January 2012: A King Celebration Concert 20th Anniversary

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contents January 2012

encoreatlanta.com 46

Jeff Roffman

20

features

the music

20 Coming Home

25 This week’s concert and program notes

Principal Guest Conductor Donald Runnicles makes his season debut and reflects on making history with Robert Spano for more than a decade.

46 A Moment with Monica

Meet violinist Monica Caldwell, a sophomore at Shiloh High School in her third year as a member of the Atlanta Symphony Orchestra’s Talent Development Program.

8 Atlanta Symphony Orchestra/aso.org

departments 12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 50 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

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Welcome to our first concerts of the new year! We’re delighted that you have chosen to begin your year with us. We step forward into the first month of 2012 with great music — Beethoven’s Violin Concerto and Eroica Symphony, Britten’s Violin Concerto, Dvorak’s Cello Concerto, Mahler’s Resurrection Symphony — all led by our very own Robert Spano and Donald Runnicles. Add the superb Atlanta Symphony Orchestra Chorus, the Morehouse and Spelman College glee clubs, and a host of internationally renowned soloists — cellist Yo-Yo Ma, mezzo-soprano Kelley O’Connor, soprano Nicole Cabell, violinist James Ehnes and pianist Dejan Lazic — and you have a month which brings our audiences some of the very best that the Atlanta Symphony Orchestra has to offer.

Often I’m asked how we create individual concerts and complete seasons. In many American orchestras, concert programs are created solely by the music director, in keeping with his or her artistic vision. In Atlanta, we have a long-standing tradition of bringing lots of voices to the table: Our Music Director Robert Spano plays a leading role, but we also hear from Donald Runnicles (Principal Guest Conductor), Norman Mackenzie (Director of Choruses), Evans Mirageas (Vice President, Artistic Planning) John Sparrow (Vice President, Orchestral Initiatives and General Manager), Charlie Wade (Vice President, Marketing and Symphony Pops), Sandy Smith (Vice President, Development), Mark Kent (Senior Director, Education and Community Engagement), Ken Meltzer (ASO Insider, Program Annotator), Russell Williamson (Orchestra Personnel Manager), Rebecca Beavers (Principal Librarian), Julie Fish (Orchestra Manager) and me. Lots of intelligent voices, lots of creative insights, lots of brilliant ideas. Our conversations are lengthy, always animated, sometimes contentious and always focused on one essential question: What great music and which accomplished artists will inspire, excite, move — and attract — the people of Atlanta?

The needs and desires of our audiences always come first with us, as they should — and we’re open to your ideas. I invite you to share them with me: stanley.romanstein@woodruffcenter.org.

I look forward to a new year filled with memorable performances of great music by great artists, designed just for you, our audience.

Thank you for supporting your Atlanta Symphony Orchestra!

Wishing you all the best,

Stanley E. Romanstein, Ph.D. President

12 Atlanta Symphony Orchestra/aso.org

leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson Meghan H. Magruder Joni Winston † Chair Vice Chair Secretary Karole F. Lloyd D. Kirk Jamieson Clayton F. Jackson Chair-Elect Vice Chair Treasurer Directors Jim Abrahamson Pinney L. Allen Joseph R. Bankoff* Neil H. Berman Paul Blackney Janine Brown C. Merrell Calhoun Donald P. Carson S. Wright Caughman, M.D. Ann W. Cramer † Carlos del Rio, M.D. Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert M. Franklin, Jr. Paul R. Garcia

Carol Green Gellerstedt Thomas Hooten Tad Hutcheson † Mrs. Roya Irvani † Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson III Mark Kistulinec Steve Koonin Carrie Kurlander James H. Landon Michael Lang Donna Lee Lucy Lee Karole F. Lloyd Kelly L. Loeffler Meghan H. Magruder Belinda Massafra*

Penny McPhee Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Martin Richenhagen † John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski Lynn Schinazi William Schultz John Sibley H. Hamilton Smith Lucinda B. Smith Thurmond Smithgall Paul Snyder

Gail Ravin Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Ray Uttenhove Chilton Davis Varner † S. Patrick Viguerie Rick Walker Thomas Wardell Mark D. Wasserman John B. White, Jr. † Richard S. White, Jr. † Joni Winston † Patrice Wright-Lewis Camille Yow

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

Charles Ginden John T. Glover Frances B. Graves Dona Humphreys Aaron J. Johnson Herb Karp Jim Kelley George Lanier

Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Joyce Schwob Mrs. Charles A. Smithgall, Jr.

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

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

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Arthur L. Montgomery * ex officio † 2011-2012 sabbatical

14 Atlanta Symphony Orchestra/aso.org

Robert Spano music Director

M

usic Director Robert Spano, currently in his 11th 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.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have together explored a creative mix of programming, including Theater of a Concert performances, which explore different formats, settings, and enhancements for the musical performance experience, such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008 and the production of Puccini’s Madama Butterfly in June 2011. The Atlanta School of Composers reflects Mr. Spano’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, Michael Gandolfi and Adam Schoenberg. Since the beginning of his tenure (to date), Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works (composed since 1950).

angela morris

Mr. Spano has a discography with the Atlanta Symphony Orchestra of 19 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. Mr. Spano 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.

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In March 2010, Mr. Spano began a three-year tenure as Emory University’s distinguished artist-in-residence, in which he leads intensive seminars, lectures, and presents programs on science, math, philosophy, literature and musicology.

In March 2011, Mr. Spano was announced as the incoming music director of the Aspen Music Festival. He was in residence in Aspen for the 2011 summer season as music director-designate and will assume the full role of music director in 2012.

Robert Spano

Donald Runnicles

Michael Krajewski

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

Principal Pops Conductor

FIRST VIOLIN

SECOND VIOLIN

VIOLA

CELLO

David Coucheron Concertmaster William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

David Arenz Principal The Atlanta Symphony Associates Chair* Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair* Jay Christy Assistant Principal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

Reid Harris Principal The Edus H. and Harriet H. Warren Chair* Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair * Catherine Lynn Assistant Principal Wesley Collins Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Ardath Weck

Christopher Rex Principal The Miriam and John Conant Chair* Daniel Laufer Associate Principal The Livingston Foundation Chair* Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

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BASS

Ralph Jones Principal The Marcia and John Donnell Chair * Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer Thomas Thoreson

Jere Flint

Norman Mackenzie

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

Director of Choruses The Frannie and Bill Graves Chair

FLUTE

BASS CLARINET

TROMBONE

HARP

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Paul Brittan Carl David Hall

Alcides Rodriguez

Colin Williams Principal Stephen Wilson Associate Principal Nathan Zgonc George Curran

Elisabeth RemyJohnson Principal The Delta Air Lines Chair

PICCOLO

Carl David Hall OBOE

Elizabeth Koch Principal The George M. and Corrie Hoyt Brown Chair * Yvonne Powers Peterson Associate Principal Ann Lillya † CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez E-FLAT CLARINET

Ted Gurch

BASSOON

Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

BASS TROMBONE

George Curran

CONTRA-BASSOON

TUBA

Juan de Gomar

Michael Moore Principal

HORN

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane Bruce Kenney

TIMPANI

TRUMPET

PERCUSSION

Thomas Hooten Principal The Madeline and Howell Adams Chair* The Mabel Dorn Reeder Honorary Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

Mark Yancich Principal The Walter H. Bunzl Chair* William Wilder Assistant Principal

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian John Wildermuth Assistant Librarian

‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically

encoreatlanta.com/Atlanta’s Performing Arts Publication 19

Coming Home Jeff Roffman

Principal Guest Conductor Donald Runnicles makes his season debut and reflects on making history with Robert Spano for more than a decade

By Kimberly Nogi

T

iming is everything in music, and Donald Runnicles’s decision 12 years ago to become Principal Guest Conductor-designate of the Atlanta Symphony Orchestra and join Music Director-designate Robert Spano in a novel creative partnership has been serendipitous for all parties.

“I’m delighted and grateful to be part of what I consider to be a vital and groundbreaking collaboration,” Mr. Runnicles said at the time, and the creative partnership has certainly been a trailblazer, bringing dynamic programming and guests and today’s brightest young composers to Atlanta Symphony Hall and dramatically energizing the Orchestra’s presence in the community.

Throughout his tenure in Atlanta, the career trajectory of the acclaimed maestro has soared. Mr. Runnicles’s first Orchestra recording, Orff’s Carmina Burana, was released in 2003 and subsequent releases of Mozart’s Requiem, Beethoven’s Ninth Symphony, and a Brittania album were all well received. His visits with the Chorus to perform with the esteemed Berlin Philharmonic were acclaimed and led to the

20 Atlanta Symphony Orchestra/aso.org

Donald Runnicles leads the Orchestra Chorus and Berlin Philharmonic at the Berliner Philharmonie concert hall in 2004.

Chorus’s burgeoning global reputation as a major force in the operatic and symphonic arenas. Not to mention that his conducting appearances at Atlanta Symphony Hall have been increasingly popular with Orchestra patrons. Mr. Runnicles’s involvement with the Atlanta Symphony organization has been tremendous, and this year his relationship with Orchestra will extend even further, as he will lead a reading session with the Atlanta Symphony Youth Orchestra for the first time at the end of the month.

Over the past few years, Mr. Runnicles’s focus has shifted abroad as the music director of the Deutsche Oper Berlin and chief conductor of his homeland pride and joy, the BBC Scottish Symphony Orchestra.

The move to Berlin, where he now resides, “constituted a huge shift in my personal life,” recalled Mr. Runnicles. “Yet I relish being at the helm of one of the most storied opera houses in the world, which annually performs all of the major German romantic operas — Wagner and Strauss, not to mention Mozart, Berlioz, Debussy and Janacek. The orchestra also gives 22 Atlanta Symphony Orchestra/aso.org

symphonic concerts and has a chamber music series. Life is busy and diverse!”

Yet his importance to the players and singers here is unquestioned and his two appearances during the 2011-12 season are indispensable: conducting the Beethoven “Eroica” Symphony No. 3 and Britten’s Violin Concerto, featuring the fine Canadian virtuoso James Ehnes, January 19-22; and with the Chorus, Mahler’s “Resurrection” Symphony No. 2, January 26/28.

Mr. Runnicles is especially looking forward to reuniting with the Atlanta Symphony Orchestra Chorus, in his view “one of the finest in the world. There is a phenomenal discipline to their singing.

To listen to their warm-up routine is still awe-inspiring!” Throughout his Atlanta tenure, his relationship with the Chorus has blossomed. In his 11 years as Principal Guest Conductor, Mr. Runnicles and the Chorus have annually performed in Atlanta, as well as with the Berlin Philharmonic on three separate occasions.

Continued on page 44

program

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

A King Celebration Concert Thursday, January 12 2012, at 8 p.m.

Robert Spano, Conductor Atlanta Symphony Orchestra Spelman College Glee Club, Dr. Kevin Johnson, Director Morehouse College Glee Club, Dr. David Morrow, Director The Honorable Mayor Kasim Reed, Narrator Yo-Yo Ma, Cello

Ludwig van Beethoven (1770-1827)

Overture to Fidelio, Opus 72c (1814)

Traditional: Elijah Rock (arr. Moses Hogan)

Spelman and Morehouse College Glee Clubs,

Dr. Kevin Johnson, Conductor

Johannes Brahms (1833-1897)

Movement IV, “How Lovely is Thy Dwelling Place,”

from A German Requiem, Opus 45 (1868)

Spelman and Morehouse College Glee Clubs

Joseph Schwantner (b. 1943)

New Morning for the World, for Narrator and Orchestra (1982)

The Honorable Mayor Kasim Reed, Narrator INTERMISSION

ˇák (1841-1904) Antonín DvoR

Concerto in B minor for Cello and Orchestra, Opus 104 (1895)

I. Allegro II. Adagio ma non troppo III. Finale: Allegro moderato

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 25

Notes on the Program

By Ken Meltzer Overture to Fidelio, Opus 72c (1814) 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 Overture to Fidelio took place at the Kärtnertor-Theater in Vienna on May 26, 1814. The Overture to Fidelio is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani and strings. Approximate performance time is seven minutes.

B

eethoven’s only opera, Fidelio, is based upon a work created during the French Revolution by lawyer and writer Jean Nicolas Bouilly. It was a story that greatly appealed to Beethoven, a staunch advocate of democratic ideals.

Fidelio takes place in 18th-century Spain. The evil governor, Don Pizarro, has imprisoned the nobleman, Don Florestan, for daring to speak out against the corrupt regime. Florestan’s wife, Leonore, disguises herself as the young man, Fidelio, in order to work at the jail where her husband is imprisoned. Leonore rescues Florestan, just as Pizarro is about to kill him. As a result of Leonore’s heroism, Florestan and all the political prisoners are freed.

The creation of Fidelio (called Leonore by the composer) was hardly an easy process. Beethoven composed at least three versions of the opera, all the while filling his sketchbooks with revision upon revision. Toward the end of his life, Beethoven confessed to his friend, Anton Schindler: “Of all my children, (Fidelio) is the one that caused me the worst birth-pangs, the one that brought me the most sorrow, and for that reason, it is the most dear to me.”

The first version of Fidelio premiered on November 20, 1805. Beethoven discarded his original overture before the performance. That work, the Leonore Overture No. I, was not discovered until after the composer’s death. Later, it was published as Beethoven’s Opus 138. For the premiere, Beethoven substituted the work now referred to as the Leonore Overture No. II, Opus 72a.

For a subsequent revision of the opera that premiered on March 29, 1806, Beethoven supplied the Leonore Overture No. III, Opus 72b. Beethoven worried that this Overture was so epic and powerful, it might overwhelm the remainder of the opera. And so, for the 1814 revision, Beethoven composed the Fidelio Overture, Opus 72c, by far the briefest of the Leonore curtain-raisers.

The Fidelio Overture begins with a brief, forte exclamation by the orchestra (Allegro). The horns inaugurate the dolce response (Adagio). A repetition of this sequence launches the extended and mysterious slow introduction. The horn opens the principal Allegro with a theme based upon the Overture’s initial measures. A scurrying, ascending violin theme provides contrast. The brief development focuses upon the first Allegro theme. The horn

26 Atlanta Symphony Orchestra/aso.org

program leads the recapitulation of the principal themes that culminates in a repetition of the Overture’s opening measures. A stirring Presto coda, based upon the first Allegro theme, brings the Fidelio Overture to an emphatic close.

Traditional: Elijah Rock (arr. Moses Hogan) Elijah rock, shout, shout, Coming up Lord, Hallelujah Jesus.

Come on sister, help me to pray, tell me my Lord done passed this way, Satan ain’t nothing but a snake in the grass, he’s a conjurer, he’s a liar.

If I could I surely would stand on the rock where Moses stood.

Movement IV, “How Lovely is Thy Dwelling Place,” from A German Requiem, Opus 45 (1868) Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of A German Requiem took place at the Bremen Cathedral, in Bremen, Germany, on April 10, 1868, with the composer conducting. A German Requiem is scored for soprano and baritone solo, mixed chorus, piccolo, two flutes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, organ and strings. Approximate performance time of Movement IV is six minutes.

J

ohannes Brahms’s great work for soloists, chorus and orchestra, A German Requiem, did much to establish the composer’s reputation throughout Europe.

Brahms acknowledged that the death of his mentor, Robert Schumann (1810-1856), was a major inspiration. While at work on A German Requiem, Brahms suffered another devastating blow when, in January of 1865, his mother, Christiane, died.

A German Requiem received its official premiere at the Bremen Cathedral on Good Friday in 1868. Brahms conducted the performance, attended by more than 2000 people, including such music luminaries as Robert Schumann’s widow, Clara Wieck Schumann, Joseph Joachim and Max Bruch.

Brahms entrusted advance musical preparation to Karl Martin Reinthaler, the Bremen Cathedral’s organist and music director. Reinthaler expressed concern that the German Requiem’s text — chosen by Brahms from the Old and New Testaments, as well as Apocrypha — contained no specific mention of Christ’s name: The central point about which everything turns in the consciousness of the Christian is absent. “If Christ is not risen then is our faith vain”, says St. Paul. All the same you say (in the final movement) “Blessed are the dead which die in the Lord from henceforth,” which can only mean since the accomplishment of Christ’s work of redemption…

Brahms responded: encoreatlanta.com/Atlanta’s Performing Arts Publication 27

As regards the title I will confess I should gladly have left out “German” and substituted “Human.” Also that I knowingly and intentionally dispensed with such passages such as St. John’s Gospel Ch. 3 verse 16 (“For God so loved the world, that he gave his only-begotten Son, that whosoever believed in him should not perish, but have everlasting life.”)

On the other hand, I have no doubt included much because I am a musician, because I required it, because I can neither argue away nor strike out a “henceforth” from my venerable extracts.

This concert features Movement IV from A German Requiem, performed in an English translation by Robert Shaw (1916-1999), Music Director of the Atlanta Symphony Orchestra from 1967-1988.

How lovely is Thy dwelling place, O Lord of Hosts.

For my soul, it longeth and fainteth, yea fainteth for the courts of the Lord.

My heart and flesh cry out for joy, unto the living God. Blest are they who make Thy house their dwelling.

They praise Thy name evermore, they praise Thee for evermore.

(Psalms 84: 2, 3, 5)

New Morning for the World, for Narrator and Orchestra (1982) Joseph Schwantner was born in Chicago, Illinois, on March 22, 1943. The first performance of New Morning for the World took place at the Eastman School of Music in Rochester, New York, on January 15, 1983, with Willie Stargell, narrator, and the Eastman Philharmonia, conducted by David Effron. New Morning for the World is scored for narrator, two piccolos, four flutes, two oboes, English horn, three clarinets, bass clarinet, four horns, three trumpets, four trombones, tuba, timpani, percussion, harp, piano, celeste and strings. Approximate performance time is twenty-seven minutes.

A

merican composer Joseph Schwantner’s New Morning for the World was commissioned by AT&T for a tour by the Eastman Philharmonia and its Music Director, David Effron. At the time, Mr. Schwantner, winner of the 1979 Pulitzer Prize, was a member of the composition faculty at the University of Rochester’s Eastman School of Music. Robert Freeman, Director of the Eastman School, suggested to Schwantner that he compose a work for narrator and orchestra, featuring the Hall of Fame Pittsburgh Pirates first baseman, Willie Stargell (1940-2001).

Mr. Schwantner decided to compose a work in honor of Dr. Martin Luther King, Jr., “a man of great dignity and courage whom I had long admired.” Joseph Schwantner and Willie Stargell collaborated on the selections of the narrator’s text, taken from speeches by Dr. King.

New Morning for the World received its premiere in Rochester on January 15, 1983, the anniversary of Dr. King’s birth (later that year, his birthday was declared a national holiday).

David Effron conducted the Eastman Philharmonia, and Willie Stargell served as narrator. A performance with the same artists soon followed at the Kennedy Center in Washington, D.C.

28 Atlanta Symphony Orchestra/aso.org

program Mr. Schwantner’s New Morning for the World follows in the tradition of another great American work for narrator and orchestra, Aaron Copland’s Lincoln Portrait (1942) (in the fall of 2000, Willie Stargell, just months before his death, delivered an unforgettable and moving rendition of the Lincoln Portrait with the Pittsburgh Symphony Orchestra). Copland wrote his Lincoln Portrait during World War II, in response to a commission from conductor André Kostelanetz, who wanted to present a musical “portrait gallery of great Americans.”

The Lincoln Portrait quotes various speeches and writings by America’s 16th President.

But it is clear that Joseph Schwantner’s New Morning for the New World, while influenced by the iconic Lincoln Portrait, is very much an individual and unique work. Copland’s Lincoln Portrait is divided into three sections. The first two, for orchestra alone, depict, according to Copland, “Lincoln’s personality ... something of his gentleness and simplicity of spirit … (and) the background of the colorful times in which Lincoln lived.” In the third section, the narrator takes center stage, declaiming not only Lincoln’s words, but also text provided by the composer.

In New Morning for the World, the narrator’s text is taken entirely from Dr. King’s speeches.

The piece begins with an extended orchestral introduction. But even after the narrator enters, Mr. Schwantner continues to provide extended orchestral passages, reflecting King’s inspiring life and words. At the conclusion of a Lincoln Portrait, the final words of the Gettysburg Address yield to a fff C-Major orchestral outburst. In New Morning for the World, Dr. King’s “I Have a Dream” speech is followed by music of hushed intensity, including the humming of the orchestral musicians, creating an effect described by the composer as a “celestial choir.”

Concerto in B minor for Cello and Orchestra, Opus 104 (1895) ˇák was born in Mühlhausen, Bohemia (now Nelahozeves, the Czech Antonín Dvor Republic), on September 8, 1841, and died in Prague on May 1, 1904. The first performance of the Cello Concerto took place at Queen’s Hall in London on March 19, 1896, with Leo Stern as soloist and the composer conducting the London Philharmonic Society. In addition to the solo cello, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, two trombones, bass trombone, tuba, timpani, triangle and strings. Approximate performance time is forty-two minutes.

F

rom 1892-1895, Czech composer Antonín Dvorˇák served as Director of the National Conservatory of Music in America. Jeannette Meyer Thurber, the Conservatory’s founder, hoped that the new institution, located in New York City, would foster the development of important American concert music. In May of 1893, the National Conservatory opened its doors to African-American students.

Dvorˇák’s responsibilities at the National Conservatory involved teaching three composition classes and conducting semiweekly orchestral rehearsals. During his stay in America, Dvorˇák was also active as a composer. His most famous work from this period is the Symphony No. 9, Opus 95 (“From the New World”). Other compositions from Dvorˇák’s “American” period include a String Quartet, a String Quintet, a Sonatina for Violin and Piano, an Orchestral Suite, and the magnificent Cello Concerto. encoreatlanta.com/Atlanta’s Performing Arts Publication 29

Dvorˇák started composition of his Cello Concerto in New York City on November 8, 1894, completing the work on February 9, 1895. During the composition of the second-movement Adagio, Dvorˇák learned of the grave illness of his sister-in-law, Josefina Kaunitzová. As a young man, Dvorˇák had been in love with Josefina. Even though she rejected his marriage proposal, the two remained dear friends. As will be noted in the musical analysis below, Dvorˇák included a quotation of one of Josefina’s favorite songs in the Concerto’s Adagio.

Josefina died on May 27, 1895. Following that tragedy, Dvorˇák extensively revised the final movement’s coda, including yet another reference to the song quoted in the Adagio. He completed the final score on June 11, 1895.

Since the Concerto’s premiere in 1896, it has been recognized as one of the glories of the repertoire for cello and orchestra. After reviewing the score, one of Dvorˇák’s friends — a man by the name of Johannes Brahms — exclaimed: “Why on earth didn’t I know one could write a violoncello concerto like this? If I had only known, I would have written one long ago!”

Musical Analysis I. Allegro — The Allegro begins with an orchestral exposition of the principal thematic material. The first theme is immediately presented by the clarinets and then repeated by the violins, violas and oboes. Finally, the orchestra offers a bold, grandioso version of the theme.

A more peaceful variant, played by the clarinet, flute and violins, serves as the transition to the second principal theme — a ravishing melody, introduced by the solo horn (Dvorˇák confessed to a friend that he was always greatly moved whenever he heard this theme). Soon, the soloist enters with his presentation of the central themes, beginning with an emphatic — and far more elaborate — version of the opening motif. The development, presenting a wide variety of moods, focuses upon the initial motif. The recapitulation begins not with the opening theme, but with a grand pronouncement of the horn melody. The concluding pages feature dazzling passagework for the soloist and a martial setting of the opening motif.

II. Adagio ma non troppo — The Concerto’s slow movement is in A—B—A form. The clarinet, supported by the oboes and bassoons, offers the central melody of the “A” section.

The soloist repeats the melody, leading to an exquisite dialogue with the winds. The “B” section opens with a savage outburst. The soloist then plays a molto espressivo melody, based upon Dvorˇák’s song, “Leave me alone,” Opus 82, No. 1—a favorite of his lamented sister-in-law, Josefina Kaunitzová. A trio of horns initiates the varied reprise of “A,” which prominently features the soloist. A final, descending passage by the soloist leads to the Adagio’s serene conclusion.

III. Finale: Allegro moderato — Over the repeated tread of the cellos and basses, the orchestra foreshadows the principal theme of the rondo Finale. The soloist enters with a full presentation of the theme — an energetic, rustic melody. The melody alternates with affecting lyrical interludes, one including an unforgettable soaring melody, introduced by the cellist, and later played by a solo violin. The tranquil coda features reminiscences of the opening movement’s principal theme, as well as Josefina’s beloved song, first quoted in the Adagio. Suddenly, a final crescendo leads to the brilliant, Allegro vivo dash to the finish.

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program Yo-Yo Ma, Cello

Y

o-Yo Ma’s multi-faceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music or exploring cultures and musical forms outside the Western classical tradition, Mr. Ma strives to find connections that stimulate the imagination.

Yo-Yo Ma

Yo-Yo Ma maintains a balance between his engagements as soloist with orchestras throughout the world, his recital and chamber music activities, and his work with the Silk Road Project, for which he serves as artistic director. He draws inspiration from a wide circle of collaborators, each fueled by the artists’ interactions. Mr. Ma is also widely recognized for his strong commitment to educational programs that bring the world into the classroom and the classroom into the world. While touring, he takes time whenever possible to conduct master classes as well as more informal programs for students — musicians and non-musicians alike. He has also reached young audiences through appearances on “Arthur,” “Mister Rogers’ Neighborhood” and “Sesame Street.”

One of Mr. Ma’s goals is the exploration of music as a means of communication and as a vehicle for the migrations of ideas across a range of cultures throughout the world. In 1998, he established the Silk Road Project to promote the study of the cultural, artistic and intellectual traditions along the ancient Silk Road trade route that stretched from the Mediterranean Sea to the Pacific Ocean. Since the Project’s inception, more than 60 works have been commissioned specifically for the Silk Road Ensemble, which tours annually.

Mr. Ma is an exclusive Sony Classical artist, and his discography of over 75 albums (including more than 15 Grammy Award winners) reflects his wide-ranging interests. He has made several successful recordings that defy categorization, among them “Hush” with Bobby McFerrin, “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer, and three albums with the Silk Road Ensemble. Mr. Ma’s recent recordings include Mendelssohn Trios with Emanuel Ax and Itzhak Perlman, Songs of Joy & Peace, and his latest, The Goat Rodeo Sessions, with Edgar Meyer, Chris Thile and Stuart Duncan. Across this full range of releases, Mr. Ma remains one of the best-selling recording artists in the classical field. All of his recent albums have quickly entered the Billboard chart of classical best sellers, remaining in the Top 15 for extended periods, often with as many as four titles simultaneously on the list.

Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and soon came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at The Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. encoreatlanta.com/Atlanta’s Performing Arts Publication 31

The Orchestra’s annual tribute to Dr. Martin Luther King Jr. reaches a milestone, underscoring his words through “the power of music to express … something larger than I am as an individual”

LARGER THAN LIFE “M

usic has the power to express the otherwise inexpressible,” says Dr. Stanley E. Romanstein, Atlanta Symphony Orchestra president, discussing tonight’s 20th-anniversary performance of A King Celebration, the Orchestra’s tribute in words and music to Civil Rights champion Dr. Martin Luther King Jr. “It unites people and gives them common ground on which to stand. [Experiencing music] is unique to each person but shared with all.

Which is what Dr. King’s legacy is all about — something larger than I am as an individual.”

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Music Director Robert Spano will conduct a compelling program that includes Elijah Rock (traditional), Beethoven’s Fidelio Overture, Brahms’s “How Lovely Is Thy Dwelling Place” (German Requiem, 4th movement), Joseph Schwantner’s New Morning for the World and the Dvoˇrák Cello Concerto in B minor, with Yo-Yo Ma. Dr. David Morrow, professor of music at Morehouse College and director of the Morehouse Glee Club, has been a leader in planning and producing these concerts from the beginning. “We are very fortunate to have an ongoing relationship with the Atlanta Symphony,” he says. “We have sung every year in their Christmas concerts, since 1968. And when they did [George Gershwin’s] Porgy and Bess one year.

And, of course, for the premiere of Scott Joplin’s Treemonisha with TJ Anderson’s orchestrations,” he says, hitting only a few of the high notes of the enduring collaboration. “Then the Orchestra wanted to have a tribute concert — and there was a desire to have a partnership with Morehouse — around the MLK holiday [which has been federally observed since 1986]. Spelman came along with us. And then NPR [National Public Radio] joined in. We did plan for it to be annual. The first one was at Atlanta Symphony Hall; most recently we’ve been at the King Chapel on the Morehouse campus.”

“An orchestra should provide music of the highest artistic quality possible to its community,” agrees Principal Flute Christina Smith, who has played in every King Celebration Concert. “Also, an orchestra should reach out to as many sectors of its community as possible, and be a part of the life of the community, both in times of celebration and times of tragedy.”

Going back to Dr. King’s assassination in April 1968, this Orchestra has responded to its community. The late Robert Shaw, then music director, changed the programming of a concert that week, following the tragedy, when grief overcame words, to include Beethoven’s Symphony No. 3 in E-flat major (The “Eroica”) and Schubert’s Symphony No. 8 in B minor (“Unfinished”).

Shaw’s instincts and sensitivity as a musician and humanitarian set the tone. No wonder that for Romanstein and others, “The King Celebration is part of our DNA. It is integral to who we are.”

King’s widow, Coretta Scott King, established the King Center in Atlanta, a living memorial dedicated to realizing King’s dream of a beloved community without poverty, discrimination, injustice or war. Barbara Harrison, director of external affairs for the center, says, “The intuitive and celebratory interpretations that have been presented by the Atlanta Symphony Orchestra over the years have helped to strengthen our neighborhoods and continue to be greatly appreciated by the community.

The King Center appreciates and values the its commitment to bring live music as a way to celebrate and honor one of Atlanta’s greatest and the world’s hero — Dr. Martin Luther King Jr. We thank the Orchestra for its continued dedication to bring quality programming to the Martin Luther King Jr. holiday, while perpetuating his legacy.”

Audiences have heard New Morning for the World: “Daybreak of Freedom,” Joseph Schwantner’s popular tribute to Martin Luther King, more than once at these Celebration Concerts. “It’s a favorite,” says Morrow. Schwantner composed the work in 1984 for orchestra and narrator and has since set it also for chamber orchestra

encoreatlanta.com/Atlanta’s Performing Arts Publication 33

and wind ensemble. He assembled the text from Dr. King’s writings, addresses and speeches that spanned a decade of his life. In composer’s notes Schwantner has remarked of the process: “I was excited by the opportunity to engage my work with the profound and deeply felt words of Dr. King, a man of great dignity and courage whom I had long admired. The words that I selected for the narration ... eloquently expressed by the thrust of his oratory, bear witness to the power and nobility of Dr. Martin Luther King Jr.’s ideas, principles and beliefs. This work of celebration is humbly dedicated to his memory.”

Morrow mentions that Dr. King, at least for a short time, sang in the Morehouse Glee Club. “Long enough that we claim him,” he says. When the glee club took their centennial tour around the U.S. in 2011, they were scheduled to perform at the opening of the Martin Luther King Jr. National Memorial on the National Mall in Washington D.C. The date, August 28, coincided with the 48th anniversary of King’s indelible “I Have a Dream” speech, delivered in front of the Lincoln Memorial

on the National Mall. It also, unfortunately, coincided with the arrival of Hurricane Irene. The official ceremony may have been postponed, but the glee club stood in the unwelcoming weather at the edge of the Tidal Basin in front of the 30-ft granite relief King likeness. “We sang our college hymn.

The sculptor [Lei Yixin] was there and some Morehouse alumni who joined in.”

“We spread Dr. King’s legacy to thousands of people through our music,” concludes Christina Smith, “perhaps most importantly, the tradition of the broadcast of our performance. I have had many people in other cities over the years tell me how much our broadcast meant to them.” Atlanta’s WABE (FM) will air this year’s concert, including interviews with Yo-Yo Ma, Robert Spano and David Morrow. “Occasionally I will get a letter or e-mail from someone who has heard the broadcast. And they are so excited, relating to me how hearing something like Bernstein’s Chichester Psalms was phenomenal — African Americans singing in Yiddish!” says Morrow.

“And it is a wonderful way to get the King message out — through music.”

Philip McCollom

Robert Spano, the Orchestra, and the Morehouse and Spelman glee clubs were captured in all their glory at the 2009 event.

support The Atlanta Symphony Orchestra gratefully acknowledges the generous gifts of individuals, corporations, foundations, government and other entities whose contributions help the Orchestra fulfill its mission to be a vigorous part of the cultural fabric of our community. The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives from 2011.

(Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+

Mrs. Thalia N. Carlos** Delta Air Lines

The Mabel Dorn Reeder Foundation The Zeist Foundation, Inc.

$250,000+

Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers

The Coca-Cola Company Mrs. William A. Schwartz

$100,000+

GE Asset Management Abraham J. & Phyllis Katz Foundation Mr. & Mrs. Charles H. McTier

Turner Broadcasting System The Vasser Woolley Foundation, Inc. Woodruff Arts Center

$75,000+

Fulton County Arts Council

National Endowment for the Arts

UPS

$50,000+

Anonymous AT&T Real Yellow Pages GE Energy The Graves Foundation InterContinental Hotels Group

The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall Robert Spano Susan & Thomas Wardell

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

$35,000+

Georgia Natural Gas Massey Charitable Trust

Porsche Cars North America Publix Super Markets Charities

Patty & Doug Reid Sutherland Asbill & Brennan LLP

John H. & Wilhelmina D. Harland Charitable Foundation, Inc. Lucy R. & Gary Lee, Jr. MetLife Foundation The Sara Giles Moore Foundation Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Mr. & Mrs. Solon P. Patterson*

Printpack Inc. & The Gay & Erskine Love Foundation Ryder System, Inc. Mrs. Charles A. Smithgall, Jr. Mr. & Mrs. K. Morgan Varner, III Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams

$25,000+

Jim & Adele Abrahamson Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart Georgia Council for the Arts Ann & Gordon Getty Foundation

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 35

$17,500+

Anonymous (2) The Arnold Foundation, Inc. Kelley O. & Neil H. Berman Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr. City of Atlanta Office of Cultural Affairs Gary & Nancy Fayard Mr. & Mrs. Paul R. Garcia

Jane & Clay Jackson Amy & Mark Kistulinec Karole & John Lloyd Kelly Loeffler & Jeffrey C. Sprecher Mr. Kenneth & Dr. Carolyn Meltzer

Loren & Gail Starr Alison M. & Joseph M. Thompson Patrick & Susie Viguerie Camille Yow

Mr. Donald F. Fox Charles & Mary Ginden D. Kirk Jamieson, Verizon Wireless Ann A. & Ben F. Johnson III* Sarah & Jim Kennedy Steve & Eydie Koonin

Carrie & Brian Kurlander Michael & Cindi Lang Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Suzanne & Bill Plybon Dr. Stanley & Shannon Romanstein

Lynn Schinazi Joyce & Henry Schwob Irene & Howard Stein Mary Rose Taylor Mike & Liz Troy Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.

Cynthia & Donald Carson Dr. John W. Cooledge Trisha & Doug Craft Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin Mr. & Mrs. Lawrence L. Gellerstedt III Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould Joe Guthridge & David Ritter*

Jan & Tom Hough Mr. Tad Hutcheson Roya & Bahman Irvani Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law The Livingston Foundation, Inc. Mike’s Hard Lemonade Morgens West Foundation Primerica

Margaret & Bob Reiser Bill & Rachel Schultz* Mr. John A. Sibley III Siemens Industry, Inc. John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Turner Foundation, Inc. Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner

Atlanta Federation of Musicians Jeff & Ann Cramer*

Mr. & Mrs. Jesse Hill, Jr. JBS Foundation

The Hellen Plummer Charitable Foundation, Inc.

Mary Helen & Jim Dalton Richard A. & Lynne N. Dorfman Christopher & Sonnet Edmonds Dr. & Mrs. Carl D. Fackler David L. Forbes James F. Fraser The Fraser-Parker Foundation, Inc. Betty Sands Fuller Sally & Carl Gable Dick & Anne Goodsell The Robert Hall Gunn, Jr. Fund

The Jamieson Family Philip I. Kent George H. Lanier The Sartain Lanier Family Foundation, Inc. Pat & Nolan Leake Links Inc., Azalea City Chapter Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee*

Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen Hamilton & Mason Smith* Sandy & Paul Smith Peter James Stelling Mrs. C. Preston Stephens Triska Drake & G. Kimbrough Taylor, Jr. Charlie Wade & M.J. Conboy Russell Williamson & Shawn Pagliarini

Ellen & Howard Feinsand Four Seasons Hotel Atlanta Herbert & Marian Haley Foundation Steven & Caroline Harless

Sally W. Hawkins Mr. & Mrs. John E. Hellriegel Mr. & Mrs. Daniel H. Hollums

JoAnn Hall Hunsinger Paul & Rosthema Kastin Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss

$15,000+

Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff Mr. & Mrs. David Edmiston In memory of Polly Ellis

by Admiral James O. Ellis, Jr. $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Mr. David Boatwright The Boston Consulting Group The Breman Foundation, Inc. The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation $7,500+ The Aaron Copland Fund for Music, Inc.

$5,000+ Anonymous (2) John** & Helen Aderhold* Aadu & Kristi Allpere* Ms. Julie M. Altenbach The ASCAP Foundation Irving Caesar Fund Mrs. Suzanne Dansby Bollman & Mr. Brooks Bollman Bubba Brands, Inc. Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell

$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock* Jere & Patsy Drummond

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support

$3,500+ continued Dr. & Mrs. James T. Lowman Ruth & Paul Marston Mr. & Mrs. Harmon B. Miller III

Walter W. Mitchell Leslie & Skip Petter Mr. & Mrs. Joel F. Reeves

S.A. Robinson Nancy & Henry Shuford In memory of Willard Shull Elliott Sopkin

Ms. Kimberly Tribble & Mr. Mark S. Lange Burton Trimble H. & T. Yamashita*

Gregory & Debra Durden Ms. Diane Durgin The Robert S. Elster Foundation John & Michelle Fuller Mr. & Mrs. Edward T. Garland Dr. Mary G. George & Mr. Kenneth Molinelli Ben & Lynda Greer Dr. & Mrs. Alexander Gross Paul B., Paul H., & M. Harrison Hackett Darlene K. Henson Mr. Thomas Hooten & Ms. Jennifer Marotta Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Dorothy Jackson** Ms. Cynthia Jeness Mr. & Mrs. Robert A. Johnson Mr. W. F. & Dr. Janice Johnston Dr. Maurice J. Jurkiewicz** Hazel & Herb Karp Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball*

Mr. & Mrs. Daniel J. King Dr. & Mrs. Scott I. Lampert Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. J. David Lifsey Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie The Devereaux F. & Dorothy McClatchey Foundation, Inc. Mr. & Mrs. Albert S. McGhee Birgit & David McQueen Gregory & Judy Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Mr. & Mrs. Robert Olive Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Elise T. Phillips Mr. & Mrs. Rezin Pidgeon, Jr. Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue John & Kyle Rogers Dr. Paul J. Seguin

Elizabeth S. Sharp Angela & Morton Sherzer Kay R. Shirley Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Lynne & Steven Steindel* John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie York-Trujillo & Raul F. Trujillo Mr. William C. Voss Mr. & Mrs. Randolph O. Watson Dr. & Mrs. Roger P. Webb Dr. & Mrs. James O. Wells, Jr. David & Martha West Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

Mary Frances Early Ree & Ralph Edwards Heike & Dieter Elsner George T. & Alecia H. Ethridge Bill & Susan Gibson Carol & Henry Grady Mary C. Gramling Mr. Lewis H. Hamner III Thomas High In memory of Carolyn B. Hochman Stephanie & Henry Howell Mary B. & Wayne James Aaron & Joyce Johnson Veronique & Baxter Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Thomas C. Lawson Mr. & Mrs. Craig P. MacKenzie

Kay & John Marshall Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Virginia K. McTague Angela & Jimmy Mitchell Mrs. Gene Morse** Barbara & Sanford Orkin Dr. & Mrs. Keith D. Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Mr. Robert Peterson Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology, Inc. Mr. & Mrs. David M. Ratcliffe

Ms. Susan Robinson & Ms. Mary Roemer The Gary Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral Alida & Stuart Silverman Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Kay & Alex Summers Elvira Tate Mr. & Mrs. William M. Tipping Drs. Jonne & Paul Walter Alan & Marcia Watt Drs. Julius & Nanette Wenger Mr. & Mrs. William White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Charlie & Dorothy Yates Family Fund Herbert & Grace Zwerner

$2,250+ Anonymous (3) Mrs. Kay Adams* & Mr. Ralph Paulk Mr. & Mrs. Phillip E. Alvelda* Paul & Marian Anderson Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Edith H. & James E. Bostic, Jr. Family Foundation Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Ms. Marnite B. Calder Mr. & Mrs. Beauchamp C. Carr Ralph & Rita Connell Chip & Darlene Conrad Mr. & Mrs. Thomas G. Cousins Mr. Robert Cronin & Ms. Christina Smith Sally & Larry Davis Drs. Carlos del Rio & Jeannette Guarner

$1,750+ Anonymous Mr. & Mrs. Stephen D. Ambo Dr. David & Julie Bakken Mr. & Mrs. Ron Bell Dr. & Mrs. Joel E. Berenson Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Brant Davis* Mrs. H. Frances Davis Peter & Vivian de Kok Elizabeth & John Donnelly Xavier Duralde & Mary Barrett Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 37

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Appassionato

William Randolph Hearst Endowed Fund

Meghan Magruder, Appassionato Chair

The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our ambitionous aritistic and education initiatives.

Patron Partnership

Thomas J. Jung, Chair

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 Orchestra family through their institutional leadership and financial support.

Henry Sopkin Circle Honoring the Atlanta Symphony Orchestra’s first Music Director, the Henry Sopkin Circle recognizes our friends who have planned bequests and other gifts to benefit the Orchestra’s future. We remain grateful to all Henry Sopkin Circle members – past and present – for their generosity, trust, and vision.

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. Sol Blaine 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. Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Elizabeth Etoll

Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G.* & Joseph F.* Haas James & Virginia Hale Miss Alice Ann Hamilton* Dr. Charles H. Hamilton* John & Martha Head Ms. Jeannie Hearn 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 Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey

38 Atlanta Symphony Orchestra/aso.org

James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Mr. & Mrs. William Lester Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller 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 The Reiman Foundation 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 Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling Barbara Dunbar Stewart* C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mr. & Mrs. John B. White, Jr. Adair & Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12) *Deceased

corporate & government support

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

Holiday Title Sponsor Muhtar Kent Chairman of the Board and Chief Executive Officer

Richard Anderson Chief Executive Officer

Darryl Harmon Southeast Regional President

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

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chairman and Chief Executive Officer

Jerry Karr Senior Managing Director

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

Atlanta Symphony Orchestra programs are supported in part by an award from the National Endowment for the Arts.

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 39

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2011-2012 board Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Elba McCue Secretary

Sabine Sugarman Treasurer Camille Kesler VP Administration Dawn Mullican VP Public Relations Paula Ercolini VP Youth Education Ruth & Paul Marston VP Membership Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians Judy Schmidt Nominating Committee Chair Amy Mussara, Chair, Decorators’ Show House & Gardens Natalie Polk & Hillary Inglis Co-Chairs, Decorators’ Show House & Gardens

Janis Eckert, Nancy Fields & Gail Spurlock Chairs, ASA Fall Meeting Poppy Tanner Chair, ASA Night at the ASO Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon Pat King ASA Notes Newsletter Editor Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk Helen Marie Rutter Bravo Chair Elba McCue Concerto Chair Joan Abernathy Encore Chair Liz Cohn & Betty Jeter Ensemble Chairs Karen Bunn Intermezzo Chair Whitley Greene Vivace Chair

BRAVO! CRUISIN’ CASINO NIGHT. Members of Bravo!, the young professional volunteer group of the Orchestra, tried their luck at casino game tables while enjoying the smooth sounds of Yacht Rock DJ. From left to right, Ashley Jones, Andy Nickerson, Joe Fischer, and Jonathon Javetz. For more information on Bravo! and other events like these please contact Volunteer Project Manager, Sarah Levin at 404-733-4921

40 Atlanta Symphony Orchestra/aso.org

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 $8.9 million last year. Thank you!

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

KPMG LLP, Partners & Employees The Rich Foundation, Inc. Wells Fargo

★★★★★★★ $100,000+ Alston & Bird LLP ★★★★★★★★★★★ Bank of America $450,000+ Kaiser Permanente Cox Interests Atlanta Journal-Constitution, King & Spalding Partners & Employees James M. Cox Foundation, Cox Radio Group Atlanta, The Klaus Family Foundation WSB-TV The Marcus Foundation, Inc. Hon. Anne Cox Chambers The Sara Giles Moore Foundation Novelis Inc. ★★★★★★★★★★ Wal-Mart Stores, Inc. $300,000+ The David, Helen & Marian Deloitte LLP, its Partners Woodward Fund & Employees ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees PwC Partners & Employees Mabel Dorn Reeder Foundation SunTrust Bank Employees & Trusteed Foundations Florence C. & Harry L. English Memorial Fund Greene-Sawtell Foundation SunTrust Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Delta Air Lines, Inc. Equifax Inc. & Employees

★★★★★★ $75,000+ AirTran Airways Holder Construction Company Kilpatrick Townsend The Sartain Lanier Family Foundation, Inc. Regions Financial Corporation ★★★★★ $50,000+ AGL Resources Inc. Lisa & Joe Bankoff Cisco Ann & Jay Davis Doosan Infracore International Federal Home Loan Bank of Atlanta Frank Jackson Sandy Springs Toyota and Scion Beth & Tommy Holder Newell Rubbermaid Primerica

42 Atlanta Symphony Orchestra/aso.org

Devyne Stephens Sutherland Asbill & Brennan LLP The Zeist Foundation, Inc. ★★★★ $35,000+ Katharine & Russell Bellman Foundation Bryan Cave LLP Mr. & Mrs. Bradley Currey, Jr. GE Energy Georgia-Pacific The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation Siemens Industry, Inc. Alex & Betty Smith Foundation, Inc. Harris A. Smith Frances Wood Wilson Foundation, Inc ★★★ $25,000+ Accenture & Accenture Employees Air Serv Corporation Atlanta Foundation Julie & Jim Balloun BB&T Corporation Laura & Stan Blackburn CIGNA Foundation Cousins Properties Incorporated Crawford & Company Ford & Harrison LLP Jack & Anne Glenn Foundation, Inc. GMT Capital Corporation Infor Global Solutions ING Sarah & Jim Kennedy Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc.

LexisNexis Risk Solutions The Blanche Lipscomb Foundation Macy’s Foundation Katherine John Murphy Foundation Patty & Doug Reid Family Foundation RockTenn SCANA Energy Southwire Company Sprint Foundation Towers Watson Troutman Sanders LLP Waffle House, Inc. Gertrude & William C. Wardlaw Fund ★★ $15,000+ A. E. M. Family Foundation ACE Charitable Foundation AlixPartners Alvarez & Marsal Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch The Capital Group Companies Charitable Foundation Roxanne & Jeffrey Cashdan Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman

Chartis Chick-fil-A, Inc. CornerCap Investment Counsel Duke Realty Corporation Egon Zehnder International Eisner Family Foundation Feinberg Charitable Trust Fifth Third Bank First Data Corporation Gas South, LLC Genuine Parts Company Georgia Natural Gas Dolores & Javier C. Goizueta Grant Thornton LLP Harland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester Jamestown Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones Jones Day Foundation, in honor of James H. Landon Mr. & Mrs. Muhtar Kent Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions The Latham Foundation Barbara W. & Bertram L. Levy Fund Livingston Foundation, Inc. Karole & John Lloyd Lockheed Martin Marsh-Mercer Mohawk Industries, Inc. & Frank H. Boykin Mueller Water Products, Inc. Gail & Bob O’Leary Vicki R. Palmer

Paul, Hastings, Janofsky & Walker LLP Piedmont Charitable Foundation, Inc. Printpack Inc./The Gay & Erskine Love Foundation Mary & Craig Ramsey Mr. & Mrs. David M. Ratcliffe Emily Winship Scott Foundation Skanska USA Building Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. Sysco Atlanta United Distributors, Inc. WATL/WXIA/Gannett Foundation Sue & John Wieland Mr. & Mrs. James B. Williams Sue & Neil Williams Carla & Leonard Wood The Xerox Foundation Yancey Bros. Co. Mr. & Mrs. Robert A. Yellowlees *Annual Campaign Donors from June 1, 2010 May 31, 2011

encoreatlanta.com/Atlanta’s Performing Arts Publication 43

Continued from page 22

“We really enjoy working with Donald,” said Nick Jones, a longtime member of the Chorus and the Orchestra’s former Program Annotator. “[His] fluid conducting style, his songful interpretations, his idiosyncratic left-handed baton … we love

Robert and this Orchestra have gone by so quickly,” Mr. Runnicles said. “It’s been a unique, joyous, utterly inspiring synergy that Robert and I have enjoyed, and I’ve loved and treasured the partnership. The challenges and achievements over the years have been considerable. What a joy and privilege to belong to the Atlanta family.”

“ The excitement and fulfillment of working with Robert Spano and the Atlanta Symphony Orchestra deepens for me each year” his piercing Scottish gaze and his lilting brogue. We accompanied him to Germany three times, allowing us to build a terrific relationship with the Berlin Philharmonic.

And of course, we joyfully anticipate each time he works with us in Atlanta.”

Reminiscing about the Chorus’s performance of the Berlioz Requiem with the Berlin players in 2008, Mr. Runnicles said, “When the Chorus began to sing without accompaniment, the orchestra all turned around. The collective look on their faces was one of the most moving things I have ever seen.” Most recently, Mr. Runnicles and the Chorus performed Brahms’s A German Requiem with the German orchestra in 2009.

And the creative partnership? “It’s hard to believe 10 years of collaborating with 44 Atlanta Symphony Orchestra/aso.org

For more than a decade, Mr. Spano and Mr. Runnicles have helped shape musical perspective and programming within the Atlanta Symphony and throughout the country. Under their leadership, the Orchestra has been acknowledged as a hub of creativity through performances, presentations, and learning forums, all inspired by the work of this dynamic artistic team.

“The excitement and fulfillment of working with Robert and the Atlanta Symphony Orchestra deepens for me each year,” explained Mr. Runnicles.

And the feeling is mutual. Of the creative partnership, Mr. Spano said, “To have been able to have this journey here with Donald has been one of the joys of my life. We have a wonderful professional friendship and I’m very blessed.”

“With Robert and with Donald, it’s sometimes easy to forget — until we read about them in the New York Times or some other place — that these are two international superstars who are completely at home here in Atlanta,” said Atlanta Symphony Orchestra President Stanley E. Romanstein. “We’re incredibly fortunate to have him.”

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community corner a moment with

Monica…

Meet Monica Caldwell, a sophomore at Shiloh High School. The 15-year-old violist is in her third year as a member of the Atlanta Symphony Orchestra’s Talent Development Program and her second season with the Atlanta Symphony Youth Orchestra. Monica attributes her success as a musician to what she has gained through these student musician training programs.

When did you start playing the viola?

When I was in sixth grade, I joined my school orchestra and I had no idea what a viola was — or that it even existed! I actually had my mind set on playing the bass, but after trying it I decided I wanted to play the cello instead. I thought I had finally made up my mind, but as soon as the orchestra teacher played a few notes on the viola, I was intrigued and quickly changed my decision.

It was love at first sight!

What made you decide to become involved with the Orchestra’s student musician training programs?

In my seventh grade year, I was improving on my instrument much faster than my peers. I would spend hours practicing and the extra time I dedicated to my viola became evident very quickly through the 46 Atlanta Symphony Orchestra/aso.org

improved quality of my playing. At that point, my music teacher recommended me for the Talent Development Program (TDP). I was really excited about the opportunity, but I had no idea how significantly it would impact my life and what kind of musician I was yet to become.

So, how has it impacted you?

My whole perception of playing the viola is completely different than when I began in my small sixth-grade orchestra. After being accepted into the TDP program, I began studying privately with Atlanta Symphony violist Lachlan McBane. He has encouraged me to always be very thoughtful about what I’m playing. Nothing about playing an instrument is careless, and everything in music has meaning. I started incorporating that concept into my music, and my playing has never been the same since.

I’ve also been incredibly fortunate to have a wonderful mentor, harpist Angelic Hairston, who graduated from the Talent Development Program last spring. As an older member of the program, Angelica was one of the first students to reach out to me, and I was incredibly inspired by how much she had already accomplished at such a young age. I hope to accomplish just as much as she did in her five years in TDP! She’s now studying music in Canada, but I still make time to keep in touch with her. Even though she’s far away, she still encourages me to take my music to the next level.

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Do you hope to mentor younger students?

Yes! I aspire to be a performer, but I also hope to inspire someone the way I was first inspired to play the viola and pursue a career in music.

One of the “perks” of being a member of the TDP is the opportunity to study at prestigious summer music festivals.

What have your experiences been like?

During the past two summers, I have attended Interlochen Arts Academy and Credo Chamber Music Camp at Oberlin Conservatory. My quick musical progress simply would not have been possible without these summer programs. I had the opportunity to study with two of the best viola teachers in the world — David Holland and Peter Slowik — and they truly shaped my technique and helped me develop my mature sound. Sometimes I would get a little homesick, but I knew that being away from home, and away from so many distractions, was the best way for me to focus on my musical development.

And you’re also a member of the Atlanta Symphony Youth Orchestra?

Yep! Last year was my first season with the Youth Orchestra. It was a great experience and really pushed me musically and mentally because the music was so challenging! I remember sightreading through a piece of music at the first rehearsal and not being able to play any of it, and I realized that I

had a lot of work to do to keep up with such an amazing group of students!

What do you like most about the Youth Orchestra?

Viola sectionals are always the highlight of rehearsal for me. It’s always interesting having a room full of 14 violists! Our coach is Cathy Lynn, an Atlanta Symphony violist, and she always gives us “hot viola tips.” Her guidance helps us work through the hardest sections of the repertoire so we can be at our very best when we perform on the Atlanta Symphony Hall stage!

Additionally, I truly appreciate being able to play in a full orchestra on a regular basis — it’s an opportunity that I don’t have with my school music program. I also benefit from being around my Youth Orchestra colleagues because we share a love of music and a similar motivation and drive.

If your life could turn out just the way you wanted, what would you be doing in 10 or 15 years?

I would love to have graduated from a prestigious music school and be a professional musician with a nationallyrecognized orchestra. I haven’t really thought about the specifics because I still have three years to figure everything out!

But this is what I do know: My life without music would be a life without passion, and I can’t ever imagine not having music, or the viola, in my life. I’m incredibly grateful to the Atlanta Symphony Orchestra for making my career as a violist possible!

Edited and condensed

by Kimberly Nogi.

48

calendar

The Amazing Montero February 2/3/4 Delta Classical Thu/Fri/Sat: 8pm Ravel: Mother Goose Suite Beethoven: Piano Concerto No. 3 Dvo˘rák: Symphony No. 8 Thomas Wilkins, conductor Gabriela Montero, piano

Radiant Mozart, Passionate Elgar February 16/17/19 Delta Classical Thu/Fri: 8pm/Sun: 3pm Wagner: Prelude to Die Meistersinger Elgar: Cello Concerto Mozart: “Haffner” Symphony R. Strauss: Der Rosenkavalier Suite

PHISH PHANS! Roberto Minczuk, conductor February 9 Special Johannes Moser, cello Thu: 8pm sold out!

Trey Anastasio Symphony Gala February 18 and the Atlanta Symphony Orchestra Sat: 7:30pm Botti’s back!

Bernadette Peters February 10/11 SuperPOPS! Shimmering Josefowicz Fri/Sat: 8pm February 23/25 Delta Classical Chris Botti & band Thu/Sat: 8pm Cinderella Haydn: Overture to February 12 Family Concert L’Isola disabitata Sun: 1:30pm & 3:30pm Thomas AdÈs: Violin Concerto the fabled Cinderella Wagner: Lohengrin Jere Flint, conductor Prelude to Act One Enchantment Theatre Company Debussy: La mer James Gaffigan, conductor Leila Josefowicz, violin

404.733.5000 | aso.org Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:

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Special Gala Concert! with members of the Orchestra February 18 Sat: 8pm | Atlanta Symphony Hall

Bernadette Peters

The dazzling superstar Bernadette Peters, winner of multi Tony (Follies, Gypsy, A Little Night Music) and Grammy awards, lights up the 2nd annual Symphony Gala benefitting the Orchestra’s education and community programs. Tickets starting at $35 on sale now!

“As an actress, singer, comedienne and winning presence, Bernadette Peters has no peer…”

aso.org | 404.733.5000 Woodruff Arts Center Box Office @15th and Peachtree

– Frank Rich, NY Times

staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Brien Faucett Assistant to the President

EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Senior Director of Education & Community Engagement Melanie Darby Director of Education Programming Ahmad Mayes Community Programs Coordinator Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate

ASO Presents (cont.)

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President Verizon Wireless for Marketing Amphitheatre at & Symphony Pops ADMINISTRATION Encore Park Alesia Banks John Sparrow Katie Daniel Director of Customer Vice President VIP Sales Manager Service & Season Tickets for Orchestra Initiatives Jenny Pollock & General Manager Ted Caldwell Operations Manager Group & Corporate Mala Sharma Sales Assistant Rebecca Simmons Assistant to the Box Office Manager Vice President Meko Hector for Orchestra Initiatives Marketing Production Deborah Honan & General Manager Manager Customer Service Manager & Venue Rental Coordinator Jennifer Jefferson Julianne Fish Orchestra Manager Director of e-Business & Interactive Media Nancy Crowder DEVELOPMENT Operations/Rental Melanie Kite Sandy Smith Events Coordinator Subscription Vice President Office Manager Russell Williamson for Development Orchestra Personnel Shelby Moody FINANCE & Rebecca Abernathy Manager Group & Corporate ADMINISTRATION Development Services Sales Manager Susanne Watts Coordinator Donald F. Fox Assistant Orchestra Seth Newcom Executive Vice President Zachary Brown Personnel Manager Database Administrator for Business Operations Director of Paul Barrett & Chief Financial Officer Kimberly Nogi Volunteer Services Senior Production Publicist Shannon McCown Corey Cowart Stage Manager Assistant to the Robert Phipps Director of Richard Carvlin Executive Vice President Publications Director Corporate Relations Stage Manager for Business Operations Melissa A. E. Sanders Janina Edwards & Chief Financial Officer Lela Huff Senior Director, Grants Consultant Assistant Stage Manager Susan Ambo Communications Tegan Ketchie Vice President of Finance Christine Saunders Development Coordinator Artistic Kim Hielsberg Group & Corporate Ashley Krausen Evans Mirageas Director of Financial Sales Associate Special Events Coordinator Director of Artistic Planning Planning & Analysis Karl Schnittke Sarah Levin Carol Wyatt April Satterfield Publications Editor Volunteer Project Manager Executive Assistant Senior Accountant Robin Smith Stephanie Malhotra to the Music Director Peter Dickson Subscription Director of Development & Principal Guest Staff Accountant & Education Sales & Education Services Conductor Michael Richardson Bill Tarulli Melissa Muntz Jeffrey Baxter Venues Analyst Marketing Manager Development Coordinator Choral Administrator Stephen Jones Rachel Trignano Barbara Saunders Ken Meltzer Symphony Store Manager Manager of Director of ASO Insider Broad Based Giving Foundation Relations ASO Presents & Program Annotator Russell Wheeler Meredith Schnepp Clay Schell Director of Group Vice President, Programming Prospect Research Officer & Corporate Sales Tammie Taylor Trevor Ralph Christina Wood General Manager and Senior Assistant to the Director of Marketing Director of Operations VP for Development Holly Clausen Sarah Zabinski Director of Marketing Individual Giving Manager Keri Musgraves Promotions Manager Lisa Eng Graphic Artist

54 Atlanta Symphony Orchestra/aso.org

Chastain Park Amphitheater Tanner Smith Program Director

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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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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. 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.

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gallery

Giving voice & the gift of music

1 SHOUT, SISTER, SHOUT! Richardine Holmes feels it during the Orchestra’s annual Gospel Christmas performances in early December.

2 MUSICAL BALM Violinists Sandy Salzinger and Ruth Ann Little and bassist Gloria Jones and violist Yang-Yoon Kim (not pictured) perform holiday music at the Arbor Terrace assisted living community last month. Orchestra musicians share music with over 2000 senior citizens annually.

1

2

Ahmad Mayes

3 SANTA’S LITTLE HELPERS “ASO Kid’s Christmas” joyfully lived up to its name.

60

Erik Dixon

Jeff Roffman

3

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