ATLANTA SYMPHONY ORCHESTRA ENCORE :: NOV 2019

AT L A N TA SY M P H O N Y O R C H E S T R A

NOVEMBER | 2019

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I N T R O D U C T I O N S High Notes. .

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Music Director..

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ASO Leadership.

ASO Musicians.

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F E AT U R E S Legacies of the Atlanta Symphony Youth Orchestra. .

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Written by Andrew Alexander

Pillars of the Past. .

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Written by Mark Gresham

N OT E S

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T H E

P R O G R A M

Written by Ken Meltzer

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NOV 7, 8, 9..

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NOV 14 & 16. .

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NOV 22 & 23.

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D E PA R T M E N T S ASO Support. .

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ASO Staff. .

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Ticket Info/General Info.

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2 | encore ASO | HIGH NOTES Dear Friends, This month, the Atlanta Symphony Orchestra will continue our 75th Anniversary celebration with two performances of Gustav Mahler’s Symphony No. 8, “Symphony of a Thousand,” the first performance of this monumental work by the ASO in 28 years. Our 1991 recording, conducted by Robert Shaw, is to this day considered definitive. On Nov. 14 and 16, Music Director Robert Spano, the Orchestra and Chorus will be joined by the Morehouse and Spelman College Glee Clubs, the Gwinnett Young Singers and an all-star cast of internationally renowned vocalists. I hope you will join us for what promises to be a truly historic performance.

The ASO’s Talent Development Program (TDP) and the Atlanta Symphony Youth Orchestra (ASYO) will present their first Symphony Hall performances of the season during the month of November. On Nov. 3, ASYO Music Director Stephen Mulligan will lead the ASYO in the Crescendo Concert featuring works of Beethoven, Rossini and Shostakovich. Read more about the enduring legacy of the ASYO in this month’s feature story on page 11, written by Andrew Alexander.

On Nov. 23, we’ll showcase our talented TDP Fellows at the 2019 Musicale. Enjoy performances by current TDP Fellows and a special performance by the Dalí Quartet, who will perform an original work by the ASO’s very own Juan Ramírez. Visit aso.org/TDP to reserve your free tickets.

It’s hard to believe that the holidays are right around the corner and that means a month full of beautiful holiday concerts with the Atlanta Symphony Orchestra. We’ll begin the festivities with a holiday favorite, Home Alone in Concert on Nov. 30 and Dec. 1, followed by our Coca-Cola Holiday Classics, which include Christmas with the ASO, Handel’s Messiah and the Family Holiday Concert, A Flicker of Light on a Winter’s Night.

Atlanta Symphony Hall LIVE will present Christmas with Michael W. Smith and the ASO with special guest Marc Martel on Dec. 11, Celtic Woman with the ASO on Dec. 14, and the much-anticipated return of Cirque de la Symphonie on Dec. 17 and 18.

With gratitude for your continuing support,

Jennifer Barlament Executive Director

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4 | encore ASO | MUSIC DIRECTOR ROBERT SPANO

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obert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique

among American orchestras. Beginning his 19th season as Music Director of the Atlanta Symphony Orchestra and first season as Principal Guest Conductor of the Fort Worth Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers. As Music Director of the Aspen Music Festival and School since 2011,

DEREK BLANKS

he oversees the programming of more than 300 events and educational programs for 630 students and young performers. The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center and the Ravinia, Ojai, and Savannah Music Festivals.

Highlights of Spano’s 2019/20 season include a return to the Dallas Symphony Orchestra, conducting the world premiere of George Tsontakis’s Violin Concerto No. 3 alongside Vaughan Williams’s A Sea Symphony. He returns to the Indianapolis Symphony, the Singapore Symphony and the BBC Symphony Orchestra in the world premiere of Dimitrios Skyllas’s Kyrie eleison, commissioned by the BBC. Conducting debuts include the NHK Symphony Orchestra, Auckland Philharmonia and Wroclaw Philharmonic. As the newly appointed Principal Guest Conductor of the Fort Worth Symphony, Spano appears on the Orchestra’s Symphonic Series, conducting two of the ten scheduled concert weekends.

With the Atlanta Symphony Orchestra, programs include Spano’s quintessentially rich, diverse pairings of contemporary works and cherished classics, welcoming seasoned guest artists and many new faces. The Orchestra’s 75th season features 16 ASO premieres and two world premieres. In celebration of Beethoven’s 250th birthday, the ASO and Chorus travels to Carnegie Hall in April 2020 to perform Missa solemnis with soprano Susanna Phillips, mezzo-soprano Sasha Cooke, tenor Benjamin Bliss and bass Matthew Rose. The season concludes with the Atlanta premiere of Wagner’s Tristan und Isolde.

With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has garnered six Grammy® Awards with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and makes his home in Atlanta.

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|7

ASO | LEADERSHIP | 2019/20 Board of Directors OFFICERS Janine Brown

Howard Palefsky

Susan Antinori

chair

immediate past chair

secretary

Lynn Eden

James Rubright

vice chair

treasurer

DIRECTORS Joan Abernathy*

Sloane Drake

Kelly Loeffler^

Fahim Siddiqui

William Ackerman

Lynn Eden

Kevin Lyman

W. Ross Singletary, II

Keith Adams

Angela Evans

Brian McCarthy

John Sparrow

Penelope McPhee^

Gail Ravin Starr

Juliet McClatchey Allan Craig Frankel Susan Antinori

Anne Game

Bert Mills

Elliott Tapp

Jennifer Barlament*

Paul R. Garcia

Molly Minnear

Brett Tarver

Paul Blackney

Jason Guggenheim

Terry Neal

Joseph M. Thompson

Rita Bloom

Joseph W. Hamilton III

Galen Lee Oelkers

S. Patrick Viguerie

Janine Brown

Bonnie Harris

Howard Palefsky

Kathy Waller

Justin Bruns*

Caroline Hofland

Ebbie Parsons

Mark D. Wasserman

Benjamin Brunt

Tad Hutcheson

Juliette Pryor

Richard S. White, Jr.

C. Merrell Calhoun

Roya Irvani

Cathleen Quigley

John B. White, Jr.

William M. Carey

Randy Koporc

James Rubright

S. Wright Caughman, M.D.

Carrie Kurlander

Bill Schultz

Kevin E. Woods, M.D., M.P.H.

James Landon

Charles Sharbaugh

Russell Currey

Donna Lee

Doug Shipman*

Carlos del Rio, M.D

Sukai Liu

John Sibley

BOARD OF COUNSELORS Helen Aderhold

John T. Glover

Karole Lloyd

G. Kimbrough Taylor, Jr.

Neil Berman

Dona Humphreys

Meghan H. Magruder

Michael W. Trapp

John Cooledge

Aaron J. Johnson, Jr.

Patricia Reid

Ray Uttenhove

John R. Donnell, Jr.

Ben F. Johnson, III

Joyce Schwob

Chilton Varner

Jere A. Drummond

James Kelley

Hamilton Smith

Adair White

Carla Fackler

Patricia Leake

Rhett Tanner

Sue Sigmon Williams

Charles B. Ginden

LIFE DIRECTORS Howell E. Adams, Jr.

Betty Sands Fuller

Azira G. Hill

Bradley Currey, Jr.

Mary D. Gellerstedt

Lessie B. Smithgall, Jr.

^ 2019/20 Sabbatical * Ex-Officio Non-Voting

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8 | encore ASO | 2019/20 Musician Roster

FIRST VIOLIN

SECOND VIOLIN

CELLO

David Coucheron

Julianne Lee*

Rainer Eudeikis•

concertmaster

principal

principal

The Mr. & Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam & John Conant Chair

Justin Bruns

Sou-Chun Su

Daniel Laufer

associate concertmaster

acting principal

associate principal

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair

The Livingston Foundation Chair

Vacant

Jay Christy

Karen Freer

assistant concertmaster

acting associate

assistant principal

Jun-Ching Lin

principal

Dona Vellek

assistant concertmaster

Noriko Konno Clift

Anastasia Agapova

acting assistant

acting assistant

principal

concertmaster

Sharon Berenson

Carolyn Toll Hancock

David Dillard

The Wells Fargo Chair

Sheela Iyengar**

John Meisner Christopher Pulgram Juan R. Ramírez Hernández Olga Shpitko Kenn Wagner Lisa Wiedman Yancich Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox

Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess VIOLA Zhenwei Shi• principal

The Edus H. & Harriet H. Warren Chair

Paul Murphy

assistant principal emeritus

Thomas Carpenter Joel Dallow The UPS Foundation Chair

Larry LeMaster Brad Ritchie Paul Warner BASS Joseph McFadden principal

The Marcia & John Donnell Chair

Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair

Brittany Conrad**

associate principal

Karl Fenner

The Carolyn McClatchey Chair

The Mary & Lawrence Gellerstedt Chair

Michael Kenady

Sanford Salzinger

Catherine Lynn

Michael Kurth

Raymond Leung

assistant principal

Marian Kent

The Jane Little Chair

Daniel Tosky

Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp Players in string sections are listed alphabetically

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Robert Spano

Donald Runnicles

music director

principal guest conductor

Stephen Mulligan associate conductor;

Norman Mackenzie

The Robert Reid Topping Chair

The Neil & Sue Williams Chair

music director of the atlanta

director of choruses

symphony youth orchestra

The Frannie & Bill Graves Chair

The Zeist Foundation Chair

FLUTE

BASSOON

TUBA

Christina Smith

Andrew Brady

Michael Moore

principal

principal

principal

The Jill Hertz Chair

The Abraham J. & Phyllis Katz Foundation Chair

The Delta Air Lines Chair

associate principal

Anthony Georgeson

C. Todd Skitch

associate principal

Mark Yancich

Robert Cronin

Gina Hughes PICCOLO Gina Hughes OBOE Elizabeth Koch Tiscione

Laura Najarian

Michael Stubbart assistant principal

Juan de Gomar

principal

Zachary Boeding •

Susan Welty

associate principal

acting principal

The Kendeda Fund Chair

Kimberly Gilman

Emily Brebach CLARINET Laura Ardan principal

The Robert Shaw Chair | The Mabel Dorn Reeder Honorary Chair

Ted Gurch associate principal

Marci Gurnow Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez ‡ rotate between sections * Leave of absence

principal

The Betty Sands Fuller Chair

The Julie & Arthur Montgomery Chair

William Wilder assistant principal

The William A. Schwartz Chair

Chelsea McFarland** Bruce Kenney

Vacant The Connie & Merrell Calhoun Chair

Michael Stubbart

Jaclyn Rainey*

HARP

TRUMPET Stuart Stephenson principal

The Madeline & Howell Adams Chair

Michael Tiscione associate principal

Mark Maliniak

Elisabeth Remy Johnson principal

The Sally & Carl Gable Chair

KEYBOARD The Hugh & Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson

TROMBONE

LIBRARY

Vacant

Nicole Jordan

principal

The Terence L. Neal Chair, Honoring his dedication & service to the Atlanta Symphony Orchestra

principal

Nathan Zgonc acting / associate

Holly Matthews principal

Jeremy Buckler** Brian Hecht

† Regularly engaged musician

BASS TROMBONE

• New this season

Brian Hecht

** One-year appointment

PERCUSSION Joseph Petrasek

HORN

The George M. & Corrie Hoyt Brown Chair

ENGLISH HORN

The Walter H. Bunzl Chair

CONTRA-BASSOON

Vacant

Emily Brebach

principal

Juan de Gomar

principal

Samuel Nemec

TIMPANI

The Home Depot Veterans Chair

The Marianna & Solon Patterson Chair assistant principal librarian

Hannah Davis asyo / assistant

librarian

10 | encore

Legacies of the Atlanta Symphony Youth Orchestra

Former ASYO Music Director Jere Flint in rehearsal with the ASYO, May 2005.

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JD SCOTT

JEFF ROFFMAN

By Andrew Alexander

Christopher Pulgram

Julia Su Sou-Chun Su

Elisabeth Remy Johnson (R) with Angelica Hairston

Juan Ramírez

T

o find great musicians whose artistic journeys began with the Atlanta Symphony Youth Orchestra (ASYO), you don’t need to look much further than the stage of Symphony Hall. Many Atlanta Symphony musicians actually had their first taste of performing with an orchestra (and performing in Symphony Hall) with the ASYO. “One of the big challenges was getting used to addressing my former coaches, Ronda Respess and Juan Ramírez, by their first names,” says Christopher Pulgram, First Violin with the ASO since 1992. Pulgram auditioned to be part of the ASYO as one of its youngest members when he was in the seventh grade in the 1970s. By the time he finished high

JD SCOTT

Ronda Respess, center, with students

12 | encore school, he was concertmaster, a leadership position he says made him realize a career in music was for him.

“Playing with the ASYO meant the opportunity to be around other people my age who were practicing every day and who really enjoyed the music,” he says. ”If I hadn’t joined the ASYO, I wouldn’t have had many friends at all who played musical instruments. It was remarkable coming back to the ASO as a professional musician.”

“I

For ASO Acting Principal Second Violin Sou-Chun Su, participating in the ASYO has always been a familiar affair.

“Everybody in my family has been in it,” he says. Both he and his brother, who also plays the violin, were in the ASYO in the early 80s. And although they didn’t participate at the same time, his wife Sheela Iyengar (currently in a oneyear appointment as a Second Violin) also took part, and his daughter Julia, who recently graduated high school, was also really found a member.

I loved playing

Su says that the expert coaching of then ASYO Music Director Jere Flint helped guide him on his path to becoming a professional It was from that musician. “He didn’t treat us like a bunch of high experience I decided: school students,” he says. “He really challenged us almost on the level of professionals. The pieces we this is my job.” played were all real pieces. I found I loved playing in – ASYO Music Director the orchestra. It was from that experience I decided: this Jere Flint is my job.”

in the orchestra.

Su says that the experience was just as special to everyone else in his family, including his daughter. “It was the highlight of her high school years. She got to hang out with other kids her age who shared her passion. And at the Side

by Side Concert, I was able to sit next to her for a couple of pieces. That was very, very special, to play a concert and share a stand with your daughter.”

For ASO Horn Chelsea McFarland, being in the ASYO during her high school years was a transformative time.

Growing up in Decatur, she had always played horn in the band, but her school didn’t have an orchestra. “I remember the audition being incredibly intimidating,” she says. “It’s very much like a professional audition.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

SALOME Richard Strauss

Jan 25, 28, 31, Feb 2, 2020 Cobb Energy Centre

404-881-8885 ATLANTAOPERA.ORG

BLAKE HILLEY

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| 15

Blake Hilley (R) with Stuart Duncan, Edgar Meyer and Chris Thile

You have a warm-up room and then you go on stage at Symphony Hall. The judges are behind a screen so they can’t see you. It’s terrifying.”

Once past the audition, however, playing with the ASYO proved to be an eye-opening experience. “When you’re surrounded by so many other young musicians who are so motivated, it’s really incredible,” she says. “The first time I performed with the ASYO, we were playing Firebird by Stravinsky at Symphony Hall. I had never performed on a stage like that before. At the end of Firebird, I decided I wanted to do that for the rest of my life; I wanted to perform on stage in an orchestra.”

Many young former ASYO musicians are likewise currently on a similar trajectory to becoming professionals. Bass player Blake Hilley, currently in his second year at Juilliard, played with the ASYO throughout his high school years.

“Every Saturday, I would look forward to going because it gave you a taste of being a professional musician, working to make something beautiful every week,” he says. “Every performance was a highlight. It’s what I aspire to do for the rest of my life.”

Harpist Angelica Hairston, a veteran of both the ASYO and the Talent Development Program, says the experiences were crucial in her decision to start her own educational organization, Challenge the Stats, a program devoted to creating diversity, equity and inclusion in classical music.

“Both the TDP and ASYO afforded me the chance to

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

16 | encore develop leadership skills at an early age,” she says.

“Through the TDP, I was able to study with ASO Principal Harpist Elisabeth Remy Johnson, an opportunity I would never have been able to access on my own. It also provided a community of support as I navigated the complexities of the classical music field as a woman of color. I remember practicing long hours and taking part in challenging sectionals during my time in the ASYO. Our coaches expected a lot of us and we had to work hard to meet their high expectations.”

in

It’s an experience she hopes to replicate for other young people through her own organization, which provides performance opportunities, mentoring, educational resources, equity consulting and career coaching. “I’d spent years learning the “Parents in Atlanta nuances of my instrument and learning how to perform in an ensemble setting both, in should know they’re ASYO and TDP. All of these skills – combined very fortunate… with a passion for social justice – gave me the It doesn’t happen drive to found Challenge the Stats, a platform to celebrate artists of color and use the tool of music every city. We’re to advocate for change.”

very lucky.”

In the end, many musicians can point back to their days with the ASYO as the time they chose their – ASO Acting Principal Second Violin professional path. As Su puts it: “Parents in Atlanta Sou-Chun Su should know they’re very fortunate; if their kids are involved in classical music, there’s an organization on this level the kids can participate in. It doesn’t happen in every city. We’re very lucky.”

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

WARHOL DID WESTERN ART ?

No Fooling?

Sure Shooting!

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18 | encore PILLARS OF THE PAST with Charles Knox

by Mark Gresham Atlanta native, composer and retired educator Charles Knox joined the Atlanta Youth Symphony as a trombonist before it changed its name to the Atlanta Symphony Orchestra. He was a member of the orchestra for five seasons, becoming principal trombone in his final year. Now 90 years old, Knox shared with music journalist Mark Gresham his early ASO memories:

When I joined the orchestra in 1946, I was a student and the pupil of a trombonist Owen Seitz. He was asked to join the orchestra and bring a couple of his students, I being one of them, to form the trombone section. By that time they paid the first chair in each orchestral sections but they didn’t pay me because I wasn’t first chair.

We rehearsed in the gymnasium of what’s now called Grady High School. I remember rehearsals in the Municipal Auditorium, the old hall that was downtown, close to Hurt Park. Not always on the stage, but in some of the other spaces. We performed concerts in Municipal Auditorium.

I do remember some of the players, including the concertmaster, Robert Harrison. Many were University of Georgia music faculty who had to commute from Athens to Atlanta twice a week, and for a third time if there was a concert. As a UGA student, I commuted with them.

MARK GRESHAM

Eventually, I was chosen as a bass trombonist, which involved buying a new instrument. They also started paying me, even though I was still in school, and I joined the Musicians’ Union.

I graduated from the University of Georgia with my bachelor’s degree in 1951. I went to Fort McPherson and spoke to the band director, and told him I was a member of the Atlanta Symphony. By that time I was first chair, they accepted me with a letter from the Symphony and I proceeded to the enlistment office with letter in hand and became a member of the Third Army Band. While I couldn’t be part of the Atlanta Symphony and the Third Army Band at the same time, I did get called on at times to play with the Orchestra when they needed an extra trombone.

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DISCOVER THE SPIVEY DIFFERENCE

2019-2020 Concert Series Clayton State University

WINTER TALES: THE SWINGLES Saturday, December 7, 2019

RODERICK WILLIAMS, baritone JULIUS DRAKE, piano Saturday, January 11, 2020

JAMIE BARTON, mezzo-soprano KATHLEEN KELLY, piano Sunday, December 8, 2019

BEHZOD ABDURAIMOV Sunday, January 19, 2020

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SUPERB ACOUSTICS • OUTSTANDING INTERNATIONAL MUSICIANS INTIMATE CONCERT EXPERIENCES

20 | encore

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a newlyformed group of passionate and engaged individuals who act as both ambassadors and resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the founding members listed on this page.

MEMBERS Arthur Mills, IV chair

Phyllis Abramson

Nancy Harrison

Ryan Oliver

Keith Barnett

Mia Hilley

Eliza Quigley

Greg Blount

Justin Im

David Quinn

Jane Blount

Swathi Khambhampati

Jim Schroder

Jim Camden

Kartikh Khambhampati

Baker Smith

Tracey Chu

Jason Liebzeit

Amy Taylor

Sally F. George

Keith Millner

George Taylor

Burt Fealing

Jane Morrison

Otis Threatt, Jr.

James Hammond

Bert Mobley

Taylor Winn

Charles Harrison

Regina Olchowski

Jennifer Winn

For more information about becoming an Advisory Council member, please contact Elizabeth Arnett at Elizabeth.Arnett@atlantasymphony.org, or 404.733.5048.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Holiday Concerts DEC 6/7/8

CHRISTMAS with the ASO DEC 12/13

Handel’s Messiah DEC 15

Family Holiday Flicker of Light A on a Winter’s Night

DEC 17/18

The Coca-Cola Holiday Concerts are presented by

CIRQUE de la Symphonie

Holiday concerts are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.

Family Series sponsored by

Holiday Spectacular

aso.org/holidays Programs, artists and prices are subject to change.

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| 23

ASO | 75TH ANNIVERSARY SEASON SPONSORS We are deeply grateful to the Sponsors who have given generously in support of the Atlanta Symphony Orchestra's 75th Anniversary Season.

PRESENTING

sponsor

The John & Rosemary Brown Family Foundation

LEADERSHIP

sponsors

24 | nov3 Concert of Sunday, Nov. 3, 2019 3:00pm

LUDWIG VAN BEETHOVEN (1770-1827) Coriolan Overture, Opus 62 (1807)

8 MIN

Conductor

GIOACHINO ROSSINI (1792-1868) Introduction, Theme and Variations for Clarinet and Orchestra in E-flat Major (1819) 14 MIN

Francisco Vidales, clarinet

FRANCISCO VIDALES,

INTERMISSION

clarinet

DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 5 in D minor, Opus 47 (1937) 44 MIN

I. Moderato

II. Allegretto

III. Largo

IV. Allegro non troppo

STEPHEN MULLIGAN,

2019 ASYO Concerto Competition Winner

The Atlanta Symphony Youth Orchestra is supported by: The John & Rosemary Brown Family Foundation The Molly Blank Fund of The Arthur M. Blank Family Foundation Abraham J. and Phyllis Katz Foundation

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

20 MIN

notesontheprogram Ken Meltzer Program Annotator

Coriolan Overture, Opus 62 (1807) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The Coriolan Overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

B

eethoven composed his Coriolan Overture as a curtain-raiser for Heinrich Joseph von Collin’s play, based upon the life of the Roman leader, Gaius Marcius Coriolanus. The plot of Collin’s play is similar to Shakespeare’s tragedy, Coriolanus. Many have viewed Beethoven’s Overture as a portrait of the iron-willed Coriolanus, and, perhaps, the composer as well.

Beethoven’s revolutionary music made a stunning impact upon the audiences of his time. Perhaps it’s worthwhile to keep in mind that Beethoven’s powerful scores were often performed in quite intimate concert venues that could only have served to increase the visceral impact. Composer Johann Friedrich Reichardt attended a concert held in such a venue. Beethoven’s Coriolan Overture was on the program: “My brain and my heart almost burst from the hammer blows and shrillness within the narrow rooms, especially as everyone tried with all his might to increase the noise in view of the fact that the composer was present.”

Beethoven’s Coriolan Overture opens with a bracing, fortissimo orchestral introduction. The strings introduce the furtive initial principal theme, that soon gathers its own momentum and power. The first violins sing the contrasting major-key second theme. Typical of Beethoven, the central development section features the manipulation of the most concise motifs to great dramatic effect. The recapitulation of the principal themes finally yields to the closing bars, capped by a trio of hushed pizzicato chords.

Introduction, Theme and Variations for Clarinet and Orchestra in E-flat Major (1819) GIOACHINO ROSSINI was born in Pesaro, Italy, on February 29, 1792, and died in Passy, France, on November 13, 1868. In addition to the solo clarinet, the Introduction, Theme and Variations is scored for flute, two oboes, bassoon, two horns, and strings.

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I

t is not entirely certain that Gioachino Rossini composed the work known as the Introduction, Theme and Variations for Clarinet and Orchestra in E-flat Major.

The principal melodies are most certainly by Rossini, and featured in two of his operas that premiered at the Teatro San Carlo in Naples.

The piece opens with an extended slow-tempo Introduction (Andante sostenuto), derived from Act II of Moses in Egypt (1818); specifically, the aria of Pharaoh’s wife, Amaltea, “La pace mia smarrità ah respirar vorrei” (“Ah, I want to breathe my lost peace”). The clarinet presents the lively principal Theme (Allegretto), Malcolm’s cabaletta, “Oh quante lagrime finor versai” (“Oh, how many tears have I shed”), from The Lady of the Lake (1819). A series of five variations follows, the final two sharply contrasting both in key and tempo (Largo minore, Maggiore), leading to the work’s brilliant conclusion.

Symphony No. 5 in D minor, Opus 47 (1937) DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow, Russia, on August 9, 1975. The first performance of the Symphony No. 5 took place in Leningrad (St. Petersburg) on November 21, 1937, Evgeny Mravinsky conducting the Leningrad Philharmonic. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, glockenspiel, triangle, snare drum, cymbals, tam-tam, bass drum, harp, piano, celesta, and strings.

I

n 1936, Joseph Stalin walked out of a Bolshoi performance of Dmitri Shostakovich’s “tragedy-satire” opera, Lady Macbeth of Mtsensk. Shortly thereafter, an article appeared in the official Communist newspaper Pravda entitled, “Muddle Instead of Music.” Although the author of the article was not identified, it appears certain it was either written by Stalin, or penned under his direction and approval. The author dismissed Lady Macbeth as a “stream of deliberately discordant sounds…Lady Macbeth enjoys great success with the bourgeois audience abroad.”

In the spring of 1937, Shostakovich turned his attention

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to the Fifth Symphony, which he composed between April 1 and July 30, 1937. The premiere of the Fifth Symphony took place in Leningrad on November 21, 1937, as part of a festival in celebration of the 20th anniversary of the Soviet Republic.

A seemingly penitent Shostakovich offered the following subtitle for the work: “A Soviet Artist’s Practical Creative Reply to Just Criticism.” Shostakovich also provided the following analysis of the Symphony in an article entitled “My Artist’s Reply,” which appeared just a few days before the Moscow premiere on January 29, 1938: The theme of my symphony is the development of the individual. I saw man with all his sufferings as the central idea of the work, which is lyrical in mood from start to finish; the finale resolves the tragedy and tension of the earlier movements on a joyous, optimistic note.

The 1937 premiere, conducted by the composer’s longtime friend and advocate Evgeny Mravinsky, was a resounding success. The Fifth Symphony pleased the Soviet critics, and soon, the world at large. It appeared that Shostakovich had succeeded in creating a work that managed both to glorify the Soviet regime and appeal to international audiences.

In 1979, four years after the composer’s death, Testimony: The Memoirs of Dmitri Shostakovich, stunned the music world. The Shostakovich who emerged from this book was far different from the one who had seemed to follow the Communist party line. For the Shostakovich of Testimony, the Fifth Symphony was hardly a paean to Communism: I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in (Modest Mussorgsky’s opera) Boris Godunov. It’s as if someone were beating you with a stick and saying, “Your business is rejoicing, your business is rejoicing,” and you rise, shaky and go marching off, muttering, “Our business is rejoicing, our business is rejoicing.”

What kind of apotheosis is that? You have to be a complete oaf not to hear that. People who came to the premiere of the Fifth in the best of moods wept.

Shostakovich’s friend and student, Solomon Volkov, compiled Testimony from what he claimed were the

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composer’s own words. Many, including, not surprisingly, the Soviet government, questioned the authenticity of Testimony and the controversy continues to this day.

However, recent scholarship indicates the composer’s subtitle for the Fifth Symphony—“A Soviet Artist’s Practical Creative Reply to Just Criticism”—was forced upon him by the government in exchange for permission to present the work.

The conflicting views attributed to Shostakovich regarding his Fifth Symphony place the interpreter and listener in a challenging position. Is the Fifth Symphony a work in praise of, or a diatribe against, Soviet Russia? Are the Symphony’s closing pages “optimistic” or a “forced rejoicing?” Or, perhaps, are there other interpretations to be considered?

A consensus on these issues is as unlikely as universal agreement upon whether Shakespeare’s Hamlet was mad.

The greatness of a work of art like the Shostakovich Fifth rests largely with its ability to resonate profoundly with each of us in a personal and unique way.

The Symphony No. 5 is in four movements. The first (Moderato) is based upon two themes, introduced in quick succession at the outset of the movement. The ensuing Allegretto, cast in traditional scherzo and trio form, has a brevity and playful charm in sharp contrast to the storm and stress of the opening movement. The slow-tempo third movement (Largo) is constructed as a massive arch, inexorably building to a shattering climax before returning to the repose of the opening measures. The finale (Allegro non troppo) features a whirlwind of activity and arresting conflict, finally resolving to the blazing (and controversial) D-Major conclusion.

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30 | meettheartists STEPHEN MULLIGAN, CONDUCTOR

A JEFF ROFFMAN

merican conductor Stephen Mulligan is Associate Conductor of the Atlanta Symphony Orchestra and Music Director of the Atlanta Symphony Youth Orchestra. In the 2018/19 season, Mulligan served as a Dudamel Conducting Fellow with the Los Angeles Philharmonic.

In 2018, Mulligan was awarded the prestigious Solti Foundation U.S. Career Assistance Award.

In the 2019/20 season, Mulligan debuts with the Phoenix Symphony, Virginia Symphony and the Rochester Philharmonic. During the 2017/18 season, his first with the Atlanta Symphony Orchestra, Mulligan stepped in on short notice for three classical subscription programs over the course of six weeks.

A native of Baltimore, Maryland, Stephen Mulligan began his music studies with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony Orchestra. He studied conducting at Yale University with Toshiyuki Shimada, at the Peabody Institute with Gustav Meier; Markand Thakar; and Marin Alsop; and at the Aspen Music Festival and School with Robert Spano.

FRANCISCO VIDALES, CLARINET

W RAND LINES

inner of the 2019 ASYO Concerto Competition, Mexican-born clarinetist Francisco Vidales began studying clarinet at the age of eleven.

Most recently, Francisco toured Europe with the highly selective National Youth Orchestra of the United States, playing at the world’s most prestigious concert halls.

During his high school years, Francisco was Principal Clarinet of the Atlanta Symphony Youth Orchestra, The Emory Youth Symphony Orchestra, Concertmaster of the Atlanta Youth Wind Symphony, member of the ASYO Chamber Players and a Fellow of the ASO Talent Development Program. He received First Prize for the 2019 Franklin Pond Chamber Music Competition.

Francisco currently attends the Jacobs School of Music at Indiana University and plans to transfer to The Juilliard School in New York City. He plays Vandoren products and Buffet Crampon clarinets. aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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ATLANTA SYMPHONY YOUTH ORCHESTRA FIRST VIOLINS

VIOLA

FLUTE

TRUMPET

Zoe Willingham^

John Cho^

Harbin Hong

concertmaster

principal

David SanchezBecerra^

Yuji Yamada Erin Cho^ Doowon Kim Bradley Hu Abigail Carpenter Josephine Han^ Angela Li Gordon Meeks Eileen Liu Tobias Liu Kevin Chen Kangin Joo^ Danielle Najarian Jinsol Shin* Sophie Chan SECOND VIOLINS Kelly Jeong principal

Zach Tseng Jeremiah Jung Suann Kim Brandon Lee Hyejun Kang Mila Coleman Ellie Park Amartya Kallingal Yoon Ji Cho*

Ardath Weck Chair

Jason Seo^ Nina Nagarajan Claire Hong Kaci Xie Rachel Lee Ivy Xue Zoë Schwartz Skyler Bugg Victoria Kang Anastasia Waid Sujay Rao CELLO Lexine Feng^ principal

Rachel H. Lee Rachel Y. Lee* Benjamin Smith OBOE Jacob Duff Hannah Lee^ Ojochilemi Okoka Kristen Van CLARINET Alexandria Carrillo Darren Dunn Daniel Kim Juliyan Martinez^ BASSOON Brendan Bassett

Maximilian Lou

Daniel Catanese

Jordan Leslie

Joshua Konfrst

Brandon Leonard

Samuel Song

Alicia Shin

HORN

Connor Swain

Brennan Bower

Patrick Kim*

Charles Dunn

Cal Walrath

Ediz Eribac

Timothy Cho

Abby Lewis

Richard Wang

Steven Liberman

BASS

Mauricio Martinez^

Noah Daniel principal

Doug Sommer Chair

Kailyn Brown

Bria Rives

Aidan Payne^

Corban Johnson^

Hannah Lee

Evan Smallwood

Mabel Htay

Jonathan Sandberg Dennis Smallwood Brenden Feldman Aiden Johnson

Nathan Page Jake Wadsworth

Barton Sopata* Ben Stocksdale Andrew Wang^ TROMBONE Anthony F. Cangemi Austin Murray^ Samuel Seo^ Jonas Ventresca^ TUBA Kyla Hampson PERCUSSION Michelle Jiang Issac Jung^ Kobe Lester Evan Magill Dylan So Ian Valdés HARP Madeline Chen LeAndra Douds PIANO Jason Guo * Elinor Rosenberg Breman Fellow ^ ASYO Scholarship Recipient Winds, Percussion, Harp & Piano are listed in alphabetical order

32 | nov7&8&9 Concerts of Thursday, Nov. 7, 2019 8:00pm Friday, Nov. 8, 2019 11:00am Saturday, Nov. 9, 2019 8:00pm

DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 15 in A Major, Opus 141 (1971)

I. Allegretto

II. Adagio

III. Allegretto

IV. Adagio

42 MIN

DONALD RUNNICLES,

INTERMISSION

Conductor

PETER ILYICH TCHAIKOVSKY (1840-1893) Concerto for Violin and Orchestra in D Major, Opus 35 (1878) 36 MIN

I. Allegro moderato

II. Canzonetta. Andante

III. Finale. Allegro vivacissimo

James Ehnes

JAMES EHNES, violin

The Atlanta Symphony Orchestra Classical Series is presented by

20 MIN

On Friday, Nov. 8, Shostakovich will be replaced with LUDWIG VAN BEETHOVEN (1770-1827) Leonore Overture No. III, Opus 72b (1806)

The Nov. 7 performance is dedicated to Connie and Merrell Calhoun in appreciation for their extraordinary support of the Atlanta Symphony Orchestra Annual Fund.

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

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14 MIN

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Ken Meltzer Program Annotator

Symphony No. 15 in A Major, Opus 141 (1971) DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow, Russia, on August 9, 1975. The first performance of the Symphony No. 15 took place at the Moscow Conservatory on January 8, 1972, with the Soviet Radio Orchestra, Maxim Shostakovich, conducting. The Symphony No. 15 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, tom-tom, wood block, xylophone, castanets, orchestra bells, snare drum, tam-tam, triangle, vibraphone, whip, cymbals, harp, celesta, and strings.

D

mitri Shostakovich composed his final Symphony, No. 15, between April and July, 1971. At the time, Shostakovich was battling several dire health issues. In the late 1950s, Shostakovich began suffering from a debilitating condition, later diagnosed as a form of polio, that would plague him for the remainder of his life. In 1966, Shostakovich experienced the first of two heart attacks (the second occurred in September, 1971).

Shostakovich died of lung cancer in 1975, at the age of 68.

First Classical Subscription Performances: Nov. 29-Dec. 2, 1973, Robert Shaw, Conductor.

Most Recent Classical Subscription Performances: April 12-14, 2001, Mark Wigglesworth, Conductor.

Maxim Shostakovich, who led the world premiere of his father’s Symphony No. 15, was, on two occasions, a guest conductor with the Atlanta Symphony

In 1969, Shostakovich composed his Symphony No. 14 (1969), scored for solo voices, percussion, and strings.

The Symphony, written in part during Shostakovich’s hospitalization in Moscow, features settings of various poems that address the subject of death. The Shostakovich 14th was the last in a series of programmatic symphonies, beginning with No. 11, “The Year 1905” (1957). No. 12 (1961) addresses the subject of the 1917 Revolution, and No. 13, subtitled “Babi Yar” (1962), features poems by the Soviet writer Yevgeny Yevtushenko.

Orchestra. On April

Shostakovich insisted there was no program for the Symphony No. 15. That said, Shostakovich did state that the first movement “describes childhood—just as a toy shop, with the cloudless sky above.”

October 25-27, 1984,

By its very nature, the Shostakovich Symphony No. 15 invites speculation, opinion, and vigorous debate about what, precisely, the composer sought to express. It is the final symphony by perhaps, the greatest 20th century composer of the genre (there are rumors, never confirmed,

Francesca da Rimini,

28-30, 1983, Maxim Shostakovich led programs that included the Shostakovich Festive Overture, the Piano Concerto No. 2 (Dmitri Shostakovich, II, soloist), and the Symphony No. 5. On the weekend of the concerts featured Stravinsky’s Pulcinella Suite, Tchaikovsky’s and the Shostakovich Symphony No. 6.

34 | encore that Shostakovich had begun sketching a Symphony No. 16 prior to his death). And it is a symphony by a man who frequently wove elements of social commentary and autobiography into his musical works.

Perhaps above all, there is the issue of the frequent (and on occasion, stunning) references to independent musical works, both by Shostakovich and other composers.

Shostakovich confided to his friend Isaak Glikman: “I don’t myself quite know why the quotations are there, but I could not, could not, not include them.” Perhaps it’s only fitting that a genius who throughout his life confounded both critics and admirers, left as his symphonic last will and testament a work steeped in both enigma and haunting beauty.

I. Allegretto—Two sentinel notes on the orchestra bells serve as prelude to the solo flute’s introduction of the puckish central theme. The solo bassoon offers its own take on the theme, succeeded by the solo trumpet, who soon decides to convert the melody into the famous galop from the Overture to Rossini’s final opera, William Tell (1829). The remainder of the movement is worthy of the comedic genius of Haydn, with constant barbs and unexpected twists and turns, capped by a fortissimo chord that the timpani can’t quite time just so.

II. Adagio—The slow-tempo second movement opens with a somber brass chorale. After a brief pause, the solo cello plays a mournful, twelve-tone sequence. These two elements continue to alternate in various forms. An extended episode, in the spirit of a funeral march, builds to a shattering climax. The mood of the final pages, both introspective and unsettling, is broken by three rasping bassoon chords. The penultimate movement follows without pause.

III. Allegretto—A solo clarinet plays a skittish melody, soon incorporated by the solo violin. This is the start of the Symphony’s briefest movement, an impish danse macabre that, after much playful mockery, finally reaches an abrupt resolution.

IV. Adagio—The finale opens (Adagio) with the brass intoning a portion of the fate leitmotif that attends the deaths of both Siegmund (Die Walküre) and his son, Siegfried (Götterdämmerung), heroes in Wagner’s epic aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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36 | encore cycle, Der Ring des Nibelungen (The Ring of the Nibelung).

The ensuing timpani figure appears in Siegfried’s Funeral March. That sequence is repeated. A final invocation of the fate leitmotif yields to a quote by the first violins from yet another Wagner opera, the yearning sequence associated with the doomed lovers Tristan and Isolde. The Tristan motif segues to a quotation of a song (Allegretto) by the 19th-century Russian composer Mikhail Glinka, a setting of poetry by Yevgeny Baratynsky: Do not tempt me needlessly By returning to your former tenderness.

To a disillusioned man All the old seductions are alien.

The brass quotes the opening movement of Sergei Rachmaninov’s final work, the Symphonic Dances, a piece the Russian composer/pianist described as “my last spark”.

A reprise of the Wagner fate motif leads to a repeated sequence in the cellos and basses, an echo of the oppressive march from the opening movement of Shostakovich’s 1941 “Leningrad” Symphony. That sequence forms the basis for an extended passacaglia. The music builds to a shattering climax that, as it subsides, reprises the Rachmaninov quotation. The opening Wagner Ring—Tristan—Glinka sequence returns as well. Foreboding chords in the brass and winds herald the closing measures. The percussion’s depiction of mechanical sounds fades to a whisper, capped by the toll of a bell with which the entire work began.

Leonore Overture No. III, Opus 72b (1806) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of Henry Sopkin, Conductor. the Leonore Overture No. III took place in Vienna at Most Recent Classical the Theater an der Wien on March 29, 1806, as part Subscription Performances: of the premiere of the revised version of Fidelio. The May 30 & June 1, 2019, Leonore Overture No. III is scored for two flutes, two Donald Runnicles, Conductor. oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

First Classical Subscription

Performance: March 16, 1950,

B

eethoven’s only opera, Fidelio, occupied a special place in the composer’s heart. In his will, Beethoven said of his beloved work: “Before all others I hold it

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worthy of being possessed and used for the science of art.”

The creation of Fidelio (called Leonore by the composer) was hardly an easy process. Beethoven composed at least three versions of Fidelio. The Leonore Overture No. III premiered as part of a revised version of the opera, first performed on March 29, 1806.

Beethoven’s Fidelio is based upon a work created during the French Revolution by lawyer and writer Jean-Nicolas Bouilly. Fidelio takes place in 18th-century Spain. The evil governor Don Pizarro has imprisoned the nobleman Don Florestan for daring to speak out against his corrupt regime. In an attempt to rescue her husband, Florestan’s wife, Leonore, disguises herself as the young man, Fidelio.

This allows Leonore to gain employment at the jail where her husband is imprisoned.

When Pizarro learns that the benevolent minister, Don Fernando, is coming to inspect the prison, he vows to kill Florestan, thereby concealing evidence of his wrongdoing.

Leonore discovers her husband in a dungeon. She places herself in front of Florestan, and holds Pizarro at bay with her pistol. The sound of trumpets heralds Don Fernando’s arrival. Fernando soon learns of Pizarro’s misdeeds and orders him imprisoned. Florestan and the prisoners are freed. All hail Leonore as their savior.

Beethoven’s orchestral Overture tracks the opera’s course of action, and in thrilling fashion.

Concerto for Violin and Orchestra in D Major, Opus 35 (1878) PETER ILYICH TCHAIKOVSKY was born in KamskoVotkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Violin Concerto took place in Vienna, Austria, on December 4, 1881, with Adolf Brodsky as soloist and Hans Richter conducting the Vienna Philharmonic. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: Jan. 25, 1948, Robert Harrison, Violin, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: May 31, June 2 & 3, 2018, Nikolaj Znaider, Violin, Cristian Măcelaru, Conductor.

38 | encore

T

chaikovsky composed his only Violin Concerto during the spring of 1878. The composer dedicated the Concerto to Leopold Auer, the great Hungarianborn violinist, who was living and teaching in St. Petersburg. Auer, however, declined to play the Concerto.

Violinist Adolf Brodsky was the soloist for the premiere, which took place in Vienna on December 4, 1881. Hans Richter conducted the Vienna Philharmonic. Tchaikovsky greatly appreciated the courage displayed by Brodsky in premiering a work “before a Viennese audience with a concerto by an unknown composer, and a Russian one to boot.”

The extent of Brodsky’s courage becomes even clearer when the circumstances of the premiere are examined.

The reaction by the audience and critics was unfavorable, to say the least. The performance inspired the prominent critic, Eduard Hanslick, to write one of the most infamous reviews in music history. For several months after the concert, Tchaikovsky carried with him a copy of the review and, to the end of his days, could recite verbatim Hanslick’s caustic prose: The Russian composer Tchaikovsky is surely not an ordinary talent, but rather an inflated one, with a genius-like obsession without discrimination or taste.

Such is also his latest, long and pretentious Violin Concerto. For a while it moves soberly, musically, and not without spirit. But soon vulgarity gains the upper hand, and asserts itself to the end of the first movement. The violin is no longer played; it is pulled, torn, drubbed. The Adagio is again on its best behavior, to pacify and win us. But it soon breaks off to make way for a finale that transfers us to a brutal and wretched jollity of a Russian holiday. We see plainly the savage vulgar faces, we hear curses, we smell vodka.

Friedrich Visser once observed, speaking of obscene pictures, that they stink to the eye. Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.

Still, Brodsky persevered in his advocacy of the Concerto, playing it throughout Europe. In time, the merits of the

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Tchaikovsky Violin Concerto became clear. Even Leopold Auer finally performed the work, as did such protégés as Mischa Elman and Jascha Heifetz. But it was Adolf Brodsky to whom Tchaikovsky dedicated this beloved masterpiece.

The Concerto is in three movements. The first (Allegro moderato) opens with an orchestral introduction, but it is not long before the soloist enters with a brief opening passage, yielding to the flowing, principal theme. The brief and extraordinarily beautiful second movement (Canzonetta.

Andante) leads without pause to the Concerto’s whirlwind Finale (Allegro vivacissimo). The writing for the soloist throughout the Finale is brilliant, perhaps nowhere more so than in the thrilling closing pages.

JAN 16 + 18 + 19

BEETHOVEN’S VIOLIN CONCERTO

Celebrating the composer’s 250th birthday with ASO Concertmaster David Coucheron

aso.org

40 | meettheartists DONALD RUNNICLES, CONDUCTOR

D SIMON PAULY

onald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019, Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016.

In the 2019/20 season, Runnicles will return to the Toronto Symphony and make his debut with the New Zealand Symphony Orchestra, in addition to his regular concerts with the BBC Scottish Symphony Orchestra, Atlanta Symphony Orchestra and Sydney Symphony Orchestra.

At the Deutsche Oper, highlights of Runnicles’ season include the premiere of Das Rheingold as part of an ambitious new Ring Cycle extending through 2021, as well as a new production of A Midsummer Night’s Dream, which continues Runnicles’ Britten cycle. He also conducts seven revival titles and brings the company to the Edinburgh Festival in a performance of Manon Lescaut.

Donald Runnicles was born and raised in Edinburgh. He was appointed OBE in 2004, and holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

JAMES EHNES, VIOLIN

J B EALOVEGA

ames Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favorite guest of many of the world’s most respected conductors.

In 2019/20, Ehnes is Artist in Residence with the Dallas Symphony Orchestra, which includes performances of the Elgar Concerto with Fabio Luisi, a play/direct program led

by Ehnes, and a chamber music program. As part of the Beethoven at 250 celebrations, Ehnes has been invited to perform the complete cycle of Beethoven Sonatas

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at Wigmore Hall throughout the season. Elsewhere, Ehnes performs the Beethoven Sonatas at Dresden Music Festival, Prague Spring Festival, the Concertgebouw Amsterdam, at Aspen Music Festival (as part of a multi-year residency) and at Bravo Vail Festival during his residency week also including the Violin Concerto and Triple Concerto with the Dallas Symphony Orchestra and Runnicles.

Ehnes plays the “Marsick� Stradivarius of 1715.

JAN 4

The Four Seasons Vivaldi + Piazzolla featuring ASO Associate Concertmaster Justin Bruns + dynamic tango dancers

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42 | nov14&16 Concerts of Thursday, Nov. 14, 2019 8:00pm

GUSTAV MAHLER (1860-1911) Symphony No. 8 in E-flat Major, “Symphony of a Thousand” (1906)

Saturday, Nov. 16, 2019 8:00pm

Part I Hymnus: “Veni, creator spiritus”

80 MIN

Part II Final Scene from Goethe’s Faust, Part II

ROBERT SPANO, Conductor The Atlanta Symphony Orchestra Classical Series is presented by

EVELINA DOBRAČEVA, soprano, Magna Peccatrix ERIN WALL, soprano, Una Poenitentium NICOLE CABELL, soprano, Mater Gloriosa MICHELLE DEYOUNG, mezzo-soprano, Mulier Samaritana KELLEY O’CONNOR, mezzo-soprano, Maria Aegyptiaca TOBY SPENCE, tenor, Doctor Marianus RUSSELL BRAUN, baritone, Pater Ecstaticus MORRIS ROBINSON, bass, Pater Profundus

This program is made possible by a generous gift from The John & Rosemary Brown Family Foundation.

Additional support provided by the National Endowment for the Arts.

ATLANTA SYMPHONY ORCHESTRA CHORUS, Norman Mackenzie, Director of Choruses GWINNETT YOUNG SINGERS, Lynn Urda, Director MOREHOUSE COLLEGE GLEE CLUB, David E. Morrow, Director SPELMAN COLLEGE GLEE CLUB, Kevin Johnson, Director These concerts are performed without intermission English surtitles by Ken Meltzer

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

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| 43

Ken Meltzer Program Annotator

Symphony No. 8 in E-flat Major, “Symphony of a Thousand” (1906)

First Classical Subscription

GUSTAV MAHLER was born in Kaliště, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. The first performance of the Symphony No. 8 took place at the Neue Musik-Festhalle in Munich, Germany, on September 12, 1910, with the composer conducting.

The Symphony No. 8 is scored for three soprano, two alto, tenor, and two bass soloists, two mixed choruses, boys chorus, two piccolos, five flutes, four oboes, English horn, two E-flat clarinets, three clarinets, bass clarinet, four bassoons, contrabassoon, eight horns, eight trumpets, seven trombones, tuba, timpani (two players), bass drum, orchestra bells, tam-tam, triangle, cymbal, two deep bells, two harps, piano/celesta/ organ/harmonium (combined), piano, celesta, two mandolins, and strings.

May 18-20, 1978,

D

uring the first decade of the 20th century, Gustav Mahler’s responsibilities as Kappellmeister in Vienna limited his composing to the summer months. In 1901, Mahler constructed a villa at Maiernigg, located on the banks of the Wörthersee in southern Austria. It was there, during summer breaks, that Gustav Mahler wrote many of his greatest works, including the Symphonies Nos. 5-8 and the song cycle, Kindertotenlieder.

Mahler composed his Symphony No. 8 in the summer of 1906. In a May, 1910 letter to his wife, Alma, Gustav Mahler described the process: In art as in life I am at the mercy of spontaneity. If I had to compose, not a note would come. Four years ago, on the first day of the holidays, I went up to the hut at Maiernigg with the firm resolution of idling the holiday away (I needed to so much that year) and recruiting my strength. On the threshold of my old workshop the Spiritus Creator took hold of me and shook me and drove me on for the next eight weeks until my greatest work was done.

The “Creator Spirit” Mahler invokes in his letter to Alma refers both to the inspiration that propelled his composition of the Eighth Symphony, and the text of

Performances: Robert Shaw, Conductor Most Recent Classical Subscription Performances: May 25-27, 1991, Robert Shaw, Conductor Recording: Telarc CD-80267: Atlanta Symphony Orchestra and Chorus, Atlanta Boy Choir, Robert Shaw, Conductor

44 | encore the work’s opening movement. The hymn, “Veni, creator spiritus” is attributed to the 9th century church father Rabanus Maurus, Abbot of Fulda, and Archbishop of Mainz. Maurus’s hymn became part of the Roman Catholic liturgy for the Pentecost, commemorating the descent of the Holy Spirit upon the Apostles.

Mahler conceived of a Symphony connecting the Maurus hymn with a work he had long contemplated setting to music, the conclusion of Goethe’s Faust, Part II. As Mahler told a friend: an old book fell into my hands and I chanced upon the hymn ‘Veni, Creator Spiritus’—and at a single stroke I saw the whole thing—not just the opening theme, but the whole first movement, and as an answer to it I could imagine nothing more beautiful than Goethe’s text in the scene with the anchorites!

Given Mahler’s love for Alma, and her role as his artistic muse, the connection of Maurus’s invocation of the “Creator Spirit” with Goethe’s ode to the transformative power of the “Eternal Feminine” was not only appropriate, but inevitable.

Mahler composed his epic work for vocal soloists, choruses, and orchestra in the incredible span of eight weeks (some believe it may have been only six), between June and August, 1906. Mahler completed the orchestration the following year. In mid-August of 1906, Mahler wrote to his friend Willem Mengelberg Conductor of the Concertgebouw Orchestra of Amsterdam: I have just finished my Eighth — it is the grandest thing I have done yet — and so peculiar in content and form that it is really impossible to write anything about it.

Try to imagine the whole universe beginning to ring and resound. There are no longer human voices, but planets and suns revolving. — More when I see you.

There was, of course, precedent in Mahler’s Symphonies for the inclusion of vocalists in what had, until the Beethoven Ninth (1824), been a purely instrumental genre. The Mahler Symphonies 2-4 all feature vocalists (and in the case of Nos. 2 and 3, choruses). In those Mahler Symphonies, the vocalists appear toward the latter part of the work.

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In the Mahler Eighth, voices are predominant from the very start, and throughout. In addition, the complement of singers extends far beyond what Mahler had explored in earlier works. That said, it’s worth noting that Part I of the Mahler Eighth is cast in the same sonata form what is the cornerstone of the first movements of symphonies by Haydn, Mozart, Beethoven, Schubert, Mendelssohn, and Brahms. And the musical themes from Part I return to play a crucial role in Mahler’s Part II setting of Goethe’s Faust.

The premiere of the Mahler Eighth took place in Munich on September 12, 1910, conducted by the composer. Emil Gutmann, the impresario who arranged for the premiere concerts, seized upon the Eighth’s massive performing forces as a marketing tool, dubbing the work the “Symphony of a Thousand.” Mahler despaired over the “Barnum and Bailey Show” publicity, but the truth is, Gutmann was not engaging in any hyperbole. The performers for the September 12 premiere totaled 1028. The Mahler Eighth was a triumph at its first performances, and continues to overwhelm audiences with the scope, beauty, power, and sheer audacity of its vision.

During preliminary rehearsals of the Eighth in Munich in June, 1910, Mahler wrote to Alma: “I’ve already heard every passage in detail at least once, and ‘do believe he’s a genius!’” The “genius” remark was an inside joke between Gustav and Alma, quoting a statement made by the leader of the St. Petersburg Orchestra after Mahler conducted the ensemble in his Fifth Symphony in 1902. But as in the case of Gutmann’s “Symphony of a Thousand” moniker, there is not a hint of exaggeration to be found.

Musical Analysis Part I. Hymnus: “Veni, creator spiritus”—As previously noted, Part I, a setting of the hymn “Veni, creator spiritus” is cast in sonata form, with the exposition, development, and recapitulation of central themes. After a measure of introduction, the choruses triumphantly proclaim the first theme, “Veni creator spiritus” (“Come, Creator Spirit”).

The first soprano introduces the contrasting lyrical second theme, “Imple superna gratia” (“Fill them [our souls] with grace”). The concluding theme, a variant of the first, is a setting of “Infirma nostri corporis” (“The weakness of our

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bodies”). The ensuing development, opening with a purely orchestral episode, presents yet another transformation of the first theme, a powerful setting of “Accende lumen sensibus” (“Kindle our senses with light”). A great double fugue leads to an abbreviated recapitulation, as Part I hurtles to a majestic conclusion.

Part II. Final Scene from Goethe’s Faust, Part II—Following the lengthiest orchestral portion of the work, a chorus of anchorites (religious recluses) describe their existence.

Pater Ecstaticus (baritone), soaring above, hails love’s power and beauty. Below, Pater Profundus (bass) prays for holy enlightenment. A Chorus of Angels bears aloft the immortal part of Faust. The Angels are joined by Blessed Boys (children who died too young to experience sin), Younger Angels, and More Perfect Angels. Dr. Marianus (tenor), the highest of the anchorites, hails the Queen of Heaven (Mater Gloriosa, soprano III) and the power of her love. The Mater Gloriosa soars into view. A chorus of Penitent Women, joined by Una Poenitentium (Penitent One, soprano II), offer their plea. Three Penitents step forward: Magna Peccatrix (the Great Sinner, soprano I), Mulier Sumaritana (the Samaritan Woman, alto I), and Maria Aegyptiaca (Mary of Egypt, alto II). The three implore the Queen of Heaven to hear the request of the Penitent One (formerly Gretchen, Faust’s spurned lover). The Penitent One implores that she be allowed to lead Faust into Heaven.

The Queen of Heaven gives her assent, as Doctor Marianus extols her praises. After an orchestral interlude, the Mahler Eighth concludes with the composer’s radiant setting of Goethe’s Chorus Mysticus, and its apotheosis of the Eternal Feminine, set to a glowing version of the first movement “Veni, creator spiritus” theme.

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48 | meettheartists EVELINA DOBRAČEVA, SOPRANO

D

DIMA TARASENKO

ramatic soprano Evelina Dobračeva began her musical career studying accordion, conducting and teaching at the College of Music in her hometown of Syzran, Russia. She graduated with a diploma before relocating to Germany, where she began singing under the tuition of Professor Norma Sharp, Snezana Brzakovic and Professor Julia Varady at the Hanns Eisler Music College Berlin.

Dobračeva has performed internationally with renowned ensembles, such as the Yomiuri Nippon Symphony Orchestra, the Cincinnati Opera, the Deutsche Oper Berlin, the City of London Sinfonia, Royal Liverpool Philharmonic Orchestra and more.

An established recording artist, Dobračeva’s recent features include Dargomizhsky’s Rusalka with the West Deutsche Rundfunk Orchester and Michail Jurowski, Britten’s War Requiem with the Netherlands Radio Philharmonic Orchestra conducted by Jaap van Zweden, and the world premiere recording of Rubenstein’s Moses under Maestro Michail Jurowski. Engagements this season and beyond include Britten’s War Requiem with the Polish Radio Symphony Orchestra and with the Netherlands Het Gelders Orkest.

ERIN WALL, SOPRANO

T

KRISTIN HOEBERMANN

hanks to an innate musicality and vocal versatility, soprano Erin Wall finds herself in great demand by many of the world’s leading conductors for performances on the opera and concert stages of the world.

Particularly associated with the music of Mozart, Strauss and Mahler, she boasts an extensive repertoire spanning three centuries.

In the current season, Wall further expands her operatic repertoire with a role debut as Elsa in Wagner’s Lohengrin in a production by Katharina Wagner, under conductor Josep Pons at Barcelona’s Teatro del Liceu. On the concert stage, she reprises her unanimously praised Ellen Orford in concert performances of Peter Grimes with Bergen Philharmonic Orchestra under Edward Gardner in Bergen, Oslo and London; sings Vier letzte Lieder with both Deutsches

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Symphonie-Orchester Berlin under John Wilson and Sydney Symphony Orchestra under Donald Runnicles and returns to City of Birmingham Symphony Orchestra with Mirga Gražinytė-Tyla for Mahler’s Symphony No. 8 which she also joins in San Francisco marking Michael TilsonThomas’ closing concerts as Music Director of the SFSO. NICOLE CABELL, SOPRANO

N

icole Cabell, the 2005 Winner of the BBC Singer of the World Competition in Cardiff and Decca recording artist, is one of the most sought-after lyric sopranos of today. Her solo debut album, “Soprano”, was named “Editor’s Choice” by Gramophone and has received an incredible amount of critical acclaim and several prestigious awards: the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique and an Echo Klassik Award in Germany.

Cabell’s current season includes her debut at the Grand Théâtre de Genève in the title-role of Handel’s Alcina and returns to the Royal Opera House, Covent Garden as Violetta in La Traviata, to the Atlanta Opera as Juliette in Roméo et Juliette, to the Michigan Opera Theatre as Mimi in La Bohème and to the Cincinnati Opera in a new role: Rosalinde in Die Fledermaus. Cabell will perform Beethoven’s Symphony No. 9 in Hiroshima and Nagasaki and a solo recital in Baltimore. Future projects include a debut with the Sydney Symphony and David Robertson as Bess in Porgy and Bess and a return to the Cincinnati Opera.

MICHELLE DEYOUNG, MEZZO-SOPRANO,

M

ichelle DeYoung is one of the world’s most exciting mezzo-sopranos. Her prolific concert engagements include the New York Philharmonic and London Symphony orchestras under Sir Colin Davis (with whom she recorded Didon in Les Troyens to great critical acclaim), the San Francisco Symphony under Tilson Thomas, the Boston Symphony under Ozawa, the Chicago Symphony and Philharmonia under Boulez, the Cleveland Orchestra under Slatkin, the Royal Concertgebouw under Chailly, the Berlin Staatskappelle under Barenboim and Boulez, the Israel Philharmonic under Maazel and the City of Birmingham Symphony

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50 | encore Orchestra under Gardner. She has given recitals in New York, San Francisco, Lisbon, Paris, London’s Wigmore Hall and the Edinburgh Festival.

Her operatic engagements have included Jocasta with von Dohnanyi in Paris; Fricka for the Royal Opera House, Covent Garden under Haitink; Fricka, Brangäne, Venus and Shaman in Tan Dun’s The First Emperor at the Metropolitan Opera under Levine; Brangäne in Chicago under Sir Andrew Davis and at the Deutsche Staatsoper in Berlin and La Scala, Milan under Barenboim and Kundry in Bayreuth under Boulez and Berlin under Barenboim.

KELLEY O’CONNOR, MEZZO-SOPRANO

P

ossessing a voice of uncommon allure, musical sophistication, and intuitive and innate dramatic artistry, the Grammy® Award-winning mezzo-soprano Kelley O’Connor is one of the most compelling performers of her generation. She has performed on premier stages of the world including the Barbican Centre, Berliner Philharmonie, Carnegie Hall, Davies Symphony Hall, Lincoln Center, Severance Hall and Walt Disney Hall, among many others.

BEN DASHWOOD

John Adams wrote the title role of The Gospel According to the Other Mary for Kelley O’Connor and she gave the premiere of Bryce Dessner’s Voy a Dormir with Robert Spano leading the Orchestra of St. Luke’s at Carnegie Hall. She has received unanimous international, critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar.

Her discography includes a Grammy® Award-winning Deutsche Grammophon recording of Ainadamar, Mahler’s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson’s Neruda Songs with Robert Spano and the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra.

TOBY SPENCE, TENOR

T

oby Spence has sung with the Royal Opera, Covent Garden, the Metropolitan Opera, San Francisco Opera, the Paris Opera, English National Opera,

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On the concert platform, he works with Sir Simon Rattle, Andris Nelsons, Thomas Adès, Yannick NézetSéguin, Nikolaus Harnoncourt and Semyon Bychkov.

Recent operatic engagements include Captain Vere in the Teatro Real’s new production of Billy Budd and at Covent Garden, Don Ottavio Don Giovanni at the Liceu Barcelona, Anatol Vanessa at Frankfurt Opera and Ghandi Satyagraha for English National Opera.

MITCH JENKINS

Bayerische Staatsoper, Teatro Real, Madrid, Theater an der Wien, the Hamburgische Staatsoper, and at the Salzburg, Aix-en-Provence and Edinburgh festivals.

Highlights of the 2019/20 season include a performance as Pylades in Iphigénie with the Orchestra of the Age of Enlightenment at Ateneul Român in Bucharest, Lazarus at the Kammerakademie Potsdam, Florestan in Fidelio at Stavanger Concert Hall and the Garsington Opera, and Janáček’s Osud at the National Theatre Brno.

On the concert platform, Toby will perform with the Houston Symphony, the Atlanta Symphony Orchestra, the NFM Wroclaw Philharmonic and more.

RUSSELL BRAUN, BARITONE

R

This season Braun returns to the Canadian Opera Company as Peter in Hänsel und Gretel and to Japan for Falke in Die Fledermaus with the Ozawa Music Academy. In the summer, Braun will make his Aix-en-Provence Festival debut as Guglielmo in a Dmitri Tcherniakov production of Così fan tutte. In concert he will be heard with the Toronto Symphony in Messiah, the Insula Orchestra in a Beethoven and Mendelssohn program in Paris and Cologne and in a tribute to Komitas with the Amici Chamber Ensemble in Toronto.

JOHANNES IFKOVITS

enowned for his luminous voice, baritone Russell Braun rightfully claims his place on the concert, opera and recital stages of the world. His intelligent and thoughtful portrayals of Chou En-lai, Billy Budd, Prince Andrei, Figaro, Papageno, Count Almaviva, Don Giovanni, Pelléas, Eugene Onegin, and The Traveller have captivated international audiences.

52 | encore MORRIS ROBINSON, BASS

B

ass Morris Robinson has performed with many of the world’s leading opera companies including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Dallas Opera, Houston Grand Opera, Los Angeles Opera, Cincinnati Opera, Teatro alla Scala and the Aix-en-Provence Festival. Also a prolific concert singer, Robinson has appeared with the New York Philharmonic, Chicago Symphony Orchestra, Los Angeles Philharmonic, National Symphony Orchestra and the São Paulo Symphony Orchestra, and at the BBC Proms and the Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier and Aspen festivals. He also appeared in Carnegie Hall as part of Jessye Norman’s HONOR! Festival. In recital he has been presented by Spivey Hall in Atlanta, the Savannah Music Festival, the Philadelphia Chamber Music Society and the Metropolitan Museum of Art in New York City. Robinson’s first album, Going Home, was released by Decca. An Atlanta native, Robinson is a graduate of The Citadel and is an alumnus of the Metropolitan Lindemann Young Artists Program. He is currently Artistic Advisor to the Cincinnati Opera.

ATLANTA SYMPHONY ORCHESTRA CHORUS

T

he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director Robert Shaw, is an all-volunteer, auditioned ensemble that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the Chorus is known for its precision and expressive singing quality. Its recordings have won 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording).

The Chorus performs large choral-symphonic works under the direction of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works.

NORMAN MACKENZIE, DIRECTOR OF CHORUSES

A

s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie

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was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. In his 14-year association with Robert Shaw, Mackenzie was keyboardist for the Atlanta Symphony Orchestra, Principal Accompanist for the Choruses, and ultimately Assistant Choral Conductor.

Mackenzie prepares the Atlanta Symphony Orchestra Chorus and Chamber Chorus for all concerts and recordings and works closely with Robert Spano on the commissioning and realization of new choral-orchestral works. During his tenure, the Chorus has made numerous tours and garnered its four most recent Grammy® Awards.

Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.

GWINNETT YOUNG SINGERS Lynn Urda, Director

N

ow in its 30th season, the Gwinnett Young Singers (GYS) are frequent guests of the ASO. The choir has performed in 21 season performances of Christmas With The ASO. Under the direction of Founder and Music Director Lynn Urda and Associate Director Carol Wyatt, the choir is a nationally recognized children’s chorus, best noted for its mastery of challenging repertoire and exceptionally high musical standards. The faculty and staff are dedicated to professionalism in music education and strive to share the power and beauty of a wide variety of choral music.

Among the hundreds of concerts the choir has performed with the ASO, GYS was featured on the Grammy® Award-winning CD recording of John Adams’ On The Transmigration of Souls with the ASO & Chorus. In 2004, they performed in the Grammy®-nominated CD recording of Carl Orff’s Carmina Burana with the ASO and Chorus.

The Gwinnett Young Singers offer a program of beginning through advanced choirs for children in second through 12th grades, including the Treble Choir, Concert Choir, and advanced Chamber Choir. For more information, call 770-935-6657 or visit www.gwinnettyoungsingers.com

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54 | encore MOREHOUSE COLLEGE GLEE CLUB David Morrow, Director

T

he Morehouse College Glee Club is the official singing organization of Morehouse College, under the direction of Dr. David Morrow since 1987. While some are music majors, members represent all academic divisions at the college. Even though some members take Glee Club as a course for credit, all members sing as a labor of love and enjoy being Morehouse College ambassadors.

Notable performances include singing as part of the Morehouse-Spelman Chorus, sang at Atlanta’s Symphony Hall, with soprano Jessye Norman, in a concert celebrating the Martin Luther King, Jr. Holiday, performing the National Anthem with Natalie Cole for Super Bowl XXVIII, participating in the Opening and Closing Ceremonies of the 1996 Centennial Olympic Games held in Atlanta, being featured on an American Family Insurance commercial with the famous recording artist Jennifer Hudson, and international performances.

SPELMAN COLLEGE GLEE CLUB Dr. Kevin Johnson, Director

T

he Spelman College Glee Club has maintained a reputation for choral excellence since 1924. The organization is open by audition to all students of the Spelman College community. The repertoire consists of sacred and secular choral literature for women’s voices, with a focus on traditional spirituals, music by African American composers, music from many cultures and commissioned works. Past performances include concerts halls such as Faneuil Hall in Boston, the Brooklyn Academy of Music, Avery Fisher Hall at the Lincoln Center, as well as churches, high schools, colleges and universities nationwide. The group’s international travels have taken them to Brazil, Canada, Italy and most recently Portugal.

The organization’s highlight was a March 2016 performance at the White House for President Barack Obama.

Over the years, the Glee Club has grown to a membership of 80 phenomenal students. The Glee Club is currently under the direction of Kevin P. Johnson, D.M.A. associate professor of music at Spelman College.

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56 | encore ATLANTA SYMPHONY ORCHESTRA CHORUS Norman Mackenzie

Jeffrey Baxter

Peter Marshall

director of choruses

choral administrator

accompanist

The Frannie and Bill Graves Chair

The Florence Kopleff Chair

SOPRANO 1 Ellen Abney Hanan Davis Khadijah Davis Liz Dean* Laura Foster Michelle Griffin Jayme Hogan-Yarbro Erin Jones Arietha Lockhart** Mindy Margolis* Joneen Padgett* Callaway Powlus Susan Ray Brianna Riley Samaria Rodriguez Natalie Rogers Stacey Tanner Sarah Barton Thomas Joanna Trotter Brianne Turgeon* Deanna Walton Erika Wuerzner SOPRANO 2 June Abbott** Sloan Atwood Jessica Barber Diana Rose Becker Jasmine Blue-Williams Barbara Brown Martha Craft Ellen Dukes** Amanda Hoffman Kathleen Kelly-George* Eda Mathews** Mary Mulvey Shannon Nesbit Rachel O’Dell Vickie Orme* Heidi Padovano Lindsay Patten Murray Chantae Pittman Tramaine Quarterman Paula Snelling* Anne-Marie Spalinger* Tommie Storer Emily Tallant Cheryl Thrash** Donna Weeks**

Kiki Wilson** ALTO 1 Diane Woodard** Akosua Adwini-Poku TENOR 1 Pamela Amy-Cupp Jeffrey Baxter** Yasmin Anderson Jordan Bell Deborah Boland** David Blalock** Rachel Bowman Donna Carter-Wood** John Brandt* Jack Caldwell** Patricia Dinkins-Matthews* Daniel Cameron* Angel Dotson-Hall Daniel Compton Katherine Fisher Justin Cornelius Beth Freeman Joseph Cortes Unita Harris Clifford Edge** Noelle Hooge Steven Farrow** Beverly Hueter* Leif Gilbert-Hansen* Janet Johnson** James Jarrell Susan Jones Keith Langston* Virginia Little* Sean Mayer* Staria Lovelady* Clinton Miller Frances McDowellChristopher Patton Beadle** Elston Peacock Sara McKlin Stephen Reed# Linda Morgan** Nathaniel Sundholm Katherine Murray* Mark Warden* Kathleen Poe Ross TENOR 2 Camilla Springfield Sutton Bacon Rachel Stewart** Mark Barnes Diana Strommen Steve Brailsford ALTO 2 Charles Cottingham# Nancy Adams* Phillip Crumbly* Angelica Blackman-KeimSean Fletcher Emily Boyer John Harr Marcia Chandler* Keith Jeffords* Christa Joy Chase* Steven Johnstone Laurie Cronin Joseph Kang Meaghan Curry Michael Parker Cynthia Goeltz DeBold** Timothy Parrott Michèle Diament Marshall Peterson* Andrea Gassmann Brian Scully Sally Kann Matthew Sellers Nicole Khoury* Thomas Slusher Katherine MacKenzie Scott Stephens** Lynda Martin Keith Thompson Campbell Reiter Alexander Wilson Taylor Russell Chandler Scott Sharon Simons* Alexandra Tanico Virginia Thompson*

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BASS 1 Henry Adams Dock Anderson Russell Cason** Trey Clegg Steven Darst** Michael Dennison Michael Devine Thomas Elston Michael Ervin Jon Gunnemann* Nathan Holmes Lee Johnson Nick Jones # Frank Kingsley Jameson Linville Jason Maynard John Newsome Brian Petty Peter Shirts Kendric Smith# Joel Terning John Terry Edgie Wallace* Edward Watkins** BASS 2 Philip Barreca David Bonaker Charles Boone Brian Brown* John Carter Terrence Connors Rick Copeland** Joel Craft** Paul Fletcher Timothy Gunter* David Hansen** Eric Litsey** Tamir Mickens Michael Nedvidek John Ruff* Jonathan Smith* Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970)

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GWINNETT YOUNG SINGERS, LYNN URDA, DIRECTOR Lynn Urda

Carol Wyatt

Amanda Dodd

Jennifer Jordan

Gwyn Bacon

conductor

associate music director

assistant director

assistant director

accompanist

&

music director

Camden Agustin Linus Agustin Izzy Adkins Gabrielle Beard Tess Brons Fiona Burnett Sophia Carlton Brooke Caspers Madi Caspers Kara French

Audrey Foster Hope Fowler Maggie Frick Savannah Greene Meghan Gulley Lydia Hamilton Charlotte Hancock Sophie Hancock Erin Hardy Emma Harman

Kathryn Helton Jessie Howes Lexie Ingalls Marisa Joyner Shelby Joyner Anjali Kandur Addy Keszler Leia Kolodzey Dorothy McBane Anna McCallum

Ansley Melton Taylor Newsome Alyssa Perry Emily Pilarte Hannah Reeves Aziza Russell Abigail Snelson Eden Upshaw Sydney Wong Ashlyn Wright

MOREHOUSE COLLEGE GLEE CLUB, DAVID E. MORROW, DIRECTOR Paul Abegya Marvin Allen II Nathan Amuh Darius Baker Joshua Barnes John Batey Jr. Jacory Bernard Darian Bogie Julian Carter Louis Chatman Coltyn Collins Dawud Crayton Jr. D’Angelo Crosby Jaylon Daniels Patrick Dixon Myles Dungey Jalen Ellis

Breon Evans Je’Vion Fluellen Noah Gainey Eric Gandy II Caleb Graham Justin Grant Tyler Green Cornell Harris Jarius Hayes Jair Hilburn Walker Hill Malik Holiday Matthew Horton Jordan Howard Xion Johnson Juan Johnson Jesse Kwabi

Tylanvis Lawson Joshua Layton Delvin Lino Jr. Divine Linus Sulaiman Mausi Xavier Milton Daniel Mintz Kenneth Moales Javien Moore Jalen Norton Carlos Otaño Jonathan Palmer George Pratt Enrique Pyfrom Jr. Israel Rochester Brycen Saunders Stephon Scott

Jalen Shaw Grant Showell Lionel Stevens Khairi Tahir Markuan Tigney Jr. Erick Tyson M Washington Ernest White IV Alphounce Williams Tyonte’ Williams Isaiah Wilson Preston Winkfield Jibreal Wright Justin Wynn

SPELMAN COLLEGE GLEE CLUB, KEVIN JOHNSON, DIRECTOR Bria Adams Ariel Alvarado Chizaram Anyaegbu Alyssa Armstrong Desirae Banks Lauryn Banks Aaliyah Beard Delvonae Beckles Avery Berkley Alani Billups Elaina Blake Jordan Bobo Nina Boyd Mikayla Brown Bria Brumfield Lexica Carr Hunter Christopher Stephanie Crawford

Gabrielle Davis Imani Diggs* Jaleya Dowdell Adleesa Edwards* Anetha Evans Maya Gethers Lila Giliam Melody Greene Jessica Hannsberry Nena Hayes Bahi Iboaya Louise Jacobs Sydnei Jackson Darienne Jefferson Tyler Jennings Nichole Johnson Zoe Joyner Christian Knox

Nadya Lopez Gabrielle Lord Jaidynne Lyke Riayn Mack Kiara Mahoney Shelby Marcee* Kennedy Mebane Joy Milner Joi Nobles Iman Pearce Alexis Prescott Elaine Ransom Rhyan Reid Ariana Richardson Shelby Richardson* L’Destiny Rivers Mareya Sanders Adrien Sean

Faith Shannon Kalia Simms Atira Smith Caylah Spearmen Kennedy Starkey Madison Stewart Kha’Zhir Stevenson-Woodall Mara Suggs Chai Tchanque Aiyana Thompson Sparkle Trotter Taylor Turner Teá Walker Kristyn Wilkerson I’reyon Wright Terri Wright Summer Young * Section leaders

58 | nov21&23 Concerts of Thursday, Nov. 21, 2019 8:00pm

BRIAN RAPHAEL NABORS (b. 1991) Onward, for Full Orchestra (2019)

Saturday, Nov. 23, 2019 8:00pm

and the Rapido! Composition Competition for the

ROBERT SPANO, Conductor EMANUEL AX, piano

AARON COPLAND (1900-1990) Appalachian Spring, Suite from the Ballet (1944)

25 MIN

INTERMISSION

20 MIN

The Atlanta Symphony Orchestra Classical Series is presented by

JOHANNES BRAHMS (1833-1897) Concerto for Piano and Orchestra No. 1 in D minor, Opus 15 (1858)

I. Maestoso

II. Adagio

III. Rondo. Allegro non troppo

Emanuel Ax, piano

10 MIN

World Premiere, commissioned by the Antinori Foundation Atlanta Symphony Orchestra, Robert Spano, Music Director.

The November 21 performance is dedicated to Victoria and Howard Palefsky in appreciation for their extraordinary support of the Atlanta Symphony Orchestra Annual Fund.

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

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51 MIN

notesontheprogram

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Ken Meltzer Program Annotator

Onward, for Full Orchestra (2019) BRIAN RAPHAEL NABORS was born in Birmingham, Alabama, on April 10, 1991. These are the world premiere performances. Onward is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion (percussion I: vibraphone [mallets and bow], one large suspended cymbal; percussion II: glockenspiel, xylophone, sandpaper blocks; percussion III: crotales [mallets and bow], tam-tam [mallet and metal beater]), harp, piano, and strings.

T

hese concerts feature the world premiere of Onward,

by American composer Brian Raphael Nabors. The work was commissioned for the Atlanta Symphony Orchestra and Music Director Robert Spano by the Antinori Foundation and the Rapido! Composition Competition.

Onward is an homage to the triumphs and growth we experience along the epic journey of life. The piece is a 10-minute soundscape to celebrate the dreams and aspirations that motivate us to become our best selves. The consistent use of perpetual motion throughout the texture of the orchestra is meant to capture the spirit of constantly traveling onward either philosophically or quite literally. I aspired to create a musical journey depicting the moments of discovery, innovation, and change that continually push us and our world into the future. —Brian Raphael Nabors Appalachian Spring, Suite from the Ballet (1944) AARON COPLAND was born in Brooklyn, New York, on November 14, 1900, and died in Tarrytown, New York, on December 2, 1990. The first performance of the ballet, Appalachian Spring, took place at the Library of Congress in Washington, DC, on October 30, 1944. The premiere of Appalachian Spring, Suite from the Ballet, occurred in Carnegie Hall in New York City on October 4, 1945, with Artur Rodziński conducting the New York Philharmonic. The Suite from Appalachian Spring is scored for piccolo, two

First Classical Subscription Performance: Nov. 29, 1955, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: Feb. 23 and 25, 2017, Michael Francis, Conductor.

Recordings: Telarc CD-80078, Louis Lane, Conductor; Telarc CD-80596, Robert Spano, Conductor.

FRIENDS OF CATHEDRAL MUSIC

The Atlanta Symphony Brass Holiday Concert Monday, December 9, 2019 at 7:30 p.m. ~

THE CATHEDRAL OF ST. PHILIP, ATLANTA Tickets at cathedralATL.org/concerts

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flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, xylophone, tabor (long drum), triangle, orchestra bells, wood block, snare drum, bass drum, suspended cymbals, claves, harp, piano, and strings.

I

n 1943, the legendary American dancer and choreographer Martha Graham accepted a commission to stage new works for the Festival of the Elizabeth Sprague Coolidge Foundation, held at the Library of Congress in Washington, DC. For that event, Graham, in turn, commissioned music by three prominent contemporary composers—Paul Hindemith, Darius Milhaud, and Aaron Copland.

It was Graham who chose the title for Copland’s piece— Appalachian Spring, taken from the heading of a poem

by Hart Crane. Copland began work on the score in June of 1943. Because of various delays, the premiere of Appalachian Spring did not occur until October 30, 1944.

Graham and Eric Hawkins danced the principal roles.

Copland scored the original ballet for a chamber group of thirteen instruments. Subsequently, Copland arranged a Suite from Appalachian Spring for a larger ensemble. The Suite received its premiere in 1945.

Appalachian Spring takes place in the early part of the 19th century, in the hills of Pennsylvania. The story concerns the wedding of a young farmer and his bride.

The Suite is divided into eight sections, performed without pause. The composer offered the following program notes for the Suite’s 1945 premiere: I. Very Slowly. Introduction of the characters, one by one, in a suffused light.

2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action. A sentiment both exalted and religious gives the keynote to this scene.

3. Moderate. Duo for the bride and her Intended—scene of tenderness and passion.

4. Quite fast. The revivalist and his flock. Folksy feelings— suggestions of square dances and country fiddlers.

5. Still faster. Solo dance of the Bride—presentiment of

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62 | encore motherhood. Extremes of joy and fear and wonder.

6. Very slowly (as at first). Transition scenes reminiscent of the introduction.

7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple. The melody I borrowed and used almost literally is called “Simple Gifts.”

‘Tis the gift to be simple ‘Tis the gift to be free, ‘Tis the gift to come down Where we ought to be.

And when we find ourselves In the place just right ‘Twill be in the valley Of love and delight.

When true simplicity is gain’d To bow and to bend we shan’t be asham’d To turn, turn will be our delight, ‘Till by turning, turning we come out right.

8. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by the flute and a solo violin. The close is reminiscent of the opening music.

First Classical Subscription Performance: Oct. 28, 1952, Rudolf Firkušný, Piano, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: Feb. 25 and 27, 2016, Jorge Federico Osorio, Piano, Robert Spano, Conductor.

Concerto for Piano and Orchestra No. 1 in D minor, Opus 15 (1858) JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833 and died in Vienna, Austria, on April 3, 1897. The first performance of the D-minor Piano Concerto took place in Hanover, Germany, on January 22, 1859, with the composer as soloist and Joseph Joachim conducting. In addition to the solo piano, the D-minor Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

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O

n September 30, 1853, a shy, 20-year-old Johannes Brahms appeared at the Düsseldorf home of Robert and Clara Schumann. Brahms, who greatly admired Robert Schumann, hoped that the senior and influential composer would assist his own budding musical career. Brahms played some of his piano compositions for Robert and Clara, both of whom were immediately impressed by the young man’s extraordinary talent.

During the following month, Brahms visited the Schumanns on an almost daily basis. Robert Schumann began encouraging Brahms to consider applying his gifts to orchestral composition, more specifically, a symphony.

Brahms, fearful of the inevitable comparisons with Beethoven, did not complete his First Symphony until 1876.

On February 27, 1854, Schumann, plagued by hallucinations, plunged into the Rhine. After his suicide attempt, Schumann was admitted to an asylum in Endenich, where he remained until his death at the age of 46, on July 29, 1856. Shortly after Schumann’s attempted suicide, Brahms endeavored to fulfill his mentor’s grand expectations. In March of 1854, Brahms began to compose a large-scale sonata for two pianos. Brahms then attempted to convert this work into a symphony, orchestrating (with the aid of Joseph Joachim and Julius Grimm) the sonata’s opening movement. Brahms was dissatisfied with the results.

After Schumann’s death, Brahms decided to convert the first movement of his proposed symphony into a piano concerto (other music from the uncompleted symphony later became part of the 1868 German Requiem). Brahms reworked the symphony’s Maestoso opening movement and composed a new Adagio, and Rondo finale. Brahms completed the score of his First Piano Concerto in March of 1858, although he continued to revise the work almost until the moment of its first performance.

Brahms was the soloist, and Joseph Joachim the conductor, in the January 22, 1859 Hanover premiere.

The audience reception was rather cool, but that proved to be far preferable to the reaction five days later at the Gewandhaus in Leipzig. Julius Rietz conducted and Brahms was again the soloist. The audience, confused

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64 | meettheartists by the Concerto’s epic length and implacable, stormy character, voiced its disapproval. Edward Bernsdorf, critic for the Signale, characterized the work as “a composition dragged to its grave...for more than three quarters of an hour one must endure this rooting and rummaging, this straining and tugging, this tearing and patching of phrases and flourishes!”

The following day, Brahms wrote to Joachim: My Concerto has had here a brilliant and decisive— failure...At the conclusion three pairs of hands were brought together very slowly, whereupon a perfectly distinct hissing from all sides forbade any such demonstration...In spite of everything, the Concerto will meet with approval when I have improved its form and the next one will be quite different.

Brahms did, in fact, revise his First Piano Concerto, and the score was published in 1861. The composer received his vindication four years later, when he played the Concerto at a triumphant Mannheim concert, led by Hermann Levi. Since that time, the eminence of this challenging, magnificent work has remained secure.

The Concerto is in three movements. The first (Maestoso), by far the longest, opens with a stormy orchestral introduction that, according to Joachim, expresses Brahms’s despair upon learning of Schumann’s suicide attempt. The beautiful second-movement Adagio, A—B—A form, is an affectionate tribute both to Robert and Clara Schumann. The Rondo finale (Allegro non troppo) is based upon a vigorous theme, introduced at the outset by the soloist.

BRIAN RAPHAEL NABORS, COMPOSER

B

rian Raphael Nabors (Birmingham, AL) is a composer of emotionally enriching music that tells exciting narratives with its vibrant themes and colorful harmonic language. Nabors has been commissioned by the Cincinnati Symphony Orchestra, Atlanta Symphony Orchestra, ROCO Chamber Orchestra and has worked with the Detroit Symphony Orchestra.

He was named a 2019 composer fellow in the American Composer’s Orchestra Earshot program with the Detroit

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Symphony Orchestra; a 2019 composer fellow with the Nashville Symphony Orchestra’s Composer Lab; and 2019 cycle five grand prize winner of the Rapido! National Composition Contest. Nabors is also a 2019-2020 Fulbright scholarship recipient to Sydney, Australia, studying with composer Carl Vine at the Sydney Conservatorium of Music.

Nabors earned both a Doctor of Musical Arts and Master of Music degree in Composition at the University of Cincinnati College-Conservatory of Music and a Bachelor of Music Theory & Composition degree from Samford University.

EMANUEL AX, PIANO

Highlights of the 2019/20 season include a European summer festivals tour with the Vienna Philharmonic and long-time collaborative partner Bernard Haitink, an Asian tour with the London Symphony and Sir Simon Rattle, U.S. concerts with the Rotterdam Philharmonic and Lahav Shani in addition to three concerts with regular partners Leonidas Kavakos and Yo-Yo Ma at Carnegie Hall in March 2020. For more information about Mr. Ax’s career, please visit www.EmanuelAx.com.

LISA MARIE MAZZUCCO

B

orn in modern day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award.

Additionally, he attended Columbia University where he majored in French. Ax made his New York debut in the Young Concert Artists Series and captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists followed four years later by the coveted Avery Fisher Prize.

66 | encore ASO | SUPPORT

T

hroughout our 75-year history, the Atlanta Symphony Orchestra has prospered thanks to the annual support of generous patrons. The Leadership Donors listed below have made Leadership Council ∞ contributions of $2,000 or more since June 1, We salute those extraordinary 2018. Their extraordinary generosity provides the donors who have signed foundation for this world-class institution. pledge commitments to continue their annual giving for three years or more.

$1,000,000+

Delta Air Lines, Inc.

$100,000+

1180 Peachtree Bank of America The Molly Blank Fund of the Arthur M. Blank Family Foundation The John & Rosemary Brown Family Foundation The Coca-Cola Company The Goizueta Foundation The Home Depot Foundation

$75,000+

Mary & Jim Rubright

$50,000+

Alston & Bird The Antinori Foundation Arthur M. Blank Family Foundation Mr. & Mrs.* Bradley Currey, Jr.

Ms. Lynn Eden Four Seasons Hotel Atlanta The Graves Foundation Lucy R.* & Gary Lee, Jr. King & Spalding

$35,000+

Farideh & Al Azadi Foundation, Inc.∞ National Endowment for the Arts

Victoria & Howard Palefsky ∞ The Vasser Woolley Foundation, Inc.

$25,000+

Mr. & Mrs. Paul J. Blackney Mr. Benjamin Q. Brunt & Ms. Catherine Meredith CBH International, Inc. Connie & Merrell Calhoun Thalia & Michael C. Carlos Foundation City of Atlanta Mayor’s Office of Cultural Affairs Jim Cox, Jr. Foundation Roy & Janet Dorsey Foundation Ms. Angela L. Evans Mrs. Betty Sands Fuller Georgia Power Foundation, Inc. Bonnie & Jay Harris The Livingston Foundation, Inc. The Marcus Foundation, Inc.

Massey Charitable Trust Terence L. & Jeanne Perrine Neal º Lynn & Galen Oelkers Sally & Pete Parsonson∞ Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. Bill & Rachel Schultz º Mrs. Charles A. Smithgall, Jr. Mr. G. Kimbrough Taylor & Ms. Triska Drake The UPS Foundation Patrick & Susie Viguerie Kathy Waller & Kenneth Goggins WarnerMedia Ann Marie & John B. White, Jr. º Mrs. Sue S. Williams

Abraham J. & Phyllis Katz Foundation Charles H. Loridans Foundation, Inc. The Andrew W. Mellon Foundation Amy W. Norman Charitable Foundation Susan & Thomas* Wardell

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$17,500+ Juliet & John Allan Janine Brown & Alex J. Simmons, Jr. Mercedes-Benz Wright & Alison Caughman Catherine Warren Dukehart Fulton County Arts & Culture Mr. & Mrs. Douglas J. Hertz John & Linda Matthews Moore Colson, CPAs & Bert & Carmen Mills Porsche Cars North America, Inc. Mr. & Mrs. David W. Scheible Joyce & Henry Schwob Ross & Sally Singletary Slumgullion Charitable Fund Mr.* & Mrs. Edus H. Warren, Jr. Adair & Dick White

$15,000+ Mr. & Mrs. William L. Ackerman ∞ Madeline & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward Henry F. Anthony & Carol R. Geiger Jennifer Barlament & Kenneth Potsic Rita & Herschel Bloom Mr. David Boatwright John W. Cooledge Russell Currey & Amy Durrell Jeannette Guarner, MD & Carlos del Rio, MD Sloane Drake Eleanor & Charles Edmondson Fifth Third Bank Sally & Carl Gable Dick & Anne Game º Georgia Power Foundation, Inc. William M. Graves Joe Hamilton Ann A. & Ben F. Johnson III º Anne Morgan & Jim Kelley Kimberly-Clark

Brian & Carrie Kurlander James H. Landon Donna Lee & Howard Ehni Mr. Sukai Liu & Dr. Ginger J. Chen Jeffrey Sprecher & Kelly Loeffler Mr. Kevin & Dr. Jennifer Lyman John F. & Marilyn M. McMullan Ms. Molly Minnear Martha M. Pentecost The Piedmont National Family Foundation Mr. & Mrs. Walter Pryor June & John Scott Charlie & Donna Sharbaugh Mr. John A. Sibley, III Amy & Paul Snyder Cari K. Dawson & John M. Sparrow Loren & Gail Starr Elliott & Elaine Tapp John & Ray Uttenhove Dr. James Wells & Mrs. Susan Kengeter Wells Drs. Kevin & Kalinda Woods

$10,000+

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The Robert Hall Gunn, Jr. Fund Mr. & Mrs. Charles B. Harrison Roya & Bahman Irvani Clay & Jane Jackson Mr. & Mrs. Mark A. Kaiser Mr. Randolph J. Koporc Pat & Nolan Leake The Ray M. & Mary Elizabeth Lee Foundation Ken & Carolyn Meltzer The Monasse Family Foundation∞ Dr. Ebbie & Mrs. Ayana Parsons Sage Mr. Andrew Saltzman Dr. Steven & Lynne Steindel º Peter James Stelling Carol & Ramon Tomé Family Fund Trapp Family Turner Foundation, Inc. United Distributors, Inc. Chilton & Morgan Varner Mark & Rebekah Wasserman Dr. & Mrs. James O. Wells, Jr. Mrs. Virginia S. Williams

$7,500+

A Friend of the Symphony Aadu & Kristi Allpere º Lisa & Joe Bankoff Mr. & Mrs. James N. Andress Jack & Helga Beam Julie & Jim Balloun Lisa & Russ Butner In memory of Leigh Baier Peter & Vivian de Kok Bell Family Foundation John & Michelle Fuller The Breman Foundation, Inc. Deedee & Marc Hamburger º The Walter & Frances Ms. Margie Painter Bunzl Foundation Mr. Leonard B. Reed º Chick-fil-A Mr. Jeffrey C. Samuels & Correll Family Foundation, Inc. Ms. Amy Levine-Samuels Marcia & John Donnell Beverly & Milton Shlapak Mr. Richard H. Delay & Alison & Joe Thompson Dr. Francine D. Dykes Eversheds Sutherland For more information Paul & Carol Garcia about giving to the Atlanta Georgia Council for the Arts Symphony Orchestra Annual Georgia-Pacific Fund, please contact Jason & Carey Guggenheim/ William Keene at 404.733.4839 Boston Consulting Group or william.keene@ atlantasymphony.org.

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

68 | encore ASO | SUPPORT (cont.) $5,000+

Kartikh & Swathi Khambhampati A Friend of the Donald S. Orr & Symphony (4) Marcia K. Knight Mrs. Kay Adams* & Mr. Charles R. Kowal Mr. Ralph Paulk º Jane & Hicks Lanier Mr. & Mrs. Calvin R. Allen Isabel Lamy Lee Phyllis Abramson Elizabeth J. Levine Mr. & Mrs. Stephen D. Peg & Jim Lowman Ambo Lubo Fund Keith Barnett Belinda & Gino Massafra Asad Bashey Mr. & Mrs. Brian F. Jane & Gregory Blount McCarthy Mr. & Mrs. Philip P. Bolton Mary Ruth McDonald Mrs. Sidney W. Boozer Judy Zaban-Miller & Margo Brinton & Lester Miller Eldon Park Mr. & Mrs. Arthur Mills, IV Karen & Rod Bunn Mr. Bert Mobley Patricia & William Buss Mr. & Mrs.* Peter Mr. James Camden Moraitakis Ms. Tracey Chu Judge Jane Morrison Ruth & Mark Coan Mr. Ryan Oliver William & Patricia Cook Franca G. Oreffice Mr. Jack E. Cummins Margaret H. Petersen Mr. & Mrs. Jonathan J. Mrs. Susanne Pinkerton Davies In Memory of Carol Comstock & Dr. Frank S. Pittman III Jim Davis º The Hellen Ingram Greg & Debra Durden Plummer Charitable Foundation, Inc. Ms. Diane Durgin Dr. & Mrs. Carl D. Fackler Mr. Edward Potter & Ms. Regina Olchowski Mr. & Mrs. Leroy Fass Ms. Eliza Quigley Mr. Burt Fealing Ellen & Howard Feinsand Mr. David Quinn & Mr. Jason Liebzeit Sally & Walter George Mr. & Mrs. Joel F. Reeves Mary & Charles Ginden Vicki & Joe Riedel Mr. & Mrs. Richard Betsy & Lee Robinson Goodsell John T. Ruff Mr. & Mrs. James K. Gretchen Nagy & Hammond, Jr. Allan Sandlin Sally W. Hawkins The Selig Foundation Mr. Ron Hilley & Mr. Doug Shipman & Mrs. Mia Frieder Hilley Dr. Bijal Shah Tad & Janin Hutcheson Baker & Debby Smith Mr. Justin Im & Hamilton & Mason Smith Dr. Nakyoung Nam Dr. K. Douglas Smith Mr. Matthew Johnson & Ms. Yiging Chu John & Yee-Wan Stevens Robert & Sherry Johnson Mr. & Mrs. Edward W. Stroetz, Jr. Mr. Baxter P. Jones & Dr. Jiong Yan George & Amy Taylor∞ Paul & Rosthema Kastin Burton Trimble

Sheila L. Tschinkel Ms. Charmaine WardMillner & Keith Millner Alan & Marcia Watt Ruthie Watts º Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr.* Suzanne B. Wilner Jennifer & Taylor Winn Mr. & Mrs. Comer Yates

Stephen & Sonia Swartz Dale L. Thompson Drs. Jonne & Paul Walter David & Martha West Mr. & Mrs. M. Beattie Wood

$2,000+

A Friend of the Symphony (4) Mr. & Mrs. Jan Abernathy Mr. Daniel Acuff & $3,500+ Ms. Amy Gerome-Acuff Ms. Victoria Afshani Anonymous Ms. Mary Allen Dr. Evelyn R. Babey Jacqueline A. & Joseph E. Mr. James L. Anderson Mr. Aous Araim & Brown, Jr. Ms. Nadine Kashlan Mrs. Judith D. Bullock Mr. & Mrs. Scott J. Arnold Mr. & Mrs. Dennis M. Dr. & Mrs. Charles Arp Chorba Ms. Cyndae Arrendale Ralph & Rita Connell Mr. Joel Babbit Sally & Larry Davis Richard K. & Diane Babush Mary & Mahlon Delong Anthony Barbagallo & Xavier Duralde & Kristen Fowks Mary Barrett Mr. & Mrs. Patrick Battle Mr. & Mrs. John Dyer Mr. & Mrs. Billy Bauman Carol G. & Larry L. Ms. Susan R. Bell & Gellerstedt III Mr. Patrick M. Morris Mrs. Louise Grant Mr. William Benton & John & Martha Head Mr. Michael Morrow Mr. Kenneth & Dr. & Mrs. Joel E. Ms. Colleen Hey Berenson Thomas High Shirley Blaine Azira G. Hill Leon & Joy Borchers Ms. Elizabeth A. Hobbs Mr. & Mrs. Andrew J. Dr. Michael D. Horowitz Mr. Lonnie Johnson & Mrs. Bower º Martha S. Brewer Linda A. Moore Ms. Harriet Evans Brock Lillian Balentine Law Deborah & William Liss º Dr. & Mrs. Anton J. Bueschen Mr. & Mrs. Frederick C. Dr. Aubrey Bush & Mabry Dr. Carol Bush Kay & John T. Marshall Michael & Carol Murphy º Mr. & Mrs. Ronald E. Canakaris S.A. Robinson Mr. & Mrs. Walter K. Canipe Jim Schroder Julie & Jerry Chautin Ann Shearer Susan & Carl Cofer Suzanne Shull Mr. Terence M. Colleran & Mr. Morton S. Smith Ms. Lim J. Kiaw Ms. Martha Solano Mr. & Mrs. Barksdale R. Mrs. C. Preston Stephens Collins º

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Mr. Thomas J. Collins & Mr. Jeff Holmes Ned Cone & Nadeen Green Jean & Jerry Cooper Jonathan & Rebekah Cramer Susan & Ed Croft Mrs. Lavona Currie Mr. & Mrs. Jay Davis Mr. & Mrs. Donald Defoe º Mr. Philip A. Delanty Mr. & Mrs. James Durgin Mr. & Mrs. Robert G. Edge Mr. & Mrs. David H. Eidson Ms. Diana Einterz Dieter Elsner & Othene Munson George T. & Alecia H. Ethridge Rosi Fiedotin Mr. & Mrs. Craig Fleming Mr. & Mrs. William A. Flinn Mr. & Mrs. Bruce W. Flower Dr. & Mrs. Richard D. Franco Mr. & Mrs. Paul R. Freeman Raj & Jyoti Gandhi Family Foundation Mr. & Mrs. Edward T.M. Garland Mary D. Gellerstedt Dr. Mary G. George & Mr. Kenneth Molinelli Marty & John Gillin º Sandra & John Glover Mrs. Janet D. Goldstein Google Inc. Dr. & Mrs. Carl Grafton Lauren & Jim Grien Charles E. Griffin Mr. & Mrs. George Gunderson º Mr. & Mrs. Jay Halpern Phil & Lisa Hartley Mr. & Mrs. Steve Hauser º

Mr. & Mrs. Marc S. Heilweil Mr. & Mrs. John Hellriegel Michael Hertz Sarah & Harvey Hill º Mr. & Mrs. Thomas M. Holder Laurie House Hopkins & John D. Hopkins James & Bridget Horgan º Mrs. Sally Horntvedt Dona & Bill Humphreys Barbara M. Hund JoAnn Hall Hunsinger The Hyman Foundation Mr. & Mrs. Phil S. Jacobs Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Bucky & Janet Johnson Mrs. Gail Johnson Mr. W. F. & Dr. Janice Johnston Cecile M. Jones William L. & Sally S. Jorden Ann T. Kimsey Pam Klomp Mrs. Jo W. Koch David & Jill Krischer Dr. & Mrs. Scott I. Lampert Wolfgang & Mariana Laufer Mr. & Mrs. Theodore J. Lavallee, Sr. Mr. & Mrs. Van R. Lear Olivia A. M. Leon Mr. Edward J. Levin & Mrs. Debbie Levin Dr. Fulton D. Lewis III & S. Neal Rhoney Mr. & Mrs. J. David Lifsey Longfield-Fitzgerald Interiors

Mr. Gary Madaris Meghan & Clarke Magruder Dr. & Mrs. Ellis L. Malone Elvira Mannelly Mr. & Mrs. Chris Matheison Mr. & Ms. James McClatchey Martha & Reynolds McClatchey Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Mr. & Mrs. Ed Mendel, Jr. Anna & Hays Mershon David & Marie Monde Rebecca P. Moon & Charles M. Moon, III Mr. & Mrs. Charles A. Morn Miss Elizabeth L. Morris & Miss Christine Elliott Janice & Tom Munsterman Melanie & Allan Nelkin Richard C. Owens Mary Palmer Family Foundation The Parham Fund Mr. & Mrs. E. Fay Pearce, Jr. º Piedmont Group of Atlanta, Llc Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. Dr. & Mrs. John P. Pooler Ms. Kathy Powell Mr. & Mrs. Robert Ratonyi Mrs. Susan H. Reinach Jay & Arthur Richardson Susan Robinson & Mary Roemer

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Mr. & Mrs. Richard L. Rodgers George* & Mary* Rodrigue Mr. & Mrs. Mark Rosenberg Dr. & Mrs. Rein Saral Sharon & David Schachter Emily Scheible Dr. Bess T. Schoen Mrs. William A. Schwartz Sam Schwartz & Dr. Lynn Goldowski Dr. Martin Shapiro & Ms. Donna Shapiro Nick & Annie Shreiber Helga Hazelrig Siegel Mr. & Mrs. Mark Silberman Gerald & Nancy Silverboard Diana Silverman Ms. Grace Sipusic Johannah Smith Barry & Gail Spurlock Lou & Dick Stormont Mr. Phillip Street Beth & Edward Sugarman Kay & Alex Summers Judith & Mark K. Taylor Ms. Juliana T. Vincenzino Vogel Family Foundation Carol Brantley & David Webster Dr. Nanette K. Wenger Sally Stephens Westmoreland Mrs. Frank L. Wilson, Jr. Russell F. Winch Mrs. Carol Winstead Ms. Joni Winston Camille W. Yow Herbert & Grace Zwerner

Patron Partnership and Appassionato Leadership Committee We give special thanks to this dedicated group of Atlanta Symphony donors for their commitment to each year's annual support initiatives: Kristi Allpere chair

Helga Beam Bill Buss

Pat Buss Deedee Hamburger Judy Hellriegel Belinda Massafra

Linda Matthews Sally Parsonson June Scott Milt Shlapak

Sheila Tschinkel Jonne Walter Marcia Watt

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

70 | encore H E N RY S O P K I N CIRCLE

Barbara & John Henigbaum Jill* & Jennings* Hertz Mr. Albert L. Hibbard Named for the Atlanta Symphony Richard E. Hodges Mr. & Mrs. Orchestra’s founding Music Director, Charles K. Holmes, Jr. the HENRY SOPKIN CIRCLE Mr.* & Mrs. Fred A. Hoyt, Jr. celebrates cherished individuals and Jim* & Barbara Hund families who have made a planned Clayton F. Jackson gift to the Atlanta Mary B. James Symphony Orchestra. These special Mr. Calvert Johnson & Mr. Kenneth Dutter donors preserve the Orchestra’s deForest F. Jurkiewicz* foundation and ensure success Herb* & Hazel Karp for future generations.

Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen* A Friend of the Dr. John W. Cooledge Kitchell Symphony (21) Mr. & Mrs. William R. Paul Kniepkamp, Jr. Madeline & Howell E. Cummickel Miss Florence Kopleff* Adams, Jr. John R. Donnell Mr. Robert Lamy Mr.* & Mrs. Dixon W. Driggs* James H. Landon John E. Aderhold Pamela Johnson Drummond Ouida Hayes Lanier Mr. & Mrs. Mrs. Kathryn E. Duggleby Lucy Russell Lee* & Ronald R. Antinori Catherine Warren Dukehart Gary Lee, Jr. Dr. & Mrs. William Bauer Ms. Diane Durgin * Ione & John Lee Mr. Charles D. Belcher Mr. Richard H. Delay & Dr. Mr. Larry M. LeMaster Neil H. Berman Francine D. Dykes Mr.* & Mrs.* Susan & Jack Bertram Arnold & Sylvia Eaves William C. Lester Mr.* & Mrs.* Mr. & Mrs. Liz & Jay* Levine Karl A. Bevins Robert G. Edge Robert M. Lewis, Jr. The Estate of Donald S. & Elizabeth Etoll Carroll & Ruth Liller Joyce Bickers Mr. Doyle Faler Ms. Joanne Lincoln* Ms. Page Bishop Brien P. Faucett Jane Little* Mr.* & Mrs. Sol Blaine Dr. Emile T. Fisher Mrs. J. Erskine Love, Jr. Rita & Herschel Bloom Moniqua N Fladger Nell Galt & Will D. Magruder The Estate of Mrs. Mr. & Mrs. Bruce W. Flower Gilbert H. Boggs, Jr. K Maier A. D. Frazier, Jr. W. Moses Bond John W. Markham Nola Frink Mr.* & Mrs. Mrs. Ann B. Martin Betty & Drew* Fuller Robert C. Boozer Linda & John Matthews Sally & Carl Gable Elinor A. Breman* Mr. Michael A. William & Carolyn Gaik James C. Buggs* McDowell, Jr. Dr. John W. Gamwell Mr. & Mrs.* Dr. Michael S. McGarry Mr.* & Mrs. Richard H. Burgin Richard & Shirley McGinnis L.L. Gellerstedt, Jr. Hugh W. Burke John & Clodagh Miller Ruth Gershon & Mr. & Mrs. William Buss Ms. Vera Milner Sandy Cohn Wilber W. Caldwell Mrs. Gene Morse* Micheline & Bob Gerson Mr. & Mrs. C. Merrell Calhoun Ms. Janice Murphy* Mr. & Mrs. John T. Glover Cynthia & Donald Carson Mr. & Mrs. Mrs. David Goldwasser Mrs. Jane Celler* Stephen L. Naman Robert Hall Gunn, Jr. Fund Lenore Cicchese* Mr. & Mrs. Bertil D. Nordin Billie & Sig Guthman Margie & Pierce Cline Mrs. Amy W. Norman* Betty G.* & Dr. & Mrs. Grady S. Galen Oelkers Joseph* F. Haas Clinkscales, Jr. Roger B. Orloff James & Virginia Hale Robert Boston Colgin Dr. Bernard* & Ms. Alice Ann Hamilton Mrs. Mary Frances Sandra Palay Dr. Charles H. Hamilton Evans Comstock* Sally & Pete Parsonsons Sally & Paul* Hawkins Miriam* & John A.* Conant Dan R. Payne John & Martha Head Bill Perkins Ms. Jeannie Hearn* Mrs. Lela May Perry*

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce* Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Ms. Judy L. Reed* Carl J. Reith* Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers* David F. & Maxine A. Rock Mr.* & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling Ms. Barbara Stewart C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph* Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.* & Mrs.* Charles R. Yates *Deceased

Make the Atlanta Symphony Orchestra a Part of Your Legacy This 75th Anniversary Season we celebrate the remarkable heritage of the Atlanta Symphony Orchestra, enriching the cultural life of our community, introducing children to classical music and representing Atlanta on the world stage.

By making the Symphony part of your own heritage through a planned gift, you can ensure that the Orchestra will continue to thrive for the next 75 years and beyond, providing a legacy of music for future generations and offering tax benefits for your generosity.

Our staff will work with you to make sure your gift is designed to reach the ASO programs you value most.

Contact Us: Jimmy Paulk Annual Giving Officer 404.733.4485 james.paulk@ atlantasymphony.org

The Atlanta Symphony Orchestra, under the Woodruff Arts Center, is a 501c3 nonprofit organization. Federal Tax ID: 58-0633971

THE WOODRUFF CIRCLE Woodruff Circle members each contribute more than $250,000 annually making a significant investment in the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra and High Museum of Art. We are deeply grateful to these partners who lead our efforts to ensure the arts thrive in our community.

$1 MILLION+ A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA

JOY AND TONY* GREENE

SARAH AND JIM KENNEDY

$500,000+

$300,000+

A Friend of The Woodruff Arts Center Farideh and Al Azadi

The Molly Blank Fund of the Arthur M. Blank Family Foundation The Rich Foundation SunTrust Teammates

Bank of America Chick-fil-A Foundation | Rhonda and Dan Cathy

The Community Foundation for Greater Atlanta Georgia Power Foundation, Inc. The Goizueta Foundation The Douglas J. Hertz Family The Home Depot Foundation Estate of Dr. Luella Bare Klein The SKK Foundation The Zeist Foundation, Inc.

SunTrust Foundation SunTrust Trusteed Foundations:

Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust

UPS

$250,000+

Pussycat Foundation WarnerMedia

$400,000+

Abraham J. & Phyllis Katz Foundation Contributions Made: June 1, 2018 – May 31, 2019 | Beauchamp C. Carr Challenge Fund Donors | *Deceased

THE BENEFACTOR CIRCLE We are deeply grateful to the Benefactor Circle members, who generously contribute more than $100,000 annually enterprise-wide, investing in the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra and High Museum of Art.

$200,000+

$100,000+

Louise S. Sams and Jerome Grilhot The Shubert Foundation Susan and Tom* Wardell

1180 Peachtree The Arthur M. Blank Family Foundation Atlanta Homes & Lifestyles Atlantic Station Sandra and Dan Baldwin Kathy and Ken Bernhardt Carol and Ramon TomĂŠ Family Fund CIBC Dan and Merrie Boone Foundation | Dan W. Boone III Deloitte, its Partners & Employees Sally and Carl Gable

$150,000+ Alston & Bird Amy W. Norman Charitable Foundation The Antinori Foundation | Ron and Susan Antinori The David, Helen & Marian Woodward Fund-Atlanta Frederic R. Coudert Foundation King & Spalding, Partners & Employees

The Marcus Foundation, Inc. Northside Hospital Mr. and Mrs. Solon P. Patterson Garnet and Dan Reardon Patty and Doug Reid The Sartain Lanier Family Foundation Wells Fargo

Georgia-Pacific Georgia Natural Gas Google Jones Day Foundation & Employees Kaiser Permanente Legendary Events Victoria and Howard Palefsky PNC PwC, Partners & Employees Estate of Judy Reed Margaret and Bob Reiser WestRock Company William Randolph Hearst Foundations wish Foundation

Contributions Made: June 1, 2018 – May 31, 2019 | Beauchamp C. Carr Challenge Fund Donors | *Deceased

THE PATRON CIRCLE

The Patron Circle includes donors who generously made contributions of $15,000 or more enterprise-wide.

Contributions Made: June 1, 2018 – May 31, 2019 | Beauchamp C. Carr Challenge Fund Donors | * Deceased

$75,000+

Aarati and Peter Alexander Arnall Golden & Gregory LLP Bank of America Private Bank City of Atlanta Mayor’s Office of Cultural Affairs Crawford & Company Mr. and Mrs.* Bradley Currey, Jr. Fulton County Board of Commissioners Nena C. Griffith Allison and Ben Hill Mr. and Mrs. Hilton H. Howell, Jr. The Imlay Foundation Kilpatrick Townsend KPMG LLP, Partners & Employees Merill Lynch Mr. and Mrs. George L. Nemhauser Publix Super Markets Charities Margaret and Terry Stent Vasser Woolley Foundation, Inc.

$50,000+

Art Unlimited Advisors LLC AT&T BlackRock Nancy and Kenny Blank Barbara and Steve Chaddick Marcia and John Donnell Eversheds Sutherland EY, Partners & Employees Katie and Reade Fahs Peggy Foreman Four Seasons Hotel Atlanta

Genuine Parts Company

Mr. William M. Graves JLL Lucy R.* and Gary Lee, Jr. The MAGNUM Companies Morris Manning & Martin LLP National Endowment for the Arts Norfolk Southern Foundation Novelis, Inc. Mr. and Mrs. Michael Plant The Primerica Foundation

Regions Bank

Mr. and Mrs. Fred Richman Mary and Jim Rubright The Sara Giles Moore Foundation Dean DuBose and Bronson Smith Veritiv Mr. and Mrs. Jamie Weeks Rod Westmoreland

$25,000+

A Friend of the Alliance Theatre & Woodruff Arts Center ABM Kristie and Charles Abney

The Allstate Foundation AIG Arby’s Foundation Arrow Exterminators Spring and Tom Asher Assurant The Balloun Family Lisa and Joe Bankoff Ed Bastian BB&T Mr. and Mrs. Paul J. Blackney Stephanie Blank Bloomberg BNY Mellon Wealth Management The Breman Foundation, Inc. Mr. and Mrs. Ronald M. Brill Janine Brown and Alex J. Simmons, Jr. Benjamin Q. Brunt Lucinda W. Bunnen Frances B. Bunzl* Cadence Mr. and Mrs. C. Merrell Calhoun Mr. and Mrs. Anthony Catalfano CBH International, Inc. The Charles Loridans Foundation, Inc. Chubb Bert and Cathy Clark Susan and Carl Cofer Ann and Steve Collins Cooper Carry Cousins Properties Ann and Jeff Cramer Kay and David Dempsey Catherine Warren Dukehart Mrs. Sarah A. EbyEbersole and Mr. W. Daniel Ebersole Mr. Matt Echols Virginia and Brent Eiland Ms. Angela L. Evans Ellen and Howard Feinsand Jennifer and Marty Flanagan Frances Wood Wilson Foundation Nick Franz Mrs. Betty Sands Fuller Mr. and Mrs. Lawrence L. Gellerstedt III Geographics, Inc. Georgia Council for the Arts GMT Capital Corporation Goldman Sachs Carolyn and David Gould Nancy and Holcombe Green Greenberg Traurig, LLP Ted and Kim Greene The Partners & Employees of GreenSky, LLC/David Zalik, CEO & Chairman/ Gerry Benjamin, Vice Chairman Mr. Kenneth Haines Bonnie and Jay Harris Nancy and Charles Harrison

Mr. and Mrs. James L. Henderson III Mr. Rod Hildebrant and Mr. Matthew Meehan Holder Construction Company The Howell Fund, Inc. Karen and Jeb Hughes Infor Global Solutions The Jim Cox, Jr. Foundation The John W. and Rosemary K. Brown Family Foundation Andrea and Boland Jones Mr. Baxter P. Jones and Dr. Jiong Yan Anne and Mark Kaiser James E. Kane The Katherine John Murphy Foundation Mr. and Mrs. Carl W. Knobloch, Jr. Joel Knox and Joan Marmo Ms. Nina Lesavoy Renee and Alan D. Levow Barbara W. and Bertram L. Levy Livingston Foundation, Inc. Macy’s Majestic Realty The Mark and Evelyn Trammell Foundation Massey Charitable Trust Joe Massey MaxMedia Margot and Danny McCaul Merry McCleary and Ann Pasky Mr. and Mrs. John F. McMullan The Michael and Andrea Leven Family Foundation Mrs. Nancy Montgomery Moxie Mueller Water Products, Inc. Naserian Foundation NCR Foundation Terence L. and Jeanne P. Neal Nelson Mullins Northern Trust Northwestern Mutual Goodwin, Wright - John and Laura Wright O. Wayne Rollins Foundation Lynn and Galen Oelkers Gail O’Neill and Paul E. Viera Oxford Industries Beth and David Park Martha M. Pentecost Estate of Janet M. Pierce Porsche Cars North America, Inc. PrimeRevenue Inc. Printpack The Ray M. and Mary Elizabeth Lee Foundation, Inc. The Robert Hall Gunn, Jr. Fund

The Roy and Janet Dorsey Foundation Ryder Truck Rental, Inc. Sage The Sally & Peter Parsonson Foundation Jack Sawyer and Dr. Bill Torres SCANA Energy Mr. and Mrs. David Scheible Rachel and Bill Schultz Joyce and Henry Schwob The Selig Family Foundation Shakespeare in American Communities: National Endowment for the Arts in Partnership with Arts Midwest Mr. and Mrs. Ross Singletary II Mr. and Mrs. Marc Skalla The Slumgullion Charitable Fund Smith & Howard, PC Mr. and Mrs. E. Kendrick Smith Mrs. Lessie B. Smithgall Southwire Company Steinberg Charitable Trust Sara and Paul Steinfeld Mr. Les Stumpff and Ms. Sandy Moon TalentQuest Mr. Hugh M. Tarbutton, Jr. Mr. G. Kimbrough Taylor and Ms. Triska Drake Judith and Mark Taylor Lisa Cannon Taylor and Chuck Taylor Thalia and Michael C. Carlos Foundation Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Sally G. Tomlinson Troutman Sanders United Distributors, Inc. Lori Vanderboegh and Brady Young Roxanne and Benny Varzi Susie and Patrick Viguerie Vine Vault Kathy N. Waller Mr.* and Mrs. Edus H. Warren, Jr. Rebekah and Mark Wasserman Mr. and Mrs. Bradford L. Watkins Ann Marie and John B. White, Jr. Elizabeth and Chris Willett Mrs. Sue S. Williams The Woodruff Arts Center Employees Ellen and John Yates

$15,000+

3M A Friend of the Atlanta Symphony Orchestra (2) A Friend of the High Museum of Art A Friend of The Woodruff Arts Center (3) AAA Parking Mr. and Mrs. Henry Aaron Mr. and Mrs. William L. Ackerman Keith Adams and Kerry Heyward Madeline and Howell E. Adams, Jr. Robin Aiken and Bill Bolen Mr. and Mrs. John M. Allan Mary Allen Mr. and Mrs. James N. Andress Henry F. Anthony & Carol R. Geiger Yum and Ross Arnold Evelyn Ashley and Alan McKeon Atlanta Marriott Marquis Atlantic American Corporation; Delta Life Insurance; Gray Television Barbara and Ron Balser Juanita and Gregory Baranco Ms. Angele P. Barrow and Mr. John Barrow Mr. and Mrs. Luke Bayer Laura and Stan Blackburn The Blanche Lipscomb Foundation Mr. Arthur M. Blank Mrs. Stephanie Blomeyer Rita and Herschel Bloom Mr. and Mrs. Watt Boone Susan V. Booth and Max Leventhal The Boston Consulting Group Lisa and Jim Boswell Brown & Brown Insurance, Inc. Lisa and Paul Brown Brunner Bryan Cave Leighton Paisner Mr. and Mrs. Charles Burnett Ms. Mary Cahill and Mr. Rory Murphy Camp-Younts Foundation Mr. and Mrs. Jeffrey S. Cashdan Wright and Alison Caughman CBRE Dr. John W. Cooledge Carolynn Cooper and Pratap Mukharji Melinda and Brian Corbett Ann and Tom Cousins Sherri and Jesse Crawford Charlene Crusoe-Ingram and Earnest Ingram Rebecca and Chris Cummiskey Russell Currey and Amy Durrell

Cushman & Wakefield Cheryl Davis and Kurt Kuehn Mr. and Ms. Jay M. Davis Cari Dawson and John Sparrow Mr. and Mrs. Phil Deguire Mr. and Mrs. Robin E. Delmer Mr. and Mrs. Richard A. Denny, Jr. Ms. Sloane Drake Diane Durgin Edgerton Foundation Eleanor and Charles Edmondson Mr. Fredric M. Ehlers and Mr. David Lile Mr. and Mrs. Gordon Ely-Kelso Ferrari Maserati of Atlanta Fifth Third Bank Mr. and Mrs. Foster Finley FleetCor Mr. and Mrs. James Freeman Anne and Dick Game Doris and Matthew Geller Marsha and Richard Goerss Mr. and Mrs. Richard Goodsell Mr. and Mrs. Thomas L. Gossage Ms. Caroline Gottschalk Sara Goza Graphic Packaging International, Inc. Mr. and Mrs. Seth Greenberg Jeannette Guarner, MD and Carlos Del Rio, MD Pat and Anne Gunning Mr. John Hall Joe Hamilton Mr. and Mrs. Tom Harbin Mr. John Haupert and Mr. Bryan Brooks Mr. and Mrs. Greg Henry Hilton Atlanta Jocelyn J. Hunter Mr. and Mrs. Robert E. Hutchinson, Jr. Ida Alice Ryan Charitable Trust Mr. and Mrs. Bahman M. Irvani Jane and Clayton Jackson Phil and Jenny Jacobs Liza and Brad Jancik Mr. Robert A. Jetmundsen Lou Brown Jewell Ann A. and Ben F. Johnson, III Katie and West Johnson Mary and Neil Johnson Sam Johnson JP Morgan Private Bank John C. Keller Mr. James F. Kelley and Ms. Anne H. Morgan Kennedy Center for the Performing Arts Philip I. Kent Mr. and Mrs. David E. Kiefer Kimberly-Clark Mr. and Mrs. David F. Kirkpatrick

Mr. and Mrs. Michael A. Klump Mr. and Mrs. Charles R. Kowal Mr. and Mrs. David B. Kurzweil Louise and E.T. Laird Dr. and Mrs. Scott I. Lampert James H. Landon Mr. and Mrs. Nolan C. Leake Donna Lee and Howard Ehni Mr. Sukai Liu and Dr. Ginger J. Chen Kelly Loeffler and Jeffrey Sprecher Loews Atlanta Hotel Ms. Jackie Lunan Mr. and Dr. Kevin Lyman Larry and Lisa Mark Sally and Allen McDaniel MetLife Mr. Charles C. Miller III & Ms. Pinney L. Allen Judy Zaban Miller and Lester Miller Mr. and Mrs. Bert Mills | Moore Colson, CPAs and Bert & Carmen Mills Ms. Molly Minnear Phil and Caroline MoĂŻse Morgens West Foundation Estate of Andrew Musselman Barbara and Sanford Orkin John Paddock and Karen Schwartz Margie Painter Kathie and Chuck Palmer Vicki and John Palmer Karen and Richard Parker Perkins & Will Margaret H. Petersen Piedmont Charitable Foundation, Inc The Piedmont National Family Foundation Suzanne and Bill Plybon Portman Holdings Alessandra and Elton Potts Mr. and Mrs. William H. Powell Sandra and Larry* Prince Mr. and Mrs. Walter Pryor PulteGroup, Inc. Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. William C. Rawson Mr. and Mrs. Robert Reeves Regal Entertainment Group Mr. Sean Richards Estate of Shirley Rivers Mr. and Mrs. Gregory K. Rogers Mr. Lin R. Rogers and Ms. Alexia Alarcon Patricia and Maurice Rosenbaum The Sartain Lanier Family Foundation June and John Scott ServiceNow

Bijal Shah and Doug Shipman Mr. and Mrs. Charles Sharbaugh Mr. John A. Sibley III Amy and Paul Snyder Mr. and Mrs. John Somerhalder Song Space Dr. and Mrs. Dennis Lee Spangler Karen and John Spiegel Gail and Loren Starr Dr. Steven and Lynne Steindel Michelle and Stephen Sullivan Surya Elliott and Elaine Tapp Thomas H. Lanier Family Foundation Lizanne Thomas and David Black Mr. and Mrs. Eric Tresh UBS Financial Services Inc. John and Ray Uttenhove Mr. and Mrs. K. Morgan Varner, III Mr. Brandon Verner Kim and Reggie Walker Weldon H. Johnson Family Foundation Dr. James Wells and Mrs. Susan Kengeter Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Adair and Dick White Mr. and Mrs. Benjamin T. White Sue and John Wieland James B. and Betty A. Williams Richard Williams and Janet Lavine Suzanne B. Wilner Diane Wisebram and Edward D. Jewell Drs. Kevin and Kalinda Woods Amy and Todd Zeldin Robert and Connie Zerden

76 | encore ASO | TICKET INFO CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance.

Tickets may also be donated by calling 404.733.5000.

SINGLE TICKETS Call 404.733.5000. Tue - Sat: noon – 6pm; Sun: noon – 5pm. Service charge applies.

Phone orders are filled on a best-available basis. All single-ticket sales are final.

WOODRUFF ARTS CENTER BOX OFFICE Open Tue - Sat: noon – 6pm; Sun: noon – 5pm. Please note: No refunds or exchanges. All artists and programs are subject to change.

ASO | GENERAL INFO

WWW.ATLANTASYMPHONY.ORG Order anytime, any day. Service charge applies.

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

Call 404.733.4848.

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

DONATE Donations to the ASO allow us to broaden our audiences locally and globally, reach greater artistic heights, and transform lives through the power of our music.

To make a gift, please call 404.744.5079 or visit aso.org/give.

LATE SEATING Patrons arriving late will be seated at an appropriate interval in the concert program, determined by the House Manager. Reserved seats are not guaranteed after the performance starts.

Late comers may be seated in the back, out of courtesy to the musicians and other patrons.

SYMPHONY STORE The Symphony Store is open before, during and after most concerts.

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

Subscription Information/ Sales 404.733.4800

THE ROBERT SHAW ROOM ASO donors who give $2,500 or more annually gain special access to this private dining room. For more information, please call 404.733.5060.

IMPORTANT PHONE NUMBERS The Woodruff Arts Center Box Office 404.733.5000 Ticket Donations/ Exchanges 404.733.5000

Group Sales

404.733.4848

Atlanta Symphony Associates (Volunteers) 404.733.4485 Educational Programs

404.733.4870

Atlanta Symphony Youth Orchestra

404.733.5037

Lost and Found

404.733.4263

Symphony Store

404.733.4345

Donations & Development 404.733.5079

encoreatlanta.com

| 77

ASO | STAFF EXECUTIVE

Tiffany I. M. Jones

Caitlin Hutchinson

Daniel Stupin

Jennifer Barlament

managing producer of

marketing coordinator

stage technician

education concerts

Natacha McLeod

FINANCE & ADMINISTRATION

executive director

Ruthie Miltenberger

Stephanie Smith executive assistant

Tasha Cooksey executive & finance

talent development

Jeffrey Baxter Cynthia Harris artist liaison

Christopher McLaughlin manager

of

artistic administration

Ken Meltzer program annotator

&

music consultant

special

projects coordinator

Carol Wyatt executive assistant to the music director principal guest

conductor

EDUCATION & COMMUNITY ENGAGEMENT Elena Dubinets chief artistic officer

Kaitlin Gress associate director of

&

community

engagement

Niki Baker family programs assistant

business development

Russell Wheeler

senior director of

revenue management

Kim Hielsberg financial planning

&

analysis

symphony store

Shannon McCown

director of patron

office manager

Elizabeth Arnett

experience

senior director of

tickets

staff accountant

development

Madeleine Lawson

April Satterfield

patron services

controller

Nancy Field manager of grants

&

communications

William Keene

season

coordinator

Jesse Pace manager of patron

manager of leadership

experience

&

tickets

individual giving

&

vice president of

V.S. Jones

Pam Kruseck

development

choral administrator

&

SALES & REVENUE MANAGEMENT

front of house manager

vice president of

Susan Ambo chief financial officer

Megan Brook

Grace Sipusic

chief artistic officer

live

publications director

&

DEVELOPMENT

Elena Dubinets

&

aso

vice president of sales

program manager

ARTISTIC

education

&

Ryan Walks

project coordinator

&

Robert Phipps

community programs

symphony hall

Bob Scarr archivist &

marketing

programs

manager of education

David Daly

-

manager of family

Tyrone Webb

assistant

senior director of

&

season

Robin Smith

individual giving

patron services

coordinator

season tickets associate

James Paulk

Christopher Stephens group & corporate

Sarah Wilson

sales manager

development operations

OPERATIONS

associate

MARKETING & COMMUNICATIONS

&

manager

Paul Barrett

vice president

senior production stage

&

communications

KC Commander content manager

Elizabeth Daniell communications manager

Adam Fenton director of multimedia technology

Nicole Panunti Lisa Eng multimedia creative manager

Christine Lawrence associate director of guest services

Joanne Lerner Sameed Afghani event manager vice president & general Clay Schell

Tammy Hawk of marketing

ATLANTA SYMPHONY HALL LIVE vice president

Dana Parness

annual giving officer

Brandi Reed

manager

Tyler Benware operations manager

consultant

William Strawn marketing manager

Michael Tamucci Event Coordinator

Richard Carvlin stage manager

Robert Darby stage technician

Victoria Moore director of orchestra personnel

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

78 | encore ASO | CORPORATE & GOVERNMENT SUPPORT

Mayor’s Office of Cultural Affairs

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

Major funding is provided by the Fulton County Board of Commissioners.

ARTSATL

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

This program is supported in part by an award from the National Endowment for the Arts.

encoreatlanta.com

| 79

ALMA COCINA VIA INSTAGRAM

ALMA COCINA introduces Atlanta to a refreshing new approach to modern Mexican cuisine. Bright, fresh ingredients and traditional regional influences come together with other Latin American flavors in a variety of vibrant fresh dishes. Alma Cocina also features the most unique tequila selections and a host of innovative Latin-influenced cocktails beyond a superior margarita. | One Ninety One Peachtree Tower, 191 Peachtree St. NE, Atlanta, Ga. (404) 968-9662

The goal at HERBAN FIX is to share authentic plant based fusion cuisines with vegans, vegetarians, and meat-lovers.

Ingredients are premium select, fresh and aimed at good health as well as great tasting. Traditional and authentic dishes have been updated into bold and delightful vegan delicacies. | 565 Peachtree St. NE, Atlanta, Ga. (404) 815-8787.

HERBAN FIX VIA INSTAGRAM

CITY TAP HOUSE ATLANTA

Located in the heart of Midtown, midway between The Fox Theatre and Atlantic Station, CITY TAP HOUSE is an elevated American pub, specializing in large group dining, corporate and milestone events. City Tap is ideal for game watching sporting events and pre and post show meals & meetups.

With free parking and covered outdoor dining, City Tap offers brick oven pizzas, over 40 beers on draught and a full bar. Serving lunch and dinner daily and brunch on the weekends, reservations are appreciated. For questions, details, or reservations, email Info.Atlanta@

THE MELTING POT – Atlanta’s exclusive fondue restaurant – where dining becomes a memorable four-course experience.

Dip into something different and discover delectable entrées served with our unique dipping sauces.

You’ll also enjoy creamy cheese fondues, lively salads, fine wines and mouthwatering chocolate fondue desserts. Four Atlanta locations: 754 Peachtree St. NE, 404-389-0099, 3610 Satellite Blvd., Duluth,770-623-1290, 2500 Cobb Place Ln., NW, Kennesaw 770-4251411 and 1055 Mansell Rd., Roswell 770-518-4100.

THE MELTING POT

ENCORE’S DINING GUIDE CityTap.com | www.citytap.com 848 Peachtree Street, NE. 470-990-7114

Inspired by classic coastal traditions both American and global, LURE presents Atlanta’s freshest fish and the drinks to match in a converted 1920’s bungalow.

Anchored in the heart of Midtown on Crescent Avenue, Lure has a sophisticated but casual vibe, fluidly bridging the gap between a weathered seaside fish house and a fine-dining seafood restaurant. | 1106 Crescent Ave. NE, Atlanta, Ga. (404) 817-3650.

some are downright decadent and require several margaritas or beers to chase down. | 1186 North Highland Ave. NE, Atlanta, Ga. (404) 8734656.

SOUTH CITY KITCHEN specializes in contemporary Southern cuisine with a sophisticated twist. Dine on local specialties such as shrimp and grits, buttermilk fried chicken, shecrab soup, fried green tomatoes and banana pudding while enjoying the view of the exhibition kitchen. | Buckhead, 3350 Peachtree Rd. NE, Suite 140, Atlanta, Ga. (404) 8156677; Midtown, 1144 Crescent Ave. NE, Atlanta, Ga. (404) 873-7358; Vinings, 1675 Cumberland Pkwy. SE, Smyrna, Ga. (770) 435-0700.

THE ORIGINAL EL TACO is inspired by bold Tex-Mex flavors and by the sunny street markets of Mexico.

The menu is simple cuisine with interesting garnishes and fresh ingredients. Some items are snacks designed to be enjoyed with a cocktail, others are generously portioned and perfect for sharing and

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

THE ORIGINAL EL TACO VIA INSTAGRAM

LA TAVOLA is a classic, cozy Italian trattoria located in Atlanta’s famous Virginia Highland neighborhood featuring an extensive wine list, classic dishes made from the finest traditional ingredients and approachable, friendly service.

Perfect for family gatherings, romantic dinners or just a quick, yet satisfying, bite at the bar, here you will always feel at home around the table at La Tavola. | 992 Virginia Ave. NE, Atlanta, Ga. (404) 873-5430.

SOUTH CITY KITCHEN VIA INSTAGRAM

LURE VIA INSTAGRAM

LA TAVOLA VIA INSTAGRAM

80 | encore

From Greek Mythology to

ocean limestone found on Mount Everest, the events of September 11, to the Cold War,

each of the 14 pieces in the sixth installment of the City of Suwanee’s award-winning culpour temporary sculpture exhibit

city permanent collection) (not to mention the 20 pieces in the city’s

as a tory.

learn more at suwanee.com

| 20 minutes north of Atlanta on I-85