Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
May
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contents May 2012
encoreatlanta.com 48
Jeff Roffman
20
features
the music
20 A ‘tree’ grows in Atlanta
25 This week’s concert and program notes
Madeline Rogers takes you inside the latest Theater of a Concert production of A Flowering Tree, inspired by an ancient Indian folk tale.
48 Community Corner
Meet Ahmad Mayes, Co-Founder and Executive Director of the Atlanta Music Project.
8 Atlanta Symphony Orchestra/aso.org
departments 12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO
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Welcome Yes, it is possible to live forever. Mabel Dorn Reeder grew up in McCormick, S.C., near the Georgia/South Carolina border. She was passionate about making the world a better place. The daughter of Joseph Dorn, a prominent farmer and businessman, and his wife, Hanoria, Mabel graduated from Greenville Women’s College and pursued graduate studies at New York’s Columbia University. She taught elementary school for several years before marrying businessman Thomas Reeder and moving to Atlanta. Mrs. Reeder was passionate about music, history and the welfare of animals. She passed away in April 2007 at the age of 98, but the foundation that bears her name — the Mabel Dorn Reeder Foundation — sustains her memory and her passions by providing financial support for the causes Mrs. Reeder loved, including the Atlanta Symphony Orchestra. In 2011, the Reeder Foundation established an endowed Chair to support the ongoing professional development of one of the ASO’s musicians. The holder of the Reeder Chair must demonstrate excellence in musical artistry, leadership, collegiality and community engagement. At the annual meeting of our Board of Directors (May 14), we will name Concertmaster David Coucheron the newest holder of the Mabel Dorn Reeder Chair. Mr. Coucheron, a 27-year-old Norwegian violinist, is the youngest concertmaster among any major American orchestra. In just two seasons with the Atlanta Symphony, Mr. Coucheron has demonstrated that he is an incredible asset to this organization — through his passion, musicianship, innovative spirit and commitment to music education and the Atlanta community. Clearly, he embodies the qualities and characteristics so cherished by Mrs. Reeder and so necessary in today’s world. The spirit of Mabel Dorn Reeder lives on. I’m inspired by the generosity of the Mabel Dorn Reeder Foundation to think about what more I might do to support our Atlanta Symphony Orchestra. I hope you will be inspired as well. Wishing you all the best,
Stanley E. Romanstein, Ph.D. President
12 Atlanta Symphony Orchestra/aso.org
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leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson Meghan H. Magruder Chair Vice Chair Karole F. Lloyd D. Kirk Jamieson Chair-Elect Vice Chair
Joni Winston † Secretary Clayton F. Jackson 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 † Sylvia Davidson * Carlos del Rio, M.D. Richard A. Dorfman Lynn Eden 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 Howard D. Palefsky 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 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
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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.
16
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.
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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
a ‘tree’ grows in Atlanta
The lighter side of composer John Adams reveals itself in his Mozartinspired opera, A Flowering Tree. Madeline Rogers takes you inside the latest Theater of a Concert production of a work based on an ancient Indian folk tale.
It’s
springtime, and Atlanta’s streets, parks, and gardens are blooming. And so is Atlanta Symphony Hall, where the hauntingly beautiful A Flowering Tree — performed by the Atlanta Symphony Orchestra and Chorus, vocal soloists Jessica Rivera, Eric Owens and Russell Thomas, all led by Music Director Robert Spano, with stage direction by James Alexander — will transform the stage, on June 7 & 9, into a fantastical world in which a beautiful young woman discovers she has the power to turn herself into blossom-laden tree. The opera, based on an Indian folk tale, is the latest in the Orchestra’s popular Theater of a Concert series, and was penned by a composer who is well-known to Atlanta audiences: John Adams. 20 Atlanta Symphony Orchestra/aso.org
Do we mean the John Adams who brought Atlanta audiences to tears, in February 2008, with his searing tribute to the victims of 9/11, On the Transmigration of Souls, and challenged them later that year with his operatic retelling of the development of the atomic bomb, Doctor Atomic? Yes, that John Adams. It turns out the much-heralded American composer — best known for works inspired by today’s most upsetting headlines — does have a dreamier side, which is fully in evidence in A Flowering Tree. The work, which he calls “a departure” for him, was composed on the heels of completing Doctor Atomic. The latter work, as he recounted in his autobiography, Hallelujah Junction, “was an opera about technology and the end of ecology. A Flowering Tree is its antidote: a parable about youth, about hope, and about the ecology of the soul.”
A young prince, witnessing Kumudha’s transformation, claims her as his bride, but refuses to consummate their marriage until she performs her ritual. As she does so, the prince’s jealous sister spies on them, and then demands that Kumudha perform for her friends. When they lose interest partway through her performance, Kumudha is left half-woman, half-tree. In this hideous state, she flees, and is adopted by a band of traveling minstrels. When the prince discovers she is gone, he is stricken with guilt, and becomes a wandering beggar himself. Several years pass; the prince stumbles into a distant palace, where his sister, now a queen, recognizes him and takes him in. Meanwhile,
The two-act work, written between December 2005 and September 2006, was commissioned to celebrate the 250th anniversary of Mozart’s birth, and took as its “guiding spirit,” Adams wrote, “the Mozart of the Magic Flute” and its themes of “the magic of transformation, both physical and spiritual.” The libretto, written by Adams himself, is based on a South Indian folk tale, in a translation by noted poet Attipat Krishnaswami Ramanujan, who also translated the erotic love poems that Adams has incorporated to deepen the characters. The opera tells the story of Kumudha, a beautiful peasant who discovers she has the ability to transform herself into a flowering tree whose blossoms she sells to help support her impoverished mother. 22 Atlanta Symphony Orchestra/aso.org
in the town marketplace, the queen’s maids see a minstrel troupe and hear the ravishing singing of a strange and misshapen torso. The queen, not knowing that this is Kumudha, the girl she had tormented and driven away, brings her to court. The prince and Kumudha recognize each other, he performs the old ceremony, and his bride resumes her lovely human form. Continued on page 44
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program
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concerts Thursday, Friday and Saturday, May 10, 11 and 12, 2012, at 8:00 p.m.
Robert Spano, Conductor Leon Bates, Piano Alvin Singleton (b. 1940) Different River (2012) World Premiere, Commissioned by Robert Spano and the Atlanta Symphony Orchestra George Gershwin (1898-1937) Rhapsody in Blue (1924) Leon Bates, Piano
Intermission Aaron Copland Symphony No. 3 (1946)
I. Molto moderato II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato (Fanfare) — Allegro risoluto
“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 the Presenting Sponsor of the Atlanta School of Composers. The Atlanta Symphony Orchestra’s special artistic initiatives surrounding The Atlanta School of Composers is generously funded in part by Turner Voices. Turner Voices is Turner Broadcasting’s philanthropic initiative that focuses on building the next generation of storytellers in the arts and high school education arenas.
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 was 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 Different River (2012) Alvin Singleton was born in Brooklyn, New York, on December 28, 1940. These are the world premiere performances of Different River. Different River is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two bongos (hi, low), snare drum, marimba, Xyl, timables (hi, low), cowbell (medium), vibraphone, three tom toms (high, medium, low), harp and strings. Approximate performance time is twenty-five minutes. These are the First ASO Classical Subscription Performances
Alvin Singleton
A
lvin Singleton’s unique musical voice is the product of his richly diverse educational and cultural background. Mr. Singleton studied at New York University, Yale University, and, as a Fulbright Scholar, with Goffredo Petrassi at the Accademia Nazionale di Santa Cecilia in Rome. Mr. Singleton acknowledges the influence of numerous and varied styles of popular music in his concert works. While growing up in Brooklyn, Mr. Singleton was fascinated by such artists as the Beatles, John Coltrane, James Brown and Mahalia Jackson. Mr. Singleton was also profoundly influenced by the gospels and spirituals that resounded in his own family’s church.
Alvin Singleton was the first Composer-in-Residence in the history of Spelman College (1988-1991). Alvin Singleton has also served as UNISYS Composer-in-Residence with the Detroit Symphony Orchestra (1996-97), and was the 2002–03 Composer-in-Residence with the Ritz Chamber Players of Jacksonville, Florida. In addition, he has served as Visiting Professor of Composition at the Yale University School of Music. In the spring of 2004, Mr. Singleton joined the American Composers Orchestra as “Music Alive” Composer-in-Residence and Artistic Advisor for the IMPROVISE! Festival. In October, 2008, Singleton served as Composer-in-Residence in Tirana, Albania. He was invited by the cultural organization Eurynome Corp., who presented the Albanian premieres of selected works performed by the Orchestra of Albanian Radio and Television conducted by Oleg Arapi. Mr. Singleton also conducted a master class at the Fine Arts Academy in Tirana. Alvin Singleton’s compositions have been performed by major symphony orchestras throughout the world. Important international festivals that have programmed Mr. Singleton’s music include Chamber Music Northwest in Portland, OR, Tanglewood, Aspen, Bravo! Colorado, Music from Angel Fire in New Mexico, Cincinnati May Festival, Cabrillo Music Festival, Bang On A Can, the National Black Arts Festival in Atlanta, Other Minds
encoreatlanta.com/Atlanta’s Performing Arts Publication 27
in San Francisco, Festival Miami, the Vienna Summer Festival, Pro Musica Nova in Bremen, the Styrian Autumn Festival in Graz, Nuova Consonanza Festival in Rome, the Brussels ISCM World music Days and IRCAM in Paris. Alvin Singleton’s music is published by Schott Music Corporation, and is recorded on the Albany Records, Elektra/Nonesuch, Tzadik, and Innova labels. Singleton’s latest CD, “Sing to the Sun,” was released in February 2007 on Albany Records and is the fourth all-Singleton disc. After his studies in Rome, Alvin Singleton remained in Europe for fourteen years as a freelance composer, where he received numerous awards and citations for his works. While in Paris, Mr. Singleton met Robert Shaw, then the Music Director of the Atlanta Symphony Orchestra. This meeting ultimately led to Mr. Singleton’s appointment as Composer-inResidence for the Atlanta Symphony Orchestra, a post he held from 1985-88. The Atlanta Symphony Orchestra has continued to enjoy a long and rewarding association with Mr. Singleton. On the weekend of March 5, 2009, Music Director Robert Spano and the Atlanta Symphony Orchestra and Chorus performed Mr. Singleton’s PraiseMaker, which they also recorded for Telarc Records (Telarc CD-32630). On the weekend of February 3, 2011, Robert Spano and the ASO performed Mr. Singleton’s fanfare, Miaka Kumi (2010), written in celebration of Maestro Spano’s 10th anniversary as Music Director. On the weekend of June 2, 2011, Maestro Spano and the ASO performed Mr. Singleton’s After Fallen Crumbs, originally composed for the Atlanta Symphony Orchestra in 1988 (and recorded on Elektra/Nonesuch 9 79231-2). These concerts open with the world premiere of Mr. Singleton’s Different River, commissioned by Robert Spano and the Atlanta Symphony Orchestra.
Different River For over a century or more the trend for so many composers of creative music has been to put the emphasis of their work on self expression with ever-less regard for listeners, even sophisticated ones. Certain composers have even boasted that they don’t want their works understood; or as one said, he writes for his colleagues. Alvin Singleton, on the other hand, has typically achieved the distinct accomplishment of writing music that is both attractive to hear and intellectually-challenging in a way that also invites listeners to join him in some sonic and/or structural guessing game. DIFFERENT RIVER is certainly a case in point. Scored for full orchestra with extra percussion, this one-movement work lasts about 25 minutes. Of the title the composer writes: it is “about an ever-changing perspective on a river that is always moving... Each time you step in you’re at a different place.”
28 Atlanta Symphony Orchestra/aso.org
program Are we in this river or observing it? And of what is it made (composed)? Strange objects float by. Intensely themselves, they may be the mysticalthough-annunciatory percussion utterance that opens DIFFERENT RIVER. Or the galloping 16th notes from mallet instruments that follows, or the contrasting long, long tones of strings and woodwinds, or a brass fanfare, the sweet mumblings of solo harp, and then a stretch of silence. Unlike in many of his works, Singleton here seems not to favor any of these as the “theme” that wins out in the end. Each element that enters and passes is bright, clear, and strong. There are moments when elements gather, crash together, and suggest “climax.” But the true theme of DIFFERENT RIVER is the listener’s experiencing the rolling by of disparate musical passages. River-like, each impresses (intrigues?) us, and like the river of life, all passes on. — Notes by Carman Moore
Rhapsody in Blue (instrumentation by Ferde Grofé) (1924) George Gershwin was born in Brooklyn, New York, on September 26, 1898, and died in Hollywood, California on July 11, 1937. The first performance of the Rhapsody in Blue took place at Aeolian Hall in New York City, on February 12, 1924, with the composer as soloist and Paul Whiteman conducting the Palais Royal Orchestra. In addition to the solo piano, Rhapsody in Blue is scored for two flutes, two oboes, two clarinets, bass clarinet, two bassoons, three horns, three trumpets, three trombones, tuba, timpani, snare drum, suspended cymbal, cymbals, glockenspiel, triangle, bass drum, gong and strings. Approximate performance time is eighteen minutes. First ASO Classical Subscription Performance: January 29, 1950, Oscar Levant, Piano, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: May 31, June 2 and 3, 2007, Marcus Roberts, Piano, Robert Spano, Conductor.
“A jazz concerto”
G
eorge Gershwin composed his Rhapsody in Blue at the request of his friend, bandleader Paul Whiteman. Whiteman planned to stage a concert in New York to demonstrate that American jazz “had come to stay and deserved recognition.” Gershwin, who was busy with the preparations for his newest musical, Sweet Little Devil, was hesitant to become involved in such a project. However, in early January of 1924, Gershwin was in mid-town Manhattan, shooting pool at the Ambassador Billiard Parlor. George’s brother, Ira, who was also at the billiard club, picked up a copy of the January 4 issue of the Herald Tribune. The paper contained an article announcing that Paul Whiteman had scheduled a New York concert for February 12. The article further reported
encoreatlanta.com/Atlanta’s Performing Arts Publication 29
that, “George Gershwin is at work on a jazz concerto” to be featured at the Whiteman concert. A rather surprised Gershwin called Whiteman the following day. Finally, after much persuasion by Whiteman, Gershwin agreed to compose a rhapsody for piano and orchestra that he conceived of as “a sort of musical kaleidoscope of America — of our vast melting pot, of our unduplicated national pep, of our blues, of our metropolitan madness.” Gershwin composed this rhapsody at a furious pace, completing the work in about three weeks. Ferde Grofé, who orchestrated the work, was an almost constant presence in the Gershwin apartment, adapting each new page of the score as soon as it left the composer’s hand. Grofé’s original version, performed at the premiere, was for jazz band. Later, Grofé orchestrated the work for a large symphonic ensemble. George Gershwin planned to entitle his new work American Rhapsody. But Ira Gershwin, inspired by an exhibition of paintings by the American painter James McNeill Whistler — including Nocturne in Black and Gold and Arrangement in Grey and Black, No. 1 (Whistler’s Mother) — suggested the work’s famous title, Rhapsody in Blue. On February 12, 1924, a capacity audience filled New York’s Aeolian Hall to hear Paul Whiteman’s concert, entitled, “An Experiment in Modern Music.” As the concert proceeded, the attention of the audience began to flag. But, as Olin Downes reported the next day for the New York Times: “Then stepped upon the stage, sheepishly, a lank and dark young man — George Gershwin. He was to play the piano part in the first performance of his Rhapsody in Blue for piano and orchestra.” From the very first notes of the audacious clarinet solo, the audience was spellbound. Here was a work that offered a beguiling synthesis of the classical tradition — long believed to be the province of European composers — and America’s own music, jazz. When the majestic final chord sounded, the audience erupted with an ovation described by critics as “tumultuous,” “wild and even frantic.” From that day, George Gershwin became recognized not only as an important composer of Broadway and popular melodies, but as a force to be reckoned with in classical music. Almost ninety years after its premiere, George Gershwin’s Rhapsody in Blue remains one of the most beloved and performed concert works by an American composer.
Rhapsody in Blue Molto moderato — The Rhapsody in Blue opens with the famous clarinet solo that moves from its brazen ascent to the introduction of the first of several themes that appear throughout the work. The pianist enters, soon embarking on a solo turn. As suggested by the title, the Rhapsody is a rather free-form work that offers diverse and often virtuoso treatments of the thematic material by the soloist and orchestra. Toward the latter part of the Rhapsody, the orchestra introduces a majestic theme, capped by some jazzy commentary by the horns (Andantino moderato, con espressione). From there, the Rhapsody in Blue proceeds to its brilliant climax, concluding with a final statement of the opening clarinet theme.
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program Symphony No. 3 (1946) Aaron Copland was born in Brooklyn, New York, on November 14, 1900, and died in North Tarrytown, New York, on December 2, 1990. The first performance of the Symphony No. 3 took place in Symphony Hall in Boston, Massachusetts, on October 18, 1946, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The Symphony No. 3 is scored for two piccolos, three flutes, three oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, xylophone, orchestra bells, slapstick, triangle, tenor drum, ratchet, chimes, snare drum, tam-tam, tenor drum, wood block, claves, cymbals, suspended cymbals, bass drum, anvil, two harps, piano, celeste and strings. Approximate performance time is forty-three minutes. First ASO Classical Subscription Performances: January 25, 1968, Aaron Copland, Conductor. Most Recent ASO Classical Subscription Performances: May 31, and June 2 and 3, 2007, Robert Spano, Conductor. ASO Recording: Yoel Levi, Conductor (Telarc CD: 80201)
A
aron Copland remains America’s foremost composer of concert music. Copland’s masterful and heartfelt incorporation of American folklore and melodies into such works as the ballets Billy the Kid (1940), Rodeo (1942), and Appalachian Spring (1944), the Lincoln Portrait (1942) for speaker and orchestra, and his arrangements of Old American Songs (1950 and 1952), have long inspired the affection and admiration of performers and concert audiences.
Despite the immense popularity of such works (or perhaps, because of it), Aaron Copland also sought to compose pieces that built upon the traditions of European concert music. The Clarinet Concerto (1948), written for Benny Goodman, represents one such venture, although the stylistic influence of American jazz is also quite prominent. Copland’s Third Symphony, commissioned by the Koussevitsky Foundation, represents perhaps the composer’s most ambitious work in this traditional vein. Copland’s Third followed two relatively brief Symphonies, completed in 1925 and 1933. The composition of the Third Symphony took place between 1944 and 1946. Copland finished the orchestration of the final movement on September 29, 1946, just a few weeks before the Symphony’s premiere on October 18, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The New York Music Critics Circle selected Aaron Copland’s Third Symphony as the best work by an American composer played during the 1946-7 season.
Aaron Copland Discusses his Third Symphony In Copland’s program notes for the premiere of his Third Symphony, he cautioned: One aspect of the symphony ought to be pointed out: it contains no folk or popular material. During the late twenties it was customary to pigeonhole me as a composer of symphonic jazz, with emphasis on the jazz. More recently encoreatlanta.com/Atlanta’s Performing Arts Publication 31
I have been catalogued as a purveyor of Americana. Any reference to jazz or folk-material in this work was purely unconscious. While it is true that all of the melodies are Copland’s own, the spirit of such works as Appalachian Spring and Lincoln Portrait may be found in the Symphony’s transparent orchestration and beautiful, arching themes. In addition, Copland acknowledged the presence in the Third Symphony of one of the most familiar and beloved American concert works: I do borrow from myself by using Fanfare for the Common Man (1942) in an extended and reshaped form in the final movement. I used this opportunity to carry my Fanfare material further and to satisfy my desire to give the Third Symphony an affirmative tone. After all, it was a wartime piece — or more accurately, an end-of-war piece — intended to reflect the euphoric spirit of the country at the time. Copland provided the following musical analysis for the 1946 premiere of his Third Symphony: I. Molto moderato. The opening movement which is broad and expressive in character, opens and closes in the key of E major. (Formally it bears no relation to the sonata-allegro form with which most symphonies usually begin.) The themes —three in number — are plainly stated: the first is in the strings, at the very start, without introduction; the second in related mood in violas and oboes; the third, of a bolder nature, in the trombones and horns. The general form is that of an arch, in which the central portion is more animated and the final section an extended coda, presenting a broadened version of the opening material. Both the first and third themes are referred to again in later movements of the Symphony. II. Allegro molto. The form of this movement stays closer to normal symphonic procedure. It is the usual scherzo, with first part, trio and return. A brass introduction leads to the main theme, which is stated three times in Part I: at first in horns and violas, then in unison strings, and finally in augmentation in the lower brass. The three statements of the theme are separated by the usual episodes. After the climax is reached, the trio follows without pause. Solo woodwinds sing the new trio melody in lyrical and canonical style. The strings take it up and add a new section of their own. The recapitulation of Part I is not literal. The principal theme of the scherzo returns in somewhat revised form in the piano solo, leading through previous episodic material to a full restatement in the tutti orchestra. This is climaxed by a return to the lyrical trio theme, this time sung in canon and in fortissimo by the entire orchestra. III. Andantino quasi allegretto. The third movement is the freest of all in formal structure. Although it is built up sectionally, the various sections
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program are intended to emerge one from another in continuous flow, somewhat in the manner of a closely knit series of variations. The opening section, however, plays no role other than that of introducing the main body of the movement. High up in the unaccompanied violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the Symphony. It is briefly developed in contrapuntal style, and comes to a full close, once again in the key of E major. A new and more tonal theme is introduced in the solo flute. This is the melody that supplies the thematic substance for the sectional metamorphoses that follow: at first with quiet singing nostalgia, then faster and heavier — almost dance-like; then more childlike and naïve, and finally more vigorous and forthright. Imperceptibly, the whole movement drifts off into the higher regions of the strings, out of which floats the single line of the beginning, sung by a solo violin and piccolo, accompanied this time by harps and celesta. The third movement calls for no brass, with the exception of a single horn and trumpet. IV. Molto deliberato (Fanfare) — Allegro risoluto. The final movement follows without pause. It is the longest of the symphony, and closest in structure to the customary sonata-allegro form. The opening fanfare is based on “Fanfare for the Common Man” which I composed in 1942, at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction by the Cincinnati Symphony. In the present version it is first played pianissimo by flutes and clarinets, and then suddenly given out by brass and percussion. The fanfare serves as an introduction to the main body of the movement which follows. The components of the usual form are there: a first theme in animated 16th-note motion; a second theme — broader and more song-like in character; a full-blown development and a refashioned return to the earlier material of the movement, leading to a peroration. One curious feature of the symphony consists in the fact that the second theme is to be found embedded in the development section instead of being in its customary place. The development as such concerns itself with the fanfare and first theme fragments. A shrill tutti chord, with fluttertongued brass and piccolos, brings the development to a close. What follows is not a recapitulation in the ordinary sense. Instead a delicate interweaving of the first theme in the higher solo woodwinds is combined with a quiet version of the fanfare in the two bassoons. Combined with this, the opening theme of the first movement of the symphony is quoted, first in the violins and later in the solo trombone. Near the end a full-voice chanting of the song-like theme is heard in horns and trombones. The symphony concludes on a massive restatement of the opening phrase with which the entire work began.
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Leon Bates, Piano
A
s one of America’s leading pianists, Leon Bates has earned for himself a place on the international concert circuit. His performance schedule includes dates across the United States, Canada, Italy, France, Austria, Ireland and England as well as Africa. He has been invited to perform on major concert stages around the world, and audiences and critics find his musical spirit to possess all the elements of greatness.
Leon Bates
Mr. Bates has performed with many of the major U.S. symphonies, including the Philadelphia Orchestra, Cleveland Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Atlanta Symphony, Detroit Symphony and the Boston Symphony, among others. In Europe, he has performed with the Vienna Symphony, the Basel Symphony, the RadioOrchestra of Dublin, the Strasbourg Symphony, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Czech National Symphony Orchestra, Malmo Symphony of Sweden and more. Whether in recital or as a soloist with orchestra, his praises are enumerated in many languages — but they all agree on one point: Leon Bates is a major artist and one of America’s best.
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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 and 2012. (Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+
Mrs. Thalia N. Carlos** The Mabel Dorn Reeder Foundation Delta Air Lines The Zeist Foundation, Inc. The Andrew W. Mellon Foundation $250,000+
Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers
The Coca-Cola Company Mrs. William A. Schwartz
$100,000+
Lynn Eden 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+
Thalia & Michael C. Carlos Foundation
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 Invesco
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 Sutherland Asbill & Brennan LLP
$35,000+
Georgia Natural Gas Massey Charitable Trust
Porsche Cars North America Publix Super Markets Charities
Patty & Doug Reid
John H. & Wilhelmina D. Harland Charitable Foundation, Inc. King & Spalding 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. 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) Alston & Bird LLP 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 Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow
Mr. Donald F. Fox Charles & Mary Ginden Global Payments, Inc. 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 Nordstrom, Inc. Suzanne & Bill Plybon Dr. Stanley & Shannon Romanstein
Joyce & Henry Schwob Irene & Howard Stein Mary Rose Taylor Mike & Liz Troy Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.
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 Robert J. Jones Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law Pat & Nolan Leake 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. Charlie Wade & M.J. Conboy Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner
Atlanta Federation of Musicians Jeff & Ann Cramer*
Jere & Patsy Drummond Mr. & Mrs. Jesse Hill, Jr. JBS Foundation
The Hellen Plummer Charitable Foundation, Inc.
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 Mr. & Mrs. David Gould The Robert Hall Gunn, Jr. Fund The Jamieson Family
Paul & Rosthema Kastin Philip I. Kent Lanier Parking Solutions George H. Lanier The Sartain Lanier Family Foundation, Inc. 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 The Southern Company Peter James Stelling Mrs. C. Preston Stephens Triska Drake & G. Kimbrough Taylor, Jr. Ms. Kimberly Tribble & Mr. Mark S. Lange 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 Dr. & Mrs. James T. Laney*
$15,000+
Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff The Boston Consulting Group Mr. & Mrs. David Edmiston Admiral James O. Ellis, Jr. in memory of Polly Ellis $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Mr. David Boatwright The Breman Foundation, Inc. The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Dr. & Mrs. S. Wright Caughman $7,500+ The Aaron Copland Fund for Music, Inc.
$5,000+ Anonymous (2) Aadu & Kristi Allpere* Ms. Julie M. Altenbach In honor of Dominick Argento Arnall Golden Gregory LLP The ASCAP Foundation Irving Caesar Fund Ms. Suzanne Dansby Bollman Bubba Brands, Inc. Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell Mary Helen & Jim Dalton
$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock*
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support
$3,500+ continued Mr. & Mrs. William C. Lester* Mr. & Mrs. Albert S. McGhee Deborah & William Liss Mr. & Mrs. Harmon B. Miller III Dr. & Mrs. James T. Lowman Walter W. Mitchell Ruth & Paul Marston
Leslie & Skip Petter Mr. & Mrs. Joel F. Reeves S.A. Robinson Nancy & Henry Shuford
In memory of Willard Shull Elliott Sopkin Burton Trimble H. & T. Yamashita*
Drs. Carlos del Rio & Jeannette Guarner Gregory & Debra Durden Ms. Diane Durgin Francine D. Dykes & Richard H. Delay 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 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** Mr. & Mrs. Gert Kampfer 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 Thomas C. Lawson Dr. Fulton D. Lewis III & Mr. Neal Rhoney Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie The Devereaux F. & Dorothy McClatchey Foundation, Inc. Birgit & David McQueen Virginia K. McTague Gregory & Judy Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Robert & Mary Ann 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
George T. & Alecia H. Ethridge Peg Simms Gary 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 Mr. & Mrs. William C. Humphreys, Jr. Mary B. & Wayne James Aaron & Joyce Johnson Baxter P. Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Dr. J. Bancroft Lesesne Mr. & Mrs. Craig P. MacKenzie
Kay & John Marshall Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Angela & Jimmy Mitchell Mrs. Gene Morse** Barbara & Sanford Orkin Keith & Dana 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 Dr. Elizabeth Glenn Stow Kay & Alex Summers Poppy Tanner Elvira Tate Mr. & Mrs. William M. Tipping Ms. Sheila L. Tschinkel Drs. Jonne & Paul Walter Alan & Marcia Watt Drs. Julius & Nanette Wenger William & Rebecca 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 John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo 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
$1,750+ Anonymous 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 Deloitte Peter & Vivian de Kok Elizabeth & John Donnelly Xavier Duralde & Mary Barrett Cree & Frazer Durrett Mary Frances Early Ree & Ralph Edwards Heike & Dieter Elsner
*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 ambitious 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 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. Nola Frink 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 James W. & Mary Ellen* Kitchell
38 Atlanta Symphony Orchestra/aso.org
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 Dan R. Payne 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 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 Musarra, Chair, Decorators’ Show House & Gardens Natalie Miller & 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
Terry Shivers
Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Elba McCue Secretary
Stanley Romanstein, Atlanta Symphony Orchestra President, and Amy Musarra, Decorators’ Show House and Gardens Chair. Celebrating its 42nd Anniversary, the Atlanta Symphony Orchestra Announces its Decorators’ Show House & Gardens at the magnificent Phillip Trammel Shutze’s Knollwood Estate from April 21 through May 13, 2012. Organized by the Atlanta Symphony Associates, proceeds will support the Atlanta Symphony Orchestra’s (ASO) Education and Community Engagement programs, including the Atlanta Symphony Youth Orchestra and the Talent Development Program. For more information visit decoratorsshowhouse.org .
40 Atlanta Symphony Orchestra/aso.org
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Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions — the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences — these outstanding Annual Corporate Campaign donors helped us raise more than $8.9 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
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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
role, and it’s been wonderful watching her career skyrocket.” This production will also feature the unveiling of a brand-new staging experience, Symphony V.0 — a collaboration between the Alpharetta-based company Clark, and James Alexander, the director who has designed and directed five Theater of a Concert productions, including Doctor Atomic, Madama Butterfly and La bohème. Alexander is already renowned for his ingenious use of projections, but he says that Symphony V.0 transforms what has been a somewhat one-dimensional
Soprano Shu-Ying Li sings the role of Butterfly, with Robert Spano conducting the Atlanta Symphony Orchestra and Chamber Chorus in a Theater of a Concert performance of Puccini’s Madama Butterfly; in June 2011.
44 Atlanta Symphony Orchestra/aso.org
Jeff Roffman
Atlanta audiences will be treated to a production featuring the soloists for whom Adams wrote the work, and who performed in its world premiere in Vienna in 2006: bass Eric Owens, as the Narrator; tenor Russell Thomas as the Prince; and Jessica Rivera as Kumudha. In an interview last year, Adams talked about the artists: “I knew Eric very well because I wrote the role of General Groves for him in Doctor Atomic. Russell Thomas came to an audition, and I was blown away. I’m always very grateful when I get him to sing, because now everybody wants him. Jessica was barely known when she took on this
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As excited as he is about the technology, Alexander’s priority is always the music and the musicians. “In these concert operas, I immerse the singers in the experience. They are used to pit orchestras; suddenly they’re standing with the musicians. They all become colleagues as never before.” He also promises that the Atlanta Symphony Chorus — whose text Adams rendered in Spanish to make the work more universal — will be important participants in the action, serving, Alexander says, “as a mask or screen on which to project images.” The Orchestra, as in previous Concert of a Theater productions, will be fully involved. “Why would I put this Rolls Royce of an orchestra in a pit? I prefer to make them the focus of attention.”
Jeff Roffman
The musicians of the Orchestra relish these opportunities, according to Principal Trombone Colin Williams, a 10-year Atlanta veteran, who has performed in all
Soprano Shu-Ying Li with James Alexander. Puccini’s Madama Butterfly; in June 2011.
Robert Spano and John Adams for his Doctor Atomic; in November 2008.
Jeff Roffman
technology into a multidimensional “immersive experience.” While Alexander is already at work on several Symphony V.0 productions in other cities, he wanted “Atlanta to have it first because they introduced me to the Clark guys.”
the Theater of a Concert productions. “For some music, like a Brahms symphony, it’s great for the Orchestra to be the focus of attention, but there’s other music that really benefits from the larger context. I enjoy being part of something that’s memorable and cool; I like being part of a process that engages the audience.” Alexander, who directs productions all over the world, has special praise for Atlanta audiences: “In big anonymous cities, when one steps outside, the audience ignores you. Here they say, ‘I need to tell you something.’ They ask interesting questions; they tell you what they saw. I always feel very welcome.” For Robert Spano, who has conducted 11 of Adams’ works with the Atlanta Symphony alone, A Flowering Tree represents another chance to involve himself in the work of a composer for whom he has a tremendous affinity: “It’s great to continue to explore Adams’s music. He’s one of the composers we have developed an ongoing relationship with. In many ways, we’re the ultimate Adams orchestra now.” Madeline Rogers, a freelance writer and editor, is the former Director of Publications at the New York Philharmonic.
Our Professional Ensemble Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner
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community corner Dantes…
Meet Dantes Rameau, Co-Founder and Executive Director of the Atlanta Music Project. Through the Atlanta Music Project program, he has brought music education to at-risk children throughout Atlanta. What is the Atlanta Music Project (AMP)?
The Atlanta Music Project provides intense music education for at-risk children right in their own neighborhood. Our after-school youth orchestra and choir programs take place five days a week, and we provide every student with an instrument, classes, and world-class teaching artists and performance opportunities. By virtue of their ZIP code, most of the kids we serve face a mountain of challenges that impede their chances of success in life. The Atlanta Music Project seeks to arm our students with skills that will help them overcome these challenges. Since we launched two years ago, we have observed that when kids join the Atlanta Music Project, they immediately begin to develop a stronger sense of self and a feeling of belonging to a cause. Our music ensembles empower our students to make a difference for themselves and their neighborhood. Naturally, this leads to an increase in our students’ motivation, discipline, and academic engagement.
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What was the inspiration for the Atlanta Music Project?
The Atlanta Music Project was inspired by El Sistema, Venezuela’s renowned system of youth and children’s orchestras. Founded in 1975, El Sistema serves more than 300,000 youths each year — the majority of whom come from impoverished backgrounds — and is widely recognized as one of the best music education programs in the world. The program’s most famous alumnus is Gustavo Dudamel, who was named music director of the Los Angeles Philharmonic at the age of 26. The Atlanta Symphony Orchestra boasts another famous El Sistema alumnus in bass clarinetist Alcides Rodriguez! In addition, both myself and Aisha Bowden, the Choir Director for the Atlanta Music Project, have completed residencies in Venezuela’s El Sistema through the New England Conservatory of Music’s Sistema Fellows Program. You require a real commitment from the students, including two hours of practice per day…
Yes – It’s partly because we want our students to be safe and off of the streets after school. But then again, our students could be doing any number of after-school programs. So why spend two hours doing music?
Carlton D. Mackey
A Discussion with
Do you think there are other life skills students gain from the Atlanta Music Project, and music education in general, that transcend the musical world?
Being in a music ensemble is very similar to real life. As adults, we go to work every day to make a living and hopefully contribute our little piece to making the world a better place. For Atlanta Music Project students, they get up every day and practice their instrument individually in order to prepare their part to bring to the ensemble rehearsal. In rehearsal they develop the ability to work with their colleagues and teachers to put together the best performance possible. Through this process of music preparation,
50 Atlanta Symphony Orchestra/aso.org
our students are living out what it means to be committed, responsible, and productive citizens. I can’t wait to see where our students are seven or eight years from now. I wouldn’t bet against their future success! What led you to partner with the Atlanta Symphony Orchestra?
In order for our program to succeed, our students need to be aware of and interact with the best musicians in the world, who can be found in the Atlanta Symphony Orchestra. It’s not just about our students being around a world-class orchestra, it’s about surrounding them with excellence. When young people are surrounded by excellence, they realize that they too have the tools and the capability to do big things, whether that is in music or in other fields. And being such a prominent institution, when the Orchestra puts a stamp on music education, people listen. That makes our jobs at the Atlanta Music Project much easier. And as they get older, hopefully our students will become Atlanta Symphony enthusiasts! Edited and condensed by Alex LaPierre.
Jeff Roffman
Quite simply, the intensity is what enables our students to experience a sense of accomplishment. Doing something at a high level is fun, but getting to that point requires work. Our rigorous schedule allows us to quickly get our students to a point where music-making is fun. Most importantly, along the way they come to understand the correlation between hard work and success.
calendar This Summer @ May 31/June 1/2 Thu/Fri/Sat: 8pm Magnus Lindberg: Arena Sibelius: Violin concerto Tchaikovsky: Symphony No. 5 Robert Spano, conductor David Coucheron, violin June 7/9
Thu/Sat: 8pm John Adams: A Flowering Tree Robert Spano, conductor James Alexander, staging Jessica Rivera, soprano Russell Thomas, tenor Eric Owens, bass Atlanta Symphony Orchestra Chorus
June 3 Sun: 7:30pm Jackie Evancho with the Atlanta Symphony Orchestra
July 4, 2012 Wed: 8pm David Abell, conductor Debbie Gravitte, vocalist U.S. Army Chorus All-American Celebration July 21, 2012 Sat: 8pm Martin Herman, conductor Classical Mystery Tour All You Need Is Love A Celebration of the Beatles August 12 Sun: 8pm Il Divo with the Atlanta Symphony Orchestra
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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staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Brien Faucett Assistant to the President ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Mala Sharma Assistant to the Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager Artistic Evans Mirageas Vice President for Artistic Planning Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator David Zaksheske Artist Assistant
EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Senior Director of Education & Community Engagement 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 Encore Park Alesia Banks Katie Daniel Director of Customer VIP Sales Manager Service & Season Tickets Jenny Pollock Ted Caldwell Operations Manager Group & Corporate Sales Assistant Rebecca Simmons Box Office Manager Meko Hector Marketing Production Deborah Honan Manager Customer Service Manager & Venue Rental Coordinator Jennifer Jefferson Director of e-Business & Interactive Media DEVELOPMENT Melanie Kite FINANCE & Sandy Smith Subscription ADMINISTRATION Vice President Office Manager for Development Donald F. Fox Shelby Moody Executive Vice President Rebecca Abernathy Group & Corporate for Business Operations Development Services Sales Manager & Chief Financial Officer Coordinator Kimberly Nogi Shannon McCown Zachary Brown Publicist Assistant to the Director of Executive Vice President Robert Phipps Volunteer Services for Business Operations Publications Director Corey Cowart & Chief Financial Officer Melissa A. E. Sanders Director of Susan Ambo Senior Director, Corporate Relations Vice President of Finance Communications Janina Edwards Kim Hielsberg Christine Saunders Grants Consultant Director of Financial Group & Corporate Tegan Ketchie Planning & Analysis Sales Associate Development Coordinator April Satterfield Karl Schnittke Ashley Krausen Senior Accountant Publications Editor Special Events Coordinator Peter C. Dickson Robin Smith Sarah Levin Staff Accountant Subscription Volunteer Project Manager & Education Sales Michael Richardson Melissa Muntz Venues Analyst Bill Tarulli Development Coordinator Marketing Manager Stephen Jones Meredith Schnepp Symphony Store Manager Rachel Trignano Prospect Research Officer Manager of ASO Presents Tammie Taylor Broad Based Giving Assistant to the Clay Schell Russell Wheeler Vice President, Programming VP for Development Director of Group Trevor Ralph Sarah Zabinski & Corporate Sales General Manager and Senior Individual Giving Manager Christina Wood Director of Operations Director of Marketing Holly Clausen Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist
54 Atlanta Symphony Orchestra/aso.org
Chastain Park Amphitheater Tanner Smith Program Director
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
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
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1 Road Trip! The Orchestra performed for the sixth year in a row at the Savannah Music Festival. The concert featured pianist Yefim Bronfman and the Orchestra was led by Miguel Harth-Bedoya.
2 A Class for Brass The esteemed Chicago Symphony Orchestra Brass Quintet – including former Atlanta Symphony Principal Trumpet and Youth Orchestra member Chris Martin – led a master class with local student musicians.
3 Noteworthy Kids Springdale Park Elementary students participated in the first annual Composer Project Festival. Orchestra members Denise Smith, Paul Murphy and Olga Shpitko (center in the group photo below) were the presiding judges.
Jeff Roffman
2
Jeff Roffman
3
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Atlanta’s Performing Arts Publication
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