AT L A N TA SY M P H O N Y O R C H E S T R A
Yo-Yo Ma
APRIL 2022
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age 16 P A New Era Begins by Phil Kloer
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8 | encore ASO | IN TUNE Dear Friends, I am delighted to share a few things that I’m excited about at the Atlanta Symphony Orchestra this month. On March 23, we announced the Atlanta Symphony Orchestra’s 78th season, our first with new Music Director, Nathalie Stutzmann. Learn more in this month’s Encore feature story, written by Phil Kloer on page 16. The season features familiar favorites, music by some of today’s most compelling living composers, and a diverse roster of guest conductors and soloists. Subscribe today so you don’t miss a single note. www.aso.org/season78 On March 6, our Family Concerts returned. Our first concert was Peter and the Wolf, and we had a full house of families enjoying music and fun with the Atlanta Symphony Orchestra, the Alliance Theatre, Madcap Puppets and the Center for Puppetry Arts. Our next family concert, The Day the Crayons Quit, is Sunday, April 24. These events are free, thanks to a grant from the Lettie Pate Evans Foundation. It’s great to be back and we look forward to more inspiring music for children and families coming soon. The social scene is returning to Symphony Hall! From our new UpTempo Teen Nights to our popular BRAVO young professionals’ group to In Unison, a group for members of the LGBTQ+ community, it’s wonderful to once again be able to safely gather and connect over the beauty of music. Don’t wait for our invitation. Get a group of your friends together and join us for an upcoming concert. We’d love to have you. Please reach out to our Group Sales Team to help plan your next event, asogroups@atlantasymphony.org or 404.733.4848. We are so glad you are here. Thank you for making the ASO part of your life.
With gratitude,
Jennifer Barlament Executive Director
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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ASO | CO-ARTISTIC ADVISORS
I
t’s a creative partnership like no other, forged over two decades. Since 2001, Robert Spano and Sir Donald Runnicles have collaborated on each of the Atlanta Symphony Orchestra’s seasons, curating a collection of works chosen for this time and this place. Together, our two maestros have led the Atlanta Symphony Orchestra into a new era. Robert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. After 20 seasons as Music Director, he will continue his association with the Atlanta Symphony Orchestra as Co-Artistic Advisor for the 2021/22 season. An avid mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors, and performers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and young performers. Principal Guest Conductor of the Fort Worth Symphony Orchestra since 2019, Spano became Music Director Designate on April 1, 2021, and begins an initial three-year term as Music Director in August 2022. He will be the tenth Music Director in the orchestra’s history, which was founded in 1912. Sir Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019 Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016. Runnicles enjoys close and enduring relationships with many of the leading opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic repertoire, which are core to his musical identity. Sir Donald Runnicles is born and raised in Edinburgh. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.
aso.org | @AtlantaSymphony | facebook.com/
Sir Donald Runnicles
Robert Spano
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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ASO | LEADERSHIP | 2021/22 Board of Directors OFFICERS Janine Brown
Howard Palefsky
Lynn Eden
James Rubright
chair
immediate past chair
vice chair
vice chair
Patrick Viguerie
Susan Antinori
Bert Mills
chair elect
secretary
treasurer
DIRECTORS Phyllis Abramson, PhD. Carlos del Rio, M.D. FIDSA Keith Adams
Nancy Janet*
Doug Reid
Randolph J. Koporc
James Rubright
Juliet M. Allan
Sloane Drake
Carrie Kurlander
William Schultz
Susan Antinori
Lynn Eden
James H. Landon
Charles Sharbaugh
Jennifer Barlament*
Angela Evans
Donna Lee
Fahim Siddiqui
Paul Blackney
Craig Frankel
Sukai Liu
W. Ross Singletary, II
Rita Bloom
Sally Bogle Gable
Kevin Lyman
John Sparrow
Janine Brown
Rodrigo GarciaEscudero
Deborah Marlowe
Elliott Tapp
Bert Mills
Brett Tarver
Molly Minnear
S. Patrick Viguerie
Hala Moddelmog*
Kathy Waller
Terence L. Neal
Mark D. Wasserman
Galen Lee Oelkers
Chris Webber
Justin Bruns*
Anne Game
Benjamin Q. Brunt
Sally George
S. Wright Caughman, M.D.
Robert Glustrom
Susan Clare
Bonnie B. Harris
Lisa Chang
Charles Harrison
Russell Currey
Caroline Hofland
Erroll Brown Davis, Jr.
Tad Hutcheson, Jr. Roya Irvani
John R. Paddock, Ph.D. John B. White, Jr. Howard D. Palefsky
Richard S. White, Jr.
Cathleen Quigley
Kevin E. Woods, M.D., M.P.H.
BOARD OF COUNSELORS Neil Berman
John T. Glover
Meghan H. Magruder
Michael W. Trapp
John W. Cooledge, M.D. Dona Humphreys
Penelope McPhee
Ray Uttenhove
John R. Donnell, Jr.
Aaron J. Johnson, Jr.
Patricia H. Reid
Chilton Varner
Jere A. Drummond
Ben F. Johnson, III
Joyce Schwob
Adair M. White
Carla Fackler
James F. Kelley
John A. Sibley, III
Sue Sigmon Williams
Charles B. Ginden
Patricia Leake
H. Hamilton Smith
Karole F. Lloyd
G. Kimbrough Taylor, Jr.
LIFE DIRECTORS Howell E. Adams, Jr.
Connie Calhoun C. Merrell Calhoun Betty Sands Fuller Azira G. Hill
*Ex-Officio Board Member
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
12 | encore ASO | 2021/22 Musician Roster
FIRST VIOLIN
SECOND VIOLIN
CELLO
David Coucheron
Vacant
Rainer Eudeikis
concertmaster
principal
principal
The Mr. and Mrs. Howard R. Peevy Chair
The Atlanta Symphony Associates Chair
The Miriam and John Conant Chair
Justin Bruns
associate principal
associate concertmaster
Sou-Chun Su acting / associate
The Charles McKenzie Taylor Chair
The Frances Cheney Boggs Chair
Vacant
Jay Christy
principal
assistant concertmaster
acting associate / assistant
Jun-Ching Lin
principal
Daniel Laufer The Livingston Foundation Chair
Karen Freer assistant principal
Dona Vellek assistant principal emeritus
assistant concertmaster
Dae Hee Ahn
Anastasia Agapova
Robert Anemone
Kevin Chen
Sharon Berenson
Carolyn Toll Hancock
Noriko Konno Clift
Brad Ritchie
The Wells Fargo Chair
David Dillard
BASS
John Meisner Christopher Pulgram Juan R. Ramírez Hernández Olga Shpitko Kenn Wagner Lisa Wiedman Yancich Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair
Sanford Salzinger
Sheela Iyengar** Eleanor Kosek Ruth Ann Little
Thomas Carpenter Joel Dallow The UPS Foundation Chair
Joseph McFadden principal
The Marcia and John Donnell Chair
Rachel Ostler
Gloria Jones Allgood
VIOLA
The Lucy R. & Gary Lee Jr. Chair
Zhenwei Shi
Brittany Conrad**
principal
Karl Fenner
The Edus H. and Harriet H. Warren Chair
Paul Murphy associate principal
The Mary and Lawrence Gellerstedt Chair
Catherine Lynn
associate principal
Michael Kenady The Jane Little Chair
Michael Kurth Daniel Tosky FLUTE
assistant principal
Christina Smith
Marian Kent
The Jill Hertz Chair
Yang-Yoon Kim Yiyin Li
principal
Robert Cronin associate principal
Lachlan McBane
C. Todd Skitch
Jessica Oudin
Gina Hughes
Madeline Sharp
Players in string sections are listed alphabetically
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Robert Spano
co-artistic advisor
The Robert Reid Topping Chair
Sir Donald Runnicles principal guest conductor co-artistic advisor
The Neil & Sue Williams Chair
Jerry Hou
Norman Mackenzie
associate conductor;
director of choruses
music director of the atlanta symphony youth orchestra
The Frannie & Bill Graves Chair
The Zeist Foundation Chair
PICCOLO
CONTRA-BASSOON
TIMPANI
Gina Hughes
Juan de Gomar
Mark Yancich
OBOE
HORN
Elizabeth Koch Tiscione
Jaclyn Rainey
principal
principal
The George M. and Corrie Hoyt Brown Chair
The Betty Sands Fuller Chair
Zachary Boeding
associate principal
Joseph Petrasek
Kimberly Gilman
principal
associate principal
The Kendeda Fund Chair
Samuel Nemec Emily Brebach ENGLISH HORN Emily Brebach CLARINET Laura Ardan principal
The Robert Shaw Chair The Mabel Dorn Reeder Honorary Chair
Ted Gurch associate principal
Marci Gurnow Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez BASSOON
principal
The Walter H. Bunzl Chair
Michael Stubbart
Susan Welty
assistant principal
PERCUSSION
Chelsea McFarland**
The Julie and Arthur Montgomery Chair
Bruce Kenney
William Wilder
TRUMPET
assistant principal
Stuart Stephenson principal
The Madeline and Howell Adams Chair
The William A. Schwartz Chair
Michael Stubbart The Connie and Merrell Calhoun Chair
Michael Tiscione
HARP
associate principal
Elisabeth Remy Johnson
Anthony Limoncelli Mark Maliniak
The Sally and Carl Gable Chair
KEYBOARD
TROMBONE
The Hugh and Jessie Hodgson Memorial Chair
Vacant principal
The Terence L. Neal Chair, Honoring his dedication and service to the Atlanta Symphony Orchestra
Nathan Zgonc acting / associate
principal
principal
Jeremy Buckler**
Peter Marshall † Sharon Berenson LIBRARY Katie Klich principal
Brian Hecht*
The Marianna & Solon Patterson Chair
Luke Sieve•**
Holly Matthews
principal
BASS TROMBONE
assistant principal librarian
The Abraham J. & Phyllis Katz Foundation Chair
Brian Hecht*
Anthony Georgeson
Luke Sieve•**
Andrew Brady
associate principal
Laura Najarian Juan de Gomar
The Home Depot Veterans Chair
TUBA Michael Moore principal
The Delta Air Lines Chair
Hannah Davis asyo / assistant
librarian
‡ Rotates between sections * Leave of absence † Regularly engaged musician • New this season ** One-year appointment
Members of the Atlanta Symphony Orchestra
The Atlanta Symphony Orchestra Advisory Council is a newly-formed group of passionate and engaged individuals who act as both ambassadors and resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page. 2021/22 CHAIRS Arthur Mills, IV advisory council chair
Frances Root patron experience task force chair
Jane Morrison diversity & community connection task force co-chair Eleina Raines diversity & community connection task force co-chair Otis Threatt diversity & community Connection task force co-chair
MEMBERS Krystal Ahn Paul Aldo Keith Barnett Meredith Bell Jane Blount Tracey Chu Donald & Barbara Defoe Paul & Susan Dimmick Bernadette Drankoski Burt Fealing Bruce Flower John Fuller Sally George Tucker Green Nancy Harrison Sally Hawkins Mia Hilley
Justin Im Baxter Jones Brian & Ann Kimsey Jason & Michelle Kroh Scott Lampert Dr. Fulton D. Lewis, III Jason Liebzeit Belinda Massafra Bert Mobley Anne Morgan Tatiana Nemo Regina Olchowski Swathi Padmanabhan Margaret Painter Eliza Quigley David Quinn S. Neal Rhoney Felicia Rives
Jim Schroder Baker Smith Cindy Smith Peter & Kristi Stathopoulos Kimberly Strong Stephen & Sonia Swartz George & Amy Taylor Cathy Toren Sheila Tschinkel Robert & Amy Vassey Robert Walt Nanette Wenger Kiki Wilson Taylor Winn David Worley Jiong Yan Camille Yow
For more information about becoming an Advisory Council member, please contact Cheri Snyder at cheri.snyder@atlantasymphony.org or 404.733.4904. aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Concert Calendar ANNA CLYNE: Sound and Fury SHOSTAKOVICH: Cello Concerto No. 1 ELGAR: Enigma Variations Alexander Soddy conductor
Rainer Eudeikis Principal Cello
MAY 12/14
VERDI: Rigoletto Act III Aida Act III
DENYCE GRAVES mezzo-soprano
Nicola Luisotti, conductor Jasmine Habersham, soprano Santiago Ballerini, tenor Clay Hilley, tenor Reginald Smith Jr., baritone Burak Bilgili, bass MICHELLE BRADLEY soprano
MAY 19/20 MARCELLO: Oboe Concerto
Elizabeth Koch Tiscione
BRAHMS: Symphony No. 4
ELISABETTA BRUSA: Adagio
MORRICONE: Gabriel’s Oboe Theme
Principal Oboe
Nicola Luisotti, conductor Programs, artists and prices are subject to change. Season presented by
On Sale Now aso.org
MAY 26/28
16 | encore
A New Era Begins By Phil Kloer
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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O
ne year after the Atlanta Symphony Orchestra announced her appointment, Nathalie Stutzmann takes the podium this fall as the ASO’s new Music Director. She will be the only woman currently leading a major American orchestra, and only the second such woman in American history. And she is making her debut in the 2022/23 season with a thunderclap of joy: Beethoven’s Ninth Symphony with the Atlanta Symphony Orchestra Chorus and soloists joining the ASO October 6, 8 and 9, 2022. As the fifth Music Director of the Grammy® Award-winning Orchestra to date, succeeding Robert Spano, Stutzmann and the ASO has assembled a 2022/23 lineup combining pinnacles of the canon with rarities and new music from today’s noteworthy living composers, in addition to a diverse roster of guest conductors and soloists. Highlights of the ASO’s 78th season include the world premiere of a new choral piece by Hilary Purrington and U.S. premieres of new works by Lera Auerbach, Helen Grime and Tyshawn Sorey; ASO debuts from artists including Kazem Abdullah, Justin Austin and Elim Chan; and the returns of such familiar faces as Lise de la Salle and Gil Shaham. In addition to Beethoven’s Ninth Symphony, Stutzmann’s October debut as Music Director will include Purrington’s Words for Departure, a choral symphony featuring poetry by Louise Boga; and Lilacs, based on the Walt Whitman poem “When Lilacs Last in the Dooryard Bloom’d,” for which George Walker became the first African American to win the Pulitzer Prize for Music in 1996. The new season will also include three capstone performances by Principal Guest Conductor Sir Donald Runnicles, whose 22nd season in that position will be his finale. On January 26 and 28, he will conduct Brahms’ A German Requiem, continuing the legacy of Robert Shaw, who recorded the Requiem with the ASO Chorus and performed it at Carnegie Hall to great acclaim. Runnicles will also conduct other works for which he is wellknown, including Bruckner’s Eighth Symphony (January 19 and 21) and Mahler’s epic Fifth Symphony (May 4 and 6).
“
She is a
consummate rock star on the podium — ArtsATL
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“
Stutzmann
stuns in debut leading ASO Chorus
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— Atlanta JournalConstitution
18 | encore Following her debut, Stutzmann conducts a program of lush romantics on October 14 and 15, including Brahms’ stormy Symphony No. 3, Schoenberg’s symphonic poem Verklärte Nacht (Transfigured Night), and a little pre-Halloween treat: Franck’s Le chasseur maudit (The Accursed Huntsman). December means holiday traditions and favorites. Stutzmann conducts selections from Tchaikovsky’s The Nutcracker on the December 8, 10 and 11 program, as well as two pieces by Bizet on the same bill. Christmas with the ASO on December 15, 16 and 18, finds Director of Choruses Norman Mackenzie continuing another Shaw tradition with the ASO and Chorus performing holiday carols and hymns. Mackenzie is also on the podium on December 22 for a one-time performance of Handel’s Messiah with the ASO and Chamber Chorus. Stutzmann’s first performance of 2023 features works by two giants of 20th-century Russian music: Shostakovich’s Fifth Symphony and Prokofiev’s Sinfonia concertante (February 2 and 3). Guest cellist Johannes Moser joins the ASO. On March 23 and 25, she conducts selections from Bach, Vivaldi and Handel, including Bach’s Concerto for Oboe and Violin with Principal Oboe Elizabeth Koch Tiscione and Concertmaster David Coucheron. Six acclaimed vocal soloists will join Stutzmann, the ASO and Chamber Chorus to perform J.S. Bach’s St. Matthew Passion, one of the masterworks of Baroque sacred music, on March 30, April 1 and 2. Guest violinist Daniel Lozakovich joins Stutzmann and the ASO on April 20 and 21 for Mendelssohn’s Violin Concerto. Mozart’s The Magic Flute Overture and Schubert’s Ninth Symphony are also on the program. Stutzmann finishes her debut season on June 15, 17 and 18, with the overture to Wagner’s Tannhäuser, Ravel’s Le tombeau de Couperin, his beloved Boléro, and Beethoven’s Third Piano Concerto featuring Diapason d’Or winner Lise de la Salle. The ASO continues its commitment to commissioning new works, with three new commissions. In addition to
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Purrington’s Words for Departure, Atlanta native and Emmy Award-winner Joel Thompson’s To Awaken the Sleeper is set to the writings of literary lion James Baldwin. And the U.S. premiere of the Saxophone Concerto by MacArthur Fellow Tyshawn Sorey, a co-commission with the Lucerne Festival, will feature saxophonist Timothy McAllister on March 16 and 18. Also on tap for the new season:
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The fireworks and flourishes of Rachmaninov’s popular Rhapsody on a Theme by Paganini, are in the hands of pianist Inon Barnatan on November 17 and 19. The ASO welcomes the return of conductor John Storgårds, who taps into his Scandinavian roots for Sibelius’ Symphony No. 5 and Outi Tarkiainen’s Midnight Sun Variations.
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On November 10 and 12, Jennifer Higdon’s Grammy® Award-winning Concerto for Orchestra gets an ASO reprise with guest conductor Hannu Lintu. Lintu also conducts Sibelius’ The Oceanides, and Korngold’s Violin Concerto with violinist Gil Shaham.
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Opening weekend (September 22 and 24) with acclaimed pianist Emanuel Ax and guest coductor Peter Oundjian. Mozart’s Piano Concerto No. 18 will be partnered with To Awaken the Sleeper and Rachmaninov’s Symphonic Dances.
In 1874, the Russian Romantic Modest Mussorgsky wrote a piano suite based on an art show he attended and called it Pictures at an Exhibition. But it took the orchestral adaptation of Maurice Ravel in 1922 to make it a huge success. On February 9 and 11, Han-Na Chang makes her ASO debut as a conductor with a centenary celebration of
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Concertmaster David Coucheron will tackle the Vivaldi crowd pleaser The Four Seasons on January 4. On January 12 and 14, Kazem Abdullah makes his Atlanta conducting debut and teams with pianist Tom Borrow for Beethoven’s Piano Concerto No. 4. Ives’ Second Symphony completes the program.
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On December 1 and 3, violin superstar Hilary Hahn performs Tchaikovsky’s Violin Concerto and guest conductor Elim Chan conducts Shostakovich’s Tenth Symphony.
20 | encore Pictures, and violin soloist Sayaka Shoji plays Prokofiev’s Violin Concerto No. 1. On February 23 and 24, guest conductor Ryan Bancroft conducts William Dawson’s Negro Folk Symphony and Kodály’s Háry János Suite, plus guest pianist Conrad Tao plays Ravel’s Piano Concerto in G.
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Associate Conductor Jerry Hou will lead two ASO premieres on March 2 and 4: Joan Tower’s 1920/2019 (the title spans the women’s movement from suffrage to #MeToo) and Jessie Montgomery’s concerto for piano and strings, Rounds, performed by Awadagin Pratt. Bartók’s Concerto for Orchestra closes the program.
On March 16 and 18, former ASO Associate Conductor Stephen Milligan will return for the Sorey U.S. premiere, as well as Sibelius’ Second Symphony.
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Fate and fantasy are on the bill April 13 and 15 with fanfavorite Augustin Hadelich performing Britten’s Violin Concerto. Conductor Stéphane Denève will also lead Carlos Simon’s Fate Now Conquers and Berlioz’s Symphonie fantastique.
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“Adventure” is the theme for April 27 and 19 performances as Nicholas Carter leads the ASO and Chorus in a program inspired by adventure: Lera Auerbach’s Icarus, Wagner’s “Dawn” and “Siegfried’s Rhine Journey” from Götterdämmerung and Vaughan Williams’ A Sea Symphony.
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Guest conductor Andrew Manze will join the ASO for the penultimate performance of the season, featuring Rachmaninov’s Third Symphony, Mussorgsky’s Night on Bald Mountain, and guest violinist Leila Josefowicz will play Helen Grime’s Violin Concerto.
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aso.org/season78
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and purchase a subscription at
On May 18 and 20, sisters Christina and Michelle Naughton will perform Martinů’s Concerto for Two Pianos. Guest conductor Petr Popelka leads the ASO in Dvořák’s Symphony No. 8 and Kaprálová’s Military Sinfonietta.
So come join the ASO, Nathalie Stutzmann and an all star line-up of guest artists for a memorable 2022/23 season that is overflowing with occasions of joy. Freude! aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
22 | encore ASO | SEASON SPONSORS We are deeply grateful to the following leadership donors whose generous support has made the Atlanta Symphony Orchestra's season possible.
A Friend of the Symphony
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SPECIAL THANKS:
The Atlanta Symphony Orchestra gives special thanks to the following donors for their extraordinary support of the Orchestra’s Stability Fund. Created at the onset of the COVID-19 pandemic, the Stability Fund helps mitigate the enormous challenges of the pandemic and allows the Orchestra to continue performing and sharing music with our community. A Friend of the Symphony (4) The Antinori Foundation The Arthur M. Blank Family Foundation The Atlanta Symphony Orchestra Players’ Association Jennifer Barlament & Kenneth Potsic Janine Brown & Alex J. Simmons, Jr. The John and Rosemary Brown Family Foundation
Thalia & Michael C. Carlos Advised Fund Marcia & John Donnell In loving memory of Catherine W. Dukehart The Estate of Geoffrey G. Eichholz Angela Evans James H. Landon Bert & Carmen Mills Lynn & Galen Oelkers
Sally & Pete Parsonson Patty & Doug Reid Mr. John A. Sibley, III Ross & Sally Singletary Slumgullion Charitable Fund Kathy Waller & Kenneth Goggins Adair & Dick White The Estate of Hubert H. Whitlow, Jr. Kiki Wilson
This list recognizes donors who have made contributions to the ASO Stability Fund since March 2020.
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
24 | apr13 Concert of Wednesday, April 13, 2022, 8:00pm ROBERT SPANO, conductor YO-YO MA, cello
ANTONÍN DVOŘÁK (1841–1904) Symphony No. 9 in E Minor, Op. 95, (“From the New World”) (1893) I. Adagio — Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco INTERMISSION ANTONÍN DVOŘÁK (1841–1904) Cello Concerto in B Minor, Op. 104 (1895) I. Allegro II. Adagio, ma non troppo III. Finale: Allegro moderato Yo-Yo Ma, cello
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
41 MINS
20 MINS 42 MINS
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by Noel Morris Program Annotator
Symphony No. 9 in E Minor, Op. 95, (“From the New World”)
First ASO performance:
Symphony No. 9 is scored for two flutes (one doubling piccolo), two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings.
Henry Sopkin, conductor
A Humble Beginning
Joseph Young, conductor
M
usic lessons for the boy Antonín Dvořák were catchas-catch-can. As a butcher’s son growing up in a small village, he was taught basic reading and math at a public school; by chance, his schoolmaster was an amateur musician who started the future composer on voice and violin. At the same time, Dvořák’s father began to prepare his son for a career as a butcher. In addition to teaching him about livestock, he insisted the boy learn German (a useful skill for a Czech tradesman living in the Austrian Empire). When the family moved to a neighboring village, Antonín found his way to the doorstep of a piano and organ teacher, all the while neglecting German. After some months, his father sent him away to live with a German-speaking family. Undaunted, Dvořák found another music teacher. When Antonín was 16, his father had a change of heart and sent him to organ school in Prague. Dvořák’s existence in Prague was humble. For the next 16 years, he lived mainly with extended family and earned a meager wage playing viola in an opera orchestra. It was during that time that he fell in love with a colleague from the theater, the actress Josefina Čermáková. Much to his disappointment, she only wanted his friendship. All the while, he was teaching piano in her family home. Eventually, Dvořák courted her younger sister, Anna, who he married on November 15, 1873; baby Otakar came along five months later. His first love, Josefina, married a prominent politician, and they all remained close (this will become important in the composition of the Cello Concerto). Nationalism Not long after moving to Prague, Dvořák surpassed the abilities of his teachers and continued to develop musically through sheer will and invention. Playing in a theater
March 16, 1947, Most recent ASO performances: October 20–22, 2016,
26 | encore orchestra, he absorbed works by the German masters: Beethoven, Mendelssohn, Schumann and Wagner, and wrote a copious amount of music. The political climate in Prague was tense. Owing to a persistent “Germanization” of the Bohemian capital, pockets of Czech nationalism spread among the lowermiddle class. Nationalists worked to gain majorities in various trade guilds; some criticized Dvořák for writing music that wasn’t “Czech” enough. By 1876, the 35-year-old Dvořák had a family to support. He applied for a government grant awarded to talented and impoverished composers (Dvořák qualified on both counts). On the jury was a man who would change his life— Johannes Brahms. Brahms wrote to him, “Allow me quite shortly to thank you . . . for the great pleasure I have derived from the works you sent me. I have taken the liberty of writing about them, and especially the Duets to Mr. Fritz Simrock [Brahms’ own publisher].” He was referring to a set of Moravian Duets which Dvořák had composed as a favor to a Moravian patron. Simrock agreed to publish them in German. The public gobbled them up (to the Viennese, this “Moravian” music sounded pleasantly exotic). Sensing an opportunity, Simrock asked the composer to write more Slavic music, suggesting something along the lines of Brahms’ Hungarian Dances. All too grateful for the work, Dvořák composed his Slavonic Dances, not based on folk music as Brahms had done, but on themes of his own invention. As it happened, Simrock’s marketing gimmick worked well, and Dvořák was forevermore labeled a Czech nationalist. He never went penniless again. The "New World" Symphony In 1891, Dvořák thought he had achieved real status and security when he accepted a teaching position at the Prague Conservatory. But something turned his head. There was an American philanthropist named Jeannette Thurber who had persuaded the United States Congress to fund the National Conservatory of Music of America. Her dream was to engender a nationalistic movement in American music. Convinced that Dvořák, the famous Czech nationalist, was
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| 27
the man for the job, she offered him an annual salary of $15,000—25 times what he was paid in Prague. In truth, it took some arm-twisting, but Dvořák accepted the job and booked his passage to America. Across the Atlantic, Thurber was advancing an extraordinary vision: to cultivate a uniquely American sound while offering musical training to students regardless of race or gender. Excited by the creative possibilities, Mrs. Thurber urged her star employee to write a Native American opera based on Longfellow’s poem The Song of Hiawatha. As she secured a librettist, Dvořák threw himself into the music, making sketches and writing down ideas. At the same time, he bathed in the sounds of American music, witnessing Native performers at Buffalo Bill’s Wild West show and giving special attention to the spiritual, a style sung to him by Harry Burleigh, a student and grandson of former slaves. Dvořák wrote his Symphony No. 9, “From the New World,” in New York City during the winter and spring of that first academic year, 1893. On the day of its premiere, he told a reporter that the inner movements, the Largo and Scherzo, used material for his upcoming opera The Song of Hiawatha. Complications with the libretto foiled Dvořák’s dream of writing a Native American opera. After spending three years at the school in New York, he moved back to Prague. His American students went on to teach George Gershwin, Aaron Copland and Duke Ellington. Cello Concerto in B Minor, Op. 104
First ASO performances:
In addition to the solo cello, this concerto is scored for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, three horns, two trumpets, three trombones, tuba, timpani, percussion and strings.
November 21–22, 1957,
hile living in New York City, Dvořák got to know Victor Herbert, the principal cellist of the Metropolitan Opera Orchestra. In March of 1894, Dvořák crossed into Brooklyn to hear Herbert play his own Cello Concerto No. 2.
ASO performances:
W
Traditionally, European composers had avoided writing concertos for the cello, owing to its mellow sound (they
Henry Sopkin, conductor Donovan Schumacher, cello Most recent March 26–27, 2015, Robert Spano, conductor Lynn Harrell, cello
28 | encore didn’t believe it could hold its own alongside a symphony orchestra). Herbert proved them wrong; Dvořák went to hear the piece a second time and asked to borrow the score. With the cello sound in his ears, Dvořák got to thinking about his old friend Hanuš Wihan. Dvořák had toured with Wihan. Now he made up his mind to write for him a concerto.
WIKIMEDIA COMMONS
As Dvořák got to work on the piece, he received distressing news from home: his beloved sister-in-law, Josefina, was gravely ill. Overcome with emotion (and some homesickness), Dvořák crafted a tribute to her—he knew she loved his song “Leave Me Alone” and worked its themes into the fabric of the slow movement. He finished the concerto in February of 1895. At the end of the school year, he tendered his resignation and returned to Bohemia. Not long after his homecoming, Josefina died. With a heavy heart, Dvořák picked up the manuscript of his Cello Concerto and revised the finale, echoing “Leave Me Alone” one last time in a wistful gesture at the end. He dedicated the piece to Wihan, who took issue with the new ending. Wihan put pen to paper and wrote a flashy cadenza for the ending and offered it to the composer. Not only did Dvořák reject the change, he also wrote the following notice to his publisher: “I must insist that my work be published just as I have written it. I give you my work only if you promise me that no one—not even my esteemed friend Wihan— shall make any alteration in it without my knowledge and permission, also that there be no cadenza such as Wihan has made in the last movement. In short, it has to remain the way I have felt it and thought it out. The cadenza in the last movement is not in the score, nor in the piano reduction; I told Wihan as soon as he had shown it to me that it is not possible to cobble the work together in this manner. The finale ends gradually in a diminuendo, like a slow exhalation—with reminiscences from the first and second movements—the solo fades away to pp, then there is a crescendo, and the last measures are taken up by the orchestra, ending stormily. That is my idea, and I cannot abandon it."
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30 | meettheartists
JASON BELL
ROBERT SPANO, CONDUCTOR See biography on page 5.
YO-YO MA, CELLO
Y
o-Yo Ma’s multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Ma strives to foster connections that stimulate the imagination and reinforce our humanity. Ma maintains a balance between engagements as a soloist with orchestras, recital and chamber music activities, and collaborations with a wide circle of artists and institutions. With partners from around the world and across disciplines, Ma creates programs that stretch the boundaries of genre and tradition to explore musicmaking as a means not only to share and express meaning, but also as a model for the cultural collaboration he considers essential to a strong society. Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age 4 and three years later moved with his family to New York City, where he continued his cello studies with Leonard Rose at the Juilliard School. After his conservatory training, he sought out a liberal arts education, graduating from Harvard University with a degree in anthropology in 1976. Ma and his wife have two children. He plays three instruments, a 2003 Moes & Moes cello, made in the United States, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.
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A Investment in Excellence Each season, generous donors make special gifts above and beyond their Annual Fund support to the Talent Development Program (TDP). This nationally recognized program prepares highly gifted Black and Latinx students for careers in classical music, by providing musical training, mentorship, and access to the unique resources of the Atlanta Symphony Orchestra. Benefits for TDP students include: Weekly private lessons with an ASO musician F inancial assistance for summer music programs, instruments, and audition costs Solo recital and chamber music performances Technical and performance juries Mentoring and one-on-one coaching Complimentary tickets to ASO classical concerts More than 100 TDP students have gone on to attend top music schools, including The Juilliard School, Curtis Institute of Music, Manhattan School of Music and the Peabody Institute. “TDP is investing in an entire community and finding potential in people who otherwise would be overlooked. We want the future of music to include everyone.” — Parent of TDP Fellows ‘19 & ‘23
The Atlanta Symphony Orchestra, under the Woodruff Arts Center, is a 501(c)(3) nonprofit organization. Federal Tax ID: 58-0633971
Sponsored by:
We are tremendously grateful to donors whose support for TDP helps train a diverse new generation of talented musicians. Your gifts are essential for sustaining this vital program. To learn more about supporting TDP, please contact: William Keene, Director of Annual Giving
william.keene@ atlantasymphony.org 404.733.4839
32 | apr21/23 Concerts of Thursday, April 21, 2022, 8:00pm Saturday, April 23, 2022, 8:00pm SIR DONALD RUNNICLES, conductor DAVID COUCHERON, violin ELISABETH REMY JOHNSON, harp
MAX BRUCH (1838–1920) Scottish Fantasy, Op. 46 (1880) I. Prelude: Grave — Adagio cantabile II. Scherzo: Allegro III. Andante sostenuto IV. Finale: Allegro guerriero David Coucheron, violin Elisabeth Remy Johnson, harp INTERMISSION LUDWIG VAN BEETHOVEN (1770–1827) Symphony No. 3 in E-flat Major, Op. 55, (“Eroica”) (1803) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto
Thursday’s concert is dedicated to Patrick & Susie Viguerie in honor of their extraordinary support of the 2020/21 Annual Fund.
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
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29 MINS
20 MINS
49 MINS
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by Noel Morris Program Annotator
Scottish Fantasy, Op. 46
First ASO performance:
In addition to the solo violin and harp, Scottish Fantasy is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings.
January 22, 1966,
M
ax Bruch played the piano, but he loved the violin. As a composer and conductor working in Germany, he knew all the great players and wrote lots of music for them. Altogether, he wrote nine pieces for orchestra with solo violin—it’s not surprising, as his first effort was wildly successful. This is not to say it was easy. As a 20-something, Bruch labored over his First Violin Concerto for almost a year and a half, only to withdraw the piece after its first performance. With the help of two prominent violinists, he nursed it through revisions “at least half a dozen times,” he said. Then in 1868, he re-introduced the piece to the world in the capable hands of violinist Joseph Joachim. It was a triumph, and soon all the great players were knocking on his door. Still in his 20s, Bruch sold the rights to that concerto and made little money from it. But he must have figured he could repeat the success. Working with violinist Pablo de Sarasate, he pushed out his Second Violin Concerto in 1877. The Scottish Fantasy followed in 1880, this time tapping into the rustic sound of the Scottish fiddle. When the composer wrote his Scottish Fantasy, he was at the beginning of his relationship with the Liverpool Philharmonic, where he served as conductor for three seasons. Curiously, he didn’t take the opportunity to board a train to Scotland. Instead, he picked up James Johnson’s The Scots Musical Museum, an anthology of folksongs, pulling four melodies from it: “Auld Rob Morris,” “The Dusty Miller,” “I’m a’ doon for lack of Johnnie,” and “Scots wha hae.” Bruch also acknowledged that Sir Walter Scott inspired the opening. Here, the composer imagines Scott as “an old bard who contemplates a ruined castle and laments the glorious times of old.”
Ruggiero Ricci, violin Most recent ASO performances: May 24–26, 2012, Nicholas McGegan, conductor, Stefan Jackiw, violin
WIKIMEDIA
“ The violin can sing a melody much better than a piano.” —Max Bruch
Henry Sopkin conductor,
34 | encore Unfortunately for Bruch, his greatest success was his greatest failure. Over his lifetime, he wrote more than a hundred works including operas, symphonies, choral pieces, chamber works and concertos, but never again matched the success of the concerto he completed at 28. Today that work is essential repertoire for professional violinists. Only two of his other pieces remain popular: Kol Nidrei for solo cello with orchestra, and the Scottish Fantasy. The Scottish Fiddle Scholars believe the violin made its way to Scotland during the crusades. The 13th-century poet Thomas the Rhymer described the music scene in this way: “Harp and fedyl both be found the getern and the sawtry Lute and rybid ther gon gan There was al monor of mynstralsy.” Appropriately, Bruch features the harp alongside the violin in his Scottish Fantasy. Originally, there was no distinction between classical and folk violin—it was just “instrumental music.” But by the time Bruch was walking the earth, Scottish fiddling had come into its own and splintered into a style with subcategories. The Shetland Islands (with a Norwegian flavor), Orkney Islands, West Coast, East Coast and Border regions all developed a distinct brand of fiddle playing. By the 18th century, the poet Robert Burns had begun to collect these tunes and combine them with his immortal lyrics. First ASO performance: October 22, 1949, Henry Sopkin, conductor Most recent ASO performances:
Symphony No. 3 in E-flat Major, Op. 55, (“Eroica”) Symphony No. 3 is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani and strings.
I
t might be the most talked-about hole in all of classical music. It’s a small gash, less than two inches across on Robert Spano, conductor the title page of an epic symphony, and it is emblematic of a tumultuous age. Originally, there had been great swirling letters spelling out “Sinfonia grande intitulata Bonaparte del Sigr. Louis van Beethoven.” Sometime after that, the composer took out a sharp edge and gouged out the name, Bonaparte. April 5–6, 2018,
Beethoven had written his Third Symphony in honor of Napoleon, the man who would supposedly unseat the nobility and liberate Europe. Appropriate to its subject, Beethoven’s tribute is monumental in scale (the longest to
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date), heroic in character, and contains a solemn funeral march in anticipation of the day when the great liberator dies and crosses into history. But then came a plot twist. After conquering much of Europe, Napoleon crowned himself emperor. Clearly he had liberated no one but himself. Disgusted by this act of tyranny, Beethoven defaced the title page of his Third Symphony—that is according to eyewitnesses. Privately, the composer’s feelings toward “the Little Corsican” waffled. He talked about moving to Paris and later considered a job offer from Napoleon’s brother Jérôme Bonaparte. He also wrote a piece celebrating Napoleon’s defeat. Ultimately, Beethoven chose to remain in Vienna where a “Napoleon Symphony” wouldn’t fly. After accepting payment from Vienna’s Prince Lobkowitz, Beethoven extended the Third Symphony’s dedication to his patron. From 1792, Beethoven had made his home in the Austrian capital, a veritable police state where government spies and censors worked to root out rumblings of revolution. Adding to the turbulence, Napoleon twice invaded Vienna, causing inflation and food shortages. In 1806, between those two incursions, Beethoven published his Third Symphony as “Heroic Symphony, Composed to celebrate the memory of a great man.” The origin of the “Eroica” Symphony coincides with an important milestone in the Beethoven biography. In April of 1802, he traveled to the picturesque village of Heiligenstadt to rest his ears and enjoy the outdoors. Apart from getting into a brawl with his brother Carl, Beethoven had a productive stay, working on his Second Symphony and some piano sonatas. Only after his death did we fully understand his state of mind. In October of that year, he composed a letter to his brothers, carefully copying it and storing it with his things. In it, he expressed his deepening despair over his loss of hearing. “Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than in others,” he wrote.
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36 | encore In the letter, Beethoven confessed that he had had thoughts of suicide but had grown to accept his disability and begun to focus on composition (as opposed to performance). Out of that personal crisis came “Eroica”—a visionary piece that expanded the range of expression in music and arguably launched the Romantic period. A sketchbook from his 1802 stay in Heiligenstadt shows that he was toying with a melody that he had used in his Twelve Contredanses and then in the ballet, The Creatures of Prometheus. That tune became the basis for a set of variations in the finale of “Eroica.” He worked on the symphony from 1803 to 1804.
38 | meettheartists
JEFF ROFFMAN
SIR DONALD RUNNICLES, CONDUCTOR See biography on page 5.
DAVID COUCHERON, VIOLIN
D
avid Coucheron joined the Atlanta Symphony Orchestra as Concertmaster in September 2010. At the time, he was the youngest concertmaster among any major U.S. orchestra. Throughout his career, Coucheron has worked with conductors Robert Spano, Michael Tilson Thomas, Simon Rattle, Mstislav Rostropovich and Charles Dutoit, among others. He has performed as soloist with the BBC Symphony Orchestra, Bergen Philharmonic Orchestra, Sendai Symphony Orchestra, Oslo Philharmonic Orchestra and the Trondheim Symphony Orchestra. Coucheron has given solo recitals at Carnegie Hall, Wigmore Hall, the Kennedy Center and the Olympic Winter Games (Salt Lake City, Utah), as well as in Beograd, Chile, Hong Kong, Japan, Serbia, Singapore and Shanghai. His chamber music performances have included appearances at Suntory Hall as well as Wigmore Hall and Alice Tully Hall. Coucheron serves as the Artistic Director for the Kon Tiki Chamber Music Festival in his hometown of Oslo, Norway. He is also on the artist-faculty for the Aspen Music Festival and Brevard Music Festival. An active recording artist, recordings with sister and pianist Julie Coucheron include David and Julie (Naxos/ Mudi) and Debut (Naxos). He is also the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan Williams’ The Lark Ascending, which was released on ASO Media in Fall 2014. Coucheron began playing the violin at age three. He earned his Bachelor of Music degree from The Curtis Institute of Music, his Master of Music from The Juilliard School and his Master of Musical Performance from the Guildhall School of Music and Drama, studying with teachers including Igor Ozim, Aaron Rosand, Lewis Kaplan and David Takeno. Coucheron plays a 1725 Stradivarius, on kind loan from Anders Sveaas Charitable Trust.
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P
rincipal Harpist of the Atlanta Symphony Orchestra since 1995, Elisabeth Remy Johnson performs nationally and internationally in solo and chamber music recitals. An avid recording artist, her recent solo album, Quest, spotlights works by women past and present, and has been acclaimed internationally. She performs as Principal Harpist with the Grand Teton Music Festival and teaches at Emory University, Georgia State University and Kennesaw State University. Remy Johnson is a graduate of Harvard University, Phi Beta Kappa, where she majored in Music and French. Winner of first-place awards in competitions of the American Harp Society and the American String Teachers Association, she was an NFAA/ARTS awardee. In 2018, she founded The Merian Ensemble, a chamber group dedicated to performing and commissioning chamber music composed by women. The Merian Ensemble has received a travel grant from Mid Atlantic Arts Foundation USArtists International; commissions have been funded by grants from the American Harp Society and PRS Foundation. Remy Johnson recently published two volumes of transcriptions of works by female composers; additional transcriptions of works by Mel Bonis are published by Éditions Billaudot. Remy Johnson was co-founder and artistic director (20002010) of the Urban Youth Harp Ensemble, serving students from the Atlanta Public Schools. She has received Atlanta’s Channel Eleven Community Service Award, the TBS Pathfinder’s Award, and the Atlanta Business Chronicle’s “Up & Comers Award.”
JEFF ROFFMAN
ELISABETH REMY JOHNSON, HARP
40 | apr24 Concert of Sunday, April 24, 2022, 3:00pm
MAURICE RAVEL (1875–1937) Boléro (1928)
15 MINS
NIKOLAI RIMSKY-KORSAKOV (1844–1908) Capriccio espagnol, Op. 34 (1887)
24 MINS
JERRY HOU, conductor GALLOWAY THEATRE COMPANY
This performance is made possible through a generous
MEGAN CRAMER, director
part of the family of foundations that also includes the
grant from the Lettie Pate Evans Foundation, which is Robert W. Woodruff Foundation.
DREAMBOX THEATRE LAURIN DUNLEAVY, choreographer
prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
OLIVER JEFFERS
Staged Adaptation by JESSICA ROSA ESPINOZA
The use of cameras or recording devices during the concert is strictly
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notesontheprogram
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R
ecognized for his dynamic presence, insightful interpretations, versatility and commanding technique, Taiwanese-American conductor Jerry Hou joined the Atlanta Symphony Orchestra as ASO Associate Conductor and Music Director of the Atlanta Symphony Youth Orchestra in September 2020. He has conducted the Dallas Symphony, Houston Symphony, St. Louis Symphony, Grand Teton Music Festival Orchestra, Orchestra of St. Luke’s, BBC Scottish Symphony Orchestra, National Arts Centre Orchestra, Teatro Colon, Rochester Philharmonic and San Antonio Symphony, among others. In the summer of 2018, Hou led to much acclaim the opening concerts of the Grand Teton Music Festival, in a program of Copland, Aaron Jay Kernis, and Rachmaninov’s First Piano Concerto with renowned soloist Daniil Trifonov. Known for his flexibility in many styles and genres, Hou has conducted a wide range of repertoire from classical to contemporary. Last spring, Hou led performances of a new collaboration between composer Steve Reich and artist Gerhart Richter to commemorate the opening of New York City’s new performing arts space and center for artistic invention, The Shed. A leading interpreter and conductor of contemporary music, he has collaborated with internationally acclaimed composers such as Steve Reich, John Adams, Steve Stucky, John Harbison, George Lewis, Bernard Rands, Gyorgy Kurtag, Helmut Lachenmann, Unsuk Chin, Brett Dean, Mark Anthony-Turnage and Peter Eötvös. In addition, he worked closely with the next generation of leading composers including Kate Soper, Anna Clyne and Andrew Norman. Hou has conducted leading contemporary music ensembles Ensemble Modern, Ensemble Signal, Remix Ensemble, Musiqa and Alarm Will Sound. He is on the faculty of Rice University’s Shepherd School of Music in Houston, Texas.
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PETER SERLING
JERRY HOU, CONDUCTOR
42 | encore GALLOWAY THEATRE COMPANY
T
he Galloway School’s theatre program embraces each student’s individual skills and gifts, while simultaneously building community and ensemble. We produce 3 shows a year, and invite any and all interested students to participate through our no-cut policies and course credit opportunities. Students in 6th-12th grade have the opportunity to perform in plays and musicals onstage and take electives in theater arts in the classroom throughout the year at school, and we are thrilled to partner with the Symphony on this project to share our love of theater and children's books with the Woodruff Arts Center! MEGAN CRAMER, DIRECTOR
T
he Galloway School’s theatre program embraces each student’s individual skills and gifts, while simultaneously building community and ensemble. Led by a team of professional theatre artists, students discover their own voices and encourage one another to let their voices be heard as they grow in empathy and perspective. Galloway students discover and explore concepts related to plot, character, language, process, and product in dramatic presentations in the classroom and on the stage. DREAMBOX
D
reamBox is an educational theatre company that works with school communities to provide quality theatre integrated programming both in-school and after-school. DreamBox aims to invite creative expression for students and educators alike to dream, learn and grow. DreamBox Theatre's comprehensive programs range from exploring musical theatre, to puppetry, to playwriting. We work within the common core curricular framework to use drama to promote literacy, interpersonal skills, teambuilding and self-efficacy in students. DreamBox’s Education programs model educational theatre techniques and make them accessible in a practical manner that helps educators to grow in their practice. The residencies are uniquely crafted after meeting with administrators and teachers and targeting specific areas that students are needing extra support in.
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JESSICA ROSA ESPINOZA, FOUNDER
J
essica Rosa Espinoza is an arts integration specialist and author/ playwright. With experience teaching K-12 in both the general classroom and the fine arts, Jessica partners with both national and international organizations facilitating arts integration and STEAM learning. She has led and designed professional learning for school districts and arts organizations, including various programs at the Woodruff Art Center. She is the Fine Arts Professional Learning Specialist for Cobb County schools and is an Ed.D candidate researching curriculum and instruction in arts integration. Jessica founded DreamBox Theatre which creates original STEAM musicals for K-5 youth performers. Recently authored the picture book: The Ugly Butterfly, which was adapted for the stage. DreamBox Theatre also writes bilingual productions for dual immersion and international communities. Jessica intersects her creative energy as an artist with her classroom experiences and loves illuminating this for fellow educators and school communities.
LAURIN DUNLEAVY, CHOREOGRAPHER aurin Dunleavy was born and raised in Atlanta, Ga and has a BFA in Dance Performance from Brenau University. She has performed and choreographed for many local dance companies including the Walt Disney Company, Cirque du Soleil, Weird Al Yankovic and various commercial opportunities. Over the past 10+ years Laurin has also been a resident teaching artist for Atlanta's Alliance Theatre Institute. This is where she connects her passion of movement with Georgia learning standards in K-12 classrooms. Currently you can find Laurin choreographing for the new Penguin Project chapter in North Georgia. A nationally recognized program for youth with disabilities.
L
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44 | apr28/30 Concerts of Thursday, April 28, 2022, 8:00pm Saturday, April 30, 2022, 8:00pm SIR DONALD RUNNICLES,
conductor JENNIFER JOHNSON CANO, mezzo-soprano DOUGLAS WILLIAMS,
baritone ATLANTA SYMPHONY ORCHESTRA CHORUS Norman Mackenzie, Director of Choruses
Thursday’s concert is dedicated to Betty Sands Fuller in honor of her extraordinary
CLAUDE DEBUSSY (1862–1918) Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun) (1894) 10 MINS CLAUDE DEBUSSY (1862–1918) Nocturnes (1899) 25 MINS I. Nuages (Clouds) II. Fêtes (Festivals) III. Sirènes (Sirens) Women of the Atlanta Symphony Chorus INTERMISSION
20 MINS
MAURICE DURUFLÉ (1902–1986) Requiem, Op. 9 (1947) 41 MINS I. Introit II. Kyrie III. Domine Jesu Christe IV. Sanctus V. Pie Jesu VI. Agnus Dei VII. Lux aeterna VIII. Libera me IX. In paradisum Jennifer Johnson Cano, mezzo-soprano Douglas Williams, baritone Atlanta Symphony Orchestra Chorus
support of the ASO and its 2020/21 Annual Fund.
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
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by Noel Morris Program Annotator
Prélude à l’après-midi d’un faune
First ASO performance:
Prélude à l’après-midi d’un faune is scored for three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, percussion, two harps and strings.
March 10, 1953,
Nocturnes
June 7–9, 2018,
The Nocturnes are scored for women’s chorus, three flutes (one doubling piccolo), two oboes, English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps and strings.
I
Henry Sopkin, conductor Most recent ASO performances: Robert Spano, conductor First ASO performance: November 6, 1963, Henry Sopkin, conductor Most recent
The year of the Exposition, Claude Debussy turned 27 and had come of age amid an extraordinary community of creatives, including Monet, Hugo, Degas, ToulouseLautrec, Fauré, Franck, Renoir, Gauguin, Cézanne, SaintSaëns, Zola and many others. Family life had been unstable for young Debussy; his father had drifted between jobs until he got mixed up in the Paris Commune and thrown in jail. At the age of seven, Achille-Claude (later Claude) went to live with an aunt who quickly recognized the boy’s talent for music. Arranging for piano lessons, she set him upon a lifelong journey. Debussy entered the Paris Conservatory at age ten and stayed for 11 years, thus beginning a sometimes bumpy relationship with formal music education. Although a gifted
WIKIMEDIA COMMONS
n 1889, an astonishing 32 million visitors traveled to ASO performances: Paris to attend a world’s fair (almost equaling the May 25–27, 2017, tourism figures for Paris in pre-pandemic 2019). The Donald Runnicles, conductor Exposition Universelle celebrated advancements in science, culture, and technology. There were pavilions dedicated to machines, electricity and the telephone. A new tower constructed by Gustave Eiffel offered unprecedented views of the city aided by a lift designed by the American company Otis Elevator. Countries from around the world came together to participate in the fair, although there were conspicuous absences: Because the Exposition celebrated the 100th anniversary of the Storming of the Bastille, the United Kingdom, Germany, Austria-Hungary, Italy, and Russia among others boycotted the fair—they still had functioning monarchies.
46 | encore pianist, he at times neglected to practice and eventually lost his spot in the program. Staying on as a composition student, he acquired all the necessary fundamentals but clashed with the orthodoxy of the teachers at the school. When he won the prestigious Prix de Rome in 1884, he faced a similar problem in Italy. Traveling to Rome for further studies, he couldn’t find it within himself to get excited about Italian opera—much to his teachers’ frustration. Discouraged, Debussy left early and immediately fell in love with the operas of Richard Wagner. After a two-year Wagner immersion in Bayreuth, Debussy wrote “Wagner, if I may be permitted to express myself with the pomposity befitting him, was a beautiful sunset that was mistaken for a dawn.” Ultimately, he found the home he had been searching for in the creative hotbed of Paris. During the 1889 Exposition Universelle, Debussy spent time in the Javanese pavilion where he fell under the spell of a gamelan, a percussion ensemble in which people drum upon a battery of pitched, bell-like percussion instruments. As the gamelan does not adhere to western scales, structures, or principles of tuning, the experience proved liberating for Debussy and had a lasting influence on his approach to music. After his return from Rome, he fell into a group of intellectuals who gathered on Tuesday evenings at the home of Stéphane Mallarmé. Self-titled Les Mardistes, this group of friends included W. B. Yeats, Paul Verlaine and Rainer Maria Rilke. In 1894, Debussy completed his masterpiece Prelude to the Afternoon of a Faun based on a poem of the same name by Mallarmé. Unlike earlier 19th-century composers, Debussy’s piece is not so much storytelling as an impression of the mythical faun (a halfhuman, half-goat), as depicted in the dream-like language of the Symbolist poem. “The majority of his compositions are symbols of symbols,” wrote his longtime friend Paul Dukas in 1901, “expressed in a language so rich and so persuasive that it attains the eloquence of a new word, with its own laws, and often much more intelligible than the language of the poems on which it is based. Such is the case, for example, with Prelude to the Afternoon of a Faun.”
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First ASO performances: September 26–29, 1974 Michi Inoue, conductor Most recent ASO performances:
October 16–18, 2003 “All at once I felt behind me, as some conductors can, Ilan Volkov, conductor an audience that was totally spellbound,” wrote the first conductor Gustave Doret. “It was a complete triumph, and I had no hesitation in breaking the rule forbidding encores. The orchestra was delighted to repeat this work, which it had come to love and which, thanks to them, the audience had now accepted.”
It seems likely that Debussy had begun work on his Nocturnes at the same time he was composing the Prelude. As in the Prelude, he found inspiration in the art of others, particularly the American painter James Abbott McNeil Whistler. Whistler made a series of scenes over water in low or veiled light, calling them “nocturnes” after the piano pieces of Frédéric Chopin. The play of light on the water, the mystery of the inky depths, and the hazy images of human activity on the surface inspired Debussy to bring the nocturne back into the musical realm. Composing three nocturnes, he offered a little help with the imagery. “‘Nuages’ renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in gray tones lightly tinged with white,” wrote Debussy. “‘Fêtes’ gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision) which passes through the festive scene and becomes merged with it. But the background remains persistently the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. ‘Sirènes’ depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on.” In Greek mythology, the Sirens are beautiful, singing maidens who lure sailors to their deaths in the rocky shallows. Debussy scored his Sirens for women’s chorus.
WIKIMEDIA COMMONS
Before the 1894 premiere of Prelude, Debussy was given the rare opportunity to participate in rehearsals, where he made refinements to his score through trial and error. That same spirit of generosity toward the composer spilled into the first performance.
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48 | meettheartists Like the rolling, shifting movement of clouds across the sky, he never stopped working on his Nocturnes, changing a harmony here or an instrument there, always delighting in the possibilities. First ASO performances: February 21–23, 1985, William Fred Scott, conductor Most recent ASO performances: May 16–18, 2013, Donald Runnicles, conductor
Requiem, Op. 9 Requiem is scored for mezzo-soprano and baritone solos, mixed chorus, three flutes (two doubling piccolo), two oboes (one doubling English horn), English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, organ, celesta and strings. The Composer
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LAURA THIESBRUMMEL
is father was a successful architect; his mother was a pianist. When their baby boy grew into a musical prodigy, they knew how to nurture his talent. Little Maurice Duruflé began music lessons at the age of five. When he turned ten, his parents enrolled him in the choir school at Rouen Cathedral. There, he served as a chorister while receiving intensive musical training that included lessons in the earliest church music: plainchant. Young Duruflé had a love-hate relationship with his school; he loved making music but likened the rest of it to prison (he referred to one teacher as “the torturer”). Conditions worsened during World War I, when food rations and air raids hammered at an already lonely childhood. At the age of 14, Duruflé became organist at a local church when the previous organist—his organ teacher— was called to military service. And then during the Spanish Flu of 1918, authorities shaved his head with an unclean razor, leaving him with severe scarring.
Out of the boarding school experience came a formidable organist with terrible social anxiety. As a highly acclaimed teacher and organist (his improvisations on pieces of plainchant were legendary), he struggled to commit music to paper and issued only fourteen works. The Requiem The French economy spiraled during the 1930s, prompting the Administration des Beaux-Arts to award commissions to composers (not unlike the Works Progress Administration
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in the United States). After the Nazis invaded Paris, the commissions program, now under the control of the Vichy government, chose Duruflé to write a symphonic poem. He accepted the commission, which would have paid 10,000 francs, but failed to deliver. Through the war, he dabbled at writing an organ suite based on plainchant, but never completed it. At war’s end, five months after the liberation of Paris, his father died. The Requiem took shape over the following two years. Duruflé’s Requiem is based on plainsong taken directly from the Latin Mass for the Dead. Omitting the Dies irae (Day of Wrath) section, the composer minimized the fire and brimstone aspect of the Roman Catholic Mass and instead crafted a hymn of consolation. Because he aspired to capture the flowing character of the medieval melodies, he sought advice from a scholar at Solesmes Abbey, who helped him translate the old performance practice into modern notation. As a result, the singing of this ancient music colors the rhythm and flow of this 20th-century masterpiece. The Requiem received its world premiere on All Souls Day, 1947, and was broadcast nationally over French radio alongside works honoring the war dead. The composer dedicated the work to his father. In 1948, Duruflé submitted his new piece to the postWar French government (the Fourth Republic), seeking payment for his completed commission. He received 30,000 francs, which, after inflation, amounted to slightly more than a month’s wage.
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50 | meettheartists A page of Gregorian Chant from The Liber Usualis, edited by the Benedictines of Solesmes. In the first pages of his Requiem, Duruflé supplied harmonization and accompaniment while quoting this Introit almost note for note.
DURUFLÉ: Requiem TEXT AND TRANSLATION I. Introit (chorus) Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam: ad te omnis caro veniet.
II. Kyrie (chorus) Kyrie eleison. Christe eleison. Kyrie eleison.
Grant them eternal rest, Lord: and may perpetual light shine on them. To you hymns are offered, God, in Zion, and to you vows are made in Jerusalem. Hear my prayer: unto you all flesh shall come. Lord, have mercy. Christ, have mercy. Lord, have mercy.
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III. Domine Jesu Christe (baritone & chorus) Domine Jesu Christe, rex gloriae, Lord Jesus Christ, glorious King, libera animas omnium fidelium deliver the souls of all the defunctorum de poenis inferni faithful departed et de profundo lacu. from the punishments of hell Libera eas de ore leonis, and from the deep lake. ne absorbeat eas Tartarus Deliver them from the lion’s mouth ne cadant in obscurum: lest Tartarus swallow them up sed signifer Sanctus Michael lest they fall into darkness: repraesentet eas in lucem sanctam but let the standard-bearer quam olim Abrahae promisisti, Saint Michael bring them back into the holy light et semini eius. which you once promised to Abraham Hostias et preces tibi, Domine, and his seed. laudis offerimus: We offer Thee, O Lord, sacrifices and tu suscipe pro animabus illis, prayers of praise; you receive them quarum hodie memoriam facimus; on behalf of those souls fac eas, Domine, de morte transire whose memory we recall today; ad vitam cause them, Lord, to pass from quam olim Abrahae promisisti, et semini eius. death to the life which you once promised Abraham and his seed. IV. Sanctus (chorus) Sanctus, sanctus, sanctus Dominus Deus Sabaoth: pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Holy, holy, holy Lord God of Hosts: heaven and earth are filled with your glory. Hosanna in the highest. Blessed are they who come in the name of the Lord. Hosanna in the highest.
V. Pie Jesu (mezzo-soprano) Pie Jesu, Domine, dona eis requiem. Pie Jesu, Domine, dona eis requiem sempiternam.
Blessed Jesus, Lord, give them rest. Blessed Jesus, Lord, give them eternal rest.
VI. Agnus Dei (chorus) Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God, who takes away the sins of the world, give them rest. Lamb of God, who takes away the sins of the world, give them eternal rest.
52 | encore VII. Lux aeterna (chorus) Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, quia pius es.
VIII. Libera me (baritone & chorus) Libera me, Domine, de morte aeterna, in die illa tremenda: quando caeli movendi sunt et terra; dum veneris iudicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira, quando caeli movendi sunt et terra; Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde, dum veneris iudicare saeculum per ignem. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.
IX. In paradisum (chorus) In paradisum deducant te Angeli, in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere, aeternam habeas requiem.
May eternal light shine on them, Lord, with your saints forever, for you are merciful. Give them eternal rest, Lord, and may perpetual light shine upon them, for you are merciful.
Deliver me, Lord, from eternal death, on that terrible day: when the heavens and earth shall be shaken; when you will come to judge the age with fire. I am made to tremble, and I am afraid, since trial and anger are coming, when the heavens and earth will be shaken; That day, a day of anger, disaster and sorrow, a mighty day, and one most bitter, when you will come to judge the age with fire. Give them eternal rest, Lord, and may perpetual light shine upon them.
May the angels receive thee in paradise, at thy coming may the martyrs receive thee and bring thee into the holy city Jerusalem. There may the chorus of angels receive thee, and with Lazarus, once a beggar, may thou have eternal rest.
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54 | encore SIR DONALD RUNNICLES, CONDUCTOR See biography on page 5.
JENNIFER JOHNSON CANO, MEZZO-SOPRANO
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naturally gifted singer noted for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim for committed performances of both new and standard repertoire. With more than 100 performances on the stage at The Metropolitan Opera, her most recent roles have included Nicklausse, Emilia, Hansel and Meg Page.
Cano continues to perform a considerable number of concert engagements with major orchestras and conductors each season. She has undertaken numerous projects with the Cleveland Orchestra and Franz WelserMöst in both the U.S. and Europe and plans to appear with Cleveland in Verdi’s Otello in 2021/22. Highlights this season include performances with the Philadelphia Orchestra and Yannick Nézet-Séguin in a premiere of Kevin Puts’ The Hours, performances of Beethoven’s Ninth Symphony with the Chicago Symphony and Riccardo Muti and the San Francisco Symphony. Following summer festival premieres, Cano will also perform the New York premiere of a new chamber opera by Marc Neikrug, A Song By Mahler, at the Chamber Music Society of Lincoln Center. Cano is a native of St. Louis and earned degrees from Webster University and Rice University. She was honored as a distinguished alumna and commencement speaker at Webster University in May 2017. Among her honors are a First Prize winner of the Young Concert Artist International Auditions, a Sara Tucker Study Grant, a Richard Tucker Career Grant and George London Award.
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DOUGLAS WILLIAMS, BARITONE
B
ass-baritone Douglas Williams has made a name for himself in several leading roles, including Figaro in Le nozze di Figaro with Edo de Waart and the Milwaukee Symphony Orchestra, Don Giovanni with Opera Atelier conducted by David Fallis, and Nick Shadow in The Rake’s Progress with Barbara Hannigan and the Munich Philharmonic, all to great acclaim. This season he continues his collaboration with Hannigan in Stravinsky’s Pulcinella, with L’Orchestra Philharmonique de Radio France, and a new production of Jonathan Dove’s monodrama, The Other Euridice. Williams has also made an impression in smaller roles with major conductors, including Sciarrone in Tosca with Simon Rattle and the Berlin Philharmonic for Festspielhaus Baden-Baden, and Priest/Armed Man with Yannick NézetSéguin in Die Zauberflöte for Deutsche Grammophon with the Chamber Orchestra of Europe. Williams has appeared in choreographic opera productions from distinguished choreographers, including Acis and Galatea of Mark Morris for Lincoln Center, and Orfeo of Sasha Waltz for the Dutch National Opera. With the choreographer Andreas Heise and the pianist Jonathan Ware he is currently creating a choreographic Die Schöne Müllerin for himself and three dancers. In chamber music, Williams has appeared with Igor Levitt and the Jack Quartet at the Tanglewood Festival for Schoenberg’s Ode to Napoleon, with the Signal Ensemble in the world premiere of Charles Wuorinen’s It Happens Like This for the Guggenheim Museum, and recently as a guest recitalist with the Philadelphia Chamber Music Society.
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56 | encore ATLANTA SYMPHONY ORCHESTRA CHORUS
T
he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director, Robert Shaw, is an allvolunteer, auditioned ensemble that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have garnered 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). The Chorus performs large symphonic choral works, under the direction of Co-Artistic Advisors Maestro Robert Spano and Principal Guest Conductor Sir Donald Runnicles, and Music Director Designate Nathalie Stutzmann. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works. NORMAN MACKENZIE, DIRECTOR OF CHORUSES
A
s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately Assistant Choral Conductor.
Mackenzie prepares the Atlanta Symphony Orchestra Chorus and Chamber Chorus for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy® Awards. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.
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ATLANTA SYMPHONY ORCHESTRA CHORUS Jeffrey Baxter
Norman Mackenzie
Peter Marshall
director of choruses
choral administrator
The Frannie & Bill Graves Chair
The Florence Kopleff Chair
SOPRANO 1 Ellen Abney Hanan Davis Khadijah Davis Laura Foster Michelle Griffin* Kathryn Jennison Erin Jones Arietha Lockhart** Mindy Margolis* Joneen Padgett* Mary Martha Penner Susan Ray Samaria Rodriguez Natalie Rogers Lydia Sharp Stacey Tanner Brianne Turgeon* Deanna Walton Michelle Yancich Wanda Yang Temko* SOPRANO 2 Sloan Atwood* Barbara Brown Maggie Carpenter Martha Craft Erika Elliott Mary Goodwin Amanda Hoffman Rachel Hughes Kathleen KellyGeorge* Mary Mulvey Shannon Nesbit Rachel O’Dell Heidi Padovano Lindsay Patten Murray Tramaine Quarterman Paula Snelling* Anne-Marie Spalinger* Emily Tallant Cheryl Thrash** Donna Weeks** Katie Woolf
ALTO 1 June Abbott** Pamela Amy-Cupp Deborah Boland** Donna Carter-Wood** Patricia DinkinsMatthews* Angel Dotson-Hall Katherine Fisher Beth Freeman Cynthia Harris Unita Harris Beverly Hueter* Janet Johnson** Susan Jones Virginia Little* Staria Lovelady* Frances McDowellBeadle** Sara McKlin Linda Morgan** Katherine Murray* Kathleen Poe Ross Noelle Ross Marianna Schuck Laura Emiko Soltis Camilla Springfield** Rachel Stewart** Nancy York* ALTO 2 Nancy Adams* Angelica BlackmanKeim Emily Boyer Marcia Chandler* Carol Comstock Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament Sally Kann* Nicole Khoury* Katherine MacKenzie Lynda Martin Laura Rappold* Sharon Simons* Virginia Thompson* Diane Woodard** Carol Wyatt*
accompanist
TENOR 1 Jeffrey Baxter** David Blalock** John Brandt* Jack Caldwell** Daniel Cameron* Daniel Compton Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Keith Langston* Christopher Patton* Stephen Reed# Mark Warden* TENOR 2 Sutton Bacon Matthew Borkowski LaRue Bowman Charles Cottingham# Phillip Crumbly* Sean Fletcher John Harr Keith Jeffords* Michael Parker Timothy Parrott Marshall Peterson* Brent Runnels Matthew Sellers Thomas Slusher Scott Stephens**
BASS 1 Dock Anderson Russell Cason** Jeremy Christensen Trey Clegg Thomas Elston Jon Gunnemann** Jason Hamlet Nick Jones# Frank Kingsley Jameson Linville Peter MacKenzie Jason Maynard John Newsome Hal Richards Peter Shirts Kendric Smith# John Terry Marshall Todd Edgie Wallace* BASS 2 Philip Barreca Clarence Bell Brian Brown* John Carter Terrence Connors Joel Craft** Paul Fletcher Timothy Gunter* Thomas Hanrahan David Hansen** Tamir Mickens Michael Nedvidek Joel Rose John Ruff* Jonathan Smith* Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt* *20+ years of service ** 30+ years of service # Charter member (1970)
58 | encore ASO | SUPPORT
T
he Atlanta Symphony Orchestra continues to prosper thanks to the support of our generous patrons. The list below recognizes the donors who have made contributions since June 1, 2020. Their extraordinary generosity provides the foundation for this world-class institution.
$1,000,000+
A Friend of the Symphony ∞
$100,000+
1180 Peachtree The Antinori Foundation Page Bishop* The Molly Blank Fund of the Arthur M. Blank Family Foundation∞ The John and Rosemary Brown Family Foundation The Coca-Cola Company Delta Air Lines, Inc. Lettie Pate Evans Foundation, Inc.∞ Barney M. Franklin & Hugh W. Burke Charitable Fund
Georgia Power Foundation The Goizueta Foundation The Halle Foundation The Home Depot Foundation Abraham J. & Phyllis Katz Foundation The Andrew W. Mellon Foundation∞ Amy W. Norman Charitable Foundation PNC The Zeist Foundation, Inc.
$75,000+
Arthur M. Blank Family Foundation
Alston & Bird LLP
$50,000+
Accenture Chick-fil-A Foundation | Rhonda & Dan Cathy Ms. Lynn Eden Graphic Packaging The Graves Foundation
King & Spalding LLP Gary Lee, Jr. in memory of Lucy R. Lee Charles Loridans Foundation, Inc. Ann Marie & John B. White, Jr.°∞
$35,000+
BlackRock City of Atlanta Mayor’s Office of Cultural Affairs Mr.* & Mrs.* Bradley Currey, Jr.
Ms. Angela L. Evans Patty & Doug Reid Bill & Rachel Schultz° Patrick & Susie Viguerie
$25,000+
Paul & Linnea Bert Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. Connie & Merrell Calhoun John W. Cooledge The Roy & Janet Dorsey Foundation Betty Sands Fuller John D. Fuller∞ The Gable Foundation Georgia Council for the Arts Jeannette Guarner, MD & Carlos del Rio, MD Bonnie & Jay Harris Donna Lee & Howard Ehni The Livingston Foundation, Inc.∞
The Marcus Foundation, Inc.∞ Slumgullion Charitable Fund National Endowment for the Arts Sally & Pete Parsonson∞ John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D. Publix Super Markets Charities Mary & Jim Rubright June & John Scott∞ Mrs. Charles A. Smithgall, Jr.* Mr. G. Kimbrough Taylor & Ms. Triska Drake United Distributors, Inc. Kathy Waller & Kenneth Goggins Mr.* & Mrs. Edus H. Warren, Jr.
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$17,500+ Aadu & Kristi Allpere° Jennifer Barlament & Kenneth Potsic Russell Currey & Amy Durrell Cari K. Dawson & John M. Sparrow Mr. Richard H. Delay & Dr. Francine D. Dykes Fulton County Arts & Culture Mr. & Mrs. Charles B. Harrison Mr. & Dr. Kevin Lyman Massey Charitable Trust John & Linda Matthews Moore Colson, CPAs & Bert & Carmen Mills Martha M. Pentecost Ms. Cathleen Quigley Joyce & Henry Schwob Mr. Fahim Siddiqui & Ms. Shazia Fahim John & Ray Uttenhove Mrs. Sue S. Williams
$15,000+ Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward° Mr. & Mrs. John Allan Mr. David Boatwright Benjamin Q. Brunt Wright & Alison Caughman Mr. & Mrs. Benjamin Clare° The Jim Cox, Jr. Foundation Mr. & Mrs. Erroll B. Davis, Jr. Mr. & Mrs. Jonathan J. Davies Sally & Walter George Georgia Power Eleanor & Charles Edmondson Fifth Third Bank Mr. Craig M. Frankel & Mrs. Jana A. Eplan Dick & Anne Game° Georgia-Pacific Mr. Max M. Gilstrap∞ Pam & Robert Glustrom
Anne Morgan & Jim Kelley James H. Landon Mr. Sukai Liu & Dr. Ginger J. Chen Ms. Deborah A. Marlowe & Dr. Clint Lawrence John F. & Marilyn M. McMullan Ms. Molly Minnear Terence L. & Jeanne Perrine Neal Lynn & Galen Oelkers Ms. Margaret Painter∞ Victoria & Howard Palefsky Charlie & Donna Sharbaugh Mr. John A. Sibley, III Ross & Sally Singletary Elliott & Elaine Tapp Ms. Brett A. Tarver Carol & Ramon Tomé Family Fund Adair & Dick White Kiki Wilson
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Pat & Nolan Leake The Monasse Family Foundation∞ North Highland Company Vicki & Joe Riedel Beverly & Milton Shlapak Dr. Steven & Lynne Steindel° John & Yee-Wan Stevens Judith & Mark K. Taylor The Mark and Evelyn Trammell Foundation Ms. Sheila Tschinkel Turner Enterprises, Inc. Dr. & Mrs. James O. Wells, Jr.
$7,500+
A Friend of the Symphony Paul & Marian Anderson* Jack & Helga Beam∞ Lisa & Russ Butner Ms. Diane Durgin Deedee & Marc Hamburger° Sally W. Hawkins $10,000+ Grace Ihrig* A Friend of the Symphony Dr. & Mrs. Scott I. Lampert Paul & Melody Aldo∞ Thomas & Lynn Saylor Farideh & Al Azadi Foundation∞ Peter James Stelling* Julie & Jim Balloun Stephen & Sonia Swartz Bell Family Foundation George & Amy Taylor∞ for Hope Inc Dr. Meredith W. Bell Bloomberg Philanthropies The Breman Foundation, Inc. Leadership Council ∞ CBF Foundation We salute those extraordinary Sally & Larry Davis donors who have signed Peter & Vivian de Kok pledge commitments to Marcia & John Donnell continue their annual giving Eversheds Sutherland for three years or more. Dr. & Mrs. Leroy Fass The Robert Hall Gunn, Jr., Fund The Hertz Family For Foundation, Inc. more information about giving to the Atlanta Roya & Bahman Irvani Symphony Orchestra Annual Clay & Jane Jackson Fund, please contact William JBS Foundation Keene at 404.733.4839 Ann A. & Ben F. Johnson III° or william.keene@ The Sartain Lanier atlantasymphony.org. Family Foundation
°We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased
60 | encore ASO | SUPPORT (cont.) $5,000+ A Friend of the Symphony Mr. & Mrs. Calvin R. Allen Judy & Dick Allison Dr. Evelyn R. Babey Lisa & Joe Bankoff Mr. Keith Barnett Asad Bashey Kelley O. & Neil H. Berman Natalie & Matthew Bernstein Jane & Gregory Blount Elaine & Jerome Blumenthal Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Margo Brinton & Eldon Park Mrs. Judith D. Bullock Karen & Rod Bunn Patricia & William Buss Mr. John T. Champion & Ms. Penelope Malone Ms. Tracey Chu Mark Coan & Family Dr. & Mrs. Richard W. Compans Ralph & Rita Connell William & Patricia Cook Carol Comstock & Jim Davis Donald & Barbara Defoe° Mr. & Mrs. Paul H. Dimmick Drew Eckl & Farnham, LLP in memory of Clayton Farnham Xavier Duralde & Mary Barrett Paulette Eastman & Becky Pryor Anderson∞ Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand
Bruce W. & Avery C. Flower Mary & Charles Ginden Mr. & Mrs. Richard Goodsell∞ Azira G. Hill CBH International, Inc Mr. Justin Im & Dr. Nakyoung Nam Mr. Baxter P. Jones & Dr. Jiong Yan Paul* & Rosthema Kastin Ann T. Kimsey Ms. Carrie L. Kirk Mr. & Mrs. Jason M. Kroh Dr. Fulton D. Lewis III & S. Neal Rhoney Peg & Jim Lowman Lubo Fund Dr. & Mrs. Ellis L. Malone Elvira Mannelly Mary Ruth McDonald The Fred & Sue McGehee Family Charitable Fund Mr. & Mrs. Arthur Mills IV Mr. Bert Mobley Judge Jane Morrison Gretchen Nagy & Allan Sandlin Mr. Samir Nikocevic Bethani Oppenheimer Mrs. Kay Adams* & Mr. Ralph Paulk° Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. Edward Potter & Ms. Regina Olchowski Ms. Eliza Quigley Leonard Reed° Mr. & Mrs. Joel F. Reeves Ms. Felicia Rives Betsy & Lee Robinson Ms. Frances A. Root John T. Ruff Ms. Katherine Scott Suzanne Shull Baker & Debby Smith
Ms. Cynthia Smith Doug Smith Hamilton & Mason Smith Mr. & Mrs. Peter Stathopoulos In memory of Elizabeth B. Stephens by Powell, Preston & Sally∞ Mr. & Mrs. Edward W. Stroetz, Jr. Ms. Kimberly Strong Dede & Bob Thompson Ms. Cathy Toren Trapp Family Burton Trimble Chilton & Morgan* Varner Amy & Robert Vassey Mr. Robert Walt & Mr. Daniel J. Hess Drs. Jonne & Paul Walter Ruthie Watts Dr. Nanette K. Wenger David & Martha West Suzanne B. Wilner Mr. & Ms. Taylor Winn Mr. David J. Worley & Ms. Bernadette Drankoski Camille W. Yow
$3,500+ A Friend of the Symphony Mr. Herschel V. Beazley John Blatz Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis M. Chorba Dieter Elsner & Othene Munson Mr. & Mrs. Paul G. Farnham John & Martha Head Sarah & Harvey Hill° Donald S. Orr & Marcia K. Knight Mr. Charles R. Kowal
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Isabel Lamy Lee Deborah & William Liss° Belinda & Gino Massafra Martha & Reynolds McClatchey Ed & Linda McGinn° Michael & Carol Murphy Gary R. Noble, MD Dr. & Mrs. John P. Pooler Ms. Kathy Powell S.A. Robinson Ms. Martha Solano Tom & Ani Steele Dale L. Thompson Alan & Marcia Watt
$2,000+ A Friend of the Symphony 2492 Fund Dr. & Mrs. Marshall Abes Mr. & Mrs. Ivan Allen IV Mr. & Mrs. Walker Anderson The Hisham & Nawal Araim Family Foundation Ross & Yum Arnold Mrs. Juanita Baranco Anthony Barbagallo & Kristen Fowks Mr. Julian Bene & Dr. Amy Lederberg Susan & Jack Bertram Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower° Carol Brantley & David Webster Martha S. Brewer Dr. & Mrs. Anton J. Bueschen Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Charles Cape Julie & Jerry Chautin Susan S. Cofer
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Malcolm & Ann Cole Mr. & Mrs. R. Barksdale Collins° Mr. Thomas J. Collins & Mr. Jeff Holmes Ned Cone & Nadeen Green Jean & Jerry Cooper R. Carter & Marjorie A. Crittenden Foundation The Dancu Foundation, Inc. Mr. Jeffrey M. Daniel & Mr. Michael M. Arens Dr. & Mrs. F. Thomas Daly, Jr. Greg & Debra Durden Mr. & Mrs. Robert G. Edge Mr. Ramsey Fahs Ken Felts & A. Richard Bunn Mr. & Mrs. William A. Flinn Dr. Karen A. Foster Mr. Nathan Gaby Mr. & Mrs. Sebastien Galtier Raj & Jyoti Gandhi Family Foundation Mr. & Mrs. Edward T.M. Garland Marty & John Gillin° Mrs. Janet D. Goldstein Mary C. Gramling Richard & Debbie Griffiths Mr. & Mrs. George Gunderson Phil & Lisa Hartley Mr. & Mrs. Marc S. Heilweil Mr. & Mrs. John Hellriegel Liz Hendrick Mr. Kenneth & Ms. Colleen Hey Laurie House Hopkins & John D. Hopkins
James & Bridget Horgan° Mrs. Sally Horntvedt Dr. Michael D. Horowitz° Dona & Bill Humphreys Barbara M. Hund The Hyman Foundation Mary & Wayne James Nancy & John Janet Ms. Rebecca Jarvis Aaron & Joyce Johnson Mrs. Gail Johnson Mr. W. F. & Dr. Janice Johnston Cecile M. Jones Mr. & Mrs. David T. Jones Lana M. Jordan William L. & Sally S. Jorden Teresa M. Joyce, Ph.D Mr. & Ms. James Kieffer David & Jill Krischer Wolfgang* & Mariana Laufer Mr. & Mrs. Theodore J. Lavallee, Sr. Lillian Balentine Law Olivia A. M. Leon Elizabeth J. Levine Mr. & Mrs. J. David Lifsey Eunice Luke Dr. & Mrs. David H. Mason In Memory of Pam McAllister Mr. & Mrs. James McClatchey
Mr. & Mrs. Robert McDuffie Albert S. McGhee* Dr. Larry V. McIntire Birgit & David McQueen Anna & Hays Mershon Mr. & Mrs. Thomas B. Mimms, Jr. Berthe & Shapour Mobasser Laura & Craig Mullins Janice & Tom Munsterman∞ Melanie & Allan Nelkin John C. & Agnes V. Nelson Mr. & Mrs. Edmund F. Pearce , Jr.° The Piedmont National Family Foundation Mrs. Susanne Pinkerton In Memory of Dr. Frank S. Pittman III Mary Kay & Gene Poland° John H. Rains Dr. Susan Reef Dr. & Mrs. Rein Saral Mrs. Susan H. Reinach Sharon & David Schachter° Dr. Bess T. Schoen Drs. Lawrence & Rachel Schonberger Mr. Jim Schroder Ms. Donna Schwartz Sam Schwartz & Dr. Lynn Goldowski
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Mr. & Mrs. S. Albert Sherrod° Nick & Annie Shreiber Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Johannah Smith Mr. & Mrs. Raymond F. Stainback, Jr. Dr. & Mrs. Gerald M. Stapleton Richard M. Stormont Dr. & Mrs. John P. Straetmans Beth & Edward Sugarman Kay & Alex* Summers Lara C. Tumeh° Ms. Linda F. Terry Carolyn C. Thorsen ∞ Wayne & Lee Harper Vason Ms. Juliana T. Vincenzino Vogel Family Foundation Mr. & Mrs. Robert L. Welch Ron & Susan Whitaker Thomas E. Whitesides, Jr. M.D. Russell F. Winch Mrs. Lynne M. Winship Ms. Sonia Witkowski Mr. & Mrs. M. Beattie Wood Zaban Foundation, Inc. Herbert* & Grace Zwerner
Patron Partnership and Appassionato Leadership Committee We give special thanks to this dedicated group of Atlanta Symphony Orchestra donor-volunteers for their commitment to each year’s annual support initiatives: Linda Matthews chair
Kristi Allpere
Helga Beam Bill Buss Pat Buss Deedee Hamburger Judy Hellriegel Kristen Fowks
Nancy Janet Belinda Massafra Sally Parsonson June Scott Milt Shlapak Sheila Tschinkel
Jonne Walter Marcia Watt
°We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased
62 | encore ASO | STAFF EXECUTIVE
Elizabeth Graiser
Jennifer Barlament
manager of
executive director
Alvinetta Cooksey executive & finance assistant
Elise Kolle executive assistant to senior management
ARTISTIC Evans Mirageas artistic advisor
Jeffrey Baxter choral administrator
RaSheed Lemon artist liaison
Carol Wyatt executive assistant to the co-artistic advisors
EDUCATION & COMMUNITY ENGAGEMENT Sarah Grant director of education
Elena Gagon education coordinator
SALES & REVENUE MANAGEMENT
FINANCE & ADMINISTRATION
Hsing-I Ho
Russell Wheeler vice president, sales &
Susan Ambo
assistant orchestra
revenue management
& vice president,
personnel manager
Kenedi Deal
business operations
operations
& asyo
Victoria Moore director of orchestra personnel
MARKETING & COMMUNICATIONS Tammy Hawk vice president, marketing & communications Delle Beganie content & production manager
Leah Branstetter director of digital content
Caitlin Buckers
marketing manager, live
Elizabeth Daniell associate director of communications
Lisa Eng multimedia creative
Ryan Walks
manager, live
talent development
Adam Fenton
program manager
director of multimedia
OPERATIONS
technology
Sameed Afghani vice president &
Mia Jones-Walker
general manager
Rob Phipps
Paul Barrett senior production
director of publications
stage manager
marketing manager
Bob Scarr archivist & research
Tyler Benware
coordinator
director of orchestra
Will Strawn
operations
& asyo
associate director of
Richard Carvlin
marketing, live
stage manager
Madisyn Willis marketing manager
chief financial officer
guest services associate
Kimberly Hielsberg
Erin Jones
senior director of
director of sales
Ronald MacDuff front of house & guest services supervisor
Milo McGhee guest services associate
Bennett Morgan guest services associate
Jesse Pace manager of patron experience
& season
financial planning
Brandi Hoyos
director of diversity, equity
& inclusion
April Satterfield controller
DEVELOPMENT Grace Sipusic vice president, development
tickets
Renee Contreras
Dennis Quinlan
associate director
data analyst
Robin Smith patron services
&
analysis
of development communications
& season
ticket associate
Jake Van Valkenburg sales coordinator
ATLANTA SYMPHONY HALL LIVE Nicole Panunti vice president, atlanta symphony hall live
Christine Lawrence associate director of guest services
Dan Nesspor ticketing manager
Joshua Reynolds event manager
Michael Tamucci event coordinator
Scott Secore associate director
William Keene director of annual giving
Catherine MacGregor assistant manager of donor engagement
Dana Parness individual giving coordinator
James Paulk annual giving officer
Cheri Snyder senior director of development
Sarah Wilson development operations associate
ASO | CORPORATE & GOVERNMENT SUPPORT
Major funding is provided by the Fulton County Board of Commissioners.
This program is supported in part by an award from the National Endowment for the Arts.
64 | encore
THE WOODRUFF CIRCLE
Woodruff Circle members have contributed more than $250,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.
$1MILLION+
A Friend of the Atlanta Symphony Orchestra
$500,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the Woodruff Arts Center Bank of America The John W. and Rosemary K. Brown Family Foundation Chick-fil-A Foundation | Rhonda & Dan Cathy The Community Foundation for Greater Atlanta Georgia Power Foundation, Inc. The Douglas J. Hertz Family The Home Depot Foundation Sarah and Jim Kennedy SunTrust Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust
$250,000+ A Friend of the Woodruff Arts Center Farideh & Al Azadi Foundation The Molly Blank Fund Helen Gurley Brown Foundation Cathy Cousins Foundation The Estate of Catherine Warren Dukehart The Estate of Dr. John W. Gamwell The Goizueta Foundation Estate of Burton M. Gold Mr. and Mrs. James S. Grien Invesco The Marcus Foundation, Inc. The Andrew W. Mellon Foundation PNC The Rich Foundation, Inc. UPS WarnerMedia and AT&T Foundation The Zeist Foundation, Inc.
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.
GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most Delta Classical concerts, subject to ticket availability. Call 404.733.4848.
WOODRUFF ARTS CENTER BOX OFFICE The Atlanta Symphony Orchestra Box Office is open two hours prior to a performance time and closes at the end of intermission. If a performance has no intermission, the Box Office will close 30 minutes after the performance start time. Call 404.733.5000 ext. 3 M – F: 9am-5pm Visit aso.org to order anytime. Please note: All artists and programs are subject to change
GIFT CERTIFICATES Available in any amount for any concert, through the box office. Call 404.733.5000. DONATE Donations to the ASO allow us to broaden our audiences locally and globally, reach greater artistic heights, and transform lives through the power of our music. To make a gift, please call 404.733.5079 or visit aso.org/give.
ASO | GENERAL INFO LATE SEATING Patrons arriving late will be seated at an appropriate interval in the concert program, determined by the House Manager. Reserved seats are not guaranteed after the performance starts. Late comers may be seated in the back, out of courtesy to the musicians and other patrons.
IMPORTANT PHONE NUMBERS
SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office to make advance arrangements: 404.733.5000.
Atlanta Symphony Associates (Volunteers) 404.733.4485
THE ROBERT SHAW ROOM ASO donors who give $2,500 or more annually gain special access to this private dining room. For more information, please call 404.733.4683.
The Woodruff Arts Center Box Office 404.733.5000 Ticket Donations/ Exchanges
404.733.5000
Subscription Information/ Sales 404.733.4800 Group Sales
404.733.5169
Educational Programs
404.733.4633
Atlanta Symphony Youth Orchestra
404.733.5096
Lost and Found
404.733.5239
Donations & Development 404.733.5079
66 | encore THE BENEFACTOR CIRCLE Benefactor Circle members have contributed more than $100,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.
$100,000+ 1180 Peachtree Alston & Bird American Academy of Arts and Letters The Antinori Foundation Atlanta Homes & Lifestyles Atlantic Station The Arthur M. Blank Family Foundation The John W. and Rosemary K. Brown Family Foundation The Estate of Mr. Hugh W. Burke Thalia and Michael C. Carlos Advised Fund City of Atlanta Mayor’s Office of Cultural Affairs Eversheds Sutherland Forward Arts Foundation The Fraser-Parker Foundation Georgia Natural Gas Georgia-Pacific Louise S. Sams and Jerome Grilhot The Halle Foundation The Imlay Foundation, Inc. Institute of Museum & Library Services Jones Day Foundation & Employees
Kaiser Permanente King & Spalding , Partners & Employees Knobloch Family Foundation The Charles Loridans Foundation, Inc. The Henry Luce Foundation, Inc. Morris Manning & Martin LLP National Endowment for the Arts Amy W. Norman Charitable Foundation Northside Hospital Novelis Victoria & Howard Palefsky Patty and Doug Reid The Sartain Lanier Family Foundation The Shubert Foundation Carol & Ramon Tomé Family Fund Triad Foundation The Estate of Mrs. Mary F. Trembath Wells Fargo Rod Westmoreland WestRock Company wish Foundation The David, Helen & Marian Woodward Fund
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony