introduction of the vibrant, principal theme. The concluding movement features the most overtly virtuoso writing for the soloist throughout, with several episodes of brilliant passagework. After a concluding flourish, the soloist yields to the orchestra in the Concerto’s fortissimo closing bars.

Rhapsody on Moldavian Themes, Opus 47, No. 1 (1949) Mieczysław Weinberg was born in Warsaw, Poland, on December 8, 1919, and died in Moscow Russia, on February 2, 1996. The first performance of Rhapsody on Moldavian Themes took place in Moscow on November 30, 1949, with Aleksander Gauk conducting. The Rhapsody on Moldavian Themes is scored for piccolo, three flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three encoreatlanta.com/Atlanta’s Performing Arts Publication 31

trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum, glockenspiel, harp and strings. Approximate performance time is twelve minutes.

These are the first ASO Classical Subscription Performances.

Mieczysław Weinberg

M

ieczysław Weinberg, the son of Jewish parents of Moldavian origin, was born in Warsaw. Weinberg studied at the Warsaw Conservatory, where he was recognized as a virtuoso pianist of great promise. When the Nazis invaded Poland in 1939, Weinberg emigrated to Soviet Russia. He studied at the Minsk Conservatory, graduating in 1941. On June 21 of that year, Weinberg performed his diploma concert. The next day, the Nazis invaded Russia, and Weinberg moved to Tashkent.

During the War, Weinberg met Russian composer, Dmitri Shostakovich (1906-1975). As Weinberg recalled: “It was as if I had been born anew … Although I took no lessons from him, Dmitri Shostakovich was the first person to whom I would show each of my new works. Weinberg and Shostakovich remained close friends until Shostakovich’s death in 1975. The two frequently shared their new musical compositions with each other.

Weinberg, who moved to Moscow in 1943, remained in that city until his death in 1996.

Rhapsody on Moldavian Themes A prolific composer, Weinberg wrote numerous operas, symphonies, chamber works, ballets, and choral and solo vocal pieces. Weinberg composed his orchestral work, Rhapsody on Moldavian Themes, in 1949. Weinberg submitted the composition to the Soviet Composers’ Union. The work received its premiere under the direction of Aleksander Gauk in Moscow on November 30, 1949, as part of a Plenum of the Soviet Composers’ Union.

The members of the Union then reviewed Weinberg’s Rhapsody on Moldavian Themes.

The work inspired a mixed reaction. What none of the reviewing composers seemed to notice was that, despite its title, the Rhapsody’s engaging musical themes had their origin in Jewish folk music. No doubt this was Weinberg’s intent, as he composed the Rhapsody during a period when anti-Semitism was raging in the Soviet Union.

Weinberg composed three versions of the Rhapsody on Moldavian Themes. In addition to the orchestral version performed at these concerts, Weinberg created arrangements both for solo violin and orchestra, and violin and piano. On February 6, 1953 at the Great Hall in the Moscow Conservatory, the legendary Russian violinist, David Oistrakh, gave the premiere of the violin-piano version of the Rhapsody. That night, the secret police arrested Weinberg as an alleged traitor to Soviet Russia. Weinberg spent three months in prison, but was finally released after Shostakovich intervened on his behalf.

The Rhapsody on Moldavian Themes, from its atmospheric slow introduction to the bracing conclusion, is a brilliantly-scored virtuoso orchestral showpiece. The Rhapsody comprises numerous episodes: Adagio — Moderato quasi allegretto — Adagio — Moderato quasi allegretto — Allegro molto — Doppio più lento — Doppio movimento — Presto

32 Atlanta Symphony Orchestra/aso.org

program michael christie, Conductor

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ichael Christie became the Virginia G. Piper music director of the Phoenix Symphony in August 2005 and music director of the Brooklyn Philharmonic from September 2005 to 2010. With his orchestras, he has embarked on a series of ambitious projects focusing on interdisciplinary collaborations with visual artists, dance companies, and theater groups, as well as contemporary composers such as Gorecki, Ligeti, Adams, Golijov and Tan Michael Christie Dun. He is also music director of the Colorado Music Festival in Boulder, where he has been highly praised for his innovative programming and audiences have grown each summer for 12 years, resulting in him being named “Musician of the Year” by the Denver Post in 2010.

Over his 16-year career, he has conducted the Los Angeles Philharmonic, St. Louis Symphony, National Symphony Orchestra, Dallas Symphony, Atlanta Symphony, Houston Symphony, the St. Paul Chamber Orchestra, the Minnesota Orchestra, Oregon Symphony, Indianapolis Symphony and the Cincinnati Symphony, among many others. Christie made his New York Philharmonic debut in March 2007, stepping in for an ailing Riccardo Muti.

Michael Christie has also established an excellent reputation as an opera conductor, starting with his operatic and ballet performances at the Opernhaus Zürich. That special relationship began in the 1997-98 season and continued for many seasons with his highly successful debut conducting performances of Romeo and Juliet and a new production of Hansel and Gretel. Most recently, extraordinary critical response has surrounded his Opera Theatre of St. Louis productions of John Corigliano’s The Ghosts of Versailles and John Adams’ The Death of Klinghoffer and his Minnesota Opera productions of Verdi’s La traviata, Bernard Herrmann’s Wuthering Heights, and the world premiere of Kevin Puts’ Silent Night. Coming operatic work includes Puccini’s Madame Butterfly at the Minnesota Opera and the North American premiere of Unsuk Chin’s Alice in Wonderland at the Opera Theatre of St. Louis.

He will also conduct the world premiere of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera.

Michael Christie first came to international attention in 1995 when he was awarded a special prize for “Outstanding Potential” at the First International Sibelius Conductors' Competition in Helsinki. Following the competition, he was invited to become an apprentice conductor with the Chicago Symphony Orchestra and subsequently worked with Daniel Barenboim in Chicago and at the Berlin State Opera during the 1996-97 season.

Michael graduated from the Oberlin College Conservatory of Music with a bachelor's degree in trumpet performance. He is married to Alexis, a physician, and they have a daughter, Sinclair, born in 2008.

encoreatlanta.com/Atlanta’s Performing Arts Publication 33

Behzod Abduraimov, Piano

E

xtraordinarily talented, Behzod Abduraimov is an artist establishing an impressive reputation for electrifying audiences with his captivating performances.

He will make a number of debuts during the 2011/12 season including Atlanta, Tokyo and Kansas City Symphonies, National Arts Center Orchestra Ottawa (as part of their Russian Festival), Lausanne Chamber Orchestra (under the auspices of the Orpheum Foundation), Orchestre Philharmonique de Behzod Abduraimov Monte Carlo, English Chamber Orchestra and he will embark on a major tour of Australia which will include Sydney Symphony, Adelaide and West Australian Symphony Orchestras in addition to recitals in Sydney, Melbourne, Brisbane as well as Hong Kong. In April 2012 he makes his debut at Royal Albert Hall with a performance of Tchaikovsky's Piano Concerto No 1.

Abduraimov will be featured in recital as part of the Gilmore Rising Star and Vancouver Recital Series, London’s International Piano Series, Milan’s La Societa dei Concerti and make his Austrian debut at the Klangraum, Waidhofen. He has the major support of Vladimir Ashkenazy and other collaborations include Charles Dutoit, Pinchas Zuckerman, Michael Christie, Krzysztof Urbanski, Michael Stern and Alexander Lazarev. At the age of 18, Behzod Abduraimov achieved a sensational victory in the 2009 London International Piano Competition, winning first prize following an electrifying performance of Prokofiev's Piano Concerto No. 3. This has resulted in invitations to work with the Royal Philharmonic Orchestra (performing Tchaikovsky’s Piano Concerto No.1 under Nowak) and the London Philharmonic Orchestra (playing Saint-Saëns’ Piano Concerto No. 2 under Tortelier).

Behzod toured to China and Kuala Lumpur with the Sydney Symphony under Vladimir Ashkenazy to great critical acclaim. Following their successful collaboration, they appeared again as part of the 2010 Musikfest Bremen.

Since his first performance as a soloist at the age of eight with the National Symphony Orchestra of Uzbekistan, Behzod has given many concerts in the U.S., Italy, Russia and Uzbekistan. He is invited annually to perform at the Spivakov International Charity Foundation in Moscow, the International Keyboard Institute & Festival in New York City, and the International Summer Piano Academy in Como, Italy. His further achievements included the First Prize at the Republican Competition in Uzbekistan (1999), Grand Prix in the Competition ‘Le Muse’, in Agropoli, Italy (2003), and First Prize in the Missouri Southern International Piano Competition (2008). The same year he won both the Lennox Young Artist Competition and the Corpus Christi International Competition, USA and performed with the Richardson Symphony Orchestra in Dallas and the Corpus Christi Symphony Orchestra, Texas in 2009.

Behzod Abduraimov was born in Tashkent in 1990 and began to play the piano at the age of five. He was a pupil of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent, and is currently pursuing a Bachelor’s Degree at the International Center for Music at Park University, Kansas City studying with Stanislav Loudenitch.

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

★★★★★★★ $100,000+ Alston & Bird LLP ★★★★★★★★★★★ Bank of America $450,000+ Kaiser Permanente Cox Interests Atlanta Journal-Constitution, King & Spalding Partners & Employees James M. Cox Foundation, Cox Radio Group Atlanta, The Klaus Family Foundation WSB-TV The Marcus Foundation, Inc. Hon. Anne Cox Chambers The Sara Giles Moore Foundation Novelis Inc. ★★★★★★★★★★ Wal-Mart Stores, Inc. $300,000+ The David, Helen & Marian Deloitte LLP, its Partners Woodward Fund & Employees ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees PwC Partners & Employees Mabel Dorn Reeder Foundation SunTrust Bank Employees & Trusteed Foundations Florence C. & Harry L. English Memorial Fund Greene-Sawtell Foundation SunTrust Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Delta Air Lines, Inc. Equifax Inc. & Employees

★★★★★★ $75,000+ AirTran Airways Holder Construction Company Kilpatrick Townsend The Sartain Lanier Family Foundation, Inc. Regions Financial Corporation ★★★★★ $50,000+ AGL Resources Inc. Lisa & Joe Bankoff Cisco Ann & Jay Davis Doosan Infracore International Federal Home Loan Bank of Atlanta Frank Jackson Sandy Springs Toyota and Scion Beth & Tommy Holder Newell Rubbermaid Primerica

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

Tzedakah?

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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