Atlanta Symphony Orchestra: May/June 2015

70th

ANNIVERSARY SEASON

SAINT-SAﾃ起S:

Samson et Dalila

JUN 4/6

WHAT’S MORE BEAUTIFUL THAN LIFE IMITATING THE

Since 1986, Georgia Power has given more than $85 million to non-profits across the state. From Atlanta’s Woodruff Arts Center to Savannah’s Telfair Museums, our commitment to improving the cultural landscape, is just one of the many ways we’re working to support our communities.

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Tumors have nowhere to hide Patients now have somewhere to turn The future of cancer treatment is here. And it’s only available at WellStar.

WellStar is the only health system in metro Atlanta to offer TomoTherapy® and CyberKnife® for the treatment of both cancerous and non-cancerous tumors.

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The CyberKnife Robotic Radiosurgery System involves no cutting, and for many, can offer a non-invasive alternative to surgery for the treatment of tumors.

The system is composed of a radiation delivery device, which is mounted on a flexible robotic arm which enables CyberKnife to deliver radiation to tumors anywhere in the body. Its exceptional tracking ability eliminates the need for patients to have stabilizing head frames or limited breathing during treatment.

For more information, call 770-793-7550 or visit wellstar.org/cancercare.

Rarely seen works by one of Surrealism’s most influential artists More than 40 works by internationally renowned Cuban-born artist Wifredo Lam together for the first time. Final Weeks! Ends May 24.

Visit the High for Los Trompos, a new top-notch outdoor installation on the Sifly Piazza. Interact and unwind with more than 30 three-dimensional, larger-than-life spinning tops that beg your inner child to play!

Enjoy performances every first and third Friday night!

See the full schedule at High.org | #LosTromposATL

Wifredo Lam: Imagining New Worlds is organized by the McMullen Museum of Art, Boston College and curated

by Elizabeth T. Goizueta. Additional support by Sandra and Dan Baldwin, Barbarella and René Diaz, Jiong Yan and Baxter Jones, Elizabeth and Chris Willett, Morgens West Foundation, and Christie’s. Images: Wifredo Lam, Le Sombre Malembo, Dieu du carrefour, 1943, collection of Isaac and Betty Rudman. © 2014 Artists Rights Society (ARS), NY/ADAGP, Paris.

H I G H

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16 An Inside Look

By Andrew Alexander

departments 10 Robert Spano

66 ASO Support

12 Orchestra Leadership

80 ASO Staff

14 Musicians

82 Ticket Info /

General Info

20 Concert Program

and Notes

contests Don’t forget, on EncoreAtlanta.com/contests, you can win additional prizes, like show tickets to the Fox, ASO, Alliance Theatre and more!

instructions 1 Download the free “Theatre Plus Network” app from the Apple App Store and the Google Play Store.

2 Open the TPN app and scan the pages listed on this page. icon in this issue as well 3 Look for this as future issues of Encore Atlanta at the Fox Theatre, Atlanta Symphony Orchestra, Atlanta Opera and Alliance Theatre and other theatres around town.

on the cover You can catch Saint-Saëns: Samson et Dalila June 4 & 6.

*Augmented Reality

6 Atlanta Symphony Orchestra | aso.org

We were curious, could the things you buy help fight cancer?

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Stand Up To Cancer is a program of the Entertainment Industry Foundation, a 501(c)(3) charitable organization. MasterCard is a registered trademark of MasterCard International Incorporated.

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8 Atlanta Symphony Orchestra | aso.org

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ASO | music director Robert Spano

C

onductor, pianist, composer and pedagogue Robert Spano is known for his unique communicative abilities. Beginning his 14th season 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 for 630 students, 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 (2014-2015 marks Spano’s ninth consecutive season as a guest of that prestigious venue), Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements include the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.

Following Britten’s War Requiem in Carnegie Hall and Verdi’s Aida in Atlanta, Spano conducted the world premiere of Steven Stucky’s The Classical Style in Ojai and reprised the opera at Carnegie Hall in December. In addition to his hands-on leadership and eight Festival concerts at The Aspen Music Festival and School, Spano’s Hölderlin Songs premiered in August with soprano Susanna Phillips.

Recordings for Telarc, Deutsche Grammophon and ASO Media, have received seven Grammy® Awards, with the latest going to an all-Vaughan Williams disc released in September. Spano is on faculty at Oberlin Conservatory, and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin. Maestro Spano was inducted into the Georgia Music Hall of Fame in 2012 and is proud to live in Atlanta.

10 Atlanta Symphony Orchestra | aso.org

Derek Blanks

In 2014-15, Maestro Spano conducts two world premieres with the Atlanta Symphony Orchestra, and joins both the Houston Grand Opera and Houston Symphony. Guest conducting in Milwaukee, Philadelphia, Helsinki, Copenhagen, Kuala Lumpur and Hong Kong is woven with Spano’s passion for education with the Curtis Institute of Music’s Orchestra on tour, and the New England Conservatory Philharmonic.

ASO | leadership 2014-2015 Board of Directors Officers Karole F. Lloyd Chair

D. Kirk Jamieson Vice Chair

Howard D. Palefsky Treasurer

Lynn Eden Shirley C. Franklin Paul R. Garcia † Virginia A. Hepner* Tad Hutcheson Roya Irvani Clayton F. Jackson Camille Kesler* Mark Kistulinec Steve Koonin Carrie Kurlander Edward A. Labry III James H. Landon Donna Lee † Hank Linginfelter

Xia Liu Kelly L. Loeffler Meghan H. Magruder Brian F. McCarthy Penny McPhee† Terence L. Neal E. Fay Pearce, Jr. Suzanne Tucker Plybon Patricia H. Reid† Ronda Respess* William Schultz John Sibley† H. Hamilton Smith†

Directors Jim Abrahamson† 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 Carlos del Rio, M.D.

Paul Snyder Gail Ravin Starr Joseph M. Thompson Ray Uttenhove S. Patrick Viguerie Detlev von Platen Kathy N. Waller Thomas Wardell Mark D. Wasserman John B. White, Jr. Richard S. White, Jr. Patrice WrightLewis† Camille Yow

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

Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey

Joyce Schwob W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White

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

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

* Ex-officio † 2014-2015 Sabbatical 12 Atlanta Symphony Orchestra | aso.org

Experience Spring at Gibbs Gardens Just an hour north of Atlanta, 220 acres of gardens including mature forests, spring-fed ponds, streams and waterfalls.

16 garden venues include ferns, hydrangeas, rhododendrons, roses, waterlilies, daylilies and a 40-acre Japanese Garden.

Twilight Hours on Saturdays, April through July 4th, the gardens stay open late, live music 6-9 pm. For more information, call 770-893-1881 or visit www.gibbsgardens.com

ÂŽ

W W W. G I B B S G A R D E N S . C O M 770-893-1881 1987 Gibbs Drive • Ball Ground, GA 30107

AtlantaSymphonyOrchestra

ROBERT SPANO

Robert Spano Music Director The Robert Reid Topping Chair Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair

DONALD RUNNICLES

Michael Krajewski Principal Pops Conductor Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair

MICHAEL KRAJEWSKI Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair

JOSEPH YOUNG

FIRST VIOLIN

SECOND VIOLIN

David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair The Mabel Dorn Reeder Honorary Chair Associate Concertmaster vacant The Charles McKenzie Taylor Chair Justin Bruns Assistant/ Acting Associate Concertmaster Jun-Ching Lin Assistant Concertmaster Anastasia Agapova Carolyn Toll Hancock John Meisner Christopher Pulgram* Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

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

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

NORMAN MACKENZIE

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

CELLO

PICCOLO

HORN

PERCUSSION

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 Jennifer Humphreys* Larry LeMaster Brad Ritchie Paul Warner

Carl David Hall

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane* Jaclyn Rainey• Bruce Kenney

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

BASS

Principal - vacant The Marcia and John Donnell Chair Gloria Jones Associate/Acting Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden FLUTE

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

OBOE

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

Emily Brebach CLARINET

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

TRUMPET

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

Colin Williams* Principal Nathan Zgonc Acting Principal Brian Hecht BASS TROMBONE

Ted Gurch

Brian Hecht

BASS CLARINET

TUBA

Alcides Rodriguez* BASSOON

Keith Buncke • Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar CONTRABASSOON

Michael Moore Principal

HARP

Elisabeth Remy Johnson Principal The Sally and Carl Gable Chair KEYBOARD

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

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian

TIMPANI

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

‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season Players in string sections are listed alphabetically

Juan de Gomar

encoreatlanta.com | Atlanta’s Performing Arts Publication 15

Robert Shaw Choral Celebration

an inside lo

By Andrew Alexander

AndrĂŠ Watts

16 Atlanta Symphony Orchestra | aso.org

2015/16

Robert Spano

ook Karen Gomyo

Itzhak Perlman

M

onumental classics, world premieres, distinguished visitors and spectacular choral masterworks mark a year of celebration as the 2015-16 Atlanta Symphony Orchestra season honors the 100th birthday of the legendary Robert Shaw.

“We decided to celebrate the centenary of Robert Shaw’s birth in myriad, musical ways this season, perhaps most notably by performing in Carnegie Hall on his birthday,” says ASO Music Director Robert Spano. “The legacy he left to Atlanta is a profound one that enriches us all still. To perpetuate that legacy is surely our mandate, and certainly our joy.”

Shaw arrived in Atlanta in 1967, and during his more than two decade tenure as music director of the ASO, he transformed the orchestra and its chorus into the world-class institutions they are today. The 2015-16 season focuses especially on the music that Shaw loved.

“For a symphonic chorus it’s a dream season,” says ASO Director of Choruses Norman Mackenzie. “Not only do they get to honor and celebrate the unique legacy of our founding conductor, but they get to perform the most beloved and challenging core works of the symphonic choral repertoire all in one season.” encoreatlanta.com | Atlanta’s Performing Arts Publication 17

Today’s ASO and today’s ASO Chorus are a supreme validation of what Robert Shaw tried to do all those years ago

The season includes many of the works most strongly associated with Shaw, pieces he conducted countless times.

The season opens September 17, with Mahler’s Second Symphony conducted

by Robert Spano. Mr. Spano will also conduct Verdi’s Requiem November 12-14, and the Brahms A German Requiem April 14-16. The Brahms Requiem program, which will be performed in Atlanta before being taken to Carnegie Hall for a performance on Shaw’s birthday April 30, also includes composer Jonathan Leshnoff’s Zohar, a world premiere written in Shaw’s honor. ASO Principal Guest Conductor Donald Runnicles conducts Beethoven’s Missa solemnis, a challenging work Shaw championed all his life, January 21-23. Mr. Mackenzie will conduct a program titled “A Shaw Choral Celebration,” March 10-12, including such works as Mozart’s Mass in C and Verdi’s Stabat mater. Throughout the season, the ASO Vadym Kholodenko will present many of the masterworks of Brahms, a composer especially beloved by Shaw, performing all four symphonies and all of the solo concertos, in addition to the powerful A German Requiem.

The ASO’s banner 71st season also offers no shortage of distinguished guests, both returning visitors and some new faces.

Itzhak Perlman performs in Symphony Hall in a special recital with piano on October 18, and André Watts performs on an all-Brahms 18 Atlanta Symphony Orchestra | aso.org

program under Robert Spano June 9-12. The young Ukrainian pianist Vadym Kholodenko, who won the Gold Medal at the Van Cliburn Competition in 2013, performs Prokofiev’s Concerto No. 3 with the ASO January 2830. Uruguayan conductor Carlos Kalmar leads Russian pianist Yevgeny Sudbin in a performance of Beethoven’s Piano Concerto No. 1 from November 19-21. On the weekend of February 27-29, pianist Peter Serkin performs Brahms’ Piano Concerto No. 1 on a program that also includes the world premiere of composer Mark Grey’s Frankenstein Symphony.

An ASO season is also an opportunity to feature symphony musicians as soloists.

Early in the season, a performance of Avner Dorman’s unusual Spices, Perfumes, Toxins!

September 24-26, will feature two ASO percussionists: Principal Thomas Sherwood and Charles Settle. From February 4-6, Concertmaster David Coucheron performs Brahms’ Violin Concerto on a Spanoconducted program that will also feature a newly commissioned work from ASO bassist and composer Michael Kurth.

ASO Principal Flute Christina Smith and Principal Harpist Elisabeth Remy Johnson perform Mozart’s Concerto for Flute and Harp October 8-11, and Principal Cellist Christopher Rex performs Korngold’s Cello Concerto January 7-9.

Symphony Hall won’t be the only place in the Atlanta area to catch many of the great performances next season. The ASO is continuing its outreach program with performances at Kennesaw State University,

the University of Georgia in Athens and at “Today’s ASO and today’s ASO Chorus are a supreme validation of what Robert Reinhardt University.

Shaw tried to do all those years ago,” says The season also features 11 weekends of Mackenzie. “His vision was that something POPS! concerts, the beloved ASO holiday like this was possible in Atlanta. It makes concerts and a special tribute to the us very happy to be able to celebrate that.”

Reverend Martin Luther King, Jr., taking place this year on his birthday, January 15.

The concert will include Atlanta Symphony Youth Orchestra Music Director and ASO Assistant Conductor Joseph Young as Morris conductor and ASO 2015-2016 ArtistRobinson in-Residence, bass Morris Robinson. Mr. Young will make his subscription debut later in the season conducting the twin pianists Christina and Michelle Naughton in Mozart’s Concerto No. 10 for two pianos May 19-21.

Thomas Sherwood

Elisabeth Remy Johnson

Charles Settle Joseph Young

Christina Smith Robert McDuffie Christina & Michelle Naughton

Yevgeny Sudbin

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 70 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

SATURDAY OCTOBER 3, 2015

CHICK COREA BÉLA FLECK

FRIDAY OCTOBER 16, 2015

CONRAD TAO PIANO

FRIDAY OCTOBER 30, 2015

EDGAR MEYER CHRISTIAN MCBRIDE SATURDAY NOVEMBER 7, 2015

DAVID FINCKEL WU HAN PHILIP SETZER

SATURDAY FEBRUARY 6, 2016

JULIAN BLISS SEPTET: A TRIBUTE TO BENNY GOODMAN

SATURDAY FEBRUARY 20, 2016

THE KNIGHTS WITH GIL SHAHAM

FRIDAY MARCH 18, 2016

NATHAN GUNN BARITONE

SUBSCRIPTIONS ON SALE

arts.emory.edu/concerts BOX OFFICE 404.727.5050

SCHWARTZ CENTER FOR PERFORMING ARTS

ASO | 5.7/9 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

ASO | 5.7/9| program

Delta Classical Concert Concerts of Thursday, May 7, at 8:00pm, and Saturday, May 9, 2015, at 7:30pm

John Adams, Conductor Leila Josefowicz, violin ANATOLY LIADOV (1855-1914) The Enchanted Lake, Opus 62 (1909) The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

OTTORINO RESPIGHI (1879-1936) Pini di Roma (Pines of Rome) (1924) I. The Pines of the Villa Borghese II. The Pines Near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way INTERMISSION

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.

8 MIN 22 MIN

20 MIN

JOHN ADAMS (b. 1947) Scheherazade.2, Dramatic Symphony for Violin and Orchestra (2015) 45 MIN

I. Tale of the Wise Young Woman—Pursuit by the True Believers II. A Long Desire (Love Scene) III. Scheherazade and the Men with Beards IV. Escape, Flight, Sanctuary

Leila Josefowicz, violin

KEN MELTZER, ASO 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: kenmeltzer.com.

To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

22 Atlanta Symphony Orchestra | aso.org

The Enchanted Lake, Opus 62 (1909) ANATOLY LIADOV was born in St. Petersburg, Russia, on May 11, 1855, and died in Polïnovka, Russia, on August 28, 1914. The Enchanted Lake is scored for three flutes, two oboes, three clarinets, two bassoons, four horns, timpani, bass drum, harp, celeste and strings.

First ASO Classical Subscription Performances: March 4, 5 and 6, 1982, Louis Lane, Conductor.

Most Recent ASO Classical Subscription Performances: May 13, 14, 15 and 16, 2010, Ludovic Morlot, Conductor.

R

ussian composer, teacher and conductor Anatoly Liadov once commented: “Give me fairies and dragons, mermaids and goblins and I’m thoroughly happy.”

Liadov’s affection for these fantastic tales, coupled with his preference for briefer works, produced his most famous compositions, each based upon a Russian folk legend—Baba-Yaga, The Enchanted Lake and Kikimora. These three atmospheric and brilliantly-scored orchestral pieces are very much in the tradition of Liadov’s great teacher, Nikolai Rimsky-Korsakov.

mance of Pines of Rome took place at the Augusteo in Rome on December 14, 1924, with Bernardino Molinari conducting.

Pines of Rome is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, six buccine (a buccina is a curved Roman brass instrument—flicorni or flugelhorns may substitute for the buccine), tuba, timpani, orchestra bells, bass drum, tambourine, tam-tam, triangle, cymbals, suspended cymbal, harp, celesta, organ, piano and strings.

First ASO Classical Subscription Performances: March 9 and 10, 1961, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: January 22, 23 and 24, 2009, Robert Spano, Conductor.

ASO Recording: Telarc CD-80085, Louis Lane, Conductor.

T

he Pines of Rome is the second in a trilogy of orchestral tone poems (along with the 1916 Fountains of Rome, and the 1928 Roman Festivals) by Italian composer Ottorino Respighi. In a preface to the score, Respighi described the four movements of Liadov portrays The Enchanted Lake with the Pines of Rome (which are played withmusic of the utmost delicacy, featuring dividout pause): ed strings and lovely touches of color in the winds and brass. The music of The I. The Pines of the Villa Borghese Enchanted Lake (Andante) bears a kinship Children are at play in the pine groves with that of Liadov’s Impressionist French of Villa Borghese; they dance round in contemporary Claude Debussy (1862-1918), circles, they play at soldiers, marching as well as the Forest Murmurs from Richard and fighting, they are wrought up by Wagner’s opera Siegfried (1876). their own cries like swallows at evening, Pini di Roma (Pines of Rome) (1924) they come and go in swarms. Suddenly the scene changes, and OTTORINO RESPIGHI was born in Bologna, Italy, on July 9, 1879, and died in Rome, Italy, on April 18, 1936. The first perfor-

II. The Pines Near a Catacomb

encoreatlanta.com | Atlanta’s Performing Arts Publication 23

ASO | 5.7/9| program

Notes on the Program by Ken Meltzer

ASO | 5.7/9 | program we see the shades of the pine-trees fring- Englander), celeste, two harps and strings. ing the entrance to a catacomb. From or the past quarter-century, the music the depth rises the sound of mournful of American composer John Adams psalmsinging, floating through the air has formed an integral part of the Atlanta like a solemn hymn, and gradually and Symphony Orchestra’s contemporary repmysteriously dispersing.

ASO | 5.7/9| program

F

III. The Pines of the Janiculum A quiver runs through the air: the pinetrees of the Janiculum stand distinctly outlined in the clear light of a full moon.

A nightingale is singing (Annotator’s note: Here, Respighi specifies that a recording of the nightingale’s song be used).

IV. The Pines of the Appian Way

ertoire. During that period, the ASO has performed fourteen of Mr. Adams’s compositions. Highlights include two classical subscription weekend presentations of On the Transmigration of Souls, the first conducted by the composer (March 22-24, 2007), the second by Music Director Robert Spano (February 7-9, 2008). Maestro Spano has also led complete “Theater of a Concert” presentations of Mr. Adams’s operas Dr. Atomic (November 21-23, 2008), and A Flowering Tree (June 7-9, 2012). The Atlanta Symphony Orchestra and Chorus have recorded John Adams’s Harmonium (Robert Shaw, Conductor, Telarc CD-80365) and On the Transmigration of Souls (Robert Spano, Conductor, Telarc CD-80673). These concerts mark the third time John Adams has appeared with the ASO as guest conductor.

Misty dawn on the Appian Way: solitary pine-trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly-risen sun, a consular army bursts forth toward the Sacred Way, mounting in John Adams Discusses Scheherazade.2 triumph to the Capitol.

Scheherazade.2, Dramatic Symphony for Violin and Orchestra (2015) JOHN ADAMS was born in Worcester, Massachusetts, on February 15, 1947. The first performance of Scheherazade.2 took place at Avery Fisher Hall in New York on March 26, 2015, with Leila Josefowicz as violin soloist, and Alan Gilbert conducting the New York Philharmonic.

Scheherazade.2 is scored for solo violin, piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, suspended cymbal, tam-tam, bass drum, large bass drum, vibraphone, tuned gongs, whip, xylophone, cimbalom (played by Charles 24 Atlanta Symphony Orchestra | aso.org

The impetus for the piece was an exhibition at the Institute du Monde Arabe in Paris detailing the history of the “Arabian Nights” and of Scheherazade and how this story has evolved over the centuries. The casual brutality toward women that lies at the base of many of these tales prodded me to think about the many images of women oppressed or abused or violated that we see today in the news on a daily basis. In the old tale Scheherazade is the lucky one who, through her endless inventiveness, is able to save her life. But there is not much to celebrate here when one thinks that she is spared simply because of her cleverness and ability to keep on

Thinking about what a Scheherazade in our own time might be brought to mind some famous examples of women under threat for their lives, for example the “woman in the blue bra” in Tahrir Square, dragged through the streets, severely beaten, humiliated and physically exposed by enraged, violent men.

Or the young Iranian student, Neda Agha-Soltan, who was shot to death while attending a peaceful protest in Teheran. Or women routinely attacked and even executed by religious fanatics in any number of countries—India, Pakistan, Afghanistan, wherever. The modern images that come to mind certainly aren’t exclusive to the Middle East—we see examples, if not quite so graphic nonetheless profoundly disturbing, from everywhere in the world including in our own country and even on our own college campuses.

sanctuary”, which must be the archetypal dream of any woman importuned by a man or men.

I composed the piece specifically for Leila Josefowicz who has been my friend and champion of my music (and many other composers) for nearly fifteen years. Together we’ve performed my Violin Concerto and my concerto for amplified violin, The Dharma at Big Sur, many times. This work is a true collaboration and reflects a creative dialogue that went back and forth for well over a year and that I expect will continue long after the first performance. I find Leila a perfect embodiment of that kind of empowered strength and energy that a modern Scheherazade would possess.

—John Adams

So I was suddenly stuck by the idea of a “dramatic symphony” in which the principal character role is taken by the solo violin—and she would be Scheherazade. While not having an actual story line or plot, the symphony follows a set of provocative images: a beautiful young woman with grit and personal power; a pursuit by “true believers;” a love scene (who knows… perhaps her lover is also a woman?); a scene in which she is tried by a court of religious zealots (“Scheherazade and the Men with Beards”), during which the men argue doctrine among themselves and rage and shout at her only to have her calmly respond to their accusations); and a final “escape, flight and encoreatlanta.com | Atlanta’s Performing Arts Publication 25

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entertaining her warped, murderous husband.

ASO | 5.7/9 | artists JOHN ADAMS, conductor

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omposer, conductor and creative thinker John Adams occupies a unique position in the world of American music. His orchestral scores are among the most frequently performed compositions by an American since the era of Copland and Bernstein. Works such as Shaker Loops, Harmonielehre, Short Ride in a Fast Machine and his Violin Concerto have become staples of the symphonic repertoire.

His operas and oratorios, including Nixon in China, The Death of Klinghoffer, El Niño and Doctor Atomic, have made a significant impact on the course of contemporary opera and are among the most produced by any living composer.

Among his recent works are the Passion oratorio The Gospel According to the Other Mary, Absolute Jest for string quartet and orchestra, and the new Saxophone Concerto.

This season Leila Josefowicz premieres Scheherazade.2, a “dramatic symphony for violin and orchestra,” with the New York Philharmonic.

Adams has received honorary doctorates from Yale, Harvard, Juilliard and Cambridge. On the Transmigration of Souls, commissioned by the New York Philharmonic to commemorate the first anniversary of 9/11, received the 2003 Pulitzer Prize in Music.

He is a much sought-after conductor, appearing with the world’s major orchestras in programs combining his own works with a wide variety of repertoire ranging from Beethoven and Mozart to Ives, Carter, Zappa, Glass and Ellington. He has conducted the New 26 Atlanta Symphony Orchestra | aso.org

York Philharmonic, the Royal Concertgebouw Orchestra and the orchestras of Cleveland, Chicago, Pittsburgh, Seattle, London and Philadelphia, and is currently Creative Chair of the Los Angeles Philharmonic.

John Adams is also a highly esteemed writer. He is a frequent contributor to the New York Times Book Review and has written for The New Yorker and The London Times.

Hallelujah Junction, his much-praised volume of memoirs and commentary on American musical life, was named one of “the most notable books of 2008” by The New York Times. The official John Adams website is www.earbox.com.

LEILA JOSEFOWICZ, violin

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eila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programmes and enthusiasm to perform new works. She is a frequent collaborator of several leading composers and works with orchestras and conductors at the highest level around the world. She has been awarded a prestigious MacArthur Fellowship, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.

An outstanding champion of contemporary music, Leila Josefowicz is the chosen interpreter of several leading composers, including John Adams, Oliver Knussen, Thomas Adès and Esa-Pekka Salonen. Recent seasons have seen her perform with ensembles such as the BBC Symphony, Swedish Radio Symphony, and Boston Symphony orchestras, the Orchestra della Scala, Gewandhausorchester Leipzig and The Philadelphia Orchestra.

John Adams’ new work Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) received its world premiere in March 2015, performed by Josefowicz and the New York Philharmonic conducted by

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Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/ Universal and Warner Classics and was featured on Touch Press’ acclaimed iPad app, The Orchestra. Her latest recording, of Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer, was nominated for a Grammy Award in 2014.

J HENRY FAIR

Alan Gilbert, having been co-commissioned by the New York Philharmonic, Royal Concertgebouw Orchestra and Sydney Symphony Orchestra. Other engagements in the 2014-15 season include concerts with the Tonhalle-Orchester Zürich with Esa-Pekka Salonen and the Gürzenich-Orchester Köln with James Gaffigan, as well as a recital at London’s Wigmore Hall.

ASO | 5.9 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Atlanta Symphony Youth Orchestra FINALE CONCERT ASO | 5.9 | program

Concert of Saturday, May 9, 2015, at 1:30pm

Joseph Young, Conductor Jun-Ching Lin, violin PETER ILYICH TCHAIKOVSKY (1840-1893) Concerto for Violin and Orchestra in D Major, Opus 35 (1878) I. Allegro moderato

II. Canzonetta. Andante

III. Finale. Allegro vivacissimo

Jun-Ching Lin, violin

Intermission DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 5 in D minor, Opus 47 (1937)

I. Moderato

II. Allegretto

III. Largo

IV. Allegro non troppo

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Notes on the Program by Ken Meltzer

PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Violin Concerto took place in Vienna, Austria, on December 4, 1881, with Adolf Brodsky as soloist and Hans Richter conducting the Vienna Philharmonic. In addition to the solo violin, the D-Major Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings.

Approximate performance time is thirtythree minutes.

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eter Ilyich Tchaikovsky composed his only Violin Concerto during the spring of 1878. Tchaikovsky dedicated the Concerto to Leopold Auer, the great Hungarian-born violinist, who was living and teaching in St. Petersburg. Auer, however, declined to play the Concerto.

It was violinist Adolf Brodsky who took up the cause for Tchaikovsky’s Concerto, serving as soloist for the first performance, which took place in Vienna on December 4, 1881. Hans Richter conducted the Vienna Philharmonic.

Tchaikovsky greatly appreciated the courage displayed by Brodsky in premiering the work: He has not yet fully established his position in Vienna and I know very well that it was difficult and nerve-wracking for him to appear before a Viennese audience with a concerto by an unknown composer, and a Russian one to boot. For that reason I am doubly grateful to him for the service he has rendered me.

The extent of Brodsky’s courage becomes even clearer when the circumstances of the premiere are examined. The reaction by the audience and critics was unfavorable, to

say the least. The performance inspired the prominent Viennese critic, Eduard Hanslick, to write one of the most (in)famous reviews in music history.

The Russian composer Tchaikovsky is surely not an ordinary talent, but rather an inflated one, with a geniuslike obsession without discrimination or taste. Such is also his latest, long and pretentious Violin Concerto. For a while it moves soberly, musically, and not without spirit. But soon vulgarity gains the upper hand, and asserts itself to the end of the first movement. The violin is no longer played; it is pulled, torn, drubbed. The Adagio is again on its best behavior, to pacify and win us. But it soon breaks off to make way for a finale that transfers us to a brutal and wretched jollity of a Russian holiday. We see plainly the savage vulgar faces, we hear curses, we smell vodka. Friedrich Visser once observed, speaking of obscene pictures, that they stink to the eye. Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.

For several months after the concert, Tchaikovsky carried a copy of the review and, to the end of his days, could recite verbatim Hanslick’s caustic prose.

Still, Brodsky persevered in his advocacy of the Concerto, playing it throughout Europe.

In time, the merits of the Tchaikovsky Violin Concerto became clear. Even Leopold Auer finally performed the work, as did such protégés as Mischa Elman and Jascha Heifetz.

Fittingly, however, it was Adolf Brodsky to whom Tchaikovsky dedicated this beloved masterpiece.

The Concerto is in three movements. The first (Allegro moderato) opens with an orchestral

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Concerto for Violin and Orchestra in D Major, Opus 35 (1878)

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ASO | 5.9 | program introduction, but it is not long before the soloist enters with a brief opening passage, yielding to the flowing, principal theme. The brief and extraordinarily beautiful second movement (Canzonetta. Andante) leads without pause to the Concerto’s whirlwind Finale (Allegro vivacissimo). The virtuoso writing for the soloist throughout the Finale is brilliant, perhaps nowhere more so than in the thrilling closing pages.

Symphony No. 5 in D minor, Opus 47 (1937) DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow, Russia, on August 9, 1975. The first performance of the Symphony No. 5 took place in Leningrad (St. Petersburg) on November 21, 1937, with Evgeny Mravinsky conducting the Leningrad Philharmonic. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, orchestra bells, triangle, snare drum, cymbals, tam-tam, bass drum, harp, piano, celeste and strings. Approximate performance time is forty-four minutes.

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n January 22, 1934, the first performance of Dmitri Shostakovich’s opera Lady Macbeth of Mtsensk took place in Leningrad.

Lady Macbeth, a work Shostakovich described as a “tragedy-satire,” lampoons the decadence of capitalism as personified by the kulaks— comparatively wealthy peasants who resisted Soviet collectivization. But the composer’s biting wit also extends to the police, depicted as brutes who oppress the people, intellectuals in particular. Without question, Shostakovich treats the victims of police oppression in Lady Macbeth with great sympathy.

Whatever Shostakovich’s intentions regarding 30 Atlanta Symphony Orchestra | aso.org

social commentary, they did not sit well with Joseph Stalin, the tyrannical Secretary General of the Communist party. Stalin walked out of the theater before the conclusion of a 1936 Bolshoi performance of Lady Macbeth.

Shortly thereafter, an article appeared in the official Communist newspaper Pravda entitled, “Muddle Instead of Music.” Although the author of the article was not identified, it appears certain it was either written by Stalin, or penned under his direction and approval.

The author dismissed Lady Macbeth as a “stream of deliberately discordant sounds…

Lady Macbeth enjoys great success with the bourgeois audience abroad.”

With a stroke of the anonymous writer’s pen, Shostakovich, once a shining light among young Soviet composers, had become a Communist persona non grata.

Under Joseph Stalin’s regime, such a status could be tantamount to a death sentence—a fact Shostakovich understood all too well.

Shostakovich underwent an extended period of intense reflection and soul-searching. In December of 1936, Shostakovich withdrew his Fourth Symphony, a work he feared might inspire the same negative government reaction as Lady Macbeth. In the spring of 1937, Shostakovich turned his attentions to the Fifth Symphony, which he composed between April 1 and July 30, 1937.

The premiere of the Fifth Symphony took place in Leningrad on November 21, 1937, as part of a festival in celebration of the 20th anniversary of the Soviet Republic. A seemingly penitent Shostakovich offered the following subtitle for the work: “A Soviet Artist’s Practical Creative Reply to Just Criticism.” Shostakovich also provided the following analysis of the Symphony in an article entitled “My Artist’s Reply,” which appeared just a few days before the Moscow premiere on January 29, 1938:

The 1937 premiere, conducted by the composer’s longtime friend and advocate Evgeny Mravinsky, was a resounding success.

The Fifth Symphony pleased the Soviet critics, and soon, the world at large. It appeared that Shostakovich had succeeded in creating a work that managed both to glorify the Soviet regime and appeal to international audiences.

In 1979, four years after the composer’s death, Testimony: The Memoirs of Dmitri Shostakovich, stunned the music world. The Shostakovich who emerged from this book was far different from the one who had seemed to follow the Communist party line.

For the Shostakovich of Testimony, the Fifth Symphony was hardly a paean to Communism: I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in (Modest Mussorgsky’s opera) Boris Godunov. It’s as if someone were beating you with a stick and saying, “Your business is rejoicing, your business is rejoicing,” and you rise, shaky and go marching off, muttering, “Our business is rejoicing, our business is rejoicing.”

What kind of apotheosis is that? You have to be a complete oaf not to hear that. People who came to the premiere of the Fifth in the best of moods wept.

Shostakovich’s friend and student, Solomon Volkov, compiled Testimony from what he claimed were the composer’s own words.

Many, including, not surprisingly, the Soviet government, questioned the authenticity of Testimony. The controversy continues to this

day, although as time has progressed, several of Shostakovich’s friends and family members have acknowledged that Testimony accurately expresses the composer’s feelings. It should also be mentioned that recent scholarship indicates the composer’s subtitle for the Fifth Symphony—“A Soviet Artist’s Practical Creative Reply to Just Criticism”—was forced upon him by the government in exchange for permission to present the work.

The conflicting views attributed to Shostakovich regarding his Fifth Symphony place the interpreter and listener in a challenging position. Is the Fifth Symphony a work in praise of, or a diatribe against, Soviet Russia? Are the Symphony’s closing pages “optimistic” or a “forced rejoicing?” Or, perhaps, are there other interpretations to be considered? A consensus on these issues is as unlikely as universal agreement upon whether Shakespeare’s Hamlet was mad. The greatness of a work of art like the Shostakovich Fifth rests largely with its ability to resonate profoundly with each of us in a personal and unique way.

The Symphony No. 5 is in four movements.

The first (Moderato) is based upon two themes, introduced in quick succession at the outset of the movement. The ensuing Allegretto, cast in traditional scherzo and trio form, has a brevity and playful charm in sharp contrast to the storm and stress of the opening movement. The slow third movement (Largo) is constructed as a massive arch, inexorably building to a shattering climax before returning to the repose of the opening measures. The finale (Allegro non troppo) features a whirlwind of activity and arresting conflict, finally resolving to the blazing (and controversial) D-Major conclusion.

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The theme of my symphony is the development of the individual. I saw man with all his sufferings as the central idea of the work, which is lyrical in mood from start to finish; the finale resolves the tragedy and tension of the earlier movements on a joyous, optimistic note.

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

Jorma Panula International Master class in Porto, Portugal, and at the Tanglewood Music Center.

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Mr. Young received a bachelor’s degree in music education from the University of South Carolina in 2004 and completed his graduate studies in conducting with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009.

oseph Young became Assistant Conductor of the Atlanta Symphony Orchestra (ASO) and Music Director of the Atlanta Symphony Youth Orchestra in June 2014. Mr. Young assists with the artistic leadership of the Orchestra and serves as the primary conductor for the ASO’s education and community concerts.

Prior to joining the ASO, Mr. Young was Resident Conductor of the Phoenix Symphony. He also spent a season as Assistant Conductor and a League of American Orchestras Conducting Fellow with the Buffalo Philharmonic.

JEFF ROFFMAN

In 2007, Mr. Young made his professional debut as the first recipient of the Baltimore Symphony Orchestra (BSO)-Peabody Institute Conducting Fellowship, and he worked with the BSO through 2009. His recent conducting engagements include the Colorado Symphony Orchestra, Tucson Symphony, Charleston Symphony Orchestra, Delaware Symphony Orchestra and Orquestra Sinfónica do Porto Casa da Música.

Mr. Young’s other professional accolades include being named a semi-finalist in the 2013 Gustav Mahler International C o n d u c t i n g Competition and being featured in the League of American Orchestras prestigious Bruno Walter National Conductor Preview.

Additionally he was the first recipient of the Sir Georg Solti Foundation Career Grant for young conductors. He has furthered his conducting studies at the Cabrillo Contemporary Music Festival, the 2010 32 Atlanta Symphony Orchestra | aso.org

JUN-CHING LIN, Assistant Concertmaster

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un-Ching Lin has been Assistant Concertmaster of the Atlanta Symphony Orchestra (ASO) since 1988.

Mr. Lin has performed violin concertos and solos by Barber, Beethoven, Vivaldi, and Tchaikovsky with the ASO. In addition to being an affiliate artist faculty member at Emory University in violin and chamber music, he coaches the first violins of the Atlanta Symphony Youth Orchestra and spends part of each summer teaching at Encore School for Strings and Franklin Pond Chamber Music. As an active chamber musician, Mr. Lin has participated in festivals in Highlands-Cashiers, La Jolla, Palm Beach and San Diego.

Born in Taipei, Taiwan, Mr. Lin grew up in Boston, MA. As a high-school senior, he was one of the first Presidential Scholars in the Arts. He earned degrees at the Curtis and Cleveland Institutes of Music, studying with Ivan Galamian, Jascha Brodsky, and David Cerone. He was a semi-finalist in both the Montreal Competition and the Naumburg Violin Competition. Prior to his position in Atlanta, Mr. Lin was concertmaster of the Augusta Symphony Orchestra.

JD SCOTT

ASO | 5.9 | artists

ASO | 5.9 | artists

AtlantaSymphonyYouthOrchestra Joseph Young, Assistant Conductor, Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Youth Orchestra Conductor Chair

Violin II Lesley Chang Monica Chang Sarah Chen Steven Chiou Naomi Fan Serena Gao Julie Koh Sarah Li Andrew Lim Christina Liu Julia Liu Phoebe Liu Zoe Lo Passacaglia Mason Kyle Qian Annie Su Alex Yang

Viola Wilfred Farquharson Joy Hsieh *Nathan Hung Kelsey Johnson *James Kang Jun Kang Anderson Leggett Nick Pelletier Matthew Pinder Nikko White*** Irene Zhou Andres Malave Cello Rae Baker Zachary Barnes Laurent Boudard Woojae Chung Thomas Evans Justin Hedderman Olivia Hunt Mason Johnston Aria Posner Lindsey Sharpe Leonardo Tang Rita Young Christopher Yu Bass Bailey Bennett Gabriel English Matthew Henson Blake Hilley Matthew Jung Logan Lysaght Maxwell Morgan*** Robert Morgan Jan Denel Sabacan Daniel Tancredi**

Flute Kaegan Gregory*** Haiwen Gui Claire Mahon Nina Qin Oboe Elise Conti Sydney Hancock Hannah Lee Alexa Levy Clarinet Barret Ham Saheon (Eric) Kim Eric Wang Alisha Zamore Bassoon Kalli Edwards Emily Schuler Austin Summy John You Horn Jonathon Chiou Hannah Culbreth Emma Dickinson Nicholas Fratto Nicole Perez Molly Shannon Akhil Vaidya Elyza Wylder

Trombone Jonathon Craig Wesley Shores Robyn Smith Bass Trombone Samuel Boeger Tuba Jovany Dorsainvil*** Joshua Williams Percussion Michael Dehan Drew Hooper Parker Olson Adam Voss Christina Voss Harp Donevon Howard Katie O’Shaughnessy Piano Nathan Wu * Ardath W. Weck Chair ** Douglas Sommer Chair *** Elinor Rosenberg Breman ASYO Fellowship

Trumpet Imani Duhe Tyler Jesko Steven Lukehart Reid Waters Lizbeth Yanez

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Violin I Lean Bonas Vivian Cheng Aomeng Cui Helena DeGrazia Andrew Fu Maalik Glover*** Briana Hou Maya Kang Andrew Koonce Connie Li Emma Lin Jasmine Liu Grace Oberst Joseph Pang

ASO | 5.14/16 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

ASO | 5.14/16| program

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

Concerts of Thursday, May 14, at 8:00pm and Saturday, May 16, 2015, at 7:30pm.

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.

HECTOR BERLIOZ (1803-1869)

KEN MELTZER, ASO 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: kenmeltzer.com.

To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Roberto Abbado, Conductor Sergej Krylov, violin Roman Carnival Overture, Opus 9 (1843)

9 MIN

Nicolò Paganini (1782-1840) Concerto No. 5 for Violin and Orchestra in A minor (ca. 1830) (orch. Federico Mompellio) 40 MIN I. Allegro maestoso II. Andante, un poco sostenuto III. Finale: Rondò. Andantino quasi Allegretto Sergej Krylov, violin INTERMISSION

20 MIN

LUCIAN BERIO (1925-2003)

Quattro versioni originali della “Ritirata notturna di Madrid” di. L. Boccherini, sovrapposte e 8 MIN trascritte per orchestra (1975) FELIX MENDELSSOHN (1809-1847)

Symphony No. 4 in A Major, Opus 90 (“Italian”) (1833)

I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello. Presto

34 Atlanta Symphony Orchestra | aso.org

30 MIN

Notes on the Program by Ken Meltzer Hector Berlioz was born in La Côte-SaintAndré, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, 1869. The first performance of the Roman Carnival Overture took place at the Salle Herz in Paris on February 3, 1844, with the composer conducting. The Roman Carnival Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, timpani, tambourine, cymbals, triangle and strings.

First ASO Classical Subscription Performance: November 25, 1952, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: March 2, 3 and 4, 2000, Carlo Rizzi, Conductor.

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ector Berlioz’s opera, Benvenuto Cellini, based upon the life of the Italian Renaissance sculptor, goldsmith, architect, writer, and musician, premiered at the Paris Opéra on September 10, 1838. The performance was a fiasco. As Berlioz recalled, the opera’s Overture was “extravagantly applauded; the rest was hissed with exemplary precision and energy.”

Berlioz, however, maintained faith in Benvenuto Cellini. In 1850, he wrote: “I have just re-read my score carefully and with the strictest impartiality, and I cannot help recognizing that it contains a variety of ideas, an energy and exuberance and a brilliance of colour such as I may perhaps never find again, and which deserved a better fate.” Five years after the premiere of Benvenuto Cellini, Berlioz composed his Roman Carnival Overture, based upon music from the opera. During the composer’s lifetime, the Roman Carnival

enjoyed a dual life as both a second Overture to the opera, Benvenuto Cellini, and as an independent concert piece. The vivacious and brilliantly-scored work remains one of Hector Berlioz’s most popular Overtures.

Concerto No. 5 for Violin and Orchestra in A minor (ca. 1830) (orch. Federico Mompellio) Nicolò Paganini was born in Genoa, Italy, on October 27, 1782, and died in Nice, France, on May 27, 1840. In addition to the solo violin, the Concerto No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, tuba, timpani, percussion and strings.

These are the first ASO Classical Subscription Performances.

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he Italian violinist Nicolò Paganini was one of the greatest and most charismatic virtuosos of all time. Paganini’s haunting stage presence, coupled with his total command of such spellbinding techniques as rapid arpeggios, left-hand pizzicatos, multiple-stopping and “ricochet” bowings repeatedly drove audiences into a frenzy.

But Paganini moved his audiences as much with eloquence as pyrotechnics. Franz Schubert once remarked with glowing admiration: “In Paganini’s Adagio I heard an angel sing.”

Paganini was as much a master of selfpromotion as he was of the violin. Well before the age of the intense marketing efforts that attend many of the superstars in today’s music industry, Paganini understood the value of publicity, particularly of the sensational variety. Paganini did little to stifle incredible rumors that he learned to play the violin on a single-stringed instrument while serving a prison sentence for murder, or that his incomparable talents resulted from a pact with the devil. In fact,

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Roman Carnival Overture, Opus 9 (1843)

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Paganini encouraged these and other stories at every turn. The violinist’s shoulder-length hair and gaunt figure attired in black only served to reinforce the diabolical imagery.

While it has long been assumed that Paganini composed his Fifth Violin Concerto in 1830, it is possible that the work actually dates from his final years.

It appears that Paganini did not complete the orchestration for this work. The known source for the Concerto consists of the complete solo part, with detailed notations as to the orchestration. In the late 1950s, Federico Mompellio created a performing version for solo violin and orchestra.

Typical of Paganini’s compositions, the Violin Concerto No. 5 is a showcase both for the soloist’s brilliant virtuoso technique, and introspective, haunting lyricism.

The Concerto No. 5 is in the traditional three-movement structure. The first (Allegro maestoso), by far the longest of the three, begins with an extended orchestral introduction of the movement’s principal themes. The soloist enters with his own, brilliantly virtuoso approach to the material. A grand solo cadenza leads to the stirring final bars. By contrast, the slow second movement (Andante, un poco sostenuto), very much in the spirit of an extended opera aria, affords the soloist the opportunity to sing like the “angel” Franz Schubert celebrated. The Rondo Finale (Andantino quasi Allegretto) returns to the virtuoso spirit of the opening movement.

The soloist immediately presents the playful recurring theme, cast in 6/8 time. A final grand flourish by the soloist and orchestra bring the Concerto to a rousing conclusion.

Quattro versioni originali della “Ritirata notturna di Madrid” di. L. Boccherini, sovrapposte e trascritte per orchestra (1975) 36 Atlanta Symphony Orchestra | aso.org

LUCIANO BERIO was born in Oneglia, Italy, on October 24, 1925, and died in Rome, Italy, on May 27, 2003. Ritirata notturna di Madrid is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, two snare drums, bass drum, triangle and strings.

First ASO Classical Subscription Performances: October 13, 14 and 15, 1988, Yoel Levi, Conductor.

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n 1780, Italian composer and cellist Luigi Boccherini (1734-1805) completed a String Quintet in C Major, Opus 30, No. 6 (G324), nicknamed “Musica notturna della strade di Madrid” (“Night Music of the Streets of Madrid”). In the score, Boccherini explained: “This little quintet depicts the music heard at night in the streets of Madrid, from the bells sounding the Ave Maria to the Retreat. And everything here that does not comply with the rules of composition should be pardoned for its attempt at an accurate representation of reality.” Boccherini, concerned that the references to night life in Madrid would be too specific for general appreciation, urged his Paris publisher not to release the work.

Despite Boccherini’s reservations, “Night Music of the Streets of Madrid” became one of his most popular compositions.

In 1975, the Orchestra of the Teatro alla Scala, Milan requested Luciano Berio to compose a brief orchestral work to serve as a concert opener. Berio chose the final movement of Boccherini’s “Night Music,” the Ritirata, a musical depiction of the soldiers’ retreat to the barracks for curfew. Boccherini instructed the musicians performing the Ritirata: “One should imagine that the Retreat begins to be heard in the distance, so that it must be

Symphony No. 4 in A Major, Opus 90 (“Italian”) (1833)

April of the following year. Mendelssohn wrote on February 22, 1831: “The ‘Italian’ Symphony is making rapid progress. It will be the jolliest piece I have so far written, especially the last movement. I have not yet decided on the adagio and I think I shall wait until I get to Naples.”

Mendelssohn finally completed his FELIX MENDELSSOHN was born in “Italian” Symphony in 1833, in response to Hamburg, Germany, on February 3, a commission by the London Philharmonic 1809, and died in Leipzig, Germany, on Society. The work received its premiere November 4, 1847. The first performance under Mendelssohn’s direction, in London, of the “Italian” Symphony took place in on May 13 of that year.

London, England, on May 13, 1833, with the composer conducting the London Philharmonic Society. The “Italian” Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

First ASO Classical Subscription Performance: April 22, 1945, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: May 24, 25 and 26, 2012, Nicholas McGegan, Conductor.

ASO Recording: Telarc CD-80318, Yoel Levi, Conductor.

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n May 8, 1830, 21-year-old Felix Mendelssohn departed Berlin for his Italian journey, by way of Munich (stopping first in Weimar to visit Goethe), and Vienna. Mendelssohn then continued his travels to Venice, Florence, Rome and, finally, Naples. Mendelssohn’s high spirits during his Italian sojourn are reflected in correspondence to his family. In a letter of October 10, 1830, he exulted: “This is Italy.

What I have been looking forward to all my life as the greatest happiness is now begun and I am basking in it.”

Mendelssohn, a relentless perfectionist, was never entirely pleased with his “Italian” Symphony. Mendelssohn never allowed the work to be published, and throughout his lifetime, continued to revise the score.

The Symphony was issued posthumously, and although it apparently never satisfied Mendelssohn’s standards, the “Italian” Symphony—with its wealth of melodic inspiration and infectious joie de vivre—has continued to delight audiences.

The “Italian” Symphony is in four movements. The first (Allegro vivace) seems to express the high spirits Mendelssohn experienced during his Italian journey.

Commentators have suggested the slow second movement (Andante) was inspired by a religious procession Mendelssohn witnessed in Naples. The graceful third movement (Con moto moderato) recalls the minuets of the Classical-era symphonies of Franz Joseph Haydn and Wolfgang Amadeus Mozart. The finale (Presto) is based upon a Saltarello, a dance whose name is derived from the word “saltare” (“to jump”).

Mendelssohn arrived in Rome on November 1, and remained there until midencoreatlanta.com | Atlanta’s Performing Arts Publication 37

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played piano, so softly that it is scarcely audible.” The Ritirata exists in several instrumental arrangements. Berio chose four; overlapping the various arrangements (with some modifications), and to brilliant effect.

ASO | 5.14/16 | artists ROBERTO ABBADO, conductor

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MIRO ZAGNOLIA

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uest conductor Roberto Abbado has recently been appointed as Music Director of Palau de les Arts in Valencia, Spain, starting September 2015. From 2005 to 2015 he has been an “Artistic Partner” with the St. Paul Chamber Orchestra, and the first to hold that position. He performs regularly with many noted orchestras, including the Boston Symphony Orchestra, the Philadelphia Orchestra, and New York City’s Orchestra of St. Luke’s.

Born into a musical family, Mr. Abbado’s grandfather was a violin teacher, his father was director of the Milan Conservatory, and his uncle is a conductor. He studied with famed conducting teacher Franco Ferrara at Venice’s La Fenice and Rome’s Academia Nazionale di Santa Cecilia, where he was the only student in Accademia history to be invited to conduct the Orchestra di Santa Cecilia.

In his native Italy, Mr. Abbado regularly conducts the Filarmonica della Scala (Milan), Orchestra dell’Accademia Nazionale di Santa Cecilia (Rome), Orchestra del Maggio Musicale (Florence) and the RAI Orchestra (Turin). Across the rest of Europe, he has worked with the Royal Concertgebouw, Orchestre National de France, Orchestre de Paris, Dresden Staatskapelle, Gewandhaus Orchester (Leipzig), NDR Symphony Orchestra (Hamburg), Vienna Symphony, Swedish Radio Symphony, and Israel Philharmonic Orchestras. Most recently, he conducted a concert version of La Favorite at the prestigious Salzburg Festival.

38 Atlanta Symphony Orchestra | aso.org

Mr. Abbado made his North American concert debut in 1991 with the Orchestra of St Luke’s at the Lincoln Center in New York.

SERGEJ KRYLOV, violin

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ergej Krylov has established himself as one of the most talented violinists of his generation. He is regularly invited to perform at prestigious concert halls worldwide and has appeared with orchestras including the Staatskapelle Dresden, Philharmonique de Radio France, Deutsches Symphonie-Orchester Berlin, Filarmonica della Scala, Accademia di Santa Cecilia, London Philharmonic, Hessischer Rundfunk Frankfurt, and the St. Petersburg Philharmonic, Royal Philharmonic, Copenhagen Philharmonic, Russian National Symphony, NHK Symphony (Tokyo), Atlanta Symphony, English Chamber and Budapest Festival orchestras.

Among the important personalities with whom he has worked, his friendship with Mstislav Rostropovich has been one of the most significant influences in Krylov’s artistic life. Krylov has appeared with many conductors including Vladimir Jurowski, Valery Gergiev, Mikhail Pletnev, Andrey Boreyko, Dmitri Kitajenko, Omer Meir Wellber, Yuri Temirkanov, Vladimir Ashkenazy, Fabio Luisi, Asher Fisch, Vasily Petrenko, Nicola Luisotti, Julian Kovatchev, Rafael Frühbeck de Burgos, Saulius Sondeckis, Zoltán Kocsis and Yuri Bashmet.

Major engagements of the 2014-15 season include a double appearance in St. Petersburg with the St. Petersburg Philharmonic conducted by Yuri Temirkanov and the Mariinsky Theatre Orchestra conducted by Valery Gergiev. He will return to Cologne and Zagreb with Dmitri Kitajenko to perform Mendelssohn and Prokofiev Violin Concertos. With the Rai Orchestra in Turin,

Sergej devotes a great deal of time to chamber music projects, playing alongside Denis Matsuev, Yuri Bashmet, Itamar Golan, Lilya Zilberstein, Aleksandar Madžar, Bruno Canino, Stefania Mormone, Maxim Rysanov, Nobuko Imai, the Belcea Quartet and Elīna Garanča. Since 2009, he has been Music Director of the Lithuanian Chamber Orchestra, regularly taking the double role of soloist and conductor in a wide repertoire ranging from Baroque music to contemporary works.

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he will perform the Italian premiere of Gubaidulina’s Offertorium conducted by Tonu Kaljuste. In the meantime he will conduct and play on various occasions with his Lithuanian Chamber Orchestra in Vilnius and he will embark with them on a tour of Italy and Poland. With Pietari Inkinen and the Toscanini Orchestra, he will perform Brahms’ Double Concerto with Mario Brunello at the cello. Many recitals for solo violin and with piano complete his calendar.

His discography, in addition to the release of the Paganini 24 Caprices, includes recordings for EMI and Melodya.

MARY SLEPKOVA

Born in Moscow into a family of musicians, Sergej Krylov began studying the violin at the age of five and completed his studies at the Moscow Central Music School. While still very young, he won the International Lipizer Violin Competition, the Stradivarius International Violin Competition and the Fritz Kreisler Competition.

encoreatlanta.com | Atlanta’s Performing Arts Publication 39

ASO | 5.22/23 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

POPS! The Cocktail Hour: Music of the Mad Men Era Concerts of Friday, May 22, at 8:00pm, and Saturday, May 23, 2015, at 8:00pm.

ASO | 5.22/23| program

Steven Reineke, Conductor Ryan Silverman, vocalist Nikki RenĂŠe Daniels, vocalist

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

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.

40 Atlanta Symphony Orchestra | aso.org

Mini Skirt JUAN GARCÍA ESQUIVEL (arr. Scott Whitfield) Americano NICOLE SALERNO, BRIAN SETZER, MICHAEL HIMELSTEIN, and RENATO CARUSONE (arr. Sam Shoup) Bésame Mucho CONSUELO VELÁZQUEZ (arr. Fred Barton) It’s Not Unusual LES REED/GORDON MILLS (arr. Tim Berens) Fly Me to the Moon BART HOWARD (arr. Sam Shoup)

Sway PABLO BELTRAN RUIZ/NORMAN GIMBEL (arr. Sam Shoup) What’ll I Do IRVING BERLIN Crime Show Classics VARIOUS (arr. Fred Barton) I (Who Have Nothing) CARLO DONIDA/GIULIO RAPETTI/JERRY LEIBER/MIKE STOLLER (arr. Fred Barton) INTERMISSION

20 MIN

Bacharach Back-To-Back BURT BACHARACH (arr. Wayne Barker) You Know I’m No Good AMY WINEHOUSE (arr. Jonathan Bartz) Luck Be a Lady FRANK LOESSER (arr. Billy May) Somethin’ Stupid C.CARSON PARKS (arr. Tim Berens) These Boots Are Made For Walkin’ LEE HAZLEWOOD (arr. Sam Shoup) Moondance VAN MORRISON (arr. Sam Shoup) Charade HENRY MANCINI (arr. Timothy Berens) Feeling Good ANTHONY NEWLEY/ LESLIE BRICUSSE (arr. Scott Whitfield) encoreatlanta.com | Atlanta’s Performing Arts Publication 41

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Mad Men Suite DAVID CARBONARA (arr. Geoff Stradling)

ASO | 5.22/23 | artists STEVEN REINEKE, Conductor

MICHAEL TAMMARO

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York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras.

This season he will write a new composition titled The True Story of The Three Little Pigs based on the popular children’s book of the same name by Jon Sciezska and Lane Smith, and debuting with the National Symphony Orchestra. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide.

teven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers.

Mr. Reineke is the Music Director of The New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts, Principal Pops Conductor of the Toronto Symphony Orchestra and Principal Pops Conductor Designate of the Houston Symphony.

He previously held the posts of Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he Orchestra. earned bachelor of music degrees with Mr. Reineke is a frequent guest conductor honors in both trumpet performance and with The Philadelphia Orchestra and music composition. He currently resides has been on the podium with the Boston in New York City with his husband Eric Pops, The Cleveland Orchestra and the Gabbard.

Chicago Symphony Orchestra at Ravinia.

His extensive North American conducting RYAN SILVERMAN, vocalist appearances include San Francisco, Seattle, yan Silverman recently received critical Edmonton, Pittsburgh, Vancouver, Ottawa acclaim for his starring role in the (National Arts Centre), Detroit, Milwaukee Broadway production of Sideshow. He and Calgary. received Drama Desk and Drama League

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As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New 42 Atlanta Symphony Orchestra | aso.org

nominations for his role as Giorgio in Classic Stage Company’s production of Passion.

Ryan’s additional Broadway credits include Billy Flynn in Chicago and as Raoul in The Phantom of the Opera (including Las Vegas). Ryan starred as Lancelot in Camelot and as Terry Connor in Sideshow at The Kennedy Center. He has also been featured in Music in the Air (Karl) at Encores!; Cry-Baby (Cry Baby u/s) on

His portrayal of Tony in the Olivier nominated 2008 West End production of West Side Story received universal raves.

Ryan has been a guest soloist with several symphony orchestras, including The New York Pops (Carnegie Hall), Seattle Symphony with Marvin Hamlisch, Philadelphia Pops and Orchestra, Vancouver Symphony, The Cincinnati Pops, Utah Symphony, Houston Symphony, Detroit Symphony, Edmonton Symphony, among others. His cabaret appearances include Feinstein’s and the Café Carlyle (month-long residency).

Regional and touring credits include: Raoul in Phantom of the Opera in Las Vegas, Sky in Mamma Mia first national tour, Fiero in Wicked Chicago, Jimmy in Thoroughly Modern Mille, Prince in Cinderella, Danny in Grease!, Cornelius in Hello Dolly!, John Wilkes Booth in Assassins, Anthony in Sweeney Todd, Smudge in Forever Plaid and Eddie Lyons in Blood Brothers. He is featured in the film Five Minarets of New York with Danny Glover and Gina Gershon. His other film and TV credits include Gossip Girl, Sex and the City 2, and True Blood. Ryan originally hails from Alberta, Canada.

the Aida standby in Aida and as Crystal in Little Shop of Horrors.

Ms. Daniels made her New York City Opera debut in 2002 as Clara in Porgy and Bess and her Carnegie Hall solo debut in 2007. On television, she appeared as a featured player on Comedy Central’s Chappelle’s Show and in PBS’s Great Performances presentation of South Pacific, starring Brian Stokes Mitchell and Reba McIntyre at Carnegie Hall. She has performed as soloist with the Ottawa Symphony Orchestra, the Cincinnati Symphony Orchestra, the Cincinnati Pops, the San Francisco Symphony Orchestra, the New York Pops, the Naples Philharmonic and at Jason Robert Brown’s 10th anniversary Concert of Songs for a New World at Symphony Space.

Ms. Daniels holds a Bachelor of Fine Arts degree from the University of Cincinnati College-Conservatory of Music. She recently released her debut solo CD Home, which is available on iTunes and CDBaby.com.

NIKKI RENÉE DANIELS, vocalist

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ikki Renée Daniels is currently starring in The Book of Mormon on Broadway.

Recently, she played Clara in the 2012 Tony Award Winning Broadway Revival of The Gershwins’ Porgy and Bess. She has also been seen on Broadway as Fantine in Les Misérables, Hope Harcourt in Anything Goes, Nehebka in Tim Rice and Elton John’s Aida, Renata in Nine, Crystal in the revival of Little Shop of Horrors and Eleni in Bernie Taupin and Elton John’s Lestat.

Ms. Daniels has also toured nationally as encoreatlanta.com | Atlanta’s Performing Arts Publication 43

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Broadway and The Most Happy Fella (Al) at New York City Opera.

ASO | 5.28/30 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

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

Concerts of Thursday, May 28, at 8:00pm, and Saturday, May 30, 2015, at 7:30pm.

Robert Spano, Conductor Yefim Bronfman, piano JEAN SIBELIUS (1865-1957) The Bard, Opus 64 (1913, rev. 1914)

8 MIN

ASO | 5.28/30| program

LUDWIG VAN BEETHOVEN (1770-1827)

Concerto No. 4 for Piano and Orchestra in G 35 MIN Major, Opus 58 (1806)

I. Allegro moderato II. Andante con moto III. Rondo. Vivace Yefim Bronfman, piano INTERMISSION 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, ASO Program Annotator

20 MIN

NIKOLAI RIMSKY-KORSAKOV (1844-1908)

Scheherazade, Opus 35 (1888) 48 MIN

I. The Sea and Sinbad’s Ship II. The Story of the Kalendar Prince III. The Young Prince and the Young Princess IV. The Festival of Baghdad—The Sea— The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior— Fest in Baghdad

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: kenmeltzer.com.

To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

44 Atlanta Symphony Orchestra | aso.org

Notes on the Program by Ken Meltzer JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, 1957. The Bard is scored for two flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, tam-tam, harp and strings.

the Concerto No. 4 is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

First ASO Classical Subscription Performance: March 21, 1951, Claudio Arrau, Piano, Henry Sopkin, Conductor.

These are the first ASO Classical Subscription Performances.

Most Recent ASO Classical Subscription Performances: March 2, 4 and 5, 2013, Inon Barnatan, Piano, Hugh Wolff, Conductor.

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ean Sibelius assigned no specific program to his brief orchestral tone poem, The Bard. However, it is likely that the inspiration for the work came from a poem of the same name, authored by the celebrated Finnish writer, Johan Ludvig Runeberg (1804-1877). In The Bard, an aged minstrel recalls the course of his life.

After playing his beloved harp for a final time, the minstrel dies. Long after his passing, the minstrel’s song continues to resound throughout the land.

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Concerto No. 4 for Piano and Orchestra in G Major, Opus 58 (1806)

Beethoven completed his magnificent Fifth Piano Concerto (“Emperor”) in 1809. The “Emperor,” Beethoven’s final Concerto for Piano and Orchestra, is certainly a fitting culmination of the composer’s efforts in this genre. Still, there are many advocates for the G-Major Concerto as the composer’s finest. It is a miraculous blend of haunting lyricism, expressive virtuosity, and formal innova-

eethoven completed the score of his G-Major Concerto in 1806, and first performed the work during a March 1807 private concert at the palace of his patron, Prince Joseph Lobkowitz. The first public performance of the Fourth Piano Concerto took place at the Vienna Theater-an-derWien on December 22, 1808. In addition to the Fourth Piano Concerto, the concert, sponsored by Beethoven, included the world premieres of the composer’s Fifth and Sixth Symphonies and Choral Sibelius’s The Bard opens with an extend- Fantasy, as well as four movements from ed introspective and melancholy episode his Mass in C and the soprano aria, Ah! (Lento assai). In addition to the presence Perfido. of the harp, predominant throughout the The Fourth Piano Concerto proved to be work, the opening section features an the last such work Beethoven composed undulating figure in the muted strings. for his own performance. Increasing deafThe music finally journeys to a fff climax, ness finally made public appearances all resolving to the harp’s final statement in but impossible for one of the greatest the hushed closing measures. piano virtuosos of his time.

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first public performance of the Piano Concerto No. 4 took place in Vienna at the Theater-an-der-Wien on December 22, 1808, with the composer as soloist. In addition to the solo piano,

encoreatlanta.com | Atlanta’s Performing Arts Publication 45

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The Bard, Opus 64 (1913, rev. 1914)

ASO | 5.28/30| program

ASO | 5.28/30 | program tion. As British musicologist Sir Donald Francis Tovey observed: “Beethoven has now well and truly laid the foundations of his concerto form and is free to raise the edifice to heights undreamt of in earlier music.”

Most Recent ASO Classical Subscription Performances: January 10, 11 and 12, 2013, Robert Spano, Conductor.

The Beethoven Concerto No. 4 is in three movements. The first movement (Allegro moderato) is by far the longest of the three. Instead of the traditional purely orchestral introduction, the soloist immediately intones the first principal theme.

The brief second movement (Andante con moto) is in the form of a dialogue between the strings and piano that Franz Liszt characterized as “Orpheus taming the wild beasts with his music.” The finale (Rondo. Vivace) ensues without pause. Beethoven presents a remarkable variety of moods and instrumental colors throughout. After a cadenza and series of trills, there is a moment of repose before the soloist and orchestra dash headlong to a Presto finish.

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Scheherazade, Opus 35 (1888) NIKOLAI RIMSKY-KORSAKOV was born in Tikhvin, Russia, on March 18, 1844, and died in Lyubensk, Russia, on June 21, 1908. The first performance of Scheherazade took place in St. Petersburg, Russia, on November 3, 1888, with the composer conducting.

Scheherazade is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, suspended cymbals, snare drum, triangle, tambourine, tam-tam, harp and strings.

First ASO Classical Subscription Performance: November 23, 1949, Henry Sopkin, Conductor.

46 Atlanta Symphony Orchestra | aso.org

ASO Recording: Robert Spano, Conductor, Telarc CD: 80568

he fantastic collection of tales known as The Arabian Nights, or A Thousand and One Nights, has captivated readers for centuries. The ancient stories, mostly of Arabic, Indian or Persian origin, were first presented to European readers in an early 18th-century French translation by Antoine Galland. In the late 19th century, British explorer Sir Richard Burton created a popular English-language version.

To this day, such tales as “The History of Aladdin, or the Wonderful Lamp,” “The History of Sinbad the Sailor,” and “The History of Ali Baba and the Forty Thieves,” continue to weave their magical spell.

Russian composer Nikolai RimskyKorsakov created his Scheherazade, Symphonic Suite after “A Thousand and One Nights,” in the summer of 1888. During that same period, RimskyKorsakov also completed his brilliant Russian Easter Overture, Opus 36.

Rimsky-Korsakov was a master of the art of instrumentation. His Principles of Orchestration (1896-1908) remains one of the most important texts on that subject. In speaking of Scheherazade, as well as his Capriccio Espagnol, Opus 34 (1887) and Russian Easter Overture, the composer proudly acknowledged, “my orchestration had achieved a considerable degree of virtuosity and bright sonority.” To this, one must also acknowledge Rimsky-Korsakov’s unfailing sense of dramatic contrast and impressive melod-

III. The Young Prince and the Young Princess—The violins offer the initial statement of the slow movement’s graceful principal melody. Rapid ascending and descending woodwind scales punctuate various presentations of the melody.

After a jaunty, delicately scored interlude, Scheherazade (solo violin) returns.

I. The Sea and Sinbad’s Ship—The move- A reprise of music from the Andantino ment opens with a menacing fortissimo leads to a dolce resolution. orchestral pronouncement, perhaps repre- IV. The Festival of Baghdad—The Sea— senting, at least in this passage, the Sultan The Ship Goes to Pieces Against a Rock Schahriar. A series of pianissimo wood- Surmounted by a Bronze Warrior—Fest wind chords leads to the delicate entrance in Baghdad—Furious statements of the of the solo violin, representing through- opening “Sultan” motif, alternating with out the work the voice of Scheherazade, Scheherazade’s music, serve as a prelude to the central portion of the finale. A solo who begins her first tale.

The principal section of the opening flute introduces the sprightly principal movement features variants of the open- melody. A whirlwind of activity ensues, ing motif and Scheherazade’s music. growing ever more ominous. At the cliThroughout, an accompanying undulat- max, there is a massive reprise of the ing string figure evokes the motion of the “Sinbad” music. Finally, the mood calms, sea, upon which Sinbad’s ship travels. and the solo violin brings Scheherazade’s The movement proceeds to a series of narrative to a magical conclusion. him through 1001 nights. Impelled by curiosity, the Sultan continually put off her execution, and at last entirely abandoned his sanguinary resolve.

Many marvels did Scheherazade relate to him, citing the verses of poets and the words of songs, weaving tale into tale and story into story.

grandiose climaxes, but finally resolves to a whisper.

II. The Story of the Kalendar Prince— Scheherazade’s music returns as the introduction to the second movement, which concerns a Kalendar, or beggar Prince encoreatlanta.com | Atlanta’s Performing Arts Publication 47

ASO | 5.28/30| program

ic gifts—factors that have assured the (several Kalendar Princes are mentioned continued affection for Scheherazade by in The Arabian Nights). musicians and audiences alike.

The bassoon plays a seductive melody, As a preface to his score, Rimsky- marked dolce ed espressivo. The oboe Korsakov provided the following pro- incorporates the melody, later played by the violins and woodwinds. A reprise of gram for Scheherazade: The Sultan Schahriar, convinced of the the oboe solo leads to a contrasting, agiperfidy and faithlessness of women, tated sequence. Toward the close, there is vowed to execute each of his wives a magical reverie featuring muted strings, after the first night. But the Sultana harp and various solo instruments. The Scheherazade saved her own life by movement concludes with a thunderous interesting him in the tales she told outburst.

ASO | 5.28/30 | artists YEFIM BRONFMAN, piano

ASO | 5.28/30| artists

efim Bronfman’s 2014-15 season began with summer festivals at Tanglewood, Aspen, Vail, La Jolla and Santa Fe, and includes US performances with the symphonies of Chicago, St. Louis, San Francisco, Dallas, Seattle, Atlanta, Pittsburgh, New World Symphony, Metropolitan Orchestra, Berlin Philharmonic and the New York and Los Angeles Philharmonics. Performances of Magnus Lindberg’s Concerto No. 2 are scheduled with the Göteborgs Symfoniker and the London Philharmonic. With the Cleveland Orchestra & Franz WelserMöst, he will play and record both Brahms Concerti. He will also take to Milan’s La Scala with Valery Gergiev.

He will return to Japan for recitals and orchestral concerts with London’s Philharmonia Orchestra and Esa-Pekka Salonen and to Singapore, Hong Kong, Taipei, Beijing, Sydney and Melbourne. In the spring, he will join Anne-Sophie Mutter and Lynn Harrell for their first US tour together.

Mr. Bronfman was awarded the Avery Fisher Prize in 1991, and the Jean Gimbel Lane Prize in piano performance from Northwestern University in 2010. He has been nominated for three GRAMMY® Awards, one of which he won with EsaPekka Salonen and the Los Angeles Philharmonic for their recording of the three Bartók Piano Concerti.

Born in Tashkent in the Soviet Union on April 10, 1958, Yefim Bronfman immigrated to Israel with his family in 1973.

48 Atlanta Symphony Orchestra | aso.org

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ASO | 6.4/6 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

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

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.

ASO | 6.4/6| program

KEN MELTZER, ASO 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: kenmeltzer.com.

To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Concerts of Thursday, June 4, at 8:00pm, and Saturday, June 6, 2015, at 7:30pm.

Robert Spano, Conductor Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses CAMILLE SAINT-SAËNS (1835-1921) Samson et Dalila (1873)

120 MIN

Cast, In Order of Vocal Appearance: Samson—Stuart Skelton, tenor Abimelech—Timothy J. Bruno, bass High Priest of Dagon—Greer Grimsley, bass-baritone First Philistine—Bradley Howard, tenor Second Philistine—Stephen Ozcomert, bass-baritone A Philistine Messenger—Grant Knox, tenor An Old Hebrew—Nathan Stark, bass Delilah—Stephanie Blythe, mezzo-soprano ACT I INTERMISSION

20 MIN

ACT II INTERMISSION ACT III

English Surtitles by Ken Meltzer

50 Atlanta Symphony Orchestra | aso.org

20 MIN

Notes on the Program by Ken Meltzer CAMILLE SAINT-SAËNS was born in Paris, France, on October 9, 1835, and died in Algiers, Algeria, on December 16, 1921.

The first performance of Samson et Dalila took place at the Hoftheater in Weimar, Germany, on December 2, 1877. Samson et Dalila is scored for mezzo-soprano, three tenor, baritone, and three bass soloists, mixed chorus, piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, bass drum, castanets, crotales, cymbals, orchestra bells, tambourine, triangle, two harps and strings. Approximate performance time is two hours.

Saëns returned to Samson and Delilah.

The Franco-Prussian War delayed matters further. But finally, on December 2, 1877, Samson et Dalila premiered in Weimar. The first staging in France of Samson et Dalila did not take place until March 3, 1890, at the Théâtre des Arts, in Rouen.

Within a year of its French premiere, Samson et Dalila established itself as a mainstay of the French repertoire, a status it holds to this day. Some excerpts from the opera enjoy an independent life in the concert hall, including Delilah’s secondact aria, “Mon coeur s’ouvre à ta voix” (“My heart opens at your voice”) and the brilliant orchestral Bacchanal from the opera’s final act. But it is in the complete performance that the rich beauties of Samson et Dalila become most evident.

These are the first ASO Classical Saint-Saëns was at the height of his powers Subscription Performances. when he composed Samson et Dalila. The uring his long, productive, and highly work offers a masterful deployment of solo influential career, Camille Saint-Saëns vocal, choral and orchestral forces, each composed successfully in a wide variety with a major role to play in the musicalof genres. His catalogue includes a dozen dramatic course of the opera. And dramatic operas; but only one, Samson et Dalila, tenors, mezzo-sopranos, and baritones with has maintained a regular place in the an affinity for the French repertoire treasure repertoire. In the late 1860s, Saint-Saëns the opportunity to their star turns in the became interested in the ill-fated affair of title roles and as the High Priest of Dagon.

Samson and Delilah as the basis for an Almost 150 years after its premiere, Samson oratorio. Ferdinand Lemaire, who authored et Dalila’s powers of seduction remain the work’s libretto, convinced Saint-Saëns undiminished. instead to use the same episode from the Book of Judges to create a fully-staged ACT I opera.

The story of Samson and Delilah takes

D

Saint-Saëns began work on Samson et Dalila with the opera’s second act, which includes the great confrontation between the work’s title characters. But with little prospect for a performance, Saint-Saëns put the opera aside. It was at the encouragement of Franz Liszt, who promised to premiere the opera at the Court Theater in Weimar, that Saint-

place in Palestine, around 1115 B.C. The curtain rises on a public square in Gaza, at night. The Hebrews mourn their oppression at the hands of the Philistines. Among the Hebrews is Samson, who encourages his people to have faith in God’s power.

Samson reminds the Hebrews of God’s rescue of the Israelites at the banks of the

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Samson et Dalila (1873)

ASO | 6.4/6 | program Red Sea, and urges them to maintain their uncover the secret, but Samson has misled her each time. Delilah vows that this time, faith.

Abimelech, the Satrap of Gaza, enters. He she will not fail.

A storm rapidly approaches. Samson, plagued by doubts, arrives. Delilah emerges from her dwelling and declares her love for Samson. Even though Samson’s resolve weakens, he refuses to divulge his secret. Finally, Delilah tells Samson that all is over between them, and enters her dwelling.

The High Priest of Dagon enters the square Samson rushes after her, as the violent storm from the Temple, and comes upon Abimel- erupts. ech’s body. A messenger informs the Priest The Philistine soldiers surround the dwellthat the rebels, led by Samson, are overtak- ing, and enter upon Delilah’s signal. Samson ing the Philistines. The High Priest vows to is taken by surprise and overcome. defeat Samson, but for now, joins the Philis- ACT III tines in escaping to the mountains.

The first scene takes place in the prison at As dawn breaks, the Hebrews return to Gaza. The Philistines have cut off Samson’s the square. The doors of the Temple open, hair and blinded him. Samson, now powerand Philistine maidens emerge, carrying less, grinds at the millstone. The Hebrews garlands. One of the maidens, Delilah, reproach Samson for deserting them for approaches Samson and hails him as a the love of a woman. Finally, the Philistines conquering hero. Samson is immediately drag Samson away. entranced by Delilah’s beauty. An elderly Hebrew urges the young hero to resist her The scene changes to the Temple of Dagon.

The Philistines celebrate their victory over charms.

Samson and the Hebrews with a wild BacThe Philistine maidens dance, as Delilah chanal. welcomes the arrival of spring. She invites Samson to join her that evening at her The High Priest and Delilah mock Samson, dwelling. Delilah reenters the Temple. Sam- who is led in by a child. As a thanksgiving ceremony takes place, Samson urges the son is transfixed by Delilah’s charms. young child to guide him to the pillars of ACT II the temple. Samson prays to God to restore Act II of Samson and Delilah takes place in his strength. With his final effort, Samson the valley of Sorek. As night approaches, overturns the pillars, destroying the Temple Delilah waits outside her dwelling for and everyone within it. “So the dead that he Samson’s arrival. Delilah invokes the slew at his death were more than they that powers of love to aid her. The High Priest he slew in his life.” arrives, and promises Delilah all the riches she desires in exchange for obtaining the secret of Samson’s extraordinary strength.

Delilah has attempted on three occasions to

ASO | 6.4/6| program

mocks the Hebrews and their God, who seems deaf to their cries. Samson again urges his people to revolt, but Abimelech draws his sword. Samson grabs the sword from Abimelech and kills him. The Philistine soldiers pursue Samson, but he fends them off, as the Hebrews make their escape.

52 Atlanta Symphony Orchestra | aso.org

See the

Fu t u r e

Juilliard Nan Melville

juilliard.edu/music

Conductor Alan Gilbert leads the Juilliard Orchestra in its annual Carnegie Hall appearance.

ASO | 6.4/6 | artists STUART SKELTON, tenor

STEPHANIE BLYTHE, Mezzo-soprano

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S

SIM CANETTY CLARKE

ASO | 6.4/6| artists

amed Male Singer of the Year at the 2014 International Opera Awards, Stuart Skelton is one of the finest heldentenors on the stage today, critically acclaimed for his outstanding musicianship, tonal beauty and intensely dramatic portrayals.

Mr. Skelton began the 2014-15 season with his debut in the title role of Otello at English National Opera in a new production directed

by David Alden and conducted by Edward Gardner. Symphonic highlights of his upcoming season include Rachmaninov’s The Bells with Edward Gardner and the BBC Symphony at the BBC Proms, The Dream of Gerontius with Peter Oundjian and the Toronto Symphony Orchestra, Das Lied von der Erde at the Zürich Opera, Beethoven’s Ninth Symphony with the Hamburg Philharmonic under Simone Young, the BBC Scottish Symphony under Donald Runnicles, and the Cleveland Orchestra under Franz Welser-Möst at the Blossom Music Festival, Beethoven’s Missa Solemnis under Philippe Jordan in Teatro alla Scala’s annual televised Christmas concert and with the Sydney Symphony Orchestra under David Robertson, Michael Tippett’s A Child of Our Time with the São Paulo Symphony Orchestra under Mark Wigglesworth, and his return to the Atlanta Symphony Orchestra as Samson in Samson et Dalila under Robert Spano.

This season Mr. Skelton will also make a major role debut, singing Tristan in Tristan und Isolde with the Sydney Symphony Orchestra under David Robertson.

Other highlights include concert performances of Florestan in Fidelio with the BBC Philharmonic under Juanjo Mena, and the title role in Peter Grimes with the Iceland Symphony Orchestra.

54 Atlanta Symphony Orchestra | aso.org

tephanie Blythe is considered to be one of the most highly respected artists of her generation. She has appeared with many of the most distinguished opera companies in the world, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, and the Paris Opera.

Her many roles include the title roles in Carmen, Samsom et Dalilah, La Grande Duchesse, Orfeo ed Euridice and Giulio Cesare; Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Fricka in both Das Rheingold and Die Walküre and Mistress Quickly in Falstaff.

An accomplished concert singer, she has appeared with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Philadelphia Orchestra, the MET Orchestra, the Halle Orchestra and the Concertgebouworkest. She has also appeared at the Tanglewood and Mostly Mozart festivals and at the BBC Proms. In recital, she has been presented by Carnegie Hall, Alice Tully Hall, the 92nd Street Y and Town Hall in New York, the Vocal Arts Society in Washington DC, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore and the Ravinia Festival.

Ms. Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda and the complete Ring Cycle. She also appeared in PBS’s Live From Lincoln Center broadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include

GREER GRIMSLEY, bass-baritone

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merican bass-baritone Greer Grimsley is internationally recognized as an outstanding singing actor and one of the most prominent Wagnerian singers of our day.

Continuing his reign as a leading interpreter of the god Wotan, he recently sang the eminent role for the Metropolitan Opera’s Ring Cycle in Robert Lepage’s landmark production in the spring of 2013, directly followed by Stephen Wadsworth’s production for Seattle Opera, his 3rd complete Cycle for the company in the last decade. The Huffington Post exclaimed: “Grimsley commanded the stage in Das Rheingold and Die Walkure with his wide-ranging and handsome voice, and equally so in Siegfried. He was fresh and powerful in all that he did. He sings…well… like a God... The world has waited for a very long time for a Wotan who can sing without barking or rasping, and he has arrived.”

Having performed the role of John the Baptist in Salome with San Francisco Opera, San Diego Opera, Santa Fe Opera and Vancouver Opera, Greer is excited to be making his Dallas Opera debut this season with Deborah Voigt in the title role. The San Francisco Chronicle exclaimed: “Bass-baritone Greer Grimsley was a thunder-

NATHAN STARK, bass

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raised by the Washington Post as having a voice of “unearthly power,” Nathan Stark from Hughson, CA, has performed on operatic, concert and recital stages throughout the US, Europe and China.

His 2014-15 season currently includes Mustafa in L’italiana in Algeri with Opera San José, Monterone in Rigoletto with Atlanta Opera, Sparafucile in Rigoletto in a return to Opera in the Heights, Sulpice in La Fille du Regiment with Mills City Summer Opera, bass soloist in Beethoven’s Symphony No. 9 and Choral Fantasy with the Canton Symphony Orchestra, Beethoven’s Symphony No. 9 with the Valdosta Symphony Orchestra, special guest bass soloist for Elijah with the University of North Dakota, bass soloist for the Verdi Requiem with The Defiant Requiem Foundation and singing in recital at El Camino College in Torrance, CA. His 2013-14 season engagements included his debut on the Metropolitan Opera stage as the One-Armed

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This season, Ms. Blythe’s many engagements have included her returns to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele and Carnegie Hall for a recital in Stern Auditorium.

ous and dramatically compelling Jokanaan.

Grimsley invested the part with rhetorical strength and an air of moral solidity - the perfect antithesis to Salome’s eroticized jitters.” Other engagements this season include Jack Rance in La fanciulla del West with Minnesota Opera, a return to Seattle Opera as Scarpia in Tosca, and his long awaited debut as the sadistically demonic barber, Sweeney Todd for Vancouver Opera. Future seasons through 2017 will include returns to the Metropolitan Opera, New National Theatre Tokyo, Gran Teatre del Liceu, San Francisco Opera, Seattle Opera, San Diego Opera, as well as a debut with the Ravinia Festival.

PAUL SIROUCHMAN

her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

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ASO | 6.4/6| artists

Man in Strauss’ Die Frau ohne Schatten; First Nazarene in Richard Strauss’ Salome with the Boston Symphony Orchestra; the world premieres of Myers’ Buried Alive and Soluri’s Embedded with Fargo-Moorhead Opera’s Poe Project; his return to Madison Opera as Sulpice in La fille du regiment; bass soloist with Dayton Philharmonic Orchestra in Beethoven’s Symphony No. 9; featured soloist with the Madison Symphony Orchestra in A Madison Symphony Christmas; Zuniga in Carmen and Sylvano in Cavalli’s La Calisto, both with Cincinnati Opera; and bass soloists in Verdi’s Requiem with the Defiant Requiem Foundation at Strathmore and at the University of New Mexico, under Murry Sidlin.

He holds degrees in opera performance from California State University, Long Beach (B.M. & M.M.) and the University of Cincinnati College-Conservatory of Music (A.D.) His voice teachers have included Dr. Lewis Woodward, Dr. Cherrie Llewellyn, Ms. Shigemi Matsumoto and Mr. Kenneth Shaw.

TIMOTHY J. BRUNO, bass

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ailed as ‘impressive’ by Opera News and ‘a vocal triumph’ by KDHX, St. Louis, young bass Timothy J. Bruno has quickly become a sought after performer in the United States. This season he makes a return to Wagner as Der Wanderer in Queen City Chamber Opera’s Siegfried, as well as starring as Osmin in their Die Entfürung aus dem Serail. Also in Cincinnati, Bruno will have the rare opportunity to workshop the role of The Governor as a guest artist in Daniel Catán’s final opera, Meet John Doe, with Opera Fusion: New Works, a collaboration between Cincinnati Opera and 56 Atlanta Symphony Orchestra | aso.org

the Cincinnati College-Conservatory of Music.

This is followed by returns to Toledo Opera as Elder Ott in Susannah, Opera Columbus as Dr. Bartolo in their The Marriage of Figaro, and performing Kromov in The Merry Widow in a return to Michigan Opera Theater next to opera superstar, Deborah Voigt, as Hana.

Mr. Bruno makes his debut with Atlanta Symphony as Abimelech in Samson et Dalila.

He also has the pleasure of participating in Wolf Trap Opera’s prestigious Filene Young Artist program, where he will be singing Louis XVI in John Corigliano’s The Ghosts of Versailles, and will join Washington National Opera as a Domingo-Cafritz Young Artist in the 2015-16 season.

Bruno is a recent alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music, where he studied with William McGraw and the Bachelor of Music program at Bowling Green State University. He currently is a student of AVA’s William Stone.

GRANT KNOX, tenor

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rant Knox is enjoying a varied career in opera, musical theater, concert and recital. He has appeared with the Atlanta Opera, Syracuse Opera, Chautauqua Opera, Ohio Light Opera, Lyric Opera Atlanta, Treasure Coast Opera, Tri-Cities Opera and most recently with Maestro Lorin Maazel’s Castleton Opera Festival.

Mr. Knox has been hailed as a “sweet toned lyric tenor” (Washington Post) and as “a winning tenor, suave and comfortable as comedian or romantic lead” (Cleveland Plain Dealer). Equally at home in concert repertoire, Mr. Knox has been engaged by the Atlanta Symphony Orchestra, Illinois Philharmonic,

As a recording artist he can be heard on the complete cast recordings of Gilbert and Sullivan’s The Sorcerer and The Grand Duke, Offenbach’s Les Brigands, and Romberg’s Maytime, all released on the Albany Records Label. Mr. Knox received his bachelor’s and master’s degrees from The Eastman School of Music in Rochester, NY, and is currently working towards his doctorate at Northwestern University’s Bienen School of Music.

BRADLEY HOWARD, tenor

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ith a career spanning the classical and modern choral works, solo recitals and operatic roles, Bradley Howard has developed a repertoire of some of opera’s most classic roles, including Mozart’s Tamino in The Magic Flute and Ferrando in Cosi fan tutte, Puccini’s Rodolfo in La bohème, Leoncavallo’s Beppe in I Pagliacci, Rossini’s Count Almaviva in The Barber of Seville, Britten’s Peter Quint in The Turn of the Screw, and the title roles of Albert Herring and Candide.

Bradley’s concert engagements include Beethoven’s 9th Symphony, Andrew Lloyd Webber’s Requiem, Weill’s Seven Deadly Sins, Mozart’s Requiem, Haydn’s Creation, Mendelssohn’s Lobgesang, Handel’s Messiah and Saul, Bach’s St. John Passion and B minor Mass.

In 2010-11, Mr. Howard’s solo recitals will be heard across the U.S. in such places as Whitman College, Emory University, Ohio State University and New York City.

Bradley serves as Director of Vocal Studies at Emory University, and teaches privately in Atlanta, Georgia.

STEPHEN OZCOMERT, bass-baritone

Bass-baritone Stephen Ozcomert is a regular performer in Atlanta. He has performed frequently as a soloist with the Atlanta Symphony Orchestra, including the role of Figaro in a performance of the Act II Finale in 2004 from Mozart’s Marriage of Figaro under Robert Spano’s direction and was the soloist for a 2006 master season performance of Bach’s Magnificat, also under Maestro Spano. Other Atlanta Symphony performances include several July 4 Holiday Concerts under the direction of Jere Flint, assisting soloist in 2007 under the direction of Donald Runnicles, in excerpts from Strauss’s Der Rosenkavalier, the narrator in Copland’s Lincoln Portrait under Alexander Mickelthwaite, soloist in The Lord of the Rings Symphony under Howard Shore, an assisting soloist Sergeant for 2007 performances and Telarc Digital recording of Puccini’s La bohème under Robert Spano, and also the role of a Japanese Envoy in the 2009 Atlanta Symphony performances of Stravinsky’s Nightingale at Atlanta Symphony Hall, as well as at Carnegie Hall. Mr. Ozcomert was an assisting soloist under Robert Shaw for the 1996 performances of Bach’s St. Matthew Passion, both in Atlanta and at Carnegie Hall and has served as soloist in performances of the Atlanta Symphony Orchestra Chorus and Chamber Chorus on several other occasions under Norman Mackenzie, Yoel Levi and others.

Mr. Ozcomert currently serves as a staff soloist at the Glenn Memorial United Methodist Church and frequently appears as soloist

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Cobb Symphony, Binghamton Philharmonic and in recital at the Kennedy Center for the Performing Arts. Recent engagements include the tenor solos in Liszt’s A Faust Symphony under the baton of Victor Yampolsky at the Pritzker Pavilion in Chicago’s Millennium Park.

ASO | 6.4/6 | artists with the Meridian Chorale conducted by Steven Darsey and with the Emory University Orchestra and Chorus under Eric Nelson and Richard Prior.

NORMAN MACKENZIE, Director of Choruses

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JD SCOTT

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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 ASO, 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 annually. Mr. Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church and pursues an active recital and guest conducting schedule.

Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Mr. Shaw, he was keyboardist for the Atlanta Symphony Orchestra, Principal Accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Mr. Shaw’s passing and partnered with Robert Spano for the 2011 Carnegie Hall Workshop featuring the Berlioz Requiem.

58 Atlanta Symphony Orchestra | aso.org

ATLANTA SYMPHONY ORCHESTRA CHORUS

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he Atlanta Symphony Orchestra Chorus (ASOC) was founded in 1970 by former ASO Music Director Robert Shaw. Comprising 200 auditioned voices, the Chorus is an allvolunteer organization that performs on a regular basis with the ASO and is featured on many of the Orchestra’s recordings.

Led by ASO Director of Choruses Norman Mackenzie, the Chorus is known for its precision and expressive singing quality.

Their recordings with the ASO 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 ASOC performs large choral-symphonic works with the full Orchestra under the batons of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles.

In addition, the Chorus has been involved in the creation and shaping of numerous worldpremiere commissioned choral works.

The Chorus made its debut at New York’s Carnegie Hall in 1976 with a performance of Beethoven’s Symphony No. 9. In addition, the Chorus performed in Washington, D.C., for President-elect Jimmy Carter’s Inaugural Concert 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 ASO Principal Guest Conductor Donald Runnicles.

SCHOLARSHIP OPPORTUNITIES at the

SCHWOB SCHOOL OF MUSIC COLUMBUS STATE UNIVERSITY

Over $800,000 in music scholarships annually CSU Honors Scholarships; priority application deadline January 15 Woodruff Award Competition for entering undergraduate students; winners receive full tuition, room and board, plus a $5,000 stipend. Video applications due March 1 Graduate Assistantships available for Master’s degree and Artist Diploma students

www.ColumbusState.edu/Music 4225 University Avenue, Columbus, GA 31907 | 706-649-7225 | schwobmusic@ColumbusState.edu

ASO | 6.4/6 | artists Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

ASO | 6.4/6| artists

SOPRANO 1 Ariel Barnes Rachel Bloemer Sakinah Davis Liz Dean Laura Foster Meg Granum Michelle Griffin Arietha Lockhart** Alexis Lundy Mindy Margolis Patricia Nealon* Joneen Padgett Catherine Steen-Lykins Stacey Tanner Brianne Turgeon SOPRANO 2 June Abbott** Kelly Campobasso Ellen Chase Martha Craft Ellen Dukes** Katherine Folds Mary Goodwin Kathleen Kelly-George Eda Mathews** Rachel O’Dell Lindsay Patten Chantae Pittman Donna Ross Sydney Smith-Rikard Paula Snelling* Emily Tallant Cheryl Thrash** Donna Weeks*

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

ALTO 1 Rachel Bowman Meagan Bradford Laurie Cronin Pamela Drummond* Beth Freeman Pamela Griffin* Noelle Hooge Beverly Hueter Janet Johnson* Virginia Little* Staria Lovelady Frances McDowell** Linda Morgan** Dominique PetiteChabukswar Meesook Sonu ALTO 2 Michelle Austin Stephanie Bizardi Marcia Chandler* Meaghan Curry Cynthia Goeltz DeBold** Sally Kann Nicole Khoury* Brenda Pruitt** Sharon Simons Alexandra Tanico Cheryl Vanture Sarah Ward June Webb Kiki Wilson** Diane Woodard**

TENOR 1 Jeffrey Baxter** Joseph Cortes Clifford Edge** Steven Farrow** Wayne Gammon Leif Gilbert-Hansen James Jarrell Jeffrey LeCraw Clinton Miller Christopher Patton Nathan Schreer TENOR 2 Mark Barnes Curtis Bisges Justin Cornelius Charles Cottingham# Phillip Crumbly* Hamilton Fong Keith Jeffords* Steven Johnstone* David Lamb Jonathan Marvel Michael Parker Marshall Peterson * Brent Runnels Clifton Russell Caleb Waters Robert Wilkins Mark Zekoff BASS 1 Michael Arens* Richard Brock* Russell Cason*

Peter Marshall, Accompanist Steven Darst* Leroy Fetters Nick Jones# Jameson Linville Jason Maynard John Newsome Andrew Riechel Kendric Smith# Owen Talley Ike Van Meter Aaron Villalobos Edgie Wallace Edward Watkins** BASS 2 Brian Brown* John Cooledge# Joel Craft** Andrew Gee* Marcus Hill Philip Jones Eric Litsey** Evan Mauk Eckhart Richter* John Ruff* Jonathan Smith Timothy Solomon** Benjamin Temko Seth Whitecotton Gregory Whitmire* Keith Wyatt* * 20+ years of service ** 30+ years of service †Charter member (1970)

Audition for the Atlanta Symphony Orchestra Chorus Audition Dates: August 23-24, 2015 FOR INFORMATION, VISIT www.asochorus.org or CALL 404.733.4876

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ASO | 6.5 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

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

Concert of Friday, June 5, 2015, at 6:30pm.

Robert Spano, Conductor CAMILLE SAINT-SAËNS (1835-1921)

“Bacchanale”, from Samson et Dalila (1873) 8 MIN NIKOLAI RIMSKY-KORSAKOV (1844-1908) Scheherazade, Opus 35 (1888)

ASO | 6.5| program

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.

48 MIN

I. The Sea and Sinbad’s Ship II. The Story of the Kalendar Prince III. The Young Prince and the Young Princess IV. The Festival of Baghdad—The Sea—The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior—Fest in Baghdad

This concert is performed without intermission.

KEN MELTZER, ASO 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: kenmeltzer.com.

To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

62 Atlanta Symphony Orchestra | aso.org

Notes on the Program by Ken Meltzer at the Théâtre des Arts, in Rouen. Within a years of its French premiere, Samson et CAMILLE SAINT-SAËNS was born in Dalila established itself as a mainstay of Paris, France, on October 9, 1835, and the French repertoire, a status it holds to died in Algiers, Algeria, on December 16, this day.

“Bacchanale”, from Samson et Dalila (1873)

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uring his long, productive, and highly influential career, Camille Saint-Saëns composed successfully in a wide variety of genres. His catalogue includes a dozen operas; but only one, Samson et Dalila, has maintained a regular place in the repertoire. In the late 1860s, Saint-Saëns became interested in the ill-fated affair of Samson and Delilah as the basis for an oratorio. Ferdinand Lemaire, who authored the work’s libretto, convinced Saint-Saëns instead to use the same episode from the Book of Judges to create a fully-staged opera.

Saint-Saëns began work on Samson et Dalila with the opera’s second act, which includes the great confrontation between the work’s title characters. But with little prospect for a performance, Saint-Saëns put the opera aside. It was at the encouragement of Franz Liszt, who promised to premiere the opera at the Court Theater in Weimar, that SaintSaëns returned to Samson and Delilah.

The Franco-Prussian War delayed matters further. But finally, on December 2, 1877, Samson et Dalila premiered in Weimar. The first staging in France of Samson et Dalila did not take place until March 3, 1890,

Some excerpts from the opera enjoy an independent life in the concert hall, including Delilah’s second-act aria, “Mon coeur s’ouvre à ta voix” (“My heart opens at your voice”). The third-act’s wild orchestral Bacchanale is also a perennial favorite. Seduced by Delilah, Samson has been captured and blinded. The Philistines celebrate in the Temple of Dagon, oblivious to their impending destruction at the hands of Samson.

Scheherazade, Opus 35 (1888) NIKOLAI RIMSKY-KORSAKOV was born in Tikhvin, Russia, on March 18, 1844, and died in Lyubensk, Russia, on June 21, 1908.

The first performance of Scheherazade took place in St. Petersburg, Russia, on November 3, 1888, with the composer conducting. Scheherazade is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, suspended cymbals, snare drum, triangle, tambourine, tam-tam, harp and strings.

ASO Recording: Robert Spano, Conductor, Telarc CD: 80568

T

he fantastic collection of tales known as The Arabian Nights, or A Thousand and One Nights, has captivated readers for centuries. The ancient stories, mostly of Arabic, Indian or Persian origin, were first presented to European readers in an early 18th-century French translation by Antoine Galland. In the late 19th century, British explorer Sir Richard Burton created a popular English-language version. To this

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1921. The first performance of Samson et Dalila took place at the Hoftheater in Weimar, Germany, on December 2, 1877.

The Bacchanale is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, castanets, triangle, bass drum, cymbals, two harps, and strings.

ASO | 6.5 | program

ASO | 6.5| program

to him, citing the verses of poets and day, such tales as “The History of Aladdin, the words of songs, weaving tale into or the Wonderful Lamp,” “The History of tale and story into story.

Sinbad the Sailor,” and “The History of Ali Baba and the Forty Thieves,” continue to I. The Sea and Sinbad’s Ship—The movement weave their magical spell. opens with a menacing fortissimo orchestral Russian composer Nikolai Rimsky- pronouncement, perhaps representing, at Korsakov created his Scheherazade, least in this passage, the Sultan Schahriar. A Symphonic Suite after “A Thousand and series of pianissimo woodwind chords leads One Nights,” in the summer of 1888. to the delicate entrance of the solo violin, During that same period, Rimsky-Korsakov representing throughout the work the voice also completed his brilliant Russian Easter of Scheherazade, who begins her first tale.

Overture, Opus 36.

The principal section of the opening Rimsky-Korsakov was a master of the art of instrumentation. His Principles of Orchestration (1896-1908) remains one of the most important texts on that subject.

In speaking of Scheherazade, as well as his Capriccio Espagnol, Opus 34 (1887) and Russian Easter Overture, the composer proudly acknowledged, “my orchestration had achieved a considerable degree of virtuosity and bright sonority.” To this, one must also acknowledge Rimsky-Korsakov’s unfailing sense of dramatic contrast and impressive melodic gifts—factors that have assured the continued affection for Scheherazade by musicians and audiences alike.

As a preface to his score, Rimsky-Korsakov provided the following program for Scheherazade: The Sultan Schahriar, convinced of the perfidy and faithlessness of women, vowed to execute each of his wives after the first night. But the Sultana Scheherazade saved her own life by interesting him in the tales she told him through 1001 nights. Impelled by curiosity, the Sultan continually put off her execution, and at last entirely abandoned his sanguinary resolve.

Many marvels did Scheherazade relate 64 Atlanta Symphony Orchestra | aso.org

movement features variants of the opening motif and Scheherazade’s music.

Throughout, an accompanying undulating string figure evokes the motion of the sea, upon which Sinbad’s ship travels. The movement proceeds to a series of grandiose climaxes, but finally resolves to a whisper.

II. The Story of the Kalendar Prince— Scheherazade’s music returns as the introduction to the second movement, which concerns a Kalendar, or beggar Prince (several Kalendar Princes are mentioned in The Arabian Nights).

The bassoon plays a seductive melody, marked dolce ed espressivo. The oboe incorporates the melody, later played by the violins and woodwinds. A reprise of the oboe solo leads to a contrasting, agitated sequence. Toward the close, there is a magical reverie featuring muted strings, harp and various solo instruments. The movement concludes with a thunderous outburst.

III. The Young Prince and the Young Princess—The violins offer the initial statement of the slow movement’s graceful principal melody. Rapid ascending and descending woodwind scales punctuate various presentations of the melody.

After a jaunty, delicately scored interlude,

Scheherazade (solo violin) returns. A reprise of music from the Andantino leads to a dolce resolution.

ASO | 6.5| program

IV. The Festival of Baghdad—The Sea— The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior—Fest in Baghdad—Furious statements of the opening “Sultan” motif, alternating with Scheherazade’s music, serve as a prelude to the central portion of the finale. A solo flute introduces the sprightly principal melody.

A whirlwind of activity ensues, growing ever more ominous. At the climax, there is a massive reprise of the “Sinbad” music.

Finally, the mood calms, and the solo violin brings Scheherazade’s narrative to a magical conclusion.

encoreatlanta.com | Atlanta’s Performing Arts Publication 65

ASO | support

T

he Orchestra’s donor list includes 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+

Friends of the Orchestra (2) Mrs. Anne Cox Chambers Delta Air Lines The Andrew W. Mellon Foundation The Woodruff Arts Center

$250,000+

A Friend of the Orchestra The Coca-Cola Company Invesco Mrs. Charles A. Smithgall Jr. Ticketmaster UPS

$100,000+

A Friend of the Orchestra Madeline & Howell E. Adams Jr. Bank of America Carl Black Buick GMC Ms. Lynn Eden First Data Corporation GE Asset Management Global Payments Inc. Abraham J. & Phyllis Katz Foundation Turner Broadcasting System Inc. Wells Fargo

$75,000+

Accenture LLP Anheuser-Busch Companies Inc. The Livingston Foundation Inc. Susan & Thomas Wardell

$50,000+

A Friend of the Orchestra AGL Resources Inc. Susan & Richard Anderson The Arthur M. Blank Family Foundation Celebrity Cruises Marcia & John Donnell Equifax Inc. Georgia Power Company William Randolph Hearst Foundations Victoria & Howard Palefsky Philips The Reiman Foundation Superior Plumbing Services Inc. Mr. & Mrs. John B. White Jr.* The Zeist Foundation Inc.

$35,000+

Mary Rockett Brock Georgia Natural Gas Karole & John Lloyd National Endowment for the Arts Porsche Cars North America Sutherland Asbill & Brennan LLP

$25,000+

Alston & Bird LLP Atlanta Homes & Lifestyles Mercedes T. Bass Charitable Corporation Mr. & Mrs. Paul J. Blackney Brown-Forman Beverages Worldwide Connie & Merrell Calhoun Mr. & Mrs. Bradley Currey Jr. Catherine Warren Dukehart Roger F. Kahn

Betty Sands Fuller Fulton County Arts Council Paul & Carol Garcia Ann & Gordon Getty Foundation The Home Depot Inc. D. Kirk Jamieson, Verizon Wireless Jones Lang LaSalle Inc. The J. W. Fund Kimberly-Clark Corporation Lucy R. & Gary Lee Jr. Lockheed Martin Aeronautics Company The Charles Loridans Foundation Inc. Massey Charitable Trust Mueller Water Products Inc. Terence L. & Jeanne P. Neal* Newell Rubbermaid PricewaterhouseCoopers LLP Publix Super Markets and Publix Super Markets Charities Inc. Patty & Doug Reid Rock-Tenn Company Ryder Systems Inc. Mr. & Mrs. Robert K. Steel Steinway Piano Galleries SunTrust Bank Trusteed Foundation — Walter H. & Marjory M. Rich Memorial Fund The Mark & Evelyn Trammell Foundation Vineyard Brands Inc. Adair & Dick White Mrs. Sue S. Williams The Vasser Woolley Foundation Inc.

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

66 Atlanta Symphony Orchestra | aso.org

ASO | support $17,500+

The Antinori Foundation Kelley O. & Neil H. Berman Wright & Alison Caughman Chick-fil-A Foundation City of Atlanta Office of Cultural Affairs Dr. John W. Cooledge The Jim Cox Jr. Foundation The Estate of Roy A. Dorsey E. & J. Gallo Winery Carol G. & Larry L. Gellerstedt III Georgia Council for the Arts Jane & Clay Jackson Edward A. Labry Suzanne & Bill Plybon* Printpack Inc. and The Gay & Erskine Love Foundation RaceTrac Petroleum Inc. Stanley & Shannon Romanstein Triska Drake & G. Kimbrough Taylor Jr. Mark & Rebekah Wasserman

$15,000+

Mr. & Mrs. Frank H. Boykin Janine Brown & Alex J. Simmons Jr. John W. & Rosemary K. Brown The Capital Group Companies Charitable Foundation Gary & Nancy Fayard Genuine Parts Company Georgia Humanities Council Charles & Mary Ginden The Graves Foundation James H. Landon Donna Lee & Howard Ehni Ken & Carolyn Meltzer Mr. & Mrs. Michael J. Merlin Nordstrom Inc. Mr. & Mrs. E. Fay Pearce Jr.* The Piedmont National Family Foundation Mr. Thurmond Smithgall Jeffrey C. Sprecher & Kelly Loeffler Alison M. & Joseph M. Thompson The Trapp Family John & Ray Uttenhove Patrick & Susie Viguerie Mr. & Mrs. Edus H. Warren Jr. Camille Yow

$10,000+

A Friend of the Orchestra AGCO Corporation Alpharetta Convention & Visitors’ Bureau ARSC Bacardi USA Julie & Jim Balloun Ms. Juanita Baranco Bell Family Foundation Liz & Frank Blake Alexandra & Brett Blumencranz Mr. David Boatwright The Breman Foundation Inc. The Walter & Frances Bunzl Foundation Camarena Tequila Mr. & Mrs. Michael H. Campbell Janet Davenport in honor of Norman Mackenzie Cari K. Dawson & John M. Sparrow Eleanor & Charles Edmondson EY Ms. Nancy Field & Mr. Michael Schulder Mary D. Gellerstedt Georgia Lottery GMT Capital Corporation Nancy D. Gould Drs. Jeannette Guarner & Carlos del Rio Jan & Tom Hough Roger & Lynn Hudgins JBS Foundation Ann A. & Ben F. Johnson III* The Philip I. Kent Foundation Mr. & Mrs. Donald R. Keough King & Spalding Amy & Mark Kistulinec Pat & Nolan Leake John & Linda Matthews Anne Morgan & Jim Kelley Morgens West Foundation Caroline & Joe di Donato O’Donnell Franca G. Oreffice The Sally & Peter Parsonson Foundation Mr. & Mrs. Solon P. Patterson* Dr. & Mrs. Mark P. Pentecost Jr. Priority Payment Systems Margaret & Bob Reiser

Pierrette Scanavino Bill & Rachel Schultz* Joyce & Henry Schwob Mr. John A. Sibley III Staging Directions Inc. Mary Rose Taylor Carol & Ramon Tomé Family Fund* Traditional Home Turner Foundation Inc. United Distributors Inc. Chilton & Morgan Varner Neal & Virginia Williams YP

$7,500+

Friends of the Orchestra (2) Peggy Abbott ADAC Boxwoods Gardens & Gifts Inc. Mr. & Mrs. Ronald M. Cofield Sally & Carl Gable The Fred & Sue McGehee Family Charitable Fund Tito’s Handmade Vodka Pamela Weck Cohen Ms. Sarah Weck Mr. Thomas Weck

$5,000+

Friends of the Orchestra (4) Ms. Kay Adams* & Mr. Ralph Paulk Aadu & Kristi Allpere* Ms. Julie M. Altenbach Lisa & Joe Bankoff Blackwell Rum Patricia & William Buss Coca-Cola Enterprises Inc. Susan & Carl Cofer The Community Foundation for Greater Atlanta David Coucheron Ms. Diane Durgin David L. Forbes Charitable Fund Shirley C. Franklin Georgia-Pacific Foundation Mr. & Mrs. Richard Goodsell Dominic Guercio & Robert Rigsby The Robert Hall Gunn Jr. Fund Gene Haywood Mr. & Mrs. Douglas J. Hertz Tad & Janin Hutcheson Roya & Bahman Irvani

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

68 Atlanta Symphony Orchestra | aso.org

WINNER OF FOUR 2010 TONY AWARDS, INCLUDING BEST MUSICAL!

Book & Lyrics by

JOE DIPIETRO

Music & Lyrics by

DAVID BRYAN

Based on a Concept by

GEORGE W. GEORGE

Direction by

TOM KEY

Musical Direction by

ANN-CAROL PENCE Choreography by

WAVERLY LUCAS

A CO-PRODUCTION BETWEEN

July 23–August 30, 2015 (678) 226-6222 or www.auroratheatre.com

September 10–20, 2015 at The Rialto (678) 528-1500 or www.TheatricalOutfit.org

ASO | support Mr. & Mrs. Baxter Jones Paul & Rosthema Kastin Donald S. Orr & Marcia K. Knight Lance Toland Associates George H. Lanier The Sartain Lanier Family Foundation Lillian Balentine Law The Links Inc. — Azalea City Chapter Dr. & Mrs. John E. Maupin Mr. & Mrs. Brian F. McCarthy Mr. Justin R. McLain Miller’s Ale House John F. & Marilyn M. McMullan Walter W. Mitchell Moe’s Southwest Grill Ms. Suzanne E. Mott Dansby Margaret H. Petersen In memory of Dr. Frank S. Pittman III Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel Betsy & Lee Robinson Donald Runnicles Beverly & Milton Shlapak Amy & Paul Snyder Peter James Stelling Geraldine Dillard Stutz Sherry P. Taylor, MD Verifone Village Tavern Joan N. Whitcomb Dr. Thomas E. Whitesides Jr. Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner Zeliff & Wallace Advisory Company Inc.

$3,500+

A Friend of the Orchestra ACI Worldwide Mr. & Mrs. Stephen D. Ambo Atlanta Falcons Youth Foundation Inc. Bahama Breeze Jack & Helga Beam Rita & Herschel Bloom Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown Jr. Capgemini Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* Mr. & Mrs. Brant Davis* Sally & Larry Davis Mr. & Mrs. Andrew J. Delany Deloitte & Touche LLP Mr. & Mrs. Bruce Dragt The Elster Foundation David & Patty Emerson Dr. & Mrs. Carl D. Fackler Caroline Gilham Deedee & Marc Hamburger* Sally W. Hawkins Mr. Sean Heckert The Hellen Ingram Plummer Charitable Foundation Inc. Robert & Sherry Johnson Dick & Georgia Kimball* Dr. & Mrs. James T. Laney* Deborah & William Liss* Dr. & Mrs. James T. Lowman Belinda & Gino Massafra Mr. & Mrs. Albert S. McGhee Gregory & Judy Moore Morris, Manning & Martin Mr. & Mrs. Scott Nathan Robert & Mary Ann Olive David Paule & Gary Mann Provaré Technology Inc. S. A. Robinson

Mr. & Mrs. George P. Rodrigue Russell Reynolds Associates In memory of Willard Shull Hamilton & Mason Smith Barry & Gail Spurlock Mrs. C. Preston Stephens Stephen & Sonia Swartz The Elster Foundation Lizanne Thomas & David Black Burton Trimble TSYS UNISYS Alan & Marcia Watt* Dr. & Mrs. James O. Wells Jr. Patrice M. Wright- Lewis H. & T. Yamashita*

$2,000+

Friends of the Orchestra (7) Phyllis Abramson Dr. Evelyn R. Babey Dr. & Mrs. David Bakken Asad Bashey Mr. & Mrs. R. Edwin Bennett B. Sandford Birdsey III Ms. Laura J. Bjorkholm & Mr. John C. Reece II Leon & Linda Borchers Edith H. & James E. Bostic, Jr., Family Foundation Dr. & Mrs. Anton J. Bueschen Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Russell E. Butner Charles Campbell & Ann Grovenstein-Campbell Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Chuck Carlin Susan & Carl Cofer Ralph & Rita Connell Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Thomas G. Cousins Peter & Vivian de Kok Mr. Philip A. Delanty

Xavier Duralde & Mary Barrett Greg & Debra Durden Cree & Frazer Durrett Ms. Betty W. Dykes & Mr. Lars Steib Dr. Francine D. Dykes & Mr. Richard H. Delay Mary Frances Early Christopher & Sonnet Edmonds George T. & Alecia H. Ethridge Ellen & Howard Feinsand Mach Flinn John & Michelle Fuller Ed & Judy Garland Peg Simms Gary Drs. John & Gloria S. Gaston Dr. Mary G. George & Mr. Kenneth Molinelli Michael Gillen Marty & John Gillin Mary C. Gramling Dr. & Mrs. Alexander Gross Rand & Seth Hagen Betty L. Hammack & Charles Meredith M.D. Dr. Lewis H. Hamner III Hansberger & Merlin Harald R. Hansen* John & Martha Head Mr. & Mrs. John E. Hellriegel Virginia Hepner & Malcolm Barnes Kenneth R. Hey Mr. Harvey & Dr. Sarah Hill* Alan & Lucy Hinman Harry & Tatty Howard Stephanie & Henry Howell In memory of Byron P. Harris Richard & Linda Hubert Dr. & Mrs. James M. Hund JoAnn Hall Hunsinger Mr. John Hunter The Hyman Foundation Ms. Bettina A. Jackson Cantador Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson

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

70 Atlanta Symphony Orchestra | aso.org

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encoreatlanta.com | Atlanta’s Performing Arts Publication 71

ASO | support Mr. W. F. & Dr. Janice Johnston Mr. & Mrs. William K. Kapp Jr. Mr. & Mrs. L. Michael Kelly Mark B. Kent & Kevin A. Daft Paul & Camille Kesler Kinetix LLC Ms. Allyson Kirkpatrick Mr. & Mrs. Alan M. Knieter Mr. & Mrs. John E. Kranjc Dr. & Mrs. Scott I. Lampert Isabel Lamy Lee Olivia A. M. Leon J. Bancroft Lesesne & Randolph Henning Mrs. William C. Lester* Dr. Fulton D. Lewis III & Mr. Neal Rhoney Mr. & Mrs. J. David Lifsey Lime Media Group Inc. Joanne Lincoln Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Kay & John Marshall Martha & Reynolds McClatchey

Mrs. Mary Ruth McDonald* Mr. Mark F. McElreath Ms. Shelley S. McGehee Dr. Larry McIntire McMaster-Carr Supply Company Birgit & David McQueen Virginia K. McTague Tom & Jennifer Merkling Angela & Jimmy Mitchell Lilot S. Moorman & Jeffrey B. Bradley The Mortimer Family* Janice & Tom Munsterman Mr. & Mrs. Michael J. Murphy Dr. & Mrs. R. Daniel Nable Lebby Neal Melanie & Allan Nelkin Peggy & Gary Noble Barbara & Sanford Orkin Peach State Freightliner Trucks Mr. & Mrs. Andreas Penninger Susan Perdew Leslie & Skip Petter Elise T. Phillips Doris D. Pidgeon in memory of Rezin E. Pidgeon Jr. Mary Kay & Gene Poland The Reverend Neal P. Ponder Jr.

Mr. & Mrs. Thomas J. Quigley Mr. Leonard B. Reed Dr. & Mrs. W. Harrison Reeves Sr. Ricoh Roger & Lynn Lieberman Ritvo Betsy & Lee Robinson Mr. & Mrs. Richard L. Rodgers The Gary W. Rollins Foundation John T. Ruff Jane & Rein Saral Dr. & Mrs. Robert M. Schultz June & John Scott Patrick & Donna Scullin Mr. & Mrs. Samuel R. Shapiro Angela & Morton Sherzer W. Henry Shuford & Nancy Shuford Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Mrs. J. Lucian Smith* Johannah Smith Mr. & Mrs. Raymond F. Stainback, Jr. Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Lou & Dick Stormont

Mr. & Mrs. Edward W. Stroetz Jr. The Reverend Karl F. Suhr Mr. & Mrs. Alex Summers David & Kelly Taylor Mr. & Mrs. George B. Taylor Jr. Mr. & Mrs. Mark Taylor Kimberly S. Tribble & Mark S. Lange Mr. Wit Truitt Annie-York Trujillo & Raul Trujillo Sheila L. Tschinkel Bill & Judy Vogel Mr. & Mrs. William C. Voss Drs. Jonne & Paul Walter The Reverend & Mrs. Donald Welles Jr. David & Martha West Sally Stephens Westmoreland Hubert H. Whitlow Jr. Mrs. Frank L. Wilson, Jr. Mary Lou Wolff Jan & Beattie Wood in memory of Bill Lester and in honor of Rhonda Respess Dr. & Mrs. William Yang Mr. & Mrs. John C. Yates

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

72 Atlanta Symphony Orchestra | aso.org

emoryhealthcare.org/voicecenter 288

Dive in.

Just blocks from WooDruff Arts center At 1106 crescent Avenue 404.817.3650 | lure-atlanta.com | @lureAtl | facebook.com/lureatlanta

PRESENT YOUR TICKET STUB FOR 10% OFF YOUR MEAL! encoreatlanta.com | Atlanta’s Performing Arts Publication 73

ASO | support Henry Sopkin Circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Anonymous (20) 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 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 J. Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth Etoll Brien P. Faucett

Dr. Emile T. Fischer 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 Ms. Jeannie Hearn Barbara & John Henigbaum Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.** & Mrs. Fred A. Hoyt, Jr. Jim & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. James H. Landon Ouida Hayes Lanier

Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. 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. The 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** Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV 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.** and Mrs. Charles R. Yates

You can leave a legacy of music.

Call Jessica Langlois, Director of Development for more information.

404.733.2864 **Deceased

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2014-2015 ASA Board of Directors Camille Kesler President Sylvia Davidson Immediate Past President Leslie Petter Advisor Belinda Massafra Secretary & Nominating Chair

Marie Hannon Treasurer Bunny Davidson Membership VP Pat King Education VP Glee Lamb Fundraising VP

74 Atlanta Symphony Orchestra | aso.org

Celeste Pendarvis Marketing VP Wadette Bradford & Jonathan Brown Bravo Unit Chairs Martha Head & John Head Concerto Unit Chairs

Joan Abernathy Encore Unit Chair Corrie Johnson & Joanne Chesler Gross Ensemble Unit Chairs Nancy Cox & Nancy Chunka Intermezzo Unit Chairs

2015 Summer Concerts On Sale Now!

FRIDAY MAY 8 + SATURDAY MAY 9

SUNDAY MAY 10 rescheduled date

Tickets for the original September 6 date will be honored at the door

ROCK 100.5 • KICKS 101.5 98.9 NASH ICON AND CARL BLACK AUTOMOTIVE GROUP

PRESENT

WHERE COUNTRY AND ROCK COLLIDE

LYNYRD SKYNYRD TRAVIS TRITT

MAY 2 6

Presented by

FRIDAY JUNE 12

SATURDAY JUNE 13

BLACKBERRY SMOKE PARIS LUNA

& COMPANY

FRIDAY JUNE 19

ROD STEWART WITH SPECIAL GUEST

RICHARD MARX

JUNE 24

FRIDAY JULY 17

FRIDAY JULY 10

SATURDAY AUGUST 1

Sunday July 12

JULY 15

SATURDAY AUGUST 22

AUGUST 25

Tickets available at Ticketmaster and the Woodruff Arts Center box office Latest concert calendar and venue info: VZWAMP.COM

encoreatlanta.com | Atlanta’s Performing Arts Publication 75

corporate & government | support

Classical Title Sponsor Classic Chastain Title Sponsor Family and POPS! Presenting Sponsor

Holiday Title Sponsor

Atlanta School of Composers Presenting Sponsor

Free Park Concert Series Title Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

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.

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

76 Atlanta Symphony Orchestra | aso.org

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

JULY 10 - AUG

UST 9

d Lyrics by Book, Music an N

RSO JONATHAN LA

Directed by

LEY FREDDIE ASH

ACTORS-EXPRESS.COM | 404.607.7469

encoreatlanta.com | Atlanta’s Performing Arts Publication 77

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, the Alliance Theatre, Arts for Learning, Atlanta Symphony Orchestra, and the High Museum of Art. We are deeply grateful for these 32 partners who help ensure the arts thrive in our community.

$1+ MILLION

$500,000-$999,999

A Friend of the Woodruff Arts Center Georgia Power Foundation, Inc. The Goizueta Foundation Hagedorn Family 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 Turner Broadcasting System, Inc. Wells Fargo

$250,000-$499,999 AT&T Bank of America Lucinda Bunnen The Community Foundation for Greater Atlanta, Inc. Deloitte, its Partners & Employees Fulton County Arts Council Nancy & Holcombe T. Green, Jr. The Home Depot Fay & W. Barrett Howell The Kendeda Fund Sarah & Jim Kennedy Marilyn & Donald Keough The Estate of Florence Kopleff The Sara Giles Moore Foundation PNC PwC, Partners & Employees The Rich Foundation, Inc. Louise Sams Mrs. Charles A. Smithgall, Jr. Ticketmaster UPS

THE PATRON CIRCLE The Woodruff Arts Center’s Annual Campaign set an all-time record, raising more than $9.6 million, thanks to the generosity of Patron Circle donors and their contributors.

Campaign gifts support our shared services model, which funds campus-wide operations. $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. 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 $300,000+ Cox Interests: Anne Cox Chambers* Atlanta Journal Constitution James M. Cox Foundation Cox Radio Group Atlanta WSB-TV Deloitte, its Partners & Employees The Home Depot PwC, Partners & Employees UPS

$200,000+ Bank of America The Community Foundation for Greater Atlanta, Inc. Delta Air Lines, Inc. EY, Partners & Employees Turner Broadcasting System, Inc. $150,000+ Alston & Bird LLP Cushman & Wakefield of Georgia King & Spalding Partners & Employees KPMG LLP, Partners & Employees The Sara Giles Moore Foundation The Rich Foundation, Inc.

78 Atlanta Symphony Orchestra | aso.org

$100,000+ AT&T Equifax Inc. & Employees Invesco Ltd. Kay and Doug Ivester Jones Day Foundation and Employees Kaiser Permanente The Marcus Foundation, Inc. Wells Fargo The David, Helen & Marian Woodward Fund $75,000+ AGL Resources Inc. Chick-fil-A Foundation Kilpatrick Townsend LLP The Sartain Lanier Family Foundation * Mr. and Mrs. David M. Ratcliffe Regions Financial Corporation RockTenn

$50,000+ Susan and Richard Anderson Neil K. Aronson & Wendy L. Conrad Birch Communications Camp-Younts Foundation Crawford & Company Frank Jackson Sandy Springs Toyota and Scion Jones Lang LaSalle NCR Foundation Novelis PNC Primerica Sutherland Asbill and Brennan LLP The Zeist Foundation, Inc. $25,000+ Arby’s Foundation Atlanta Foundation Lisa & Joe Bankoff * BB&T Corporation Arthur M. Blank Family Foundation Cousins Properties Foundation John & Mary Franklin Foundation Mr. & Mrs. Lawrence L. Gellerstedt III * Georgia Natural Gas Georgia-Pacific GMT Capital Corporation Greenberg Traurig, LLP Holder Construction Company The Imlay Foundation, Inc. Lou Brown Jewell The Joe E. Johnston Foundation Sarah & Jim Kennedy The Klaus Family Foundation * The Ray M. & Mary Elizabeth Lee Foundation, Inc. Livingston Foundation, Inc. Lockheed Martin Aeronautics Company Nelson Mullins Riley & Scarborough LLP Newell Rubbermaid Norfolk Southern Foundation Printpack, Inc. & The Gay and Erskine Love Foundation Patty and Doug Reid Family Foundation Rollins, Inc. Rooms to Go Children’s Fund Sam’s Club and WalMart Stores, Inc. SCANA Energy

Southwest Airlines Southwire Company Carol & Ramon Tomé Family Fund Troutman Sanders LLP United Distributors, Inc. Verizon Waffle House, Inc. Gertrude & Williams C. Wardlaw Fund Frances Wood Wilson Foundation, Inc. Woodruff Arts Center Employees Yancey Bros. Co. $15,000+ A Friend of the Woodruff Arts Center Aaron’s Inc. ABM Onsite Services ACE Charitable Foundation Acuity Brands A.E.M. Family Foundation Mr. Peter Aman * Arnall Golden Gregory LLP Assurant Specialty Property Atlanta Marriott Marquis Atlantic American Corporation Atlantic Trust Anna & Ed Bastian* Susan R. Bell & Patrick M. Morris * Laura & Stan Blackburn * Bluetube Interactive Ms. Lisa Borders * The Boston Consulting Group The Brand Banking Company The George M. Brown Trust Fund of Atlanta, Georgia Bryan Cave LLP Capital Guardian Trust Company Casey-Slade Group, Merrill Lynch Center Family Foundation The Chatham Valley Foundation, Inc. Mr. Thomas C. Chubb * Ann & Jeff Cramer * CSX Mr. & Mrs. Bradley Currey, Jr. * Michael S. Donnelly * Fifth Third Bank First Data Corporation Mr. and Mrs. Martin L. Flanagan * Gas South, LLC Genuine Parts Company Price Gilbert, Jr. Charitable Fund Grant Thornton LLP Harland Clarke Mr. Phil Harrison * HD Supply

Virginia A. Hepner & Malcolm Barnes * The Howell Fund, Inc. * Isdell Family Foundation Weldon H. Johnson Family Foundation J.P. Morgan Chase Foundation The Thomas M. & Irene B. Kirbo Charitable Foundation Thomas H. Lanier Family Foundation Lanier Parking Solutions The Barbara W. & Bertram L. Levy Fund * The Blanche Lipscomb Foundation, Inc. Karole & John Lloyd * Kurt P. Kuehn & Cheryl Davis * Macy’s Foundation Majestic Realty Mohawk Industries, Inc. & Mr. and Mrs. Frank H. Boykin Vicki & John Palmer The Sally & Peter Parsonson Foundation, Inc. Piedmont Charitable Foundation, Inc. Post Properties, Inc. Jane and Joe Prendergast Quikrete Mary & Craig Ramsey Regal Entertainment Group, Inc. Mr. & Mrs. William H. Rogers, Jr. * Louise Sams & Jerome Grilhot * Selig Enterprises, Inc./The Selig Foundation * Smith & Howard Karen & John Spiegel State Bank & Trust Company Claire E. Sterk and Kirk Elifson * Tishman Speyer Properties Mark and Evelyn Trammell Foundation Trimont Real Estate Advisors, Inc. Mr. Paul E. Viera * Sue & John Wieland Mr. & Mrs. James B. Williams Mrs. Sue S. Williams Womble Carlyle Sandridge & Rice, LLP Wood Partners Mr. and Mrs. Robert A. Yellowlees *2014/2015 Board Members Beauchamp C. Carr Challenge Fund Donors

Donations for Woodruff Arts Center Annual Campaign June 1, 2013 – May 31, 2014 If you would like to make an individual, foundation or corporate contribution to the Woodruff Center Annual Campaign, please contact: Jamie.Clements@woodruffcenter.org (individual or foundation) or Lisa.Robinson@woodruffcenter.org (corporate).

encoreatlanta.com | Atlanta’s Performing Arts Publication 79

ASO | staff EXECUTIVE Terry Neal Interim President & Chief Executive Officer Bob Scarr Archives Program Manager OPERATIONS Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Alex Malone Managing Producer Symphony POPS! Christopher McLaughlin Orchestra Operations Manager Scott O’Toole Artist Assistant Jesse Pace Orchestra Operations & Hall Rental Coordinator Kourtnea Stevenson: Assistant Orchestra Personnel Manager Russell Williamson Senior Orchestra Manager Susanne Watts Orchestra Personnel Manager

EDUCATION & COMMUNITY ENGAGEMENT Ahmad Mayes Interim Director of Education Katherine Algarra Manager of the Atlanta Symphony Youth Orchestra Kaitlin Gress Arts Vibe Teen Program Coordinator Tiffany I. M. Jones Education Associate for Audience Development Ruthie Miltenberger Manager of Family Programs

MARKETING & COMMUNICATIONS Kristen Delaney Vice President of Marketing and Communications Holly Hanchey Director of Marketing & Patron Experience Tammy Hawk Director of Communications Robert Phipps Publications Director

Dallas Greene Season Tickets Assistant Tegan Ketchie Manager of Broad Based Giving ASO PRESENTS Melanie Kite Trevor Ralph Subscriptions Office Vice President, Chief Manager Operating Officer Pamela Kruseck Clay Schell Manager of Group Vice President, Sales & Tourism Programming Alesia Mack Holly Clausen Director of Season Tickets Director of Marketing & Customer Service Lisa Eng Brandon Sheats Graphic Artist Manager of Digital Strategy Natacha McLeod and Production Marketing Manager Robin Smith Verizon Wireless Subscription & ARTISTIC Amphitheater at Education Sales Encore Park Evans Mirageas Karen Tucker Vice President for Katie Daniel Season Tickets Associate Artistic Planning & Director of Sales Operations Russell Wheeler Deborah Honan Director of Group & Carol Wyatt Office & Customer Service Corporate Sales Executive Assistant to Manager & Venue Rental the Music Director & Coordinator Principal Guest Conductor Brandon Schleicher Jeffrey Baxter Facility Manager Choral Administrator Rebecca Simmons Ken Meltzer Director of Ticketing ASO Insider & at ASO Presents Program Annotator Jack Stiegler Director of Operations William Strawn Marketing Coordinator

80 Atlanta Symphony Orchestra | aso.org

FINANCE & ADMINISTRATION Susan Ambo Vice President of Finance Shannon McCown Assistant to the Vice President of Finance Peter Dickson Senior Accountant Nicole Epstein Venues Accountant Kimberly Hielsberg Senior Director of Financial Planning & Analysis Stephen Jones Symphony Store April Satterfield Controller DEVELOPMENT Jessica Langlois Director of Development Barbara Brown Associate Director of Development Elizbeth Bixby Manager of Individual Support Melissa Muntz Grants Manager

Year round training for pre-college and college string players. faculty members from the ATLANTA SYMPHONY ORCHESTRA - Collaborate with faculty and peers - Improve technique, musicianship, discipline, and leadership - Enjoy performing with friends

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

82 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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regencysuites.com encoreatlanta.com | Atlanta’s Performing Arts Publication 85

ASO | gallery CELEBRATING SPRING WITH THE ASO

PHOTOS: JEFF ROFFMAN

There’s still time to tour the 45th Annual Atlanta Symphony Associates’ Decorators’ Show House & Gardens — open through Mother’s Day, May 10. decoratorshowhouse.org 1 (L-R) Vern Yip, Celebrity Designer & Show

1 2

House Honorary Chair, Camille Kesler, Atlanta Symphony Associates President & Show House Chair and Terry Neal, Interim Atlanta Symphony Orchestra CEO & President enjoyed the Show House Gala on Friday, April 17.

2 (L-R) Music Director Robert Spano, Composer Christopher Theofanidis, Stage Director James Alexander and Director of Choruses Norman Mackenzie receive a standing ovation after the World Premiere of Christopher Theofanidis’s Creation/Creator on Thursday, April 23 (below).

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