Encore Atlanta January 2010 ASO

ATLANTA SYMPHONY ORCHESTRA

ROBERT SPANO, MUSIC DIRECTOR

DONALD RUNNICLES, PRINCIPAL GUEST CONDUCTOR

JEAN-YVES THIBAUDET

KHACHATURIAN: Piano Concerto January 21/22/23

JANUARY 2009

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contents january 2010

photo: Rob Waymen

12

features

aso departments

12 He’s Got the Blues

8 ASO Leadership 10 Robert Spano 16 Musicians 29 Contributors 46 Administration 48 General Info 50 Ticket Info 52 Gallery ASO

Wynton Marsalis swings for the fences with his firstever symphonic work Blues Symphony.

the music 19 The concert’s program and notes

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Dinner & a Concert with the ASO Looking for a great night out? Enjoy dinner prior to performances by the Atlanta Symphony Orchestra and save on concert tickets and dining! Make your plans now.

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ASOleadership atlanta Symphony Orchestra League 2009-2010 Board of Directors Officers Ben F. Johnson, III Chairman Clayton F. Jackson Treasurer

Jeff Mango Penny McPhee Chilton Davis Varner

Kathleen (Suzy) Wasserman ASA President* Joni Winston Secretary

Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Steve Koonin Michael Lang Donna A. Lee Lucy Lee Patrice Wright-Lewis Meghan H. Magruder Jeff Mango Darrell J. Mays JoAnn McClinton

Penelope 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 Rick Walker Mark Wasserman Kathleen (Suzy) Wasserman* John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Camille Yow

George Lanier Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey 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

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

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 John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley

Life Directors Mrs. Drew Fuller Mary D. Gellerstedt

Azira Hill Dr. James M. Hund

Arthur L. Montgomery

* ex officio

EncoreAtlanta.COM

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A MEMORABLE EVENING, ACT TWO

“Atlanta’s Best Southern & Wait Staff” —The Sunday Paper A “Top Ten Atlanta Restaurant” —Jezebel

Just blocks from Woodruff Arts Center at 1144 Crescent Avenue Dinner served Monday-Thursday 5-10pm; Friday-Saturday 5-10:30pm; Sundays 5-10pm 404.873.7358 • fifthgroup.com Present your ticket stub and receive 10% off dinner (one per table). encore2:Layout 1

12/14/2009

11:04 AM

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A MEMORABLE EVENING, ACT TWO

A “Best New Restaurant in America” —Esquire “Best Wine List” —Creative Loafing “Best Appetizer” —Jezebel

Just blocks from the Fox Theatre at 40 7th Street NE Sunday-Thursday 5-10pm (bar open at 4pm); Friday-Saturday 5-11pm (bar open at 4pm) 404.347.9555 • fifthgroup.com

Present your ticket stub and receive 10% off dinner (one per table).

Robert Spano music Director

A

tlanta Symphony Orchestra Music Director Robert Spano is recognized internationally as one of the most imaginative conductors of his generation. Since 2001, he has invigorated and expanded the ASO’s repertoire through a creative programming mix, recordings and visual enhancements, such as the Theater of a Concert — the continuing exploration of different formats, settings and enhancements for the musical performance experience. Mr. Spano also champions the Atlanta School of Composers, his commitment to nurturing and championing music through multi-year partnerships, defining a new generation of American composers.

Mr. Spano has conducted the great orchestras of North America, including those in Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia and San Francisco.

Overseas, he has led the Royal Concertgebouw Orchestra, Orchestra Filarmonica della Scala, Czech Philharmonic, Frankfurt Radio Sinfonie Orchestra, BBC Symphony Orchestra, BBC Scottish, City of Birmingham Symphony Orchestra, New Japan Philharmonic and Tonhalle Orchester. He has conducted the Chicago, Houston, Santa Fe, Royal Opera at Covent Garden and Welsh National Operas. In August 2005, he conducted Wagner’s Der Ring des Nibelungen at Seattle Opera, and returned for the cycle in August 2009. With a discography of 12 critically acclaimed recordings for Telarc and Deutsche Grammophon made over six years, Robert Spano has garnered six Grammy Awards.

Musical America’s 2008 Conductor of the Year, Mr. Spano was Artistic Director of the Ojai Festival in 2006, Director of the Festival of Contemporary Music at the Boston Symphony Orchestra’s Tanglewood Music Center in 2003 and 2004, and from 1996 to 2004 was Music Director of the Brooklyn Philharmonic. Head of the Conducting Fellowship Program at Tanglewood Music Center from 1998-2002, he has served on the faculties of Bowling Green State University, Curtis Institute and Oberlin Conservatory. Mr. Spano lives in Atlanta.

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Ken Meltzer: Let’s talk about the genesis of Blues Symphony. When did you first decide you were going to compose a symphonic work?

Wynton Marsalis: It’s hard for me to remember exactly when, because in my life everything is just one thing. I get up in the morning and I work, and I go to bed. I’ve done that every day since I was about eight or nine.

And maybe in the course of a year I know I have to do a certain number of concerts, and I have a lot of ambitions for what I want to write and what I want to express. It goes back to something my father taught me when I left New Orleans. I was 17, and I had all of my stuff in a box. And he looked at me before I walked out the door — I was going to New York— and said, ‘Is that all your stuff in that box, man?’ I said, ‘Yeah, man.’ He said, ‘What you got?’ I said, “I got a couple of pairs of jeans, some shirts and a boom box.’ You remember the first boom boxes they had in the ’70s, right? My father said, ‘Then you’re alright?’ ‘Yeah, I’m alright,’ I replied. And my father’s advice was, ‘Remember, you can

always go back to that, that you’re alright.’

I’ll always remember that moment.

KM: Anyone who’s ever watched you play or teach, your love for the subject is not only obvious, it radiates from you to all the people you’re communicating with, and in turn, it’s converted so many people to share your love for this great art form.

WM: I’m very serious about my belief. I love classical music, I love jazz, I love all music, and I love the young people playing it. My father loved it and I learned from him. I’m serious about it.

KM: What kinds of things did you see in your father’s teaching that you incorporated in your own?

WM: Just so much soul and feeling and love.

He loved (his students) so much. And even though he didn’t make money, he just always had like a dignity and a belief in the music and in the identity of the music. I remember we had a funk band in the 1970s, when Stevie Wonder and Earth, Wind and Fire, and ParliamentContinued on Page 38

photo: Frank Stewart

Superstar Marsalis worked tirelessly with Robert Spano and the musicians to hone his Blues vision.

14 EncoreAtlanta.COM

Experience Jean-Georges Vongerichten’s bold and adventurous flavors inspired by

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

FIRST VIOLIN VIOLA William Pu Reid Harris Associate/Acting Concertmaster Principal

BASS Ralph Jones

The Charles McKenzie Taylor Chair*

The Edus H. and Harriet H. Warren Chair*

Principal The Marcia and John Donnell Chair  *

Justin Bruns

Paul Murphy

Gloria Jones

Assistant Concertmaster The Mary and Cherry Emerson Chair

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Jun-Ching Lin

Catherine Lynn

Carolyn Toll Hancock

Wesley Collins Robert Jones Marian Kent Yang-Yoon Kim Lachlan McBane Heidi Nitchie Ardath Weck

Assistant Concertmaster 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

Assistant Principal

Paul Brittan

The Georgia Power Foundation Chair

Carl David Hall PICCOLO Carl David Hall OBOE Elizabeth Koch

Principal The George M. and Corrie Hoyt Brown Chair *

ENGLISH HORN Patrick McFarland

Associate Principal The Livingston Foundation Chair

Assistant Principal Emeritus

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

Joseph Conyers Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson

Associate Principal

Daniel Laufer

Principal The Miriam and John Conant Chair*

Sou-Chun Su

Assistant Principal

Assistant Principal Emeritus

Robert Cronin

Yvonne Powers Peterson Associate Principal Deborah Workman Patrick McFarland

Karen Freer

Jay Christy

Jane Little

Principal The Jill Hertz Chair *

CELLO Christopher Rex

Principal The Atlanta Symphony Associates Chair* Associate Principal The Frances Cheney Boggs Chair*

Associate Principal

FLUTE Christina Smith

Assistant Principal

Dona Vellek Klein Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Paul Warner

16 EncoreAtlanta.com

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

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

CLARINET Laura Ardan

Principal The Robert Shaw Chair*

HORN Brice Andrus

Ted Gurch

Principal The Sandra and John Glover Chair

William Rappaport

Associate Principal

Associate Principal

Susan Welty

Alcides Rodriguez

Thomas Witte Richard Deane

E-FLAT CLARINET Ted Gurch

Bruce Kenney

The Lucent Technologies Chair

BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

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

Elizabeth Burkhardt

The UPS Community Service Chair

TRUMPET Thomas Hooten

Principal The Madeline and Howell Adams Chair*

Joseph Walthall

Juan de Gomar

Stephen Wilson

CONTRABASSOON Juan de Gomar

William Wilder

Assistant Principal

PERCUSSION Thomas Sherwood Principal The Julie and Arthur Montgomery Chair*

William Wilder Assistant Principal Charles Settle

Principal The Delta Air Lines Chair

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair*

Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY Rebecca Beavers Principal

Steven Sherrill Assistant

John Wildermuth

Michael Tiscione TROMBONE Colin Williams

The Pricewaterhouse ­Coopers Chair

Principal The Walter H. Bunzl Chair*

HARP Elisabeth Remy Johnson

The SunTrust Bank Chair

Laura Najarian

Associate Principal

TIMPANI Mark Yancich

Principal The First Union Chair Associate Principal The Patsy and Jere Drummond Chair

Bill Thomas George Curran BASS TROMBONE George Curran TUBA Michael Moore

Principal The Georgia-Pacific Chair

* Chair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically.

Atlanta’s Performing Arts Publication 17

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ASOprogram Atlanta Symphony Orchestra A founding member of the Robert W. Woodruff Arts Center Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta classical Series Concerts

Thursday and Saturday, January 7 and 9, 2010, at 8 p.m. and Sunday, January 10, 2010, at 3 p.m.

donald runnicles, Conductor robert levin, Piano

Aaron Jay Kernis (b. 1960) Musica Celestis (1990)

Wolfgang Amadeus Mozart (1756-1791)

Piano Concerto No. 18 in B-flat Major, K. 456 (1784) I. Allegro vivace II. Andante un poco sostenuto III. Allegro vivace

Robert Levin, Piano

INTERMISSION

Ludwig van Beethoven (1770-1827)

Symphony No. 6 in F Major, Opus 68, “Pastorale” (1808) I. Awakening of cheerful feelings upon arriving

in the country: Allegro non troppo

II. Scene by the brook: Andante molto moto III. Merry gathering of country-folk: Allegro IV. Thunderstorm; Tempest: Allegro V. Shepherd’s song; Happy, thankful feelings

after the storm: Allegretto

“Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, ASO Insider and Program Annotator.

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

Atlanta’s Performing Arts Publication 19

Atlanta Symphony Orchestra sponsors

is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra.

Delta’s commitment to the communities we serve began the day our first flight took off.

After almost 80 years, Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

Delta is an active, giving corporate citizen in the communities it serves. Delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to utilize many aspects of Delta's currency – our employees time and talent, our free and discounted air travel, as well as our surplus donations. Together, we believe we can take our worldwide communities to new heights!

Major funding for the Atlanta Symphony Orchestra is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

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

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

This performance is being recorded for broadcast at a later time.

ASO concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

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

Four Seasons Hotel Atlanta is the preferred hotel of the ASO. Trucks provided by Ryder Truck Rental Inc. Media sponsors: The Atlanta Journal-Constitution and WSB 750 AM.

20 EncoreAtlanta.com

ASOprogram Notes on the Program

By Ken Meltzer Musica Celestis (1990) Aaron Jay Kernis was born in Philadelphia, Pennsylvania, on January 15, 1960.

The first performance of Musica Celestis took place in San Francisco, California, on March 30, 1992, with Ransom Wilson conducting the Sinfonia San Francisco. Musica Celestis is scored for first and second violins, violas, cellos and double-basses. Approximate performance time is eleven minutes.

These are the first Atlanta Symphony Orchestra Classical Subscription Performances.

Aaron Jay Kernis

A

aron Jay Kernis, one of the leading American composers of his generation, was born in Philadelphia on January 15, 1960. As a young boy, he began musical studies on the violin. At the age of 12, Aaron Kernis began to teach himself to play the piano. The following year, he turned his attention to composition. Mr. Kernis pursued formal studies at the San Francisco Conservatory of Music, the Manhattan School of Music and Yale University. His teachers included John Adams, Charles Wuorinen and Jacob Druckman.

A breakthrough for Aaron Kernis took place at the 1983 Horizons Festival, when Zubin Mehta and the New York Philharmonic performed the composer’s Dream of the Morning Sky. The enthusiastic response to this orchestral work helped launch a career that has become notable for music of remarkable variety, depth and communicative power.

Aaron Kernis has composed works for the New York Philharmonic, San Francisco Symphony, the Minnesota Orchestra, the Philadelphia Orchestra, the St. Paul Chamber Orchestra, and Los Angeles Chamber Orchestra. Among the soloists for whom Mr. Kernis has written music are violinists Joshua Bell, Pamela Frank, and Nadia Salerno-Sonnenberg, guitarist Sharon Isbin, and soprano Renée Fleming. Aaron Kernis has received numerous prestigious awards, including the 2002 Grawemeyer Award, the 1998 Pulitzer Prize, a Guggenheim Fellowship, the Rome Prize, and New York Foundation for the Arts Award. Mr. Kernis has served as Composerin-Residence for the St. Paul Chamber Orchestra, Minnesota Public Radio, and the American Composers Forum. He is currently the Director for the Minnesota Orchestra’s Composer Institute and teaches composition at the Yale School of Music.

Musica Celestis Aaron Kernis’s Musica Celestis is scored for string orchestra. Like Samuel Barber’s Adagio for Strings (1937), the work is a transcription of a movement from an earlier String Quartet. And as with Barber’s Adagio, Mr. Kernis’s Musica Celestis is haunting and lyrical, constructed as a kind of grand arch that begins in whispered tones, proceeds to a majestic climax, and resolves to the hushed mood of the opening.

Atlanta’s Performing Arts Publication 21

The composer provides the following commentary on his Musica Celestis: Musica Celestis is inspired by the medieval conception of that phrase, which refers to the singing of the angels in heaven in praise of God without end. (“The office of singing pleases God if it is performed with an attentive mind, when in this way, we imitate the choirs of angels who are said to sing the Lord’s praises without ceasing.” — Aurelian of Reome, translated by Barbara Newman.) I don’t particularly believe in angels, but found this to be a potent image that has been reinforced by listening to a good deal of medieval music, especially the soaring work of Hildegard of Bingen (1098-1179). Musica Celestis follows a simple, spacious melody and harmonic pattern through a number of variations (like a passacaglia) and modulations, and is framed by an introduction and coda. ­— Aaron Kernis

Piano Concerto No. 18 in B-flat Major, K. 456 (1784) Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 6, 1791. In addition to the solo piano, the B-flat Major Concerto is scored for flute, two oboes, two bassoons, two horns, and strings.

Approximate performance time is thirty minutes.

First ASO Classical Subscription Performance: May 21, 1969, Lili Kraus, Piano, Michael Palmer, Conductor.

Most Recent ASO Classical Subscription Performances: February 9, 10 and 11, 1995, Radu Lupu, Piano, Yoel Levi, Conductor.

“Have I not enough to do?”

I

n the spring of 1781, Wolfgang Amadeus Mozart left his native Salzburg to stake his independence in Vienna. Mozart felt that the residents of Salzburg — more particularly, the ruling Prince-Archbishop, Hieronymous Colloredo — had never properly appreciated his talents. Despite the entreaties of members of the Archbishop’s Court and Mozart’s father, Leopold (also a prominent Salzburg musician), the young composer was adamant about his decision.

This was a bold gamble on Mozart’s part. He did not have any guaranteed court position in Vienna, and would have to make his living as a free-lance artist. And yet, the gamble paid off handsomely — at least initially. The early to mid-1780s were the most successful of Mozart’s brief life. He was then in constant demand in Vienna as a composer, pianist and teacher. In a letter to his father, written in February of 1784, Mozart proudly reported: “The whole morning is given over to my pupils, and nearly every evening I have to play (here, the composer lists twenty-two events from February 26 to April 3) ... Have I not enough to do? I do not think I shall get out of practice in these circumstances...”

22 EncoreAtlanta.com

ASOprogram During those productive years, Mozart, a virtuoso keyboard artist, sponsored a series of concerts known as “academies.” Mozart wrote several Piano Concertos for his own performance at these events. During 1784 alone, Mozart composed six Concertos for solo piano and orchestra (Nos. 14-19). According to Mozart’s own catalogue of his works, he completed the Piano Concerto No. 18, K. 456, on September 30, 1784.

There is disagreement among scholars as to whether Mozart originally composed this Concerto for himself. Many believe that Mozart wrote the B-flat Concerto for pianist Maria Theresia Paradis (1759-1824) for her concert tour of Salzburg, Paris and London. It is possible that Mozart actually completed the Concerto before the September 30 catalogue entry date, in order to allow Paradis (who was blind) time to learn the work for her Paris concerts. There is no question that Mozart also played this challenging, inventive and charming work, and to great acclaim.

Musical Analysis I. Allegro vivace — The first movement features the traditional double exposition of the principal themes. The initial exposition opens with the first violins presenting the march-like first theme.

Typical of Mozart, a wealth of material follows, including a playful dialogue between the oboes and the flute and bassoon, as well as a fanfare motif introduced by the first violins. The soloist enters and launches the varied and more elaborate second exposition. Likewise, the soloist opens the development of the principal themes. A concluding solo flourish and a brief passage for winds lead to the recapitulation section, capped by an extended solo cadenza.

The fanfare motif predominates in the lively concluding measures.

II. Andante un poco sostenuto — The slow second movement is a theme and variations.

The first violins sing the haunting principal melody, very much in the character of an opera aria (indeed, the melody bears striking similarity to Barbarina’s brief and plaintive solo that opens the final Act of Mozart’s 1786 comic masterpiece, The Marriage of Figaro). The pianist plays a solo variation on the theme. Four more variations follow, exploring a wide range of instrumental colors and moods. A brief coda brings the movement to a hushed resolution.

III. Allegro vivace — The soloist immediately introduces the tripping, 6/8 principal theme of the rondo finale. The high spirits of the opening measures predominate. Suddenly Mozart changes course with a stormy minor-key episode, featuring the pianist’s 2/4 solo writing juxtaposed with the 6/8 accompaniment. The mood of the opening soon returns, however, leading to a final solo cadenza and the Concerto’s vibrant closing bars.

Symphony No. 6 in F Major, Opus 68, “Pastorale” (1808) Ludwig Van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the “Pastorale” Symphony took place in Vienna at the Theater-an-der-Wien on December 22, 1808, with the composer conducting. The “Pastorale” Symphony is scored for piccolo, two flutes, two oboes, Atlanta’s Performing Arts Publication 23

two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani and strings.

Approximate performance time is forty-one minutes.

First ASO Classical Subscription Performance: December 7, 1950, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: May 24, 25 and 26, 2007, Robert Spano, Conductor.

Beethoven in the Country How lucky you are, to be able to go soon to the country; I cannot enjoy that happiness until the 8th. I am happy as a child at the thought of wandering among the clusters of bushes, in the woods, among trees, herbs, rocks. No man loves the country more than I; for do not forests, trees, rocks re-echo that for which mankind longs.

Ludwig van Beethoven wrote these words to his friend, Therese von Malfatti, in May of 1810.

Beethoven, who maintained a lifelong reverence for the beauties and mysteries of nature, extolled “the ecstasy of the woods ... every tree said to me, ‘Holy! Holy!’”

Englishman Charles Neate, a founder of London’s Philharmonic Society, spent considerable time with Beethoven in Vienna in 1815. Neate remarked that he had “never met anyone who so delighted in Nature, or so thoroughly enjoyed flowers or clouds or other natural objects.

Nature was almost meat and drink to him; he seemed positively to exist upon it.” One of Beethoven’s favorite sayings was “The morning air has gold to spare.” And the composer often received musical inspiration during long walks in the countryside. Regardless of the weather, Beethoven rose early each morning and, with music sketchbook in hand, spent several hours outdoors.

“A recollection of country life” Beethoven composed his Sixth Symphony during a period that spanned the summers of 1807 and 1808. He conducted the work’s premiere as part of the extraordinary December 22, 1808 Theater-an-der-Wien concert. In addition to the Sixth Symphony, Beethoven offered the premieres of his Fifth Symphony and Choral Fantasy, as well as the first public performance of the Fourth Piano Concerto (in the latter two works he served as piano soloist). The concert also included four movements from the Mass in C, the soprano aria, Ah! Perfido, and a piano improvisation.

The work Beethoven subtitled “Pastorale Symphony, or a recollection of country life,” is a symphonic ode to the wonders of the outdoors. By this stage of his life, Beethoven was increasingly unable to enjoy the sounds of nature he so touchingly and vividly portrays in the “Pastorale.” The continued decline of his hearing prompted this revelation in the famous October, 1802 letter to his brothers, known as the Heiligenstadt Testament: But how humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing, or if somebody heard

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ASOprogram a shepherd sing and again I heard nothing — Such experiences almost made me despair, and I was on the point of putting an end to my life — The only thing that held me back was my art. For indeed it seemed to me impossible to leave this world before I had produced all the works I felt the urge to compose; and thus I have dragged on this miserable existence — a truly miserable existence...

However, there is no sense of despair in Beethoven’s “Pastorale,” undoubtedly the most lyrical of his Nine Symphonies.

There are several other factors that set the “Pastorale” Symphony apart from the other eight.

It is the only Beethoven Symphony cast in five movements, as opposed to the traditional four. And while several of Beethoven’s Symphonies (notably the Third, Fifth, and Ninth) have extra-musical associations, the “Pastorale” is by far the most overtly programmatic, with each movement containing a descriptive title.

Beethoven himself cautioned listeners that the “Pastorale” Symphony was “More an expression of feeling than a painting.” In his sketchbooks, Beethoven observed: “All painting in instrumental music, if pushed too far, is a failure.” And in truth, the vivid depictions of a murmuring brook, birdcalls, peasant dances, a violent thunderstorm and a shepherd’s piping are but a part of a moving and dramatic symphonic experience.

Musical Analysis I. Awakening of cheerful feelings upon arriving in the country: Allegro ma non troppo — The “Pastorale” Symphony opens with the first violins’ presentation of a cheerful melody that forms the basis for virtually the entire movement. Soon, the ensemble joyously proclaims the principal melody. The flowing, second theme is first played by the cellos, echoed by the first violins and flutes. Beethoven’s genius in thematic manipulation is perhaps never more apparent than in the development section, based in great part only upon a descending phrase derived from the second measure of the opening theme. A recapitulation of the main themes, inaugurated by the strings, leads to an extended coda spotlighting the woodwinds.

II. Scene by the brook: Andante molto moto — The flowing brook is suggested by repeated, undulating figures in the strings. The opening theme is introduced by the first violins; the second theme, by the bassoon. The entire movement is noteworthy for its relaxed lyricism and grace, but perhaps the most famous passage occurs at the close, when the nightingale (flute), quail (oboe) and cuckoo (clarinet) join in song.

In 1823, Beethoven’s friend, Anton Schindler, accompanied the composer on a summer walk in the woods between Heiligenstadt and Grinzing: Seating himself on the turf, and leaning against an elm, Beethoven asked me if there were any yellow-hammers to be heard in the trees above us.

But all was still. He then said, “This is where I wrote the Scene by the Brook, while the yellow-hammers were singing above me, and the quails, Atlanta’s Performing Arts Publication 25

nightingales and cuckoos calling all around.” I asked why the yellowhammer did not appear in the movement with the others; on which he took out his sketch-book, and wrote the following phrase: (Here, Beethoven wrote a sequence of six ascending sixteenth notes followed by a quarter-note, a motif first played by the flute at the beginning of the development section.)

“There’s the little composer,” said he, “and you’ll find that he plays a more important part than any others; for they are nothing but a joke.”

The final three movements are played without pause.

III. Merry gathering of country-folk: Allegro — After a tripping figure in the strings, the flute and strings sing a rustic song that soon explodes with joyous energy. The next sequence, featuring the oboe, accompanied by the violins and bassoon, seems to have been inspired by a village band Beethoven frequently heard in the Viennese countryside “Three Ravens” Tavern.

The final theme is yet another vigorous dance. A closing, Presto variation of the opening theme leads to the storm sequence.

IV. Thunderstorm; Tempest: Allegro — The approach of the storm is depicted by tremolos in the lower strings and furtive exchanges between the second and first violins. Suddenly, the storm erupts in all its fury. Orchestral color is enhanced by the addition of the piccolo and trombones, as well as the prominent use of the timpani. The storm finally abates, and a brief ascending passage by the flute serves as a bridge to the final movement.

V. Shepherd’s song; Happy, thankful feelings after the storm: Allegretto — The finale opens with a brief passage for the clarinets and horns suggesting a ranz des vaches, a traditional herdsman’s call. Out of this passage emerges the principal melody, initially played by the first violins. Beethoven introduces several subsidiary motifs, but the finale is, in essence, a series of joyful variations on the principal theme. The final measures feature a brief (muted) horn reprise of the ranz des vaches and two concluding orchestral chords.

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ASOprogram donald runnicles, Conductor

P

rincipal Guest Conductor Donald Runnicles is currently in his ninth year of the Creative Partnership with Music Director Robert Spano and President and CEO Allison Vulgamore. One of today’s most consistently acclaimed conductors of opera and symphonic repertoire, Mr. Runnicles recently became General Music Director of the Deutsche Oper Berlin and Chief Conductor of the BBC Scottish Orchestra. Mr. Runnicles was Music Director and Principal Conductor of the San Francisco Opera, and is Music Director of the Grand Teton Music Festival.

Donald Runnicles

Mr. Runnicles’s acclaimed recordings with the Atlanta Symphony Orchestra include a concert disc with soprano Christine Brewer singing Strauss and Wagner and a new Strauss disc recorded live in Symphony Hall. With the ASO, Mr. Runnicles also has recorded the Mozart Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony and a Brittania album. In the 2009-10 season, Mr. Runnicles and the ASO Chorus returned to the Berlin Philharmonic to perform Brahms’s German Requiem.

Mr. Runnicles has ongoing musical relationships with today’s finest orchestras and opera companies. Among the more than 60 productions he has conducted at San Francisco Opera was the 2005 world premiere of John Adams’s Doctor Atomic. He also enjoys accompanying singers at the piano and playing chamber music.

robert Levin, Piano

P

ianist Robert Levin’s solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Bos­ton, Chicago, Cleveland, Detroit, Los Angeles, Mon­­­treal, Utah and Vienna on the Stein­­way with such conductors as James Conlon, Bernard Hai­tink, Sir Neville Mar­riner, Seiji Ozawa, Sir Simon Rattle and Joseph Silver­stein.

On period pianos, he has appeared with the Academy of Robert Levin Ancient Music, the English Baroque Soloists, the Handel & Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment and the Orchestre Révo­lu­tion­naire et Ro­man­tique, with Chris­topher Hogwood, Sir Charles Mackerras, Nicholas McGe­gan, Sir Roger Nor­rington and Sir John Eliot Gardiner. He has per­formed frequently at such festivals as Sara­sota, Tanglewood, Ravinia, Bremen, Locken­haus and the Mozartwoche in Salzburg.

As a chamber musician, he has a long association with violist Kim Kashkash­­ian and appears frequently with his wife, pianist Ya-Fei Chuang, in duo recitals and with orchestra. After Atlanta’s Performing Arts Publication 27

ASOprogram more than a quarter century as an artist faculty member at the Sarasota Music Festival, he succeeded Paul Wolfe as Artistic Director in 2007.

Robert Levin is renowned for his restoration of the Classical period practice of impro­vised embel­ lishments and caden­zas; his Mozart and Beethoven performan­ces have been hailed for their active mas­tery of the Classical musical language. He has made record­ings for DG Archiv, CRI, Decca/Oiseau-Lyre, Deutsche Gram­­mo­phon Yellow Label, ECM, New York Philomusica, Nonesuch, Philips and SONY Classical. He has recorded the complete Bach concertos with Helmuth Rilling as well as the English Suites and the Well-Tempered Clavier (on five keyboard instruments) for Hänssler’s 172 CD Edition Bach­akade­mie. Other recordings include a Beethoven con­certo cycle with Sir John Eliot Gardiner and the Orchestre Révo­lu­tionnaire et Roman­tique for Archiv, a Mozart concerto cycle with Chris­to­pher Hogwood and the Acad­emy of An­cient Music for Decca/OiseauLyre and the first volume of a Mozart sonata cycle for Deutsche Harmonia Mundi.

A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works, including Joshua Fineberg’s Veils (2001), John Harbison’s Second Sonata (2003), Yehudi Wyner’s piano concerto Chiavi in mano (Pulitzer Prize, 2006), Bernard Rands’ Preludes (2007) and Thomas Oboe Lee’s Piano Concerto (2007).

In addition to his performing activities, Robert Levin is a noted theorist and Mozart scholar, and is the author of a number of articles and essays on Mozart.

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ASOsupport Ray Uttenhove, Appassionato Chair

Ap-pas’-si-o-na’-to – adv., Passionately, with strong emotion The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the southeast.

Appassionato was inaugurated in 2000 & welcomes annual givers of $10,000 & above. Appassionato members provide the Symphony with a continuous & strong financial base in support of our ambitionous aritistic & education initiatives.

$50,000+

Mrs. Anne Cox Chambers

Ms. Joni Winston

$35,000+

Robert Spano $25,000+ Madeline & Howell E. Adams, Jr. Stephanie & Arthur Blank Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart

Lucy R. & Gary Lee, Jr. Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Mrs. Charles A. Smithgall, Jr. Ray & John Uttenhove Morgan & Chilton Varner

Susan & Thomas Wardell Mark & Rebekah Wasserman Adair & Dick White Mr. & Mrs. John B. White, Jr.* Sue & Neil Williams*

$15,000+ AGCO Corporation, Martin Richengagen Pinney L. Allen & Charles C. Miller III Mr. & Mrs. Paul J. Blackney Mr. & Mrs. C. Merrell Calhoun Christopher S. & Ana P. Crommett Mary Helen & Jim Dalton Lynne and Richard Dorfman Gary & Nancy Fayard*

Mr. Donald F. Fox Mr. & Mrs. Paul R. Garcia Charles & Mary Ginden* Jim & Pam Henry Clay & Jane Jackson Ann A. & Ben F. Johnson III Mr. & Mrs. James C. Kennedy Michael & Cindi Lang Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Mr. Jeff Mango

Brenda & Charles Moseley Patty & Doug Reid Margaret & Bob Reiser John & Kyle Rogers Dennis & JoAnne Sadlowski Mr. Thurmond Smithgall Marsha Johnson – Southern Company Mr. & Mrs. Edus H. Warren, Jr. Camille W. Yow

$10,000+ Anonymous (2) Ron & Susan Antinori Betty & Robert Balentine The Balloun Family* Lisa & Joe Bankoff Barnes & Thornburg LLP Ms. Diana J. Blank Breman Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Shannon & Philip Cave Dr. John W. Cooledge In Honor of Norman Mackenzie

by Janet Davenport Cari Katrice Dawson Eleanor & Charles Edmondson Dr. & Mrs. Carl D. Fackler Mary D. Gellerstedt

Nancy D. Gould Mr. & Mrs. Robert D. Grathwohl The Graves Foundation Robert Hall Gunn, Jr. Fund Mr. Jennings M. Hertz, Jr. * * Lauri & Paul Hogle Tom & Jan Hough Mr. Tad Hutcheson Roya & Bahman Irvani Anne Morgan & Jim Kelley* Philip I. Kent Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec Family of Thomas B. Koch Larry L. Lanier Mr. & Mrs. John M. Law John & Patrice Lewis Printpack Inc. & The Gay & Erskine Love Foundation

Massey Charitable Trust John F. & Marilyn M. McMullan Mr. Kenneth & Dr. Carolyn Meltzer Mr. & Mrs. Harmon B. Miller III Morgens West Foundation Lynn & Galen Oelkers Mr. & Mrs. Solon P. Patterson* Bill & Rachel Schultz Joyce & Henry Schwob Mr. John A. Sibley III John Sparrow Loren & Gail Starr Mary Rose Taylor Carol & Ramon Tome The Michael W. Trapp Family Mike & Liz Troy Turner Foundation, Inc. Neal & Virginia Williams

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

Atlanta’s Performing Arts Publication 29

ASOsupport Judy Hellriegel, Chair

The Insider’s Experience for Atlanta Symphony Orchestra Members The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the ASO family through their institutional leadership and financial support.

$5,000+ Aadu & Kristi Allpere Anonymous (3) Mr. & Mrs. William Atkins Jan & Gus Bennett Kelley O. & Neil H. Berman Mr. David Boatwright Ms. Suzanne Dansby Bollman Dr. Robert L. & Lucinda W. Bunnen Ann and Jeff Cramer* Triska Drake & G. Kimbrough Taylor, Jr. Jere & Patsy Drummond Admiral James O. Ellis, Jr. Dr. & Mrs. Carl D. Fackler Rosi & Arnoldo Fiedotin Mr. David L. Forbes

Betty Sands Fuller Sally & Carl Gable Ruth Gershon & Sandy Cohn Dick & Ann Goodsell John E. Graham Dr. & Mrs. Alexander Gross Joe Guthridge & David Ritter Sharon & Michael Hodgson C. Tycho & Marie Howle Foundation Mr. & Mrs. William C. Humphreys, Jr. John Hunsinger Hazel & Herb Karp James H. Landon George H. Lanier*

Pat & Nolan Leake Mr. & Mrs. Darrell J. Mays Penelope & Raymond McPhee* Margaret H. Petersen Mr. George E. Peterson Mr. & Mrs. Baker A. Smith Hamilton & Mason Smith* Irene & Howard Stein Lynne & Steven Steindel* Charlie Wade & M.J. Conboy Gertrude & William C. Wardlaw Fund, Inc. Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner T & H Yamashita*

Deborah & William Liss* Dr. & Mrs. James T. Lowman Gino & Belinda Massafra John & Linda Matthews Dr. & Mrs. William McClatchey Walter W. Mitchell Dr. & Mrs. Mark P. Pentecost, Jr. Elise T. Phillips

Mr. & Mrs. Rezin Pidgeon, Jr. Mr. & Mrs. Joel F. Reeves Edward G. Scruggs** Morton & Angela Sherzer Sydney Simons Amy & Paul Snyder Mrs. C. Preston Stephens

Mr. & Mrs. Beauchamp Carr John & Adrienne Carr Mr. & Mrs. Dan Cathy Mrs. Hugh Chapman Lavon & Dennis Chorba Honor C. Cobbs Lucy & John Cook Mona & Leonard** Diamond Mr. Michael E. Dickens Mr. & Mrs. Christopher S. Edmonds George T. & Alecia H. Ethridge Mr. & Mrs. Todd Evans Ken Felts & Richard Bunn Mr. & Mrs. Howard Feinsand Mr. Joseph M. & Pronda Few Mr. & Mrs. Thomas E. Fullilove* Mr. & Mrs. Edward T. M. Garland

Ms. Alma Garrette Dr. Mary G. George & Mr. Kenneth Molinelli Mr. & Mrs. John T. Glover Ben & Lynda Greer Mr. & Mrs. Bradley Hale Mr. Steven & Mrs. Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel Mr. Haywood (Robin) Hendrix Deedi Henson In Memory of Carolyn B. Hochman Mr. & Mrs. Daniel H. Hollums Mr. & Mrs. Harry C. Howard Ms. Joy G. Howard Linda & Richard Hubert Dr. William M. Hudson JoAnn Hall Hunsinger

$3,500+ Julie M. Altenbach Ms. Carol F. Comstock & Mr. James L. Davis Sally & Larry Davis Ms. Cynthia Jeness Dr. & Mrs. James T. Laney* Mr. & Mrs. T.J. Lavallee, Sr. Mr. & Mrs. William C. Lester*

$2,250+ Mr. & Mrs. Phillip E. Alvelda* Mr. Albert S. Anderson Anonymous Dr. David & Julie Bakken Jack & Helga Beam Neale M. Bearden Penelope B. Berk Shirley & Sol** Blaine Rita & Herschel Bloom Mr. & Mrs. Merritt S. Bond* Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Maj. Gen. & Mrs. Robert Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Russell E. Butner* Mr. & Mrs. Walter K. Canipe Mrs. Thalia Carlos

30 EncoreAtlanta.com

ASOsupport $2,250+ (continued) Aaron & Joyce Johnson Mr. & Mrs. W. F. Johnston Dr. Maurice J. Jurkiewicz Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Mr. & Mrs. Daniel J. King Mr. & Mrs. J. David Lifsey Mr. & Mrs. Sean Lynch Mr. & Mrs. Frederick C. Mabry Ruth & Paul Marston Mr. & Mrs. David V. McQueen Ms. Molly Minnear & Mr. Craig H. Seibert Richard S. & Winifred B. Myrick

Dr. & Mrs. R. Daniel Nable Mr. & Mrs. J. Vernon O’Neal, Jr. Mr. & Mrs. Albert N. Parker Mr. & Mrs. Andreas Penninger Dr. John B. Pugh Realan Foundation, Inc. Dr. & Mrs. W. Harrison Reeves, Sr. In memory of Nora A. Richardson S. A. Robinson Mr. & Mrs. Richard L. Rodgers Mrs. William A. Schwartz Dr. Paul Seguin Elizabeth S. Sharp Dr. Kay R. Shirley

Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Peter James Stelling John & Yee-Wan Stevens John & Marilyn Thomas Burton Trimble Mr. William C. Voss Mr. Thomas P. Walbert Mr. & Mrs. Thomas W. Walker Dr. & Mrs. James O. Wells, Jr. Ms. Mary Lou Wolff Mr. & Mrs. John C. Yates Mr. Michael H. Zimmerman

Mary & Wayne James Lana M. Jordan Mr. Thomas J. Jung Betty Karp Paul & Rosthema Kastin Dick & Georgia Kimball* Dr. Rose Mary Kolpatzki Mr. & Mrs. David E. Krischer Dr. Leslie Leigh Dr. J. Bancroft Lesesne Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. Paul A. Lutz* Barbara & Jim MacGinnitie Mr. & Mrs. James H. Matthews, Jr. Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Mr. & Mrs. Albert S. McGhee Angela & Jimmy Mitchell* Judy & Gregory Moore Carter & Hampton Morris Mrs. Gene Morse Mr. & Mrs. Vernon J. Nagel Mr. & Mrs. Victor A. Nilson Sanford & Barbara Orkin Keith & Dana Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Mr. & Mrs. William A. Parker, Jr. Mr. & Mrs. William John Petter Dr. & Mrs. Frank S. Pittman III

Mr. Christopher D. Rex & Dr. Martha Wilkins Ms. Mary Roemer & Ms. Susan Robinson The Gary W. & Ruth M. Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral Nancy & Henry Shuford Alida & Stuart Silverman Sandy & Paul Smith* Mr. & Mrs. Raymond F. Stainback, Jr. Mrs. James R. Stow Kay & Alex Summers Elvira Tate Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Mr. & Mrs. William M. Tipping Frank Vinicor, M.D. Mr. J.H. Walker III Jonne & Paul Walter Mr. & Mrs. Terry R. Weiss Drs. Julius & Nanette Wenger David & Martha West Mrs. Thomas R. Williams Mark & Ruthelen Williamson Jan & Beattie Wood Dorothy & Charlie Yates Family Fund Mike & Marguerite York Chuck & Pat Young The Zaban Foundation, Inc. Grace & Herbert Zwerner

$1,750+ Marian & Paul Anderson Mr. & Mrs. William B. Astrop Mr. & Mrs. Ron H. Bell Ms. Laura J. Bjorkholm & Mr. John C. Reece II Mr.** & Mrs. Eric L. Brooker Tony & Norma Jean Bueschen Dr. & Mrs. Grady S. Clinkscales, Jr. Mr. & Mrs. Barksdale Collins* Robert Cronin & Christina Smith Mr. & Mrs. Burton K. Davis Mrs. H. Frances Davis Mr. & Mrs. P. Brantley Davis Elizabeth & John Donnelly Mr. Bruce E. Dunlap Ms. Diane Durgin Dr. Francine D. Dykes & Mr. Richard Delay Mary Frances Early Drs. Bryan & Norma Edwards Heike & Dieter Elsner Representative Pat Gardner & Mr. Jerry Gardner Bill & Susan Gibson Joseph W. & Beth M. Gibson* Carol & Henry Grady Duncan & Judy Gray Kenneth R. Hey Thomas J. High Mr. Thomas Hooten Dr. & Mrs. James M. Hund Dorothy Jackson

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

Atlanta’s Performing Arts Publication 31

ASOsupport

Corporate sponsors $100,000+

Classical Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor

Holiday Title Sponsor Muhtar Kent President and Chief Operating Officer

Richard Anderson Chief Executive Officer 1180 Peachtree * Perimeter Summit * Riverwood

Delta Classic Chastain Presenting Sponsor jerome j. byers, II Atlanta Regional President

$50,000+ AGCO Corporation and Vendors AT&T The Real Yellow Pages GE Energy Oliver Wyman

Delta Classic Chastain Presenting Sponsor

Delta Classic Chastain Presenting Sponsor

Philip I. Kent Chief Executive Officer

David W. Scobey President & Chief Executive Officer - AT&T - Southeast

$35,000+

$20,000+

Ogletree, Deakins, Nash, Smoak & Stewart, PC Porsche Cars North America Publix Super Markets Charities

Official Coffee of Delta Classic Chastain Free Parks Title Sponsor Lisa Compton Regional Vice President

Owned by an affiliate of the General Electric Pension Trust – advised by GE Asset Management

Supporter of the Atlanta Symphony Orchestra Chorus Jerry Karr Managing Director GE Asset Management

$10,000+

CNN en EspaĂąol HoneyBaked Ham Company Sutherland, LLP Target Corporation

Turner Construction AlixPartners, LLP Company Stanford Financial Verizon Wireless Services The Boston Consulting Group

foundation and government support $100,000+ The Goizueta Foundation The Halle Foundation William Randolph Hearst Foundation The Andrew W. Mellon Foundation The Mabel Dorn Reeder Foundation The Vasser Woolley Foundation, Inc. The Zeist Foundation

$25,000+ Anne and Gordon Getty Foundation League of American Orchestras The Charles Loridans Foundation, Inc. MetLife Music for Life Initiative

$5,000+

$10,000+ The Aaron Copland Fund For Music, Inc. The Arnold Foundation The Green Foundation Hellen Ingram Plummer Charitable Foundation The Kendeda Fund

Atlanta Federation of Musicians Fraser-Parker Foundation Robert S. Elster Foundation The Sartain Lanier Family Foundation

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

32 EncoreAtlanta.com

National Endowment for the Arts

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

Special Gifts The ASCAP Foundation Cobb Energy Performing Arts Centre Foundation Kathy Griffin Memorial Endowment Livingston Foundation Reiman Charitable Foundation William Randolph Hearst Endowed Fund

This program is supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Council is a Partner Agency of the National Endowment for the Arts.

ASOsupport Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Madeline & Howell E. Adams, Jr. Mr. & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Fred & Bettye Betts Mr. & Mrs.* Karl A. Bevins Mr.* & Mrs. Sol Blaine Frances Cheney Boggs* W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Miriam & John A. Conant* Dr. John W. Cooledge Mr. & Mrs. William R. Cummickel* John R. Donnell Dixon W. Driggs* Catherine Warren Dukehart Ms. Diane Durgin Arnold & Sylvia Eaves

Elizabeth Etoll John F. Evans Doyle Faler* Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Kay Gardner* Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Mrs. Irma G. Goldwasser* Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G. & Joseph* F. Haas James & Virginia Hale Miss Alice Ann Hamilton Ms. Jeannie Hearn Jill* & Jennings Hertz Albert L. Hibbard, Jr.* Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr. & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James deForest F. Jurkiewicz* Herb & Hazel Karp

Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Ann Bernard Martin* Mr. Michael McDowell* Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis Vera A. Milner* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Carl J. Reith* Edith Goodman Rhodes* Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers

Mr. & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Edward G. Scruggs Dr. & Mrs. George P. Sessions W. Griggs Shaefer, Jr.* Mr. & Mrs. Robert Shaw* Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Margo Sommers* Elliott Sopkin Elizabeth Morgan Spiegel Daniel D. Stanley* Peter James Stelling C. Mack* & Mary Rose Taylor Jed Thompson Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Richard S. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Elin M. Winn* Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12)

*Deceased

THE LEARNING COMMUNITY Atlanta Symphony Youth Orchestra, Talent Development Program, Azira G. Hill Scholarship Endowment Fund, Concerts for Young People, Family Concerts, Conversations of Note

$250,000+

The Goizueta Foundation The Zeist Foundation, Inc.

$50,000+

GE Energy John H. & Wilhelmina D. Harland Foundation

$25,000+

Bank of America The Coca-Cola Company William Randolph Hearst Foundation Mr. & Mrs. Jesse Hill, Jr. MetLife Music for Life Initiative Monica (Kaufman) Pearson & John E. Pearson, Sr. Hellen Ingram Plummer Charitable Foundation Publix Super Markets & Publix Super Markets Charities, Inc. Margaret & Bob Reiser Jay & Arthur Richardson

$10,000+

AGL Resources Edith H. & James E. Bostic, Jr. Family Foundation Marcia & John Donnell Cree & Frazer Durrett The Green Foundation Livingston Foundation, Inc. The Sartain Lanier Family Foundation, Inc. The Pittulloch Foundation John C. Portman, Jr. Primerica Simmons Family Foundation Mr. & Mrs. Robert A. Yellowlees

$5,000+

Mr. & Mrs. Henry Aaron EZ Agape Foundation Dr. Margo A. Brinton & Mr. Eldon Park Cynthia & Donald Carson Mr. & Mrs. Charles B. Ginden Mr. & Mrs. David Gould

Ms. Joy G. Howard Aaron & Joyce Johnson Mr. & Mrs. William Lamar, Jr. Ms. Malinda C. Logan Mr. & Mrs. Howatt E. Mallinson Dr. Emily A. Massey Dr. Joanne R. Nurss $2,500+ Dr. & Mrs. Travis Paige Elinor Rosenberg Breman* Mr. & Mrs. Howard Palefsky Lincoln Financial Foundation Ms. Margaret H. Petersen Links Inc., Azalea City Chapter Ms. Elise T. Phillips Alison & Mike Rand $1,000+ Erich & Suzette Randolph Anonymous Mr. Herman J. Russell, Sr. Madeline & Howell E. Adams, Jr. Michael & Lovette Russell Claire & Hubie Brown Stephanie & H. Jerome Russell Dr. Eric & Nancy Brown Mr. & Mrs. Johnathan H. Short Suzanne & Willard Shull Dr. Sheri D. Campbell Sharon, Lindsay & Gordon Fisher Mr. & Mrs. Thomas L. Sullivan Dr. John O. Gaston Mr. & Mrs. Michael A. Troy & Dr. Gloria S. Gaston Mr. & Mrs. Raul F. Trujillo Mr. & Mrs. Ernest Greer Mr. & Mrs. Mark D. Wasserman The Honorable Judge Glenda Mr. Mack Wilbourn A. Hatchett

Mrs. Mary C. Gramling Kraft Foods, Inc. Isaiah & Hellena Huntley Tidwell The Frances Wood Wilson Foundation Ms. Joni Winston

* Scholarships for Atlanta Symphony Youth Orchestra tuition are made possible through the Elinor Rosenberg Breman Fellowship.

Atlanta’s Performing Arts Publication 33

ASOsupport The volunteer organization of the Atlanta Symphony Orchestra 2009-2010 Board Kathleen (Suzy) Wasserman President Leslie Petter Advisor Judy Schmidt Parliamentarian Alison Mimms Secretary

Belinda Massafra Treasurer Joanne Lincoln Historian Janis Eckert Nominating Chair Elba McCue VP Adminstration Honey Corbin VP Public Relations

Glee Lamb VP Membership Martha Perrow Decorators’ Show House & Gardens Sylvia Davidson VP Youth Education Yetty Arp & Martha Perrow ASA Spring Luncheon

Events

April Conaway & Annie York Trujillo ASA Night at the Symphony Camille Kesler Newsletter Editor Sylvia Davidson & Dr. Mary Francis Early Target Family Day Brooke Merrill Fall Membership Party

Pat King Directory Editor Nancy Levitt Ambassador’s Desk Camille Yow & Leslie Petter VP Annual Fund Dr. Mary Francis Early VP Outreach

2009 Decorators’ Show House & Gardens Diamond Atlanta Homes & Lifestyles Platinum Bovis Lend Lease St. Regis Atlanta Ticket Sponsor Springer Mountain Farms

Gold Boxwoods Comcast Encore Atlanta Magazine Jackson Spalding Mercedes-Benz of Buckhead Silver Phipps Plaza

Bronze Closets & More Conceirge Services of Atlanta Designer Previews Flora by John Grady Burns Laubmann Rector, Inc. Landscape Architecture & Land Planning

Olde Savannah Flooring, Inc Preprint Rabun Rasche Rector & Reece Architects Swoozie’s

2009 Atlanta Symphony Ball corporate Sponsors

Silver table hosts Amanda & Greg Gregory

special contributors

Phoenix AirTran Airways

Bronze Global Payments, Inc. Genuine Parts

Table Hosts Mr. & Mrs. William M. Graves Patty & Doug Reid

Platinum The Coca-Cola Company wine sponsors Invesco Savi Urban Market Capasaldo Silver Rosenblum Vineyards AGL Resources Sterling Vineyards Alston & Bird CISCO National Distributing Company King and Spalding Parties to Die For Media sponsor Printpack, Inc. & The Atlantan the Gay & Erskine Love Foundation Siemens Energy & Automation Southern Company St. Regis Atlanta Verizon Wireless

patrons Mr. & Mrs. Carleton Allen Mr. & Mrs. Charles Allen Ron & Susan Antinori Yetty & Charlie Arp Lyn & Rick Asbill Kimberly & Joel Babbit Mr. & Mrs. Smith Baker Joe & Lisa Bankoff Mr. & Mrs. Paul J. Blackney Stephanie & Arthur Blank Dr. Yamma Brown & Mr. Brandon Culpepper Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Philip P. Cave

Dr. & Mrs. Stephen A. Dawkins Richard & Lynne Dorfman Eilleen & Bo Dubose Carla & Carl Fackler Bill & Frannie Graves Harald R. Hansen Merrel & Willem Hattink Jim & Pam Henry Gerry & Patricia Hull Baxter & Veronique Jones Mark S. Lange Mr. & Mrs. Larry Lanier Pat & Nolan Leake Elizabeth Levine Belinda & Gino Massafra Mr. & Mrs. Harmon B. Miller, III Lawrence E. Mock, Jr. Ann Morgan & Jim Kelly Victoria & Howard Palefsky Leslie & Skip Petter Patty & Doug Reid

Jay & Arthur Richardson D. Jack Sawyer & William Torres Selig Foundation Thurmond Smithgall Susan & Stuart Snyder Gail & Loren Starr Mr. & Mrs. Howard Stein Steven & Lynne Steindel Mary Rose Taylor Annie-York Trujillo & Raul F. Trujillo Kryst & James Voyles Suzy & Steve Wasserman Adair & Dick White Sue & Neil Williams Joni & David Winston Camille Yow

Hole Sponsor: Asurion ATC Associates, Inc. Cosentini Associates Credit Suisse Cushman & Wakefield Dennis Taylor & Co., Inc. Gwinnett Chamber Hirtle, Callaghan & Co. Morgan Stanley Nordmark Consulting Group

North Fulton Chamber of Commerce Pathbuilders, Inc. Sasaki Associates, Inc. The Shumacher Group Troutman Sanders LLP Wilmington Trust

2009 AIRTRAN ASO Golf Classic Tournament title Sponsor AirTran Airways Reception Sponsors Blackberry Verizon Wireless Four-person Team & Hole Sponsor Atlanta Braves Radio Network Atlanta Falcons The Coca-Cola Company

Four-person Team Sponsor Auburn ISP Sports Network Beck EMC Corporation HKS Architects Signal Point System Turner Construction Two-person Team & Hole Sponsor: ZWJ Investment Counsel

34 EncoreAtlanta.com

Two-person Team Sponsor Alston & Bird Argus Benefits Brasfield & Gorrie Jones Day Nokia SunTrust Bank Sutherland Parsons Brinckerhoff

ATLANTA, GA TICKETS: 404.727.5050 WWW.ARTS.EMORY.EDU RODGERS AND HAMMERSTEIN’S

Frankenstein A SURREAL PUPPET PLAY FOR ADULTS FEBRUARY 18–27, 2010 4DIXBSU[ $FOUFS 5IFBUFS -BC … Adapted and directed by Jon Ludwig of Atlanta’s Center for Puppetry Arts. First produced for the 1996 Olympic Arts Festival, this take on Mary Shelley’s classic is a musical world of voodoo ritual, humor, and horror.

OKLAHOMA! APRIL 1–11, 2010

Music by Richard Rodgers. Book and Lyrics by Oscar Hammerstein II. Based on the play Green Grow the Lilacs by Lynn Riggs. Original dances by Agnes de Mille. Features live orchestra. Munroe 5IFBUFS %PCCT 6OJWFSTJUZ $FOUFS … Emory’s John Ammerman directs the quintessential American musical love story about handsome cowboy Curley and winsome farm girl Laurey.

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Patron Circle of Stars

By investing $15,000 or more in the Woodruff Arts Center and its four divisions – Atlanta Symphony Orchestra, Alliance Theatre, High Museum of Art and Young Audiences – these outstanding annual corporate campaign donors helped us raise more than $8.6 million in 2008–09. Thank you!

Chairman’s Council ★★★★★★★★★★★★★ $500,000+ The Coca-Cola Company ★★★★★★★★★★★ $450,000+ Georgia Power Foundation, Inc.

SunTrust Employees & Directed Funds Florence C. & Harry L. English Memorial Fund Harriet McDaniel Marshall Trust Woolford Charitable Trust Fund

★★★★★★★ ★★★★★★★★★★ $100,000+ $400,000+ Turner Broadcasting System, Inc. AirTran Airways Alston & Bird LLP ★★★★★★★★★★ Bank of America $300,000+ Holder Construction Company ING Cox Interests Cox Enterprises Kaiser Permanente (Atlanta JournalKing & Spalding LLP Constitution, WSB-TV, KPMG LLP, Partners & Cox Radio Group Atlanta, Employees James M. Cox Foundation) The Marcus Foundation, Inc. The Honorable Anne Tull Charitable Foundation Cox Chambers The Wachovia Foundation, Inc. The Sara Giles Moore The David, Helen & Marian Foundation Woodward Fund UPS ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Deloitte LLP, its Partners & Employees ★★★★★★★★ $150,000+ Equifax Inc. & Employees Ernst & Young, Partners & Employees Jones Day Foundation & Employees Kilpatrick Stockton LLP PricewaterhouseCoopers Partners & Employees The Rich Foundation, Inc.

36 EncoreAtlanta.com

★★★★★★ $75,000+ The Home Depot Foundation The Sartain Lanier Family Foundation, Inc. Macy’s Foundation Mabel Dorn Reeder Foundation Regions Financial Corporation Toshiba American Nuclear Energy Corp.

Westinghouse ★★★★★ $50,000+ AGL Resources Inc. The Partners & Employees of Atlanta Equity Investors Cisco Citi Foundation and Citi businesses of Primerica

Citi Smith Barney CitiFinancial Corporate Investment Bank Coca-Cola Enterprises The Delta Airlines Foundation Frank Jackson Sandy Springs Toyota and Scion GE Energy Kia Motors America, Inc. Kimberly-Clark Corporation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Sutherland Waffle House, Inc. The Zeist Foundation, Inc. ★★★★ $35,000+ Accenture & Accenture Employees Balch & Bingham LLP Lisa & Joe Bankoff Brysan Utilities Contractors, Inc. Drummond Company, Inc. INVESCO PLC J. Marshall & Lucile G. Powell Charitable Trust Siemens Harris A. Smith Spartan Constructors LLC Troutman Sanders LLP Gertrude & William C. Wardlaw Fund Frances Wood Wilson Foundation, Inc. ★★★ $25,000+ Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property Atlanta Foundation BB&T Corporation BDO Seidman, LLP Bryan Cave Powell Goldstein Capital Guardian Trust Company

Woodruff Arts Center Alliance Theatre Atlanta Symphony Orchestra High Museum of Art Young Audiences A. D. Correll Crawford & Company DuPont Mr. & Mrs. Mike Garrett Gas South, LLC Genuine Parts Company Georgia-Pacific Jack & Anne Glenn Foundation, Inc. Grant Thornton LLP IBM Corporation The Imlay Foundation, Inc. IntercontinentalExchange JPMorgan Private Bank Philip I. Kent Foundation The Blanche Lipscomb Foundation Kelly Loeffler & Jeffrey Sprecher McKinsey & Company, Inc. Mueller Water Products, Inc. Noonan Family Foundation Norfolk Southern Foundation Mary & Craig Ramsey Rock-Tenn Company SCANA Energy Shaw Nuclear Services Southwire Company Towers Perrin Wal-Mart Stores, Inc. ★★ $15,000+ 22squared, inc.

ACE Charitable Foundation Air2Web, Inc. Alcatel-Lucent Arcapita Arnall Golden Gregory LLP Atlanta Marriott Marquis Bain & Company, Inc. Julie & Jim Balloun Beaulieu Group, LLC Katharine & Russell Bellman Foundation Vicki & Gerry Benjamin

The Arthur M. Blank Family Foundation Bovis Lend Lease Catherine S. & J. Bradford Branch Bradley-Turner Foundation, Inc. Buck Consultants Center Family Foundation Chamberlain, Hrdlicka, White, Williams & Martin The Chatham Valley Foundation, Inc. Chubb Group of Insurance Companies Cousins Properties Incorporated Mr. & Mrs. Bradley Currey, Jr. DLA Piper Duke Realty Corporation Exposition Foundation, Inc. Ford & Harrison LLP John & Mary Franklin Foundation, Inc. Georgia Natural Gas Georgia Trane Companies, Inc. Mr. James B. Hannan Harland Clarke The Howell Fund, Inc. Hunton & Williams ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester J. Mack Robinson Interests Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation David & Jennifer Kahn Family Foundation Sarah & Jim Kennedy Thomas H. Lanier Foundation Lanier Parking Solutions Barbara W. & Bertram L. Levy Fund Ron Lipham — UC/Synergetic Livingston Foundation, Inc. Lockheed Martin Aeronautics Company

Manulife Financial Morgan Stanley MWV Food & Beverage Northwestern Mutual Goodwin, Wright Paul, Hastings, Janofsky & Walker LLP Tara Perry Pickard Chilton Piedmont Charitable Foundation, Inc. The Pizzuti Companies Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe Raymond James Financial, Inc. Restaurant Associates Spencer Stuart Karen & John Spiegel Staples Superior Essex Inc. Mark & Susan Tomlinson Family Fund Turner Construction Company United Distributors, Inc. US Foodservice/Atlanta Vertical Systems Group, Inc./ Atlantic Financial Services, Inc. WATL/WXIA/Gannett Foundation Watson Wyatt Worldwide Weswood Foundation John Wieland Homes and Neighborhoods Mr. & Mrs. James B. Williams Sue & Neil Williams Carla & Leonard Wood The Xerox Foundation

*As of August 1, 2009

Atlanta’s Performing Arts Publication 37

Continued from Page 14 Funkadelic had big bands with horns, and everybody had their afros and platform shoes, bad polyester shirts and leisure suits, and my father came to play with us. The cats in our band kind of knew he was a musician, and they said, ‘What you want to play?’ He said, ‘I don’t care. If y’all are playing it, it can’t be that hard.’

KM: Who was the first musician to incorporate classical music into jazz?

the particular jazzmen I mentioned have no tradition of serious composition for symphonic orchestra, their methods of presenting and developing material are fully homegrown and very successful. The discoveries of Gershwin, Bernstein, Copland, Still, Grofé and Riddle, amongst others, provide a workable tradition of embracing vernacular musical achievements and “I tend to use my amplifying them with skillful natural hearing and symphonic orchestration.

KM: What about composing love of what the WM: Jelly Roll Morton did these recordings in the various instruments the score? early 1940s, and played WM: I am largely untutored like to do and all of John Philip Sousa’s in orchestral writing, and can do to guide music on piano, like Stars the orchestra is a very and Stripes Forever, and he sophisticated instrument, an my process.” instrument that commands said, ‘This is how you turn Stars and Stripes into jazz,’ a lot of respect. I tend to use my natural hearing and love of what and he described the elements of jazz. One of the elements he said was the ability to play the various instruments like to do and can classical pieces in a jazz style and I would do to guide my process. I also try to figure say he was the first one to play jazz versions out how to write parts that musicians will of classical works. We have Gershwin, of want to play. I’m always an orchestra or band course, and other musicians who have tried member at heart. I love playing. Playing is or dabbled in it — the whole marriage of a very social activity. Composing, however, ragtime, the American fiddle tradition, the is a long personal meditation. You need blues, early jazz improvisation and classical mental isolation to figure things out. When I — but we’ve never really developed it. compose, I like to have a small, desolate room with a piano. I start to think and get the energy KM: Which brings us to your Blues Symphony. built up over time. Ideas generally come to me WM: Like most New Orleans musicians, I grew when waking up and going to bed. I always up surrounded by vernacular music and I love wake up with a lot of ideas. When I’m on the the plain-spoken nature of it all. My writing road — no piano, no room — the buildup of process is rooted in the tradition of Duke energy has to be internal ... it’s a lot harder.

Ellington, Fletcher Henderson and Jelly Roll KM: What can you tell us specifically about Morton, and I’ve had the good fortune to study Blues Symphony? their scores and review their compositional WM: There are seven movements, each in methods. I’m very conscious of maintaining devices like the chorus format, timed call and the form of 12 bar blues choruses with some responses, rhythm breaks, vertical voicing, variations and times, and each with a specific sound and historic reference point. and New Orleans style polyphony. Though

38 EncoreAtlanta.com

KM: I know the complete work is still evolving, but briefly touch on each movement.

I was in my early 20s, Freddie would tell me, ‘Keep the dignity in the music, stay welldressed and keep dealing with your thing.’

WM: The First Movement considers the KM: You’ve composed ballet music in the past.

Revolutionary War and is full of twinkling sounds that represent dawn and refer to What are the differences between that and the fife and drums, fiddle composing orchestra music? reels, bagpipes and “I want to play WM: When you compose syncopated promises of ballet music, in my case, and write as much America. Movement Two the people who you’re of our root music — composing for tell you has a spiritual blues feel that you find in church with the sensibility what they want the music music and ragtime, while to do. When you compose of a jazzman, of Movement Three is led by orchestra music, you do course — as I can.” the strings and begins as what you want to do. I always a waltz. In New Orleans, have ideas. Always. I wake the early ragtime bands up in the morning; I have ideas. Sometimes played marches, waltzes, schottische and they’re not worth repeating. A good friend of other dances. Movement Four begins with mine, Sandy Feldstein, was a music publisher a brass in a moaning style chorale, then a and I used to tell him all the time, ‘Man, it’s modulation to E, the favorite key of itinerant a lot of notes in this piece.’ Sandy would say, guitarists the world over. The Fifth Movement ‘But are they good notes?’ As you go through is in 4/4 swing with blocks of sounds and life, the one beautiful thing about being in the silence. In jazz we call the silences ‘breaks.’ arts is that your understanding deepens as you It’s New York City, concrete, steel and glass, grow older and have more experiences. and there are many percussive elements. The KM: I think every generation, as we get older, families of the orchestra call and respond to starts to worry about the future of the music we each other. Movement Six combines Monk’s love. And you’re so involved in trying to encourage harmonic technology and Cachao’s music, people to continue it. What’s your perception of which is similar to ragtime. The music moves jazz and classical music and its future? from danzón into mambo, then habanera, and finally choro — a Brazilian music form, WM: Both jazz and classical were always in which features a danceable offbeat ground trouble. Nobody I knew was into either form of rhythm and an exciting bass-treble dialogue. music, but I never have reached a point when I Movement Seven is all contemporary. I like was older that I consciously thought, ‘Hey, this the reconciliation of opposites: a man and music is in trouble.’ Rather I’ve always felt it’s a woman, and conversations between the up to us to teach younger people. I don’t look at a younger person like they’re the enemy; genders. There is a low part talking to the high I think more along the lines of if we abdicate part. They argue and then get along, argue and get along. Both parts are very complicated. our responsibility to a younger person, we’re not doing our job. And I’ve had so many The background rhythm of this movement is influenced by Freddie Green, the great rhythm parents — I’m talking about thousands and thousands of parents over these years — who guitarist of the Count Basie Orchestra. When

40 EncoreAtlanta.com

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ASOCALENDAR UPCOMING CONCERTS

FEBRUARY

Michael Feinstein Sings Sinatra

8pm

MICHAEL FEINSTEIN, piano & vocals

5/6

SuperPOPS!

Keeper of the American Songbook and owner-headliner of his own New York club, Michael Feinstein is “an essential national resource” (New York Times).

FEBRUARY

7

1:30 & 3:30pm

Classical Clown DAN KAMIN, guest artist

FAMILY CONCERT JERE FLINT, conductor

It’s a symphonic showdown as the Classical Clown battles the maestro for control of the orchestra! By the time this Comedy Concerto is over the clown has conducted, the conductor has become a clown – a slapstick tour de farce.

FEBRUARY

Mozart:Coronation Mass

8pm

MOZART:Sonata No. 12 AND 13 in C Major BEETHOVEN:Symphony No. 1 ROBERTO ABBADO, conductor KRISZTINA SZABÓ, mezzo-soprano

11◊/13

DELTA CLASSICAL

KIERA DUFFY, soprano COLIN BALZER, tenor MATTHEW BURNS, bass ASO CHORUS

Mozart’s sunny Coronation Mass is filled with vibrant choral interludes and superb solos, especially the Agnus Dei for soprano. Beethoven could also be jovial and his very first numbered symphony forecasts a new era with surprising twists and turns that stamp this early work as pure Beethoven.

FEBRUARY

18◊/19 20 8pm

ProkoFiev:violin Concerto No. 1

DELTA CLASSICAL

MOZART:Overture to La clemenza di Tito ROBERTO ABBADO, conductor SCHUBERT:Symphony No. 9 LEILA JOSEFOWICZ, violin

Mr. Abbado’s second week on the podium is as rich as his first as he imparts charm and vigor to Schubert’s most extensive orchestral score, justly known as the composer’s “Great C-Major” Symphony. The luminous Ms. Josefowicz always enchants, here investing Prokofiev’s warm and romantic concerto with grace and dynamism.

FEBRUARY

raChMaNiNov: Rhapsody on a Theme of Paganini

8pm

HINDEMITH:Symphonic Metamorphoses MEI-ANN CHEN, conductor ˘ ÁK:Symphony No. 8 DVOR JON KIMURA PARKER, piano

25◊/26 27

DELTA CLASSICAL

Ms. Chen returns with Hindemith’s colorful and gently humorous suite, while Mr. Parker sizzles in Rachmaninov’s great set of variations for piano and orchestra. Dvo˘rák’s lyrical, easygoing Eighth seems to grow directly out of the folk music of the Czech countryside.

FEBRUARY

atlanta SymphonyYouth orchestra

3pm

JERE FLINT, Music Director

28

oN Sale Now:

WINTER CONCERT

presented by GE Energy

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Woodruff Arts Center Box Office 404.733.5000 atlantasymphony.org 2009/2010 SEASON SPONSOR

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Friday, Mar. 12, 8 p.m.

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ASOstaff

administrative staff Executive Donald F. Fox Interim Chief Executive Officer Evans Mirageas Director of Artistic Planning ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Rachel Trignano Assistant to the VP for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager

FINANCE & ADMINISTRATION Donald F. Fox Executive Vice President for Business Operations & Chief Financial Officer Aysha Siddique Assistant to the EVP for Business Operations & CFO Susan Ambo Controller Kim Hielsberg Director of Financial Planning & Analysis April Satterfield Senior Accountant Peter Dickson Staff Accountant Michael Richardson Venues Analyst Stephen Jones Symphony Store Manager Galina Rotbakh Symphony Store Sales Associate Popular Presentations Clay Schell General Manager Trevor Ralph General Manager and Senior Director of Operations Holly Clausen Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist Chastain Park Amphitheater Tanner Smith Program Director Verizon Wireless Amphitheatre at Encore Park Katie Daniel VIP Sales Manager Jenny Pollock Operations Manager Rebecca Gordon Box Office Manager

46 EncoreAtlanta.com

advancement & learning Paul W. Hogle Vice President for Institutional Advancement & Learning Tammie Taylor Assistant to the VP for Advancement & Learning Stephanie Malhotra Director of Advancement & Learning Services Rebecca Abernathy Donor Services Associate Major & Planned Giving Jessica Langlois Director of Leadership Gifts & Planned Giving Andrea Welna Major Gifts Officer Meredith Jackson Prospect Research Officer Annual, Institutional & Volunteer Services Sandy Smith Senior Director of Institutional Support & Partnerships Corey Cowart Corporate Relations Manager Toni Paz Director of Individual Giving Maya Robinson Patron Partnership Gifts Officer Celeste Pendarvis Director of Volunteer Services & Special Events Sarah Turner Special Events Coordinator Jennifer Upton Volunteer Project Manager ASO Learning Community Melanie Darby Director of Education Programming Sandy Smith Director of Development Barbara Saunders Learning Community Gifts Officer Elizabeth Wilson Director of Student Musician Development Lindsay Fisher Learning Community Specialist; Ensembles Coordinator

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Audience Engagement Alesia Banks Director of Customer Service & Season Tickets Nellie Cummins Group & Corporate Sales Associate Rebecca Enright Subscription & Education Sales Assistant Janice Hay Senior Director of Marketing Meko Hector Office & Marketing Coordinator Jennifer Jefferson Interactive Media Manager Melanie Kite Subscription Office Manager Shelby Moody Group & Corporate Sales Coordinator Seth Newcom Database Administrator Robert Phipps Publications Director Melissa A. E. Sanders Director of Public & Media Relations Karl Schnittke Publications Editor Robin Smith Group & Corporate Sales Assistant Laura Soldati Publicist Russell Wheeler Group & Corporate Sales Manager Christina Wood Marketing Manager

It’s not polite to shout during the show.

So we invite you to

after.

PRESENT YOUR TICKET AND RECEIVE 15% OFF FOOD ONLY AT SHOUT* Offer valid with your Atlanta Symphony Orchestra or Fox Theatre ticket stub. Expires 1/30/10.

*

1197 Peachtree Rd • (404) 846-2000 • h2sr.com Open 7 nights a week serving dinner • Lunch served Mon-Fri

General info LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities.

Please call the box office (404.733.5000) to make advance arrangements.

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

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available.

Call 404.733.4860.

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

VB-14699 Encore Atlanta

12/4/07

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Ticket Info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 Mon. – Fri., 10 am – 8 pm; Sat. – Sun., Noon – 8 pm. Service charge applies.

Phone orders are filled on a bestavailable basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery.

For orders received less than two weeks prior to the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Mon. – Fri., 10 am – 8 pm; Sat. – Sun., Noon – 8 pm. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person.

Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change.

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

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

After the show, Enjoy some of our award winning...

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Havin’ a Ball, y’all!

1

2

1 musical chairs Atlanta Symphony Ball Co-Chairs (left to right) Suzy Wasserman, Yetty Arp and Leslie Petter were on hand to greet guests.

2 After the ceremony, guests danced the night away to the music of the band Anita.

3 Honorary Chair Wynton Marsalis took a moment to pose with members of the ASO Talent Development Program (from left to right) Chelsea Sharpe, Angelica Hairston and Andrew Cleveland.

3

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Photos: JIM FITTS

The swinging sounds of jazz were in the air at the 21st annual Atlanta Symphony Ball, held on Saturday, November 21, 2009 at the St. Regis Atlanta. The event honored Jazz-legend Wynton Marsalis and his years of dedication to the arts. Proceeds benefit the ASO’s Learning Community.

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Not for profit. For budding performers.

Your generosity goes a long way to help kids get back to being kids, so they can once again delight their loyal fans. To make a donation, please visit www.choa.org/give or call 404-785-GIVE.

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