Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
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contents March 2014
16
22
features
the music
16 The Heat is On!
28 Program and Notes
The ASO’s 2014–2015 subscription season sizzles, driven by two alluring themes: power and seduction. By Madeline Rogers
22 The House that Jere Built One of the best youth orchestras in the country is built on a foundation stronger than stone. By Sean Ward
departments 10 Robert Spano 12 Orchestra Leadership 14 Musicians 86 Staff 89 General Info/Ticket Info 90 Gallery 92 Dining Guide
4 Atlanta Symphony Orchestra | aso.org
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8 Atlanta Symphony Orchestra | aso.org
See the
Fu t u r e
Juilliard Nan Melville
juilliard.edu/music
Conductor Alan Gilbert leads the Juilliard Orchestra in its annual Carnegie Hall appearance.
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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www.ColumbusState.edu/Music 4225 University Avenue, Columbus, GA 31907 | 706-649-7225 | schwobmusic@ColumbusState.edu
ASO | leadership 2013-2014 Board of Directors Officers Karole F. Lloyd Chair
D. Kirk Jamieson Vice Chair
Joni Winston Secretary
Howard D. Palefsky Treasurer
Shirley C. Franklin 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 Hank Linginfelter Xia Liu
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 Deltev von Platen Thomas Wardell Mark D. Wasserman† John B. White, Jr. Richard S. White, Jr. Patrice Wright-Lewis Camille Yow †
Directors Jim Abrahamson Ron Antinori 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
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* TBD 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 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
encoreatlanta.com | Atlanta’s Performing Arts Publication 15
JEFF ROFFMAN/PETER BENKE
The Heat is On! By Madeline Rogers
T
he playwright William Congreve penned what is arguably one of the best known quotations in the world, “music has charms to soothe a savage breast.” But that doesn’t tell the whole story. Yes, music can soothe, but it can also stir the blood. In the 2014–15 season, the Atlanta Symphony Orchestra (ASO) explores the full spectrum of music’s expressive power: from works inspired by great loves to offerings that represent darker, wilder, even malevolent emotions. Temptations abound in this, the Atlanta Symphony Orchestra’s 70thanniversary season: There will be opportunities to visit with old favorites; discover world premieres and rarely heard gems; experience debuts by talents with rockstar charisma; and reunite with cherished friends. The season opens on September 25, 2014, with Music Director Robert Spano conducting two of Richard Strauss’s most popular tone poems: Don Juan, about a famous lover, and Till Eulenspiegel, about an equally famous prankster. Those works flank two Mozart pieces: Piano
16 Atlanta Symphony Orchestra | aso.org
The ASO’s 2014–2015 subscription season sizzles, driven by two alluring themes: power and seduction.
world (October 16 and 18). The featured soloists are the ASO’s own percussionists, Thomas Sherwood, Principal, and Charles “We’re always looking for something in the Settle. A second-century love story inspired opening week to give us a festive beginning. Maurice Ravel to write Daphnis et Chloé, What could be better than the brilliant a luscious ballet score. It will cap off a orchestral writing of Richard Strauss, and program that opens with Richard Prior’s Mozart, who inspired him? It should be Symphony No. 3 and the Copland Clarinet a wonderfully elegant beginning to the Concerto, performed by Principal Clarinet season,” said ASO Music Director Robert Laura Ardan (November 20, 22, and 23). Spano. How does a husband demonstrate his That opening concert’s themes of seduction, undying affection? If you’re Richard heroism, and betrayal will be explored more Wagner, you serenade your wife with an fully throughout the season. There’s the original orchestral work as she comes down Atlanta premiere of Avner Dorman’s Spices, to breakfast. The love token that greeted Perfumes, Toxins! by a composer whose Cosima Wagner on Christmas morning 1870 music is seducing audiences around the was Siegfried Idyll, which will be performed Concerto No. 20 with Jeremy Denk and the “Haffner” Symphony.
encoreatlanta.com | Atlanta’s Performing Arts Publication 17
THOMAS SHERWOOD
Runnicles. The first program (October 2, 4, CHARLES SETTLE and 5) opens with the Piano Concerto No. 1 played by Jonathan JEREMY DENK Biss, and ends with the mighty Ninth Symphony, featuring the Atlanta Symphony with Mozart’s Piano Concerto No. 24 and Orchestra Chorus and four notable soloists: Beethoven’s Fourth Symphony, all led by soprano Angela Meade, mezzo-soprano guest conductor Matthias Pintscher, joined Jamie Barton — a Georgia native, and by pianist Inon Barnatan (January 22, 24, recent winner of the BBC Cardiff Singer of and 25). the World Competition; and tenor Russell Gustav Mahler had a complicated Thomas, an Atlantan. The bass soloist will relationship with his wife, but this resulted be announced at a later date. The second in several works dedicated to, and inspired program (October 9 and 11) features the by, her including the Symphony No. 5 and Sixth Symphony and the Violin Concerto the song “Liebst du um Schönheit” (“If with Scottish fiddler Nicola Benedetti in her You Love For Beauty”), which is part of a ASO debut. For Mr. Runnicles, conducting moving song cycle called Rückert Lieder. Both will be performed on a program led by ASO Principal Guest Conductor Donald Runnicles (March 5). The Symphony No. 5 will be performed the following evening on a “First Fridays with the ASO” program. The 2014–15 season’s steamy focus will culminate with two works based on hotblooded tales of lust and revenge: RimskyKorsakov’s Scheherazade (May 28 and 30) and Saint-Saëns’s sizzling Samson et Dalila (June 4 and 6). Scheherazade will be paired with Beethoven’s Piano Concerto No. 4, played by ASO favorite Yefim Bronfman. Samson et Dalila will feature the Atlanta Symphony Orchestra Chorus and a powerhouse lineup of soloists: Stephanie Blythe as Dalila, Stuart Skelton as Samson, and Greer Grimsley in the role of the High Priest.
Like great literature, the deeper you dig into (Beethoven), the deeper there is to dig
–Donald Runnicles
these pieces is like rekindling an old love: “Like great literature, the deeper you dig into them, the deeper there is to dig. They’re as elusive as they are colossal.”
In addition to familiar works, ASO audiences will be treated to first hearings of no fewer than six pieces by some of today’s most exciting composers. Aside from the aforementioned Avner Dorman piece, there is the world premiere of Symphony No. 2 by A steady diet of passion and power plays Jonathan Leshnoff. It could get tiresome, but there’s little danger will be paired with Ralph of that in a 2014–15 season that offers Vaughan Williams’s A LAURA ARDAN something for everyone, starting with a Sea Symphony, an ASO mini-Beethoven Festival led by Donald signature work, featuring 18 Atlanta Symphony Orchestra | aso.org
MILOŠ KARADAGLI´C
two of Atlanta’s best-loved vocal soloists, soprano Twyla Robinson and baritone Stephen Powell (November 13 and 15). This is followed, November 20, 22, and 23, by the ASO premiere of Symphony No. 3 by Richard Prior. More new sounds blossom in the spring: Creation/Creator by Atlanta School of Composers member Christopher Theofanidis will be written as part of a year-long Emory University project investigating creation from myriad angles. The work, which will set creation myths from around the world, is, according to Mr. Spano, “a 21st-century answer to Haydn’s Creation.” The soloists, all good friends of the ASO, include soprano Jessica Rivera, mezzo-soprano Kelley O’Connor, tenor Thomas Cooley, and baritone Nmon Ford, along with the Atlanta Symphony Orchestra Chorus (April 23 and 25). One week later (April 30 and May 2) brings a world premiere by another Atlanta School member Michael Gandolfi, conducted by Mr. Spano for whom the work has very personal meaning. Sinfonia Concertante was commissioned by Paul Bert and his wife, Linnea, lifelong friends and chamber music partners of the Music KELLEY O’CONNOR Director’s parents, Tony and Didi. The solo parts
are scored for the instruments played by the Berts and the Spanos: oboe, bassoon, clarinet, and horn. Soloists will come from the Orchestra’s own ranks: Principal Clarinet Laura Ardan, Principal Bassoon Designate Keith Buncke, Principal Oboe Elizabeth Koch Tiscione, and Principal Horn Brice Andrus.
New music offerings will be rounded out by a special appearance by one of America’s most respected living composers, John Adams, who will conduct the world premiere of his Scheherazade.2 (Symphony for Violin and Orchestra) with soloist Leila Josefowicz, as well as works by Ravel and Respighi (May 7 and 9). The season is also spiced with visits by guest soloists and conductors. In January, the Orchestra will share the stage with Cameron Carpenter and his custom-built electronic organ. If organ music makes you think “church,” his program of French music (January 29, 31, and February 1) and his solo recital (January 30) will change your mind as this virtuoso —who favors sky-high Mohawk hair and sequined trousers— plies the mighty console, producing sonorities he calls “suggestive, licentious, and violent.”
NMON FORD
DAVID COUCHERON
MICHAEL GANDOLFI
LEILA JOSEFOWICZ
CAMERON CARPENTER NICOLA BENEDETTI MARIN ALSOP
For something a little more intimate, but musicians and enthusiastic audiences as equally electrifying, there are visits by exhilarating now as on opening night in pianists Emanuel Ax, Jean-Yves Thibaudet, 2001,” says Mr. Spano. and Daniil Trifonov; violinists Midori, Sergej Krylov, and Julian Rachlin; cellist Lynn Harrell, and conductors Marin Alsop, Lionel Bringuier, Asher Fisch. Also returning this season: 31-year-old guitarist Miloš Karadaglić playing Rodrigo’s ravishing Concierto para un gentilhombre (March 19 and 21), and a one-night-only appearance by Lang Lang performing Mozart’s Piano Concerto No. 17 (October 15). Old loves, new loves, true loves, false loves, passion, betrayal, power, and submission. In a season that will quicken the pulses in so many ways, we would be remiss if we overlooked the enduring love affair between the ASO, its audiences, and its Music Director: “Working with the Atlanta Symphony Orchestra is a joy. After 14 years as Music Director, Atlanta is home, and I find the experience onstage with our superb
After 14 years as Music Director, Atlanta is home, and I find the experience onstage with our superb musicians and enthusiastic audiences as exhilarating now as on opening night in 2001.
–Robert Spano
Madeline Rogers is a New York-based creative consultant to non-profits and former Director of Publications for the New York Philharmonic.
EMANUEL AX MIDORI
JEAN-YVES THIBAUDET
LYNN HARRELL
20 Atlanta Symphony Orchestra | aso.org
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the house that
Jere Built One of the best youth orchestras in the country is built on a foundation stronger than stone. By Sean Ward
“Things have sort of come to me,” says Mr. Flint over a blonde coffee at Starbucks. “That’s really what’s happened in my life — things have come to me, because I’m open to them and don’t pursue them so aggressively. 22 Atlanta Symphony Orchestra | aso.org
PHOTOS: JEFF ROFFMAN
W
hen you’ve held a position for nearly half of a century, it’s safe to assume you’re probably doing something right. If you ask Atlanta Symphony Orchestra (ASO) Cellist, Staff conductor, and Youth Orchestra Music Director Jere Flint what he thinks about his retirement at the end of the 2013/14 season, he’ll be as unassuming as he ever is — something else, in addition to cello and conducting, he’s perfected in the last 47 years with the ASO.
since 1974, when it was formed under legendary ASO Music Director Robert Shaw. Just five years after its establishment, Mr. Flint took the reins and never looked back. “I didn’t set out to be a Youth Orchestra music director by any means, but once I started, I really got a kick out of it,” says Mr. Flint of his first years with the ASYO. “You see these kids get better and better. They have such an incredible energy, and they’re like sponges. They’re so receptive to what you have to say.”
“But maybe that’s not the best policy...” he says, as if he’s not gotten it right for the last 47 years. The Birth of an Orchestra
The Atlanta Symphony Orchestra has been home to Mr. Flint, the cellist, for nearly 50 years. Arguably his most enduring impact on this Orchestra’s legacy, however, comes from his tenure as the Atlanta Symphony Youth Orchestra’s (ASYO) music director. The ASYO has been a shining beacon of the Atlanta Symphony’s education mission
And more than a few kids have gotten to experience that instruction. In his 35 years as Music Director of ASYO, Mr. Flint has led more than 1,200 rehearsals and 100 concerts, and he has impacted the lives of more than 4,200 student musicians from all over the Southeast, moving the program into national status. He has also led the ASYO at Atlanta Braves games, Atlanta Falcons games, the Fox Theatre, a tour of Germany, and the 1996 Olympics Closing Ceremonies, among other highlights.
You hope that what they’ve gained learning music helps them in life. I’d like to think I had a little bit of influence on some of these kids.
“It’s very gratifying to know that some of them have gone on to professional careers in music or in orchestras,” Mr. Flint says. “You hope that what they’ve gained learning music helps them in life. I’d like to think I had a little bit of influence on some of these kids.”
encoreatlanta.com | Atlanta’s Performing Arts Publication 23
…the fact that I got to work with Jere Flint, made me want to keep studying music. feel like I had ownership of it and was so complimentary and supportive afterwards. “The fact that I enjoyed it so much and had such a great experience with it in high school, coupled with the fact that I got to work with Jere Flint, made me want to keep studying music.” Writing the Narrative
Emily Jackson (above) was the ASYO’s annual Concerto Competition winner in both 2008 and 2009.
One Life At A Time
“High school wasn’t the most thrilling experience for me,” former ASYO violinist Emily Jackson says sardonically. “But thinking back to those four years, my times in the ASYO and with Jere were clearly some of my best memories. It simply made that time easier to get through.” Ms. Jackson is calling on her walk between classes from Boston, Mass., where she’s pursuing her master’s degree in violin performance from the New England Conservatory of Music — one of the world’s most prestigious music schools. Mr. Flint’s impact on Ms. Jackson in her four years with the ASYO was, to her, one of the most crucial factors in deciding to pursue music as a career path. “He would always find ways to make me less nervous,” she says. “Each time before I went onstage, he was joking with me and talking with me. He always made me 24 Atlanta Symphony Orchestra | aso.org
Mr. Flint began as a cellist in the ASO in 1967, when the Orchestra was still parttime. Since then, he has seen the full tenure of Music Directors Robert Shaw and Yoel Levi, and he will be departing after serving under Music Director Robert Spano and Principal Guest Conductor Donald Runnicles for 13 years. In total, he has played nearly 7,200 concerts, including 25 at New York’s legendary Carnegie Hall; and he has performed with hundreds of international guest conductors and artists. In his 39 years as a staff conductor, Mr. Flint has led the Orchestra in more than 700 concerts at Symphony Hall, Chastain Park Amphitheater, Verizon Wireless Amphitheatre at Encore Park, Piedmont Park, and communities throughout the state. “Sometimes I forget what I’ve done here — I have to go back into the archives to remember,” says Mr. Flint. A Foundation for the Future
“I’d like to, just for a while, not do anything,” says Mr. Flint, thinking about his future after the ASO.
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ADDITIONAL SUPPORT
Images: Norman Timbs Special, 1947. Courtesy of Gary and Diane Cerveny. Photo by Peter Harholdt. Front: Lancia (Bertone) Stratos HF Zero, 1970. Courtesy XJ Wang Collection. General Motors Firebird I XP–21, 1953. Courtesy General Motors Heritage Center. Chrysler Thunderbolt, 1941. Courtesy of Roger Willbanks, Denver, Colorado. Photos by Michael Furman.
Mr. Flint continues in a long stream of consciousness, losing his reflexive, yet charming laugh to get serious about what’s going through his mind in his last few months with the ASO. “I’ve run the gamut, and I think this is a good time to retire,” says Mr. Flint, taking a long pause to choose his next words carefully. “I’m at the age… Well, to be frank, I’m 70 years old, and it’s time to seek other things, perhaps. I don’t know what that might be; it might not even be in music. I don’t know what it’ll be, but I’ll see what it’ll be.”
Flint has built something thousands of kids have called home: one of the best youth orchestras in the country, built on a foundation stronger than stone. Sean Ward currently works in the communications department of the Atlanta Symphony Orchestra. The extended version of this article is available at: aso.org/flint.
After 35 years of teaching, Mr. Flint has learned a thing or two from the students themselves. “I’ll miss the energy the kids give me —I’ll definitely miss that,” he says. “There are times I’ll drag in Saturday morning but instantly come alive because of the energy that comes from them.” So after 47 years, the ASO will lose a valued player; a friend; a colleague; a mentor; someone who has become as much a part of the Atlanta Symphony Orchestra as the very walls of Symphony Hall itself. If you want to reach Mr. Flint now, you might have better luck finding him with a hammer in hand rather than a cello. “My wife and I own some rental properties; I’d like to maybe get back into that — get my hands dirty. It’s nice to build things, then take a step back and say, ‘I did this.’” Little does he know he’s built something monumental here. With a mind as sharp as nails and a baton as his hammer, Jere encoreatlanta.com | Atlanta’s Performing Arts Publication 27
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.
28 Atlanta Symphony Orchestra | aso.org
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wealth management group 770.394.3281 www.novawealth.net 1370 Center Drive I Suite 202 I Atlanta, GA 30338
ASO | 5.2 | program AtlantaSymphonyOrchestra ASO ASO | 3.6/7 | 5.2 | program
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
First Fridays Concert of Friday, May 2, 2014, at 6:30pm
Robert Spano, Conductor ANTONÍN DVOŘÁK (1841-1904) Symphony No. 9 in E minor, Opus 95 (“From the New World”) (1893) I. Adagio; Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco
41 MIN
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This concert is performed without intermission. Symphony No. 9 in E minor, Opus 95 (“From the New World”) (1893) ANTONÍN DVOŘÁK was born in Mühlhausen, Bohemia (now Nelahozeves, the Czech Republic), on September 8, 1841, and died in Prague on May 1, 1904. The first performance of the “New World” Symphony took place at Carnegie Hall in New York on December 16, 1893, with Anton Seidl conducting the New York Philharmonic. The Symphony No. 9 is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals and strings. First ASO Classical Subscription Performance: March 16, 1947, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances, November 7, 8 and 9, 2013, Carlo Montanaro, Conductor.
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. 30 Atlanta Symphony Orchestra | aso.org
F
rom the fall of 1892 through the summer of 1895, Czech composer Antonín Dvořák served as Director of the National Conservatory of Music of America, located in New York City. Dvořák came to New York at the invitation of Jeannette Meyer Thurber, who founded the Conservatory with the
hope that it would foster the development of important American concert music.
melodies...It is this spirit which I have tried to reproduce in my new Symphony (“The New World”). I have not actually used any of the melodies. I have simply written original themes embodying the peculiarities of the...music and, using these themes as subjects, have developed them with all the resources of modern rhythms, harmony, counterpoint and orchestral color.
Dvořák had always taken a keen interest in the folk music of his native Bohemia, and indeed, acknowledged: “I myself have gone to the simple, half forgotten tunes of Bohemian peasants for hints in my most serious works. Only in this way can a musician express the true sentiment of his people. He gets into touch with the common humanity of his country.” The premiere of the “New World” Symphony It’s not surprising that when Dvořák arrived was an unqualified success. Dvořák proudly in America, he began to study the musical informed his publisher, Simrock: “The heritage of the “New World.” Dvořák con- papers say that no composer ever celebrated cluded that America’s great folk tradition such a triumph. Carnegie Hall was crowded was based in the music of African-Amer- with the best people of New York, and the icans (it should be noted that in May of audience applauded so that, like visiting 1893, the National Conservatory opened royalty, I had to take my bows repeatedly its doors to African-American students). from the box in which I sat.” Dvořák also acknowledged the importance of the folk music of Native Americans, which, the Czech composer felt, was “virtually identical” to “Negro melodies.” On May 24, 1893, Dvořák completed his Symphony in E minor, begun the previous December. The work received its premiere at New York’s Carnegie Hall on December 16, 1893, with Anton Seidl conducting the New York Philharmonic. A month earlier, Dvořák gave the E-minor Symphony its famous nickname, “From the New World.” In an article published in the New York Herald the day before the premiere, Dvořák offered this analysis of his “New World” Symphony: Since I have been in this country I have been deeply interested in the national music of the Negroes and the Indians. The character, the very nature of a race is contained in its national music. For that reason my attention was at once turned in the direction of these native
The “New World” Symphony is in four movements. The first opens with a pensive slow introduction (Adagio), leading to the principal Allegro molto. Dvořák presents several themes, including one (introduced by the flute) that bears a kinship to “Swing Low, Sweet Chariot,” a spiritual especially favored by the Czech composer. The slow second movement (Largo) features one of Dvořák’s most beloved melodies. Sung by the English horn, this melody was later adapted by Dvořák’s pupil, William Arms Fisher, as the song “Goin’ Home.” The third-movement Scherzo (Molto vivace) was, according to Dvořák, inspired “by a scene at the feast in (Longfellow’s) ‘Hiawatha’ where the Indians dance, and is also an essay which I made in the direction of imparting the local color of Indian character to music.” The dramatic finale (Allegro con fuoco) is notable for the return of themes from the opening three movements.
encoreatlanta.com | Atlanta’s Performing Arts Publication 31
ASO | 5.2 | program
KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore
ASO | 5.9/10 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
ASO | 5.9/10 | program
POPS! Concert: ROCK TENORS Concerts of Friday, May 9, 2014, at 8:00pm and Saturday, May 10, 2014, at 8:00pm
Michael Krajewski, conductor Shem von Schroeck, vocals & bass Rob Evan, vocals Micah Wilshire, vocals & guitar
The Atlanta Symphony Orchestra POPS! Series is presented by Delta Air Lines.
32 Atlanta Symphony Orchestra | aso.org
Rock Overture
arr. Gregory Prechel
Listen to the Music
Tom Johnston arr. Sam Shoup
Alan Price arr. Tim Berens
I Heard It Through the Grapevine
Norman Whitfield & Barett Strong arr. Shoup
Chicago in Concert Medley
arr. Berens
Does Anybody Really Know What Time It Is?; Color My World; 25 or 6 to 4; Make Me Smile This Is It
Kenny Loggins
Rock Tenors Medley
arr. Shoup
Nowhere Man; Suite: Judy Blue Eyes; I’ve Seen All Good People; Carry On My Wayward Son; Don’t Stop Believing INTERMISSION
20 MIN
Lady Madonna
John Lennon & Paul McCartney arr. Prechel
Maybe I’m Amazed
Paul McCartney arr. Martin Herman
Every Breath You Take Sting
arr. Ted Ricketts
Desperado
Don Henley & Glenn Frey arr. Prechel
Viva La Vida Coldplay
arr. Prechel
We Will Rock You/We Are the Champions
Brian May & Freddie Mercury arr. Fleischer
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
encoreatlanta.com | Atlanta’s Performing Arts Publication 33
ASO | 5.9/10 | program
House of the Rising Sun
ASO | 5.9/10 | guests
ASO | 5.9/10 | guests MICHAEL KRAJEWSKI, Principal Pops Conductor
served as the Modesto Symphony Orchestra’s music director.
P
SHEM VON SCHROECK, vocals & bass
rincipal Pops Conductor Michael Krajewski leads the Atlanta Symphony Orchestra’s POPS! Concert Series and is the first to ever hold the title at the ASO. He is also Principal Pops Conductor with the Houston and Jacksonville symphony orchestras. As a guest conductor, Mr. Krajewski has performed with the Boston Pops, the Cincinnati Pops Orchestra, and the Hollywood Bowl Orchestra. Other guest conducting appearances include the San Francisco, Dallas, Baltimore, Detroit, Indianapolis, Phoenix, and National symphonies. In Canada, Mr. Krajewski has led the National Arts Centre Orchestra, and the Edmonton and Winnipeg symphonies. Other international appearances include performances with the Hong Kong Philharmonic, Iceland Symphony Orchestra, and Ulster Orchestra.
MICHAEL TAMMAROW
He recorded two holiday albums with the Houston Symphony: Glad Tidings and Christmas Festival. Mr. Krajewski collaborates with multiple artists, including flutist James Galway, mezzo Marilyn Horne, guitarist Angel Romero, and pop artists Roberta Flack, Judy Collins, Art Garfunkel, Ben Folds, Doc Severinsen, Sandi Patti, Rockapella, Cirque de la Symphonie, and Big Bad Voodoo Daddy. Mr. Krajewski has a B.A. from Wayne State University and a master’s from the University of Cincinnati - College Conservatory of Music. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as their assistant conductor. He was resident conductor of the Florida Symphony and 34 Atlanta Symphony Orchestra | aso.org
S
hem von Schroeck’s road to opera did not begin in the usual way. Born into a musical family, his singing career began at a very early age. As a child, he sang on many television and radio commercials nationwide, continuing to do so throughout his early twenties. His education was very thorough, with degrees from the Manhattan School of Music in both composition and double bass studies, which has contributed to his accomplishments as a multi-instrumentalist and vocalist. In addition to being a veteran of the recording studio, Mr. Schroeck’s performance credits are equally impressive. His early musical theater experience found him starring in productions such as Oklahoma! (Curly), Pirates of Penzance (Frederic), Bye Bye Birdie! (Conrad), ’Lil Abner (Abner), and Once Upon a Mattress (Sir Harry). As a singing bass player, he has performed in 26 countries and toured with several GRAMMY™ Awardwinning artists, including Tom Jones, Marie Osmond, Christopher Cross, and as a music director and conductor for Kenny Loggins. Mr. Schroeck’s career took an unexpected turn in 2004 when he won the El Camino Symphony competition, singing “Ein Schwert verhiess mir der Vater” from Wagner’s Die Walküre. Opera legend Jon Vickers saw Mr. Schroeck’s performance of Peter Grimes and strongly encouraged him to pursue a career as a dramatic tenor. Mr. Vickers has since coached him as both Siegmund and Peter Grimes. Mr. Schroeck is now enjoying a career as
a sought-after tenor in such roles as Peter Grimes, Parsifal, Siegmund, Loge, Florestan, Froh, and Melot. He is a principal tenor for the Millennium Wagner Opera Company. His credits also include guest conducting several pops concerts with the Columbus Symphony, Oklahoma Symphony, Little Rock Symphony, Dallas Symphony, Phoenix Symphony, and the Hollywood Bowl Orchestra. MICAH WILSHIRE, vocalist Micah Wilshire is fast becoming a favorite producer and mixer among many bands and artists, producing amazing results. Growing up in a musical family, Mr. Wilshire’s musical life began at age three when he picked out a harmony and began singing with his parents. By the time he was 10, he was playing drums on his father’s album and playing in his band. At 16, he finally decided to pick up the family instrument of guitar and started his own band four months later. With the intent of becoming a session singer and guitarist, Mr. Wilshire moved to Nashville at 19. He soon became a full-time session vocalist and guitarist — performing on recordings for artists such as Steve Winwood, Faith Hill, Michael Bolton, Amy Grant, Toby Mac, DC Talk, and BJ Thomas. After nine years in Music City, he and his wife moved to Los Angeles, where their band, Wilshire, signed with Columbia Records and had a hit song that shot up the U.S. Top 20 Billboard chart to No. 17, which led to tours with Seal and Train. He has also performed on Late Night, Sharon Osbourne’s show, and Pepsi Smash.
ROB EVAN, vocals & guitar Rob Evan starred in the original Broadway cast of Jekyll & Hyde, playing the title roles for three years and more than 600 performances. His rendition of “This Is the Moment” has been performed at numerous prestigious events, including the 2001 Inaugural Gala for President George W. Bush, the 1998 and 1999 New York Yankees World Series Celebration at City Hall, the Today Show, and Monday Night Football, among many others. Mr. Evan has also appeared on Broadway as Jean Valjean in Les Miserables and was chosen to lead the critically acclaimed National Touring Company to its history-making stop on Broadway. Mr. Evan also starred as Orin Scrivello D.D.S. in Little Shop of Horrors with Joey Fatone. His TV credits include All My Children on the ABC network. As a vocalist and recording artist, Mr. Evan is a member of the platinum-selling rock band Trans-Siberian Orchestra. He created the theatrical fusion concert “The Rock Tenor,” which debuted to rave reviews this past summer at The Wilma Theater in Philadelphia. In concert, Mr. Evan has been a featured soloist for many leading symphonies across the nation. He also regularly stars in the production of The Music of Andrew Lloyd Webber. He is a recipient of the Georgia Music Hall of Fame Talent Award in 1989 and was awarded the 1999 “Shining Star” award by the Leukemia Society of America. A native of Monticello, GA, Mr. Evan is a former varsity athlete at the University of Georgia, where he majored in finance.
encoreatlanta.com | Atlanta’s Performing Arts Publication 35
ASO | 5.11 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Atlanta Symphony Youth Orchestra Finale Concert ASO | 5.11 | program
Concert of Sunday, May 11, 2014, at 3:00pm
Jere Flint, Conductor Erin Pitts, Viola ROLAN DUVVURY (b. 1987) Exhilaration for Orchestra (2011)
12 MIN
WILLIAM WALTON (1902-1983) 9 MIN First Movement from Viola Concerto (1928-9, rev. 1962) I. Andante comodo Erin Pitts, Viola INTERMISSION
20 MIN
NIKOLAI RIMSKY-KORSAKOV (1844-1908) 42 MIN Scheherazade, Opus 35 (1888) I. The Sea and Sinbad’s Ship II. The Story of the Kalendar Prince III. The Young Prince and the Young Princess IV. The Festival of Baghdad—The Sea— The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior— Fest in Baghdad
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
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KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore
R
olan Duvvury received a B.S. in Architecture, a B.S. in Civil Engineering (both with honor), and an M.S. in Civil Engineering from the Georgia Institute of Technology (Georgia Tech) in Atlanta. He was also awarded a Certificate in Fine Arts - Music from the School of Music at Georgia Tech. In July 2012, he was named one of Georgia Tech’s Graduates of the Last Decade (GOLD). In addition to his studies, Rolan has been composing award-winning orchestral and chamber-works since 2004. His compositions have been performed numerous times by different orchestras, including the Atlanta Symphony Youth Orchestra (ASYO) and the Georgia Tech Symphony Orchestra (GTSO). He is also a nine-time winner of the Texas Music Teachers Association (TMTA) Original Composition Contest and a three-time finalist of the Music Teachers National Association (MTNA) Original Composition Contest. Rolan has also written the scores for multiple award-winning short films including Fanya Kaplan and All That Is Human. The former won the 2007 National Best Picture Award for Campus MovieFest and was screened at the Hudson Theatre in Broadway and at the 2008 Cannes Film Festival, while the latter won the 2008 National Best Drama Award for Campus MovieFest. Rolan was a pianist, violinist, and percussionist with the GTSO from 2005 to 2011. He was also a classical music DJ with WREK Radio, the college radio station at Georgia Tech, from 2007 to 2011. He is currently a bridge design engineer at HNTB in Houston, TX.
Exhilaration for Orchestra (2011)
Exhilaration is scored for piccolo, two flutes, two oboes, English horn, four clarinets, (E-flat clarinet, two clarinets in B-flat, bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, vibraphone, xylophone, snare drum, bass drum, triangle, suspended cymbal, crash cymbal, tam-tam, piano, harp, and strings.
Exhilaration is a composition that is constantly moving forward. A brief full orchestra fanfare introduces the horns who play the main melody in unison. After a couple of reiterations of the melody in the upper woodwinds and the trumpets, a four-note motif is introduced shortly thereafter that serves to unify the first section as well as the entire piece. Eventually, the first section builds to a whirlwind of activity but is abruptly cut short from a climax and the orchestra descends with chromatic runs into subsiding darker tones. This leads to the middle section which is mostly written in 9/4 time and largely consists of the strings playing the same four-note motif of the first section but in an ostinato pattern. Over this figure, the English horn introduces the melody of the middle section which is essentially the main melody from the first section but inverted. A short 4/4 break in the 9/4 section features the woodwinds prominently as they introduce an inverted version of the four-note motif. As the inverted fournote motif is traded around in the woodwinds and upper brass, the strings play the inverted melody as introduced by the English horn. The middle section concludes with a short reprise of the
ASO | 5.11| program
ROLAN DUVVURY was born in Houston, Texas, on July 29, 1987.
ASO | 5.11| program
ASO | 5.11 | program ostinato pattern in 9/4. The final section begins with the woodwinds and upper brass restating the original melody and its inverted form in a brief canon. This leads to a short reprise of the beginning fanfare and restatement of the original melody by the horns from the first section. As the piece approaches the climax, the inverted melody is stated one more time in the upper strings and woodwinds juxtaposed over the original melody in the low brass, woodwinds, and strings. The piece builds to a whirlwind of activity again and finally resolves to an electrifying conclusion.
2
premiere. The great conductor Sir Thomas Beecham suggested to Walton that he compose a Concerto for the prominent British violist, Lionel Tertis. Walton completed the Concerto in early 1929 and sent it to Tertis for his approval. Tertis, however, rejected the work, finding it too modern for his tastes. The BBC’s Edward Clark then forwarded the Concerto to the German composer and violist, Paul Hindemith. Hindemith agreed to play the work, and was the soloist in the Concerto’s October 3, 1929 London premiere, with the composer on the podium.
—Rolan Duvvury
Despite limited rehearsal time, the premiere of the Walton Viola Concerto was a great First Movement from Viola Concerto success. Tertis was in the audience, and (1928-9, rev. 1962) sent a letter to Walton, apologizing for his WILLIAM WALTON was born in Oldham, initial assessment of the score. Lionel Tertis England, on March 29, 1902, and died in soon performed the Walton Concerto, and Ischia, Italy, on March 8, 1983. The first remained a staunch advocate for the piece. performance of the Viola Concerto took In 1962, Walton revised the Concerto’s place at Queen’s Hall in London, England, orchestration. on October 3, 1929, with Paul Hindemith as soloist and the composer conducting the Henry Wood Symphony Orchestra. In addition to the solo viola, the Concerto is scored for piccolo, two flutes, oboe, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, timpani, harp and strings.
W
illiam Walton’s Viola Concerto is the first of three concertos the British composer wrote for solo string instruments and orchestra. Jascha Heifetz commissioned—and in 1939 premiered— Walton’s Concerto for Violin and Orchestra. The Cello Concerto was the result of a commission from yet another legendary virtuoso, Russian cellist Gregor Piatigorsky, who was the soloist in that work’s 1957
This concert features the Viola Concerto’s opening movement, set in measured tempo (Andante comodo), and featuring a yearning, wide-ranging melody for the soloist. This principal episode alternates with an agitated sequence (con spirito), before finally resolving to a hushed conclusion.
3
Scheherazade, Opus 35 (1888)
NIKOLAI RIMSKY-KORSAKOV was born in Tikhvin, Russia, on March 18, 1844, and died in Lyubensk, Russia, on June 21, 1908. The first performance of Scheherazade took place in St. Petersburg, Russia, on November 3, 1888, with the composer conducting. Scheherazade is scored for two piccolos, two flutes, two oboes, English
T
As a preface to his score, Rimsky-Korsakov provided the following program for Scheherazade: The Sultan Schahriar, convinced of the perfidy and faithlessness of women, vowed to execute each of his wives after the first night. But the Sultana Scheherazade saved her own life by interesting him in the tales she told him through 1001 nights. Impelled by curiosity, the Sultan continually put off her execution, and at last entirely abandoned his sanguinary resolve. Many marvels did Scheherazade relate to him, citing the verses of poets and the words of songs, weaving tale into tale and story into story.
he fantastic collection of tales known as The Arabian Nights, or A Thousand and One Nights, has captivated readers for centuries. The ancient stories, mostly of Arabic, Indian or Persian origin, were first presented to European readers in an early 18th-century French translation by Antoine Galland. In the late 19th century, British explorer Sir Richard Burton created a popular English-language version. To this day, such tales as “The History of Aladdin, or the Wonderful Lamp,” “The History of Sinbad the Sailor,” and “The History of Ali I. The Sea and Sinbad’s Ship Baba and the Forty Thieves,” continue to II. The Story of the Kalendar Prince weave their magical spell. he Young Prince and the Young Russian composer Nikolai Rimsky- III. T Princess Korsakov created his Scheherazade,
Symphonic Suite after “A Thousand and IV. T he Festival of Baghdad—The Sea— One Nights,” in the summer of 1888. The Ship Goes to Pieces Against a Rock During that same period, Rimsky-Korsakov Surmounted by a Bronze Warrior— also completed his brilliant Russian Easter Fest in Baghdad Overture, Opus 36. Rimsky-Korsakov was a master of the art of instrumentation. His Principles of Orchestration (1896-1908) remains one of the most important texts on that subject. In speaking of Scheherazade, as well as his Capriccio Espagnol, and Russian Easter Overture, the composer proudly acknowledged, “my orchestration had achieved a considerable degree of virtuosity and bright sonority.” To this, one must also acknowledge Rimsky-Korsakov’s unfailing sense of dramatic contrast and impressive melodic gifts—factors that have assured the continued affection for Scheherazade by musicians and audiences alike.
ASO | 5.11| program
horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, suspended cymbals, snare drum, triangle, tambourine, tam-tam, harp and strings.
ASO | 5.11 | guests JERE FLINT, conductor
ERIN PITTS, Viola
C
V
Since 1979 he has served as Music Director of the Atlanta Symphony Youth Orchestra (ASYO), and is the holder of the Zeist Foundation Chair. He directs the ASYO’s weekly rehearsals and three major concerts per season. Additionally, as the ASO’s Staff Conductor, Mr. Flint develops and conducts the popular Family Concert Series, Symphony Street concerts for young children, and Concerts for Young People for elementary and middle school children. He often conducts Delta Classic Chastain concerts at Chastain Park Amphitheater and performances at the Orchestra’s summer home, Verizon Wireless Amphitheater at Encore Park.
JD SCOTT
Mr. Flint is also Conductor of the Reinhardt University Symphony Orchestra. He has also conducted at the Brevard Music Center, Sewanee Summer Music Center, and Southeastern Music Center, and has led several honors and all-state orchestras. In addition, Mr. Flint has served as conductor for a number of national touring companies of Broadway shows and Theater of the Stars productions. Mr. Flint earned his bachelor’s degree in music from Wittenberg University in Ohio, where he was assistant director of the school’s noted choir. He received his Master of Arts degree in music from the University of Washington in Seattle and pursued further conducting studies at Yale University with Otto-Werner Mueller.
iolist Erin Pitts, 16, is a sophomore in the Magnet Program for High Achievers at Chamblee Charter High School. Mrs. Pitts began her music training in Kindermusik at age 3. She sang with Harmony: Atlanta’s International Youth Chorus for five years. She began violin studies at age nine, and added viola when she was 10. She decided to focus her studies on viola at age 15. Miss Pitts is in her third year with the Atlanta Symphony Youth Orchestra. She was Principal Violist in 8th and 9th grades, and Co-Principal Violist this year. Miss Pitts has been a member of the Georgia All-State Orchestra for five years, serving as Principal Viola for two years and Concertmaster for one. She also was a violist in the Emory Youth Chamber Program with the Vega Quartet for two years. Miss Pitts has been a soloist with the DeKalb Youth Symphony Orchestra and the Georgia Philharmonic Orchestra, as well as the Atlanta Symphony Youth Orchestra. This year, Miss Pitts has won several awards for her viola performance. She was accepted into the National Youth Orchestra (NYO) of the United States of America and will tour with NYO this summer. She won the DeKalb Youth Symphony Orchestra Concerto Competition, playing Bruch’s Romanze. She also was selected to compete in the Rising Stars Festival of Arts Competition, playing Enesco’s Concertpiece. In 2013, she was a Competition Laureate in the Samuel A. Fordis Concerto Competition with the Georgia Philharmonic Orchestra,
JEFF ROFFMAN
ASO | 5.11 | guests
ellist Jere Flint is currently in his fourth decade with the Atlanta Symphony Orchestra (ASO).
and a finaist in the Ruth Kern Concerto Competition. That year she also won honorable mention recognition in the Atlanta Symphony Youth Orchestra Concerto Competition. In 2012 she was a Rising Stars finalist with Stamitz’s Concerto in D Major. She won her first Concerto Competition at the Indiana University Strings Summer Program in 2011. She was named Concertmaster of the Furman Summer Symphony Orchestra (2013). She has attended the Castleman Quartet Program, Meadowmount School of Music, Indiana University Strings Program, and Philadelphia International Music Festival. In her spare time, Miss Pitts loves to teach elementary-aged children who want to learn to play the violin or viola. Miss Pitts currently studies viola with Dr. Marilyn Seelman. She also has studied with Manuel Diaz and Patti Gouvas. Miss Pitts has played in Master Classes with violists Roberto Diaz and Jennifer Stumm. She plans to pursue a career in viola performance.
AtlantaSymphonyYouthOrchestra
ASO | 5.11 | roster
Jere Flint, Music Director & Conductor The Zeist Foundation Youth Orchestra Conductor Chair Violin I Keanu Mitanga Co-Concertmaster Atlanta International School Olivia Holladay Co-Concertmaster Walton HS Ilya Kim Co-Concertmaster Walton HS Andrew Koonce Woodward Academy James Pinder Home School Lihua Shu Parkview HS Justin Welch Sandy Creek HS Hana Oberst Walton HS Helena DeGrazia King’s Ridge Christian School Kristie Liao McIntosh HS Taylor Baldwin Campbell HS Ruolin Yang Walton HS Eri Kudo Walton HS Hansung Kang Parkview HS Shao-Hung Tung Milton HS Joshua Shue Northview HS Tracy Knight Pace Academy Joon Kang North Gwinnett HS Joseph Pang Northview HS Aomeng Cui Chamblee Charter HS
Violin II Justin Lee, Principal Northview HS Eugene Ahn Lambert HS Tony Gong Northview HS Andrew Fu Alpharetta HS Maya Johnson Home School Leah Bonas Home School Brianna Hou Pinckneyville MS Sarah Li Alpharetta HS Nam Kim Brookwood HS Maya Kang Autrey Mill MS Kyle Qian Centennial HS Alex Yang Johns Creek HS Andrew Zou Northview HS Lesley Chang North Gwinnett HS Amy Zhang Northview HS Kathy Li Parkview HS Jasmine Liu Northview HS Lingyi Xin Northview HS Charles Tantillo Alpharetta HS Will Bontempo Dominion Classical Christian Academy
42 Atlanta Symphony Orchestra | aso.org
Viola Erin Pitts Co-Principal Chamblee Charter HS Nathan Hung Co-Principal McIntosh HS Monica Caldwell Shiloh HS Nick Pelletier Duluth HS Richard Lee Peachtree Ridge HS Matthew Pinder Home School Katherine Hur The Westminster Schools James Kang Collins Hill HS Leigh Johnson Peachtree Ridge HS Joy Hsieh Dunwoody HS Anderson Leggett Norcross HS Dain Song Lanier HS Amy Wang Alpharetta HS Amanda Hamilton Centennial HS
Cello Ahanu Banerjee Co-Principal Druid Hills HS Lindsey Sharpe Co-Principal Duluth HS Bailey Holbrook Walton HS Laurent Boudard Atlanta International School Christopher Yu Peachtree Ridge HS Ju Sun Yoon Peachtree Ridge HS Rae Baker North Springs HS Rita Young Johns Creek HS Austin Chun Alpharetta HS Zachary Barnes Hillgrove HS Francis Ku Northview HS Thomas Evans Starr’s Mill HS
Bass Kathryn Evans Principal Indiana University HS Daniel Tancredi Pope HS Maren Eden North Atlanta HS Jefren Cruz Campbell HS Dennis Frank Marist School Logan Lysaght Walton HS Mingcheng Yu Alpharetta HS Jan Denel Sabacan Milton HS Robert Morgan Walton HS Gabriel English Allatoona HS
Flute Kaegan Gregory Rockdale County HS Haiwen Gui Alpharetta HS Beldon Lin Woodward Academy Lexi Smith The Westminster Schools Oboe Ramsey Fahs The Westminster Schools Lauren Firestone Riverwood International Charter School Sydney Hancock Mill Creek HS Cassie Pilgrim Wesleyan School Clarinet Barret Ham Home School Rachel Smith Chattahoochee HS Carly Weikle Home School Darien Williams Woodland HS Bassoon Will Lawson Pickens HS Haley Matthews Pickens HS Madeline Miller Home School Sarah Robinson Newnan HS
Horn Jack Bryant Buford HS Jonathan Chiou Walton HS Sada Harris Douglas County HS Thai Johnson Lassiter HS Chelsea McFarland Decatur HS Nicolas Perez Kell HS Allison Webb South Paulding HS Jaylyn Wimby Southwest DeKalb HS Trumpet Imani Duhe DeKalb School of the Arts Tyler Jesko Lassiter HS Jacob Morgan Creekview HS Zach Wender North Cobb HS
Percussion Jake Darnell Woodland HS Nitish Jindal Walton HS Nicholas Martinez Lambert HS Parker Olson McIntosh HS Christina Voss Walton HS Harp Angela Gaal Forsyth Central HS Donevon Howard Home School Tinsley Stokes North Atlanta HS Keyboard Catherine Xie Johns Creek HS Librarians Olivia Holladay Walton HS Logan Lysaght Walton HS
Trombone Luke Anders McIntosh HS Kenton Campbell Grayson HS Michael MacNab Lassiter HS Jahleel Smith Tri Cities HS Tuba Cory Cheung Hoover HS Ian McNeill Allatoona HS
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ASO | 5.15/16/17 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concert Concerts of Thursday, May 15 and Friday, May 16, 2014, at 8:00pm, and Saturday, May 17, 2014, at 7:30pm
Leonidas Kavakos, Conductor & Violin JOHANN SEBASTIAN BACH (1685-1750) 15 MIN
ASO | 5.15/16/17 | program
Concerto No. 1 for Violin and String Orchestra in A minor, BWV 1041 (ca. 1717-23) I. (Without tempo marking) II. Andante III. Allegro assai Leonidas Kavakos, Violin JEAN SIBELIUS (1865-1957) 29 MIN
Pelléas et Mélisande, Suite from the Incidental Music, Opus 46 (1905)
The Atlanta Symphony Orchestra Delta Classical Series is presented by:
I. At the castle-gate II. Mélisande IIa. At the seashore III. A spring in the park IV. The three blind sisters V. Pastorale VI. Mélisande at the spinning wheel VII. Entr’acte VIII. The death of Mélisande INTERMISSION
20 MIN
LUDWIG VAN BEETHOVEN (1770-1827) 50 MIN
Symphony No. 3 in E-flat Major, Opus 55 (“Eroica”) (1804) The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
I. II. III. IV.
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Allegro con brio Marcia funebre. Adagio assai Scherzo. Allegro vivace Finale. Allegro molto
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KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore
JOHANN SEBASTIAN BACH was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. In addition to the solo violin, the Concerto No. 1 is scored for strings and continuo. First ASO Classical Subscription Performance: November 7, 1949, Robert Harrison, Violin, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: April 30, May 2 and 3, 2009, Itzhak Perlman, Violin and Conductor.
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ly presents the central ritornello—a brief refrain that reappears throughout the movement. The soloist is soon featured in the first of several florid episodes that contrast with the brusque nature of the ritornello. In the central slow movement (Andante), a repeated bass figure serves as the foundation for the soloist’s flowing melodic line. The finale (Allegro assai) is a vigorous dance in triple meter. Pelléas et Mélisande, Suite from the Incidental Music, Opus 46 (1905) JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, 1957. The first performance of the Incidental Music to Pelléas et Mélisande took place in Helsinki, Finland, on March 17, 1905. The Incidental Music to Pelléas et Mélisande is scored for piccolo, flute, oboe, English horn, two clarinets, two bassoons, two horns, timpani, bass drum, triangle and strings.
n 1717, Johann Sebastian Bach began his seven-year tenure as Kappellmeister to Prince Leopold in the German town of Cöthen. The Prince hoped to duplicate in Cöthen the superb court music establishments he encountered during his studies throughout Europe. Thanks to the patronage of Prince Leopold, Bach was able to compose for several of Europe’s finest These are the first ASO Classical Subscription Performances. instrumentalists. elléas et Mélisande, the landmark Prince Leopold’s court was Calvinist. Symbolist play by the Belgian writer, And so, Bach’s duties did not include the Maurice Maeterlinck (1862-1949), received composition of liturgical music. Instead, its premiere in Paris on May 17, 1893. Bach’s Cöthen years resulted in an Maeterlinck’s play served as the inspiration extraordinary outpouring of instrumental for several musical works. Claude Debussy creations, including two Concertos for solo set Maeterlinck’s text to music, and the Violin and Orchestra (A minor, BWV 1041, French composer’s path-breaking opera, and E Major, BWV 1042). While Bach Pelléas et Mélisande, premiered in Paris employs conventions typical of concertos in 1902. The following year, Arnold of that period, the sublime eloquence of his writing, particularly for the solo instrument, Schoenberg completed his symphonic poem, has assured these works a treasured place in Pelleas und Melisande.
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the repertoire.
ASO | 5.15/16/17 | program
Concerto No. 1 for Violin and String Orchestra in A minor, BWV 1041 (ca. 1717-23)
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Both Gabriel Fauré (1898) and Jean Sibelius created incidental music, designed to The opening movement contains no specific accompany performances of Maeterlinck’s tempo designation, but is clearly meant to play. Sibelius composed his incidental music be played briskly. The ensemble immediatein 1904. The premiere took place in Helsinencoreatlanta.com | Atlanta’s Performing Arts Publication 45
ASO | 5.15/16/17 | program
ASO | 5.15/16/17 | program
ki on March 17, 1905, as part of a performance of a Swedish-language translation by Bertel Gripenberg. Sibelius later fashioned a concert Suite from the Incidental Music. Sibelius biographer Erik Tawaststjerna observed: Where Debussy’s opera with its dreamlike atmosphere makes the most of the impressionist possibilities offered by the play, and Schoenberg’s tone poem can be thought of as an expressionist vision in which a Tristanesque (annotator’s note: a reference to Richard Wagner’s 1865 opera, Tristan und Isolde) dusk descends over Arkel’s castle, Sibelius can be said to see Pelléas et Mélisande in terms of a legend played out against an art nouveau backcloth. The various numbers…follow each other like a series of Flemish Goblins, in which figures, trees and castles are woven in delicately shifting grey-blue colors. I. At the castle-gate II. Mélisande IIa. At the seashore III. A spring in the park IV. The three blind sisters V. Pastorale VI. Mélisande at the spinning wheel VII. Entr’acte VIII. The death of Mélisande Symphony No. 3 in E-flat Major, Opus 55 (“Eroica”) (1804) Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first public performance of the “Eroica” Symphony took place in Vienna on April 7, 1805, at the Theater an der Wien, with the composer conducting. The “Eroica” Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, 46 Atlanta Symphony Orchestra | aso.org
three horns, two trumpets, timpani and strings. Approximate performance time is fifty minutes. First ASO Classical Subscription Performance: October 22, 1949, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performance: January 19, 21 and 22, 2012, Donald Runnicles, Conductor. “Composed to celebrate the memory of a great man”
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n the early part of the 19th century, many idealists, Beethoven included, viewed Napoleon Bonaparte as a staunch defender of liberty and democratic ideals. By the spring of 1804, Beethoven had completed his Third Symphony, which he entitled “Bonaparte.” Beethoven’s friend, Ferdinand Ries, informed the composer that Napoleon had proclaimed himself emperor. According to Ries, Beethoven: flew into a rage and cried out: “Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only in his ambition. He will exalt himself above all others, become a tyrant!” Beethoven went to the table, took hold of its title page by the top, tore it in two, and threw it on the floor. The first page was rewritten and only then did the symphony receive the title Sinfonica eroica.
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Some biographers, including Maynard Solomon (Beethoven, Schirmer Books, New York, 1977), suggest that Beethoven’s actions may have also been motivated by career aspirations. During the relevant time frame, Beethoven contemplated, and ultimately rejected, the notion of relocating from Vienna to Paris.
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Beethoven’s “New Road”
In 1802, Beethoven proclaimed to his friend, Wenzel Krumpholz: “I am not satisfied with my works up to the present time. From today I mean to take a new road.” Certainly there are many aspects of the “Eroica” that establish a profound line of demarcation between it and the composer’s first two symphonies—not to mention the symphonies of Beethoven’s great predecessors, Haydn and Mozart. The extraordinary length of the opening movement, achieved in great part by an unprecedented expansion of the development and coda sections (as well as the transitional material between themes), is perhaps the most obvious example. Likewise, the use of an epic funeral march is a stunning departure from the lyricism found in most slow movements of the time. Still, it would be incorrect to characterize the “Eroica” as a total rejection of the musical style of Beethoven’s first two symphonies. The Symphonies in C (1800) and D (1802) already offer hints of the rhythmic drive, pungent dynamic contrast, bold harmonic strokes and ingenious thematic development that characterize the “Eroica.” It should also be mentioned that Beethoven creates the profoundly revolutionary atmosphere of his “Eroica” with an orchestra quite similar
in size and instrumentation to that of a late Haydn or Mozart Symphony. The revolutionary character of Beethoven’s “Eroica” Symphony inspired a sense of awe, even of disorientation, on the part of the early audiences. It’s not surprising that reviews were decidedly mixed. While many questioned the attractiveness of the Third Symphony as a form of entertainment, few could deny its power and innovation. Indeed, symphonic music would never be the same after the “Eroica.” Musical Analysis
Beethoven introduces his musical “new road” in bracing fashion with two brusque chords (Allegro con brio), out of which emerges the cellos’ statement of the opening theme. Several themes follow, and they soon undergo a rich and varied development that becomes a fierce battleground. A recapitulation of the themes and extended coda are capped by a repeat of the opening two chords. In the second movement, Beethoven replaces the traditional lyrical interlude with an extended and epic Funeral March (Marcia funebre. Adagio assai). The mood is transformed from despair to joy with the arrival of the ebullient third movement (Scherzo. Allegro vivace), with a central Trio section that prominently features the horns. The Finale (Allegro molto) is a brilliant set of variations on a theme, first introduced with hushed string pizzicatos. The third variation features the oboes and clarinets playing a melody that will return in different guises throughout the finale. It is a melody that was a particular favorite of Beethoven, one that makes appearances in his Contredanses, WoO 14 (1802), the “Eroica” Piano Variations, Opus 35 (1802), and the ballet, The Creatures of Prometheus, Opus 43 (18001801). The entire Finale closes in thrilling
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ASO | 5.15/16/17 | program
With that scenario in mind, conductor Arturo Toscanini’s remarks about the “Eroica’s” first movement offer a useful perspective: “To some it is Napoleon, to some it is Alexander, to me it is Allegro con brio (i.e., the first movement’s tempo marking).” In other words, the significance of Beethoven’s Third Symphony, which the composer ultimately subtitled Sinfonica Eroica, Composed to Celebrate the Memory of a Great Man, rests not with its dedicatee, but with the revolutionary nature of the music itself.
ASO | 5.15/16/17 | guests fashion, with a headlong rush into a Presto coda, featuring yet another version of the “Prometheus” melody.
Violin Sonatas, resulted in the award of Instrumentalist of the Year at the 2013 ECHO Klassik Awards. His recording of LEONIDAS KAVAKOS, conductor & violin the Brahms Violin Concerto was released eonidas Kavakos is recognized across in October 2013, followed soon by a disc the world as a violinist and artist of rare of Brahms Violin Sonatas, released in April quality. Born in Athens, Greece, he studied 2014. at the Hellenic Conservatory with Stelios In November 2013, Mr. Kavakos was Kafantaris, and later with Josef Gingold and awarded an honorary Doctor of Music degree by the New England Conservatory. Ferenc Rados.
DANIEL REGAN
ASO | 5.15/16/17 | guests
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Mr. Kavakos’s international career has allowed him to develop close relationships with the world’s major orchestras and conductors, such as the Berliner Philharmoniker and Sir Simon Rattle, Royal Concertgebouw and Mariss Jansons, London Symphony Orchestra and Valery Gergiev, and Gewandhausorchester Leipzig and Riccardo Chailly. In conjunction with his career as a soloist, Mr. Kavakos has conducted orchestras including the Rotterdam Philharmonic, Vienna Symphony, Deutsches SymphonieOrchester Berlin, Accademia Nazionale di Santa Cecilia, and Budapest Festival Orchestra, among others. An active recording artist, Mr. Kavakos has recorded Paganini’s 24 caprices for Dynamic, the Ysaÿe sonatas for solo violin on BIS, recordings of Enescu and Ravel sonatas for ECM, and a recording of works by Bach and Stravinsky. He also recorded Mozart’s five Violin Concerti and Symphony No. 39 with the Camerata Salzburg. Since 2012, Mr. Kavakos has been an exclusive Decca recording artist. His first release on the label, the complete Beethoven 48 Atlanta Symphony Orchestra | aso.org
He plays the ‘Abergavenny’ Stradivarius violin of 1724 and owns modern violins made by F. Leonhard, P. Greiner, E. Haahti, and D. Bague.
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ASO | 5.22/24 | program The Atlanta Symphony Orchestra Delta Classical Series is presented by:
AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concert
ASO | 5.22/24 | program
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
Concerts of Thursday, May 22, 2014, at 8:00pm, and Saturday, May 24, 2014, at 7:30pm
Ilan Volkov, Conductor Christopher Rex, Cello GIUSEPPE VERDI (1813-1901) 9 MIN Overture to I vespri siciliani (The Sicilian Vespers) (1855) ERNEST BLOCH (1880-1959) 22 MIN Schelomo, “Hebraic Rhapsody” for Cello and Orchestra (1916) Christopher Rex, Cello INTERMISSION
20 MIN
DMITRI SHOSTAKOVICH (1906-1975) 56 MIN Symphony No. 10 in E minor, Opus 93 (1953) I. Moderato II. Allegro III. Allegretto IV. Andante. Allegro
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KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore
GIUSEPPE VERDI was born in Roncole, Italy, on October 9 or 10, 1813, and died in Milan, Italy, on January 27, 1901. The first performance of The Sicilian Vespers took place at the Opéra, Paris, France, on June 13, 1855. The Overture to The Sicilian Vespers is scored for piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two cornets, two trumpets, three trombones, tuba, timpani, snare drum, bass drum, cymbals and strings. First ASO Classical Subscription Performances: September 24, 25 and 26, 1986, Louis Lane, Conductor. Most Recent ASO Classical Subscription Performances: January 24, 25 and 26, 2002, Federico Cortese, Conductor.
Giuseppe Verdi’s The Sicilian Vespers premiered at the Paris Opéra on June 13, 1855. Later, the original French libretto (Les vêpres siciliennes) was translated into Italian (I vespri siciliani) for performances in Parma and Milan’s La Scala Opera House. The plot of The Sicilian Vespers focuses upon several themes that appealed to Verdi throughout his operatic career—political oppression, the conflict between official responsibilities and private desires, and the relationship between parent and child. The opera’s thrilling orchestral Overture, incorporating melodies from the ensuing drama, has enjoyed an independent life in the symphony concert hall. Schelomo, “Hebraic Rhapsody” for Cello and Orchestra (1916) ERNEST BLOCH was born in Geneva, Switzerland, on July 24, 1880, and died in Portland, Oregon, on July 15, 1959.
The first performance of Schelomo took place in New York City on May 3, 1917, with Hans Kindler as the soloist and the composer conducting. In addition to the solo cello, Schelomo is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, suspended cymbal, tambourine, bass drum, tam-tam, two harps, celeste and strings. First ASO Classical Subscription Performance: November 24, 1954, Donovan Schumacher, Cello, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: January 10, 11, 12 and 13, 1980, Nathaniel Rosen, Cello, Louis Lane, Conductor.
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rnest Bloch began composition of Schelomo in 1915, while living in Geneva. “Schelomo” is the Hebrew name for Solomon, the third King of Israel, who lived in the 10th Century, B.C. Solomon, the son of King David, has traditionally been credited with authorship of the Book of Ecclesiastes. Bloch originally intended to compose a work that would include a human voice declaiming portions of Ecclesiastes. However, according to Bloch: “I could not hear the fervor of the text in the French language…or in German or English…and since I did not know Hebrew the sketches mounted while the work lay dormant.” Then Bloch received a visit from the superb Russian cellist, Alexander Barjansky and his wife, the sculptress, Catherine Barjansky. When Bloch heard Alexander Barjansky
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ASO | 5.22/24 | program
Overture to I vespri siciliani (The Sicilian Vespers) (1855)
ASO | 5.22/24 | program play, he found the inspiration for Schelomo: “Why, instead of a human voice, limited by a text and language, should not my Ecclesiastes utilize the soaring unfettered voice of the cello?” Bloch then composed Schelomo in the span of just six weeks during January and February of 1916. The composer dedicated the score to Alexander and Catherine Barjansky.
Leningrad (St. Petersburg) on December 17, 1953, with Evgeny Mravinsky conducting the Leningrad Philharmonic. The Tenth Symphony is scored for two piccolos, two flutes, three oboes, English horn, E-flat clarinet, three clarinets, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, triangle, tam-tam, In 1917 correspondence to Philip Hale, tambourine, suspended cymbal, military then program annotator of the Boston drum, cymbals, bass drum and strings.
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Symphony Orchestra, Ernest Bloch First ASO Classical Subscription explained his approach to music based Performances: November 29 and 30, upon Jewish themes: and December 1, 1979, Hiroyuki Iwaki, It is not my purpose, nor my desire, to attempt a “reconstruction” of Jewish music or to base my works on melodies more or less authentic. I am not an archaeologist. I hold it of first importance to write good, genuine music, my music. It is the Jewish soul that interests me, the complex, glowing agitated soul, that I feel vibrating throughout the Bible; the freshness and naiveté of the Patriarchs; the violence that is evident in the prophetic books; the Jew’s savage love of justice; the despair of the Preacher of Jerusalem; the sorrow and immensity of the Book of Job; the sensuality of the Song of Songs. All this is in us; all this is in me, and it is the better part of me. It is in all this that I endeavor to hear in myself and to transcribe in my music; the venerable emotion of the race that slumbers way down in our soul.
Conductor. Most Recent ASO Classical Subscription Performances: November 11 and 13, 2010, Hugh Wolff, Conductor. ASO Recording: Telarc CD-80241, Yoel Levi, Conductor.
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or more than half of his artistic life, Dmitri Shostakovich lived under the tyranny of dictator Joseph Stalin, General Secretary of the Soviet Union’s Central Committee from 1922-1953. Following the surrender of Germany in May of 1945, Shostakovich announced that he would write his Ninth Symphony, a “Victory Symphony” with a grand “apotheosis.” Stalin anticipated that new work would emulate the Beethoven’s Ninth (1824), an epic work that concludes with a triumphant choral finale. Of course, Stalin expected the finale of the new work to sing his praises. Instead, Shostakovich’s Symphony No. 10 in E minor, Opus 93 Ninth Symphony emerged as a satirical (and at times acerbic) 25-minute composition (1953) with conventional orchestral forces. Stalin DMITRI SHOSTAKOVICH was born in St. viewed the Ninth Symphony as a personal Petersburg, Russia, on September 25, insult and was furious. 1906, and died in Moscow, Russia, on Stalin’s perceptions may have been correct. August 9, 1975. The first performance In Testimony: the Memoirs of Dmitri of the Tenth Symphony took place in 52 Atlanta Symphony Orchestra | aso.org
Stalin always listened to experts and specialists carefully. The experts told him I knew my work and therefore Stalin assumed the symphony in his honor would be a quality piece of music. He would be able to say, “There it is, our national Ninth.”...I confess that I gave hope to the leader and the teacher’s dreams. I announced that I was writing an apotheosis. I was trying to get them off my back but it turned against me...I couldn’t write an apotheosis to Stalin, I simply couldn’t. I knew what I was in for when I wrote the Ninth.
If these words are an accurate reflection of the composer’s thoughts, the Symphony’s program becomes intriguing, to say the least. In the Tenth Symphony, Shostakovich employs a device found in several of his compositions—a motif based on the notes D-Eb-C-B, which, in German musical notation, is D-S-C-H, a musical representation of the composer (D. Schostakowitsch). In the course of the Tenth Symphony, this “Shostakovich” motif confronts and ultimately defeats the “Stalin” music.
Whether the Tenth Symphony in fact portrays the triumph of Shostakovich over Stalin remains for the individual listener to decide. Regardless of the work’s extramusical associations, the Shostakovich Tenth represents the welcome resurrection Joseph Stalin died on March 5, 1953. of a brilliant symphonic composer and In the summer and autumn of that year, dramatist, at the height of his powers. Shostakovich returned to symphonic The Tenth Symphony is in four movements. composition for the first time since 1945. The first (Moderato), by far the longest of The Tenth Symphony received its premiere the four, is constructed as a massive arch. on December 17, 1953. Evgeny Mravinsky, The “Stalin” second movement (Allegro) the composer’s longtime friend and musical assaults with an almost unremitting champion, conducted the Leningrad energy and violence. The third movement (Allegretto) features the introduction of the Philharmonic. Shostakovich refused to offer a public “D-S-C-H” motif, played by the piccolo, explanation of the meaning of the Tenth flute and oboe. The finale opens with a slowSymphony, curtly stating: “Let them work tempo introduction (Andante). During the it out for themselves.” The Shostakovich of ensuing Allegro, the “Stalin” music from the Volkov’s Testimony was more forthcoming: second movement makes a stormy intrusion on the celebration, only to be crushed by a But I did depict Stalin in my next massive orchestral statement of the “D-SSymphony, the Tenth. I wrote it right after C-H” motif. After a hushed interlude, the Stalin’s death, and no one yet has guessed Symphony concludes with a reprise of the what the Symphony is about. It’s about frenetic Allegro material, punctuated by Stalin and the Stalin years. The second triumphant statements of “D-S-C-H” in the part, the scherzo, is about Stalin, roughly brass and timpani. speaking. Of course, there are many other things in it, but that’s the basis. encoreatlanta.com | Atlanta’s Performing Arts Publication 53
ASO | 5.22/24 | program
Shostakovich, the composer (at least as related by his friend and student, Solomon Volkov) offered these comments about the circumstances surrounding the composition of the Ninth Symphony:
ASO | 5.22/24 | guests Award-winning disc of Britten’s complete orn in Israel, Ilan Volkov began his works for piano and orchestra, and a survey conducting career at the age of 19. of Liszt’s three Funeral Odes with the BBC Following studies at London’s Royal College Scottish Symphony Orchestra. Mr. Volkov’s of Music, he secured NMC disc of works by Jonathan Harvey, positions as Principal Body Mandala, received a Gramophone Conductor of the Award in 2008. His Aeon recording of London Philharmonic Harvey’s Speakings won the Monaco Prize Youth Orchestra and and the Prix Caecilia de l’Union de la Presse Assistant Conductor of Musicale Belge in 2011. the Boston Symphony. CHRISTOPHER REX, Principal Cello In 2003 he was hristopher Rex joined the Atlanta appointed Principal Conductor of the Symphony Orchestra as Principal Cello BBC Scottish Symphony Orchestra and in 1979, the same year in which he became became its Principal Guest Conductor in the first cellist ever to win the string prize 2009. Mr. Volkov became Music Director in the biennial Young Artists Competition and Principal Conductor of the Iceland of the National Federation of Music Clubs, Symphony Orchestra in 2011. and since then he has appeared as recitalist
ILAN VOLKOV, Conductor
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In March 2012, Mr. Volkov curated and directed a three-day festival of contemporary music, Tectonics, celebrating the centenary of John Cage. In 2013 Tectonics took place in two different cities, Reykjavik and Glasgow, and in 2014 Tectonics will expand even further with a residency at the Adelaide Festival as well as with events in Reykjavik, Glasgow, and Tel Aviv.
and chamber musician across the nation.
Mr. Rex’s solo performances with the Atlanta Symphony Orchestra include Strauss’s Don Quixote and concertos by Shostakovich, Herbert, Dvořák, and Elgar. He is a founding member of the Georgian Chamber Players and is the founder and General and Artistic Director of the Amelia Island Chamber Music Festival in Florida. A frequent guest with leading orchestras He is also Artistic Director of the Madison worldwide, Mr. Volkov works regularly Chamber Music Festival in Georgia and with the Israel Philharmonic, National is on the Board Symphony Orchestra, Orchestre de Paris, of Directors of and BBC Symphony, among others. Chamber Music Also an active opera conductor, Mr. Volkov America. has conducted Tchaikovsky’s Eugene Mr. Rex has taught Onegin with the San Francisco Opera, at Gettysburg Britten’s A Midsummer Night’s Dream at College, the New the Glyndebourne Festival, and Britten’s School of Music in Peter Grimes for the Washington National Philadelphia, Georgia State University, and Opera, among others. the Eastern Music Festival in Greensboro, His many critically acclaimed recordings for NC, and is now the Cello Chair of the the Hyperion label include two albums of McDuffie Center for Strings at Mercer Stravinsky’s ballet scores, a Gramophone 54 Atlanta Symphony Orchestra | aso.org
JD SCOTT
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University in Macon. In the summer of 1988, Mr. Rex shared Acting Principal duties for the New York Philharmonic’s European tour. Mr. Rex has also performed Saint-Saëns’s The Muse and the Poet with his brother, Charles Rex, and the Manhattan Philharmonic at Carnegie Hall. Mr. Rex is a regular performer at the Highlands Chamber Music Festival in North Carolina and has been Principal Cellist of the orchestras at the Colorado Music Festival in Boulder and the Grand Tetons Music Festival in Wyoming. Following his studies at the Curtis Institute of Music with Orlando Cole and at the Juilliard School with Leonard Rose, he was a member of the Philadelphia Orchestra for seven seasons.
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ASO | 5.29/30/31 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
ASO | 5.29/3O/31 | program
This concert series is made possible through a gift from John and Marcia Donnell.
Delta Classical Series Concert Concerts of Thursday, May 29, and Friday, May 30, at 8:00pm, and Saturday, May 31, 2014, at 7:30pm
Robert Spano, Conductor Joshua Bell, Violin
The Atlanta Symphony Orchestra Delta Classical Series is presented by:
CHARLES ZOLL (b. 1991) 12 MIN Asimov at Star’s End (2014) World Premiere, Commissioned by the Rapido! Take Three!! Composition Contest, Charles Zoll, 2013 National Winner
The Atlanta School of Composers and the performance of new works are presented by:
PAUL HINDEMITH (1895-1963) 28 MIN Symphony, Mathis der Maler (1934) I. Engelkonzert (Concert of the Angels) II. Grabelgung (Entombment) III. Versuchung des heiligen Antonius (The Temptation of St. Anthony) INTERMISSION
20 MIN
JOHANNES BRAHMS (1833-1897) 40 MIN Concerto for Violin And Orchestra in D Major, Opus 77 (1878) I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace Joshua Bell, Violin *Original cadenzas by Joshua Bell.
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Asimov at Star’s End (2014)
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
56 Atlanta Symphony Orchestra | aso.org
CHARLES ZOLL was born in Tucson, Arizona, on June 6, 1991. These are the world premiere performances of Asimov at Star’s End. Asimov at Star’s End is scored for piccolo, flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, bass drum, tiger gong, crotales,
kaiamba, water gongs, five tom-toms, snare drum, triangle, marimba and strings. These are the first ASO Subscription Performances.
Classical
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harles Zoll, a graduate of the University of Arizona, and currently a graduate student at McGill University in Montreal, Quebec, was the winner of the third annual Rapido! Composition Contest. Atlanta Symphony Orchestra Music Director Robert Spano and Atlanta School Composers Jennifer Higdon and Michael Gandolfi judged the National Finals. Rapido!, founded in 2008 by the Atlanta Chamber Players and the Antinori Foundation, promotes the creation of new works for chamber ensembles and symphony orchestras by composers of varying experience.
In an attempt to forecast and protect the direction of civilization after the devastating Fall, a mathematician named Hari Seldon created a new starting point for humanity. Verified through a strain of science he founded called “psychohistory,” Seldon’s Plan moved forward for two hundred uninterrupted years, characterized by oscillating “crises” built into the Plan. At the peak of its progress, the Mule, a social and genetic anomaly, derailed what grip the Seldon Plan had. The Mule could only be silenced by those with the same abilities; abilities that were, before, completely unknown to humans. As events unfold, we find that these abilities are not so rare: an entire planet, Gaia, possesses them as well.
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As the winner of the Rapido! Competition, Charles Zoll received a two-week residency at the Hambidge Center for the Creative Arts in Georgia. A chamber work by Mr. Zoll, based upon his original Rapido! submission, was premiered in the fall of 2013 by five chamber ensembles: the Atlanta Chamber Players, Boston Musica Viva, Fifth House Ensemble of Chicago, Voices of Change of Dallas, and Left Coast Chamber Ensemble of San Francisco. Charles Zoll also received a commission to write a new orchestral piece. That work, Asimov at Star’s End, receives its world premiere at these performances. Among the landmark works of science fiction, Isaac Asimov’s Foundation, Empire, and Robot series span thousands of years of detailed human activity. Depicted in music here are the five books of the Foundation series: the development of The Plan, its downfall, and its rebirth and redirection.
—Charles Zoll
Symphony, Mathis der Maler (1934)
Paul Hindemith was born in Hanau, near Frankfurt, Germany, on November 16, 1895, and died in Frankfurt on December 28, 1963. The premiere of Hindemith’s Symphony Mathis der Maler took place in Berlin, Germany, on March 12, 1934, with Wilhelm Furtwängler conducting the Berlin Philharmonic Orchestra. The Symphony, Mathis der Maler is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, orchestra bells, bass drum, snare drum, triangle, cymbals and strings. First ASO Classical Subscription Performance: January 19, 1965, Robert Shaw, Conductor. Most Recent ASO Classical Subscription Performances: February 9, 10 and 11, 1989, Yoel Levi, Conductor.
encoreatlanta.com | Atlanta’s Performing Arts Publication 57
ASO | 5.29/3O/31 | program
KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore
ASO | 5.29/30/31 | program In July 1933, conductor Wilhelm Furtwängler commissioned Hindemith to aul Hindemith’s opera, Mathis der compose a new orchestral work. Hindemith Maler, is based on the life of German responded with the Symphony, Mathis der Renaissance painter Matthias (or Mathis) Maler, based upon music from the opera. Grünewald (c. 1475-1528). Grünewald is Hindemith completed his Symphony best known for his magnificent Altarpiece, before the opera, and the work received its created for the hospital chapel of Saint triumphant premiere on March 12, 1934, Anthony’s Monastery in Isenheim. The with Furtwängler conducting the Berlin work now resides at the Unterlinden Philharmonic Orchestra. Museum in Colmar, France. That December at a Nazi rally, Joseph The opera takes place during the Protestant Goebbels leveled a personal attack on Reformation and the bloody Peasants’ Hindemith. In January, Hindemith was Revolt, c.1524-26. Mathis, in the employ given a six-month “leave of absence” from of Cardinal Albrecht, the Archbishop of his teaching position at the Hochschule für Mainz, begins to question the justification Musik in Berlin. Hindemith was ultimately for artistic expression during times of allowed to return to the Hochschule, and political turmoil. Mathis abandons his occasional performances of his music took art to assist the peasants in their struggle, place in Germany. The premiere of the opera but finally becomes disenchanted with the Mathis der Maler took place in Switzerland, hypocrisy of both opposing factions. In a at the Zürich Stadttheater, on May 28, vision based on one of the Isenheim panels, 1938. Four months later, the composer and Mathis becomes the tormented St. Anthony. his wife left Germany, first for Switzerland After undergoing horrific temptation by and ultimately, the United States.
ASO Recording Telarc CD-80195, Yoel Levi, Conductor.
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demons, St. Anthony visits St. Paul (in the vision played by Cardinal Albrecht), who comforts him with a reaffirmation of Art as a holy service to God and Man. Mathis resumes his painting with renewed fervor of purpose. While dealing with the central issue of the artist’s responsibility during times of political crisis, Hindemith, who created his own libretto for Mathis der Maler, also used the opera as a forum to criticize one of the Nazis’ infamous practices. In Mathis, an order from the Papal Legate mandates the burning of Lutheran texts. Riedinger, a wealthy burgher of Mainz, angrily questions: “Should a city that has always been distinguished for its freedom of thought start burning books?” 58 Atlanta Symphony Orchestra | aso.org
Hindemith’s Mathis der Maler Symphony is in three movements. The first, Engelkonzert (Concert of the Angels), serves as a Prelude to the opera. The title of the slow second movement, Grabelgung (Entombment) is derived from the Isenheim Altarpiece portraying the entombment of Jesus. The somber music functions in the opera as the Interlude between the opera’s final two scenes. The final movement, Versuchung des heiligen Antonius (The Temptation of St. Anthony), features music from the opera’s terrifying scene where Mathis, in the guise of St. Anthony, is haunted by demons. Finally, the music resolves to a glorious Alleluia.
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JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of the Violin Concerto took place at the Gewandhaus in Leipzig, Germany, on January 1, 1879, with Joseph Joachim as soloist and the composer conducting. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. First ASO Classical Subscription Performance: March 10, 1952, Robert Harrison, Violin, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: January 8, 9 and 10, 2009, Gil Shaham, Violin, Roberto Abbado, Conductor.
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The world premiere of the D-Major Violin Concerto took place at the Gewandhaus in Leipzig on New Year’s Day, 1879. Joachim, to whom Brahms dedicated the work, was the soloist. The premiere, conducted by Brahms, was far from an unqualified triumph. Perhaps the audience was confused by the unusual prominence of the orchestra, which traditionally played a decidedly subservient role in violin concertos. Brahms’s unconventional approach prompted conductor Joseph Hellmesberger to dub the work a concerto “not for, but against the violin.” Violinist Bronislaw Huberman took a somewhat different view, stating that the Brahms Concerto was “for violin against orchestra—and the violin wins!” Brahms and Joachim continued to work on revisions to the score, which was finally published in October of 1879. And in time (thanks in great part to Joachim’s sterling advocacy), the Brahms D-Major secured its place as one of the greatest violin concertos, a veritable Mt. Everest of technical and interpretive challenges. As with many of Brahms’s finest works, it is also a brilliant and immensely satisfying synthesis of Classical form and Romantic passion.
rahms created the Violin Concerto for his dear friend, the Austro-Hungarian virtuoso violinist, composer and conductor, Joseph Joachim (1831-1907). Brahms, who frequently sought his friend’s counsel and advice, forwarded the solo violin part of the Concerto’s first movement to Joachim on August 22, 1878. Correspondence between The Concerto is in three movements. the two continued throughout the year. The first (Allegro non troppo) begins in On December 12, just a few weeks before traditional fashion, with a purely orchestral the anticipated New Year’s Day premiere, exposition of the movement’s principal Brahms wrote to Joachim: “I send you the themes. The soloist makes a fiery, dramatic part herewith and agree to your alterations. entrance. The remainder of the movement The orchestral parts will be ready for Jan. features a wide range of moods and 1st in case you play it in Leipzig. If so, I will technical hurdles for the soloist. The oboe meet you in Berlin a few days before...” introduces the unforgettable central melody Despite the minimal amount of remaining of the Concerto’s beautiful slow movement preparation time, Joachim agreed to give the (Adagio). Many have viewed the vigorous premiere as scheduled. He also composed rondo finale (Allegro giocoso, ma non the first-movement cadenza that, to this troppo vivace) as a tribute by Brahms to day, remains the preferred version among Joachim’s Hungarian origins. soloists. encoreatlanta.com | Atlanta’s Performing Arts Publication 59
ASO | 5.29/3O/31 | program
Concerto for Violin And Orchestra in D Major, Opus 77 (1878)
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ASO | 5.29/31 | guests
ften referred to as the “poet of the violin,” Joshua Bell’s stunning virtuosity, beautiful tone, and charismatic stage presence have brought him universal acclaim. An Avery Fisher Prize recipient, Mr. Bell received the New York Recording Academy Honors and was recently named Music Director of the Academy of St. Martin in the Fields, the first person to hold this title since Sir Neville Marriner formed the orchestra in 1958. Their first recording under Mr. Bell’s leadership of Beethoven’s Fourth and Seventh symphonies from Sony Classical debuted at No. 1 on the Billboard Classical chart, and they will next record the Bach Violin Concertos for release in the fall of 2014. Mr. Bell has recorded more than 40 CDs garnering Mercury, Grammy, Gramophone, and Echo Klassik awards. His first holiday CD, Musical Gifts From Joshua Bell and Friends, was released last year and previous CDs include French Impressions with pianist Jeremy Denk, the eclectic At Home With Friends, the Defiance soundtrack, Vivaldi’s The Four Seasons, Tchaikovsky’s Violin Concerto with the Berlin Philharmonic, The Red Violin Concerto, Voice of the Violin, and Romance of the Violin, which Billboard named the 2004 Classical CD of the Year, and Mr. Bell the Classical Artist of the Year. His discography encompasses critically-acclaimed performances of the major violin repertoire in addition to John Corigliano’s Oscar-winning soundtrack, The Red Violin. Born in Bloomington, IN, Mr. Bell received his first violin at age four and at 12 began studying with Josef Gingold at Indiana University. Two years later, Mr. Bell came to national attention in his debut with Riccardo 60 Atlanta Symphony Orchestra | aso.org
Muti and the Philadelphia Orchestra and, at age 17, debuted at Carnegie Hall. Mr. Bell’s career has now spanned more than 30 years as a soloist, chamber musician, recording artist, and conductor, and he is an outspoken advocate for classical music and keeping music education in schools. Mr. Bell performs on the 1713 Huberman Stradivarius. Joshua Bell records exclusively for Sony Classical. www.joshuabell.com Mr. Bell appears by arrangement with IMG Artists, LLC Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York, NY 10019 www.imgartists.com
LISA MARIE MAZZUCCO
JOSHUA BELL, Violin
CELEBRATING JERE FLINT! #jereflint
Maestro Jere Flint has touched thousands of lives during his tenure with the ASO. After 35 years as Youth Orchestra Music Director, 39 years as ASO staff conductor, and 47 years as an ASO cellist, he will retire at the end of this season and will be missed dearly.
Please join us in celebrating Maestro Flint and his lasting impact on our community at the ASYO’s Finale Concert on May 11 at 3pm in Atlanta Symphony Hall.
Reserve your tickets today!
MAY 11 3pm
aso.org/asyo | 404.733.5000 Woodruff Arts Center Box Office Atlanta Symphony Hall | Woodruff Arts Center 1280 Peachtree Street NE | Atlanta, GA 30309 encoreatlanta.com | Atlanta’s Performing Arts Publication 61
ASO |6.5/7/8 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concert Concerts of Thursday, June 5, at 8pm, Saturday, June 7, at 7:30pm, and Sunday, June 8, 2014, at 2pm
Robert Spano, Conductor Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses GIUSEPPE VERDI (1813-1901) Aida (1871)
The Atlanta Symphony Orchestra Delta Classical Series is presented by:
180 MIN
Cast, in order of vocal appearance: Ramfis, High Priest of Egypt
Burak Bilgili, bass
Radamès, Captain of the Egyptian Army
Stuart Neill, tenor
ASO | 6.5/7/8 | program
Amneris, Daughter of the King of Egypt with additional support provided by:
Michelle DeYoung, mezzo-soprano Aida, Princess of Ethiopia, Daughter of Amonasro
Latonia Moore, soprano King (Pharaoh) of Egypt
Evan Boyer, bass A Messenger The Atlanta Symphony Orchestra Chorus is presented by:
Grant Knox, tenor High Priestess of Egypt
Kearstin Piper Brown, soprano Amonasro, King of Ethiopia
Gordon Hawkins, baritone Act I Act II INTERMISSION
20 MIN
Act III The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
INTERMISSION Act IV
English Surtitles by Ken Meltzer
62 Atlanta Symphony Orchestra | aso.org
20 MIN
KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore
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Locle. Verdi was intrigued, and Mariette’s GIUSEPPE VERDI was born in Roncole, fragment ultimately formed the basis Italy, on October 9 or 10, 1813, and died in for Aida’s libretto, written by Antonio Milan, Italy, on January 27, 1901. The first Ghislanzoni. performance of Aida took place at the Aida is the first in the trilogy of operas Opera House in Cairo, Egypt, on December that, along with Otello (1887) and Falstaff 24, 1871. Aida is scored for two soprano, (1893), constitute Verdi’s “late period”— mezzo-soprano, two tenor, baritone, and the masterful culmination of the composer’s two bass solos, mixed chorus, piccolo, lifelong quest to achieve an organic synthesis three flutes, two oboes, English horn, two of vocal, orchestral and dramatic elements. Aida (1871)
Verdi and Aida
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uring the period Giuseppe Verdi referred to as his “years in the galleys” (1839-1859), he composed 23 operas. From 1860 until his death in 1901, Verdi wrote only five more. During this period, Verdi suggested many times that he would stop composing altogether. While Verdi never followed through on that threat, he chose only those projects that interested him from an artistic and financial point of view. One of those was Aida.
Aida is best known for the grandeur and pageantry of such moments as the Act II Triumphal Scene, but at the core is a far more intimate tale—the love triangle of an Egyptian warrior, an Ethiopian slave, and the daughter of the King of Egypt. The resulting conflict between private desires and public duty fascinated Verdi throughout his life and inspired his greatest works, Aida included. Acts I and II
The story of Aida takes place in Egypt at the time of the Pharaohs. After the orchestral Prelude, the curtain rises on a hall in the royal palace in Memphis. Ramfis, the Egyptian High Priest, tells the captain Radamès that the goddess Isis has chosen a young warrior to lead the Egyptians against the attacking Ethiopians. Radamès prays that he will be chosen as that warrior. In the aria “Celeste Aida,” he dreams of emerging victorious in battle and returning to marry his beloved Aida, an Ethiopian slave in the King’s palace. No one in the palace—including Radamès—is aware that Aida is the daughter of Amonasro, King of Ethiopia.
The Khedive of Egypt planned to inaugurate a new Grand Opera House in Cairo in 1869 to coincide with the opening of the Suez Canal. The Egyptian government requested Verdi to compose music for the event, but the composer declined, stating that he did not much care for “occasional pieces.” Instead, Verdi’s Rigoletto (1851) served to inaugurate the Cairo Opera House. Amneris, daughter of the King of Egypt, Later, the Egyptian viceroy again enters. She is love with Radamès and approached Verdi, with a story fragment suspects his affair with Aida. Amneris vows by the renowned Egyptologist François to destroy Aida, and win Radamès for Auguste Mariette, expanded by Camille du herself. encoreatlanta.com | Atlanta’s Performing Arts Publication 63
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clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, tamtam, bass drum, harp and strings (plus, onstage [Act II] and below stage [Act IV] ensembles).
ASO |6.5/7/8 | program
ASO | 6.5/7/8 | program
A messenger arrives with news that the Ethiopians, led by Amonasro, have invaded Egypt. The King declares war on Ethiopia, and names Radamès as leader of the Egyptian army. The army, to the encouragement of the Egyptian people, prepares for war. Aida, however, is torn between her love for Radamès, and loyalty to her country and father. She prays to the gods to end her suffering.
daughter, Amneris, in marriage. Amneris rejoices in her triumph. Radamès and Aida are crestfallen, while Amonasro plots his revenge. Act III
Act III takes place on the banks of the River Nile. Amneris and Ramfis go to the temple to pray on the eve of her wedding.
Aida waits for Radamès. In the aria, “O The scene changes to the interior of the patria mia,” Aida thinks of her native Temple of Vulcan at Memphis. Ramfis prays Ethiopia, and despairs that she will never to the god, Ptah, for victory. He passes the return to her homeland. sacred arms of battle to Radamès. Amonasro approaches Aida, and tries The curtain rises on a hall in the apartment to convince his daughter to learn from of Amneris, who is determined to learn the Radamès the secret of the Egyptian army’s truth of the slave’s feelings for Radamès. location. When Aida refuses to betray her Aida, summoned by Amneris, enters. lover, Amonasro curses her as “a slave of Amneris falsely tells Aida that Radamès the Pharaohs.” Aida tearfully vows that she has died in battle. When Amneris admits to will not betray her people. Amonasro hides, Aida that she has lied, and Radamès is still as Radamès approaches. alive, the slave’s joyful reaction confirms the suspicions of Amneris. Aida confesses she loves Radamès, but pleads for mercy. Amneris replies that Aida will be defeated, even if it means death.
Radamès protests his love for Aida, but she reminds him of his obligation to wed Amneris. Radamès vows he will never marry Amneris. He agrees to escape with Aida to Ethiopia. However, by asking Radamès the The scene changes to the gates of Thebes. The safest route of escape, Aida tricks him into people have gathered to welcome Radamès revealing the whereabouts of the Egyptian and the victorious Egyptian army. The army forces. Amonasro emerges. Triumphantly enters with the Ethiopian prisoners of war, revealing himself as King of the Ethiopians, including Amonasro—Aida’s father and he vows to lead his army to victory. King of Ethiopia. Amonasro has disguised Amneris and Ramfis hurry in. Radamès himself as a soldier. He admonishes Aida helps Amonasro and Aida to escape. not to reveal his true identity. Radamès, now dishonored as a traitor, The Egyptian priests demand that the King surrenders to the guards. order the death of the Ethiopian prisoners. Radamès asks that the prisoners be set free. In compromise, the King frees the Ethiopians, save Aida and her father, who remain as hostages.
Act IV
The final act takes place in the royal palace. Amneris, still in love with Radamès, is shattered by his betrayal of her. Radamès, now a prisoner, is led in. Amneris tells As a final reward to Radamès for his Radamès that she will save him, if he courage, the King offers the hand of his renounces his love for Aida. Radamès 64 Atlanta Symphony Orchestra | aso.org
declines, even at the cost of his life. Amneris curses Radamès as he is led off for trial. Amneris eavesdrops on the proceedings, held in a subterranean chamber. Radamès is silent in the face of the accusations against him. He is branded a traitor and condemned to death by Ramfis. Amneris tries to convince Ramfis to spare Radamès, but her pleas are in vain. Radamès is led to a crypt and buried alive.
ASO | 6.5/7/8 | program
In the crypt, Radamès awaits his death. Suddenly, Radamès sees Aida, who hid in the tomb so that she could die with him. The two lovers bid farewell to earth. Above the tomb, Amneris prays for peace and for the soul of Radamès.
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merican soprano Latonia Moore made an unexpected and triumphant debut at the Metropolitan Opera in March 2012 replacing Violeta Urmana as Aida. Particularly associated with this role, she has gone on to sing Aida with great success at the Royal Opera House at Covent Garden, Opera Australia, the New National Theatre in Tokyo, the Dallas, San Diego, Cincinnati, Pittsburgh, and Detroit operas, and at the Ravinia Festival with the Chicago Symphony Orchestra under James Conlon. In the 2013/14 season she sings the title role in a new production of Aida at the Opernhaus Zurich conducted by Fabio Luisi and she returns to the Hamburg State Opera as CioCio San in Madama Butterfly. The future also heralds returns to the Metropolitan Opera, the Opernhaus Zurich, Opera Australia, and the Dallas Opera, and sees her make her debut with Den Nye Opera in Bergen. Other notable career highlights have included Liù in Turandot at the Royal Opera House, Mimi in La bohème at Dresden’s Semperoper, Micaëla in Carmen with the New York City Opera, and Bess in Porgy and Bess with the Berlin Philharmonic Orchestra under Sir Simon Rattle, among others. Her recordings include the role of Lady Macbeth in Macbeth with Edward Gardner for Chandos and Mahler’s Symphony No. 2 with the Vienna Philharmonic and Gilbert Kaplan for Deutsche Grammophon. Ms. Moore’s many awards include the Maria Callas Award as debut artist of the season at the Dallas Opera, the Richard Tucker Foundation Grant (2005), first prize at the Marseilles Competition (2003), and first prize 66 Atlanta Symphony Orchestra | aso.org
in the International Competition dell’Opera in Dresden (2002). MICHELLE DEYOUNG, mezzo-soprano
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ichelle DeYoung has established herself as one of the most exciting artists of her generation. She appears frequently with many of the world’s leading orchestras, including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, The Met Orchestra (in Carnegie Hall), Vienna Philharmonic, and BBC Symphony Orchestra, among others. She has also appeared in the prestigious festivals of Ravinia, Tanglewood, Aspen, Cincinnati, Saito Kinen, Edinburgh, Salzburg, and Lucerne. Ms. DeYoung has worked with many notable conductors, including James Conlon, Sir Colin Davis, Gustavo Dudamel, Christoph Eschenbach, Alan Gilbert, James Levine, Lorin Maazel, Zubin Mehta, Seiji Ozawa, André Previn, Mariss Jansons, Michael Tilson Thomas, and many others. Ms. DeYoung has also appeared with many of the finest opera houses of the world, including the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Seattle Opera, Glimmerglass Opera, La Scala, the Bayreuth Festival, Berliner Staatsoper, Hamburg State Opera, and Opera National de Paris, among others. Ms. DeYoung also regularly performs recitals throughout the country and abroad. Ms. D e Yo u n g ’s recording of Kindertotenlieder and Mahler’s Symphony No. 3 with Michael Tilson Thomas and the San Francisco Symphony (SFS Media) was
CHRISTIAN STEINER
LATONIA MOORE, soprano
awarded the 2003 Grammy Award for Best Classical Album. She has also been awarded 2001 Grammy® Awards for Best Classical Album and Best Opera Recording for Les Troyens with Sir Colin Davis and the London Symphony Orchestra (LSO Live). Her first solo disc was released on the EMI label.
Opera. She has been a prize winner in several international competitions, including the Montserrat Caballé International Singing Competition 2009 (third prize), the William Matheus Sullivan Foundation 2010, and the Gerda Lissner Foundation International Vocal Competition 2011.
KEARSTIN PIPER BROWN, soprano
STUART NEILL, tenor
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Ms. Brown has performed her signature role, Bess, with numerous companies, most recently with the Dayton Opera, Virginia Opera, and the Belarusian Philharmonic Orchestra Minsk. In addition, the European Porgy and Bess tour of New York Harlem Productions brought her to many prestigious venues, including the Hamburgische Staatsoper, Semperoper Dresden, Deutsche Oper am Rhein, and Komische Oper Berlin. Another important touring production of the Gershwin classic was with Cape Town Opera, where she premiered the role in 2009 and subsequently went on tour to the Edinburgh Festival, the Royal Festival Hall London, and the Israeli Opera. Ms. Brown holds a Master of Music in vocal performance and literature from Northwestern University. She was a Young Artist at the International Institute of Vocal Arts in Italy, Opera Colorado, and Utah Festival Opera, as well as Artist-in-Residence with Dayton Opera, Opera Memphis, and Cincinnati
tuart Neill has appeared at the Metropolitan Opera, Teatro alla Scala, Teatro La Fenice, Vienna Staatsoper, Royal Opera Covent Garden, Teatro Colon, Alte Oper Frankfurt, Opera Company of Philadelphia, Dallas Opera, and Lyric Opera of Chicago. He has also performed with the New York Philharmonic, Israel Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Boston Symphony Orchestra, and Dresden’s Staatskapelle. Mr. Neill debuted at the Metropolitan Opera as Arturo in I Puritani; at Teatro alla Scala as Edgardo in Lucia; at Opera de Paris/Bastille and the Salzburg Festival as Der Singer in Der Rosenkavalier; at Vienna Staatsoper as Arturo in I Puritani; and at The Royal Opera Covent Garden as Riccardo in Verdi’s Oberto. His New York recital debut was at Lincoln Center’s Alice Tully Hall and was sponsored by the Opera Orchestra of New York. Mr. Neill has worked with conductors Sir Colin Davis, Sir Andrew Davis, Zubin Mehta, Lorin Maazel, James Levine, Eduardo Muller, James Conlon, Wolfgang Sawalish, Michael Tilson Thomas, Sir Roger Norrington, and Nello Santi, among others. Mr. Neill is internationally recognized as the leading interpreter of the tenor role in Verdi’s Requiem, having performed the role more than 175 times.
encoreatlanta.com | Atlanta’s Performing Arts Publication 67
ASO | 6.5/7/8 | guests
earstin Piper Brown recently made her debut as Violetta in La Traviata with Lyric Opera Utah. She sang Musetta in La bohème with the Dayton Opera, Micaëla in Carmen with Arbor Opera Theater, and Clara in Porgy and Bess at the Teatro di San Carlo in Napoli (Italy).
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ASO | 6.5/7/8 | guests
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Group at the John Duffy Institute (Virginia Arts Festival). Before becoming the Assistant Professor of Voice and Director of Lyric Theater at Furman University, Dr. Knox served as the Neyer Family Endowed Professor of Music at Northern Kentucky University.
merican tenor Grant Knox is enjoying a varied career in opera, musical theater, concert, and recital. He has appeared with the Cincinnati Opera, Atlanta Opera, Chicago Opera Theater, Chautauqua Opera, TriCities Opera, Ohio Light Opera, Lyric Opera Atlanta, Rochester Lyric Opera, and with Maestro Lorin Maazel’s Castleton Opera Festival. Mr. Knox has also been engaged by the Atlanta Symphony Orchestra, Illinois Philharmonic, Cobb Symphony, Binghamton Philharmonic, Peninsula Music Festival, Bach Ensemble of Cincinnati, Rochester Oratorio Society, and in recital at the Kennedy Center for the Performing Arts.
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As a proponent of new American music, Mr. Knox has worked with composers Libby Larsen, John Musto, and Jake Heggie as a Stern Fellow at the SongFest Festival in Los Angeles. He was chosen as one of six singers to participate in the pilot season of the Fall Island Vocal Arts Festival, celebrating song repertoire in English and led by American mezzo-soprano Stephanie Blythe. Recently, Mr. Knox sang the world premiere performances of Nico Muhly’s The Unknown Room, Three Songs for Tenor and Violin, for the Constella Festival of Music in Cincinnati.
This season, he will perform the title role in Rigoletto with Opera Colorado; Scarpia in Tosca with Vancouver Opera; a return to Teatro de la Maestranza in Seville for Alberich in Götterdämmerung; and the title role in Porgy and Bess with the Colorado Symphony and Syracuse Opera.
As a recording artist, he can be heard on the complete cast recordings of Gilbert and Sullivan’s The Grand Duke and The Sorcerer, Offenbach’s The Brigands, Romberg’s Maytime, and Kalman’s The Carnival Fairy, all released on the Albany Records label. Dr. Knox is a graduate of the Eastman School of Music (BM, MM) and Northwestern University’s Bienen School of Music (DM). He is proud member of the Opera Producers 68 Atlanta Symphony Orchestra | aso.org
GORDON HAWKINS, baritone ordon Hawkins is critically acclaimed throughout the world for his in-depth interpretations and luxuriant baritone voice. Recent engagements include Alberich in Der Ring des Nibelungen at the San Francisco Opera, Telramund in Lohengrin at Deutsche Oper Berlin, Crown in Porgy and Bess at Cincinnati Opera, and Amonasro in Aida at Lyric Opera of Chicago, Cincinnati Opera, and Michigan Opera Theatre.
Over the past few seasons, notable engagements have included Thoas in Iphigénie en Tauride at the Metropolitan Opera, the title role in Rigoletto with the Washington National Opera, the title role in Macbeth with the Seattle Opera, and Alberich in Das Rheingold with the Los Angeles Opera. In concert, Mr. Hawkins orchestral engagements include Vaughan Williams’s A Sea Symphony with the Washington Chorus at the Kennedy Center; the world premiere of Jake Heggie’s A Great Hope Fell with the EOS Orchestra of New York; and many additional engagements with other prominent orchestras.
ART SLIDER
GRANT KNOX, tenor
BURAK BILGILI, bass
F
rom the time of his professional operatic debut at the Teatro alla Scala in 2002 as Don Alfonso in Lucrezia Borgia, bass Burak Bilgili has enjoyed a busy international career. Recent engagements include Zaccaria in Nabucco with the Auckland Symphony and the Washington National Opera, Ramfis in Aida with Edmonton Opera, his San Francisco Opera debut as Ferrando in Il Trovatore, and many more. Concert engagements include Dvořák’s Stabat Mater with the New York Choral Society at Carnegie Hall, and Janáček’s Glagolitic Mass with the Atlanta Symphony. A recipient of numerous awards, the Turkish bass garnered first prizes in the International Hans Gabor Belvedere Singing Competition 2002 in Vienna, the International Alfredo Kraus Competition 2002 in Las Palmas, the Neue Stimmen International Opera Competition in 2001, the Mario Lanza Opera Competition, and the J. Parkinson Italian Opera Competition. He was also a winner of the Loren Zachary Opera Competition, the Licia Albanese-Puccini Foundation International Voice Competition, and was first place winner in both the Giargiari Bel Canto Voice Competition and 1998 Siemens Opera
Mr. Bilgili is a graduate of the Academy of Vocal Arts in Philadelphia and also the Conservatory of Mimar Sinan University. He studied with Maestro Bonaldo Giaiotti and Katia Ricciarelli at the Academia Lirica Internationale in Parma, Italy, and has recently worked with Maestro Bill Schumann. EVAN BOYER, bass
B
ass Evan Boyer is a recent graduate of the Ryan Opera Center at Lyric Opera of Chicago. Mr. Boyer opened the 2013-14 season in concert with the Lyric Opera of Chicago at Millennium Park, and he also sang the role of Lodovico in Otello at the Opera. He then sings the role of Sarastro in The Magic Flute in a new production at the Los Angeles Opera. Mr. Boyer closes the season with his return to the Canadian Opera Company, singing Samuel in Un ballo in maschera. Mr. Boyer completed his tenure at the Ryan Opera Center, where he was heard in productions of Simon Boccanegra, Die Meistersinger von Nürnberg, La bohème, and Rigoletto. After his time at the Ryan Opera Center, Mr. Boyer made his debut with the Canadian Opera Company as First Soldier in Salome, followed by performances as the Second Commissaire in Dialogues des Carmelites. He also sang the role of Colline in La bohème with the Orquesta Sinfónica Nacional in the Dominican Republic. He was a 2009 national semi-finalist in the Metropolitan Opera National Council Auditions after being awarded the grand prize at the Middle-Atlantic Regional Finals. He was the grand prize winner for Men’s Voice of the Union League Civic and Arts Foundation,
encoreatlanta.com | Atlanta’s Performing Arts Publication 69
KRISTIN HOEBERMANN
Mr. Hawkins was a winner of the Metropolitan Opera National Council Auditions and the Luciano Pavarotti International Vocal Competition, and he was awarded the Washington National Opera’s 2006 Artist of the Year award.
Competition in Turkey.
ASO | 6.5/7/8 | guests
He also performed a gala concert for the Supreme Court Justices in Washington, D.C.
ASO |6.5/7/8 | guests
ATLANTA SYMPHONY ORCHESTRA CHORUS
Within the Chorus, there is an auditioned group of 60 musicians called the ASO Chamber Chorus. The Chamber Chorus, which formed before the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters.
T
NORMAN MACKENZIE, Director of Choruses
he Atlanta Symphony Orchestra Chorus (ASOC) was founded in 1970 by former ASO Music Director Robert Shaw. Comprised of 200 auditioned voices, the Chorus is an allvolunteer organization which performs on a regular basis with the ASO and is featured on many of the Orchestra’s recordings.
ASO | 6.5/7/8 | guests
December 2009 for a week of Brahms Requiem performances — all with ASO Principal Guest Conductor Donald Runnicles.
Led by ASO Director of Choruses Norman Mackenzie, the Chorus is known for its precision and expressive singing quality. Their recordings with the ASO have won multiple GRAMMY® Awards, including Best Choral Performance, Best Classical Recording, and Best Opera Recording. Those include Vaughan Williams’s A Sea Symphony and the Berlioz Requiem. The ASOC performs large choral-symphonic works with the full Orchestra under the batons of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous worldpremiere commissioned choral works. The Chorus made its debut at New York’s Carnegie Hall in 1976 with a performance of Beethoven’s Symphony No. 9. In addition, the Chorus performed in Washington, D.C., for President-elect Jimmy Carter’s Inaugural Concert in 1977. The chorus has traveled to Germany three times to be a special guest of the Berlin Philharmonic in December 2003 for performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in 70 Atlanta Symphony Orchestra | aso.org
A
s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the ASO, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works, and conducts holiday concerts annually. Mr. Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule. Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Mr. Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie
JD SCOTT
and was the second prize winner of the 2009 Opera Index, Inc. competition. Additional grants and awards have been received from the Louisville Bach Society, Licia Albanese-Puccini Foundation, Giulio Gari Foundation, Chicago Bel Canto Foundation, and American Opera Society.
Hall Choral Workshops. He was choral clinician for the first three workshops after Mr. Shaw’s passing, and partnered with Robert Spano for the 2011 Carnegie Hall Workshop featuring the Berlioz Requiem.
Atlanta Symphony Orchestra Chorus Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair
Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 JoAnn Alexander Liz Dean Laura Foster Meg Granum Michelle Griffin Erin Jones Liya Khaimova Lauren Larkin Arietha Lockhart** Alexis Lundy Mindy Margolis Kali McMillian Erin McPherson Patricia Nealon* Joneen Padgett Olivia Rutkowski Catherine Steen Lykins Brianne Turgeon* Allegra Whitney Lori Beth Wiseman Natalie York Eaker
Eda Mathews* Ryll Mathews Rachel O’Dell Vickie Orme Lindsay Patten Chantae Pittman Linda Searles Sydney SmithRikard Paula Snelling* Emily Tallant Cheryl Thrash* Donna Weeks* Katie Woolf
DeBold** Sally Kann Nicole Khoury* Katherine Johnson MacKenzie Lynda Martin Brenda Pruitt* Sharon Simons Alexandra Tanico Virginia Thompson Cheryl Vanture Sarah Ward June Webb Diane Woodard**
ALTO 1
TENOR 1
Laurie Cronin Beth Freeman Pamela Griffin* Beverly Hueter Shani Jefferson Virginia Little Staria Lovelady Holly McCarren Meredith McCoy SOPRANO 2 Frances Sloan Atwood* Marlysa Brooks-Alt McDowell** Linda Morgan** Barbara Brown Kelly Campobasso Ashley Perry Dominique PetiteSuzannah Chabukswar Carrington Sharon Vrieland* Martha Craft Nancy York Ellen Dukes** ALTO 2 Mary Goodwin Nancy Adams* Kathleen KellyGeorge Marcia Chandler Katherine Kennedy Meaghan Curry Marie Little Cynthia Goeltz
Jeffrey Baxter** Daniel Bentley David Blalock** John Brandt* Jack Caldwell* Daniel Cameron Joseph CortesGurulé Clifford Edge* Steven Farrow** Wayne Gammon Leif Gilbert-Hansen John-Alan Gourdine Sean Mayer Ariel Merivil Clinton Miller Christopher Patton John Perry Stephen Reed# TENOR 2
Curtis Bisges
Peter Marshall, Accompanist
Nicholas Cavaliere Justin Cornelius Charles Cottingham# Ken Crouch Phillip Crumbly* Jeffrey Daniel Joseph Few* Hamilton Fong Earl Goodrich* Keith Jeffords Steven Johnstone* Jonathan Marvel Michael Parker Marshall Peterson* Brent Runnels Clifton Russell Wesley Stoner Caleb Waters Robert Wilkinson Mark Zekoff BASS 1
Michael Arens* Robert Bolyard Richard Brock* Russell Cason* Trey Clegg Michael Cranford Steven Darst* Robert Figueroa Jon Gunnemann* Jonathan Havel Nick Jones# Peter MacKenzie Jason Maynard John Newsome
Brian Petty Mark Russell Kendric Smith# Ike Van Meter Edgie Wallace Edward Watkins** BASS 2
Philip Barreca Charles Boone Brian Brown Joseph Champion John Cooledge# Rick Copeland* Joel Craft** Andrew Gee* Marcus Hill Philip Jones Eric Litsey** Evan Mauk Anthony Mims Eckhart Richter* John Ruff* Jonathan Smith Timothy Solomon** David Webster** Seth Whitecotton Gregory Whitmire* Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970)
encoreatlanta.com | Atlanta’s Performing Arts Publication 71
SINGLE
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with special guest
FRIDAY AUGUST 22
john hIatt
FRIDAY SEPTEMBER 12
saturday june 28
FRIDAY AUGUST 15
SATURDAY SEPTEMBER 13
Additional concerts will be announced throughout the season. Latest Concert Calendar & Venue Info at
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• Woodruff Art Center box office during normal business hours • Group Sales (404) 733.4848 Concerts take place rain or shine. Artists and schedules are subject to change. All sales final. No exchanges or refunds.
Delta Classic Chastain Concerts promoted by ASO Presents support the Atlanta Symphony Orchestra.
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encoreatlanta.com | Atlanta’s Performing Arts Publication 73
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encoreatlanta.com | Atlanta’s Performing Arts Publication 75
ASO | support The following list represents the cumulative total of philanthropy of $2,000 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 (3) 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 Susan & Thomas Wardell
$75,000+
Accenture LLP Susan & Richard Anderson Fulton County Arts & Culture Invesco Tull Charitable Foundation, Inc.
$50,000+
Thalia & Michael C. Carlos Foundation Celebrity Cruises Equifax, Inc.
Genuine Parts Company Georgia Power Company William Randolph Hearst Foundations The Reiman Foundation UPS The Zeist Foundation, Inc.
$35,000+
AGL Resources, Inc. Alston & Bird LLP Mary Rockett Brock In honor of Donald Carson Mr. & Mrs. Bradley Currey, Jr. Georgia Natural Gas Karole & John Lloyd National Endowment for the Arts 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+
Atlanta Homes & Lifestyles Kelley & Neil H. Berman Mr. Arthur Blank Mr. & Mrs. C. Merrell Calhoun Marcia & John Donnell Catherine Warren Dukehart City of Atlanta Office of Cultural Affairs Betty Sands Fuller Paul & Carol Garcia Georgia Council for the Arts Ann & Gordon Getty Foundation The Home Depot Foundation IKEA Jones Lang LaSalle Lucy R. & Gary Lee, Jr. Lockheed Martin Massey Charitable Trust
76 Atlanta Symphony Orchestra | aso.org
Mueller Water Products Terence L. & Jeanne P. Neal* Pricewaterhouse Coopers 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 Sutherland LLP Ray & John Uttenhove Mark & Rebekah Wasserman Adair & Dick White
$17,500+
Jim & Adele Abrahamson Mr. & Mrs. Paul J. Blackney Chick-fil-A Foundation Dr. John W. Cooledge The Jim Cox, Jr. Foundation Triska Drake & G. Kimbrough Taylor, Jr. Admiral James O. Ellis, Jr. in memory of Polly Ellis 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* Stanley & Shannon Romanstein Robert Spano Chilton & Morgan Varner Patrick & Susie Viguerie Sue & Neil** Williams
$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 Charles & Mary Ginden Tad & Janin Hutcheson The Jamieson Family Mr. & Mrs. James C. Kennedy James H. Landon 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 Trapp Family Mr. & Mrs. Edus H. Warren, Jr. Camille Yow
$10,000+
Anonymous ARSC in memory of Richard Warren, Jr. (1937–2012) longtime chair of the ARSC Grants Committee Atlanta Area Lexus Dealers Julie & Jim Balloun Bell Family Foundation 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 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 Jan & Tom Hough
IntercontinentalExchange, Inc. Roya & Bahman Irvani JBS Foundation Ann A. & Ben F. Johnson III* Anne Morgan & Jim Kelley Philip Kent, in honor of Neil Williams Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec Pat & Nolan Leake The Sally & Peter Parsonson Foundation Mr. & Mrs. Solon P. Patterson* Dr. & Mrs. Mark P. Pentecost, Jr. Mr.** & Mrs. Rezin E. Pidgeon, Jr. Priority Payment Systems, LLC Margaret & Bob Reiser Ricoh Ms. Pierrette Scanavino Bill & Rachel Schultz* Mr. John A. Sibley III Peter James Stelling Mary Rose Taylor Ticketmaster Liz & Mike Troy Ms. Kathy Waller & Mr. Kenny Goggins Neal & Virginia Williams YP
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 Belinda & Gino Massafra Linda & John Matthews 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 Benjamin Moore & Co. Blackwell Rum Patricia & William Buss Ms. Suzanne E. Mott Dansby Ms. Diane Durgin Dr. & Mrs. Carl D. Fackler David L. Forbes Georgia-Pacific Foundation
Mr. & Mrs. Richard Goodsell The Robert Hall Gunn, Jr. Fund Steven & Caroline Harless Betty** & Gene Haywood Mr. & Mrs. Douglas J. Hertz Mr. & Mrs. Baxter Jones Robert J. Jones* Paul & Rosthema Kastin Donald S. Orr & Marcia K. Knight Steve & Eydie Koonin George H. Lanier Lillian Balentine Law Lubo Fund
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 Ms. Lela M. Perry Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. & Mrs. Joel F. Reeves AGCO Corporation, Martin Richenhagen
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
encoreatlanta.com | Atlanta’s Performing Arts Publication 77
ASO | support Vicki & Joe Riedel The Sartain Lanier Family Foundation AGCO Corporation, Lucinda B. Smith Hamilton & Mason Smith Mrs. C. Preston Stephens Geraldine Dillard Stutz Mr. Robert Taylor Dr. Sherry P. Taylor VeriFone Dr. Thomas E. Whitesides, Jr. Joan N. Whitcomb Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner Zeliff & Wallace Advisory Company, Inc
$3,500+
ACI Worldwide Mr. & Mrs. Stephen D. Ambo Jack & Helga Beam 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. Deedee & Marc Hamburger Mrs. Sally W. Hawkins Mr.** & Mrs. Jesse Hill, Jr. JoAnn Hall Hunsinger Mr. & Mrs. Robert A. Johnson Dick & Georgia Kimball*
Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss* Dr. & Mrs. James T. Lowman Mr. & Mrs. Albert S. McGhee Gregory & Judy Moore David Paule & Gary Mann Mr. & Mrs. Scott Nathan Margo Brinton & Eldon Park ProvarĂŠ Technology, Inc. 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* 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
Mr. & Mrs. Walter K. Canipe Cynthia & Donald Carson Dr. & Mrs. William Clarkson IV* Ralph & Rita Connell Dr. & Mrs. William T. Cook Mr. & Mrs. Thomas G. Cousins Brant & Kathy Davis* Mr. Philip A. Delanty Peter & Vivian de Kok Dr. Xavier Duralde & Dr. Mary Barrett Betty W. Dykes & Lars Steib 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 Dr. Mary G. George & Mr. Kenneth Molinelli Mr. & Mrs. Henry W. Grady Mary C. Gramling Dr. & Mrs. Alexander Gross Ann GrovensteinCampbell & Charles Campbell Rand & Seth Hagen Harald R. Hansen* Mr. & Mrs. John E. Hellriegel Virginia Hepner & Malcolm Barnes Kenneth R. Hey 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 Isabel Lamy Lee 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 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
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
78 Atlanta Symphony Orchestra | aso.org
bibliophile. bassist. atlantan.
meet your ASO
DEREK BLANKS
GLORIA JONES aso.org encoreatlanta.com | Atlanta’s Performing Arts Publication 73
ASO | support Barbara & Sanford Orkin Mr. & Mrs. Andreas Penninger Susan Perdew Mr. & Mrs. Jerry Perullo Philips Elise T. Phillips 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. Barry & Gail Spurlock Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. The Reverend Karl F. Suhr Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo Sheila L. Tschinkel Bill & Judy Vogel Mr. & Mrs. William C. Voss Drs. Jonne & Paul Walter David & Martha West Sally Stephens Westmoreland Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood
Patrice M. Wright-Lewis Mrs. Elizabeth Meeder Mr. & Mrs. John C. Yates Tom & Jennifer Merkling Allen W. Yee* Ms. Amy Miele Mrs. Dorothy H. Miller Mr. & Mrs. George Anonymous (2) T. Munsterman Dr. Evelyn R. Babey Lebby Neal Dr. & Mrs. Asad Bashey Melanie & Allan Nelkin Mr. & Mrs. R. Mr. & Mrs. Andreas Edwin Bennett Penninger Mr. & Mrs. M. Dr.* & Mrs. Frank Les Bethune S. Pittman III B. Sandford Birdsey III The Reverend Neal P. Ponder, Jr. Ms. Bettina A. Jackson Cantador Mr. Leonard Reed* Mr. & Mrs. Chuck Carlin Roger & Lynn Lieberman Ritvo Susan & Carl Cofer Ms. Susan Robinson & Mr. Malcomb D. Coley Ms. Mary Roemer Mr. & Mrs. Edward S. Croft III The Gary W. Rollins Foundation Thomas Dreeze & Evans Mirageas Dr. & Mrs. Rein Saral Mary Frances Early Dr. & Mrs. Robert M. Schultz Christopher & Sonnet Edmonds Mr. & Mrs. Samuel R. Shapiro Mach Flinn W. Henry Shuford & Peg Simms Gary Nancy Shuford Michael Gillen Lou & Dick Stormont Marty & John Gillin Mr. & Mrs. Alex Betty L. Hammack & Charles Meredith, M.D. Summers Mr. Lewis H. Hamner III Drs. Julius & Nanette Wenger John & Martha Head Mrs. Frank L. Wilson, Jr. Thomas High Drs. Holly & Marty York Stephanie & Henry The Zaban Foundation, Howell Inc. The Hyman Foundation
$2,000+
Archive Support 250+ 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.*
2014 Carnegie Hall Tour Sponsors
Anonymous (2) Mercedes T. Bass Charitable Corporation Dr. John Cooledge The Estate of Dr. Charles H. Hamilton Victoria & Howard Palefsky Mr. Thurmond Smithgall Mary B. & Wayne James Additional Mr. & Mrs. Robert K. Mr. & Mrs. Alan M. Support Steel Knieter Justin Blalock Foundation Triska Drake & Mr. & Mrs. John E. Blonder Family G. Kimbrough Taylor, Jr. Kranjc Foundation Ann Marie & Olivia A. M. Leon Implementation & John B. White, Jr. J. Bancroft Lesesne & Consulting Services, Inc. Randolph Henning William McDaniel Mr. & Mrs. J. David Charitable Foundation Lifsey Private Bank of Buckhead Elvira & Jay Mannelly Techbridge Martha & Reynolds McClatchey Dr. Larry McIntire Mr. & Mrs. Eugene F. Meany
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
80 Atlanta Symphony Orchestra | aso.org
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TWO HOTELS One Great Location Corner of 10 th Street & Williams 404.524.4006 encoreatlanta.com | Atlanta’s Performing Arts Publication 81
ASO | support Henry Sopkin Circle Recognizing planned gifts to 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 Cynthia & Donald Carson Lenore Cicchese 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** The Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers David F. and Maxine A. Rock 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.** and Mrs. Charles R. Yates
Atlanta Symphony Associates 2013-2014 Board The volunteer organization of the Atlanta Symphony Orchestra 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.
82 Atlanta Symphony Orchestra | aso.org
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
Free Park Concert Series Title Sponsor GERI P. THOMAS Georgia State President
JERRY KARR Senior Managing Director
Mayor’s Office of Cultural Affairs
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
This program is supported in part by an award from the National Endowment for the Arts.
for the Arts
encoreatlanta.com | Atlanta’s Performing Arts Publication 83
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
84 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 85
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
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
Ashley Majher Marketing & Promotions Coordinator Natacha McLeod Marketing Manager 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 Stage Manager Melanie Kite DEVELOPMENT Jesse Pace Subscriptions Office Lucio Petroccione Orchestra Operations & Manager Vice President for Strategic Hall Rental Coordinator Pamela Kruseck Business Development Susanne Watts Manager of Group Rebecca Abernathy Manager of Orchestra Sales & Tourism Development Personnel and Operations Jan Lochmann FINANCE & Services Manager Russell Williamson Director of Revenue ADMINISTRATION Dave Adan Director of Orchestra Management Director of Corporate Personnel and Operations Susan Ambo Alesia Mack Vice President of Finance Development & Special Director of Season Tickets ARTISTIC Programs Shannon McCown & Customer Service Assistant to the Vice Evans Mirageas Tammie Cotton Kimberly Nogi Vice President for Artistic President of Finance Development Associate Communications Manager Planning Nicole Epstein Brien Faucett Robert Phipps Venue Accountant Carol Wyatt Associate Manager of Publications Director Executive Assistant to the Peter Dickson Individual Giving Music Director & Principal Senior Accountant Thomas Pinckney Melissa Muntz Group & Corporate Guest Conductor Development Manager Kimberly Hielsberg Sales Manager Jeffrey Baxter Senior Director of Financial Johnnie Oliver Choral Administrator Melissa Sanders Planning & Analysis Associate Manager Senior Director, Ken Meltzer Development Research Stephen Jones Communications ASO Insider & Symphony Store Gokul Parasuram Program Annotator Robin Smith Development Services April Satterfield Subscription & Christopher McLaughlin Coordinator Controller Education Sales Artist Assistant Kate Robson ASO PRESENTS Kourtnea Stevenson Special Events Coordinator Group & Corporate Trevor Ralph Lauren Turner Sales Associate Vice President, Chief Associate Manager of Operating Officer Karen Tucker Individual Giving Season Tickets Associate Clay Schell T. Williams Vice President, Russell Wheeler Individual Giving Director of Group & Programming Coordinator Corporate Sales Holly Clausen David Zaksheske Director of Marketing Manager of Corporate Lisa Eng Services Graphic Artist
86 Atlanta Symphony Orchestra | aso.org
The
Cocktail Garden
at The Artmore Hotel
The perfect spot for professional mixers networking parties alumni/fraternal events social gatherings and random acts of chicness. Historic charm combined with artful hospitality.
1302 West Peachtree Street | Midtown Atlanta, GA 30309 | (404) 201-7555 www.artmorehotel.com
Artmore_ENC1311 qph.indd 4
Log on to EncoreAtlanta.com and register to win tickets!
10/18/13 12:21 PM
Atlanta Midtown Featuring 683 Bar and Bistro 683 Peachtree St NE + Across from the Fox! Call 866-851-7239 for the Fox Theatre Rate or visit http://tinyurl.com/FoxRate
encoreatlanta.com | Atlanta’s Performing Arts Publication 87
Atlanta Symphony Orchestra
2014/15
70th ANNIVERSARY SEASON
the
power of music SEASON TICKETS ON SALE NOW
aso.org/1415 Presented by:
The ASO. Go!
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.
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
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.
encoreatlanta.com | Atlanta’s Performing Arts Publication 89
ASO | gallery 1. Stealing the Spotlight: Principal Oboe Elizabeth Koch Tiscione made her ASO solo debut performing the Strauss Oboe Concerto.
4. Lull-a-baby: Cellist Jennifer Humphreys gave a special performance for the tiniest patients at Children’s Healthcare of Atlanta.
2. A Look at the Archives: Peter Stelling and Ham Smith peruse items from the ASO Archives at the annual Sopkin Circle luncheon. 3. MLK Remembered: The ASO celebrated the memory of Dr. Martin Luther King, Jr., on April 5 and honored him through special activities, including a pre-concert recital with Morehouse College students.
PHOTO CAPTION GOES HERE
PHOTOS: JEFF ROFFMAN
4
90 Atlanta Symphony Orchestra | aso.org
Year round training for pre-college and college string players faculty members from the ATLANTA SYMPHONY ORCHESTRA - Collaborate with faculty and peers - Improve technique, musicianship, discipline, and leadership - Enjoy performing with friends Franklin Pond Chamber Music enriches the personal, cultural, and social lives of all people, especially young musicians, through chamber music. Accepting applications for Summer, Fall into Spring, and College programs.
feed your mood
www.franklinpond.org
10
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After the show, Enjoy some of our award winning... Southern Hospitality
A Boutique Luxuryat Hotel West Peachtree 10th
regencysuites.com encoreatlanta.com | Atlanta’s Performing Arts Publication 91
AtlantaSymphonyOrchestra
dining guide
Are you looking for a great night out?
Try one of these local restaurants before or after the show. For dinner-and-show packages, visit encoreatlanta.com/offers.
AMERICAN
MURPHY’S — This restaurant has one of the
THE LAWRENCE — Midtown’s newest restau-
city’s top brunch menus, but it’s known for
rant concept where quality, innovation, style
great people-watching and its contemporary
and comfort are the focus to delivering an unex-
comfort food. 997 Virginia Ave., 404-872-0904,
pected and unique experience to the Midtown,
murphysvh.com, VH
Atlanta community. The Lawrence strives to rethink food in a fresh way in a comfortable in
ONE. MIDTOWN KITCHEN — Dine on fresh,
town neighborhood setting. 905 Juniper Street,
seasonal American cuisine in a club-like atmo-
404-961-7177. thelawrenceatlanta.com, M
sphere near Piedmont Park. 559 Dutch Valley Rd., 404-892-4111, onemidtownkitchen.com. M
LOBBY — The menu focuses on seasonal fare at this sophisticated American restaurant in the
TWO URBAN LICKS — “Fiery” American
lobby of TWELVE Atlantic Station. 361 17th St.,
cooking meets live music at this hip hangout.
404-961-7370, lobbyattwelve.com, M
820 Ralph McGill Blvd., 404-522-4622, twourbanlicks.com. M
THE MELTING POT — The premiere fondue restaurant where guests can enjoy a choice of fondue cooking styles and a variety of unique entrees, salads and indulgent desserts. Four Atlanta locations. 754 Peachtree St. NE, 404389-0099, meltingpot.com. M 92 Atlanta Symphony Orchestra | aso.org
NEIGHBORHOODS CODES: A-Alpharetta, B-Buckhead, DK-Dekalb, D-Downtown, DW-Dunwoody, IP-Inman Park, M-Midtown, OFW-Old Forth Ward, P-Perimeter Mall area, SS-Sandy Springs, VH-Virginia Highland, NA-North Atlanta, V-Vinings, W-Westside
AMERICAN/STEAKHOUSE PRIME — Enjoy steak, sushi and seafood in
BREWPUB/ GOURMET PUB FARE
a festive atmosphere near Lenox Mall. 3393
GORDON BIERSCH — Fresh-brewed beers
Peachtree Rd. NE, 404-812-0555, h2sr.com. B
are a tasty accent to this brewery-restaurant’s hearty pizzas, salads and sandwiches. For a
RUTH’S CHRIS STEAKHOUSE — A favorite
small additional fee, pre-show diners can leave
local steak house with multiple locations near
cars in the lot while they’re at the Fox. Two
shopping and entertainment hotspots. Sides
locations: Midtown: 848 Peachtree St. NE, 404-
are generous, and the quality of the steaks and
870-0805; Buckhead: 3242 Peachtree Rd. NE,
seafood is excellent. Three locations: Buckhead,
404-264-0253, gordonbiersch.com. M, B
3285 Peachtree Rd. NE, 404-365-0660; Sandy Springs, 5788 Roswell Rd., 404-255-0035;
CREOLE/CAJUN
Centennial Olympic Park, 267 Marietta St., 404-
PARISH — New Orleans-inspired dishes served
223-6500; ruthschris.com. B, SS, D
with a modern twist and a fully stocked raw bar; a Nawlins-inspired brunch is served on the
ELEVEN RESTAURANT & BAR — A luxurious
weekends. Downstairs, a take-away market sells
destination at Loews Atlanta Hotel. Delectable
sandwiches, spices, pastries and beverages.
cuisine, vibrant cocktails and live music. Visit
240 N. Highland Ave., 404-681-4434, parishatl.
them for delightful pre or post performance cock-
com. OFW
tails, or a quick bite that always gets a standing ovation. 1065 Peachtree St. NE, 404-745-5745,
EUROPEAN FUSION
loewshotels.com/restaurants/eleven/cuisine. M
ECCO — Esquire Magazine named this casual, European-influenced bistro a “Best New
SOUTH CITY KITCHEN — With a stylish,
Restaurant in America.” It’s also gotten raves
Southern-contemporary menu, this DiRoNA
for its killer wine list, wood-fired pizzas, and
restaurant helped make grits hip for the
impressive meat and cheese menus. 40 Seventh
business crowd. Two locatons: Midtown: 1144
St. NE, 404-347-9555, ecco-atlanta.com. M
Crescent Ave., 404-873-7358; Vinings: 1675 Cumberland Pkwy., 770-435-0700, southcityki-
ITALIAN
tchen.com. M, V
DAVIO’S NORTHERN ITALIAN STEAKHOUSE — Located at Phipps Plaza in the heart of
TERRACE — Celebrate American heirloom reci-
Buckhead is Atlanta’s newest dining destination.
pes through supporting local and regional farmers,
3500 Peachtree Rd., NE, 404-844-4810,
fisherman and producers. It recaptures pure fla-
davios.com/atl. B
vors and tastes of natural and organic ingredients and bursts with delicious flavors. 176 Peachtree St.
LA TAVOLA — Serving classic Italian cuisine in
NW, 678-651-2770, ellishotel.com/terrace. D
the heart of Virginia-Highland. 992 Virginia Ave., 404-873-5430, latavolatrattoria.com. VH
ASIAN/FUSION AJA RESTAURANT & BAR — Serving modern
LPC — Offering ingredient driven cuisine that
Asian cuisine, Aja has a 150-seat patio overlook-
focuses on the hand-made aspect of Italian
ing Buckhead and a huge lounge, where diners
cooking, using the local bounty as a guide.
nosh on dim sum and sip mai tais. 3500 Lenox
1545 Peachtree St., 404-888-8709.
Rd., Ste. 100, 404-231-0001, h2sr.com. B
lapietracucina.com, M
encoreatlanta.com | Atlanta’s Performing Arts Publication 93
ASO | dining guide MEDITERRANEAN/LATIN/ ASIAN FUSION
ALMA — A refreshing new approach to contem-
SHOUT — A young crowd keeps Shout’s rooftop
and traditional regional influences come
lounge hopping every night. The menu reflects
together with other Latin American flavors in
a mix of Mediterranean, Far Eastern and South
vibrant dishes that feel familiar and new all at
American influences. 1197 Peachtree St. NE,
once. 191 Peachtree St. NE, 404-968-9662,
404-846-2000, h2sr.com. M
alma-atlanta.com. D
MEXICAN
CANTINA TEQUILA & TAPAS BAR — Located
AGAVE — Offering creative Southwestern
in the Terminus building on the corner of
Fusion, tequila bar and specialty margaritas.
Peachtree and Piedmont roads. It features
Specializing in company meetings, events and
authentic Mexican cuisine and has become
family celebrations. Rated excellent by Zagat
Buckhead’s newest watering hole. 3280
2003-2011. Just a short drive from the Fox
Peachtree Rd. NW, Terminus 100, Ste. 150, 404-
Theatre. 242 Boulevard SE, 404-588-0006.
892-9292, h2sr.com. B
agaverestaurant.com, OFW
porary Mexican cuisine. Bright, fresh ingredients
SPANISH NOCHE — A Virginia-Highland favorite known for its Spanish-style tapas dishes and margaritas. 1000 Virginia Ave., 404-815-9155, h2sr.com. VH