Atlanta Symphony Orchestra: January 2014

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

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

WU HAN BRITTEN: Piano Concerto

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contents January 2014

19

16

40

features

the music

16 From the Stage to the Slopes

22 Master and Commander

When ASO musicians escape to the great outdoors, you’ll find them skiing and snowboarding. By Jessica Joris

40 For Whom the Bell Tolls When the Orchestra plays Berlioz’s Symphonie fantastique, it will mark the debut of a remarkable set of bells, created in memory of ASO percussionist Eugene Rahm. By Madeline Rogers

28 Simply Fantastic 34 Purely Russian Drama

departments 10 Robert Spano 12 Orchestra Leadership 14 Musicians 58 Staff 62 Calendar 64 General Info 64 Ticket Info 66 Gallery

4 Atlanta Symphony Orchestra | aso.org

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16 From the Stage to the Slopes Concertmaster David Coucheron

19 From the Stage to the Slopes

Talent Development Program Student Alisia Moore

51 Meet Your ASO

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ASO | Music Director Robert Spano

R

ecognized as one of the most imaginative conductors of his generation, Robert Spano is currently in his 13th season as Music Director of the Atlanta Symphony Orchestra (ASO), where he has created a sense of inclusion, warmth, and community unique among American orchestras.

Under Mr. Spano’s guidance, the ASO and its audiences explore a creative programming mix. The Atlanta School of Composers reflects his commitment to American contemporary music, thus defining a new generation of American composers. He has led ASO performances at Carnegie Hall, Lincoln Center, and at the Ravinia, Ojai, and Savannah Music Festivals.

As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs for 630 students, including Aspen’s American Academy of Conducting. Guest engagements include the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia Symphony Orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles.

Mr. Spano is on the faculty of Oberlin Conservatory, and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Mr. Spano served as director of the Festival of Contemporary Music at the Boston Symphony Orchestra’s Tanglewood Music Center in 2003 and 2004, and from 1996 to 2004 was Music Director of the Brooklyn Philharmonic. He headed the Conducting Fellowship Program at the Tanglewood Music Center from 1998 to 2002. In May 2009, Mr. Spano was awarded Columbia University’s Ditson Conductor’s Award for the advancement of American music.

10 Atlanta Symphony Orchestra | aso.org

DEREK BLANKS

With an extensive discography of 21 recordings for Telarc, Deutsche Grammophon, and ASO Media, Mr. Spano has garnered six Grammy Awards. Dedicated to pedagogy and multi-disciplinary studies, he has lectured on “Community” for TEDx and recently completed a three-year residency at Emory University. He was inducted into the Georgia Music Hall of Fame in 2012.

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ASO | leadership 2013-2014 Board of Directors Officers Karole F. Lloyd Chair

D. Kirk Jamieson Vice Chair

Joni Winston Secretary

Howard D. Palefsky Treasurer

Paul R. Garcia Carol Green Gellerstedt Virginia A. Hepner* Tad Hutcheson Roya Irvani Clayton F. Jackson Mark Kistulinec Steve Koonin Carrie Kurlander Edward A. Labry III James H. Landon Michael Lang † Donna Lee Kelly L. Loeffler

Meghan H. Magruder † Brian F. McCarthy Penny McPhee† Michael J. Merlin Terence L. Neal Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Ronda Respess* Martin Richenhagen Stanley E. Romanstein, Ph.D.* William Schultz

John Sibley H. Hamilton Smith Lucinda B. Smith Paul Snyder Gail Ravin Starr† Mary Rose Taylor† Joseph M. Thompson Ray Uttenhove S. Patrick Viguerie Thomas Wardell Mark D. Wasserman† John B. White, Jr. Richard S. White, Jr. Patrice Wright-Lewis Camille Yow †

Directors Jim Abrahamson Neil H. Berman Paul Blackney † Mary Rockett Brock Janine Brown C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Ronald M. Cofield Sylvia Davidson* Carlos del Rio, M.D. Lynn Eden Gary P. Fayard Dr. Robert M. Franklin, Jr. †

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

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Herb Karp Jim Kelley George Lanier

Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey

Joyce Schwob W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White

Life Directors Howell E. Adams, Jr. Mrs. Drew Fuller Bradley Currey, Jr. Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

* Ex-officio † 2013-2014 Sabbatical

12 Atlanta Symphony Orchestra | aso.org

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encoreatlanta.com | Atlanta’s Performing Arts Publication 13

AtlantaSymphonyOrchestra

ROBERT SPANO

Robert Spano Music Director The Robert Reid Topping Chair * Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair *

DONALD RUNNICLES

Michael Krajewski Principal Pops Conductor Jere Flint Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

MICHAEL Norman Mackenzie KRAJEWSKI Director of Choruses The Frannie and Bill Graves Chair

JERE FLINT

14

NORMAN MACKENZIE

FIRST VIOLIN

SECOND VIOLIN

David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair* The Mabel Dorn Reeder Honorary Chair* William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Anastasia Agapova Carolyn Toll Hancock John Meisner Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

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

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

VIOLA

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

CELLO

PICCOLO

HORN

PERCUSSION

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

Carl David Hall

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

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

BASS

Principal - TBD The Marcia and John Donnell Chair Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer FLUTE

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal C. Todd Skitch • Carl David Hall

OBOE

Elizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown Chair* Yvonne Powers Peterson Associate Principal Samuel Nemec Emily Brebach ENGLISH HORN

Emily Brebach CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez

TRUMPET

Stuart Stephenson • Principal The Madeline and Howell Adams Chair* Michael Tiscione Acting Associate Principal/Second Joseph Walthall Michael Myers •

BASS TROMBONE

LIBRARY

Ted Gurch

TUBA

BASS CLARINET

Alcides Rodriguez

Michael Moore Principal

BASSOON

TIMPANI

Juan de Gomar

KEYBOARD

Colin Williams Principal Nathan Zgonc Brian Hecht •

TROMBONE

Brian Hecht •

CONTRABASSOON

Elisabeth Remy Johnson Principal The Delta Air Lines Chair The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson

E-FLAT CLARINET

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

HARP

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

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian

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

stage slopes

From the

to the

DAVID COUHCERON

By Jessica Joris

16 Atlanta Symphony Orchestra | aso.org

O

ftentimes we think of our ASO musicians as just that — musicians. But these talented artists have a multitude of other hobbies and interests outside of their musical careers. This winter, some ASO musicians are daydreaming about getting out of Symphony Hall and onto the slopes.

ASO Concertmaster David Coucheron

Did you know that Concertmaster David Coucheron almost pursued a career as a professional cross-country skier?

“I got my first skis when I was one and a half years old, so I’ve been skiing since I could walk,” Mr. Coucheron explained. “It’s just what we do in Norway!”

Mr. Coucheron enjoys skiing for a number of reasons, including the beautiful outdoor scenery in Norway, the exercise it provides, and going down steep hills — one of his favorite things to do. He began skiing competitively when he was four years old, and participated in countless local and statewide competitions. His native state, Akershus, is very active in winter sports.

And with a population of approximately a half million people, has earned more medals in some Winter Olympics than Russia. encoreatlanta.com | Atlanta’s Performing Arts Publication 17

…you can’t live your life in fear. I wouldn’t ever get in car because if I got in an accident I could hurt my hand. to watch them and know we competed together throughout our teenage years,” Mr. Coucheron said.

As his violin career has progressed, Mr. Coucheron has had less time to ski, but always makes time for it when he goes back to Norway at Christmas to spend the holidays with his family.

ASO Bassist Joseph McFadden

DEREK BLANKS

ASO Bassist Joseph McFadden began snowboarding around the same time he learned to play bass, when he was just 12 years old.

Joeseph McFadden

His favorite skiing memory? “Probably the statewide ‘Ford’ competition. I somehow ended up being 15 seconds late for the start and I got really angry, but ended up winning!” Mr. Coucheron has won nearly 50 awards in competitive skiing.

At one point in his career, Mr. Coucheron was faced with the decision to pursue skiing or the violin. Fortunately for the ASO, he chose violin. However, quite a few of Mr. Coucheron’s training partners went on to the ski academy in Northern Norway, and several competitors have gone all the way to the Olympics. “It’s a lot of fun 18 Atlanta Symphony Orchestra | aso.org

“I started snowboarding because I was really into skateboarding when I was little.

Snowboarding just seemed intriguing,” Mr. McFadden said. “Once I figured how to control the board, and not let the board control me, I was hooked.”

There are a number of reasons why Mr. McFadden enjoys snowboarding.

“Every part of snowboarding is my favorite part — from the early morning car ride up to the mountain with a thermos full of coffee, to blasting music from my car when I’m lacing my boots up in the parking lot.

But the best part is definitely that first run down the mountain. I really enjoy the cool mountain air rushing over my face as I fly down the runs, or coming down the landing of that jump I’ve been scared of all day but finally worked up the courage to try.”

Mr. McFadden’s favorite snowboarding spot is Mammoth Mountain in California.

He says it has everything a snowboarder could ask for: perfectly-groomed parks and predictable jumps.

enjoys skiing with her father, Ahli Moore, and began taking lessons when she was 13 years old.

“When you finally get the swing of things and you’re able to go down the harder Living a busy schedule in Georgia has limited slopes, it’s pretty satisfying,” Miss Moore Mr. McFadden’s snowboarding lately, but said. he does take a few big trips every year.

Miss Moore and her father took a trip up When he does make it to the mountains, to Vermont earlier this year to practice, and he is always conscious of the fact that any are planning another ski trip to Virginia this injuries could affect his bass playing. winter.

“I think about possible injuries all the time, but shoulder injuries are on my mind the most because my shoulders take a lot of abuse from snowboarding,” Mr. McFadden said. “But you can’t live your life in fear.

I’m very careful these days when I do go snowboarding. If I was going to let that fear stop me from doing something I love, then I wouldn’t ever get in car because if I got in an accident I could hurt my hand.”

When you finally get the swing of things and you’re able to go down the harder slopes, it’s pretty satisfying…

Along with snowboarding, Mr. McFadden loves winter because of the weather. The cool, refreshing air makes him want to spend more time outdoors.

The passion for winter sports extends beyond these ASO musicians to our student musicians. Alisia Moore, a flutist in the Orchestra’s Talent Development Program (TDP), is also a fan of hitting the slopes. She encoreatlanta.com | Atlanta’s Performing Arts Publication 19

AHLI MOORE

Talent Development Program Student Alisia Moore

ASO | sponsors AtlantaSymphonyOrchestra IS SPONSORED BY:

Delta is proud to celebrate over 70 years as Atlanta’s hometown airline.

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

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

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

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

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

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

20 Atlanta Symphony Orchestra | aso.org

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ASO | 1.9/11 |

ASO | 1.9/11 | program

Hey, I’ve heard this somewhere?

Fantasia on a Theme by Thomas Tallis has appeared in variety of films, but is probably best known from the 2003 film Master and Commander: The Far Side of the World with Russell Crowe.

This year, the piece appeared in the 20th season of the popular British television series Top Gear, celebrating the British Motor Industry. In 2010 it was placed in UK radio station Classic FM’s Hall of Fame as one of the UK’s most popular classical music pieces.

It was also mentioned in the second in a series of popular books by author E. L. James, Fifty Shades Darker.

concert at a glance AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concert Concerts of Thursday, January 9, 2014, at 8:00pm, and Saturday, January 11, 2014, at 7:30pm

Peter Oundjian, Conductor Louis Lortie, Piano RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis (1910, rev. 1919) 15 MIN WOLFGANG AMADEUS MOZART (1756-1791) Concerto No. 21 in C Major for Piano and Orchestra, K. 467 (“Elvira Madigan”) (1785) 28 MIN I. Allegro maestoso II. Andante III. Allegro vivace assai

LOUIS LORTIE, PIANO INTERMISSION

20 MIN

ANTONÍN DVOŘÁK (1841-1904) Symphony No. 7 in D minor, Opus 70 (1885) 39 MIN I. Allegro maestoso II. Poco adagio III. Scherzo. Vivace IV. Finale. Allegro

The use of cameras or recording devices during the concert is strictly prohibited.

Please be kind to those around you and silence your mobile phone and other handheld devices.

22

1

KEN MELTZER, ASO Program Annotator | Mr. Meltzer’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

The first performance of Fantasia on a Theme by Thomas Tallis took place at the Gloucester Cathedral in Gloucester, England, on September 6, 1910, with the composer conducting the London Symphony Orchestra. Fantasia on a Theme of Thomas Tallis is scored for string quartet, string orchestra, and smaller orchestra of nine strings (two first violins, two second violins, two violas, two cellos, and double bass).

First ASO Classical Subscription Performances: February 27 and 28, 1958, Henry Sopkin, Conductor.

1

Most Recent ASO Classical Subscription Performances: January 28, 29 and 30, 2010, Robert Spano, Conductor.

ASO Recording: (Telarc CD-80676) Robert Spano, Conductor

orchestral works of the 20th century, the Fantasia on a Theme by Thomas Tallis.

The Fantasia on a Theme by Thomas Tallis is scored for string quartet, a large string orchestra, and a smaller orchestra of nine string players. After a brief, ethereal introduction by the whole ensemble, the violas, cellos and basses offer a hushed, pizzicato statement of a portion of the Tallis melody. Finally, the orchestra presents the entire melody, which grows ever more passionate. A brief episode features lovely antiphonal effects, created by a juxtaposition of the larger and smaller string orchestras. A solo viola then sings a nostalgic melody, based upon the Tallis theme. The melody is developed — first by other members of the quartet, then by the entire orchestra — as the music proceeds to a grand climax. A magical reprise of the Tallis melody, initiated by a solo violin, leads to the Fantasia’s sublime closing measures.

I

n 1904, Ralph Vaughan Williams agreed to serve as editor for a new edition of The English Hymnal.

During the course of his work on the Hymnal, Vaughan Williams discovered a series of melodies by the 16th-century English composer, Thomas Tallis (c. 1505-1585). One Tallis melody in particular greatly appealed to Vaughan Williams.

It originally appeared in the 1567 English Psalter to serve as the music for the text “Why fumeth in fight: the Gentiles spite, In fury raging stout?” The Tallis melody is No. 92 in The English Hymnal, set to Addison’s “When rising from the bed of death.” This served as the basis for one of the most radiant English

RALPH VAUGHAN WILLIAMS

encoreatlanta.com | Atlanta’s Performing Arts Publication 23

ASO | 1.9/11 | program

RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis (1910, rev. 1919)

ASO | 1.9/11 | program

ASO | 1.9/11 | concert at a glance WOLFGANG AMADEUS MOZART (1756-1791) Concerto No. 21 in C Major for Piano and Orchestra, K. 467 (“Elvira Madigan”) (1785) The first performance of the Piano Concerto No. 21 took place at the Royal Imperial National Court Theater in Vienna on March 10, 1785, with the composer as soloist. In addition to the solo piano, the Concerto is scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

First ASO Classical Subscription Performances: February 13, 14 and 15, 1975, Jerome Lowenthal, Piano, Hiroyuki Iwaki, Conductor.

the traditional orchestral introduction of the movement’s principal themes. The soloist enters not with the opening theme, but with a series of sixteenth notes. The melancholy development section is dispelled by the strings’ repetition of the opening theme. A solo cadenza and forte return of the orchestra finally yield to a quiet resolution. In the slow second movement (Andante), muted strings introduce the beautiful “Elvira Madigan” melody. The finale (Allegro vivace assai) is based upon a playful ascending and descending theme that returns throughout. A solo cadenza precedes a final dazzling passage for the pianist, whose upward flourish is capped by three forte chords.

Most Recent ASO Classical Subscription Performances: May 8, 9 and 10, 2003, Andreas Haefliger, Piano, Donald Runnicles, Conductor.

W

olfgang Amadeus Mozart composed the Piano Concerto No. 21 during one of the happiest and most productive periods in his life. During the early to mid1780s, Mozart was in constant demand in Vienna as a composer, pianist, and teacher.

Mozart was the soloist in the premiere of the Concerto No. 21, which took place in Vienna on March 10, 1785.

Mozart completed the Concerto the day before its premiere. And yet, there is no sense of haste in the creation of this magnificent work, certainly one of Mozart’s most eloquent and beloved Piano Concertos. Its popularity was further bolstered by the use of the beautiful Andante in the soundtrack of the 1967 movie, Elvira Madigan.

The Concerto No. 21 is in three movements.

The first (Allegro maestoso) opens with

24 Atlanta Symphony Orchestra | aso.org

2

WOLFGANG AMADEUS MOZART

ASO | 1.9/11 | program

ANTONÍN DVOŘÁK (1841-1904) Symphony No. 7 in D minor, Opus 70 (1885) The first performance of the Symphony No. 7 took place at St. James’ Hall in London, England, on April 22, 1885, with the composer conducting the London Philharmonic Society. The Symphony No. 7 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

First ASO Classical Subscription Performances: December 5 and 6, 1957, Henry Sopkin, Conductor.

ANTONÍN DVO˘RÁK

Most Recent ASO Classical Subscription Performances: March 17, 19 and 20, 2011, Jakub Hruska, Conductor.

The Symphony No. 7 is in four movements.

The opening movement (Allegro maestoso) is based upon two themes. The violas and cellos softly introduce the insinuating first principal theme that grows in volume and intensity. The woodwinds sing a lyrical, major-key waltz-like theme, marked dolce (“sweetly”), that in time also gains tremendous power. In a dramatic masterstroke, Dvořák concludes with a quiet, fragmented restatement of the opening theme. The slow second movement (Poco adagio) recalls its counterpart in the Brahms Third Symphony (1883). The third movement is a Scherzo (Vivace). The literal translation of the Italian word scherzo is “joke,” but there is little humor in this fiery movement, in D minor. The stormy Finale (Allegro) gives every indication of maintaining a tragic mood to the work’s conclusion. Suddenly, and most unexpectedly, the orchestra erupts in a D-Major outburst, bringing the Symphony to a triumphant (but perhaps somewhat unsettling) resolution.

I

n June of 1884, The London Philharmonic Society nominated Antonín Dvořák as an Honorary Member, and requested he compose a new symphony. Dvořák hoped that his new creation would receive international acclaim in the manner of the works of his friend and idol, the German composer, Johannes Brahms. In a December 1884 letter to a friend, Dvořák wrote: “Now I am occupied with my new symphony (for London), and wherever I go I have nothing else in mind but my work, which must be such as to make a stir in the world and God grant that it may!”

The successful premiere of the Symphony No. 7 took place in London’s St. James’ Hall April 22, 1885, with Dvořák conducting the London Philharmonic Society. Dvořák decided to cut 40 bars from the slow second movement. The composer informed his publisher, Simrock: “Now I am convinced that there is not a single superfluous note in the work.”

3

encoreatlanta.com | Atlanta’s Performing Arts Publication 25

SIAN RICHARDS

ASO | 1.9/11 | guests

PETER OUNDJIAN, Conductor

LOUIS LORTIE, Piano

C

French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States.

urrently Music Director of the Toronto Symphony Orchestra, Peter Oundjian is celebrating a very successful first season as Music Director of the Royal Scottish National Orchestra. As well as concerts in and around Scotland, his inaugural season included a tour to China and culminated in his debut at the BBC Proms, and a concert at the Edinburgh International Festival.

A regular guest conductor, recent and future engagements include concerts with the Royal Stockholm Philharmonic and Israel Philharmonic orchestras, as well as the Orchestre de Paris, Finnish Radio Symphony Orchestra, and the RundfunkSinfonieorchester Berlin. Last season, Oundjian and the Orchestre Philharmonique de Radio France, with whom he has a regular relationship, premiered a new piece

by Krystof Maratka in Paris, which they then took to the Prague Spring Festival.

Together they opened the festival with a televised performance of Smetana’s Má vlast. Previous and upcoming US highlights include concerts with the Detroit, Cincinnati, Philadelphia, Houston, and Saint Louis symphony orchestras.

Further afield, he has traveled to Australia to conduct the Sydney Symphony and he made his Japanese conducting debut with the NHK Symphony Orchestra in 2013. Regular soloist collaborations include Yefim Bronfman, James Ehnes, Leila Josefowicz, Emanuel Ax, Gil Shaham, Itzhak Perlman, Yo-Yo Ma, Lang Lang, and Renée Fleming.

26 Atlanta Symphony Orchestra | aso.org

Current and upcoming concerts include Gershwin in Sao Paulo with Tortelier, Liszt with NHK Tokyo and Dutoit, Chopin with the Cleveland Orchestra and Van Zweden, Schubert and Liszt with Krivine in Utrecht, Mozart with the Royal Philharmonic and Dutoit; tours with the La Scala Orchestra playing Brahms’ Piano Concerto No. 2 and with the Beethoven Orchester Bonn playing Beethoven’s Piano Concertos Nos. 4 and 5. He returns to New York’s Carnegie Hall to perform the complete Liszt Annés de pèlerinage and to Chicago’s Orchestra Hall and other venues to perform a recital program of opera transcriptions called Lortie Goes to the Opera.

Mr. Lortie has made more than 30 recordings for the Chandos label, including a set of the complete Beethoven sonatas and the complete Liszt Annés de pèlerinage, which was named one of the ten best recordings of 2012 by New Yorker Magazine. His recording of the Lutosławski Piano Concerto and Paganini Variations with Edward Gardner and the BBC Symphony was released earlier this year. His recent Chopin recording was named one of the best of 2012 by The New York Times.

Mr. Lortie studied in Montreal with Yvonne Hubert (a pupil of Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and with Schnabel disciple Leon Fleisher.

In 1984, he won First Prize in the Busoni Competition and was also prizewinner at the Leeds Competition. He has lived in Berlin since 1997.

ÉLIAS

ASO | 1.9/11 | guests

PRESENTS

Live with the Atlanta Ballet Orchestra

February 7–15, 2014

PHOTO CAPTION GOES HERE

Christian Clark and Alessa Rogers. Photo by Charlie McCullers.

Perfect for Valentine’s Day!

Mayor’s Office of Cultural Affairs

atlantaballet.com OR IG I NAL. D I STI N CTIVE. B R E AT H TA K I N G .

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ASO | 1.23/25/26 | program

ASO | 1.23/25/26 | concert at a glance In addition to being a prolific composer, Hector Berlioz was also a prolific writer, and supported himself for many years as a music critic for a number of publications in France. He was on the editorial board of the Gazette, was a contributor, and acted as editor upon occasion. He wrote at least 100 articles for the Gazette between 1833 and 1837.

BERLIOZ AND THE OCTOBASS No, it’s not an aquatic instrument for 8-legged creatures, but it might as well be. Berlioz championed the obscure (and savagely difficult to play) Octobass. The ridiculously large double bass had to be played on a stepladder.

It didn’t catch on as an instrument. Odd as it might be, it would be fun to hear it!

AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concert Concerts of Thursday, January 23, 2014, at 8:00pm, Saturday, January 25, 2014, at 7:30pm, and Sunday, January 26, 2014, at 2:00pm

Robert Spano, Conductor Wu Han, Piano BENJAMIN BRITTEN (1913-1976) Concerto for Piano and Orchestra, Opus 13 (1938, rev. 1945) 33 MIN I. Toccata II. Waltz III. Impromptu IV. March

Wu Han, piano INTERMISSION

20 MIN

HECTOR BERLIOZ (1803-1869) Symphonie fantastique, Opus 14 (1830) 52 MIN I. Reveries, Passions (Largo; Allegro agitato e appassionato assai) II. A Ball (Valse. Allegro non troppo) III. Scene in the Country (Adagio) IV. March to the Execution (Allegretto non troppo) V. Dream of a Witches’ Sabbath (Larghetto; Allegro) Concert sponsored by:

The use of cameras or recording devices during the concert is strictly prohibited.

Please be kind to those around you and silence your mobile phone and other handheld devices.

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KEN MELTZER, ASO Program Annotator | Mr. Meltzer’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

The first performance of the Piano Concerto took place at Queen’s Hall in London, England, on August 18, 1938, with the composer as soloist, and Sir Henry Wood conducting the B.B.C. Symphony Orchestra.

In addition to the solo piano, the Concerto is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, side drum, tenor drum, bass drum, tambourine, cymbals, gong, glockenspiel, whip, harp, and strings.

These are the first ASO Classical Subscription Performances.

B

enjamin Britten was the soloist in the world premiere of his Piano Concerto, which took place at Queen’s Hall in London on August 18, 1938. Henry Wood conducted the B.B.C. Symphony Orchestra.

In a program note, Britten explained his Concerto was “conceived with the idea of exploiting various important characteristics of the pianoforte, such as its enormous compass, its percussive quality, and its suitability for figuration; so that it is not by any means a Symphony with pianoforte, but rather a bravura Concerto with orchestral accompaniment.”

The Britten Piano Concerto is in four movements. The first is a Toccata, a work that by musical tradition is designed to display the instrumentalist’s technical facility, particularly in rapid passagework.

The second movement Waltz moves in fits and starts, accompanied by odd splashes of orchestral colors. The third movement,

Impromptu, is in the form of a passacaglia, a series of variations over a repeated theme, introduced at the outset by the pianist. The Concerto concludes with a brilliant March.

HECTOR BERLIOZ (1803-1869) Symphonie fantastique, Opus 14 (1830) The first performance of the Symphonie fantastique took place at the Paris Conservatoire on December 5, 1830, with François-Antoine Habeneck conducting the Orchestra of the Société des Concerts du Conservatoire.

The Symphonie fantastique is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, four bassoons, four horns, two trumpets, two cornets, three trombones, two tubas, timpani (two players), bass drum, cymbals, suspended cymbals, snare drum, low bells (offstage), two harps, and strings.

ASO | 1.23/25/26 | program

BENJAMIN BRITTEN (1913-1976) Concerto for Piano and Orchestra, Opus 13 (1938, rev. 1945)

First ASO classical subscription performances: February 12 and 13, 1958, Henry Sopkin, Conductor.

Most recent ASO classical subscription performances: September 23, 25 and 26, 2010, Robert Spano, Conductor.

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n September 1827, Hector Berlioz, then a 23-year-old student at the Paris Conservatory, attended productions by an English touring company of Shakespeare’s Hamlet and Romeo and Juliet. In those performances, Harriet Smithson, a beautiful and young Irish actress, portrayed the tragic heroines, Ophelia and Juliet. Berlioz immediately fell in love with her.

Berlioz did everything within his power to try to get Smithson to take notice of him, but without success. In February of 1830,

encoreatlanta.com | Atlanta’s Performing Arts Publication 29

ASO | 1.23/25/26 | program

ASO | 1.23/25/26 | concert at a glance Berlioz wrote to his sister, “I am about to Berlioz, a gifted and prolific writer, provided commence my grand symphony (Episode the following program notes for his in the Life of An Artist), in which the Symphonie fantastique. development of my infernal passion will be A young musician of morbidly depicted.” On April 16 of that same year, sensitive temperament and lively Berlioz announced that his symphony was imagination poisons himself with complete. opium in an attack of lovesick despair. The dose of the narcotic, too The premiere of the Symphonie fantastique weak to kill him, plunges him into took place at the Paris Conservatory on a deep slumber accompanied by the December 5, 1830, with François-Antoine strangest visions, during which his Habeneck conducting the Orchestra of the feelings, his emotions, his memories Société des Concerts du Conservatoire. The are transformed in his sick mind into drama, innovation and sheer audacity of musical images. The Beloved herself the young composer’s vision stunned the becomes for him a melody, a cyclical audience. By the time Harriet Smithson theme (idée fixe) that he encounters returned to Paris in 1832 and attended a and hears everywhere. performance of the Fantastic Symphony, it seemed the actress was the only person in (Annotator’s note: The idée fixe is introduced the entire city who didn’t realize she was the approximately five minutes into the opening inspiration for the music. When Smithson movement by the flute and first violins.) discovered the truth, she finally agreed to I. Reveries, Passions (Largo; Allegro meet Berlioz. After a brief courtship, the agitato e appassionato assai) — At two wed on October 3, 1833. Franz Liszt first he recalls that sickness of the and Heinrich Heine served as witnesses. soul, those intimations of passion, the However, the marriage became an unhappy apparently groundless depression and one, and in the early 1840s, Smithson and intoxication he experienced before he Berlioz separated. met the woman he adores; then the Even after the acrimonious conclusion of volcanic love that she inspired in their marriage, Berlioz acknowledged his him, his delirious anguish, his furious artistic kinship with Harriet Smithson, and jealousy, his return to tenderness, his the profound influence she exercised upon religious consolation. his development as an artist. Toward the II. A Ball (Valse. Allegro non troppo) end of her life, Smithson suffered paralysis, — He meets his beloved again in the and died in 1854. After her death, Liszt midst of the tumult of a glittering fête. wrote to Berlioz: “She inspired you, you loved her and sang your love, her mission III. Scene in the Country (Adagio) — was fulfilled.”

On a summer evening in the country, he hears two shepherds piping back and forth a ranz des vaches (the traditional melody of Swiss shepherds for summoning their flocks); this 30 Atlanta Symphony Orchestra | aso.org

IV. March to the Execution (Allegretto non troppo) — He dreams he has murdered his Beloved, that he has been condemned to death and is being led to the scaffold. The procession advances to the sound of a march that is now somber and agitated, now brilliant and solemn, in which the muffled sound of heavy steps is suddenly juxtaposed with the noisiest clamor. At the end, the idée fixe returns for a moment like a final thought of love, suddenly interrupted by the death blow.

V. Dream of a Witches’ Sabbath (Larghetto; Allegro) — He imagines himself at a Witches’ Sabbath, among a hideous throng of ghouls, sorcerers and monsters of every kind, assembled for his funeral. Ominous sounds, groans, bursts of laughter, distant cries that other cries seem to answer. The Beloved’s melody reappears, but it has lost its noble and timid character; it has become a vulgar dance tune, unworthy, trite and grotesque: there she is, coming to join the Sabbath…A roar of joy greets her arrival…She takes part in the infernal orgy…The funeral knell, a burlesque parody of the Dies irae… the witches’ round…the dance and the Dies irae are heard together.

ROB PHIPPS

pastoral duet, the peaceful landscape, the rustling of the trees gently rocked by the wind, some prospects of hope he recently found — all combine to soothe his heart with unusual tranquility and brighten his thoughts.

But she reappears, he feels his heart tighten, he is smitten with sad foreboding: what if she were to prove false?…One of the shepherds resumes his simple tune; the other no longer responds. The sun sets…distant roll of thunder…solitude…silence.

ASO | 1.23/25/26 | guests WU HAN, Piano amed Musical America’s 2012 Musician of the Year, pianist Wu Han ranks among the most esteemed and influential classical musicians in the world today. She appears regularly in many prestigious venues across the United States, Europe, and the Far East as both soloist and chamber musician, and tours extensively as duo pianist with cellist David Finckel.

Wu Han and David Finckel serve as Artistic Directors of The Chamber Music Society of Lincoln Center and Chamber Music Today, an annual festival held in Korea. They are also the founding Artistic Directors of Music@Menlo, a chamber music festival in Silicon Valley. Wu Han’s wide-ranging musical activities include the founding of ArtistLed, classical music’s first musician-directed and Internet-based recording company.

Passionately committed to education, in 2013 she launched a new chamber music studio at the Aspen Music Festival.

CHRISTIAN STEINER

ASO | 1.23/25/26 | guests

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32 Atlanta Symphony Orchestra | aso.org

PHOTO BY FRANK OCKENFELS | ORIGINAL BROADWAY CAST

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“FLAT-OUT ELECTRIFYING!”

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ASO | 1.30/31/2.1 | concert at a glance

ASO | 1.30/31/2.1 | program

ANOTHER SCORE FROM DMITRI Dmitri Shostakovich was by all accounts a “rabid football fanatic,” and was a qualified football referee. His European football clubs of choice were his hometown teams the Dynamo and Zenit Leningrad.

He often took in two matches on a Saturday afternoon, and cut short his composing retreats to return to the city to attend important matches.

It was Shostakovich who coined the phrase “Football is ballet for the masses,” and even wrote a ballet based on football called The Golden Age in 1930.

AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concert Concerts of Thursday, January 30 and Friday, January 31 at 8:00pm, and Saturday, February 1, 2014, at 7:30pm.

Roberto Abbado, Conductor Nadja Salerno-Sonnenberg, Violin MODEST MUSSORGSKY (1839-1881) Introduction to Khovanshchina (1872-80) 5 MIN DMITRI SHOSTAKOVICH (1906-1975) Concerto No. 1 in A minor for Violin and Orchestra, Opus 99 (1948, rev. 1955) 38 MIN I. Nocturne. Moderato II. Scherzo. Allegro III. Passacaglia. Andante—Cadenza IV. Burlesque. Allegro con brio NADJA SALERNO-SONNENBERG, VIOLIN INTERMISSION

20 MIN

SERGEI RACHMANINOV (1873-1943) Symphonic Dances, Opus 45 (1940) 37 MIN I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai; Allegro vivace

DMITRI SHOSTAKOVICH

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The use of cameras or recording devices during the concert is strictly prohibited.

Please be kind to those around you and silence your mobile phone and other handheld devices.

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MODEST MUSSORGSKY (1839-1881) Introduction to Khovanshchina (1872-80)

DMITRI SHOSTAKOVICH (1906-1975) Concerto No. 1 in A minor for Violin and Orchestra, Opus 99 (1948, rev. 1955)

The first performance of Khovanshchina took place on February 21, 1886, at the Kononov Theater in St. Petersburg.

The first performance of the Violin Concerto No. 1 took place in Leningrad (St. Petersburg) on October 29, 1955, with David Oistrakh as soloist and Evgeny Mravinsky conducting the Leningrad Philharmonic.

The Introduction to Khovanshchina is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, timpani, tam-tam, harp, and strings.

First ASO Classical Subscription Performances: January 12, 13 and 14, 1978, Hiroyuki Iwaki, Conductor.

Most Recent ASO Classical Subscription Performances: March 8, 9 and 10, 2001, Jahja Ling, Conductor.

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ussian composer Modest Mussorgsky referred to his opera Khovanshchina as “A National Music Drama.” The story deals with a particularly turbulent period in Russian history (1682-89) that involved a clash between old and new régimes, culminating in the rise to power of Tsar Peter “The Great.”

In addition to the solo violin, the Concerto in A minor is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, tuba, timpani, two harps, celeste, tam tam, tambourine, xylophone, and strings.

First ASO Classical Subscription Performances: October 13, 14 and 15, 1988, Victor Tretyakov, Violin, Yoel Levi, Conductor.

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Mussorgsky started composition of Khovanshchina in 1873. Although Mussorgsky continued to work on the opera during the remainder of his life, Khovanshchina — like many of his compositions — remained unfinished at the time of his death in 1881. Nikolai Rimsky-Korsakov revised, completed and orchestrated Khovanshchina, which received its premiere in St. Petersburg on February 21, 1886.

The orchestral introduction to Khovanshchina depicts, according to Mussorgsky, “Dawn on the Moscow River.”

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n January of 1948, Communist leader Andrei Zhdanov summoned members of the Union of Soviet Composers for a conference. There, Zhdanov censured such prominent Russian composers as Dmitri Shostakovich, Sergei Prokofiev, Aram Khachaturian and Nikolai Miaskovsky for writing music that displayed “formalist deviations, subjectivism, and the rejection of Socialist Realism.” At the Zhdanov conference, Shostakovich’s compositions were characterized as favored listening “of nobody except foreign bandits and imperialists.” A month later, Zhdanov issued an official decree that included a condemnation of Shostakovich’s music.

Shostakovich completed his First Violin Concerto on March 24, 1948, the month after the Zhdanov decree. He dedicated the work to his dear friend, the brilliant Russian violinist, David Oistrakh (1908-

encoreatlanta.com | Atlanta’s Performing Arts Publication 35

ASO | 1.30/31/2.1 | program

KEN MELTZER, ASO Program Annotator | Mr. Meltzer’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

ASO | 1.30/31/2.1 | program

ASO | 1.30/31/2.1 | concert at a glance 1974). Shostakovich well understood, given Russia’s existing political climate, that a performance of this complex and emotionally searching piece was out of the question. In fact, it was not until after Joseph Stalin’s death in March of 1953 that even a modicum of freedom of artistic expression became possible in Soviet Russia. The premiere of the Shostakovich First Violin Concerto took place seven years after its original composition. Oistrakh, the work’s dedicatee, was the soloist. Evgeny Mravinsky conducted the Leningrad Philharmonic at the October 29, 1955 concert.

David Oistrakh, an immensely popular Soviet artist, immediately championed the work in an article that appeared at the time of the premiere. Oistrakh’s defense of the Shostakovich First Violin Concerto was not only eloquent but also courageous, given the fact that his assessment came in advance of any “official” verdict by the Soviet Composers’ Union:

NADJA SALERNOSONNENBERG

We have prepared this premiere with the very greatest care— we have insisted on about ten rehearsals in the presence of the composer...The Concerto poses exceedingly interesting problems for the performer, who plays, as it were, a pithy “Shakespearean” role, which demands from him complete emotional and intellectual involvement, and gives him ample opportunities not only to demonstrate his virtuosity but above all to reveal his deepest feelings, thoughts and moods.

The premiere of the Shostakovich First Violin Concerto was a great success, with the audience offering an enthusiastic reception. Oistrakh’s continued sterling advocacy of this magnificent work helped to assure its status as one of the finest of 20th-century Violin Concertos.

The Shostakovich First Violin Concerto is in four movements. The first is an extended, mysterious Nocturne (Moderato). The second movement Scherzo (Allegro) is a danse macabre. The slow third movement is a Passacaglia (Andante), a series of variations over a repeated figure (here, introduced by the cellos, bass, and timpani). A lengthy solo Cadenza leads without pause to the closing movement (Burlesque. Allegro con brio) in the spirit of a trepak, a vigorous Russian dance in 2/4.

R a c h m a n i n o v, who died two years after the The first performance of the Symphonic premiere of Dances took place at the Academy of his Symphonic Music in Philadelphia, Pennsylvania, on Dances, never January 3, 1941, with Eugene Ormandy composed another conducting the Philadelphia Orchestra. work. While it The Symphonic Dances are scored for is not clear that Rachmaninov intended piccolo, two flutes, two oboes, English the Symphonic Dances to be his final horn, two clarinets, bass clarinet, alto composition, the piece has a valedictory saxophone, two bassoons, contrabassoon, character. The Symphonic Dances feature four horns, three trumpets, three quotations of earlier Rachmaninov trombones, tuba, timpani, bass drum, compositions, as well as the Dies Irae (“Day chimes, cymbals, snare drum, orchestra of Wrath”) chant—a recurring leitmotif in bells, tam-tam, tambourine, triangle, the Russian pianist/composer’s music. And, xylophone, harp, piano, and strings. the masterful orchestration, captivating First ASO Classical Subscription melodies and brilliant juxtaposition Performance: December 14, 1964, of dramatic and lyric elements are all Robert Mann, Conductor. trademarks of Rachmaninov’s art.

SERGEI RACHMANINOV (1873-1943) Symphonic Dances, Opus 45 (1940)

Most Recent ASO Classical Subscription Performances: June 2 and 4, 2011, Robert Spano, Conductor.

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ASO Recording: ASO Media: 1003, Robert Spano, Conductor.

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ergei Rachmaninov initially scored his Symphonic Dances for two pianos, completing the orchestration in the autumn of 1940. Rachmaninov dedicated the work to conductor Eugene Ormandy and the Philadelphia Orchestra, who gave the premiere of the Symphonic Dances on January 3, 1941. The initial critical reception was not enthusiastic. However, Rachmaninov’s Symphonic Dances soon become widely admired as perhaps the composer’s finest orchestral achievement.

Rachmaninov himself was rather surprised by his accomplishment, observing: “I don’t know how it happened, it must have been my last spark.”

The Symphonic Dances are in three movements. The first (Non allegro) opens with various winds, over furtive string accompaniment, introducing the movement’s principal descending “short-short-long” rhythmic figure. An expansive, lyrical interlude features a solo alto saxophone, the only time that Rachmaninov included this instrument in his music (for this, the composer sought the advice of his friend, Broadway orchestrator Robert Russell Bennett). The second movement (Andante con moto) is an extended and brilliantly-scored waltz.

The finale (Lento assai; Allegro vivace) is a fantasia on the Dies Irae plainchant. As in the opening movement, the finale offers a lengthy contrasting central episode in slow tempo before the Dies Irae returns in the propulsive conclusion.

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ASO | 1.30/31/2.1 | guests ROBERTO ABBADO, Conductor

NADJA SALERNO-SONNENBERG , Violin

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ASO | 1.30/31/2.1 | guests

uest conductor Roberto Abbado is currently an “Artistic Partner” with the St. Paul Chamber Orchestra, and is the first to hold that position. He performs regularly with many noted orchestras, including the Boston Symphony Orchestra, the Philadelphia Orchestra, and New York City’s Orchestra of St. Luke’s.

Born into a musical family, Mr. Abbado’s grandfather was a violin teacher, his father was director of the Milan Conservatory, and his uncle is a conductor. He studied with famed conducting teacher Franco Ferrara at Venice’s La Fenice and Rome’s Academia Nazionale di Santa Cecilia, where he was the only student in Accademia history to be invited to conduct the Orchestra di Santa Cecilia.

In his native Italy, Mr. Abbado regularly conducts the Filarmonica della Scala (Milan), Orchestra dell’Accademia Nazionale di Santa Cecilia (Rome), Orchestra del Maggio Musicale (Florence) and the RAI Orchestra (Turin).

Across Europe, he has worked with the Royal Concertgebouw, Orchestre National de France, Orchestre de Paris, Dresden Staatskapelle, Gewandhaus Orchester (Leipzig), NDR Symphony Orchestra (Hamburg), Vienna Symphony, Swedish Radio Symphony, and Israel Philharmonic Orchestras.

Mr. Abbado made his North American concert debut in 1991 with the Orchestra of St Luke’s at the Lincoln Center in New York. As an accompanist, he has collaborated with many of today’s most respected soloists including violinists Joshua Bell, Sarah Chang, Kennedy, Midori, Vadim Repin, Gil Shaham, and pianists Alfred Brendel, Yefim Bronfman, Lang Lang, Radu Lupu, Andras Schiff, Mitsuko Uchida, André Watts, duo pianists Katia & Marielle Labeque, cellist Yo-Yo Ma, and others.

38 Atlanta Symphony Orchestra | aso.org

adja Salerno-Sonnenberg is one of today’s leading violinists, renowned for her work on the concert stage, in the recording studio, and in her role as Music Director of the San Francisco-based New Century Chamber Orchestra.

Ms. Salerno-Sonnenberg’s 2013-14 engagements include a five-city North American recital tour with pianist Anne-Marie McDermott and orchestral engagements around the US. She leads New Century Chamber Orchestra’s 22nd season which includes the world premiere of Michael Daugherty’s new violin concerto, Falling Water, written for her, and in May 2014 releases the eleventh recording for her record label, NSS MUSIC, an all-commissions CD featuring works by Clarice Assad, William Bolcom, Michael Daugherty, and Ellen Taaffe Zwilich, all commissioned by New Century since Ms. Salerno-Sonnenberg joined the ensemble.

Recent performance highlights included a successful third U.S. tour with New Century, solo appearances with the Philadelphia, National, Seattle, Vancouver, Oregon, Colorado, Milwauukee, and Minnesota symphony orchestras in North America; with the NHK Symphony Orchestra in Japan, and the Buenos Aires Philharmonic in Buenos Aires.

Ms. Salerno-Sonnenberg’s professional career began in 1981 when she won the Walter W. Naumburg International Violin Competition.

She is the recipient of an Avery Fisher Career Grant, and the prestigious Avery Fisher Prize, awarded to instrumentalists who have demonstrated “outstanding achievement and excellence in music.”

An American citizen, Ms. Salerno-Sonnenberg was born in Rome and emigrated to the United States at the age of eight to study at The Curtis Institute of Music. She later studied with Dorothy DeLay at The Juilliard School.

Are you in the dark, trying to figure out what to do next? You’re probably scanning this ad, in the theatre. The lights may or may not be up and you’re wondering what else can we see and do? Frankly, a lot. Especially if you take the 90-minute ride to Columbus. The productions and performances taking place are nothing short of extraordinary. After all, with Fifty-one Reasons there just has to be a lot to choose from!

PHOTO CAPTION GOES HERE

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Les Miserables, the world’s longest running musical comes to Columbus.

Vietnam Memorial Wall, grand opening and dedication.

Rivers To The Past, museum theater festival presentation on the Chattahoochee.

Million Dollar Quartet, musical icons; Elvis, Jerry Lee, Johnny and Carl recreate a once in a lifetime performance.

Springer Opera House

FEB 27

Les Miserables

National Infantry Museum

National Civil War Naval Museum

MAR Vietnam Memorial Wall MAR Rivers To The Past 21 22

RiverCenter for Performing Arts

APR Million Dollar Quartet 18

For a complete list of events, visitcolumbusga.com or call 1.800.999.1613

encoreatlanta.com | Atlanta’s Performing Arts Publication 39

ASO ARCHIVES

for whom the

Bell tolls This month, the ASO will witness an important debut.

No, not the debut of a performer, but of a remarkable set of bells created in memory of former ASO percussionist Eugene Rehm (above).

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his month, the Atlanta Symphony Orchestra will perform a program which includes an audience favorite, Berlioz’s Symphonie fantastique. It’s not the first time the Orchestra has played this piece, but these performances will represent a debut of sorts. No, not a debut of a performer, but of a remarkable set of bells with a touching history and an

40 Atlanta Symphony Orchestra | aso.org

By Madeline Rogers

impressive pedigree.

If you’re in the audience, keep your eyes and ears open. Just before the symphony’s fifth and final movement begins, Principal Percussionist Tom Sherwood will discreetly slip offstage. Once there, he’ll position himself behind two enormous bronze church bells, tuck in a pair of earplugs, and wait. At measure 102, marked lontano (distant), he will raise

out the chimes of death. As Mr. Sherwood repeatedly strikes his C-C-G’s offstage, bassoons and tubas play the Dies Irae, the traditional funeral chant.

a mighty clapper and strike two low, booming C’s followed by a G — a three-note pattern that’s repeated numerous times, adding yet another distinctive color to an autobiographical work filled with spine-chilling sonic effects.

The movement, entitled Dream of a Witches’ Sabbath, portrays the nightmares of a young lovesick musician, Berlioz himself. As he finds himself surrounded by a crowd of sorcerers and monsters who’ve gathered for his funeral, the air resonates with groans, bursts of laughter, shouts, and echoes.

Then, at measure 102 —the moment Mr. Sherwood has waited for— church bells sound

At previous performances, Atlanta audiences would have heard bells at this point, but they were not quite what Berlioz had in mind. Mr. Sherwood explains: “These bells are costly; they aren’t the kind of thing orchestras usually own. We always rented ours from the Dallas Symphony.

Theirs are smaller —an octave higher than what’s called for in the score— so they’re easier to ship around the country.”

In many performances, those measures are played by two pianos, which Berlioz offers as an alternative. But those renditions don’t hold a candle to hearing that moment played as Berlioz intended — on two enormous church bells tuned to the right octave.

Gene’s two big passions in life were the orchestra and his cats …so that’s where I tried to focus his money.

The bells Mr. Sherwood will play on January 23, 25, and 26, delivered a year ago, make Atlanta one of just two or three orchestras in the country to own such a set. “I think only the New York Philharmonic and L.A. Philharmonic, and maybe one or two other orchestras, have bells like this,” Mr. Sherwood says.

Atlanta’s were acquired courtesy of a trust established by the late Eugene Rehm. encoreatlanta.com | Atlanta’s Performing Arts Publication 41

ASO Principal Percussionist Tom Sherwood with the Orchestra’s two new bronze bells, which were recently acquired as a result of a trust established by the late ASO percussionist Eugene Rehm.

As Rehm’s executor, Mr. Sherwood had to decide how to use his bequest. “Gene’s two big passions in life were the Orchestra and his cats, Mephistopheles and Beelzebub, so that’s where I tried to focus his money.”

First Mr. Sherwood donated “a good chunk” of money to Furkids, a leading nokill shelter and pet rescue organization. The rest of the money went to Rehm’s other passion: “Knowing he was a percussionist I thought it was fitting to center that gift around buying percussion equipment that would make our section more substantive.”

Mr. Sherwood set about beefing up the 42 Atlanta Symphony Orchestra | aso.org

percussion battery, purchasing a fiveoctave marimba and a three-octave set of tuned gongs. The prize was those two bronze bells, weighing in at 2,000 pounds.

They were custom ordered from the Cincinnati-based Verdin Bell Company, a sixth-generation family owned firm, and were cast in the Netherlands by Petit & Fritsen, which has been in business for 350 years. To ensure future generations of percussionists know where they came from, the bells are embossed with the inscription, In Memoriam Eugene Allen Rehm, Jr. “Gene was a real language buff,” says Mr. Sherwood, “so we thought that he would like having the Latin there.”

How does Mr. Sherwood think he’ll feel when he sounds that first low C? “It will be fun; that spot always gets my pulse racing, because it’s one of the cooler moments in classical music. But I know it will get me all choked up knowing that Gene’s name is written on the side.”

Madeline Rogers is former Director of Publications at the New York Philharmonic and a freelance creative consultant and writer based in New York City.

JEFF ROFFMAN

Longtime symphony subscribers will recognize the name: Rehm was a percussionist in the Orchestra for 49 seasons before he retired in 2003. Mr. Sherwood picks up the story: “Gene became one of my dearest friends. Toward the end of his time with the Orchestra he got cancer, and since he lived by himself, and didn’t have anybody to look out for him, my family and I ended up taking care of him.” That care continued after Rehm’s death in 2010.

PHOTO CAPTION GOES HERE

encoreatlanta.com | Atlanta’s Performing Arts Publication 43

ASO | support The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives during the 2014 fiscal year.

(Please note that donor benefits are based solely on contributions to the annual fund.)

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

$500,000+

Anonymous (2) Madeline & Howell E. Adams, Jr. Mrs. Anne Cox Chambers Delta Air Lines The Andrew W. Mellon Foundation The Mabel Dorn Reeder Foundation Wells Fargo Woodruff Arts Center

$250,000+

The Coca-Cola Company Mrs. William A. Schwartz Mrs. Charles A. Smithgall, Jr.

$100,000+

Anonymous Bank of America The Community Foundation for Greater Atlanta Ms. Lynn Eden First Data Corporation GE Asset Management Global Payments Inc. Abraham J. & Phyllis Katz Foundation NCR Foundation Turner Broadcasting System

$75,000+

Susan & Richard Anderson Fulton County Arts & Culture Invesco The Charles Loridans Foundation, Inc. Tull Charitable Foundation, Inc.

$50,000+

Thalia & Michael C. Carlos Foundation

Celebrity Cruises Equifax, Inc. Genuine Parts Company Georgia Power Company National Endowment for the Arts William Randolph Hearst Foundations The Reiman Foundation UPS Susan & Thomas Wardell The Zeist Foundation, Inc.

$35,000+

AGL Resources, Inc. Alston & Bird LLP In honor of Donald Carson Mr. & Mrs. Bradley Currey, Jr. Georgia Natural Gas Karole & John Lloyd Victoria & Howard Palefsky Porsche Cars North America Publix Super Markets & Publix Super Markets Charities, Inc. Jeffrey C. Sprecher & Kelly Loeffler Ann Marie & John B. White, Jr.*

$25,000+

Accenture LLP Atlanta Homes & Lifestyles Kelley & Neil H. Berman Mr. Arthur Blank Mary Rockett Brock Mr. & Mrs. C. Merrell Calhoun Marcia & John Donnell Catherine Warren Dukehart Betty Sands Fuller Ann & Gordon Getty Foundation Georgia Council for the Arts IKEA Lucy R. & Gary Lee, Jr. Lockheed Martin

44 Atlanta Symphony Orchestra | aso.org

Massey Charitable Trust Mueller Water Products Terence L. & Jeanne P. Neal* PricewaterhouseCoopers LLP Rock-Tenn Company Newell Rubbermaid Patty & Doug Reid Ryder Systems, Inc. Mr. Thurmond Smithgall Steinway Piano Galleries SunTrust Bank Trusteed Foundation Walter H. & Marjory M. Rich Memorial Fund Mark & Evelyn Trammell Foundation Vasser Woolley Foundation, Inc. Mark & Rebekah Wasserman Adair & Dick White

$17,500+

Jim & Adele Abrahamson Mr. & Mrs. Paul J. Blackney City of Atlanta Office of Cultural Affairs Admiral James O. Ellis, Jr. in memory of Polly Ellis The Home Depot Foundation Carol G. & Larry L. Gellerstedt III Jane & Clay Jackson D. Kirk Jamieson, Verizon Wireless King & Spalding Printpack Inc. & The Gay & Erskine Love Foundation Suzanne & Bill Plybon* Dr. Stanley & Shannon Romanstein Robert Spano Ray & John Uttenhove Chilton & Morgan Varner Patrick & Susie Viguerie Sue & Neil** Williams

encoreatlanta.com | Atlanta’s Performing Arts Publication 45

ASO | support $15,000+

The Antinori Foundation The Boston Consulting Group Janine Brown & Alex J. Simmons, Jr. The Capital Group Companies Charitable Foundation Wright & Alison Caughman Mr. & Mrs. Ronald M. Cofield Empire Distributors, Inc. Ernst & Young Gary & Nancy Fayard Ms. Nancy Field & Mr. Michael Schulder Paul & Carol Garcia Charles & Mary Ginden Tad & Janin Hutcheson The Jamieson Family Mr. & Mrs. James C. Kennedy Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Mr. Ken & Dr. Carolyn Meltzer Nordstrom, Inc. Joyce & Henry Schwob Southern Company Loren & Gail Starr Alison M. & Joseph M. Thompson

Liz & Mike Troy Mr. & Mrs. Edus H. Warren, Jr. Camille Yow

$10,000+

Julie & Jim Balloun Mr. & Mrs. Francis S. Blake Mr. David Boatwright Boxwoods Gardens & Gifts The Breman Foundation, Inc. John W. & Rosemary K. Brown The Walter & Frances Bunzl Foundation Coca-Cola Enterprises Dr. John W. Cooledge Ms. Cari Katrice Dawson & Mr. John Sparrow Drs. Jeannette Guarner & Carlos del Rio The Max & Victoria Dreyfus Foundation, Inc. E & J Gallo Winery Eleanor & Charles Edmondson Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould The Graves Foundation Atlanta Area Lexus Dealers

Jan & Tom Hough IntercontinentalExchange, Inc. Roya & Bahman Irvani JBS Foundation Anne Morgan & Jim Kelley Philip Kent, in honor of Neil Williams Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec James H. Landon Pat & Nolan Leake The Sally & Peter Parsonson Foundation Mr. & Mrs. Solon P. Patterson* Mr.** & Mrs. Rezin E. Pidgeon, Jr. Margaret & Bob Reiser Ricoh Ms. Pierrette Scanavino Bill & Rachel Schultz* Mr. John A. Sibley III Peter James Stelling Mary Rose Taylor Ticketmaster Trapp Family Ms. Kathy Waller & Mr. Kenny Goggins Neal & Virginia Williams

Patron Partnership

Paul T. Snyder, Patron Partnership Chair The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $2,000 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support.

$7,500+

Anonymous Lisa & Joe Bankoff Mr. & Mrs. Marquette Chester Sally & Carl Gable Joseph & Caroline O’Donnell Ann E. Pasky John & Kyle Rogers Tito’s Handmade Vodka

$5,000+

Anonymous (5) Mrs. Kay Adams & Mr. Ralph Paulk* Pinney L. Allen & Charles C. Miller III Aadu & Kristi Allpere*

Ms. Julie M. Altenbach ADAC Arnall Golden Gregory LLP Private Wealth Group Ms. Lillian Balentine Benjamin Moore & Co. Blackwell Rum Patricia & William Buss Ms. Suzanne E. Mott Dansby Christopher & Sonnet Edmonds Dr. & Mrs. Carl D. Fackler David L. Forbes Charitable Fund Georgia-Pacific Foundation Mr. & Mrs. Richard Goodsell

The Robert Hall Gunn, Jr. Fund Steven & Caroline Harless Betty** & Gene Haywood Mr. & Mrs. Douglas J. Hertz Ann A. & Ben F. Johnson III* Mr. & Mrs. Baxter Jones Robert J. Jones* Paul & Rosthema Kastin Donald S. Orr & Marcia K. Knight Steve & Eydie Koonin George H. Lanier Lubo Fund

Linda & John Matthews The Devereaux F. & Dorothy McClatchey Foundation, Inc. The Fred & Sue McGehee Family Charitable Fund John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Walter W. Mitchell Dr. & Mrs. Mark P. Pentecost, Jr. Ms. Lela M. Perry Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. & Mrs. Joel F. Reeves

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

46 Atlanta Symphony Orchestra | aso.org

ASO | support AGCO Corporation, Martin Richenhagen Vicki & Joe Riedel The Sartain Lanier Family Foundation AGCO Corporation, Lucinda B. Smith Hamilton & Mason Smith Mrs. C. Preston Stephens Geraldine Dillard Stutz Triska Drake & G. Kimbrough Taylor, Jr. Mr. Robert Taylor Joan N. Whitcomb Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner YP Zeliff & Wallace Advisory Company, Inc

$3,500+

ACI Worldwide Mr. & Mrs. Stephen D. Ambo Rita & Herschel Bloom Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* Jean & Jerry Cooper Sally & Larry Davis Jere & Patsy Drummond* The Elster Foundation James F. Fraser Caroline & Harry Gilham, Jr. Mrs. Sally W. Hawkins Mr.**& Mrs. Jesse Hill, Jr. JoAnn Hall Hunsinger Mr. & Mrs. Robert A. Johnson Robert A. Johnson Dick & Georgia Kimball* Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester*

Deborah & William Liss* Dr. & Mrs. James T. Lowman Belinda & Gino Massafra Mr. & Mrs. Albert S. McGhee Gregory & Judy Moore David Paule & Gary Mann Mr. & Mrs. Scott Nathan Margo Brinton & Eldon Park S.A. Robinson Mr. & Mrs. George P. Rodrigue Beverly & Milton Shlapak In memory of Willard Shull Stephen & Sonia Swartz Carol & Ramon Tome Family Fund* Total System Services, Inc. Burton Trimble Alan & Marcia Watt Dr. & Mrs. James O. Wells, Jr. Hubert H. Whitlow, Jr. H. & T. Yamashita*

$2,250+

Anonymous (2) Mr. & Mrs. Phillip E. Alvelda* Jack & Helga Beam Paul & Linnea Bert in honor of Maestro Robert Spano Mr. Justin Blalock Leon & Linda Borchers Edith H. & James E. Bostic, Jr. Family Foundation Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Russell E. Butner

Cynthia & Donald Carson Dr. & Mrs. William Clarkson IV* Ralph & Rita Connell Mr. & Mrs. Thomas G. Cousins Brant & Kathy Davis* Mr. Philip A. Delanty Peter & Vivian de Kok Dr. Xavier Duralde & Dr. Mary Barrett Ms. Diane Durgin Dr. Francine D. Dykes & Mr. Richard H. Delay David & Patty Emerson George T. & Alecia H. Ethridge Ellen & Howard Feinsand Ms. Julianne Fish Four Seasons Hotel Atlanta Mr. & Mrs. Nicholas R. Franz John & Michelle Fuller Representative Pat Gardner & Mr. Jerry Gardner Ed & Judy Garland Mr. & Mrs. Henry W. Grady Mary C. Gramling Dr. & Mrs. Alexander Gross Rand & Seth Hagen Deedee & Marc Hamburger Harald R. Hansen* Mr. & Mrs. John E. Hellriegel Virginia Hepner & Malcolm Barnes Mr. Harvey & Dr. Sarah Hill* In memory of Carolyn B. Hochman Harry & Tatty Howard Richard & Linda Hubert Dr. W. Manchester Hudson Dr. & Mrs. James M. Hund Ms. Cynthia Jeness Aaron & Joyce Johnson

Mr. W. F. & Dr. Janice Johnston Hazel & Herb Karp Mr. & Mrs. L. Michael Kelly Mark B. Kent & Kevin A. Daft Mr. & Mrs. David E. Kiefer Dr. & Mrs. Scott I. Lampert Thomas C. Lawson Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. Paul A. Lutz* Thomas & Marianne Mabry Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Kay & John Marshall Ruth & Paul Marston Mrs. Mary Ruth McDonald* Ms. Shelley S. McGehee Mr. Justin R. McLain Birgit & David McQueen Mrs. Virginia K. McTague Sandy & Harriet Miller Angela & Jimmy Mitchell* Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Myers Carpet Company Dr. & Mrs. R. Daniel Nable Robert & Mary Ann Olive Barbara & Sanford Orkin Mr. & Mrs. Andreas Penninger Susan Perdew Mr. & Mrs. Jerry Perullo Philips Elise T. Phillips

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

48 Atlanta Symphony Orchestra | aso.org

Stop by to view some of the finest jewelry in Atlanta.

Legendary in Quality and Design 180 Allen Road Suite 107 Atlanta GA 30328 (404) 252-2256 www.knoxjewelers.com

ASO | support Provaré Technology, Inc. Mr. & Mrs. David M. Ratcliffe Dr. & Mrs. W. Harrison Reeves, Sr. Betsy & Lee Robinson Mr. & Mrs. Richard L. Rodgers John T. Ruff June & John Scott Elizabeth S. Sharp Angela & Morton Sherzer Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Mrs. J. Lucian Smith* Johannah Smith Amy & Paul Snyder Southwest Airlines Co. Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. Reverend Karl F. Suhr Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo Sheila L. Tschinkel Mr. & Mrs. William C. Voss Drs. Jonne & Paul Walter David & Martha West Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates Allen W. Yee*

$2,000+

Anonymous (2) Mr. & Mrs. R. Edwin Bennett

Mr. & Mrs. M. Les Bethune B. Sandford Birdsey III Mr. & Mrs. Walter K. Canipe Ms. Bettina A. Jackson Cantador Mr. & Mrs. Chuck Carlin Susan & Carl Cofer Mr. Malcomb D. Coley Dr. & Mrs. William T. Cook Mr. & Mrs. Edward S. Croft III Thomas Dreeze & Evans Mirageas Mary Frances Early Peg Simms Gary Michael Gillen Betty L. Hammack & Charles Meredith M.D. Thomas High Stephanie & Henry Howell Dona & Bill Humphreys Mary B. & Wayne James Mr. & Mrs. Alan M. Knieter Isabel Lamy Lee J. Bancroft Lesesne & Randolph Henning Elvira & Jay Mannelly Martha & Reynolds McClatchey Mr. & Mrs. Eugene F. Meany Mrs. Elizabeth Meeder Tom & Jennifer Merkling Mrs. Dorothy H. Miller Mr. & Mrs. George T. Munsterman Lebby Neal Dr.* & Mrs. Frank S. Pittman III Mr. Leonard Reed* Ms. Susan Robinson & Ms. Mary Roemer Dr. & Mrs. Rein Saral

Henry Sopkin Circle

Mr. & Mrs. Samuel R. Shapiro W. Henry Shuford & Nancy Shuford Drs. Julius & Nanette Wenger Sally Stephens Westmoreland Drs. Holly & Marty York The Zaban Foundation, Inc.

$1,750+

Dr. Phyllis Abramson Dr. & Mrs. Joel E. Berenson Mr. James Burton Mr. & Mrs. R. Barksdale Collins Cree & Frazer Durrett Ree & Ralph Edwards Mach Flinn Alexander Gluzman & Mariya Fishman Mr. Charles E. Griffin Kenneth R. Hey Mentewab Ayalew & Peter Höyng in honor of Christopher Pulgram The Hyman Foundation Lana M. Jordan Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Mrs. Glee B. Lamb Ione & John Lee Joanne Lincoln Captain & Mrs. Charles M. McCleskey Dr. Larry McIntire Melanie & Allan Nelkin Dr. & Mrs. Keith D. Osborn The Reverend Neal P. Ponder, Jr. Mr. & Mrs. Thomas Ragland Mr. Tom B. Reynolds

The Gary W. Rollins Foundation Mr. & Mrs. Phillip Shou Barry & Gail Spurlock Mr. & Mrs. Raymond F. Stainback, Jr. Mr. & Mrs. Alex Summers Mrs. Marianne E. Tanner David & Kelly Taylor Bill & Judy Vogel Mrs. Frank L. Wilson, Jr. Herbert & Grace Zwerner

Additional Support Justin Blalock Foundation Blonder Family Foundation Implementation & Consulting Services, Inc. William McDaniel Charitable Foundation Private Bank of Buckhead Techbridge

Archive Support 500+ Yoshihisa Aoki Jack & Helga Beam Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Peter M. Chester Steven B. Farrow & Vernon Price Joe Guthridge & David Ritter John & Martha Head MailChimp Dr. John R. Paddock & Dr. Karen M. Schwartz Bob & Mary Martha Scarr Dr. Steven & Lynne Steindel Alan & Marcia Watt Ann Marie & John B. White, Jr.*

Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Anonymous (18) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold

Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine

W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs

Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun

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

50 Atlanta Symphony Orchestra | aso.org

boxer. bassist. atlantan.

meet your ASO

DEREK BLANKS

JOSEPH MCFADDEN aso.org

ASO | support Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Mrs. Mary Frances Evans Comstock** Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth Etoll Brien P. Faucett Dr. Emile T. Fischer A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover

Robert Hall Gunn, Jr., Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Ms. Jeannie Hearn Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.** & Mrs. Fred A. Hoyt, Jr. Jim & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr. & Mrs. William C. Lester Liz & Jay** Levine

Robert M. Lewis, Jr. Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard** & Sandra Palay Dan R. Payne Bill Perkins Mrs. Lela May Perry** Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce** Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers Mr.** & Mrs. Martin H. Sauser

Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Charles H. Siegel** Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.** & Mrs. Charles R. Yates

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2013-2014 Board Sylvia Davidson President Camille Kesler President-elect Belinda Massafra Advisor Gayle Lindsay Secretary Marie Hannon Treasurer Corrie Johnson Nominating Committee Chair Joan Abernathy Vice President of Membership Judy Feldstein Directory

Susan Levy, Pam Deaton & Dorsey Deaton Membership Initiatives Natalie Miller Vice President of Communication and Public Relations Hillary Linthicum Social Media Julie Witzel Newsletter Glee Lamb Vice President of Social Events Bunny Davidson & Betsy Fleisig Fall Membership Party Liz Cohn & Betty Jeter ASA Night at the Symphony

Julie Barringer & Beryl Pleasants Spring Luncheon Mollie Palmer Vice President of Education and Community Engagement Beth Sullivan Children’s Concerts, Festivals Nancy Levitt Ambassador Program Wadette Bradford Volunteer Engagement Lisa Bankoff, Leslie McLeod, Dawn Mullican, Annie-York Trujillo & Liz Troy Fundraising Strategic Planning Committee

Brooke Merrill Decorators’ Show House & Gardens Chair Daron Tarlton Bravo! Chair Mary Frances Early & Joanne Lincoln Concerto Co-Chairs Joan Abernathy Encore Chair Ruth Marston & Poppy Tanner Ensemble Co-Chairs Nancy Chunka & Marge Frost Intermezzo Chair

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

52 Atlanta Symphony Orchestra | aso.org

CLAYTON STATE UNIVERSITY MORROW, GEORGIA

Christiane Karg, SOPRANO Malcolm Martineu, PIANO

Christiane Karg

Sunday, February 9, 2014 | 3PM | $46 Pre-concert Talk 2PM

performance by Christiane Karg “(TheA ravishing ” Guardian).

Her exquisite soprano voice and level of “interpretative sensitivity were outstanding ” (Opera News).

With acclaimed appearances at London’s Wigmore Hall and Vienna’s Musikverein, Christiane Karg makes her American recital debut at Spivey Hall.

Malcolm Martineu

Spivey Hall Box Office: (678) 466-4200

www.SpiveyHall.org

SpiveyHall_ENC1401 hph.indd 1

PROGRAM of songs by Hugo WOLF, Claude DEBUSSY, Arnold SCHOENBERG, and Richard STRAUSS

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corporate & government | support

Holiday Title Sponsor

Classical Title Sponsor Classic Chastain Title Sponsor Family and POPS! Presenting Sponsor

MUHTAR A. KENT Chairman of the Board and Chief Executive Officer

DARRYL HARMON Southeast Regional President

Atlanta School of Composers Presenting Sponsor

RICHARD H. ANDERSON Chief Executive Officer

PAUL R. GARCIA Chairman of the Board

PHILIP I. KENT Chairman and Chief Executive Officer

ED LABRY Vice Chairman

Supporter of the Atlanta Symphony Orchestra Chorus

GERI P. THOMAS Georgia State President

JERRY KARR Senior Managing Director

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

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

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

54 Atlanta Symphony Orchestra | aso.org

Free Park Concert Series Title Sponsor

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

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encoreatlanta.com | Atlanta’s Performing Arts Publication 55

The Woodruff Circle

The Woodruff Arts Center and our four artistic divisions – the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences – rely on the generosity of those donors whose support extends to all parts of our organization. The members of The Woodruff Circle each contributed more than $250,000 to our efforts last year. We are deeply grateful to these 34 partners who help to ensure that the arts thrive in our city. $1,000,000+

$500,000 - $999,999

$250,000 - $499,999

Yolandra & Joseph Alexander Gordon W. Bailey Debrah & Harris Feinn Georgia Power Foundation, Inc. The Goizueta Foundation Andrew W. Mellon Foundation Mabel Dorn Reeder Foundation Pamela & Douglass Selby Margaretta Taylor Turner Broadcasting System, Inc. Wells Fargo Bank, N.A. The Robert W. Woodruff Foundation

A Friend of The Woodruff Arts Center (3) AT&T Bank of America Charitable Foundation Pamela & Oliver Cobb The Community Foundation for Greater Atlanta, Inc. Deloitte, its Partners & Employees Equifax, Inc. & Employees Fulton County Arts Council The Home Depot Foundation Sarah & Jim Kennedy

PNC PwC, Partners & Employees The Rich Foundation, Inc. Mrs. William A. Schwartz SunTrust Foundation, SunTrust Bank Employees and The SunTrust Bank Trusteed Foundations: Florence C. and Harry L. English Memorial Fund and Greene-Sawtell Foundation UPS Zeist Foundation, Inc. Donations made from June 1, 2012- May 31, 2013

The Patron Circle Each year The Woodruff Arts Center raises

critical dollars in support of the organization’s day-to-day operations through the Annual Campaign. The Patron Circle contributors helped us exceed a $9.2 million goal, ensuring that our artistic divisions can continue to bring the best in visual and performing arts, as well as arts education, to millions of people in the year ahead. $500,000+ The Coca-Cola Company* Georgia Power Foundation, Inc.* $300,000+ Cox Interests Atlanta Journal-Constitution, James M. Cox Foundation, Cox Radio Group Atlanta, WSB-TV The Hon. Anne Cox Chambers* The Home Depot Foundation PwC, Partners & Employees UPS* $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc.

Deloitte, its Partners & Employees* Equifax Inc. & Employees Ernst & Young, Partners & Employees The Sara Giles Moore Foundation SunTrust Foundation, SunTrust Bank Employees and The SunTrust Bank Trusteed Foundations: Florence C. and Harry L. English Memorial Fund and Greene-Sawtell Foundation* $150,000+ Alston & Bird LLP Jones Day Foundation & Employees KPMG LLP, Partners & Employees The Rich Foundation, Inc. Turner Broadcasting System, Inc. Wells Fargo

56 Atlanta Symphony Orchestra | aso.org

$100,000+ AGL Resources Inc. Bank of America Delta Air Lines, Inc. Invesco Ltd. Kaiser Permanente Kilpatrick Townsend King & Spalding Partners & Employees The Marcus Foundation, Inc.* Sam’s Club/Wal-Mart Stores, Inc. The Vasser Woolley Foundation, Inc. The David, Helen & Marian Woodward Fund

$75,000+ Goodwin Group The Sartain Lanier Family Foundation, Inc. Novelis Inc. Regions Financial Corporation* RockTenn Carol & Ramon Tomé Family Fund $50,000+ A Friend of The Woodruff Arts Center Crawford & Company Frank Jackson Sandy Springs Toyota and Scion Holder Construction Company NCR Foundation PNC Foundation The Primerica Foundation Southwest Airlines Sutherland Asbill & Brennan LLP Frances Wood Wilson Foundation, Inc. Zeist Foundation, Inc. $35,000+ Chick-fil-A Foundation CSX The Imlay Foundation, Inc. Infor Global Solutions IntercontinentalExchange Sarah & Jim Kennedy Newell Rubbermaid Troutman Sanders LLP Verizon $25,000+ A Friend of The Woodruff Arts Center, In Honor of Virginia A. Hepner Atlanta Foundation Balch & Bingham Julie & Jim Balloun Lisa & Joe Bankoff BB&T Corporation The Connolly Family Foundation Cousins Properties Foundation First Data Corporation John & Mary Franklin Foundation, Inc. Mr. & Mrs. Lawrence L. Gellerstedt III Georgia Natural Gas Georgia-Pacific Price Gilbert, Jr. Charitable Fund GMT Capital Corporation Greenberg Traurig, LLP The Howell Fund, Inc.* Mr. & Mrs. M. Douglas Ivester JPMorgan Chase & Co. The Klaus Family Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Lockheed Martin Aeronautics Company

Norfolk Southern Foundation Printpack Inc./The Gay & Erskine Love Foundation Mr. & Mrs. David M. Ratcliffe Patty & Doug Reid Family Foundation SCANA Energy Southwire Company United Distributors, Inc. Waffle House, Inc. Gertrude & William C. Wardlaw Fund Yancey Bros. Co. $15,000+ ACE Charitable Foundation Acuity Brands, Inc. Aflac, Inc. AIG Alvarez & Marsal Arnall Golden Gregory LLP Assurant Specialty Property The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Juanita Powell Baranco Anna & Ed Bastian Susan R. Bell & Patrick M. Morris Laura & Stan Blackburn The Arthur M. Blank Family Foundation Nancy & Kenny Blank The Boston Consulting Group W. Paul Bowers Catherine S. & J. Bradford Branch Bryan Cave LLP Camp-Younts Foundation Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. CIGNA Foundation Cisco The Correll Family Foundation The Cousins Foundation, Inc. Ann & Jeff Cramer Mr. & Mrs. Bradley Currey, Jr. Suzie & Randy Donaldson Mike Donnelly Fifth Third Bank Ford & Harrison LLP Frazier & Deeter, CPA Gas South, LLC Genuine Parts Company Golden Peanut Company Harland Clarke Virginia Hepner & Malcolm Barnes IBM ICS Contract Services, LLC Jenny & Phil Jacobs Jamestown Properties

Lou Brown Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones Jones Lang LaSalle JPMorgan Chase, Atlanta Philip I. Kent Foundation Kimberly-Clark Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions Blanche Lipscomb Foundation, Inc. Livingston Foundation, Inc. Karole & John Lloyd Macy’s Foundation The Residences at Mandarin Oriental, Atlanta Mohawk Industries, Inc. & Mr. & Mrs. Frank H. Boykin Nonami Foundation Victoria & Howard Palefsky Vicki & John Palmer Mr. & Mrs. William A. Parker, Jr. The Sally & Peter Parsonson Foundation, Inc. Piedmont Charitable Foundation, Inc. Post Properties, Inc. Jane & Joe Prendergast Mary & Craig Ramsey/Accenture The H. English Ermine Cater Robinson Foundation Mr. & Mrs. William H. Rogers, Jr. Russell Reynolds Louise Sams & Jerome Grilhot Selig Enterprises, Inc./ The Selig Foundation Seyfarth Shaw LLP Mr. & Mrs. Richard D. Shirk Smith & Howard Karen & John Spiegel State Bank & Trust Company Superior Essex Inc. Mr. G. Kimbrough Taylor Taylor Consulting Group, Inc. Taylor English Duma LLP Tishman Speyer Properties Towers Watson Trimont Real Estate Advisors, Inc. Sue & John Wieland Womble Carlyle Sandridge & Rice, LLP Mr. & Mrs. James B. Williams Carla & Leonard Wood The Xerox Foundation Mr. & Mrs. Robert A. Yellowlees * Beauchamp C. Carr Challenge Fund Donor Donations for the Annual Campaign from June 1, 2012- May 31, 2013

encoreatlanta.com | Atlanta’s Performing Arts Publication 57

ASO | staff Orchestra Staff EXECUTIVE Stanley E. Romanstein, Ph.D. President & Chief Executive Officer Dionndra Prescott Assistant to the President & Chief Executive Officer Bob Scarr Archives Program Manager

Chastain Park Amphitheater Tanner Smith Director of Programming & Production, ASO Presents Verizon Wireless Amphitheater at Encore Park Katie Daniel VIP Sales Manager Deborah Honan Customer Service Manager & Venue Rental Coordinator Brandon Schleicher Facility Manager Rebecca Simmons Director of Ticketing at ASO Presents

MARKETING & COMMUNICATIONS David Paule Vice President & Chief Marketing Officer Dallas Greene Season Tickets Associate Holly Hanchey Director of Marketing & Customer Experience Meko Hector OPERATIONS Marketing Production Julianne M. Fish Manager Vice President & General Jennifer Jefferson Manager, ASO Director of of eBusiness & Paul Barrett Interactive Media Senior Production Tegan Ketchie Stage Manager Manager of Broad Richard Carvlin Based Giving DEVELOPMENT Stage Manager Melanie Kite Lucio Petroccione Jesse Pace Subscriptions Office Vice President for Strategic Manager Orchestra Operations & Business Development Hall Rental Coordinator Pamela Kruseck Rebecca Abernathy Susanne Watts Manager of Group Development Assistant Orchestra Sales & Tourism Services Manager Personnel Manager Jan Lochmann FINANCE & Dave Adan Russell Williamson Director of Revenue ADMINISTRATION Director of Corporate Orchestra Personnel Management Susan Ambo Development & Special Manager Alesia Mack Vice President of Finance Programs Director of Season Tickets ARTISTIC Shannon McCown Tammie Cotton & Customer Service Assistant to the Vice Evans Mirageas Development Associate Kimberly Nogi Vice President for Artistic President of Finance Brien Faucett Communications Manager Planning Peter Dickson Associate Manager of Robert Phipps Senior Accountant Carol Wyatt Individual Giving Publications Director Executive Assistant to the Kimberly Hielsberg Ashley Krausen Music Director & Principal Senior Director of Financial Thomas Pinckney Manager of Special Projects Group & Corporate Guest Conductor Planning & Analysis Melissa Muntz Sales Manager Jeffrey Baxter Stephen Jones Development Manager Choral Administrator Melissa Sanders Symphony Store Johnnie Oliver Senior Director, Ken Meltzer April Satterfield Associate Manager Communications ASO Insider & Controller Development Research Program Annotator David Sluder Gokul Parasuram ASO PRESENTS Database & Christopher McLaughlin Development Services eMarketing Manager Artist Assistant Trevor Ralph Coordinator Vice President, Chief Robin Smith Kate Robson Subscription & Operating Officer Special Events Coordinator Education Sales Clay Schell Lauren Turner Vice President, Kourtnea Stevenson Associate Manager of Group & Corporate Programming Individual Giving Sales Associate Holly Clausen Trammell Williams Director of Marketing Karen Tucker Individual Giving Season Tickets Associate Lisa Eng Coordinator Graphic Artist Russell Wheeler David Zaksheske Director of Group & Ashley Majher Manager of Corporate Corporate Sales Marketing & Promotions Services Coordinator EDUCATION & COMMUNITY ENGAGEMENT Mark Kent Vice President, Education & Community Engagement Katherine Algarra Program Assistant for Student Music Programs Niki Baker Manager of Ensembles & Instructions Janice Crews Manager of School and Family Programs Kaitlin Gress Arts Vibe Teen Program Coordinator Tiffany I. M. Jones Education Associate for Audience Development Ahmad Mayes Manager of Community Programs

58 Atlanta Symphony Orchestra | aso.org

january 31 : yMusic february 8 : Newport Jazz Festival: Now 60 february 20 : Lang Lang, piano march 28 : Inon Barnatan, piano and Alisa Weilerstein, cello tickets on sale now! ticket prices vary. arts at emory box office • 404.727.5050 arts.emory.edu/concerts pHoto credits (l to r) yMusic: Kinan Faham; Anat Cohen: Jimmy Katz; Lang Lang: © Peter Hönnemann; Inon Barnatan: Marco Borggreve; Alisa Weilerstein: © Jamie Jung.

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Romeo and Juliet Playing February and March 2014 in repertory with The Taming of the Shrew and Much Ado About Nothing www.ShakespeareTavern.com 499 Peachtree Street NE 60 Atlanta Symphony Orchestra | aso.org

LOVE THE ARTS? Of course you do. Which is why you’ll love the lifestyle at Canterbury Court. Our residents enjoyed some 86 onsite concerts and performances last year. Many are ASO season ticket holders – many of them lifelong friends of the arts. They invite you to discover their Canterbury Court.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 61

ASO | calendar UPCOMING CONCERTS

AUGUSTIN HADELICH FEB

6/8

Thu: 8pm/Sat: 7:30pm Delta Classical

DAREDEVIL! JAMES FEDDECK

SCHUBERT: Symphony No. 3 PAGANINI: Violin Concerto No. 1 ELGAR: Enigma Variations James Feddeck, conductor Augustin Hadelich, violin

7

FEB Fri: 6:30pm | First Friday

PAGANINI: VIOLIN CONCERTO NO. 1

JERE FLINT ELGAR: Enigma Variations James Feddeck, conductor Augustin Hadelich, violin

9

FEB Sun: 1:30 & 3:30pm Family Concert

ASHLEY BROWN

TCHAIKOVSKY DISCOVERS AMERICA! Jere Flint, conductor Classical Kids Live!

14/15

JESSICA RIVERA

FEB Fri/Sat: 8pm | POPS!

PIANO ROMANCE

20/22

FEB Thu: 8pm/Sat: 7:30pm | Delta Classical

ALL VAUGHAN WILLIAMS VAUGHAN WILLIAMS: The Lark Ascending VAUGHAN WILLIAMS: Symphony No. 4 VAUGHAN WILLIAMS: Dona nobis pacem Robert Spano, conductor David Coucheron, violin Jessica Rivera, soprano Brett Polegato, baritone ASO Chorus

27/28/ 1

MAR FEB Thu/Fri: 8pm/ Sat: 7:30pm Delta Classical

POETIC LICENSE MENDELSSOHN: Hebrides Overture NIELSEN: Violin Concerto TCHAIKOVSKY: Symphony No. 5 Marc Piollet, conductor Hilary Hahn, violin

aso.org 404.733.5000 Woodruff Arts Center Box Office Make it a group! 404.733.4848

Michael Krajewski, conductor Ashley Brown, vocalist Rich Ridenour, piano

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encoreatlanta.com | Atlanta’s Performing Arts Publication 63 Artmore_ENC1311 qph.indd 4

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ASO | ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please consider passing them on to friends, or return them to the box office for resale.

To donate tickets, please call 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m. MondayFriday; noon-8 p.m. Saturday-Sunday. Service charge applies. Phone orders are filled on a best-available basis. atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two

weeks before the concert, tickets will be held at the box office.

WOODRUFF ARTS CENTER BOX OFFICE Open 10 a.m. - 6 p.m. Monday; 10 a.m. - 8 p.m. Tuesday – Friday; and noon – 8 p.m.

Saturday; noon - 5 p.m. Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.

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

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

ASO | general info LATE SEATING Patrons arriving after the concert begins are seated at the discretion of house management.

Reserved seats are not guaranteed after the performance starts.

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

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

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

64 Atlanta Symphony Orchestra | aso.org

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,000 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345 Donations & Development 404.733.4375

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encoreatlanta.com | Atlanta’s Performing Arts Publication 65

ASO | gallery 2. ASO & AIDS AWARENESS A quartet of ASO musicians performed at Grady Ponce de Leon Center in honor of World AIDS Day.

3. JOINING THE DIGITAL AGE Digitization of the ASO’s archival footage is well underway thanks to funding from the Orchestra’s recent Kickstarter Campaign.

BOB SCARR

AHMAD MAYES

1. CHEER HERE! Throughout December, the ASO popped up all over Midtown to spread holiday cheer, including at Emory University Hospital Midtown.

66 Atlanta Symphony Orchestra | aso.org

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| Atlanta’s Performing Arts Publication 67