AT L A N TA SY M P H O N Y O R C H E S T R A
JANUARY 2024
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JA N UA RY
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I N T R O D U C T I O N S In Tune. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director.. . . . . . . . . . . . . . . . . . . . . 7 ASO Leadership. . . . . . . . . . . . . . . . . . . . 8 ASO Musicians. . . . . . . . . . . . . . . . . . . . 10 N OT E S
O N
T H E
P R O G R A M
Written by Noel Morris
JANUARY 3. . . . . . . . . . . . . . . . . . . . . . . 22 JANUARY 18, 20. . . . . . . . . . . . . . . . . . . 32 JANUARY 25, 27. . . . . . . . . . . . . . . . . . . 44 D E PA R T M E N T S ASO Support. . . . . . . . . . . . . . . . . . . . . . 50 Henry Sopkin Circle. . . . . . . . . . . . . . . . 54 ASO Staff. . . . . . . . . . . . . . . . . . . . . . . . . 55 Woodruff Circle. . . . . . . . . . . . . . . . . . . 59 Benefactor Circle. . . . . . . . . . . . . . . . . . 60
age 14 P Nathalie Stutzmann: Looking back on her extraordinary career as a contralto
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2 | encore Our audience is your audience.
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4 | encore ASO | IN TUNE
A
s we look into the coming year together, let me share with you what I’m excited about. We have planned some major musical feats for you, both in the near term and down the road.
TODD HALL
DEAR FRIENDS:
This month we celebrate the 200th birthday of the great Austrian late-Romantic symphonist Anton Bruckner, about whom Nathalie Stutzmann has said: “People speaking about Bruckner’s music immediately refer to it as highly Catholic and religious. I believe that Bruckner's symphonies are universal. They represent the longing for eternal. He leads listeners into a unique world that they would otherwise never enter." Looking a couple of months ahead, in March the Orchestra and Nathalie Stutzmann embark on their first tour together, taking a program of Beethoven and Dvořák on the road to Southern California. The growing musical partnership between the Orchestra and Nathalie is being recognized around the country, and beyond, as especially promising. We are excited to share the great things happening here in Atlanta with eager audiences outside of Georgia. This spring we will have the pleasure of hearing the Atlanta Symphony Orchestra Chorus in its full glory in several major works: Bruckner’s Te Deum in January, Verdi’s dramatic Requiem in February, the ever-popular Carmina Burana in March, and in May the Chorus is featured in a new work by Jonathan Leshnoff, led in a muchanticipated return to Atlanta by Robert Spano. If you've never heard the Chorus before, I highly recommend making the Verdi Requiem a must-see. It’ll knock your socks off. The best part of this year is that we know that you will be along for the journey with us—especially our loyal and beloved subscribers. If you are currently a subscriber, we thank you for your continued support; and if you are a new subscriber, welcome to the ASO Family! If you have not yet subscribed, please consider joining the family, providing a consistent base of support for this fabulous Orchestra and giving you a year filled with musical adventures. You owe it to yourself to make a plan to join us—you’ll be glad you did. Speaking of subscribing—stay tuned in March for the announcement of our exciting 2024-25 season! With gratitude,
Jennifer Barlament, Executive Director
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ASO | NATHALIE STUTZMANN
N
athalie Stutzmann is the Music Director of the Atlanta Symphony Orchestra and the second woman in history to lead a major American orchestra. She is also the Principal Guest Conductor of The Philadelphia Orchestra.
When Nathalie made her spectacular debut at the 2023 Bayreuth Festival leading Wagner’s Tannhäuser, BR Klassik observed having “never experienced such a standing ovation at a pit debut in Bayreuth.” Last season also saw her acclaimed debut at the Metropolitan Opera with productions of both Die Zauberflöte and Don Giovanni that The New York Times declared “the coup of the year.” During the 23-24 season, she leads the Atlanta Symphony in a West Coast tour and twelve programs spanning some of her favorite core repertoire from Beethoven, Schumann, Brahms and Ravel through to the large symphonic forces of Mahler, Strauss and Tchaikovsky, along with a Bruckner festival marking the composer’s 200th anniversary. With The Philadelphia Orchestra, she returns to New York for her much-anticipated Carnegie Hall debut.
AUDRA MELTON
She was awarded the 2023 Opus Klassik “Concerto Recording of the Year” for her recording of Glière and Mosolov Harp concertos with Xavier de Maistre and WDR Sinfonieorchester. Gramophone praised her 2022 recording of the complete Beethoven Piano Concertos as “a brilliant collaboration that I urge you to not miss.” Nathalie Stutzmann is an exclusive recording artist for Warner Classics/Erato. As one of today’s most esteemed contraltos, she has made more than 80 recordings and received the most prestigious awards. Recognized for her significant contribution to the arts, Nathalie was named “Chevalier de la Légion d’Honneur,” France’s highest honor; and “Commandeur dans l’Ordre des Arts et des Lettres” by the French government.
8 | encore ASO | LEADERSHIP | 2023/24 Board of Directors OFFICERS Patrick Viguerie
Bert Mills
Susan Antinori
James Rubright
chair
treasurer
vice chair
vice chair
Janine Brown
Angela Evans
Lynn Eden
immediate past chair
secretary
vice chair
DIRECTORS Phyllis Abramson
Carlos del Rio, M.D. FIDSA
Randolph J. Koporc
Doug Reid
Keith Adams
Carrie Kurlander
James Rubright
Juliet M. Allan
Lisa DiFrancesco, M.D.
James H. Landon
William Schultz
Susan Antinori
Sloane Drake
Donna Lee
Charles Sharbaugh
Andrew Bailey
Lynn Eden
Sukai Liu
Fahim Siddiqui
Keith Barnett
Yelena Epova
Kevin Lyman
W. Ross Singletary, II
Jennifer Barlament*
Angela Evans
Deborah Marlowe
John Sparrow
Paul Blackney
Craig Frankel
Shelley McGehee
Elliott Tapp
Zachary Boeding*
Sally Bogle Gable
Arthur Mills IV
Brett Tarver
Janine Brown
Anne Game
Bert Mills
Maria Todorova
Benjamin Q. Brunt
Rod Garcia-Escudero
Molly Minnear
S. Patrick Viguerie
Betsy Camp
Sally Frost George
Hala Moddelmog*
Kathy Waller
S. Wright Caughman, M.D.
Robert Glustrom
Anne Morgan
Chris Webber
Bonnie B. Harris
Terence L. Neal
John B. White, Jr.
Lisa Chang
Charles Harrison
Galen Lee Oelkers
Richard S. White, Jr.
Susan Clare
Tad Hutcheson, Jr.
Dr. John Paddock
Russell Currey
Roya Irvani
Margie Painter
Kevin E. Woods, M.D., M.P.H.
Sheila Lee Davies
Joia Johnson
Howard D. Palefsky
Erroll Brown Davis, Jr.
Chris Kopecky
Barbara N. Paul
BOARD OF COUNSELORS Neil Berman
John T. Glover
Meghan H. Magruder
Michael W. Trapp
Rita Bloom
Dona Humphreys
Penelope McPhee
Ray Uttenhove
John W. Cooledge, M.D. Aaron J. Johnson, Jr.
Patricia H. Reid
Chilton Varner
John R. Donnell, Jr.
Ben F. Johnson, III
Joyce Schwob
Adair M. White
Jere A. Drummond
James F. Kelley
John A Sibley, III
Sue Sigmon Williams
Carla Fackler
Patricia Leake
H. Hamilton Smith
Charles B. Ginden
Karole F. Lloyd
G. Kimbrough Taylor, Jr.
LIFE DIRECTORS Howell E. Adams, Jr.
Connie Calhoun
C. Merrell Calhoun
*Ex-Officio Board Member
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Azira G. Hill
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10 | encore ASO | 2023/24 Musician Roster Nathalie Stutzmann music director
The Robert Reid Topping Chair
FIRST VIOLIN David Coucheron concertmaster
Jay Christy
acting associate / assistant principal
The Mr. & Mrs. Howard R. Peevy Chair
Dae Hee Ahn
Justin Bruns
Noriko Konno Clift
associate concertmaster
Robert Anemone
The Charles McKenzie Taylor Chair
David Dillard
Vacant
Eun Young Jung
assistant concertmaster
Eleanor Kosek
Jun-Ching Lin
Yaxin Tan
assistant concertmaster
Rachel Ostler
Anastasia Agapova acting assistant
VIOLA
concertmaster
Zhenwei Shi
Kevin Chen Carolyn Toll Hancock The Wells Fargo Chair
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
principal
The Frances Cheney Boggs Chair
Isabel Kwon Nathan Mo Brad Ritchie Denielle Wilson BASS Joseph McFadden principal
The Marcia & John Donnell Chair
Gloria Jones Allgood associate principal
Michael Kenady
associate principal
The Jane Little Chair
The Mary & Lawrence Gellerstedt Chair
Michael Kurth
Catherine Lynn
Karl Fenner
Nicholas Scholefield
assistant principal
Daniel Tosky
Marian Kent
FLUTE
Yang-Yoon Kim
Christina Smith
Yiyin Li
principal
Jessica Oudin
The Jill Hertz Chair The Mabel Dorn Reeder Honorary Chair
Madeline Sharp
Robert Cronin
Lachlan McBane
principal
Sou-Chun Su acting / associate principal
Ray Kim
Paul Murphy
SECOND VIOLIN
The Atlanta Symphony Associates Chair
The UPS Foundation Chair
The Lucy R. & Gary Lee Jr. Chair
CELLO
principal
Joel Dallow
The Edus H. & Harriet H. Warren Chair
Sanford Salzinger Vacant
Thomas Carpenter
Vacant The Miriam & John Conant Chair
Daniel Laufer acting / associate principal
associate principal
C. Todd Skitch Gina Hughes PICCOLO Gina Hughes
The Livingston Foundation Chair
Karen Freer
acting associate / assistant principal
Players in string sections are listed alphabetically
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William R. Langley associate conductor &
atlanta symphony youth
Norman Mackenzie director of choruses
The Frannie & Bill Graves Chair
orchestra music director
The Zeist Foundation Chair
OBOE
HORN
TIMPANI
Elizabeth Koch Tiscione
Ryan Little
Mark Yancich
principal
principal
principal
The George M. & Corrie Hoyt Brown Chair
The Betty Sands Fuller Chair
The Walter H. Bunzl Chair
Zachary Boeding
Jack Bryant
Michael Stubbart
Kimberly Gilman
assistant principal
The Kendeda Fund Chair
Bruce Kenney
PERCUSSION
Samuel Nemec*
TRUMPET
Joseph Petrasek
Jonathan Gentry
Vacant
Emily Brebach
principal
associate principal
ENGLISH HORN Emily Brebach CLARINET Jesse McCandless principal
The Robert Shaw Chair
Ted Gurch* associate principal
Marci Gurnow acting associate principal
Julianna Darby Alcides Rodriguez E-FLAT CLARINET Ted Gurch* BASS CLARINET Alcides Rodriguez BASSOON Vacant principal
The Abraham J. & Phyllis Katz Foundation Chair
Anthony Georgeson acting / associate principal
The Madeline & Howell Adams Chair
Michael Tiscione acting / associate principal Mark Maliniak acting associate principal
Anthony Limoncelli* William Cooper TROMBONE Vacant principal
The Terence L. Neal Chair, Honoring his dedication & service to the Atlanta Symphony Orchestra
Nathan Zgonc acting / associate principal The Home Depot Veterans Chair
Jason Patrick Robins BASS TROMBONE
Michael Jarrett assistant principal
The William A. Schwartz Chair
Michael Stubbart The Connie & Merrell Calhoun Chair
HARP Elisabeth Remy Johnson principal
The Sally & Carl Gable Chair
KEYBOARD The Hugh & Jessie Hodgson Memorial Chair
Peter Marshall † Sharon Berenson † LIBRARY Joshua Luty principal
The Marianna & Solon Patterson Chair
Jordan Milek Johnson
Sara Baguyos
Fellow
TUBA Michael Moore
associate principal librarian
GUEST CONDUCTOR Neil and Sue Williams Chair
principal
The Delta Air Lines Chair
Juan de Gomar
Joshua Williams
Juan de Gomar
The Julie & Arthur Montgomery Chair
Chance Gompart
Laura Najarian CONTRA-BASSOON
principal
fellow
Zeist Foundation ASO Fellowship Chair
‡ Rotates between sections | * Leave of absence | † Regularly engaged musician
Members of the Atlanta Symphony Orchestra The Atlanta Symphony Orchestra Advisory Council is a group of passionate & engaged individuals who act as both ambassadors & resources for the ASO Board & staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page. 2023/24 CHAIRS Jane Morrison advisory council chair
Justin Im internal connections
task force co-chair Robert Lewis, Jr.
internal connections task force co-chair
Frances Root patron experience task force chair
Eleina Raines diversity & community connections task force
Erica McVicker Carol Brantley & David Webster Berthe & Shapour Mobasser Tracey Chu Bert Mobley Donald & Barbara Defoe Caroline & Phil Moïse Paul & Susan Dimmick Sue Morgan Bernadette Drankoski Jane Morrison John & Catherine Dyer Gary Noble Mary Ann Flinn Regina Olchowski Bruce Flower Bethani Oppenheimer John Fuller Chris Owes Dr. Paul Gilreath Ralph Paulk Tucker Green Fay & Ann Pearce
Caroline Hofland Justin Im Baxter Jones & connections task force Jiong Yan co-chair Jon Kamenear MEMBERS Brian & Ann Kimsey Dr. Marshall & Jason & Michelle Kroh Stephanie Abes Scott Lampert Krystal Ahn Dr. Fulton Lewis III & Paul & Melody Aldo Mr. Neal Rhoney Kristi & Aadu Allpere Robert Lewis, Jr. Evelyn Babey Eunice Luke Asad & Sakina Bashey Erin Marshall Herschel Beazley Pam Martin Meredith W. Bell Belinda Massafra co-chair
Otis Threatt diversity & community
Eliza Quigley Eleina Raines Vicki Riedel Felicia Rives Frances A. Root Tiffany & Rich Rosetti Thomas & Lynne Saylor Beverly & Milton Shlapak Suzanne Shull Baker Smith Cindy Smith Peter & Kristi Stathopoulos
Tom & Ani Steele Kimberly Strong Stephen & Sonia Swartz George & Amy Taylor Bob & Dede Thompson Otis Threatt Jr. Cathy Toren Roxanne Varzi Robert & Amy Vassey Juliana Vincenzino Nanette Wenger Christopher Wilbanks Kiki Wilson Taylor Winn 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
Please join us in the celebration of the
February 2, 2024
THEN:
On February 4, 1945, the Atlanta Symphony Orchestra gave its very first performance, beginning a long tradition of transforming lives through the power of music.
NOW:
79 years later, our rich legacy continues thanks to generous Annual Fund support from our community which allows us to inspire audiences of all ages, sustaining our music for generations to come.
WAYS TO SUPPORT:
• Scan the QR code to the right with your smart phone camera, and follow the link. • Visit aso.org/DayofGiving to make a gift online. • Call 404.733.5079 to make a gift by phone. • Tell your friends and share our posts on Facebook, Instagram and Twitter.
IT’S NOT TOO EARLY! You can celebrate the Day of Giving before it arrives by scanning this QR code and making your gift today. Thank you!
Nathalie Stutzmann:
Looking Back on Her Extraordinary Career as a Contralto
A conversation with James L. Paulk
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I
n the past few years, Nathalie Stutzmann has enjoyed considerable success as a conductor, becoming Music Director of the Atlanta Symphony Orchestra and Principal Guest Conductor of the Philadelphia Orchestra. Last spring she became the first conductor since 1974 to debut with two new productions at the Metropolitan Opera (Don Giovanni and Die Zauberflöte), garnering critical praise. Then last summer she led performances of Tannhäuser at the Bayreuth Festival to considerable acclaim. American audiences are less familiar with Stutzmann’s career as a singer. Starting in 1995, she made regular performances in New York and Boston, including a series of concerts with the Boston Symphony Orchestra under Seiji Ozawa, who became a mentor, and with other major orchestras including a Carnegie Hall performance of Mahler’s Second Symphony with the Philadelphia Orchestra under Simon Rattle, another mentor. Still, most of her career took place in Europe, where she seems to have performed with every ensemble of any importance. Over a span of more than three decades, she became one of the most celebrated contraltos in the world, leaving a legacy of more than 80 recordings. This interview, with James Paulk, focuses on her vocal work. Q: Y ou once described the contralto voice as that of the Earth Mother, and it’s quite rare. A: Yes, it’s the lowest voice of a woman, with a fantastic but limited repertoire, more for concert than opera, though in the classic Baroque repertoire there are many parts which were written for castrati or alto voices — at that time there were a lot of altos. But in later repertoire it is not used for main characters, so I did many recitals. Q: Let’s talk about your early training. You grew up surrounded by music.
A: My parents were singers. I went to a school [Paris Opéra’s Ecole d’Art Lyrique] where from Monday to Saturday you go to regular classes until noon, and in the afternoon it’s only music. I grew up as a pianist, a bassoon player, and a cellist. I tried attending a conducting class when I was 15, but I was rejected because I was a woman. It was a dream to be a conductor. For me it was the ultimate way, where I had possibilities to express my music, but I was smart enough to understand there was
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16 | encore no chance at that time for a woman to achieve anything big. I was so dejected — the teacher didn’t want any girl in the class and felt a girl shouldn’t conduct. So I just followed the class. But I grew up to be a musician, and I discovered that I had a very special voice. I started lessons with my mom when I was 16, and later with Hans Hotter. Four years after that, I got an international prize [Bertelsmann Foundation’s Neue Stimmen competition]; it was very fast. I understood very quickly that it was obviously the instrument where I was the most recognizable, where I could express a lot of things, and it made me very happy. I had the most extraordinary career. It’s different for a soprano which can be at the Met singing Tosca or like that. A contralto is the opposite of a Pavarotti career: it’s the career more for specialists. Q: In 2009 you founded Orfeo 55, a small ensemble which allowed you to sing and conduct, which went on to perform and record extensively. How did that come about? A: That was another dream that I had. I came to a certain stage in my career and realized that I sang only Romantic repertoire. I had discovered there was so much in the earlier repertoire, and I decided to create this small group so I could explore a repertoire which I loved, and really drive the music with my voice. I created this group a bit like: OK, just for fun. And then it went very successful: we did recordings for Deutsche Grammophon and for Warner, and we were touring together. I was very happy to explore Vivaldi and Bach, and many others. I’m so glad I did it, because now I wouldn’t have time to do it. Q: Do you feel that your singing career is in the past? A: Oh, yes. It’s very funny for me to talk about it now. Today I’m so much not a singer at all. Q: But will your audience in Atlanta, for example, ever have a chance to hear you sing? A: Who knows? I never say no. I don’t know! I am not someone calculating things; I’m a very instinctive person. So in three years I might say, ‘Oh, today I would like to sing something to Atlanta.’ But the thing is, I don’t practice any more because I don’t have time. I have so much to do as a conductor. I thought my voice would die, but it doesn’t. So maybe I could just have fun and say, ‘OK, let’s sing something!’
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Q: There are serious people who consider you to be the great contralto of our time, and you have made so many recordings that document your career. For someone who might want to explore this, which are your favorites? A: I think, as a lead singer, the box of the Schubert big cycles, and one of the French albums, maybe Poulenc — I like very much. Also, one of my favorites with Orfeo — it depends on which music you like. I adore Bach, and I’m very proud of the Bach album. But any of those (Orfeo) — I prefer to talk about those because they are from the last 10-15 years: it was really the moment when I was at the apogee of my voice, where I really knew how to sing and what I wanted to do musically. So those are my favorites. Of course, there is the Mahler 2nd Symphony with Ozawa, recorded live in Japan, which I cherish very much, because it was such a memory. Because I started to sing so young, I achieved almost all my dreams as a singer. I pushed the limits of this contralto voice. I explored the maximum of repertoire. As a contralto, I think one can hardly achieve more.
Stutzmann’s most recent recording, Contralto (Erato label, widely available), provides an excellent survey of her Orfeo 55 years.
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The Atlanta Symphony Orchestra is grateful to our Symphony Sustainers, a special group of generous donors who make monthly recurring gifts to the Annual Fund. The list below recognizes the donors who have made monthly contributions that create opportunities for us to build and share experiences that have a lasting impact on thousands each year. A Friend of the Symphony (3) Mr. Thomas Mark Adkins Mr. Alvaro Alonso & Ms. Cari Clark Mr. Peter Bancheri & Ms. Maureen McAndrews Dr. Anne Bartolucci & Mr. Jason Graham Drs. Jay & Martin Beard-Coles Mr. Alex Bolton Ms. Susan Bravman Ms. Jadonna Brewton Dr. Rhonda L. Briscoe Ms. Barbara L. Brown Ms. Sophie Chan Jenene Cherney Mr. & Mrs. Briston Chester Tammy Clark
Paul Colangelo Dr. Janie I. Cowan Ms. Amy Cronin Gray & Marge Crouse Alexander Crozier Mr. & Mrs. Deryck Durston Mr. & Mrs. Michael Faber Mr. Brandon Goldberg Mr. & Mrs. Richard Greensted Ms. Joy Hambrick Ms. Denise Hanusek & Ms. Ann-Marie Breaux Ms. Linda L. Hare & Mr. Gerald A. Barth Ms. Tamara L. Harper Ms. Cheryl Heenan & Mr. Thomas Mullally Ms. Patricia Herndon Daniel E. Holloway Ms. Jackie G. Howard
Ms. Joy Huddlestun Ms. Margaret B. Hungerford Mr. Christopher Hurst Mr. Brian C. Ingram Mr. & Mrs. David L. Jennings Mr. & Mrs. Larry Kistner Mr. Steven Lindsey Mr. George Macon Ms. Janell Martin Jennifer Mathews Ms. Elizabeth M. Newton Dr. Deanna Nielson Mr. & Mrs. Eric Norman Lynn & Galen Oelkers Mr. & Mrs. Paul J. Owen, Jr. Dr. William & Reverend Katherine Pasch Mrs. Gretchen Pennybacker
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Mr. & Mrs. Rich Piombino Ms. Graciela Pregnolato Katie Rattray Jonathan Seletyn Mr. Warren Shaw Mr. Tom Slovak & Mr. Jeffery Jones Mr. & Mrs. Bruce Strahan Ms. Candice Thompson Mr. & Mrs. Jonathan Throop Mr. & Mrs. William H. Townsend Melanie Upshaw Janice Wolf Ms. Naomi G. Ward Samantha Young & Michael Pietrobon Katelyn Zeeveld
20 | 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.
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22 | jan3 Concert of Wednesday, January 3, 2024 8:00 PM
WOLFGANG AMADEUS MOZART (1756–1791) Divertimento in D Major, K. 136 (125a) (1772) 15 MIN I. Allegro II. Andante III. Presto
DAVID COUCHERON, violin & director
EDWARD ELGAR (1857–1934) Introduction and Allegro, Op. 47 (1905)
13 MIN
INTERMISSION
20 MIN
ANTONIO VIVALDI (1678–1741) Le quattro stagioni (The Four Seasons), Op. 8, Nos. 1–4 (ca. 1725)
37 MIN
Primavera (Spring), Op. 8, No. 1 (RV 269) in E Major I. Allegro II. Largo III. Allegro L’estate (Summer), Op. 8, No. 2 (RV 315), in G Minor I. Allegro II. Adagio III. Presto L’Autunno (Autumn), Op. 8, No. 3 (RV 293), in F Major I. Allegro II. Adagio III. Allegro L’inverno (Winter), Op. 8, No. 4 (RV 297), in F Minor I. Allegro II. Largo III. Allegro David Coucheron, violin
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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notesontheprogram
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by Noel Morris Program Annotator
Divertimento in D Major, K. 136 (125a)
First ASO performance:
This divertimento is scored for strings.
October 20, 1966
B
Richard Bonynge, conductor
y the age of 16, Mozart’s career as a child Most recent ASO performance: prodigy neared its end. After years of touring Feb 1-4, 1973 the salons and palaces of Europe, Salzburg’s Jerzy Semkow, conductor favorite son settled into life as a court musician, or perhaps a court musician plus. Unlike most Salzburg musicians who served beneath the rank of valet, Mozart moved among the different social classes with ease. According to biographer Otto Jahn, members of the high nobility granted him “free entry into their houses,” and he counted several of them— along with burghers, musicians, and merchants—among his friends. He gave music lessons to high-ranking ladies and attended concerts and public balls. In the fall of 1773, thanks to proceeds from his glittering career, he and his family moved into a fine apartment. And they had long been accustomed to having servants and a private carriage.
“Salzburg is no place for my talent,” he complained. “In the first place, professional musicians there are not held in much consideration; and, secondly, one hears nothing, there is no theater, no opera; and even if they really wanted one, who is there to sing?” Apart from making one final trip to Italy, Mozart spent much of the next decade as a court musician in Salzburg, performing and writing music for various local functions. Because he was home, he didn’t leave behind letters that might have offered clues about the composition of the three Divertimenti from 1772. In fact, the title page that designates the present work as “Divertimento in D” was not written in Mozart’s hand. It’s possible he conceived the piece as a string quartet. Likely, the D Major Divertimento was performed as a piece for string orchestra in the home of a Salzburg nobleman.
ADOBE STOCK
For all his privileges, Mozart lived under the thumb of two men: his father, Leopold, and his employer, Archbishop Colloredo. The dynamic with the archbishop was complicated. Already, Leopold had pushed his luck, spending the better part of 10 years on the road with his prodigious children. It was an open secret that Leopold had pursued a more prestigious job. But no one was more anxious to quit Salzburg than Wolfgang. After having performed for kings and queens in the most exciting musical capitals of Europe, he felt like a caged bear.
24 | encore Introduction and Allegro, Op. 47 Introduction and Allegro is scored for strings.
I
n 1904, 50 members of London’s Queen’s Hall Orchestra got miffed at their conductor when he insisted they sign exclusive contracts. Defiant and fiercely independent, the musicians stormed out of the hall and founded a co-op orchestra— the renowned London Symphony Orchestra.
This is the first ASO performance
In early 1905, Edward Elgar’s publisher, August Jaeger, suggested to the composer that he write a “brilliant, quick scherzo” for the newly constituted LSO. For this purpose, Elgar turned to his sketchbook and lifted a melody he’d titled a “Welsh tune,” one he’d written in 1901 while vacationing in Cardiganshire. He led the London Symphony in the first performance of his new piece on March 8, 1905, in Queen’s Hall.
WIKIMEDIA
While the inspiration for the Introduction and Allegro came from the United Kingdom, the dedication looked westward to a millionaire and Yale University music professor named Samuel Sanford. Sanford had extended several invitations to Elgar to visit Yale. As Elgar was working on his Introduction and Allegro, Sanford sweetened the deal with an honorary doctoral degree. Elgar accepted. The composer and his wife set sail in early June. Sanford met them at New York Harbor and escorted them to his home in Connecticut. After Elgar received his degree, guests filed out of the auditorium to his Pomp and Circumstance March No. 1. He decided to dedicate his new piece (Introduction and Allegro) to his American friend. In the years after the commencement in New Haven, Elgar’s Pomp and Circumstance March No. 1 became a tradition at graduation ceremonies across the United States.
First ASO performance of complete cycle: March 12–14, 1992 Pinchas Zukerman, violin and conductor Most recent ASO performance of complete cycle: January 4, 2022 David Coucheron, violin and conductor
om/AtlantaSymphony
Le quattro stagioni (The Four Seasons), Op. 8, Nos. 1–4 Le quattro stagioni are scored for solo violin, strings, and basso continuo.
A
ntonio Vivaldi was the master of the side hustle. He was an ordained priest, a schoolteacher, a touring opera composer, an impresario and theater director. During his lifetime, he achieved fame and fortune yet died a pauper and a stranger in a foreign land. Today, he is wildly popular but was almost lost to history. For all these reasons, Vivaldi’s music has been copied, borrowed, and arranged—he has a vast filmography (Fantastic Four, Six Feet Under, What We
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26 | encore Do in the Shadows, Spy Game, Madagascar 2, etc.)—yet there are holes in what we know about his life. For example, we don’t know precisely when he wrote his most famous music, The Four Seasons.
WIKIMEDIA
Vivaldi was the son of a violinist who worked at St. Mark’s Basilica in Venice. As a working-class boy, he had only one path to higher education: the priesthood. Because he suffered from “tightness of the chest,” young Antonio was allowed to live at home, where he continued to play music with his father. Not long after his ordination in 1703, he received dispensation from having to say Mass. (There’s a rumor that he was caught writing music in the sacristy, but the official reason cited poor health.) That same year, he became master of violin at Ospedale della Pietà, a school for foundling girls. Because many of the students were illegitimate daughters of the nobility, the school was well funded, giving Vivaldi all the resources needed for an excellent orchestra. Over his lifetime, he produced some 500 concertos, many of which were written for the girls to play. Later in life, as his popularity waned, Vivaldi turned his attention to Charles VI, the Holy Roman Emperor. Moving to the Austrian capital in 1740, the composer had hoped to win a royal appointment, but Charles died suddenly. Without income or royal protection, Vivaldi sank into poverty and died alone in 1741. His music was forgotten (apart from the Bach transcriptions) until 1926 when a crate of Vivaldi manuscripts was discovered at a boarding school in Italy’s Piedmont. There began an effort to recover, reconstruct, perform and publish his music. In 2012, an entire opera was discovered at an Italian library. The original manuscript of The Four Seasons has not been found, but the music was published in Amsterdam in 1725, part of a set of twelve violin concertos titled “The contest between harmony and invention.” Although we don’t know the year of composition, suffice it to say it was a golden age for the violin. Just a hundred miles from Venice, violin makers, especially the Amati, Bergonzi, Guarneri and Stradivari families, had made innovations to the instrument’s design. Today, their violins are priceless. (To put them in perspective, the most valuable guitar, a 1959 Martin D-18E played by Kurt Cobain on MTV Unplugged, sold for $6 million; a Stradivari violin recently sold for $20 million.) The other factor making the eighteenth century a golden age for the violin had to do with Vivaldi himself; his virtuosity as a player caused other composers to reimagine the expressive capabilities of the instrument.
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With The Four Seasons, Vivaldi did something that would become popular a hundred years after his death: he used instrumental music to tell a story. The 1725 publication includes a sonnet for each concerto which Vivaldi paints with the sounds of the instruments. For example, during the harvest feast (Autumn), the countrymen sink into a drunken stupor. For this effect, Vivaldi uses irregular rhythms to evoke the image of a man staggering off in search of a place to sleep. Some editions of The Four Seasons credit Vivaldi as the author of the sonnets; however, this has never been confirmed. The Four Seasons Sonnets attributed to Antonio Vivaldi SPRING Allegro Spring has arrived, and joyfully the birds greet her with glad song, while at Zephyr’s breath the streams flow forth with a sweet murmur. Her chosen heralds, thunder and lightning, come to envelop the air in a black cloak; once they have fallen silent, the little birds return anew to their melodious incantation: Largo then on the pleasant, flower-bedecked meadow, to the happy murmur of fronds and plants, the goatherd sleeps next to his trusty dog. Allegro To the festive sound of rustic bagpipes nymphs and shepherds dance beneath the beloved sky at the glorious appearance of spring. SUMMER Allegro In a harsh season burned by the sun, man and flock languish, and the pine tree is scorched; the cuckoo unleashes its voice, and soon we hear the songs of the turtle-dove and the goldfinch. Sweet Zephyr blows, but Boreas suddenly opens a dispute with his neighbor;
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28 | encore and the shepherd laments his fate for he fears a fierce squall is corning. Adagio His weary limbs are robbed of rest by his fear of fierce thunder and lightning and by the furious swarm of flies and blowflies. Presto Alas, his fears are only too real: the sky fills with thunder and lightning, and hailstones hew off the heads of proud cornstalks. AUTUMN Allegro The countryman celebrates with dance and song the sweet pleasure of a good harvest, and many, fired by the liquor of Bacchus, end their enjoyment by falling asleep. Adagio Everyone is made to abandon singing and dancing by the temperate air, which gives pleasure, and by the season, which invites so many to enjoy the sweetness of sleep. Allegro The huntsmen come out at the crack of dawn with their horns, guns and hounds; the quarry flees and they track it; already terrified and tired out by the great noise of the guns and hounds, the wounded beast makes a feeble effort to flee but dies in agony. WINTER Allegro To shiver, frozen, amid icy snow in the bitter blast of a horrible wind; to run, constantly stamping one’s feet; and to feel one’s teeth chatter on account of the excessive cold; Largo to spend restful, happy days at the fireside while the rain outside drenches a good hundred [people];
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Allegro to walk on the ice, and with slow steps to move about cautiously for fear of falling; to go fast, to slip and fall down; to go on the ice again and run fast until the ice cracks and opens up; to hear coming out of the iron gates Sirocco, Boreas and all the winds at war: that’s winter, but of a kind to gladden one’s heart.
ASO.Encore.2024.JAN.LIVE.AD.outlined.indd 2
12/13/23 9:57 AM
30 | meettheartists DAVID COUCHERON, VIOLIN AND DIRECTOR
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.
JEFF ROFFMAN
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, China, 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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32 | jan18/20 Concerts of Thursday, January 18, 2024 8:00 PM Saturday, January 20, 2024 8:00 PM NATHALIE STUTZMANN, conductor CHRISTINA NILSSON, soprano MARINA VIOTTI, mezzo-soprano JAMES LEY, tenor ADAM LAU, bass ATLANTA SYMPHONY ORCHESTRA CHORUS NORMAN MACKENZIE, Director of Choruses
ANTON BRUCKNER (1824–1896) Symphony No. 9 in D Minor (1896, unfinished) 63 MIN I. Feierlich, misterioso II. Scherzo: Bewegt, lebhaft; Trio: Schnell III. Adagio: Langsam, feierlich Te Deum (1884) 24 MIN I. Te Deum laudamus II. Te ergo quaesumus III. Aeterna fac cum sanctis tuis IV. Salvum fac populum, tuum V. In te Domine, speravi Christina Nilsson, soprano Marina Viotti, mezzo-soprano James Ley, tenor Adam Lau, bass The Atlanta Symphony Orchestra Chorus This concert is part of the Bruckner@200 Festival: Architect of the Spirit. This program is performed without intermission.
Performances of these concerts were made possible by a grant from the Barney M. Franklin and Hugh W. Burke Charitable Fund. Thursday’s concert is dedicated to
Saturday's concert is dedicated
Anne Morgan & Jim Kelley in honor
to Jeannette Guarner, MD &
of their extraordinary support of
Carlos del Rio, MD in honor of
the 2022/23 Annual Fund.
their extraordinary support of the 2022/23 Annual Fund and Talent
Thursday's concert is proudly
Development Program.
sponsored by Troutman Pepper.
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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notesontheprogram
| 33
by Noel Morris Program Annotator
Symphony No. 9 in D Minor
First ASO performances:
Symphony No. 9 is scored for three flutes, three oboes, three clarinets, three bassoons, eight horns (four doubling Wagner tubas), three trumpets, three trombones, tuba, timpani and strings.
September 21–24, 1972 Robert Shaw, conductor Most recent ASO performances: January 19–21, 2017
A
Donald Runnicles, conductor nton Bruckner was 13 when his father died. With a family in crisis, Bruckner’s mother installed him as a choirboy at the nearby monastery and boarding school at St. Florian, an ideal environment for him, first as a student and later as a teacher and organist. Bruckner was profoundly religious and thrived in the solitude of the organ loft. He was a perennial music student, taking lessons until middle age. At the same time, he found sanctuary in the church, a buffer from the world for a neurodivergent man. (He had an obsessive nature that compelled him to count things such as roof tiles and cobblestones.) But the buffer wouldn’t last.
It’s hard to separate Bruckner’s mental state from the Ninth Symphony. On the one hand, he was a visionary, devising spacious, strikingly original musical architecture. On the other, he was ill-equipped to handle criticism from those who didn’t understand it. And that is the tragedy of the Ninth Symphony. When Bruckner joined the faculty at the Vienna Conservatory in 1868, he entered an urban and fast-paced world where people laughed at his baggy clothes and country accent. At 43, he made a break from church music and, from then on, identified himself as a symphonist. In the coming years, he pushed out one massive symphony after another. Each time, his circle of disciples wondered at—and were sometimes baffled by—his genius. Others dismissed him entirely. The local critic routinely savaged his music, feeding into his preoccupation with his enemies. Emblematic of his life’s ups and downs, he enjoyed thunderous applause for his Fourth Symphony in 1881, while no one would play his Fifth. He finally struck gold with his Seventh Symphony; the great Wagner conductor Hermann Levi debuted the piece around Europe, and Bruckner basked in newfound glory. He was 60 years old. With wind in his sails, Bruckner went to work on the Eighth Symphony, followed immediately by the Ninth. At the same time, in 1887, he
WIKIMEDIA
In 1855, he became the organist at the Linz Cathedral, where he complained about the torment wrought by his “enemies.” Troubled by loneliness and social isolation, he suffered a nervous breakdown in 1867 and spent three months in a hospital.
34 | encore proudly presented the Eighth to Levi. Levi rejected the piece, rattling the composer to the core. Racked by a lingering self-doubt, he set aside the Ninth Symphony and began poring over his previous works, revising the First, Third, and Eighth Symphonies. He didn’t return to the Ninth until 1891—when he was nearly out of time. The Ninth Symphony has a valedictory flavor. In the Adagio, he wrote a “farewell to life” over a tuba theme. He also reflects on his career, referencing his F minor Mass, the Seventh and Eighth Symphonies and the Gloria of his D Minor Mass (1864), a melody associated with miserere, “mercy.” Illness continued to interrupt work on the Ninth Symphony. According to his doctor, Bruckner indicated that he was dedicating the piece to God in the hope of living long enough to complete it. As his life slipped away, he suggested to a student that his Te Deum could serve as a finale to the three completed movements. According to his housekeeper, he continued to work on the last First and most recent movement until the day he died. ASO performances: January 19–21, 2017
Te Deum
Donald Runnicles, conductor
Te Deum is scored for soprano, alto, tenor, and bass solos, mixed chorus, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, organ and strings.
M
edieval Christians believed the Te Deum had the power to heal. Some believers swore it could raise the dead. Te Deum, meaning “God, we praise you,” is a hymn dating from the 4th century. It became a feature of morning prayer, and Christian martyrs are said to have sung its words as they met their maker. In music, the Te Deum makes for a fascinating set of signposts, tracing the course of music history across dozens of composers who found expression through its language, from Gregorian chant to Mozart to James MacMillan in 2005. Puccini included part of a Te Deum in his opera Tosca. And Sir William Walton wrote a Te Deum for the coronation of Queen Elizabeth II. When Anton Bruckner moved to Vienna, he occupied himself with writing symphonies. His Te Deum is an exception and is among his most famous works. Gustav Mahler wrote to him in 1892: “Yesterday (Good Friday) I conducted your magnificent and powerful Te Deum. The musicians and the entire audience were deeply moved by the mighty structure and the truly sublime thoughts.”
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36 | encore Its composition dates back to the spring of 1881 when Bruckner was riding high after the premiere of his Fourth Symphony. Feeling gratified and vindicated, the pious composer broke away from work on his Sixth Symphony to write this massive hymn of praise to God. After completing the first draft, he set it aside to finish the Sixth Symphony. He then pivoted right into the Seventh and didn’t return to the Te Deum until September 1883. The Te Deum is dated March 7, 1884, and bears the dedication A.M.D.G., which stands for Ad majórem Dei glóriam or “For the greater glory of God.” He explained that particular dedication, saying, “[I dedicated it to God] in gratitude for having safely brought me through so much anguish in Vienna.”
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38 | meettheartists CHRISTINA NILSSON, SOPRANO
PETER KNUTSON
T
he young Swedish soprano Christina Nilsson was born in Ystad in Southern and then studied in Stockholm where she received her master’s degree from the University College of Opera in Stockholm.
In the season of 2017/18 Christina got her breakthrough with her role debut as Aida at The Royal Swedish Opera. Christina appeared in concerts with the Royal Stockholm Philharmonic Orchestra, and she was a guest at the Opéra national de Lorraine in Nancy where she sang Strauss’ Vier letzte Lieder. The following season Christina performed her first Ariadne in Ariadne auf Naxos at Oper Frankfurt, and at Opéra de Lausanne, as well as a guest appearance as Aida at the Irish National Opera.
She commenced last season by performing at the Royal Swedish Opera in Stockholm and made her debut at the Bayerische Staatsoper. This past spring included another role debut; Tosca in Stockholm, which will be followed by performances of Aida at Deutsche Oper in Berlin. The previous season Christina appeared in two roles at the Royal Swedish Opera, Contessa in Le Nozze di Figaro and the title role in Aida. In the summer of 2021 Christina was a guest at the Tiroler Festspiele in Austria where she sang the role of Elsa von Brabant in Lohengrin. The season before included Aida in a concert version at Deutsche Oper and Christina also appeared in the star-studded Gala Concert Bolshoi and Plácido Domingo: Life in Opera at the Bolshoi Theatre. MARINA VIOTTI, MEZZO-SOPRANO
I
DAVID-RUANOQUER
n April 2019 Marina Viotti was awarded the “Best Young Singer of the Year” at the prestigious International Opera Awards in London. She also won the 3rd prize at the “Concours de Genève” in 2016, and the International Belcanto Prize at the Rossini Festival in Wildbad in 2015. After studying flute, Marina Viotti first experimented with jazz, gospel and heavy metal. She got a master’s degree in philosophy and literature before she began her vocal training with Heidi Brunner in Vienna and continued at the Lausanne University of Music in the class of Brigitte Balleys. She completed her studies with a diploma as a soloist and studied Belcanto with Raul Gimenez and Alessandra Rossi.
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Marina Viotti’s first steps on the operatic stage after her studies took her to the Lausanne Opera, the Lucerne Theatre and, as part of the young ensemble, to the Grand Théâtre de Genève. She made her debut as Isabella (L’italiana in Algeri) at the Rossini Festival in Bad Wildbad in 2015. Marina Viotti is a sought-after concert singer and has performed under the baton of maestros Corboz, Dudamel, and De Billy, to name but a few. Moreover, Marina Viotti is regularly invited to festivals all over the world, to present her very unique shows such as “Love has no borders” (voice, piano, sax and contrebasse), “Porque existe otro querer” (duo voice/guitar) or “About last night”(cabaret). JAMES LEY, TENOR
A
merican-born James Ley is a graduate of the Opera Studies program at New York’s prestigious Juilliard School.
James Ley began last season with a debut at the Edinburgh International Festival as the Second Nazarene in Salome with the Bergen Philharmonic Orchestra. He made his first appearance at Oper Bern as Vaudémont in Iolanta. The previous season included house debuts at Gran Teatre del Liceu Barcelona and Opéra National de Bordeaux as Ferrando with Les Musiciens du Louvre. On the concert stage, he debuted with Opéra de Limoges in Beethoven’s Symphony No. 9 and with Symphonieorchester des Bayerischen Rundfunk in Mendelssohn’s Elias. Further performing experience to date includes the world premiere of Marius Felix Lange’s Der Gesang der Zauberinsel at Salzburg Festival, Le petit vieillard in L’enfant et les sortilèges with the Juilliard Orchestra conducted by Emmanuel Villaume. In concert, James has performed Handel’s Messiah at Wheaton College, as well as excerpts from Schubert’s Winterreise with Brian Zeger at Alice Tully Hall as part of Juilliard Songfest. James Ley has appeared in Masterclass with Yannick Nézet-Séguin as well as in Carnegie Hall’s SongStudio, with guest teachers including Renée Fleming. For the 2020/21 season he was a member of the Opernstudio of Bayerische Staatsoper Munich as the recipient of an Opera Foundation scholarship, where he sang the Messenger in Aida under Zubin Mehta as part of the Munich Opera Festival.
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40 | meettheartists ADAM LAU, BASS
A
merican bass Adam Lau continues a busy and active career with a wide range of engagements last season, including debuts with four opera companies. Those companies included the San Francisco Opera, the Opera Company of Philadelphia, the Florentine Opera of Milwaukee and the New Orleans Opera, in one of his signature roles, that of Don Basilio in The Barber of Seville. The previous season was also busy for Mr. Lau. In addition to his Met debut, he sang with Utah Opera, North Carolina Opera and two roles with Dallas Opera—the Bonze in Madama Butterfly and again, Don Basilio. That spring, he sang with the Atlanta Opera, and he returned to Opera Theatre of Saint Louis. EMILY FONS
Adam Lau won First Prize in the 2016 Jensen Vocal Competition and Top Prize in the 2015 George London Competition. He was also a finalist in the 2016 Dallas Opera Competition. He has appeared with such opera companies as Seattle Opera, Opera Theatre of St. Louis, Dallas Opera, Florida Grand Opera, Lyric Opera of Kansas City, Portland Opera, Utah Opera, and North Carolina Opera, as well as with some of the nation's leading summer programs including Merola Opera Center, Aspen Opera Theater, and Santa Fe Opera. In addition to opera, Mr. Lau maintains an active concert career. He has appeared with several leading symphonic organizations including Los Angeles Philharmonic, Carnegie Hall, Lincoln Center, Cincinnati Symphony Orchestra, Charlotte Symphony, San Diego Symphony, National Symphony Orchestra of Costa Rica, and the Royal Liverpool Philharmonic.
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42 | meettheartists ATLANTA SYMPHONY ORCHESTRA CHORUS
T
he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director, Robert Shaw, is an all-volunteer, 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). In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works. NORMAN MACKENZIE, DIRECTOR OF CHORUSES
N
orman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Chorus for the Atlanta Symphony Orchestra (ASO) since 2000, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw.
JD SCOTT
During his tenure, the Chorus has made numerous tours and garnered several Grammy® awards, including Best Classical Album and Best Choral Performance. At the ASO, he prepares the Choruses for all concerts and recordings, works closely with Nathalie Stutzmann on the commissioning and realization of new choral-orchestral works and conducts holiday concerts. In his 14-year association with Mr. Shaw, he was keyboardist for the ASO, principal accompanist for the ASO Choruses and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States and the famed Shaw/Carnegie Hall Choral Workshops. He prepared the ASO Chorus for its acclaimed 2003 debut and successive 2008 and 2009 performances in Berlin with the Berlin Philharmonic, in Britten’s War Requiem, Berlioz’s Grande Messe des Morts and Brahms’ Ein deutsches Requiem, respectively, conducted by ASO Principal Guest Conductor Donald Runnicles.
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ATLANTA SYMPHONY ORCHESTRA CHORUS Norman Mackenzie
Hannah Davis
Peter Marshall
director of choruses
choral and artistic manager
accompanist
The Frannie & Bill Graves Chair
SOPRANO 1 Khadijah Davis Liz Dean* Laura Foster Michelle Griffin* Erin Harris Erin Jones* Arietha Lockhart** Mindy Margolis* Joneen Padgett* Rachel Paul Susan Ray Emily Salmond Kristian Samuel Lydia Sharp Susie Shepardson Chelsea Toledo Brianne Turgeon** Deanna Walton Wanda Yang Temko** SOPRANO 2 Debbie Ashton Sloan Atwood** Tierney Breedlove Barbara Brown Maggie Carpenter Martha Craft Gina Deaton Erika Elliott Mary Goodwin Heidi Hayward Amanda Hoffman Megan Littlepage Melissa Mack Lindsay Patten Murray Chantae Pittman Tramaine Quarterman Kate Roberts Marianna Schuck Emily Tallant Cheryl Thrash** Donna Weeks**
ALTO 1 June Abbott** Pamela Amy-Cupp Deborah Boland** Emily Campbell Patricia DinkinsMatthews** Angel Dotson-Hall Katherine Fisher Beth Freeman* Unita Harris Beverly Hueter* Janet Johnson** Susan Jones Kathleen KellyGeorge* Virginia Little** Staria Lovelady* Alina Luke Frances McDowellBeadle** Sara McKlin Katherine Murray** Natalie Pierce Rachel Schiffer Camilla Springfield** Rachel Stewart** Nancy York* ALTO 2 Nancy Adams** Ana Baida Angelica BlackmanKeim Elizabeth Borland Emily Boyer Marcia Chandler* Carol Comstock Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament* Joia Johnson Sally Kann* Nicole Khoury** Lynda Martin* Lalla McGee Tiffany Peoples Laura Rappold* Duhi Schnieder
Sharon Simons* Virginia Thompson** Cheryl Vanture* Kiki Wilson** Diane Woodard** TENOR 1 David Blalock** LaRue Bowman John Brandt** Jack Caldwell** Daniel Cameron** Daniel Compton Justin Cornelius Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* Keith Langston* Joseph Henry Monti David Moore Christopher Patton* Mark Warden** TENOR 2 Matthew Borkowski Steve Brailsford Charles Cottingham# Phillip Crumbly** Steven Dykes David Ellis Sean Fletcher Thomas Foust John Harr John Ingham Keith Jeffords** David Kinrade Tyler Lane Michael Parker Timothy Parrott Marshall Peterson** Matthew Sellers Thomas Slusher Scott Stephens** BASS 1 Dock Anderson Noah Boonin Sean Butler
Russell Cason** Jeremy Christensen Joshua Clark Trey Clegg* Rick Cobb Michael Cranford Michael Devine Thomas Elston Jon Gunnemann** Noah Horton Nick Jones# Alp Koksal Sims Kuester Jason Maynard Jackson McCarthy Joss Nichols Hal Richards Thomas Stow John Terry Edgie Wallace* BASS 2 Jacob Blevins William Borland John Carter Terrence Connors Joel Craft** Paul Fletcher Timothy Gunter** Thomas Hanrahan David Hansen** Daniel Lane Jason Manley Michael Nedvidek Joel Rose John Ruff** Jonathan Smith* George Sustman Benjamin Temko** David Webster** Gregory Whitmire** Keith Wyatt** * 20+ years of service ** 30+ years of service # Charter member (1970)
44 | jan25/27 Concerts of Thursday, January 25, 2024 8:00 PM Saturday, January 27, 2024 8:00 PM NATHALIE STUTZMANN, conductor SUNWOOK KIM, piano
WOLFGANG AMADEUS MOZART (1756–1791) Piano Concerto No. 22 in E-flat Major, K. 482 (1785) 35 MIN I. Allegro II. Andante III. Rondo: Allegro Sunwook Kim, piano INTERMISSION ANTON BRUCKNER (1824–1896) Symphony No. 7 in E Major (1883) I. Allegro moderato II. Adagio: Sehr feierlich und langsam III. Scherzo: Sehr schnell IV. Finale: Bewegt, doch nicht schnell
20 MIN 64 MIN
This concert is part of the Bruckner@200 Festival: Architect of the Spirit.
Saturday's concert is dedicated to Marina Fahim in honor of her extraordinary support of the 2022/23 Annual Fund. She plays violin and believes all music makes your soul sing!
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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notesontheprogram
| 45
by Noel Morris Program Annotator
Piano Concerto No. 22 in E-flat Major, K. 482
First ASO performances:
In addition to the solo piano, this concerto is scored for flute, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.
November 1–3, 1979
W
Most recent ASO performances:
olfgang Mozart was a malleable and goodnatured child; he adored his father, Leopold, and thrived under his guidance, learning piano and violin. The trouble started when young Mozart fell in love.
Hiroyuki Iwaki, conductor Garrick Ohlsson, piano October 17–19, 2019 Edo de Waart, conductor Ronald Brautigam, piano
Wolfgang and his sister, Nannerl, had been prodigies. And Leopold, a respectable court musician, knew how to leverage their talents, serving as their teacher and business manager. Carting the kids from city to city, they dazzled royals and members of the ruling class. And the money flowed. Although Leopold was just a servant from Salzburg (a musician ranked beneath a valet), he owned a private carriage, dressed his family in fine clothes, and even hired servants of his own. As Wolfgang matured, Leopold nurtured a vision of a bright future, paid for by his genius son.
WIKIMEDIA
In 1777, he sent 21-year-old Wolfgang on a job-hunting tour, expecting him to land a position in one of the elite courts of Europe. Leopold told Mozart’s mother—and chaperone— to keep their son away from women. (After all, a wife would only foil their financial plans.) But there was one wild card: Leopold had trained the boy to work a crowd of wealthy people. Wolfgang Amadeus Mozart had spent his entire life hustling for business and mingling with the nobility. He was not cut out to be anyone’s servant. During the trip, young Mozart first made rumblings of going freelance when he fell in love with the soprano Aloysia Weber in Mannheim. Leopold put the kibosh on that and ordered his son back to Salzburg. But things came to a head in 1781. With one dramatic and spectacularly convenient blow-up, the younger Mozart got out from under the thumb of the boss (the Archbishop of Salzburg) and his overbearing father. He settled as a freelancer in Vienna, where he fell in love with Constanza Weber, Aloysia’s younger sister. In 1782, he wrote to Leopold, asking for permission to marry her, prompting an icy rejection. They married anyway and started a family. Mozart supported them by writing and performing piano concertos. Riding the wave of Mozart’s rock-star status, the newlyweds fell into
46 | encore Vienna’s beau monde, spending lavishly and partying through the night. At the end of 1785, he started work on his opera The Marriage of Figaro and dashed off the Piano Concerto No. 22, completing the piece on December 16. With the proverbial ink still wet, he presented the concerto that night between the acts of an opera by Carl Ditters von Dittersdorf. He played the concerto a second time a week later, and the audience demanded an encore of the Andante. With this concerto, Mozart broke with convention by substituting the oboes with a relatively new instrument: the clarinet. First ASO performances: April 18–21, 1974 Walter Susskind, conductor Most recent ASO performances: May 6–8, 2010 Donald Runnicles, conductor
Symphony No. 7 in E Major This symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, four Wagner tubas, tuba, timpani, percussion and strings.
A
nton Bruckner first encountered his idol, Richard Wagner, in 1863, when he was 38. From then on, he “ardently adored [the] immortal master of all masters.”
WIKIMEDIA
Bruckner had been a lifelong church musician and one of the greatest organists alive, but hearing Wagner’s music dramas—their striking harmonies and epic scale—stirred something different in him. Within a few years, Bruckner would turn away from church jobs and conceive massive “cathedrals of sound.” Under Wagner’s spell, Bruckner forged his own relationship to space and time, carrying the listener into unexpected places—an unsettling proposition that has engendered detractors and devotees ever since. Bruckner was born in Upper Austria. His father was a teacher and organist who brought his son into the trade. Anton was a working church musician at 13 when his father died suddenly. With that, his mother placed him at the monastery and school at St. Florian, where he started as a choirboy and eventually matured into roles as a teacher and organist. Despite having exceptional abilities, he was profoundly insecure and took music lessons well into middle age. He studied composition with Simon Sechter in Vienna and Otto Kitzler in Linz. Kitzler exposed him to “modern music,” encouraging him to see Wagner’s Tannhäuser. When Sechter died in 1868, Bruckner assumed Sechter’s teaching post at the Vienna Conservatory. For Bruckner, Vienna was a snake pit. People tittered at his country accent and baggy suits. They found him socially awkward. And as he started presenting his symphonies, the Vienna Philharmonic declined
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to play them. Poor Bruckner was ill-equipped to handle the criticism and became an obsessive reviser of his works. Nevertheless, 1884 was a banner year. The great Wagner conductor Hermann Levi saw merit in Bruckner’s Seventh Symphony and began introducing the piece around Europe. With that, the 60-year-old composer finally tasted success. Already, Bruckner had dedicated his Third Symphony to Wagner. When he went to work on the Seventh in the fall of 1881, Wagner was not long for this world. And Bruckner knew it. “Yes, gentlemen,” he said, “I really wrote the Adagio [of the Seventh Symphony] on the death of the great, the one and only—partly in anticipation and partly as a funeral march after the catastrophe had taken place.” Wagner passed on February 13, 1883. To pay tribute, Bruckner added Wagner tubas to the Adagio of the Seventh Symphony. (Wagner invented the instrument, played by members of the horn section, for his Ring operas.) Bruckner’s tribute extends to the use of themes by Wagner, echoing melodies from Tristan und Isolde, Die Walküre, and Götterdämmerung. Bruckner dedicated his Seventh Symphony to the fanatical Wagnerian Ludwig II, popularly known as “Mad King Ludwig.”
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48 | meettheartists SUNWOOK KIM, PIANO
S
unwook Kim came to international recognition when he won the prestigious Leeds International Piano Competition in 2006, aged just 18, becoming the competition’s youngest winner for 40 years, as well as its first Asian winner.
MARCO BORGGREVE
Since then, he has established a reputation as one of the finest pianists of his generation, appearing as a concerto soloist in the subscription series of some of the world’s leading orchestras including the London Symphony Orchestra, Royal Concertgebouw Orchestra, Staatskapelle Dresden, Chicago Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Berliner Philharmoniker, Berlin Radio Symphony, NDR Elbphilharmonie Orchester, Deutsche Kammerphilharmonie Bremen, Finnish Radio Symphony, Philharmonia Orchestra, London Philharmonic, Royal Scottish National Orchestra, BBC Orchestra of Wales, Radio-France Philharmonic, NHK Symphony, Hallé Orchestra, City of Birmingham Symphony and the Bournemouth Symphony Orchestra for his BBC Proms debut in Summer 2014. Conductor collaborations include with Karina Canellakis, Nathalie Stutzmann, Thomas Søndergård, Tugan Sokhiev, Daniel Harding, Paavo Jarvi, David Afhkam, Edward Gardner, John Elliot Gardiner, Myung-Whun Chung, Osmo Vänskä, Vladimir Ashkenazy, Kirill Karabits, Marek Janowski, Sakari Oramo, Andrew Manze, Vassily Sinaisky, Paavo Järvi, Michael Sanderling, Yuri Bashmet and Sir Mark Elder. Recital highlights to date include regular appearances at the Wigmore Hall, Queen Elizabeth Hall, in the "Piano 4 Etoiles" series at the Philharmonie de Paris and Théâtre des Champs-Élysées, Piano aux Jacobin Festival, AIX Festival, La Roque d’Antheron International Piano Festival (France) as well as at the BeethovenHaus Bonn, Klavier-Festival Ruhr, Mecklenburg-Vorpommern Festspiele, Teatro Colon Buenos Aires, Kioi Hall in Tokyo, Symphony Hall Osaka and Seoul Arts Centre. Sunwook is also a keen chamber musician and has collaborated with singers. Sunwook will also return to the Bournemouth Symphony as both a soloist and conductor. Sunwook’s return to the Bournemouth Symphony as conductor follows his instant success having made his play-direct debut with the orchestra and international conducting debut with the KBS Symphony only last season. In August 2022, Sunwook also had the honour to conduct the Seoul Philharmonic in their National Liberation Day Concert. aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Sunwook Kim’s debut recital disc was released on the Accentus label in October 2015, featuring Beethoven’s Waldstein and Hammerklavier sonatas. His most recent chamber music release features the Violin Sonatas of Beethoven in collaboration with Clara Jumi Kang. His discography also includes multiple concerto recordings, including ones on Accentus Music with the Staatskapelle Dresden featuring Brahms’ Piano Concerto no. 1 (2019) and Six Piano Pieces (2020). In addition to two recordings on Deutsche Grammophon with the Seoul Philharmonic. Born in Seoul in 1988, Sunwook completed an MA in conducting at the Royal Academy of Music and was subsequently made a fellow (FRAM) of the Royal Academy of Music in 2019.
50 | 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, 2022. Their extraordinary generosity provides the foundation for this worldclass institution. $1,000,000+
A Friend of the Symphony∞
$100,000+ A Friend of the Symphony 1180 Peachtree The Molly Blank Fund of The Arthur M. Blank Family Foundation∞
Delta Air Lines Emerald Gate Charitable Trust Lettie Pate Evans Foundation∞
Invesco QQQ Abraham J. & Phyllis Katz Foundation∞
Barney M. Franklin & Hugh W. Burke Charitable Fund Georgia Power Company The Halle Foundation The Home Depot Foundation
Charles Loridans Foundation, Inc. Amy W. Norman Charitable Foundation The Zeist Foundation, Inc.
$75,000+ Alston & Bird LLP The Paul M. Angell Family Foundation∞
The Antinori Foundation The Arthur M. Blank Family Foundation
Chick-fil-A Cadence Bank Foundation PNC
$50,000+ Accenture LLP City of Atlanta Mayor’s Office of Cultural Affairs Ms. Lynn Eden
Emory Woodruff Health Sciences Center Ms. Angela L. Evans∞
Graphic Packaging KPMG Morris, Manning & Martin, LLP Slumgullion Charitable Fund Truist
The Coca-Cola Company Sheila Lee Davies & Jon Davies
Four Seasons The Gable Foundation Georgia Council for the Arts
$35,000+ Mr. & Mrs. Paul J. Blackney Cox Enterprises, Inc. Sally* & Larry Davis The Roy & Janet Dorsey Foundation
Patty & Doug Reid John D. Fuller Mary & Jim Rubright Fulton County Arts & Culture Patrick & Susie Viguerie Anne Morgan & Jim Kelley National Endowment for the Arts Sally & Pete Parsonson∞
$25,000+ Farideh & Al Azadi Foundation∞ Mr. & Mrs. Andrew Bailey Jennifer Barlament & Kenneth Potsic Janine Brown & Alex J. Simmons, Jr. Connie & Merrell Calhoun John W. Cooledge The Jim Cox, Jr. Foundation Mr. & Mrs. Erroll B. Davis, Jr.∞ Jeannette Guarner, MD & Carlos del Rio, MD Mr. Richard H. Delay & Dr. Francine D. Dykes∞
Paulette Eastman & Becky Pryor Anderson*∞ Eversheds Sutherland Ms. Marina Fahim° Dick & Anne Game° Sally & Walter George The Graves Foundation Bonnie & Jay Harris League of American Orchestras Donna Lee & Howard Ehni The Livingston Foundation, Inc. The Marcus Foundation, Inc.∞ Massey Charitable Trust John & Linda Matthews∞
Norfolk Southern Northside Hospital John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D. Victoria & Howard Palefsky Porsche Cars North America, Inc. Publix Super Markets Charities, Inc. Bill & Rachel Schultz° June & John Scott∞ Troutman Pepper Kathy Waller & Kenneth Goggins Mr.* & Mrs. Edus H. Warren, Jr. Ann Marie & John B. White, Jr.°∞
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$17,500+ Mr. Keith Adams & Ms. Kerry Heyward° Affairs to Remember John & Juliet Allan Aspire Media Benjamin Q. Brunt Ms. Elizabeth W. Camp Wright & Alison Caughman Ms. Lisa V. Chang Choate Bridges Foundation Cari K. Dawson & John M. Sparrow Florencia & Rodrigo Garcia Escudero Mr. & Mrs. Charles B. Harrison Ms. Joia M. Johnson Mr. & Mrs. Randolph J. Koporc The Ray M. & Mary Elizabeth Lee Foundation, Inc. Mr. & Dr. Kevin Lyman Mr. & Mrs. Arthur Mills IV Moore Colson, CPAs & Bert & Carmen Mills Terence L. & Jeanne Perrine Neal° Lynn & Galen Oelkers Ms. Margaret Painter∞ Martha M. Pentecost Joyce & Henry Schwob Mr. Fahim Siddiqui & Ms. Shazia Fahim Ross & Sally Singletary Carolyn C. Thorsen∞ The Mark & Evelyn Trammell Foundation Universal Music Group-Task Force for Meaningful Change John & Ray Uttenhove Mrs. Sue S. Williams $15,000+ Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr. Aadu & Kristi Allpere° Aprio Mr. Keith Barnett Mr. David Boatwright Mr. & Mrs. Benjamin Clare° Russell Currey & Amy Durrell
Lisa DiFrancesco, MD & Darlene Nicosia Eleanor & Charles Edmondson Ms. Yelena Epova Fifth Third Bank Craig Frankel & Jana Eplan Georgia-Pacific Mr. Max M. Gilstrap Pam & Robert Glustrom The Scott Hudgens Family Foundation Roya & Bahman Irvani Jamestown Properties 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 New Music, USA Mr. & Mrs. Andrew Paul Mr. Edward Potter & Ms. Regina Olchowski° Ms. Cathleen Quigley Charlie & Donna Sharbaugh Beverly & Milton Shlapak Mr. John A. Sibley, III Dr. Steven & Lynne Steindel° Elliott & Elaine Tapp° Ms. Brett A. Tarver Judith & Mark K. Taylor Carol & Ramon Tomé Family Fund Mr. & Mrs. Benny Varzi Adair & Dick White Drs. Kevin & Kalinda Woods $10,000+ A Friend of the Symphony (2) AAA Parking Paul & Melody Aldo∞ Mr. & Mrs. Calvin R. Allen Julie & Jim* Balloun Mr. & Mrs. Gerald R. Benjamin Kelley O. & Neil H. Berman Rita & Herschel Bloom Bloomberg Philanthropies The Boston Consulting Group The Breman Foundation, Inc. Lisa & Russ Butner
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Mr. & Mrs. Thomas C. Chubb III Mr. & Mrs. Chris Collier Colliers International Costco Wholesale Corporation Peter & Vivian de Kok Donald & Barbara Defoe° Marcia & John Donnell Mr. & Mrs. John C. Dyer Eversheds Sutherland Dr. & Mrs. Leroy Fass In Memory of Betty Sands Fuller The Robert Hall Gunn, Jr., Fund Google Hamilton Capital Partners, LLC The Hertz Family Foundation, Inc. Clay & Jane Jackson Ann A. & Ben F. Johnson III° James Kieffer Stephen & Carolyn Knight La Fête du Rosé Dr. & Mrs. Scott I. Lampert The Sartain Lanier Family Foundation Pat & Nolan Leake Dr. Fulton D. Lewis III & S. Neal Rhoney Meghan & Clarke Magruder Merrill Lynch Capital Markets Caroline & Phil Moïse Moore, Colson & Company, P.C. Gretchen Nagy & Allan Sandlin ∞ Leadership Council We salute these extraordinary donors who have signed pledge commitments to continue their support for three years or more. For information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@ atlantasymphony.org.
°We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased
52 | encore ASO | SUPPORT (cont.) Mr. Kenneth M. Neighbors Dr. Evelyn R. Babey Burton Trimble Ms. Eunice Luke & Ms. Valdoreas May Chilton & Morgan* Varner Lisa & Joe Bankoff Dr. & Mrs. Ellis L. Malone The Norfolk Southern Amy & Robert Vassey Asad Bashey Ms. Erin M. Marshall Corporation Alan & Marcia Watt Herschel Beazley Mr. & Mrs. Margaret H. Petersen Christopher D. Martin Mr. Nathan Watt Meredith Bell David F. & Maxine A.* Rock Dr. & Mrs. Belinda & Gino Massafra Ruthie Watts Thomas & Lynne Saylor Jerome B. Blumenthal Dr. & Mrs. Douglas Mattox Mr. & Mrs. Robert L. Welch The Simmons Foundation Mrs. Sidney W. Boozer The Fred & Sue McGehee Dr. Nanette K. Wenger Family Charitable Fund John & Yee-Wan Stevens Carol Brantley & WhoBody Inc. David Webster Ed & Linda McGinn° Mr. & Mrs. Suzanne B. Wilner Edward W. Stroetz, Jr. Margo Brinton & Ms. Erica McVicker Mr. & Mrs. M. Beattie Wood Eldon Park Stephen & Sonia Swartz Mr. Bert Mobley Mr. G. Kimbrough Taylor & Jacqueline A. & Mr. Cesar Moreno & $3,500+ Joseph E. Brown, Jr. Ms. Triska Drake Mr. Greg Heathcock A Friend of the Symphony(2) Judith D. Bullock George & Amy Taylor∞ Sue Morgan∞ Drs. Jay & Martin Mr. Paul E. Viera & CBH International, Inc Jane Morrison∞ Beard-Coles Ms. Gail O’Neill* John Champion & Music Matters Mr. John Blatz Dr. & Mrs. James O. Wells, Jr. Penelope Malone Mr. Thomas Nightingale Ms. Johanna Brookner Kiki Wilson Mr. & Mrs. Miles R. Cook Ms. Bethani Oppenheimer Mr. & Mrs. Dennis M. Chorba William & Patricia Cook Mr. & Mrs. Liz & Charlie Cohn° $7,500+ Carol Comstock & Edmund F. Pearce, Jr.° Ned Cone & Nadeen Green ∞ Jack & Helga Beam Jim Davis The Hellen Plummer Jean & Jerry Cooper Karen & Rod Bunn Janet & John Costello Charitable Foundation, Inc. Mr. Ramsey Fahs ∞ Patricia & William Buss Dillon Production Services Dr. & Mrs. John P. Pooler Mr. & Mrs. Louis Gump Mark Coan & Family Mr. & Mrs. Paul H. Dimmick John H. Rains Deedee & Marc* Hamburger Davis Broadcasting Inc. Xavier Duralde & Mr. & Mrs. Joel F. Reeves Barbara M. Hund Mary Barrett Ms. Diane Durgin Cammie & John Rice Cameron Jackson° Dieter Elsner & Sally W. Hawkins Vicki & Joe Riedel Mr. W. F. & Othene Munson Grace Taylor Ihrig° Ms. Felicia Rives Dr. Janice Johnston Robert S. Elster Foundation Ann & Brian Kimsey Betsy & Lee Robinson Wolfgang* & Mariana Laufer Dr. & Mrs. Carl D. Fackler Jason & Michelle Kroh Ms. Frances A. Root Ari & Fara Levine° Ellen & Howard Feinsand Mr. Robert M. Lewis, Jr. Mr. & Ms. Joseph A. Deborah & William Liss° Mr. & Mrs. William A. Flinn Roseborough Elvira & Jay Mannelly Martha & Reynolds Bruce W. & Avery C. Flower∞ Tiffany & Rich Rosetti∞ Berthe & Shapour McClatchey Mr. David L. Forbes Mobasser John T. Ruff In Memory of Marty & John Gillin° Mrs. Kay Adams* & Katherine Scott Dr. Frank S. Pittman III Mr. Ralph Paulk° Dr. Paul Gilreath Mallie Sharafat Ms. Kathy Powell Perkins & Will Mary* & Charles Ginden Suzanne Shull Leonard Reed Hamilton & Mason Smith Mr. & Mrs. Richard Goodsell∞ Gerald & Nancy Silverboard Mrs. Susan H. Reinach Melanie & Tucker Green Tom & Ani Steele Baker & Debby Smith S.A. Robinson Martha Reaves Head Ms. Juliana T. Vincenzino Ms. Cynthia Smith Mr. David Roemer Azira G. Hill Drs. Jonne & Paul Walter Dr. K. Douglas Smith Dr. & Mrs. Rein Saral Tad & Janin Hutcheson Mr. David J. Worley & Mr. & Mrs. Donna Schwartz Ms. Bernadette Drankoski Mr. Justin Im & Peter Stathopoulos Ms. Martha Solano Dr. Nakyoung Nam Camille W. Yow In memory of Mr. & Mrs. Art Waldrop Aaron & Joyce Johnson Elizabeth B. Stephens by Mr. & Mrs. Rhys T. Wilson $5,000+ Powell, Preston & Sally∞ Mr. & Mrs. Baxter Jones Ms. Sonia Witkowski A Friend of the Symphony (3) Mr. Jonathan Kamenear Dede & Bob Thompson Dr. & Mrs. Marshall Abes Mr. & Mrs. Peter Toren Paul* & Rosthema Kastin Azalea City Chapter of Links Mr. Charles R. Kowal Trapp Family
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$2,000+ Erica Endicott & Peggy & Jerry Stapleton Mr. & Mrs. Chris Le A Friend of the Symphony(2) Chris Heisel James & Shari Steinberg Mr. & Mrs. J. David Lifsey Mr. & Mrs. Taylor Fairman 2492 Fund Richard M. Stormont* Jun-Ching Lin & Mr. & Mrs. Paul G. Farnham Helen Porter Mr. & Dr. Paul Akbar Dr. & Mrs. John P. Straetmans Mr. & Mrs. Massoud Fatemi Azy Lotfi & Max Lotfi Mr. James L. Anderson Beth & Edward Sugarman Dr. Marcus Marr Dr. Karen A. Foster Ms. Debra Atkins & Ms. Mary Ann Wayne Kay R Summers Mrs. Sam Massell Annie Frazer & Jen Horvath The Atlanta Music Club Tegna Foundation In Memory of Pam McAllister Ms. Elizabeth C. French Anthony Barbagallo & Ms. Linda F. Terry Mr. & Mrs. James McClatchey Dr. Brenda G. Turner Gaby Family Foundation Kristen Fowks∞ Ms. Susan Bass & Mr. & Mrs. Sebastien Galtier Birgit & David McQueen Vogel Family Foundation Mr. Tom Bradford Anna & Hays Mershon Raj & Jyoti Gandhi Dr. James L. Waits Family Foundation Dr. Laura Beaty Mr. & Mrs. Mr. Charles D. Wattles & Thomas B. Mimms, Jr. Mr. & Mrs. C. Ben Garren Bell Family Foundation Ms. Rosemary C. Willey for Hope Inc Mrs. Pat Mitchell & Sandra & John Glover David & Martha West Mr. Scott Seydel Susan & Jack Bertram Mrs. Janet D. Goldstein Russell F. Winch & Hala and Steve Catherine Binns & Mark B. Elberfeld Mr. Robert Golomb Jim Honkisz* Moddelmog Zaban Foundation, Inc. Mr. & Mrs. Daniel P. Griffin Leon & Joy Borchers Herbert* & Grace Zwerner Richard & Debbie Griffiths Mr. Charles Morn Andrew & Elissa Bower° Janice & Tom Munsterman∞ Mr. & Mrs. Melanie & Allan Nelkin Martha S. Brewer George Gunderson Agnes V. Nelson Harriet Evans Brock Phil & Lisa Hartley Patron Leadership Gary R. Noble, MD & Dr. Aubrey Bush & Mr. & Mrs. Steve Hauser° (PAL) Committee Dr. Carol Bush Joanne Heckman Mr. & Mrs. John Hellriegel We give special Mr. & Mrs. Walter K. Canipe Ms. Elizabeth Hendrick Donald S. Orr & thanks to this Marcia K. Knight Betty Fuller Case Ms. Ann Herrera & dedicated group of Mr. & Mrs. Mr. James Cobb Ms. Mary M. Goodwin Atlanta Symphony Solon P. Patterson Coenen-Johnson Mr. Kenneth & Orchestra donorMr. & Mrs. Foundation Ms. Colleen Hey volunteers for their Jonathan K. Peterson Susan S. Cofer Sarah & Harvey Hill, Jr.° commitment to Ponce de Leon Music Malcolm & Ann Cole Laurie House Hopkins & each year’s annual Store John D. Hopkins Ralph & Rita Connell support initiatives: James & Bridget Horgan° Mr. & Ms. Matt & Kate Cook Linda Matthews Douglas R. Powell Ms. & Mr. Carli Huband Mrs. Nancy Cooke chair Sharon & David Richard & Linda Hubert Mary Carole Cooney & Kristi Allpere Schachter° Henry R. Bauer, Jr. Dona & Bill Humphreys Helga Beam Drs. Bess Schoen & Ms. Elizabeth Wiggs Cooper International Women’s Bill Buss Andrew Muir Forum & Mr. Larry Cooper Pat Buss Drs. Lawrence & Nancy & John Janet R. Carter & Marjorie A. Kristen Fowks Rachel Schonberger Crittenden Foundation Ms. Rebecca Jarvis Deedee Hamburger Nick & Annie Shreiber Mr. & Mrs. Paul M. Cushing Mrs. Gail Johnson Judy Hellriegel Helga Hazelrig Siegel Dr. & Mrs. F. Thomas Daly, Jr. Cecile M. Jones Nancy Janet Diana Silverman Mr. & Mrs. Kyle Dasher Lana M. Jordan Belinda Massafra Jeanne S. & S. Priscilla Davis William L. & Sally S. Jorden James Simpson Sally Parsonson Delta Community Teresa M. Joyce, Ph.D The Society, Inc June Scott Credit Union Mona & Gilbert Kelly° The Alex & Betty Milt Shlapak Mr. David S. Dimling Mr. Lewis King Smith Donor-Advised Jonne Walter Mr. & Mrs. Graham Dorian Mr. & Mrs. Theodore J. Endowment Fund Marcia Watt Mr. & Mrs. Robert G. Edge Lavallee, Sr. Anne-Marie Sparrow Diana Einterz Lillian Balentine Law °We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased
54 | encore Barbara & John Henigbaum Jill* & Jennings* Hertz Mr. Albert L. Hibbard Richard E. Hodges H E N RY S O P K I N C I R C L E Mr.* & Mrs. Charles K. Holmes, Jr. Named for the Atlanta Symphony Orchestra’s Mr.* & Mrs.* Fred A. Hoyt, Jr. founding Music Director, the HENRY SOPKIN Jim* & Barbara Hund CIRCLE celebrates cherished individuals and Clayton F. Jackson families who have made a planned gift to the Mary B. James Nancy Janet Atlanta Symphony Orchestra. These special Mr. Calvert Johnson & donors preserve the Orchestra’s foundation Mr. Kenneth Dutter and ensure success for future generations. deForest F. Jurkiewicz* Herb* & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey A Friend of the James W.* & Mary Ellen* Symphony (22) Kitchell Janie Cowan Madeline* & Howell E. Mr. & Mrs. William R. Cummickel Paul Kniepkamp, Jr. Adams, Jr. Bob* & Verdery* Cunningham Vivian & Peter de Kok Mr.* & Mrs.* John E. Aderhold Miss Florence Kopleff* Mr. Richard H. Delay & Paul & Melody Aldo Dr. Francine D. Dykes Mr. Robert Lamy Mr. & Mrs. Ronald R. Antinori John R. Donnell James H. Landon Dr. & Mrs. William Bauer Dixon W. Driggs* Ouida Hayes Lanier Helga Beam Pamela Johnson Drummond Lucy Russell Lee* & Mr. Charles D. Belcher* Gary Lee, Jr. Mrs. Kathryn E. Duggleby Neil H. Berman Ione & John Lee Catherine Warren Dukehart* Susan & Jack Bertram Mr. Larry M. LeMaster Ms. Diane Durgin Mr.* & Mrs.* Karl A. Bevins Mr.* & Mrs.* William C. Lester Arnold & Sylvia Eaves The Estate of Donald S. & Liz & Jay* Levine Mr. & Mrs. Robert G. Edge Joyce Bickers Robert M. Lewis, Jr. Geoffrey G. Eichholz* Ms. Page Bishop* Carroll & Ruth Liller Elizabeth Etoll Mr.* & Mrs.* Sol Blaine Ms. Joanne Lincoln* Mr. Doyle Faler John Blatz Jane Little* Brien P. Faucett Rita & Herschel Bloom Mrs. J. Erskine Love, Jr.* Dr. Emile T. Fisher* The Estate of Mrs. Nell Galt & Will D. Magruder Moniqua N Fladger Gilbert H. Boggs, Jr. K Maier Mr. & Mrs. Bruce W. Flower W. Moses Bond John W. Markham* A. D. Frazier, Jr. Mr.* & Mrs. Robert C. Boozer Mrs. Ann B. Martin Nola Frink* Elinor A. Breman* Linda & John Matthews Betty* & Drew* Fuller Carol J. Brown Mr. Michael A. McDowell, Jr. Sally & Carl Gable James C. Buggs* Dr. Michael S. McGarry William & Carolyn Gaik Mr. & Mrs.* Richard H. Burgin Richard & Shirley McGinnis Dr. John W. Gamwell* Hugh W. Burke* Mr.* & Mrs.* L.L. Gellerstedt, Jr. John & Clodagh Miller Mr. & Mrs. William Buss Ms. Vera Milner Ruth Gershon & Sandy Cohn Wilber W. Caldwell Mrs. Gene Morse* Micheline & Bob Gerson Mr. & Mrs. C. Merrell Calhoun Ms. Janice Murphy* Max Gilstrap Cynthia & Donald Carson Mr. & Mrs. Bertil D. Nordin Mr. & Mrs. John T. Glover Mrs. Jane Celler* Mrs. Amy W. Norman* Mrs. David Goldwasser Lenore Cicchese* Galen Oelkers Robert Hall Gunn, Jr. Fund Margie & Pierce Cline Roger B. Orloff Billie & Sig Guthman Dr. & Mrs. Grady S. Barbara D. Orloff Betty G.* & Joseph* F. Haas Clinkscales, Jr. Dr. Bernard* & Sandra Palay James & Virginia Hale Suzanne W. Cole Sullivan Sally & Pete Parsonson Ms. Alice Ann Hamilton Robert Boston Colgin James L. Paulk Dr. Charles H. Hamilton* Mrs. Mary Frances Ralph & Kay* Paulk Sally & Paul* Hawkins Evans Comstock* Dan R. Payne John* & Martha Head Miriam* & John A.* Conant Bill Perkins Ms. Jeannie Hearn* Dr. John W. Cooledge
Mrs. Lela May Perry* Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce* Reverend Neal P. Ponder, Jr. Dr. John B. Pugh William L.* & Lucia Fairlie* Pulgram Ms. Judy L. Reed* Carl J. Reith* Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers* David F. & Maxine A.* Rock Glen Rogerson* Tiffany & Richard Rosetti Mr.* & Mrs.* Martin H. Sauser Bob & Mary Martha Scarr Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. Barbara S. Schlefman Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall* Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling* Ms. Barbara Stewart Beth & Edward Sugarman C. Mack* & Mary Rose* Taylor Isabel Thomson* Jennings Thompson IV Margaret* & Randolph* Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.* & Mrs.* Charles R. Yates
*Deceased
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ASO | STAFF EXECUTIVE
Kelly Edwards
Nancy James
Jennifer Barlament
director of operations
front of house supervisor
FINANCE & ADMINISTRATION
executive director
Renee Hagelberg
Erin Jones
manager of orchestra
director of sales &
Susan Ambo
Alvinetta Cooksey executive &
personnel
audience development
& cfo
finance assistant
Joshua Luty
Jesse Pace
Kimberly Hielsberg
Dautri Erwin
principal librarian
senior manager of
vice president of finance
executive assistant
Emily Fritz-Endres executive management fellow
ARTISTIC Gaetan Le Divelec vice president, artistic planning
Hannah Davis choral and artistic manager
RaSheed Lemon aso artist liaison
Ebner Sobalvarro artistic administrator
EDUCATION & COMMUNITY ENGAGEMENT
MARKETING & COMMUNICATIONS
ticketing & patron experience
Delle Beganie content & production
patron services & season
manager
Leah Branstetter director of
Robin Smith
ticket associate
Jake Van Valkenburg sales coordinator
digital content
Milo McGehee
Meredith Chapple
guest services
marketing coordinator
Adam Fenton director of multimedia technology
Will Strawn
coordinator
Anna Caldwell guest services associate
ATLANTA SYMPHONY HALL LIVE
education
Lisa Eng
Michelle Hannaford
Ryan Walks
creative services
talent development
director of marketing, live marketing manager, live
manager, live
program manager
Mia Jones-Walker
Elena Gagon
marketing manager
coordinator of education
& community engagement Elizabeth Graiser manager of operations & asyo
OPERATIONS Victoria Moore interim general manager
Paul Barrett senior production stage manager
Sara Baguyos associate principal librarian
Richard Carvlin stage manager
director of diversity,
Dennis Quinlan equity & inclusion manager, business insights April Satterfield & analytics controller
Caitlin Buckers
senior director of
Brandi Hoyos
Ashley Mirakian vice president, marketing & communications
Nicole Panunti vice president, atlanta
Sarah Grant
executive vice president
Camille McClain director of marketing
& communications Whitney Hendrix creative services manager, aso
Bob Scarr archivist & research coordinator
Madisyn Willis marketing manager
SALES & REVENUE MANAGEMENT Russell Wheeler vice president, sales & revenue management
symphony hall live
associate director of events & hospitality
Christine Lawrence associate director of guest services
Jessi Lestelle event manager
Michael Tamucci associate director of performance management, atlanta symphony hall live
Dan Nesspor
ticketing manager, atlanta symphony hall live
Liza Palmer event manager
Brandi Reed staff accountant
DEVELOPMENT Grace Sipusic vice president of development
Cheri Snyder senior director of development
William Keene director of annual giving
James Paulk senior annual giving officer
Renee Contreras director of foundation and corporate relations
Esther Kim
development associate, major gifts
Dana Parness manager of individual giving & prospect research
Sharveace Cameron senior development associate
Sarah Wilson manager of development operations
56 | encore ASO | CORPORATE & GOVERNMENT SUPPORT
Major support is provided by the Mayor’s Office of Cultural Affairs.
Major funding is provided by the Fulton County Board of Commissioners.
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
This program is supported in part by an award from the National Endowment for the Arts.
THE WOODRUFF CIRCLE arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High opportunities for enhanced access to the work.
$1,000,000+
* A Friend of the Atlanta Symphony Orchestra
*
The Imlay Foundation*
$500,000+ Anonymous* A Friend of the Atlanta Symphony Orchestra The Antinori Foundation Bank of America* Chick-fil-A Foundation | Rhonda & Dan Cathy
Emerald Gate Charitable Trust The Home Depot Foundation Sarah & Jim Kennedy Patty & Doug Reid*
$250,000+ Accenture Elizabeth Armstrong* AT&T Foundation Farideh & Al Azadi Foundation The Molly Blank Fund The Halle Foundation Invesco QQQ Novelis, Inc.
The Rich Foundation, Inc. The Shubert Foundation Truist Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund and Truist Trusteed Foundations: The Greene-Sawtell Foundation UPS WestRock
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 opportunities for enhanced access to the work.
$100,000+ 1180 Peachtree A Friend of the Atlanta Symphony Orchestra ACT Foundation Alston & Bird Around the Table Foundation* Atlantic Station The Helen Gurley Brown Foundation Cadence Bank
The Community Foundation for Greater Atlanta Cousins Foundation Sheila Lee Davies & Jon Davies Barney M. Franklin & Hugh W. Burke Charitable Fund Fulton County Board of Commissioners Georgia Council for the Arts Georgia-Pacific Estate of Burton M. Gold Google Graphic Packaging International, Inc. John H. & Wilhelmina D. Harland Charitable Foundation
Mr. & Mrs. Hilton H. Howell, Jr. Jocelyn J. Hunter* Jones Day Foundation & Employees Kaiser Permanente Abraham J. & Phyllis Katz Foundation King & Spalding, Partners & Employees The Sartain Lanier Family Foundation* Charles Loridans Foundation, Inc. Lululemon The Marcus Foundation, Inc. The Sara Giles Moore Foundation National Endowment for the Arts Norfolk Southern Foundation Amy W. Norman Charitable Foundation Northside Hospital PNC Bob & Margaret Reiser* Southern Company Gas Carol & Ramon Tomé Family Fund Warner Bros. Discovery Kelly & Rod Westmoreland Ann Marie & John B. White, Jr. wish Foundation
*A portion or entirety designated to Capital and and/or Endowment
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony