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CHRISTOPHER REX KORNGOLD: Cello Concerto

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7 9

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content January 2016

ar experiences

16

features 16 A New Era Begins A Q&A with the Atlanta Symphony Orchestra’s new executive director Jennifer Barlament By Andrew Alexander

departments 10 Robert Spano

58 ASO Support

12 Orchestra Leadership

72 ASO Staff

14 Musicians

74 Ticket Info / General Info

22 Concert Program 76 ASO Calendar and Notes 78 ASO Gallery

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ASO | conductor Robert Spano

C

onductor, pianist, composer and pedagogue Robert Spano is known for his unique communicative abilities. In 14 seasons as music director of the Atlanta Symphony Orchestra, this imaginative conductor has quietly been responsible for nurturing the careers of numerous classically trained composers and conductors. As music director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting. The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah music festivals.  Guest engagements have included orchestras such as the New York and Los Angeles philharmonics and the San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, along with Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle. 

Spano has a discography of critically acclaimed recordings for Telarc, Deutsche Grammophon and ASO Media recorded over nine years, and has won six Grammy awards with the Atlanta Symphony Orchestra. Spano is on the faculty at Oberlin Conservatory in Ohio and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and is proud to live in Atlanta.

10 Atlanta Symphony Orchestra | aso.org

Derek Blanks

Maestro Spano begins the 2015-16 season conducting the Saito Kinen Orchestra in Japan as part of a gala performance celebrating Seiji Ozawa’s 80th birthday. With the Atlanta Symphony Orchestra he leads four world premieres, seven Atlanta premieres and celebrates the centennial of the legendary Robert Shaw’s birth with Brahms’ A German Requiem and Leshnoff’s Zohar in Atlanta and at Carnegie Hall. Additional guestconducting engagements include the Minnesota Orchestra; the Oregon, Utah and Kansas City symphonies; Orquestra Sinfonica Brasileira; Orquestra Sinfonica Estado Sao Paulo; and the Melbourne Symphony in Australia. Maestro Spano also holds a conductor residency with the Colburn School Orchestra in Los Angeles. As a pianist, he joins Wu Han and Alessio Bax for a program of piano masterworks as part of the Chamber Music Society of Lincoln Center’s residency at the University of Georgia in Athens.


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ASO | leadership 2015-2016 Board of Directors Officers D. Kirk Jamieson Chair

Meghan H. Magruder Vice Chair

Thomas Wardell Vice Chair

John B. White, Jr. Secretary

Suzanne Tucker Plybon Treasurer

Directors Keith Adams Neil H. Berman Paul Blackney Brett M. Blumencranz Frank H. Boykin Mary Rockett Brock Janine Brown† C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Ronald M. Cofield Russell Currey

Harry Cynkus Carlos del Rio, M.D. Lynn Eden Shirley C. Franklin Paul R. Garcia Jason Guggenheim Virginia A. Hepner* Caroline Hofland Douglas R. Hooker Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Camille Kesler* Carrie Kurlander

Board of Counselors

Mrs. Helen Aderhold Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Herb Karp Jim Kelley George Lanier

Life Directors

Howell E. Adams, Jr. Mrs. Drew Fuller Bradley Currey, Jr. Mary D. Gellerstedt

James H. Landon Donna Lee Hank Linginfelter Karole Lloyd Kelly L. Loeffler Belinda Massafra* Brian F. McCarthy Penny McPhee† Terence L. Neal Joseph M. O’Donnell Howard D. Palefsky Sunny K. Park E. Fay Pearce, Jr. Ronda Respess* Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith

William Schultz John Sibley Paul Snyder John Sparrow Gail Ravin Starr Joseph M. Thompson Ray Uttenhove S. Patrick Viguerie Detlev von Platen Kathy N. Waller Mark D. Wasserman Richard S. White, Jr. Camille Yow

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Chilton Varner Edus Warren Adair R. White Sue S. Williams

Azira G. Hill Mrs. Charles A. Smithgall, Jr.

* Ex-officio † 2015-2016 Sabbatical 12 Atlanta Symphony Orchestra | aso.org


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AtlantaSymphonyOrchestra Robert Spano Music Director The Robert Reid ROBERT Topping Chair

FIRST VIOLIN

David Coucheron Concertmaster The Mr. and Mrs. SPANO Howard R. Peevy Chair Donald Runnicles Principal Guest The Mabel Dorn Conductor Reeder Honorary Chair The Neil and Sue Williams Chair Associate Concertmaster Vacant Michael Krajewski The Charles Principal Pops McKenzie Taylor Conductor Chair Justin Bruns Joseph Young DONALD Assistant Conductor; Assistant/ RUNNICLES Acting Associate Music Director Concertmaster of the Atlanta Symphony Youth Jun-Ching Lin Orchestra Assistant Concertmaster The Zeist Foundation Chair Anastasia Agapova Carolyn Toll Norman Mackenzie Hancock Director of Choruses John Meisner The Frannie and Christopher Pulgram Bill Graves Chair Carol Ramirez MICHAEL KRAJEWSKI Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich SECTION VIOLIN ‡

JOSEPH YOUNG

NORMAN MACKENZIE

Judith Cox Raymond Leung Sanford Salzinger

SECOND VIOLIN

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

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 Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Sarah Park Chastain†


CELLO

OBOE

HORN

TIMPANI

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 Larry LeMaster Brad Ritchie Paul Warner

Elizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown Chair Yvonne Powers Peterson Associate Principal The Kendeda Fund Chair Samuel Nemec Emily Brebach

Brice Andrus Principal The Betty Sands Fuller Chair Susan Welty Associate Principal Ernesto Tovar Torres • Jaclyn Rainey † Bruce Kenney

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

BASS

Colin Corner • Principal The Marcia and John Donnell Chair  Gloria Jones Associate Principal Lucy R. & Gary Lee Jr. Chair Jane Little Assistant Principal Emeritus Karl Fenner • Michael Kenady Michael Kurth Joseph McFadden Daniel Tosky • FLUTE

Christina Smith Principal The Jill Hertz Chair Robert Cronin Associate Principal C. Todd Skitch Carl David Hall PICCOLO

Carl David Hall

ENGLISH HORN

Emily Brebach CLARINET

Laura Ardan Principal The Robert Shaw Chair Ted Gurch Associate Principal 2nd Clarinet Vacant Alcides Rodriguez E-FLAT CLARINET

Ted Gurch BASS CLARINET

Alcides Rodriguez BASSOON

Andrew Brady • Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar CONTRABASSOON

PERCUSSION

Stuart Stephenson Principal The Madeline and Howell Adams Chair Associate Principal Vacant Michael Tiscione Acting Associate Principal/Second Michael Myers

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

TROMBONE

HARP

Principal - Vacant The Terence L. Neal Chair, Honoring his Dedication and Service to the Atlanta Symphony Orchestra Nathan Zgonc Acting Principal Joshua Bynum † Brian Hecht

KEYBOARD

TRUMPET

BASS TROMBONE

Brian Hecht The Home Depot Veterans Chair TUBA

Juan de Gomar

Michael Moore Principal

‡ rotate between sections ** Leave of absence

†R  egularly engaged musician • New this season

Elisabeth Remy Johnson Principal The Sally and Carl Gable Chair The Hugh and Jessie Hodgson Memorial Chair Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian

Players in string sections are listed alphabetically

encoreatlanta.com | Atlanta’s Performing Arts Publication 15


Music director Robert Spano (left) and board chair D. Kirk Jamieson (right) backstage with Jennifer Barlament.

16 Atlanta Symphony Orchestra | aso.org

A new era


T

he Atlanta Symphony Orchestra has a brand new Executive Director, Jennifer Barlament, who comes to the organization after serving for more than 15 years leading orchestras across the country, most recently as General Manager of The Cleveland Orchestra since 2013. We caught up with Barlament to ask a few questions as she takes on the new role.

Q: How did you get started studying music and what inspired you to pursue a career in it?

Q&A with the Atlanta Symphony Orchestra’s new executive director, Jennifer Barlament

A: I studied clarinet, starting in band in elementary school. I was a serious clarinetist and I also played violin for a few years. As an undergraduate at Emory University, I double-majored in physics and music and was gradually drawn more and more into music. During my junior year, I had the realization that my head was in physics, but my heart was in music. With the encouragement of my teachers, some of whom were members of the Atlanta Symphony and still are today, I decided to pursue my dream. From Emory, I went to encoreatlanta.com | Atlanta’s Performing Arts Publication 17


“There are so many the Eastman School of Music and received compelling things a master’s degree in clarinet performance, focusing on performing at a high level. that I really feel the Eastman is also where I was introduced organization is poised for to orchestra management, and where I ultimately made my career switch. greatness right now.” Q: What interested you about making that switch? What caught your interest about the management side of things?

A: I went to graduate school to pursue my dream of becoming the principal clarinetist of a major orchestra. Of course, every music student dreams of having a position in an orchestra. However, I have always been someone who has many things going on and when I arrived at Eastman, I missed the variety of activities I enjoyed at Emory. I quickly got my fingers into starting an orchestra for graduate students. It was originally intended to be an opportunity for students to play standard repertoire so we could be prepared for orchestral auditions. It gradually became more serious, and we decided to expand the experience to be a practicum for the real world of professional orchestras. We had a team of students that managed the orchestra; we planned educational residencies, performed concerts in the community, and we focused on offcampus performance opportunities. This was my foray into orchestra management, which I thought provided the perfect opportunity to merge my passion, skills and experience. When I was playing the clarinet, I could influence my one line, but when I was managing the orchestra I felt a sense of contribution to the whole group. With this fortuitous experience under my belt, I decided to pursue orchestra management as a career.

18 Atlanta Symphony Orchestra | aso.org

Q: Is there anything specific that intrigued you about the position of Executive Director of the Atlanta Symphony Orchestra?

A: When I was a student at Emory, I attended Atlanta Symphony Orchestra concerts regularly. It was a time of exploration and discovery for me and it’s where I fell in love with orchestral music. I also fell in love with the Orchestra. The Atlanta Symphony Orchestra musicians have an incredible sense of warmth in their playing, as well as great precision. Artistically, it is a wonderful ensemble with an interesting, significant voice. I was attracted to the Orchestra’s dual history. It has a spiritual history under Robert Shaw and also an up-to-the-minute, forward-looking way of thinking about its place in the music world. Since I’ve been gone, I have continued to follow the news about the Orchestra and listen to the recordings. Robert Spano is an incredible musician and I’ve always admired his work. The chance to work with him was definitely a draw. And of course, the Atlanta Symphony Orchestra Chorus is simply one of the finest choral groups in the world. I was also intrigued by the Orchestra’s position as part of the Woodruff Arts Center, which poses a great opportunity for collaboration across the artistic disciplines. Since accepting this position, I’ve learned even more about the organization and I believe we are poised for greatness. I’m excited to be a part of the next chapter!


Q: You have roots and family here in Atlanta, what are you most looking

Q: What has been the most memorable or impactful experience of your career

forward to once you’ve settled in?

to date?

A: I’m looking forward to seeing my family on a regular basis. My parents live in Dahlonega and my brother and sisterin-law in Athens. Some other things I’ve been pining for are hearing great Georgia accents, eating Southern food, revisiting old haunts, reconnecting with people at Emory, hiking in the North Georgia mountains, and visiting the Savannah area (where I grew up). And after a couple of decades in the great snowy North, I’m really looking forward to an Atlanta winter!

A: That is hard to pin down. I will mention a few moments that stand out. One of my first spiritual musical listening experiences was a performance of a Mozart concerto by the great pianist Radu Lupu performing with the Atlanta Symphony Orchestra. I remember thinking, ‘I hope this is what heaven is like.’ It was an incredible experience. That is the first time I can remember being deeply moved at an orchestral concert. Some other highlights include seeing the Musikverein in Vienna for the first time and being part of the opening of the new concert hall, the Holland Performing Arts Center, in Omaha in 2005. At the Kalamazoo Symphony, it was eye-opening to see the power of music at work through the orchestra’s extensive education programs. More recently, hearing The Cleveland Orchestra any time is an incredible experience. Having been a part of everything the Orchestra has done for the past few years has been a tremendous privilege. Hearing the Atlanta Symphony Orchestra and Chorus perform the Verdi Requiem recently was a goose bump moment for me. I love the Orchestra, I love the Chorus, and within the context of this musical homecoming for me, that was a true highlight.

Q: When you’re not working, what are some of your favorite non-music activities or hobbies?

A: We have a five-year-old son named David, who is our top priority. I also love to read, bike, hike and run. My husband and I also enjoy restoring old houses. Q: Do you have a favorite piece of classical music?

A: This is an unfair question! I have so many favorites. I tend to gravitate towards chamber and vocal music when I listen on my own. While I have a lot of favorite orchestral pieces, I’m a big fan of Renaissance Motets. John Dowland’s “Come Again” is one of my favorites. I’m also a big fan of German lieder. Richard Strauss’s songs are some of my favorites.

encoreatlanta.com | Atlanta’s Performing Arts Publication 19


ASO | sponsors AtlantaSymphonyOrchestra

The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Delta is proud to celebrate over 71 years 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. 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. The Atlanta Symphony Orchestra 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.

20 Atlanta Symphony Orchestra | aso.org


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ASO | 1.7/8/9 | program AtlantaSymphonyOrchestra

ASO | 1.7/8/9| program

The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, Jan. 7, 2016, at 8pm; Friday, Jan. 8 at 6:30pm; and Saturday, Jan. 9 at 8:00pm.

Ludovic Morlot, Conductor Christopher Rex, Cello JOHANN STRAUSS, JR. (1825-1899) Overture to Die Fledermaus (1874)

9MIN

ERICH WOLFGANG KORNGOLD (1897-1957) Straussiana (1953) 6MIN Concerto in C in one movement for violoncello and orchestra, Opus 37 (1946) 13MIN Christopher Rex, Cello

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

JOHANN STRAUSS JR. (1825-1899) Wiener Blut (Vienna Blood), Waltzes, Opus 354 (1873)

8MIN

INTERMISSION 20MIN JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, Opus 90 (1883) I. Allegro con brio II. Andante III. Poco Allegretto IV. Allegro

35MIN

The concert of Friday, Jan. 8, performed without intermission, includes the Korngold Cello Concerto and Brahms’ Third Symphony.

22 Atlanta Symphony Orchestra | aso.org


Notes on the Program by Ken Meltzer JOHANN STRAUSS was born in Vienna on Oct. 25, 1825, and died there on June 3, 1899. The first performance of Die Fledermaus took place at the Theater an der Wien in Vienna, on April 5, 1874. The Fledermaus Overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, orchestra bells, snare drum, bass drum, cymbals, triangle and strings. First Classical Subscription Performance: Dec. 9, 1945, Henry Sopkin, Conductor.

piccolo, two flutes, oboe, two clarinets, bassoon, two horns, two trumpets, two trombones, timpani, cymbal, snare drum, triangle, orchestra bells, harp, piano and strings. These are the first Classical Subscription performances.

Like many musicians who grew up in Vienna, Erich Wolfgang Korngold maintained a lifelong admiration for the “Waltz King,” Johann Strauss Jr. (1825-1899). In the 1920s and ’30s, Korngold arranged new performing versions of several Strauss operettas for the Theater an der Wien.

Korngold’s Straussiana was the product of a commission by an American music publisher who wanted new works for performance ne of Johann Strauss’ most charming by school orchestras. Straussiana, in three and beloved compositions is his brief sections (Polka — Mazurka — Waltz), operetta Die Fledermaus (The Bat). The features arrangements of music from three premiere took place at the Vienna Theater Johann Strauss pieces: Fürstin Ninetta, an der Wien on April 5, 1874. The work Cagliostro in Wien and Ritter Pásmán. was not an immediate success. Perhaps the Concerto in C in one movement for stock market crash of the previous year violoncello and orchestra, Opus 37 dampened the audience’s enthusiasm. But (1946) soon, Die Fledermaus triumphed in Berlin, The first performance of the Cello Hamburg, Paris and, of course, Vienna. To Concerto took place in Los Angeles on this day, Johann Strauss’ Die Fledermaus Dec. 29, 1946, with Eleanor Aller Slatkin as is one of the few operettas to maintain soloist and Henry Svedrovsky conducting a regular presence in the opera house, the Los Angeles Philharmonic. In addition particularly around New Year’s time. to the solo cello, the Concerto is scored Most Recent Classical Subscription Performance: Jan. 29, 1950, Henry Sopkin, Conductor.

O

The sparkling Overture to Die Fledermaus has enjoyed independent success in the concert hall as well. The Overture features several melodies from the operetta. And, of course, the waltz plays a prominent role in this delightful work. Straussiana (1953) ERICH WOLFGANG KORNGOLD was born in Brno (now the Czech Republic), on May 29, 1897, and died in Hollywood, Calif., on Nov. 29, 1957. Straussiana is scored for

for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, two horns, two trumpets, two trombones, tuba, timpani, bass drum, cymbals, gong, marimba, orchestra bells, suspended cymbal, vibraphone, xylophone, harp, piano/ celeste and strings. These are the first Classical Subscription performances.

encoreatlanta.com | Atlanta’s Performing Arts Publication 23

ASO | 1.7/8/9| program

Overture to Die Fledermaus (1874)


ASO | 1.7/8/9 | program

ASO | 1.7/8/9| program

E

rich Wolfgang Korngold began his musical life a child prodigy, one who earned the admiration of such great musicians as Gustav Mahler, Felix Weingartner and Richard Strauss. As a young man Korngold enjoyed extraordinary success with several chamber, orchestra and operatic works. The greatest triumph of his early years, however, occurred with the Dec. 4, 1920, simultaneous premieres in Hamburg and Cologne of his opera Die tote Stadt. That work proved to be an international sensation, with subsequent performances by no fewer than 83 opera houses.

Novak, Radcliffe is convinced it is a trick to gain revenge. Cecila Ager wrote of the melodrama: “It’s like grand opera, only the people are thinner ... I wouldn’t have missed it for the world.”

In 1934, Korngold traveled to Hollywood to arrange a film score based on Mendelssohn’s incidental music to William Shakespeare’s A Midsummer Night’s Dream. Korngold’s fifth opera, Die Kathrin, was scheduled for a Vienna premiere in the spring of 1938; however, the Nazi Anschluss forced its cancellation. Korngold then relocated to the United States, returning to Hollywood. There he applied his prodigious talents to the cinema, composing numerous film scores, two of which — Anthony Adverse (1936) and The Adventures of Robin Hood (1938) — received Academy Awards.

Korngold converted the excerpts from the Hollenius Cello Concerto into a complete single-movement work. The Concerto opens with a dramatic statement by the orchestra, followed by the soloist’s introduction of the work’s arching, expansive central theme. The soloist also presents a far more lyrical version of the melody (espressivo). A solo cadenza leads to the Concerto’s slow-tempo section (Lento). The cellist presents an agitated figure, the basis for a vigorous, contrapuntal episode (Allegro moderato). Another cadenza is the prelude to the grand closing bars, capped by the soloist’s final ascent and the ensemble’s fortissimo chord.

The Cello Concerto

Korngold’s final movie score for Warner Bros. was the 1946 film Deception. Betty Davis plays Christine Radcliffe, a pianist who falls in love with cellist Karel Novak (Paul Henried). The two are separated during World War II, and Radcliffe, believing Novak dead, begins an affair with the famous, wealthy and dictatorial composer Alexander Hollenius (Claude Rains). Radcliffe and Novak are reunited, and marry. When the jealous Hollenius offers the premiere of his new Cello Concerto to 24 Atlanta Symphony Orchestra | aso.org

Cellist Eleanor Aller Slatkin (mother of conductor Leonard Slatkin and cellist Frederick Zlotkin) performed all of the solo cello music featured in Deception. In the performance scenes, Henried wore a specially constructed jacket in which his own hands were tied behind his back. This allowed a cellist, seated behind Henried, to substitute his arms and mime the playing of the music in time to Slatkin’s recordings.

Wiener Blut (Vienna Blood), Waltzes, Opus 354 (1873) JOHANN STRAUSS was born in Vienna on Oct. 25, 1825, and died there June 3, 1899. The first performance of Wiener Blut took place at Vienna’s Musikverein on April 22, 1873, with the composer conducting the Vienna Philharmonic. Wiener Blut is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, snare drum, triangle, and strings.


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ohann Strauss did not invent the waltz, either as a dance or form of concert music. Indeed, the basic format for Strauss’ waltz compositions was that employed by his father — an introduction, a series of waltzes and a final coda. Strauss did, however, raise the waltz to new heights of beauty and eloquence. Strauss sought to create a more organic waltz form by cleverly linking material between the various sections. This structural ingenuity, coupled with the composer’s unfailing elegance, melodic inspiration and mastery of instrumental colors, produced works that made him the toast of Vienna, and indeed, of the world. Wiener Blut

All of the above qualities can be found in Strauss’ 1873 Wiener Blut (Vienna Blood). The premiere took place at the Musikverein (the site of the Vienna Philharmonic’s New Year’s Day concerts) on April 22, 1873. The concert was part of the celebrations surrounding the marriage of Austrian Emperor Franz Josef’s eldest daughter, Archduchess Gisela Louise Maria, to Prince Leopold of Bavaria. A critic wrote of the performance of Vienna Blood: “We do not believe we are overstating our praise if we count this work amongst the best by the beloved Waltz King. This dance piece is a collection of genuine Viennese tunes, full of melody and electrifying rhythm. On tempestuous demand the waltz had to be repeated.” Symphony No. 3 in F Major, Opus 90 (1883) JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. The first performance of the Third Symphony

took place in Vienna on Dec. 2, 1883, with Hans Richter conducting the Vienna Philharmonic. The Symphony No. 3 is scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings. First Classical Subscription Performance: March 31, 1951, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: Sept. 26, 27, and 28, 2013, Robert Spano, Conductor. Robert Shaw Performances: (Classical Subscription, unless otherwise noted) Feb. 26, 27 and 28, 1970; April 6, 7, 8 and 9, 1970 (tour); May 9, 1978 (special); May 11, 12 and 13, 1978; Sept. 25, 26 and 27, 1980; Oct. 26, 1980 (tour); and May 14, 15, and 16, 1987.

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ohannes Brahms completed his Third Symphony in the summer of 1883 while residing in the spa village of Wiesbaden. Hans Richter and the Vienna Philharmonic presented the world premiere of the Brahms Third at a Dec. 2, 1883, Vienna concert. Brahms, fearful of the inevitable comparison with Beethoven, waited until he was 43 to finish his First Symphony. He was 50, and at the height of his powers, when he completed the Third. In the Third Symphony, Brahms is very much his own man — a confident, assured master, creating music of extraordinary unity, concentration and beauty. The Symphony No. 3 is in four movements. The first (Allegro con brio) opens with the winds and brass boldly proclaiming a three-note motif, based upon the pitches F-Ab-F, a musical representation of the composer’s motto “Frei aber froh” (“Free but happy”). This motto is a rejoinder to the F-A-E “Frei aber einsam” (“Free

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These are the first Classical Subscription performances.


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ASO | 1.7/8/9 | artists but alone”) motif of Brahms’s friend, the Austro-Hungarian violinist, composer, and conductor Joseph Joachim. This F-Ab-F motif returns as a unifying force throughout the Brahms Third Symphony. The slow second movement (Andante) is based upon two melodies. The clarinets and bassoons sing the lovely opening melody. A solo clarinet and bassoon present a more somber theme that will return in the Symphony’s finale. The third movement (Poco allegretto), in A-B-A form, features a hauntingly beautiful principal melody, introduced by the cellos, alternating with a central pastoral section. The dramatic finale (Allegro) finally resolves to an extended episode, featuring a magical reprise of the “Frei aber froh” motif and the opening movement’s principal theme.

In addition to his appearance with the Atlanta Symphony Orchestra, Ludovic’s 2015-16 season includes returns to the New York and LA Philharmonic Orchestras as well as the National Symphony Orchestra in Washington, D.C. He also has a close relationship with the Chicago Symphony Orchestra and a particularly strong connection with the Boston Symphony Orchestra, which he conducts regularly in Boston and Tanglewood, and recently on a tour to the West Coast of America. This relationship started in 2001 when he was the Seiji Ozawa Fellowship Conductor at the Tanglewood Music Center and LUDOVIC MORLOT, Conductor subsequently appointed assistant conductor he French conductor Ludovic Morlot is for the orchestra and their Music Director music director of the Seattle Symphony. James Levine (2004-07). There have been many highlights during his first four seasons there, including an In Europe, Ludovic makes his debut with the exhilarating performance at Carnegie Geneva Camerata conducting an Homage Hall in May 2014. During the 2015-16 to Ligeti, and to the City of Birmingham season Ludovic and the Seattle Symphony Symphony Orchestra. continue to invite their audiences to ‘listen He has also conducted the London boldly,’ presenting a wide variety of works, Philharmonic Orchestra at the Royal including the launch of a two-year cycle of Festival Hall in London and on tour Beethoven symphonies and piano concertos; in Germany. Other recent notable Berio’s Sinfonia, featuring vocal ensemble performances have included the Royal Roomful of Teeth; Messiaen’s Poèmes Concertgebouw, Czech Philharmonic, pour Mi; Shostakovich’s Dresden Staatskapelle, Tonhalle, Budapest Symphony No. 4; Festival, Orchestre National de France, Mahler’s Symphony No. Danish National Symphony Orchestra, 1; and Fauré’s Requiem. Rundfunk-Sinfonieorchester Berlin and Morlot was chief Tokyo Philharmonic Orchestras.

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SUSSIE AHLBURG

several new productions, including La clemenza di Tito, Jen°ufa and Pelléas et Mélisande. Concert performances, both in Brussels and Aix-en-Provence, included repertoire by Beethoven, Stravinsky, Britten, Webern and Bruneau.

conductor of La Monnaie for three years (2012-14). During that time he conducted 26 Atlanta Symphony Orchestra | aso.org


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hristopher Rex joined the Atlanta Symphony Orchestra as principal in 1979, the same year he became the first cellist ever to win the string prize in the biennial Young Artists Competition of the National Federation of Music Clubs. Since then he has appeared as a recitalist and chamber musician across the nation.

He served on the board of directors of Chamber Music America for six years, is head of the cello department at Georgia State University’s School of Music and is on the chamber music faculty at the McDuffie Center for Strings at Mercer University in Macon.

Following his studies at the Curtis Institute of Music with Orlando Cole and at the Juilliard School with Leonard Rose, Rex was a member of the Philadelphia Orchestra under Eugene Ormandy for seven seasons. He has taught at Gettysburg College, the New School of Music in Philadelphia, Georgia State University and the Eastern Music Festival in Greensboro, N.C. He shared acting principal duties for the New York Philharmonic’s European tour in 1988.

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CHRISTOPHER REX, Principal Cello

He directs the Amelia Island Chamber Music Festival, which he founded, and the Madison Chamber Music Festival in Georgia. Rex, a regular performer at the Highlands Chamber Music Festival in North Carolina, he has been principal cellist of the orchestras at the Colorado Music Festival in Boulder and the Grand Teton Music Festival in Wyoming. He has performed as a soloist at the Montreal Chamber Music Festival; the Brevard Music Festival and the Eastern Music Festival, both in North Carolina; and the Chautauqua Festival in New York. encoreatlanta.com | Atlanta’s Performing Arts Publication 27

JEFF ROFFMAN

Rex’s solo performances with the Atlanta Symphony Orchestra include works by Brahms, Beethoven, Strauss, Tchaikovsky, Shostakovich, Bloch, Elgar, Schumann, Dvořák, Saint-Saëns, Haydn, Herbert, Hindemith, Prokofiev, Barber, Golijov and Stephen Paulus.


ASO | 1.14/16 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert

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Concerts of Thursday, Jan. 14, and Saturday, Jan. 16, 2016, at 8pm.

THE JAN. 16 CONCERT IS GENEROUSLY SPONSORED BY Drs. Jeannette Guarner & Carlos del Rio

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Robert Spano, Conductor Tatiana Monogarova, Soprano Morris Robinson, Bass Simon Trpčeski, Piano DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 14, Opus 135 (1969) 51MIN I. De profundis. Adagio II. Malagueña. Allegretto III. Loreley. Allegro molto IV. The Suicide. Adagio V. On the Alert (Les Attentives I). Allegretto VI. Look Here, Madame! (Les Attentives II). Adagio VII. At the Santé Jail. Adagio VIII. Zaporozhye Cossacks’ Reply to the Sultan of Constantinople. Allegro IX. O Delvig, Delvig!. Andante X. The Poet’s Death. Largo XI. Conclusion. Moderato Tatiana Monogarova, Soprano Morrison Robinson, Bass INTERMISSION

20MIN

SERGEI RACHMANINOV (1873-1943) Concerto No. 2 for Piano and Orchestra in C minor, Opus 18 (1901) 34MIN I. Moderato II. Adagio sostenuto III. Allegro scherzando Simon Trpčeski, piano English surtitles by Ken Meltzer

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Symphony No. 14, Opus 135 (1969)

Prodigal Son to Shostakovich).

DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on Sept. 25, 1906, and died in Moscow on Aug. 9, 1975. The first performance of the Symphony No. 14 took place at the Moscow Conservatory on June 21, 1969, with Margarita Miroshnikova, soprano, Yevgeny Vladimirov, bass, and the Moscow Chamber Orchestra, Rudolf Barshai, conducting. The Symphony No. 14 is scored for soprano and bass solos, whip, xylophone, vibraphone, castanets, wood block, chimes, tom-toms and strings.

The premiere of the Symphony No. 14 took place at the Moscow Conservatory on June 21, 1969. Rudolf Barshai conducted the Moscow Chamber Orchestra, joined by soloists Margarita Miroshnikova and Yevgeny Vladimirov. Before the performance, Shostakovich addressed the audience:

These are the first Classical Subscription Performances.

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s a survivor of both Stalinist Soviet Russia and World War II, Dmitri Shostakovich was intimately familiar with the specter of untimely and brutal death. As Shostakovich approached his sixth decade, the issue of mortality assumed an increasingly personal resonance. In 1954, his first wife, Nina Varzar, died unexpectedly. The composer’s mother passed the following year. In the late 1950s, Shostakovich began suffering from a debilitating condition later diagnosed as a form of polio. In 1966, he experienced the first of two heart attacks. Shostakovich died of lung cancer in 1975. In January 1969, Shostakovich was admitted to a Moscow hospital. There he began work on what would become his Symphony No. 14. During the early stages of composition, Shostakovich informed his friend Isaac Glikman that he was writing an oratorio, scored for soprano and bass solos, percussion and strings. Shostakovich completed the piano score on Feb. 16, and the orchestration on March 2. He designated the work as a symphony, which he dedicated to his friend and fellow composer, Benjamin Britten (in 1968, Britten dedicated The

“Life is man’s dearest possession. It is given to him only once and he should live so as not to experience acute pain at the thought of the years wasted aimlessly or feel searing shame for his petty and inglorious past, but be able to say, at the moment of death, that he has given all his life and energies to the noblest cause in the world — to fight for the liberation of humanity. I want listeners to this symphony to realize that ‘life’ is truly beautiful. My symphony is an impassioned protest against death, a reminder to the living that they should live honestly, conscientiously, nobly, never committing a base act. This is very important for much time will pass before scientists have succeeded in ensuring immortality. Death is in store for all of us and I for one do not see any good in the end of our lives. Death is terrifying. There is nothing beyond it.” In the middle of the premiere, there was a loud noise as one of the audience members made his way to the exit. The person departing was Pavel Ivanovitch Apostolov, a Party official who had long been one of Shostakovich’s chief antagonists. What many assumed was a planned protest on Apostolov’s part turned out to be a heart attack. Within a month’s time, Apostolov was dead within a month. In the 1979 book Testimony: The Memoirs of Dmitri Shostakovich, the composer is

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Notes on the Program by Ken Meltzer


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quoted as saying the following to his friend and student Solomon Volkov: “Fear of death may be the most intense emotion of all. I sometimes think that there is no deeper feeling. The irony lies in the fact that under the influence of that fear people create poetry, prose and music; that is they try to strengthen their ties with the living and increase their influence on them ... I wrote a number of works reflecting my understanding of the question, and it seems to me, they’re not particularly optimistic works. The most important of them is the Fourteenth Symphony; I have special feelings for it ... It’s stupid to protest against death as such, but you can and must protest against violent death. It’s bad when people die before their time from disease or poverty, but it is worse when a man is killed by another man. I thought about this when I orchestrated [Mussorgsky’s] Songs and Dances of Death, and these thoughts also found reflection in the Fourteenth Symphony. I don’t protest against death in it, I protest against those butchers who execute people.” While controversy over the authenticity of Testimony continues to this day, many of Shostakovich’s closest friends and collaborators have insisted the book accurately reflects the composer’s true thoughts (both Mstislav Rostropovich and Rodion Shchedrin told me in no uncertain terms that Testimony is an accurate document). Whatever Shostakovich intended to express about death in his Symphony No. 14, he chose a stark, uncompromising medium. The poems, written by Lorca, Apollinaire, Küchelbecker and Rilke (all of whom met untimely ends), frequently depict death in 30 Atlanta Symphony Orchestra | aso.org

the most graphic language. Shostakovich set the poetry, translated from the original languages to Russian, for spare performing forces of two vocalists, percussion and strings. This marriage of poetry and music is one of his greatest and most powerful achievements, one that haunts the listener long after the crushing final bar has faded away. I. D  e profundis. Adagio (Federico García Lorca) II. Malagueña. Allegretto (Lorca) III. L  oreley. Allegro molto (Guillaume Apollinaire) IV. T  he Suicide. Adagio (Apollinaire) V. On The Alert (Les Attentives I). Allegretto (Apollinaire) VI. Look Here, Madame! (Les Attentives II). Adagio (Apollinaire) VII. At the Santé Jail. Adagio (Apollinaire) VIII. Z  aporozhye Cossacks’ Reply to the Sultan of Constantinople. Allegro (Apollinaire) IX. O Delvig, Delvig!. Andante (Wilhelm Küchelbecker) X. The Poet’s Death. Largo (Rainer Maria Rilke) XI. Conclusion. Moderato (Rilke) For transliterations and translations of the Russian texts, visit: www.naxos.com/sungtext/pdf/8.573132_sungtext.pdf Concerto No. 2 for Piano and Orchestra in C minor, Opus 18 (1901) SERGEI RACHMANINOV was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, Calif., on March 28, 1943. The first performance of the Second Piano Concerto took place in Moscow on Nov. 9, 1901, with the composer as


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soloist and Alexander Siloti conducting the Moscow Philharmonic Society. In addition to the solo piano, the Concerto No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals and strings. First Classical Subscription Performance: Dec. 17, 1949, Jacques Abram, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: Oct. 3, 4, and 5, 2013, Garrick Ohlsson, Piano, Robert Spano, Conductor. Robert Shaw Performances: (Classical Subscription, unless otherwise noted) Oct. 20, 21 and 22, 1971, Leonard Pennario, Piano; April 28, 29 and 30, 1977, Horacio Guttiérez, Piano; June 18, 1978, Natalie Hinderas, Piano (Atlanta Parks 3); Oct. 10, 1979, Leon Bates (tour); Feb. 8, 1980, Susan Starr, Piano (special).

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phony on the ‘Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninov’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell.” It’s not surprising that Rachmaninov was devastated by this turn of events. He lapsed into a deep depression: “Half my days were spent lying on a couch and sighing over my ruined life. My only occupation consisted of a few piano lessons which I was forced to give in order to keep myself alive. This condition, which was as tiresome for myself as for those about me, lasted more than a year. I did not live; I vegetated, idle and hopeless. The thought of spending my life as a piano teacher gave me cold shudders. But what other activity was there left for me?” Rachmaninov’s friends were alarmed by his profound depression and tried all forms of cures to buoy his spirits. Finally, they convinced Rachmaninov to consult Dr. Nikolai Dahl, who had gained some prominence for his employment of suggestion and auto-suggestion. Between January and April 1900, Rachmaninov visited Dahl on a daily basis.

hen Sergei Rachmaninov completed his First Symphony in August of 1895, he was 22, and brimming with all the confidence of youth. “I imagined that there was nothing I could not do and had great hopes for the future,” he later recalled. Rachmaninov’s First Symphony Rachmaninov told Dahl that he had promreceived its premiere in St. Petersburg on ised to compose a piano concerto. Dahl set March 15, 1897, with composer Alexander about treating his patient: Glazunov conducting. The performance “I heard the same hypnotic formula was a disaster, and immediately after the repeated day after day while I lay half final notes sounded, Rachmaninov “fled, asleep in the armchair in Dr. Dahl’s horrified, into the street.” study. ‘You will begin to write your While Rachmaninov was able to escape the Concerto. ... You will work with great confines of the theater, he still had to face facility. ... The Concerto will be of an the wrath of the critics. Russian composer excellent quality ...’ It was always the César Cui wrote in the St. Petersburg News: same, without interruption. Although it may sound incredible, this cure really “If there were a conservatory in Hell, if helped me. Already at the beginning one of its many talented students were of the summer I began again to cominstructed to write a programme sym-

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pose. The material grew in bulk, and new musical ideas began to stir within me — far more than I needed for my Concerto.” Rachmaninov completed the final two movements of his Second Piano Concerto in the autumn of 1900 and performed them at a Moscow charity concert on Oct. 14. He added the opening movement the following spring and appeared as soloist in the Oct. 14, 1901, premiere of the entire Second Concerto. He readily acknowledged Dahl’s role in the creation of one of the most popular works of the 20th century, dedicating the concerto to him. The concerto is in three movements. The first (Moderato) opens with a series of tolling chords by the soloist, leading to the surging first principal melody, marked con passione. The slow movement (Adagio sostenuto) is a fantasia on a lovely theme, related to a melody in the concerto’s opening Moderato. The finale (Allegro scherzando) is based upon two themes, the second, one of Rachmaninov’s most beloved. That theme makes a glorious return in the concerto’s closing measures. SIMON TRPČESKI, piano

SIMON FOWLER

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orn in Macedonia in 1979, pianist Simon Trpčeski has established himself as one of the most remarkable musicians to emerge in recent years, performing with the world’s greatest orchestras and captivating audiences worldwide. He has worked with a prominent list of conductors, including Ashkenazy, Bringuier, Davis, Dudamel, Dutoit, Jurowski, Maazel, Pappano, Petrenko, Ticciati, Tortelier, Zinman, Alsop and Noseda. 34 Atlanta Symphony Orchestra | aso.org

The 2015-16 season sees Trpčeski continuing to perform at the highest level around the world. As always, he makes regular to visits the United Kingdom, giving performances with the London Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the City of Birmingham and the Bournemouth Symphony Orchestra. Elsewhere, he returns to play with the San Francisco, Atlanta, Detroit and Vancouver symphony orchestras; the Rotterdam Philharmonic Orchestra and Orquestra Sinfónica Portuguesa. He undertakes a tour of Spain with the Helsinki Philharmonic Orchestra and a U.K. tour with the Oslo Philharmonic Orchestra. Trpčeski has made two award-winning recordings of works by Rachmaninov on the Avie label with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra, with whom his latest recording, featuring Tchaikovsky’s Piano Concertos Nos. 1 and 2, was released on the Onyx Classics label. A superb recitalist, Trpčeski has received acclaim for his recital recordings on the EMI and Wigmore Hall Live labels. Trpčeski also performs chamber music as often as possible, including such festivals as Aspen, Verbier and Risor. He has a regular duo partnership with cellist Daniel MüllerSchott, and enjoys performing with a variety of other soloists. He works regularly with young musicians in Macedonia to cultivate the talent of his country’s next generation of artists. As a result, he was awarded with the Presidential Order of Merit and the first-ever title “National Artist of Macedonia.” TATIANA MONOGAROVA, soprano

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oprano Tatiana Monogarova starts her 2015-16 season singing Shostakovich’s Symphony No. 14 with the Munich Chamber Orchestra and can be heard performing the same piece with the Atlanta Symphony Orchestra under Robert Spano later this season. She gives her house debuts


performance of Shostakovich’s Symphony No. 14 with the Atlanta Symphony Orchestra, as well as holiday concerts, solo recitals and master classes as part of his residency.

Her

He has appeared with the San Francisco Opera, Lyric Opera of Chicago, Dallas Opera, Houston Grand Opera, Boston Lyric Opera, Pittsburgh Opera, Opera Philadelphia, Seattle Opera, Los Angeles Opera, Cincinnati Opera, Boston Lyric Opera, Opera Theater of Saint Louis, Vancouver Opera, Wolf Trap Opera, Opera Australia and at the Aix-en-Provence Festival.

EUGENE BEREGOVOY

A graduate of the Metropolitan Opera Lindemann Young Artist Development Program, Robinson made his debut at Monogarova was born in Moscow and the Metropolitan Opera in its production studied voice at the Russian Academy of of Fidelio. He has since appeared there Arts. She made her international debut as Sarastro in Die Zauberflöte (in the in Sergei Slonimsky’s opera The Master original production and in the children’s and Margarita with the Forum Theatre in English version), Ferrando in Il trovatore, Moscow, on tour in Germany under Mikhail the King in Aida and in roles in Nabucco, Jurowski, and then as Xenia in Boris Tannhäuser and the new productions of Les Godunov at La Fenice in Venice in 1995. Troyens and Salome. career

has

included appearances with such eminent conductors as Vladimir Spivakov, Vladimir Fedoseev, Vladimir Jorowski, Mikhail Jurowski, Mikhail Pletnev, Alexander Vedernikov, Daniele Callegari, Andreas Spering, Louis Langree, Julian Reynolds, Normunds Vaicis, Tomas Netopil, Edo de Waart, Hans Zender and Kent Nagano. She sang Symphony No. 14 with the Iceland Symphony Orchestra, The Bells at the Hong Kong Arts Festival, Strauss’ Four Last Songs with the Hong Kong Philharmonic, Tchaikovsky’s Hamlet with the Orchestra of Age of Enlightenment under Vladimir Jurowski, and Martynov’s Vita Nova in London and New York.

His many roles include Sarastro in Die Zauberflöte, Osmin in Die Entführung aus dem Serail, Ramfis in Aida, Zaccaria in Nabucco, Sparafucile in Rigoletto, Commendatore in Don Giovanni, Grand Inquisitor in Don Carlos, Timur in Turandot, the Bonze in Madama Butterfly, Padre Guardiano in La forza del destino, Ferrando in Il trovatore and Fasolt in Das Rheingold.

An Atlanta native, Robinson is a graduate of The Citadel and received his musical ass Morris Robinson, the Atlanta training from the Boston University Opera Symphony Orchestra’s 2015-16 Artist- Institute. in-Residence, is quickly gaining a reputation as one of the most interesting and soughtafter basses performing today.

MORRIS ROBINSON, bass

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Robinson’s current season includes a encoreatlanta.com | Atlanta’s Performing Arts Publication 35

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at the Frankfurt Opera, singing Elisabetta in Verdi’s Don Carlo, and at the Liceu in Barcelona, singing Mimì in Puccini’s La bohème. She returns to Teatr Wielki to sing the title role in Iolanta. She also can be heard in concert with the Munich Philharmonic singing Szymanovsky’s Stabat Mater under Thomas Dausgaard.


ASO | 1.15 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Joseph Young, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director

Presented by:

A TRIBUTE CONCERT TO MARTIN LUTHER KING, JR.

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Concert of Friday, January 15, 2016, at 8:00pm

Additional support generously provided by

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other handheld devices.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Robert Spano, Conductor Joseph Young, Conductor Morris Robinson, bass GIUSEPPE VERDI (1813-1901) Overture to La forza del destino (1862)

8MIN

“Il lacerato spirito” from Simon Boccanegra (1857)

4MIN

ANTONÍN DVOŘÁK (1841-1904) “Goin’ Home” (arr. William Arms Fisher/orch. Robert Sadin) (1893) Morris Robinson, bass

4MIN

GEORGE WALKER (b. 1922) Lyric for Strings (1941)

4MIN

GEORGE GERSHWIN (1898-1937) “I Got Plenty O’ Nuttin’” from Porgy and Bess (1935)

6MIN

JEROME KERN (1885-1945) “Ol’ Man River” from Showboat (1927) Morris Robinson, bass Joseph Young, Conductor INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 7 in A Major, Opus 92 (1812) I. Poco sostenuto; Vivace II. Allegretto III. Presto; Assai meno presto IV. Allegro con brio Robert Spano, Conductor

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4MIN

20MIN

36MIN


Notes on the Program by Ken Meltzer GIUSEPPE VERDI was born in Roncole, Italy, on Oct. 9 or 10, 1813, and died in Milan, Italy, on Jan. 27, 1901. The first performance of La forza del destino took place at the Bolshoi Theatre in St. Petersburg, Russia, on Nov. 10, 1862.

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erdi’s grand opera La forza del destino (The Force of Destiny) is based upon an 1830s Spanish play. Don Alvaro accidentally kills the Marquis of Calatrava — the father of the woman he loves, Leonora di Vargas. Don Carlo, the Marquis’ son, searches for Don Alvaro and Leonora in order to avenge his father’s death. Don Carlo finally confronts Don Alvaro (now a priest) and challenges him to a duel. Don Alvaro mortally wounds Don Carlo, who in turn fatally stabs Leonora when she tries to comfort her brother. Don Alvaro curses the fates, but when he finally prays for forgiveness, Leonora dies in peace.

The opera’s overture is a superb orchestral showpiece. Typical of overtures of the time, it incorporates various melodies from the opera, presented with the unerring contrast and inexorable forward motion that are hallmarks of one of the lyric theater’s greatest dramatists. “Il lacerato spirito” from Simon Boccanegra (1857) The first performance of Simon Boccanegra took place at the Teatro la Fenice in Venice, Italy, on March 12, 1857.

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erdi’s opera Simon Boccanegra takes place in 14th-century Genoa, and concerns political intrigue between the Patricians and the Plebeians. The opera’s prologue takes place in a square in Genoa at night. Jacopo Fiesco mourns the death of his daughter, Maria. After cursing the seducer who has brought humiliation upon

his family, Fiesco bids Maria a tearful farewell. A te l’estremo addio, palagio altero, Freddo sepolcro dell’angiolo mio! Nè a proteggerti valsi! Oh maledetto! Oh vile seduttore! E tu, Vergin, soffristi Rapita a lei la verginal corona? Ma che dissi? Deliro! Ah, mi perdona! A last farewell to you, haughty palace, Cold tomb of my angel! I was unable to protect you! Oh, cursed one! Vile seducer! (Turning to the image of the Virgin) And you, Virgin, suffered The theft of her virginal crown? But what am I saying? Delirium! Ah, forgive me! Il lacerato spirito del mesto genitore Era serbato a strazio d’infamia e di dolore. Il serto a lei de’ martiri Pietoso il cielo die’... Resa al fulgor degli angeli, Prega, Maria, per me. The torn spirit of a grieving parent Is kept in an agony of shame and sorrow. Merciful heaven has given her A martyr’s crown ... Yield to the radiance of the angels, Pray, Maria, for me. “Goin’ Home” (arr. William Arms Fisher/orch. Robert Sadin) (1893) ANTONÍN DVOŘÁK was born in Mühlhausen, Bohemia (now Nelahozeves, in the Czech Republic), on Sept. 8, 1841, and died in Prague on May 1, 1904.

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Overture to La forza del destino (1862)


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n 1893, while serving as director of the National Conservatory of Music in America in New York City, Czech composer Antonín Dvořák completed his Symphony No. 9, titled From the New World. The New World Symphony reflects Dvořák’s fascination with the folk music of the United States. Dvořák’s pupil William Arms Fisher used the beautiful English horn solo in the symphony’s second movement as the basis for the beloved spiritual, “Goin’ Home.”

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Lyric for Strings (1941) GEORGE WALKER was born in Washington, D.C., on June 27, 1922. The first performance of the Lyric for Strings took place in 1947 at the National Gallery of Art in Washington, with the National Gallery Orchestra conducted by Richard Bales.

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eorge Walker is a distinguished composer, pianist and educator. His teaching appointments include such institutions as Dillard University, the New School of Social Research, Smith College, the University of Colorado in Boulder and Rutgers University. His honors include Fulbright, Whitney, Guggenheim, Rockefeller and MacDowell fellowships, an award from the American Academy and Institute of Arts and Letters, and a 1996 Pulitzer Prize for his composition Lilacs.

“I Got Plenty O’ Nuttin’” from Porgy and Bess (1935) GEORGE GERSHWIN was born in Brooklyn on Sept. 26, 1898, and died in Hollywood, Calif., on July 11, 1937. The first performance of Porgy and Bess took place in Boston on Sept. 30, 1935.

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eorge Gershwin’s opera, Porgy and Bess, premiered in Boston on Sept. 30, 1935. The libretto, by his brother, Ira, and Du Bose Heyward, is based upon the latter’s novel, Porgy. After the Boston premiere, Porgy and Bess moved to New York. The opera met with critical resistance and closed after 124 performances, incurring a huge financial loss. Still, George Gershwin did not lose faith in what he called his “labor of love.” “It is not the few knowing ones whose opinions make any work of art great,” he said, “it is the judgment of the great mass that finally decides.” Today, Porgy and Bess is recognized as one of the finest American operas of the 20th century. Porgy and Bess takes place in the late 1930s in Catfish Row, the African-American quarter in Charleston, S.C. The beggar Porgy, in love with Bess, celebrates his newfound happiness. “Ol’ Man River” from Show Boat (1927) JEROME KERN was born in New York on Jan. 27, 1885, and died there Nov. 11, 1945. The first performance of Show Boat took place at Broadway’s Ziegfeld Theatre on Dec. 27, 1927.

Walker composed his Lyric for Strings in 1941, as a memorial to his grandmother. The original title for the work, Lament, was modified at the request of the composer’s how Boat, one of the landmarks in publisher. This brief and haunting work, the American musical theater, is based scored for string orchestra, has earned a on the novel by Edna Ferber. Featuring prominent place in orchestral concerts and music by Jerome Kern and lyrics by on recordings. Oscar Hammerstein II, Show Boat tells the story of the people who work on a Mississippi River showboat. Show Boat includes several iconic songs, including “Ol’

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38 Atlanta Symphony Orchestra | aso.org


Ol’ Man River from Show Boat Music by Jerome Kern Lyrics by Oscar Hammerstein II Orchestrated by Robert Russell Bennett Symphony No. 7 in A Major, Opus 92 (1812) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on Dec. 17, 1770, and died in Vienna on March 26, 1827. The first performance of the Seventh Symphony took place in the Hall of the University of Vienna on Dec, 8, 1813, with the composer conducting.

Wieck recalled that the general consensus among musicians and laymen alike was that Beethoven must have composed the symphony, particularly its outer movements, in a drunken state (“trukenen Zustande”). Carl Maria von Weber, after hearing the symphony for the first time, was reported to have exclaimed that Beethoven was now “quite ripe for the madhouse.” On the other hand, Richard Wagner, in one of the most famous appreciations of a Beethoven symphony, celebrated the finale as the “apotheosis of the dance.” Two centuries after the premiere, Beethoven’s Seventh continues to amaze audiences with its dramatic fire. It remains one of the most powerful of all symphonic creations.

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The Beethoven Seventh is in four movements. The first begins with the most ambitious slow introduction (Poco sostenuto) of any Beethoven symphony. The flute offers premonitions of what develops into the central theme of the ensuing Vivace, a sprightly dance in 6/8 time. The theme’s dotted eighth/sixteenth/eighth-note nucleus Because of Beethoven’s participation in provides the foundation for virtually all the concert and its philanthropic mission, that ensues in this remarkable movement. several of Vienna’s most eminent musicians agreed to play in the orchestra. The con- The slow second movement (Allegretto), cert proved to be one of the great public in the character of a somber march, opens triumphs of the composer’s career. The and closes with a foreboding chord. By conaudience insisted upon an encore of the trast, the vibrant third-movement scherzo Seventh Symphony’s Allegretto. By popular (Presto) exhibits both extraordinary energy demand, the entire concert was repeated and power. The finale (Allegro con brio) is a four days later, raising another 4,000 florins miraculous combination of academic structure (sonata form) and Dionysian abandon. for wounded soldiers. It is not until the terse final measures that Still, Beethoven’s reliance in the Seventh the whirlwind of activity comes to a stunupon the briefest of rhythmic motifs — ning halt. often presented with relentless and even frightening energy — inspired some negative reactions. Musician Friederich Wieck, father of Clara Wieck Schumann, attended the first rehearsal of the Beethoven Seventh. udwig van Beethoven completed his Seventh Symphony in 1812. The work received its premiere on Dec. 8, 1813, at the grand Hall of the University of Vienna as part of a concert for the benefit of wounded Austrian and Bavarian soldiers. Beethoven served as conductor.

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Man River.” Joe, the African-American stevedore, comments on the challenges of his life on a Mississippi River that shows neither mercy nor concern.


ASO | 1.15 | artists South Carolina in 2004 and completed his graduate studies in conducting with Gustav Meier and Markand Thakar at the Peabody oseph Young became assistant conductor Conservatory in 2009. of the Atlanta Symphony Orchestra and music director of the Atlanta Symphony Youth Orchestra in June 2014. He assists MORRIS ROBINSON, bass with the artistic leadership of the orchestra ass Morris Robinson, the Atlanta and serves as the primary conductor for the Symphony Orchestra’s 2015-16 ArtistASO’s education and community concerts. in-Residence, is quickly gaining a reputation

JOSEPH YOUNG, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director

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Before joining the ASO, Young was resident conductor of the Phoenix Symphony and spent a season as assistant conductor and a League of American Orchestras Conducting Fellow with the Buffalo [N.Y.] Philharmonic.

as one of the most interesting and soughtafter basses performing today.

Young’s other professional accolades include being named a semifinalist in the 2013 Gustav Mahler International Conducting Competition and being featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview.

Tannhäuser,and the new productions of Les Troyens and Salome.

His current season includes a performance of Shostakovich’s Symphony No. 14 with the Atlanta Symphony Orchestra as well as holiday concerts, solo recitals and master oung made his professional debut in 2007 as classes as part of his residency. the first recipient of the Baltimore Symphony A graduate of the Metropolitan Opera Orchestra (BSO)-Peabody Institute Lindemann Young Artist Development Conducting Fellowship, and worked with the Program, Robinson made his debut at the BSO through 2009. His recent conducting Metropolitan Opera in its production of engagements include the Colorado Symphony Fidelio. He has since appeared there as Orchestra, Tucson Symphony, Charleston Sarastro in Die Zauberflöte (in both the Symphony Orchestra, Delaware Symphony original production and the children’s Orchestra and Orquestra Sinfónica do Porto English version), Ferrando in Il trovatore, Casa da Música.  the King in Aida and in roles in Nabucco,

He also has appeared with the San Francisco Opera, Lyric Opera of Chicago, Dallas Opera, Houston Grand Opera, Boston Lyric Opera, Pittsburgh Opera, Additionally, he was the first recipient of the Opera Philadelphia, Seattle Opera, Los Sir Georg Solti Foundation Career Grant Angeles Opera, Cincinnati Opera, Boston for young conductors. He has furthered Lyric Opera, Opera Theater of Saint Louis, his conducting studies at the Cabrillo Vancouver Opera, Wolf Trap Opera, Opera Contemporary Music Festival, the 2010 Australia and at the Aix-en-Provence Jorma Panula International master class Festival. in Porto, Portugal, and at the Tanglewood His roles include Sarastro in Die Zauberflöte, Music Center. Osmin in Die Entführung aus dem Serail, Young received a bachelor’s degree in Ramfis in Aida, Zaccaria in Nabucco, music education from the University of 40 Atlanta Symphony Orchestra | aso.org


An Atlanta native, Robinson is a graduate of The Citadel and received his musical training from the Boston University Opera Institute.

JEFF ROFFMAN

RON CADIZ

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Sparafucile in Rigoletto, Commendatore in Don Giovanni, the Grand Inquisitor in Don Carlos, Timur in Turandot, the Bonze in Madama Butterfly, Padre Guardiano in La forza del destino, Ferrando in Il trovatore,and Fasolt in Das Rheingold.

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ASO | 1.21/23 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, Jan. 21, and Saturday, Jan. 23, 2016, at 8pm

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THE JANUARY 21/23 WEEKEND IS GENEROUSLY SPONSORED BY Sue Williams THE JANUARY 21 CONCERT IS GENEROUSLY SPONSORED BY Pat & Nolan Leake THE JANUARY 23 CONCERT IS GENEROUSLY SPONSORED BY Dr. John W. Cooledge

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Donald Runnicles, Conductor Kim-Lillian Strebel, Soprano Stephanie Lauricella, MezzoSoprano Shawn Mathey, Tenor Brian Mulligan, Baritone Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses LUDWIG VAN BEETHOVEN (1770-1827) Missa solemnis in D Major, Opus 123 (1823) I. Kyrie II. Gloria III. Credo IV. Sanctus V. Agnus Dei

80MIN

This concert is performed without intermission. English surtitles by Ken Meltzer

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Notes on the Program by Ken Meltzer

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on Dec, 17, 1770, and died in Vienna on March 26, 1827. The first performance of the Missa Solemnis took place in St. Petersburg, Russia, on April 7, 1824. The Missa solemnis is scored for soprano, alto, tenor and bass soloists, mixed chorus, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, organ and strings.

During his stay there, it appears that Beethoven experienced a further decline in his hearing. He was forced to confront the possibility, even the likelihood, that he would lose his hearing altogether. It was, of course, the cruelest joke fate could play on him. He would soon become a virtuoso pianist unable to perform in public and a composer unable to hear his own music.

It is not surprising that Beethoven spent much time contemplating the meaning of his life. One product of this soul-searching was the document known as the “Heiligenstadt Testament,” written in October 1802. First Classical Subscription Performance: Addressed to his two brothers, the testaMay 2, 1968, the Atlanta Symphony ment was found among Beethoven’s papers Chamber Chorus, the Atlanta Choral Guild after the his death in 1827. In the “Heiligenstadt Testament,” Beethoven confessed that the Most Recent Classical Subscription onset of deafness: Performances: Jan. 20 and 22, 2011, “ ... almost made me despair, and I was Atlanta Symphony Orchestra Chorus, on the point of putting an end to my Donald Runnicles, Conductor. life — The only thing that held me back was my art. For indeed it seemed to me Other Robert Shaw Performances: impossible to leave this world before (Classical Subscription, unless otherwise I had produced all the works I felt noted) May 24, 25 and 26, 1972; Feb. 12 the urge to compose; and thus I have and 14, 1976 (Special); May 25 and 29, dragged on this miserable existence — a 1976 (Tour); March 7 and 8, 1981 (Tour); truly miserable existence ...” April 16 and 17, 1982 (Special); May 16, and the Atlanta Intercollegiate Chorus, Robert Shaw, Conductor.

1982 (Tour); Feb. 19, 20, and 21, 1987. Recording: Telarc CD-80150 (2CD), Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor. ‘I was on the point of putting an end to my life’

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In the decade following the “Heiligenstadt Testament,” Beethoven responded with ferocious and unflagging energy and determination. During this extraordinary period, he composed such masterpieces as symphonies Nos. 2-8; the Fourth and Fifth (Emperor) piano concertos; the Razumovsky String Quartets; the Waldstein, Appassionata and Les Adieux piano sonatas; and his only opera, Fidelio.

t the start of the 19th century, Beethoven, at the height of his career as a composer and pianist, began to suffer hearing loss. In April 1802, on the advice ‘Human misery in every form’ of his doctor, Beethoven relocated to the beautiful country village of Heiligenstadt, During the time known as Beethoven’s where he remained until the early fall. “Middle Period,” the composer faced other encoreatlanta.com | Atlanta’s Performing Arts Publication 43

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Missa solemnis in D Major, Opus 123 (1823)


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ASO | 1.21/23 | program challenges as well. In May 1809, Napoleon’s forces bombarded Vienna. Beethoven’s lodgings stood directly in the line of fire, and he took refuge in a basement in the home of either his brother Carl, or the composer’s friend, poet Ignaz Franz Castelli (scholars are not unanimous on this point). During the massive shelling, Beethoven tried to protect the last remnants of his hearing by covering his ears with pillows. The succeeding French occupation brought physical and economic chaos. On July 26, 1809, Beethoven wrote to his publisher: “What a destructive, disorderly life I see and hear around me, nothing but drums, cannons and human misery in every form.”

adventurous works — for solo piano, the late Sonatas, Opus 109-111, and the Diabelli Variations, the five late Quartets and Grosse Fugue for string quartet, and the Ninth Symphony.

Another masterpiece from Beethoven’s extraordinary “Late Period” is the Missa solemnis, Opus 123. The original impetus for the Missa solemnis occurred in 1819. That spring, Rudolf, archduke of Austria (1788-1831), the youngest son of Emperor Leopold II, learned he had been appointed archbishop of Olmütz in Moravia (now Olomouc in the Czech Republic). Rudolph, Beethoven’s longtime pupil, cherished friend and generous patron, was the dedicatee of Despite all this turmoil and despair, such pieces as the Fourth and Emperor Beethoven never lost his fierce sense of inde- Piano Concerto, the Archduke Piano Trio, pendence and rebellious spirit. Once, during the Piano Sonatas Opus 81a (Les Adieux), the occupation, a friend spied Beethoven in 106 (Hammerklavier), and 111 (the Grosse a café. There the composer stood behind Fugue). a French officer, shaking his fist and proclaiming: “If I were a general and knew as In June 1819, Beethoven wrote to Rudolph: much about strategy as I do counterpoint, “The day on which a High Mass comI’d give you fellows something to think posed by me will be performed during about.” the ceremonies solemnized for Your The Missa solemnis: Imperial Highness will be the most gloComposition and Early Performances rious day of my life; and God will The years immediately following the enlighten me so that my poor talents post-“Heiligenstadt” decade were far less may contribute to the glorification of productive. Beethoven struggled with health that solemn day. issues. After the death of his brother, he also became embroiled in fierce and protracted custody litigation over his nephew, Karl. Before starting work on the Missa solemnis, As the second decade of the 19th century Beethoven entered in his journal: “In order drew to a close, the general belief in Vienna to write true church music ... look through was that Beethoven’s career was finished. all the monastic church chorales and also Beethoven’s friend Anton Schindler recalled the strophes in the most correct translathat when Beethoven heard these rumors, tions and perfect prosody in all Christianhe replied: “Wait a while; you will soon Catholic psalms and hymns generally.” learn differently.”

Beethoven embarked upon an intense study In the final decade of his life, Beethoven of the Renaissance composer Giovanni composed several of his greatest and most Palestrina and his contemporaries, as well 44 Atlanta Symphony Orchestra | aso.org


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ASO | 1.21/23 | program as the music of Handel, J.S. Bach and C.P.E. Bach. Beethoven also prepared a copy of the Latin text that included a line-by-line German translation as well as notations for accentuation of each word.

to Beethoven’s lack of sympathy for the capabilities of the human voice, perhaps exacerbated by his hearing loss. It’s an accusation leveled, too, at the vocal writing in his Ninth Symphony and his opera, Fidelio.

Rudolf’s installation took place on March 9, 1820. Beethoven did not complete the Missa solemnis in time for the ceremony and, in fact, did not finish the work until 1823 (he did dedicate the Missa solemnis to Rudolf). The ongoing litigation involving his nephew Karl may have delayed progress, as did, perhaps, work on various compositions, including the Ninth Symphony.

In his Autobiography, Russian composer Igor Stravinsky addressed a similar criticism directed at Beethoven’s austere orchestral palette: “But Beethoven’s music is intimately linked up with his instrumental language, and finds its most exact and perfect expression in the sobriety of that language.”

The Vienna premiere took place at the Kärntnertor Theater on May 7, 1824. That concert, featuring only the Kyrie, Credo and Agnus Dei portions, also marked the world premiere of Beethoven’s Ninth Symphony. Beethoven stood next to conductor Ignaz Umlauf, following the score and beating time, even though he could hear neither the performances nor the audience’s tumultuous ovations at their conclusion. A complete performance took place in Warnsdorf, Bohemia, on June 29, 1830, after the composer’s death.

teners.”

Perhaps the almost superhuman vocal demands are precisely what Beethoven The premiere of the Missa solemnis took intended for the “exact and perfect expresplace in St. Petersburg, Russia, on April sion” of his goal in composing the Missa 7, 1824. The concert, by the Philharmonic solemnis. Society of St. Petersburg, was organized Beethoven wrote to Johann Andreas by Prince Nikolai Galitzin, a devout music Streicher: “My chief aim was to awaken lover, gifted amateur cellist and Beethoven and permanently instill religious feelings patron. not only into the singers but also the lis-

‘From the Heart — May It Return to the Heart’

The Missa solemnis is a majestic work that continues to inspire reverence, awe and, perhaps, some misconceptions, as well. The remarkable demands placed on the range and stamina of the singers (both the soloists and the chorus) are often attributed 46 Atlanta Symphony Orchestra | aso.org

Beethoven understood, perhaps as well as anyone, the fortitude required to maintain faith while confronting life’s challenges. He did not hesitate to portray those challenges in the Missa solemnis. The struggle is not fully resolved until the defeat of the stunning “war” episodes in the concluding Agnus Dei (subtitled by Beethoven A Prayer for Inner and Outer Peace). But that struggle makes the triumphant final bars of the Missa solemnis all the more gratifying, a fulfillment of Beethoven’s fervent wish, inscribed at the top of the score: “From the Heart — May It Return to the Heart.”


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im-Lillian grew up in London and Switzerland. She first studied with the late Anthony Rolfe-Johnson, won scholarships to the Royal Academy of Music and the Royal Conservatoire of Scotland, and was invited to become a Samling Scholar. She was a pupil of Ryland Davies and Dame Kiri Te Kanawa. During her studies she sang at the Scottish Opera Pamina, the Chief Hen in Cunning Little Vixen and Louisa in Betrothal in a Monastery. She then became a member of the Young Ensemble at the Deutsche Oper Berlin, singing Papagena, 1st Dame in Magic Flute, Countess Ceprano, Gretel and Musetta, and also singing Hirt in Tannhäuser, the Niece in Peter Grimes under Donald Runnicles, and Nicoletta in the Love of Three Oranges. She repeated the role of Countess Ceprano with the Leipzig Oper. She has sung Lauretta in the new production of Gianni Schicci for the Komische Oper, Berlin, directed by Calixto Bieito. For the Basel Oper, she has performed such roles as Orazie, Purcell’s Indian Queen, Princesse in Ravel’s L’enfant et les Sortileges and repeated the role of Gretel. 

AARON DAVIES

She is a member of Freiburg Oper, where she has sung Angelica in Handel’s Orlando, Micaëla, Eurydice and Astaroth in Goldmark’s The Queen of Sheba. In 2014 she sang Micaëla at the Menuhin Music Festival in Gstaad and at the Ludwigsberger Schlosspark. Stebel is an accomplished recital and lieder singer, having given recitals in Essen — Mahler and Berg, in the Tonhalle Zurich — Grieg’s Peer Gynt, in London — Schumann, Schubert and Mendelssohn and in Glasgow — Wolf and Mahler.  Future engagements in48 Atlanta Symphony Orchestra | aso.org

clude Adina, L’elisir d’amore and Fiordiligi, Cosi fan tutte at the Freiburg Oper and the Missa solemnis in Glasgow with Donald Runnicles and the BBC Scottish Symphony Orchestra. STEPHANIE LAURICELLA, Mezzo-Soprano

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auded by Opera News for her “ringing upper register and immaculate passagework,” mezzo-soprano Stephanie Lauricella returns to the Grand Théâtre de Genève as Hermia in A Midsummer Night’s Dream and makes her debut with Seattle Opera as Isolier in Le comte Ory in the 2015-16 season. She returns to the Deutsche Oper Berlin for numerous roles and sings Beethoven’s Missa solemnis with Donald Runnicles conducting both the BBC Scottish Symphony and the Atlanta Symphony Orchestra. She reprises Suzy in La rondine with the Bayerische Rundfunkorchester. Future seasons include her debut with Opéra national de Paris and a return to the Deutsche Oper Berlin in leading roles. She has previously joined the Deutsche Oper Berlin for roles that include Rosina in Il barbiere di Siviglia, Hänsel in Hänsel und Gretel, and debuts of Siébel in Faust, Smeraldina in L’amour des trois oranges and the Grand Théâtre de Genève. She sang Wellgunde in Das Rheingold and Götterdämmerung, Siegrune in Die Walküre, the Second Wood Sprite in Rusalka and the title role in César Cui’s Le chat botté. In her native America, she has sung Hänsel in Hänsel und Gretel (Minnesota Opera); Komponist in Ariadne auf Naxos (Virginia Opera); Isolier in Le comte Ory (Des Moines Metro Opera); Hänsel in Hänsel

REBECCA FAY

KIM-LILLIAN STREBEL, Soprano


SHAWN MATHEY, Tenor

BRIAN MULLIGAN, Baritone

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enor Shawn Mathey performs with many of the most distinguished opera companies and music festivals in the world including the Paris Opera, the Opernhaus Zürich, the Salzburg Festival, the Aix-enProvence Festival, the Theater an der Wien and the Frankfurt Opera, among many others.

BARBARA AUMÜLLER

This season, Mathey reprises the role of Lysander in Britten’s A Midsummer Night’s Dream for his debut at the Grand Théâtre de Genève. He will sing Pinkerton in Madama Butterfly in Toledo and debuts with the Tokyo Symphony and the Liceo in Barcelona, both in leading roles. Last season, Mathey returned to Washington National Opera to sing Chevalier de la Force in Dialogues des Carmélites, sang Tamino in Die Zauberflöte in Lausanne and Vichy and, before that, made his debut in Seoul, South Korea, as the Duke of Mantua in Rigoletto. He debuted two French roles — the Night Watchman in SaintSaëns’s Les Barbares at the Opéra de St Etienne in France and the title role in Faust for the Toledo Opera. In the summer, Mathey returned to the Cincinnati Opera for Pinkerton in Madama Butterfly. Earlier, he returned to London for one of his

raised by The New York Times for “a voice that is rich, secure and really, really big” and by Opera News for having “a wonderful, rich voice and a fine stage presence,” baritone Brian Mulligan frequently appears with the world’s leading orchestras and opera companies.

In the 2015-16 season, he returns to San Francisco Opera to debut in the title role in Sondheim’s Sweeney Todd with conductor Patrick Summers, and follows as Enrico in a new production of Lucia di Lammermoor opposite Piotr Beczała. Also at San Francisco Opera, he takes a second role debut as Roderick Usher in the double bill of Gordon Getty’s Usher House and Debussy’s La Chute de la Maison Usher. At the Metropolitan Opera, he appears as Paolo in Simon Boccanegra, with Plácido Domingo in the title role and James Levine conducting. At Minnesota Opera, he takes on the chillingly insane character of Jack Torrance in the world premiere of The Shining. Highlights of Mulligan’s symphonic work include Beethoven’s Missa solemnis with Donald Runnicles for his Atlanta Symphony Orchestra debut and Brahms’ Ein deutsches Requiem with the Pacific Chorale. A graduate of the Juilliard School, Mulligan

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signature roles, Tamino, at the English National Opera. He made debuts with the San Francisco Opera as Don Ottavio in Don Giovanni, the Dallas Opera as Tamino in Die Zauberflöte, the Lisbon Opera as Ferrando in Così fan tutte and the Teatro dell’Opera in Rome as Lysander in Britten’s A Midsummer Night’s Dream.

DARIO ACCOSTA

und Gretel, the title role of Rinaldo, Flora in La traviata (Pittsburgh Opera); and Angelina in La cenerentola (Opera San Jose). Concert engagements include Boulanger’s Psalm 130: Du fond de l’abime (Pittsburgh Symphony), Handel’s Messiah (Rochester Philharmonic) and Beethoven’s Symphony No. 9 (Erie Philharmonic).


ASO | 1.21/23 | artists has won a Richard Tucker Career Grant, a Sara Tucker Study Grant, the George London Prize (for which he appeared in recital with Ken Noda and Lisette Oropesa, and at the International Hans Gabor Belvedere Vocal Competition. Mulligan holds dual citizenship in the United States and Ireland.       NORMAN MACKENZIE, Director of Choruses

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s director of choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the orchestra, he prepares the choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts. The chorus has made numerous tours during his tenure, earned several Grammy awards for best classical album and best choral performance, and made an acclaimed debut with the Berlin Philharmonic. Mackenzie also serves as organist and director of music and fine arts at Atlanta’s Trinity Presbyterian Church and pursues an active recital and guestconducting schedule. The New York Times has called Mackenzie Robert Shaw’s “designated successor.” In his 14-year association with Shaw, Mackenzie was keyboardist for the Atlanta Symphony, principal accompanist for the ASO choruses, and, ultimately, assistant choral conductor. He also 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 50 Atlanta Symphony Orchestra | aso.org

Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing and partnered with Robert Spano for the 20th anniversary workshop featuring the Berlioz Requiem. ATLANTA SYMPHONY ORCHESTRA CHORUS

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he Atlanta Symphony Orchestra Chorus was founded in 1970 by music director Robert Shaw. Comprising 200 auditioned voices, the Chorus is an all-volunteer group that performs regularly with the orchestra and is featured on many of its recordings.

Led by Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings with the Atlanta Symphony Orchestra have won multiple Grammy awards, including best choral performance, best classical recording and best opera recording. Those include Vaughan Williams’ A Sea Symphony and the Berlioz Requiem. The chorus performs large choral-symphonic works with the full orchestra under the batons of music director Robert Spano and principal guest conductor Donald Runnicles. It also has been involved in the creating and shaping numerous world premiere commissioned choral works. The chorus made its debut at New York’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the ASO led by Robert Shaw. It also performed in Washington, D.C., for President-elect Jimmy Carter’s Inaugural Concer, in 1977. The chorus has traveled to Germany three times to be a special guest of the Berlin Philharmonic — in December 2003 for performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem and in December 2009 for a week of Brahms Requiem performances, all with Donald Runnicles.


Atlanta Symphony Orchestra Chorus Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

Rachel O’Dell Ariel Barnes Vickie Orme Kathryn Bishop Lindsay Patten Sarah Clements Chantae Pittman Hanan Davis Sydney Sewell Sakinah Davis Sydney SmithRikard Liz Dean Paula Snelling* Laura Foster Anne-Marie Natalie Gough Spalinger* Meg Granum Camilla Michelle Griffin Springfield** Jayme HoganTommie Storer Yarbro Emily Tallant Jacquelyn Cheryl Thrash** Holloway Donna Weeks* Erin Jones Victoria Kolterman Katie Woolf Arietha Lockhart** ALTO 1 Alexis Lundy Deborah Boland** Mindy Margolis* Rachel Bowman Joneen Padgett* Meagan Bradford Callaway Powlus Donna CarterLisa Rader* Wood* Catherine Steen Amy Chastain Lykins Laurie Cronin Stacey Tanner Patricia DinkinsBrianne Turgeon* Matthews* Natalie York Eaker Pamela Drummond* SOPRANO 2 Beth Freeman Sloan Atwood* Pamela Griffin* Jessica Barber Noelle Hooge Anne Beloncik Beverly Hueter Schantz Janet Johnson* Barbara Brown Kelly Campobasso Susan Jones Virginia Little* Martha Craft Staria Lovelady Ellen Dukes** Paige Mathis* Katherine Folds Holly McCarren* Mary Goodwin Amanda Hoffman Frances McDowell** Kathleen KellyLinda Morgan** George Kathleen Poe Ross Eda Mathews** Anna Prokop Shannon Nesbit SOPRANO 1

Peter Marshall, Accompanist

Laura Soltis Meesook Sonu Rachel Stewart** Diana Strommen Nancy York*

Leif Gilbert-Hansen Nick Jones # James Jarrell Jameson Linville Keith Langston Peter MacKenzie Jeffrey LeCraw Jason Maynard Sean Mayer* Andrew Riechel Clinton Miller Mark Russell ALTO 2 Matthew Neylon Kendric Smith # Nancy Adams* Christopher Patton Owen Talley Michelle Austin Ike Van Meter Stephanie Bizardi Stephen Reed # Aaron Villalobos Marcia Chandler Nathan Schreer Mark Warden* Edgie Wallace* Meaghan Curry Edward Watkins** Cynthia Goeltz TENOR 2 DeBold** Randall Barker** BASS 2 Michèle Diament Mark Barnes Philip Barreca PeggyDee Fleck Curtis Bisges Clarence Bell Sally Kann Charles Charles Boone Nicole Khoury* Cottingham # Brian Brown* Katherine Evan Crowther John Cooledge # MacKenzie Phillip Crumbly* Rick Copeland* Lynda Martin Jeffrey Daniel* Joel Craft** Brenda Pruitt* Hamilton Fong Paul Fletcher Laura Rappold Keith Jeffords* Andrew Gee* Andrea Schmidt Steven Johnstone* Timothy Gunter* Sharon Simons David Lamb Eric Litsey** Alexandra Tanico Jonathan Marvel Evan Mauk Virginia Michael Parker Eckhart Richter* Thompson* Marshall Peterson* John Ruff* Cheryl Vanture Brent Runnels Jonathan Smith Sarah Ward Clifton Russell Timothy June Webb Wesley Shearer Solomon** Ryan Whicker Scott Stephens* David Webster** Alexandra Wesley Stoner Seth Whitecotton Willingham Caleb Waters Gregory Whitmire* Kiki Wilson** Robert Wilkinson Keith Wyatt* Diane Woodard** TENOR 1

Jeffrey Baxter** David Blalock** John Brandt* Jack Caldwell* Daniel Cameron* Justin Cornelius Clifford Edge** Steven Farrow**

BASS 1

* 20+ years of Dock Anderson service Richard Brock* ** 30+ years of Russell Cason* service Trey Clegg # Charter member Steven Darst* (1970) Michael Dennison Jon Gunnemann* David Hansen**

encoreatlanta.com | Atlanta’s Performing Arts Publication 51

ASO | 1.21/23 | artists

Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair


ASO | 1.28/30 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, Jan. 28, and Saturday, Jan. 30, 2016, at 8pm.

Miguel Harth-Bedoya, Conductor Vadym Kholodenko, Piano

ASO | 1.28/30| program

JIMMY LÓPEZ (b. 1978) Perú negro (2012)

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

16MIN

SERGEI PROKOFIEV (1891-1953) Concerto for Piano and Orchestra No. 3 in C Major, Opus 26 (1921) 28MIN I. Andante; Allegro II. Tema. Andantino Variations i. L’istesso tempo ii. Allegro iii. Allegro moderato (poco meno mosso) iv. Andante meditativo v. Allegro giusto Tema. L’istesso tempo III. Allegro ma non troppo Vadym Kholodenko, piano

INTERMISSION 20MIN ANTONÍN DVOŘÁK (1841-1904) Symphony No. 7 in D minor, Opus 70 (1885) 39MIN I. Allegro maestoso II. Poco adagio III. Scherzo. Vivace IV. Finale. Allegro

52 Atlanta Symphony Orchestra | aso.org


Perú negro (2012)

cal language.

JIMMY LÓPEZ was born in Lima, Peru, on Oct. 21, 1978. The first performance of Perú negro took place at Bass Performance Hall in Fort Worth, Texas, on March 17, 2013, with Miguel Harth-Bedoya conducing the Fort Worth Symphony Orchestra. Perú negro is scored for two piccolos, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets three trombones, tuba, timpani, cajón, cowbells, ratchet, suspended cymbal, tam-tam, tom-toms, cabasa, cymbals, jawbone, mark tree, vibraslap, bass drum, temple blocks, thunder sheet, triangles,and strings.

The introductory section, Pregón I, captures the spirit of the old street-sellers, which used to walk the streets of Lima announcing their goods and creating miniature songs in the process. These songs became extremely popular among the people of the city and some of them have survived until today. When in a musical context, they usually appear in the form of question-answer. In Perú negro, different sections of the orchestra play the main motif and later that same motif is answered by the full orchestra.

Perú negro was commissioned by Miguel Harth-Bedoya to celebrate the centennial season of the Fort Worth Symphony Orchestra.

M

iguel and I have collaborated closely for a number of years, and instead of simply dedicating the piece to him, I decided to imprint it with his initials right from the beginning. The first motive, played by the horn, establishes the notes E, B, Bb and G, which correspond to Miguel (Mi = E) Harth (H = B natural) Bedoya (B = B flat) Gonzáles (G). These four notes rule the intervallic and harmonic structure of the entire piece. The main source of inspiration for this work is Afro-Peruvian music, but although the piece makes reference to six specific traditional songs, it is indeed very personal. I did not attempt to merely copy or reproduce Peruvian folklore. On the contrary, I assimilated it and created something entirely new and personal — an invented folklore of sorts, which bears the seal of my musi-

Toro Mata, the second section, is a traditional song in slow tempo with a very striking characteristic: the ascending perfect fifth, which, coincidentally, is also the interval produced between the notes E and B natural (the first two notes of the piece). In this way, this traditional melody has been embedded into the core of the piece, now constituting one of its building blocks. The following section, Ingá, steps up the tempo considerably and lets the string section take center stage. The melodic gestures are directly derived from this song, but the melodies are adjusted to fit into the model set forth by the initial motive. Le dije a papá, the fourth section, is agile and virtuoso,and it reaches its climax right before Pregón II, marking an important structural divide. The percussion section rises, and its propulsive energy brings us to a climatic moment where the orchestra, now in full force, reaches a sudden stop. Pregón II is based on the first section of similar name, but the main motive

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ASO | 1.28/30| program

Notes on the Program by Ken Meltzer


ASO | 1.28/30| program

ASO | 1.28/30 | program is now transformed into a monumental musical phrase performed by brass and percussion in fortissimo. When the strings come in, a long-breathed melody, based on Toro Mata, takes over, creating a sustained buildup that leads us to the final section.

clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, tambourine, castanets, suspended cymbal and strings.

Son de los Diablos, the fastest and final section, brings the piece to a close in a frenzy of Afro-Peruvian rhythms. The main four notes are brought back toward the very end, concluding in unison on E, which is the very first and now the very last note of the piece. As it can be inferred from the above description, the general tendency of this piece is to increase in tempo and activity, and although the progression is not linear, it can be felt as an overriding arch moving the piece forward.

Most Recent Classical Subscription Performances: March 12, 13 and 14, 2009, Horacio Gutiérrez, Piano, Nicola Luisotti, Conductor.

First Classical Subscription Performance: March 2, 1950, William Kapell, Piano, Henry Sopkin, Conductor.

Robert Shaw Performances: May 12, 13 and 14, 1983, Byron Janis, Piano.

F

rom 1918 to 1933, Prokofiev lived in the West, where he was acclaimed as a composer and piano virtuoso. Prokofiev completed his Third Piano Concerto in the summer of 1921, while vacationing in St. Brevin-les-Pins, on the Brittany coast of France. But some of the concerto’s matePerú negro is an homage to our Afrorial dates as far back as 1911. Prokofiev Peruvian heritage, but it also stems acknowledged that when he began comfrom a personal desire to assimilate position of the Third Piano Concerto: “I Peruvian folk music to the point of already had the entire thematic material blending it seamlessly with my own with the exception of the subordinate theme language. I leave it to the listener to of the first movement and the third theme judge whether this attempt has been of the finale.” Prokofiev was the soloist in successful. the concerto’s world premiere, which took — Jimmy López © 2012 place Dec. 16, 1921, in Chicago. On Dec. 30 in Chicago, he conducted the first performance of his opera The Love for Three Concerto for Piano and Orchestra No. 3 Oranges. in C Major, Opus 26 (1921) SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow on March 5, 1953. The first performance of the Piano Concerto No. 3 took place in Chicago on Dec. 16, 1921, with the composer as soloist and Frederick Stock conducting the Chicago Symphony Orchestra. In addition to the solo piano, the Concerto is scored for piccolo, two flutes, two oboes, two 54 Atlanta Symphony Orchestra | aso.org

A few days before the concerto premiered, Prokofiev confided to a friend: “My Third Concerto has turned out to be devilishly difficult. I’m nervous and I’m practicing hard three hours a day.” Contemporary reviews, as well as the composer’s own 1932 EMI studio recording, attest to Prokofiev’s brilliant mastery of the extremely challenging solo part. The concerto opens with a brief slow-tem-


Symphony No. 7 in D minor, Opus 70 (1885) ANTONÍN DVOŘÁK was born in Mühlhausen, Bohemia (now Nelahozeves in the Czech Republic), on Sept. 8, 1841, and died in Prague on May 1, 1904. The first performance of the Symphony No. 7 took place at St. James’s Hall in London on April 22, 1885, with the composer conducting the London Philharmonic Society. The Symphony No. 7 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. First Classical Subscription Performances: Dec. 5 and 6, 1957, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: Jan. 9 and 11, 2014, Peter Oundjian, Conductor.

I

n June of 1884, the London Philharmonic Society nominated Antonín Dvořák as an honorary member, and asked that he compose a new symphony. Dvořák hoped that his new creation would receive international acclaim in the manner of the works of

his friend and idol, the German composer Johannes Brahms. In a December 1884 letter to a friend, Dvořák wrote: “Now I am occupied with my new symphony (for London), and wherever I go I have nothing else in mind but my work, which must be such as to make a stir in the world and God grant that it may!” The successful premiere of the Symphony No. 7 took place in London’s St. James’s Hall on April 22, 1885, with Dvořák conducting the London Philharmonic Society. Dvořák decided to cut 40 bars from the slow second movement and informed his publisher, Simrock: “Now I am convinced that there is not a single superfluous note in the work.” The Symphony No. 7 is in four movements. The first (Allegro maestoso) is based on two themes. The violas and cellos softly introduce the insinuating first principal theme that grows in volume and intensity. The woodwinds sing a lyrical, major-key waltzlike theme, marked dolce (“sweetly”), that in time also gains tremendous power. In a dramatic masterstroke, Dvořák concludes with a quiet, fragmented restatement of the opening theme. The slow second movement (Poco adagio) recalls its counterpart in the Brahms Third Symphony (1883). The third movement is a Scherzo (Vivace). The literal translation of the Italian word scherzo is “joke,” but there is little humor in this fiery movement, in D minor. The stormy Finale (Allegro) gives every indication of maintaining a tragic mood to the work’s conclusion. Suddenly, and most unexpectedly, the orchestra erupts in a D-Major outburst, bringing the Symphony to a triumphant (but perhaps somewhat unsettling) resolution.

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ASO | 1.28/30| program

po introduction (Andante) and a haunting dolce melody sung by the clarinet. The ensuing principal Allegro features two themes. The first is introduced by the piano, the second by the oboe, accompanied by the pizzicato strings and castanets. The second movement is a series of five variations on a march tune introduced at the outset (Tema. Andantino) and repeated at the close, now decorated by the pianist’s chords (Tema. L’istesso tempo). The bassoons and pizzicato strings introduce the finale’s principal theme (Allegro ma non troppo). A more lyrical central episode resolves to the stirring, virtuoso conclusion.


ASO | 1.28/30 | program MIGUEL HARTH-BEDOYA, Conductor

G

BELL SOTO

ASO | 1.28/30| artists

rammy-nominated and Emmy Awardwinning conductor Miguel HarthBedoya is chief conductor of the Norwegian Radio Orchestra/Oslo and is in his 16th season as music director of the Fort Worth Symphony Orchestra in Texas. He is also the founder and artistic director of Caminos del Inka Inc., a nonprofit organization dedicated to performing and promoting the music of the Americas. Harth-Bedoya has appeared as guest conductor for the upper echelon of American orchestras, including Chicago, Boston, Cleveland, Philadelphia, Minnesota, Los Angeles, Atlanta, Baltimore and New York. He is also a regular guest at such major North American summer venues as Aspen, Tanglewood, Ravinia and Grand Teton.

Canadian National Opera. An active recording artist, Harth-Bedoya’s discography includes two recordings on Harmonia Mundi with the Norwegian Radio Orchestra. Upcoming recordings on the label include the first in a series of the complete Prokofiev Piano Concertos featuring Cliburn Gold Medalist Vadym Kholodenko, and a new recording of Schoenberg’s orchestration of Brahms’ Piano Quartet in G minor and Lutoslawski’s Concerto for Orchestra, both with the Fort Worth Symphony Orchestra.

Born and raised in Peru, Harth-Bedoya received his bachelor of music degree from the Curtis Institute of Music and his master of music degree from the Juilliard School. He studied conducting under Otto-Werner Mueller and with Seiji Ozawa and Gustav In Europe, Harth-Bedoya has led such Meier at Tanglewood. orchestras as the Orchestre de Paris, London VADYM KHOLODENKO, Piano Philharmonic, Munich Philharmonic, adym Kholodenko has emerged as one Zurich Tonhalle, Royal Stockholm of the most musically dynamic and Philharmonic and the Finnish, Danish, technically gifted performers of his genand Swedish Radio Symphony orchestras. eration, heralded for interpretations that He has also conducted widely throughout are “impeccable, tasteful and vibrant, and Australia, New Zealand, Asia and South also something more: imaginative” (The America. Cleveland Plain Dealer). Winner of the

V

Equally at home in the theater, in summer 2015 Harth-Bedoya conducted the world premiere of Jennifer Higdon’s critically acclaimed first opera, Cold Mountain, for Santa Fe Opera. Other notable opera productions include La bohème at English National Opera, directed by Jonathan Miller; productions of Golijov’s Ainadamar with the Cincinnati and Santa Fe operas; and Rossini’s Barber of Seville with the 56 Atlanta Symphony Orchestra | aso.org

coveted gold medal and all special prizes at the 14th Van Cliburn International Piano Competition in 2013, he is forging an international career throughout Europe, Asia and North America. This season, Kholodenko makes debuts with the Atlanta, Eugene, Ore., and Hawaii symphony orchestras, and with the Royal Philharmonic Orchestra in a special concert presented by the San Diego Symphony. He enters the second year of his artistic partnership with the Fort Worth Symphony Orchestra with the continuation of the Prokofiev piano concerto cycle and chamber projects, and returns


APPEL-MORELAND

ASO | 1.28/30| artists

to the Rochester Philharmonic. European engagements include debuts with the BBC Scottish, Kristiansand Symphony, Spanish National and Sydney symphony orchestras, and a return to the Norwegian Radio Orchestra. In August 2015, he appeared in Zurich with the Moscow Tchaikovsky Symphony Orchestra conducted by Vladimir Fedoseyev under the auspices of the Orpheum Foundation for the Advancement of Young Soloists. Recitals will take him to Austin, Budapest, Porto, Vancouver and other cities around the world.

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ASO | support

T

he Orchestra donor list includes all donations made since June 1, 2014. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime. Those among us who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world. On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share. Bravo!

$500,000+

A Friend of the Orchestra (2) Connie & Merrell Calhoun Delta Air Lines Lettie Pate Evans Foundation, Inc. Sally & Carl Gable Abraham J. & Phyllis Katz Foundation Lucy R. & Gary Lee Jr. The Kendeda Fund The Andrew W. Mellon Foundation

$250,000+

Mrs. Anne Cox Chambers Patty & Doug Reid

$100,000+

The Antinori Foundation The Coca-Cola Company Mr. & Mrs. Bradley Currey Jr. First Data Corporation GE Asset Management The Home Depot Foundation Invesco Ltd. Jane & Clay Jackson The Fred & Sue McGehee Family Charitable Fund The Slumgullion Charitable Fund Mrs. Charles A. Smithgall Jr. Wells Fargo Sue & Neil** Williams

$75,000+

Susan & Richard Anderson Bank of America & Merrill Lynch Susan & Thomas Wardell

$50,000+

AGL Resources Inc. Alston & Bird LLP Marcia & John Donnell Equifax Inc. The Graves Foundation Karole & John Lloyd Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Mr. Robert Spano UPS The Zeist Foundation Inc.

$35,000

The Jim Cox, Jr. Foundation Ann & Gordon Getty Foundation D. Kirk & Kimberlee Micek Jamieson/Verizon Wireless Kaiser Permanente National Endowment for the Arts Adair & Dick White Mr. & Mrs. John B. White Jr.*

$25,000+

Atlanta Homes & Lifestyle Mr. & Mrs. Paul J. Blackney The Arthur M. Blank Family Foundation Mary Rockett Brock Wright & Alison Caughman City of Atlanta Office of Cultural Affairs Catherine Warren Dukehart Ms. Lynn Eden Betty Sands Fuller Ann & Gordon Getty Foundation Charles & Mary Ginden

James. H. Landon The Charles Loridans Foundation, Inc. Massey Charitable Trust Newell Rubbermaid Mr. & Mrs. E. Fay Pearce Jr.* Porsche Cars North America, Inc. Publix Super Market Charities, Inc. Ryder Truck Rental, Inc. WestRock Company Bill & Rachel Schultz* The Mark & Evelyn Trammell Foundation Joan N. Whitcomb The Vasser Woolley Foundation, Inc.

$17,500

The Arnold Foundation Capital Group Companies, Inc. Dr. John W. Cooledge Fulton County Arts & Culture Georgia Council for the Arts GMT Capital Corporation Ann A. & Ben F. Johnson III* Meredith Corporation (Traditional Home) Mr. & Mrs. Joseph M. O’Donnell Mark & Rebekah Wasserman

$15,000+

Mr. & Mrs. Frank H. Boykin Janine Brown & Alex J. Simmons Jr. John W. & Rosemary K. Brown Kelley O. & Neil H. Berman Mr. & Mrs. Ronald M. Cofield*

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

58 Atlanta Symphony Orchestra | aso.org


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ASO | support Russell Currey & Amy Durrell Graphic Packaging International, Inc. Drs. Jeannette Guarner & Carlos del Rio Kennedy Center for the Performing Arts Donna Lee & Howard Ehni Xia Liu Ken & Carolyn Meltzer The Sally & Peter Parsonson Foundation Dr.** & Mrs. Mark P. Pentecost Jr. Piedmont National Family Foundation Provare Technology The Reiman Foundation Jeffrey C. Sprecher & Kelly Loeffler Loren & Gail Starr Triska Drake & G. Kimbrough Taylor The Trapp Family John & Ray Uttenhove Chilton & Morgan Varner Patrick & Susie Viguerie Kathy N. Waller Mr. & Mrs. Edus H. Warren Jr. Camille Yow

$10,000+

Atlanta Decorative Arts Center Julie & Jim Balloun The Breman Foundation Inc. Alexandra & Brett Blumencranz Mr. David Boatwright The Walter & Frances Bunzl Foundation Janet Davenport in honor of

Norman Mackenzie Cari K. Dawson & John M. Sparrow Eleanor & Charles Edmondson Ms. Nancy Field & Mr. Michael Schulder Nancy D. Gould Gene Haywood Roger & Lynn Hudgins Dona & Bill Humphreys JBS Foundation King & Spalding LLP Mr.** & Mrs. Donald R. Keough Pat & Nolan Leake John & Linda Matthews John F. & Marilyn M. McMullan Morgens West Foundation Mr. & Mrs. Solon P. Patterson* Suzanne & Bill Plybon* Joyce & Henry Schwob Mr. & Mrs. John W. Scott Mr. John A. Sibley III Hamilton & Mason Smith Alison M. & Joseph M. Thompson Carol & Ramon TomĂŠ Family Fund* Turner Foundation Inc. Ticketmaster Neal** & Virginia Williams

$7,500+

Patricia & William Buss The Robert Hall Gunn Jr. Fund Mary Ruth McDonald* Donald S. Orr & Marcia K. Knight Piedmont Charitable Foundation

A ppassionato Donors who give at the Appassionato level ($10,000 $24,999) enjoy the benefits of the Patron Partnership, while also having opportunities to attend the annual Appassionato Soiree, receive VIP personal ticketing and reservation concierge, exclusive access to artists’ events, and recognition as a concert sponsor. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.

$5,000+

A Friend of the Orchestra (2) Ms. Kay Adams* & Mr. Ralph Paulk Lisa & Joe Bankoff Jack & Helga Beam Rita & Herschel Bloom Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Dr. & Mrs. William T. Cook Greg & Debra Durden The Robert S. Elster Foundation George T. & Alecia H. Ethridge Carol G. & Larry L. Gellerstedt III Mary D. Gellerstedt Mr. & Mrs. Richard Goodsell Georgia-Pacific Corporation Deedee & Marc Hamburger* Dr. Lewis H. Hamner III & Thomas J. Brendiar Dr. & Mrs. Geoffrey Henson Jan & Tom Hough Tad & Janin Hutcheson Roya & Bahman Irvani Mr. & Mrs. Baxter Jones Cecile M. Jones Paul & Rosthema Kastin The Philip I. Kent Foundation Kohler Co. The Sartain Lanier Family Foundation Wolfgang** & Mariana Laufer Lillian Balentine Law Isabel Lamy Lee Lenox Square Belinda & Gino Massafra Judy Zaban-Miller & Lester Miller Walter W. Mitchell Gregory & Judy Moore Lilot S. Moorman & Jeffrey B. Bradley Robert & Mary Ann Olive Franca G. Oreffice Barbara & Sanford Orkin Margaret H. Petersen In Memory of Dr. Frank S. Pittman III Mr. Leonard B. Reed* Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel Mr. & Mrs. George P. Rodrigue

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

60 Atlanta Symphony Orchestra | aso.org


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ASO | support Beverly & Milton Shlapak In memory of Willard Shull Thurmond Smithgall Dr. Steven & Lynne Steindel* Peter James Stelling Amy & Paul Synder Drs. Jonne & Paul Walter Alan & Marcia Watt* Thomas E. Whitesides, Jr. M.D. Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner Jan & Beattie Wood In Memory of Bill Lester and In Honor of Ronda Respess

$3,500+

A Friend of the Orchestra (3) Natalie & Matthew Bernstein Ronald & Gayle Breakstone Alison & Chuck Carlin Mr. & Mrs. Dennis M. Chorba Carol Comstock & Jim Davis* Thomas G. Cousins Peter & Vivian Dekok Betty W. Dykes David & Patty Emerson Dr. & Mrs. Carl D. Fackler Frontgate Peg Simms Gary Sally W. Hawkins Henry Howell Dr.** & Mrs. James M. Hund Robert & Sherry Johnson Mark B. Kent & Kevin A. Daft Dick & Georgia Kimball* Allyson M. Kirkpatrick Olivia A. M. Leon J. Bancroft Lesesne & Randolph Henning

Deborah & William Liss* Dr. & Mrs. James T. Lowman Lubo Fund Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Janice & Tom Munsterman Margo Brinton & Eldon Park Susan Perdew Hellen Ingram Plummer Charitable Foundation, Inc. Mary Kay & Gene Poland* S.A. Robinson John T. Ruff Barry & Gail Spurlock Mrs. C. Preston Stephens Mr. & Mrs. Richard M. Stormont Mr. & Mrs. Edward Stroetz, Jr. Stephen & Sonia Swartz Mr. & Mrs. George B. Taylor Jr. Mrs. William J. Thompson Burton Trimble Dr. & Mrs. James O. Wells, Jr. H. & T. Yamashita* Herbert & Grace Zwerner

$2,000+

A Friend of the Orchestra Mr. & Mrs. John Allan Ms. Mary Allen Aadu & Kristi Allpere* Dr. Evelyn R. Babey Asad Bashey Mr. & Mrs. R. Edwin Bennett Shirley Blaine Leon Borchers Dr. & Mrs. Anton J. Bueschen Dr. Aubrey M. Bush & Dr. Carol T. Bush California Closets Henry & Claudia Colvin

patron partnership

Members of the Patron Partnership ($2,000-$9,999) enjoy a host of benefits that include event invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839. Ralph & Rita Connell Jean & Jerry Cooper Mrs. Lavona Currie Peter & Vivian de Kok Mary & Mahlon Delong Xavier Duralde & Mary Barrett Ms. Diane Durgin Dr. Francine D. Dykes & Mr. Richard H. Delay Mary Frances Early Ellen & Howard Feinsand Phyllis & Dr. Richard D. Franco Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline Gilham Mrs. Janet D. Goldstein Mrs. Louise Grant Joanne & Alex Gross Mr. & Mrs. Gary Guy Harald R. Hansen Virginia Hepner & Malcolm Barnes John & Martha Head Mr. & Mrs. John E. Hellriegel Thomas High Sarah & Harvey Hill Mrs. Sally Horntvedt Harry & Tatty Howard Richard & Linda Hubert Dr. W. Manchester Hudson JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson

Mr. & Mrs. Alan M. Knieter Mrs. Jo W. Koch Dr. & Mrs. James T. Laney* Jessica Langlois Thomas C. Lawson Dr. Fulton D. Lewis III & S. Neal Rhoney Mr. & Mrs. J. David Lifsey Joanne Lincoln Mr. & Mrs. Paul A. Lutz* Kay & John Marshall Elvira & Jay Mannelly Martha & Reynolds McClatchey Mrs. Kathryn M. McGrew Mr. Justin R. McLain McMaster-Carr Supply Company Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Midtown Bank & Trust Company The Mortimer Family* Dr. & Mrs. R. Daniel Nable Melanie & Allan Nelkin Gary & Peggy Noble Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. The Reverend Neal P. Ponder, Jr. Tom & Mary Quigley Dr. & Mrs. W. Harrison Reeves, Sr.

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

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ASO | support Mrs. Susan H. Reinach Margaret & Bob Reiser Roger & Lynn Lieberman Ritvo Ms. Susan Robinson & Ms. Mary Roemer Mr. & Mrs. Richard L. Rodgers The Gary W. Rollins Foundation Jane & Rein Saral

Helga Hazelrig Siegel Lewis Silverboard Baker & Debby Smith Johannah Smith Southern Company Dr. Odessa K. Spraggins Jonathan & Victoria Sprinzen Mr. & Mrs. Raymond F. Stainback, Jr.

John & Yee-Wan Stevens Kay & Alex Summers Poppy Tanner Mr. & Mrs. Edward M. Tate Judith & Mark K. Taylor Mr. & Mrs. Kenneth Tice Sheila L. Tschinkel Vogel Family Foundation

Mr. & Mrs. William C. Voss Dr. Nanette K. Wenger David & Martha West Robert Wenger Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Mary Lou Wolff Mr. & Mrs. John C. Yates

The ROBERT SHAW ROOM, the VIP Donor Lounge and Dining Room, is open for cocktails and dinner prior to Atlanta Symphony Orchestra performances in Atlanta Symphony Hall, as well as for cocktails and complimentary coffee during intermission. For more information, visit www. atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2015-16 ASA Board of Directors Camille Kesler President Belinda Massafra Advisor Leslie Petter Advisor

Sabine Sugarman Secretary Glee Lamb Treasurer Sylvia Davidson Nominating Chair

Bunny Davidson Membership VP Melissa Hudson Communications & Development VP Jonathan Brown &  Josh Cochran Bravo Unit Chairs

Martha & John Head Concerto Unit Chairs Joan Abernathy Encore Unit Chair Corrie Johnson &  Joanne Chesler Gross Ensemble Unit Chair

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

64 Atlanta Symphony Orchestra | aso.org


Sat, Feb 20 • 8:00 PM

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ASO | support Henry Sopkin Circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra

N

amed for the Orchestra’s founding Music Director, the Henry Sopkin Circle recognizes individuals who have included the Atlanta Symphony Orchestra in their will or estate plans. Members enjoy special events and benefits throughout the season, including the Annual Henry Sopkin Circle Luncheon. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.

Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia & William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese* Margie & Pierce** Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela Johnson Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth R. Etoll Brien P. Faucett

Dr. Emile T. Fisher A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr., Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Mary Virginia Hearn** Barbara & John** Henigbaum Richard E. Hodges, Jr. Pat & Chuck Holmes Mr.** & Mrs. Fred A. Hoyt, Jr. Jim & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Robert Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr.

66 Atlanta Symphony Orchestra | aso.org

Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Linda & John Matthews 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. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith

Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.** & Mrs. Charles R. Yates

You can leave a legacy of music. Call Jessica Langlois, Director of Development for more information. 404.733.4864

**Deceased


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corporate & government | support

Mayor’s Office of Cultural Affairs

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

Major funding is provided by the Fulton County Board of Commissioners.

68 Atlanta Symphony Orchestra | aso.org

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

This program is supported in part by an award from the National Endowment for the Arts.


THE WOODRUFF CIRCLE Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of the Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these 36 partners who lead our efforts to ensure the arts thrive in our community.

$1 MILLION+

A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA

$500,000+ A Friend of the Atlanta Symphony Orchestra Chick-fil-A Foundation / Rhonda and Dan Cathy Sally and Carl Gable Georgia Power Foundation, Inc. The Home Depot

JOY & TONY GREENE

SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Walter H. and Marjory M. Rich Memorial Fund

Wells Fargo wish Foundation, Inc.

$400,000+ The Community Foundation for Greater Atlanta, Inc. Sarah and Jim Kennedy Mr. and Mrs. Donald Keough

PwC, Partners & Employees Louise Sams & Jerome Grilhot UPS

$300,000+ AT&T The Goizueta Foundation Invesco Ltd.

Margaret and Terry Stent Turner Broadcasting System, Inc. Mr. and Mrs. Edus H. Warren, Jr.

$250,000+ Bank of America Deloitte, its Partners & Employees Equifax Inc. & Employees EY, Partners & Employees King & Spalding LLP, Partners & Employees

PNC Patty and Doug Reid Mrs. Charles A. Smithgall Jr. Woodruff Circle & Patron Circle donations made: June 1, 2014 – May 31, 2015 Beauchamp C. Carr Challenge Fund Donors

encoreatlanta.com | Atlanta’s Performing Arts Publication 69


THE PATRON CIRCLE The Patron Circle includes donors who generously made contributions to our FY15 annual funds and/or long-term special projects and endowment funds.

CORPORATE PARTNERS $200,000+ KPMG LLP, Partners & Employees $150,000+ Alston & Bird LLP Jones Day Foundation & Employees Porsche Cars North America $100,000+ AGL Resources Inc. First Data Corporation GE Asset Management Genuine Parts Company Intercontinental Exchange, Inc. Kaiser Permanente Kilpatrick Townsend LLP Northern Trust Company Target Stores $75,000+ General Electric Company Georgia-Pacific Corporation Newbridge Management WestRock Company $50,000+ BB&T Corporation Birch Communications Carter’s Charitable Foundation Crawford & Company GMT Capital Corporation Norfolk Southern Corporation North Highland Company Primerica, Inc. Printpack, Inc. Publix Super Market Charities, Inc. Regions Financial Corporation Sutherland Asbill & Brennan LLP U.S. Trust $25,000+ ACE Charitable Foundation AGSI Business Techology Americas Mart Real Estate, LLC

AT&T Mobility Atlanta Homes & Lifestyles BlueCross BlueShield of Georgia BNY Mellon Wealth Management The Boston Consulting Group Cousins Properties Foundation Disney Publishing Worldwide Georgia Natural Gas Global Payments, Inc. Holder Construction Company JLL JP Morgan Private Bank Kia Motors America, Inc. Lanier Parking Solutions Lockheed Martin Aeronautics Company Nelson Mullins Riley & Scarborough, LLP Novelis, Inc. Post Properties, Inc. Quikrete Ryder Truck Rental, Inc. Sam’s Club & Wal-Mart Stores, Inc. SCANA Energy The Selig Foundation Southwest Airlines State Bank & Trust Company Steinway Piano Galleries Traditional Home United Distributors, Inc. Verizon Wireless Waffle House Wilmington Trust Woodruff Arts Center Employees Yancey Bros. Co. $15,000+ ABM Acuity Brands, Inc. Alvarez & Marsal Antique Piano Shop

Arby’s Foundation, Inc. Arnall Golden Gregory LLP Assurant Specialty Property Atlanta Tech Village Atlantic Trust Company AVYVE Bank of North Georgia/ Synovus Financial Corp Benjamin Moore Bluetube Interactive Bryan Cave Building Materials Holding Corporation Calico The Casey-Slade Group, Merrill Lynch Wealth Management Christie’s Cushman & Wakefield, Inc. Fifth Third Bank Gas South, LLC Graphic Packaging International, Inc. Humphries and Company LLC Kimberly-Clark Corporation Macy’s NGI Investments Northside Hospital Performex Company Perkins & Will, Inc. Piedmont National Corporation PulteGroup, Inc. Recall Corporation Ricoh USA, Inc. Rooms to Go Children’s Fund Smith & Howard, PC Southwire Company Stonegate Designs Vertical Systems Womble Carlyle Sandridge & Rice, PLLC

FOUNDATION SUPPORTERS $150,000+

A Friend of the High Museum of Art Abraham J. & Phyllis Katz Foundation The Henry Luce Foundation, Inc. National Endowment for the Arts The Rich Foundation, Inc. The Sara Giles Moore Foundation The Shubert Foundation, Inc. $100,000+ The Andrew W. Mellon Foundation City of Atlanta Office of Cultural Affairs

The Frances and Beverly DuBose Foundation, Inc. The Marcus Foundation, Inc. Morgens West Foundation The Sartain Lanier Family Foundation, Inc. $75,000+ Fulton County Arts Council Triad Foundation, Inc. $50,000+ The Arthur M. Blank Family Foundation

70 Atlanta Symphony Orchestra | aso.org

The Charles Loridans Foundation, Inc. Frances Wood Wilson Foundation, Inc. The Fraser-Parker Foundation Georgia Council for the Arts The Graves Foundation Livingston Foundation, Inc. The Mark and Evelyn Trammell Foundation Massey Charitable Trust Samuel H. Kress Foundation Spray Foundation, Inc.


$25,000+ Ann and Gordon Getty Foundation Atlanta Foundation Gertrude and William C. Wardlaw Fund The Harold and Mimi Steinberg Charitable Trust The Howell Fund, Inc. Ida Alice Ryan Charitable Trust James Starr Moore Memorial Foundation Jane Smith Turner Foundation John & Mary Franklin Foundation, Inc. Margaret Gill Clements Napier Foundation

The Oscar G. and Elsa S. Mayer Family Foundation Piedmont Charitable Foundation, Inc. Price Gilbert, Jr. Charitable Fund The Ray M. and Mary Elizabeth Lee Foundation, Inc. The Vasser Woolley Foundation, Inc. Walter Clay Hill & Family Foundation $15,000+ The Blanche Lipscomb Foundation Camp-Younts Foundation Center Family Foundation

The Chatham Valley Foundation, Inc. Covenant Foundation, Inc. JBS Foundation Jim Cox, Jr. Fund John H. and Wilhelmina D. Harland Charitable Foundation The L&C Wood Family Foundation, Inc. Roderick S., Flossie R., and Helen M. Galloway Foundation Thalis & Michael C. Carlos Foundation Thomas H. Lanier Foundation Tull Charitable Foundation Weldon H. Johnson Family Foundation

INDIVIDUAL PHILANTHROPISTS $200,000+ A Friend of the High Museum of Art Ms. Jeannie Hearn $150,000+ Victoria and Howard Palefsky $100,000+ Susan and Richard Anderson Mr. Joseph F. Best, III Thalia & Michael Carlos Fund Mr. and Mrs. Bradley Currey, Jr. Marcia and John Donnell The Douglas J. Hertz Family Mr. and Mrs. Charles K. Holmes, Jr. Mr. Jimmy Liautaud Carol and Ramon Tomé Family Fund Mrs. Sue Williams $75,000+ A Friend of the High Museum of Art Sandra and Dan Baldwin Mrs. Frances B. Bunzl Karole and John Lloyd Carla and Graham Roberts Susan and Thomas Wardell Ms. Joni Winston $50,000+ Nancy and Kenny Blank Barbara and Steve Chaddick Peggy and Rawson Foreman Sonya and Rick Garber Mrs. Charlotte Garson Robin and Hilton Howell Karen and Jeb Hughes Jane and Clay Jackson Lori and Bill Johnson Mr. Baxter P. Jones & Dr. Jiong Yan Terence L. and Jeanne P. Neal Beth and David Park Alyson and Gregory Rogers Ruthie Magness Rollins Linda and Steve Selig

Robert Spano Sara and Paul Steinfeld Joan N. Whitcomb Adair and Dick White Elizabeth and Chris Willett $25,000+ A Friend of the High Museum of Art Aarati and Peter Alexander Susan and Ron Antinori Spring and Tom Asher Julie and Jim Balloun Mr. and Mrs. Joseph R. Bankoff Paul and Linnea Bert Mr. and Mrs. Paul J. Blackney John and Mary Brock John W. and Rosemary K. Brown Lucinda W. Bunnen Ms. Mary Cahill Connie and Merrell Calhoun Wright and Alison Caughman Susan and Carl Cofer Ann and Tom Cousins Ann and Jeff Cramer Mr. Larry Darrow Elaine and Erroll Davis Catherine Warren Dukehart Ms. Lynn Eden Mr. and Mrs. Joseph W. Evans Feinberg Charitable Trust Mr. and Mrs. Howard Feinsand Mr. John Foy Betty Sands Fuller Carol and Paul Garcia Mr. and Mrs. Lawrence L. Gellerestedt III Mr. and Mrs. Holcombe T. Green, Jr. Margaret and Scotty Greene Nena Griffith Ms. Maria Guarisco Newell and Tom Harbin Virginia A. Hepner and Malcolm Barnes Mr. Andrew Heyman

Allison and Ben Hill Jocelyn J. Hunter Mr. and Mrs. Bahman M. Irvani Katie and West Johnson Mary and Neil Johnson Jinny and Michael Keough The Klaus Family Foundation James H. Landon Mr. and Mrs. J. Hicks Lanier Mr. and Mrs. Gary Lee, Jr. John Paddock and Karen Schwartz Merry McCleary & Ann Pasky Sally and Allen McDaniel Mr. Alan B. McKeon & Ms. Evelyn Ashley The Deborah A. Kahn & Harris N. Miller Charitable Fund Jennifer and Brand Morgan Mr. and Mrs. C.V. Nalley, III Mr. and Mrs. William A. Parker, Jr. Sally & Pete Parsonson Foundation Mrs. Martha Pentecost Christina and Jim Price Laurie and Roland Pritchett Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. David M. Ratcliffe Mr. and Mrs. William C. Rawson Dan and Garnet Reardon Bill and Rachel Schultz Jeffrey C. Sprecher and Kelly Loeffler Les Stumpff and Sandy Moon Mary and Greg Thompson Rebekah and Mark Wasserman Ada and William Weiller Mr. and Mrs. John B. White, Jr. Ramona and Ben White Susan and John Wieland Ms. Regina Williamson Dina E. Woodruff Mr. and Mrs. John C. Yates Mary and Bob Yellowlees The Zaban Foundation

encoreatlanta.com | Atlanta’s Performing Arts Publication 71


ASO | staff EXECUTIVE Jennifer Barlament Executive Director Alesia Mack Director of Executive Services Alvinetta CookseyWyche, Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning & Operations Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor  Jeffrey Baxter Choral Administrator  Alex Malone Managing Producer Symphony POPS!  Ken Meltzer ASO Insider & Program Annotator Scott O’Toole Artistic Assistant Bob Scarr Archives Program Manager DEVELOPMENT Jessica Langlois Director of Development Elizabeth Bixby Manager of Individual Support Kyle Coffey Manager of Foundations & Government Relations Shawn Gardner Senior Development Coordinator Ashley Nixon Special Events Coordinator

MARKETING & COMMUNICATIONS Kristen Delaney Vice President of Marketing & Communications KC Commander Marketing Coordinator Elizabeth Daniell Communications Coordinator Adam Fenton Director of Multimedia Technology Holly Hanchey Director of Marketing & Patron Experience  Tammy Hawk Director of Communications Robert Phipps Publications Director SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management Dallas Greene Season Tickets Assistant Melanie Kite Director of Subscriptions & Patron Services  Pamela Kruseck Manager of Group Sales & Tourism  Gokul Parasuram Group & Corporate Sales Assistant Robin Smith Subscription & Education Sales Christopher Stephens Group Promotions Manager Karen Tucker Season Tickets Associate

72 Atlanta Symphony Orchestra | aso.org

EDUCATION & COMMUNITY ENGAGEMENT Katherine Algarra Manager of the Atlanta Symphony Youth Orchestra & Community Music School Kaitlin Gress Manager of Community Programs Tiffany I. M. Jones Education Associate for Audience Development Ruthie Miltenberger Manager of Family Programs Adrienne Thompson Interim Manager, Talent Development Program OPERATIONS Russell Williamson Senior Orchestra Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager  Christopher McLaughlin Orchestra Operations Manager  Jesse Pace Front of House Manager  Kourtnea Stevenson Assistant Orchestra Personnel Manager  Susanne Watts Orchestra Personnel Manager

FINANCE & ADMINISTRATION Susan Ambo Chief Financial Officer Peter Dickson Senior Accountant Nicole Epstein Venues Accountant Kimberly Hielsberg Senior Director of Financial Planning & Analysis Stephen Jones Symphony Store Shannon McCown Office Manager April Satterfield Controller


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

WOODRUFF ARTS CENTER BOX OFFICE Open 10 a.m. - 6 p.m. Monday; 10 a.m. - 8 p.m. Tuesday – Friday; and noon – 8 p.m. Saturday; noon - 5 p.m. Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.

SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m. MondayFriday; noon-8 p.m. Saturday-Sunday. Service charge applies. Phone orders are filled on a best-available basis.

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

www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000. DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.

ASO | general info LATE SEATING Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers 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 Symphony Store is now open in its new location directly adjacent to the Robert Shaw Room and Delta SKY360º Club. The store is open before, during and after most concerts.

74 Atlanta Symphony Orchestra | aso.org

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,000 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860. IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 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 Donations & Development 404.733.4262


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ASO | calendar FEB 4/5/6 | DELTA CLASSICAL Thu/Sat: 8pm Fri: 6pm Casual Fridays BRAHMS: Violin Concerto MICHAEL KURTH: A Thousand Words R. STRAUSS: Till Eulenspiegel Robert Spano, Conductor David Coucheron, Violin

FEB 25/27 | DELTA CLASSICAL Thu/Sat: 8pm MARK GREY: Frankenstein Symphony WORLD PREMIERE BRAHMS: Piano Concerto No. 1 Robert Spano, Conductor Peter Serkin, Piano MAR 3/5 | DELTA CLASSICAL Thu/Sat: 8pm BLACHER: Orchestral Variations on a Theme by Paganini SIBELIUS: Violin Concerto BRAHMS: Symphony No. 4 Marc Piollet, Conductor Augustin Hadelich, Violin

FEB 12/13/14 | Delta POPS! Fri/Sat: 8pm/Sun: 7pm VALENTINE’S ROMANCE Michael Krajewski, Conductor John Pizzarelli, Guitar & Vocals Jessica Molaskey, Vocals FEB 18/20 | DELTA CLASSICAL Thu/Sat: 8pm STRAVINSKY: Petrushka (1947) TCHAIKOVSKY: Violin Concerto BALAKIREV: Islamey Cristian Macelaru, Conductor Karen Gomyo, Violin

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Piano Concerto No. 1 Cristian Macelaru conductor

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ASO | gallery

PHOTOS: JEFF ROFFMAN

1 The Coca-Cola Holiday concert season got off to a well-balanced start with Cirque de la Symphonie, featuring a variety of artists, including the strength and balance duo of Vitaliy Prikhodko and Pavel Korshunov. The concert was led by conductor Michael Palmer, Director of Orchestras at Georgia State University.

1

2 2 The force was with The Atlanta Symphony Orchestra Thanksgiving weekend with three sold-out performances of Star Wars and more, the music of John Williams. Members of the 501st Legion, an international Star Wars costuming organization, added to the fun.


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Recipient of the Regional Theatre Tony Award®

F O X T H E AT R E . O R G | E N C O R E AT L A N TA . C O M

JAN 23/25/26 2012 Musical America MUSICIAN OF THE YEAR

BRITTEN:

WU HAN

APR 24/26 ©Disney

BRITTEN: Piano Concerto

Family Series on the Alliance Stage

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Feb. 22–March 16, 2014

discover us. discover you.

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6/25/14 3:47 PM

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3/20/14 11:20 AM

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2/4/14 1:29 PM

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Atlanta Symphony Orchestra: January 2016  

Encore Atlanta is the official show program for the Atlanta Symphony Orchestra at Woodruff Arts Center, the Fox Theatre and the Atlanta Oper...

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