Encore Atlanta January 2011 ASO

Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

January 6/7/8 Brahms: Piano Concerto No. 2 Yefim Bronfman, piano January 13 A King Celebration Concert January 20/22 Beethoven: Missa Solemnis Donald Runnicles, conductor January 27/28/29 Mozart: Concerto No. 20 Robert Spano, piano

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EVENING OF MOZART ATLANTA SYMPHONY ORCHESTRA All Mozart: the towering genius is heard in his multifarious voices from the intimacy of the wind serenade to the grandeur of the “Prague” Symphony. David Coucheron performs his first solo concerto as Orchestra concertmaster.

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contents January 2011

jeff roffman

18

features

the music

18 “From the Heart — May it Return to the Heart”

23 The concert’s program and notes

Why Beethoven’s Missa Solemnis is a seminal work.

42 Taking His Turn

On the slopes and on stage, Concertmaster David Coucheron pursues a heady path.

48 Voices of Triumph!

Shining a light on the famed Chorus’s four decades of brilliance.

6 EncoreAtlanta.COM

departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 16 Musicians 33 Contributors 50 Calendar 52 Administration 54 General Info 56 Ticket Info 58 Gallery ASO

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T H E WA LT E R & E M I L I E S P I V E Y F O U N DAT I O N

Welcome to the New Year!

January finds our Atlanta Symphony Orchestra full steam ahead — vibrantly alive with wonderful experiences ahead of us both on and off stage — and on track for a dynamic second half of the season.

We open 2011 with a marvelous match: the Orchestra’s gifted viola principal, Reid Harris, joins Robert Spano and pianist Yefim Bronfman, a stalwart guest over the years, in a glorious program of Brahms, Liszt and Bartók.

More glories lie ahead. Donald Runnicles leads Beethoven’s celestially charged Missa Solemnis with our renowned Chorus collaborating with the Orchestra, fresh from its performance of “brilliance and precision” (NY Times) at Carnegie Hall in late October.

Read about Missa Solemnis and 40 years of Chorus triumphs on pages 18 and 48.

The week after, Robert appears in an all too rare role, as pianist, exploring a prized Mozart concerto with Donald on the podium in a magnificent celebration of their 10-year creative partnership. And we’re all abuzz about David Coucheron’s premiere outing in a solo concerto as Concertmaster first week of February (page 42).

Music is a balm for all of humanity, of course, as are the words and deeds of a precious few. Dr. Martin Luther King, Jr. is certainly among, if not at the peak of, these healers of souls, and this Orchestra has honored him in concert and celebration for two decades.

Yet, our devotion to civil rights dates back to the 1960s, when Music Director and choral giant Robert Shaw brought the Orchestra to Morehouse College (Dr. King’s alma mater) and began an cherished commitment to the legacy of a truly visionary humanitarian.

Our 19th annual A King Celebration is January 13 at the King Chapel on the Morehouse College campus, and I urge you to attend. This year’s event seems especially timely and poignant to me in light of continuing and senseless challenges to freedoms around the world, the very antithesis of Dr. King’s message.

This institution’s artistic freedom was recently affirmed with the creation of our own label, ASO Media, and a distribution agreement with the classical powerhouse Naxos Records. ASO Media’s premiere recording, with Robert conducting works by composers from our Atlanta School, will be released next month. Visit us online for details.

Next month: our 2011-12 season announcement including a milestone observance of A King Celebration. Until then, best wishes to you and yours in a new year of new beginnings,

Stanley E. Romanstein President 10 EncoreAtlanta.COM

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leadership Atlanta Symphony Orchestra League 2010-2011 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer

Meghan H. Magruder Jeff Mango Belinda Massafra * ASA President Penny McPhee

Stanley E. Romanstein, Ph.D. * Chilton Davis Varner Joni Winston Secretary

Directors Jim R. Abrahamson Pinney L. Allen Joseph R. Bankoff * Jason A. Bernstein Paul Blackney Janine Brown Donald P. Carson Ann W. Cramer Cari K. Dawson Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert Franklin Paul Garcia Carol Gellerstedt Jim Henry

Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson, III Steve Koonin Carrie Kurlander Mike Lang Donna Lee Lucy Lee Karole F. Lloyd Meghan H. Magruder Jeff Mango Belinda Massafra * Darrell J. Mays Penny McPhee

Galen Oelkers Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia Reid Martin Richenhagen John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski Lynn Schinazi William Schultz Tom Sherwood John Sibley Hamilton Smith Thurmond Smithgall

Gail R. Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Chilton Davis Varner Rick Walker Thomas Wardell Mark Wasserman John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Patrice Wright-Lewis Camille Yow

Board of counselors Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin

Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys 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 Bertil D. Nordin 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

Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew Fuller Mary D. Gellerstedt

* ex officio

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Robert M Spano music Director

usic Director Robert Spano, beginning his 10th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001, he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.

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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 — and the first concert-staged performances of John Adams’s Doctor Atomic, in November 2008. The Atlanta School of Composers reflects Mr. Spano’s 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 Orchestra have performed over 100 concerts featuring contemporary works (composed since 1950), including 13 Atlanta Symphony-commissioned world premieres and three additional world premieres.

14 EncoreAtlanta.COM

Mr. Spano has a discography with the Atlanta Symphony Orchestra of nine recordings — six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall and Lincoln Center, as well as the Ravinia, Ojai and Savannah music festivals. He has led the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles.

Mr. Spano was Musical America’s 2008 Conductor of the Year. In March 2010, Mr. Spano began a threeyear tenure as Emory University’s Distinguished Artist in Residence, for which he spends three weeks each year leading intensive seminars, lecturing, and presenting programs on science, math, philosophy, literature and musicology throughout the University’s campus.

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Robert Spano, Music Director, The Robert Reid Topping Chair * Donald Runnicles, Principal Guest Conductor, The Neil and Sue Williams Chair * FIRST VIOLIN

David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair*

William Pu Associate 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

John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Eleanor Kosek 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*

CELLO

BASS

Christopher Rex

Ralph Jones

Principal The Miriam and John Conant Chair*

Principal The Marcia and John Donnell Chair  *

Daniel Laufer

Gloria Jones

Associate Principal The Livingston Foundation Chair

Associate Principal

Karen Freer Assistant Principal

Dona Vellek Klein Assistant Principal Emeritus

Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Paul Warner

Jane Little Assistant Principal Emeritus

Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson FLUTE

Christina Smith Principal The Jill Hertz Chair*

Robert Cronin

Paul Murphy

Associate Principal

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Paul Brittan The Georgia Power Foundation Chair

Catherine Lynn

Carl David Hall

Assistant Principal

Wesley Collins Marian Kent Yang-Yoon Kim Lachlan McBane Ardath Weck

SECOND VIOLIN

David Arenz Principal The Atlanta Symphony Associates Chair*

Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair*

Jay Christy Assistant Principal

16 EncoreAtlanta.com

michael Krajewski, Principal Pops Conductor 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 PICCOLO

E-FLAT CLARINET

TRUMPET

PERCUSSION

Carl David Hall

Ted Gurch

Thomas Hooten

Thomas Sherwood

OBOE

BASS CLARINET

Elizabeth Koch

Alcides Rodriguez

Principal The Madeline and Howell Adams Chair*

Principal The Julie and Arthur Montgomery Chair*

Michael Myers Joseph Walthall

William Wilder

rincipal P The George M. and Corrie Hoyt Brown Chair *

Yvonne Powers Peterson Associate Principal Deborah Workman Ann Lillya † Patrick McFarland ENGLISH HORN

Patrick McFarland CLARINET

BASSOON

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

TROMBONE

Colin Williams

Charles Settle

Elizabeth Burkhardt

Principal The Wachovia Chair

HARP

Associate Principal

Stephen Wilson

Laura Najarian

Associate Principal The Patsy and Jere Drummond Chair

The Pricewaterhouse Coopers Chair

Juan de Gomar CONTRABASSOON

Bill Thomas George Curran BASS TROMBONE

Laura Ardan

Juan de Gomar

Principal The Robert Shaw Chair*

HORN

Ted Gurch

Brice Andrus

TUBA

Principal The Sandra and John Glover Chair

Michael Moore

Associate Principal

William Rappaport The Alcatel-Lucent Chair

Alcides Rodriguez

Assistant Principal William A. Schwartz Chair*

Susan Welty

George Curran

Principal The Georgia-Pacific Chair

Associate Principal

Thomas Witte Richard Deane The UPS Community Service Chair

Bruce Kenney

TIMPANI

Mark Yancich Principal The Walter H. Bunzl Chair*

William Wilder Assistant Principal

Elisabeth Remy Johnson 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 Principal Librarian

John Wildermuth Assistant Librarian *C hair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically.

Atlanta’s Performing Arts Publication 17

By Karl Schnittke

“ From the Heart – May it Return to the Heart.”

ASO Insider Ken Meltzer sets the stage: “When Beethoven, struggling with health issues as well as the loss of hearing, learned of the rumors of his imminent demise, he said to a friend, ‘Wait a while; you will soon learn differently.’”

Missa Solemnis is a prime example of Beethoven’s extraordinary “Late Period.” Scored for a quartet of vocal soloists, chorus and orchestra, it is a majestic work that continues to inspire reverence, awe, and perhaps some misconceptions, as well.

“The remarkable challenges placed upon the range and stamina of the singers (both the soloists and chorus) are often attributed to Beethoven’s lack of sympathy for the capabilities of the human voice, perhaps exacerbated by his hearing loss,” explains Meltzer.

18 EncoreAtlanta.COM

jeff roffman

Why Beethoven’s Missa Solemnis, which Donald Runnicles, and the Orchestra and Chorus perform January 20 and 22, is a seminal work

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But Meltzer thinks that quite possibly the superhuman vocal demands were precisely what Beethoven intended. He quotes from the composer’s letter to a friend shortly before the work’s premiere: “My chief aim was to awaken and permanently instill religious feelings not only into the singers but also the listeners.”

“Beethoven understood, perhaps as well as anyone, the fortitude required to maintain one’s faith when confronting life’s challenges,” notes Meltzer, “and did not hesitate to portray those challenges in his Missa Solemnis.” But he feels that struggle makes the triumphant finale of the Missa Solemnis all the more gratifying and fulfills Beethoven’s fervent wish, inscribed at the top of the score: “From the Heart – May it Return to the Heart.”

“No matter how many times I sing this piece, I approach it like it is the first time. I was proud to sing in Donald [Runnicles]’s first Missa Solemnis a few years back. Donald brought such depth and beauty to the piece, I will never forget it.”

Brewer first encountered the Orchestra’s Principal Guest Conductor in 2000 in London, when she sang her first Brunnhilde in Act III of Wagner’s Die Walkure with the BBC Symphony Orchestra. “That started our relationship with Wagner, Beethoven and Strauss,” she says. “I’ve done operas, concerts and recitals with Donald over the past 10 years and made several recordings with him, most recently Great Strauss Scenes which was released this year. We have a wonderful relationship and I always look forward to our musical collaborations.” jeff roffman

The luminous soprano Christine Brewer, who is a soloist in the performances here, takes it from there: “My first experience with Missa Solemnis was with Maestro Robert Shaw, a man near and dear to the folks in the Atlanta Symphony Orchestra and Chorus. I felt a bit like it was baptism by fire whenever doing a new piece like that with Mr. Shaw. I remember him

telling me that he found Missa Solemnis to be one of the greatest choral works ever written, and that it was his favorite piece to conduct. He followed this by saying to me, ‘So don’t screw this up, Miss Brewer!’

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program Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concerts Thursday, Friday and Saturday, January 6, 7 and 8, 2011, at 8 p.m.

Robert Spano, Conductor Reid Harris, Viola Yefim Bronfman, Piano Franz Liszt (1811-1886)

Hungarian Rhapsody No. 2 in D minor, G. 359/ 2

(orch. Liszt and Franz Doppler) (1847) Béla Bartók (1881-1945)

Concerto for Viola and Orchestra

(rev. Nelson Dellamaggiore and Peter Bartók) (1945)

I. Allegro moderato

II. Lento

III. Finale. Allegretto

Reid Harris, Viola INTERMISSION Johannes Brahms (1833-1897)

Concerto No. 2 in B-flat Major for Piano and Orchestra, Opus 83 (1881)

I. Allegro non troppo

II. Allegro appassionato

III. Andante

IV. Allegretto grazioso

Yefim Bronfman, Piano “Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator.

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

Atlanta’s Performing Arts Publication 23

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.

For more than 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.

24 EncoreAtlanta.com

program Notes on the Program

By Ken Meltzer Hungarian Rhapsody No. 2 in D minor, G. 359/2 (orch. Liszt and Franz Doppler) (1847) Franz Liszt was born in Raiding, Hungary, on October 22, 1811, and died in Bayreuth, Germany on July 31, 1886. The Hungarian Rhapsody No. 2 is scored for piccolo, two flutes, two oboes, three clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals and strings. Approximate performance time is eleven minutes.

These are the first ASO Classical Subscription Performances.

A

t the age of ten, Franz Liszt departed his native Hungary for Vienna to study piano with Carl Czerny. Liszt’s subsequent musical education, and his blossoming career as a brilliant piano virtuoso continued to separate him from his native land. However, in early 1840, Liszt returned to Hungary.

From an early age, Liszt was fascinated with the Gypsies who lived in Hungary. And so, upon his return, Liszt visited a Gypsy encampment. Liszt provided the following colorful description of his encounter: After examining some horses which had recently been given them, the men put on a heavenly smile, showing off to advantage their teeth, which were as white as snow. After that they started imitating castanets by cracking the joints of their fingers, which are always long and charged with electricity. They began throwing their caps into the air, following this by strutting about like peacocks. Then they examined the animals again.

Suddenly, as if inspired by a gratitude which they had all the while been trying to express, the true manifestation of which had only just occurred to them, they had recourse to a nobler medium. Flying to their violins and cymbals, they began a real fury of excitement. The friska was not long in rising to a frenzy of exultation, and then almost to delirium. In the final stage it could only be compared to that vertiginous and convulsive writhing motion which is the culmination point in the Dervish ecstasy.

In 1840, Liszt gathered a series of Gypsy tunes in a collection he entitled Magyar Dalok (“Hungarian National Melodies”). These ultimately formed the basis for a series of fifteen Hungarian Rhapsodies for solo piano, which were published in 1853. Liszt and his student Franz Doppler transcribed six of the Rhapsodies for symphony orchestra.

In 1859, Liszt’s The Gypsies and their Music in Hungary appeared. This two-volume book advanced Liszt’s opinion that Gypsy music, as memorialized in his Rhapsodies, constituted the true folk music of Hungary. The Gypsies and their Music in Hungary caused Liszt no small amount of difficulty. The book was published at a time when Hungary was under the domination of the Habsburg monarchy. Many Hungarians, seeking affirmation of their own cultural identity, Atlanta’s Performing Arts Publication 25

felt that Liszt had turned his back upon a long tradition of Magyar folk music, and accused him of being a traitor. And, it is true that the studies of composers Zoltán Kodály and Béla Bartók later established that Hungarian folk music long predated the arrival of the Gypsies. In fact, what Liszt characterized as Gypsy music actually was, according to Bartók, “almost without exception,

by Hungarians of the upper middle class.” The Gypsies later adopted this music as their own.

Today, Liszt’s Hungarian Rhapsodies may be enjoyed for what they are — pulsating, colorful works that transcend the kinds of issues that once made them a subject of controversy. By far, the most popular of the Hungarian Rhapsodies is No. 2, which Liszt completed in March of 1847 (the original solo piano work is in C-sharp minor, its orchestral arrangement in D minor). The Hungarian Rhapsody No. 2 is in a traditional two-part form. The opening lassú (slow) portion, with its sensuous melodies, frequent shifting of tempo, and ornamented passages, creates the impression of improvised music. The concluding friska (fast) section evokes “the rising frenzy of exultation” Liszt encountered when he visited the Gypsies.

Concerto for Viola and Orchestra (1945) (rev. Nelson Dellamaggiore and Peter Bartók) Béla Bartók was born in Sînnicolau Mare, Hungary, on March 25, 1881, and died in New York on September 26, 1945. The first performance of the Viola Concerto took place in Minneapolis, Minnesota, on December 2, 1949, with William Primrose as soloist, and Antal Dorati conducted the Minneapolis Symphony Orchestra. In addition to the solo viola, the Concerto is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, trombone, bass trombone, tuba, timpani, triangle, side drum, bass drum, large cymbals and strings. Approximate performance time is twenty-one minutes.

First ASO Classical Subscription Performances: April 24, 25 and 26, 1986, Reid Harris, Viola, Robert Shaw, Conductor (Serly, ed.)

“Plunging into the unknown”

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n October of 1940, Hungarian composer Béla Bartók and his wife, pianist Ditta Pásztory, left their native Hungary for the United States. Bartók described his departure from Nazi-ravaged Europe “like plunging into the unknown from what is known but unbearable.”

The Bartóks arrived in New York at the end of October. Bartók found himself competing with several other European musicians who had sought refuge in the United States. Bartók’s health was rapidly deteriorating from the onset of leukemia. In December of 1942, Bartók lamented: “My career as a composer is as much as finished; the quasi boycott of my works by the leading orchestras continues; no performances of either old works or new ones.”

The Concerto for Orchestra, and the Viola Concerto Still, there were some bright moments. A 1943 commission from conductor Serge Koussevitsky supported the composition of one of the masterpieces of the 20th century, Bartók’s Concerto

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program for Orchestra. Koussevitsky and the Boston Symphony Orchestra presented the Concerto’s triumphant world premiere at Symphony Hall on December 1, 1944. The New York premiere at Carnegie Hall on January 10, 1945, inspired similar acclaim. Olin Downes reported the following day in The New York Times: “Repeatedly, Dr. Koussevitsky led Mr. Bartók from the wings, and finally left him alone on stage with the applauding audience.”

Later in January, the great violist, William Primrose, commissioned Bartók to write a Viola Concerto. On September 8, Bartók wrote to Primrose: I am very glad to be able to tell you that your Viola Concerto is ready in draft, so that only the score has to be written, which means a purely mechanical work, so to speak. If nothing happens I can be through in 5 or 6 weeks, i.e., I can send you a copy of the orchestral score in the second half of October, and a few weeks afterwards a copy (or if you wish more copies) of the piano score.

Many interesting problems arose in composing this work. The orchestra will be rather transparent, more transparent than in the Violin Concerto.

Also the sombre, more masculine character of your instrument executed some influence on the general character of the work. The highest note I use is ‘A’, but I exploit rather frequently the lower registers. It is conceived in a rather virtuoso style. Most probably some passages will prove to be uncomfortable or unplayable. These we will discuss later, according to your observations.

The discussion with Primrose never took place. Bartók’s life was rapidly approaching its close. During the summer of 1945, Bartók attempted to complete his Third Piano Concerto, a work the composer hoped would serve as a concert showpiece for his wife. On September 21, Bartók’s friend and pupil, Tibor Serly, visited the composer at his apartment. There he found Bartók in bed, desperately working on the final movement of his Piano Concerto.

The next day, Bartók was taken to West Side Hospital. He died four days later.

Prior to his death, Bartók had, for the most part, finished the Third Piano Concerto, save the orchestration of the final seventeen bars, later completed by Serly. Tibor Serly also prepared the complete orchestration of the Viola Concerto, which received its premiere in Minneapolis on December 2, 1949. William Primrose was the soloist, and Antal Dorati conducted the Minneapolis Symphony.

In a preface to the score, Tibor Serly acknowledged the considerable challenges of interpreting Bartók’s sketches for the Viola Concerto. And to this day, controversy exists as to how accurately Serly’s completion reflects what Bartók might have achieved, had the composer lived to finish the work. The premiere of a revised version of the Concerto, prepared by Nelson Dellamaggiore and the composer’s son, Peter Bartók, with editorial advice from violist Paul Neubauer, took place on May 27, 1993. Mr. Neubauer was the soloist, with Dennis Russell Davies conducting the Orchestra of the Beethovenhalle, Bonn.

These concerts feature the ASO premiere of the Dellamaggiore-Bartók revision.

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The two versions contain numerous differences (a recording on the Naxos label [8.554183], featuring both the Serly and Dellamaggiore-Bartók editions, makes for fascinating listening).

In either case, however, what emerges is a beautiful, autumnal, and even optimistic work that that transcends the severe hardships under which Bartók labored.

Musical Analysis The Concerto is in three movements, played without pause.

I. Allegro moderato (Serly version: Moderato) — The opening movement, by far the longest of the three, begins with the introduction of the wide-ranging principal theme, played by the soloist over timpani accompaniment (pizzicato lower strings in the Serly version). The winds soon repeat the theme, with the soloist now playing an obbligato role. An agitated dance-like passage leads to a subdued descending theme, again presented by the soloist. A trill by the soloist heralds the development section. Here, the opening theme serves as the basis for episodes predominated by the soloist, featuring a variety of moods and colors. An accompanied cadenza for the soloist precedes a varied recapitulation of the opening section.

The mysterious coda, once again based on the opening theme, ends with a flourish for the soloist (the concluding bassoon solo in the Serly version is omitted).

II. Lento (Serly version: Adagio religioso ) —The slow movement opens with the soloist playing a lovely variant of the first movement’s principal theme. Delicately scored, the brief slow movement highlights the soloist, alternating between reflective and more agitated moods. A far more vigorous section (Scherzo) serves as a bridge to the Finale.

III. Finale. Allegretto (Serly version: Allegro vivace) — After a brief introduction by the orchestra, the soloist enters with a perpetuum mobile figure that returns throughout.

The Concerto’s Finale most clearly reflects Bartók’s lifelong fascination with folk music.

Throughout, the spirit of the dance is quite evident. In the closing measures, the soloist evokes a country fiddler. A brilliant, ascending passage by the soloist brings the Concerto to a rousing conclusion.

Reid Harris on the Bartók Viola Concerto I have many vivid memories of the Bartók Viola Concerto. In 1970, I had the good fortune to study the work with William Primrose in Santa Barbara, practicing between coaching sessions in a fog-shrouded garden. Always, I played it for orchestra auditions — in fact, it figured prominently when I won the ASO Principal Viola job in 1979. The Bartók is selected by approximately 85% of violists for their auditions.

It is also by far the most often-performed viola concerto.

After the premiere of the Bartók in 1949 and subsequent publication by Boosey & Hawkes in 1950, the work became a something of a mystery.

No manuscript could be found, having apparently been lost by Bartók’s son Peter. After the death of Tibor Serly in 1978, the manuscript miraculously turned up. Two copies were sanctioned, one being sent

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program to the Primrose Archive at Brigham Young University, the other to the Bartók Archives in Budapest.

Upon study of the newly discovered manuscript(s), a plethora of discrepancies with the Serly version were found. That was understandable, given that the manuscript was not a completed work and Serly had very liberally changed notes, added measures, and made other adjustments. Over time, some very prominent violists began to fashion their own versions of the work, presumably to adhere more closely to Bartók’s score. In 1995 Boosey & Hawkes released a second version of the concerto, edited by Peter Bartók, Nelson Dellamaggiore and violist Paul Neubauer.

This version, which is more loyal to the manuscript, is the one I will perform at these concerts. However, whatever version one uses, it begs the question: What would the Concerto have sounded like, finished by Bartók?

Like other “partially completed” works of the great masters — the Mozart Requiem, Mahler’s Symphony No. 10, and Berg’s opera Lulu, we can never know. All of these works in their various incarnations are still great. I also believe this to be true of the Bartók Viola Concerto. I hope you agree.

Concerto No. 2 in B-flat Major for Piano and Orchestra, Opus 83 (1881) Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of the B-flat Piano Concerto took place at the Redoutensaal in Budapest, Hungary, on November 9, 1881, with the composer as soloist and Sándor Erkel conducting the Budapest Philharmonic. In addition to the solo piano, the B-flat Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings.

Approximate performance time is fifty minutes.

First ASO Classical Subscription Performance: January 30, 1954, Joseph Battista, Piano, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: January 22, 23 and 24, 2009, André Watts, Piano, Robert Spano, Conductor.

“A tiny, tiny pianoforte concerto”

J

ohannes Brahms completed his First Piano Concerto (D minor, Opus 15) in 1858. The premiere took place the following year. The epic, stormy and complex work did not easily win public acceptance. Brahms himself was philosophical about the Concerto: “It will please, once I have improved its anatomy, and a second one will sound quite different.” Brahms was correct on both counts, although twenty years would elapse before that Second Concerto materialized.

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Brahms first sketched thematic material for his B-flat Concerto in the spring of 1878, following a trip to Italy with his friend, Viennese surgeon, Theodor Billroth. It appears that Brahms did no further work on the Concerto for three years. At the conclusion of another journey to Italy, Brahms resumed composition. Two months later, on July 7, 1881, he completed the score.

In a letter to Elisabeth von Herzogenberg, Brahms announced, with typically self-deprecating humor, the creation of the epic four-movement Concerto: “I don’t mind telling you that I have written a tiny, tiny, pianoforte concerto with a tiny, tiny, wisp of a scherzo.” A similar letter to the superb pianist, Clara Schumann — widow of composer Robert Schumann — elicited the following response: “I don’t really trust your word ‘little.’ However, I wouldn’t mind a bit (if it were little) because in that case I might even be able to play it myself.”

“The grown man to the youth” Brahms forwarded the score of the B-flat Concerto to Billroth on July 11 with the following explanation: “I am sending you enclosed a couple of little pieces for the piano(!)” Billroth replied that very day: It is always a red-letter day for me when I receive one of your manuscripts, but today it gave me quite special pleasure. So now we have it at last, the long-awaited second Pianoforte Concerto! What a splendid composition, how effortlessly it flows along, with what splendid sound, noble and full of charm! ... I cannot perceive its full wealth of detail as yet, of course, but the general effect, and the various individual passages lie clearly before me; its relation to the first Concerto is that of the grown man to the youth; unmistakably the same, yet in every way sturdier, more mature.

The composer dedicated the B-flat Concerto to his “dear friend and teacher Eduard Marxsen.” Brahms was the soloist for the premiere, which took place on November 9, 1881, at the Redoutensaal in Budapest. A few weeks later, Brahms again performed the work at Meiningen, with his friend, Hans von Bülow, conducting. Unlike the D-minor, Brahms’s Second Piano Concerto was an instant success with the critics and public.

Billroth’s comparison of the B-flat Concerto to its predecessor as “that of the grown man to the youth” is quite apt. Whereas the D-minor is filled with storm and stress, the Second Concerto radiates an autumnal glow and proceeds with an inevitability that are hallmarks of the mature Brahms.

Despite their differences of style, the D-minor and B-flat Piano Concertos do share a symphonic conception that places them in a special category among 19th-century works. The First Piano Concerto was created from sketches for what Brahms initially planned to be his first symphony.

Brahms had no similar aspirations for the B-flat Concerto. Still, the partnership of soloist and orchestra, as well as the use of four movements as opposed to the traditional three, prompted critic Eduard Hanslick to term the work “a symphony with piano obbligato.” That, however, is a characterization offered by someone who did not have to surmount the supreme technical and interpretive demands placed upon the soloist in this extraordinary work.

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program Musical Analysis I. Allegro non troppo — The Concerto opens with an introductory passage in which the horn plays a tender version of the first movement’s principal theme. The pianist responds with delicate arpeggios. The serenity of the introduction is shattered by a fiery passage for the soloist that leads to the commencement of the orchestral exposition, launched by a bold statement of the opening theme. The soloist soon returns with his elaboration of the principal thematic material. The movement’s traditional sonata form is further enriched by the incredible abundance of melody and development of themes, even within the exposition itself. The opening movement concludes in highly dramatic fashion with blazing octave trills for the soloist, punctuated by martial statements of the opening theme.

II. Allegro appassionato — “You ought to be enormously pleased with me,” Brahms informed his publisher regarding the B-flat Concerto. “Not only, for a trifling sum, are you getting four movements instead of three — you’re getting metronome marks too.” The second movement is that “tiny, tiny, wisp of a scherzo” Brahms described in his letter to Mme. von Herzogenberg. There is, of course, nothing either tiny or wispy about the second movement, which opens with the pianist’s aggressive presentation of the main theme. The violins and violas introduce a far more lyrical subsidiary theme, marked tranquillo e dolce, soon played by the soloist as well. A contrasting, and at times, brilliant, major-key “trio” section leads to a varied reprise of the scherzo proper and the movement’s tempestuous conclusion.

III. Andante — The slow movement begins with a poignant and beautiful melody for solo cello.

Brahms returned to that melody five years later in his melancholy song, Immer leiser wird mein Schlummer (“My Sleep Becomes Ever Lighter”), Opus 105, No. 2. The melody is played by other members of the orchestra, and finally, in embellished form, by the soloist. An agitated section is followed by a delicate, Più Adagio episode, featuring the pianist and clarinets.The movement ends with a tender reprise of the opening cello solo, now with graceful piano accompaniment.

IV. Allegretto grazioso — The rondo finale opens with the soloist’s presentation of the sprightly principal theme. As in the preceding Andante, Brahms omits trumpets and drums, further enhancing the lighthearted mood of the Allegretto grazioso. The contrasting episodes do contain some moments of tension. But for the most part, high spirits prevail, notably in the closing section, which begins playfully and culminates in a grand final statement by the soloist and orchestra.

reid harris, Viola

D

escribed by Lawrence A. Johnson (Miami Herald) as possessing a “lovely burnished tone … with seamless legato and just the right poetic touch,” Reid Harris maintains an active solo and chamber music performance schedule while serving as principal violist of the Atlanta Symphony Orchestra. Mr. Harris is a graduate of the Cleveland Institute of Music, where his principal mentor was Abraham Skernick. He undertook additional studies with William

Reid Harris

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Primrose and Joseph de Pasquale. While at the Music Academy of the West, he was chosen by Primrose to receive the Outstanding Achievement Award for a violist. He has performed with the Georgian Players at Carnegie Hall’s Weill Recital Hall and participated with Yo-Yo Ma’s Silk Road Ensemble. His summer duties include the Amelia Island Chamber Music Festival, and he is in his 10th year as principal viola at the Grand Teton Music Festival. In the extra-classical realm, he also has taken part in recordings by REM and Stone Temple Pilots. Prior to his ASO appointment, he served as Assistant Principal with the Baltimore Symphony from 1975 to 1979.

yefim bronfman, Piano

G

rammy Award-winning pianist Yefim Bronfman is among the most talented virtuosos performing today. His commanding technique and exceptional lyrical gifts have won consistent critical acclaim and enthusiastic audiences worldwide for his solo recitals, prestigious orchestral engagements and expanding catalogue of recordings.

Bronfman’s 2010-11 U.S. season highlights included Yefim Bronfman performances of Tchaikovsky’s First Piano Concerto with the orchestras of Houston, Cincinnati and St. Louis, and Brahms’s Second with the orchestras of Atlanta, New York and Los Angeles. Bronfman also will make return concerto engagements this season in Albany, Seattle, New Jersey and Pittsburgh.

He also has performed with Europe’s most celebrated orchestras, including the Concertgebouw, the Berlin Philharmonic, Vienna Philharmonic, the Israel Philharmonic and Berlin Staatskapelle. In the fall, Bronfman and long-time friend and collaborator Pinchas Zukerman toured the U.S. in a duo recital.

A major event of early 2010 was the pianist’s participation in Alan Gilbert’s first European tour as music director of the New York Philharmonic. They performed Prokofiev’s First Piano Concerto together in Barcelona, Cologne, Frankfurt, London, Madrid, Paris and Zurich.

Bronfman has appeared with the world’s finest orchestras and conductors, including the Vienna Philharmonic under Valery Gergiev, the Royal Concertgebouw Orchestra with Mariss Jansons, the Metropolitan Opera Orchestra with James Levine, and the Orpheus Chamber Orchestra. He participated in the Israel Philharmonic’s 70th birthday concerts, conducted by Zubin Mehta and Valery Gergiev, and in 1991 was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists.

A devoted chamber musician, Bronfman has collaborated with the Emerson, Cleveland, Guarneri and Juilliard String Quartets, as well as with the Chamber Music Society of Lincoln Center. He has also performed with Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, Jean-Pierre Rampal, Pinchas Zukerman and many other artists. His most recent recording is a disc of compositions by Esa-Pekka Salonen, including the Piano Concerto composed for him, recorded with the Los Angeles Philharmonic.

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

$35,000+ Georgia Natural Gas InterContinental Hotels Group Porsche Cars North America Publix Super Markets & Publix Super Markets Charities, Inc.

Delta Classic Chastain Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Ralph de la Vega President & CEO of Mobility and Consumer Markets

Jerry Karr Senior Managing Director GE Asset Management

$10,000+

$20,000+ Nalley Cars Ryder System, Inc. Sutherland Asbill & Brennan LLP Target Corporation

AlixPartners, LLP Four Seasons Hotel Atlanta The Boston Consulting Group

Foundation and Government Support $250,000+ The Mabel Dorn Reeder Foundation Wells Fargo The Zeist Foundation, Inc.

$100,000+ The Halle Foundation William Randolph Hearst Foundation The Vasser Woolley Foundation, Inc

$25,000+ Anne & Gordon Getty Foundation Abraham J. & Phyllis Katz Foundation Hellen Ingram Plummer Charitable Foundation League of American Orchestras The Charles Loridans Foundation, Inc. MetLife Foundation The Sara Giles Moore Foundation SunTrust Bank Trusteed Foundation- Walter H. and Marjory M. Rich Memorial Fund SunTrust Foundation

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

36 EncoreAtlanta.com

$10,000+

Special Gifts

The Aaron Copland Fund The ASCAP Foundation For Music, Inc. Livingston Foundation, Inc. The Arnold Foundation, Inc. Reiman Charitable Foundation William Randolph Hearst $5,000+ Endowed Fund The Fraser-Parker Foundation William McDaniel Charitable Foundation Robert S. Elster Foundation The Sartain Lanier Family Foundation

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

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.

support Henry Sopkin Circle 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 Kenneth Dutter 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 John and Martha Head 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 Calvert Johnson 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 Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Adair and Dick White 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

Education & Community Engagement Atlanta Symphony Youth Orchestra, Talent Development Program, Talent Development Program Endowment, Concerts for Young People, Family Concerts, Conversations of Note

$250,000+

Wells Fargo The Zeist Foundation, Inc.

$50,000+

GE Energy Abraham J. & Phyllis Katz Foundation

$25,000+

The Coca-Cola Company Mr. & Mrs. Jesse Hill, Jr. MetLife Foundation Monica & John Pearson Hellen Ingram Plummer Charitable Foundation Publix Super Markets & Publix Super Markets Charities, Inc. Jay & Arthur Richardson

SunTrust Bank Trusteed Foundation- Walter H. and Marjory M. Rich Memorial Fund SunTrust Foundation

Victoria & Howard Palefsky Ms. Margaret H. Petersen Elise T. Phillips Elinor Rosenberg Breman** Alison Rand Mr. & Mrs. Charles B. Ginden Mr. & Mrs. Johnathan InterContinental H. Short Hotels Group Suzanne & Willard* Shull $10,000+ Links Inc., Azalea City Chapter The Society, Inc., Edith H. & James E. Bostic, Greater Atlanta Chapter Jr. Family Foundation $1,000+ Isaiah & Hellena Huntley Cree & Frazer Durrett Anonymous Tidwell Livingston Foundation, Inc. Mr. & Mrs. Henry Aaron Annie-York Trujillo Primerica Sharon, Lindsay & Raul F. Trujillo Mr. & Mrs. Robert A. Yellowlees & Gordon Fisher Mr. Mack Wilbourn Drs. John O. & Gloria S. Gaston Dr. Blenda Wilson Aaron & Joyce Johnson $5,000+ & Dr. Louis Fair Ms. Malinda C. Logan Dr. Margo A. Brinton Mr. & Mrs. Howatt E. & Mr. Eldon Park Mallinson Cynthia & Donald Carson *Deceased Dr. Joanne R. Nurss Mrs. Mary C. Gramling Ms. Joni Winston

$2,500+

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

Atlanta’s Performing Arts Publication 37

support Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2010-2011 board Belinda Massafra President Suzy Wasserman, Leslie Petter & Camille Yow Advisors Leslie Petter Parliamentarian Elba McCue Secretary Janis Eckert Treasurer

Ellie Kohler Historian Alison Mimms VP Adminstration Corrie Johnson Nominating Chair Sylvia Davidson ASA Spring Luncheon Sheila Richards & Juanita Jones ASA Night at the Symphony Co-Chairs

Liz Troy ASA Night at VWA (Verizon) Camille Kesler Newsletter Editor Pat King Directory Editor Suzy Smith VP Public Relations Faye Popper VP Youth Education Glee Lamb VP Membership

Nancy Levitt Ambassador’s Desk Judy Schmidt VP Annual Fund Dr. Mary Francis Early VP Outreach Ann Levin & Gail Spurlock Ensemble Co-Chairs Ruth & Paul Marston Decorators’ Show House & Gardens Co-Chairs

Nancy Cox Intermezzo Chair Brooke Merrill Bravo Chair Elba McCue Concerto Chair Joan Abernathy Encore Chair

Events 2010 decorators’ show house & gardens Platinum Atlanta Homes & Lifestyles

Gold Benjamin Moore Paint Boxwoods Gardens & Gifts Comcast Encore Magazine Atlanta 360 Media Soiree Catering & Events

Silver Phipps Plaza Springer Mountain Farms Bronze Bloomingdale’s Buckhead Coach

Flora by John Grady Burns PrePrint Publix Super Markets Charities S&S Rug Cleaners St. Regis Atlanta The Outdoor Lights, Inc.

2009 atlanta symphony ball corporate Sponsors Phoenix AirTran Airways Platinum The Coca-Cola Company Invesco Silver AGL Resources Alston & Bird CISCO King and Spalding Parties to Die For Printpack, Inc. & the Gay & Erskine Love Foundation Siemens Energy & Automation Southern Company St. Regis Atlanta Verizon Wireless

Silver table hosts Amanda & Greg Gregory Bronze Global Payments, Inc. Genuine Parts wine sponsors Savi Urban Market Capasaldo Rosenblum Vineyards Sterling Vineyards National Distributing Company Media sponsor The Atlantan

special contributors

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

Xerox Verizon Wireless

Staybridge Suites & Candlewood Suites RR Donnelly

Two-Person Corporate Teams MillerCoors Argus Benefits Jones Lang LaSalle DSSI UBS Right Way Services

Hole Sponsors Global Payments Inc. Capgemini Financial Services Royal Cup Coffee Provista Russell Reynolds Associates

Guest Supply Standard Textile AmSan WSB-TV The Coca-Cola Company Sysco Prosys Atlanta Falcons

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

2010 airtran classic golf tournament Global Payments Inc. The Coca-Cola Company Deloitte & Touche Mr. & Dr. Kenneth H. Reception Meltzer Sponsor Alston & Bird LLP Crowne Plaza Ernst & Young LLP InterContinental Team Sponsors Hotels Group Mr. & Mrs. Howard L. SunTrust Robinson Feinsand Humphrey Mr. & Mrs. Paul Kastin Presenting Sponsor AirTran Airways

38 EncoreAtlanta.com

Twelfth Night Playing January 1-30, 2011

by William Shakespeare

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Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions — the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences — these outstanding Annual Corporate Campaign donors helped us raise more than $8.4 million last year. Thank you!

Chairman’s Council ★★★★★★★★★★★ $450,000+ The Coca-Cola Company Georgia Power Foundation, Inc. ★★★★★★★★★★ $300,000+ Cox Interests Atlanta Journal-Constitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation) The Honorable Anne Cox Chambers UPS ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Deloitte LLP, its Partners & Employees Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees The Klaus Family Foundation PricewaterhouseCoopers Partners & Employees Mabel Dorn Reeder Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Alston & Bird LLP Equifax Inc. & Employees The Rich Foundation, Inc. SunTrust Bank Employees & Trusteed Foundations Harriet McDaniel Marshall Trust Walter H. & Marjory M. Rich

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Memorial Fund Thomas Guy Woolford Charitable Trust Greene-Sawtell Foundation ★★★★★★★ $100,000+ AirTran Airways Bank of America Kaiser Permanente King & Spalding LLP KPMG LLP, Partners & Employees The Marcus Foundation, Inc. The Sara Giles Moore Foundation Novelis, Inc. Regions Financial Corporation Wells Fargo Wal-Mart Stores, Inc. The David, Helen & Marian Woodward Fund

★★★★★★ $75,000+ Holder Construction Company The Sartain Lanier Family Foundation, Inc. Patty & Doug Reid Family Foundation ★★★★★ $50,000+ AGL Resources Inc. Cisco Coca-Cola Enterprises Delta Air Lines, Inc. GMT Capital Corporation ING Mr. & Mrs. M. Douglas Ivester Kilpatrick Stockton LLP Primerica

Sutherland Asbill & Brennan LLP The Zeist Foundation, Inc. ★★★★ $35,000+ Accenture & Accenture Employees Lisa & Joe Bankoff Mr. & Mrs. Bradley Currey, Jr. GE Energy The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation SCANA Energy Siemens Industry, Inc. Harris A. Smith Troutman Sanders LLP Frances Wood Wilson Foundation, Inc. ★★★ $25,000+ Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property BDO USA, LLP Brysan Utility Contractors, Inc. Chartis Crawford & Company Drummond Company, Inc. Eisner Family Foundation First Data Corporation Genuine Parts Company Georgia-Pacific IBM Corporation Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. The Blanche Lipscomb Foundation Livingston Foundation, Inc. Macy’s Foundation

McKinsey & Company, Inc. Piedmont Charitable Foundation, Inc. J. Marshall & Lucile G. Powell Charitable Trust Mary & Craig Ramsey Rock-Tenn Company Richard D. Shirk Southwire Company Spectrum Brands Towers Watson Waffle House, Inc. Gertrude & William C. Wardlaw Fund Waste Management Charitable Foundation Yancey Bros. Co. ★★ $15,000+ 22squared, inc.

ACE Charitable Foundation Acuity Brands, Inc. AGCO Corporation Alix Partners Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Foundation Atlanta Marriott Marquis Julie & Jim Balloun BB&T Corporation Beaulieu Group, LLC The Arthur M. Blank Family Foundation Catherine S. & J. Bradford Branch George M. Brown Trust Fund of Atlanta, Georgia Bryan Cave LLP Buck Consultants The Capital Group Companies Charitable Foundation Talela & Beauchamp Carr

CB Richard Ellis Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. Cousins Properties Incorporated Ann & Jeff Cramer DLA Piper Duke Realty Corporation Exide Technologies Mr. & Mrs. Frank L. Fernandez Fifth Third Bank Ford & Harrison LLP Robert Fornaro John & Mary Franklin Foundation, Inc. Gas South, LLC Georgia Natural Gas Grant Thornton LLP Harland Clarke The Howell Fund, Inc. ICS Contract Services, LLC Infor Global Solutions Jenny & Phil Jacobs Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation David & Jennifer Kahn Family Foundation Sarah & Jim Kennedy Kurt P. Kuehn Karole & John Lloyd Lockheed Martin Aeronautics Company McKenna Long & Aldridge LLP Mohawk Industries, Inc. Mueller Water Products, Inc. Noonan Family Foundation Vicki R. Palmer The Sally & Peter Parsonson Foundation, Inc.

Paul, Hastings, Janofsky & Walker LLP Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe J. Mack Robinson Interests Frances & Jesse A. Sasser, Jr. Selig Enterprises, Inc. / The Selig Foundation Spencer Stuart Karen & John Spiegel Superior Essex Inc. TriMont Real Estate Advisors, Inc. United Distributors, Inc. WATL/WXIA/Gannett Foundation John Wieland Homes and Neighborhoods Mr. & Mrs. James B. Williams Sue & Neil Williams Womble Carlyle Sandridge & Rice, PLLC Carla & Leonard Wood The Xerox Foundation *As of October 4, 2010

Atlanta’s Performing Arts Publication 41

jeff roffman

Taking His Turn

On the slopes and on stage, Concertmaster David Coucheron pursues a heady path; his first solo concerto is Mozart the first week of February

“I

By Margaret Shakespeare

’ve got more medals from skiing than the violin,” laughs David Coucheron, who was appointed Atlanta Symphony Orchestra concertmaster last year and makes his solo concerto debut here February 3, 5 and 6, performing Mozart’s Violin Concerto No. 5 with Music Director Robert Spano conducting.

“For me it’s a childhood piece [and by a teenage composer] but it is still at the top of my list. I am excited to be playing it as part of Robert’s 10th anniversary season.

And his passion for skiing? “Norwegians are born with skis on,” he explains. “And I don’t know which came first, but at home, in Norway, I have some very, very tiny skis. And a very, very tiny violin.”

Coucheron has had a violin in his talented hands as long as he can remember, at least since the age of three. By 10 he had made a debut with the Oslo Philharmonic Orchestra.

42 EncoreAtlanta.com

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His music-loving parents arranged for his study with Igor Ozim, a leading teacher in Europe. “Wherever Ozim was in Germany or Switzerland, we would follow his teaching schedule and masterclasses and go down about twice a month. He taught me everything about technique.”

By his mid-teens Coucheron had made the decision to put competitive Nordic (cross-country) skiing aside, watching some of his friends from the sport go on to the Olympics, while he headed off to train as a professional musician at top conservatories in the U.S. and London.

Not that he totally left skiing. It’s one of the things he misses, and he hits the snow on visits back home. “I love being outside, away from people, in nature; and Norway has some of the best ski trails. Even some that are only five minutes outside Oslo, close to where I lived.” What’s more, while the possibility of spills and broken bones in the downhill version of the sport might be too risky for a musician, he says Nordic skiing and music entwine. “Skiing is very harmonic with your body. It’s good for a violinist. Like swimming, it doesn’t put stress on any one part of your body.

In fact, the technique, the way a lot of things come together, reminds me a little of violin playing.”

Coucheron knows a prodigious amount about violin playing. He learned from some of the best and is quick to credit his teachers — Aaron Rosand at the Curtis Institute, Lewis Kaplan at the Juilliard School, and David Takeno at the Guildhall School of Music & Drama. And he has soaked up more from hearing recordings of great players in history. He mentions two virtuosos who possessed flawless 44 EncoreAtlanta.com

technical precision — David Oistrakh, with his inspired interpretations and a clear round tone, and Jascha Heifetz, known for the emotional intensity and expression he brought to any music he played. One lesson he has taken very much to heart, “You can’t play the violin well if you don’t have fun.”

But what about other parts of the job description, the leadership demands that have fallen on his young shoulders? “I enjoy it. I am the youngest concertmaster of any major U.S. orchestra, and that can be a little intimidating because you are the leader of a bunch of really good musicians. You need a lot of confidence — some of that is personality; some you develop. You learn to maneuver around personal relationships in a big family.

That’s the most challenging part of the job.

But you learn as you go about personal relationships and feel your way through.”

“ You can’t play the violin well if you don’t have fun.”

What helped him prepare? “I talked to other concertmasters — Alex Kerr, formerly with the Royal Concertgebouw Orchestra [also very young when he was appointed]; Timothy Lees of the Cincinnati Symphony Orchestra; and Joseph Silverstein, formerly of the Boston Symphony, now at Indiana University.”

He also served as concertmaster in student orchestras at Juilliard and Guildhall and

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last winter was guest concertmaster with the Norwegian National Opera Orchestra for some performances of in the stunning new Oslo Opera House. Coucheron loves everything about it. “It took 50 years for the politicians to decide. I used to go to the opera every year with my parents, to the old opera, of course. Now I have played in the new house, and it’s a phenomenal hall. The acoustics are great. It’s always sold out. And it’s a landmark already. It’s something that people can gather around, a building people feel they can relate to as a center for art — opera, ballet, and music.

It’s also a tourist attraction.”

Last summer Coucheron and his sister Julie, a pianist with whom he often plays and has recorded, performed aboard a cruise ship which took them up the Norwegian coast, along the dramatic rise of fjords and then as far north as there is land on Earth — to the archipelago of Svalbard, only a few hundred miles from the North Pole. “I had never been there. It was so exciting to see so much of my country and how beautiful 46 EncoreAtlanta.com

it is.” This-coming August the two plan to start their own summer festival the Kon-Tiki Summer Fest, named for the raft of Norwegian explorer Thor Heyerdahl, which will feature a few days of chamber music concerts in Oslo.

Besides his family, sometimes David Coucheron misses everyday Norwegian things, such as speaking the language.

But, in that way Norwegians can put a positive spin on cold, light-deprived winter days — with fireplaces, lots of candles and long ski trips, of course — he’s got an upbeat life attitude. He laughs again, in fluent English, “I am 100 percent Norwegian.” He’s also 100 percent talented musician, dedicated to being Orchestra concertmaster. “And my favorite part of my job is working with such great musicians, doing what I love most for a living on a daily basis.”

Arts writer Margaret Shakespeare lives in New York City and is a frequent contributor.

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Voices of Triumph!

By Jeffrey Baxter

Shining a light on the famed Chorus’s four decades of brilliance The memories and achievements are many in the storied history of the Atlanta Symphony Orchestra Chorus, which celebrates its 40th anniversary this season. The all-volunteer ensemble of 200-plus singers was founded by the Orchestra’s beloved icon Robert Shaw and debuted on September 24, 1970, in a performance of the Beethoven Ninth Symphony.

Recognized internationally for its seamless and virtuosic sound, the Chorus ensures its stature by re-auditioning members prior to each season under the discerning eye of Director of Choruses Norman Mackenzie and associates. In addition to members from last season who successfully passed their auditions, the current roster includes 21 new members chosen from a pool of over 300.

Commitment is vital to continually build on Mr. Shaw’s legacy. In any given season (August to June), individuals will volunteer 78 evenings, or 234 hours of rehearsal or performance time. Chorus members who are also members of the Chamber Chorus will devote 89 evenings, or approximately 287 hours (per individual). Members come from all over (Augusta, Chatsworth and Macon, Ga., and Greenville, S.C.) and will drive from great distances every week to rehearse and perform.

48 EncoreAtlanta.com

Chorus Milestones • Made Carnegie Hall debut in 1976, and in April 1980 performed three concerts of the Verdi, Berlioz and Brahms Requiems.

The Choruses have performed at Carnegie Hall’s invitation on 19 occasions, to date • Featured twice at the fabled Ravinia Festival outside Chicago — in June 2003 in John Adams’s El Niño, and in 2006 in Osvaldo Golijov’s Ainadamar • Accompanied the Orchestra on its first European tour in 1988 • Performed with Donald Runnicles three times: with the Berlin Philharmonic in Berlin in 2003, 2008 and 2009 in the Britten War Requiem, Berlioz’s Requiem, and Brahms’s Ein deutsches Requiem, respectively • 14 of the Orchestra’s 27 Grammy Awards are Chorus-specific: Best Opera Recording; four for Best Classical Recording; and nine for Best Choral Performance

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calendar February 3/5/6 Thur/Sat: 8pm/Sun: 3pm Delta Classical ALL Mozart!

Violin Concerto No. 5 Overture to The Marriage of Figaro Serenade for Winds “Prague” Symphony Robert Spano, conductor David Coucheron, violin February 11/12 Fri/Sat: 8pm SuperPOPS! All you need is love The Music of Paul McCartney Michael Krajewski, conductor February 4 Fri: 8pm Will Downing

February 13 Sun: 1:30 & 3:30pm Family Concert Aladdin and the Arabian Nights Jere Flint, conductor Enchantment Theatre Co. February 17/18/19 Thur/Fri/Sat: 8pm Delta Classical Liszt: Piano Concerto No. 1 Wagenaar: Overture to Cyrano de Bergerac Beethoven: Symphony No. 7 Jaap van Zweden, conductor Jean-Yves Thibaudet, piano February 22 Fri: 8pm ASO Presents Wynton Marsalis & Jazz at Lincoln Center Orchestra

ASO Presents

February 11/12 Fri/Sat: 8pm SuperPOPS! All you need is love The Music of Paul McCartney Michael Krajewski, conductor

February 24/25/26 Thur/Fri/Sat: 8pm Delta Classical Tchaikovsky: Symphony No. 4 Osvaldo Golijov: Last Round Piazzolla: Four Seasons of Buenos Aires Juanjo Mena, conductor Nadja Salerno-Sonnenberg, violin

404.733.5000 atlantasymphony.org Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848

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staff Administrative Staff Executive Stanley E. Romanstein President Aysha H. Siddique Manager of Board & Community Relations Brien Faucett Administrative Assistant to the President’s Office Evans Mirageas Director of Artistic Planning

FINANCE & ADMINISTRATION Donald F. Fox Executive Vice President for Business Operations & Chief Financial Officer Shannon McCown Assistant to the Executive Vice President for Business Operations & Chief Financial Officer 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

DEVELOPMENT Sandy Smith Vice President for Development Tammie Taylor Assistant to the VP for Development Stephanie Malhotra Director of Development & Education Services Rebecca Abernathy Development Services Coordinator

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Symphony Pops Alesia Banks Director of Customer Service & Season Tickets Nellie Cummins Group & Corporate Sales Associate ADMINISTRATION Meko Hector John Sparrow Major & Planned Giving Office & Marketing Vice President Jessica Langlois Coordinator for Orchestra Initiatives Director of Leadership Gifts Jennifer Jefferson & General Manager & Planned Giving Director of e-Business Julianne Fish Andrea Welna & Interactive Media Orchestra Manager Major Gifts Officer Melanie Kite Nancy Crowder Meredith Schnepp Subscription Operations/Rental Prospect Research Officer Office Manager Events Coordinator Shelby Moody Annual, Institutional Kelly O’Donnell Group & Corporate & Volunteer Services Artist Assistant Sales Coordinator Corey Cowart Carol Wyatt Seth Newcom Director of Executive Assistant Database Administrator Corporate Relations to the Music Director & Principal Guest Kimberly Nogi Toni Paz Conductor Director of Individual Giving Publicist ASO Presents Jeffrey Baxter Robert Phipps Barbara Saunders Clay Schell Choral Administrator Publications Director Director of Vice President, Programming Foundation Relations Ken Meltzer Melissa A. E. Sanders Trevor Ralph ASO Insider Senior Director, General Manager and Senior Maya Robinson & Program Annotator Communications Patron Partnership Director of Operations Gifts Officer Russell Williamson Travis Sari Holly Clausen Orchestra Personnel Marketing Manager Zachary Brown Director of Marketing Manager Director of Karl Schnittke Keri Musgraves Volunteer Services Susanne Watts Publications Editor Promotions Manager Assistant Orchestra Sarah Levin Robin Smith Lisa Eng Personnel Manager Volunteer Project Manager Subscription Graphic Artist Paul Barrett & Education Sales Ashley Krausen Chastain Park Amphitheater Senior Production Special Events Coordinator Rachel Trignano Stage Manager Tanner Smith Manager of Program Director Richard Carvlin Broad Based Giving Stage Manager Russell Wheeler Verizon Wireless Lela Huff Group & Corporate Amphitheatre at Assistant Stage Sales Manager Encore Park Manager Christina Wood Katie Daniel Director of Marketing VIP Sales Manager Education & Community Engagement Jenny Pollock Operations Manager Mark B. Kent Senior Director of Education Rebecca Gordon & Community Engagement Box Office Manager Melanie Darby Director of Education Programming Lindsay Fisher Education & Community Engagement Specialist; Ensembles Coordinator

52 EncoreAtlanta.com

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

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• Only valid on $31, $25 and $21 price levels • May not be combined with any other offer • Subject to availability

• Valid thru March 11th

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 a.m.–8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis.

SEAT 12 ROW J

4 SEAT 1 J W O R

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 a.m. – 8 p.m.; Sat.–Sun., noon– 8 p.m. 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 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.

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

Present your tickets or this ad to receive 10% off your total bill.*

620 Peachtree Street Northeast Atlanta, GA 30308-2355 (404) 477-9600 www.thebroadwaydiner.com *

615 Spring Street Northwest Atlanta, GA 30308 (404) 347-7227 www.goodfellaspizzawings.com

Cannot be combined with any other offers.

Atlanta’s Performing Arts Publication

More than a program, it’s your ticket to the arts.

404.459.4128 • encoreatlanta.com

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 1/31/10.

Open 7 nights a week serving dinner • Lunch served Mon-Fri h2sr.com

Purchase ONE Dinner Entree

Receive the 2nd Half Priced*

(* Show Ticket Stub. Tax & Gratuity not included)

678.651.2770 www.ellishotel/terrace Special $5 Valet Parking Expires: 1/31/11

VB-14699 Encore Atlanta

(Not valid with any other promotion)

12/4/07

Come Coast Awhile, Atlanta!

ComeCoastAwhile.com

10:07

gallery Holiday Hurrahs!

1

2 1 HO-HO-HOEDOWN The Atlanta Symphony Youth Orchestra gets in the spirit in anticipation of A Kid’s Christmas.

2 SLEIGHED Youth Orchestra Music Director Very Merry Jere (Flint) slips into Santa’s seat prior to striking up the band.

58 EncoreAtlanta.com

3 3 MERRY LINKSTERS The AirTran Golf Tournament was notable for its high spirits and low scores (allegedly, but who’s counting?). And the winner is… 1st Place Gross Team: Global Payments Team (right to left) Daniel Solomon, Matt Trapp, Mike Trapp, Heath Slocum – PGA Pro and Dick Spain plus Jim Abrahamson – Golf Tournament Chair,

A hip and contemporary place to meet for cocktails or hold your next event.

Historic charm combined with artful hospitality.

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

PROOF

Southern Hospitality

A Boutique Luxuryat Hotel West Peachtree 10th

1302 West Peachtree St., Atlanta artmorehotel.com • 800.548.5631

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ENCORE July 2010

Al Roker, NBC’s Today

24,000 children die every day from preventable causes. i believe that number should be

zero.

Believe in zero.

And that’s why I support UNICEF. Working in over 150 countries, UNICEF has saved more children’s lives than any humanitarian organization in the world.

From Haiti to Darfur to Afghanistan — UNICEF is providing children with

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lifesaving medicine; food; clean, safe water; education; and protection from violence and exploitation. No child should ever die from a preventable cause. Every day 24,000 do. Help UNICEF get that number to zero.

BUILDING A BETTER AIRLINE, NOT JUST A BIGGER ONE.

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