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contents APRIL 2009 18

12

features

the music

12 The Golden Age is Now

27 The concert’s program and notes

Christopher Theofanidis’s new Symphony is the latest triumph from the Atlanta School of Composers.

18 Taking It to the Sky at the St. Regis!

ASO’s Decorators’ Show House & Gardens breaks new ground.

48 Points of View

Resident Conductor-CellistYouth Orchestra Music Director Jere Flint and ASO Program Annotator and Insider Ken Meltzer give theirs.

Encore Atlanta

aso departments 6 8 10 16 37 56 58 58 60

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

editorial director/chief storyteller

Kristi Casey Sanders

kristi@encoreatlanta.com art director

Jenny Schisler

jenny@encoreatlanta.com production manager

Whitney Stubblefield

whitney@encoreatlanta.com associate editor/storyteller

Ashley Brazzel

contributing writers

Nick Jones and Martha Perrow publisher/sales Sherry Madigan White 404.459.4128

sherry@encoreatlanta.com

senior national accounts manager

Sandra Ourusoff 212.769.7079 chief administrative officer

Claudia Madigan

claudia@encoreatlanta.com atlanta symphony orchestra

Rob Phipps Karl Schnittke program notes editor Ken Meltzer

director of publications publications editor

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Music Lovers E

nveloped in spring’s warmth and renewed promise, the Atlanta Symphony Orchestra is buzzing with energy — both from our stage and through every one of you who embrace the extraordinary value of music in our lives.

April opens with the world premiere of Symphony by Christopher Theofanidis, a member of the Atlanta School of Composers. The work was jointly commissioned by Music Director Robert Spano as part of our continuing commitment to living American composers and the music of our time, and will be recorded by Telarc. Later in the month, Principal Guest Conductor Donald Runnicles brings the impactful Mahler’s Symphony No. 6 to Symphony Hall, and we welcome back conductor and violinist Itzhak Perlman to lead Bach, Schubert and Brahms, and pianist Marcus Roberts to dazzle us with Gershwin.

As the weather warms, two other stages also return to the spotlight. The Verizon Wireless Amphitheatre’s second season launches with sold-out performances by the Dave Matthews Band and Kenny Chesney, with additional acts to be announced throughout the coming months. The ASO summer classical season begins June 20th with Maestro Spano conducting Carmina Burana and Barber of Seville, and extends through August. Our Delta Classic Chastain stellar lineup was also recently announced.

Taking the stage during the 36th season are superstars Diana Krall, Joe Cocker, Michael MacDonald and Pink Martini, among many others. (Visit vzwamp.com and deltaclassicchastain.com for further details.)

Offstage, the 39th annual Decorators’ Show House & Gardens (decoratorsshowhouse.org), coordinated by the all-volunteer Atlanta Symphony Associates, is taking to the sky — literally!

This year, this perennial springtime tradition features not one, but three luxury residences at the St. Regis, one of Atlanta’s most exclusive new communities high above the heart of Buckhead. The event runs April 18-May 10 (Mother’s Day weekend) and supports the programs of the ASO Learning Community. Please join us!

We remain ever grateful to you — our patrons, supporters and volunteers — for your radiant energy and ardent dedication to the mission of this Orchestra. Music springs eternal!

Warmly,

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

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ASOleadership atlanta Symphony Orchestra League 2008-2009 Board of Directors Officers Ben F. Johnson, III Chairman Clayton F. Jackson

Jeff Mango John D. Rogers Treasurer

Chilton Davis Varner Allison Vulgamore*

Kathleen (Suzy) Wasserman ASA President* Joni Winston Secretary

Jim Henry Edward S. Heys, Jr. Tycho Howle Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Michael Lang Patricia Leake Lucy Lee 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 Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey John W. McIntyre Bertil D. Nordin Dell P. Rearden Joyce Schwob

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

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

Board of counselors Howell E. Adams, Jr. Mrs. John Aderhold Milton Brannon Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell Jere Drummond

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

Life Directors Mrs. Drew Fuller Mary D. Gellerstedt

Azira Hill Dr. James M. Hund

Arthur L. Montgomery Mrs. M.G. Woodward

* ex 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 — 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 returns for the cycle in 2009. With a discography of nine critically acclaimed recordings for Telarc and Deutsche Grammophon made over six years, Robert Spano has garnered six Grammy Awards.

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

10 Encore Atlanta

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ASO musicians and ASO Chorus members with (from left) Director of Choruses Norman Mackenzie, composer Christopher Theofanidis and Music Director Robert Spano as they take in the applause following the performance of Theofanidisâ&#x20AC;&#x2122;s ASO-commissioned The Here and Now at Carnegie Hall.

The Golden The world premiere of Christopher Theofanidisâ&#x20AC;&#x2122;s Symphony 2009 is the latest triumph from the Atlanta School of Composers

12 Encore Atlanta

“No other full-time, full-season orchestra in this country has commissioned and performed as much new work in a similar time frame as have [Robert] Spano and the ASO.”

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“It’s almost too good to be true,” wrote Susan Elliott in a recent article for Symphony magazine. “New orchestral music being commissioned and performed with regularity; happy audiences, composers and musicians.” She was talking about Atlanta School members Theofanidis, Higdon, Gandolfi and Golijov.

“ My main goal

“The commitment is to commission them, do multiple performances of their work, and record them so that not only the orchestra, but the audience, really gets to know them, to understand the personality and musical identity of each composer,” says Spano.

is to delight,

Theofanidis was the first composer of what became the Atlanta School to be “No other full-time, fullimpulse.” season orchestra in this heard here, when the – Christopher Theofanidis country has commissioned Orchestra played his and performed as much new Rainbow Body in September work in a similar time frame 2001 (Maestro Spano’s first as have [Robert] Spano and month as Music Director). the ASO,” noted Elliott, Taking as its starting point citing multiple premieres of works by these a rhapsodic song by the medieval abbess and other living composers since 2001.

Hildegard of Bingen, this single-movement orchestral work glows with its own sort of These four composers are all connected spiritual ecstasy. Spano had conducted its through their creative relationships with premiere in Houston the year before and he Spano and the Orchestra. Spano champions liked what he heard, so he brought the piece to them because he admires the creative spark Atlanta, where the ASO performed it, recorded in their work, along with their sincere desire it for Telarc (on a disk of the same name, which to communicate with the listener. With also includes Higdon’s blue cathedral), and the exception of Golijov, whose Passion eventually took it to Carnegie Hall.

According to Saint Mark had already created a splash by the time he made his Atlanta In 2004, Rainbow Body won the International connection, each composer was largely Masterprize competition in London, its unknown when Spano discovered their candidacy bolstered by the ASO recording. music, largely through his teaching at the Theofanidis went on to be named Composer Tanglewood Music Center. Beyond that, of the Year for the 2006-07 season by the their compositions have little in common Pittsburgh Symphony and to become the other than vivid orchestral colors, reflections American program director for the U.S.-Japan of popular and world musics and a comfort Foundation’s Leadership Program. with tunefulness and tonality.

Continues on page 22

connect with

the humanistic

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7:10

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

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

BASS Ralph Jones

The Charles McKenzie Taylor Chair*

The Edus H. and Harriet H. Warren Chair*

Principal The Marcia and John Donnell Chair *

Justin Bruns

Paul Murphy

Gloria Jones

Assistant Concertmaster The Mary and Cherry Emerson Chair

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Jun-Ching Lin

Amy Leventhal

Carolyn Toll Hancock

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

Assistant Concertmaster The AGL Resources Chair

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

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

Assistant Principal

CELLO Christopher Rex

Principal The Miriam and John Conant Chair*

Daniel Laufer

Associate Principal The Livingston Foundation Chair

Karen Freer

Assistant Principal

Dona Vellek Klein

Assistant Principal Emeritus

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

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 *

Yvonne Powers Peterson Associate Principal Deborah Workman Patrick McFarland ENGLISH HORN Patrick McFarland

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

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

Principal The Robert Shaw Chair*

HORN Brice Andrus

Ted Gurch

Principal The Sandra and John Glover Chair

William Rappaport

Associate Principal

Associate Principal

Susan Welty

Alcides Rodriguez

Thomas Witte Richard Deane

E-FLAT CLARINET Ted Gurch

Bruce Kenney

The Lucent Technologies Chair

BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

The UPS Community Service Chair

TRUMPET Thomas Hooten

Principal The Madeline and Howell Adams Chair*

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

Kevin Lyons

Elizabeth Burkhardt

The SunTrust Bank Chair

Associate Principal

Laura Najarian

The Pricewaterhouse ­Coopers Chair

Juan de Gomar CONTRABASSOON Juan de Gomar

TIMPANI Mark Yancich

Principal The Walter H. Bunzl Chair*

William Wilder

Assistant Principal

PERCUSSION Thomas Sherwood Principal The Julie and Arthur Montgomery Chair*

William Wilder Assistant Principal Charles Settle**

HARP Elisabeth Remy Johnson Principal The Delta Air Lines Chair

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair*

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

Steven Sherrill Assistant

John Wildermuth

Associate Principal

Joseph Walthall

Michael Tiscione TROMBONE Colin Williams

Principal The First Union Chair

Stephen Wilson

Associate Principal The Patsy and Jere Drummond Chair

George Curran Bill Thomas BASS TROMBONE George Curran TUBA Michael Moore

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

Atlanta’s Performing Arts Publication 17

Taking It to the Sky at the St. Regis!

The ASO’s popular Decorators’ Show House & Gardens breaks new ground this year, beginning Saturday, April 18

S

pring fever is in the air, and with it comes Atlanta’s centerpiece of interior design excellence: the Atlanta Symphony Orchestra’s Decorators’ Show House & Gardens, presented annually by the all-volunteer Atlanta Symphony Associates, with proceeds benefiting the ASO’s Learning Community, the Southeast’s largest music educator.

By Martha Perrow

18 Encore Atlanta

Looking for a great night out?

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MOZART’S REQUIEM Trois Thursday, May 14

CAMINOS DEL INKA Ray’s Downtown Thursday, May 28 & Saturday, May 30

Call Russell Wheeler at 404-733-4807 or email russell.wheeler@woodruffcenter.org

CHRIS BOTTI South City Kitchen Friday, May 22 & Saturday, May 23

Following 38 years of showcasing spectacular estates, the ASA has boldly chosen a new high-rise for the first time in its four-decade history — the eagerly awaited St. Regis Residences at 88 West Paces Ferry Road in Buckhead. Visitors will tour three deluxe homes and terraces in the St. Regis, decorated by 29 principal designers from some of the Southeast’s most renowned interior design and landscape firms. This will be the first public event held in the St. Regis, offering visitors an unprecedented opportunity to preview the glamour and opulence of Atlanta’s new jewel.

In a departure from previous Show Houses, each St. Regis residence boasts a distinct design theme — traditional, transitional and contemporary — providing guests with a more unified look throughout. Making the experience even sweeter, Show House patrons can enjoy tea or lunch in one of the St. Regis’s fine dining rooms.

Beyond its obvious beauty, the St. Regis is the latest prestigious address to uphold the Decorators’ Show House legacy of funding ASO education programs and initiatives. Show House dollars help landmark programs including the Atlanta Symphony Youth Orchestra, one of the nation’s leading proving grounds for elite, young student-musicians, and the Talent Development Program, which supports African American and Latino students in classical music training, to name just a few.

The Atlanta Symphony Orchestra’s Decorators’ Show House & Gardens at the St. Regis Residences runs from Saturday, April 18, through Sunday, May 10. Visiting hours are 10 a.m. – 3 p.m., Mondays through Saturdays and Sundays, 12 – 5 p.m.

Tickets are $25 ($20 on or before April 17) and available in person at the Woodruff Arts Center Box Office, by phone at 404-733-5000, online at decoratorsshowhouse.org, at locations around Atlanta (listed on the Web site), and at the door.

Martha Perrow is a member of the Atlanta Symphony Associates and the chair of the 2009 Decorators’ Show House and Gardens Committee.

20 Encore Atlanta

Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 21

Continued from page 14 Among his other honors are the Rome Prize, a Guggenheim Fellowship, the Barlow Prize, six ASCAP Morton Gould Prizes, a Fulbright Fellowship for study in France, a Tanglewood Fellowship and the Charles Ives Fellowship of the American Academy of Arts and Letters.

“ As you live with a particular piece, it changes and grows, and one’s relation

iar composer will not disappoint us, is one of the most resonant rewards of our ongoing association with the Atlanta School of Composers.

to the piece is

Noting that the Symphony is “my first attempt at this genre,” the composer there’s any explains that the work is substitute cast in four movements, the for time.” outer two being “the big — Robert Spano pillars of the piece, both emotionally and in their The next step was an ASO commission. Spano asked scale ... the first is mostly quite fast, the last has a certain breadth Theofanidis for a work involving the ASO and grandeur with some faster music.” The Chorus, and he responded with The Here and Now, which received its premiere (under its second movement is “quite lyrical, but not first title, The Music of Our Final Meeting) in slow,” while the third is “a brief scherzoritornello” that “moves at a good clip.” He 2005. Newly renamed, it also was recorded also says, “This movement would have an and later performed at Carnegie Hall. With a poetic text of sayings by the Persian mystic almost classical feel to it, were it not for the tidal surges of the brass and percussion Rumi, The Here and Now alternates rhythmic excitement with radiant lyrical beauty in from time to time.” a series of musical vignettes.

Theofanidis’s Symphony shares its April concerts with a well-loved older work, Now, Theofanidis has written his first symphony for us. Expect to hear the rich orchesthe Piano Concerto in F Major by George tral colors of the two previous works, along Gershwin. Gershwin’s conscious amalwith an inventive melodic gam of jazz and classical sense and a creative sounds enriched classical approach to form. Perhaps music in the 1920s, blazing Symphony will share some a path for the wide-rangof its predecessors’ rapturing, eclectic style of our ous spiritual atmosphere, present-day composers. perhaps not. This sense of His Concerto will take on anticipation, of wondera new and exciting guise, ing about new steps and moreover, in a performance new directions, while feelfeaturing the jazz trio of ing confident that a familpianist Marcus Roberts.

22 Encore Atlanta

richer over time.

I don’t think

“ What impresses me about Theofanidis ... is his ability to blend several musical languages once thought to be mutually exclusive ... There are elements of Asian music, minimalism, high chromaticism, and a sort of brightly colored impressionism ... The results are enormously attractive.”

– The Washington Post

We’ve already heard Roberts’s exhilarating take on Gershwin’s Rhapsody in Blue, with the score opened up by insertion of several cadenza-like improvisations from the jazz trio. The dynamic Concerto in F should likewise benefit from the fresh new perspective of such a treatment.

Marcus Roberts was born in Jacksonville, Fla., and attended Florida State University, where he studied classical piano under a former student of the great Russian teacher Rosina Lhevinne. Among his many honors are first prize in the Thelonious Monk International Jazz Competition and the Helen Keller Award for Personal Achievement.

He first performed his arrangement of the Gershwin Concerto six years ago in Japan.

The other members of his trio are bass player Roland Guerin and drummer Jason Marsalis.

Samuel Barber’s Second Essay for orchestra, a

24 Encore Atlanta

choice work by a composer important to American music, opens the program. (The ASO recorded this piece for an all-Barber CD in 1991, and there are Barber works on four other ASO recordings, including the soon-to-be-released Transmigration.) As in a literary essay, the Second Essay begins with a brief exposition of an idea, subjects it to scrutiny and elaboration, and concludes with its most polished form, all while speaking in the warm orchestral language for which Barber is revered.

Filled with American music both bright and blue, old and new, the performances, featuring Theofanidis’s Symphony, are a highlight of the Orchestra’s 2008-09 season.

Retired from his longtime position as Program Annotator of the Atlanta Symphony Orchestra, Nick Jones now writes on special topics for ASO program books.

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, Friday and Saturday, April 2, 3 and 4, 2009, at 8 p.m.

ROBERT SPANO, Conductor marcus roberts, Piano

Christopher Theofanidis (b. 1967)

Symphony (2009) I. ♩=72 II. ♩=112 III. ♩=160 IV. ♩=56

World Premiere

Commissioned by The Atlanta Symphony with the generous

participation of The Savannah Music Festival and the Immanuel

& Helen Olshan Texas Music Festival.

INTERMISSION

Samuel Barber (1910-1981)

Second Essay for Orchestra, Opus 17 (1942)

George Gershwin (1898-1937)

Concerto in F Major for Piano and Orchestra (1925) I. Allegro II. Adagio; Andante con moto III. Allegro agitato Marcus roberts, 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.

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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.

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

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

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 Broaccasting’s statewide network.

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

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

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ASOprogram Notes on the Program

By Ken Meltzer Symphony (2009) Christopher Theofanidis was born in Dallas, Texas, on December 18, 1967. Symphony is scored for piccolo, two flutes, three oboes, two E-flat clarinets, three B-flat clarinets (two doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, four Ctrumpets, three trombones (third is bass trombone), tuba, timpani, five percussion, harp and strings. Approximate performance time is thirty-five minutes.

These are the world premiere performances.

Christopher Theofanidis

C

hristopher Theofanidis (born, December 18, 1967, in Dallas, Texas, currently living in New Haven, Connecticut) has had performances by many orchestras from around the world, including the National Symphony, the London Symphony, the Oslo Philharmonic, the Moscow Soloists, the Atlanta and Houston Symphonies, the Orpheus Chamber Orchestra, the Los Angeles Chamber Orchestra, and the California Symphony (for which he was composer-in-residence from 1994 to 1996), among others. His piece, Rainbow Body, is one of the most frequently performed works for orchestra in the past ten years, having been played by over 100 orchestras internationally. His work has increasingly focused on opera, and he is scheduled to write two new compositions for the San Francisco Opera for 2011, and the Houston Grand Opera for 2014.

Mr. Theofanidis served as Composer of the Year for the Pittsburgh Symphony for their 20062007 Season, and he has recently written a violin concerto for that orchestra with Sarah Chang as soloist. He holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been a Grammy nominee for best contemporary composition, the recipient of the International Masterprize, the Rome Prize, a Guggenheim Fellowship, the Barlow Prize, six ASCAP Gould Prizes, a Fulbright Fellowship to France, a Tanglewood Fellowship, and the American Academy of Arts and Letters’ Charles Ives Fellowship.

Mr. Theofanidis’s recent projects have included an opera for the Houston Grand Opera in 2007, the ballet, Artemis, for the American Ballet Theatre for performances at the Metropolitan Opera in New York and at the Acropolis in Athens as part of the cultural celebrations leading up to the Olympics, a new work for orchestra and electronics for the Austin Symphony cowritten with composer Mark Wingate, and a new work for the Pacific Symphony and organist Paul Jacobs. He has served as the US program director and as a delegate to the US-Japan Foundation’s Leadership Program and has recently been appointed to the composition faculty at Yale. Mr. Theofanidis has also been on the faculties of the Peabody Conservatory at Johns Hopkins University in Baltimore and the Juilliard School in New York City.

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Mr. Theofanidis, a member of the ASO’s “Atlanta School” of composers, has enjoyed a long and rewarding association with Atlanta Symphony Orchestra Music Director Robert Spano.

In 2000, Maestro Spano conducted the Houston Symphony Orchestra in the world premiere of Rainbow Body. In 2002, he and the Atlanta Symphony Orchestra recorded the work for Telarc Records. Rainbow Body has subsequently been featured as part of several ASO concerts at Symphony Hall, throughout the Atlanta area, and on tour. On May 12, 2005, Robert Spano and the Atlanta Symphony Orchestra and Chorus performed the world premiere of Mr. Theofanidis’s The Here and Now (2005), a work commissioned by Maestro Spano. In addition to performances in Atlanta and a recording for Telarc, they also presented the New York premiere of The Here and Now at Carnegie Hall, on April 5, 2008.

These concerts mark the world premiere of Mr. Theofanidis’s Symphony (2009), a work commissioned by The Atlanta Symphony with the generous participation of The Savannah Music Festival and the Immanuel & Helen Olshan Texas Music Festival.

Christopher Theofanidis Discusses his Symphony This is my first attempt at a symphony.

The work is cast in four movements, and the outer two are the big pillars of the piece, both emotionally and in scale. The first movement is about twelve minutes (I became very interested in the way a first movement defines a symphony, and started looking around at the lengths of the major symphonies that I love, and all of them seemed to have first movements in the twelve to fifteen-minute range). The first movement and last movement both hinge on two contrasting types of energies—in the first movement, the feeling is joyous but occasionally takes turns into a slightly out-of-control version of itself. The last movement is quite dark and monolithic in character, but is occasionally tormented by flashes of light and beauty. I saw these two movements as mirrors of each other. The first is mostly quite fast, the last has a certain breadth and grandeur with some occasional faster music.

The second movement is about eight minutes long and is quite lyrical, but not slow. There is a kind of falling (or maybe more appropriately, “raining”) music that one hears in the opening bars which comes back throughout the movement.

The primary melody is by contrast an upward, surging line. There are some unusual “nocturnal” effects, including various percussion (woodblocks, claves, etc.), but more notable maybe is that the orchestra itself is called upon twice to actually sing (unobtrusively, and on neutral syllables like “ah”, but a noticeable presence nonetheless).

The third movement is a brief scherzo-ritornello. It is only about four minutes in length, but moves at a good clip. The ritornello is a swirling dance with the strings darting here and there and an abundance of pizzicato for a light touch.

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ASOprogram The main melodic material is heard first in the flutes and clarinets, and that refrain is heard many times in several slightly altered guises. The contour of the darting material of the strings provides the fuel for all of the rest of the material in the movement. This movement would have an almost classical feel to it, were it not for the tidal surges of the brass and percussion from time to time.

My Symphony is gratefully dedicated to Robert Spano, in admiration and friendship.

— Christopher Theofanidis

♩=72 II. ♩=112 III. ♩=160 IV. ♩=56 I.

Second Essay for Orchestra, Opus 17 (1942) Samuel Barber was born in West Chester, Pennsylvania, on March 9, 1910, and died in New York on January 23, 1981. The first performance of Second Essay for Orchestra took place at Carnegie Hall in New York on April 16, 1942, with Bruno Walter conducting the New York Philharmonic. The Second Essay for Orchestra is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals, side drum, bass drum, tam-tam and strings. Approximate performance time is ten minutes.

First ASO Classical Subscription Performances: January 22, 23 and 24, 1981, Calvin Simmons, Conductor Most Recent ASO Classical Subscription Performances: January 4, 5 and 6, 2001, Marin Alsop, Conductor.

ASO Recording: Yoel Levi, Conductor (Telarc CD-80250)

I

n the late 1930s, Samuel Barber became established as one of America’s most talented and promising young composers. In the spring of 1938, both the New York Philharmonic and Cleveland Orchestra included Barber’s The School for Scandal, Overture (1931) as part of New York concerts. On November 5 in New York, the legendary Italian conductor Arturo Toscanini conducted the NBC Symphony Orchestra in a nationwide broadcast of the world premieres of Barber’s Adagio for Strings, Opus 11 (1938), and First Essay for Orchestra, Opus 12 (1937).

In 1939, Barber accepted a commission to write what would become one of his most beloved concert works, the Violin Concerto, Opus 14 (1940). Barber’s sketchbook reveals that in addi-

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tion to the Violin Concerto, he was also working on a Second Essay for Orchestra. Barber completed the Second Essay on March 15, 1942. By this time, of course, the United States was involved in the Second World War. Barber was keenly aware that he might be called into military service at any moment. He wrote to a friend: “I have been composing very hard, and my music has been going so well that it seems incongruous for times such as these. But I’ve taken the attitude that it is better to continue one’s job tutta forza until one’s draft board decides otherwise.” (Barber received his draft notice on September 16, 1942.)

The day after completing his Second Essay for Orchestra, Barber showed the score to conductor Bruno Walter, who was interested in featuring American works in his concerts with the New York Philharmonic. Walter and the New York Philharmonic performed the world premiere of Barber’s Second Essay for Orchestra at New York’s Carnegie Hall on April 16, 1942. A month later, Eugene Ormandy conducted the Philadelphia Orchestra in the Second Essay. The Second Essay soon received further performances by several prominent orchestras, further solidifying Barber’s reputation in the United States and indeed, throughout the world. The Second Essay remains one of Samuel Barber’s most performed orchestral works.

Musical Analysis The Second Essay’s arresting opening measures feature the flute, and then the bass clarinet, introducing a wide-ranging dolce, espressivo theme over hushed accompaniment by the bass drum (Andante, un poco mosso). The melody is soon developed by other winds and finally, the strings, as the music builds to a radiant climax. The violas sing the second principal theme (Con moto), related to the first, and developed in energetic fashion by the orchestra.

A sforzando chord by the entire ensemble heralds a vibrant fugue, based upon a puckish theme (again related to the first) and launched by the clarinet (Molto allegro ed energico).

The fugue reaches a hushed, mysterious resolution. The Second Essay concludes with a majestic chorale transformation of music from the work’s opening section (Più tranquillo, ma sempre muovendo).

Concerto in F Major for Piano and Orchestra (1925) George Gershwin was born in Brooklyn, New York, on September 26, 1898, and died in Hollywood, California, on July 11, 1937. The first performance of the Piano Concerto in F took place at Carnegie Hall in New York on December 3, 1925, with the composer as soloist and Walter Damrosch conducting the New York Symphony Orchestra. In addition to the solo piano, the Concerto in F is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, gong, orchestra bells, snare drum, wood block, slapstick, suspended cymbal, xylophone and strings. Approximate performance time is thirty-one minutes.

First ASO Classical Subscription Performance: January 29, 1950, Oscar Levant, Piano, Henry Sopkin, Conductor.

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ASOprogram Most Recent ASO Classical Subscription Performances: October 12, 13 and 14, 2006, Jean-Yves Thibaudet, Piano, Robert Spano, Conductor.

“An Experiment in Modern Music”

O

n February 12, 1924, bandleader Paul Whiteman presented a special concert at New York’s Aeolian Hall entitled “An Experiment in Modern Music.” Whiteman intended the program as a forum to demonstrate that American jazz was legitimate concert fare that “had come to stay and deserved recognition.” For this landmark event, Whiteman commissioned a new “jazz concerto” by a young pianist/composer who had already experienced great success on Broadway and Tin Pan Alley. And so it was that George Gershwin appeared as soloist in the triumphant premiere of his Rhapsody in Blue.

Whiteman’s Aeolian Hall concert attracted a number of luminaries from the music world, including Igor Stravinsky, John Philip Sousa, Sergei Rachmaninov, Mischa Elman, Fritz Kreisler, Jascha Heifetz, Mortiz Rosenthal, Leopold Stokowski and Willem Mengelberg. Also in attendance was Walter Damrosch, conductor of the New York Symphony. Damrosch was thrilled with Gershwin’s new work, and he decided to convince the New York Symphony to commission a Piano Concerto by George Gershwin.

On April 17, 1925, Gershwin signed an agreement to compose the Concerto and to appear as its soloist. As Gershwin acknowledged: “This showed great confidence on (the) part (of Symphony president Harry Harkness Flagler), as I had never written anything for symphony before.” It should be noted that while Gershwin did compose his Rhapsody in Blue, he did not orchestrate the work — that was done by Ferde Grofé. Indeed, over the next several weeks after signing his agreement with the New York Symphony, Gershwin immersed himself in treatises on concerto structure and orchestration.

Gershwin began composition of the new Concerto in the summer of 1925. All told, by Gershwin’s account, “It took me three months to compose it and one month to orchestrate it.”

Gershwin originally intended to entitle the piece New York Concerto, but ultimately decided upon the more generic Concerto in F. The work was finally completed on November 10, 1925.

Prior to rehearsals with the New York Symphony, Gershwin hired sixty New York musicians to participate in a private “run-through” of the work at the Globe Theater. This resulted in some cuts in the score that served to tighten the Concerto’s structure.

When Gershwin rehearsed the Concerto with the New York Symphony, a pipe remained in his mouth at all times. According to a newspaper reporter in attendance, the pipe “wandered in and out of his mouth all through the rehearsal. In particular, he used it to point accusingly at members of the orchestra who were not solving their jazz problems successfully.”

“Lady Jazz” The premiere of Gershwin’s Concerto in F took place at New York’s Carnegie Hall on December 3, 1925. Gershwin was the piano soloist and Damrosch the conductor of the New York

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Symphony. The audience response was ecstatic, “attested (as one reporter observed) in long and vehement applause, so that Mr. Gershwin was kept bowing for some minutes from the stage.” However, the critical reaction was decidedly mixed. According to Lawrence Gilman of the Tribune, the Concerto was “conventional, trite ... a little dull.” The New York Times’s Olin Downes commented: “Mr. Gershwin has tried earnestly and sincerely to compose a work of symphonic dimensions. But it cannot be said that he had succeeded ... because the form he employs is not native to a composer of his experience.” On the other hand, Samuel Chotzinoff wrote in the World that, despite any shortcomings in the work, “Of all those writing the music of today ... (Gershwin) alone actually expresses us.”

And, in a lively commentary that appeared in the program notes for the premiere, Damrosch extolled the virtues of Gershwin and his Concerto in F, a work that continues to entertain concert audiences: Lady Jazz, adorned with her intriguing rhythms, has danced her way around the world ... But for all her travels and her sweeping popularity, she has encountered no knight who could lift her to a level that would enable her to be received by a respectable member in musical circles. George Gershwin seems to have done it boldly by dressing this independent and up-to-date young lady in the classic garb of a concerto. Yet he has not detracted one whit from her fascinating personality. He is the prince who has taken Cinderella by the hand and openly proclaimed her a princess to the astonished world no doubt to the fury of her envious sisters.

Gershwin on his Concerto in F The Concerto in F is in three movements. Gershwin provided the following musical analysis, which appeared in the New York Tribune the Sunday before the premiere: I. Allegro — The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif introduced by ... horns, clarinets and violas (as well as cellos and trombones). The principal theme is introduced by the bassoon. Later, a second theme is introduced by the piano.

II. Adagio; Andante con moto — The second movement has a poetic nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated.

III. Allegro agitato — The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout.

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ASOprogram marcus roberts, Piano

J

azz pianist Marcus Roberts brings to the world of classical music a remarkable keyboard style and thorough perception of jazz as a dynamic influence in the evolution of American music. His new recording, New Orleans Meets Harlem, Volume 1, was released on Tuesday of this week and is a celebration of how the early roots of jazz, with its ragtime, blues and New Orleans’ influences, can be combined with the virtuosic Harlem styles to create an entirely new sound.

Marcus Roberts

Portraits in Blue, Roberts’ critically acclaimed debut recording for Sony Classical, explores and reinterprets the jazz elements in the concert music of American composers George Gershwin and James P. Johnson. The focal point of Portraits in Blue, Gershwin’s signature classic Rhapsody in Blue, has been recorded many times, but Roberts’ recording is the first in which the piece has been so thoroughly re-conceived through the personalized interpretations of a particular artist. The album also includes Roberts’ distinctive reworkings of Gershwin’s Variations on I Got Rhythm and Johnson’s rarely heard Yamekraw, named for a historic black settlement on the outskirts of Savannah, Ga. Roberts’ arrangements of these classics match his highly individual piano style with the sweep and grandeur of an orchestra, combining 13 members of New York’s Orchestra of St. Luke’s and 18 accomplished jazz musicians, many of them alumni of Roberts’ touring jazz ensembles.

Roberts’ recording, The Joy of Joplin, released in October 1998, brings a similar approach to the popular music of another uniquely American composer, Scott Joplin. This new collection features Roberts’ interpretations of eight classic Joplin pieces, as well as eight original pieces of his own that blend Joplin’s ragtime style with European classical music and the sounds of 20th-century blues and swing. His influences range from ragtime to Ravel and Debussy, Erroll Garner and Ron Carter.

“Classical music has always had a huge impact on jazz musicians,” Roberts says, noting that his personal listening mix includes Beethoven, Chopin, Mahler, Coltrane and Billie Holiday.

“The basic goal of the Rhapsody in Blue project is to showcase the art of improvisation from the jazz musician’s perspective within a semiclassical form.”

Marcus Roberts began his professional career performing with jazz trumpeter Wynton Marsalis. He had already recorded six albums before signing with Columbia early in 1994.

During this time, he enjoyed the distinction of being the first jazz musician to have his first three recordings reach number one on Billboard’s traditional jazz chart. He has recorded a wealth of original solo and band material, with a continuing commitment to exploring the American solo piano tradition with his versions of classics by Ellington, Monk, Jelly Roll Morton and James P. Johnson.

Marthaniel Roberts was born in Jacksonville, Fla., on August 7, 1963. Blind since the age of five, Roberts was first exposed to music in the local church, where his mother was a gospel Atlanta’s Performing Arts Publication 35

ASOprogram singer. His parents bought a piano when he was eight, and he began nine years of formal training at age 12. While a music major at Florida State University in Tallahassee, Roberts studied with Leonidus Lipovetsky, who, along with Van Cliburn, was a student of the noted Russian piano teacher Rosina Lhevinne. Roberts also cites such diverse pianists as Art Tatum, Vladimir Ashkenazy, James P. Johnson and Mary Lou Williams as early influences.

Aspiring to a career in jazz, Roberts won several state-wide competitions and even earned plaudits from Florida’s governor. In 1982, he won the competition at the annual convention of the National Association of Jazz Educators in Chicago, where he met pianist Ellis Marsalis, patriarch of the noted jazz dynasty. Wynton Marsalis heard Roberts play at the convention, and the trumpeter asked his father to have Roberts contact him.

Marsalis went on to have a profound influence on Roberts’ artistic development, as he took the young pianist under his wing. By 1985, their relationship had evolved to the point where Marsalis invited Roberts to take over the piano chair in his quartet vacated by Kenny Kirkland.

Roberts was surprised by the opportunity, but so was Marsalis, because by the time the pianist had joined the ensemble, he had learned its entire repertoire from tapes the trumpeter had sent him. Roberts maintained a busy touring schedule with Marsalis from 1985 to 1991 and appeared on virtually all the trumpeter’s jazz recordings made during that period. He continued to garner awards, including the $10,000 first prize at the first Thelonious Monk International Jazz Competition in 1987.

In addition, Roberts’ work on behalf of the Jazz at Lincoln Center program has been most impressive. One of the highlights of the summer 1993 Classical Jazz Series at Lincoln Center was the debut of Roberts’ remarkably ambitious 70-minute Romance, Swing and the Blues, described by the New York Post as “... a rich, life-filled and quite absorbing extended work.”

Its triumphant performance occurred on August 7, the pianist’s 30th birthday, and it marked the beginning of a very promising new decade for Roberts. A vast knowledge of the jazz canon served the artist well during his tenure as music director for the 19-member Lincoln Center Jazz Orchestra’s coast-to-coast U.S. tour in the winter of 1994. Roberts selected the nightly programs and served as emcee for the mostly sold-out 30-city tour. Throughout 1994, he devoted much of his time to the work of Gershwin, including a spectacular performance as a soloist with Leon Botstein’s American Symphony Orchestra in Variations on I Got Rhythm at an Avery Fisher Hall concert titled Common Ground: Jazz, African-American and Jewish Composers (1930-1955).

Roberts is active as an educator, conducting seminars and clinics throughout the U.S. He also has a special interest in working with the blind and has recently contributed his time to projects with The Lighthouse and the American Foundation for the Blind, two nationally recognized organizations for people with impaired vision.

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ASOsupport Ray Uttenhove, Appassionato Chair

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

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

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by Janet Davenport Cari Katrice Dawson Marcia & John Donnell Jere & Patsy Drummond

Atlanta’s Performing Arts Publication 37

ASOsupport Judy Hellriegel, Chair

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

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ASOsupport $2,250+ (continued) Realan Foundation, Inc. Dr. & Mrs. W. Harrison Reeves, Sr. In memory of Nora A. Richardson S. A. Robinson Mrs. William A. Schwartz

Mr. Craig H. Seibert & Ms. Molly Minnear Elizabeth S. Sharp Beverly & Milton Shlapak W.H. Shuford Louis Sicurezza Helga Hazelrig Siegel

Peter James Stelling John & Yee-Wan Stevens John & Marilyn Thomas Ms. Caroline M. Thompson Ann & Joan Titelman Burton Trimble Mr. William C. Voss

Mr. Thomas P. Walbert Mr. & Mrs. Thomas W. Walker Dr. & Mrs. James O. Wells, Jr. Ms. Mary Lou Wolff Mr. & Mrs. John C. Yates Mr. Michael H. Zimmerman

Joseph W. & Beth M. Gibson Duncan & Judy Gray Mr. Kenneth R. Hey Ed Heys Dr. & Mrs. Thomas J. High Mr. & Mrs. Daniel H. Hollums Dr. & Mrs. James M. Hund Dorothy Jackson Mary & Wayne James Lana M. Jordan Mr. Thomas J. Jung Dr. & Mrs. M. J. Jurkiewicz Betty Karp Paul & Rosthema Kastin Mr. & Mrs. John H. Kauffman Dick & Georgia Kimball* Veronique Krafft-Jones & Baxter Jones Mr. & Mrs. David Krischer Mr. & Mrs. Kenneth F. Leddick Paul & Winifred Lefstead * Dr. Leslie Leigh Dr. Fulton Lewis III & S. Neal Rhoney Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Paul E. Manners Mr. & Mrs. James H. Matthews, Jr. Mr. & Mrs. Devereaux McClatchey

Martha & Reynolds McClatchey JoAnn Godfrey McClinton Mr. & Mrs. Albert S. McGhee John F. & Marilyn M. McMullan Angela & Jimmy Mitchell Judy & Gregory Moore Mrs. Gene Morse Mr. & Mrs. Vernon J. Nagel Lebby Neal Mr. & Mrs. J. Vernon O’Neal, Jr. Sanford & Barbara Orkin Keith & Dana Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Mr. & Mrs. William A. Parker, Jr. Ms. Susan B. Perdew Mr. & Mrs. William John Petter Brian & Sherry Ranck Mr. Christopher D. Rex & Dr. Martha Wilkins Mr. & Mrs. John E. Robertson Mr. & Mrs. Richard L. Rodgers The Gary W. & Ruth M. Rollins Foundation Dr. & Mrs. Rein Saral

Dr. Paul Seguin Dr. & Mrs. James Sexson Andrew J. Singletary Gary E. Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Mrs. James R. Stow Kay & Alex Summers Elvira Tate Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Dede & Bob Thompson Mr. & Mrs. William M. Tipping Frank Vinicor, M.D. Drs. Mel & Nan Vulgamore Charlie Wade & M.J. Conboy Mr. J.H. Walker III Drs. Julius & Nanette Wenger David & Martha West Mrs. Thomas R. Williams Mark & Ruthelen Williamson Ned J. Winsor Jan & Beattie Wood Dorothy & Charlie Yates Family Fund Marguerite & Mike York Chuck & Pat Young Dr. & Mrs. James D. Young The Zaban Foundation, Inc. Grace & Herbert Zwerner

$1,750+ Marian & Paul Anderson Anonymous Mrs. Kathy Betty B. Sandford Birdsey III Martha S. Brewer Mr.** & Mrs. Eric L. Brooker Tony & Norma Jean Bueschen Ian M. Burt Evelyn J. & Richard A. Carroll Dr. Michele R. Chartier & Lt. Col. Kirk Chartier Dr. & Mrs. Grady S. Clinkscales, Jr. Dr. & Mrs. B. Woodfin Cobbs, Jr. Mr. & Mrs. Barksdale Collins* Jean & Jerry Cooper Robert Cronin & Christina Smith Mr. & Mrs. Burton K. Davis Mrs. H. Frances Davis Cecil B. Day Family Elizabeth & John Donnelly Mr. Bruce E. Dunlap Ms. Diane Durgin Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay Drs. Norma J. & Bryan P. Edwards Heike & Dieter Elsner

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

Atlanta’s Performing Arts Publication 39

ASOsupport

Corporate sponsors $100,000+

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

Holiday Title Sponsor

SuperPOPS! Title Sponsor

Muhtar Kent President and Chief Operating Officer

Darrell J. Mays Chief Executive Officer

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

Richard Anderson Chief Executive Officer

1180 Peachtree * Perimeter Summit * Riverwood

Delta Classic Chastain Presenting Sponsor Kendall Alley Atlanta Regional President

$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

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

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

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

$10,000+

CNN en Español HoneyBaked Ham Company Reliance Trust The UPS Foundation

Evolution Home Theater Nordstrom Peachtree Hills Place Stanford Financial Services

The Boston Consulting Group Turner Construction Company Verizon Wireless Wilmington Trust WineStyles

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

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

40 Encore Atlanta

$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 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* 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

Talent Development program supporters Funds included: ASO Training Programs Fund as part of the ASO Learning Community Fund, The Azira G. Hill Scholarship Endowment Fund, & TDP Endowment Campaign

$25,000+

Bank of America The Coca Cola Company John H. & Wilhelmina D. Harland Foundation* Mr. & Mrs. Jesse Hill , Jr.* Monica (Kaufman) Pearson & John E. Pearson, Sr.* 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 Goizueta Foundation The Sartain Lanier Family Foundation, Inc.* The Pittulloch Foundation* John C. Portman, Jr.* Simmons Family Foundation* Mr. & Mrs. Robert A. Yellowlees*

$2,500+

Mr. & Mrs. Henry Aaron* Elinor Rosenberg Breman** Cynthia & Donald Carson* Georgia-Pacific Corporation Mr. & Mrs. Charles B. Ginden* Mr. & Mrs. David Gould Mrs. Mary C. Gramling* Lincoln Financial Foundation Links Inc., Azalea City Chapter Mr. Kenneth & Dr. Carolyn Meltzer Margo Brinton & Eldon Park* Mr. & Mrs. Thomas L. Sullivan* Isaiah & Hellena Huntley Tidwell* The Frances Wood Wilson Foundation, Inc.* Ms. Joni Winston*

$1,000+

Madeline & Howell E. Adams, Jr.* Claire & Hubie Brown Dr. Eric & Nancy Brown*

Dr. Sheri D. Campbell* Sharon, Lindsay & Gordon Fisher Dr. John O. Gaston & Dr. Gloria S. Gaston* Mr. & Mrs. Ernest Greer* The Honorable Judge Glenda Hatchett* Ms. Joy G. Howard Aaron & Joyce Johnson* Mr. & Mrs. William Lamar, Jr.* Ms. Malinda C. Logan* Mr. & Mrs. Howatt E. Mallinson* Dr. Emily A. Massey* Dr. Joanne R. Nurss* Dr. & Mrs. Travis Paige* Mr. & Mrs. Howard Palefsky* Ms. Margaret H. Petersen Ms. Elise T. Phillips Erich & Suzette Randolph* Mr. Herman J. Russell, Sr. Michael & Lovette Russell Stephanie & H. Jerome Russell*

Suzanne & Willard Shull* Mr. & Mrs. Michael A. Troy Mr. & Mrs. Mark D. Wasserman* Mr. Mack Wilbourne*

Special gifts

The Arthur M. Blank Family Foundation GE Energy The Green Foundation William Randolph Hearst Foundations Kraft Foods, Inc. MetLife Music for Life Initiative Nordstrom The UPS Foundation Woodruff Arts Centerâ&#x20AC;&#x2122;s Celebrate Diversity through the Arts The Zeist Foundation * Those that have contributed recently to the TDP Endowment Campaign

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

Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 41

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

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

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

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

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

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

Ticket Sponsor The Epicurean Springer Mountain Farms Jim Ellis Audi Atlanta

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

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

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

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

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 2008 AIRTRAN ASO Golf Classic Tournament

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

Four-person Team Sponsor Allconnect Deloitte Ernst & Young

42 Encore Atlanta

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

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

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

FRIDAY: Noon - 9 PM SATURDAY: 10 AM - 9 PM SUNDAY: Noon - 7 PM

Enjoy a Full Weekend Filled With...

F A L M D D E Z P A B F  D P F A  L  F  :

Patron Circle of Stars

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

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

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

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

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

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

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

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

44 Encore Atlanta

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

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

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

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

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

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

Atlanta’s Performing Arts Publication 45

Points of View

By Ken Meltzer It depends so much on the circumstances and what group one is conducting. Programming is a big challenge — who is the audience, young or older, and what do I think they want to hear or learn? When I conduct the ASO, I must be very clear and work quickly in limited rehearsal time, and hopefully create a program that captures the interest of the particular audience. My time in front of the ASYO is one of teaching and mentoring and conveying through conducting motions the character and meaning of the music.

How does your experience as an orchestra musician affect your approach to conducting?

Jere Flint Following last month’s revealing profile, Resident Conductor-Cellist-Youth Orchestra Music Director Jere Flint offers a coda on career choices and role-playing When and why did you first decide that you wanted to pursue conducting as part of your musical career?

I’ve always been interested in leading and conducting. In high school, I was an assistant in the marching band (playing baritone horn) and ended up designing some half-time shows. In college, I sometimes conducted the choir and created a couple of pop shows that I toured, entertaining military troops overseas.

I guess I’ve always wanted to create entertainment in any form.

What is the most challenging aspect of conducting?

48 Encore Atlanta

As players, we are always observing every conductor and absorbing what works in particular instances, what phases he or she speaks that are helpful in communicating the intent of the music, and how rehearsal time is used to the best advantage. By seeing what works, and what the final product is, I often can try various techniques that give positive results, and also try to avoid pitfalls that hamper good rehearsals and excellent performances. Many of the best conductors were orchestra players at one time and know what the players need to perform at their optimum.

And from the opposite perspective, how does conducting impact your work as a member of the ASO cello section?

After I conduct the ASO, I realize I’m sitting among the elite. These people are players of the highest caliber, able to play virtually any type of music of any difficulty with the highest professionalism under any circumstances.

That in itself forces me to produce at the highest level I can, no matter who is conducting.

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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Points of View

By Ken Meltzer How did you become the Program Annotator and Insider for the Atlanta Symphony?

With a lot of good luck! I was the Program Annotator for the Pittsburgh Symphony for 11 years (1994-2005). In the summer of 2005, my wife and I moved to Atlanta. At that same time, ASO Program Annotator Nick Jones informed the Orchestra that he would retire at the close of the 2006-07 season. I was honored that the Orchestra asked me to become a member of their team, and to succeed Nick upon his retirement.

In addition to writing the Orchestra’s program notes, you also give an “Inside the Music” pre-concert talk before the opening concert of each classical subscription weekend. What are your main goals for the notes and talks?

ASO Program Annotator and Insider

Ken Meltzer

Inside the “Insider” Karl Schnittke turns the tables in a Q & A with Program Annotator and ASO Insider Ken Meltzer, who usually interviews Orchestra members for Encore Atlanta When did you first become interested in classical music?

My high school French teacher (a Maryland Teacher of the Year and National Teacher of the Year finalist) included opera as part of his language curriculum. He taught the subject with such incredible knowledge, passion and humor that he had a group of high school students hanging on his every word and on every bar of music. From the opening of Charles Gounod’s Faust, I was hooked for life.

50 Encore Atlanta

I hope that both the notes and talks give people some information about the background and substance of the musical works on the program. I try to have the talks complement the program notes, both through the inclusion of special guests and recorded musical excerpts. If after attending a talk or reading the program notes, someone feels he or she knows a little more about the music and is looking forward to hearing the concert, then I’m very gratified.

What do you do when you’re not writing notes or giving talks?

My wife and I are still exploring all the wonderful things the city of Atlanta has to offer.

After living in Pittsburgh, I’m still relishing the opportunity to play golf year-round! I also enjoy accompanying our therapy dog, Max, as he charms people in hospitals, schools and libraries throughout Atlanta.

at participating

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11/12/2008

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A MEMORABLE EVENING, ACT TWO

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

Just blocks from Woodruff Arts Center at 1144 Crescent Avenue in Midtown Monday-Thursday, 5-10:30pm; Friday-Saturday, 5-11pm; Sundays, 5-10pm 404.873.7358 • fifthgroup.com

Present your ticket stub and receive 10% off dinner (one per table).

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

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

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

THEGEORGIANTERRACE.COM (404)897-1991

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

404.253.5909 atlantasymphony.org

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B E C A U S E Y O U C E L E B R AT E T H E A R T S An easy walk from the theatre district, Straits welcomes you with open arms to enjoy our savory Singaporean cuisine in an elegant and relaxing atmosphere. Straits is a great beginning or ending to your evening out on the town...

CHEF CHRIS YEO / CHRIS “LUDACRIS” BRIDGES

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Not Redeemable For Cash

ASOstaff

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

56 Encore Atlanta

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

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 Renee Vary Director of Constituent Communications

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 Major & Planned Giving Meko Hector Jessica Langlois Office & Marketing Director of Leadership Gifts Coordinator & Planned Giving Jennifer Jefferson Andrea Welna Interactive Major Gifts Officer Media Manager Meredith Jackson Melanie Kite Prospect Research Officer Subscription Annual, Institutional Office Manager & Volunteer Services Shelby Moody Scott Giffen Group & Corporate Director of Institutional Sales Coordinator Support & Partnerships Seth Newcom Corey Cowart Database Administrator Corporate Relations Robert Phipps Manager Publications Director Toni Paz Melissa A. E. Sanders Director of Individual Giving Director of Public Maya Robinson & Media Relations Patron Partnership Karl Schnittke Gifts Officer Publications Editor Andrea Mendez Robin Smith Patron Partnership Officer Group & Corporate Celeste Pendarvis Sales Assistant Director of Volunteer Services Laura Soldati & Special Events Publicist Christine Woods Russell Wheeler Volunteer Project Manager Group & Corporate Sarah Turner Sales Manager Special Events Coordinator Christina Wood Marketing Manager ASO Learning Community Melanie Darby Director of Education Programming Scott Giffen Director of Development Mariel Reynolds ASO Community Catalyst Elizabeth Wilson Director of Student Musician Development Lindsay Fisher Learning Community Specialist; Ensembles Coordinator

It’s not polite to shout during the show.

So we invite you to

after.

PRESENT YOUR TICKET AND RECEIVE 15% OFF FOOD ONLY AT SHOUT* Offer valid with your Atlanta Symphony Orchestra or Fox Theatre ticket stub. Expires 4/30/09.

*

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

C o n c e rt P i a n i s t P r i vat e I n s t r u c t i o n 770-735-7426 w w w. r o b e r t h e n r y . o r g

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.

ATLANTA CHAMBER PLAYERS present “Chamber Music at the Tavern”

(back row) John Meisner, violin ● Richard Deane, horn

Justin Bruns, violin ● Elizabeth Koch, oboe Christina Smith, flute (front row) Paula Peace, piano and artistic director ● Laura Ardan, clarinet Catherine Lynn, viola ● Brad Ritchie, cello www.atlantachamberplayers.com

“Atlanta’s All-Stars” – Atlanta Journal-Constitution

Atlanta Shakespeare Tavern Tuesday evening, May 19, 2009 at 7:30 p.m.

British pub menu opens 6:15 p.m. ● Concert 7:30 p.m.

HERZOGENBERG Trio for Oboe, Horn, and Piano KRAMER Atlanta Licks (ACP Commission) BEETHOVEN String Quartet Opus 130 Admission $20; students $10 with ID Tickets: Shakespeare Tavern box office at (404) 874-5299 or www.shakespearetavern.com

AN AFFORDABLE FU LL-DAY ADVENTURE!

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