January 2012: The Mighty “Eroica” at the Atlanta Symphony Orchestra

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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

18 Atlanta Symphony Orchestra/aso.org

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

Delta Classical Series Concerts Thursday and Saturday, January 19 and 21, 2012, at 8 p.m.

Sunday, January 22, 2012, at 3 p.m.

Donald Runnicles, Conductor James Ehnes, Violin

Benjamin Britten (1913-1976)

Violin Concerto, Opus 15 (1939)

I. Moderato con moto

II. Vivace

III. Passacaglia: Andante lento

James Ehnes, Violin

INTERMISSION

Ludwig van Beethoven (1770-1827)

Symphony No. 3 in E-flat Major, Opus 55 (“Eroica) (1804)

I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

“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.

encoreatlanta.com/Atlanta’s Performing Arts Publication 25

sponsors

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

Delta is proud to be celebrating our 70th anniversary as Atlanta’s hometown airline. 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!

The Atlanta Symphony Orchestra’s concert on November 5, 2011 at Carnegie Hall is made possible through the generous support of Delta Air Lines, Thurmond Smithgall and the Massey Charitable Trust.

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

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

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

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

Media sponsors: WABE, WSB AM, and AJC. Trucks provided by Ryder Truck Rental Inc.

26 Atlanta Symphony Orchestra/aso.org

program Notes on the Program

By Ken Meltzer Violin Concerto, Opus 15 (1939) Benjamin Britten was born in Lowestoft, England, on November 22, 1913, and died in Aldeburgh, England, on December 4, 1976. The first performance of the Violin Concerto took place at Carnegie Hall in New York on March 28, 1940, with Antonio Brosa as soloist, and John Barbirolli conducting the New York Philharmonic.

In addition to the solo violin, the Concerto is scored for two piccolos, three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, triangle, side drum, tenor drum, bass drum, cymbals, harp and strings. Approximate performance time is thirty-one minutes.

These are the first ASO Classical Subscription Performances.

Britten in America

I

n 1938, English composer Benjamin Britten and his lifelong partner, tenor Peter Pears, received a visitor at their home in Snape, near Aldeburgh. As Aaron Copland recalled: We hit it off well together from the start. I had with me the proofs of (Copland’s opera) The Second Hurricane. It didn’t take much persuasion to get me to play it from start to finish, singing all the parts of principals and chorus in the usual composer fashion. In return, Ben played me the first version of his Piano Concerto.

The following year, Britten and Pears left England for the United States. Britten was disappointed with the English public’s lack of acceptance of his works. Further, Britten, a committed pacifist, was distraught over the cloud of war that was enveloping Europe. Poet W.H. Auden, whom Britten greatly admired, advised the young composer that America might provide an artistic and political haven. When Copland learned of the news, he wrote to Britten: “Dear Benjie, How perfectly extraordinary to think of you here on this side of the water! I can’t get used to the idea — but I will.”

After Britten arrived, he began to experience grave doubts about his decision. Copland encouraged him to remain in the United States: “You owe it to England to stay here. After all, anyone can shoot a gun — but how many can write music like you?” But eventually, Britten’s love for his native land proved too strong. Britten and Pears returned to England in the spring of 1942. However, during his relatively brief American stay, Britten composed several important works, including his song cycles Les illuminations (1939) and Seven Sonnets of Michelangelo (1940), the Sinfonia da requiem (1940), his first String Quartet (1941) and, in collaboration with Auden, his first opera, Paul Bunyan (1941). encoreatlanta.com/Atlanta’s Performing Arts Publication 27

“Without question my best piece” Another work from this period is the Violin Concerto, begun in England in 1938, and completed the following summer, while Britten was in Canada. On September 29, 1939, Britten wrote to a friend: “…just completed the score of my Violin Concerto … it is at times like these that work is so important — that humans can think of other things than blowing each other up! ... I try not to listen to the radio any more than I can help.”

By February of 1940, Britten became dangerously ill. Later, he commented: “Outwardly the ailment was infected tonsils. But the real cause was my mental perplexities.” Britten ran a fever as high as 107 degrees, and suffered from periods of delirium.

The premiere of the Britten Violin Concerto took place at Carnegie Hall in New York on March 28, 1940. Britten’s friend, the Spanish virtuoso Antonio Brosa, was the violin soloist.

John Barbirolli conducted the New York Philharmonic. Britten, still suffering from the ravages of his illness, was barely able to attend the performance. The premiere was a great success. Britten reported a “wonderful reception” from the Carnegie Hall audience, and further noted: “Toni played marvelously … The N.Y. Times old critic (who is the snarkyest (sic.) & most coveted here) was won over, so that was fine.”

In a letter to his publisher, Ralph Hawkes, Britten said of his Violin Concerto: “So far it is without question my best piece. It’s rather serious, I’m afraid, but it’s got some good tunes in it!” It seems clear the Violin Concerto is, at least in part, an expression of Britten’s anguish over what was transpiring throughout Europe, and in his own life. But as with any great work of art, the Britten Violin Concerto transcends the specific time and circumstances of its creation to resonate with all who love music, regardless of age or background.

Musical Analysis I. Moderato con moto — The Concerto opens with the timpani intoning a five-note rhythmic motif (punctuated by the cymbals) that will return in various forms throughout the Concerto. A sighing figure in the strings and the bassoon’s repetition of the motif lead to the entrance of the soloist, and the introduction of the first movement’s flowing, initial principal melody, marked dolcissimo ed espressivo. The rhythmic motif, traded among the instruments of the orchestra, serves as accompaniment. A brief, vigorous cadenza for the soloist leads to the orchestra’s forte repetition of the melody. The soloist introduces the brusque, fanfare-like second principal melody, related to the five-note motif. The brief development opens quietly, with the soloist intoning the second melody. Muted strings, accompanied by the soloist’s repetition of the rhythmic motif, launch the recapitulation (Tempo primo). The timpani, playing the five-note motif, accompanies the soloist in the closing measures, which finally resolve to silence. The second movement follows without pause.

II. Vivace — The second movement serves as the Concerto’s scherzo. Set in triple meter, the opening section is in the character of an insistent (and often violent) danse macabre.

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program The perpetual motion abates, yielding to a more reflective episode (l’istesso tempo), where the orchestra sternly replies to the soloist’s plaintive statements. A striking episode, juxtaposing the piccolos and tuba, heralds the soloist’s varied reprise of the danse macabre.

The orchestra’s passionate forte restatement of the violin’s plaintive melody yields to an extended solo cadenza, prominently featuring the five-note rhythmic motif. Once again, the ensuing movement follows without pause.

III. Passacaglia: Andante lento — The final movement, the longest of the three, is the emotional centerpiece of the Concerto. Set in slow tempo, the finale is in the form of a passacaglia, a series of variations over a repeated bass figure. The trombones introduce the passacaglia’s dirge-like ascending and descending sequence. The ensuing variations explore an extraordinary range of moods and orchestral colors (particularly striking is the abrupt transition from a lilting Viennese waltz to a stern military march). In the hushed closing measures, the soloist’s eloquent pleas continue to the Concerto’s uncertain denouement.

Symphony No. 3 in E-flat Major, Opus 55 (“Eroica”) (1804) Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first public performance of the “Eroica” Symphony took place in Vienna on April 7, 1805, at the Theater an der Wien, with the composer conducting. The “Eroica” Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani and strings.

Approximate performance time is forty-seven minutes.

First ASO Classical Subscription Performance: October 22, 1949, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performance: April 15, 16 and 17, 2010, Lothar Zagrosek, Conductor.

“Composed to celebrate the memory of a great man”

T

he story of Beethoven’s dedication of his Third Symphony, the “Eroica,” is one the most compelling in the history of concert music. In the early part of the 19th century, many idealists, Beethoven included, viewed Napoleon Bonaparte as a staunch defender of liberty and democratic ideals. By the spring of 1804, Beethoven had completed his Third Symphony, which he entitled “Bonaparte.”

According to Beethoven’s friend, Ferdinand Ries: In this symphony Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest of Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word “Buonaparte” at the extreme top of the title page, and at the extreme bottom, “Luigi van Beethoven,” but not another word. Whether and with what the space between the two was to be filled out, I do not know. I was encoreatlanta.com/Atlanta’s Performing Arts Publication 29

the first to bring to him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: “Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only in his ambition. He will exalt himself above all others, become a tyrant!” Beethoven went to the table, took hold of its title page by the top, tore it in two, and threw it on the floor. The first page was rewritten and only then did the symphony receive the title Sinfonica eroica.

Some biographers, including Maynard Solomon (Beethoven, Schirmer Books, New York, 1977), suggest that Beethoven’s actions may have also been motivated by career aspirations.

During the relevant time frame, Beethoven contemplated, and ultimately rejected, the notion of relocating from Vienna to Paris.

With that scenario in mind, conductor Arturo Toscanini’s remarks about the “Eroica’s” first movement offer a useful perspective: “To some it is Napoleon, to some it is Alexander, to me it is Allegro con brio (i.e., the movement’s tempo marking).” In other words, the significance of Beethoven’s Third Symphony, which the composer ultimately subtitled Sinfonica Eroica, Composed to Celebrate the Memory of a Great Man, rests not with its dedicatee, but with the revolutionary nature of the music itself.

Beethoven’s “New Road” In 1802, Beethoven confided to his friend, Wenzel Krumpholz: “I am not satisfied with my works up to the present time. From today I mean to take a new road.” Certainly there are many aspects of the “Eroica” that establish a profound line of demarcation between the Third and the composer’s first two Symphonies — not to mention the symphonies of Beethoven’s great predecessors, Haydn and Mozart. The extraordinary length of the opening movement, achieved in great part by an unprecedented expansion of the development and coda sections (as well as the transitional material between themes), is perhaps the most obvious example. Likewise, the use of an epic funeral march is a stunning departure from the lyricism found in most slow movements of the time.

Still, it would be incorrect to characterize the “Eroica” as a total rejection of the musical style of Beethoven’s earlier Symphonies. The Symphonies in C and D already offer hints of the rhythmic drive, pungent dynamic contrast, bold harmonic strokes and ingenious motive development that characterize the “Eroica.” It should also be mentioned that Beethoven creates the “Eroica’s” profoundly revolutionary atmosphere with an orchestra similar in size and instrumentation to that of a late Haydn or Mozart symphony.

Several private performances of the “Eroica” were offered in Vienna in the winter of 18045. The first public concert featuring the Third Symphony occurred on April 7, 1805, at the Theater an der Wien. While concertmaster Franz Clement (the man who was the soloist in the premiere of Beethoven’s Violin Concerto) conducted the bulk of the program, the composer himself led the performance of the “Eroica.”

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program The revolutionary character of Beethoven’s “Eroica” Symphony inspired a sense of awe, even of disorientation, on the part of the early audiences. It’s not surprising that critical reaction was divided. But while many questioned the attractiveness of the Third Symphony as a form of entertainment, few could deny its power and innovation. Indeed, symphonic music would never be the same after the “Eroica.”

Beethoven himself recognized the importance of this work in his symphonic canon. Prior to the completion of the Ninth Symphony, Beethoven’s friend, Christoph Kuffner, asked the composer which of the eight was his favorite. “Ah, ha!” Beethoven replied, “the ‘Eroica.’”

Kuffner responded, “I should have guessed the C-Minor (i.e., the Fifth).” “No,” Beethoven insisted, “the ‘Eroica.’”

Musical Analysis I. Allegro con brio — Beethoven introduces his musical “new road” in bracing fashion with two brusque chords, out of which emerges the cellos’ statement of the opening theme.

A simple and plaintive second theme consists of three descending notes, traded among various instruments. Finally, the woodwinds introduce a sighing motif, described by British musicologist Sir George Grove as “a passage of singular beauty — more harmony than melody.” An extraordinarily rich and varied development of the main themes ensues. At the height of the drama, the oboes introduce a new, lyrical motif. The recapitulation seems to begin when the horn, over mysterious, tremolo string accompaniment, intones the first four notes of the opening theme. However, the passage is silenced by an orchestral outburst that leads to the true recapitulation, introduced by the cellos (although the horn soon returns with its own restatement). The extended coda spotlights the opening theme, as well as a reprise of the development’s oboe motif. The conclusion of this complex movement is simplicity itself, as two abrupt chords reprise the spirit of the work’s opening measures.

II. Marcia funebre: Adagio assai — When Beethoven learned of Napoleon’s death in 1821, he observed, “I have already composed the proper music for that catastrophe.” Here, the composer was referring to the second movement of the “Eroica,” a grand funeral march.

The violins, followed by the oboes, intone the opening, minor-key theme. The violins then offer a second theme that begins in the major key, but quickly reverts to the minor. The tragic weight of the movement is briefly dispelled by the maggiore central section, which begins with an ascending and descending oboe melody, leading to a pair of grand orchestral exclamations. Soon, pathos returns with a reprise of the opening section, as the motifs are further developed. In the poignant coda, the violins play a sotto voce statement of the opening theme that becomes increasingly fragmented before fading to silence.

III. Scherzo: Allegro vivace — The mood of the “Eroica” Symphony is immediately transformed from despair to joy with the arrival of this ebullient Scherzo. Over tripping string accompaniment, the oboes and first violins sing the playful opening theme, finally played in grand fashion by the full orchestra. The ensuing Trio, which prominently features the horns, leads to a return of the Scherzo’s opening. The brief coda begins softly, but quickly builds to a fortissimo conclusion. encoreatlanta.com/Atlanta’s Performing Arts Publication 31

IV. Finale: Allegro molto — According to Carl Czerny, Beethoven moved audiences to tears through the sheer beauty and creativity of his keyboard improvisations. That extraordinary talent serves Beethoven well in the Finale of his “Eroica” Symphony, a brilliant theme and variations movement. The Finale begins with a grand orchestral introduction, followed by the strings’ pizzicato introduction of the thirteen-note principal theme. A series of remarkably diverse variations ensues, the third featuring the oboes introducing a melody that will return in different guises throughout the Finale. It is a melody that was a particular favorite of Beethoven, one that makes appearances in the Contredanses, WoO 14 (1802), the “Eroica” Piano Variations, Opus 35 (1802), and his ballet, The Creatures of Prometheus, Opus 43 (1801). The entire Finale closes in thrilling fashion, with a headlong rush into a Presto coda, featuring yet another version of the “Prometheus” melody.

donald runnicles, Conductor

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rincipal Guest Conductor Donald Runnicles is currently celebrating his 10th year of artistic partnership with Music Director Robert Spano in leading the Atlanta Symphony Orchestra. Mr. Runnicles is one of today’s most consistently acclaimed conductors of both opera and symphonic repertoire.

In 2009, he became general music director of the Deutsche Donald Runnicles Oper Berlin and chief conductor of the BBC Scottish Orchestra, based in Glasgow. He continues as music director of the Grand Teton Music Festival, a summer orchestral festival in Jackson Hole, Wyoming, which will celebrate its 50th anniversary in 2011. Mr. Runnicles was music director and principal conductor of the San Francisco Opera from the 1992-93 season until the 2008-09 season. During his tenure, he conducted nearly 60 different titles, including the world premiere of John Adams’s Doctor Atomic and the U.S. premieres of St. Francoise d’Assise.

Mr. Runnicles’s acclaimed recordings with the Atlanta Symphony Orchestra include a concert disc with soprano Christine Brewer singing Strauss and Wagner, and a new Strauss disc recorded live in Atlanta Symphony Hall. With the Orchestra, Mr. Runnicles also has recorded the Mozart Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony and a Brittania album. In December 2003, Mr. Runnicles and the Orchestra Chorus made their debut with the Berlin Philharmonic in Britten’s War Requiem. Following the performance, Der Tagesspiegel wrote: “The world has really turned a bit topsy-turvy when our fabulous Berliner Philharmoniker turn around in their orchestra seats to applaud an American amateur chorus.” Mr. Runnicles and the Chorus performed the Berlioz Requiem with the German orchestra in May 2008, and in most recently, in December 2009, Mr. Runnicles and the Chorus performed Brahms’s Ein deutsches Requiem. Mr. Runnicles has ongoing musical relationships with today’s finest orchestras and opera companies.

32 Atlanta Symphony Orchestra/aso.org

program james ehnes, Violin

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ailed as “the Jascha Heifetz of our day” (Canada's Globe and Mail), violinist James Ehnes is considered one of the most dynamic and exciting performers in classical music. He has performed in more than 30 countries on five continents, appearing regularly with many of the world’s most well-known orchestras and conductors.

In the 2011-12 season, James continues to balance concerto concerts, chamber music and recitals as well as adding a new James Ehnes role to his repertoire — artistic director of the Seattle Chamber Music Society. Once again, performances take him throughout the United States, England, Scotland, Germany, Austria, Spain, Portugal, Sweden, the Netherlands, Denmark and Norway.

In the United Kingdom, James performs with the Royal Philharmonic, Royal Liverpool Philharmonic, Philharmonia Orchestra, Royal Scottish National Orchestra and City of Birmingham Symphony Orchestra. He returns to Vienna, Austria, to perform Prokofiev’s Violin Concerto No. 1 with the Tonkünstler Orchestra; will do Walton’s Violin Concerto with the Hamburg, Germany, and Oslo, Norway, philharmonic orchestras; Beethoven’s Violin Concerto in Copenhagen; The Hague and Heerlen in the Netherlands; Bernstein’s Serenade with the Orquestra Metropolitana de Lisboa; and Barber’s Violin Concerto with the Swedish Chamber Orchestra.

James’ U.S. dates include concerts with the Houston, St. Louis, Baltimore, Pasadena, Utah, New World, Minnesota, Atlanta and and Sarasota, Fla., orchestras, as well as the Oklahoma City Philharmonic. In Canada, he performs with the Manitoba Chamber Orchestra, the Hamilton Philharmonic and the Montreal and Torontos symphonies. He appears with the Philadelphia Orchestra and Charles Dutoit several times throughout the season, playing Mendelssohn’s Violin Concerto in Philadelphia, Strathmore and at New York’s Carnegie Hall.

James appears in recital at London’s Wigmore Hall; in Bilbao, Spain; San Francisco’s Herbst Theater; for the Chamber Music Society of Detroit; in Edmonton, Regina, Brandon and Kingston. An avid chamber musician, James will once again perform at the Seattle Chamber Music Society’s winter and summer festivals, and will spend an extensive amount of time with his string quartet, the Ehnes Quartet, performing in Miami, Macon, Seattle and Montréal.

James will add to his discography with the fall release of two new recordings: a disc of Bartok’s two Violin Concertos and the Viola Concerto with the BBC Philharmonic and Gianandrea Noseda (Chandos) and Tchaikovsky’s Violin Concerto, Serenade Melancolique, Valse Scherzo and Souvenir d’un lieu cher with the Sydney Symphony and Vladimir Ashkenazy (Onyx). His most recent release, featuring the Mendelssohn Violin Concerto and Octet (ONYX), has been earning raves worldwide: “dazzling” (Classic FM), “a pure delight” (BBC Music Magazine), “outstanding and unreservedly recommended” (Daily Telegraph), “It just doesn’t get any better than this” (MusicWeb International). encoreatlanta.com/Atlanta’s Performing Arts Publication 33

James Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at age 4 and, at nine became a protégé of the noted Canadian violinist Francis Chaplin. He studied with Sally Thomas at the Meadowmount School of Music and, from 1993 to 1997, at the Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation. Ehnes first gained national recognition in 1987 as winner of the Grand Prize in Strings at the Canadian Music Competition. The following year he won the First Prize in Strings at the Canadian Music Festival, the youngest musician ever to do so. At age 13, he made his orchestral solo debut with the Orchestre symphonique de Montréal. He has won numerous awards and prizes, including the first-ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ prestigious Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. In October 2005, James was honoured by Brandon University with a doctor of music degree (honoris causa) and in July 2007 he became the youngest person ever elected as a fellow to the Royal Society of Canada. On July 1, 2010, the Governor General of Canada appointed James a Member of the Order of Canada.

James Ehnes plays the “Marsick” Stradivarius of 1715. He lives in Bradenton, Fla., with his wife, Kate.

34 Atlanta Symphony Orchestra/aso.org

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

36 Atlanta Symphony Orchestra/aso.org

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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