Encore Atlanta September 2009 ASO

ATLANTA

SYMPHONY

ORCHESTRA

ROBERT SPANO, MUSIC DIRECTOR

DONALD RUNNICLES, PRINCIPAL GUEST CONDUCTOR

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contents september 2009 44

12

features

the music

12 Marvels & Milestones

19 The concert’s program and notes

Star power and five world premieres — the ASO’s most ever — marks the 65th-anniversary season.

44 Points of View

Associate Principal Second Violinist Sou-Chun Su gives his.

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aso departments 6 Music Lovers 8 ASO Leadership 10 Robert Spano 16 Musicians 29 Contributors 48 Administration 50 General Info 50 Ticket Info 52 Gallery ASO

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Music Lovers W

elcome to a new season of dazzling music making. The year ahead bubbles with the musical excellence and originality of the Orchestra and Music Director Robert Spano that all of you have come to expect from the Atlanta Symphony.

This year we celebrate a landmark 65 seasons of music, creativity and legacy. It is a landmark that all of us can be proud of and inspired by, especially because it reminds us that without the dedication and support of you, our loyal patrons, donors, subscribers and ASO enthusiasts, none of this would be possible.

You are truly co-architects in building the Orchestra’s everrising reputation as a leader in the innovative programming and performance vividly realized in the 2009-2010 season, both here at Symphony Hall and in prestigious invitations for Maestro Spano and the Orchestra to return in November to Carnegie Hall and for Principal Guest Conductor Donald Runnicles and the Chorus to perform this December in Berlin with the Berlin Philharmonic.

Robert toasts our 65th anniversary with five world-premiere collaborations, featuring Yo-Yo Ma in a concerto written for him

by Angel Lam; Wynton Marsalis’s first symphonic composition; highly charged works by Atlanta native Jennifer Higdon and Michael Gandolfi, prized members of our Atlanta School of Composers; and in October, pianist Dejan Lazic’s transcription of a Brahms classic, and the Theater of a Concert semistaging of Stravinsky’s glorious opera The Nightingale.

And, of course, there’s more. The SuperPops season begins with a bang as conductor Michael Krajewski proves “Broadway Rocks.” The Family Series, led by staff conductor Jere Flint, begins with the always popular and spooky Halloween concert. December is filled with the beautiful and joyous music of the season in all its forms.

So much to celebrate, so much to enjoy. I have only one request: Share the excitement and bring a friend the next time you come to Symphony Hall!

Yours in Music,

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

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ASOleadership atlanta Symphony Orchestra League 2009-2010 Board of Directors Officers Ben F. Johnson, III Chairman Clayton F. Jackson Treasurer

Jeff Mango Penny McPhee

Chilton Davis Varner Allison Vulgamore*

Kathleen (Suzy) Wasserman ASA President* Joni Winston Secretary

Tycho Howle Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Michael Lang Donna A. Lee Lucy Lee Patrice Wright-Lewis Meghan H. Magruder 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 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

Directors Pinney L. Allen Joseph R. Bankoff * Jason A. Bernstein Paul Blackney C. Merrell Calhoun Donald P. Carson Philip Cave Ann W. Cramer Christopher Crommett Cari K. Dawson Richard A. Dorfman Carla Fackler Gary P. Fayard Dr. Robert Franklin Willem-Jan O. Hattink Jim Henry

Board of counselors Howell E. Adams, Jr. Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell Jere Drummond Arnoldo Fiedotin

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

* ex officio

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Robert Spano music Director

A

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 — the 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.

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 returned for the cycle in August 2009. With a discography of 12 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.

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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

Jun-Ching Lin

Assistant Concertmaster

Carolyn Toll Hancock

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

Principal The Atlanta Symphony Associates Chair*

Sou-Chun Su

Associate Principal The Frances Cheney Boggs Chair*

Jay Christy

Assistant Principal

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

16 Encore Atlanta

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Wesley Collins Robert Jones Marian Kent Yang-Yoon Kim• Catherine Lynn Lachlan McBane Heidi Nitchie Ardath Weck

Associate Principal

Jane Little

Assistant Principal Emeritus

Joseph Conyers• Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson

FLUTE Christina Smith

Principal The Jill Hertz Chair *

Robert Cronin

Associate Principal

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 *

CELLO Christopher Rex

Yvonne Powers Peterson Associate Principal Deborah Workman Patrick McFarland

Daniel Laufer

ENGLISH HORN Patrick McFarland

Principal The Miriam and John Conant Chair* Associate Principal The Livingston Foundation Chair

Karen Freer

Assistant Principal

Dona Vellek Klein

Assistant Principal Emeritus

Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Paul Warner

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

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

Bill Thomas George Curran 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

Dinner & a Concert with the ASO 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.

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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 Saturday, September 24 and 26, 2009, at 8 p.m.

and Sunday, September 27, 2009, at 3 p.m.

ROBERT SPANO, Conductor garrick ohlsson, Piano

John Stafford Smith (1750-1836) (arr. Walter Damrosch)

The Star-Spangled Banner

Peter Ilyich Tchaikovsky (1840-1893)

Symphony No. 6 in B minor, Opus 74 (“Pathétique”) (1893) I. Adagio; Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso INTERMISSION

Sergei Rachmaninov (1873-1943)

Piano Concerto No. 3 in D minor, Opus 30 (1909) I. Allegro ma non tanto II. Intermezzo: Adagio III. Finale: Alla breve

Garrick Ohlsson, Piano

“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 19

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 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.

20 EncoreAtlanta.com

ASOprogram Notes on the Program

By Ken Meltzer Symphony No. 6 in B minor, Opus 74 (“Pathétique”) (1893) Peter Ilyich Tchaikovsky was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the “Pathétique” Symphony took place in St. Petersburg on October 28, 1893, with the composer conducting. The “Pathétique” Symphony is scored for piccolo, three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, tam tam and strings. Approximate performance time is forty-six minutes.

First ASO Classical Subscription Performance: April 25, 1948, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: May 18, 19 and 20, 2006, Robert Spano, Conductor.

P

eter Ilyich Tchaikovsky conducted the world premiere of his Sixth and final Symphony, the “Pathétique,” in St. Petersburg on October 28, 1893. Nine days later, Tchaikovsky was dead at the age of 53. For years, the accepted explanation of Tchaikovsky’s demise, first advanced by his brother, Modest, was that the composer died as a result of the cholera epidemic then plaguing Russia.

In the past few decades, however, evidence has surfaced that Tchaikovsky may well have committed suicide, perhaps in order to avoid the humiliation of the revelation of an illicit relationship. (In the fourth and final volume of his superb Tchaikovsky biography (W.W. Norton and Co., 1991), David Brown argues, in extensive and cogent detail, the case for this suicide theory. Alexander Poznansky is a staunch advocate for the traditional view in his Tchaikovsky’s Last Days (Oxford University Press, 1996).

Throughout his life, Tchaikovsky frequently suffered from depression, and, on at least one prior occasion, attempted to kill himself. And the prevailing theory among current scholars is that Tchaikovsky’s death was indeed the result of suicide, in all likelihood, by arsenic poisoning.

“I frequently wept” A consensus on this volatile issue is unlikely. Nevertheless, it is difficult to listen to Tchaikovsky’s final Symphony and not sense the composer’s premonition of his own demise. As Tchaikovsky confided to his nephew, Vladimir Davïdov, to whom he dedicated the “Pathétique” Symphony: Whilst I was on my travels I had an idea for another symphony, a programme symphony this time; but the programme will be left as an enigma—let people guess it for themselves. This programme is so intensely personal that as I was mentally composing it on my travels I frequently wept copiously.

Tchaikovsky originally sketched his “Pathétique” Symphony between February 16 and April 5, 1893. While on a conducting tour in London that May, Tchaikovsky wrote to Davïdov: “I’m Atlanta’s Performing Arts Publication 21

not only suffering from a melancholy for which there is no word (there’s a place in my new symphony for where I think it is well expressed), but from a hatred of strange people, and some undefined fear—and the devil knows what else besides ...”

In August, Tchaikovsky completed the orchestration of his Sixth Symphony. Shortly thereafter, the Grand Duke Konstantin suggested that Tchaikovsky compose a Requiem, based upon verses by the Russian poet, Alexey Apukhtin. Tchaikovsky replied: “I am in some difficulty because of the fact that my last symphony, that I have just written and is down for performance…is imbued with a spirit very close to that which infuses the Requiem.”

It should also be noted that between the two World Wars, the following sketch by Tchaikovsky was discovered among his papers: The ultimate essence of the plan of the Symphony is LIFE. First part — all impulsive passion, confidence, thirst for activity. Must be short. (Finale — DEATH — result of collapse.)

Second part love; third disappointments, fourth ends dying away (also short).

Whatever program Tchaikovsky intended for the Sixth Symphony, he chose a unique format for its presentation. Tchaikovsky’s Fourth and Fifth Symphonies—both depictions of a struggle with fate—conclude with rousing, triumphant finales. However, Tchaikovsky informed Davïdov that, in the “Pathétique”: “Formally there will be much that is new in this symphony, and incidentally the Finale won’t be a loud Allegro but, on the contrary, a very slow-moving Adagio.”

“I take more pride in it than in any other of my works” Tchaikovsky realized his departure from symphonic convention might well hinder the work’s acceptance. As he admitted to Davïdov: “I shall consider it the usual (thing) and unsurprising if this symphony is torn to pieces or is little appreciated; it won’t be the first time (this has happened).”

Indeed, the premiere of Tchaikovsky’s “Pathétique” (a nickname suggested by the composer’s brother, Modest) was far from a triumph. The critics and audience — no doubt bewildered by the work’s frequently morbid tone and unconventional structure — offered a lukewarm reception. Still, Tchaikovsky maintained faith in his new Symphony, and informed his publisher: “It’s not that it displeased, but it produced some bewilderment. As far as I’m concerned, I take more pride in it than in any other of my works.”

Tchaikovsky did not live to see the vindication of his final Symphony. As previously noted, Tchaikovsky died on November 6, 1893, nine days after the work’s premiere. The composer’s funeral was held in St. Petersburg’s Kazan Cathedral, the first time such an honor had been bestowed upon non-royalty. The normal capacity of the Cathedral was 6,000. However, 60,000 people applied for permission to attend the ceremony. 8,000 crowded into the Cathedral for the service. The funeral procession ultimately made its way to Alexander Nevsky Cemetery.

Among the observers was Czar Alexander III, who was reported to have said, “We have many dukes and barons, but only one Tchaikovsky.”

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ASOprogram In time, Tchaikovsky’s “Pathétique” has become recognized as the composer’s symphonic masterpiece, a fitting summation of the life and career of Russia’s most beloved composer. It is a work of extraordinary power, a Symphony that presents a stunning array of emotions, cast in a bold, revolutionary format. For his part, Tchaikovsky left no doubt as to his affection for the “Pathétique.” As he wrote to Davïdov: “I definitely consider it the best, and, in particular, the most sincere of all my works. I love it as I have never loved any of my other musical offspring.”

Musical Analysis I. Adagio; Allegro non troppo — The “Pathétique” Symphony opens with a pensive, slow introduction, featuring a solo bassoon quietly intoning a motif soon incorporated by other members of the orchestra. The motif emerges as the restless, initial theme of the principal Allegro, there introduced by the violins. The tension builds to a climax, as brass fanfares punctuate the central theme. The mood gradually calms, leading to an Andante section and the muted strings’ presentation of the flowing, second theme. After a passionate restatement of that theme, there is an extended diminuendo, featuring a descending passage for the solo clarinet, followed by the bassoon, that fades to near silence.

Suddenly, the fragile repose is shattered by an orchestral thunderclap, inaugurating the apocalyptic development section (Allegro vivo). The tempest momentarily subsides, and the brass gravely intones a quotation from the Orthodox Requiem, “With thy saints, O Christ, give peace to the soul of thy servant.” The development builds to yet another shattering climax, with fearsome interjections by the lower brass. Finally, the storm concludes, leading to a truncated recapitulation that focuses upon the beautiful second theme. A repetition of the clarinet solo precedes the closing measures, presenting a chorale for brass and winds, accompanied by pizzicato strings.

II. Allegro con grazia — Instead of the traditional slow movement, Tchaikovsky substitutes a leisurely dance. The music is in the character of a waltz; however, the composer further departs from convention by casting the movement not in 3/4, but in 5/4. This curious metric deviation imparts an air of unease — even, perhaps, of disorientation. The cellos introduce the second movement’s principal melody. The flute and strings present the central section’s melancholy theme. The movement concludes with a varied reprise of the opening “waltz,” and a brief coda that offers echoes of the central section.

III. Allegro molto vivace — The third movement is a vigorous march. Over a scurrying figure, initially played by the strings, the oboes offer hints of the march tune. The jaunty march is finally introduced in complete form by the clarinets. The march returns throughout the movement, constantly gathering momentum. Violent crashes of the bass drum and cymbals reinforce two massive fff presentations of the central march. A stunning coda brings the movement to a robust conclusion.

IV. Finale: Adagio lamentoso — Of all the innovations Tchaikovsky explores in his “Pathétique” Symphony, it surely must have been the contrast between the preceding march and the finale that most disturbed the audience attending the premiere. After the thunderous closing bars of the third movement subside, the strings initiate the finale’s mournful, opening theme. The horns announce the violins’ presentation of a descending melody. While the melody is in D Atlanta’s Performing Arts Publication 23

Major, it is, nonetheless, tinged with sorrow. The melody is presented with ever-increasing urgency, culminating in a furious descending passage, capped by a fff explosion. A repetition of the opening theme leads to the ultimate struggle, but the sound of the tam tam (gong) signals its tragic resolution. The heartbreaking final measures slowly resolve to silence.

Piano Concerto No. 3 in D minor, Opus 30 (1909) Sergei Rachmaninov was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of the Third Piano Concerto took place at the New Theater in New York City on November 28, 1909, with the composer as soloist, and Walter Damrosch conducting the Symphony Society of New York. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, snare drum, suspended cymbals and strings. Approximate performance time is thirty-nine minutes.

First ASO Classical Subscription Performance: October 30, 1951, Thomas Brockman, Piano, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: April 13, 14 and 15, 2006, Yefim Bronfman, Piano, Robert Spano, Conductor.

“I’ll be able to buy myself that automobile”

I

n the summer of 1909, Sergei Rachmaninov received an invitation to make his first concert tour of the United States. The Russian pianist/composer/conductor had grave misgivings about leaving his family and homeland for such an extended period of time. However, considerations of a decidedly non-musical nature seemed to provide some consolation. According to biographer Oskar von Riesemann, in the early part of the 20th century, Rachmaninov developed a passion for motor cars: While in the country he frequently made long or short expeditions … These journeys were his greatest recreation, and never tired him; he invariably returned happy and refreshed and in the best of tempers. As he said himself, it was only when driving the car that he could get away from the musical visions which constantly pursued him.

Rachmaninov considered the generous fees he would earn during the American tour, and finally accepted. As he confessed to his friend, Nikita Morozov: “I don’t want to go. But then perhaps after America I’ll be able to buy myself that automobile … It may not be so bad after all!”

The American concert tour featured Rachmaninov as both pianist and conductor in performances of his compositions. During the summer of 1909, he authored a new work to be premiered during that tour — his Third Piano Concerto. Rachmaninov composed the D-minor Concerto while vacationing at his retreat in Ivanovka, located some 300 miles south of Moscow. In October of that year, Rachmaninov began his voyage to the United States. The composer later recalled:

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ASOprogram As during the previous summer I had not found much time for practicing and was not familiar enough with some passages, I took a dumb piano (i.e., silent keyboard) on the boat with me and practiced during the journey. I believe it is the only time that I have resorted to this mechanical toy, which, however, at the time proved very useful.

Rachmaninov and Mahler On November 28, 1909, Rachmaninov appeared as soloist in the world premiere of his Third Piano Concerto, which took place at the New Theater in New York City. Walter Damrosch conducted the Symphony Society of New York. On January 16, 1910, an historic collaboration took place at Carnegie Hall, when Rachmaninov again performed his Third Piano Concerto— this time with the New York Philharmonic. The conductor was the Orchestra’s Music Director, the great Austrian composer Gustav Mahler. Rachmaninov deemed Mahler: the only conductor whom I considered worthy to be classed with (Arthur) Nikisch.

He touched my composer’s heart straight away by devoting himself to my Concerto until the accompaniment, which is rather complicated, had been practiced to the point of perfection, although he had already gone through another long rehearsal.

According to Mahler, every detail of the score was important—an attitude which is unfortunately rare amongst conductors.

The rehearsal began at ten o’clock. I was to join it at eleven, and arrived in good time. But we did not begin to work until twelve, when there was only a half hour left, during which I did my utmost to play through a composition that usually lasts thirty-six minutes. We played and played…Half an hour was long passed, but Mahler did not pay the slightest attention to this fact…

Forty-five minutes later Mahler announced: “Now we will repeat the first movement.”

My heart froze within me. I expected a dreadful row, or at least a heated protest from the orchestra. This would certainly have happened in any other orchestra, but here I did not notice a single sign of displeasure. The musicians played the first movement with a keen or perhaps even closer appreciation than the previous time. At last we had finished. I went up to the conductor’s desk, and together we examined the score. The musicians in the back seats began quietly to pack up their instruments and disappear. Mahler blew up: “What is the meaning of this?”

The leader (i.e., concertmaster): “It is half-past one, Master.”

“That makes no difference! As long as I am sitting, no musician has a right to get up!”

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The talents and hard work of Rachmaninov, Mahler, and the orchestra produced a sterling performance of the new Concerto. As the New York Herald reported the following day: The impression made at the earlier performances of the essential dignity and beauty of the music and the composer’s playing was deepened, and the audience was quite as enthusiastic in its expression of appreciation as at the performance at The New Theater on 28 November last and at the Carnegie Hall two days later.

Then, the New York Herald critic offered this prophetic commentary about the Rachmaninov Third: The work grows in impressiveness upon acquaintance and will doubtless rank among the most interesting piano concertos of recent years, although its great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers.

Fortunately, there have been many superb artists willing to tackle the phenomenal technical demands imposed by Rachmaninov, who was, after all, one of the greatest of pianists. When the hurdles are overcome, the Rachmaninov Third emerges as a summit of the Romantic piano concerto repertoire — a masterful fusion of virtuoso pyrotechnics, unforgettable melody, and lush orchestration.

Musical Analysis I. Allegro ma non tanto — After two bars of orchestral introduction, the soloist enters with the undulating principal melody, scored in octaves, with each hand playing a single note. The soloist’s lightning passagework serves to accompany the orchestra’s restatement of the theme.

A brief unaccompanied episode for the soloist leads to a broader presentation of the opening theme. Fanfares herald the second theme, soon played in its complete form by the soloist.

The development section begins in much the same manner as the opening of the movement, but soon ventures into flights of stunning display for the soloist. An extended, fully-composed cadenza for the pianist also briefly incorporates the solo flute, oboe, clarinet and two horns.

Instead of the traditional full recapitulation, the movement closes with a restatement of the opening melody and a brief reminiscence of the second theme.

II. Intermezzo: Adagio — The Intermezzo begins with an extended, somber orchestral introduction whose central theme — initially played by a solo oboe — bears a kinship to a portion of the principal melody of the opening Allegro. The soloist enters with rhapsodic variants of the theme. A contrasting, vivacious scherzando passage features yet another transformation of the opening movement’s principal melody, now played by a solo clarinet and bassoon. After a brief reprise of the opening portion of the Intermezzo, the soloist launches a dramatic passage. This serves as the bridge to the Finale, which follows without pause.

III. Finale: Alla breve — The soloist presents the fanfare-like opening theme, derived from the introductory measures of the first movement. A series of syncopated chords by the soloist develops into the flowing second theme. Two subsequent episodes — a breezy Scherzando and more reflective Lento — present echoes of the opening Allegro. A varied reprise of the Finale’s first section leads to the grand resolution of the Concerto — a glorious declaration of the second theme, capped by a dazzling cascade by the soloist.

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ASOprogram Garrick Ohlsson, Piano

S

ince his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although he has long been regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous repertoire, which ranges over the entire piano literature.

A student of the late Claudio Arrau, Mr. Ohlsson has come to Garrick Ohlsson be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. His concerto repertoire alone is unusually wide and eclectic — ranging from Haydn and Mozart to works of the 21st century — and to date he has at his command some 80 concertos.

In recognition of the bicentenary of Chopin’s birthday, Mr. Ohlsson will present a series of allChopin recital programs in Seattle, Berkeley and La Jolla culminating at Lincoln Center in fall and winter of 2010. In conjunction with that project, a film based on Chopin’s life and his music, coproduced by Polish, French, British and Chinese television stations, is planned for simultaneous release. Other highlights during the 2009-10 season include Martinu’s rarely performed Concerto no. 4 with the New York Philharmonic and the BBC Scottish Symphony as well as appearances with the symphony orchestras of Atlanta, San Francisco, Houston, Vancouver, Indianapolis, San Diego, Milwaukee, Minneapolis and Baltimore. He will be heard in solo recital in Chicago, Fort Worth and Philadelphia and in a special gala concert to be presented in Chopin’s birth house in Warsaw on March 1. Mr. Ohlsson’s debut in Russia will take place during St. Petersburg’s winter festival in December, when he appears both in recital and with the St. Petersburg Philharmonic.

In the 2008-09 season, Mr. Ohlsson appeared with the symphony orchestras of Atlanta, Philadelphia, Pittsburgh, St. Louis, and the National Symphony Orchestra, among others. He performed Prokofiev’s Fifth Piano Concerto with Michael Tilson Thomas and the San Francisco Symphony, followed by a west coast tour including Seattle and Los Angeles’ Disney Hall. With pianist Yoko Nozaki, Mr. Ohlsson reprised their performances with Mark Morris Dance Group in the critically acclaimed Mozart Dances. With contralto Ewa Podles, he embarked on a tour of North America, followed by the release of their live-recorded recital from London’s Wigmore Hall, a project he will revisit with her in the same hall in December 2009. A solo recital project focusing on the piano music of Scriabin and Russian contemporaries, which began in San Francisco and San Diego in the spring of 2008, continued through the 2008-09 season and included performances at New York’s 92nd Street Y. In Europe, Mr. Ohlsson performed with the Salzburg Mozarteum and Hugh Wolff, the Halle Orchestra with both Mark Elder and Edward Gardner, and the Deutsche Symphony Berlin.

Special projects in the 2007-08 season included performances in Berkeley and Los Angeles with Mark Morris Dance Group and pianist Yoko Nozaki in Mozart Dances; performances with the Russian National Orchestra and Vladimir Jurowski in California and at New York’s Lincoln Center; and a Florida tour with the Pittsburgh Symphony.

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ASOSPECIALS! UPCOMING ONE-NIGHT-ONLY CONCERTS OCTOBER

31 8pm

The Phantom of the Opera

ORIGINAL SILENT FILM CLASSIC starring Lon Chaney with the ASO

Catch the original Phantom, accompanied by the full Orchestra, live!

Lon Chaney, the legendary “Man of a Thousand Faces,” stars in the 1925 epic, considered one of greatest silent films ever.

MARCH

Lang Lang, piano

8pm

ROBERT SPANO, conductor

17

TCHAIKOVSKY:Symphony No. 5 CHOPIN:Concerto No. 2

If 2008 was The Year of Lang Lang (Fred Child, Performance Today), this concert will prove that the remarkable pianist isn’t one to rest on his laurels. Expect nothing less than jaw-dropping virtuosity in Chopin’s beloved concerto. Lang Lang and the ASO will give an encore performance March 18 to open the Savannah Music Festival.

MARCH

27 8pm

MAY

7

8pm

Wynton Marsalis

& THE LINCOLN CENTER JAZZ ORCHESTRA The world’s most popular jazz trumpeter returns after last season’s sellout show! Spend an extraordinary evening with the Pulitzer Prizewinning composer Wynton Marsalis and his celebrated big band.

Chris Botti WITH THE ASO

BOTTI’S BACK! One, two, three sold-out shows last May were not enough! Soulful and charismatic trumpeter Chris Botti returns by popular demand with a brand-new show.

ON SALE NOW: Woodruff Arts Center Box Office 2009/2010 SEASON SPONSOR

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Atlanta’s Performing Arts Publication 29

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Atlanta’s Performing Arts Publication 31

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Holiday Title Sponsor

“2009 A King Celebration” Presenting Sponsor

Muhtar Kent President and Chief Operating Officer

Robert L. Ulrich Chairman and Chief Executive Officer

Richard Anderson Chief Executive Officer

1180 Peachtree * Perimeter Summit * Riverwood

Delta Classic Chastain Presenting Sponsor jerome j. byers, II Atlanta Regional President

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

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

$35,000+

$20,000+

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

Owned by an affiliate of the General Electric Pension Trust – advised by GE Asset Management

Official Coffee of Delta Classic Chastain Free Parks Title Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Lisa Compton Regional Vice President

Jerry Karr Managing Director GE Asset Management

$10,000+

CNN en Español HoneyBaked Ham Company Sutherland, LLP

Stanford Financial Services The Boston Consulting Group Turner Construction Company Verizon Wireless

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

$25,000+ American Symphony Orchestra League Anne and Gordon Getty Foundation MetLife Music for Life Initiative

$5,000+

$10,000+ The Aaron Copland Fund For Music, Inc. The Arnold Foundation The Green Foundation Hellen Ingram Plummer Charitable Foundation The Kendeda Fund

Atlanta Federation of Musicians Fraser-Parker Foundation Robert S. Elster Foundation The Sartain Lanier Family Foundation

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

32 EncoreAtlanta.com

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* 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 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* 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 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, Azira G. Hill Scholarship Endowment Fund, Concerts for Young People, Family Concerts, Conversations of Note

$250,000+

The Goizueta Foundation The Zeist Foundation, Inc.

$50,000+

GE Energy John H. & Wilhelmina D. Harland Foundation

$25,000+

Bank of America The Coca-Cola Company William Randolph Hearst Foundation Mr. & Mrs. Jesse Hill, Jr. MetLife Music for Life Initiative Monica (Kaufman) Pearson & John E. Pearson, Sr. Hellen Ingram Plummer Charitable Foundation Publix Super Markets & Publix Super Markets Charities, Inc. Margaret & Bob Reiser Jay & Arthur Richardson

$10,000+

AGL Resources Edith H. & James E. Bostic, Jr. Family Foundation Marcia & John Donnell Cree & Frazer Durrett The Green Foundation Livingston Foundation, Inc. The Sartain Lanier Family Foundation, Inc. The Pittulloch Foundation John C. Portman, Jr. Simmons Family Foundation Mr. & Mrs. Robert A. Yellowlees

$5,000+

Mr. & Mrs. Henry Aaron EZ Agape Foundation Dr. Margo A. Brinton & Mr. Eldon Park Cynthia & Donald Carson Mr. & Mrs. David Gould Mrs. Mary C. Gramling Kraft Foods, Inc.

Aaron & Joyce Johnson Mr. & Mrs. William Lamar, Jr. Ms. Malinda C. Logan Mr. & Mrs. Howatt E. Mallinson Dr. Emily A. Massey $2,500+ Dr. Joanne R. Nurss Elinor Rosenberg Breman* Dr. & Mrs. Travis Paige Mr. & Mrs. Charles B. Ginden Mr. & Mrs. Howard Palefsky Ms. Margaret H. Petersen Lincoln Financial Foundation Links Inc., Azalea City Chapter Ms. Elise T. Phillips Erich & Suzette Randolph $1,000+ Mr. Herman J. Russell, Sr. Madeline & Howell E. Adams, Jr. Michael & Lovette Russell Claire & Hubie Brown Stephanie & H. Jerome Russell Suzanne & Willard Shull Dr. Eric & Nancy Brown Mr. & Mrs. Thomas L. Sullivan Dr. Sheri D. Campbell Mr. & Mrs. Michael A. Troy Sharon, Lindsay & Gordon Fisher Mr. & Mrs. Mark D. Wasserman Mr. Mack Wilbourn Dr. John O. Gaston & Dr. Gloria S. Gaston Mr. & Mrs. Ernest Greer The Honorable Judge Glenda A. Hatchett Ms. Joy G. Howard Isaiah & Hellena Huntley Tidwell The Frances Wood Wilson Foundation Ms. Joni Winston

* Scholarships for Atlanta Symphony Youth Orchestra tuition are made possible through the Elinor Rosenberg Breman Fellowship.

Atlanta’s Performing Arts Publication 33

ASOsupport The volunteer organization of the Atlanta Symphony Orchestra 2009-2010 Board Kathleen (Suzy) Wasserman President Leslie Petter Advisor Judy Schmidt Parliamentarian Alison Mimms Secretary

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

Glee Lamb VP Membership Martha Perrow Decorators’ Show House & Gardens Sylvia Davidson VP Youth Education Yetty Arp & Martha Perrow ASA Spring Luncheon

April Conaway & Annie York Trujillo ASA Night at the Symphony Camille Kesler Newsletter Editor Sylvia Davidson & Dr. Mary Francis Early Target Family Day Brooke Merrill Fall Membership Party

Pat King Directory Editor Nancy Levitt Ambassador’s Desk Camille Yow & Leslie Petter VP Annual Fund Dr. Mary Francis Early VP Outreach

Events 2009 Decorators’ Show House & Gardens Diamond Atlanta Homes & Lifestyles Platinum Bovis Lend Lease St. Regis Atlanta Ticket Sponsor Springer Mountain Farms

Gold Boxwoods Comcast Encore Atlanta Magazine Jackson Spalding Mercedes-Benz of Buckhead Silver Phipps Plaza

Bronze Closets & More Conceirge Services of Atlanta Designer Previews Flora by John Grady Burns Laubmann Rector, Inc. Landscape Architecture & Land Planning

Olde Savannah Flooring, Inc Preprint Rabun Rasche Rector & Reece Architects Swoozie’s

2008 Atlanta Symphony Ball corporate Sponsors Phoenix Delta Air Lines Platinum Invesco Coca-Cola Company Diamond Mednikow Jewelers Gold Beacham & Company, Realtors A Legendary Event UPS Silver AGL Resources AirTran Airways Alston & Bird LLP AT&T Georgia Caren West PR Cayo Espanto Island Resort

special contributors

BenefactorS Mr. & Mrs. Ronald Antinori Lisa & Joe Bankoff GOLD Jan & Gus Bennett Stephanie & Arthur Blank Chris & Merry Carlos Cynthia & Donald Carson Silver Mr. & Mrs. Paul J. Blackney Shannon & Phillip Cave Michelle & David Crosland Monica & John S. Mr. & Mrs. Jere A. Pearson, Sr. Bronze Drummond Ms. Joni Winston Adorno & Yoss Mary D. Gellerstedt Buckingham Portraits Bronze Frannie & Bill Graves Flat Creek Lodge Jesse & Azira G. Hill Dr. & Mrs. Alexander Gross King & Spalding LLP Gail & Loren Starr Veronique Krafft-Jones Magick Lantern Patty & Doug Reid & Baxter Jones Printpack, Inc. & Mr. & Mrs. Manuel The Gay & Erskine Hosts Kaloyannides Love Foundation Victoria & Howard Jeff Mango The Ranches at Belt Creek Palefsky Lawrence E. Mock, Jr. William & Judith Vogel The Yachts of Seabourn Susan Bell & Patrick Morris Media sponsor The Atlantan Cisco Neiman Marcus Siemens Energy & Automation Southern Company Sutherland Turner Broadcasting System, Inc.

Mr. & Mrs. Charles Moseley Lynn & Galen Oelkers Margo Brinton & Eldon Park Leslie & Skip Petter Patty & Doug Reid Margaret & Bob Reiser Jay & Arthur Richardson John & Kyle Rogers Mr. & Mrs. Baker A. Smith Annie York Trujillo & Raul F. Trujillo Adair & Dick White Mary & Felker Ward

2007 AIRTRAN ASO Golf Classic Tournament 2009 AIRTRAN ASO Golf Classic Tournament

title Sponsor AirTran Airways Reception Sponsors Blackberry Verizon Wireless Four-person Team & Hole Sponsor Atlanta Braves Radio Network Atlanta Falcons Coca-Cola Company

Four-person Team Sponsor Auburn ISP Sports Network Beck EMC Corporation HKS Architects Signal Point System Turner Construction Two-person Team & Hole Sponsor: ZWJ Investment Counsel

34 EncoreAtlanta.com

Two-person Team Sponsor Alston & Bird Argus Benefits Brasfield & Gorrie Jones Day Nokia SunTrust Bank Sutherland Parsons Brinckerhoff

Hole Sponsor: Asurion ATC Associates, Inc. Cosentini Associates Credit Suisse Cushman & Wakefield Dennis Taylor & Co., Inc. Gwinnett Chamber Hirtle, Callaghan & Co. Morgan Stanley Nordmark Consulting Group

North Fulton Chamber of Commerce Pathbuilders, Inc. Sasaki Associates, Inc. The Shumacher Group Troutman Sanders LLP Wilmington Trust

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 ★★★★★★★★★★★★★ $500,000+ The Coca-Cola Company ★★★★★★★★★★★ $450,000+ Georgia Power Foundation, Inc.

SunTrust Employees & Directed Funds Florence C. & Harry L. English Memorial Fund Harriet McDaniel Marshall Trust Woolford Charitable Trust Fund

★★★★★★★ ★★★★★★★★★★ $100,000+ $400,000+ Turner Broadcasting System, Inc. AirTran Airways Alston & Bird LLP ★★★★★★★★★★ Bank of America $300,000+ Holder Construction Company ING Cox Interests Cox Enterprises Kaiser Permanente (Atlanta JournalKing & Spalding LLP Constitution, WSB-TV, KPMG LLP, Partners & Cox Radio Group Atlanta, Employees James M. Cox Foundation) The Marcus Foundation, Inc. The Honorable Anne Tull Charitable Foundation Cox Chambers The Wachovia Foundation, Inc. The Sara Giles Moore The David, Helen & Marian Foundation Woodward Fund UPS ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Deloitte LLP, its Partners & Employees ★★★★★★★★ $150,000+ Equifax Inc. & Employees Ernst & Young, Partners & Employees Jones Day Foundation & Employees Kilpatrick Stockton LLP PricewaterhouseCoopers Partners & Employees The Rich Foundation, Inc.

36 EncoreAtlanta.com

★★★★★★ $75,000+ The Home Depot Foundation The Sartain Lanier Family Foundation, Inc. Macy’s Foundation Mabel Dorn Reeder Foundation Regions Financial Corporation 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 Waffle House, Inc. The Zeist Foundation, Inc. ★★★★ $35,000+ Accenture & Accenture Employees Balch & Bingham LLP Lisa & Joe Bankoff Brysan Utilities Contractors, Inc. Drummond Company, Inc. INVESCO PLC J. Marshall & Lucile G. Powell Charitable Trust Siemens 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 Powell Goldstein Capital Guardian Trust Company

Woodruff Arts Center Alliance Theatre Atlanta Symphony Orchestra High Museum of Art Young Audiences A. D. Correll Crawford & Company DuPont Mr. & Mrs. Mike Garrett Gas South, LLC Genuine Parts Company Georgia-Pacific Jack & Anne Glenn Foundation, Inc. Grant Thornton LLP IBM Corporation The Imlay Foundation, Inc. IntercontinentalExchange 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 Mary & Craig Ramsey Rock-Tenn Company SCANA Energy Shaw Nuclear Services Southwire Company Towers Perrin Wal-Mart Stores, Inc. ★★ $15,000+ 22squared, inc.

ACE Charitable Foundation Air2Web, Inc. Alcatel-Lucent 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. Buck Consultants Center Family Foundation Chamberlain, Hrdlicka, White, Williams & Martin The Chatham Valley Foundation, Inc. Chubb Group of Insurance Companies Cousins Properties Incorporated Mr. & Mrs. Bradley Currey, Jr. DLA Piper Duke Realty Corporation Exposition Foundation, Inc. Ford & Harrison LLP John & Mary Franklin Foundation, Inc. Georgia Natural Gas Georgia Trane Companies, Inc. Mr. James B. Hannan Harland Clarke The Howell Fund, Inc. Hunton & Williams ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester 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 Foundation Lanier Parking Solutions Barbara W. & Bertram L. Levy Fund Ron Lipham — UC/Synergetic Livingston Foundation, Inc. Lockheed Martin Aeronautics Company

Manulife Financial Morgan Stanley MWV Food & Beverage Northwestern Mutual Goodwin, Wright Paul, Hastings, Janofsky & Walker LLP Tara Perry Pickard Chilton Piedmont Charitable Foundation, Inc. The Pizzuti Companies Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe Raymond James Financial, Inc. Restaurant Associates Spencer Stuart Karen & John Spiegel Staples Superior Essex Inc. Mark & Susan Tomlinson Family Fund 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 The Woodruff Arts Center gratefully acknowledges the generocity of the Fulton County Arts Council. *As of August 1, 2009

Atlanta’s Performing Arts Publication 37

ASO Theater of a Concert production of Haydn’s Creation

Continued from Page 14 In November, jazz great Wynton Marsalis, the Pulitzer Prizewinning composer-musician, unveils his highly anticipated first purely orchestral work, “American Symphony,” which explores American musical styles in a symphonic context. And next spring, Jennifer Higdon and Michael Gandolfi — two of the breakthrough composers in Mr. Spano’s heralded Atlanta School of Composers — offer the final world-premiere triumphs of the season: Ms. Higdon’s innovative “Concerto” for chamber group and orchestra showcases the unique sextet of performers called eighth blackbird while; Mr. Gandolfi (composer of the ASO’s Garden of Cosmic Speculation) has penned a new choral/ orchestral work further illuminated by the vaunted ASO Chorus.

The Chorus also graces the eagerly awaited ASO performances of the Brahms German Requiem with Principal Guest Conductor Donald Runnicles on October 29 and 30 and, under the leadership of Director of Choruses Norman Mackenzie, has a unique honor — their third invitation to return to Berlin, where in late

38 EncoreAtlanta.com

October 22/23/24 October 29/30 JANUARY 7/9/10 MAY 6/8 Donald Runnicles

December 3/5/10/11/12 Norman Mackenzie

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Sylvia McNair December 31

January 21/22/23

Jean-Yves Thibaudet

Midori APRIL 15/16/17

40 EncoreAtlanta.com

December, they rejoin Mr. Runnicles to perform the Brahms with the Berlin Philharmonic in the resplendent Philharmonie concert hall. Mr. Spano and the ASO also celebrate the end of Mozart’s symphonic journey in a two weekend-long springtime performance of the master’s last three symphonies.

Other highlights include star soprano Sylvia McNair, who performed with the late ASO icon, Music Director and Conductor Emeritus Robert Shaw, and now leads an ASO New Year’s Eve celebration; and Verdi’s monumental Requiem ­— a musical calling card of the ASO Chorus and an encore of their first collaboration with Mr. Spano.

Pianists Lang Lang and Jean-Yves Thibaudet and violinists Midori and Lela Josefowicz are just four of the music-lover household names in an impressive roster of renowned guests.

ASO debuts include pianists Simone Dinnerstein and violinist James Ehnes and the aforementioned eighth blackbird. The Orchestra also welcomes 24 vocalists with 16 ASO debuts.

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MARCH 17 Lang Lang

Conductors Kristjan J채rvi, Hannu Lintu and Vasily Petrenko are among those making their ASO debuts this season, while Roberto Abbado, Oliver Knussen and former ASO assistant conductor Mei-Ann Chen return to the Atlanta podium.

The season culminates in the hosting of two prestigious American musical leadership organizations in their combined national conferences: the League of American Orchestras and Chorus America. The convention kicks off the ninth anniversary of the Atlanta School of Composers, with the music of members Christopher Theofanidis and Osvaldo Golijov.

A season of marvelous performances and milestone moments is off and running. For information, visit atlantasymphony.org or call 404-733-5000.

Karl Schnittke is the ASO Publications Editor.

42 EncoreAtlanta.com

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Points of View

By Ken Meltzer

knowing not only that I would be playing with my hometown orchestra, but that I would also be sitting next to my former teacher.

Not too many people have that opportunity.

In addition, one of my best friends from my days in the ASYO, John Sparrow, is now the GM and Vice President of the ASO. What special responsibilities do you have as the Orchestra’s Associate Principal Second Violin?

Sitting in the second chair, I need to provide strong sound and rhythmic support to the principal, but at the same time blend in with the section. I also need to be always prepared to lead the section in case the principal is out, sometimes on very short notice.

I understand you have played on recordings for R.E.M., Bruce Springsteen and Faith Hill.

What were those experiences like?

Sou-Chun su Associate Principal Second Violin When did you first become interested in classical music?

I started the violin when I was three. My father was a violin teacher, so I heard violin lessons in my house from the time I was an infant. When I was 14, my parents moved to this country from Taiwan so I could pursue a career in music.

You have a special relationship with the ASO. Can you tell us about it?

My relationship with the ASO goes back quite a ways. I was a member of the ASYO from 1982-85 and came to many ASO concerts as a high school student. That combination was my first experience with great symphonic music. During those years, I took private lessons with the ASO Principal Second Violin, David Arenz. Upon my graduation from the Cleveland Institute of Music, I was fortunate to win an audition with the ASO for my current position. Needless to say, I was thrilled

44 EncoreAtlanta.com

They were all very down to earth and genuinely appreciative and impressed with our playing during the recording sessions.

Interestingly, they found our work just as fascinating and some wished they had the talent to play the violin, cello, etc. We of course wanted to have their fame and fortune! I have a Triple Platinum Commemorative Plaque with R.E.M. from Warner Brothers. Many of my students/friends find that more impressive than anything else I have accomplished in classical music!

What do you wish for the ASO in the future?

I hope our audiences will continue to grow in numbers and also in their support for us.

Nothing energizes the musicians more than to see a full house and the enjoyment that the audience expresses after a good concert.

Obviously, I also hope we can have a new concert hall soon. It’s not just for the ASO. It’s for everyone in Atlanta, who will benefit from hearing great classical music performed in a world-class setting.

It’s not polite to shout during the show.

So we invite you to

after.

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ASOstaff

administrative staff Executive Allison Vulgamore President & Chief Executive Officer Evans Mirageas Director of Artistic Planning Martha M. Van Nouhuys Executive Assistant to the ASO Executive Office 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 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 Aysha Siddique Assistant to the EVP for Business Operations & CFO Susan Ambo Controller April Satterfield Senior Accountant Kim Hielsberg Director of Financial Planning & Analysis Guy Wallace Staff Accountant Stephen Jones Symphony Store Manager Galina Rotbakh Symphony Store Sales Associate Peter Dickson Venue Accountant Popular Presentations Clay Schell General Manager Trevor Ralph General Manager and Senior Director of Operations Holly Clausen Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist Chastain Park Amphitheater Tanner Smith Program Director Verizon Wireless Amphitheatre at Encore Park Katie Daniel VIP Sales Manager Jenny Pollock Office Manager & Assistant Operations Manager Rebecca Gordon Box Office Manager

48 EncoreAtlanta.com

advancement & learning Paul W. Hogle Vice President for Institutional Advancement & Learning Tammie Taylor Assistant to the VP for Advancement & Learning Stephanie Malhotra Director of Advancement & Learning Services Rebecca Abernathy Donor Services Associate Major & Planned Giving Jessica Langlois Director of Leadership Gifts & Planned Giving Andrea Welna Major Gifts Officer Meredith Jackson Prospect Research Officer Annual, Institutional & Volunteer Services Sandy Smith Senior Director of Institutional Support & Partnerships Corey Cowart Corporate Relations Manager Toni Paz Director of Individual Giving Maya Robinson Patron Partnership Gifts Officer Andrea Mendez Patron Development Officer Celeste Pendarvis Director of Volunteer Services & Special Events Sarah Turner Special Events Coordinator ASO Learning Community Melanie Darby Director of Education Programming Sandy Smith Director of Development Elizabeth Wilson Director of Student Musician Development Lindsay Fisher Learning Community Specialist; Ensembles Coordinator

MARKETING & 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 Shelby Moody Group & Corporate Sales Coordinator Seth Newcom Database Administrator Robert Phipps Publications Director Melissa A. E. Sanders Director of Public & Media Relations Karl Schnittke Publications Editor Robin Smith Group & Corporate Sales Assistant Laura Soldati Publicist Russell Wheeler Group & Corporate Sales Manager Christina Wood Marketing Manager

3YV 4VSJIWWMSREP )RWIQFPI 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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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 404.733.5038 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

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.

Woodruff Arts Center Box Office Mon. – Fri., 10 am – 8 pm; Sat. – Sun., Noon – 8 pm. 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.

SINGLE TICKETS Call 404.733.5000 Mon. – Fri., 10 am – 8 pm; Sat. – Sun., Noon – 8 pm. Service charge applies. Phone orders are filled on a best-available basis.

GROUP DISCOUNTS Groups of 10 or more save up to 15% on most ASO concerts, subject to ticket availability. Call 404.733.4848.

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.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

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