Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
bravo! Celebrating Robert Spano’s 10th Anniversary Season
October 2010
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I
the HIGH
IDINA MENZEL WITH THE ATLANTA SYMPHONY ORCHESTRA Tony Award-winning powerhouse vocalist Idina Menzel returns to perform with the Orchestra. Following star turns in Rent and Wicked on Broadway, Ms. Menzel joined the cast of TV’s hit show Glee as the coach of a rival glee club. 11.12.10
8:00 pm
“DALI: THE LATE WORK” HIGH MUSEUM OF ART The first exhibition to focus on Dalí's art after 1940, featuring more than 40 paintings and a related group of drawings, prints and other Dalí objects. 8.07.10 - 1.09.11 Image: Philippe Halsman (American, born Latvia, 1906–1979), Dalí’s Mustache, 1953. © Philippe Halsman Archive. Right of Publicity Reserved by Fundació Gala-Salvador Dalí.
“THE NACIREMA SOCIETY REQUESTS THE HONOR OF YOUR PRESENCE AT A CELEBRATION OF THEIR FIRST ONE HUNDRED YEARS” ALLIANCE THEATRE Young love, old flames, six stunning dresses...what would dare go awry? A sparkling new romantic comedy featuring Jasmine Guy by New York Times bestselling author Pearl Cleage. 10.20.10 - 11.14.10
contents October 2010
42
Jeff Roffman
angela morris
18
features
the music
18 Robert Spano’s Decade of Triumphs
23 The concert’s program and notes
The new season celebrates 10 years of the Spano- Runnicles Partnership.
42 ‘ I can’t imagine a day without music’
N ew Principal Pops Conductor Michael Krajewski reflects on his career and the state of music today.
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departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 16 Musicians 33 Contributors 48 Calendar 52 Administration 54 General Info 56 Ticket Info 58 Gallery ASO
TRACES OF THE CALLIGRAPHER:
Islamic Calligraphy in Practice, c. 1600 –1900 WRITING THE WORD OF GOD:
Calligraphy and the Qur’an
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An Artful Education For Over A Century.
They dance. They sculpt. They paint. They act. They hit the high notes. Students in Pre-K through grade 12 at Woodward Academy experience an impressive range of opportunities in the arts, as you would expect from a school that has grown over its 111- year history to become the largest independent school in the continental United States. Join us for an Open House. Main Campus: February 13, 2011. RSVP: 404-765-4001 Excellence • Character • Opportunity
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Welcome to the new season! It is an honor to greet you at the beginning of the Atlanta Symphony Orchestra’s season-long celebration of the milestone 10th anniversary of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles! With so many riches ahead of us, I am incredibly proud to be a part of this esteemed institution at this time and grateful to all the open hearts here and throughout the community who have made my family and me feel at home. The generous outpouring of support is truly humbling. My friend Robert Spano is among America’s most daring and innovative music directors, and unsurpassed as a nurturer of rising star-composers of the 21st century – the bold few who are shaping the future of music. Premiere works by luminaries including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis and Michael Gandolfi happened in Atlanta first, thanks to Robert, and gave rise to the nationally recognized Atlanta School of Composers. This season, members of the school salute Robert with a series of brief fanfares prior to selected concerts, and treasured friends André Watts and Emanuel Ax join him in our opening concerts. You will hear about more “Spano specials” as we go along. I urge you to read the article on Robert on page 14 and a profile of SuperPOPS! fixture and newly appointed Principal Pops Conductor Michael Krajewski (page 48) who makes his debut in October. Take a look as well at our new art gallery, featuring the Orchestra’s four music directors and archival treasures, by long-time contributor Joe deCasseres, located in Fanfare restaurant on the balcony level. In my six months here, I have listened and I have learned from conversations with patrons, concertgoers, kindred spirits, and people from all walks of life. What stands out to me is the uniform pride, love and passion they expressed for this Orchestra. What a powerful foundation to build on! And we will, by growing our presence as Atlanta’s cultural touchstone and keep reaching ever higher to create exceptional experiences for our audiences. Please join me at Symphony Hall during these celebratory times. I’m eager to meet you.
Stanley E. Romanstein President Atlanta Symphony Orchestra
10 EncoreAtlanta.COM
1992
From one
generat
ion
2006 To the n e
xt
A Lifetime of Care
After Maxine’s sister Beverly died from cancer, she and her other sister decided to undergo genetic testing at Northside Hospital to determine their risk of developing breast or ovarian cancer. Maxine’s results came back positive. With that knowledge, she was able to catch her breast cancer early. Now she’s healthy and back on track with her life. You may know Northside as the place for babies, but the hospital also is a leader in diagnosing hereditary cancer.
Atlanta • Forsyth • Cherokee
Read more about Maxine’s story at Northside.com
leadership Atlanta Symphony Orchestra League 2010-2011 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer
Meghan H. Magruder Jeff Mango Belinda Massafra * ASA President Penny McPhee
Stanley E. Romanstein, Ph.D. * Chilton Davis Varner Joni Winston Secretary
Directors Jim R. Abrahamson Pinney L. Allen Joseph R. Bankoff * Jason A. Bernstein Paul Blackney Janine Brown Donald P. Carson Ann W. Cramer Cari K. Dawson Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert Franklin Paul Garcia Jim Henry Tad Hutcheson
Mrs. Roya Irvani Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson, III Marsha Sampson Johnson Steve Koonin Mike Lang Donna Lee Lucy Lee Karole F. Lloyd Meghan H. Magruder Jeff Mango Belinda Massafra * Darrell J. Mays Penny McPhee
Galen Oelkers Victoria Palefsky Leslie Z. Petter Patricia Reid Martin Richenhagen John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski Lynn Schinazi William Schultz Tom Sherwood John Sibley Hamilton Smith Thurmond Smithgall Gail R. Starr
Mary Rose Taylor Joe Thompson Liz Troy Chilton Davis Varner Rick Walker Thomas Wardell Mark Wasserman John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Patrice Wright-Lewis Camille Yow
Board of counselors Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin Ruth Gershon
Charles Ginden John T. Glover Frances B. Graves Dona Humphreys John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley George Lanier
Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Bertil D. Nordin 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
Azira G. Hill Dr. James M. Hund
Arthur L. Montgomery
Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.
Mrs. Drew Fuller Mary D. Gellerstedt
* ex officio
12 EncoreAtlanta.COM
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Your generosity goes a long way to help kids get back to being kids, so they can once again delight their loyal fans. Visit www.choa.org/give to make a donation. Children need Children’s and Children’s needs You® ©2010 Children’s Healthcare of Atlanta, Inc. All Rights Reserved.
Robert M Spano music Director
usic Director Robert Spano, beginning his 10th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001 he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.
angela morris
The Orchestra and audiences together explore a creative programming mix, recordings, and visual enhancements, such as Theater of a Concert — the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience — and the first concert-staged performances of John Adams’s Doctor Atomic, in November 2008. The Atlanta School of Composers reflects Mr. Spano’s and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships, defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis and Michael Gandolfi. Since the beginning of his tenure, Mr. Spano and the Orchestra have performed over 100 concerts featuring contemporary works (composed since 1950), including 13 Atlanta Symphony-commissioned world premieres and three additional world premieres.
14 EncoreAtlanta.COM
Mr. Spano has a discography with the Atlanta Symphony Orchestra of nine recordings — six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall and Lincoln Center, as well as the Ravinia, Ojai and Savannah Music Festivals. He has led the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia Symphony Orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles. Mr. Spano was Musical America’s 2008 Conductor of the Year. In March 2010, Mr. Spano began a three-year tenure as Emory University’s Distinguished Artist in Residence, in which he spends three weeks each year leading intensive seminars, lecturing and presenting programs on science, math, philosophy, literature and musicology throughout the University’s campus.
WRITTEN AND DIRECTED BY DEBORAH COLKER PRESENTED BY
OPENS NOVEMBER 4 At Atlantic Station Amazing Group Offers*, up to 30% off regular prices available now and for a limited time. Only through the Fox Theatre at 404 881 2000. CIRQUEDUSOLEIL.COM *Group Minimum 20+, limited availability. Corporate Events also available. OFFICIAL SPONSORS
Robert Spano, Music Director, The Robert Reid Topping Chair * Donald Runnicles, Principal Guest Conductor, The Neil and Sue Williams Chair * FIRST VIOLIN
David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair*
William Pu Associate Concertmaster The Charles McKenzie Taylor Chair*
Justin Bruns Assistant Concertmaster The Mary and Cherry Emerson Chair
Jun-Ching Lin Assistant Concertmaster
Carolyn Toll Hancock The AGL Resources Chair
John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich
Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Eleanor Kosek Raymond Leung Ruth Ann Little Thomas O’Donnell Ronda Respess Sanford Salzinger Frank Walton VIOLA
Reid Harris Principal The Edus H. and Harriet H. Warren Chair*
CELLO
BASS
Christopher Rex
Ralph Jones
Principal The Miriam and John Conant Chair*
Principal The Marcia and John Donnell Chair  *
Daniel Laufer
Gloria Jones
Associate Principal The Livingston Foundation Chair
Associate Principal
Karen Freer Assistant Principal
Dona Vellek Klein Assistant Principal Emeritus
Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Paul Warner
Jane Little Assistant Principal Emeritus
Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson FLUTE
Christina Smith Principal The Jill Hertz Chair*
Robert Cronin
Paul Murphy
Associate Principal
Associate Principal The Mary and Lawrence Gellerstedt Chair *
Paul Brittan The Georgia Power Foundation Chair
Catherine Lynn
Carl David Hall
Assistant Principal
Wesley Collins Marian Kent Yang-Yoon Kim Lachlan McBane Ardath Weck
SECOND VIOLIN
David Arenz Principal The Atlanta Symphony Associates Chair*
Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair*
Jay Christy Assistant Principal
16 EncoreAtlanta.com
michael Krajewski, Principal Pops Conductor Jere Flint, Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair * Norman Mackenzie, Director of Choruses, The Frannie and Bill Graves Chair PICCOLO
E-FLAT CLARINET
TRUMPET
PERCUSSION
Carl David Hall
Ted Gurch
Thomas Hooten
Thomas Sherwood
OBOE
BASS CLARINET
Elizabeth Koch
Alcides Rodriguez
Principal The Madeline and Howell Adams Chair*
Principal The Julie and Arthur Montgomery Chair*
Michael Myers Joseph Walthall
William Wilder
rincipal P The George M. and Corrie Hoyt Brown Chair *
Yvonne Powers Peterson Associate Principal Deborah Workman Patrick McFarland
BASSOON
Carl Nitchie Principal The Walter L. “Buz” Carr, III Chair
Colin Williams
Charles Settle
Elizabeth Burkhardt
Principal The Wachovia Chair
HARP
Associate Principal
Stephen Wilson
Laura Najarian
Associate Principal The Patsy and Jere Drummond Chair
ENGLISH HORN
The Pricewaterhouse Coopers Chair
Patrick McFarland
Juan de Gomar
CLARINET
CONTRABASSOON
Laura Ardan
TROMBONE
Bill Thomas George Curran BASS TROMBONE
Principal The Robert Shaw Chair*
Juan de Gomar
Ted Gurch
HORN
Associate Principal
Brice Andrus
TUBA
William Rappaport
Principal The Sandra and John Glover Chair
Michael Moore
The Alcatel-Lucent Chair
Alcides Rodriguez
Assistant Principal William A. Schwartz Chair*
Susan Welty
George Curran
Principal The Georgia-Pacific Chair
Associate Principal
Thomas Witte Richard Deane The UPS Community Service Chair
Bruce Kenney
TIMPANI
Mark Yancich Principal The Walter H. Bunzl Chair*
William Wilder Assistant Principal
Elisabeth Remy Johnson Principal The Delta Air Lines Chair
KEYBOARD The Hugh and Jessie Hodgson Memorial Chair*
Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY
Rebecca Beavers Principal
Steven Sherrill Assistant Principal Librarian
John Wildermuth Assistant Librarian *C hair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically.
Atlanta’s Performing Arts Publication 17
Robert Spano’s decade of triumphs
with the
Atlanta Symphony Orchestra by Arthur Bucklaw
In the late 1990s, when Robert Spano was in charge of the adventure-prone Brooklyn Philharmonic, he often was touted as the next big catch for a major orchestra – a smart young maestro with a disciplined baton and bristling energy. He clearly adored the classic repertoire, from Mozart to Bernstein. He was an ace interpreter of the latest modern scores.
angela morris
When the Atlanta Symphony named him music director and Donald Runnicles principal guest conductor, starting officially in the 2001-02 season, the partnership became one of the most watched in the country. Jump ahead 10 years. People are still paying attention.
18 EncoreAtlanta.COM
Lovett
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Open House Sunday, December 12, 2010 K–Grade 5, 1:00–3:00 pm Grades 6–12, 3:30–5:30 pm 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. The Lovett School practices a nondiscriminatory admission policy. Financial aid is available.
4075 Paces Ferry Road, N.W., Atlanta, Georgia 30327-3009 n (404) 262-3032 n www.lovett.org
"Culturally Inspiring... Captivating... Bravo!" And that just describes our hors d'oeuvres. I'd like to personally invite you to celebrate our inaugural season as the exclusive food and beverage partner at The Woodruff Arts Center. Tony Conway, Co-President, Legendary Partners of Atlanta We welcome your reservations. Table 1280: 404-897-1280 Special Events: 404-733-5249 or e-mail legendarypartners-atl@woodruffcenter.org
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As The Boston Globe recently observed after Boston Symphony concerts at the Tanglewood Music Festival, “Spano has gone on to become perhaps the most admired American conductor of his generation.”
Principal Cellist Christopher Rex. “Most importantly,
A decade into his music directorship, the Orchestra and the 49-year-old Spano are at that optimal moment in the relationship: The musicians and conductor know each other so well that they make music by instinct. Filling vacancies, he has hired many of the Orchestra’s key players. Yet the bloom of a growing partnership, and the challenging promise of difficult goals almost within reach, remains as fresh as ever.
And Spano has made Atlanta home on many levels, with a loft apartment on Peachtree Street and a secluded cabin in the Blue Ridge Mountains of north Georgia, where he goes for recharging and deep study.
“Robert brings an incredible amount of enthusiasm and excitement to the podium ,which is contagious to the musicians and results in exciting music-making,” says
his ego is always subservient to the music.
I’ve found this to be true not only with the Orchestra, but when I’ve had the pleasure of playing chamber music with him.”
He’s made his intellectual home here, too. Last fall, Emory University named him artist-in-residence, a three-year appointment to lecture and perform. The topics cover Spano’s special interests, ranging from philosophy and science to literature, metaphysics and, of course, music. (The post had previously been held by acclaimed novelist Salmon Rushdie.
Jeff Roffman
Continued on page 46
20 EncoreAtlanta.com
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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Dinner & a Concert with the Symphony Looking for a great night out? Enjoy dinner prior to performances by the Atlanta Symphony Orchestra and save on concert tickets and dining! Make your plans now. Packages start at just $37! OCTOBER
21&23 8PM
JANACEK: GLAGOLITIC MASS
ROBERT SPANO, music director & conductor • TWYLA ROBINSON, soprano MONICA GROOP, mezzo-soprano • JOHN MAC MASTER, tenor BURAK BILGILI, bass • ATLANTA SYMPHONY CHORUS
NIKOLAI’S ROOF
OCTOBER
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3:30PM
NOVEMBER
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DECEMBER
2&4 8PM
FAMILY CONCERT: HALLOWEEN JERE FLINT, conductor
MURPHY’S
DEBUSSY & RAVEL JUN MÄRK, conductor • INGRID FLITER, piano
ONE. MIDTOWN KITCHEN
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NORMAN MACKENZIE, conductor & director of choruses ATLANTA SYMPHONY CHAMBER CHORUS
LIVINGSTON
Contact Russell Wheeler 404.733.4807 • russell.wheeler@woodruffcenter.org For complete Dinner and a Concert details please visit www.atlantasymphony.org/dinnerandconcert
program Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concerts Thursday, Friday and Saturday, October 14, 15 and 16, 2010, at 8 p.m.
Donald Runnicles, Conductor Julian Rachlin, Violin Johann Strauss, Jr. (1825-1899) On the Beautiful Blue Danube, Waltzes, Opus 314 (1867) Alban Berg (1885-1935) Concerto for Violin and Orchestra (1935) I. Andante — Allegretto II. Allegro, ma sempre rubato, frei wie eine Kadenz — Adagio Julian Rachlin, Violin INTERMISSION Johannes Brahms (1833-1897) Symphony No. 2 In D Major, Opus 73 (1877) I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito
“Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator. The use of cameras or recording devices during the concert is strictly prohibited.
Atlanta’s Performing Arts Publication 23
sponsors
is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra. Delta’s commitment to the communities we serve began the day our first flight took off. For more than 80 years, Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships. Delta is an active, giving corporate citizen in the communities it serves. Delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to utilize many aspects of Delta’s currency – our employees time and talent, our free and discounted air travel, as well as our surplus donations. Together, we believe we can take our worldwide communities to new heights!
Major funding for the Atlanta Symphony Orchestra is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. Major funding for the Atlanta Symphony Orchestra is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. Solo pianos used by the ASO are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the ASO in honor of Rosi Fiedotin. The Yamaha custom six-quarter tuba is a gift received by the ASO in honor of Principal Tuba player Michael Moore from The Antinori Foundation. This performance is being recorded for broadcast at a later time. ASO concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network. The ASO records for Telarc. Other ASO recordings are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips and Sony Classical labels. Four Seasons Hotel Atlanta is the preferred hotel of the ASO. Trucks provided by Ryder Truck Rental Inc. Media sponsors: The Atlanta Journal-Constitution and WSB 750 AM.
24 EncoreAtlanta.com
program Notes on the Program By Ken Meltzer On the Beautiful Blue Danube, Waltzes, Opus 314 (1867) Johann Strauss was born in Vienna, Austria, on October 25, 1825, and died there on June 3, 1899. The first performance of The Blue Danube took place in Vienna in February of 1867, in a concert by the Vienna Men’s Choral Society. The Blue Danube is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, trombone, tuba, timpani, bass drum, snare drum, triangle, harp and strings. Approximate performance time is nine minutes. These are the first ASO Classical Subscription Performances.
The “Waltz King”
J
ohann Strauss, known affectionately as the “Waltz King,” was the most famous member of the eminent Viennese family of musicians that included father Johann Strauss, Sr. (1804-1849), and brothers Josef (1827-70) and Eduard (1835-1916). Johann Strauss’s several hundred works consist primarily of waltzes, quadrilles, polkas, marches and operettas — pieces that are often referred to as “light” music. For those who feel that, somehow, such music is by definition of lesser quality or importance, it is instructive to note that Johann Strauss’s contemporaries, composers of “serious” fare, were unrestrained in their praise of his genius. For example, in response to a request by Strauss’s stepdaughter for an autograph, Johannes Brahms sketched the opening bars of The Blue Danube and wrote below them, “Unfortunately, not by Johannes Brahms.” It is, of course, true that Johann Strauss did not invent the waltz, either as a dance or form of concert music. Indeed, the basic format for Strauss’s waltz compositions was that employed by his father — a slow introduction to a series of waltzes, and a final coda. What Strauss did accomplish was to bring the waltz to new heights of beauty and eloquence. Strauss sought to create a more organic waltz form by linking material between the various sections. This structural integrity, aligned with Strauss’s unfailing melodic inspiration and genius in orchestration, produced compositions that made him the toast of Vienna — indeed, of the world.
The Blue Danube All of these attributes may be heard in Johann Strauss’s waltz masterpiece, On the Beautiful Blue Danube. Strauss composed the work for the 1867 carnival season. The premiere took place as part of a February concert by the Vienna Men’s Choral Society. That performance of The Blue Danube included a text by the Society’s official poet, Josef Weyl, who attempted to make light of the Austrians’ defeat by the Prussians the previous year: “Viennese, be Atlanta’s Performing Arts Publication 25
glad! Oho, why so?” The words clearly interfered with the audience’s ability to appreciate Strauss’s incomparable score, and those in attendance offered only a lukewarm response. Strauss was afraid that the Waltz “was not sufficiently catchy.” However, The Blue Danube was reintroduced a few months later in Paris, this time shorn of its problematic verse. The reaction was overwhelming, and The Blue Danube quickly became the most beloved of waltz compositions. The magical Introduction (Andantino) begins with shimmering violins, over which a solo horn softly intones a tantalizing preview of the initial waltz’s immortal melody. The first violins, in tandem with the horns, bassoons and cellos, finally offer a complete statement of the melody. The Blue Danube’s several waltz episodes reflect the seemingly infinite variety of expression Strauss could mine from the popular 3/4 dance. The Coda reprises several melodies from the previous waltzes. The Blue Danube concludes with a restatement and development of the initial waltz theme. Tender solo exchanges of the melody yield to The Blue Danube’s exhilarating finish.
Concerto for Violin and Orchestra (1935) Alban Berg was born in Vienna, Austria, on February 9, 1885, and died there on December 24, 1935. The first performance of the Violin Concerto took place in Barcelona, Spain, on April 19, 1936, at the Festival of the International Society of Contemporary Music. Louis Krasner was the violin soloist, with Hermann Scherchen, conducting. In addition to the solo violin, the Concerto is scored for two piccolos, two flutes, two oboes, English horn, three clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, two trumpets, trombone, bass trombone, tuba, timpani, harp, bass drum, alto gong, tamburo piccolo, cymbals, suspended cymbals, triangle, bass drum with attached cymbals, tam-tam basso and strings. Approximate performance time is twenty-two minutes. First ASO Classical Subscription Performance: March 7, 1968, Rafael Druian, Violin, Robert Shaw, Conductor. Most Recent ASO Classical Subscription Performances: May 11, 12 and 14, 2006, Cecylia Arzewski, Violin, Roberto Minczuk, Conductor.
“To the Memory of an Angel”
A
lban Berg’s Concerto for Violin and Orchestra was the Austrian composer’s final completed work. Berg composed the piece in response to a commission from the American violinist, Louis Krasner. Berg and Krasner’s initial meetings on the project took place in Vienna in February of 1935. At the time, Berg was at work on his opera, Lulu, and seemed unwilling to commit to a new project. However, on March 28, Berg wrote to Krasner (who had since returned to America): “From May on, I will be on the Wörthersee composing ‘our’ Violin Concerto.”
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program At first, Berg envisioned the Concerto as “absolute” music; i.e., a piece without extramusical associations. But on April 22, 1935, Manon Gropius died of polio, at the age of 18. Manon was the daughter of Walter Gropius, the famous German architect, and his wife, Alma Mahler Gropius, widow of Gustav Mahler. Alban Berg, who had long maintained a tender affection for the beautiful and spirited Manon, was devastated by the news of her passing. Berg dedicated his Violin Concerto “Dem Andenken eines Engels” — “To the Memory of an Angel.” Berg completed the Violin Concerto in just four months — a remarkably brief span, particularly in light of the composer’s usual deliberate creative pace. Berg commenced work on the Concerto shortly after Manon Gropius’s death, completing the score on August 12. As Berg wrote to Krasner: “I was keen on it as I have never been before in my life, and must add that the work gave me more and more joy. I hope — no, I have the confident belief — that I have succeeded.” In the Violin Concerto, Berg incorporates some music from other sources. A Carinthian folk melody is prominent in the second portion of the Concerto’s opening movement. Of far greater significance is the appearance of the Lutheran chorale, “Es ist genug” (“It is enough”). The chorale serves as the final movement of Johann Sebastian Bach’s Cantata No. 60, “O Ewigkeit, du Donnerwort” (“O Eternity, you Word of Thunder”): It is enough: Lord, when it pleases You, Then release me. My Jesus comes: now good night, o World! I go to Heaven’s house, I go there securely in peace, My great misery remains below. It is enough. Berg’s use of the “Es ist genug” chorale in the Violin Concerto is, of course, a poignant memorial to Manon Gropius. But this musical quotation also served as the stunning presage of impending tragedy. Shortly after completing the Violin Concerto, Berg developed a serious infection that ultimately led to a hospitalization in Vienna in mid-December. Shortly after midnight on Christmas Eve, Alban Berg passed away, just a few months shy of his 51st birthday — virtually the same age as Gustav Mahler when he died in May of 1911. Berg’s death mask was prepared by Anna Mahler — Gustav and Alma Mahler’s younger daughter. The premiere of Alban Berg’s Violin Concerto took place in Barcelona on April 19, 1936, as part of the Festival of the International Society of Contemporary Music. Louis Krasner was the violin soloist. The scheduled conductor was Berg’s friend and fellow-composer, Anton Webern. But after a few rehearsals, Webern withdrew and was replaced by Hermann Scherchen. Webern later wrote to Scherchen: “To think that absolutely no one understood me! No one understood how I felt so soon after Berg’s death, and that I was simply not up to the task of conducting the first performance of his last work.” Atlanta’s Performing Arts Publication 27
It would have been challenge enough for Webern to conduct any of Berg’s works in such close proximity to his dear friend’s passing. But the task of interpreting music that so poignantly expresses the ephemeral nature of life was more than Webern could bear.
Musical Analysis I. Andante — Allegretto — The Concerto is in two movements, each with two sections that are played without pause. The first portion of the opening movement, a meditative Andante, begins with an evocative introduction scored for clarinets, bass clarinet, harp and soloist. The remainder of the Andante is in A—B—A form. The soloist presents the work’s central, ascending tone row that Berg directs be played “very softly, but expressively.” A more animated middle episode (a tempo, un poco grazioso) precedes the return of “A,” serving to conclude the opening portion of the first movement. If the Andante depicts the gentle disposition of Manon Gropius, the succeeding Allegretto portrays the young woman’s more playful side. Dance rhythms, notably those of the waltz and ländler (a traditional country dance), are prominent throughout. Toward the close of the movement, a solo horn and trumpets play a Carinthian folk melody, relating to a portion of the tone row. The music becomes more agitated, as the opening portion of the Concerto moves to an abrupt conclusion. II. Allegro, ma sempre rubato, frei wie eine Kadenz — Adagio — Berg’s tempo marking for the opening portion of the Concerto’s finale may be translated as “Lively, but always with rhythmic flexibility, freely, as in a cadenza.” The movement opens with the greatest agitation. A more restrained, cadenza-like passage leads to a reprise of the opening portion, and finally, a shattering climax. The violence ultimately subsides, setting the stage for the Concerto’s concluding episode. The Adagio begins with the soloist’s hushed introduction of the “Es ist genug” chorale (again, related to Berg’s tone row). Noble variations on the chorale melody lead to the serene closing measures. The soloist offers a final statement of the tone row, finally ascending to a sustained high “G.” This ethereal note, in tandem with a hushed orchestral accompaniment, serves as the Concerto’s radiant conclusion.
Symphony No. 2 In D Major, Opus 73 (1877) Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of the Symphony No. 2 took place in the concert hall of the Musikverein in Vienna on December 30, 1877, with Hans Richter conducting the Vienna Philharmonic. The Symphony No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings. Approximate performance time is forty minutes. First ASO Classical Subscription Performance: April 6, 1950, Henry Sopkin, Conductor.
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program Most Recent ASO Classical Subscription Performances: March 26, 27 and 28, 2009, Gilbert Varga, Conductor.
“The tramp of a giant”
“I
shall never write a symphony. You have no idea how the likes of us feel when we hear the tramp of a giant like him beside us.” So Johannes Brahms wrote in 1870 to conductor Hermann Levi. The “giant” Brahms invoked was Ludwig van Beethoven (1770-1827), whose Nine Symphonies form the cornerstone of the orchestral repertoire. Although he attempted the composition of a symphony as early as 1854, it wasn’t until 1876 that the 43-year-old Brahms gathered the courage to complete his First (in C minor, Opus 68).
The First Symphony received its premiere on November 4, 1876. Although the premiere and initial subsequent performances were far from unqualified triumphs, Brahms had finally cast aside his trepidation about composing in a genre that invited comparisons to Beethoven. Brahms spent the following summer in Pörtschach, a tiny Austrian village on Lake Wörth. It was there, between the months of June and September 1877, that Brahms composed his Second Symphony. The composer informed his friend, the Viennese music critic, Eduard Hanslick: I am deeply grateful to you, and by way of thanks, this winter I will have a symphony played to you that sounds so cheerful and sweet that you will think I have written it especially for you, or even your young wife! There’s nothing clever about it, you will say; Brahms is a sly one! The Wörthersee is untrodden ground, with melodies flying so fast that you need to watch that you don’t step on any of them. Brahms found Pörtschach a congenial place for musical inspiration. In addition to the Second Symphony, Brahms composed his Violin Concerto (1878), the G-Major Violin Sonata (18789), and Two Piano Rhapsodies (1879) while vacationing at the peaceful lakeside village.
Brahms’s “Pastoral” Symphony The premiere of the Brahms Second Symphony took place on December 30, 1877, at the concert hall of the Musikverein in Vienna. The eminent conductor, Hans Richter, led the Vienna Philharmonic. Music historian Carl Ferdinand Pohl attended the first performance, and reported to the publisher, Simrock: “It’s done! An exemplary performance, the warmest possible reception, the third movement (allegretto) played again da capo, repeated curtain calls...” Brahms himself conducted the next performance of the D-Major Symphony on January 10, 1878, at the Leipzig Gewandhaus, as well as February concerts in Holland. The D-Major Symphony seems to reflect the composer’s relaxed state of mind during the happy summer of 1877. The lyrical character of the work — sometimes referred to
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as Brahms’s “Pörtschach” or “Pastoral” Symphony — certainly is in marked contrast to the storm and stress that pervades the C-minor First (although to be sure, the Second Symphony has its moments of conflict as well, particularly in the first two movements). Brahms referred to his Second Symphony as a “charming new monster” and, in typically self-deprecating fashion, told his friend, Elisabeth von Herzogenberg, that it was merely a little Sinfonia. That of course, is hardly the case, and in spite of Brahms’s protestations to Hanslick that “there is nothing clever about it,” the Second Symphony is a remarkably intricate and unified composition. In its own genial fashion, the D-Major Symphony is as dramatically rewarding as its heroic predecessor.
Musical Analysis I. Allegro non troppo — The first movement opens with the cellos and basses intoning a three-note motif that will return in various guises throughout the Symphony. Immediately after this statement of the motif, the horns and winds offer the initial theme. After a brief outburst, the mood calms and the violas and cellos sing the waltz-like second theme that recalls the composer’s famous “Lullaby,” Opus 49, Nr. 4 (1868). After another expansive tutti section, the exposition concludes with a reprise of the “Lullaby” melody. The development begins peacefully with the solo horn’s restatement of the initial theme, but soon generates considerable tension. The oboes inaugurate the recapitulation with a piano statement of the initial theme, to which the violins provide flowing accompaniment. The magical closing pages feature a haunting passage for solo horn. II. Adagio non troppo — The cellos play an espressivo statement of the descending principal theme. The horn introduces a flowing melody, immediately echoed by the oboes, flutes and lower strings. A syncopated theme, cast in 12/8 time and marked dolce, is first played by the flutes and oboes, and later in soaring fashion by the strings. The repose of the opening section is disturbed by agitated transformations of the various themes. Calm is fully restored only in the final measures. III. Allegretto grazioso (Quasi Andantino) — The third movement begins with the solo oboe’s presentation of the sprightly principal melody. The melody returns twice more, alternating with vigorous interludes (Presto ma non assai) that are, in fact, thematically related to the opening section. The movement concludes with a final statement of the principal melody. IV. Allegro con spirito — The most cheerful finale among Brahms’s Four Symphonies opens with the strings’ sotto voce presentation of the main theme. After the briefest of pauses, the entire orchestra explodes with a joyous forte restatement of the theme. Violins and violas introduce a more somber melody that Brahms directs be played largamente (“broadly”). The development section of this sonata-form movement imparts an air of mystery. Soon, the strings quietly reprise the opening theme, and when yet another tutti outburst follows, the festive mood returns. The recapitulation is followed by a coda of extraordinary momentum and power, leading the D-Major Symphony to its brilliant finish.
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program donald runnicles, Conductor
P
rincipal Guest Conductor Donald Runnicles is currently celebrating his 10th year of artistic partnership with Music Director Robert Spano in leading the Atlanta Symphony Orchestra. Mr. Runnicles is one of today’s most consistently acclaimed conductors of both opera and symphonic repertoire. In 2009, he became general music director of the Deutsche Donald Runnicles Oper Berlin and chief conductor of the BBC Scottish Orchestra, based in Glasgow. He continues as music director of the Grand Teton Music Festival, a summer orchestral festival in Jackson, Wyo., which will celebrate its 50th anniversary in 2011. Mr. Runnicles was music director and principal conductor of the San Francisco Opera from the 1992-93 season until the 2008-09 season. During his tenure, he conducted nearly 60 different titles, including the world premiere of John Adams’s Doctor Atomic and the U.S. premieres of St. Francoise d’Assise. Mr. Runnicles’s acclaimed recordings with the Atlanta Symphony Orchestra include a concert disc with soprano Christine Brewer singing Strauss and Wagner, and a new Strauss disc recorded live in Atlanta Symphony Hall. With the Orchestra, Mr. Runnicles also has recorded the Mozart Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony and a Brittania album. In December 2003, Mr. Runnicles and the Orchestra Chorus made their debut with the Berlin Philharmonic in Britten’s War Requiem. Following the performance, Der Tagesspiegel wrote: “The world has really turned a bit topsy-turvy when our fabulous Berliner Philharmoniker turn around in their orchestra seats to applaud an American amateur chorus.” Mr. Runnicles and the Chorus performed the Berlioz Requiem with the German orchestra in May 2008, and in most recently, in December 2009, Mr. Runnicles and the Chorus performed Brahms’s Ein deutsches Requiem. Mr. Runnicles has ongoing musical relationships with today’s finest orchestras and opera companies.
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julian rachlin, Violin
J
ulian Rachlin is one of the most charismatic and exciting violinists of his generation. He has performed with most of the world’s leading orchestras and conductors, and is praised for his powerful and refreshing interpretations. He continually brings audiences to their feet in top concert halls throughout the world, where his performances result in immediate re-invitations. In recognition of his immense Julian Rachlin talent, he received one of the most prestigious awards for classical musicians, the coveted “Accademia Musicale Chigiana” International Prize. He has performed with, and regularly returns to, Vienna Philharmonic, Royal Concertgebouw, the London Symphony, New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Staatskapelle Dresden, Gewandhaus Leipzig, Munich Philharmonic, Orchestra Philharmonica della Scala, Orchestre de Paris, Philharmonia Orchestra London, San Francisco Symphony and NHK Symphony. Among the top-class conductors, Julian has performed under Vladimir Ashkenazy, Herbert Blomstedt, MyungWhun Chung, Bernard Haitink, Mariss Jansons, James Levine, Lorin Maazel, Sir Neville Marriner, Zubin Mehta, Yehudi Menuhin, Sir Roger Norrington, Krysztof Penderecki, André Previn, Mstislav Rostropovich, Michael Tilson Thomas, Esa-Pekka Salonen, Riccardo Muti and Wolfgang Sawallisch. Highlights of his 2009-10 season included appearances with the LA Philharmonic, Czech Philharmonic, Symphonieorchester des Bayerischen Rundfunks, BBC Scottish, Orchestra dell’Accademia Nazionale di Santa Cecilia, Mahler Chamber Orchestra and a U.S. tour playing and directing the Academy of Saint Martin in the Fields. With his regular recital partner, Itamar Golan, Julian also gave recitals all over the world including performances of the complete Beethoven Sonata Cycle in Vienna at the Musikverein. Born in Lithuania in 1974, Julian immigrated to Austria, his adopted home, with his musician parents in 1978. He studied with the eminent pedagogue Boris Kuschnir at the Vienna Conservatory and took private lessons with Pinchas Zukerman. He gained international acclaim overnight in 1988 by winning the Young Musician of the Year award at the Eurovision Competition held at the Concertgebouw in Amsterdam. This success led to Lorin Maazel’s invitation to debut at the Berlin Festival with the Orchestre National de France and to tour Europe and Japan with the Pittsburgh Symphony Orchestra. He then became the youngest soloist ever to play with the Vienna Philharmonic, making his debut under Riccardo Muti. Since September 1999, he has been on the faculty at the Vienna Conservatory. Julian Rachlin plays the 1704 “ex Liebig” Stradivari, on loan to him courtesy of the Angelika Prokopp Private Foundation.
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support Appassionato
Meghan H. Magruder, Appassionato Chair
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.
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$15,000+ AGCO Corporation, Martin Richenhagen Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. C. Merrell Calhoun Mary Helen & Jim Dalton Mr. & Mrs. David Edmiston Gary & Nancy Fayard* Mr. Donald F. Fox $10,000+ Susan & Richard Anderson Ron & Susan Antinori Mark & Christine Armour The Balloun Family* Lisa & Joe Bankoff Barnes & Thornburg LLP The John & Rosemary Brown Family Foundation Dr. Robert L. & Lucinda W. Bunnen The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Shannon & Philip Cave Dr. John W. Cooledge Cari Katrice Dawson Eleanor & Charles Edmondson In memory of Polly Ellis by Admiral James O. Ellis, Jr.
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
Atlanta’s Performing Arts Publication 33
Patron Partnership
Judy Hellriegel, 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.
$5,000+ John & Helen Aderhold* Aadu & Kristi Allpere* Anonymous (4) Kelley O. & Neil H. Berman Mr. David Boatwright Breman Foundation Ann & Jeff Cramer* Triska Drake & G. Kimbrough Taylor, Jr. Dr. & Mrs. Carl D. Fackler Rosi & Arnoldo Fiedotin Mr. David L. Forbes
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Ms. Cynthia Jeness Hazel & Herb Karp Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss* Dr. & Mrs. James T. Lowman Gino & Belinda Massafra* Walter W. Mitchell
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Mr. & Mrs. W. F. Johnston Dr. Maurice J. Jurkiewicz Paul & Rosthema Kastin Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Mr. & Mrs. Daniel J. King Mr. & Mrs. J. David Lifsey Mr. & Mrs. Frederick C. Mabry Ruth & Paul Marston Mr. & Mrs. Albert S. McGhee Birgit & David McQueen Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Richard S. & Winifred B. Myrick Dr. & Mrs. R. Daniel Nable Mr. & Mrs. J. Vernon O’Neal, Jr. Mr. & Mrs. Andreas Penninger Dr. John B. Pugh Realan Foundation, Inc. Mr. & Mrs. Richard L. Rodgers
$3,500+ Julie M. Altenbach Mr. & Mrs. Dennis Chorba Ms. Carol F. Comstock & Mr. James L. Davis* Sally & Larry Davis Jere & Patsy Drummond Dr. & Mrs. C.R. Harper JoAnn Hall Hunsinger $2,250+ Mr. & Mrs. Phillip E. Alvelda* Marian & Paul Anderson Anonymous Jack & Helga Beam Penelope B. Berk Rita & Herschel Bloom Mr. & Mrs. Merritt S. Bond* Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Maj. Gen. & Mrs. Robert Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Beauchamp Carr Honor C. Cobbs Lucy & John Cook Robert Cronin & Christina Smith Mr. & Mrs. Christopher S. Edmonds
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support $2,250+ (continued) The Gary W. & Ruth M. Rollins Foundation Mrs. William A. Schwartz Elizabeth S. Sharp Morton & Angela Sherzer Dr. Kay R. Shirley Beverly & Milton Shlapak Helga Hazelrig Siegel
Lewis Silverboard Mr. & Mrs. Baker A. Smith Hamilton & Mason Smith Amy & Paul Snyder John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Burton Trimble
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Paul B., Paul H. & M. Harrison Hackett Carol & Thomas J. Hanner Thomas J. High Mr. & Mrs. Jesse Hill, Jr. Mr. Thomas Hooten Dr. & Mrs. James M. Hund Dorothy Jackson Mary & Wayne James Aaron & Joyce Johnson Veronique & Baxter Jones Lana M. Jordan Mr. Thomas J. Jung Dick & Georgia Kimball* Dr. Rose Mary Kolpatzki Mr. & Mrs. David E. Krischer Tom, Margie, Carla & Patrick Lawson Dr. Leslie Leigh Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. Paul A. Lutz* Barbara & Jim MacGinnitie Mr. & Mrs. James H. Matthews, Jr. Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey John F. & Marilyn M. McMullan Angela & Jimmy Mitchell* Judy & Gregory Moore Carter & Hampton Morris Mrs. Gene Morse
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$1,750+ Anonymous (2) Mr. & Mrs. William B. Astrop Dr. David & Julie Bakken Mr. & Mrs. Ron H. Bell Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Dr. & Mrs. Anton J. Bueschen Mr. & Mrs. Russell E. Butner* Mr. & Mrs. Walter K. Canipe In Memory of Dr. Richard A. Carroll, Sr. Mrs. Hugh Chapman Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Mr. & Mrs. Douglas C. Curling Mrs. H. Frances Davis Brant & Kathy Davis* Elizabeth & John Donnelly Mr. Bruce E. Dunlap Gregory & Debra Durden Ms. Diane Durgin Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay Mary Frances Early Drs. Bryan & Norma Edwards Heike & Dieter Elsner Judge & Mrs. Jack Etheridge Mr. & Mrs. Thomas E. Fullilove* Representative Pat Gardner & Mr. Jerry Gardner Bill & Susan Gibson
*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
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Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.
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$10,000+
Special Gifts
The Aaron Copland Fund The ASCAP Foundation For Music, Inc. Livingston Foundation, Inc. The Arnold Foundation, Inc. Reiman Charitable Foundation William Randolph Hearst $5,000+ Endowed Fund The Fraser-Parker Foundation William McDaniel Charitable Foundation Robert S. Elster Foundation The Sartain Lanier Family Foundation
Office of Cultural Affairs: Major support is provided by the City of Atlanta Office of Cultural Affairs.
This program is supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Council is a Partner Agency of the National Endowment for the Arts.
support Henry Sopkin Circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Madeline & Howell E. Adams, Jr. Mr. & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Fred & Bettye Betts Mr. & Mrs.* Karl A. Bevins Mr.* & Mrs. Sol Blaine Frances Cheney Boggs* W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Miriam & John A. Conant* Dr. John W. Cooledge Mr. & Mrs. William R. Cummickel* John R. Donnell Dixon W. Driggs* Catherine Warren Dukehart Ms. Diane Durgin Kenneth Dutter Arnold & Sylvia Eaves
Elizabeth Etoll John F. Evans Doyle Faler* Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Kay Gardner* Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Mrs. Irma G. Goldwasser* Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G. & Joseph* F. Haas James & Virginia Hale Miss Alice Ann Hamilton Ms. Jeannie Hearn Jill* & Jennings Hertz Albert L. Hibbard, Jr.* Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr. & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James Calvert Johnson deForest F. Jurkiewicz* Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey
James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Ann Bernard Martin* Mr. Michael McDowell* Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis Vera A. Milner* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Carl J. Reith* Edith Goodman Rhodes* Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr. & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Edward G. Scruggs
Dr. & Mrs. George P. Sessions W. Griggs Shaefer, Jr.* Mr. & Mrs. Robert Shaw* Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Margo Sommers* Elliott Sopkin Elizabeth Morgan Spiegel Daniel D. Stanley* Peter James Stelling C. Mack* & Mary Rose Taylor Jed Thompson Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Richard S. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Elin M. Winn* Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12) *Deceased
The Learning Community Atlanta Symphony Youth Orchestra, Talent Development Program, Talent Development Program Endowment, Concerts for Young People, Family Concerts, Conversations of Note
$250,000+
The Wachovia Wells Fargo Foundation The Zeist Foundation, Inc.
$50,000+
GE Energy Abraham J. & Phyllis Katz Foundation
$25,000+
The Coca-Cola Company Mr. & Mrs. Jesse Hill, Jr. MetLife Foundation Monica & John Pearson Hellen Ingram Plummer Charitable Foundation
Publix Super Markets & Publix Super Markets Charities, Inc. Jay & Arthur Richardson SunTrust Bank Trusteed Foundation- Walter H. and Marjory M. Rich Memorial Fund SunTrust Foundation
$5,000+
Mr. & Mrs. Howatt E. Mallinson Dr. Joanne R. Nurss Ms. Margaret H. Petersen Alison & Mike Rand Mr. & Mrs. Johnathan $2,500+ H. Short Elinor Rosenberg Breman** Suzanne & Willard* Shull Mr. & Mrs. Charles B. Ginden Isaiah & Hellena Huntley Links Inc., Azalea City Chapter Tidwell $10,000+ Mr. & Mrs. Raul F. Trujillo Edith H. & James E. Bostic, $1,000+ Mr. Mack Wilbourn Anonymous Jr. Family Foundation Sharon, Lindsay Cree & Frazer Durrett & Gordon Fisher Livingston Foundation, Inc. Aaron & Joyce Johnson Primerica *Deceased Mr. & Mrs. Robert A. Yellowlees Ms. Malinda C. Logan Dr. Margo A. Brinton & Mr. Eldon Park Cynthia & Donald Carson Mrs. Mary C. Gramling
** Scholarships for Atlanta Symphony Youth Orchestra tuition are made possible through the Elinor Rosenberg Breman Fellowship.
Atlanta’s Performing Arts Publication 37
support Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra
2010-2011 board Belinda Massafra President Suzy Wasserman, Leslie Petter & Camille Yow Advisors Leslie Petter Parliamentarian Elba McCue Secretary Janis Eckert Treasurer
Ellie Kohler Historian Alison Mimms VP Adminstration Corrie Johnson Nominating Chair Sylvia Davidson ASA Spring Luncheon Sheila Richards & Juanita Jones ASA Night at the Symphony Co-Chairs
Liz Troy ASA Night at VWA (Verizon) Camille Kesler Newsletter Editor Pat King Directory Editor Suzy Smith VP Public Relations Faye Popper VP Youth Education Glee Lamb VP Membership
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Silver table hosts Amanda & Greg Gregory Bronze Global Payments, Inc. Genuine Parts wine sponsors Savi Urban Market Capasaldo Rosenblum Vineyards Sterling Vineyards National Distributing Company Media sponsor The Atlantan
special contributors Table Hosts Mr. & Mrs. William M. Graves Patty & Doug Reid patrons Mr. & Mrs. Carleton Allen Mr. & Mrs. Charles Allen Ron & Susan Antinori Yetty & Charlie Arp Lyn & Rick Asbill Kimberly & Joel Babbit Mr. & Mrs. Smith Baker Joe & Lisa Bankoff Mr. & Mrs. Paul J. Blackney Stephanie & Arthur Blank Dr. Yamma Brown & Mr. Brandon Culpepper
Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Philip P. Cave Dr. & Mrs. Stephen A. Dawkins Richard & Lynne Dorfman Eilleen & Bo Dubose Carla & Carl Fackler Bill & Frannie Graves Harald R. Hansen Merrel & Willem Hattink Jim & Pam Henry Gerry & Patricia Hull Baxter & Veronique Jones Mark S. Lange Mr. & Mrs. Larry Lanier Pat & Nolan Leake Elizabeth Levine Belinda & Gino Massafra Mr. & Mrs. Harmon B. Miller, III Lawrence E. Mock, Jr.
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38 EncoreAtlanta.com
Twosome Sponsors Harold Hansen Jones Day
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Patron Circle of Stars By investing $15,000 or more in the Woodruff Arts Center and its four divisions – Atlanta Symphony Orchestra, Alliance Theatre, High Museum of Art and Young Audiences – these outstanding annual corporate campaign donors helped us raise more than $8.6 million in 2008–09. Thank you! Chairman’s Council ★★★★★★★★★★★★★ $500,000+ The Coca-Cola Company ★★★★★★★★★★★ $450,000+ Georgia Power Foundation, Inc. ★★★★★★★★★★ $400,000+ Turner Broadcasting System, Inc. ★★★★★★★★★★ $300,000+ Cox Interests Cox Enterprises (Atlanta JournalConstitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation) The Honorable Anne Cox Chambers The Sara Giles Moore Foundation UPS ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Deloitte LLP, its Partners & Employees The Klaus Family Foundation Mabel Dorn Reeder Foundation ★★★★★★★★ $150,000+ Alston & Bird LLP Equifax Inc. & Employees Ernst & Young, Partners & Employees Jones Day Foundation & Employees Kilpatrick Stockton LLP PricewaterhouseCoopers Partners & Employees The Rich Foundation, Inc.
40 EncoreAtlanta.COM
SunTrust Employees & Directed Funds Florence C. & Harry L. English Memorial Fund Harriet McDaniel Marshall Trust Woolford Charitable Trust Fund ★★★★★★★ $100,000+ AirTran Airways Bank of America Holder Construction Company ING Kaiser Permanente King & Spalding LLP KPMG LLP, Partners & Employees The Marcus Foundation, Inc. Regions Financial Corporation Tull Charitable Foundation The Wachovia Wells Fargo Foundation, Inc. The David, Helen & Marian Woodward Fund ★★★★★★ $75,000+ The Home Depot Foundation The Sartain Lanier Family Foundation, Inc. Macy’s Foundation Toshiba American Nuclear Energy Corp. Westinghouse ★★★★★ $50,000+ AGL Resources Inc. The Partners & Employees of Atlanta Equity Investors Cisco Citi Foundation and Citi businesses of Primerica Citi Smith Barney CitiFinancial Corporate Investment Bank
Coca-Cola Enterprises The Delta Airlines Foundation Frank Jackson Sandy Springs Toyota and Scion GE Energy Kia Motors America, Inc. Kimberly-Clark Corporation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Sutherland Asbill & Brennan LLP Waffle House, Inc. The Zeist Foundation, Inc. ★★★★ $35,000+ Accenture & Accenture Employees Balch & Bingham LLP Lisa & Joe Bankoff Brysan Utilities Contractors, Inc. Mr. & Mrs. Bradley Currey, Jr. Drummond Company, Inc. GMT Capital Corporation The Imlay Foundation, Inc. INVESCO PLC J. Marshall & Lucile G. Powell Charitable Trust SCANA Energy Siemens Industry, Inc. Harris A. Smith Spartan Constructors LLC Troutman Sanders LLP Gertrude & William C. Wardlaw Fund Frances Wood Wilson Foundation, Inc. ★★★ $25,000+ Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property Atlanta Foundation BB&T Corporation BDO Seidman, LLP Bryan Cave LLP Capital Guardian Trust Company
A. D. Correll Crawford & Company DuPont First Data Corporation Mr. & Mrs. Mike Garrett Gas South, LLC Genuine Parts Company Georgia-Pacific Jack & Anne Glenn Foundation, Inc. Grant Thornton LLP IBM Corporation IntercontinentalExchange Mr. & Mrs. M. Douglas Ivester JPMorgan Private Bank Philip I. Kent Foundation The Blanche Lipscomb Foundation Kelly Loeffler & Jeffrey Sprecher McKinsey & Company, Inc. Mueller Water Products, Inc. Noonan Family Foundation Norfolk Southern Foundation Piedmont Charitable Foundation, Inc. Mary & Craig Ramsey Rock-Tenn Company Shaw Nuclear Services Southwire Company Spectrum Brands Towers Perrin Wal-Mart Stores, Inc. Waste Management Charitable Foundation Yancey Bros. Co. ★★ $15,000+ 22squared, inc. ACE Charitable Foundation AGCO Corporation Air2Web, Inc. Alcatel-Lucent Alix Partners Arcapita Arnall Golden Gregory LLP Atlanta Marriott Marquis Bain & Company, Inc. Julie & Jim Balloun
Beaulieu Group, LLC Katharine & Russell Bellman Foundation Vicki & Gerry Benjamin The Arthur M. Blank Family Foundation Bovis Lend Lease Catherine S. & J. Bradford Branch Bradley-Turner Foundation, Inc. George M. Brown Trust Fund of Atlanta, Georgia Buck Consultants 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 Cousins Properties Incorporated DLA Piper Duke Realty Corporation Eisner Family Foundation Exposition Foundation, Inc. Ford & Harrison LLP John & Mary Franklin Foundation, Inc. Georgia Natural Gas Georgia Trane Companies, Inc. James B. Hannan Harland Clarke The Howell Fund, Inc. Hunton & Williams ICS Contract Services, LLC J. Mack Robinson Interests Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation David & Jennifer Kahn Family Foundation Sarah & Jim Kennedy Thomas H. Lanier Family Foundation Lanier Parking Solutions
Barbara W. & Bertram L. Levy Fund Ron Lipham – UC/Synergetic Livingston Foundation, Inc. Lockheed Martin Aeronautics Company Manulife Financial Mohawk Industries, Inc. Morgan Stanley MWV Food & Beverage Northwestern Mutual Goodwin, Wright The Sally & Peter Parsonson Foundation, Inc. Paul, Hastings, Janofsky & Walker LLP Tara Perry Pickard Chilton The Pizzuti Companies Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe Raymond James Financial, Inc. Restaurant Associates Frances & Jesse A. Sasser, Jr. Spencer Stuart Karen & John Spiegel Staples Superior Essex Inc. Mark & Susan Tomlinson Family Fund TriMont Real Estate Advisors, Inc. Turner Construction Company United Distributors, Inc. US Foodservice/Atlanta Vertical Systems Group, Inc./ Atlantic Financial Services, Inc. WATL/WXIA/Gannett Foundation Watson Wyatt Worldwide Weswood Foundation John Wieland Homes and Neighborhoods Mr. & Mrs. James B. Williams Sue & Neil Williams Carla & Leonard Wood The Xerox Foundation *As of May 12, 2010
Atlanta’s Performing Arts Publication 41
On the eve of his season debut as the Orchestra’s first-ever Principal Pops Conductor, Michael Krajewski pauses to reflect on his career path and the state of music today
Widely recognized as a humorous and easygoing entertainer and the go-to conductor of the Atlanta Symphony Orchestra’s SuperPOPS! series, there is more to the life of the seemingly happygo-lucky conductor Michael Krajewski than meets the ears. In fact, Michael’s serious side is far more profound than his fans might expect, especially when discussing music. Growing up in Dearborn, Mich., Michael spent his summers listening to the Detroit Symphony Orchestra’s free outdoor concert series, “Symphony Under the Stars.” He enjoyed the familiar, lighter pops repertoire and set his sights on outdoor pops concerts as his conducing career took off.
42 EncoreAtlanta.com
Michael Tammaro
“I can’t imagine a day without music”
by Sophie Cox
“I enjoyed putting together entertaining programs and talking to the audience, and I also discovered that I seemed to have a knack for conducting pops concerts,” he recalled. “People responded well to my programs and the way I put them across.” Michael relishes his new responsibilities. “I feel very honored that the Atlanta Symphony would choose to create a position around me, and I can’t wait to be ‘wicked,’” he joked, referring to his first concert, “Wicked Divas,” a vocal toast to the Broadway hit musical Wicked, which opens the SuperPOPS! season, Friday and Saturday, Oct. 8-9. The popular conductor leads five pops programs and the annual New Year’s
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Eve concert during the 2010-11 season. He is excited to collaborate with longtime friend Tony Kishman, who starred in Beatlemania and reprises his role as Paul McCartney in the SuperPOPS! valentine to the former Beatle, All You Need Is Love, Feb. 11-12. Michael also looks forward to performing with the Chieftains — the sixtime Grammy-winning Irish musical group — March 11-12. The effusive music-man “can’t imagine a day without music.” His exuberance for music is so contagious that it adds a distinct radiance to an already glimmering Orchestra. On stage, he “channels Tony Bennett, who has had the greatest influence on me as an entertainer. He makes the audience feel like there’s nowhere else he would rather be, which is exactly the way I feel.” Classical music is also a passion of Michael’s. “The Orchestra is part of an extraordinary competitive environment,” he conceded, “and now more than ever, we must remind our audience that a concert performance is a peak experience you can’t find anywhere else. “No matter how good your stereo equipment may be, you just can’t top being in an audience and hearing a big symphony orchestra playing live. We provide a uniquely satisfying environment.”
As a strong supporter of the Orchestra’s many programs in schools and at Symphony Hall, he is troubled by the current climate of budget-based priorities in schools. Sadly, music education is no longer a priority. Much to the dismay of music education advocates, it is unclear whether years from now, elementary-aged students will grow up appreciating Bach, Mozart, Beethoven, and the rest of the classical icons many of us were introduced to at an early age. “We have really dropped the ball in this country in music and arts education in general,” he said. “I don’t think it should be considered extracurricular, but rather part of a student’s basic education.” “Proper music education in school holds the key to attracting a younger audience to the concert hall,” he explained. “If children hold some familiarity with music, they are more likely to want to attend a show. It’s human nature. If people don’t know anything about classical music and have never had any exposure, they simply won’t go.” And if he could only conduct only one piece for the rest of his life? “It would be Gustav Mahler’s Second Symphony, the Resurrection. “There’s so much depth to it,” Michael said. “I don’t think it will ever get stale.” And neither will Michael.
Michael is equally committed to bringing musical joy to younger people, despite a laughing admission that “when I think about young people in a symphony audience, I’m thinking under 60, not 30and 20-somethings, teen and kids!”
44 EncoreAtlanta.com
Sophie Cox is a junior at the University of Georgia. She interviewed new Concertmaster David Coucheron for Atlanta Intown while a summer intern at the Orchestra.
Jeff Roffman
Members of the Atlanta School of Composers: (L-R) Michael Gandolfi, Adam Shoenberg, Music Director Robert Spano, Orchestra President Stanley Romanstein, Christopher Theofanidis and Jennifer Higdon.
Continued from page 20 When he’s not at home, he maintains a full calendar conducting around the U.S. or Europe. A career highlight from the past decade came at the Seattle Opera, where he was immersed (twice) in Richard Wagner’s four-opera epic “Ring” Cycle, adding a richness to his interpretations that hasn’t escaped the notice of critics. Likely the most memorable element of Spano’s Atlanta tenure has been among the most important activities for any arts organization: the creation and nurturing of new works. This is where the future of the art form will be decided; this is where a conductor builds his credentials as a thinker and an “activist” for the art. Spano has planted his flag with the “Atlanta School of Composers,” which, as the conductor explains favors tonal melodies, intense emotions and an underlying awareness of cinematic and world or pop music.
46 EncoreAtlanta.com
Yet for the listener, there’s no strict style to the Atlanta School. Osvaldo Golijov’s Latin dance rhythms and Yiddish sound-world (The St. Mark Passion, Ainadamar) has no apparent relation to the bold Americana of Jennifer Higdon (blue cathedral, On a Wire) – to name just two of the group. Cellist Rex calls this creative diversity “a great morale booster.” More than just playing premieres, the Atlanta School is about what Spano jokingly calls “watering your composers” — treating new works as a garden that needs tending. The latest addition is Adam Schoenberg, whose music satisfies on first listen, yet stands up to repeated performances. Schoenberg will write a brief fanfare to open the 201011 season, one of several Atlanta School fanfares celebrating Spano’s 10th season. Arthur Bucklaw writes about the arts in Atlanta and elsewhere.
calendar Sept 30/October 1/2 Thur/Fri/Sat: 8pm Delta Classical Beethoven: Piano Concerto No. 4 Mahler: Symphony No. 1 in D major, “Titan” Robert Spano, conductor Emanuel Ax, piano October 8/9 Fri/Sat: 8pm SuperPOPS! Wicked Divas Michael Krajewski, conductor Jennifer Laura Thompson, Julia Murney, vocalists Atlanta Gay Men’s Chorus October 14/15/16 Thur/Fri/Sat: 8pm Delta Classical Brahms: Symphony No. 2 J. Strauss, Jr.: Blue Danube Waltz Berg: Violin Concerto Donald Runnicles, conductor Julian Rachlin, violin a season of bravos! on sale now at the box office
October 21/23 Thur/Sat: 8pm Delta Classical Ligeti: Atmosphères Bartók: Suite from The Miraculous Mandarin Janácek: Glagolitic Mass Robert Spano, conductor Twyla Robinson, soprano Monica Groop, mezzo-soprano John McMaster, tenor Burak Bilgili, bass Peter Marshall, organ Atlanta Symphony Orchestra Chorus
October 24 Sun: 1:30 & 3:30pm Halloween Jere Flint, conductor
Family
November 4/6/7 Thur/Sat: 8pm Delta Classical Sun: 3pm Dvo˘rák: Symphony No. 9 Mozart: Adagio in E Major for Violin and Orchestra Mozart: Rondo in C Major for Violin and Orchestra Mozart: Symphony No. 25 in G minor Itzhak Perlman, conductor and violin November 11/13 Thur/Sat: 8pm Delta Classical Smetana: The Moldau Shostakovich: Symphony No. 10 Haydn: Sinfonia Concertante in B-flat Hugh Wolff, conductor David Coucheron, violin Christopher Rex, cello Elizabeth Koch, oboe Carl Nitchie, bassoon November 12 Fri: 8pm Idina Menzel
Tony Awardwinning vocalist Idina Menzel (Rent, Wicked). Woodruff Arts Center Box Office @ 15th & Peachtree 404.733.5000 atlantasymphony.org
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will Downing Sweet Sexy Soul Tour with Special Guest nAJEE
The “Prince of Sophisticated Soul” is back in Symphony Hall for one night only of classic rhythm and blues with special guest smooth jazz artist Najee. november 12 Fri: 8pm
Idina Menzel with the Atlanta Symphony orchestra Tony Award-winning vocalist Idina Menzel (Rent, Wicked) is now in the cast of TV’s hit show Glee. november 20 Fri: 8pm
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staff Administrative Staff Executive Stanley E. Romanstein President Aysha H. Siddique Manager of Board & Community Relations Evans Mirageas Director of Artistic Planning ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Rachel Trignano Assistant to the VP for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Kelly O’Donnell Artist Aisstant 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 Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager
FINANCE & ADMINISTRATION Donald F. Fox Executive Vice President for Business Operations & Chief Financial Officer Shannon McCown Assistant to the Executive Vice President for Business Operations & Chief Financial Officer Susan Ambo Controller Kim Hielsberg Director of Financial Planning & Analysis April Satterfield Senior Accountant Peter Dickson Staff Accountant Michael Richardson Venues Analyst Stephen Jones Symphony Store Manager Galina Rotbakh Symphony Store Sales Associate
advancement & learning Sandy Smith Interim VP for Institutional Advancement & Learning Tammie Taylor Assistant to the Interim VP for Institutional Advancement & Learning Stephanie Malhotra Director of Development & Learning Services Rebecca Abernathy Development Services Coordinator
MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Symphony Pops Alesia Banks Director of Customer Service & Season Tickets Nellie Cummins Group & Corporate Sales Associate Meko Hector Office & Marketing Coordinator Major & Planned Giving Jennifer Jefferson Jessica Langlois Director of e-Business Director of Leadership Gifts & Interactive Media & Planned Giving Melanie Kite Andrea Welna Subscription Major Gifts Officer Office Manager Meredith Jackson Shelby Moody Prospect Research Officer Group & Corporate Sales Coordinator Annual, Institutional & Volunteer Services Seth Newcom Database Administrator Corey Cowart Director of Kimberly Nogi Corporate Relations Publicist Toni Paz Robert Phipps ASO PRESENTS Director of Individual Giving Publications Director Clay Schell Maya Robinson Melissa A. E. Sanders Vice President, Programming Patron Partnership Senior Director, Gifts Officer Trevor Ralph Communications General Manager and Senior Zachary Brown Karl Schnittke Director of Operations Director of Volunteer Publications Editor Services & Special Events Holly Clausen Robin Smith Director of Marketing Sarah Levin Group & Corporate Volunteer Project Manager Keri Musgraves Sales Assistant Promotions Manager Ashley Krausen Russell Wheeler Special Events Coordinator Lisa Eng Group & Corporate Graphic Artist Sales Manager Learning Community Christina Wood Chastain Park Amphitheater Melanie Darby Director of Marketing Director of Education Tanner Smith Programming Program Director Sandy Smith Verizon Wireless Director of Development Amphitheatre at Barbara Saunders Encore Park Learning Community Katie Daniel Gifts Officer VIP Sales Manager Lindsay Fisher Jenny Pollock Learning Community Operations Manager Specialist; Ensembles Rebecca Gordon Coordinator Box Office Manager
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general info LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements. SYMPHONY STORE The ASO’s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to t-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.
THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860. IMPORTANT PHONE NUMBERS Concert Hotline 404.733.4949 (Recorded information) Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345
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ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year. SINGLE TICKETS Call 404.733.5000 Mon.–Fri., 10 a.m.–8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks
prior to the concert, tickets will be held at the box office. Woodruff Arts Center Box Office Mon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon– 8 p.m. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change. GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848. GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.
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gallery A Wiz-bang summer! The Wizard of Oz, on screen and in concert, capped the Orchestra’s summer season at Verizon Wireless Amphitheatre at Encore Park in Alpharetta. The annual collaboration with Turner Classic Movies was doubly entertaining with the three finalists from the Orchestra’s “Songster 2010” competition, who sang “Over the Rainbow” prior to the concert.
And the winner is … (Left to right) TCM host Ben Mankiewicz congratulates the finalists: Christina Lewis, Rebekah Dossou and Joseph Brewer. Ms. Dossou took home the prize as the first place winner.
On the yellow brick road with Dorothy and pals, and Jere While the Tin Man, Dorothy and the Scarecrow contemplated their journey, Jere Flint and the Orchestra heightened the excitement with the thrilling score.
58 EncoreAtlanta.com 58 EncoreAtlanta.com
Jeff Roffman photos
Rainbow sunset A gorgeous sunset relaxed the audience before the “Songster 2010” finalists, took the stage.
BAILE Y PERFO R MA N C E C E N T E R K E N N E S AW STATE UNIVERSIT Y | School of Music
Measha Brueggergosman soprano
Saturday, October 23, 2010, 8 p.m. | $30 Celebrated soprano Measha Brueggergosman has emerged as one of today’s magnificent performers, and is critically acclaimed by the press as much for her musicianship and voluptuous voice as for her commanding stage presence. More than three billion television viewers from across the globe witnessed her brilliant performance of the Olympic Hymn during the Opening Ceremonies of the 2010 Vancouver Winter Olympic Games.
For tickets call 770-423-6650 baileycenter.kennesaw.edu flourish with us
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