Encore Atlanta November 2008 ASO

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A TLANTA ’ S P ERFORMING A RTS C OMMUNITY

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CONTENTS NOVEMBER 2008

44

46

FEATURES

THE MUSIC

14 Percussion and PR

23 The concert’s program and notes

Dame Evelyn Glennie makes art of multitasking.

44 ‘Leave It Better Than You Found It’ An appreciation of Mrs. Azira G. Hill and the Talent Development Program by a former TDP studentmusician.

46 Embrace the Heart of the Holidays at Symphony Hall 4 ENCORE ATLANTA

ASO DEPARTMENTS 8 10 12 16 33 42 52 54 58

ASO Leadership Music Lovers Robert Spano Musicians Contributors Administration General Info Ticket Info Gallery ASO

COVER: COURTESY OF LYRIC OPERA OF CHICAGO/ROBERT KUSEL

14

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EDITORIAL DIRECTOR

Kristi Casey Sanders kristi@encoreatlanta.com ART DIRECTOR

Jenny Schisler jenny@encoreatlanta.com PRODUCTION MANAGER

Whitney StubbleďŹ eld whitney@encoreatlanta.com EDITORIAL ASSISTANT

Taylor Dahl CONTRIBUTING WRITERS

Koye Berry, Margaret Shakespeare, Stanford Thompson PUBLISHER/SALES Sherry Madigan White 404.459.4128

sherry@encoreatlanta.com SENIOR NATIONAL ACCOUNTS MANAGER

Sandra Ourusoff 212.769.7079 SALES AND MARKETING ASSOCIATE

Claudia Madigan claudia@encoreatlanta.com ATLANTA SYMPHONY ORCHESTRA

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DIRECTOR OF PUBLICATIONS PUBLICATIONS EDITOR

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Atlanta’s Performing Arts Publication 7

OYSTER PERPETUAL, DATEJUST AND PEARLMASTER ARE TRADEMARKS.

ASOLEADERSHIP ATLANTA SYMPHONY ORCHESTRA LEAGUE 2008-2009 BOARD OF DIRECTORS OFFICERS Ben F. Johnson, III Chairman Clayton F. Jackson

Jeff Mango John D. Rogers Treasurer

Chilton Davis Varner Allison Vulgamore*

Kathleen (Suzy) Wasserman ASA President* Joni Winston Secretary

Jim Henry Edward S. Heys, Jr. Tycho Howle Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Michael Lang Patricia Leake Lucy Lee Jeff Mango Darrell J. Mays

JoAnn McClinton Penelope McPhee Giorgio Medici Charles Moseley Galen Oelkers Victoria Palefsky Leslie Z. Petter Patricia Reid Margaret Conant Reiser Martin Richenhagen John D. Rogers Dennis Sadlowski William Schultz Tom Sherwood John Sibley

Hamilton Smith Thurmond Smithgall Gail R. Starr Mary Rose Taylor Liz Troy Ray Uttenhove Chilton Davis Varner Allison Vulgamore* Rick Walker Mark Wasserman Kathleen (Suzy) Wasserman* John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Camille Yow

George Lanier Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey John W. McIntyre Bertil D. Nordin Dell P. Rearden Joyce Schwob

Mrs. Charles A. Smithgall, Jr. W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

DIRECTORS Robert M. Balentine Joseph R. Bankoff * Jan Bennett Jason A. Bernstein Paul Blackney C. Merrell Calhoun Donald P. Carson Philip Cave Ann W. Cramer Christopher Crommett Cari K. Dawson Carla Fackler Gary P. Fayard Dr. Robert Franklin Willem-Jan O. Hattink

BOARD OF COUNSELORS Howell E. Adams, Jr. Mrs. John Aderhold Milton Brannon Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell Jere Drummond

Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley

LIFE DIRECTORS Mrs. Drew Fuller Mary D. Gellerstedt

Azira Hill Dr. James M. Hund

Arthur L. Montgomery Mrs. M.G. Woodward

* ex ofďŹ cio

8 ENCORE ATLANTA

Northern Trust banks are members FDIC. ©2008 Northern Trust Corporation.

THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE Imagine the world without music and dance, or literature and art. Life is incomplete without ways to express ourselves, and to discover who we are and what we can be. That’s why Northern Trust proudly supports the arts in its many diverse forms.

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MUSIC LOVERS hroughout history original thinking and innovative approaches have ignited revolutionary works in music, art and literature. That originality and imagination is alive at the Atlanta Symphony Orchestra and is the guiding force of Music Director Robert Spano in a Creative Partnership that continues to forge a progressive course in the American orchestra world.

T

One aspect of that course has been an illumination of the concert experience. Those of you who have experienced the Orchestra’s unique productions of the St. John Passion, La bohéme, or Ainadamar, to name just a few, will remember the effective use of dramatic lighting, visual elements and staging that created stage environments specific to these musical works. Under Robert’s leadership we have embraced “theatre of a concert” as a way to visually connect or “house” the concert performance. And it has been heartening to know from your many comments that you, our audience, have been intrigued and engaged by our work in this genre.

We will employ this ASO innovation as we semi-stage the renowned American composer John Adams’ opera, Doctor Atomic (November 21 and 23). Featuring the cast from the Metropolitan Opera’s New York premiere last month and Robert’s 2008 Chicago Lyric performances, the opera’s intensity will be brought to life through the use of dramatic staging and lighting.

Haydn’s “The Creation” in the spring and two weekends at the very end of the season focusing on The Inca Trail will also feature “theatre of a concert” presentations. Our work in this area is made possible by a generous grant from the Mellon Foundation.

On another celebratory note, this season the ASO’s nationally recognized Talent Development Program reaches its 15th year of nurturing the musicianship of talented African-American and Latino students. This remarkable achievement could not have happened without the vision and dedication of Mrs. Azira Hill. I am proud to say that we will honor Mrs. Hill at this month’s Symphony Ball for her herculean efforts in founding and continuously guiding the growth of the TDP. A related article appears on page 44.

As the Atlanta Symphony Orchestra continues to draw its blueprint for the 21st-century orchestra, we are grateful to our audience, whose steadfast support allows us to soar ever higher each season.

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

10 ENCORE ATLANTA

STREETS DRESSED IN HOLIDAY STYLE

atlanticstation.com ❄ The Lighting of Atlantic Station – November 22, enjoy music, children’s holiday crafts and the Christmas tree lighting show 12:00-8:00 pm ❄ It’s “Snowin in the Station”– Experience magical snowfalls Sunday through Thursday at 7:00 P.M. Fridays & Saturdays, hourly 6:00-9:00 pm ❄ Horse & Carriage Rides – Enjoy the glow of 250,000 lights every Saturday night. ❄ Steel Mill Express – Miniature train rides every Saturday & Sunday. ❄ Music & Merriment – Concert series every Friday & Saturday.

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ROBERT SPANO MUSIC DIRECTOR

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

A

Mr. Spano has conducted the great orchestras of North America, including those in Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia and San Francisco. Overseas he has led the Royal Concertgebouw Orchestra, Orchestra Filarmonica della Scala, Czech Philharmonic, Frankfurt Radio Sinfonie Orchestra, BBC Symphony Orchestra, BBC Scottish, City of Birmingham Symphony Orchestra, New Japan Philharmonic and Tonhalle Orchester.

He has conducted the Chicago, Houston, Santa Fe, Royal Opera at Covent Garden and Welsh National Operas. In August 2005 he conducted Wagner’s Der Ring des Nibelungen at Seattle Opera, and returns for the cycle in 2009. With a discography of nine critically acclaimed recordings for Telarc and Deutsche Grammophon made over six years, Robert Spano has garnered six Grammy Awards.

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

12 ENCORE ATLANTA

Big

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On The Arts.

They dance. They sculpt. They paint. They act. They hit the high notes. Students in Pre-K through grade 12 at Woodward Academy experience big opportunities in the arts, as you would expect from a school that has grown over its 108-year history to become the largest independent school in the Continental United States.

For more information about how your family may benefit from the opportunities at Woodward, please telephone us at 404-765-4001 or visit us at www.woodward.edu 1662 Rugby Avenue, College Park, GA 30337 Woodward Academy administers a non-discriminatory policy of admissions.

Excellence â&#x20AC;˘ Character â&#x20AC;˘ Opportunity

Percussion and PR

BY MARGARET SHAKESPEARE

Dame Evelyn Glennie makes art of multitasking.

She designs jewelry. She delivers motivational speeches. She raises money for music education in schools. And, oh yes, she has developed a trail-blazing international career as a solo percussionist.

“Why percussion?” I asked recently, in a trans-Atlantic telephone chat about snare drums, silver-drumstick pendants and more. “Actually at first I didn’t know it would be important,” she says. “It was the normal curiosity of a 12-year-old, after I saw a live band performance. I thought I needed another instrument to go along with piano.” She had started those lessons a few years earlier and also had given the clarinet a go. “I discovered that the chemistry [with percussion] was good. And there were plenty of opportunities to play in the community.”

Continues on page 18

14 ENCORE ATLANTA

Evelyn Glennie, who appears in concert with Donald Runnicles, Nov. 13, 14 and 16, drums up support for her many passions.

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

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

BASS Ralph Jones

The Charles McKenzie Taylor Chair*

The Edus H. and Harriet H. Warren Chair*

Principal The Marcia and John Donnell Chair *

Justin Bruns

Paul Murphy

Gloria Jones

Assistant Concertmaster The Mary and Cherry Emerson Chair

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Jun-Ching Lin

Amy Leventhal

Carolyn Toll Hancock

Wesley Collins Robert Jones Marian Kent Catherine Lynn Lachlan McBane Heidi Nitchie Ardath Weck

Assistant Concertmaster The AGL Resources Chair

Martha Reaves Head John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich SECOND VIOLIN David Arenz

Assistant Principal

16 Encore Atlanta

Paul Brittan

The Georgia Power Foundation Chair

Carl David Hall PICCOLO Carl David Hall OBOE Elizabeth Koch

Principal The George M. and Corrie Hoyt Brown Chair *

ENGLISH HORN Patrick McFarland

Associate Principal The Livingston Foundation Chair

Assistant Principal Emeritus

Eleanor Arenz Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Raymond Leung Ruth Ann Little Thomas O’Donnell Ronda Respess Sanford Salzinger Frank Walton

Joseph Conyers Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson

Associate Principal

Daniel Laufer

Principal The Miriam and John Conant Chair*

Sou-Chun Su

Assistant Principal

Assistant Principal Emeritus

Robert Cronin

Yvonne Powers Peterson Associate Principal Deborah Workman Patrick McFarland

Karen Freer

Jay Christy

Jane Little

Principal The Jill Hertz Chair *

CELLO Christopher Rex

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

Associate Principal

FLUTE Christina Smith

Assistant Principal

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

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

Norman Mackenzie, Director of Choruses, The Frannie and Bill Graves Chair Mei-Ann Chen, Assistant Conductor, League of American Orchestras Conducting Fellow CLARINET Laura Ardan

Principal The Robert Shaw Chair*

HORN Brice Andrus

Ted Gurch

Principal The Sandra and John Glover Chair

William Rappaport

Associate Principal

Associate Principal

Susan Welty

Alcides Rodriguez

Thomas Witte Richard Deane

E-FLAT CLARINET Ted Gurch

Bruce Kenney

The Lucent Technologies Chair

BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

The UPS Community Service Chair

TRUMPET Thomas Hooten

Principal The Madeline and Howell Adams Chair*

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

Kevin Lyons

Elizabeth Burkhardt

The SunTrust Bank Chair

Associate Principal

Laura Najarian

The Pricewaterhouse ­Coopers Chair

Juan de Gomar CONTRABASSOON Juan de Gomar

TIMPANI Mark Yancich

Principal The Walter H. Bunzl Chair*

William Wilder

Assistant Principal

PERCUSSION Thomas Sherwood Principal The Julie and Arthur Montgomery Chair*

William Wilder Assistant Principal Charles Settle**

HARP Elisabeth Remy Johnson Principal The Delta Air Lines Chair

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair*

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

Steven Sherrill Assistant

John Wildermuth

Associate Principal

Joseph Walthall

Michael Tiscione TROMBONE Colin Williams

Principal The First Union Chair

Stephen Wilson

Associate Principal The Patsy and Jere Drummond Chair

George Curran Bill Thomas BASS TROMBONE George Curran TUBA Michael Moore

Principal The Georgia-Pacific Chair * Chair named in perpetuity • New this season **Leave of absence † Regularly engaged musician Players in string sections are listed alphabetically.

Atlanta’s Performing Arts Publication 17

Continued from page 14 Her music lessons, she emphasizes, were part of a normal comprehensive school curriculum. “Every child had the opportunity to learn an instrument,” she says of growing up in Scotland. “But the education system has changed dramatically. A lot is quite patchy now.

And that is not good news.”

“Technology ­ — all the emphasis on computers and electronics in our lives — is partly to blame,” she continues. “We have so much musical tradition in the British Isles — choirs, brass bands — yet now places like the Royal Academy of Music, where I studied, are filled with foreign students. We need more homegrown talent, so we started a consortium — Julian Lloyd Webber, James Galway and some others ... and so far we have raised over 250 million pounds [British sterling] to be funneled directly into schools. It’s constant PR.” PR is as much a part of her music arsenal as the mallets, sticks, brushes and cymbals she wields.

ASO audiences will hear her Nov. 13, 14, and 16, conducted by fellow Scot Donald Runnicles, in John Corigliano’s Conjurer, which was written for her. The composer admits reacting with “horror” to a percussion concerto commission.

Dame Evelyn, who has commissioned or inspired over 150 works, essentially creating the percussion concerto category, laughs, “Horror is a common reaction. I’m used to massaging that kind of emotion.

I first asked John almost 10 years ago, at the Watergate Hotel, when I was doing some work with the

18 Encore Atlanta

National Symphony Orchestra. He came along and listened to some pieces, but politely said he didn’t know, he’d have to think about it,” she sighs. “But I knew he could. And the journey with John has been a rollercoaster emotionally. It was a close collaboration. On many levels he’s very particular, in others he’s free. You can hear that in the music. Listen to the cadenzas that begin each movement. He wants the audience to immediately connect with the sound world of the percussionist.”

Dame Evelyn frequently talks to audiences about the music. But, motivational speaking in the business world? “With music you are trying to put a message across,” she explains.

“So are corporations. And there are corporate sponsorships of music these days. Why would a corporation want to be identified with music? I started digging deeper into that connection — and one thing led to another. For all companies to work [well, there must be] the art of listening. Turns out a lot of companies are interested in how musicians, who sometimes have never met, make it all come together for the customer or audience. There is no time for egos. It’s all teamwork and cooperation. This applies to media, publishing, banks, all kinds of businesses and organizations, even the National Health.”

And where does the jewelry design fit into her whirlwind life? It’s a new endeavor that simply grew from an interest in collecting pieces while touring. “Keeping a balance of all these things is how I stay fit and not on the edge,” she laughs.

“Altogether it keeps life enjoyable.”

New York writer Margaret Shakespeare frequently covers music and musicians for national publications.

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Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 19

rong.

A Doctor Atomic Primer The ASO’s production of Doctor Atomic, Nov. 21 and 23, is a highlight of the season. The comments below, written by Thomas May and reprinted courtesy of the Metropolitan Opera, provide concertgoers with background and insight into John Adams’ masterpiece.

I

n the summer of 1945, a group of scientists, led by J. Robert Oppenheimer, gathered in the New Mexico desert to test what they had invented in feverish secrecy in Los Alamos: the atomic bomb. The “Trinity” test would mark an epoch-shifting moment in world history. Sixty years later, it would inspire John Adams to compose Doctor Atomic, an opera centered on the extraordinarily cultivated physicist Oppenheimer, who bridges the gap between science and art.

The Los Alamos project presents a “difficult, complicated moral situation,” Adams says, “and of course this is the perfect stuff for operatic treatment.”

July 1945 The war is in its final, terrible phase. Germany has surrendered but Japan will fight to the bitter end, costing possibly a half million casualties. In the New Mexico desert a group of young physicists, hand-picked and led by the brilliant, complex J. Robert Oppenheimer, have labored furiously in a race against Hitler to develop the world’s first atomic bomb. Now, in the hours before the test explosion, they are confronted with the moral crisis of its inevitable use on Japanese citizens.

20 Encore Atlanta

“The moment Oppenheimer’s bomb exploded,” Adams writes in his memoir, Hallelujah Junction, “the relationship between humans and the planet they inhabit changed unalterably. Man’s evolving technological know-how now included the potential to destroy all life on Earth.”

Baritone Gerald Finley—who created the role for San Francisco, Amsterdam, and Chicago and will perform in the ASO’s premiere —notes that the real tragedy of Oppenheimer is that he is “challenged by his supreme gifts as a human being, both intellectual and spiritual,” so that “one or the other of those sides rises up and tries to justify or wrestle with the other.”

Adams’ boldest invention is the finale. “Trying to pull out all the orchestral stops to approximate an atomic explosion,” the composer says, “would only produce a laughable effect.” Instead, he embeds layers of a computer-processed soundscape, seething with alien noises, beneath the complex but gutpunching momentum of multiple, simultaneous countdowns at varying speeds across the orchestra. As Oppenheimer sings (quoting Baudelaire), “Time has disappeared; it is eternity that reigns now!”

Video, photos & Robert Spano’s comments @ atlantasymphony.org John Adams

1994

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2002

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A Lifetime of Care

Laurie had her youngest daughter, Karleigh, at Northside Hospital in 1994 and returned when doctors discovered acute myeloid leukemia in 2002. After exploring treatment options across the country, Laurie turned to her hometown hospital for the latest chemotherapy and bone marrow transplant technology. You may know Northside as the place for babies, but the hospital also is No. 1 in Georgia for diagnosing and treating cancer.

Atlanta • Forsyth • Cherokee

Read more about Laurie’s story at Northside.com

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

Delta classical Series Concerts Thursday and Friday, November 6 and 7 at 8 p.m.

Robert Spano, Conductor joshua bell, Violinist

Aaron Copland (1900-1990)

Appalachian Spring, Suite from the Ballet (1945)

Samuel Barber (1910-1981) Concerto for Violin and Orchestra, Opus 14 (1940) I. Allegro II. Andante III. Presto in moto perpetuo Joshua Bell, Violinist INTERMISSION

Béla Bartók (1881-1945)

Concerto for Orchestra (1943) I. Introduzione: Andante non troppo; Allegro vivace II. Giuoco delle coppie: Allegro scherzando III. Elegia: Andante, non troppo IV. Intermezzo interrotto: Allegretto V. Finale: Pesante; Presto

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

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

Atlanta’s Performing Arts Publication 23

Atlanta Symphony Orchestra sponsors

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

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

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

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

Together, we believe we can take our worldwide communities to new heights!

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

Joshua Bell’s appearance in Symphony Hall this weekend is generously sponsored by an anonymous donor.

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

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

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

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

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ASOprogram Notes on the Program

By Ken Meltzer Appalachian Spring, Suite from the Ballet (1945) Aaron Copland was born in Brooklyn, New York, on November 14, 1900, and died in Tarrytown, New York, on December 2, 1990. The first performance of the ballet, Appalachian Spring, took place at the Library of Congress in Washington, D.C., on October 30, 1944. The premiere of Appalachian Spring, Suite from the Ballet, occurred in Carnegie Hall in New York City on October 4, 1945, with Artur Rodzinski conducting the New York Philharmonic. The Suite from Appalachian Spring is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, xylophone, snare drum, bass drum, cymbals, tabor, wood block, claves, glockenspiel, triangle, harp, piano and strings. Approximate performance time is twenty-three minutes.

First ASO Classical Subscription Performance: November 29, 1955, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: November 16, 17 and 19, 2000, Michael Christie, Conductor.

ASO Recording: Louis Lane, Conductor (Telarc CD-80078)

T

he first collaboration of dancer/impresario Martha Graham (1894-1991) and composer Aaron Copland took place in 1931. Graham selected Copland’s Piano Variations (1930) as music to accompany a dance piece entitled Dithyramb. Copland was mightily impressed that anyone would find possibilities for dance “in so rhythmically complex and esthetically abstruse a composition.” But then, Copland wryly added, “Miss Graham’s Dithyramb was considered by public critics just as complex and abstruse as my music.”

Copland and Graham, who enjoyed a profound mutual respect, looked forward to other joint projects. However, the next opportunity did not occur until 1942, when Elizabeth Sprague Coolidge first saw Martha Graham dance. She invited Graham to create and stage three new ballets for the 1943 season of the Festival of the Coolidge Foundation, held at the Library of Congress in Washington, DC. In turn, Graham commissioned music for the event by three contemporary composers, Paul Hindemith, Darius Milhaud and Aaron Copland.

Graham herself chose the title for Copland’s score—Appalachian Spring—taken from a poem

by Hart Crane. Copland began work on the score in June of 1943, while in Hollywood. By this stage of his career, Copland had made the decision to abandon the “rhythmically complex and esthetically abstruse” approach of works like the Piano Variations for a more “popular” and “easy” manner intended to attract “a larger and more varied audience for contemporary music.” This “populist” artistic creed, coupled with a desire to produce music “that would immediately be recognized as American in character,” resulted in such classics as Billy the Kid (1938), the Lincoln Portrait (1942), Rodeo (1942) and of course, Appalachian Spring.

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Because of various delays, the premiere of Appalachian Spring (as well as the Hindemith and Milhaud ballets) did not occur until October 30, 1944 (Copland finished his score in June, 1944, while at Cambridge, Massachusetts). Graham and Erick Hawkins danced the principal roles. Copland scored the original ballet for a chamber group of thirteen instruments. Copland later arranged an Orchestral Suite for a larger ensemble, although one still remarkable for its lean and transparent sonority. The premiere of Appalachian Spring, Suite from the Ballet, took place in Carnegie Hall on October 4, 1945, with Artur Rodzinski conducting the New York Philharmonic. That year, Appalachian Spring won both the Pulitzer Prize for music and the Music Critics Circle of New York award for outstanding theatrical work of the 1944-5 season.

The Story of Appalachian Spring The score of Appalachian Spring contains the following plot synopsis, fashioned by Edwin Denby and approved by Copland. The story concerns: a pioneer celebration around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.

Copland on Appalachian Spring The Suite is divided into eight sections that are performed without pause. The composer offered the following program notes for the Suite’s 1945 premiere: I. Very Slowly. Introduction of the characters, one by one, in a suffused light.

2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action.

A sentiment both exalted and religious gives the keynote to this scene.

3. Moderate. Duo for the Bride and her Intended—scene of tenderness and passion.

4. Quite fast. The revivalist and his flock. Folksy feelings—suggestions of square dances and country fiddlers.

5. Still faster. Solo dance of the Bride—presentiment of motherhood. Extremes of joy and fear and wonder.

6. Very slowly (as at first). Transition scenes reminiscent of the introduction.

7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer-husband.

There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple. The melody I borrowed and used almost literally is called “Simple Gifts.”

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ASOprogram ‘Tis the gift to be simple ‘Tis the gift to be free, ‘Tis the gift to come down Where we ought to be.

And when we find ourselves In the place just right ‘Twill be in the valley Of love and delight.

When true simplicity is gain’d To bow and to bend we shan’t be asham’d To turn, turn will be our delight, ‘Till by turning, turning we come round right.

8. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by the flute and a solo violin. The close is reminiscent of the opening music.

Concerto for Violin and Orchestra, Opus 14 (1940) Samuel Barber was born in West Chester, Pennsylvania, on March 9, 1910, and died in New York on January 23, 1981. The first performance of the Violin Concerto took place at the Academy of Music in Philadelphia, Pennsylvania, on February 7, 1941, with Albert Spalding as violin soloist and Eugene Ormandy conducted the Philadelphia Orchestra. In addition to the solo violin, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, snare drum, piano and strings.

Approximate performance time is twenty-five minutes.

First ASO Classical Subscription Performance: February 8, 1968, Jaime Laredo, Violin, Robert Shaw, Conductor.

Most Recent ASO Classical Subscription Performances: September 19, 20 and 21, 2002, Midori, Violin, Robert Spano, Conductor.

ASO Recording: Robert McDuffie, Violin, Yoel Levi, Conductor (Telarc CD-80441)

T

he Concerto for Violin and Orchestra was the product of the first major commission for American composer Samuel Barber. The commission was from Samuel Fels, a wealthy American businessman who served on the board of trustees of Barber’s alma mater, the Curtis Institute of Music. Fels intended the Concerto to serve as a vehicle for his protégé, the young Odessa-born violinist Iso Briselli.

Fels offered the commission in the spring of 1939. That summer, while staying in Sils-Maria, Switzerland, Barber commenced work on the Concerto. By the conclusion of the summer, Barber was able to forward the Concerto’s first two movements to Briselli for the violinist’s Atlanta’s Performing Arts Publication 27

review and comments. It appears that Briselli was dissatisfied with what he viewed as an emphasis on lyricism at the expense of opportunity for virtuoso display. Barber promised that the finale would supply that latter element, and in abundance.

In August of 1939, Barber traveled to Paris, where he intended to finish the Concerto by autumn. However, the imminent Nazi invasion of Poland forced Barber to change his plans.

Barber returned to the United States, where he completed the Concerto the following year.

Problems, however, arose between Barber and Iso Briselli. The version most often told is that when Briselli received the finale, he now complained to Barber that it was too difficult. In order to save his commission, Barber enlisted the services of another violinist to demonstrate the technical feasibility of the Concerto’s final movement.

In later years, Briselli offered a quite different explanation to musicologist and author Barbara Heyman. Dr. Heyman included Briselli’s version in her biography: Samuel Barber: The Composer and His Music (Oxford University Press, New York, 1992): (Briselli) professes that although he believed the first two movements of the concerto were beautiful and eagerly awaited the finale, he was disappointed with the third movement as being “too lightweight” compared to the rest of the concerto. He suggested that the middle section be expanded to develop the movement into a sonata-rondo form, but Barber would not consider it.

Whatever the nature of the disagreement, Iso Briselli did not play the premiere of the Barber Violin Concerto. That honor went to the renowned American violinist, Albert Spalding. On February 7, 1941, Spalding, accompanied by Eugene Ormandy and the Philadelphia Orchestra, gave the first performance at the Academy of Music.

Barber was dissatisfied with what he viewed as “an unsatisfactory climax in the (second movement) and some muddy orchestration in the finale.” In 1948, Barber penned revisions to the Concerto that the composer felt “much improved the work. The Concerto’s final version was published in 1949.

Musical Analysis I. Allegro—The Concerto opens with the soloist’s immediate presentation of the lengthy and flowing principal theme. The jaunty second theme, introduced by the solo clarinet, has a decidedly Scottish flavor. A vivacious sequence for the soloist concludes the exposition portion of the opening movement. The development section begins in agitated fashion, but soon returns to the generally lyrical character of the Allegro. The tension mounts once again, leading to the orchestra’s fortissimo launch of the recapitulation. After a brief cadenza for the soloist, the opening movement concludes with hushed variants of the “Scottish” and opening themes.

II. Andante—The slow movement opens with a passage for horns and muted strings. The oboe sings the Andante’s espressivo principal melody, which is soon incorporated by various instruments of the orchestra. The soloist’s entrance leads to a more agitated central sequence.

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ASOprogram Following an accompanied cadenza, the soloist begins the ardent reprise of the opening section. Another brief cadenza for the soloist precedes the melancholy closing bars.

III. Presto in moto perpetuo—The timpani introduce the scurrying eighth-note triplet motif that is played by the soloist throughout virtually the entire finale. In the closing measures of this tour-de-force, the soloist converts the triplets to a dizzying series of sixteenth notes. Two ascending flourishes provide the Concerto’s dramatic conclusion.

Concerto for Orchestra (1943) Béla Bartók was born in Sînnicolau Mare, Hungary, on March 25, 1881, and died in New York on September 26, 1945. The first performance of the Concerto for Orchestra took place at Symphony Hall in Boston, Massachusetts, on December 1, 1944, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The Concerto for Orchestra is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two harps, bass drum, cymbals, side drum, tam tam, triangle and strings. Approximate performance time is thirty-six minutes.

First ASO Classical Subscription Performance: January 17, 1967, Robert Mann, Conductor.

Most Recent ASO Classical Subscription Performances: April 26, 27 and 28, 2001, Alan Gilbert, Conductor.

“I have lost all my faith”

B

éla Bartók composed his Concerto for Orchestra during a period of overwhelming adversity and despair. In October of 1940, Bartók and his wife left Hungary to escape the Nazis. During the journey to the United States, the composer wrote, “this voyage is...like plunging into the unknown from what is known but unbearable...

God only knows how and for how long I’ll be able to work over there.”

Bartók’s fortunes continued to decline when he settled in New York. Commissions for new musical works were scarce during this turbulent period in world history. Bartók, his health rapidly deteriorating, was often unable to fulfill those few assignments he received. “Our situation grows worse from day to day,” Bartók wrote in 1941 to his friend, the conductor Paul Sacher. Bartók continued: All I can say is that in the whole of my working life, that is to say for the past twenty years, I have never found myself faced with such a terrible situation as that into which I shall be plunged in the near future...I am becoming rather pessimistic; I have lost all my faith in men and nations, everything...

In December of 1942, Bartók sadly related, “My career as a composer is as much as finished; the quasi boycott of my works by the leading orchestras continues; no performances of either old works or new ones.”

Atlanta’s Performing Arts Publication 29

Bartók, Koussevitsky and the Concerto for Orchestra Early in 1943 two longtime friends of Bartók, violinist Joseph Szigeti and conductor Fritz Reiner, approached Serge Koussevitsky. They proposed the idea of commissioning Bartók to write a new orchestral work in memory of Koussevitsky’s wife, Natalie. Koussevitsky, the conductor of the Boston Symphony, surprised Bartók by visiting him in his New York hospital room.

Koussevitsky offered Bartók a commission of $1,000.00. During that initial visit, Koussevitsky gave the composer a check for $500.00, with the remaining amount to be forwarded upon completion of the score.

Koussevitsky’s visit seemed to rejuvenate the gravely ill composer. Bartók worked on his Concerto for Orchestra “practically night and day” during a period from August 15 to October 8, 1943, while staying at a private sanatorium in Lake Saranac, New York. Bartók sensed that his health and fortunes were on the mend, and enthusiastically reported to Szigeti: “Perhaps it is due to this improvement (or it may be the other way round) that I have been able to finish the work that Koussevitsky commissioned.”

The resurrection of a man who had “lost all (his) faith in men, nations, everything,” is reflected in Bartók’s own description of the Concerto for Orchestra: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one.”

Koussevitsky and the Boston Symphony Orchestra presented the triumphant world premiere of Bartók’s Concerto for Orchestra at Symphony Hall on December 1, 1944. Bartók reported: “The performance was excellent. Koussevitsky is very enthusiastic about the piece, and says it is ‘the best orchestral piece of the last 25 years.’”

The New York premiere at Carnegie Hall on January 10, 1945 inspired equally rapturous acclaim. As Olin Downes reported the following day in the New York Times: “Repeatedly, Dr. Koussevitsky led Mr. Bartók from the wings, and finally left him alone on stage with the applauding audience.”

Illness finally overcame Bartók’s great spirit, and the composer died in New York on September 26, 1945, less than a year after the Concerto for Orchestra’s stunning premiere. The popularity of the Concerto for Orchestra, one of Bartók’s most optimistic and brilliant works, continues unabated.

Musical Analysis Bartók offered the following general description of his Concerto for Orchestra for the 1944 premiere: The title of this symphony-like orchestral work is explained by its tendency to treat the single instruments or instrument groups in a “concertant” or soloistic manner.

The “virtuoso” treatment appears, for instance, in the fugato section of the first movement (brass instruments), or in the “perpetuum mobile”-like passage of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments consecutively appear with brilliant passages.

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ASOprogram I. Introduzione: Andante non troppo; Allegro vivace—The opening movement begins with an extended, mysterious introduction, featuring the dark hues of the cellos and double-basses contrasting with shimmering violins and flutes. The intensity of the introduction grows and suddenly launches into the principal Allegro vivace and the chromatic first theme played by the violins. The trombone introduces an angular ascending and descending motif, shortly followed by a lilting theme, played first by the oboe and then by the clarinets, in octaves. Bartók offers a brilliant manipulation of the principal themes, often in counterpoint to each other.

Finally, the movement closes with a massive statement of the theme originally introduced by the trombone.

II. Giuoco delle coppie: Allegro scherzando—After a brief passage by a side drum without snares, the sprightly “game of the pairs” features a series of passages for groups of two instruments—bassoons, oboes, clarinets, flutes and muted trumpets. The side drum introduces a chorale-like interlude for brass. A reprise of the “game” section offers new and varied instrumental combinations. Finally, the side drum returns to close this playful movement.

III. Elegia: Andante, non troppo—The “Elegy,” a “lugubrious death-song,” features eerie restatements of material found in the slow introduction to the first movement. The composer described the nocturnal setting as “a misty texture of rudimentary motifs.”

IV. Intermezzo interrotto: Allegretto—After a rather shrill introduction by the strings, the oboe plays a jaunty refrain, the first of two principal themes in this Intermezzo. The violas present the beautiful, cantabile second theme. The “interruption” is in the form of a parody of a theme from the first movement of Dimitri Shostakovich’s Seventh (“Leningrad”) Symphony (1941).

Bartók heard a radio broadcast of the Shostakovich Seventh while working on the Concerto for Orchestra. Bartók developed an immediate disdain for the central first-movement theme.

In Bartók’s Concerto, the solo clarinet introduces the Shostakovich theme, quickly and mercilessly attacked by the full orchestra. Subsequent attempts to revive the Shostakovich theme lead to its annihilation and finally, a return to the Intermezzo.

IV. Finale: Pesante; Presto—The breathtaking Finale opens with a horn call that heralds a perpetuum mobile figure played by the violins, soon joined by the entire orchestra. The bassoons, clarinets and oboes offer a brief contrapuntal treatment of the opening horn call. A short, tranquillo interlude leads to a return to the flurry of activity, highlighted by brilliant trumpet fanfares that form the basis for the ingenious succeeding fugal development. The perpetuum mobile theme returns, soon intertwined with the other principal motifs, as the Concerto for Orchestra proceeds headlong to its dazzling conclusion.

Atlanta’s Performing Arts Publication 31

ASOprogram joshua bell, Violinist

J

oshua Bell has captured the public’s attention like no other classical violinist of his time.

His 2008-2009 season kicked off with the September world-wide Sony Classical release of Vivaldi: The Four Seasons, recorded with the Academy of St. Martin in the Fields, his return to his alma mater — Indiana University’s Jacobs School of Music as a senior lecturer, and the tenth anniversary DVD release of The Red Violin film, featuring Joshua on the Oscar-winning soundtrack for Best Original Score. Bell will be featured on the soundtrack of the Paramount Vantage film Defiance, to be released in December.

An exclusive Sony Classical artist known for his breadth and daring choices of repertoire, Bell has created a richly varied catalogue of recordings. Recent releases include The Red Violin Concerto by John Corigliano, The Tchaikovsky Violin Concerto, The Essential Joshua Bell, Voice of the Violin and Romance of the Violin, which Billboard named the 2004 Classical CD of the Year, and Bell the Classical Artist of the Year.

“Mr. Bell doesn’t stand in anyone’s shadow.” said The New York Times.

After a South American tour and summer festival performances at Aspen, Ravinia, Napa, Verbier, Cortona, Sun Valley and Tanglewood, Joshua will perform at the Hollywood Bowl. His 2008-2009 performance season also includes concerts with the New York Philharmonic, The Los Angeles Philharmonic and San Francisco Symphony, as well as the Indianapolis, San Francisco, Pittsburgh, Montreal, Atlanta, Minneapolis, Seattle, Syracuse and Oregon orchestras. Joshua will perform a recital tour in the United States with Jeremy Denk. International dates include a tour with the Verbier UBS Festival Orchestra to Athens, Lisbon, Berlin and Munich performing Vivaldi’s The Four Seasons. Joshua also will perform with the Spanish National Orchestra in Madrid, and in Paris with the Orchestra Philharmonic de Radio France. Joshua closes 2008 with a performance at London’s Wigmore Hall. 2009 highlights include Miami’s New World Symphony, Lincoln Center Great Performers Series, and a European tour with the Minneapolis Orchestra conducted by Osmo Vanska. After a performance at the 92nd Street Y with long-time collaborator Steven Isserlis, he returns to Europe to tour with the Camerata Academia, followed by a European recital tour with Jeremy Denk. Joshua’s schedule continues with performances in Vancouver, Seattle, Los Angeles, Portland, Denver and Phoenix.

Joshua Bell For over two decades, Joshua Bell has enchanted audiences worldwide with his breathtaking playing and tone of rare opulence. He came to national attention at the age of 14 in a highly acclaimed orchestral debut with Riccardo Muti and the Philadelphia Orchestra. A Carnegie Hall debut, the prestigious Avery Fisher Career Grant, and a recording contract further confirmed his presence in the music world. Today, he is equally at home as a soloist, chamber musician, and orchestra leader. His restless curiosity and multifaceted musical interests have taken him in exciting new directions that has earned him the rare title of “classical music superstar.”

Joshua Bell appears by arrangement with IMG Artists, Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York NY 10019. Mr. Bell records exclusively for Sony Classical.

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ASOsupport Ray Uttenhove, Appassionato Chair

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

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

$50,000+

Mrs. Anne Cox Chambers

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by Janet Davenport Cari Katrice Dawson Jere & Patsy Drummond

Atlanta’s Performing Arts Publication 33

ASOsupport Judy Hellriegel, Chair

The Insiderâ&#x20AC;&#x2122;s Experience for Atlanta Symphony Orchestra Members The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the ASO family through their institutional leadership and financial support.

$5,000+ Anonymous (3) Ron & Susan Antinori Mr. & Mrs. William Atkins Jan & Gus Bennett Kelley O. & Neil H. Berman Mr. David Boatwright Ms. Suzanne Dansby Bollman Dr. Robert L. & Lucinda W. Bunnen Ann and Jeff Cramer* Sally & Larry Davis

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Dr. & Mrs. James T. Lowman Barbara & Jim MacGinnitie Gino & Belinda Massafra John & Linda Matthews Dr. & Mrs. William McClatchey Mr. Walter W. Mitchell Dr. & Mrs. Mark Pentecost, Jr.

Elise T. Phillips Mr. & Mrs. Rezin E. Pidgeon, Jr. Dr. & Mrs. Frank S. Pittman III Mr. & Mrs. David M. Ratcliffe Mr. & Mrs. Joel F. Reeves Mr. & Mrs. Robert M. Seaman Morton & Angela Sherzer

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Mr. & Mrs. W. F. Johnston Mark & Sandra Jungers Mr. & Mrs. L. Michael Kelly Mr. & Mrs. Daniel J. King Mr. & Mrs. John King Mr. & Mrs. Richard A. Kruger Mrs. Agnes Landers in memory of Mr. James H. Landers, Jr. Dr. Leslie Leigh Mr. & Mrs. J. David Lifsey Mr. & Mrs. Sean Lynch Mr. & Mrs. Frederick C. Mabry Ruth & Paul Marston Mr. & Mrs. James H. Matthews, Jr. Mr. & Mrs. Keith E. Mitchell Ms. Lilot Moorman & Mr. Jeffrey B. Bradley John E. Moyer Richard S. & Winifred B. Myrick Dr. & Mrs. R. Daniel Nable Mr. & Mrs. Andreas Penninger

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ASOsupport $2,250+ (continued) Ms. Susan B. Perdew Janet M. Pierce Dr. John B. Pugh Realan Foundation, Inc. Dr. & Mrs. W. Harrison Reeves, Sr. S. A. Robinson The Gary W. & Ruth M. Rollins Foundation Mrs. William A. Schwartz

Edward G. Scruggs Mr. Craig H. Seibert & Ms. Molly Minnear Elizabeth S. Sharp Beverly & Milton Shlapak W.H. Shuford Theresa & Louis Sicurezza Helga Hazelrig Siegel Amy & Paul Snyder

Mr. & Mrs. Raymond F. Stainback, Jr. Mr. & Mrs. George B. Taylor, Jr. John & Marilyn Thomas Ms. Caroline M. Thompson Ann & Joan Titelman Burton Trimble Mr. William C. Voss Mr. Thomas P. Walbert

Mr. and Mrs. Thomas W. Walker Dr. & Mrs. James O. Wells, Jr. Rev. Dr. & Mrs. John Westerhoff Mr. John Wise Ms. Mary Lou Wolff Jan & Beattie Wood David and Margaret Wyse Mr. & Mrs. John C. Yates

Ms. Diane Durgin Cree & Frazer Durrett Drs. Norma J. & Bryan P. Edwards Heike & Dieter Elsner Joseph W. & Beth M. Gibson Duncan & Judy Gray Mr. Kenneth R. Hey Dr. & Mrs. Thomas J. High Mr. & Mrs. Daniel H. Hollums Dorothy Jackson Wayne James Lana M. Jordan Mr. Thomas J. Jung Dr. & Mrs. M. J. Jurkiewicz Betty Karp Paul & Rosthema Kastin Mr. & Mrs. John H. Kauffman Dick & Georgia Kimball* Dr. Laurel B. Kohn & Dr. Donald A. Lackey Paul & Winifred Lefstead * Veronique Krafft-Jones & Baxter Jones Mr. & Mrs. David Krischer Mr. & Mrs. Kenneth F. Leddick Dr. Fulton Lewis III & Mr. Neal Rhoney Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Paul E. Manners

Mr. & Mrs. Devereaux McClatchey Martha & Reynolds McClatchey JoAnn Godfrey McClinton Mr. & Mrs. Albert S. McGhee Mr. & Mrs. John F. McMullan Mr. & Mrs. David V. McQueen Angela & Jimmy Mitchell Judy & Gregory Moore Mrs. Gene Morse Mr. & Mrs. Vernon J. Nagel Lebby Neal Mr. & Mrs. J. Vernon O’Neal, Jr. Sanford & Barbara Orkin Dr. & Mrs. Bernard H. Palay Mr. and Mrs.William A. Parker, Jr. Mr. & Mrs. William John Petter Reverend Neal P. Ponder, Jr. Brian & Sherry Ranck Mr. Christopher D. Rex & Dr. Martha Wilkins Mr. & Mrs. John E. Robertson Mr. & Mrs. Richard L. Rodgers Jane & Rein Saral Mrs. Barbara C. Schatten

Dr. Paul Seguin Dr. & Mrs. James Sexson Kay R. Shirley, Ph.D. Andrew J. Singletary Ms. Sheila Skillman Gary E. Snyder Dr. & Mrs. John Stevens Mrs. James R. Stow Kay & Alex Summers Elvira Tate Dr. Beverly D. Tatum & Dr. Travis Tatum Mr. & Mrs. Mark Taylor Dede & Bob Thompson Mr. & Mrs. William M. Tipping Frank Vinicor, M.D. Drs. Mel & Nan Vulgamore Mr. J.H. Walker III Drs. Julius & Nanette Wenger David & Martha West Mark & Ruthelen Williamson Ned J. Winsor Mrs. Barbara Wylly Marguerite & Mike York Chuck & Pat Young Dr. & Mrs. James D. Young The Zaban Foundation, Inc. Grace & Herbert Zwerner

$1,750+ Mr. Albert Anderson Anonymous Barbara & Robert Berger Mrs. Kathy Betty B. Sandford Birdsey III Leon & Linda Borchers Martha S. Brewer Mr. & Mrs. Eric L. Brooker Tony & Norma Jean Bueschen Ian M. Burt Dr. Carol T. Bush & Dr. Aubrey M. Bush Evelyn J. & Richard A. Carroll Dr. & Mrs. Michael J. Chalef Dr. Michele R. Chartier & Lt. Col. Kirk Chartier Dr. & Mrs. Grady S. Clinkscales, Jr. Dr. & Mrs. B. Woodfin Cobbs, Jr. Mr. & Mrs. Barksdale Collins* Mr. & Mrs. Albert H. Conrad, Jr. Mary Carole Cooney & Henry R. Bauer, Jr. Mr. and Mrs. Burton K. Davis Mrs. H. Frances Davis Cecil B. Day Family Elizabeth & John Donnelly Mr. Bruce E. Dunlap

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

Atlanta’s Performing Arts Publication 35

ASOsupport

Corporate sponsors $100,000+

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

Holiday Title Sponsor

SuperPOPS! Title Sponsor

Muhtar Kent President and Chief Operating Officer

Darrell J. Mays Chief Executive Officer

“A King Celebration” Presenting Sponsor Robert L. Ulrich Chairman and Chief Executive Officer

Richard Anderson Chief Executive Officer

1180 Peachtree * Perimeter Summit * Riverwood

Delta Classic Chastain Presenting Sponsor Kendall Alley Atlanta Regional President

Delta Classic Chastain Presenting Sponsor

Delta Classic Chastain Presenting Sponsor

Philip I. Kent Chief Executive Officer

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

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

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

$35,000+ Ogletree, Deakins, Nash, Smoak & Stewart, PC Porsche Cars North America Publix Super Markets Charities

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

$10,000+

$20,000+ HoneyBaked Ham Company Reliance Trust Stanford Financial Services The UPS Foundation

Owned by affiliate of the General Electric Pension Trust – GE Asset Management, exclusive real estate advisor

CNN Evolution Home Theater Nordstrom Peachtree Hills Place

The Boston Consulting Group Verizon Wireless Wilmington Trust WineStyles

foundation and government support $100,000+ The Arthur M. Blank Family Foundation The Halle Foundation William Randolph Hearst Foundations The Andrew W. Mellon Foundation The Zeist Foundation

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

36 Encore Atlanta

$25,000+

$5,000+

American Symphony Atlanta Federation of Orchestra League Musicians Anne and Gordon The Aaron Copland Fund Getty Foundation For Music, Inc. MetLife Music for Life Initiative Fraser-Parker Foundation Robert S. Elster Foundation $10,000+ The Sartain Lanier Family Foundation The Green Foundation Hellen Ingram Plummer Charitable Foundation The Kendeda Fund

National Endowment for the Arts

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

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

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

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

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

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

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

*Deceased

Azira G. Hill Scholarship for Talent Development Sponsors ($5000+) The Goizueta Foundation Lincoln Financial Foundation Signature Donors ($1000+) Sharon, Lindsay & Gordon Fisher Georgia-Pacific Corporation

Mary & Charles Ginden Links Inc., Azalea City Chapter Dr. Joanne R. Nurss Ms. Margaret H. Petersen Elise T. Phillips Mr. Herman J. Russell, Sr. Michael & Lovette Russell Suzanne & Willard Shull Mr. & Mrs. Michael A. Troy

Sustaining Donors ($500+) Big Bethel AME Church Rev. Gregory Eason, Pastor Ada Lee & Pete Correll Ms. Cheryl E. Dixon Mr. William C. Eisenhauer Dr. Walter J. Hill & Mrs. Beatrice P. Hill

Ms. Joy G. Howard Ms. Malinda C. Logan John C. Portman, Jr. Dr. & Mrs. Lee R. Shelton The Society, Inc., Greater Atlanta Chapter Dr. Alfred D. Wyatt

Azira G. Hill Scholarship Endowment Campaign Mr. & Mrs. Henry Aaron Madeline & Howell E. Adams, Jr. AGL Resources Bank of America Edith H. & James E. Bostic, Jr. Family Foundation Margo Brinton & Eldon Park Dr. Sheri Campbell Cynthia & Donald Carson

Marcia & John Donnell Cree & Frazer Durrett Dr. John O. Gaston & Dr. Gloris S. Gaston Mrs. Mary C. Gramling Mr. & Mrs. Ernest Greer John H. & Wilhelmina D. Harland Foundation The Honorable Judge Glenda Hatchett

Mr. & Mrs. Jesse Hill, Jr. Glenda H. Johnson Mr. & Mrs. William Lamar, Jr. Mr. & Mrs. HowattE. Mallinson Monica (Kaufman) Pearson & John E. Pearson, Sr. The Pittulloch Foundation Erich & Suzette Randolph Margaret &Bob Reiser Jay & Arthur Richardson

Stephanie & H. Jerome Russell The Sartain Lanier Family Foundation Simmons Family Foundation Mr. & Mrs. Thomas L. Sullivan Isaiah & Hellena Huntley Tidwell Mr. & Mrs. Mark D. Wasserman Ms. Joni Winston Mr. & Mrs. Robert Yellowless

Northside Drive Baptist Church

Mr. & Mrs. Roby Robinson, Jr. in honor of Mrs. Joyce Schwob

the learning community Claire & Hubie Brown* Nancy Gould

Mr. Kenneth & Dr. Carolyn Meltzer

*In support of the ASYO Scholarships for Atlanta Symphony Youth Orchestra (ASYO)* tuition are made possible through the Elinor Rosenberg Breman Fellowship.

Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 37

ASOsupport The volunteer organization of the Atlanta Symphony Orchestra 2008-2009 Board Kathleen (Suzy) Wasserman President Leslie Petter Advisor Judy Schmidt Parliamentarian Alison Mimms Secretary

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

Liz Troy VP Membership Martha Perrow Decorators’ Show House & Gardens Chair Sylvia Davidson VP Youth Education Yetty Arp & Deede Stephenson ASA Fall Meeting

Belinda Massafra Nominating Chair April Conaway & Annie York Trujillo ASA Night at the Symphony Janis Eckert ASA Spring Luncheon Camille Kesler Newsletter Editor

Ann Levin Directory Editor Nancy Levitt Ambassador’s Desk Camille Yow & Leslie Petter Annual Fund Mary Francis Early Outreach

Events 2008 Decorators’ Show House & Gardens Diamond Atlanta Homes & Lifestyles Magazine atlantahomesmag.com

Ticket Sponsor The Epicurean Springer Mountain Farms Jim Ellis Audi Atlanta

Gold Atlanta Metro Publishing Platinum Benjamin Moore & Co. Jackson Spalding Boxwoods Gardens Opening Night Party & Gifts Comcast Merrel Hattink with Dorsey Alston Realtors

Silver Arborguard Tree Specialists Bombardier Flexjet Effectivewebs.net Publix Super Markets Charities

Siemens Energy & Automation Bronze Buckhead Coach Commercial Audio Systems Designer Previews Flora by John Grady Burns

Kaufmann Tire Parc at Buckhead Phipps Plaza Preprint Reece Tent Rental, LLC Swoozie’s We Rent Atlanta

2007 Atlanta Symphony Ball corporate Sponsors

special contributors

BenefactorS Madeline & Howell Adams Lisa & Joe Bankoff Phoenix Sponsor Diamond Mrs. Neale Bearden Delta Air Lines Stephanie & Arthur Blank Jan & Gus Bennett Victoria & Howard Platinum Caryn & Jason Bernstein Palefsky Coca-Cola Company Lelia & Brent Brougher INVESCO Silver Jamie Brownlee & Mr. & Mrs. Paul J. Blackney David Russell Diamond Mr. & Mrs. William Mr. & Mrs. C. Merrell A Legendary Event M. Graves Calhoun Gold Margaret & Bob Reiser Susan & Tom Callaway Mednikow Ms. Joni Winston Chris & Merry Carlos UPS Philip & Shannon Cave Bronze Silver Dr. Michele R. Chartier & Katharina Peters Efron Lt. Col. Kirk Chartier Aetna Foundation Bronze Chip & Darlene Conrad AGL Resources Jennings M. Hertz, Jr. Equity Estates The Correll Family AirTran Giorgio Medici Foundation Lazard Beacham & Company, Mr. Richard (Dick) Christopher & Realtors Turner Broadcasting S. White, Jr. Ana Crommett System, Inc. Caren West PR Hosts David & Michelle Cayo Espanto Media sponsor Edwards Crosland Bill & Rachel Schultz Island Resort The Atlantan Deloitte 2007 AIRTRAN ASO Golf Classic Tournament Jere & Patsy Drummond Goldman Sachs & Co. Kilpatrick Stockton, LLP King & Spalding Neiman Marcus Printpack, Inc. & the Gay & Erskine Love Foundation Scientific-Atlanta, A Cisco Company Siemens Energy & Automation SunTrust Private Wealth Management United Distributors Wachovia Wealth Management

Cree & Frazer Durrett Dr. & Mrs. Alexander Gross Betsy & Harald Hansen Jim & Elsie Henderson Mark & Amy Kistulinec Lucy R. & Gary Lee, Jr. Jeff & Kathy Mango Mr. Lawrence E. Mock, Jr. Brenda & Charles Moseley Leslie & Skip Petter Patty & Doug Reid John Rogers & Kyle Koehler Gretchen L. Stewart Joyce & Henry Schwob Beverly & Milton Shlapak Mr. & Mrs. Baker Smith Cissy Smith & Pat Lander Elizabeth Morgan Spiegel Irene & Howard Stein Thomas & Cheryl Weldon Joan N. Whitcomb Neil & Sue Williams Mr. & Mrs. Alexander P. Woollcott

2007 AIRTRAN ASO Golf Classic Tournament Presenting Sponsor Four-person Team & Hole Sponsor AirTran Airways Coca-Cola Company Reception Sponsor EMC Corporation Siemens Energy & Jones Day Automation Luncheon & Hole Sponsor: Sun Trust Private Wealth Management

Four-person Team Sponsor Allconnect Deloitte Ernst & Young

38 Encore Atlanta

Hirtle, Callaghan, & Co. Jones Lang Lasalle Ovations Food Services John W. Rooker & Associates, Inc. Verizon Wireless Two-person Team & Hole Sponsor: Zeliff Wallace Jackson

Two-person Team Sponsor Alston & Bird Augus Benefits Credit Suisse Morgan Stanley Private Wealth Management Solution Property Group Turner Construction

Hole Sponsor: AutoTrader.com King & Spalding, LLP Morgan Creek Capital Management, LLC Sutherland, Asbill, & Brennan, LLP Sea Island Properties

Patron Circle of Stars

The Woodruff Arts Center salutes the Patron Circle of Stars: Those who have given $15,000 or more to our Annual Corporate Campaign.

You helped us reach a record $8.7 Million Goal for 2007-2008. Thank You!

Chairman’s Council ★★★★★★★★★★★★ $450,000+ The Coca-Cola Company

Kaiser Permanente KPMG LLP, Partners & Employees The Sara Giles Moore Foundation ★★★★★★★★★★★ PricewaterhouseCoopers $400,000+ Partners & Employees Georgia Power Foundation, Inc. The Rich Foundation, Inc. Turner Broadcasting System, Inc. The Wachovia Foundation, Inc.

Frank Jackson Sandy Springs Toyota and Scion Infor Global Solutions The Ray M. & Mary Elizabeth Lee Foundation, Inc. Sutherland Troutman Sanders LLP Wal-Mart Stores, Inc. The Zeist Foundation, Inc.

★★★★★★★★★★ $300,000+ UPS Cox Interests Cox Enterprises (Atlanta Journal-Constitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation) The Honorable Anne Cox Chambers Deloitte Partners & Employees

★★★★ $35,000+ AGL Resources Inc. Atlanta Foundation Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property Joe & Lisa Bankoff DuPont Genuine Parts Company Haworth, Inc. The Imlay Foundation, Inc. INVESCO PLC Kilpatrick Stockton LLP Katherine John Murphy Foundation Paul, Hastings, Janofsky & Walker LLP Rock-Tenn Company Siemens Harris A. Smith Tishman Speyer Properties Valvoline Waffle House, Inc. Frances Wood Wilson Foundation, Inc.

★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. SunTrust Foundations & Employees Florence C. & Harry L. English Memorial Fund Harriet McDaniel Marshall Trust Walter H. & Marjory M. Rich Memorial Fund ★★★★★★★★ $150,000+ Alston & Bird LLP Bank of America Ernst & Young, Partners & Employees Equifax Inc. & Employees Jones Day Foundation & Employees

40 Encore Atlanta

★★★★★★★ $100,000+ AirTran Airways R. Howard Dobbs, Jr. Foundation Holder Construction Company ING King & Spalding LLP The Marcus Foundation, Inc. The David, Helen & Marian Woodward Fund ★★★★★★ $75,000+ GE Energy Goldman Sachs & Co. The Home Depot Foundation Kimberly-Clark Corporation The Sartain Lanier Family Foundation, Inc. Macy’s Foundation Verizon ★★★★★ $50,000+ American International Group, Inc. Cisco Citi Foundation and Citi businesses of Primerica Citi Smith Barney CitiFinancial Corporate Investment Bank Coca-Cola Enterprises The Delta Airlines Foundation

★★★ $25,000+ Acuity Brands, Inc. Arcapita Balch & Bingham LLP BDO Seidman, LLP The Arthur M. Blank Family Foundation

Woodruff Arts Center Alliance Theatre Company Atlanta Symphony Orchestra High Museum of Art Young Audiences Crawford & Company DLA Piper Duke Realty Corporation EARNEST Partners LLC General Motors Corporation Georgia Natural Gas Georgia-Pacific Corporation Harland Clarke C. Tycho & Marie Howle Foundation IBM Corporation IDI JPMorgan Private Bank Philip I. Kent Foundation LaFarge North America Thomas H. Lanier Foundation The Blanche Lipscomb Foundation McKinsey & Company, Inc. Morgan Stanley Norfolk Southern Foundation Powell Goldstein LLP Revenue Analytics, Inc. SCANA Energy Southwire Company Spectrum Brands Towers Perrin Gertrude & William C. Wardlaw Fund Yancey Bros. Co. ★★ $15,000+ Accenture ACE INA Foundation AFLAC Arnall Golden Gregory LLP Atlanta Life Financial Group Atlanta Marriott Marquis Julie & Jim Balloun Bank of North Georgia BB&T Corporation The Beaulieu Group, LLC Kenny Blank Boral Bricks Inc.

Bovis Lend Lease Bradford Branch The Brand Banking Company CB Richard Ellis Center Family Foundation Mrs. Bunny Center Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman Chamberlain, Hrdlicka, White, Williams & Martin The Chatham Valley Foundation, Inc. Chubb Group of Insurance Companies Cleveland Electric Company Kimberly & David Hanna Charitable Fund Cousins Properties Incorporated Credit Suisse Deutsche Bank Alex. Brown Exposition Foundation, Inc. John & Mary Franklin Foundation, Inc. Ford & Harrison LLP Ford Motor Company Gas South, LLC Global Payments Inc. GMT Capital Corp.

The Howell Fund, Inc. Hunton & Williams Initial Contract Services J. Mack Robinson Interests Atlantic American Corporation Delta Insurance Group Gray Television Jamestown Properties Mr. and Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Jones Lang LaSalle David & Jennifer Kahn Family Foundation Sarah & Jim Kennedy Livingston Foundation, Inc.

Lockheed Martin Aeronautics Company Macy's Systems & Technology Manhattan Associates Gail and Bob O'Leary Paces Properties & the Cochran Family Fund Piedmont Charitable Foundation, Inc. Post Properties, Inc. Price Gilbert, Jr. Charitable Fund Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe Betsy & Bert Rayle Raymond James Financial, Inc. Regal Entertainment Group Russell Reynolds Associates Schiff Hardin LLP The Sembler Company Alex and Betty Smith Foundation, Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. U.S. Security Associates, Inc. VIPGift Waste Management Charitable Foundation Watson Wyatt Worldwide John Wieland Homes and Neighborhoods The Betty A. & James B. Williams Foundation Sue & Neil Williams Winter Construction Company Leonard & Carla Wood WATL/WXIA/Gannett Foundation The Woodruff Arts Center gratefully acknowledges the generocity of the Fulton County Arts Council. *As of August 1, 2008

Atlanta’s Performing Arts Publication 41

ASOstaff

administrative staff Executive Allison Vulgamore President & Chief Executive Officer Evans Mirageas Director of Artistic Planning Rachel Roberts Director of Strategic Planning Engagement Tom Tomlinson Project Director Woodruff Arts Center Expansion Executive on loan from the Atlanta Symphony Orchestra Carla Peterson Project Coordinator Martha M. Van Nouhuys Executive Assistant to the ASO Executive Office ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Lela Huff Assistant Stage Manager Richard Carvlin Stage Manager Kevin Brown House Manager

42 Encore Atlanta

FINANCE AND ADMINISTRATION Donald F. Fox Vice President for Business Development & Chief Financial Officer Aysha Siddique Administrative Assistant to the CFO Susan Ambo Controller April Satterfield Senior Accountant Kim Hielsberg Director of Financial Planning & Analysis Guy Wallace Staff Accountant Rachel Parton Reception/ Administration Support Stephen Jones Symphony Store Manager Popular Presentations Clay Schell General Manager Trevor Ralph Senior Operations and Venues Manager Holly Clausen Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist Chastain Park Amphitheater Tanner Smith Program Director Jonathan Owens Operations Manager Verizon Wireless Amphitheatre at Encore Park Katie Daniel Sales Coordinator Debra Honan Receptionist Stevan Simms Facility Operations & Maintenance Manager Jenny Iammarino Guest Services Manager & Operations Assistant Rebecca Gordon Box Office Manager Peter Dickson Accountant

DEVELOPMENT Paul W. Hogle Vice President for Institutional Advancement & Learning Tammie Taylor Assistant to the VP for Development Renee Vary Director of Constituent Communications Annual and Volunteer Services Stephanie Malhotra Director of Advancement and Learning Services Rebecca Abernathy Donor Services Associate Scott Giffen Director of Institutional Support & Partnerships Corey Cowart Corporate Relations Manager Cortni Witherspoon Partnership Creation Consultant Janina Edwards Grant Writer Deirdre Dam Director of Volunteer Engagement Christine Woods Volunteer Project Manager Catherine Bowman Decoratorsâ&#x20AC;&#x2122; Show House Coordinator Toni Paz Director of Individual Giving Maya Robinson Patron Partnership Gifts Officer Celeste Pendarvis Special Events Manager Symphony Center Campaign Christine Stanley Director of Symphony Center Campaign Andrea Welna Major Gifts Officer Mary Susan Wheeler Director of Legislative Affairs Jessica Langlois Special Gifts & Planned Giving Officer

aso learning COMMUNITY Beth Wilson Director of Student Musician Development Mariel Reynolds ASO Community Catalyst Melanie Darby Director of Education Programming Lindsay Fisher Learning Community Specialist Kevin Smoot Interim Learning Community Gifts Officer MARKETING AND CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Audience Engagement Alesia Banks Director of Customer Service & Season Tickets Nellie Cummins Group & Corporate Sales Associate Rebecca Enright Subscription & Education Sales Assistant Janice Hay Senior Director of Marketing Meko Hector Office & Marketing Coordinator Jennifer Jefferson Interactive Media Manager Melanie Kite Subscription Office Manager Seth Newcom Database Administrator Robert Phipps Publications Director Melissa A. E. Sanders Director of Public & Media Relations Karl Schnittke Publications Editor Robin Smith Group and Corporate Sales Assistant Laura Soldati Publicist Russell Wheeler Group & Corporate Sales Manager Christina Wood Marketing Manager

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In 1993, over 100 students across the city of Atlanta auditioned and 10 were chosen to start the TDP. “We never knew that we would find great diamonds!” said Hill. She had no idea how much these diamonds would be worth 15 years later.

I was eight years old when my father introduced me to music with an extra trumpet he had from the closet of his middle school band room. My seven siblings all played musical instruments and my mother taught high school orchestra: We were expected to become proficient. We frequently attended ASO concerts, and one evening in 2000 made an indelible impression on me. During Mussorgsky’s Pictures at an Exhibition I could hear and feel trumpeter Mark Hughes’ breath as he prepared to lead the entire orchestra through the famous procession. That’s when I decided to become an orchestral trumpeter.

I soon met Christopher Martin, who had just assumed the role of ASO Principal Trumpet.

After his first concert, I went backstage and introduced myself, and within a week he agreed to teach me on a weekly basis through the TDP. The previous summer, my older brother Eric completed his second year and was TPD’s first student to be accepted — with the assistance of Principal Bass Ralph Jones — at the prestigious summer arts camp Interlochen.

Mrs. Hill wanted more students to have these special opportunities and created the Azira G. Hill Scholarship Fund to help TDP families afford the cost.

Thanks to the scholarship, my parents were able to send me to Interlochen for the next four summers.

Standford

The happiest day of my life was in the spring of 2005 when I answered my cell and heard, “Is this Stanford Thompson? This is Gary Graffman from The Curtis Institute of Music, and I would like to welcome you to Curtis.”

If it were not for Azira G. Hill’s support and the selfless TDP volunteers, I would have had a far greater struggle in achieving my dreams.

Through Mrs. Hill’s efforts, lives are changed every week in lessons, every summer at music camps, and every semester in colleges and conservatories around the country.

Last year, one-third of the principal positions in ASYO were held by TDP students, and the season before, two students were featured soloists with the youth orchestra. TDP graduates have attended every major conservatory and university in the country, including Curtis, Juilliard, Harvard and Yale universities. Over half a dozen students have been featured soloists with the Atlanta Symphony, and the first TDP graduate to attend a major conservatory recently was named a member of the Charlotte Symphony just two months after his graduation in 2007. That’s my brother Eric.

The TDP has helped change the face of American orchestras. Azira G. Hill hopes to reach more than 25 students each year, create a program to support TDP college graduates, and see orchestras around the country adapt this same approach to introducing classical music to the communities they serve. It is up to us to leave the program better than we found it.

Stanford Thompson graduated from the Talent Development Program in 2005 and is currently a student at The Curtis Institute of Music, where he holds the William A. Loeb Fellowship. This is his first article for Encore Atlanta.

Thompson

Atlanta’s Performing Arts Publication 45

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GIVE THE GIFT OF THE ARTS THIS HOLIDAY SEASON!

@

For everyone on your list who loves music, theatre and masterpieces…

PLUS shopping, dining, parking and giving the gift of the arts to a school.

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Purchase the new campus-wide gift card at the Woodruff Arts Center Box Office, the High Museum of Art Store, the Symphony Store or the Woodruff Arts Center Website.

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(404) 733-5000 www.woodruffcenter.org

CHINESE NEW YEAR SPECTACULAR

“Brilliant choreography... extravagantly beautiful.”

- BroadwayWorld.com

“Inspired!”

– Philadelphia Weekly

Live Orchestra

DEC. 19–20

2:00 & 7:30pm/Tickets: $39,$69,$79,$99,$168

COBB ENERGY CENTRE Ticketmaster: 404-249-6400 1-877-285-2285 "Spectacular...Gorgeous...

A joyous celebration."

- Theatre Scene

Promo Code ATL02

www.ATL2009.com

#MJOE #PZT PG "MBCBNB ° %FD 'PS POF OJHIU POMZ UIF XPSME SFOPXOFE #MJOE #PZT PG "MBCBNB XJMM HSBDF UIF "UMBOUB 4ZNQIPOZ )BMM UP QFSGPSN TFMFDUJPOT GSPN UIFJS DSJUJDBMMZ BDDMBJNFE $ISJTUNBT BMCVN ²(P 5FMM *U PO UIF .PVOUBJO ³ 8JOOFST PG UIF (SBNNZ "XBSE GPS #FTU 5SBEJUJPOBM (PTQFM "MCVN GPVS ZFBST DPOTFDVUJWFMZ BOE SFDFOU (PTQFM .VTJD )BMM PG 'BNF JOEVDUFFT UIF #MJOE #PZT PG "MBCBNB EFMJWFS B USBEJUJPOBM 4PVUIFSO (PTQFM TPVOE XJUI B EFDJEFEMZ NPEFSO MPWF PG JOOPWBUJPO

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Lovett

At Lovett, we’ve set the stage— and the standard—for creative excellence.

We offer more than 50 classes in the visual and performing arts, as well as private lessons, all taught by professional artists.

Come to our Open House and explore the arts at Lovett— just one component of our whole education for the whole child.

Open House Saturday, Dec. 13, 2008, K–Grade 5, 9:00–11:00 AM Sunday, Dec. 14, 2008, Grades 6–12, 1:00–3:00 PM The Lovett School practices a nondiscriminatory admission policy.

Financial aid is available.

4075 Paces Ferry Road, N.W., Atlanta, Georgia 30327-3099 ■ (404) 262-3032 ■ www.lovett.org

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. encore2:Layout 1

10/15/2007

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 404.733.5038 Youth Orchestra 404.733.4870 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

3:11 PM

Page 2

A MEMORABLE EVENING, ACT TWO

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

Just blocks from Woodruff Arts Center at 1144 Crescent Avenue in Midtown Monday-Thursday, open until 10:30pm; Friday-Saturday, open until 11pm; Sundays, open until 10pm 404.873.7358 • fifthgroup.com

Nightly Nov 22 - Dec 30

This Christmas. . .What will you remember?

Overnight Packages starting at

•Overnight at Legacy Lodge •1 vehicle pass for Magical Nights of Lights •Amusement rides for up to 3 children •Breakfast with Santa (special dates apply)

$179

code: MNOL ENCORE

800.768.LAKE

www.lakelanierislands.com

BUY TODAY!

Illustration ©2008 Lee Moyer. Photography ©2008 Annaliese Moyer

Call 404.733.5000 or alliancetheatre.org Groups 10+ Save. Call 404.733.4690.

Scrooge is back!

Our holiday gift to Atlanta for 19 years.

A Christmas Carol

By Charles Dickens Adapted by David H. Bell Directed by Rosemary Newcott

November 28–December 24 Sponsored by

Supported by

And buy now for the world premiere of Class of 3000 LIVE, based on André Benjamin’s hit animated series. Performances begin March 6, 2009.

Illustration by Cartoon Network

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Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication

More than a program, itâ&#x20AC;&#x2122;s your ticket to the arts.

404.459.4128 encoreatlanta.com

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Winter Park, Florida

Avoid Dinner Drama

Join us before or after the show

concentricsrestaurants.com

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ASOCALENDAR AS UPCOMING CONCERTS

/07&.#&3 CIRQUE 28/29 DE LA YMPHONIE 1. SYMPHONIE

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1.

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%&$&.#&3 ASO GOSPEL 5, 1. CHRISTMAS

6, 1. $0$" $0-" )0-*%": $0/$&354

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$0/$&354

31, 1. YEARâ&#x20AC;&#x2122;S EVE $0$" $0-" )0-*%": $0/$&354

ON SALE NOW: 800%36'' "354 $&/5&3 #09 0''*$& BOE

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It’s not polite to shout during the show.

So we invite you to

after.

PRESENT YOUR TICKET AND RECEIVE 15% OFF FOOD ONLY AT SHOUT* Offer valid with your Atlanta Symphony Orchestra or Fox Theatre ticket stub. Expires 11/30/08.

*

COMPLIMENTARY PARKING FOR ASO PATRONS

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

GALLERYASO 0QFOJOH /JHIU .BHJD

5IF "40µT UI TFBTPO PQFOFS GFBUVSFE HPPE GSJFOET 3PCFSU 4QBOP BOE &NBOVFM "Y DPNJOH UPHFUIFS UP QFSGPSN CFBVUJGVM NVTJD CZ UIF UISFF #T ± #BDI #FFUIPWFO BOE #SBINT ± BOE BQQFBSJOH BU B QPTU DPODFSU DFMFCSBUJPO PO UIF 8PPESVGG "SUT $FOUFSµT 4JGMZ 1JB[[B "MMJTPO 7VMHBNPSF

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We invite you to walk across the street after the show to enjoy one of our signature desserts at The Savoy Purchase one dessert & receive one complimentary dessert as our guest.

On your next Fox Theatre evening; join us for dinner at The Savoy.

As always, theatre patrons who dine with us will receive two hours of complimentary parking in our deck.

ThegeOrgiAnTerrAce.cOm (404)897-1991

VB-14699 Encore Atlanta

12/4/07

Come Coast Awhile, Atlanta!

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

Southern Hospitality

A Boutique Luxuryat Hotel West Peachtree 10th

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10:07

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Limited time offer is only available in wired and serviceable areas in participating Comcast systems (and may not be transferred) and is limited to new residential customers. Offer limited to Digital Starter Cable, 768Kbps Economy Internet and Comcast Digital Voice-Local with More service. Requires subscription to all three services. Converter and remote required for On Demand services. On Demand selections subject to charge indicated at time of purchase. Digital Cable and Internet service limited to a single outlet. Service subject to Comcast standard terms and conditions. Prices shown do not include equipment and installation charges, taxes, franchise fees and in the case of telephone service, the Regulatory Recovery Fee or other applicable charges (e.g., international calling or per-call charges). May not be combined with other offers. Video Service: Certain services available separately or as a part of other levels of service. Basic Service subscription required to receive other levels of service. Not all programming available in all areas. High Speed Internet Service: Many factors affect speed.Actual speeds vary and are not guaranteed. Cable modem required. Not all features, including McAfee, compatible with Macintosh systems. Comcast Digital Voice-Local with More: Includes unlimited local calling. Domestic long-distance calling will be billed at a rate of $0.05 per minute. Voicemail is available for an additional $3.95 per month. No separate long-distance carrier connection available. Comcast Digital Voice service (including 911/emergency services) may not function after an extended power outage.

After the 12-month promotional period, or if any service is cancelled or downgraded, regular charges apply. Comcast’s current monthly service charges for all three services are $102.40. Certain customer premises equipment may not be compatible with Digital Voice services. EMTA required ($3.00/month from Comcast). Call 404-COMCAST for restrictions and complete details. Comcast ©2008. All rights reserved.