Encore Atlanta August ASO Verizon by Encore Magazine

Rising

Stars August 15, 2009

In tune with great music. Much like a musician spends countless hours perfecting and refining their music, we continually strive to refine our performance. With the latest technology and devices, plus features like V CAST Music and Video, Mobile TV, messaging and more, Verizon Wireless has the perfect arrangement for you.

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Dear Music Lovers,

Welcome

to the second season of the Atlanta Symphony Orchestra at Verizon Wireless Amphitheatre at Encore Park!

Last summer we explored fresh possibilities of bringing classical music to our new summer home. Together, with your tremendous support, we cultivated new traditions that enriched our musical experiences. We were overjoyed by the warm welcome we received from the greater North Fulton Community, and by the overwhelming response we continue to have about the gorgeous surroundings and acoustics at Verizon Wireless Amphitheatre. Thank you for making our 2008 opening summer an extraordinary experience for us all. This season, in response to your feedback, we are delighted to bring you more of the effervescent musical experiences and traditions we have grown to love. You will continue to hear what ASO musicians and guest artists have to say about each eveningâ&#x20AC;&#x2122;s concert at our Top of the Lawn conversations; text message your questions to guest artists to see and hear the answers during live on-site broadcasts projected on large screens throughout the summer; and join in the fun of themed evenings by dining on specially prepared food and beverages at each concert. Your enthusiasm for our movie-themed fare at Turner Classic Movie Night, world-cuisine offered at our classical concerts, and our gourmet picnic baskets, has encouraged endless creative possibilities for this summerâ&#x20AC;&#x2122;s themed menus! This year, we carry on the traditions we have created together to make every night a unique, magical experience. We are delighted to share Atlanta Symphony Orchestra events with you. Enjoy! Yours in music,

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

Encore Atlanta

Robert Spano Music Director

The arts nourish our hearts and imaginations. For that reason and many more, weâ&#x20AC;&#x2122;re proud to support the arts in Atlanta.

Encore Park for the Arts The Legacy Founders Robert W. Woodruff Arts Center

Atlanta Symphony Orchestra

Robert W. Woodruff Foundation

City of Alpharetta

Fulton County The Estate of Margaret and Board of John A. Conant Bob Reiser Commissioners under the guidance of the Fulton County Arts Council

Atlanta Symphony Orchestra Atlanta Symphony Orchestra League 2009-2010 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer Jeff Mango Penny McPhee Chilton Davis Varner Allison Vulgamore * Kathleen (Suzy) Wasserman * ASA President Joni Winston Secretary

Directors Pinney L. Allen Joseph R. Bankoff * Jan Bennett Jason A. Bernstein Paul Blackney C. Merrell Calhoun Donald P. Carson Philip Cave Ann W. Cramer Christopher Crommett Cari K. Dawson Carla Fackler Gary P. Fayard Dr. Robert Franklin Paul Garcia Willem-Jan O. Hattink

Jim Henry Edward S. Heys, Jr. Tycho Howle Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Mike Lang Donna Lee Lucy Lee Meghan H. Magruder Jeff Mango Darrell J. Mays JoAnn McClinton

Penny McPhee Giorgio Medici Charles Moseley Galen Oelkers Victoria Palefsky Leslie Z. Petter Patricia Reid Margaret Conant Reiser Martin Richenhagen John D. Rogers Dennis Sadlowski William Schultz Tom Sherwood John Sibley Hamilton Smith Thurmond Smithgall

Gail R. Starr Mary Rose Taylor Liz Troy Ray Uttenhove Chilton Davis Varner Allison Vulgamore * Rick Walker Mark Wasserman Kathleen (Suzy) Wasserman * John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Patrice Wright-Lewis Camille Yow

John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley George Lanier Patricia Leake Mrs. William C. Lester

Mrs. J. Erskine Love Carolyn C. McClatchey John W. McIntyre Bertil D. Nordin Dell P. Rearden Joyce Schwob Mrs. Charles A. Smithgall, Jr.

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

Azira G. Hill

Dr. James M. Hund

Arthur L. Montgomery

* ex officio

Board of counselors Howell E. Adams, Jr. Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell

Jere Drummond Arnoldo Fiedotin Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys

Life Directors Mrs. Drew Fuller

Mary D. Gellerstedt

Encore Park for the Arts 2009-2010 Board of Directors Joseph R. Bankoff Chair Paul Hogle Secretary Stephen P. Merz Treasurer

Encore Atlanta

Brandon Beach Barrie Davenport Donald F. Fox Alex Gross

Penn Hodge Dona Humphreys Clay Jackson Bruce Kenney Lucy Lee

Mayor Arthur Letchas Mike Nixon Fulton County Commissioner Lynne Riley

Clay Schell Mike Troy Allison Vulgamore

’

Robert Spano, conductor

usic Director Robert Spano, currently in his eighth season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Last season, Mr. Spano conducted and recorded the Atlanta Symphony Orchestra and Chorus in Puccini’s La Bohème, the first American recording of the opera since 1956. It was released by Telarc in conjunction with the semi-staged performance he led at Verizon Wireless Amphitheatre at Encore Park, the Orchestra’s new state-of-the-art 12,000-seat venue in Alpharetta, Ga., where he conducted all of the orchestral concerts in the inaugural season. Since 2001, Mr. Spano has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim. The Orchestra and audiences together explore a creative programming mix, recordings and visual enhancements, such as Theater of a Concert, the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience (such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008). The Atlanta School of Composers reflects Mr. Spano and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, and Michael Gandolfi. Since the beginning of his tenure, Mr. Spano and the ASO have performed nearly 100 contemporary works (composed since 1950), including seven ASO-commissioned world premieres, two additional world premieres and one U.S. premiere. Mr. Spano continues to expand the discography of the Atlanta Symphony to include the music of Atlanta School of Composers Christopher Theofanidis, Jennifer Higdon and Michael Gandolfi, as well as John Adams, David Del Tredici, Sibelius’s Kullervo, Brahms’s Requiem, a recently released live recording of La Bohème and the Grammy® Award-winning recordings of Vaughan Williams’s A Sea Symphony and Berlioz’s Requiem. Mr. Spano and the ASO also have recently recorded two discs of the music by Atlanta School of Composers Osvaldo Golijov for Deutsche Grammophon: one including Three Songs and Oceana, and the other including the chamber opera Ainadamar, which was awarded two Grammys. In 2008, Robert Spano was named Musical America’s Conductor of the Year.

Atlanta Symphony Orchestra

he Atlanta Symphony Orchestra, currently in its 64th season, is one of America’s leading orchestras, known for the excellence of its live performances, presentations, renowned choruses and its impressive list of Grammy Awardwinning recordings. With the opening of the 12,000-seat Verizon Wireless Amphitheatre at Encore Park (vzwamp. com) in May 2008, the Atlanta Symphony Orchestra became the first U.S. orchestra to annually perform and present in its concert hall and in two amphitheaters. In Summer 2008, the Orchestra celebrated 35 years at the legendary Chastain Park Amphitheater, the award-winning 6,500-seat venue in Atlanta, during the ASO’s annual Delta Classic Chastain concert series (classicchastain.com). The leading cultural organization in the Southeast, the Atlanta Symphony Orchestra serves as the cornerstone for artistic development and music education in the region. Under the Creative Partnership of Music Director Robert Spano, Principal Guest Conductor Donald Runnicles, and President and CEO Allison Vulgamore since September 2001, the Orchestra and audiences together explore a creative programming mix, recordings, and visual enhancements, such as the ASO Theater of a Concert, the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience. Another example is the Atlanta School of Composers, which reflects Mr. Spano and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers. During its 31-year history with Telarc, the Orchestra has recorded more than 100 albums, and its recordings have won 26 Grammy Awards in categories including Best Classical Album, Best Orchestral Performance, Best Choral Performance and Best Opera Performance. The ASO Chorus has earned nine Grammy Awards for Best Choral Performance, most recently for the Berlioz Requiem in 2005. The Atlanta Symphony Orchestra performs more than 200 concerts each year to a combined audience of more than a half million in a full schedule of performances which also feature educational and community concerts. A recognized leader and supporter of contemporary American music, the Orchestra recently received the 2007 award for Strongest Commitment to New American Music from the American Society of Composers, Authors and Publishers.

Encore Atlanta

Atlanta Symphony Orchestra

Verizon Wireless Amphitheatre at Encore Park

Rising Stars Saturday, August 15, 2009, 8 pm Ilyich Rivas, Conductor Elena Urioste, Violin

Giuseppe Verdi (1813-1901) Overture to I vespri siciliani (1855) Felix Mendelssohn (1809-1847) Violin Concerto in E minor, Opus 64 (1844) I. Allegro molto appassionato II. Andante III. Allegretto non troppo; Allegro molto vivace Elena Urioste, Violin

INTERMISSION Peter Ilyich Tchaikovsky (1840-1893) Symphony No. 4 in F minor, Opus 36 (1878) I. Andante sostenuto— Moderato con anima— Moderato assai, quasi Andante— Allegro vivo II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato—Allegro IV. Finale: Allegro con fuoco

Atlanta’s Performing Arts Publication

Notes on the program by Ken Meltzer

Giuseppe Verdi was born in Roncole, Italy, on October 9 or 10, 1813, and died in Milan, Italy, on January 27, 1901. The first performance of I vespri siciliani took place at the Opéra in Paris, France, on June 13, 1855. Approximate performance time is nine minutes. Overture to I vespri siciliani (1855)

iuseppe Verdi’s opera, Sicilian Vespers, premiered at the Paris Opéra on June 13, 1855. In its original version, Les vêpres siciliennes was in the form of a French grand opera, set in five acts. Later, the opera was translated into Italian as I vespri siciliani for performances in Parma and La Scala. The opera’s complex plot was the kind that greatly appealed to Verdi throughout his career. Set in Sicily in 1282 during the French occupation, Sicilian Vespers deals with the conflict between political duty and private desires, leading to tragic consequences. The Overture, which incorporates melodies from the opera, is one of Verdi’s most thrilling. Along with the Overture to Verdi’s La forza del destino (The Force of Destiny) (1862), the Overture to Sicilian Vespers maintains a regular place not only in the opera house, but the concert hall as well.

Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and died in Leipzig, Germany, on November 4, 1847. The first performance of the E-minor Concerto took place at the Gewandhaus in Leipzig on March 13, 1845, with Ferdinand David as soloist and Niels W. Gade conducting. Approximate performance time is twentynine minutes. Violin Concerto in E minor, Opus 64 (1844)

a letter of July 30, 1838, Felix Mendelssohn informed violinist Ferdinand David (1810-1873), that he was contemplating n a new Violin Concerto for his dear friend. David, then concertmaster of Mendelssohn’s Gewandhaus Orchestra of Leipzig, was of course delighted.

The progress of the Concerto was rather slow, as Mendelssohn tended to other obligations. But David continued to encourage Mendelssohn, and the composition of the Violin Concerto proved to be a true collaborative effort. The violinist repeatedly offered constructive suggestions for modifications to the score-in-progress. In fact, it is generally believed that David was essentially responsible for the beautiful first-movement cadenza. Finally, in December of 1844, Mendelssohn forwarded the score of the Violin Concerto to his publisher. But even then, Mendelssohn listed several corrections for David’s review. Mendelssohn confided to his friend: “‘Thank God that the fellow is through with his concerto!’, you will say. Excuse my bothering you, but what can I do?” Mendelssohn dedicated the Concerto to David, who appeared at the March 13, 1845 Gewandhaus premiere. Mendelssohn was recuperating from an illness at the time. Niels W. Gade served as the conductor for that highly successful first performance. The Concerto was repeated during the subsequent Gewandhaus season. David was again the soloist at the October 20, 1845 concert, this time with Mendelssohn on the podium. To this day, the Mendelssohn E-minor remains one of the most beloved of violin concertos. The seamless, inevitable flow of the work belies the years of struggle invested by Mendelssohn and his worthy collaborator, Ferdinand David. The E-minor Concerto, along with such works as the Overture to the Incidental Music for A Midsummer Night’s Dream (1826), and the Octet for Strings (1825), represent Mendelssohn at his zenith, a composer demonstrating the capacity to approach, and perhaps even achieve, perfection. The Mendelssohn Violin Concerto is in three movements, played without pause. The opening movement (Allegro molto appassionato) begins with the soloist’s introduction of the haunting principal melody that the composer admitted, “leaves me no peace.” The solo cadenza appears before the recapitulation of the central themes, leading to the tempestuous closing bars. The slow movement (Andante) is fashioned along the lines of a lyrical opera aria, with the violinist taking on the role of the vocal soloist. The finale (Allegretto non troppo; Allegro molto vivace) is a playful, joyous affair, which concludes in triumphant fashion, with brilliant writing for the soloist.

10 Encore Atlanta

Peter Ilyich Tchaikovsky was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Symphony No. 4 took place in Moscow on February 22, 1878, with Nikolai Rubinstein conducting. Approximate performance time is forty-three minutes. Symphony No. 4 in F minor, Opus 36 (1878)

“T

his is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal…” That is how Peter Ilyich Tchaikovsky described the implacable opening bars of his Fourth Symphony. Tchaikovsky composed this great work during one of the most turbulent periods in his life, a time when the power of Fate must have been paramount in his mind. Tchaikovsky completed the Symphony on January 7, 1878. On July 18 of the previous year, Tchaikovsky wed Antonina Milyukova. Tchaikovsky realized from the outset that the marriage was a mistake. He lapsed into a profound depression, and later attempted suicide. Finally, on October 6—less than three months after the wedding—Tchaikovsky left his wife forever, rushing to St. Petersburg to meet his brother, Anatoly. Tchaikovsky suffered a nervous breakdown, and doctors stated that a resumption of the marital relationship was out of the question. Tchaikovsky, under doctor’s orders, journeyed to Switzerland for recuperation. It was during the course of this extraordinarily turbulent period that Tchaikovsky composed his Fourth Symphony. He finally completed the work on January 7, 1878. The premiere took place in Moscow on February 22 of that year, under Nikolai Rubinstein’s direction. Tchaikovsky dedicated the Symphony to his patroness, Nadezhda von Meck, whom the composer described as “my best friend.” And, in a letter to von Meck, Tchaikovsky divulged the meaning of his Fourth Symphony (all of Tchaikovsky’s comments are indented, below): I. Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante—Allegro vivo— The introduction is the germ of the whole symphony, unarguably the main idea. This is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal, that jealously ensures our well-being and peace are not unclouded, that hangs over our heads like the sword of Damocles, that with steadfast persistence poisons our souls. It is invincible, you will never master it. One can only resign oneself to fruitless sorrow. Tchaikovsky depicts the inexorable power of Fate with stunning fanfares by the brass and winds. It is one of the most arresting and dramatic openings in all of symphonic literature. The joyless, hopeless feeling becomes more powerful and fierce. Would it not be better to turn away from reality and submerge oneself in dreams? Oh joy! There is at least a sweet and tender dream appearing! A bright and gracious human form flits by and lures us on somewhere. How lovely! And how remote the obsessive first allegro theme now sounds! The dreams have gradually taken full possession of the soul. All that was gloomy and joyless is forgotten. Here it is, here is happiness! No! They were dreams and Fate rouses us from them. So life is a constant alternation between grim reality and evanescent visions and dreams of happiness...There is no haven. Sail upon that ocean until it seizes you and engulfs you in its depths. That is roughly the program of the first movement. II. Andantino in modo di canzona— The second movement of the symphony expresses another phase of depression: that melancholy feeling that comes on in the evening, when you are sitting on your own, tired with work, and you take up a book but it falls out of your hands. Memories come flooding in. It is sad that so much has been and gone; it is pleasant to recollect one’s youth. One regrets the passing of time yet there is no wish to begin life anew. Life wears one out. It is pleasant to rest and reflect. There are so many memories! There have been happy moments when young blood coursed through the veins and life was good. There have also been difficult times, irreplaceable losses. But now that is all somewhere in the past. There is a sweet sadness in burying oneself in the past. III. Scherzo: Pizzicato ostinato—Allegro— The third movement does not express any precise feelings. These are whimsical arabesques, the elusive images that flash across one’s imagination when one has had a little wine to drink and is in the first stage of intoxication. One’s spirits are not happy, but neither are they sad. One does not think about anything: one gives free reign to one’s imagination that, for some reason, sets about painting strange pictures. Amongst them one recalls a picture of some roistering peasants and a street song. Then somewhere in the distance a military parade goes by. There is no connection between these images that are like those which flash through your mind as you are going to sleep. They have nothing to do with reality: they are strange, wild, and incoherent.

Atlanta’s Performing Arts Publication 11

IV. Finale: Allegro con fuoco— The fourth movement. If you find no cause for joy in yourself, look to others. Go amongst the common people and see now they know how to enjoy themselves, abandoning themselves completely to feelings of joy. Picture of a peasant celebration on a holiday. But scarcely have you managed to forget yourself and be distracted by the sight of other people’s pleasures than inexorable Fate appears once more and reminds you of its existence. Tchaikovsky portrays the “peasant celebration” by quoting a popular Russian folk song, “The Little Birch Tree,” sung by the winds after the Finale’s brief, raucous introduction. Later, the celebration is interrupted by the return of the “Fate” motif that launched the Symphony’s first movement. Tchaikovsky continues: But you are no concern of anyone else. They do not even turn round, they do not glance at you, and they have not noticed that you are lonely and sad. Oh! What fun it is for them! They are so lucky that all their feelings are simple and direct. Blame yourself and do not say that all the world is sad. There are simple but potent pleasures. Enjoy other people’s happiness. One can live despite everything.

Ilyich Rivas, conductor

lyich Rivas was born in Venezuela in 1993 into a very distinguished musical family - his father Alejandro Rivas is also a conductor and was, for a number of seasons, Music Director of the Metro State Symphony Orchestra in Denver. From when Ilyich was a very young boy it was clear he had a natural talent for conducting, and he started studying with his father when he was just six years of age. Last year Ilyich was selected as one of seven young conductors from around the world to participate in the prestigious Cabrillo Festival Conductors Workshop in California with Marin Alsop and Ilyich Rivas Gustav Meier. During the course Ilyich made a very significant impression on both Marin Alsop and Gustav Meier and this has resulted in him being awarded, after an audition in front of the Baltimore Symphony Orchestra, the position of Baltimore Symphony Orchestra/Peabody Institute Conducting Fellow starting in September 2009. This position permits Ilyich to study conducting at the Peabody Conservatory under Gustav Meier’s guidance and to work closely with the Baltimore Symphony alongside Marin Alsop and conducting the BSO on certain occasions. Each summer during the last few years, Ilyich has returned to Venezuela to conduct one of the youth orchestras in his own city, the Orquesta Simón Bolívar del Táchira. This summer Ilyich was invited by Glyndebourne Opera to attend rehearsals and performances at this year’s festival and to be mentored by Vladimir Jurowski. Following Glyndebourne he also attended the first Verbier Festival Conducting Academy. On his return to the US in August, he makes his professional conducting debut, conducting the Atlanta Symphony Orchestra in one of their summer festival concerts.

Elena Urioste, violin

lena Urioste, recently selected by Symphony magazine as an emerging artist to watch, has been hailed by critics and audiences alike for her rich tone, the nuanced lyricism of her playing, and her commanding stage presence. Since making her debut with the Philadelphia Orchestra at age thirteen as winner of the Greenfield Competition, she has appeared as soloist with major orchestras throughout the United States including the Cleveland Orchestra, Boston Pops, National Symphony Orchestra, Atlanta, Detroit, Pittsburgh, Baltimore, and Hartford Symphonies, as well as Hungary’s Orchestra Dohnanyi Budafok.

Elena Urioste

First-place laureate in both the Junior and Senior divisions of the Sphinx Competition, Miss Urioste made her Carnegie Hall debut in 2004 as a featured soloist in the inaugural Sphinx Gala Concert. Urioste has returned annually to that esteemed venue’s Stern Auditorium as soloist, and has also performed in recital at Carnegie’s Weill Recital Hall. In 2009, she will make her debut at Lincoln Center’s Alice Tully Hall with award-winning conductor Alondra de la Parra and the Philharmonic Orchestra of the Americas. She has collaborated with acclaimed pianists Christopher O’Riley and Ignat Solzhenitsyn; conductors Robert Spano, Keith Lockhart, and Michael Stern; and violinists Shlomo Mintz, Cho-Liang Lin, and David Kim, among others. A featured artist in the La Jolla, Sarasota, and Kingston Music Festivals, the International Young Artists Music Festival, and Switzerland’s Sion Valais International Festival of Music, Miss Urioste has been most recently invited to participate in the prestigious Marlboro Music Festival next summer.

12 Encore Atlanta

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Miss Urioste’s media appearances include multiple performances on the popular radio programs From the Top and Performance Today, as well as on Telemundo. She has been featured in the Emmy award winning documentary Breaking the Sound Barrier, and in numerous magazines, including Symphony, Strings, Careers and Colleges, and Philadelphia Music Makers. Miss Urioste’s first CD was recently released on the White Pine label. The 2007 first-prize winner of the Sion International Violin Competition, Miss Urioste was also awarded the audience prize and the prize for the best performance of the competition’s newly commissioned work. Miss Urioste is a graduate of the Curtis Institute of Music where she studied with Joseph Silverstein, Pamela Frank and Ida Kavafian, and is currently pursuing graduate studies at The Juilliard School with Joel Smirnoff. Other notable teachers include David Cerone and the late Rafael Druian. She is the past recipient of a Starling Foundation Scholarship at Temple University Music Preparatory Center for Gifted Young Musicians in Philadelphia, where she was a student of Choong-Jin Chang and Soovin Kim. The outstanding violin being used by Miss Urioste is a Michelangelo Bergonzi, Cremona, circa 1750, on extended loan through the generous efforts of Society for Strings, Inc., Meadowmount School of Music, from the private collection of Dr. Charles E. King. Elena Urioste appears by arrangement with Sciolino Artist Management. The use of cameras or recording devices during the concert is strictly prohibited. Four Seasons Hotel Atlanta is the preferred hotel of the ASO. Trucks provided by Ryder Truck Rental, Inc. Promotional support provided by WSB-AM and Atlanta Journal-Constitution

14 Encore Atlanta

Atlanta Symphony Orchestra Robert Spano, Music Director The Robert Reid Topping Chair *

Donald Runnicles, Principal Guest Conductor The Neil and Sue Williams Chair *

Jere Flint, Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair *

Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

Mei-Ann Chen, Assistant Conductor, League of american orchestras Conducting Fellow FIRST VIOLIN William Pu Associate/Acting Concertmaster

The Charles McKenzie Taylor Chair *

Justin Bruns

Assistant Concertmaster The Mary and Cherry Emerson Chair

Jun-Ching Lin

Assistant Concertmaster

Carolyn Toll Hancock

The AGL Resources Chair

Martha Reaves Head John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich SECOND VIOLIN David Arenz

Principal The Atlanta Symphony Associates Chair *

Sou-Chun Su

Associate Principal The FrancesCheney Boggs Chair *

Jay Christy

Assistant Principal

Eleanor Arenz Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Raymond Leung Ruth Ann Little Thomas O’Donnell Ronda Respess Sanford Salzinger Frank Walton

VIOLA Reid Harris

Principal The Edus H. and Harriet H. Warren Chair *

Paul Murphy

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Wesley Collins Robert Jones Marian Kent Yang-Yoon Kim• Catherine Lynn Lachlan McBane Heidi Nitchie Ardath Weck CELLO Christopher Rex

Principal The Miriam and John Conant Chair *

Daniel Laufer

Associate Principal The Livingston Foundation Chair

Karen Freer

Assistant Principal

Dona Vellek Klein

Assistant Principal Emeritus

Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Davin Rubicz• Paul Warner BASS Ralph Jones

OBOE Elizabeth Koch

Principal The George M. and Corrie Hoyt Brown Chair *

TROMBONE Colin Williams

Principal The First Union Chair

Stephen Wilson

Associate Principal The Patsy and Jere Drummond Chair

Yvonne Powers Peterson

Bill Thomas George Curran

Deborah Workman Patrick McFarland

BASS TROMBONE George Curran

ENGLISH HORN Patrick McFarland

TUBA Michael Moore

Associate Principal

CLARINET Laura Ardan

Principal The Robert Shaw Chair *

Principal TheGeorgia-Pacific Chair

TIMPANI Mark Yancich

Ted Gurch

Principal The Walter H. Bunzl Chair *

William Rappaport

William Wilder

Associate Principal The Lucent Technologies Chair

Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

Principal The Walter L. “Buz” Carr, III Chair

Elizabeth Burkhardt Associate Principal

Laura Najarian

Assistant Principal

PERCUSSION Thomas Sherwood Principal The Julie and Arthur Montgomery Chair *

William Wilder Assistant Principal Charles Settle** HARP Elisabeth Remy Johnson Principal The Delta Air Lines Chair

KEYBOARD

Principal The Marcia and John Donnell Chair *

The Pricewaterhouse Coopers Chair

Juan de Gomar

Gloria Jones

The Hugh and Jessie Hodgson Memorial Chair *

CONTRABASSOON Juan de Gomar

Peter Marshall † Beverly Gilbert † Sharon Berenson

Associate Principal

Jane Little

Assistant Principal Emeritus

Joseph Conyers• Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson FLUTE Christina Smith

Principal The Jill Hertz Chair *

Robert Cronin

Associate Principal

Paul Brittan

The Georgia Power Foundation Chair

Carl David Hall

16 Encore Atlanta

PICCOLO Carl David Hall

HORN Brice Andrus

Principal The Sandra and JohnGlover Chair

LIBRARY Rebecca Beavers Principal

Susan Welty

Steven Sherrill

Thomas Witte Richard Deane

John Wildermuth

Associate Principal

Assistant

TheUPS Community Service Chair

Bruce Kenney TRUMPET Thomas Hooten

Principal The Madeline and Howell Adams Chair* * Chair named in perpetuity • New this season Kevin Lyons **Leave of absence Associate Principal † Regularly engaged musician Joseph Walthall The SunTrustBank Chair Players in string sections are listed alphabetically. Michael Tiscione

Meet the Musicians of the Atlanta Symphony Orchestra

ere’s a handy Who’s Who of Atlanta Symphony Orchestra players, so you can say hello the next time you spot one out and about at the amphitheatre. As Associate Principal Cellist Daniel Laufer says, “I enjoy getting to know our patrons.”

18 Encore Atlanta

20 Encore Atlanta

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Creativity with Passion

2355 Mansell Rd. Alpharetta, GA 30022 (770) 650-6400 www.thedineratnorthpoint.com * This offer is not valid with any other offers or specials. $10 off the purchase of two entrĂŠes is only valid the evening of the Atlanta Symphony show. Ticket stub must be provided.

22 Encore Atlanta

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A Taste of the City in the Suburbs

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Shhh. Sounds like applause The Coca-Cola Company proudly supports

Atlanta’s Arts Community

“ A Dream Come True”

The ASO’s inaugural season at Verizon Wireless Amphitheatre provided a rush of excitement for new audiences throughout North Fulton County By Karl Schnittke

ate on the evening of May 10, 2008, well after the grand opening concert had ended and the audience, musicians and most of the staff had headed home, Atlanta Symphony Orchestra Music Director Robert Spano proclaimed loudly to the remaining handful of colleagues and friends that “Tonight was one of the greatest nights of my life.” The ASO’s new summer home at Verizon Wireless Amphitheatre at Encore Park in Alpharetta was in fact one of the greatest nights in the Orchestra’s 64-year history. Mr. Spano led an unforgettable performance, featuring Gershwin’s Rhapsody in Blue, the finale of Beethoven’s Symphony No. 9, and the Tchaikovsky 1812 Overture, with a cast of hundreds including the Orchestra’s Chorus, Youth Orchestra, and two marching bands from Alpharetta and Milton high schools.

26 Encore Atlanta

Table seating for patrons was a popular feature and will be available for all ASO concerts this season.

H I G H

HIGH MUSEUM OF ART ATLANTA

Monet Water Lilies

Claude Monetâ&#x20AC;&#x2122;s garden. Now in your own backyard.

Purchase tickets at High.org or call 404-733-HIGH.

Monet Water Lilies is a collaboration between The Museum of Modern Art, New York, and the High Museum of Art, Atlanta.

The exhibitions and programs of the MoMA Series are made possible by

Planning Partner

Experience Monetâ&#x20AC;&#x2122;s Water Lilies in an intimate exhibition that includes a breathtaking 42-foot-wide painting â&#x20AC;&#x201D;one of the largest outside of France.

Also on view Richard Misrach: On the Beach

Through August 23, 2009

WOODRUFF ARTS CENTER | 1280 PEACHTREE STREET, N.E. | MEMBERS ALWAYS FREE

Claude Monet (French, 1840â&#x20AC;&#x201C;1926), Reflections of Clouds on the Water-Lily Pond (detail), ca. 1920, oil on canvas, The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund. ÂŠ The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

The Rich Foundation

A ThAnk you To The people who mAde EncorE Park hAppen:

Âą-USICAL COMPOSITIONS IT SHOULD BE REMEMBERED DO NOT INHABIT CERTAIN COUNTRIES CERTAIN MUSEUMS LIKE PAINTINGS AND STATUES 4HE -OZART 1UINTET IS NOT SHUT UP IN 3ALZBURG ) HAVE IT IN MY POCKET Â˛ â&#x20AC;&#x201D; Henri Rabaud