ENCORE ATLANTA :: Atlanta Symphony Orchestra :: February 2020

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

FEBRUARY 2020 20 20

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F E B R UA RY

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I N T R O D U C T I O N S In Tune.

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Music Director..

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ASO Leadership.

ASO Musicians.

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F E AT U R E S Looking Back.

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Written by James L. Paulk

N OT E S

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P R O G R A M

Written by Ken Meltzer

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FEB 20, 22. .

FEB 27, 29.

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

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ASO Staff. .

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Ticket Info/General Info.

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4 | encore ASO | IN TUNE Dear Friends, Thank you for being part of the Atlanta Symphony Orchestra’s 75th Anniversary season. As you may know, the ASO started as a youth orchestra in 1945. Education and community engagement continue to be at the heart of everything we do, providing inspiration, music education and enjoyment for students, educators and families across the metro area.

We know that the senior year of high school is an emotional one, as one chapter closes and the next begins. For our Talent Development Program (TDP) and Atlanta Symphony Youth Orchestra (ASYO) seniors and their parents, the next few months will be full of anticipation and excitement as many students audition for a spot at some of the country’s most prestigious music schools and conservatories. Join me in wishing all our students the best of luck. We look forward to sharing exciting news from the class of 2020 in the coming months.

We are gearing up for auditions for the 2020/21 school year for both the Youth Orchestra and the Talent Development Program. TDP applications are open through March 2, and ASYO applications will be accepted through May 1. One of my greatest joys is to see these young musicians blossom into world-class musicians through our TDP and ASYO programs. Each year, our students are accepted into the most competitive music schools, and many are awarded scholarships to continue their music training after graduation. If you know someone with that spark, I encourage you to visit aso.org to learn more.

The ASO also offers a series for our youngest music lovers, Music for the Very Young, which is designed specifically for children five and under. The concerts are performed in the Rich Theatre at the Woodruff Arts Center, providing the opportunity for our youngest audiences to enjoy a traditional staged performance, while participating in exercises in melodies, harmonies and rhythms. These programs are a wonderful way to plant the seed for a lifelong love of music.

Finally, I’m excited to share a new initiative which demonstrates the ASO’s engagement with students in the community. The ASO education team is working with Rising Starr Middle School in Fayette County to create their own record label, cleverly named Hall Pass Entertainment Group. The project provides students with the opportunity to work with and learn from professional mentors from the music and business worlds. Volunteers from Georgia Lawyers for the Arts, including lawyers at Alston & Bird, are providing legal counsel to the students, as they learn about the nuances of starting a non-profit.

Enjoy the concert and thank you for being part of this historic season.

Sincerely, Janine Brown Board Chair, Atlanta Symphony Orchestra

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ASO | MUSIC DIRECTOR ROBERT SPANO

R

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

American orchestras. Beginning his 19th season as Music Director of the Atlanta Symphony Orchestra and first season as Principal Guest Conductor of the Fort Worth Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers. As Music Director of the Aspen Music Festival and events and educational programs for 630 students and young performers. The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center and the Ravinia, Ojai, and Savannah Music Festivals.

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

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

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

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

DEREK BLANKS

School since 2011, he oversees the programming of more than 300

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

Howard Palefsky

Susan Antinori

chair

immediate past chair

secretary

Lynn Eden

James Rubright

vice chair

treasurer

DIRECTORS Joan Abernathy*

Carlos del Rio, M.D.

Donna Lee

Doug Shipman*

William Ackerman

Sloane Drake

Sukai Liu

John Sibley

Keith Adams

Lynn Eden

Kevin Lyman

Fahim Siddiqui

Brian McCarthy

W. Ross Singletary, II

Juliet McClatchey Allan Angela Evans Susan Antinori

Craig Frankel

Penelope McPhee^

John Sparrow

Jennifer Barlament*

Anne Game

Bert Mills

Gail Ravin Starr

Paul Blackney

Paul R. Garcia

Molly Minnear

Elliott Tapp

Rita Bloom

Jason Guggenheim

Terry Neal

Brett Tarver

Janine Brown

Joseph W. Hamilton, III

Galen Lee Oelkers

S. Patrick Viguerie

Justin Bruns*

Bonnie Harris

Howard Palefsky

Kathy Waller

Benjamin Brunt

Caroline Hofland

Ebbie Parsons

Mark D. Wasserman

C. Merrell Calhoun

Tad Hutcheson

Juliette Pryor

Chris Webber

William M. Carey

Roya Irvani

Cathleen Quigley

Richard S. White, Jr.

S. Wright Caughman, M.D.

Randy Koporc

James Rubright

John B. White, Jr.

Carrie Kurlander

Bill Schultz

Russell Currey

James Landon

Charles Sharbaugh

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

BOARD OF COUNSELORS Helen Aderhold

John T. Glover

Karole Lloyd

G. Kimbrough Taylor, Jr.

Neil Berman

Dona Humphreys

Meghan H. Magruder

Michael W. Trapp

John Cooledge

Aaron J. Johnson, Jr.

Patricia Reid

Ray Uttenhove

John R. Donnell, Jr.

Ben F. Johnson, III

Joyce Schwob

Chilton Varner

Jere A. Drummond

James Kelley

Hamilton Smith

Adair White

Carla Fackler

Patricia Leake

Rhett Tanner

Sue Sigmon Williams

Charles B. Ginden

LIFE DIRECTORS Howell E. Adams, Jr.

Betty Sands Fuller

Azira G. Hill

Bradley Currey, Jr.

Mary D. Gellerstedt

Lessie B. Smithgall, Jr.

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

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

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10 | encore ASO | 2019/20 Musician Roster

FIRST VIOLIN

SECOND VIOLIN

CELLO

David Coucheron

Julianne Lee*

Rainer Eudeikis•

concertmaster

principal

principal

The Mr. & Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam & John Conant Chair

Justin Bruns

Sou-Chun Su

Daniel Laufer

associate concertmaster

acting principal

associate principal

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair

The Livingston Foundation Chair

Vacant

Jay Christy

Karen Freer

assistant concertmaster

acting associate

assistant principal

Jun-Ching Lin

principal

Dona Vellek

assistant concertmaster

Noriko Konno Clift

Anastasia Agapova

acting assistant

acting assistant

principal

concertmaster

Sharon Berenson

Carolyn Toll Hancock

David Dillard

The Wells Fargo Chair

Sheela Iyengar**

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

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

The Edus H. & Harriet H. Warren Chair

Paul Murphy

assistant principal emeritus

Thomas Carpenter Joel Dallow The UPS Foundation Chair

Larry LeMaster Brad Ritchie Paul Warner BASS Joseph McFadden principal

The Marcia & John Donnell Chair

Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair

Brittany Conrad**

associate principal

Karl Fenner

The Carolyn McClatchey Chair

The Mary & Lawrence Gellerstedt Chair

Michael Kenady

Sanford Salzinger

Catherine Lynn

Michael Kurth

Raymond Leung

assistant principal

Marian Kent

The Jane Little Chair

Daniel Tosky

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

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

Robert Spano

Donald Runnicles

music director

principal guest conductor

Stephen Mulligan associate conductor;

Norman Mackenzie

The Robert Reid Topping Chair

The Neil & Sue Williams Chair

music director of the atlanta

director of choruses

symphony youth orchestra

The Frannie & Bill Graves Chair

The Zeist Foundation Chair

FLUTE

BASSOON

TUBA

Christina Smith

Andrew Brady

Michael Moore

principal

principal

principal

The Jill Hertz Chair

The Abraham J. & Phyllis Katz Foundation Chair

The Delta Air Lines Chair

associate principal

Anthony Georgeson

C. Todd Skitch

associate principal

Mark Yancich

Robert Cronin

Gina Hughes PICCOLO Gina Hughes OBOE Elizabeth Koch Tiscione

Laura Najarian

Michael Stubbart assistant principal

Juan de Gomar

principal

Zachary Boeding •

Susan Welty

associate principal

acting principal

The Kendeda Fund Chair

Kimberly Gilman

Emily Brebach CLARINET Laura Ardan principal

The Robert Shaw Chair | The Mabel Dorn Reeder Honorary Chair

Ted Gurch associate principal

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

principal

The Betty Sands Fuller Chair

The Julie & Arthur Montgomery Chair

William Wilder assistant principal

The William A. Schwartz Chair

Chelsea McFarland** Bruce Kenney

Vacant The Connie & Merrell Calhoun Chair

Michael Stubbart

Jaclyn Rainey*

HARP

TRUMPET Stuart Stephenson principal

The Madeline & Howell Adams Chair

Michael Tiscione associate principal

Mark Maliniak

Elisabeth Remy Johnson principal

The Sally & Carl Gable Chair

KEYBOARD The Hugh & Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson

TROMBONE

LIBRARY

Vacant

Nicole Jordan

principal

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

principal

Nathan Zgonc acting / associate

Holly Matthews principal

Jeremy Buckler** Brian Hecht

† Regularly engaged musician

BASS TROMBONE

• New this season

Brian Hecht

** One-year appointment

PERCUSSION Joseph Petrasek

HORN

The George M. & Corrie Hoyt Brown Chair

ENGLISH HORN

The Walter H. Bunzl Chair

CONTRA-BASSOON

Vacant

Emily Brebach

principal

Juan de Gomar

principal

Samuel Nemec

TIMPANI

The Home Depot Veterans Chair

The Marianna & Solon Patterson Chair assistant principal librarian

Hannah Davis asyo / assistant

librarian

12 | encore

Frances

Antoinette

VERDERY CUNNINGHAM

Katherine

Verdery Cunningham:

Looking Back

on the Dawn of a Great Orchestra

By James L. Paulk

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

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Junior Students of Bach Club (JSB) from 1938 with Verdery Cunningham and her sisters Frances, Antoinette and Katherine.

Verdery Cunningham

On February 4, 1945, the Atlanta Youth Symphony performed a sold-out concert at the cavernous Atlanta Municipal Auditorium, with Henry Sopkin conducting musicians aged 11 to 25. In the 75 years that followed, that ensemble – soon to be renamed the Atlanta Symphony Orchestra - has morphed into one of the world’s finest orchestras: the soundtrack of a great city, a cultural beacon, a recording powerhouse, and a source of considerable pride.

One of the musicians from that historic night was Verdery Roberts, now Verdery Cunningham of Sandy Springs, at the time a 16-year-old junior at Atlanta Girls' High. Of the 112 musicians on stage that night, two of whom were her sisters, Mrs. Cunningham is the lone survivor we have identified.

The substantial program that night began with the National

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14 | encore Anthem, then proceeded to the overture from Rossini’s L’Italiana in Algeri, Schubert’s "Unfinished" Symphony, the Waltz from Tchaikovsky’s Serenade for Strings, an arrangement of Bach pieces called Prelude, Chorale, and Fugue, Borodin’s In the Steppes of Central Asia, Morton Gould’s Hillbilly from his Americana Suite, and Sibelius’s Finlandia.

By the time of that concert, the Roberts sisters had become well known in Atlanta’s music community. Frances, the oldest and the only one not a part of the Orchestra, played the accordion and piano. Antoinette played cello as well as guitar, Katherine played violin, and Verdery, the youngest, had become an oboist, alternating on English horn. When Verdery was 9, the girls were already performing together as a quartet and in various ensembles all over Atlanta. A newspaper clipping about the quartet mentions that “their tastes run towards waltzes and overtures, but they don’t entirely spurn such numbers as St. Louis Blues.”

In the early years, Verdery played clarinet. “But

“…rehearsals were when I got to O’Keefe Junior High School,” she explained, “the orchestra director, Mr. Seitz, asked held at… Municipal me if I would switch from the clarinet to an oboe. My Auditorium clarinet was a shiny metal one [an alternative popular …‘the big barn.’ at the time], and I hated it. And I thought: ‘Oh, I can get It was set up for a wooden instrument! So that was that.’” Thus, Verdery wrestling and all became the “only oboe” in local ensembles: many of them. kinds of shows.”

Verdery’s husband of 69 years (70 next June), Dr. Robert – Verdery Cunningham

Cunningham, who met Verdery at O’Keefe, recalls that during those years he heard her play at musical theater performances, including Annie Get Your Gun at the old Erlanger Theater on Peachtree. And while still at O’Keefe, Verdery would join an important new group, the “In and About Atlanta Orchestra,” where she played alongside Katherine and Antoinette.

The “In and About Atlanta Orchestra” was led by Miss Marcia Weisberger, music teacher at Girls’ High School, which Verdery ultimately attended. “Miss Weisberger was a wonderful teacher, with high standards. She used a long baton, and if things didn’t go right, she would beat that poor little stick until it broke off, getting shorter and shorter.” Most of the musicians for the AYSO were recruited directly from her orchestra; she had trained and nurtured them.

Leaders of the influential Atlanta Music Club, including Mrs. Josephine Sanders, its president, saw the potential to “grow

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“But,” Verdery explained, “the Sopkins couldn’t find anywhere to live: the war was still going on, and there was really no housing at all.” So Sopkin, with his wife and two children, moved in with the Roberts family. “We were in a 2-story house in the Morningside neighborhood. The 2nd story had 2 bedrooms and one bath, so my sweet daddy [Ben Roberts, a stockbroker with Courts and Company] was the motivator and invited them to come, and my sweet mother went along with it. Daddy didn’t know Mr. Sopkin, but he was very interested in the music program. He played the ‘fiddle’ – not a violin.

And there were no other volunteers. I had to move downstairs, where my brother also stayed – the older sisters were in college. I practiced my oboe in the breakfast room.”

Newspaper articles describe an audition process, but according to Verdery, “By playing the oboe, I was always a step ahead. There was never any doubt that I would be playing in it, so I never had to audition. I was it."

Henry Sopkin with Verdery and

“Most of us were in high school, and the adults had sister Antoinette in 1946. jobs, so the rehearsals were held in the afternoons, there at the Municipal Auditorium. And my sisters had to arrange to come over from Athens, where they were attending UGA. We called the Municipal Auditorium ‘the big barn.’ And of course, the acoustics could not have been good. It was set up for wrestling and all kinds of shows.”

Antoinette went on to the Juilliard School on scholarship and returned to Atlanta to marry a colleague of Dr. Cunningham. She and Katherine, who remained in Atlanta, have since passed away.

Beloved ASO bassist Jane Little, Verdery’s classmate and dear

ASO ARCHIVES

an orchestra,” from talented young musicians: the basic idea behind the AYSO. Working with Miss Weisberger, who shared their vision, they ultimately persuaded Henry Sopkin to head the new ensemble. Sopkin, a highly regarded youth orchestra conductor in Chicago at the time, had twice guest-conducted at “In and About” concerts. Three earlier attempts to form a symphony orchestra had failed. But Sopkin was intensely committed to the project: “he had that ambition; he really did.”

He even took a steep pay cut to take the position.

16 | encore friend, remained in the Orchestra for a record-shattering 71 years before dying on stage in 2016 while playing Irving Berlin’s There’s No Business Like Show Business.

Verdery was offered a music scholarship to UGA, but she wound up going to Stetson University in DeLand, Florida, where she continued her studies and played in the orchestra. She returned after a year, married Dr. Cunningham, a physician, and raised a family. They became enthusiastic supporters of the Orchestra, attending concerts regularly and making gifts to the Annual Fund. Only in the past few years have they had to cut back on attending concerts due to mobility concerns, but they have continued as donors, cheering the Orchestra’s astonishing growth and progress through the years.

Verdery Cunningham in her home, January 2020.

The Orchestra that began with children never forgot them. In 1974, Robert Shaw, The Orchestra Sopkin’s successor, organized the that began with Atlanta Symphony Youth Orchestra, children never which today trains Atlanta’s most forgot them. talented high school musicians, many of whom go on to careers in music. Other educational initiatives have followed, including the nationally recognized Talent Development Program, Family Concerts, and Concerts for Young People.

These efforts were cited by the Cunninghams as major reasons for their financial support over the years. As Verdery put it: “I want today’s young people to have the kind of opportunities I had.”

JAMES PAULK

“I want today’s young people to have the kind of opportunities I had.”

– Verdery Cunningham

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| 17

Members of the Atlanta Symphony Orchestra

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

MEMBERS Arthur Mills, IV chair

Phyllis Abramson

Charles Harrison

Eliza Quigley

Keith Barnett

Nancy Harrison

David Quinn

Greg Blount

Sally Hawkins

Frances Root

Jane Blount

Mia Hilley

Ray Rubin

Catharine Burkett

Justin Im

Jim Schroder

Jewel Burks

Kartikh Khambhampati

Baker Smith

Jim Camden

Scott Lampert

Cindy Smith

Tracey Chu

Jason Liebzeit

Kim Strong

Paul Dimmick

Keith Millner

Amy Taylor

Susan Dimmick

Bert Mobley

George Taylor

Bernadette Drankoski

Jane Morrison

Otis Threatt, Jr.

Burt Fealing

Regina Olchowski

Taylor Winn

Sally F. George

Ryan Oliver

David Worley

James Hammond

Swathi Padmanabhan

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

The Gershwins’

PORGY AND BESS George Gershwin, DuBose & Dorothy Heyward, and Ira Gershwin

Mar 7, 8, 10, 13, 15, 2020 Cobb Energy Centre

404-881-8885 ATLANTAOPERA.ORG

MAR 20 | Fri: 8pm Delta Atlanta Symphony Hall LIVE An Intimate Evening with DAVID FOSTER MAR 23 | Mon: 7:30pm Delta Atlanta Symphony Hall LIVE JAZZ AT LINCOLN CENTER WITH WYNTON MARSALIS

MARCH CONCERTS MAR 5/7 | Thu/Sat: 8pm Delta Classical WAGNER: Siegfried Idyll LISZT: Piano Concerto No. 1 SAINT-SAËNS: Symphony No. 3, “Organ” Emmanuel Villaume, conductor Andrew von Oeyen, piano MAR 15 | Sun: 3pm Atlanta Symphony Youth Orchestra CRESCENDO CONCERT Stephen Mulligan, conductor MAR 19/21 | Thu/Sat: 8pm Delta Classical RAVEL: Le tombeau de Couperin RAVEL: Piano Concerto for Left Hand BEETHOVEN: Symphony No. 7 Robert Spano, conductor André Watts, piano

MAR 26/27 | Thu/Fri: 8pm Delta Classical BEETHOVEN: Missa solemnis Robert Spano, conductor Susanna Phillips, soprano Sasha Cooke, mezzo-soprano Benjamin Bliss, tenor Matthew Rose, bass ASO Chorus

MAR 5/7 MAR 19/21

Pianist

André Watts MAR 26/27

Missa solemnis

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

Season presented by

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

PRESENTING

sponsor

The John & Rosemary Brown Family Foundation

LEADERSHIP

sponsors

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22 | feb6&8 Concerts of Thursday, Feb. 6, 2020 8:00pm Saturday, Feb. 8, 2020 8:00pm ROBERT SPANO, conductor MARIA VALDES, soprano SOFIA SELOWSKY, mezzo-soprano NORMAN SHANKLE, tenor MORGAN SMITH, baritone ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS, NORMAN MACKENZIE, Director of Choruses

The Atlanta Symphony Orchestra Classical Series is presented by

RALPH VAUGHAN WILLIAMS (1872-1958) Serenade to Music (1938)

14 MIN

JOHANN SEBASTIAN BACH (1685-1750) Cantata No. 29, “Wir danken dir Gott, wir danken dir”, BWV 29 (1731) 22 MIN

I. Sinfonia

II. Chorus: “Wir danken dir, Gott, wir danken dir”

III. Aria (Tenor): “Halleluja, Stärk und Macht”

IV. Recitative (Bass): “Gottlob! es geht uns wohl!”

V. Aria (Soprano): “Gedenk an uns mit deiner Liebe”

VI. Recitative (Alto, Chorus): “Vergiß es ferner nicht”

VII. Aria (Alto): “Halleluja, Stärk und Macht”

VIII. Chorale: “Sei Lob und Preis Mit Ehren”

Maria Valdes, soprano

Sofia Selowsky, mezzo-soprano

Norman Shankle, tenor

Morgan Smith, baritone

Atlanta Symphony Orchestra Chamber Chorus INTERMISSION RALPH VAUGHAN WILLIAMS (1872-1958) Symphony No. 5 in D Major (1943)

I. Preludio. Moderato

II. Scherzo. Presto misterioso

III. Romanza. Lento

IV. Passacaglia. Moderato

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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20 MIN 39 MIN

notesontheprogram

| 23

Ken Meltzer Program Annotator

Serenade to Music (1938)

First Classical Subscription

Performances: RALPH VAUGHAN WILLIAMS was born in Down September 21-24, 2006, Ampney, England, on October 12, 1872, and died Atlanta Symphony Orchestra in London, England, on August 26, 1958. The first Chamber Chorus, performance of Serenade to Music took place at Robert Spano, conductor.

Royal Albert Hall in London on October 5, 1938, with Sir Henry Wood conducting vocal soloists, Recording: Telarc CD-80676, and members of the B.B.C. Symphony, London Jessica Rivera, soprano, Symphony, London Philharmonic, and Queen’s Hall Kelley O’Connor, mezzo-soprano, Orchestras. Serenade to Music is scored for four Thomas Studebaker, tenor, soprano, four alto, four tenor, and four bass solos Nmon Ford, baritone, (in the alternative, the work may be sung by some Atlanta Symphony Orchestra combination of four or more vocal soloists [SATB] Chamber Chorus, and mixed chorus, or mixed chorus alone), piccolo, Robert Spano, conductor. two flutes, oboe, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, triangle, harp, and strings.

I

n January of 1938, Ralph Vaughan Williams received an invitation from British conductor Sir Henry Wood (18691944). Wood, founder of the Queen’s Hall Promenade Concerts (which later relocated to Royal Albert Hall), would lead a concert on October 5, 1938, commemorating his golden jubilee as a conductor. Wood was a tireless champion of new music, including works by English composers. In his preface to the 1949 Henry Wood Promenade Concert prospectus, Vaughan Williams wrote that the conductor: “went out into the highways and hedges and invited all and sundry to the banquet, in the hopes that occasionally a guest would appear wearing the wedding garment—then the Woodian policy was justified.”

When Vaughan Williams received Wood’s invitation, he responded: “I should love to write—to have the honour of writing—a piece in your praise if I can manage it. Is there any poet you can suggest who could write me some words appropriate for the occasion?”

Wood replied: I cannot tell you the gratitude I feel that you should write me so kindly regarding my request. I do not for a moment however propose that this work of yours should be written as an ode to myself, for I would like

24 | encore it to be a choral work that can be used at any time and for any occasion. I would not think of asking you to write a work that might only be used the once, which would naturally be the case were it written round myself. Perhaps for such a work you already have many poems by you.

According to Vaughan Williams’s widow, Ursula, the composer acknowledged at the time of Wood’s invitation: “I’ve always wanted to set the Jessica and Lorenzo scene from The Merchant of Venice (Act V).” As per Wood’s specification, Vaughan Williams set the text for sixteen solo voices and orchestra. At the October 5, 1938 premiere at Royal Albert Hall, the soloists were all among England’s finest vocalists, and longtime collaborators with Wood, who led the first performance (the score also allows for the text to be sung by a combination of four or more vocal soloists and chorus, or chorus alone). Shortly after the premiere, Wood recorded the Serenade to Music with the artists who performed the premiere. Wood also later created an orchestral version of the Serenade to Music.

In a 1954 lecture given in response to receiving Yale University’s Howland Medal, Vaughan Williams invoked the text he set in Serenade to Music: “Shakespeare wrote some very beautiful lines about letting soft music steal in our ears.” And in the Serenade to Music, the genius of Shakespeare and Vaughan Williams weave their magical spell.

Cantata No. 29,“Wir danken dir, Gott, wir danken dir,” BWV 29 (1731) These are the First Classical Subscription Performances (the Cantata’s opening Sinfonia has been performed on two subscription programs; April 9-11, 1998, Christoher Hogwood, conductor, and April 12-15, 2012, Robert Spano, conductor).

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JOHANN SEBASTIAN BACH was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. The first performance of the Cantata No. 29 took place at the Nikolaikirche in Leipzig on August 27, 1731. The Cantata No. 29 is scored for soprano, alto, tenor, and bass solos, mixed chorus, two oboes, three trumpets, timpani, organ, harpsichord, and strings.

ohann Sebastian Bach composed his Cantata No. 29, “Wir danken dir, Gott, wir danken dir” (“We thank You, God, we thank You”) for a church service held

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in observance of the August 27, 1731 investiture of the new members of the Leipzig town council. The Cantata was also revived for the 1739 and 1749 investitures. The Cantata No. 29, scored for a quartet of vocal soloists, chorus, and orchestra, is Bach’s setting of a text by an anonymous author (movements 3-7), along with Psalm 75:1 (movement 2), and verse five of Johann Gramann’s chorale, “Sei Lob und Preis mit Ehren” (movement 8).

The Cantata includes instances of parody, a practice common in Bach’s day that involved the use of material from other compositions. The Cantanta No. 29 opens with a brilliant, instrumental Sinfonia. That Sinfonia is based upon a work from Bach’s Cöthen years, the opening Preludio from Bach’s Partita in E Major for Solo Violin, BWV 1006.

In the Sinfonia, the organ plays the solo violin music, with the orchestra providing an accompaniment Bach added for this arrangement. The music from the second movement, the chorus “Wir danken dir, Gott, wir danken dir”, would appear once again in both the “Gratias agimus tibi” and “Dona nobis pacem” sections of the Bach Mass in B minor, BWV 232 (1749).

Symphony No. 5 in D Major (1943) RALPH VAUGHAN WILLIAMS was born in Down Ampney, England, on October 12, 1872, and died in London, England, on August 26, 1958. The first performance of the Symphony No. 5 took place at Royal Albert Hall in London on June 24, 1943, with the composer conducting the London Philharmonic. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings.

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First Classical Subscription Performances: December 4, 5, & 6, 1986, William Fred Scott, conductor.

Most Recent Classical Subscription Performances: February 23 & 25, 2017, Michael Francis, conductor.

Recording: Telarc CD-80676, Robert Spano, conductor.

aughan Williams conducted the world premiere of his Fifth Symphony at a Promenade Concert in London’s Royal Albert Hall on June 24, 1943. Many had viewed the stormy dissonance of the Vaughan Williams Fourth Symphony (1934) as a premonition of the horrors of World War II. In that context, the Fifth Symphony’s sublime lyricism and transcendent D-Major apotheosis seemed to reflect the composer’s vision of peace.

26 | encore Given the tumultuous events that took place during the period in which the Fourth and Fifth Symphonies premiered, such conjecture was both inevitable and appropriate. But perhaps the relationship between contemporary events and musical expression was not quite so straightforward.

As Vaughan Williams himself commented about the “meaning” of his Sixth Symphony (1947): “I suppose it never occurs to these people that a man might just want to write a piece of music.” Indeed, Vaughan Williams began work on his Fifth Symphony no later than 1938, and perhaps as early as 1936.

Also of significance is the composer’s dedication of the Fifth Symphony, which originally read: “Without permission and with the sincerest flattery to Jean Sibelius, whose great example is worthy of imitation.” In the printed score, Vaughan Williams changed the dedication “To Jean Sibelius, without permission.” In the Fifth Symphony, Vaughan Williams does not so much “imitate” his Finnish contemporary’s (1865-1957) musical style, as the willingness to express himself in a personal, unique, and uncompromising voice. As a result, Vaughan Williams, like Sibelius, created Symphonies of remarkable individuality, eloquence, and power. And among those Symphonies, the Fifth is one of Vaughan Williams’s towering masterpieces.

The Symphony No. 5 is in four movements. The opening Preludio (Moderato) features three central motifs, introduced at the outset. A resplendent Tutta forza proclamation invokes an “Alleluia!” refrain from For all the Saints, originally composed by Vaughan Williams in 1906 for The English Hymnal. The second movement Scherzo (Presto misterioso) is notable throughout for its quicksilver (and somewhat menacing) atmosphere. The slowtempo Romanza (Lento) includes music the composer contemplated for an adaptation of John Bunyan’s 1678 Christian allegory, The Pilgrim’s Progress. An agitated, central episode (Animato) is related to the Pilgrim’s exhortation, “Save me, Lord, my burden is greater than I can bear.” The finale (Moderato) is in the form of a Passacaglia, a Baroque musical structure, featuring variations over a repeated ground bass figure (here sung at the outset by the cellos). It is perhaps in this Passacaglia that the spirit

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of English folk song, so beloved by Vaughan Williams, is most evident in the Fifth Symphony. Toward the close of the finale, the music of the opening Preludio (Tempo del Preludio) returns. The Fifth Symphony concludes with a D-Major sequence, one of the most blissful and serene moments in the entire orchestral repertoire.

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28 | meettheartists MARIA VALDES, SOPRANO

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ANNA WU

uring the 2019/20 season, American soprano Maria Valdes will return to Atlanta Opera as Christine Kahlo in Frida and Younger Alyce in Glory Denied. In the concert realm, Valdes will make debuts with Virginia Symphony as the soprano soloist in Messiah, the Brooklyn Art Song Society singing Chants d’Auvergine by Joseph Canteloube. Valdes will also make her company and role debut as Violetta in La traviata at Gulfshore Opera, her Rochester Philharmonic debut, reprising the role of Despina in Così fan tutte and will debut with West Edge Opera as Euridice in Orfeo ed Euridice.

Also an accomplished recitalist, Valdes has appeared in concert with Martin Katz, and made her New York recital debut with NYFOS performing with Steven Blier and Michael Barrett in Compositora, a recital of female Latin American composers. She also attended the Steans Institute at the Ravinia Festival which included several concert appearances, and Valdes can be heard singing Mendelssohn’s Hear my prayer on the album “Evening Hymn” released by Gothic Records and acclaimed in the American Record Guide.

An award-winner in the regional Metropolitan Opera National Council auditions, Valdes is also the winner of the top prize at the Corbett Opera Scholarship Competition at Cincinnati College-Conservatory of Music and is the recipient of a Shoshana Foundation Grant.

SOFIA SELOWSKY, MEZZO-SOPRANO

I

SIMON PAULY

n the 2019/20 season, Maryland native Sofia Selowsky joins the roster of the Metropolitan Opera for the first time for productions of Manon and Akhnaten, as well as debuts as a soloist with the Milwaukee Symphony and the Atlanta Symphony. In the 2018/19 season, Selowsky continued to take on leading roles in her repertoire, including the title role in Handel’s Agrippina alongside a cast of rising American stars for Ars Lyrica Houston and Donna Elvira in Don Giovanni with Jacksonville Symphony.

Recent performances include a cameo appearance in Mayerling with Houston Ballet and concert debuts with Lexington Philharmonic in Argento’s Casa Guidi and

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with North Carolina Symphony in Mozart’s Requiem.

She also made debuts with Atlanta Opera as Mercédès in Carmen, with Los Angeles Chamber Orchestra in a concert of Pergolesi, and in the summer debuted with Des Moines Metro Opera as the Stewardess in Jonathan Dove’s Flight.

During her time in the HGO Studio, Selowsky was heard as The Fox in Rachel Portman’s The Little Prince, the Second Wood Nymph in Rusalka, Nell Gwynn in the world premiere of Carlisle Floyd’s new opera Prince of Players and Eliza in the premiere of David Hanlon’s After the Storm.

NORMAN SHANKLE, TENOR

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merican Tenor Norman Shankle is currently enjoying worldwide acclaim for his portrayals of Mozart’s most famous tenors. Most recent performances have included joining the Metropolitan Opera for its production of Parsifal; singing the title role of Idomeneo and Don Ottavio in Don Giovanni with Staatstheater Stuttgart, the Opera Festival at Verona and Reggio Emilia; Almaviva in Il barbiere di Siviglia with Semperoper Dresden and New Orleans Opera; Tamino in Die Zauberflöte with Michigan Opera Theatre; Ferrando in Così fan tutte with the Netherlands Opera, Palm Beach Opera, and Opera Grand Rapids; Belfiore in La Finta Giardiniera with Opernhaus Zurich; and Gomatz in Zaide with Vienna Festwochen and the Mostly Mozart Festival in New York; and Edgardo in Lucia di Lammermoor with Opera Saratoga.

Shankle began his formative career with the San Francisco Opera as a Merola Opera Program participant and as an Adler Fellow. He officially made his company debut as Valletto in L’incoronazione di Poppea and has subsequently appeared in SFO's productions of Tristan und Isolde, Don Carlo, Prokofiev’s Betrothal in a Monastery, Louise, Lucia di Lammermoor, Idomeneo and Don Giovanni. In 2001, Shankle was selected as a winner of the distinguished ARIA award. Other awards include a 1999 Richard Tucker Career Grant, and the 1998 McAllister Award.

MORGAN SMITH, BARITONE

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merican baritone Morgan Smith is one of the most prolific performers of modern operatic repertoire

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32 | encore in the world. Known for his riveting dramatic portrayals and the power and beauty of his voice, Smith has been entrusted to create 16 roles in world premieres, including Starbuck in Jake Heggie’s widely celebrated Moby-Dick. ​ mith has also earned universal praise for performances in S traditional repertoire, notably Scarpia (Tosca), Escamillo (Carmen), title role of Don Giovanni, Sharpless (Madama Butterfly), Count Alamaviva (Le nozze di Figaro), Four Villains (Les contes d’Hoffmann), and the title role of Eugene Onegin.

Morgan begins the 2019/20 season fresh from two highly successful role debuts with Cincinnati Opera: Musiklehrer (Ariadne auf Naxos), and Earl Mann in the widely anticipated and greatly acclaimed premiere of Scott Davenport Richards’ and David Cote’s Blind Injustice. He revisits the role of Eugene Onegin with Livermore Valley Opera before heading to Seattle as soloist in Mozart’s Requiem with Seattle Symphony. Later this season, Morgan returns to Miami to sing one of his favorite roles with Florida Grand Opera, Sharpless (Madama Butterfly).

ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS

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cclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Orchestra Chamber Chorus has been an important part of the Orchestra’s programming since its founding by the late Robert Shaw. The Chamber Chorus, which debuted on December 14, 1967, is composed of 60 volunteers selected by audition from the ranks of the ASO Chorus, who meet for extra rehearsals and perform with the ASO each season. The Chamber Chorus performs music of the Baroque and Classical eras, as well as works by modern masters such as Golijov, Tavener, Pärt, Paulus, Theofanidis and Britten. Highlights of the ASO Chamber Chorus’s history include a residency with the ASO and Robert Spano for California’s Ojai Festival, participation with the ASO in recordings of masterworks by Bach, Golijov, Handel, Haydn, Mozart, Schubert, Vivaldi and a 2005 a cappella recording that features the Vaughan Williams Mass under Norman Mackenzie. Their Carnegie Hall appearances include performances of the B-Minor Mass,

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Magnificat, the Matthew and John Passions of Bach, the Rachmaninov Vespers and Stravinsky’s Nightingale.

NORMAN MACKENZIE, DIRECTOR OF CHORUSES

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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. In his 14-year association with Robert Shaw, Mackenzie was keyboardist for the Atlanta Symphony Orchestra, Principal Accompanist for the Choruses, and ultimately Assistant Choral Conductor.

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

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

ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS Norman Mackenzie

Jeffrey Baxter

Peter Marshall

director of choruses

choral administrator

accompanist

The Frannie and Bill Graves Chair

The Florence Kopleff Chair

SOPRANO Hanan Davis Khadijah Davis Michelle Griffin Amanda Hoffman Victoria Latimer Arietha Lockhart ** Alexis Lundy Mindy Margolis * Rachel O’Dell Joneen Padgett * Mary Martha Penner Callaway Powlus Anne-Marie Spalinger * Brianne Turgeon * Deanna Walton Erika Wuerzner Wanda Yang Temko *

ALTO Angelica Blackman-Keim Donna Carter-Wood ** Marcia Chandler * Christa Joy Chase * Katherine Fisher Unita Harris Kathleen Kelly-George * Virginia Little * Katherine MacKenzie Linda Morgan ** Katherine Murray * Kathleen Poe Ross Laura Rappold * Laura Emiko Soltis Diana Strommen Alexandra Tanico Carol Wyatt *

TENOR Randall Barker * Jeffrey Baxter ** David Blalock ** John Brandt * Jack Caldwell ** Daniel Compton Justin Cornelius Phillip Crumbly * Jeffrey Daniel * Leif Gilbert-Hansen * Keith Langston * Clinton Miller Michael Parker Christopher Patton Brent Runnels Mark Warden * Alexander Wilson

BASS Dock Anderson Michael Arens * Philip Barreca Charles Boone Russell Cason ** Trey Clegg Steven Darst ** Michael Dennison Michael Devine Michael Ervin Timothy Gunter * Nathan Holmes Jameson Linville Jason Maynard John Newsome Brian Petty Benjamin Temko * Joel Terning Edgie Wallace * * 20+ years of service ** 30+ years of service

34 | feb20&22 Concerts of Thursday, Feb. 20, 2020 8:00pm Saturday, Feb. 22, 2020 8:00pm THOMAS SØNDERGÅRD, conductor BLAKE POULIOT, violin

The Atlanta Symphony Orchestra Classical Series is presented by

JEAN SIBELIUS (1865-1957) Finlandia, Opus 26, No. 7 (1899)

9 MIN

Concerto for Violin and Orchestra in D minor, Opus 47 (1903/4, rev. 1905) 33 MIN

I. Allegro moderato

II. Adagio di molto

III. Allegro, ma non tanto

Blake Pouliot, violin INTERMISSION Symphony No. 6 in D minor, Opus 104 (1923)

I. Allegro molto moderato

II. Allegretto moderato

III. Poco vivace

IV. Allegro molto

20 MIN 28 MIN

Symphony No. 7 in C Major, Opus 105, “In One Movement” (1924) 23 MIN Adagio (attaca) Un pochettino meno adagio; Vivacissimo; Adagio (attaca)

Allegro molto moderato (attaca) Vivace; Presto; Adagio

Please note: Symphonies Nos. 6 and 7 will be performed without a break.

Thursday ticket holders are invited to attend a conversation with Maestro Thomas Søndergård in Center Space immediately following the concert.

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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Ken Meltzer Program Annotator

JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, 1957.

First Classical Subscription

Finlandia, Opus 26, No. 7 (1899)

Henry Sopkin, conductor.

The first performance of Finlandia took place in Helsinki, Finland, on November 4, 1899, with Robert Kajanus conducting. Finlandia is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals a2, bass drum, triangle, and strings.

Most Recent Classical

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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 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. Suddenly, the mood changes as brass fanfares introduce the heroic principal Allegro theme.

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.

Concerto for Violin and Orchestra in D minor, Opus 47 (1903/4, rev. 1905)

Performance: February 4, 1945,

Subscription Performances: January 21-23, 2010, Robert Spano, conductor.

Recording: Telarc CD-80320 Yoel Levi, conductor

36 | encore First Classical Subscription Performance: November 18, 1952, Tossy Spivakovsky, violin, Henry Sopkin, conductor.

Most Recent Classical Subscription Performances:

The first performance of the Violin Concerto took place in Helsinki, Finland, on February 8, 1904, with Viktor Nováček as soloist and the composer conducting. 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.

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ean Sibelius began work on his Violin Concerto in 1902. A driving force behind the Concerto Robert Spano, conductor. 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.

March 2 & 4, 2017,

Benjamin Beilman, violin,

Sibelius then offered the premiere to Victor Nováček, 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, Nováček 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. In that revised form the work became one of most beloved violin concertos.

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)

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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(!)”

Symphony No. 6 in D minor, Opus 104 (1923)

First Classical

The first performance of the Symphony No. 6 took place in Helsinki, Finland, on February 19, 1923, with the composer conducting the Helsinki City Orchestra.

The Symphony No. 6 is scored for two flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, timpani, harp, and strings.

Subscription Performances:

S

April 7-9, 2005, Robert Spano, conductor.

Most Recent Classical Subscription Performances: November 29December 1, 2012,

Robert Spano, conductor. ibelius began composition of his Symphony No. 6 in 1914. However, various other commitments, Recording: ASO Media 1004, as well as personal challenges, delayed progress.

Robert Spano, conductor It was not until the fall of 1922 that Sibelius was able to devote his full energies to the piece. Sibelius completed the Symphony No. 6 in February of 1923. On February 19, Sibelius conducted the world premiere, in Helsinki.

Although the Symphony No. 6 is typically referred to as being in D minor, that key is not specified in the original score. And in truth, the Symphony embraces the Dorian mode (D-E-F-G-A-B-C-D). The Sixth Symphony’s modal harmonic foundation, introspective lyricism, and transparent, often chamber-like orchestral textures, create a mystical beauty and atmosphere unique among Sibelius’s Symphonies, perhaps among all symphonies of the early 20th century. As Jean Sibelius observed: “You may analyze it and explain it theoretically. You may find that there are several interesting things going on. But most people forget that it is, after all, a poem.”

The Symphony is in four movements. An extended introductory passage yields to the lively central portion of the first movement (Allegro molto moderato). The sense of perpetual motion is finally halted by the coda (Poco allargando), leading to the enigmatic close. Instead of the traditional slow-tempo second movement, Sibelius offers an Allegretto moderato comprising varied episodes.

38 | encore The third movement (Poco vivace), briefest of the four, assumes the role of the Symphony’s scherzo. The finale’s (Allegro molto) introduction, related to its counterpart in the opening movement, is a repeated dialogue between lighter and darker voices. The introductory music develops into the finale’s energetic central episode. The final coda (Doppio più lento) becomes ever more serene, capped by the violins’ diminuendo on a sustained “D”.

First Classical Subscription Performances: October 29-November 1, 1970, Robert Shaw, conductor.

Most Recent Classical Subscription Performances: November 29-December 1, 2012, Robert Spano, conductor.

Symphony No. 7 in C Major, Opus 105, “In One Movement” (1924) The first performance of the Symphony No. 7 took place in Stockholm, Sweden, on March 24, 1924, with the composer conducting. The Symphony No. 7 is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, and strings.

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innish composer Jean Sibelius completed his Seventh (and final) Symphony on March 2, 1924. The composer conducted the world premiere in Stockholm on March 24 (at the time, the work was entitled Fantasia sinfonica). The Symphony No. 7 is an extraordinary work on many levels. It is designated as being “In One Movement,” and in that sense, is unique among the composer’s Seven Symphonies. But it is also possible to discern a series of symphonic movements within this structure. During the brief course of the Seventh Symphony, Jean Sibelius presents the constant metamorphosis of themes, couched in ever-changing tempos and orchestral colors. The Sibelius Seventh flies by in an instant, all the while evoking a sense of eternity.

Recording: ASO Media 1004,

Robert Spano, Conductor

The Symphony opens with a brief, hushed statement by the timpani (Adagio). The cellos inaugurate an ascending passage encompassing a C-Major scale that culminates in a mysterious A-flat minor chord. The flutes, bassoons, and clarinets play an undulating sixteenth-note theme, followed by a descending passage in the oboes (the ascending scale and subsequent themes all play central roles throughout the Symphony). A sublime lyrical episode, inaugurated by the strings, culminates with a solo trombone playing a noble sonore theme.

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A further development of the principal themes builds momentum, leading to a quicksilver scherzo (Vivacissimo) episode, featuring lightning-quick exchanges between the strings and winds. The tempo slows, and an undulating string figure serves as accompaniment for a reprise of the trombone theme (Adagio). An extended, quick-tempo episode (Allegro molto moderato) focuses upon a buoyant theme, initiated by the winds. A second scherzo section hurtles to a Presto conclusion.

E COMPANYThe tempo slows once again, as the trombone melody E� heralds the Symphony’s broad concluding measures (Adagio). Echoes of the central themes resolve to the majestic closing bars.

AwarThe Tony dBESwinning

MUSI T CAL

CITYSPRINGSTHEATRE.COM

40 | meettheartists THOMAS SØNDERGÅRD, CONDUCTOR

D

MARTIN BUBANDT

anish conductor Thomas Søndergård is Music Director of Royal Scottish National Orchestra, following six seasons as Principal Guest Conductor. He served as Principal Conductor of BBC National Orchestra of Wales from September 2012 – August 2018, and prior to this, as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons.

The 2019/20 season includes debuts with Cleveland Orchestra, NDR Radiophilharmonie Hannover and Detroit Symphony Orchestra. He makes return visits to Danish National Symphony Orchestra, the Bayerische Staatsoper Orchestra, the Guildhall Orchestra and embarks on a Korean tour with the orchestra of the Royal Danish Opera.

Highlights with the Royal Scottish National Orchestra include Berg’s Seven Early Songs, Mahler’s Das Lied von der Erde, recording work, a European tour and performances of the Verdi Requiem.

In 2011 he was awarded the prestigious Queen Ingrid Foundation Prize for services to Music in Denmark, and in autumn 2019 was awarded the Wilhelm Hansen Honorary Award.

BLAKE POULIOT, VIOLIN

V

JEFF FASANO

iolinist Blake Pouliot has joined the upper echelons of brilliant soloists, establishing himself as a consummate 21st century artist with the rigor and passion to shine for a lifetime.

Highlights of the 2019/20 season include Pouliot’s debuts with the Atlanta, Asheville, Sarasota and Madison symphonies and a collaborative experience as the featured soloist for the first ever tour of the European Union Youth Orchestra and National Youth Orchestra of Canada.

Pouliot studied violin in Canada with Marie Berard and Erika Raum, and completed his training as an associate of The Royal Conservatory of Music in Toronto. He graduated from the Colburn School Conservatory of Music, where he studied with Robert Lipsett, the Jascha Heifetz Distinguished Violin Chair.

Pouliot performs on the 1729 Guarneri del Gesù, on generous loan from the Canada Council for the Arts Musical Instrument Bank as First Laureate of both their 2018 and 2015 Competition.

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Join us for these upcoming FREE PERFORMANCES featuring musicians of the Atlanta Symphony Orchestra and the ASO's Talent Development Program.

FEB 16 | Sun: 4pm

109th Annual Morehouse College Glee Club Concert featuring the ASO

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International Women's Day Performance Celebrating Rosa Parks

Agnes Scott College

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MAR 8 | Sun: 5pm

Talent Development Program Recital

First Presbyterian Church of Atlanta

Ray Charles Performing Arts Center MAR 8 | Sun: 4pm

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Reserve free tickets at aso.org/TDP MAR 17 | Wed: 8pm

Listen: Works by Women

Schwartz Center for Performing Arts Featuring The Merian Ensemble, composed of ASO musicians Elisabeth Remy Johnson, Christina Smith, Emily Brebach, Marci Gurnow and Jessica Oudin.

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42 | feb27&29 Concerts of Thursday, Feb. 27, 2020 8:00pm Saturday, Feb. 29, 2020 8:00pm THOMAS SØNDERGÅRD, conductor HÅVARD GIMSE, piano SHERRI SEIDEN, soprano ANDREAS LANDIN, baritone

HUGO ALFVÉN (1872-1960) Bergakungen (The Mountain King), Suite for Orchestra, Opus 37 (1923) 16 MIN

I. Besvärjelse (Invocation)

II. Trollflickans dans (Dance of the Troll Maiden)

III. Sommarregn (Summer Rain)

IV. Vallflickans dans (Dance of the Shepherd Girl) EDVARD GRIEG (1843-1907) Concerto for Piano and Orchestra in A minor, Opus 16 (1868) 31 MIN

I. Allegro molto moderato

II. Adagio

III. Allegro moderato molto e marcato

Håvard Gimse, piano INTERMISSION WILHELM STENHAMMAR (1871-1927) Florez och Blanzeflor, Opus 3 (1891)

Andreas Landin, baritone

The Atlanta Symphony Orchestra Classical Series is presented by

CARL NIELSEN (1865-1931) Symphony No. 3 “Sinfonia espansiva”, Opus 27 (1911)

I. Allegro espansivo

II. Andante pastorale

III. Allegretto un poco

IV. Finale. Allegro

Sherri Seiden, soprano

Andreas Landin, baritone English surtitles by Ken Meltzer

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

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20 MIN 8 MIN

39 MIN

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Ken Meltzer Program Annotator

Bergakungen (The Mountain King), Suite for Orchestra, Opus 37 (1923) These are the First Classical HUGO ALFVÉN was born in Stockholm, Sweden, on Subscription Performances.

May 1, 1872, and died in Falun, Sweden, on May 8, 1960. The first performance of the ballet Bergakungen took place at the Royal Opera in Stockholm on February 7, 1923, with Aldolf Wiklund conducting the Royal Court Orchestra. The Bergakungen Suite is scored for piccolo, three flutes, three oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, alto saxophone, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, gong, orchestra bells, triangle, cymbals, two harps, celesta, and strings.

S

wedish composer Hugo Alfvén created his ballet Bergakungen (The Mountain King) during the period of 1917-23. The ballet’s story, based upon folk tales, concerns a shepherdess who is kidnapped by the mountain king of the trolls (he also makes an unforgettable appearance in Grieg’s Incidental Music for Ibsen’s Peer Gynt). The shepherdess is rescued by her beloved shepherd.

After its premiere in Stockholm in 1923, Alfvén’s Bergakungen enjoyed considerable success for about a decade. But when the work fell out of favor, Alfvén created an orchestral suite, incorporating four episodes from the original Bergakungen score. Alfvén also used portions of the ballet in his Fifth Symphony (1942-1953). The tuneful and richly-scored Bergakungen Suite has enjoyed great success in the concert hall, and the concluding Vallflickans dans (Dance of the Shepherd Girl) is a favorite encore number.

Alfvén’s Mountain King Suite opens with the arresting Besvärjels (Invocation) from the conclusion of the ballet’s second Act. The sultry Trollflickans dans (Dance of the Troll Maiden) is from Act III. Act I’s Sommarregn is a magical evocation of a summer rainstorm. The Suite concludes with the vivacious Vallflickans dans (Dance of the Shepherd Girl) (Act III).

Concerto for Piano and Orchestra in A minor, Opus 16 (1868)

44 | encore First Classical Subscription Performance: January 30, 1949, Margarethe Parrott, piano, Henry Sopkin, conductor.

Most Recent Classical Subscription Performances: April 7-8, 2016, Louis Lortie, piano, Robert Spano, conductor.

EDVARD GRIEG was born in Bergen, Norway, on June 15, 1843, and died there on September 4, 1907. The first performance of the Piano Concerto in A minor took place in Copenhagen, Denmark, on April 3, 1869, with Edmund Neupert as soloist, and the Orchestra of the Royal Theatre, Holger Simon Paulli conducting.

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

E

dvard Grieg’s beloved Piano Concerto was the product of a particularly happy period in the Norwegian composer’s life. In 1867, Grieg and his wife, Nina, were married. The following April, their daughter, Alexandra, was born (Alexandra died in 1869 from meningitis). In the summer of 1868, Edvard, Nina and Alexandra Grieg traveled to Søllerød, located near Copenhagen. The Grieg family vacationed in a rented cottage. There, Edvard Grieg composed the A-minor Piano Concerto.

The premiere of the Concerto, which took place in Copenhagen on April 3, 1869, was generally well received by the Norwegian press. One critic viewed the work, which incorporated Norwegian folk idioms, as presenting “all Norway in its infinite variety and unity,” and compared the second movement to “a lonely mountain-girt tarn that lies dreaming of infinity.”

In early 1870 in Rome, Grieg met the great Hungarian pianist and composer, Franz Liszt. During one visit, Grieg presented the score of the A-minor Concerto to Liszt, who played through the work, often shouting his approval. As Grieg related: “Finally, (Liszt) said in a strange, emotional way: ‘Keep on, I tell you. You have what is needed, and don’t let them frighten you.’” Liszt did suggest some changes to the score, finally published in 1872. Grieg was never totally satisfied with the Concerto, and continued to pen revisions until the time of his death. Despite the composer’s misgivings, the Grieg A-minor remains one of the most popular of piano concertos.

The Concerto is in three movements. The first (Allegro

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moderato) features one of concert music’s most famous and dramatic openings. The second movement (Adagio) opens with an extended introduction spotlighting the muted strings. This precedes the entrance of the soloist, whose presence dominates the remainder of this brief and affecting slow-tempo movement. The finale (Allegro moderato molto e marcato) begins with a short introduction that anticipates the soloist’s presentation of the main theme—a jaunty rhythmic passage based upon a Norwegian folk dance known as the halling. The flute initiates a lovely contrasting interlude, but the spirited halling motif soon returns. After another virtuoso cadenza by the soloist, the principal dance theme is transformed from the duple-time halling to a triple-time springdans.

The closing pages present the orchestra’s majestic transformation of the interlude, accompanied by the soloist’s grand flourishes.

Florez och Blanzeflor, Opus 3 (1891)

These are the First Classical

Subscription Performances.

WILHELM STENHAMMAR was born in Stockholm, Sweden, on February 7, 1871, and died there on November 20, 1927. Florez och Blanzeflor is scored for baritone solo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

S

wedish composer Wilhelm Stenhammar’s early work for baritone and orchestra, Florez och Blanzeflor, is a setting of a poem by the Swedish poet Oscar Levertin (1862-1906). The poem is based upon a story from the Middle Ages (one that also makes an appearance in Carl Orff’s Carmina burana). Levertin’s poem narrates the births, childhoods, courtship, marriage, and tragic deaths of the royal couple, Florez and Blanzeflor. The poem also relates this tale to life’s renewal in spring (the names Florez and Blanzeflor are both derivatives of “flower”).

Stenhammer's music for both the baritone solo and modest orchestral forces admirably reflects and illuminates the beauty and drama of Levertin’s text.

Symphony No. 3 “Sinfonia espansiva”, Opus 27 (1911)

These are the First Classical

Subscription Performances.

CARL NIELSEN was born in Sortelung, Denmark, on June 9, 1865, and died in Copenhagen, Denmark, on October 3, 1931. The first performance of the Symphony No. 3 took place in Copenhagen on February 28,

F R I E N D S O F C AT H E D R A L M U S I C

The Choir of St. John’s College, Cambridge, England O N E OF THE MOST CELEBRA TED CH O IR S OF MEN & BOYS I N THE WO R L D

Monday, March 23, 2020 at 7:30 p.m. ~

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1912, with the composer conducting the Royal Danish Orchestra. The Symphony No. 3 is scored for soprano and baritone solo (second movement), piccolo, three flutes, three oboes, English horn, three clarinets, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, and strings.

D

anish composer Carl Nielsen created his Symphony No. 3 during a period that spanned the summer of 1910 to the 30th of April, 1911. Following the completion of the Third Symphony, Nielsen began work on his Violin Concerto, which he finished by year’s close. The premiere of both works took place on February 28, 1912.

The composer led the Royal Danish Orchestra in a concert that proved to be a great success on all counts.

Nielsen provided the subtitle for his Symphony No. 3, “Sinfonia espansiva”. That is certainly a reference to the work’s grand opening movement, with its tempo marking Allegro espansivo. But English composer Robert Simpson (1921-1997), in his superb study on the Nielsen Symphonies, Carl Nielsen, Symphonist (Kahn and Averill, London, 1979), offers this further explanation: espansiva means the outward growth of the mind’s scope and the expansion of life that comes from it. It has no ‘romantic’ connotations, and does not mean inflation; the symphony is scarcely longer than No. 2, and its title, like all good titles, simply confirms what the work says in its own clear terms. Why, then, bother with a title? Because an artist who has something precise to say will say it in terms of his art, but, if he is not afraid to do so, may also seize any other means of communication (of which language is the most generally used), to make sure that his audience, viewers, or readers will be prepared for it.

And perhaps, some preparation is in order. Nielsen wrote in his diary: “It is a fact, that he who brandishes the hardest fist will be remembered longest. Beethoven, Michelangelo, Bach, Berlioz, Rembrandt, Shakespeare, Goethe, Henrik Ibsen, and the like have all given their time a black eye.” It’s not by accident that Nielsen listed Beethoven first among his favored artistic revolutionaries and iconoclasts. Like

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48 | encore Beethoven, Carl Nielsen spoke with a musical voice that was by turns audacious, uncompromising, and ultimately, life affirming. And, like Beethoven, Nielsen was a master at manipulating thematic material to stunning musical and dramatic impact.

Programming of Carl Nielsen’s compositions is all too infrequent in American concert halls (these performances of the “Sinfonia espansiva” are the first in the ASO’s 75-year history). But that only serves to make each performance of a Nielsen work, particularly a blazing masterpiece like the Third Symphony, a treasured opportunity for musical fulfillment on the highest plane, and celebration.

The “Sinfonia espansiva” opens with a series of bracing accelerating chords (Allegro espansivo), the introduction to the vaulting initial then, first presented by the winds. The movement is notable throughout for its bold energy and momentum. The slow-tempo second movement (Andante pastorale), culminates in a radiant E-flat Major episode, in which a solo baritone and soprano become part of the orchestral fabric. The third movement (Allegretto un poco) serves as the Symphony’s scherzo. The Finale (Allegro) opens with the noble principal theme. It serves as the foundation for the entire movement, recurring throughout, and generating related themes. The theme makes its grandest appearance in the triumphant final bars.

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SCHWARTZ CENTER FOR PERFORMING ARTS

Concert Series

© Atlanta Symphony Orchestra

2019–2020 Candler

SPRING CONCERTS Pablo Sáinz Villegas: Americano Trio February 29, 2020 at 8:00 p.m.

Jane Bunnett and Maqueque March 19, 2020 at 8:00 p.m.

Robert McDuffie, violin and Robert Spano, piano April 10, 2020 at 8:00 p.m.

Donʼt miss out!

Tickets on sale now.

404.727.5050 arts.emory.edu/encore

50 | meettheartists Please see Thomas Søndergård's biography on page 40.

HÅVARD GIMSE, PIANO

H

ILJA HENDEL

åvard Gimse is one of Scandinavia’s most illustrious pianists, a musician of deep sensitivity and selfless regard for the text. He has an expansive repertoire of more than 30 piano concertos and is noted for his work as a recitalist and chamber musician. He currently looks forward to debuts with the Philharmonia Orchestra and the Orchestre Dijon Bourgogne, in addition to the release of a new recording with Truls Mørk.

Gimse was born in Kongsvinger, east of Oslo. He studied at the Hochschule der Künste Berlin with Hans Leygraf and later with Jiri Hlinka in Norway. His victory at the Jugend Musiziert Competition in 1987 was the first in a string of major accolades to come his way. He won the Steinway Prize in 1995, the Grieg Prize in 1996, the Sibelius Prize in 2004 and the Norwegian Critics Prize for his performances of Beethoven’s Cello Sonatas with Truls Mørk at the 2011 Bergen International Festival.

Gimse was Artistic Director of the Elverum Festival and sits on the Artistic Board of the Oslo Chamber Music festival.

He is Professor of Piano at the Norwegian Academy of Music in Oslo.

SHERRI SEIDEN, SOPRANO

S CATLIN CRAWFORD

oprano Sherri Seiden, known for her sparkling voice, has graced stages across four continents. A versatile and multi-faceted artist, Seiden has performed effortlessly in thegenres of Opera, Concert, and Musical Theater.

Her first CD of Operetta highlights called, Lover Come Back, was recorded with the Slovak National Symphony Orchestra, and conducted by Peter McCoppin.

Concert appearances include performances as soloist with the National Philharmonic in Washington, D.C. The program included Mozart’s Requiem, Bach Cantata No. 51 “Jauchzet Gott in Allen Landen”, Haydn’s Lord Nelson Mass and Mendelssohn Symphony No. 2. She also performed as the featured soloist at the Horatio Alger Awards at Constitution Hall in Washington D.C., and as soloist in Carmina Burana with the Cobb Symphony Orchestra in Georgia.

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Seiden was a first-place winner of the Regional Metropolitan Opera Competition and a National Grand finalist. She completed a post-graduate program with the University of Toronto’s Opera Division and a Bachelor of Music degree at the Boston Conservatory of Music.

ANDREAS LANDIN, BARITONE

B

aritone Andreas Landin trained at Opera Studio 67 in Stockholm and the Opera College in Copenhagen.

He has had roles in some 20 newly written operas such as the Shadow in Hans Gefors’ Shadow Play, Pallas Athena in Reine Jönssons Strandstrand’s Swell and the title role in Daniel Börtz’s Magnus Gabriel at Läckö Castle Opera. He has, among other things, sung Papageno in The Magic Flute, Marcello in La bohème, The One-Eyed Man in The Woman without a Shadow and sang the title role of Macbeth at the Concert Hall in Gothenburg.

Most recently he participated in The Royal Theatre’s experimental performance of The Horizon and as the young Solomon in Pelle Gudmundsen-Holmgreen’s opera Sun Goes Up, Sun Goes Down. Landin has done several roles at the Opera Workshop, among others in the City Musicians, The Gift and Death Say No.

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52 | encore ASO | SUPPORT

T

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

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$17,500+ Mr. Keith Adams & Ms. Kerry Heyward Mr. & Mrs. John Allan Wright & Alison Caughman Catherine Warren Dukehart Sally & Carl Gable Mr. & Mrs. Douglas J. Hertz John & Linda Matthews Mercedes-Benz Mr. & Mrs. Bert Mills Martha M. Pentecost Porsche Cars North America, Inc. Mr. & Mrs. David W. Scheible Joyce & Henry Schwob June & John Scott Mr. Alex J. Simmons, Jr. & Ms. Janine Brown Slumgullion Charitable Fund Cari K. Dawson & John M. Sparrow Ms. Brett A. Tarver John & Ray Uttenhove Mr.* & Mrs. Edus H. Warren, Jr. Adair & Dick White

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$10,000+

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Mr. Randolph J. Koporc Mr. & Mrs. J. Hicks Lanier Pat & Nolan Leake Lubo Fund Ken & Carolyn Meltzer The Monasse Family Foundation ∞ Dr. Ebbie & Mrs. Ayana Parsons Ray M. & Mary E. Lee Foundation, Inc. Sage Mr. Andrew Saltzman Gretchen Nagy & Allan Sandlin Dr. Steven & Lynne Steindel ∞ Peter James Stelling Mr. & Mrs. Trevor W. Tank Carol & Ramon Tomé Family Fund Trapp Family Turner Foundation, Inc. United Distributors Chilton & Morgan Varner Mark & Rebekah Wasserman Dr. & Mrs. James O. Wells, Jr. Mrs. Virginia S. Williams

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

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Michael & Carol Murphy° Ms. Kathy Powell S.A. Robinson Ann Shearer Mr. Morton S. Smith Ms. Martha Solano Mrs. C. Preston Stephens* Stephen & Sonia Swartz Dale L. Thompson Drs. Jonne & Paul Walter Ruthie Watts Mr. & Mrs. M. Beattie Wood David & Martha West

$2,000+

A Friend of the Symphony (2) Joan & Jan Abernathy Mr. & Mrs. Ivan Allen IV Ms. Mary Allen Mr. & Mrs. David Allman $3,500+ Mr. James L. Anderson A Friend of the Mr. & Mrs. Scott J. Arnold Symphony (1) Dr. & Mrs. Charles Arp Dr. Evelyn R. Babey Ms. Cyndae Arrendale Mrs. Judith D. Bullock Mr. Joel Babbit Mr. & Mrs. Dennis M. Chorba Betty & Robert Balentine The Community Mrs. Juanita Baranco Foundation for Greater Anthony Barbagallo & Atlanta Kristen Fowks Ralph & Rita Connell Mr. & Mrs. Billy Bauman Sally & Larry Davis Ms. Susan R. Bell & Mary & Mahlon Delong Mr. Patrick M. Morris Xavier Duralde & Mr. William Benton & Mary Barrett Mr. Michael Morrow Mr. & Mrs. James Durgin Dr. & Mrs. Joel E. Berenson Mr. & Mrs. John Dyer Shirley Blaine Carol G. & Larry L. Leon & Joy Borchers Gellerstedt III Mr. James W. Boswell lll Mary D. Gellerstedt & Dr. Elizabeth Boswell ∞ Henry B. Harris Mr. & Mrs. Andrew J. Bower° John & Martha Head Martha S. Brewer Mr. Kenneth & Ms. Harriet Evans Brock Ms. Colleen Hey Dr. & Mrs. Anton J. Thomas High Bueschen Dr. Michael D. Horowitz Dr. Aubrey Bush & Mr. Lonnie Johnson & Dr. Carol Bush Mrs. Linda A. Moore Mr. & Mrs. Ronald E. Lillian Balentine Law Canakaris Deborah & William Liss° Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Frederick C. Mr. & Mrs. Jameson Carroll Mabry Ms. Cynthia W. Cass & Mr. Kay & John T. Marshall Lawrence J. Skowronek Cathey & Peter Millichap

encoreatlanta.com

| 55

Jay & Arthur Richardson Ms. Susan E. Foxworth Mr. John T. Champion & Dr. Fulton D. Lewis III & Ms. Penelope Malone S. Neal Rhoney Susan Robinson & Phil & Lisa Hartley Julie & Jerry Chautin Mr. & Mrs. J. David Lifsey Mary Roemer Mr. & Mrs. Steve Hauser° Mr. Stephen Choi Mr. & Mrs. Richard L. Mr. & Mrs. Marc S. Heilweil Mr. Gary Madaris Susan & Carl Cofer Mr. & Mrs. John Hellriegel Meghan & Clarke Magruder Rodgers George* & Mary* Rodrigue Mr. Terence M. Colleran & Mr. & Mrs. Bill Henagan Dr. & Mrs. Ellis L. Malone Ms. Lim J. Kiaw Mr. & Mrs. Mark Rosenberg Elvira Mannelly Michael Hertz Mr. & Mrs. R. Barksdale Mr. & Mrs. Chris Matheison Dr. & Mrs. Rein Saral Azira G. Hill Collins° Sharon & David Schachter In memory of Sarah & Harvey Hill° Mr. Thomas J. Collins & Emily Scheible Pam McAllister Mr. & Mrs. Thomas M. Mr. Jeff Holmes Mr. & Ms. James McClatchey Dr. Bess T. Schoen Holder Ned Cone & Mr. Jim Schroder & Martha & Reynolds Laurie House Hopkins & Nadeen Green McClatchey Ms. Morli Desai John D. Hopkins Jean & Jerry Cooper Mrs. William A. Schwartz James & Bridget Horgan° Albert S. McGhee Ms. Rebekah Cramer Mr. & Mrs. Edward McGinn Dr. & Ms. Martin Shapiro Mrs. Sally Horntvedt Susan & Ed Croft Mr. & Mrs. Milford W. Nick & Annie Shreiber Dona & Bill Humphreys Mrs. Lavona Currie McGuirt Helga Hazelrig Siegel Barbara M. Hund Dr. & Mrs. F. Thomas Daly, Jr. JoAnn Hall Hunsinger Dr. Larry V. McIntire Mr. & Mrs. Mark Silberman Mr. & Mrs. Jay Davis Birgit & David McQueen Gerald & Nancy The Hyman Foundation Mr. & Mrs. Donald Defoe° Mr. & Mrs. Phil S. Jacobs Virginia K. McTague Silverboard Mr. Philip A. Delanty Mr. & Mrs. Ed Mendel, Jr. Diana Silverman Mary & Wayne James Mrs. Paulette Eastman Mr. & Mrs. John H. Mershon Ms. Grace Sipusic Cynthia Jeness Mr. & Mrs. Robert G. Edge Aaron & Joyce Johnson Federico & Sarah Milla Johannah Smith Mr. & Mrs. David H. Eidson Bucky & Janet Johnson David & Marie Monde Barry & Gail Spurlock Ms. Diana Einterz Mr. & Mrs. Charles A. Morn Tom & Ani Steele Mrs. A. R. Johnson, Jr. Dieter Elsner & Miss Elizabeth L. Morris & Lou & Dick Stormont Mr. W. F. & Othene Munson Miss Christine Elliott Mr. & Mrs. Phillip Street Dr. Janice Johnston Robert S. Elster Janice & Tom Munsterman Beth & Edward Sugarman Cecile M. Jones Foundation Melanie & Allan Nelkin Kay & Alex Summers Lana M. Jordan Rosi Fiedotin The Parham Fund William L. & Sally S. Jorden Gary R. Noble Mr. & Mrs. Craig Fleming Mr. & Mrs. Charles H. Carolyn C. Thorsen Ann T. Kimsey Mr. & Mrs. William A. Flinn Ms. Juliana T. Vincenzino Mr. George G. Kirkpatrick Ogburn Bruce W. & Avery C. Flower Mr. Richard C. Owens Vogel Family Foundation Pam Klomp Dr. & Mrs. Richard D Franco Mr. & Mrs. E. Fay Pearce, Jr.° Carol Brantley & Mrs. Jo W. Koch Mr. & Mrs. Paul R. Freeman Leslie & Skip Petter David Webster David & Jill Krischer Mr. Neel R. Gandhi & Doris Pidgeon in Memory Dr. Nanette K. Wenger Wolfgang & Mariana Mrs. N. Sarita Shah of Rezin E. Pidgeon, Jr. Sally Stephens Laufer Mr. & Mrs. Edward T.M. Piedmont Group of Westmoreland Mr. & Mrs. Theodore J. Garland Atlanta, LLC Mrs. Frank L. Wilson, Jr. Lavallee, Sr. Dr. Mary G. George & Dr. & Mrs. John P. Pooler Mr. & Mrs. Rhys T. Wilson Mr. & Mrs. Van R. Lear Mr. Kenneth Molinelli Mr. Hugh Queener Russell F. Winch Mary Palmer Family Marty & John Gillin° Ms. Cathleen Quigley Foundation Mrs. Lynne M. Winship Sandra & John Glover Mr. & Mrs. Robert Ratonyi Mrs. Carol Winstead Olivia A. M. Leon Mrs. Janet D. Goldstein Mr. & Ms. Glen A. Reed Mr. Edward J. Levin & Camille W. Yow Google, Inc. Mrs. Susan H. Reinach Mrs. Debbie Levin Herbert & Grace Zwerner Dr. & Mrs. Carl Grafton Lauren & Jim Grien Patron Partnership and Appassionato Leadership Committee Charles E. Griffin We give special thanks to this dedicated group of Atlanta Symphony Richard & Debbie donors for their commitment to each year's annual support initiatives: Griffiths Mr. & Mrs. George Kristi Allpere Pat Buss Linda Matthews Peter Stelling chair Gunderson° Deedee Hamburger Sally Parsonson Sheila Tschinkel Helga Beam Judy Hellriegel June Scott Jonne Walter Mr. & Mrs. Jay Bill Buss Halpern Belinda Massafra Milt Shlapak Marcia Watt °We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased

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

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

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

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

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

Commitment to Education & Community Engagement Each season, generous donors make special gifts above and beyond their Annual Fund support to the Atlanta Symphony Orchestra’s Education and Community Engagement Fund. These gifts impact students, families and young musicians who participate in the unique musical resources of the Atlanta Symphony Orchestra, including: The Talent Development Program – this nationally recognized program prepares gifted African American and Latinx students for careers in classical music.

The Atlanta Symphony Youth Orchestra – Some of the most talented young musicians in metro Atlanta train together and perform a series of concerts, benefitting from the ASO’s mighty professional resources.

Concerts for Young People – These special ASO daytime concerts attract a large and broad audience of students and provide introductory-level experiences in music.

Live Exploration with the ASO – In partnership with Georgia Public Broadcasting, we were able to live-stream our innovative programming to over 140,000 Georgia students in their classrooms.

And many more.

We are tremendously grateful to those donors whose support brings music to the next generation of concertgoers and musicians through our host of programs dedicated to young people.

These special gifts are essential for sustaining these vital programs.

For additional information or to learn more about supporting these special programs, please contact: Jimmy Paulk, Annual Giving Officer james.paulk@atlantasymphony.org | 404.733.4485 The Atlanta Symphony Orchestra, under the Woodruff Arts Center, is a 501c3 nonprofit organization. Federal Tax ID: 58-0633971

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

$1 MILLION+ A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA

JOY AND TONY* GREENE

$500,000+

A Friend of The Woodruff Arts Center Farideh and Al Azadi Foundation

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

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

SARAH AND JIM KENNEDY

$400,000+ Abraham J. & Phyllis Katz Foundation SunTrust Teammates

SunTrust Foundation SunTrust Trusteed Foundations:

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

$300,000+ King & Spalding, Partners & Employees The Molly Blank Fund of the Arthur M. Blank Family Foundation The Rich Foundation UPS

$250,000+

Pussycat Foundation PwC, Partners & Employees WarnerMedia Contributions Made: June 1, 2018 – May 31, 2019 | Beauchamp C. Carr Challenge Fund Donors | *Deceased

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

$200,000+

Deloitte, its Partners & Employees EY, Partners & Employees Louise S. Sams and Jerome Grilhot The Shubert Foundation Susan and Tom* Wardell

$150,000+

Alston & Bird Amy W. Norman Charitable Foundation The Antinori Foundation | Ron and Susan Antinori The David, Helen & Marian Woodward Fund-Atlanta Frederic R. Coudert Foundation Kilpatrick Townsend KPMG LLP, Partners & Employees The Marcus Foundation, Inc. Northside Hospital Mr. and Mrs. Solon P. Patterson Garnet and Dan Reardon Patty and Doug Reid The Sartain Lanier Family Foundation Wells Fargo

$100,000+

1180 Peachtree The Arthur M. Blank Family Foundation Atlanta Homes & Lifestyles Atlantic Station Sandra and Dan Baldwin Kathy and Ken Bernhardt Carol and Ramon TomĂŠ Family Fund CIBC Dan and Merrie Boone Foundation | Dan W. Boone III Sally and Carl Gable Georgia-Pacific Georgia Natural Gas Google Jones Day Foundation & Employees Kaiser Permanente Legendary Events Morris Manning & Martin LLP Victoria and Howard Palefsky PNC Estate of Judy Reed Margaret and Bob Reiser WestRock Company William Randolph Hearst Foundations wish Foundation

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

THE PATRON CIRCLE

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

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

$75,000+

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

$50,000+

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

Genuine Parts Company

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

Regions Bank

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

$25,000+

A Friend of the Alliance Theatre & Woodruff Arts Center ABM Kristie and Charles Abney The Allstate Foundation AIG Arby’s Foundation Arrow Exterminators

Spring and Tom Asher Assurant The Balloun Family Lisa and Joe Bankoff Ed Bastian BB&T Mr. and Mrs. Paul J. Blackney Stephanie Blank Bloomberg BNY Mellon Wealth Management The Breman Foundation, Inc. Mr. and Mrs. Ronald M. Brill Janine Brown and Alex J. Simmons, Jr. Benjamin Q. Brunt Lucinda W. Bunnen Frances B. Bunzl* Cadence Mr. and Mrs. C. Merrell Calhoun Mr. and Mrs. Anthony Catalfano CBH International, Inc. The Charles Loridans Foundation, Inc. Chubb Bert and Cathy Clark Susan and Carl Cofer Ann and Steve Collins Cooper Carry Cousins Properties Ann and Jeff Cramer Cushman & Wakefield Kay and David Dempsey Catherine Warren Dukehart Mrs. Sarah A. EbyEbersole and Mr. W. Daniel Ebersole Mr. Matt Echols Virginia and Brent Eiland Ms. Angela L. Evans Ellen and Howard Feinsand Jennifer and Marty Flanagan Frances Wood Wilson Foundation Nick Franz Mrs. Betty Sands Fuller Mr. and Mrs. Lawrence L. Gellerstedt III Geographics, Inc. Georgia Council for the Arts GMT Capital Corporation Goldman Sachs Carolyn and David Gould Nancy and Holcombe Green Greenberg Traurig, LLP Ted and Kim Greene The Partners & Employees of GreenSky, LLC/David Zalik, CEO & Chairman/ Gerry Benjamin, Vice Chairman Mr. Kenneth Haines Bonnie and Jay Harris Nancy and Charles Harrison Mr. and Mrs. James L. Henderson III

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

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

$15,000+

3M A Friend of the Atlanta Symphony Orchestra (2) A Friend of the High Museum of Art A Friend of The Woodruff Arts Center (3)

$15,000+

(CONT.)

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

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

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

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

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

Tickets may also be donated by calling 404.733.5000.

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

Call 404.733.4848.

SINGLE TICKETS Call 404.733.5000. Tue - Sat: noon – 6pm; Sun: noon – 5pm. Visit aso.org to order anytime. All single-ticket sales are final.

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

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

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

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

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

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

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

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

Subscription Information/ Sales 404.733.4800

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

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

Group Sales

404.733.4848

Atlanta Symphony Associates (Volunteers) 404.733.4485 Educational Programs

404.733.4870

Atlanta Symphony Youth Orchestra

404.733.5037

Lost and Found

404.733.4263

Symphony Store

404.733.4345

Donations & Development 404.733.5079

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

encoreatlanta.com

| 63

ASO | STAFF EXECUTIVE

Tyrone Webb

Jennifer Barlament

manager of education

executive director

Stephanie Smith executive assistant

Tasha Cooksey executive & finance

Adam Fenton

Hsing-I Ho

director of multimedia

assistant orchestra

community programs

technology

personnel manager

Ryan Walks

Caitlin Hutchinson

Victoria Moore

talent development

marketing coordinator

director of

program manager

Natacha McLeod

orchestra personnel

DEVELOPMENT

senior director of

&

marketing

-

&

aso

Daniel Stupin live

assistant

Grace Sipusic

ARTISTIC

vice president of

Robert Phipps

development

publications director

Elizabeth Arnett

SALES & REVENUE MANAGEMENT

Elena Dubinets chief artistic officer

senior director of

Jeffrey Baxter

development

choral administrator

Erika Burley,

Cynthia Harris artist liaison

Christopher McLaughlin manager

development

&

stewardship

Megan Brook

of

&

music consultant

Nancy Field manager of grants

&

special

director of patron

&

season

Brandi Reed staff accountant

individual giving

Jesse Pace

April Satterfield

Dennis Quinlan

associate director of education

&

community

engagement

Niki Baker family programs assistant

Tiffany I. M. Jones managing producer of education concerts

Ruthie Miltenberger manager of family programs

symphony store

coordinator

Christopher Stephens

Kaitlin Gress

analysis

V.S. Jones

Dana Parness

tickets

chief artistic officer

&

patron services

annual giving officer

Elena Dubinets

financial planning

office manager

individual giving

experience

EDUCATION & COMMUNITY ENGAGEMENT

Kim Hielsberg

Shannon McCown

James Paulk

conductor

vice president of

Madeleine Lawson

coordinator

principal guest

&

business development

manager of leadership

executive assistant

&

chief financial officer

tickets

Carol Wyatt to the music director

Susan Ambo

senior director of

Pam Kruseck experience

FINANCE & ADMINISTRATION

William Keene &

projects coordinator

revenue management

front of house manager

communications

program annotator

Bob Scarr archivist &

vice president of sales

coordinator

artistic administration

Ken Meltzer

Russell Wheeler

stage technician

manager of patron

&

season

manager of development data analyst operations

&

prospect

research

patron services

Sarah Wilson development operations associate

MARKETING & COMMUNICATIONS Tammy Hawk vice president of marketing

Robin Smith

&

communications

Delle Beganie content coordinator

KC Commander content manager

Elizabeth Daniell communications manager

controller

ATLANTA SYMPHONY HALL LIVE Nicole Panunti

&

season tickets associate

OPERATIONS

vice president

Lisa Eng multimedia creative manager

Sameed Afghani Christine Lawrence vice president & general associate director of manager

guest services

Paul Barrett

Joanne Lerner

senior production stage

event manager

manager

Clay Schell

Tyler Benware operations manager

Richard Carvlin stage manager

Robert Darby stage technician

consultant

William Strawn marketing manager

Michael Tamucci Event Coordinator

64 | encore ASO | CORPORATE & GOVERNMENT SUPPORT

Mayor’s Office of Cultural Affairs

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

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

ARTSATL

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

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

From Greek Mythology to

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

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

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

as a tory.

learn more at suwanee.com

| 20 minutes north of Atlanta on I-85