ASO ENCORE :: March 2017

MAR 2017

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March 2017 | Content 6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 Musicians 20 Concert Program & Notes

14

feature

76 ASO Support 88 ASO Staff 90 Ticket Info /General Info 92 ASO Calendar

14 Color Blind Ambition Vivid colors (that he can’t see) don’t stop artist-in-residence Daniel Arsham from showing us a world we have yet to see

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April 14 -16, 2017

Choreography by Yuri Possokhov Featuring the music of Igor Stravinsky performed live by the Atlanta Ballet Orchestra Program also includes Allegro Brillante by George Balanchine & Petite Mort by Jiří Kylián

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ASO | Welcome Dear Friends,

A

s we welcome the month of March, I wanted to take a moment to celebrate Music in Our Schools Month and share some thoughts with you.

Did you know - The Atlanta Symphony Orchestra began its life over 70 years ago as a youth orchestra? Within a short period of time, it developed in to one of the world’s finest professional orchestras that we know and love today. Among the great American orchestras, this was a remarkable and auspicious beginning, because it created an organization that holds equal commitments to artistic excellence and to the education of the next generation of musicians and audience members.

Speaking of nurturing the next generation of musicians, we are proud to report that the Atlanta Symphony Youth Orchestra (ASYO) and the nationally acclaimed Talent Development Program (TDP) continue to grow and flourish as a result of this dual commitment, reflected in the weekly rehearsals, lessons and coaching by Atlanta Symphony Orchestra musicians and conductors.

This year, our Orchestra will perform nearly 40 programs dedicated to educating young audiences including Concerts for Young People, which provide entry to the world of orchestral music for students from public, private and parochial schools. Combined with the chamber music programs that our musicians perform in schools and community settings, the Atlanta Symphony Orchestra’s education programs reach more than 100,000 young people each year.

Why is this so important? First, studies show that studying music enhances listening skills, promotes teamwork and develops superior problem solving ability. Second, the time to develop future audiences is now. Research shows that most people who enjoy orchestral music today attended their first orchestral experience before the age of 14. The gift of orchestral performances for our young people is a precious legacy for them, and for the life of the art form.

To our Atlanta Symphony Orchestra musicians – you have my deepest gratitude for cultivating this very important audience. To our donors: thanks to your generous support, we are able to provide high-quality experiences at a very low cost, ensuring generations of young Georgians experience the thrill of live orchestral music. And from all of us: THANK YOU to the music educators, who ignite that spark through inspiring music instruction. Bravo!

Jennifer Barlament Executive Director

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

Roger Mastroianni

Sincerely,

ASO | Music Director Robert Spano

C

onductor, pianist, composer and pedagogue Robert Spano is known worldwide for the intensity of his artistry and his distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. Beginning his 16th season as Music Director of the Atlanta Symphony Orchestra, this imaginative conductor has been responsible for nurturing the careers of numerous celebrated composers, conductors and performers, and enjoys collaborations with composers and musicians of all ages, backgrounds and abilities. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including the Aspen Conducting Academy.

DEREK BLANKS

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led Atlanta Symphony Orchestra performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements have included orchestras such as the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia Symphony Orchestras, along with Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle.

Mr. Spano begins the 2016-17 season with “cloth field: an art place of life,” a conceptual collaboration between Spano and choreographer Lauri Stallings, involving dancers and sculptural elements with an original score composed by Mr. Spano in 2014 for the Atlanta-based dance troupe, glo. In addition to his leadership of the Orchestra, Spano has recently returned to his early love of composing. His most recent works include Sonata: Four Elements for piano, premiered by Spano at the Aspen Music Festival, as well as a new song cycle, both to be recorded for release on the Atlanta Symphony Orchestra’s ASO Media label. An avid interpreter of opera and oratorio, Mr. Spano conducts John Adams’s Nixon in China at Houston Grand Opera, Christopher Theofanidis’s Creation/Creator at the Kennedy Center’s 2017 Shift Festival, and conducts and records Gluck’s Orfeo ed Euridice with the ASO and ASO Chamber Chorus.

With a discography of critically acclaimed recordings for Telarc, Deutsche Grammophon and ASO Media, Robert Spano has won 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 lives in Atlanta.

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ASO | leadership 2016-17 Board of Directors Officers D. Kirk Jamieson Chair Howard D. Palefksy Chair-Elect

Meghan H. Magruder John B. White, Jr. Vice Chair Secretary Thomas Wardell Suzanne Tucker Plybon Vice Chair Treasurer

Directors Keith Adams Jennifer Barlament* Neil H. Berman Paul Blackney Brett M. Blumencranz Frank H. Boykin Mary Rockett Brock Janine Brown Karen Bunn* C. Merrell Calhoun S. Wright Caughman, M.D. Bill Carey

Russell Currey Carlos del Rio, M.D. Lynn Eden Shirley C. Franklin Jason Guggenheim Virginia A. Hepner* Caroline Hofland Douglas R. Hooker Tad Hutcheson Mrs. Roya Irvani Carrie Kurlander† James H. Landon Donna Lee

Hank Linginfelter Karole Lloyd Kelly L. Loeffler Brian F. McCarthy Penelope McPhee† Molly Minnear Terence L. Neal Joseph M. O’Donnell Sunny K. Park E. Fay Pearce, Jr. Ronda Respess* James Rubright William Schultz

John Sibley W. Ross Singletary II Paul Snyder John Sparrow Gail Ravin Starr Joseph M. Thompson† Ray Uttenhove S. Patrick Viguerie Mark D. Wasserman Dr. James Wells Richard S. White, Jr. Camille Yow

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III James Kelley George Lanier Patricia Leake

Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner

G. Kimbrough Taylor Michael W. Trapp Chilton Varner Edus H. Warren, Jr. Adair R. White Sue Sigmon Williams

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Mrs. Charles A. Smithgall, Jr.

Board of Counselors Mrs. Helen Aderhold Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden

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

* Ex-officio † 2016-2017 Sabbatical 10 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Midtown and Northside.

Like the sound of that? Coming soon.

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2016/17

Robert Spano Music Director The Robert Reid Topping Chair

Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair

VIOLA Reid Harris Principal The Edus H. and Harriet H. Warren Chair Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair Catherine Lynn Assistant Principal Marian Kent Yang-Yoon Kim* Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp • Sarah Park Chastain†

Joel Dallow The UPS Foundation Chair Larry LeMaster Brad Ritchie Paul Warner Barney Culver†

MUSICIAN ROSTER FIRST VIOLIN David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair The Mabel Dorn Reeder Honorary Chair Justin Bruns Associate Concertmaster The Charles McKenzie Taylor Chair Vacant Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster

SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair Sanford Salzinger

SECOND VIOLIN Vacant Principal The Atlanta Symphony Associates Chair Sou-Chun Su Associate/Acting Principal The Frances Cheney Boggs Chair Jay Christy Assistant/Acting Associate Principal Anastasia Agapova Noriko Konno Clift Acting Assistant Acting Assistant Concertmaster Principal Sharon Berenson Carolyn Toll Hancock David Braitberg The Wells Fargo Chair David Dillard John Meisner Eleanor Kosek Christopher Ruth Ann Little Pulgram Thomas O’Donnell Carol Ramirez Ronda Respess Juan Ramirez Frank Walton Olga Shpitko Kenn Wagner Lisa Wiedman Yancich

CELLO Christopher Rex Principal The Miriam and John Conant Chair Daniel Laufer Associate Principal The Livingston Foundation Chair Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus

BASS Colin Corner Principal The Marcia and John Donnell Chair Gloria Jones Associate Principal Lucy R. & Gary Lee Jr. Chair Karl Fenner Michael Kenady The Jane Little Chair Michael Kurth Joseph McFadden Daniel Tosky FLUTE Christina Smith Principal The Jill Hertz Chair Robert Cronin Associate Principal C. Todd Skitch Gina Hughes • PICCOLO Gina Hughes •

Players in string sections are listed alphabetically

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

Michael Krajewski Principal Pops Conductor

Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair

OBOE Elizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown Chair Yvonne Powers Peterson Associate Principal The Kendeda Fund Chair Samuel Nemec Emily Brebach

BASSOON Andrew Brady Principal The Abraham J. & Phyllis Katz Foundation Chair Vacant Associate Principal Laura Najarian Juan de Gomar

ENGLISH HORN Emily Brebach

HORN Brice Andrus Principal The Betty Sands Fuller Chair Susan Welty Associate Principal Ernesto Tovar Torres Jaclyn Rainey Bruce Kenney

CLARINET Laura Ardan Principal The Robert Shaw Chair Ted Gurch Associate Principal Marci Gurnow • Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez

CONTRABASSOON Juan de Gomar

TRUMPET Stuart Stephenson Principal The Madeline and Howell Adams Chair Michael Tiscione Acting Associate Principal/Second Michael Myers

Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair

TROMBONE Samuel Schlosser • Principal The Terence L. Neal Chair, Honoring his dedication and service to the Atlanta Symphony Orchestra

Nathan Zgonc Second/Associate Principal Brian Hecht BASS TROMBONE Brian Hecht The Home Depot Veterans Chair TUBA Michael Moore Principal The Delta Air Lines Chair TIMPANI Mark Yancich Principal The Walter H. Bunzl Chair William Wilder Assistant Principal PERCUSSION Vacant Principal The Julie and Arthur Montgomery Chair

Charles Settle Acting Principal The Connie and Merrell Calhoun Chair William Wilder Assistant Principal The William A. Schwartz Chair HARP Elisabeth Remy Johnson Principal The Sally and Carl Gable Chair KEYBOARD The Hugh and Jessie Hodgson Memorial Chair Peter Marshall † Sharon Berenson LIBRARY Nicole Jordan Principal The Marianna and Solon Patterson Chair Hannah Davis Assistant Librarian ‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season

encoreatlanta.com | Atlanta’s Performing Arts Publication 13

A cave of purple spheres was created as part of Arsham’s first solo exhibition in New York.

color blind

ambition 14 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

W

hat’s it like to suddenly see the world in vivid color after a lifetime of looking at it in somber monochrome?

Tiring. At least, that’s how artist Daniel Arsham describes it. Arsham, one of the world’s most prominent contemporary visual artists, will create a major new installation at the High Museum running from March 4 to May 21, as well as two scenographies for performances by the Atlanta Symphony Orchestra at Symphony Hall: Christopher Theofanidis’ Creation/Creator on March 23-25 and Christoph Willibald Gluck’s opera Orfeo et Euridice May 11-13.

The artist, who is color blind, recently began using glasses with special lenses that allow him to see a much broader spectrum, and the pieces in Atlanta will feature some of his first work with color, marking a major break from his typical practice of using a blackand-white or very subdued palette.

Vivid colors (that he can’t see) don’t stop artist-inresidence Daniel Arsham from showing us a world we have yet to see

By Andrew Alexander

“A couple of years ago I was introduced to a company that was producing lenses—they don’t cure it—but they artificially correct the deficiency of color by literally splitting the light spectrum in the areas that I lack, creating wider variation,” says Arsham. “I worked with the colored glasses as a way to inform my work, but after six months of wearing them, I became a little bit fatigued. encoreatlanta.com | Atlanta’s Performing Arts Publication 15

It was almost like seeing in psychedelic, overpowering color. I use them now more as a tool to see what others are seeing. Once I’ve selected the color, I’m able to take the glasses off and then just work. Because I still use this ethos of reduction in my work, I’m not doing a kind of rainbow palette. For the Atlanta exhibition, there’s blue in the show, but that’s the only color.”

Arsham’s show at the High Museum will be entitled “Hourglass” and will cover the first two floors of the Anne Cox Chambers Wing. When visitors walk into the first floor gallery, they’ll be greeted by a child actor dressed in an Arsham-designed Japanesestyle kimono. Within the space are four oversized hourglasses with everyday objects like telephones and old cameras buried in the sand. As the hourglasses are turned, they uncover one object and bury another. “It’s like a recurring archaeological time frame,” says Arsham. On the second level, visitors will find a full-scale Japanese tea house with a raked dry sand zen garden. “I’ve replaced the sand found in the gardens, which is typically white, with a blue calcite crystal,” he says. “There’s a gardener tending the garden who is the child but as an older adult.

The tea house is constructed based on very traditional designs using mostly traditional materials like shoji paper, but everything is tinted to match the calcite blue.”

Color isn’t the only element that’s somewhat new in his work. Although Arsham has designed often for the stage throughout his career (some of his earliest set designs were for renowned choreographer Merce Cunningham), the work in Symphony Hall will mark his first foray into the orchestra world. “This is a new exposure to this universe for me, so it’s been fascinating,” he says. “Most of what I’ve done on stage has been about reduction and simplifying

things to their most basic elements. Even non-fully staged operas can be quite ornate, maximalist. I’m taking the very opposite approach. I’m still working with different possibilities, but I’m thinking about reducing everything on stage to a single color to create a very clean palette that the audience is able to project onto.”

The two works—Creation/Creator and Orfeo et Euridice—are an especially interesting pairing because, as in “Hourglass,” the artist often considers the passage of time in his work: Orfeo premiered in 1762, and the ASO just performed the world premiere of the contemporary oratorio Creation/Creator in 2015. “The mythological scenarios in Orfeo have been explored for hundreds of years so there’s a lot to look at,” says Arsham.

“Creation/Creator is an interesting new take on that. There are times when it’s extremely abstract, whereas I feel that Orfeo is much more traditional. It’s interesting that in some ways the pieces are opposites of each other.”

From sculpture to stage, from film to architecture, Arsham works in nearly every artistic realm, including with collaborators as diverse as Usher, Robert Wilson, Pharrell Williams, James Franco and Hedi Slimane.

“I’m just interested in a lot of different things,” he explains. “I try to be as efficient as possible and for me it doesn’t really feel like I’m working on a lot of different things.

I feel like I procrastinate a lot. And in some ways, they feel to me like they’re all the same thing, whether I’m working in film or painting or sculpture or stage design. They feel like different mediums working towards the same expression.”

The scenography by Daniel Arsham for Creation/Creator and Orfeo ed Euridice is sponsored by a deeply appreciated gift from the Antinori Foundation.

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

H I G H M USE UM O F A R T ATL ANTA

DANIEL ARSHAM

HOURGLASS

HIGH.ORG | #HIGHMUSEUM This exhibition is co-organized by the Daniel Arsham Studio and the High Museum of Art, Atlanta, in collaboration with Galerie Perrotin, New York.

EXHIBITION SERIES SPONSOR

MARCH 4—MAY 21

PREMIER EXHIBITION SERIES SUPPORTERS

CONTRIBUTING EXHIBITION SERIES SUPPORTERS

Sarah and Jim Kennedy Anne Cox Chambers Foundation

Corporate Environments Margaret Foreman

Generous support is also provided by the Anne Cox Chambers Exhibition Fund, Alfred and Adele Davis Exhibition Endowment Fund, Forward Arts Foundation Exhibition Endowment Fund, John H. and Wilhelmina D. Harland Exhibition Endowment Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Howell Exhibition Fund, Helen S. Lanier Endowment Fund, Barbara Stewart Exhibition Fund, and Eleanor McDonald Storza Exhibition Endowment Fund.

Image: Daniel Arsham (American, born 1980), Crystal Sports Ball Cavern, 2016, amethyst and Hydro-Stone, courtesy of the artist and Galerie Perrotin.

ASO | sponsors AtlantaSymphonyOrchestra

The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Delta is proud to celebrate more than 75 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a global airline, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. This includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

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

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

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

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

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

PRESENTING SPONSOR OF THE ATLANTA SYMPHONY ORCHESTRA

OFFICIAL AIRLINE OF THE ATLANTA SYMPHONY ORCHESTRA

OFFICIAL AIRLINE OF THE ATLANTA SYMPHONY ORCHESTRA

MAR 2/4 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Delta Classical Concert The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Concerts of Thursday, March 2, and Saturday, March 4, 2017, at 8:00pm.

ROBERT SPANO, Conductor BENJAMIN BEILMAN, violin

The revival of Christopher Theofanidis’s grand composition for soloists, chorus, and orchestra, Creation/Creator, takes place later this month at Symphony Hall.

Maestro Spano and the ASO and Chorus will also perform Creation/Creator at the Kennedy Center in Washington, DC, on March 31.

CHRISTOPHER THEOFANIDIS (b. 1967) Dreamtime Ancestors, for Orchestra (2015)

I. Songlines

II. Rainbow Serpent

III. Each Stone Speaks a Poem

20 MIN

Commissioned by New Music for America, Â a consortium of 48 orchestras throughout the US, and dedicated to the memory of Stephen Paulus.

JEAN SIBELIUS (1865-1957) Concerto for Violin and Orchestra in D minor, Opus 47 (1903/4, rev. 1905)

I. Allegro moderato

II. Adagio di molto

III. Allegro, ma non tanto

Benjamin Beilman, violin INTERMISSION JOHN ADAMS (b. 1947) Harmonielehre (1985)

I. Part I

II. Part II. The Anfortas Wound

III. Part III. Meister Eckhardt and Quackie

(see page 56 in this program)

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.

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

33 MIN

20 MIN 40 MIN

Notes on the Program Ken Meltzer, Program Annotator Dreamtime Ancestors, for Orchestra (2015)

These are the Atlanta Symphony CHRISTOPHER THEOFANIDIS was born in Dallas, Orchestra premiere performances.

Texas, on December 18, 1967. The first performance of Dreamtime Ancestors took place in Plymouth, Massachusetts, on October 3, 2015, with the Plymouth Philharmonic Orchestra, conducted by Steven Karidoyanes.

Dreamtime Ancestors is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, vibraphone, bells, suspended cymbal, Chinese cymbal, tam-tam, slapstick, and strings.

Dreamtime Ancestors, by Atlanta School composer Christopher Theofanidis, was commissioned by the New Music for America Consortium, for performance by 48 orchestras throughout the United States. Mr. Theofanidis dedicated Dreamtime Ancestors to fellow American composer Stephen Paulus (1949-2014).

Dreamtime Ancestors was inspired by Australian aboriginal creations myths. According to these myths, we are all connected to each other via “dreamtime ancestors” of the past, present, and future. This connection is referred to as “all-at-once time.”

Dreamtime Ancestors is in three movements, each of which may be preceded by an optional reading. The composer provided the following commentary on the work: I. Songlines This movement starts with a meandering line in the cellos and basses, and it continues to weave throughout the movement, with melodies and shapes emerging from the line.

II. Rainbow Serpent This is one of the central figures in the Aboriginal people’s creation stories, with cave art representing it going back tens of thousands of years. Rainbow Serpent was one of our ancestors who carved the surface of the earth with rivers and valleys, and left in its wake rainbows and stars. I tried to depict this with a long melodic and chromatic line in the string section and vibraphone that leaves harmonic resonances in its wake.

III. Each Stone Speaks a Poem I liked the idea very much that even the most common object has poetry in it if we listen. The movement begins with an arid three-note motive that eventually opens up into something more majestic. The end of the piece recalls materials from all three of the movements.

—Christopher Theofanidis Concerto for Violin and Orchestra in D minor, Opus 47 (1903/4, Rev. 1905) JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, 1957. The first performance of the Violin Concerto took place in Helsinki, Finland, on February 8, 1904, with Viktor ˇek as soloist and the composer conducting.

Novác In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

First Classical Subscription Performance: November 18, 1952, Tossy Spivakovsky, Violin, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: March 3 and 5, 2016, Augustin Hadelich, Violin, Marc Piollet, Conductor.

encoreatlanta.com | Atlanta’s Performing Arts Publication 21

MAR 2/4 | program

J

ean Sibelius began work on his Violin Concerto in 1902. A driving force behind the work was Willy Burmester, an acclaimed virtuoso and former leader of the Helsinki Philharmonic. Burmester, a great admirer of Sibelius, encouraged the composer to finish the Concerto, and even offered to play the first performance. Sibelius was enthusiastic about the prospect, and offered Burmester a November 1903 premiere.

However, Burmester’s schedule precluded any performances until March of the following year. Sibelius was in dire financial straits, and needed to present the work as soon as possible.

Sibelius then offered the premiere to Victor Novác ˇek, a teacher in Helsinki and, by all accounts, a violinist of decidedly lesser ability than Burmester. Sibelius hoped for a premiere in November, but delays in completing the final score postponed the first performance until February 8, 1904, just a month prior to when Burmester would have been available to play the Concerto. At the premiere, Novác ˇek struggled with the considerable technical challenges of the work. In the summer of 1905, Sibelius made substantial changes to the Concerto, tightening its structure and altering or removing many passages.

The Concerto is in three movements. The first (Allegro moderato) is based upon two themes. Muted strings accompany the soloist’s extended introduction of the haunting opening theme. After a short cadenza, a brooding orchestral passage develops into the second principal theme, first intoned by the bassoons and cellos, and later played with searing passion by the soloist. An expansive solo cadenza replaces the traditional development section. The slow-tempo second movement (Adagio di molto) opens with a brief, evocative introduction by the winds. The soloist enters with the Adagio’s throbbing principal melody. The boisterous third movement (Allegro, ma non tanto) has inspired some picturesque characterizations. The composer once referred to it as a danse macabre, while the eminent British musician Sir Donald Francis Tovey dubbed the finale “a polonaise for polar bears(!)”

Harmonielehre (1985) JOHN ADAMS was born in Worcester, Massachusetts on February 15, 1947. The first performance of Harmonielehre took place in Davies First Classical Subscription Hall, San Francisco, on March 21, 1985, with Edo de Performances: February Waart conducting the San Francisco Symphony.

14, 15, and 16, 2002, Robert Harmonielehre is scored for three piccolos, four flutes, Spano, Conductor. three oboes, English horn, four clarinets, two bass clarinets, three bassoons, contrabassoon, four horns, four trumpets, three trombones, two tubas, timpani, two marimbas, vibraphone, xylophone, tubular bells, crotales, glockenspiel, two suspended cymbals, sizzle cymbal, small crash cymbals, bell tree, two tam-tams, two triangles, bass drum, two harps, piano, celesta, and strings.

H

armonielehre was commissioned by the San Francisco Symphony. Adams began work on the large-scale orchestral piece in February of 1984, but found himself in the midst of “a terribly frustrating fallow period, during which I composed every day for a year, and nothing worthwhile came out of it.” There were doubts as to whether Adams would complete the work in time for the scheduled March, 1985 premiere.

And then, a turning point occurred. One night, Adams had a dream he recounted in 22 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

The Joyce and Henry

S CHWOB SCHOOL OF MUSIC

COLUMBUS STATE UNIVERSITY

Hear what’s happening NOW! www.ColumbusState.edu/Music Distinguished Faculty . Superb Facilities . Vibrant Campus

4225 University Avenue, Columbus, GA 31907 . 706-649-7225 . music@ColumbusState.edu

MAR 2/4 | program an interview, reproduced in the liner notes for the Nonesuch premiere recording of Harmonielehre: ...I saw myself driving across the San Francisco Bay Bridge, and looking out saw a huge tanker in the bay. It was an image of immense power and gravity and mass.

And while I was observing this tanker, it suddenly took off like a rocket ship with an enormous force of levitation. As it rose out of the water, I could see a beautiful brownish-orange oxide on the bottom part of its hull.

The next morning, Adams sat at the piano and composed the stunning opening chords of Harmonielehre. Adams recalled: “the piece was off like an explosion. After a year of no progress at all, Harmonielehre now came to me very quickly; I wrote this 40-minute work in about three months.” Adams completed the score shortly before the March 21, 1985 premiere by conductor Edo de Waart and the San Francisco Symphony.

The title Harmonielehre (Theory of Harmony) is derived from composer Arnold Schoenberg’s 1911 textbook of the same name. According to Adams, Schoenberg, a pioneer in atonal music, wrote Harmonielehre when “he was making his radical break with the whole tradition of European harmony. I am strongly attracted to the whole sensibility of that epoch with its combination of sensuality and intellectual energy.”

Adams acknowledges that “although my use of tonal principles is vastly different from Schoenberg’s, there are moments in my Harmonielehre which refer to evoke the language and sensibility of the music he wrote around that time.” But the work’s title also refers to “harmony in the larger sense, in the sense of spiritual and psychological harmony...the whole piece is a kind of allegory about that quest for grace.”

Part I. Seven fierce E-minor chords launch the vigorous opening measures. Approximately a third into Part I, the cellos introduce a plaintive espressivo melody that inaugurates an extended, haunting lyrical episode the composer describes as “full of Sehnsucht (longing).”

Adams characterizes Part I of Harmonielehre as “architectonically monolithic and is, in fact, a single-movement symphony in itself.” Indeed, the return of the vigorous opening in the final measures provides a highly satisfying and dramatic symmetry.

Part II. The Anfortas Wound—The title of the slow-tempo Second Part of Harmonielehre refers to the story of King Anfortas. While searching for the Holy Grail, Anfortas suffered a wound to his genitals. According to Adams, the wound to Anfortas was “due to pride, to hubris, and the wound caused impotence. The Anfortas Wound is a piece about sickness and infirmity, physical and spiritual.”

Part III. Meister Eckhardt and Quackie—The final movement is inspired by yet another dream, that of the German mystic, Meister Eckhardt (Eckhart) (c. 1260-1328), “floating through the firmament with a baby on his shoulders as she whispers the secret of grace into his ear.” “Quackie” is the nickname for the composer’s daughter, an infant when Adams completed Harmonielehre. The gossamer opening presents an “evocation” of the composer’s dream. The music generates tremendous momentum, culminating in the triumphant final bars.

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

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MAR 2/4 | artists BENJAMIN BEILMAN, violin

T

GEORGIA BERTAZZI

wenty-six-year-old American violinist Benjamin Beilman is recognized as one of the fastest rising stars of his generation. In the 16-17 season, Beilman returns to the Philadelphia Orchestra performing Prokofiev’s Violin Concerto No. 1 with Yannick NézetSéguin in subscription, and on tour with the orchestra at Carnegie Hall. He also appears as soloist on the Chicago Symphony’s new music series, and performs with the Symphony Orchestras of Detroit, San Diego, Atlanta and Grand Rapids, as well as making recital debuts in San Francisco and Vancouver. Abroad, Beilman makes his debuts with the City of Birmingham Symphony, and at the Dvořák Festival in Prague; he also returns to London’s Wigmore Hall, and appears in recital on a ten-city tour of Australia - including debut appearances in Sydney and Melbourne.

Beilman is the recipient of the prestigious 2014 Borletti-Buitoni Trust Fellowship, a 2012 Avery Fisher Career Grant and a 2012 London Music Masters Award. In 2010, he won First Prize in the Young Concert Artists International Auditions, and First Prize in the 2010 Montréal International Musical Competition.

In 2009, he was a winner of Astral Artists’ National Auditions.

Beilman released his debut recital CD, Spectrum, on Warner Classics in March 2016.

Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy.

He plays an Antonio Stradivari violin kindly loaned to him through the Beares International Violin Society.

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

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MAR 9/10/11 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Delta Classical Concert The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Concerts of Thursday, March 9 and Saturday, March 11, at 8:00pm, and Friday, March 10, 2017, at 6:30pm.

MICHAEL STERN, Conductor MARK-ANDRÉ HAMELIN, piano DMITRI SHOSTAKOVICH (1906-1975) Festive Overture, Opus 96 (1954)

The music of another great Russian master (and Nikolai Medtner’s dear friend), Sergei Rachmaninov, is featured next month.

APR 6/7 RACHMANINOV: Vocalise Piano Concerto No. 1 Symphonic Dances

6 MIN

NIKOLAI MEDTNER (1880-1951) Concerto for Piano and Orchestra No. 2 in C minor, Opus 50 (1926-7) 39 MIN

I. Toccata. Allegro risoluto

II. Romanza. Andante con moto

III. Divertimento (Rondo).

Allegro risoluto e molto vivace

Mark-André Hamelin, piano INTERMISSION

20 MIN

PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 4 in F minor, Opus 36 (1878) 45 MIN

I. Andante sostenuto—Moderato con anima— Moderato assai, quasi Andante—Allegro vivo

II. Andantino in modo di canzona

III. Scherzo. Pizzicato ostinato—Allegro

IV. Finale. Allegro con fuoco

The concert of Friday, March 10, performed without intermission, features the Shostakovich and Tchaikovsky works.

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.

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

Notes on the Program Ken Meltzer, Program Annotator Festive Overture, Opus 96 (1954)

First Classical Subscription Performances: April 28, 29, and 30, 1983, Maxim Shostakovich, Conductor.

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 Festive Overture took place at the Bolshoi Theater in Moscow on November 6, 1954, with Alexander Melik-Pashayev conducting the Bolshoi Theater Orchestra. The Festive Overture is scored for piccolo, two flutes, three oboes, three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, and strings.

D

mitri Shostakovich composed his Festive Overture in the autumn of 1954.

The premiere took place at Moscow’s Bolshoi Theater on November 6, 1954.

Shostakovich composed the Festive Overture as part of the celebrations of the 37th anniversary of the October Revolution. But some commentators have suggested that the work’s energy and high spirits express Shostakovich’s reaction to the death the previous year of his long-time nemesis, Soviet Dictator Joseph Stalin.

Concerto for Piano and Orchestra No. 2 in C minor, Opus 50 (1926-7) NIKOLAI MEDTNER was born in Moscow, Russia, on These are the First Classical January 5, 1880, and died in London, England, on Subscription Performances.

November 13, 1951. In addition to the solo piano, the Concerto No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

N

ikolai Medtner’s compositions include three Piano Concertos, solo piano works, chamber music, and songs for voice and piano. It was during Medtner’s years as a traveling virtuoso that he composed his Second Piano Concerto (1926-7). Medtner dedicated the Concerto to his dear friend, Sergei Rachmaninov. In turn, Rachmaninov dedicated his Fourth Piano Concerto (1926, rev. 1941) to Medtner. Those familiar with Rachmaninov’s Piano Concertos will immediately recognize a similar aesthetic in the virtuoso fireworks, soaring melodies, and lush orchestral sonorities of the Medtner C-minor. In more recent years, musicians and audiences have also begun to enjoy Medtner on his own terms, as a valuable and unique voice of the Russian late-Romantic tradition.

The Concerto is in three movements. Medtner titles the Concerto’s opening movement a Toccata, a reference to a form of keyboard music popular in the Baroque era. Based upon the Italian word toccare (“touch”), a toccata is a work designed to showcase the keyboard performer’s dexterity. That is certainly the case with the Concerto’s brilliant, surging opening theme. While in Baroque times, a toccata was typically a free-flowing composition, the opening movement of the Concerto No. 2 adheres to classic sonata form, with the exposition, development, and recapitulation of central themes. The slow-tempo second movement (Romanza. Andante con moto) is in A—B—A form with a minor-key Agitato central episode. The finale (Divertimento. Allegro risoluto e molto vivace) follows without pause. The soloist introduces the tripping, impish recurring melody. A final solo cadenza leads to a brilliant Coda (Vivo), and the Concerto’s joyous closing bars. encoreatlanta.com | Atlanta’s Performing Arts Publication 29

MAR 9/10/11 | program Symphony No. 4 in F minor, Opus 36 (1878)

First Classical Subscription Performances: January 30, 1949, Henry Sopkin, Conductor.

PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first Most Recent ASO Classical performance of the Symphony No. 4 took place in Subscription Performances: Moscow on February 22, 1878, with Nikolai RubinMarch 26 and 27, 2015, stein conducting. The Symphony No. 4 is scored Robert Spano, Conductor. for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, bass drum, cymbals, and strings.

O

n July 18, 1877, Tchaikovsky wed Antonina Milyukova. Tchaikovsky realized from the outset that the marriage was a mistake. He lapsed into a profound depression, and later attempted suicide. Finally, on October 6—less than three months after the wedding—Tchaikovsky left his wife forever, rushing to St. Petersburg to meet his brother, Anatoly. Tchaikovsky suffered a nervous breakdown, and doctors stated that a resumption of the marital relationship was out of the question. Tchaikovsky, under doctor’s orders, journeyed to Switzerland for recuperation.

Tchaikovsky completed his Fourth Symphony on January 7, 1878. The premiere took place in Moscow on February 22, 1878, under Nikolai Rubinstein’s direction. Tchaikovsky dedicated the Symphony to his patroness, Nadezhda von Meck, whom the composer described as “my best friend.” And, in a letter to von Meck, Tchaikovsky divulged the meaning of his Fourth Symphony (all of Tchaikovsky’s comments are indented, below): I. Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante— Allegro vivo— The introduction is the germ of the whole symphony, unarguably the main idea.

This is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal, that jealously ensures our well-being and peace are not unclouded, that hangs over our heads like the sword of Damocles, that with steadfast persistence poisons our souls. It is invincible, you will never master it. One can only resign oneself to fruitless sorrow.

Tchaikovsky depicts the inexorable power of Fate with stunning fanfares by the brass and winds. It is one of the most arresting and dramatic openings in all of symphonic literature.

The joyless, hopeless feeling becomes more powerful and fierce. Would it not be better to turn away from reality and submerge oneself in dreams?

Oh joy! There is at least a sweet and tender dream appearing! A bright and gracious human form flits by and lures us on somewhere.

How lovely! And how remote the obsessive first allegro theme now sounds! The dreams have gradually taken full possession of the soul. All that was gloomy and joyless is forgotten. Here it is, here is happiness! No! They were dreams and Fate rouses us from them.

So life is a constant alternation between grim reality and evanescent visions and dreams of happiness...There is no haven. Sail upon that ocean until it seizes you 30 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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MAR 9/10/11 | program and engulfs you in its depths. That is roughly the program of the first movement.

II. Andantino in modo di canzona— The second movement of the symphony expresses another phase of depression: that melancholy feeling that comes on in the evening, when you are sitting on your own, tired with work, and you take up a book but it falls out of your hands. Memories come flooding in. It is sad that so much has been and gone; it is pleasant to recollect one’s youth. One regrets the passing of time yet there is no wish to begin life anew. Life wears one out. It is pleasant to rest and reflect. There are so many memories! There have been happy moments when young blood coursed through the veins and life was good. There have also been difficult times, irreplaceable losses. But now that is all somewhere in the past. There is a sweet sadness in burying oneself in the past.

III. Scherzo. Pizzicato ostinato—Allegro— The third movement does not express any precise feelings. These are whimsical arabesques, the elusive images that flash across one’s imagination when one has had a little wine to drink and is in the first stage of intoxication. One’s spirits are not happy, but neither are they sad. One does not think about anything: one gives free reign to one’s imagination that, for some reason, sets about painting strange pictures. Amongst them one recalls a picture of some roistering peasants and a street song. Then somewhere in the distance a military parade goes by. There is no connection between these images that are like those which flash through your mind as you are going to sleep. They have nothing to do with reality: they are strange, wild, and incoherent.

IV. Finale. Allegro con fuoco— The fourth movement. If you find no cause for joy in yourself, look to others. Go amongst the common people and see now they know how to enjoy themselves, abandoning themselves completely to feelings of joy. Picture of a peasant celebration on a holiday. But scarcely have you managed to forget yourself and be distracted by the sight of other people’s pleasures than inexorable Fate appears once more and reminds you of its existence.

Tchaikovsky portrays the “peasant celebration” by quoting a popular Russian folk song, “The Little Birch Tree,” sung by the winds after the Finale’s brief, raucous introduction.

Later, the celebration is interrupted by the return of the “Fate” motif that launched the Symphony’s first movement.

Tchaikovsky continues: But you are no concern of anyone else. They do not even turn round, they do not glance at you, and they have not noticed that you are lonely and sad. Oh! What fun it is for them! They are so lucky that all their feelings are simple and direct. Blame yourself and do not say that all the world is sad. There are simple but potent pleasures. Enjoy other people’s happiness. One can live despite everything.

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

Ins I st on makI ng a t o a s t.

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MAR 9/10/11 | artists MICHAEL STERN, Conductor

M

ichael Stern is the Music Director of the Kansas City Symphony and the Founding Artistic Director and Principal Conductor of the IRIS Orchestra.

Stern and Kansas City have been hailed for their remarkable artistic ascent, original programming, organizational and audience growth and development since his tenure began and have entered a new era in their new home, Helzberg Hall at the Kauffman Center for the Performing Arts.

With IRIS Orchestra in Germantown, Tennessee, Stern and this orchestra are widely praised for the virtuosity of their playing; the depth and variety of programming, with a special emphasis on American contemporary music.

Past positions have included chief conductor of the Saarbrücken Radio Symphony Orchestra, Permanent Guest Conductor of the Orchestre National de Lyon, and Principal Guest Conductor of the Orchestre National de Lille.

In North America, Mr. Stern has conducted many orchestras including New York, Chicago, Cleveland, Philadelphia, Boston, Montreal and Toronto as well as several orchestras throughout Europe and Asia. He received his music degree from The Curtis Institute of Music in Philadelphia and is a 1981 graduate of Harvard University, where he earned a degree in American history.

MARC-ANDRÉ HAMELIN, piano

P

FRAN KAUFMAN

ianist Marc-André Hamelin is known for his unique blend of musicianship and expressive virtuosity.

Hamelin’s Orchestral engagements this season include weeks with the Montreal (Ravel and Shostakovich with Nagano) and Minnesota (Vänskä) orchestras; the Indianapolis Symphony in a reprise of the Haydn Concerto in D Major with Bernard Labadie, per their recent recording; the Bayerische Staatsorchester with Kirill Petrenko; the NDR Hanover, and the symphony orchestras in Gothenburg, Oregon, Bologna, Montpellier and the Warsaw Philharmonic in repertoire including Brahms 1 and 2, Medtner 2 and Mozart K. 453. Recitals include those at the Vienna Konzerthaus, Berlin Philharmonic, The Gilmore Festival, the 92nd St Y in New York, and in Cleveland, Chicago, Toronto, et al. He also ventures to China for a set of recitals at the Shanghai Concert Hall.

Mr. Hamelin records exclusively for Hyperion Records with a discography of over 50 recordings. He recently received his tenth Grammy nomination for the Shostakovich Piano Quintet with the Takács Quartet. His compositions are published by Edition Peters.

Born in Montreal and a resident of Boston, Hamelin is the recipient of a lifetime achievement award from the German Record Critics’ Association. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

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

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encoreatlanta.com | Atlanta’s Performing Arts Publication 35

MAR 12 | program AtlantaSymphonyOrchestra

The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Joseph Young, Assistant Conductor and Music Director of the Atlanta Symphony Youth Orchestra Family Concert

Peter & the Wolf and Friends Concert of Sunday, March 12, 2017, at 3:00pm MICHAEL PALMER, Conductor ANDREW PUCKETT, narrator

Additional support generously provided by

ANDREA WASHINGTON, puppeteer JEFFRY C. ZWARTJES, puppeteer All Puppet Production by Teller Productions

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.

EDVARD GRIEG Lyric Pieces: Wedding Day at Troldhaugen

6 MIN

NIKOLAI RIMSKY-KORSAKOV Flight of the Bumblebee

3 MIN

CAMILLE SAINT-SAËNS (arr. Kurth) “Elephant” from Carnival of the Animals

2 MIN

AARON COPLAND “I Bought Me a Cat”

3 MIN

SERGEI PROKOFIEV Peter and the Wolf

25 MIN

THERE IS NO INTERMISSION

Stop by the Symphony Store after the concert to purchase your copy of Peter & the Wolf, which includes both the illustrated book and CD! 36 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Illustrations by Peter Malone, copyright 2006 by Peter Malone; from SERGEI PROKOFIEV’S PETER AND THE WOLF: WITH A FULLY-ORCHESTRATED AND NARRATED CD story and words by Sergei Prokofiev, retold by Janet Schulman.

Used by permission of Alfred A. Knopf, and imprint of Random House Children’s Books, a division of Penguin Random House LLC. All rights reserved.

encoreatlanta.com | Atlanta’s Performing Arts Publication 37

MAR 12 | artists MICHAEL PALMER, conductor

BOB O’LARY

M

ichael Palmer has long been considered one of this country’s finest conductors.

Palmer began his career at age 21 when he came to the Atlanta Symphony Orchestra as assistant conductor at the invitation of Robert Shaw. He was soon made Associate Conductor, and also founded and was Music Director of the Atlanta Symphony Youth Orchestra. While in Atlanta, Palmer was honored as one of five of the first conductors in the United States chosen by the National Endowment for the Arts to be Exxon Arts Endowment Conductor, and he was soon in demand with orchestras throughout the country. While continuing in his post in Atlanta, he was appointed Guest Conductor of the Houston Symphony Orchestra for a threeyear period. He also worked extensively with the National Symphony Orchestra during this period, and he was subsequently named Co-Principal Guest Conductor of the Denver Symphony Orchestra.

After 10 years in Atlanta as Associate Conductor, Palmer accepted appointments as Music Director of the Wichita Symphony Orchestra followed by the New Haven Symphony Orchestra. In New Haven, he was recognized widely for his artistic accomplishments and for building the Orchestra to one of the finest of its kind in the nation. Carnegie Hall invited Palmer and the New Haven Symphony Orchestra to make their New York debut on its distinguished Visiting Orchestra Series in 1994. During his tenure as Music Director in New Haven, Mr. Palmer founded the American Sinfonietta, which toured Europe for 10 seasons under his leadership, playing to critical acclaim in the major concert halls of Germany, Austria and Switzerland. This led to the creation of the Bellingham Festival of Music in 1993. Under his artistic leadership, the Festival has become internationally recognized for its artistry. Festival concerts are heard across the nation on NPR and feature some of the finest orchestral musicians and major guest artists from the United States and abroad. As Artistic Director since its formation, Palmer continues to lead the Festival each summer.

He also maintains an active international guest conducting season each year, and most recently, he maintains a working relationship with one of China’s premiere orchestras, the Shenzhen Symphony Orchestra.

Michael Palmer joined the Georgia State University (GSU) School of Music faculty as Director of Orchestras in August 2004, after serving in the same capacity at Wichita State University. In 2006, he was honored by GSU and named as the Charles Thomas Wurm Distinguished Professor of Orchestral Studies.

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

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MAR 12 | artists ANDREW PUCKETT is an Atlanta-based actor, writer, and musician. A few of his favorite Atlanta credits include Start Down (Alliance Theatre), A Confederacy of Dunces (Theatrical Outfit), The Shape of Things, Lobby Hero (Pinch ‘N’ Ouch), Moby Dick (Saiah Arts International). T.V./Film credits: “Swamp Murders”, and Invasion of the Undead. He holds a B.A. in Theatre and Performance Studies from KSU. You can find out more about Andrew’s latest adventures at houseb.us, a website dedicated to his school bus conversion.

ANDREA WASHINGTON is an actor, teaching artist and certified teacher for Early Childhood Education. Acting credits include two national tours of Knuffle Bunny: A Cautionary Musical (John F. Kennedy Center), Welcome Home Jenny Sutter (Synchronicity Performance Group), Jelly’s Last Jam and Go, Dog. Go! (Alliance Theatre). Her love for Early Childhood Education and acting blended naturally with opportunities to work on TVY productions of Waiting for Balloon and From Head to Toe. Currently as a teaching artist with the Alliance Arts for Learning Institute, Andrea works in various disciplines with all ages. She integrates Theatre Arts into many programs including Bright from the Start, Grow Up Great and Drama Partners. In addition to working with the Alliance Theatre, she enjoys partnering with Out of Hand Theatre and Synchronicity Performance Group’s Playmaking for Girls.

Andrea received her Bachelor of Arts degrees in Theatre and German from the University of West Georgia. Her training also includes working as a dramaturgy intern at the Stadtheater Krefeld/Möchengladbach in Krefeld, Germany.

JEFFREY C. ZWARTJES studied illustration at the Savannah College of Art & Design and participated in the first year of the New American Shakespeare Tavern’s Apprentice Program. His love for both live theater and illustration/design led him to the world of puppetry, a perfect fit which allows him to both design and perform his own puppets. He has performed and built puppets for Kaiser-Permanente’s Educational Theater Program in Atlanta, GA, and is currently the Artist-In-Residence for the Distance Learning Department at the Center for Puppetry Arts, where he develops and performs puppet shows for school children nationwide through videoconferencing. He has designed sets and puppets for Dad’s Garage Theater, Out of Hand Theatre Company, Kennesaw State University’s Drama Department, and the Alliance Theater’s TVY. He can also be seen throughout Atlanta as the puppet half of the musical folk-singing duo Refuse the Rat & Garbagebag.

TELLER PRODUCTIONS is an Atlanta-based design and production studio specializing in puppetry and Theatre for the Very Young.

Our commitment is to engage imaginations and positive growth through skillfully crafted, accessible programming.

Clients include the Georgia Aquarium, Stone Mountain Park, Peppercorn Theatre of the Children’s Museum of Winston-Salem, and The Ronald McDonald House New York.

More information, including a schedule of workshops and public performances can be found at: TellerProductions.com Producer/Director, Scottie Rowell | Costumer, Jordan Carrier

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

Release the RosĂŠ Wine Dinner at The Farm at Old Edwards Friday | April 14 | 7:00 pm

Limited Space | $135 per person | Reserve Today Call 855-383-2302 to book or visit oldedwardsinn.com/rosewinedinner.

encoreatlanta.com | Atlanta’s Performing Arts Publication 41

MAR 17/18 | program The Atlanta Symphony Orchestra POPS! Series is presented by

AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Michael Krajewski, Principal POPS! Conductor Delta POPS! Concert Concerts of Friday, March 17 and Saturday, March 18, 2017, at 8:00pm MICHAEL KRAJEWSKI, Conductor

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 handheld devices.

Music from Lord of the Dance

HARDIMAN arr. Moore

The Irish Washerwoman

arr. Anderson

The Rakes of Mallow

arr. Anderson

Magh Seola (The Level Plain)

FAHY arr. Hollenbeck

The Girl I Left Behind Me

arr. Anderson

INTERMISSION

20MIN

The second half of the program will be announced from the stage

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

Cinderella, 2016

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encoreatlanta.com | Atlanta’s Performing Arts Publication 43

MAR 17/18 | artists MICHAEL KRAJEWSKI, conductor

K

TYE CARSON

nown for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Houston, Atlanta, and Jacksonville Symphonies.

As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh, and National Symphonies, and numerous other orchestras across the United States. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg, and KitchenerWaterloo Symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra.

Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. On recording he has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. In 2016 Michael conducted his original Carole King Songbook all over North America featuring Broadway’s Liz Callaway, Allison Blackwell and Bryce Ryness. Michael’s other collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, Big Bad Voodoo Daddy, and The Midtown Men. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and for eleven years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.

CHERISH THE LADIES

“I

t is simply impossible to imagine an audience that wouldn’t enjoy what they do”, says the Boston Globe speaking of Cherish the Ladies, the long-running, Grammynominated, Irish-American super group that formed in New York City in 1985 to celebrate the rise of extraordinary women in what had been a male-dominated Irish music scene and has since toured the world, played the White House and the Olympics, recorded 16 outstanding albums including “An Irish Homecoming,” a live recording of their Emmy winning Public Television Special that aired across America and Ireland.

Under the leadership of the dynamic and irrepressible flute and whistle champion Joanie Madden, these ladies create an evening that includes a spectacular blend of virtuoso

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Tickets and Information:

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encoreatlanta.com | Atlanta’s Performing Arts Publication 45

MAR 17/18 | artists instrumental talents, beautiful vocals, captivating arrangements, and stunning step dancing. Their continued success as one of the top Celtic groups in the world is due to the ensemble’s ability to take the best of Irish traditional music and dance and put it forth in an immensely entertaining package.

The New York Times calls their music “passionate, tender, and rambunctious”, and the Washington Post praises their “astonishing array of virtuosity”. They’ve won recognition as the BBC’s Best Musical Group of the Year and named the Top North American Celtic Group by both the Irish Music Awards and NPR’s Thistle and Shamrock - not to mention having a street named after them on the Grand Concourse in the Bronx; Joanie Madden and Cherish the Ladies! Over the course of 30 years, the Ladies have performed thousands of concerts and have collaborated with such notable musicians as The Boston Pops, The Clancy Brothers, The Chieftains, Vince Gill, Nanci Griffith, Pete Seeger, Don Henley, Arlo Guthrie and Maura O’Connell, as well as being the featured soloist with over 300 performances with symphony orchestras.

They are in constant demand worldwide as their reputation and admiration from both fans and critics alike continue to grow. Their name may come from a traditional Irish jig but after thirty years, they’ve proven that the jig is still not up as these ladies blaze forward into another decade of music making!

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MAR 19 | program AtlantaSymphonyYouthOrchestra Support generously provided by Wells Fargo

Joseph Young, Assistant Conductor and Music Director of the Atlanta Symphony Youth Orchestra Concert of Sunday, March 19, 2017, at 3:00pm.

Crescendo Concert JOSEPH YOUNG, Conductor LUDWIG VAN BEETHOVEN (1770-1827) Overture to Egmont, Opus 84 (1810) NIKOLAI RIMSKY-KORSAKOV (1844-1908) Capriccio espagnol, Opus 34 (1887) I. Alborada. Vivo e strepitoso II. Variations. Andante con moto III. Alborada. Vivo e strepitoso IV. Scene and Gypsy Song. Allegretto V. Fandango of the Asturias INTERMISSION MODEST MUSSORGSKY (1839-1881) Pictures at an Exhibition (1874) (Orchestrated by Maurice Ravel—1923) Promenade

I. Gnomus Promenade

II. Il vecchio castello Promenade

III. Tuileries

IV. Bydlo Promenade

V. Ballet of Little Chicks in their Shells

VI. Samuel Goldenberg and Schmuyle

VII. The Market Place in Limoges

VIII. Catacombae—Cum mortuis in lingua mortua

IX. The Hut on Hen’s Legs (Baba-Yaga)

X. The Great Gate of Kiev

9 MIN 16 MIN

20 MIN

35MIN

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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Notes on the Program Ken Meltzer, Program Annotator Overture to Egmont, Opus 84 (1810) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performances of Beethoven’s incidental music to Egmont took place at the Burgtheater in Vienna on June 15, 1810.

The Overture to Egmont is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

B

eethoven composed his incidental music to Egmont for a production of Johann Wolfgang von Goethe’s 1788 play at the Vienna Burgtheater. The story of Egmont was one that greatly appealed to Beethoven, a tireless champion of political freedom. Egmont takes place in the 16th century, and concerns the oppression of the Netherlands at the hands of the Spanish dictator, the Duke of Alva. Count Egmont, a Dutch patriot, is imprisoned by the Duke, and sentenced to death. Egmont’s heroic martyrdom serves as a rallying cry to the Dutch people to defeat the Spanish invaders. Beethoven’s thrilling orchestral Overture foreshadows the course of Goethe’s drama.

Capriccio espagnol, Opus 34 (1887) NIKOLAI RIMSKY-KORSAKOV was born in Tikhvin, Russia, on March 18, 1844, and died in Lyubensk, Russia, on June 21, 1908. The first performance of the Capriccio espagnol took place at the Small Theater in St. Petersburg, Russia, on October 31, 1887, with the composer conducting the Orchestra of the Imperial Russian Opera House. The Capriccio espagnol is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, snare drum, tambourine, castanets, cymbals, bass drum, harp, and strings.

N

ikolai Rimsky-Korsakov composed his brilliant Capriccio espagnol in the summer of 1887. For some time, the Russian composer had been occupied with the orchestration of his opera, Prince Igor. However, according to Rimsky-Korsakov: “In the middle of the summer this work was interrupted: I composed the Spanish Capriccio from the sketches of my projected virtuoso violin fantasy on Spanish themes. According to my plans the Capriccio was to glitter with dazzling color, and manifestly, I had not been wrong.”

The five movements are played without pause.

I. Alborada. Vivo e strepitoso—The Capriccio espagnol opens with a scintillating Alborada (an aubade, or morning serenade).

II. Variations. Andante con moto—The horn introduces a languid, dolce theme that serves as the basis for a series of variations, showcasing the orchestra’s wide range of colors.

III. Alborada. Vivo e strepitoso—The third movement offers a repetition of the opening Alborada, now transposed from A to B-flat Major.

IV. Scene and Gypsy Song. Allegretto—A roll of the snare drum introduces a series of cadenzas for the horns and trumpets, violin, flute and clarinet, and harp. A vibrant Gypsy song dominates the latter part of the movement, gathering impressive momentum as it proceeds directly to the finale.

V. Fandango of the Asturias—The final movement opens with a Fandango, a lively dance in triple meter. The Gypsy song briefly returns, as does the opening Alborada, bringing the Capriccio espagnol to a dazzling Presto conclusion. encoreatlanta.com | Atlanta’s Performing Arts Publication 49

MAR 19 | program Pictures at an Exhibition (1874) (Orchestrated by Maurice Ravel—1923) MODEST MUSSORGSKY was born in Karevo, district of Pskov, Russia, on March 21, 1839, and died in St. Petersburg, Russia, on March 28, 1881. The first performance of the Maurice Ravel orchestration of Mussorgsky’s Pictures at an Exhibition (originally composed for piano solo) took place in Paris, France, on May 3, 1923, with Serge Koussevitsky conducting. The Ravel orchestration is scored for two piccolos, three flutes, three oboes, English horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, orchestra bells, triangle, snare drum, whip, chime in E-flat, ratchet, tamtam, cymbals, suspended cymbal, bass drum, two harps, celesta, and strings.

In 1873, the Russian artist Viktor Hartmann died at the age of 39. After Hartmann’s death, the St. Petersburg Society of Architects presented an exhibition of Hartmann’s works. Among the attendees was Hartmann’s dear friend, the Russian composer Modest Mussorgsky. Mussorgsky decided to offer a tribute to Hartmann in the form of a musical representation of several pieces featured at the St. Petersburg exhibit. In 1874, Modest Mussorgsky completed his work for solo piano, Pictures at an Exhibition, published after the composer’s death in 1881.

Conductor Serge Koussevitsky commissioned Maurice Ravel’s orchestration of the Mussorgsky piano composition for the annual Paris Concerts Koussevitsky, where it premiered on May 3, 1923. Since that time, the Mussorgsky/Ravel Pictures at an Exhibition has been celebrated as a quintessential showpiece, for orchestras and conductors alike. It is one of the most performed and recorded works in the concert repertoire.

Promenade. Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto—The Promenade serves as a connecting motif between musical portrayals of the various pictures. Russian music critic Vladimir Stassov described the Promenade as depicting the composer “moving now to the left, now to the right, now wandering about aimlessly, now eagerly making for one of the pictures...”

I. Gnomus. Vivo—Many of Hartmann’s works disappeared during the period between the 1874 St. Petersburg exhibition and Ravel’s 1923 orchestration of Mussorgsky’s composition. There is disagreement as to the exact nature of the picture that inspired this music.

In the original piano edition, Stassov describes Hartmann’s work: “A dwarf walks about awkwardly on crooked little legs.” However, Alfred Frankenstein, longtime Music and Art Editor of the San Francisco Chronicle, engaged in a detailed search and study of the original Hartmann pictures. Frankenstein stated: “(t)he picture was a design for a nutcracker in the form of a gnome with huge jaws.”

Promenade—A more introspective statement of the Promenade theme serves as a bridge to the following picture.

II. Il vecchio castello. Andante—The painting depicts an old Italian castle, before which a lute-bearing troubadour stands.

Promenade. Moderato non tanto, pesamente—A brief, weighty restatement of the Promenade leads to:

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MAR 19 | program III. Tuileries. Allegretto non troppo, capriccioso—Mussorgsky’s own subtitle for this section is “Children Quarreling After Play.” The painting depicts the Parisian Tuileries gardens, where children play under the watchful eye of their nurses.

IV. Bydlo. Sempre moderato pesante—“Bydlo” is the Polish word for “cattle.” Hartmann’s watercolor depicts an ox-drawn cart with massive wooden wheels.

Promenade. Tranquillo—A short reprise of the Promenade serves as a bridge to: V. Ballet of the Chicks in Their Shells. Scherzino. Vivo leggiero—The sketch that inspired this delightful miniature scherzo was made by Hartmann for the ballet, Trilby. It features costumed children impersonating chicks newly emerging from their shells.

VI. Samuel Goldenberg and Schmuyle. Andante—The title of this section is the creation of Stassov—Mussorgsky’s original reads: “Two Polish Jews; one rich, the other poor.” This episode appears to be based upon a Hartmann drawing of the Sandomir ghetto.

Here, Ravel omits Mussorgsky’s repetition of the Promenade and proceeds to: VII. The Market Place in Limoges. Allegretto vivo, sempre scherzando—Hartmann’s watercolor portrays the façade of the Limoges Cathedral. Mussorgsky focused on a small portion of the watercolor that shows market women engaged in lively conversation. The quicksilver musical portrayal of their gossip is interrupted by: VIII. Catacombae, Sepulchrum Romanum. Largo—The painting depicts Hartmann and a friend standing in a Paris catacomb, observing a pile of skulls illuminated by a guide’s lantern. Alternating loud and soft brass pronouncements lead directly to: Cum mortuis in lingua mortua. Andante non troppo, con lamento—Mussorgsky’s own footnote to this section’s title reads: “A Latin text: ‘With the Dead in a Dead Language.’ Well may it be in Latin! The creative spirit of the departed Hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within.”

A moment of silence is shattered by: IX. The Hut on Hen’s Legs (Baba-Yaga). Allegro con brio, féroce—Andante mosso—Allegro molto—Baba-Yaga is a mythical Russian witch who lured victims into her hut. There, BabaYaga ground her prey’s bones with a giant mortar that she also used to transport herself through the air. Hartmann’s drawing is a representation of a huge clock in the shape of the witch’s hut that, according to legend, stood on four chicken feet, thereby allowing the quick capture of each new victim. Mussorgsky’s musical portrayal of the witch’s grotesque hut and her flight leads without pause to: X. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza—The final picture represented Hartmann’s entry in a competition to erect a gateway in Kiev. The gateway was intended to serve as a memorial to Tsar Alexander II’s escape from assassination.

Hartmann envisioned a massive and ornate structure, featuring a cupola in the form of a Slavonic war helmet. Mussorgsky’s music, enhanced by Ravel’s orchestration, evokes the epic grandeur of Hartmann’s design, as well as images of ceremonial processions through the extraordinary gate.

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MAR 19 | artists JOSEPH YOUNG, conductor

JEFF ROFFMAN

I

ncreasingly recognized as “one of the most gifted conductors of his generation,” Joseph Young is currently the Assistant Conductor of the Atlanta Symphony Orchestra. In his role, Young conducts more than 50 concerts per season with the Orchestra, which include programs on the Delta Classical Series, Concerts for Young People and Family Series and various other concerts geared towards specific audiences in the community. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011/12 season, and the League of American Orchestras Conducting Fellow with the Buffalo Philharmonic and Baltimore Symphony.

Young made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), and Chicago Sinfonietta, among others. In the 2015/16 season he made his subscription debut with the Atlanta Symphony Orchestra. The 2016/17 season includes debuts with the Guanajuato Symphony Orchestra (Mexico), New World Symphony Orchestra, and Fayetteville Symphony; he will also return to the Orquesta Sinfonica y Coro de RTVE (Madrid), Little Orchestra Society and the Atlanta Symphony Orchestra in subscription performances.

Young is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008, and 2014. In 2013, Joseph was a Semi-finalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one out of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic.

Young earned his bachelor’s degree in music education at the University of South Carolina, and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert Spano, and Marin Alsop, with whom he continues to maintain a close relationship.

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Atlanta Symphony Youth Orchestra Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair FIRST VIOLINS Phoebe Liu Concertmaster Brianna Hou Sarah Chen Julia Su Yueci Chen Whit FitzGerald Christine Liu Scott Lozier Serena Gao Ruby Lee Kylie Dickinson Julia Lu Nina Youn Paloma Herrera Elinor Rosenberg Breman Fellow David Wen SECOND VIOLINS Passacaglia Mason Principal Jennifer Deng Naomi Fan Monica Chang Yuji Yamada Sylvia Tang Eunice Choi Ava Posner Sophie Chan Mashu Takeda Samuel Surbrook Erin Cho Melody Bearden Angela Cheng Arvind Ramaswami Hyejun Kang

VIOLA Joy Hsieh Principal Ardath Weck Chair Jun Kang Raymond Zhu Clara Smallwood Kelsey Johnson Nivedita Minjur Chris Wang Ashley Ahn Andres Malave Annabelle Spoto Doyoung Jeong Elinor Rosenberg Breman Fellow CELLO Aria Posner Principal Leonardo Tang Phillip Kim Clarisa Colton Brandon Chung John Kang Joe Billips Tannessa Dang Lexine Feng Harrison Marable Claire Lee Alicia Shin BASS Blake Hilley Principal Doug Sommer Chair Angela Leeper Matthew Jung Corban Johnson Daniel Barket Alex Pu Zoe Hood Jenny Yi Hollie Greenwood Elliott Elder

FLUTE Amy Jiang Jenn Kim Yuka Shinagawa Renee Wang OBOE Mekhi Gladden Elinor Rosenberg Breman Fellow Hannah Lee Alexa Levy Nathaniel Wolff CLARINET Vincent Fang Caleb Rucker Eric Wang Alisha Zamore BASSOON Allie Byrd Christopher Chung Ethan Clark Aaron Lanning SAXOPHONE Ben Conte HORN Charles Dunn Nick Fratto Spencer Hodge Caroline Johnston Tyler Lane Molly Shannon Sean Turner Elinor Rosenberg Breman Fellow Joshua Vollbracht

TRUMPET Thomas Berar Steven Lukehart Lizbeth Yanez TROMBONE Hans Kang Elinor Rosenberg Breman Fellow Katie Kearney Evan Roussey William Clark TUBA Kolyo Vanchev Joshua Williams HARP Madeline Chen Kimberly Walker PIANO Joshua Li PERCUSSION Daniel Chapadeau Elinor Rosenberg Breman Fellow Michael Dehan Kyle Favors Jim Graber Parker Olson Dylan So Winds, Harp, Piano, and Percussion are listed in alphabetical order

encoreatlanta.com | Atlanta’s Performing Arts Publication 55

MAR 23/25 | program AtlantaSymphonyOrchestra

The Atlanta Symphony Orchestra Classical Series is Robert Spano, Music Director presented by Delta Air Lines. Donald Runnicles, Principal Guest Conductor Delta Classical Concert Concerts of Thursday, March 23, and Saturday, March 25, 2017, at 8:00pm.

These Creation/Creator performances are sponsored by the Thalia and Michael Carlos Donor Advised Fund in memory of Thalia Carlos, a champion of the Atlanta School of Composers and treasured friend of the Atlanta Symphony Orchestra.

ROBERT SPANO, Conductor

The ASO will take the Creation/Creator performance to the inaugural SHIFT: A Festival of American Orchestras.

DANIEL ARSHAM, scenography

MAR 30: National Gallery of Art Creation Stories: Atlanta Symphony Orchestra Vocal Soloists in Recital MAR 31: Kennedy Center Concert Hall Mainstage performance of Creation/Creator including a post-concert talk with Music Director Robert Spano and Christopher Theofandis.

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.

JESSICA RIVERA, soprano SASHA COOKE, mezzo-soprano THOMAS COOLEY, tenor NMON FORD, baritone EVAN BOYER, bass SHANNON EUBANKS, actor STEVEN COLE, actor JAMES ALEXANDER, stage director ATLANTA SYMPHONY ORCHESTRA CHORUS, Norman Mackenzie, Director of Choruses CHRISTOPHER THEOFANIDIS (b. 1967) Creation/Creator, for Soloists, Chorus and Orchestra (2015) 81MIN I. Elephant in the Dark (Rumi)

quintet of soloists, chorus, orchestra II. God Tapestry (Rig Vedas, Kabir)

i. Creation Hymn (Rig Vedas)

(chorus, soprano, tenor, chorus, orchestra)

ii. The Dawn (Rig Vedas)

(soprano, mezzo, orchestra)

iii. The Bhakti Path (Kabir)

(quintet of soloists, chorus, orchestra) III. Pan Gu and the Egg-Shaped Cloud (Chinese creation myth)

narrator (baritone soloist), orchestra IV. An Unknown Woman (Paul Verlaine) recited/recorded text, mezzo soprano soloist, women’s chorus, orchestra V. Poets of Science (inspired by the reflections of physicists and astronomers)

tenor soloist, chorus, orchestra

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VI. Laboratories of the Universe (dialogue of scientists and philosophers)

quintet of soloists, orchestra

XII. The Creation (James Weldon Johnson)

solo actor

VII. In the Eternal (St. Augustine)

a cappella chorus

XIII. An Angel in the Marble (dialogue of artists)

quintet of soloists, chorus, orchestra

VIII. Rainbow Serpent (Ancient Aboriginal creation myth)

recited/recorded text, orchestra IX. Two Girls (Denise Levertov)

soprano soloist, orchestra X. Ms. Margaret Cavendish

actress, orchestra XI. Between Green Thread and Broccoli (Tony Hoagland)

a cappella chorus Creation/Creator, for Soloists, Chorus and Orchestra (2015)

XIV. The Music it Makes (inspired by Truman Capote)

chorus, orchestra XV. All Things Bound in a Single Book (The Sefer Yetzirah, Hermann Melville, Walt Whitman, Dante)

quintet of soloists, chorus, orchestra Commissioned by the Atlanta Symphony Orchestra, Robert Spano, Music Director First Classical Subscription Performances: April 23 and 25, 2015, Robert Spano, Conductor.

CHRISTOPHER THEOFANIDIS was born in Dallas, Texas, on December 18, 1967. The first performance Recording: Atlanta Symphony of Creation/Creator took place at Atlanta SymphoOrchestra Chorus, Robert Spano, ny Hall in Atlanta, Georgia, on April 23, 2015, with Conductor (ASO Media: 1006) Robert Spano conducting the Atlanta Symphony Orchestra and Chorus. Creation/Creator is scored for soprano, mezzo-soprano, tenor, baritone, and bass solos, actor, actress, two flutes (2nd dbl piccolo), two oboes, (2nd dbl English horn), three clarinets (2nd dbl alto saxophone/3rd dbl bass clarinet), two bassoons (2nd dbl contrabassoon), four horns, three trumpets, three trombones, tuba, harp, electric guitar, electric bass, synthesizer, timpani, three percussion, and strings.

Christopher Theofanidis

T

he world premiere performances of Creation/Creator took place at Atlanta Symphony Hall on April 23 and 25, 2015. These performances (and world premiere recording of the work for the ASO Media label) were a continuation of the long and treasured collaboration between the Atlanta Symphony Orchestra and its Music Director Robert Spano, and the distinguished American composer and educator, Christopher Theofanidis. Maestro Spano led the Houston Symphony in the 2000 world premiere of Mr. Theofanidis’s Rainbow Body. Robert Spano and the Atlanta Symphony Orchestra later recorded Rainbow Body for Telarc Records, and have frequently performed the work, both in Atlanta, and on tour.

In 2001, Robert Spano led the Brooklyn Philharmonic in Mr. Theofanidis’s one-act comic opera, The Cows of Apollo (libretto by William Hoffman). In the summer of 2015 at the Aspen Music Festival, Maestro Spano led a performance of The Cows of Apollo, paired with Steven Stucky and Jeremy Denk’s The Classical Style.

In 2005, Maestro Spano and the Atlanta Symphony Orchestra and Chorus performed the world premiere of Mr. Theofanidis’s The Here and Now (2005), commissioned by Robert encoreatlanta.com | Atlanta’s Performing Arts Publication 57

MAR 23/25 | program Spano. In addition to performances in Atlanta and a recording for Telarc, the artists presented the New York premiere of The Here and Now at Carnegie Hall in April of 2008. The Here and Now was a Grammy nominee for Best Contemporary Composition in 2007. In 2009, Maestro Spano and the Atlanta Symphony Orchestra gave the world premiere of Mr. Theofanidis’s Symphony, commissioned by the Orchestra with the generous participation of The Savannah Music Festival and the Immanuel & Helen Olshan Texas Music Festival.

Maestro Spano and the Atlanta Symphony Orchestra recorded the Theofanidis Symphony for ASO Media. In September of 2010, Maestro Spano and the Orchestra premiered Mr. Theofanidis’s Une Certaine Joie de Vivre, composed in celebration of Robert Spano’s 10th anniversary as Music Director. And on March 2, 2017, Maestro Spano and the Atlanta Symphony Orchestra performed the Atlanta premiere of a work the Orchestra co-commissioned, Mr. Theofanidis’s Dreamtime Ancestors.

Christopher Theofanidis Discusses Creation/Creator

C

reation/Creator is a work that explores the relationship between the active sense of what it means to create something and the seemingly more passive sense of observing or being inspired by a creation already in front of you. Appreciating something for its beauty, complexity, and humanity (which is the way most of us experience religion, the arts, the sciences, and other disciplines) puts us within a particular framework of thinking; the act of creating something comes with a different mentality. The libretto of Creation/ Creator reflects a kind of fluid movement between these two “voices” in hopes of shifting the “either/or” way of thinking.

In assembling the libretto for this work, I sought texts that appealed to me and cohered at some deeper philosophical level but allowed myself great variety of style and presentation in the music/text itself. I had the luxury of three researchers (Amy Beth Kirsten, Carla Baricz, Tyler Griffith) who assisted me in compiling texts from the various disciplines represented. I started with the notion that the impulse to create is something that comes from somewhere—for many it is a divine inspiration, for many it is the search for some kind of truth—and this impulse connects us all at a deeper level. As one sage mentioned, “We are all sparks off of the divine spark.”

The following are some comments on the work’s various movements: Elephant in the Dark—The short opening invites everyone to the party; Rumi, in a beautiful metaphor, says that all of us, from our various lives and perspectives, can only understand the whole in a limited way, but if we came together and each shared what we knew, and listened to each other, we would have a better sense of the whole. I saw this as particularly germane to the greater work’s dialogue.

God Tapestry—A larger movement of three interconnected poems from Hindu writings; the opening poem is from one of the earliest religious texts, the Rig Vedas, and is called “The Hymn to Creation,” appropriately enough. I love this poem because it asks questions—it is not just a deliberation on the way things are; it essentially begins by inviting the audience to ask things about origins. The second poem, The Dawn, is really beautiful, and draws a parallel between the sun at dawn and the creative impulse. The last poem in this set is The Bhakti Path, and this one talks about the strange relationship of creating to the ego, and how one ironically has to both ultimately have and lose the ego to create.

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MAR 23/25 | program Pan Gu and the Egg Shaped Cloud—One of the many fantastical creation stories I came across; it is Chinese in origin, and I love it because it shows the birth of order from chaos, and it highlights the impulse to organize. Further, it brings out the idea that this impulse to create inspires others to themselves create, and it is this spreading of the creative impulse that keeps back the chaos.

An Unknown Woman—This short movement is a meditation on a poem by the French symbolist poet, Paul Verlaine. It puts the creative spirit in dialogue with mystery, and also with a sense of both the familiar and the unexplored. Both the English and French versions of the poem co-exist in the movement.

Poets of Science—Inspired by the writings of several scientists, including physicist Richard Feynman and astronomer Carl Sagan, this movement reflects upon how creation in the cosmos is a marvel from the smallest to the largest levels of existence.

Laboratories of the Universe—The scientists I have quoted in dialogue here inspired me in that they are talking about the motivation behind the sciences they pursue as much as the sciences themselves—the sense of joy and wonder that drives them to pursue what they are looking for. They are also dealing with the “big questions” that religion itself deals with.

In the Eternal—This marvelous text from St. Augustine succinctly lays out the foundation of the questions of religion, philosophy, and even science in a mysterious prose; it struck me as particularly powerful because it uses some of the same vocabulary as modern science to describe time, decay, and creation.

Rainbow Serpent—An orchestral feature movement with a brief recited text that references an archetypal creation figure from the Australian Aboriginal ‘Dreaming.’ Rainbow Serpent, who carved rivers and left stars and rainbows in its wake, is one of the great initial creators in this mythology. Rainbow Serpent is drawn from a larger work that was commissioned by New Music for America last year for a consortium of 50 orchestra, called Dreamtime Ancestors.

Two Girls—A lovely poem that talks about how the artist’s work may delight someone in a way that the artist herself could not have foreseen, and about the beauty of creating something for others and the way these creations are generative.

Ms. Margaret Cavendish—An hilarious epilogue to a book that the 17th-century author wrote in a slightly catty way; it talks about how she as an authoress can create empires and worlds greater than Caesar or Alexander the Great...and all with a lot less suffering.

Between Green Thread and Broccoli—A humorous reminder to find joy in creating and in the appreciation of simple things.

The Creation—A purely narrated text from the Harlem Renaissance poet, James Weldon Johnson; it tells the traditional biblical story of the creation in a wonderful prose.

An Angel in the Marble—This movement is the same kind of dialogue and response as Laboratories of the Universe, only this time centered around the artist’s response. The title comes from what Michelangelo wrote about how he created: “I saw an angel in the marble, and I carved until I set him free.”

The Music it Makes—Truman Capote said that he wasn’t interested in the creation itself, but in “the music it makes”, which gave me another great excuse to have a short orchestral feature number after the chorus sings some introductory text.

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Find out what you need to know before the show. Read the current and past Encore Atlanta programs for the Fox Theatre, Atlanta Symphony Orchestra, Alliance Theatre and The Atlanta Opera online at issuu.com/encoreatlanta.

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MAR 23/25 | artists All Things Bound in a Single Book—A weaving together of several texts from the Jewish Book of Creation (the Sefer Yetzirah), along with texts of Hermann Melville, Walt Whitman, and finally Dante, which ultimately culminates in imploring the audience to engage creation directly themselves.

Creation/Creator is dedicated to my mother and father.

—Christopher Theofanidis

JESSICA RIVERA, soprano

S

SHAWN FLINT BLAIR

oprano Jessica Rivera uniquely combines versatility, intelligence and spirituality with a soulful, luminous sound that continues to earn her a place on the world’s most prominent stages.

Rivera cherishes a long-standing collaboration spanning over a decade with Robert Spano and the Atlanta Symphony Orchestra. Many of her greatest artistic moments have been accomplished with the ASO, including a Grammy award for Golijov’s Ainadamar in 2007 and her Carnegie Hall debut in Stravinsky’s Le Rossignol in 2009. Her work with Mr. Spano extends to other venues, including her debut performance with Chicago Lyric Opera as Kitty Oppenheimer in Doctor Atomic and a U.S. recital tour culminating in a performance at Carnegie Hall.

She includes among her most treasured performances Górecki’s Symphony No. 3 with Gustavo Dudamel and the Los Angeles Philharmonic, John Adams’ El Niño with David Robertson and the Boston Symphony Orchestra, Poulenc’s Gloria with Bernard Haitink and the Chicago Symphony, and numerous performances of Adams’s A Flowering Tree, most notably with the Berliner Philharmoniker under the baton of Sir Simon Rattle, the Cincinnati Opera under Joana Carneiro, San Francisco Symphony, Los Angeles Philharmonic and London Symphony Orchestra under John Adams, and Atlanta Symphony Orchestra under Robert Spano.

Rivera has also appeared with the Los Angeles Opera, Santa Fe Opera, De Nederlandse Opera, Finnish National Opera, BBC Scottish Symphony, Cleveland Orchestra, Dallas Symphony Orchestra, the Hong Kong Symphony, and has recorded for Deutsche Grammophon, Telarc, ASO Media, Nonesuch and Urtext.

SASHA COOKE, mezzo-soprano

G

DARIO ACOSTA

rammy Award-winning mezzo-soprano Sasha Cooke appears frequently this season singing Mahler, whose works she has sung to great acclaim on four different continents. Sought after by the world’s leading orchestras, opera companies and chamber music ensembles for her versatile repertoire and commitment to new music, Cooke’s season continues to bring world premiere performances and unique artistic collaborations.

Cooke bookends her 2016-17 season with opera performances of Hänsel und Gretel at the Seattle Opera and a world-premiere by composer Mason Bates and librettist Mark Campbell titled The (R)evolution of Steve Jobs at The Santa Fe Opera. Throughout the season her orchestral engagements include the Chicago Symphony Orchestra with Riccardo Muti leading Prokofiev’s Ivan the Terrible, Bernstein’s Symphony No. 1 “Jeremiah” with Royal Concertgebouw Orchestra as well as Philadelphia Orchestra conducted by Yannick Nézet-Séguin at Carnegie Hall and a 62 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

staged version of Verdi’s Requiem with Houston Grand Opera under Patrick Summers.

Her season also features performances with Atlanta Symphony Orchestra for Christopher Theofanidis’ Creation/Creator conducted by Robert Spano, Milwaukee Symphony for Mahler’s Symphony No. 3 with Edo de Waart, Duruflé’s Requiem with Cleveland Orchestra conducted by Matthew Halls and also with National Symphony Orchestra under Donald Runnicles, Minnesota Orchestra to sing and record Mahler’s Symphony No. 2 conducted by Osmo Vänskä, Los Angeles Chamber Orchestra singing a concert of Handel, Mahler and Mozart, Mahler’s Das Lied von der Erde with Krzysztof Urbański and the Indianapolis Symphony, Oregon Symphony for Mozart’s Requiem under Jean-Marie Zeitouni, and Nashville Symphony for Harbison’s Requiem that will also be recorded.

THOMAS COOLEY, tenor

T

Particularly renowned for his agility and skill in Baroque music, Cooley is in demand as an interpreter of the works of Bach and Handel, most especially in the role of the Evangelist in Bach’s Passions and in the great oratorios of Handel. He appears regularly with such historically informed groups as Philharmonia Baroque Orchestra, Handel and Haydn Society, Music of the Baroque (where he was named Artist-in-Residence for the 2015-16 season), Bethlehem Bach Choir, Akadamie für Alte Musik, Boston Baroque, the Carmel and Oregon Bach Festivals, Les Violons du Roy and the Munich Bach Choir.

Cooley’s activity on the operatic stage has largely centered on the roles of Mozart, Handel and Britten. Other roles he has performed include Count Almaviva in Rossini’s Il barbiere di siviglia, the title role in Bernstein’s Candide and Tristan in Frank Martin’s Le vin herbè.

In concert this season, Cooley can be heard on the stage of Carnegie Hall with the Indianapolis Symphonic Choir for Britten’s Les Illuminations and Mohammed Fairouz’s Zabur, with Minnesota Orchestra and Houston Symphony (Messiah), Music of the Baroque (Handel’s Alexander’s Feast and Telemann’s Day of Judgment oratorio) and Berner Kammerchor (Bach’s St. John Passion). Cooley also rejoins the Indianapolis Symphonic Choir for Mendelssohn’s Elijah. He reprises the title role in Mozart’s Idomeneo in a concert version at the Carmel Bach Festival and performs Handel’s oratorio Joshua with the Philharmonia Baroque Orchestra and conductor Nicholas McGegan. Cooley is also a featured guest artist in summer 2016 on the Prairie Home Companion Alaskan cruise.

NMON FORD, baritone

A

featured soloist on the four-time 2006 Grammy Award-winning album (including “Best Classical Recording”) Songs of Innocence and of Experience (Naxos) and the Grammy Award-winning album Transmigrations (Telarc), Panamanian-American Nmon Ford enjoyed many successful debuts over the past season, among them the role of Jochanaan (Salome) with Opéra National de Bordeaux, and the title role of Ernest Bloch’s Macbeth at Chicago Opera Theater.

Recently, Ford performed Brahms’ Requiem with the Milwaukee Symphony, Carmina encoreatlanta.com | Atlanta’s Performing Arts Publication 63

PAUL FOSTER-WILLIAMS

homas Cooley is a singer of great versatility, expressiveness and virtuosity who is in demand internationally for a wide range of repertoire in concert, opera and chamber music.

JOE ZAKANY

MAR 23/25 | artists burana with the Atlanta and St. Louis Symphonies, Scarpia (Tosca) with Madison Opera and Zurga (Les pêcheurs de perles) at Michigan Opera Theater. After singing Mahler’s Lieder eines fahrenden Gesellen with Orchestre National des Pays de la Loire (ONPL), he was immediately re-engaged by the ONPL for Mahler’s Kindertotenlieder and Fauré’s Requiem. Additional engagements include Shostakovich’s Thirteenth Symphony with the Chicago Symphony at Ravinia and the Los Angeles Philharmonic at Disney Concert Hall, Carmina burana with the Pittsburgh Symphony, and Escamillo (Carmen) at Palm Beach Opera.

Ford appeared at Teatro Comunale di Bologna in the title role of Pier Luigi Pizzi’s production of Don Giovanni, followed by the role of Escamillo (Carmen) at the Szeged Open-Air Festival in Hungary. In recent seasons he sang his first engagements at the Sferisterio Festival in Macerata, Italy in the title role of a new production of Attila and as Holofernes in a new production of Juditha Triumphans, preceded by Don Giovanni and the title role in The Emperor Jones at Teatro delle Muse di Ancona (Italy), Scarpia and the title role in Billy Budd at Hamburg State Opera, Escamillo at Palm Beach Opera, and Conte di Luna (Il trovatore) at Virginia Opera.

Ford’s recordings include Vai DaCapo – Songs of Delight (Universal/Decca; Billboard Top 20, Classical and Classical Crossover), Vaughan Williams’s Serenade to Music (Telarc) with Robert Spano and the ASO and Queen’s Bohemian Rhapsody (In-Akustik).

EVAN BOYER, bass

A

KRISTIN HOEBERMANN

merican bass Evan Boyer has performed with some of the most prominent operatic and orchestral organizations, conductors, and directors, both nationally and internationally. Since graduating from the Lyric Opera of Chicago’s Ryan Opera Center in the spring of 2013, Boyer has performed with Canadian Opera Company, LA Opera, Seattle Opera, Cincinnati Opera, Palm Beach Opera, the Atlanta Symphony Orchestra, the Dallas Symphony Orchestra, the Chicago Symphony Orchestra at Ravinia, the Houston Symphony and many others.

2016 highlights included a debut with Cincinnati Opera as Angelotti in Tosca and a recital for the Kentucky Governor’s School for the Arts. In 2015, Boyer performed Ramfis in Aida and Lo Zio Bonzo in Madama Butterfly with Wolf Trap Opera; returned to the Atlanta Symphony Orchestra for the world premiere of Christopher Theofanidis’ Creation/ Creator with Robert Spano; debuted in Mozart’s Requiem with Jaap van Zweden at the Dallas Symphony Orchestra, both in Dallas and at the Bravo Vail Festival; sang Armchair/Tree in L’enfant et les sortilèges with Seiji Ozawa on tour in his Ongaku-Juku Festival in Japan; and performed Colline in La bohème with Palm Beach Opera.

Boyer received his Master of Music in Opera from the Curtis Institute of Music, where he was heard as Enobarbus in Antony and Cleopatra, Conte Rodolfo in La sonnambula, Leporello in Don Giovanni, King René in Tchaikovsky’s Iolanta, Doktor in Wozzeck, Trulove in The Rake’s Progress; Barone Trombonok in Il viaggio a Reims, Bartolo in Le nozze di Figaro and José Tripaldi in Golijov’s Ainadamar.

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

1 075 P E AC H T R E E ST 4 0 4 .793 .01 4 4 | ST K H O U S E .CO M “ T H E 1 0 0 B E S T S T E A K H O U S E S I N A M E R I C A” - FORBES

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encoreatlanta.com | Atlanta’s Performing Arts Publication 65

MAR 23/25 | artists SHANNON EUBANKS, actor

S

hannon Eubanks is a Southern native who built her career in Los Angeles and New York, performing in classical repertory across the U.S., from Alaska Repertory Theatre to the Alabama Shakespeare Festival to the Shakespeare Society of America’s Globe Playhouse in Los Angeles, in over one hundred eighty principal roles, varying from Juliet to Rosalind to Lady MacBeth, from Elmire in Tartuffe to Sonia in Vanya, to Raina in Arms and the Man. A five-time Los Angeles Drama Critics’ Circle Award nominee, she created the role of Connie in Cowards at the Marilyn Monroe, Sally Hite in Yankee Wives at the Court and Irina in Poor Murderer at the Coronet.

Her series television career began on Lou Grant, survived a stint on Dynasty, and took her to New York where she created the role of Ann Alden Forbes on the ABC daytime drama Loving. Television movies include Alienation of Affection (Lifetime), Nightjohn (Disney), The Price of Heaven (CBS), The Margaret Mitchell Story (NBC), Pop Rocks (ABC Family) and the Hallmark Hall of Fame production of Secrets: The Other Anna (ABC).

Feature films include The Patriot, Lightning Bug, Runaway Jury, Twenty Years After, Something to Talk About, Midnight in the Garden of Good and Evil and Justice. Recent network series appearances include the recurring role of Bastianna Natale on The Originals, Drop Dead Diva and Eastbound and Down for HBO. Favorite Atlanta roles include Nana in Tuck Everlasting and Miss Millie in The Color Purple, Violet Venable in Suddenly Last Summer, Esme Allen in Amy’s View, Eleanor in The Lion in Winter and Ouisa in Six Degrees of Separation.

STEVEN COLE, actor

I

nternationally acclaimed American character tenor Steven Cole made his professional debut singing Monsieur Triquet in Eugene Onegin with the Boston Symphony under Seiji Ozawa at Tanglewood. Specializing in character tenor roles, he has a remarkably varied repertoire with more than 70 roles from Monteverdi to Ligeti.

Cole’s recent seasons exemplify his extraordinary versatility: Don Buscone in Veremonda with the Spoleto Festival USA, Goro in Madama Butterfly and the Abbé de Chazeuil in Adriana Lecouvreur with Opéra de Nice, the four valets in The Tales of Hoffman with the San Francisco Opera, Edmonton Opera and Canadian Opera Company, the three tenor roles in L’enfant et les Sortilèges with Théâtre de Caen, Sportin’ Life in Porgy and Bess with the Cincinnati Opera and Monostatos in Die Zauberflöte at the Théatre Champs Elysées in Paris.

Cole made his Metropolitan Opera debut as the Tanzmeister in Ariadne auf Naxos under James Levine. During the course of his career, he has returned many times to the San Francisco Opera, and has performed with the Canadian Opera Company, Houston Grand Opera, Washington National Opera, Chicago Lyric Opera, Seattle Opera, the Cleveland Orchestra, Chicago Symphony and New York Philharmonic.

Cole performs regularly in Europe, especially in France and Switzerland.

He has performed with the Opéra National de Paris, the Théâtre des Champs Elysées, the Opéra Comique, the opera companies of Lyon,

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

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encoreatlanta.com | Atlanta’s Performing Arts Publication 67

MAR 23/25 | artists Nice, Marseille, Bordeaux, Montpellier, Nantes, Nancy, Geneva, and Lausanne, the Aix-enProvence Festival and the Salzburg Festival.

JAMES ALEXANDER, stage director

J

ames Alexander’s extensive career in the performing arts ranges from founding a music theatre company in his native Scotland, managing The Boston Pops, staging musicals in London’s West End, serving in A&R at The Decca Record Company, managing a roster of classical musicians and soloists and conductors, to producing television and operas on three continents with a large number of prestigious companies, orchestras and conductors.

Creation/Creator takes place in his 10th year of works for The Atlanta Symphony Orchestra. Previous Theater Of A Concert presentations include, A Flowering Tree, Madama Butterfly, La bohème, Stravinsky’s Nightingale, Bernstein on Broadway and Dr. Atomic.

In Europe his engagements range from The Royal Scottish National Orchestra, to various productions with Scottish Opera, Opera North, The Gabrieli Consort & Players, (Venice & London), to serving as the Associate Director of the Olivier Award-winning Carmen Jones at London’s Old Vic Theatre.

In the USA, Mr. Alexander was a long time collaborator with Maestro Seiji Ozawa and The Boston Symphony. His Cincinnati Opera staging of Mozart’s Le nozze di Figaro was very highly acclaimed.

Alexander is Creative Director of Symphony V, a production company realizing revolutionary immersive experiences for audiences of symphony orchestras and opera companies.

Being the stage director of choice for Maestros Robert Spano and Yannick Nézet-Séguin, his future productions include Gluck’s Orfeo ed Euridice for The Atlanta Symphony Orchestra, Handel’s Messiah, Stravinsky’s A Soldier’s Tale and Puccini’s Tosca for The Philadelphia Orchestra.

DANIEL ARSHAM, scenography

D

aniel Arsham was born in Cleveland in 1980 and grew up in Miami. After receiving the YoungArts scholarship in 1999 from the National YoungArts Foundation, he attended Cooper Union in New York City. Beginning in 2004, Arsham began producing scenography for ballets, symphony orchestras, operas and music videos, working with composers and choreographers such as Merce Cunningham, Pharrell Williams and Jonah Bokaer, among others. Arsham founded the design and architectural firm Snarkitecture with Alex Mustonen in 2007 and the production company Film the Future in 2014 with Ben Louis Nicholas and Courtney Andrialis. His work has been presented at MoMA PS1, the MCA Academy in Miami, the Athens Biennale, the New Museum, the Contemporary Arts Center Cincinnati and other renowned institutions. Arsham lives and works in New York City.

he scenography by Daniel Arsham for Creation/Creator and Orfeo ed Euridice is sponsored by a deeply appreciated gift from the Antinori Foundation.

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

NORMAN MACKENZIE, Director of Choruses

A

JD SCOTT

s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts annually. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy awards. Mr. 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.

The New York Times describes Mr. Mackenzie as Robert Shaw’s “designated successor.” In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing, and partnered with Robert Spano for the 20th anniversary workshop featuring the Berlioz Requiem.

ATLANTA SYMPHONY ORCHESTRA CHORUS

T

he Atlanta Symphony Orchestra Chorus was founded in 1970 by former Music Director Robert Shaw and comprises 200 auditioned voices. The Chorus is an all-volunteer organization 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).

Those include Vaughan Williams’ A Sea Symphony and the Berlioz Requiem.

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

The Chorus made its debut at Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9 with the Atlanta Symphony Orchestra, led by Robert Shaw. In addition, the Chorus performed in Washington, DC, for President-elect Jimmy Carter’s Inaugural Concert in 1977. In 1988, it accompanied Shaw and the Orchestra on their European debut tour. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic – in Dec. 2003 for three performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in Dec. 2009 for a week of Brahms Requiem performances – all with Atlanta Symphony Orchestra Principal Guest Conductor, Donald Runnicles.

Within the Chorus, there is an auditioned group of 60 singers called the Atlanta Symphony Orchestra Chamber Chorus. The Chamber Chorus, which formed before the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters. encoreatlanta.com | Atlanta’s Performing Arts Publication 69

MAR 23/25 | artists Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 Ellen Abney Ariel Barnes Hanan Davis Khadijah Davis Amy Dowis Virginia Elizondo Laura Foster Meg Granum Michelle Griffin Jayme Hogan-Yarbro Jacquelyn Holloway Erin Jones Victoria Latimer Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Callaway Powlus Brianna Riley Natalie Rogers Stacey Tanner Brianne Turgeon* Wanda Yang Temko*

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

Anne-Marie Spalinger* Emily Tallant Cheryl Thrash Brenda Turner Donna Weeks* Katie Woolf

ALTO 1 Erin Axson Shana Bassett Deborah Boland** Rachel Bowman Donna Carter-Wood * Laurie Cronin Patricia DinkinsMatthews* Beth Freeman Noelle Hooge Beverly Hueter Janet Johnson** Lauren Johnson Virginia Little* Staria Lovelady Paige Mathis* Frances McDowell** SOPRANO 2 Mary Elizabeth June Abbott** Mendenhall Sloan Atwood* Linda Morgan** Jessica Barber Katherine Murray* Anne Beloncik Schantz Kathleen Poe Ross Jasmine Blue Laura Soltis Barbara Brown Meesook Sonu Kelly Campobasso Rachel Stewart** Martha Craft Diana Strommen Ellen Dukes** Grace Thompson Kimberly Duncan Nancy York* Mary Goodwin ALTO 2 Amanda Hoffman Nancy Adams* Kathleen Kelly-George Michelle Austin Eda Mathews** Ana Baida Shannon Nesbit Marcia Chandler Rachel O’Dell Meaghan Curry Vickie Orme Cynthia Goeltz Lindsay Patten DeBold** Chantae Pittman Michèle Diament Chelsea Rhoades Sally Kann Donna Ross* Nicole Khoury* Sydney Sewell Katherine MacKenzie Paula Snelling* Lynda Martin

Peter Marshall, Accompanist

Laura Rappold Campbell Rogers Andrea Schmidt Sharon Simons Alexandra Tanico Virginia Thompson* Sarah Ward Alexandra Willingham Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Jordan Bell Christian Bigliani David Blalock** John Brandt* Jack Caldwell* Daniel Cameron* Jared Campbell Justin Cornelius Joseph Cortes Ryan Dikdan Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Clinton Miller Christopher Patton Stephen Reed # Mark Warden* TENOR 2 Randall Barker** Mark Barnes Curtis Bisges Charles Cottingham # Phillip Crumbly* Joseph Few* Hamilton Fong Keith Jeffords** Steven Johnstone* Jonathan Marvel Michael Parker Marshall Peterson* Clifton Russell Wesley Shearer Thomas Slusher Scott Stephens* Wesley Stoner

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

Robert Wilkinson BASS 1 Dock Anderson Richard Brock* Russell Cason** Trey Clegg Michael Cranford Steven Darst** Michael Dennison Jon Gunnemann* David Hansen** Nick Jones # Jameson Linville Peter MacKenzie Jason Maynard Mark Mendenhall Andrew Riechel Kendric Smith # John Terry Ike Van Meter Edgie Wallace* Edward Watkins** BASS 2 Joshua Alexander Philip Barreca Clarence Bell Charles Boone Brian Brown* Joseph Champion Joel Craft** Paul Fletcher Andrew Gee* Timothy Gunter* Philip Jones Eric Litsey** Evan Mauk Eckhart Richter* John Ruff* Jonathan Smith Timothy Solomon** Benjamin Temko David Webster** Seth Whitecotton Gregory Whitmire* Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970)

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encoreatlanta.com | Atlanta’s Performing Arts Publication 71

MAR 29 | program

Support generously provided by Wells Fargo

AtlantaSymphonyOrchestra AtlantaSymphonyYouthOrchestra Joseph Young, Assistant Conductor and Music Director of the Atlanta Symphony Youth Orchestra Concert of Wednesday, March 29, 2017, at 8:00pm.

Side-by-Side Concert JOSEPH YOUNG, Conductor TBA, SOLOIST JEAN SIBELIUS (1865-1957) Finlandia, Opus 26 (1900)

9MIN

CONCERTO TBA MODEST MUSSORGSKY (1839-1881) Pictures at an Exhibition (1874) (Orchestrated by Maurice Ravel—1923) Promenade

I. Gnomus Promenade

II. Il vecchio castello Promenade

III. Tuileries

IV. Bydlo Promenade

V. Ballet of Little Chicks in their Shells

VI. Samuel Goldenberg and Schmuyle

VII. The Market Place in Limoges

VIII. Catacombae—Cum mortuis in lingua mortua

IX. The Hut on Hen’s Legs (Baba-Yaga)

X. The Great Gate of Kiev

35MIN

This concert is performed without intermission.

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.

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

Notes on the Program Ken Meltzer, Program Annotator Finlandia, Opus 26 (1900) JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, 1957. The first performance of Finlandia took place in Helsinki, Finland, on November 4, 1899, as part of the Press Pension Fund Pageant, with the composer conducting. Finlandia is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, triangle, and strings.

I

n 1809, Finland became a Grand Duchy under the Russian Czar. Finland enjoyed relative autonomy for the greater part of the 19th century. But in February of 1899, a Russian imperial decree ordered that the Russian State Council would, from that point on, be responsible for all laws affecting Finland. Russia incorporated the formerly autonomous Finnish postal system. Russia also disbanded the Finnish army, and citizens became liable for conscription into the Russian military.

The threat of Russian censorship of the Finnish press inspired the “Press Pension Fund Pageant,” held in November of 1899. As part of the pageant, the director of the Helsinki Finnish Theater arranged a series of six tableaux depicting important moments in Finnish history. Sibelius composed his tone poem Finlandia for the final tableaux, entitled “Finland Awakes.” The accompanying text for the tableaux begins: “The powers of darkness menacing Finland have not succeeded in their terrible threats. Finland awakes!”

Finlandia opens in somber fashion with an imposing brass chorale that contrasts with a plaintive statement by the woodwinds and strings (Andante sostenuto). Suddenly, the mood changes as brass fanfares introduce the heroic principal theme (Allegro moderato).

The woodwinds intone a beautiful hymn that is soon played by the strings. Brass fanfares herald the return of the heroic theme, joining forces with the hymn for the triumphant conclusion of Finlandia.

Pictures at an Exhibition (1874) (Orchestrated by Maurice Ravel—1923) MODEST MUSSORGSKY was born in Karevo, district of Pskov, Russia, on March 21, 1839, and died in St. Petersburg, Russia, on March 28, 1881. The first performance of the Maurice Ravel orchestration of Mussorgsky’s Pictures at an Exhibition (originally composed for piano solo) took place in Paris, France, on May 3, 1923, with Serge Koussevitsky conducting. The Ravel orchestration is scored for two piccolos, three flutes, three oboes, English horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, orchestra bells, triangle, snare drum, whip, chime in E-flat, ratchet, tamtam, cymbals, suspended cymbal, bass drum, two harps, celesta, and strings.

I

n 1873, the Russian artist Viktor Hartmann died at the age of 39. After Hartmann’s death, the St. Petersburg Society of Architects presented an exhibition of Hartmann’s works. Among the attendees was Hartmann’s dear friend, the Russian composer Modest Mussorgsky. Mussorgsky decided to offer a tribute to Hartmann in the form of a musical representation of several pieces featured at the St. Petersburg exhibit. In 1874, Modest Mussorgsky completed his work for solo piano, Pictures at an Exhibition, published after the composer’s death in 1881.

Conductor Serge Koussevitsky commissioned Maurice Ravel’s orchestration of the Mussorgsky piano composition for the annual Paris Concerts Koussevitsky, where it preencoreatlanta.com | Atlanta’s Performing Arts Publication 73

MAR 29 | program miered on May 3, 1923. Since that time, the Mussorgsky/Ravel Pictures at an Exhibition has been celebrated as a quintessential showpiece, for orchestras and conductors alike. It is one of the most performed and recorded works in the concert repertoire.

Promenade. Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto—The Promenade serves as a connecting motif between musical portrayals of the various pictures. Russian music critic Vladimir Stassov described the Promenade as depicting the composer “moving now to the left, now to the right, now wandering about aimlessly, now eagerly making for one of the pictures...”

I. Gnomus. Vivo—Many of Hartmann’s works disappeared during the period between the 1874 St. Petersburg exhibition and Ravel’s 1923 orchestration of Mussorgsky’s composition. There is disagreement as to the exact nature of the picture that inspired this music.

In the original piano edition, Stassov describes Hartmann’s work: “A dwarf walks about awkwardly on crooked little legs.” However, Alfred Frankenstein, longtime Music and Art Editor of the San Francisco Chronicle, engaged in a detailed search and study of the original Hartmann pictures. Frankenstein stated: “(t)he picture was a design for a nutcracker in the form of a gnome with huge jaws.”

Promenade—A more introspective statement of the Promenade theme serves as a bridge to the following picture.

II. Il vecchio castello. Andante—The painting depicts an old Italian castle, before which a lute-bearing troubadour stands.

Promenade. Moderato non tanto, pesamente—A brief, weighty restatement of the Promenade leads to: III. Tuileries. Allegretto non troppo, capriccioso—Mussorgsky’s own subtitle for this section is “Children Quarreling After Play.” The painting depicts the Parisian Tuileries gardens, where children play under the watchful eye of their nurses.

IV. Bydlo. Sempre moderato pesante—“Bydlo” is the Polish word for “cattle.” Hartmann’s watercolor depicts an ox-drawn cart with massive wooden wheels.

Promenade. Tranquillo—A short reprise of the Promenade serves as a bridge to: V. Ballet of the Chicks in Their Shells. Scherzino. Vivo leggiero—The sketch that inspired this delightful miniature scherzo was made by Hartmann for the ballet, Trilby. It features costumed children impersonating chicks newly emerging from their shells.

VI. Samuel Goldenberg and Schmuyle. Andante—The title of this section is the creation of Stassov—Mussorgsky’s original reads: “Two Polish Jews; one rich, the other poor.” This episode appears to be based upon a Hartmann drawing of the Sandomir ghetto.

Here, Ravel omits Mussorgsky’s repetition of the Promenade and proceeds to: VII. The Market Place in Limoges. Allegretto vivo, sempre scherzando—Hartmann’s watercolor portrays the façade of the Limoges Cathedral. Mussorgsky focused on a small portion of the watercolor that shows market women engaged in lively conversation. The quicksilver musical portrayal of their gossip is interrupted by: VIII. Catacombae, Sepulchrum Romanum. Largo—The painting depicts Hartmann and a friend standing in a Paris catacomb, observing a pile of skulls illuminated by a guide’s lantern. Alternating loud and soft brass pronouncements lead directly to: 74 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Cum mortuis in lingua mortua. Andante non troppo, con lamento—Mussorgsky’s own footnote to this section’s title reads: “A Latin text: ‘With the Dead in a Dead Language.’ Well may it be in Latin! The creative spirit of the departed Hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within.”

A moment of silence is shattered by: IX. The Hut on Hen’s Legs (Baba-Yaga). Allegro con brio, féroce—Andante mosso—Allegro molto—Baba-Yaga is a mythical Russian witch who lured victims into her hut. There, BabaYaga ground her prey’s bones with a giant mortar that she also used to transport herself through the air. Hartmann’s drawing is a representation of a huge clock in the shape of the witch’s hut that, according to legend, stood on four chicken feet, thereby allowing the quick capture of each new victim. Mussorgsky’s musical portrayal of the witch’s grotesque hut and her flight leads without pause to: X. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza—The final picture represented Hartmann’s entry in a competition to erect a gateway in Kiev. The gateway was intended to serve as a memorial to Tsar Alexander II’s escape from assassination.

Hartmann envisioned a massive and ornate structure, featuring a cupola in the form of a Slavonic war helmet. Mussorgsky’s music, enhanced by Ravel’s orchestration, evokes the epic grandeur of Hartmann’s design, as well as images of ceremonial processions through the extraordinary gate.

Please see page 54 for Maestro Young’s biography and the ASYO roster.

ASYO | Memorial Chair he Atlanta Symphony Orchestra is honored to recognize a new named chair in the Atlanta Symphony Youth Orchestra (ASYO). The ASYO Principal Viola Chair will be named the Ardath W. Weck Chair, in memory of Ardath Weck, Atlanta Symphony Orchestra violist for 46 years.

JD SCOTT

T

Ardath was a woman deeply admired and loved for her kindness, talent, and infectious passion for animals. Her family and friends contributed generously to perpetuate Ardath’s musical legacy by naming the ASYO Principal Viola Chair in her memory—a symbol of her life-long devotion to music.

After graduation from Smith College, Ardath spent a year studying at the Akademie für Musik in Vienna, Austria with a member of the Vienna Philharmonic. Upon returning to the U.S., she studied in New York then played in the Tampa, St. Petersburg and Sarasota Symphonies before coming to Atlanta in 1966. Ardath retired in 2012 after 46 years with the Atlanta Symphony. Her gentle presence and artistic perseverance inspired generations of musicians. Ardath’s passing in 2014 was felt by her many colleagues past and present.

Ardath is survived by her two daughters, Sarah Weck and Pamela Cohen; her sister, Susan Welles; her two brothers Thomas and Steven Weck; and her five granddaughters, Julia, Lara, Allison, Kaitlin and Ardath-Antonia. Her impact on this Orchestra, on her friends, on her colleagues and on her community will always be remembered. encoreatlanta.com | Atlanta’s Performing Arts Publication 75

ASO | support

T

he Orchestra donor list includes donations made since June 1, 2015. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime. Those who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world.

On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share.

Bravo!

$500,000+

Delta Air Lines, Inc. Lettie Pate Evans Foundation, Inc.

$250,000+

Mrs. Anne Cox Chambers

$100,000+

The Kendeda Fund The Andrew W. Mellon Foundation

1180 Peachtree Bank of America The Coca-Cola Company Estate of Mrs. Polly Hallock The Home Depot Foundation

Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation Estate of Dr. Shirley E. Rivers Wells Fargo

$75,000+

Susan & Richard Anderson

Susan & Thomas Wardell

$50,000+

The Antinori Foundation The Graves Foundation

The Zeist Foundation

$35,000+

Ann & Gordon Getty Foundation Kaiser Permanente National Endowment for the Arts Victoria & Howard Palefsky

Ann Marie & John B White, Jr.* Charlie & Dorothy Yates Family Fund

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

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

ASO | support Appassionato Donors who give at the Appassionato level ($10,000+) enjoy the benefits of the Patron Partnership, while also having opportunities to receive VIP personal ticketing and reservation concierge, exclusive access to artists’ events, and recognition as a concert sponsor.

$25,000+ Madeline & Howell E. Adams, Jr. Betty Sands Fuller The Arthur M. Blank Family Foundation The Breman Foundation, Inc. Mary & John Brock John W. & Rosemary K. Brown Connie & Merrell Calhoun City of Atlanta Office of Cultural Affairs Mr. & Mrs. Bradley Currey, Jr. Ms. Lynn Eden Four Seasons Hotel Atlanta Fulton County Arts Council Fulton County Board Of Commissioners Judah S. Gudelsky Caroline Hofland Hudgens Family Foundation Mr. & Mrs. Gary Lee, Jr. The Charles Loridans Foundation, Inc. The Mark & Evelyn Trammell Foundation Massey Charitable Trust Mr. Harris N. Miller & Ms. Deborah A. Kahn Terence L. & Jeanne P. Neal* One Museum Place Mr. & Mrs. E. Fay Pearce, Jr. Porsche Cars North America Inc. Publix Super Markets Charities Ms. Ellen Rudolph Ryder Truck Rental Bill & Rachel Schultz* Mrs. William A. Schwartz Mrs. Charles A. Smithgall, Jr. Southern Company Gas Mr. G. Kimbrough Taylor & Ms. Triska Drake The UPS Foundation Mr. & Mrs. Edus H. Warren, Jr. WestRock Mrs. Sue S. Williams

$17,500+ Mr. & Mrs. Paul J. Blackney Mr. & Mrs. Frank H. Boykin

Ann Elizabeth “Libby” Calk Wright & Alison Caughman Catherine Warren Dukehart Kirk & Kim Jamieson Caroline & Joe O’Donnell The Sally & Peter Parsonson Foundation Sara Passarella, in memory of Ann E. Calk The Roy & Janet Dorsey Foundation Patrick & Susie Viguerie Mark & Rebekah Wasserman Adair & Dick White

Dr. & Mrs. James Wells

$10,000+

A Friend of the Atlanta Symphony Orchestra Allstate Alston & Bird Julie & Jim Balloun Jennifer Barlament & Kenneth Potsic Alexandra & Brett Blumencranz Mr. David Boatwright The Walter & Frances Bunzl Foundation John W. Cooledge $15,000+ In honor of Norman Mackenzie Mr. Keith Adams &

by Janet Davenport Ms. Kerry Heyward Marcia & John Donnell Clark & Ruby Baker Foundation, Eleanor & Charles Edmondson Bank of America, N.A., Trustee Georgia-Pacific Foundation Kelley O. & Neil H. Berman Georgia Power Foundation, Inc. The Capital Group Companies Charitable Foundation The Robert Hall Gunn, Jr., Fund Russell Currey & Amy Durrell Virginia Hepner & Malcolm Barnes Harry & Wendy Cynkus Ms. Jeannie Hearn** Cari Dawson & John Sparrow Mr. & Mrs. Douglas J. Hertz Drs. Jeannette Guarner & Roya & Bahman Irvani Carlos del Rio JBS Foundation Marty & John Gillin King & Spalding William M. Graves Lenox Square a Simon Mall Jason & Carey Guggenheim/ Sarah & Jim Kennedy Boston Consulting Group Mr.** & Mrs.** Donald Keough Clay & Jane Jackson Kimberly-Clark Corporation Ann A. & Ben F. Johnson III* Mr. Louis G. Lane James H. Landon Pat & Nolan Leake Donna Lee & Howard Ehni Mr. & Mrs. Brian F. McCarthy Karole & John Lloyd John F. & Marilyn M. McMullan Meghan & Clarke Magruder Sunny Park Ken & Carolyn Meltzer Mr. & Mrs. Solon P. Patterson* Piedmont National Suzanne & Bill Plybon* Family Foundation Joyce & Henry Schwob Dr.** & Mrs. Mark P. Pentecost, Jr. Ms. Nancy Field & Patty & Doug Reid Mr. Michael Schulder Betsy & Lee Robinson June & John Scott Mary & Jim Rubright Mr. John A. Sibley III Janine Brown & Alex J. Simmons, Jr. Slumgullion Charitable Fund Jeffrey Sprecher & Kelly Loeffler Dr. Steven & Lynne Steindel* Loren & Gail Starr Ticketmaster Alison & Joe Thompson Turner Foundation, Inc. Trapp Family Chilton & Morgan Varner John & Ray Uttenhove Mrs. Virginia S. Williams Kathy N. Waller

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 77

ASO | support the patron partnership Members of the Patron Partnership give $2,000–$9,999 within a given fiscal year and enjoy all the benefits of the Conductor’s Circle, as well as others, that include invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal.

2016-17 committee Belinda Massafra Chair Kristi Allpere Vice-Chair, Programs Helga Beam Vice-Chair, Annual Fund

June Scott Vice-Chair, Communications & Newsletter Editor Deedee Hamburger Programs Committee Member Judy Hellriegel Annual Fund Committee Member

Cindy Jeness Communications Committee Member Milt Shlapak Member-at-Large Sally Parsonson Communications Committee Member

Peter Stelling Programs Committee Member Jonne Walter Annual Fund Committee Member Marcia Watt Communications Committee Member

7,500+

$5,000+ A Friend of the Symphony - 5 Mrs. Kay Adams* & Mr. Ralph Paulk Mr. & Mrs. John Allan Mr. William Allgood Asad Bashey Jack & Helga Beam Patricia & William Buss William & Patricia Cook Jean & Jerry Cooper Thomas G. Cousins Mr. & Mrs. Jonathan J. Davies Ms. Arlene DeMita Mr. & Mrs. Richard Goodsell Greystar Real Estate Partners LLC Sally W. Hawkins Mr. Roger Hudguns Tad & Janin Hutcheson Mr. Baxter P. Jones & Dr. Jiong Yan Cecile M. Jones Paul & Rosthema Kastin Donald S. Orr & Marcia K. Knight Mr. Kurt P. Kuehn & Ms. Cheryl Davis George H. Lanier Mr. & Mrs. J. Hicks Lanier/The Sartain Lanier Family Foundation

Isabel Lamy Lee Loews Atlanta Hotel Peg & Jim Lowman Mary Ruth McDonald* Ms. Terry S. McGehee & Ms. Sheila A. Hunt, A.I.A. Ms. Molly Minnear & Mr. Craig Seibert Walter W. Mitchell Morgens West Foundation Ms. Suzanne E. Mott Dansby Franca G. Oreffice Margaret H. Petersen Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel John T. Ruff Beverly & Milton Shlapak Ms. Caroline Stackhouse Peter James Stelling John & Yee-Wan Stevens Lou & Dick Stormont Mr. & Mrs. Edward W. Stroetz, Jr. Carol & Ramon Tomé Family Fund* Mr. & Mrs. Alan Watt Joan N. Whitcomb Dick S. White, Jr. Suzanne B. Wilner

$2,000+

Aadu & Kristi Allpere* Rita & Herschel Bloom Lisa & Russ Butner Clark & Ruby Baker Foundation Cobb EMC Community Foundation Mr. & Mrs. Ronald M. Cofield Sally & Carl Gable Deedee & Marc Hamburger* Azira G. Hill Robert & Sherry Johnson Amy & Paul Snyder Dr. & Mrs. James O. Wells, Jr. Russell Williamson & Shawn Pagliarini

A Friend of the Atlanta Symphony Orchestra (4) Ms. Mary Allen Mr. & Mrs. Stephen D. Ambo Rod & Leslie Aycox Dr. Evelyn R. Babey Dr. & Mrs. David Bakken Lisa & Joe Bankoff Anthony Barbagallo & Kristen Fowks Bell Family Foundation for Hope Inc Dr. & Mrs. Joel E. Berenson Natalie & Matthew Bernstein Shirley Blaine Jane & Gregory Blount Leon Borchers Martha S. Brewer Mrs. Harriett E. Brock & Mr. Erich Ledermann Jacqueline A. & Joseph E. Brown, Jr. Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Karen & Rod Bunn Lubo Fund Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe

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

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

Alison & Chuck Carlin Mr. & Mrs. George E. Case III Mr. & Mrs. Dennis M. Chorba Ruth & Mark Coan Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Ralph & Rita Connell Rebekah & Jonathan Cramer Carol Comstock & Jim Davis* Peter & Vivian de Kok Mr. Philip A. Delanty Mary & Mahlon Delong Xavier Duralde & Mary Barrett Greg & Debra Durden Ms. Diane Durgin Betty W. Dykes Mr. Richard H. Delay & Dr. Francine D. Dykes Mr. & Mrs. Robert G. Edge Dieter Elsner Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand Rosi Fiedotin Mr. & Mrs. William A. Flinn Dr. & Mrs. Richard D Franco John & Michelle Fuller Representative Pat Gardner & Mr. Jerry Gardner Mary D. Gellerstedt Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline M Gilham Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mrs. Louise Grant Joanne & Alex Gross Mr. & Mrs. George N. Gundersen Mr. Gary Guy Harald R. Hansen* Lee Harper & Wayne Vason Phil & Lisa Hartley John & Martha Head

The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. & Mrs. John E. Hellriegel Mr. William B. Hendrix Kenneth R. Hey Sarah & Harvey Hill The Hisham & Nawal Araim Foundation James & Bridget Horgan Mrs. Sally Horntvedt Tatty & Harry Howard Henry Howell Dona & Bill Humphreys Mrs. James M. Hund JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness The Jim Cox, Jr. Foundation Aaron & Joyce Johnson Mr. W. F. & Dr. Janice Johnston Jones Day Ann Rollins & James Jose Mr. James F. Kelly, Sr. Dick & Georgia Kimball* Ms. & Ms. Tara KingHughes Allyson M. Kirkpatrick Mr. & Mrs. Alan M. Knieter Mrs. Jo W. Koch David & Jill Krischer Dr. & Mrs. James T. Laney* Wolfgang & Mariana Laufer Lillian Balentine Law Olivia A. M. Leon Mr. & Mrs. J. David Lifsey Joanne Lincoln Hank Linginfelter Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Ms. Erin M. Marshall Kay & John T. Marshall Belinda & Gino Massafra Martha & Reynolds McClatchey

Mr. & Mrs. Albert S. McGhee Mrs. Kathryn M. McGrew Dr. Larry V. McIntire Mr. Justin R. McLain Birgit & David McQueen Virginia K. McTague Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Moe’s Southwest Grill Rebecca P. Moon Gregory & Judy Moore Lilot S. Moorman & Jeffrey B. Bradley Mr. Andrew Muir Janice & Tom Munsterman Ann A. Nable Melanie & Allan Nelkin Gary & Peggy Noble Mr. & Mrs. Charles O’Brien, III Lynn & Galen Oelkers Robert & Mary Ann Olive Barbara & Sanford Orkin Mr. Nat Padget Margo Brinton & Eldon Park Susan Perdew Elise T. Phillips Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. In Memory of Dr. Frank S. Pittman III Mary Kay & Gene Poland Ms. Kathy Powell Tom & Mary Quigley Mr. Leonard B. Reed Mr. J. A. Reiman & Ms. Cynthia Good Mrs. Susan H. Reinach Peach State Truck Centers The Elster Foundation S.A. Robinson Ms. Susan Robinson & Ms. Mary Roemer Mr. & Mrs. Richard L. Rodgers George & Mary Rodrigue The Gary W. Rollins Foundation Jane & Rein Saral

Mr. & Mrs. Robert Schlotman Sam Schwartz & Dr. Lynn Goldowski Mr. Randy Shields & Mrs. Sarah Shields Nancy & Henry Shuford Helga Hazelrig Siegel Gerald & Nancy Silverboard Baker & Debby Smith Hamilton & Mason Smith Johannah Smith Barry & Gail Spurlock Mr. & Mrs. Raymond F. Stainback, Jr. Mrs. C. Preston Stephens Kay & Alex Summers Stephen & Sonia Swartz Mr. & Mrs. Elliott Tapp George & Amy Taylor Judith & Mark K. Taylor Mrs. William J. Thompson Burton Trimble Mrs. Sheila Tschinkel Frank Vinicor, M.D. Vogel Family Foundation Drs. Jonne & Paul Walter Carol Brantley & David Webster Joan & Howard Weinstein Nanette K. Wenger MD Robert Wenger & Susan Carney David & Martha West Dr. W. Geoffrey West Ron & Susan Whitaker Mr. & Mrs. Peter L. Whitcup Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Russell Winch & Mark Elberfield Mary Lou Wolff Mr. & Mrs. M. Beattie Wood Mr. & Mrs. John C. Yates Camille Yow

encoreatlanta.com | Atlanta’s Performing Arts Publication 79

ASO | support henry sopkin circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Named for the Orchestra’s founding Music Director, the Henry Sopkin Circle recognizes individuals who have included the Atlanta Symphony Orchestra in their will or estate plans.

Members enjoy special events and benefits throughout the season, including the Annual Henry Sopkin Circle Luncheon.

Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia & William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese* Margie & Pierce** Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela Johnson Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth R. Etoll Brien P. Faucett Dr. Emile T. Fisher A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik

Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Mary Virginia Hearn** Barbara & John** Henigbaum Richard E. Hodges, Jr. Pat & Chuck Holmes Mr.** & Mrs. Fred A. Hoyt, Jr. Jim** & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb** & Hazel Karp Anne Morgan & Jim Kelley Robert Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little** Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham

Linda & John Matthews Dr. Michael S. McGarry John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Amy W. Norman Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonson Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram 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 June & John Scott Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell

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

Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.** & Mrs.** Charles R. Yates

You can leave a legacy of music.

For more information call 404.733.4839 or visit aso.org/giving

**Deceased

Join us for the 52nd running of the

Atlanta Steeplechase Benefiting Bert’s Big Adventure

APRIL 22, 2017  Horse racing  Tailgating  Lawn Party  Southern tradition

Order your tickets today – call 404-237-7436 or visit www.atlantasteeplechase.org General admission tickets available at Ticketmaster.com, . or charge-by-phone 800-745-3000.

Each year the Atlanta Symphony Orchestra reaches more than

70,000 students and families

Talent Development Program, Music for the Very Young, Family Concert Series and Family Days at the Woodruff Arts Center.

The Atlanta Symphony Orchestra has introduced more than

1.5 MILLION

BY T H E N U M B E R S PRICELESS: generous support of donors & sponsors The Atlanta Symphony Orchestra performs more than

150 concerts each year.

Talent Development Program students who have gone on to major in music > More than

3,000

students in grades eight to twelve have been members of the Atlanta Symphony Youth Orchestra since its founding in 1974.

children in Georgia

to symphonic music through Concerts for Young People since 1954.

75%

The Atlanta Youth Symphony (predecessor to the Atlanta Symphony Orchestra) performed its first concert on February 2, with Music Director Henry Sopkin.

through an array of programming, including Concerts for Young People, The Atlanta Symphony Youth Orchestra,

AtlantaSymphonyOrchestra

Music Directors who have led the Orchestra

55,300

HENRY SOPKIN

Likes on Facebook

YOEL LEVI

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

4

ROBERT SHAW

ROBERT SPANO

Music and More The Robert Shaw Room — a special place to converse with fellow music lovers, meet the Orchestra Musicians or simply enjoy a cocktail with old and new friends!

The Robert Shaw Room, the VIP Donor Lounge and Dining Room, is open for cocktails and dinner prior to Atlanta Symphony Orchestra performances in Atlanta Symphony Hall, as well as for cocktails and complimentary coffee during intermission.

Open to donors of $2,500 and above.

encoreatlanta.com | Atlanta’s Performing Arts Publication 83

musicians’ endowment Robert Spano, John B. White, Jr., Co-Chairs The Atlanta Symphony Orchestra is very happy to announce that we have surpassed our $25 Million Musicians’ Endowment Campaign goal, nearly two years ahead of schedule. A special thanks to The Delta Air Lines Foundation for their generous pledge of $2.5 Million, along with all of the generous individuals, foundations and corporations listed below, who helped the Orchestra achieve this critically important milestone. The Musicians’ Endowment will permanently endow 11 positions in the Atlanta Symphony Orchestra and strengthen our foundation to ensure that the Atlanta Symphony Orchestra remains a strong cultural presence in the Atlanta community for generations to come.

The Robert W. Woodruff Foundation Betty Gage Holland Anonymous, in honor of Betty Fuller Anonymous, in honor of Terence L. Neal Connie & Merrell Calhoun

The Delta Air Lines Foundation Sally & Carl Gable Wilbur & Hilda Glenn Family Foundation Abraham J. & Phyllis Katz Foundation

Estate of Cora Nunnally Miller

Mr. & Mrs. Solon P. Patterson

Betty & Robert Balentine Patty & Doug Reid Estate of Michael McDowell The Antinori Foundation The Besse Johnson & George Blanton Allen Foundation Mrs. Hugh M. Chapman Marty & John Gillin

The Kendeda Fund Lucy R. & Gary Lee, Jr. Thalia & Michael C. Carlos Foundation The UPS Foundation Wells Fargo

Clay & Jane Jackson Mr. & Mrs. Wyatt T. Johnson Massey Charitable Trust The Fred & Sue McGehee Family Charitable Fund The Sumgullion Charitable Fund

David, Helen & Marian Woodward Fund Mark & Evelyn Trammell Foundation Powell Charitable Trust Susan & Tom Wardell Sue Williams

Mrs. Azira Hill Joyce & Henry Schwob Brenda & Charles Moseley Mr. John A. Sibley III Victoria & Howard Palefsky Chilton & Morgan Varner

The Vasser Woolley Foundation, Inc.

The Roy & Janet Dorsey Foundation The Robert S. Elster Foundation

Don Carson Dr. John Cooledge Nancy D. Gould Elizabeth J. Levine

Bill & Rachel Schultz The Trapp Family Mr. & Mrs. Edus H. Warren, Jr.

Jan & Gus Bennett Terri & Jim Coil D. D. Conrad Arnika & Stephen Dawkins Dr. & Mrs. Carl D. Fackler

Mr. & Mrs. Richard K. Hines V Pat & Nolan Leake Dr. & Mrs. William M. McClatchey Mr. & Mrs. John W. Scott

Estate of Chip Siegel Dr. Steven & Lynne Steindel Mr. & Mrs. Mason W. Stephenson Liz & Mike Troy

Mr. & Mrs. John Allen Mr. & Mrs. William B. Fryer Mr. & Mrs. Robert D. Hays

Lynn & Galen Oelkers Margo Brinton & Eldon Park The Sally & Peter Parsonson Foundation

Mr. & Mrs. John C. Staton, Jr. Adair & Dick White

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THE WOODRUFF CIRCLE Woodruff Circle members each contribute more than $250,000 annually to support 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 38 partners who lead our efforts to ensure the arts thrive in our community.

$1 MILLION+

$500,000+ A Friend of the Atlanta Symphony Orchestra (2) The Andrew W. Mellon Foundation Bank of America Chick-fil-A Foundation / Rhonda and Dan Cathy Georgia Power Foundation, Inc. The Home Depot Foundation The Marcus Foundation, Inc.

Spray Foundation, Inc. SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Thomas Guy Woolford Charitable Trust

Terra Foundation for American Art Wells Fargo

$400,000+ Abraham J. & Phyllis Katz Foundation The Douglas J. Hertz Family PwC, Partners & Employees

Patty and Doug Reid The Rich Foundation The Sara Giles Moore Foundation

$300,000+ Mr. and Mrs. C. Merrell Calhoun The Community Foundation for Greater Atlanta, Inc. Deloitte, its Partners & Employees Forward Arts Foundation

Mr. and Mrs. Donald R. Keough King & Spalding, Partners & Employees UPS Mr. and Mrs. Edus H. Warren, Jr. Mr. and Mrs. Leonard Wood

$250,000+ EY, Partners & Employees Invesco Ltd. KPMG LLP, Partners & Employees

Turner wish Foundation

Woodruff Circle & Patron Circle donations made: June 1, 2015 – May 31, 2016 Beauchamp C. Carr Challenge Fund Donors

encoreatlanta.com | Atlanta’s Performing Arts Publication 85

THE PATRON CIRCLE $200,000+

A Friend of the Atlanta Symphony Orchestra AT&T Georgia-Pacific Corporation Estate of Jeannie Hearn Beth and Tommy Holder Jane and Clayton Jackson Jones Day Foundation & Employees Sarah and Jim Kennedy Lucy R. and Gary Lee, Jr. Estate of Amy Norman Louise S. Sams and Jerome Grilhot Margaret and Terry Stent Tull Charitable Foundation

$150,000+

1180 Peachtree A Friend of the Woodruff Arts Center Alston & Bird LLP The Antinori Foundation / Ron and Susan Antinori BB&T Joe and Alexis Best III The David, Helen & Marian Woodward Fund-Atlanta Equifax, Inc. Fulton County Arts Council The Howell Fund, Inc. Victoria and Howard Palefsky PNC Estate of Shirley Rivers The Sartain Lanier Family Foundation The Shubert Foundation Mrs. Sue Williams

$100,000+

A Friend of the Alliance Theatre HerbertAllen / Allen & Company AmericasMart Atlanta The Arthur M. Blank Family Foundation Atlanta Foundation Sandra and Dan Baldwin Lucinda W. Bunnen Barbara and Steve Chaddick City of Atlanta Office of Cultural Affairs Ann and Jeff Cramer Dan and Merrie Boone Foundation / Dan W. Boone III First Data Corporation Sally and Carl Gable Carol and Paul Garcia Helen C. Griffith Kaiser Permanente Kilpatrick Townsend & Stockton LLP Emily and Carl Knobloch Morgens West Foundation National Endowment for the Arts Northern Trust Company The Pittulloch Foundation Margaret and Bob Reiser The Richman Family Foundation Southern Company Gas

Carol and Ramon Tomé Family Fund WestRock Company Woodruff Arts Center Employees

$75,000+

Alexander Babbage, Inc. Atlanta Homes & Lifestyles Kathy and Ken Bernhardt Frances B. Bunzl Cisco Edgerton Foundation New American Plays The Henry Luce Foundation, Inc. Intercontinental Exchange, Inc. Starr Moore and the James Starr Moore Memorial Foundation North Highland Publix Super Market Charities Mrs. Ruth Magness Rollins Triad Foundation, Inc.

$50,000+

Akris ALPLA Susan and Richard Anderson Assurant Atlanta Braves Birch Communications Kenny and Nancy Blank Bloomberg The Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Crawford & Company Katie and Reade Fahs Ellen and Howard Feinsand The Frances and Beverly DuBose Foundation, Inc. Paul and Kate Gaffney Mr. and Mrs. Lawrence L. Gellerstedt III General Electric Company Genuine Parts Company The Graves Foundation The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. and Mrs. Hilton H. Howell, Jr. Karen and Jeb Hughes Isdell Family Foundation Mr. Michael Kaufmann John C. Keller The Mark & Evelyn Trammell Foundation Massey Charitable Trust NCR Foundation Norfolk Southern Corporation One Museum Place Primerica, Inc. R. Howard Dobbs, Jr. Foundation Razorfish Regions Bank Mr. and Mrs. Fred Richman Mr. Ferdinand C. Seefried Chip and Sharon Shirley The Shops Buckhead Atlanta

The Patron Circle includes donors who generously made contributions to our FY16 annual funds and/or long-term special projects and endowment funds.

Mr. and Mrs. H. Bronson Smith Sara and Paul Steinfeld Sutherland Asbill & Brennan LLP Target Stores United Distributors, Inc. voestalpine Waffle House Susan and Tom Wardell Elizabeth and Chris Willett Joni Winston

$25,000+

A Friend of the High Museum of Art Kristie and Charles Abney Accenture LLP Ms. Kristin Adams Madeline and Howell Adams, Jr. Allstate Ann and Gordon Getty Foundation Arby’s Foundation, Inc. Arnall Golden Gregory LLP Spring and Tom Asher Atlanta Marriott Marquis AVYVE Axiall Corporation The Balloun Family Juanita and Gregory Baranco Anna and Ed Bastian Mr. and Mrs. Paul J. Blackney BNY Mellon Wealth Management Mr. Charles Brady John and Mary Brock John and Rosemary Brown Camp-Younts Foundation The Charles Loridans Foundation, Inc. Bert and Cathy Clark Cobb EMC Community Foundation Cousins Properties Inc. Sherri and Jesse Crawford Creative Industries Mr. and Mrs. Bradley Currey, Jr. Elaine and Erroll Davis Marcia and John Donnell Catherine Warren Dukehart Lynn Eden Brooke and Rod Edmond Emory University Peggy Foreman Four Seasons Hotel Atlanta Charlotte R. Garson Georgia Natural Gas Gertrude and William C. Wardlaw Fund GMT Capital Corporation David and Carolyn Gould Grant Thornton LLP Nancy and Holcombe Green Joy and Tony Greene Judah S. Gudelsky Robert Hall Gunn, Jr. James B. Hannan The Harold & Mimi Steinberg Charitable Trust Heineken USA Virginia Hepner and Malcolm Barnes

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

Allison and Ben Hill Holder Construction Infor Global Solutions Jim Cox, Jr. Fund JLL Katie and West Johnson Lori and Bill Johnson Andrea and Boland Jones Mr. and Mrs. Michael L. Keough The Klaus Family Foundation Malinda and David Krantz Lisa & Ron Brill Charitable Trust Karole and John Lloyd Lockheed Martin Aeronautics Company Mr. and Mrs. Forrest McClain Sally and Allen McDaniel Mr. Harris N. Miller and Ms. Deborah A. Kahn Mueller Water Products, Inc. Terence L. and Jeanne P. Neal Nelson Mullins Riley & Scarborough LLP Newell Brands Novelis, Inc. Barbara and Sanford Orkin Oscar G. and Elsa S. Mayer Family Foundation Oxford Industries, Inc. John R. Paddock, PhD and Karen M. Schwartz, PhD Vicki and John Palmer Beth and David Park Sally and Pete Parsonson Mrs. Martha Pentecost Mr. and Mrs. Michael Plant Porsche Cars North America Inc. Price Gilbert, Jr. Charitable Fund Printpack PulteGroup, Inc. Quikrete Mr. and Mrs. Peter Quinones Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Dan and Garnet Reardon Richard Gray Gallery, LLC Rocket Camp Phyllis and Sidney Rodbell Alyson and Greg Rogers Ryder Truck Rental, Inc. Phil Sadler Sam’s Club and Wal-Mart Stores, Inc. SCANA Energy Bill and Rachel Schultz Mrs. William A. Schwartz Joyce and Henry Schwob The Selig Foundation: Linda & Steve Selig and Cathy & Steve Kuranoff ServiceNow Siemens Smith & Howard, P.C. Mrs. Lessie Smithgall Southwest Airlines Southwire Company

$25,000+ Continued

Karen and John Spiegel Jeffrey Sprecher and Kelly Loeffler State Bank & Trust Company Mr. David Stockert and Ms. Cameron Ives Swarovski Greer and Alex Taylor Sally G. Tomlinson Total Wine & More Transwestern TriMont Real Estate Advisors Troutman Sanders LLP The Vasser Woolley Foundation, Inc. Vontobel Swiss Wealth Advisors AG Walter Clay Hill and Family Foundation Rebekah and Mark Wasserman Rod Westmoreland Joan N. Whitcomb Ann Marie and John B. White, Jr. Susan and John Wieland Loraine P. Williams Wilmington Trust Frances Wood Wilson Foundation, Inc. Diane Wisebram and Edward D. Jewell Estate of Dorothy M. Yates Ellen and John Yates Amy and Todd Zeldin

$15,000+

A Friend of the Alliance Theatre A Friend of the High Museum of Art (3) A Friend of the Woodruff Arts Center ABM Acuity Brands, Inc. Keith Adams and Kerry Heyward Alice S. Powers Irrevocable Trust Alvarez & Marsal Amec Foster Wheeler Yum and Ross Arnold Neal K. Aronson Atlantic American Corporation/Delta Life Insurance Company/ Gray Television Atlantic Capital Bank Atlantic Trust Company Barbara and Ron Balser Bank of North Georgia/ Synovus Financial Corp Lisa and Joe Bankoff Susan R. Bell and Patrick M. Morris Kelly O. and Neil H. Berman Nancy and Phil Binkow Stan and Laura Blackburn The Blanche Lipscomb Foundation Stephanie Blank BlueCross BlueShield of Georgia Missy and Roland Boney Susan V. Booth and Max Leventhal

The Boston Consulting Group Jim and Lisa Boswell Mr. and Mrs. Frank H. Boykin Breman Foundation, Inc. Brown & Brown Insurance, Inc. Janine Brown and Alex J. Simmons, Jr. Bryan Cave Burr & Forman LLP Ms. Mary Cahill and Mr. Rory Murphy The Capital Group Companies Charitable Foundation The Casey-Slade Group, Merrill Lynch Mr. and Mrs. Jefrrey S. Cashdan Wright and Alison Caughman CBH International, Inc. Center Family Foundation The Chatham Valley Foundation, Inc. Children’s Healthcare of Atlanta Chubb Susan and Carl Cofer Brian and Melinda Corbett Barbara and Lee Coulter Ann and Tom Cousins W. Scott Creasman Marjorie and Carter Crittenden Michelle and David Crosland Charlene Crusoe-Ingram and Earnest Ingram Russell Currey and Amy Durrell Cushman & Wakefield, Inc. Harry and Wendy Cynkus Mr. and Mrs. James C. Davis Mr. and Mrs. Jay M. Davis Cari Katrice Dawson and John Martin Sparrow Mr. and Mrs. Richard A. Denny, Jr. Mr. and Mrs. William W. Dixon Margaret and Scott Dozier Mr. W. Daniel Ebersole and Mrs. Sarah A. Eby-Ebersole L. Franklyn Elliott, M.D. Nick Franz The Fred and Sue McGehee Family Charitable Fund Betty Sands Fuller Gas South, LLC Doris and Matthew Geller Georgia Council for the Arts Georgia Crown Distributing Company Greg and Lillian Giornelli Mr. and Mrs. Richard G. Goerss Mr. and Mrs. Richard Goodsell Sara Goza Graphic Packaging International, Inc. Jason and Carey Guggenheim/Boston Consulting Group Mr. Patrick J. Gunning Mr. Kenneth Haines

Harry Norman Realtors Sara and Jeff Hehir Mr. and Mrs. Christopher D. Hohlstein Mr. and Mrs. Jack K. Holland Catherine and Rob Hutchinson Ida Alice Ryan Charitable Trust Roya and Bahman Irvani Mrs. Maribeth M. Jameson and Mr. L. Norwood Jameson Liza and Brad Jancik Lou Brown Jewell John & Mary Franklin Foundation, Inc. John H. and Wilhelmina D. Harland Foundation Mary and Neil Johnson Robert and Sherry Johnson Mr. Baxter P. Jones and Dr. Jiong Yan James F. Kelly Charitable Trust Mr. and Mrs. David E. Kiefer James and Lori Kilberg Kimberly-Clark Corporation Joel Knox and Joan Marmo Wendy and Scott Kopp Kurt P. Kuehn and Cheryl Davis L & C Wood Family Foundation James H. Landon Donna Lee and Howard Ehni Elaine L. Levin Mr. and Mrs. Bertram L. Levy Livingston Foundation, Inc. Macy’s Meghan and Clarke Magruder Chip Mann and Bill Gilmore Larry and Lisa Mark Mr. and Mrs. John S. Markwalter, Jr. Mr. and Mrs. Mike McCarthy Margot and Danny McCaul Ken and Carolyn Meltzer Merrill Lynch—Buckhead Anna and Hays Mershon MGM Resorts International Hala and Steve Moddelmog Phil and Caroline Moïse Morgan Stanley-Atlanta Private Wealth Management Northwestern Mutual/ Northwestern Benefit Caroline and Joe O’Donnell Lynn and Galen Oelkers Stephen and Marjorie Osheroff Sunny Park Karen and Richard Parker Mr. and Mrs. Solon P. Patterson Perkins & Will, Inc. Susan and David Peterson Piedmont Charitable Foundation, Inc. Piedmont National Family Foundation Post Properties Inc. PRGX Mr. and Mrs. William C. Rawson

Raymond James Financial, Inc. Travis Reed and Michael Kriethe of Harry Norman Realtors Mr. and Mrs. Robert Reeves Regal Entertainment Group Betsy and Lee Robinson Mr. and Mrs. William H. Rogers, Jr. Rooms To Go Foundation Dr. and Mrs. Arnold B. Rubenstein Jack Sawyer and Dr. Bill Torres Mark and Linda Silberman Skanska USA Inc. The Slumgullion Charitable Fund Dr. and Mrs. Dennis Lee Spangler Elise and Nick Spina Staging Directions Loren and Gail Starr Lynne & Steve Steindel Charlita Stephens-Walker, Charles and Delores Stephens Les Stumpff and Sandy Moon Michelle and Stephen Sullivan Surya Hugh M. Tarbutton, Jr. G. Kimbrough Taylor and Triska Drake Judith and Mark Taylor Lisa Cannon Taylor and Chuck Taylor Thomas H. Lanier Foundation Lizanne Thomas and David Black Alison and Joe Thompson Rosemarie and David Thurston Trapp Family The Trillist Companies, Inc./ YOO on the Park Mr. and Mrs. Rhett L. Turner US Bank John and Ray Uttenhove Veritiv Verizon Wireless Paul E. Viera and Gail O’Neill Patrick and Susie Viguerie Reggie and Kim Walker Kathy N. Waller Leigh and Tim Walsh Weldon H. Johnson Family Foundation Adair and Dick White Mr. and Mrs. Douglas L. Williams James B. and Betty A. Williams Richard Williams and Janet Lavine Willis Towers Watson The Winstead Group Dina Woodruff Mike Wright - Harry Norman, Realtors Yancey Bros. Co Mary and Bob Yellowlees

encoreatlanta.com | Atlanta’s Performing Arts Publication 87

ASO | staff EXECUTIVE Jennifer Barlament Executive Director Jamie Anderson, Executive Assistant Alvinetta CookseyWyche Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning & Operations Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer Insider & Program Annotator Scott O’Toole Artist Liaison Bob Scarr Archives Program Manager DEVELOPMENT Toni Paz Director of Development Jessica Langlois Director of Major Gifts and Special Projects Jordan Keegan Development Assistant Nancy Field Grants Manager Brenda Turner Associate Director of Individual Giving

MARKETING & COMMUNICATIONS Tammy Hawk Senior Director of Communications KC Commander Marketing Coordinator Elizabeth Daniell Communications Coordinator Adam Fenton Director of Multimedia Technology Robert Phipps Publications Director SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management Melanie Kite Director of Subscriptions & Patron Services Jordan Ealey Patron Services Manager Pamela Kruseck Manager of Group Sales & Tourism Jesse Pace Patron Services Manager Gokul Parasuram Group & Corporate Sales Assistant Robin Smith Subscription & Education Sales Christopher Stephens Corporate Sales Manager

EDUCATION & COMMUNITY ENGAGEMENT Holly Hudak Senior Director of Education and Community Engagement Kaitlin Gress Manager, Atlanta Symphony Youth Orchestra Tiffany I. M. Jones Managing Producer of Educational Concerts Ruthie Miltenberger Manager of Family Programs Adrienne Thompson Manager, Talent Development Program Tyrone Webb Manager of Education and Community Programs OPERATIONS Russell Williamson Senior Orchestra Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Christopher McLaughlin Orchestra Operations Manager Kourtnea Stevenson Assistant Orchestra Personnel Manager Susanne Watts Orchestra Personnel Manager

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

FINANCE & ADMINISTRATION Susan Ambo Chief Financial Officer Peter Dickson Senior Accountant Kimberly Hielsberg Senior Director of Financial Planning & Analysis Stephen Jones Symphony Store Shannon McCown Office Manager April Satterfield Controller ASO PRESENTS Nicole Epstein Managing Producer of ASO Presents Brian Crosby Assistant Managing Producer & Scheduling Manager Lisa Eng Multimedia Creative Manager Christine Lawrence Box Office Manager Natacha McLeod Senior Marketing Manager Clay Schell Consultant Will Strawn Marketing Coordinator

corporate & government | support

Mayor’s Office of Cultural Affairs

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

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

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 89

ASO | ticket info CAN’T ATTEND A CONCERT? You may exchange your tickets by 4 pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.

SINGLE TICKETS Call 404.733.5000 Tuesday - Saturday noon to 6 pm and Sunday noon to 5 pm. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final.

www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery.

For orders received less than two weeks before the concert, tickets will be held at the box office.

WOODRUFF ARTS CENTER BOX OFFICE Open Tuesday - Saturday noon to 6 p.m. and Sunday noon to 5 p.m. Please note: No refunds or exchanges. All artists and programs are subject to change.

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

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

DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.

ASO | general info LATE SEATING

THE ROBERT SHAW ROOM

Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons.

The ASO invites donors who contribute at least $2,500 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

SPECIAL ASSISTANCE

Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345 Donations & Development 404.733.4262

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

SYMPHONY STORE The Symphony Store is now open directly adjacent to the Robert Shaw Room and Delta SKY360º Club. The store is open before, during and after most concerts.

90 Atlanta Symphony Orchestra | aso.org

IMPORTANT PHONE NUMBERS

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DIAMOND

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APR 6/7 | Thu/Fri: 8pm | Delta Classical Robert Spano, conductor Stephen Hough, piano RACHMANINOV: Vocalise RACHMANINOV: Piano Concerto No. 1 RACHMANINOV: Symphonic Dances APR 21/22 | Fri/Sat: 8pm | Delta POPS! SUTTON FOSTER LIVE! APR 27/29 | Thu/Sat: 8pm | Delta Classical Vasily Petrenko, conductor Ingrid Fliter, piano R. STRAUSS: Don Juan MENDELSSOHN: Piano Concerto No. 1 DVOŘÁK: Symphony No. 8

RACH MANI NOV

VOCALISE PIANO CONCERTO NO. 1 SYMPHONIC DANCES

APR 6/7

MAY 4/6 | Thu/Sat: 8pm | Delta Classical Nicholas McGegan, conductor MOZART: Eine kleine Nachtmusik STRAVINSKY: Pulcinella Suite HAYDN: Symphony No. 104, “London”

APR 21/22

Sutton Foster

LIVE!

ASO | calendar

Presente d

Don Juan

by:

R. STRAUSS:

HAYDN:

“London” Symphony

APR 27/29

MOZART: Eine kleine Nachtm usik RAMEAU: Suite from Les Indes galantes Nicholas McGega n, conductor

Buy Tickets Here!

Woodruff Arts Center Box Office

404.733.5000

aso.org

MAY 4/6

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

70th

ANNIVERSARY SEASON

Recipient of the Regional Theatre Tony Award®

la

bohème Puccini october 3, 6, 9, 11, 2015

JAN 29/31/FEB 1

March 11–29

Family Series on the Alliance Stage

1

discover us. discover you.

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

T H E F OX T H E AT R E | F E B R U A R Y 2 0 1 5

THE FOX THEATRE | APRIL 2014

Recipient of the Regional Theatre Tony Award®

The

PiraTesof Penzance GilberT & sullivan

SPANO > < RUNNICLES

March 5, 8, 11, 12, 13, 2016

STRAVINSKY:

The Rite of Spring MAR 13/15/16

Nov. 21–Dec. 24, 2014

Family Series on the Alliance Stage

1

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

THE FOX THEATRE

Recipient of the Regional Theatre Tony Award®

Recipient of the Regional Theatre Tony Award®

FEB 27/28/ MAR 1 NIELSEN: Violin Concerto

THREE

Jan. 21–Feb. 22, 2015

DECEMBERS MUSIC BY JAKE HEGGIE | LIBRETTO BY GENE SCHEER

Sept. 3–Oct. 5, 2014 JANUARY 2014 | WWW.FOXTHEATRE.ORG | WWW.ENCOREATLANTA.COM

discover us. discover you.

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

THE FABULOUS FOX THEATRE

THE FOX THEATRE | JANUARY 2015

May 2012

5/15/15 9:24 PM

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

Recipient of the Regional Theatre Tony Award®

F O X T H E AT R E . O R G | E N C O R E AT L A N TA . C O M

FoxTheatre.org EncoreAtlanta.com

JAN 23/25/26 2012 Musical America MUSICIAN OF THE YEAR

BRITTEN:

WU HAN

APR 24/26

BRITTEN: Piano Concerto

Family Series on the Alliance Stage

Feb. 22–March 16, 2014

discover us. discover you.

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