April 2012: Virtuosic Shaham Plays Bach & Stravinsky at the Atlanta Symphony Orchestra

Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

April

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contents April 2012

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features

the music

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I can’t change what happened to these composers, but I can change their legacy.’

25 This week’s concert and program notes

Conductor Michael Christie shines a light on Jewish works banned by the Nazis.

12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

46 Remarkable Partners

The Orchestra and the Alliance Theatre give life to The Remarkable Farkle McBride.

48 Community Corner

Meet Ahmad Mayes the Atlanta Symphony Orchestra’s Community Programs Coordinator.

8 Atlanta Symphony Orchestra/aso.org

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atlanta symphony orchestra Rob Phipps Karl Schnittke program annotator Ken Meltzer

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Welcome Ever wonder about what happens in Symphony Hall when you’re not here for a concert? Symphony Hall is alive with music and filled with children!

Through its renowned education programs — programs like Concerts for Young People, Symphony Street and Next Generation — the Atlanta Symphony Orchestra brings music into the lives of more than 54,000 school-aged children each year.

Earlier this year more than 600 students from Springdale Park Elementary School spent a day with the ASO. When asked by their teacher, Brianne Turgeon, to reflect on what they had learned in their time with us, three students created websites about their favorite composers, 60 students developed PowerPoint presentations, and dozens more made posters, drew portraits, created sculptures and wrote stories. Here’s a glimpse of one: fourth-grader Hannah-Rose’s James Price Johnson keyboard presentation. She lists the facts under the keys!

For a more in-depth look at what the Springdale Park students took away from their day in Symphony Hall, visit springdaleparkmusic.blogspot.com/2012/02/ awesome-projects-2012.html.

The ASO is making a difference in Atlanta — through the inspiring concerts you attend, and by engaging the youngest members of our community.

Our music education initiatives are made possible by generous donors like you. On behalf of the 54,000 children whose lives we will touch this year — children like Hannah-Rose and her classmates from Springdale Park — thank you for supporting your Atlanta Symphony Orchestra!

Wishing you all the best,

Stanley E. Romanstein, Ph.D. President

12 Atlanta Symphony Orchestra/aso.org

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leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson Meghan H. Magruder Chair Vice Chair Karole F. Lloyd D. Kirk Jamieson Chair-Elect Vice Chair

Joni Winston † Secretary Clayton F. Jackson Treasurer

Directors Jim Abrahamson Pinney L. Allen Joseph R. Bankoff* Neil H. Berman Paul Blackney Janine Brown C. Merrell Calhoun Donald P. Carson S. Wright Caughman, M.D. Ann W. Cramer † Sylvia Davidson * Carlos del Rio, M.D. Richard A. Dorfman Lynn Eden David Edmiston Gary P. Fayard

Dr. Robert M. Franklin, Jr. Paul R. Garcia Carol Green Gellerstedt Thomas Hooten Tad Hutcheson † Mrs. Roya Irvani † Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson III Mark Kistulinec Steve Koonin Carrie Kurlander James H. Landon Michael Lang Donna Lee Lucy Lee Karole F. Lloyd

Kelly L. Loeffler Meghan H. Magruder Belinda Massafra* Penny McPhee Howard D. Palefsky Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Martin Richenhagen † John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski William Schultz John Sibley H. Hamilton Smith

Lucinda B. Smith Thurmond Smithgall Paul Snyder Gail Ravin Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Ray Uttenhove Chilton Davis Varner † S. Patrick Viguerie Rick Walker Thomas Wardell Mark D. Wasserman John B. White, Jr. † Richard S. White, Jr. † Joni Winston † Patrice Wright-Lewis Camille Yow

Board of counselors Mrs. Helen Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin

Charles Ginden John T. Glover Frances B. Graves Dona Humphreys Aaron J. Johnson Herb Karp Jim Kelley George Lanier

Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Joyce Schwob Mrs. Charles A. Smithgall, Jr.

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Arthur L. Montgomery * ex officio † 2011-2012 sabbatical

14 Atlanta Symphony Orchestra/aso.org

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Robert Spano music Director

M

usic Director Robert Spano, currently in his 11th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001, he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have together explored a creative mix of programming, including Theater of a Concert performances, which explore different formats, settings, and enhancements for the musical performance experience, such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008 and the production of Puccini’s Madama Butterfly in June 2011. The Atlanta School of Composers reflects Mr. Spano’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, Michael Gandolfi and Adam Schoenberg. Since the beginning of his tenure (to date), Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works (composed since 1950).

angela morris

Mr. Spano has a discography with the Atlanta Symphony Orchestra of 19 recordings, six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall and Lincoln Center, as well as the Ravinia, Ojai, and Savannah Music Festivals. Mr. Spano has led the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles. Mr. Spano was Musical America’s 2008 Conductor of the Year.

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In March 2010, Mr. Spano began a three-year tenure as Emory University’s distinguished artist-in-residence, in which he leads intensive seminars, lectures, and presents programs on science, math, philosophy, literature and musicology.

In March 2011, Mr. Spano was announced as the incoming music director of the Aspen Music Festival. He was in residence in Aspen for the 2011 summer season as music director-designate and will assume the full role of music director in 2012.

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Robert Spano

Donald Runnicles

Michael Krajewski

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

Principal Pops Conductor

FIRST VIOLIN

SECOND VIOLIN

VIOLA

CELLO

David Coucheron Concertmaster William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

David Arenz Principal The Atlanta Symphony Associates Chair* Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair* Jay Christy Assistant Principal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

Reid Harris Principal The Edus H. and Harriet H. Warren Chair* Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair * Catherine Lynn Assistant Principal Wesley Collins Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Ardath Weck

Christopher Rex Principal The Miriam and John Conant Chair* Daniel Laufer Associate Principal The Livingston Foundation Chair* Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

18 Atlanta Symphony Orchestra/aso.org

BASS

Ralph Jones Principal The Marcia and John Donnell Chair * Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer Thomas Thoreson

Jere Flint

Norman Mackenzie

Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

Director of Choruses The Frannie and Bill Graves Chair

FLUTE

BASS CLARINET

TROMBONE

HARP

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Paul Brittan Carl David Hall

Alcides Rodriguez

Colin Williams Principal Stephen Wilson Associate Principal Nathan Zgonc George Curran

Elisabeth RemyJohnson Principal The Delta Air Lines Chair

PICCOLO

Carl David Hall OBOE

Elizabeth Koch Principal The George M. and Corrie Hoyt Brown Chair * Yvonne Powers Peterson Associate Principal Ann Lillya † CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez E-FLAT CLARINET

Ted Gurch

BASSOON

Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

BASS TROMBONE

George Curran

CONTRA-BASSOON

TUBA

Juan de Gomar

Michael Moore Principal

HORN

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane Bruce Kenney

TIMPANI

TRUMPET

PERCUSSION

Thomas Hooten Principal The Madeline and Howell Adams Chair* The Mabel Dorn Reeder Honorary Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

Mark Yancich Principal The Walter H. Bunzl Chair* William Wilder Assistant Principal

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian John Wildermuth Assistant Librarian

‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically

encoreatlanta.com/Atlanta’s Performing Arts Publication 19

‘I can’t change what happened to these composers, but I can change their legacy.’

Conductor Michael Christie shines a light on Jewish works banned by the Nazis.

Concerts: April 26-28 Mieczyslaw Weinberg

By Madeline Rogers

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I

Marcel Tyberg

n one of history’s darkest hours, being Jewish could cost you your life — or at the very least your good name, even if you had been dead for decades. When he died in 1847, Felix Mendelssohn, who was lionized in his lifetime as a genius of Mozartean stature, could not have imagined that within a few years his reputation would be so sullied by anti-Semitic slurs that it would never fully recover. Even his conversion to Christianity could not save him, first from a scurrilous attack by Richard Wagner in the pamphlet “Judaism in Music,” published in 1857, and later at the hands of the Nazis, who banned Mendelssohn’s works, along with those of other Jewish musicians.

Mendelssohn, whose Piano Concerto No. 1 will be performed by the Orchestra led by Michael Christie, with pianist Behzod Abduraimov (April 26–28), was far more fortunate than his 20th-century counterparts. Many perished or were marginalized at the hands of the Nazis and Stalinists; others were forced into exile or were consigned to oblivion, their musical output forgotten. Two such composers, Mieczyslaw Weinberg (1919–1996) and Marcel Tyberg (1893–1944), are represented on the program alongside Mendelssohn. “I can’t change what happened to these composers, but I can change their legacy. I feel that sense of responsibility,” says Mr. Christie, who is on something of a mission to seek out and perform works

by Holocaust-era composers.

has called “the absurd charge of plotting to set up a Jewish republic in the Crimea.”

It was Weinberg’s good fortune that Stalin died months later, and he — along with thousands of other inmates — was liberated.

Despite the persecution and censorship, Weinberg soldiered on, producing an astonishing body of work, including 26 symphonies, seven concertos, seven operas, several ballets, incidental music for 65 films, and a slew of chamber works. Little known when he died in 1996, his music is now being rediscovered by a younger generation of musicians.

The other Holocaust-era composer on the program is Marcel Tyberg, who is represented by his completion of Shubert’s “Unfinished” Symphony.

Tyberg died in the Felix Mendelssohn Auschwitz concentration camp in 1944 — an ironic The lives of Weinberg and Tyberg illustrate the various ways in which fate given that he was barely Jewish (his greatthe 20th century’s pervasive anti-Semitism grandfather was the only Jew in his lineage). senselessly destroyed lives and careers. Before he was transported, the composer Weinberg, whose Rhapsody on Moldavian entrusted his compositions to his friend Dr. Themes opens the concert, was born in Milan Mihich. In 1948, Dr. Mihich’s son, Poland. When the Nazis invaded and Enrico, who had been Tyberg’s harmony killed his entire family, he fled to the Soviet student, became the caretaker of Tyberg’s Union, ending up in remote Tashkent. legacy. Enrico eventually settled in Buffalo, In 1943, he sent the score of his First N.Y., where he introduced the composer’s Symphony to Dmitri Shostakovich, who works to JoAnne Falletta, music director of was so impressed that he invited Weinberg the Buffalo Philharmonic Orchestra. to Moscow, where the younger composer would live out his days. Despite a climate of “The common thread linking these virulent anti-Semitism, Weinberg felt safe, composers,” says Ken Meltzer, the Atlanta but in January 1953, he was imprisoned Symphony Orchestra’s program annotator, in a gulag on what writer Robert R. Reilly Continued on page 44

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program

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concerts Thursday and Saturday, April 12 and 14, 2012, at 8:00 p.m. and Sunday, April 15, 2012, at 3:00 p.m.

Robert Spano, Conductor Gil Shaham, Violin Ailyn Pérez, Soprano Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses Johann Sebastian Bach (1685-1750) Sinfonia in D from Cantata, “Wir danken dir, Gott, wir danken dir,” BWV 29 (1731) Peter Marshall, Organ Cantata, “Nun ist das Heil und die Kraft,” BWV 50 Atlanta Symphony Orchestra Chorus Concerto No. 2 in E Major for Violin and String Orchestra, BWV 1042 (ca. 1717-1723)

I. Allegro

II. Adagio

III. Allegro assai Gil Shaham, Violin Intermission Igor Stravinsky (1882-1971) Concerto in D Major for Violin and Orchestra (1931)

I. Toccata

II. Aria I

III. Aria II

IV. Capriccio Gil Shaham, Violin

encoreatlanta.com/Atlanta’s Performing Arts Publication 25

Francis Poulenc (1899-1963) Gloria (1959)

I. Gloria in excelsis Deo

II. Laudamus te

III. Domine Deus, Rex coelestis

IV. Domine Fili unigenite

V. Domine Deus, Agnus Dei

VI. Qui sedes ad dexteram Patris Ailyn Pérez, Soprano Atlanta Symphony Orchestra Chorus English surtitles by Ken Meltzer

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

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

26 Atlanta Symphony Orchestra/aso.org

program sponsors

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

Delta is proud to be celebrating our 70th anniversary as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

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

The Atlanta Symphony Orchestra’s concert on November 5, 2011 at Carnegie Hall was made possible through the generous support of Delta Air Lines, Thurmond Smithgall and the Massey Charitable Trust.

Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin.

The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation.

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

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

Media sponsors: WABE, WSB AM, and AJC. Trucks provided by Ryder Truck Rental Inc.

encoreatlanta.com/Atlanta’s Performing Arts Publication 27

Notes on the Program

By Ken Meltzer Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750.

Bach, Prince Leopold, and Cöthen

F

rom 1717-1723, German composer Johann Sebastian Bach served as Kappellmeister to Prince Leopold, whose court was located in Cöthen, approximately sixty miles north of Weimar. Prince Leopold was an avid and talented musician. According to Bach, the Prince “loved music, he was well acquainted with it, he understood it.” Prince Leopold both sang and played several instruments. In addition, he hired some of Europe’s greatest instrumentalists to serve as court musicians.

As Prince Leopold’s court was Calvinist, Bach’s duties did not include the composition of liturgical music. Bach instead responded with an extraordinary outpouring of instrumental creations. Bach’s Cöthen works include such masterpieces as the first book of the WellTempered Clavier, the Sonatas and Partitas for Solo Violin and Suites for Solo Cello, as well as the Brandenburg Concertos.

Bach in Leipzig In December of 1721, Prince Leopold wed his cousin, Friederica Henrietta, Princess of Anhalt-Bernburg. The Princess shared none of her husband’s passion for the arts. Over time, the Prince’s support for musical activities in Cöthen declined, placing a strain on his relationship with Bach.

In 1723, Bach left Prince Leopold’s Court to begin his service as Music Director of Leipzig’s St. Thomas Church and School. While in Leipzig, Bach created an incredible body of sacred choral works. These include five Cantata cycles for every Sunday and feast day, the Magnificat (1723), and the St. John (1724) and St. Matthew (1727) Passions.

One might reasonably be tempted to assume that such a demanding schedule would generate routine, and music of lesser quality. Instead, Bach responded with an outpouring of sacred vocal music that remains without equal, not only for its prolific number, but also for eloquence, variety and invention.

Sinfonia in D from Cantata No. 29, “Wir danken dir, Gott, wir danken dir” (1731) The Sinfonia is scored for two oboes, three trumpets, organ, harpsichord and strings.

Approximate performance time is four minutes.

28 Atlanta Symphony Orchestra/aso.org

program First ASO Classical Subscription Performances: April 9, 10 and 11, 1998, Christopher Hogwood, Conductor.

Bach composed his Cantata No. 29, “Wir danken dir, Gott, wir danken dir” (“We thank You, God, we thank You”) for a church service held in observance of the August 27, 1731 investiture of the new members of the Leipzig town council. The Cantata, scored for vocal soloists, chorus and orchestra, opens with a brilliant, instrumental Sinfonia. The Sinfonia is based upon a work from Bach’s Cöthen years, the opening Preludio from Bach’s Partita in E Major for Solo Violin, BWV 1006. In the Sinfonia, the organ plays the solo violin music, with the orchestra providing an accompaniment Bach added for this arrangement.

Cantata No. 50, “Nun ist das Heil und die Kraft” (ca. 1723) The Cantata No. 50 is scored for mixed chorus, three oboes, three trumpets, harpsichord and strings. Approximate performance time is four minutes.

These are the first ASO Classical Subscription Performances.

The chorus, “Nun ist das Heil and und Kraft” (“Now has the salvation and strength”) is Bach’s setting of text from Revelation 12:10. The chorus is all that survives of what Bach must have intended as a multi-movement cantata. The brief work is one of Bach’s choral masterpieces, with remarkably rich and varied instrumental and vocal writing.

Text and Translation Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes seines Christus worden, weil der verworfen ist, der sie verklagete Tag und Nacht vor Gott.

Now have the salvation and strength and kingdom and power of our God and of His Christ come to us, for he who reviled them day and night is cast down.

Concerto No. 2 in E Major for Violin and String Orchestra, BWV 1042 (ca. 1717-23) In addition to the solo violin, the Concerto No. 2 is scored for strings and continuo.

Approximate performance time is nineteen minutes.

First ASO Classical Subscription Performances: January 20, 21, and 22, 1977, Edith Pinemann, Violin, Louis Lane, Conductor.

Most Recent ASO Classical Subscription Performances: November 29, 30 and December 1, 1984, Henryk Szeryng, Violin, Robert Shaw, Conductor.

Bach’s two surviving Concertos for solo Violin and Orchestra (A minor, BWV 1041, and E Major, BWV 1042) are also products of his years in Cöthen. While Bach employs conventions typical of concertos of the period, the sublime eloquence of his writing, encoreatlanta.com/Atlanta’s Performing Arts Publication 29

particularly for the solo instrument, has assured these works a treasured place in the repertoire.

Musical Analysis I. Allegro — The ensemble immediately presents the Allegro’s central theme that opens with three bold ascending notes. The theme serves as the basis for numerous virtuoso episodes for the soloist. The middle section, also based on the central theme, features several journeys into the minor key. A brief solo Adagio passage for the soloist heralds a reprise of the opening section that brings the first movement to a vibrant close.

II. Adagio — The lower strings introduce a repeated figure, serving as the foundation for the soloist’s eloquent and lyrical music. The solo violin, pre-eminent throughout the Adagio, yields to a final statement of the lower string figure at the Adagio’s conclusion.

III. Allegro assai — The soloist and first violins announce the lively central refrain of this brief finale. The refrain alternates with a series of episodes that spotlight the soloist. A final repetition of the central refrain rounds out the finale.

Concerto in D Major for Violin and Orchestra (1931) Igor Stravinsky was born in Lomonosov, Russia, on June 17, 1882, and died in New York on April 6, 1971. The first performance of the Violin Concerto took place in Berlin, Germany, on October 23, 1931, with Samuel Dushkin as soloist and the composer conducting the Berlin Radio Orchestra. In addition to the solo violin, the Concerto is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum and strings. Approximate performance time is twenty-two minutes.

First ASO Classical Subscription Performances: April 16, 17 and 19, 1970, Eudice Shapiro, Violin, Robert Shaw, Conductor.

Most Recent ASO Classical Subscription Performances: May 13, 14 and 15, 1999, Cecylia Arzewski, Violin, Yoel Levi, Conductor.

“Temptations and dangers”

I

n Stravinsky: An Autobiography (Simon and Schuster, NY, 1936), the Russian composer provides a detailed and engaging history of his Violin Concerto.

Willy Strecker, co-owner and director of the Schott publishing firm, approached Stravinsky with the idea of composing a piece for the Polish-born American violinist Samuel Dushkin (1891-1976), a pupil of Fritz Kreisler and Leopold Auer. Stravinsky recalled: “I hesitated at first, because I am not a violinist, and

30 Atlanta Symphony Orchestra/aso.org

program I was afraid that my slight knowledge of that instrument would not be sufficient to enable me to solve the many problems which would necessarily arise in the course of a major work specially composed for it.”

Stravinsky was also concerned about the artistic compromises that might be necessitated by working with an acclaimed virtuoso: I knew that for virtuosi there were temptations and dangers that they were not all capable of overcoming. In order to succeed they are obliged to seek immediate triumphs and to lend themselves to the wishes of the public, the great majority of whom demand sensational effects from the player. This preoccupation naturally influences their taste, their choice of music, and their manner of treating the piece selected.

How many admirable compositions, for instance, are set aside because they do not offer the player any opportunity of shining with facile brilliancy! Unfortunately, they often cannot help themselves, fearing the competition of their rivals and, to be frank, the loss of their bread and butter.

Stravinsky’s reservations concerning the first issue were allayed by his friend, composer Paul Hindemith, whom Stravinsky described as “a perfect violinist.” Hindemith viewed Stravinsky’s lack of experience in playing the violin in a positive light, observing; “it would be a very good thing, as it would give rise to ideas which would not be suggested by the familiar movement of the fingers.” Further, as Stravinsky acknowledged: “I was not a complete novice in handling the violin. Apart from my pieces for the string quartet and numerous passages in Pulcinella, I had had occasion, particularly in the Histoire d’un Soldat, to tackle the technique of the violin as a solo instrument.”

“A musical culture, a delicate understanding” Stravinsky’s misgivings regarding the collaboration with virtuoso Samuel Dushkin vanished as soon as the composer and violinist met. Stravinsky “was glad to find in (Dushkin), besides his remarkable gifts as a born violinist, a musical culture, a delicate understanding, and — in the exercise of his profession — an abnegation that is very rare.” The two worked closely throughout the creation of the Violin Concerto, and Dushkin placed himself completely at Stravinsky’s (and the Concerto’s) service.

Stravinsky began work on the Violin Concerto at his home in Nice, early in 1931.

After about a month of composition, progress was interrupted by concerts in Paris and London. Upon his return, Stravinsky resumed work and completed the first portion of the Concerto by the end of March. Another delay ensued when Stravinsky and his family relocated from their home of seven years in Nice to a country villa in Voreppe in the Isère Valley. Stravinsky adored “the pure air of the Isère valley, the peacefulness of the

encoreatlanta.com/Atlanta’s Performing Arts Publication 31

country, a very beautiful garden, and a large, comfortable house…” Stravinsky recalled: “There I finished my latest composition (i.e., the Violin Concerto) among half-unpacked trunks and boxes and the coming and going of removers, upholsterers, electricians and plumbers.” Stravinsky was greatly assisted by Dushkin, who traveled daily to Voreppe from nearby Grenoble.

The premiere of the Stravinsky Violin Concerto took place in Berlin on October 23, 1931.

Dushkin (to whom Stravinsky dedicated the Concerto) was the soloist, and the composer conducting the Berlin Radio Orchestra. Stravinsky and Dushkin then performed the work in Frankfurt, London, Cologne, Hanover and Paris. In all cases, Stravinsky noted with great satisfaction: “my new work was very well received.” The cordial relationship between Stravinsky and Dushkin continued with the composition of the 1932 Duo concertante for violin and piano, again dedicated to the violinist.

Musical Analysis Although the Violin Concerto is considered to be among Stravinsky’s neo-classical works, the composer eschews the traditional three-movement structure (with the first being the most substantial). Rather, the Stravinsky Violin Concerto is in four movements, of approximately equal duration.

I. Toccata — The soloist, joined by the cellos and basses, launches the Toccata with a brusque four-chord motif (this motif opens each of the four movements, and returns in various forms throughout the Concerto). Two trumpets then play a jaunty passage that the violinist soon adopts as the first of the opening movement’s two principal themes.

The second theme, based upon an eighth note and pair of sixteenth notes, is more graceful. A recapitulation of these themes appears toward the movement’s conclusion.

Despite the large size of the accompanying forces, Stravinsky’s expert orchestration allows the soloist to be heard at every turn, as the violin engages in witty dialogue with the other instruments.

II. Aria I — The four-note motif returns to introduce the first of two consecutive slow movements. The Aria is in A—B—A form, with the soloist introducing the principal theme, an extended and wide-ranging passage. The central, agitated episode provides contrast, prior to the reprise of the principal melody.

III. Aria II — Stravinsky once described the recurring four-note motif as “a passport to the music.” Indeed, each of the three sections of this intense slow movement (again, in A—B—A form) is preceded by a variation of that motif.

IV. Capriccio — The playful finale provides the Concerto’s most overtly virtuoso writing. The four-note motif now appears in its most varied form to launch the finale, a series of mercurial episodes. In the thrilling presto that concludes the work, the emphatic syncopations and earthy violin writing recall the composer’s 1918 L’Histoire du Soldat (The Soldier’s Tale).

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program Gloria (1959) Francis Poulenc was born in Paris, France, on January 7, 1899, and died there on January 30, 1963. The first performance of the Gloria took place at Symphony Hall in Boston, Massachusetts, on January 20, 1961. Adele Addison was the soprano soloist, and Charles Munch conducted the Chorus Pro Musica and Boston Symphony Orchestra. The Gloria is scored for soprano solo, mixed chorus, two piccolos, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, harp and strings. Approximate performance time is twenty-four minutes.

First ASO Classical Subscription Performance: March 23, 1965, Irene Callaway, Soprano, The Choral Guild of Atlanta, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: April 6, 7 and 8, 1995, Sylvia McNair, Soprano, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor.

ASO Recording: Telarc (CD-80643) Sylvia McNair, Soprano, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor.

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or several years, the Koussevitsky Foundation (established in 1942 by the Russian-born conductor, Serge Koussevitsky) attempted to commission a new work by Francis Poulenc. First, the Foundation requested that the French composer write a symphony. Poulenc replied: “I am extremely touched by the Koussevitsky Foundation commission, unfortunately for the moment, a symphonic work is not in my intentions.” Not to be deterred, the Foundation then suggested that Poulenc compose an organ concerto. But Poulenc, who had already written such a work in 1938, was not interested in revisiting that genre.

Finally, the Koussevitsky Foundation told Francis Poulenc that he could select the type of piece he wished to compose. In the spring of 1959, Poulenc wrote to a friend: “I am trying to think about a Gloria before definitively proposing it to Boston. I am rusty, but it is always thus. Today for the first time I found four worthwhile bars.” In July of 1959, Poulenc and the Koussevitsky Foundation agreed upon the terms for his new composition.

Poulenc, who had begun work on the Gloria in May of 1959, completed the piano-vocal score in December of that year, and put the finishing touches on the orchestration the following June. Poulenc dedicated the Gloria “to the memory of Serge and (his wife) Nathalie Koussevitsky.”

The premiere of Poulenc’s Gloria was scheduled to take place in Boston on January 20, 1960. Poulenc, who arrived in Boston on January 15, took part in the rehearsals, frequently offering critiques and advice to the performers — soprano Adele Addison, the Chorus Pro Musica, the Boston Symphony Orchestra, and its music director, Charles Munch. But a fierce snowstorm delayed the Gloria’s premiere until January 21.

Poulenc had long enjoyed a warm relationship with American audiences. “Decidedly, I love America and America loves me,” he once declared. The Boston audience and critics were encoreatlanta.com/Atlanta’s Performing Arts Publication 33

effusive in their praise of the Poulenc Gloria. Poulenc was thrilled with the performance, and in particular, the contribution of Adele Addison. In Addison’s piano-vocal score, Poulenc wrote that she “sings this GLORIA for soprano solo, chorus, and orchestra ‘miraculously,’ with great thanks. Francis Poulenc 61, Boston.”

Typical of Francis Poulenc’s works, the Gloria features an intriguing and effective synthesis of a number of styles — classical and popular, sacred and secular. Poulenc commented: “When I wrote this piece, I had in mind those frescoes by Gozzoli where the angels stick out their tongues. And also some serious Benedictine monks I had once seen reveling in a game of football.”

On another occasion, Poulenc observed: “The colors are very clear, primary colors — rude and violent like the Provence chapel of Matisse.” On the other hand, he also noted: “I think the sound quality of the end will be very beautiful. I love the voice so much.”

In 1961, Poulenc completed his Sept répons des ténèbres, thereby concluding a trilogy of great devotional choral works that also included the Stabat mater (1950) and the Gloria.

Poulenc, always known for his wry sense of humor, acknowledged: “The Ténèbres are finished. I think it is beautiful and don’t regret having taken so much time because it is carefully wrought. I have with the Gloria and Stabat, three good religious works. May they spare me several days of purgatory, if I manage to avoid going to hell.”

Texts and Translations I. Gloria (Chorus); Maestoso Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Glory be to God on high, and on earth peace to men of good will.

II. Laudamus te (Chorus); Très vite et joyeux (Very fast and joyous) Laudamus te, benedicimus te, adoramus te, glorificamus te, Gratias agimus tibi propter magnam gloriam tuam.

We praise You, we bless You, we adore You, we glorify You, we give thanks to You for Your great glory.

III. Domine Deus (Soprano Solo and Chorus); Très lent et calme (Very slow and calm) Domine Deus, Rex coelestis, Deus Pater omnipotens.

Lord God, heavenly King, Father almighty.

IV. Domine Fili unigenite (Chorus); Très vite et joyeux Domine Fili unigenite, Jesu Christe.

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Lord the only-begotten son, Jesus Christ.

program V. Domine Deus, Agnus Dei (Soprano Solo and Chorus); Bien lent (Very slow) Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis, suscipe deprecationem nostram.

Lord God, Lamb of God, Son of the Father, who takes away the sins of the world, have mercy upon us, receive our prayer.

VI. Qui sedes ad dexteram Patris (Soprano Solo and Chorus); Maestoso Qui sedes ad dexteram Patris, miserere nobis, quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, Cum Sancto Spiritu, in gloria Dei Patris.

Amen.

You who sit at the right hand of the Father, Have mercy upon us, For You alone are the Holy One, You alone are the Lord, You, Jesus Christ, are the Most High.

With the Holy Ghost, In the glory of God the Father.

Amen.

encoreatlanta.com/Atlanta’s Performing Arts Publication 34B

gil shaham, Violin

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il Shaham is one of the foremost violinists of our time, combining flawless technique with inimitable warmth and a generosity of spirit. He is sought after throughout the world for concerto appearances with leading orchestras and conductors, and he regularly does recital and ensemble appearances on the great concert stages and at the most prestigious festivals.

In the 2011-12 season, Shaham continues his long-term Gil Shaham exploration of “Violin Concertos of the 1930s,” which comprises performances at some of the most well-established concert venues with the world’s greatest orchestras. He began 2012 performing Barber’s Violin Concerto with the Hong Kong Philharmonic and Virginia Symphony. He tackled Prokofiev’s Second Violin Concerto in February with the New World Symphony and fills out the rest of the season giving performances of the Hartmann, Berg and Stravinsky concertos with the orchestras of New York, London and Atlanta, respectively. In October, Shaham brings Brahms’s Violin Concerto to Carnegie Hall with Orpheus Chamber Orchestra and, later in the season, he reprises the concerto with the orchestras of San Francisco, Boston and Delaware. This fall sees Shaham exploring several Bach sonatas and partitas for solo violin on a U.S. recital tour.

Shaham returned to the studio this season with his sister, pianist Orli Shaham, for a new recording, Hebrew Melodies, on his own label (Canary Classics). The repertoire features an exploration of both traditional and modern Jewish music, including the world-premiere recording of Israeli composer Avner Dorman’s Niggunim, a work praised by The New York Times for its “explosive energy.” This is not the first time Shaham has had the good fortune to enjoy musical collaborations with family members; previously he’s worked with wife Adele Anthony, sister Orli Shaham, and brother-in-law, conductor David Robertson. In 2007 and 2009, the violinist succeeded in fulfilling his dream of bringing together family, friends and colleagues for chamber music; both tours of Brahms programs culminated in a series of three concerts at Carnegie’s Zankel Hall.

Last season, Shaham launched the “Violin Concertos of the 1930s” project with 34 live performances, including appearances with the Chicago Symphony, Orchestre de Paris, San Francisco Symphony, New York Philharmonic and Philadelphia Orchestra. In September 2010, he was a special guest artist for the Chamber Music Society’s season-opening concert at Lincoln Center along with his wife and fellow virtuoso, Adele Anthony. Shaham appeared on PBS with Yo-Yo Ma, Emanuel Ax, Alan Gilbert and the New York Philharmonic for Carnegie Hall’s 120th anniversary concert in May 2011, performing Beethoven’s Triple Concerto.

Shaham has more than two dozen concerto and solo CDs to his name, including bestsellers that have appeared on record charts in the Unites States and abroad. These recordings have earned prestigious awards, including multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. His recent recordings are produced on

34C Atlanta Symphony Orchestra/aso.org

program the Canary Classics label, which he founded in 2004. They include Haydn Violin Concertos and Mendelssohn’s Octet with Sejong Soloists; Sarasate: Virtuoso Violin Works with Adele Anthony, Akira Eguchi and Orquesta Sinfónica de Castilla y León; Elgar’s Violin Concerto with the Chicago Symphony Orchestra and David Zinman; The Butterfly Lovers and Tchaikovsky’s Violin Concerto with the Singapore Symphony; Tchaikovsky’s Piano Trio in A with Yefim Bronfman and cellist Truls Mork; The Prokofiev Album and Mozart in Paris, both with Orli Shaham; and The Fauré Album with Akira Eguchi and cellist Brinton Smith.

Gil Shaham was born in Champaign-Urbana, Ill., in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of 7, receiving annual scholarships from the America-Israel Cultural Foundation.

In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juilliard, where he worked with DeLay and Hyo Kang. He also studied at Columbia University.

Shaham was awarded an Avery Fisher Career Grant in 1990 and, in 2008, he received the coveted Avery Fisher Award. He plays the 1699 “Countess Polignac” Stradivarius. Shaham lives in New York City with his wife, violinist Adele Anthony, and their two children.

AILYN PÉREZ, Soprano

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ilyn Pérez’s dazzling vocalism, as well as her alluring and committed stage presence, have made her one of the most engaging and exciting artists before the public today.

Ms. Pérez sang Gilda alongside Plácido Domingo in Act 3 of Rigoletto for the Domingo Gala concerts at the Royal Opera House in October 2011, and returned to Covent Ailyn Pérez Garden to sing Violetta in La Traviata in the winter of 2011. Engagements beyond this include Liù in Turandot at Covent Garden, Violetta at the Deutsche Oper Berlin, Bayerische Staatsoper, Hamburg State Opera, Cincinnati Opera and San Francisco Opera; Desdemona in Houston; Mimì for Zurich Opera, Los Angeles Opera and Florida Grand Opera; Marguerite in Faust in Hamburg, The Countess in Le nozze di Figaro in Hamburg and Houston; Alice Ford in Falstaff at the Glyndebourne Festival; Norina in Don Pasquale at the Liceu Barcelona; Adina at the Wiener Staatsoper and Bayerische Staatsoper and her debut at the Metropolitan Opera New York.

Her 2010-11 season began with a debut at the Ravinia Festival as the Contessa Almaviva in Le nozze di Figaro, conducted by James Conlon, after which she journeyed to Tokyo and Yokohama to participate in The Royal Opera House Covent Garden’s Japan tour, in Manon and La traviata (September). A pair of company debuts followed: at the Dallas Opera as encoreatlanta.com/Atlanta’s Performing Arts Publication 34D

Zerlina in Don Giovanni, and at Valencia’s Palau de les Arts Reina Sofía, where she sang the title role in Manon with Vittorio Grigolo as her Chevalier, conducted by Lorin Maazel.

Next she sang Roméo et Juliette at the Opera Company of Philadelphia, in which she is teamed with her husband, tenor Stephen Costello, as the star-crossed lovers. Marguerite in Faust, a new role for her, was first heard at the San Diego Opera, once again with Mr. Costello as Faust, and also for her initial engagement with the Santa Fe Opera in a new production that inaugurated the tenure of Frédéric Chaslin as principal conductor in the summer of 2011.

Among the highlights of Ailyn’s 2009-10 season were appearing in three diverse roles for her debut at Berlin’s Staatsoper Unter den Linden: as Pamina in Die Zauberflöte, as Violetta in La Traviata, and as Amelia Grimaldi in Simon Boccanegra, with the first and third also serving as role debuts; her first Léïlas in Les pêcheurs de perles (Teatro Municipal de Santiago); further Violettas at the Staatsopers of Hamburg and Vienna (all Company debuts); Juliette at the San Diego Opera; more performances of Amelia in Simon Boccanegra for her debut at La Scala; and Mimì in La Bohème at Cincinnati Opera.

Interspersed throughout that season were several recitals and concerts including: London’s Rosenblatt Recitals, the German AIDS Foundation in Berlin, and performances with Plácido Domingo in Baku, Azerbaijan, and with José Carreras in São Paulo.

Other notable engagements have included Amelia in Simon Boccanegra (Opernhaus Zurich); Violetta (San Francisco and Florida Grand operas); Lauretta in Gianni Schicchi (Opera Company of Philadelphia); Juliette (Salzburger Festspiele); Marzelline in Fidelio (Philadelphia); the Four Heroines in The Tales of Hoffmann (Opera Theatre of Saint Louis); the Contessa (Salzburger Festspiele on tour in Japan); Adina in L’elisir d’amore (Michigan Opera Theater); as well as appearances with Boston Lyric Opera and the Los Angeles Opera.

In concert Ms. Pérez has performed Schubert’s Mass No. 5 with the Netherlands Radio Symphony and concert tours with Plácido Domingo and Andrea Bocelli. In San Francisco Ailyn Pérez sang Anne Trulove in The Rake’s Progress while a member of the Merola Opera Program and gave a recital in the Schwabacher Debut Recital Series. She was heard as Juliette and the Contessa with Wolf Trap Opera and the National Symphony Orchestra.

Ailyn Pérez is a graduate of the Academy of Vocal Arts Philadelphia and Indiana University.

At AVA she performed the title role in Lucia di Lammermoor, Susanna in Le nozze di Figaro, Adina, Suzel in L’amico Fritz, Mimì, Anna in Le villi and Gilda in Rigoletto.

She is a recipient of the George London Foundation’s Leonie Rysanek Award, a 2007 winner of a Shoshana Foundation Career Grant, placed second in the 2006 Plácido Domingo Operalia Competition, and was previously lauded by the Loren L. Zachary Foundation, Opera Index and the Licia Albanese-Puccini Foundation.

34E Atlanta Symphony Orchestra/aso.org

program norman mackenzie, Conductor Director of Choruses

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orman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music Norman Mackenzie lovers. At the ASO he prepares the Choruses for all concerts and recordings, conducts holiday concerts annually and works closely with ASO Music Director Robert Spano and commissioned-composers in the creation and premiere of new works. His leadership was rewarded in 2003 with Grammy awards for Best Classical Album and Best Choral Performance for the ASO and Chorus recording of A Sea Symphony by Vaughan Williams, in 2005 with another Best Choral Performance Grammy for the Berlioz Requiem and in 2007 for Best Opera Recording with Golijov’s Ainadamar. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.

Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Shaw (1985-1999), he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. In 1996 Mr. Mackenzie made his New York conducting debut in a concert sponsored by Carnegie Hall, leading the Robert Shaw Chamber Singers in a critically acclaimed performance at the Cathedral of St. John the Divine, substituting for Shaw on short notice. In 1999 he was chosen by Shaw to prepare the Carnegie Hall Festival Chorus for Charles Dutoit, and he was choral clinician for the first three annual workshops after Shaw’s passing. In 2011 he partnered with Robert Spano for the workshop featuring the Berlioz Requiem.

A native of suburban Philadelphia, Mr. Mackenzie made his debut as a pianist with the Philadelphia Orchestra at age 12, and as an organist at age 20. He made his New York recital debut at the Fifth Avenue Presbyterian Church. He holds degrees from the University of the Arts in Philadelphia and Westminster Choir College. He has prepared choruses for performance under Robert Spano, Donald Runnicles, John Adams, Roberto Abbado, Charles Dutoit, Bernard Labadie, Nicholas McGegan, John Nelson, Alan Gilbert, Yoel Levi, Robert King, James Conlon and Sir Neville Marriner. Mackenzie’s acclaimed Telarc recording of a cappella sacred music (featuring the Vaughan Williams Mass in G-Minor) represents the ASO Chamber Chorus’ first recording apart from the orchestra. Mackenzie also prepared the ASO Chorus for its acclaimed 2003 debut and successive 2008 and 2009 performances in Berlin with the Berlin Philharmonic (in Britten’s War Requiem, Berlioz’s Grande Messe des Morts and Brahms’ Ein deutsches Requiem, respectively), conducted by ASO Principal Guest Conductor Donald Runnicles. encoreatlanta.com/Atlanta’s Performing Arts Publication 34F

atlanta symphony orchestra chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist

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uring the 2011–12 season, the Atlanta Symphony Orchestra Choruses will be featured in nine concert programs including Beethoven’s Ninth Symphony, Bach’s St. Matthew Passion, Mahler’s Symphony No. 2, Rachmaninov’s Atlanta Symphony The Bells and Theater of a Concert performances of the John Orchestra Chorus Adams opera A Flowering Tree. Acclaimed for the beauty, precision and expressive qualities of its singing, the ASO Chorus has been an important part of the Orchestra’s programming since its founding by Robert Shaw on Sept. 24, 1970. It is composed entirely of volunteers who meet weekly for rehearsals and perform with the Orchestra several times each season. The 200-voice Chorus and 60-voice Chamber Chorus are featured on most ASO recordings, having earned 14 Grammy Awards (nine for Best Choral Performance, four for Best Classical Recording and one for Best Opera Recording). The Choruses made their Carnegie Hall debut in 1976 and have returned to perform there on several subsequent occasions, most recently in October 2010 with the ASO and Robert Spano for a performance of Janácˇek’s Glagolitic Mass.

The Choruses have twice been a special guest at the Ravinia Festival in Chicago. They opened the festival in June 2003 with Robert Spano and the Atlanta Symphony Orchestra, with a critically acclaimed performance of John Adams’ El Niño, followed in 2006 by a Chamber Chorus visit for Golijov’s opera Ainadamar. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic at its home, the Berlin Philharmonie. In December 2003, the Chorus did three triumphant performances of Britten’s War Requiem. In May 2008, it performed three Berlioz Requiem concerts, and in December 2009, three Brahms Ein deutsches Requiem performances — all trips with Donald Runnicles, Atlanta Symphony Orchestra Principal Guest Conductor.

34G Atlanta Symphony Orchestra/aso.org

program Soprano 1 JoAnn Alexander Kelly Eggers Michelle Griffin Kristen Gwaltney Erin Jones Arietha Lockhart * Mindy Margolis Patricia Nealon Blair Oakley Olivia Rutkowski Catherine Steen Rachel Stewart ** Elizabeth Stuk Brianne Turgeon Lori Beth Wiseman Wanda Yang Temko Natalie York Soprano 2 June Abbott ** Sloan Atwood Barbara Brown Suzannah Carrington Martha Craft Ellen Dukes ** Mary Goodwin Abigail Halon Kathleen Kelly-George Natalie Lee Marie Little Eda Mathews * Rachel O’Dell Vickie Orme Lindsay Patten Chantae Pittman Linda Searles Sydney Smith-Rikard Paula Snelling Tommie Storer Cheryl Thrash * Donna Weeks *

alto 1 Ana Baida Deborah Boland * Laurie Cronin Patricia DinkinsMatthews Pamela Drummond Beth Freeman Pamela Griffin Beverly Hueter Shani Jefferson Janet Johnson * Virginia Little Staria Lovelady Allison Lowe Paige Mathis Holly McCarren Frances McDowell * Linda Morgan ** Dominique PetiteChabukswar Norma Raybon * Cheri Snyder Anne Stillwagon Sharon Vrieland * Nancy York alto 2 Nancy Adams Sally Rose Bates Meaghan Curry Cynthia Goeltz DeBold * Michèle Diament Sally Kann Nicole Khoury Nancy Llamazales ** Lynda Martin Kristen Reisig Andrea Schmidt Sharon Simons Virginia Thompson Sarah Ward Alexandra Willingham Kiki Wilson ** Diane Woodard *

tenor 1 Jeffrey Baxter * Daniel Bentley Christian Bigliani David Blalock ** Jack Caldwell * Daniel Cameron Richard Clement * Clifford Edge * Steven Farrow ** Wayne Gammon Leif Hansen James Jarrell Thomas LaBarge Keith Langston Clinton Miller Christopher Patton Stephen Reed ‡ Timothy Swaim Carson Zajdel tenor 2 Curtis Bisges Justin Cornelius Charles Cottingham Phillip Crumbly Jeffrey Daniel Joseph Few * Hamilton Fong Earl Goodrich * John Goodson Keith Jeffords Steven Johnstone Nathan Osborne Michael Parker Marshall Peterson * Brent Runnels Clifton Russell Caleb Waters Robert Wilkinson

bass 1 Dock Anderson Mark Blankenship Robert Bolyard Richard Brock * Russell Cason * Trey Clegg Steven Darst * Leroy Fetters David Forbes Jon Gunnemann * Jonathan Havel Nick Jones ‡ Peter MacKenzie Jason Maynard Charles McClellan * John Newsome Mark Russell Kendric Smith ‡ John Stallings Ike Van Meter Edgie Wallace Edward Watkins ** ‡

* 20+ years of service ** 30+ years of service

bass 2 Charles Boone Brian Brown Joseph Champion John Cooledge ‡ Rick Copeland * Joel Craft ** Paul Fletcher Andrew Gee Ben Howell Philip Jones Eric Litsey ** Sam Marley Evan Mauk Eckhart Richter * John Ruff Jonathan Smith Timothy Solomon * Benjamin Temko David Webster ** Gregory Whitmire * Keith Wyatt ‡

Charter member (1970)

encoreatlanta.com/Atlanta’s Performing Arts Publication 34H

An ExpEriEncE UnlikE Any OthEr June 7/9 Thu/Sat: 8pm | Delta Classical

John AdAms: A Flowering Tree Robert Spano, conductor James Alexander, staging Jessica Rivera, soprano (Kumuhda) Russell Thomas, tenor (The Prince) Eric Owens, bass (The Storyteller) Atlanta Symphony Orchestra Chorus To be relished! The Theater of a Concert premiere of A Flowering Tree, an opera by John Adams, one of America’s most renowned composers and an Atlanta favorite (El Nino, Dr. Atomic). Purely ecstatic and brimming with the lyricism of The Magic Flute, this is music of today‌ and tomorrow.

404.733.5000 | aso.org Woodruff Arts center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:

Supported by:

Media Sponsors:

support The Atlanta Symphony Orchestra gratefully acknowledges the generous gifts of individuals, corporations, foundations, government and other entities whose contributions help the Orchestra fulfill its mission to be a vigorous part of the cultural fabric of our community. The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives from 2011 and 2012.

(Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+

Mrs. Thalia N. Carlos** The Mabel Dorn Reeder Foundation Delta Air Lines The Zeist Foundation, Inc. The Andrew W. Mellon Foundation $250,000+

Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers

The Coca-Cola Company Mrs. William A. Schwartz

$100,000+

Lynn Eden GE Asset Management Abraham J. & Phyllis Katz Foundation Mr. & Mrs. Charles H. McTier

Turner Broadcasting System The Vasser Woolley Foundation, Inc. Woodruff Arts Center

$75,000+

Thalia & Michael C. Carlos Foundation

Fulton County Arts Council National Endowment for the Arts

UPS

$50,000+

Anonymous AT&T Real Yellow Pages GE Energy The Graves Foundation InterContinental Hotels Group Invesco

The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall Robert Spano Susan & Thomas Wardell

SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation – Walter H. and Marjory M. Rich Memorial Fund Sutherland Asbill & Brennan LLP

$35,000+

Georgia Natural Gas Massey Charitable Trust

Porsche Cars North America Publix Super Markets Charities

Patty & Doug Reid

John H. & Wilhelmina D. Harland Charitable Foundation, Inc. King & Spalding Lucy R. & Gary Lee, Jr. MetLife Foundation The Sara Giles Moore Foundation Terence L. & Jeanne P. Neal*

Victoria & Howard Palefsky Mr. & Mrs. Solon P. Patterson* Printpack Inc. & The Gay & Erskine Love Foundation Ryder System, Inc. Mrs. Charles A. Smithgall, Jr. Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams

$25,000+

Jim & Adele Abrahamson Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart Georgia Council for the Arts Ann & Gordon Getty Foundation

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 35

$17,500+

Anonymous (2) Alston & Bird LLP The Arnold Foundation, Inc. Kelley O. & Neil H. Berman Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr. City of Atlanta Office of Cultural Affairs Gary & Nancy Fayard Mr. & Mrs. Paul R. Garcia Jane & Clay Jackson

Amy & Mark Kistulinec Karole & John Lloyd Kelly Loeffler & Jeffrey C. Sprecher Mr. Kenneth & Dr. Carolyn Meltzer Loren & Gail Starr

Alison M. & Joseph M. Thompson Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow

Mr. Donald F. Fox Charles & Mary Ginden Global Payments, Inc. D. Kirk Jamieson, Verizon Wireless Ann A. & Ben F. Johnson III* Sarah & Jim Kennedy Steve & Eydie Koonin

Carrie & Brian Kurlander Michael & Cindi Lang Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Nordstrom, Inc. Suzanne & Bill Plybon Dr. Stanley & Shannon Romanstein

Joyce & Henry Schwob Irene & Howard Stein Mary Rose Taylor Mike & Liz Troy Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.

Dr. John W. Cooledge Trisha & Doug Craft Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin Mr. & Mrs. Lawrence L. Gellerstedt III Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould Joe Guthridge & David Ritter* Jan & Tom Hough Mr. Tad Hutcheson

Roya & Bahman Irvani Robert J. Jones Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law Pat & Nolan Leake The Livingston Foundation, Inc. Mike’s Hard Lemonade Morgens West Foundation Primerica Margaret & Bob Reiser Bill & Rachel Schultz*

Mr. John A. Sibley III Siemens Industry, Inc. John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Turner Foundation, Inc. Charlie Wade & M.J. Conboy Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner

Atlanta Federation of Musicians Jeff & Ann Cramer*

Jere & Patsy Drummond Mr. & Mrs. Jesse Hill, Jr. JBS Foundation

The Hellen Plummer Charitable Foundation, Inc.

Christopher & Sonnet Edmonds Dr. & Mrs. Carl D. Fackler David L. Forbes James F. Fraser The Fraser-Parker Foundation, Inc. Betty Sands Fuller Sally & Carl Gable Dick & Anne Goodsell Mr. & Mrs. David Gould The Robert Hall Gunn, Jr. Fund The Jamieson Family Paul & Rosthema Kastin

Philip I. Kent Lanier Parking Solutions George H. Lanier The Sartain Lanier Family Foundation, Inc. Links Inc., Azalea City Chapter Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Dr. & Mrs. Mark P. Pentecost, Jr.

Margaret H. Petersen Hamilton & Mason Smith* Sandy & Paul Smith The Southern Company Peter James Stelling Mrs. C. Preston Stephens Triska Drake & G. Kimbrough Taylor, Jr. Ms. Kimberly Tribble & Mr. Mark S. Lange Russell Williamson & Shawn Pagliarini

Ellen & Howard Feinsand Four Seasons Hotel Atlanta Herbert & Marian Haley Foundation

Steven & Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel

Mr. & Mrs. Daniel H. Hollums JoAnn Hall Hunsinger Dr. & Mrs. James T. Laney*

$15,000+

Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff The Boston Consulting Group Mr. & Mrs. David Edmiston Admiral James O. Ellis, Jr. in memory of Polly Ellis $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Mr. David Boatwright The Breman Foundation, Inc. The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Dr. & Mrs. S. Wright Caughman $7,500+ The Aaron Copland Fund for Music, Inc.

$5,000+ Anonymous (2) Aadu & Kristi Allpere* Ms. Julie M. Altenbach Arnall Golden Gregory LLP The ASCAP Foundation Irving Caesar Fund Ms. Suzanne Dansby Bollman Bubba Brands, Inc. Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell Mary Helen & Jim Dalton Richard A. & Lynne N. Dorfman

$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock*

36 Atlanta Symphony Orchestra/aso.org

support

$3,500+ continued Mr. & Mrs. William C. Lester* Mr. & Mrs. Albert S. McGhee Deborah & William Liss Mr. & Mrs. Harmon B. Miller III Dr. & Mrs. James T. Lowman Walter W. Mitchell Ruth & Paul Marston

Leslie & Skip Petter Mr. & Mrs. Joel F. Reeves S.A. Robinson Nancy & Henry Shuford

In memory of Willard Shull Elliott Sopkin Burton Trimble H. & T. Yamashita*

Sally & Larry Davis Drs. Carlos del Rio & Jeannette Guarner Gregory & Debra Durden Ms. Diane Durgin Francine D. Dykes & Richard H. Delay The Robert S. Elster Foundation John & Michelle Fuller Mr. & Mrs. Edward T. Garland Dr. Mary G. George & Mr. Kenneth Molinelli Ben & Lynda Greer Dr. & Mrs. Alexander Gross Paul B., Paul H., & M. Harrison Hackett Darlene K. Henson Mr. Thomas Hooten & Ms. Jennifer Marotta Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Dr. & Mrs. James M. Hund Dorothy Jackson** Ms. Cynthia Jeness Mr. & Mrs. Robert A. Johnson Mr. W. F. & Dr. Janice Johnston Dr. Maurice J. Jurkiewicz** Hazel & Herb Karp

Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball* Mr. & Mrs. Daniel J. King Dr. & Mrs. Scott I. Lampert Thomas C. Lawson Dr. Fulton D. Lewis III & Mr. Neal Rhoney Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie The Devereaux F. & Dorothy McClatchey Foundation, Inc. Birgit & David McQueen Gregory & Judy Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Robert & Mary Ann Olive Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Elise T. Phillips Mr. & Mrs. Rezin Pidgeon, Jr. Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue John & Kyle Rogers

Dr. Paul J. Seguin Elizabeth S. Sharp Angela & Morton Sherzer Kay R. Shirley Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Lynne & Steven Steindel* John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo Mr. William C. Voss Mr. & Mrs. Randolph O. Watson Dr. & Mrs. Roger P. Webb Dr. & Mrs. James O. Wells, Jr. David & Martha West Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

Heike & Dieter Elsner George T. & Alecia H. Ethridge Bill & Susan Gibson Carol & Henry Grady Mary C. Gramling Mr. Lewis H. Hamner III Thomas High In memory of Carolyn B. Hochman Stephanie & Henry Howell Mr. & Mrs. William C. Humphreys, Jr. Mary B. & Wayne James Aaron & Joyce Johnson Baxter P. Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Mr. & Mrs. Craig P. MacKenzie Kay & John Marshall

Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Virginia K. McTague Angela & Jimmy Mitchell Mrs. Gene Morse** Barbara & Sanford Orkin Keith & Dana Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Mr. Robert Peterson Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology, Inc. Mr. & Mrs. David M. Ratcliffe Ms. Susan Robinson & Ms. Mary Roemer The Gary Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral

Alida & Stuart Silverman Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Dr. Elizabeth Glenn Stow Kay & Alex Summers Poppy Tanner Elvira Tate Mr. & Mrs. William M. Tipping Ms. Sheila L. Tschinkel Drs. Jonne & Paul Walter Alan & Marcia Watt Drs. Julius & Nanette Wenger William & Rebecca White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Charlie & Dorothy Yates Family Fund Herbert & Grace Zwerner

$2,250+ Anonymous (3) Mrs. Kay Adams* & Mr. Ralph Paulk John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo Paul & Marian Anderson Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Edith H. & James E. Bostic, Jr. Family Foundation Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Ms. Marnite B. Calder Mr. & Mrs. Beauchamp C. Carr Ralph & Rita Connell Chip & Darlene Conrad Mr. & Mrs. Thomas G. Cousins Mr. Robert Cronin & Ms. Christina Smith

$1,750+ Anonymous Dr. David & Julie Bakken Mr. & Mrs. Ron Bell Dr. & Mrs. Joel E. Berenson Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Brant Davis* Mrs. H. Frances Davis Deloitte Peter & Vivian de Kok Elizabeth & John Donnelly Xavier Duralde & Mary Barrett Cree & Frazer Durrett Mary Frances Early Ree & Ralph Edwards

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 37

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Appassionato

William Randolph Hearst Endowed Fund

Meghan Magruder, Appassionato Chair

The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our ambitious aritistic and education initiatives.

Patron Partnership

Thomas J. Jung, Chair

The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support.

Henry Sopkin Circle Honoring the Atlanta Symphony Orchestra’s first Music Director, the Henry Sopkin Circle recognizes our friends who have planned bequests and other gifts to benefit the Orchestra’s future. We remain grateful to all Henry Sopkin Circle members – past and present – for their generosity, trust, and vision.

Madeline & Howell E. Adams, Jr. Mr.* & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.* & Mrs. Sol Blaine W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Elizabeth Etoll Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher

A. D. Frazier, Jr. Nola Frink Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G.* & Joseph F.* Haas James & Virginia Hale Miss Alice Ann Hamilton* Dr. Charles H. Hamilton* John & Martha Head Ms. Jeannie Hearn Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.* & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen* Kitchell

38 Atlanta Symphony Orchestra/aso.org

Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Mr. & Mrs. William Lester Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Dan R. Payne Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram The Reiman Foundation Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr. & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser

Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling Barbara Dunbar Stewart* C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mr. & Mrs. John B. White, Jr. Adair & Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12)

*Deceased

corporate & government support

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

Holiday Title Sponsor Muhtar Kent Chairman of the Board and Chief Executive Officer

Richard Anderson Chief Executive Officer

Darryl Harmon Southeast Regional President

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

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chairman and Chief Executive Officer

Jerry Karr Senior Managing Director

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

Atlanta Symphony Orchestra programs are supported in part by an award from the National Endowment for the Arts.

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 39

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2011-2012 board Sabine Sugarman Treasurer Camille Kesler VP Administration Dawn Mullican VP Public Relations Paula Ercolini VP Youth Education Ruth & Paul Marston VP Membership Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians Judy Schmidt Nominating Committee Chair Amy Musarra, Chair, Decorators’ Show House & Gardens Natalie Miller & Hillary Inglis Co-Chairs, Decorators’ Show House & Gardens

Janis Eckert, Nancy Fields & Gail Spurlock Chairs, ASA Fall Meeting Poppy Tanner Chair, ASA Night at the ASO Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon Pat King ASA Notes Newsletter Editor Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk Helen Marie Rutter Bravo Chair Elba McCue Concerto Chair Joan Abernathy Encore Chair Liz Cohn & Betty Jeter Ensemble Chairs Karen Bunn Intermezzo Chair Whitley Greene Vivace Chair

Terry Shivers

Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Elba McCue Secretary

Stanley Romanstein, Atlanta Symphony Orchestra President, and Amy Musarra, Decorators’ Show House and Gardens Chair. Celebrating its 42nd Anniversary, the Atlanta Symphony Orchestra Announces its Decorators’ Show House & Gardens at the magnificent Phillip Trammel Shutze’s Knollwood Estate from April 21 through May 13, 2012. Organized by the Atlanta Symphony Associates, proceeds will support the Atlanta Symphony Orchestra’s (ASO) Education and Community Engagement programs, including the Atlanta Symphony Youth Orchestra and the Talent Development Program. For more information visit decoratorsshowhouse.org .

40 Atlanta Symphony Orchestra/aso.org

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Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions — the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences — these outstanding Annual Corporate Campaign donors helped us raise more than $8.9 million last year. Thank you!

Chairman’s Council ★★★★★★★★★★★★ $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. UPS

KPMG LLP, Partners & Employees The Rich Foundation, Inc. Wells Fargo

★★★★★★★ $100,000+ Alston & Bird LLP ★★★★★★★★★★★ Bank of America $450,000+ Kaiser Permanente Cox Interests Atlanta Journal-Constitution, King & Spalding Partners & Employees James M. Cox Foundation, Cox Radio Group Atlanta, The Klaus Family Foundation WSB-TV The Marcus Foundation, Inc. Hon. Anne Cox Chambers The Sara Giles Moore Foundation Novelis Inc. ★★★★★★★★★★ Wal-Mart Stores, Inc. $300,000+ The David, Helen & Marian Deloitte LLP, its Partners Woodward Fund & Employees ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees PwC Partners & Employees Mabel Dorn Reeder Foundation SunTrust Bank Employees & Trusteed Foundations Florence C. & Harry L. English Memorial Fund Greene-Sawtell Foundation SunTrust Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Delta Air Lines, Inc. Equifax Inc. & Employees

★★★★★★ $75,000+ AirTran Airways Holder Construction Company Kilpatrick Townsend The Sartain Lanier Family Foundation, Inc. Regions Financial Corporation ★★★★★ $50,000+ AGL Resources Inc. Lisa & Joe Bankoff Cisco Ann & Jay Davis Doosan Infracore International Federal Home Loan Bank of Atlanta Frank Jackson Sandy Springs Toyota and Scion Beth & Tommy Holder Newell Rubbermaid Primerica

42 Atlanta Symphony Orchestra/aso.org

Devyne Stephens Sutherland Asbill & Brennan LLP The Zeist Foundation, Inc. ★★★★ $35,000+ Katharine & Russell Bellman Foundation Bryan Cave LLP Mr. & Mrs. Bradley Currey, Jr. GE Energy Georgia-Pacific The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation Siemens Industry, Inc. Alex & Betty Smith Foundation, Inc. Harris A. Smith Frances Wood Wilson Foundation, Inc ★★★ $25,000+ Accenture & Accenture Employees Air Serv Corporation Atlanta Foundation Julie & Jim Balloun BB&T Corporation Laura & Stan Blackburn CIGNA Foundation Cousins Properties Incorporated Crawford & Company Ford & Harrison LLP Jack & Anne Glenn Foundation, Inc. GMT Capital Corporation Infor Global Solutions ING Sarah & Jim Kennedy Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc.

LexisNexis Risk Solutions The Blanche Lipscomb Foundation Macy’s Foundation Katherine John Murphy Foundation Patty & Doug Reid Family Foundation RockTenn SCANA Energy Southwire Company Sprint Foundation Towers Watson Troutman Sanders LLP Waffle House, Inc. Gertrude & William C. Wardlaw Fund ★★ $15,000+ A. E. M. Family Foundation ACE Charitable Foundation AlixPartners Alvarez & Marsal Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch The Capital Group Companies Charitable Foundation Roxanne & Jeffrey Cashdan Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman

Chartis Chick-fil-A, Inc. CornerCap Investment Counsel Duke Realty Corporation Egon Zehnder International Eisner Family Foundation Feinberg Charitable Trust Fifth Third Bank First Data Corporation Gas South, LLC Genuine Parts Company Georgia Natural Gas Dolores & Javier C. Goizueta Grant Thornton LLP Harland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester Jamestown Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones Jones Day Foundation, in honor of James H. Landon Mr. & Mrs. Muhtar Kent Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions The Latham Foundation Barbara W. & Bertram L. Levy Fund Livingston Foundation, Inc. Karole & John Lloyd Lockheed Martin Marsh-Mercer Mohawk Industries, Inc. & Frank H. Boykin Mueller Water Products, Inc. Gail & Bob O’Leary Vicki R. Palmer

Paul, Hastings, Janofsky & Walker LLP Piedmont Charitable Foundation, Inc. Printpack Inc./The Gay & Erskine Love Foundation Mary & Craig Ramsey Mr. & Mrs. David M. Ratcliffe Emily Winship Scott Foundation Skanska USA Building Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. Sysco Atlanta United Distributors, Inc. WATL/WXIA/Gannett Foundation Sue & John Wieland Mr. & Mrs. James B. Williams Sue & Neil Williams Carla & Leonard Wood The Xerox Foundation Yancey Bros. Co. Mr. & Mrs. Robert A. Yellowlees *Annual Campaign Donors from June 1, 2010 May 31, 2011

encoreatlanta.com/Atlanta’s Performing Arts Publication 43

Continued from page 22

“is the pernicious nature of the Nazis and how they categorized someone as Jewish. Tyberg was only one-sixteenth Jewish. Mendelssohn had converted to Christianity. Nevertheless, as far as the Nazis were concerned — for purposes of oppression — they were Jewish.”

The other common thread, and perhaps the most important one, according to Michael Christie, is the quality of the music by Holocaustera composers. “The craftsmanship is remarkable. The fact that these works, in most cases, have not been heard in the United States is ridiculous.” Of the Weinberg Rhapsody, he says, “The first time I heard it, I was joyful because it is so virtuosic. It has all those Eastern European and Slavic dance elements.

The orchestra sounds so boisterous and feisty. I was just really excited about it because I knew the audience will get it the first time they hear it.”

Both Christie and Ken Meltzer agree that concert music, whatever its backstory, has to stand on its own merits. But, Meltzer adds, “We’re at a stage in our history when the majority of people are not aware of what happened to these composers.

There is an important lesson here — one that can be applied to our own lives and to larger issues of artistic freedom. We always have to be vigilant about allowing people to express themselves freely. We become freer and richer ourselves in the process.”

“ The first time I heard it, I was joyful because it is so virtuosic … the audience will get it the first time they hear it.”

The Tyberg, he admits, is more controversial, because “purists say no one can complete Shubert’s symphony.” On the other, hand, he adds, “audiences who are new to classical music sometimes find Schubert slow and boring, but they like the Tyberg.”

44 Atlanta Symphony Orchestra/aso.org

Michael Christie, too, feels an obligation to right a terrible wrong, while bringing to light music that he deeply believes in: “I know so many composers and the time they put into their writing. They offer their music in the hope that you will love and understand it, that their pieces will have a life beyond the premiere. I can only imagine that has been true through all generations. I’m not Jewish myself, but my aim is to celebrate the legacy of these composers who were subjected to this horrendous treatment. It is the right thing to do.”

Madeline Rogers, a freelance writer and editor, is the former Director of Publications at the New York Philharmonic.

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Remarkable Partners

The Orchestra and the Alliance Theatre give life to ‘The Remarkable Farkle McBride,’ April 29

By Bret Love

T

he latest collaboration between the Atlanta Symphony Orchestra and the Alliance Theatre is The Remarkable Farkle McBride, at 1:30 and 3:30 p.m.

Sunday, April 29, in Atlanta Symphony Hall. Conductor Jere Flint and Alliance Theatre Education Director Christopher Moses recently chatted about the stage adaptation of actor-author John Lithgow’s children’s book.

Christopher: Most of our musical family

What are the unique challenges and rewards of a collaborative effort such as this?

What appeals to you about John Lithgow’s story?

Jere Flint: The challenge is in marrying dialogue to the strict time of the music. By blending the arts we create equal entities on stage, each enhancing the other in bringing the story out of the book and into life.

Jere: It follows the universal story of

Moses: Harnessing the expertise of our organizations, we can give the audience a first-class artistic experience.

The challenges lie in the different rehearsal processes. At the theatre, we’re used to a standard four-week rehearsal, six days a week, running the show over and over, and we negotiated these different artistic processes to produce a remarkable performance.

Christopher

How will this production be different from a typical show by your respective companies?

Jere: We’re attempting to go beyond mere narration with orchestra to interaction with musicians, hopefully drawing the audience into the story. The emphasis is on the instruments and the people who play them.

46 Atlanta Symphony Orchestra/aso.org

performances use [pre-recorded] tracks or two to three musicians. Having the entire orchestra makes this completely different.

Also, our focus is about encouraging a love for music and all of the storytelling and design elements support this goal. It’s not just a story that happens to be told musically: It’s a concert that uses the art of theatre to support and engage the symphony audience.

seeking one’s own passion, but using an orchestra as the vehicle. Bill Elliot’s brilliant score, which John Lithgow commissioned, really captures the essence. Many of the children will have read the story, and to see a live performance will further spark their imagination.

Christopher: The whimsical nature of the storytelling is tailor-made for the stage. I really can’t wait to see this character come to life!

Atlanta-based freelancer Bret Love is the music editor of Georgia Music Magazine, national managing editor for INsite Magazine, and founder of Green Global Travel, a website devoted to ecotourism and global culture.

Our Professional Ensemble Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner

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community corner Ahmad Mayes

What’s your favorite part of your job?

I love being able to see firsthand the immediate impact the music we share has on the people of Atlanta — many of whom would not have access to the Atlanta Symphony without our community programs. I also enjoy hearing the remarkable individual talents of our musicians. Orchestra members typically perform throughout greater Atlanta as soloists or in small chamber ensembles, which allows them to really shine and demonstrate their personal musicianship.

That’s something that you don’t always get to see when they perform as part of the full Orchestra at Atlanta Symphony Hall!

What kinds of programs fall under community engagement?

The Orchestra is committed to becoming more connected within the Atlanta community through several channels. The Orchestra’s Community Ticketing Program partners with dozens of Atlanta nonprofit organizations to provide access to concerts for hundreds of people from the community for whom the magic of live music is often beyond reach. We expect to host nearly 48 Atlanta Symphony Orchestra/aso.org

1,000 individuals in the inaugural year of this program.

One of our other programs, Musicians in Action, places our musicians in dozens of community locations each year. For example, Associate Principal Viola Paul Murphy and some of his Orchestra colleagues share music with the homeless during lunch hour at Crossroads Community Ministries several times each year. Recently, the Atlanta Symphony Brass Quintet volunteered as guest teaching artists for the Atlanta Music Project, helping the organization empower underserved youth through the study of music.

We also partner with Latino-based organizations, such as the Latin American Association and Instituto de México, to better serve as an arts resource to the rapidly growing Latino community in Atlanta. We’ve already held five outreach performances and events this year, reaching nearly 2,000 people.

How do the musicians feel about performing in the community?

The musicians are the first to recognize the importance of having a community presence; in fact, 70 players are currently involved in our efforts. For example, cellist Joel Dallow’s passion is performing in-school chamber music concerts to elementary and middle-school children.

Violinist Juan Ramirez has a real desire to help connect the Orchestra to Latino audiences, and violinists Ruth Ann Little and Tom O’Donnell really enjoy bringing music into retirement communities. There

Jeff Roffman

Meet the Atlanta Symphony Orchestra’s Community Programs Coordinator. Ahmad manages all of the Orchestra’s community programs and partnerships, in addition to coordinating all activities outside of Atlanta Symphony Hall. He also provides administrative support to the Orchestra musicians for the hundreds of hours of service they do each season.

are many more stories, too. In short, all of our musicians recognize that music can be powerful in many different ways — whether it is to strengthen neighborhoods, serve the elderly, heal the sick, or champion diversity.

It’s already been a very busy year for the Orchestra in the community. What are some highlights?

We recently held our first “Martin Luther King, Jr. Days of Service” in conjunction with our annual “A King Celebration” concert, and Orchestra musicians served more than 900 individuals through music. We’ve also increased our Latino partnerships, teaming up with the Mexican Consulate and DeKalb Public Libraries to better serve this fast-growing segment of Atlanta’s population.

What’s ahead?

The Orchestra recently entered into a partnership with the Georgia Humanities Council and the Smithsonian Institution to celebrate music throughout the state, and we’ve been invited to participate in “New Harmonies” — a traveling museum exhibit about American roots music.

Through this collaboration, we’re looking forward to establishing a stronger presence in the outlying parts of Georgia and also connect what we do at the Atlanta Symphony to the different American music traditions being featured in the exhibit.

We’re currently planning outreach events in Calhoun and Madison as part of this program, and we hope to have a presence in all 12 communities that will host the exhibit throughout the state over the next two years.

What single Orchestra community event stands out in your mind?

50 Atlanta Symphony Orchestra/aso.org

Last September a group of musicians performed a program of Latin music at a Mexican Independence Day celebration with the Instituto de México and the Mexican Consulate. What made the evening so memorable was how the audience responded to the music. During one piece — a song in the Mexican musical style, Huapango — it was only a matter of seconds before the audience erupted with cheers and applause! It was quite obvious that many of them knew this folk dance and that it was an important part of their heritage. Their appreciation and enjoyment for the art being performed by our musicians was palpable, and I was honored that we could connect to this audience this way.

Why do you think it is so important for the Orchestra to be involved with the community?

Music is too important and powerful to not share with the community! As the premier music performance organization in the Southeast, it’s the Atlanta Symphony Orchestra’s responsibility to make great music available to everyone and provide people the chance to experience it in different ways. While we’re proud of the reach of our programs, the real magnitude of our efforts can be felt through the stories we hear from those who are directly impacted. We are constantly hearing from young music students who have been inspired by personal interactions with our musicians and from people from all walks of life who enjoy an Orchestra concert for the first time. The work we do here is very important, and also incredibly rewarding.

Edited and condensed by Kimberly Nogi.

Be mom’s favorite this Mother’s Day! Give the best in theatre, music and art with The Woodruff Arts Center Gift Card!

The Woodruff Arts Center Gift Card is good for tickets, programs, memberships or subscriptions at:

• • • •

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It can also be used for parking, dining and shopping on The Woodruff Arts Center campus. Purchase today at the Box Office (404.733.5000) or on our website, www.woodruffcenter.org.

calendar Motown Music May 4/5 SuperPOPS! Fri/Sat: 8pm The Music of Motown featuring Spectrum Michael Krajewski, conductor Rhapsody and Copland’s 3rd May 10/11/12 Delta Classical Thu/Fri/Sat: 8pm Alvin Singleton: Different River World Premiere Gershwin: Rhapsody in Blue Copland: Symphony No. 3 Robert Spano, conductor Leon Bates, piano Finale May 13 Atlanta Symphony Sun: 3pm Youth Orchestra Smetana: Moldau Mahler: Finale from Symphony No. 1, “Titan” Jere Flint, conductor Concerto Competition Winners

Russian Mastery May 17/19/20 Delta Classical Thu/Sat: 8pm/Sun: 3pm Elgar: Cockaigne Overture Shostakovich: Piano Concerto No. 2 Rachmaninov: Symphony No. 2 Vasily Petrenko, conductor Kirill Gerstein, piano Go for Baroque May 24/25/26 Delta Classical Thu/Fri/Sat: 8pm Handel: Concerto Grosso in G Bruch: Scottish Fantasy Gluck: Orfeo-Dance of the Blessed Spirits Mendelssohn: Symphony No. 4, “Italian” Nicholas McGegan, conductor Stefan Jackiw, violin The Concertmaster and The Sibelius May 31/June 1/2 Delta Classical Thu/Fri/Sat: 8pm Magnus Lindberg: Arena Sibelius: Violin Concerto Tchaikovsky: Symphony No. 5 Robert Spano, conductor David Coucheron, violin

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staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Brien Faucett Assistant to the President ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Mala Sharma Assistant to the Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager Artistic Evans Mirageas Vice President for Artistic Planning Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator David Zaksheske Artist Assistant

EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Senior Director of Education & Community Engagement Ahmad Mayes Community Programs Coordinator Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate

ASO Presents (cont.)

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President Verizon Wireless for Marketing Amphitheatre at & Symphony Pops Encore Park Alesia Banks Katie Daniel Director of Customer VIP Sales Manager Service & Season Tickets Jenny Pollock Ted Caldwell Operations Manager Group & Corporate Sales Assistant Rebecca Simmons Box Office Manager Meko Hector Marketing Production Deborah Honan Manager Customer Service Manager & Venue Rental Coordinator Jennifer Jefferson Director of e-Business & Interactive Media DEVELOPMENT Melanie Kite FINANCE & Sandy Smith Subscription ADMINISTRATION Vice President Office Manager for Development Donald F. Fox Shelby Moody Executive Vice President Rebecca Abernathy Group & Corporate for Business Operations Development Services Sales Manager & Chief Financial Officer Coordinator Seth Newcom Shannon McCown Zachary Brown Database Administrator Assistant to the Director of Executive Vice President Kimberly Nogi Volunteer Services for Business Operations Publicist Corey Cowart & Chief Financial Officer Robert Phipps Director of Susan Ambo Publications Director Corporate Relations Vice President of Finance Melissa A. E. Sanders Janina Edwards Kim Hielsberg Senior Director, Grants Consultant Director of Financial Communications Tegan Ketchie Planning & Analysis Christine Saunders Development Coordinator April Satterfield Group & Corporate Ashley Krausen Senior Accountant Sales Associate Special Events Coordinator Peter C. Dickson Karl Schnittke Sarah Levin Staff Accountant Publications Editor Volunteer Project Manager Michael Richardson Robin Smith Melissa Muntz Venues Analyst Subscription Development Coordinator & Education Sales Stephen Jones Meredith Schnepp Symphony Store Manager Bill Tarulli Prospect Research Officer Marketing Manager ASO Presents Tammie Taylor Rachel Trignano Assistant to the Clay Schell Manager of Vice President, Programming VP for Development Broad Based Giving Trevor Ralph Sarah Zabinski General Manager and Senior Individual Giving Manager Russell Wheeler Director of Group Director of Operations & Corporate Sales Holly Clausen Christina Wood Director of Marketing Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist

54 Atlanta Symphony Orchestra/aso.org

Chastain Park Amphitheater Tanner Smith Program Director

general info LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements.

SYMPHONY STORE The ASO’s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to T-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERS Concert Hotline 404.733.4949 (Recorded information) Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345

ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 Mon.—Fri., 10 a.m.– 8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks prior to the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Mon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon–8 p.m. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change.

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

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

Create a Jewish Legacy and ensure their Jewish future is a bright one.

Who will be around to teach them the meaning of

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Find out more at AtlantaJewishLegacy.org Create a Jewish Legacy is an initiative of the Jewish Federation of Greater Atlanta.

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Historic charm combined with artful hospitality.

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Passions & Premieres!

gallery

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2 GALA GAL Broadway-and-beyond icon Bernadette Peters greeted admirers following her performance at the second annual Symphony Gala in February. Left to right: InterContinentalExchange Chairman and CEO Jeffrey C. Sprecher; Ms. Peters; Atlanta City Council President Lisa Borders; and Board member Kelly L. Loeffler.

3 FIRST HEARING The world premiere of Adam Schoenberg’s La Luna Azul last month was cause for celebration for (left to right) Mr. Schoenberg, the youngest member of Robert Spano’s Atlanta School of Composers, Mr. Spano, and President Stanley Romanstein.

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all photo JD Scott

1 RIVETING THEATER The color and drama of Bach’s St. Matthew Passion was palpable in the Orchestra’s Theater of a Concert presentation (Anne Patterson, direction and design), March 8/10. Robert Spano conducted, with the Chamber Chorus and a splendid vocal cast giving glorious voice.

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

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Save on Seasonal Spring Services at Spa Sydell Available March 9 - May 31 Acai Berry Facial $69 The facial utilizes antioxidant-rich ingredients, including acai berry, blueberry, raspberry and seabuckthorn berry providing vitamins A, C, E and D to nourish and renew the skin (50 minutes)

Honeysuckle Spring Massage $69 Enjoy a relaxing and soothing massage to ease tension while the honeysuckle aroma evokes the fragrance of spring (50 minutes)

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