Atlanta Symphony Orchestra: November 2015

VERDI:

Robert Spano, conductor Latonia Moore, soprano Jennifer Johnson Cano, mezzo-soprano Anthony Dean Griffey, tenor Nathan Stark, bass Atlanta Symphony Orchestra Chorus

NOV

12 14 2015

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content November 2015

ar experiences

18

features 18 A Timeless Holiday Tradition

From POPS! to classics, from Star Wars to music stars, and from circus acts to Celtic sounds, the upcoming season of holiday concerts offers a little something for everyone. By Andrew Alexander

departments 10 Welcome

56 ASO Support

12 Robert Spano

64 ASO Community

14 Orchestra Leadership

72 ASO Staff

16 Musicians

74 Ticket Info /

General Info

24 Concert Program 76 ASO Calendar

and Notes 78 ASO Gallery

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

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Chamber of Commerce 23 High Museum of Art 31 Lure 33 Tower Beer, Wine & Spirits 41 Ruth’s Chris Steak House 43 Schwob School of Music 55 Atlanta Ballet’s Nutcracker

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8 Atlanta Symphony Orchestra | aso.org

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ASO | welcome Dear Patrons,

I

joined the Atlanta Symphony Orchestra Board of Directors because I love this city and I love classical music. As such, a little over a year ago when asked to step in as the Orchestra’s interim president & CEO there was only one answer with which I could respond: Yes. Those who know me well know that my plans are always prepared well in advance, detailed and process oriented, to prevent surprises. Sometimes, however, life doesn’t happen according to plan. As I conclude my tenure here, I am reflecting on the signature surprise of this remarkable journey. This surprise changed the trajectory of my life, expanding it to include genuine friendship and affection for the people of this incredible Orchestra and organization. I will leave my interim executive office with life-enhancing relationships I never imagined making. This alone will add more meaning to me than perhaps any business accomplishment of my career.

I’ve been given a lot of credit for the Atlanta Symphony Orchestra’s recovery. However, I cannot possibly celebrate all we’ve accomplished this past year without bringing to my side every musician onstage, every member on staff, my peers on the boards of the Orchestra and the Arts Center, and I would be remiss to not acknowledge my wife, Jeanne, for believing I could do this job and for working with me and supporting me every step of the way.

Our new executive director, Jennifer Barlament, takes the reins in January. I could not be more thrilled with her experience, passion and vision. Her leadership will sustain our momentum and guide our Orchestra to even greater heights. Much work remains to be done, and she’ll need our help and our advocacy. Together, we will make sure that our city remains home to one of the world’s great orchestras.

I will always be deeply grateful for the opportunity to have been entrusted with the stewardship of the Atlanta Symphony Orchestra. The experience truly enhanced my life, and I thank you for the support you’ve given me on this journey.

With warmest regards,

Terry Neal

10 Atlanta Symphony Orchestra | aso.org

encoreatlanta.com | Atlanta’s Performing Arts Publication 11

ASO | conductor Robert Spano

C

onductor, pianist, composer and pedagogue Robert Spano is known for his unique communicative abilities. In 14 seasons as music director of the Atlanta Symphony Orchestra, this imaginative conductor has quietly been responsible for nurturing the careers of numerous classically trained composers and conductors. As music director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting.

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center and the Ravinia, Ojai and Savannah music festivals. Guest engagements have included orchestras such as the New York and Los Angeles philharmonics; and the San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras; along with Orchestra Filarmonica della Scala; BBC Symphony; and Amsterdam’s Royal Concertgebouw Orchestra. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle.

With a discography of critically acclaimed recordings for Telarc, Deutsche Grammophon and ASO Media recorded over nine years, Robert Spano has won six Grammy awards with the Atlanta Symphony. 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 is one of two classical musicians inducted into the Georgia Music Hall of Fame and is proud to live in Atlanta.

12 Atlanta Symphony Orchestra | aso.org

Derek Blanks

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

ASO | leadership 2015-16 Board of Directors Officers D. Kirk Jamieson Chair

Meghan H. Magruder Vice Chair

Thomas Wardell Vice Chair

John B. White Jr. Secretary

Suzanne Tucker Plybon Treasurer

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

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

Board of Counselors

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

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

Life Directors

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

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

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

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

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

* Ex-officio † 2015-2016 Sabbatical 14 Atlanta Symphony Orchestra | aso.org

AtlantaSymphonyOrchestra AtlantaSymphonyOrchestra Musician Service Ribbons

Y

ou may notice the musicians of the Atlanta Symphony Orchestra wearing ribbons to designate years of service this season.

We are very proud of all of our musicians and their dedication to making this Orchestra truly world-class. To learn more about all of our talented musicians, visit atlantasymphony.org.

Thank you for your support and patronage.

0-4 Years

26-30 Years

5-10 Years

11-15 Years

16-20 Years

31-35 Years 36-40 Years 41-45 Years

21-25 Years

46+Years

encoreatlanta.com | Atlanta’s Performing Arts Publication 15

AtlantaSymphonyOrchestra

ROBERT SPANO

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

DONALD RUNNICLES Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair Norman Mackenzie

MICHAEL KRAJEWSKI Director of

Choruses The Frannie and Bill Graves Chair

JOSEPH YOUNG

NORMAN MACKENZIE

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 Noriko Konno Clift Acting Assistant Principal Sharon Berenson David Braitberg David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

VIOLA

Reid Harris Principal The Edus H. and Harriet H. Warren Chair Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair Catherine Lynn Assistant Principal Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Sarah Park Chastain †

CELLO

PICCOLO

HORN

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

Carl David Hall

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

BASS

Colin Corner • Principal The Marcia and John Donnell Chair Gloria Jones Associate Principal Lucy R. & Gary Lee Jr. Chair Jane Little Assistant Principal Emeritus 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 The Kendeda Fund Chair Samuel Nemec Emily Brebach ENGLISH HORN

Emily Brebach CLARINET

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

TRUMPET

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

Principal -— vacant Nathan Zgonc Acting Principal Joshua Bynum † Brian Hecht BASS TROMBONE

Ted Gurch Alcides Rodriguez

Brian Hecht The Home Depot Veterans Chair

BASSOON

TUBA

Principal — vacant Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

Michael Moore Principal

BASS CLARINET

CONTRABASSOON

Juan de Gomar

TIMPANI

Mark Yancich Principal The Walter H. Bunzl Chair

William Wilder Assistant Principal PERCUSSION

Thomas Sherwood** Principal The Julie and Arthur Montgomery Chair Charles Settle Acting Principal The Connie and Merrell Calhoun Chair William Wilder Assistant Principal The William A. Schwartz Chair 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 ‡ rotate between sections ** Leave of absence † Regularly engaged musician • New this season Players in string sections are listed alphabetically

encoreatlanta.com | Atlanta’s Performing Arts Publication 17

The Atlanta Symphony

A Timeless

Holiday Tradition From POPS! to classics, from Star Wars to music stars, and from circus acts to Celtic sounds, the upcoming season of holiday concerts with the Atlanta Symphony Orchestra offers a little something for everyone.

By Andrew Alexander

18 Atlanta Symphony Orchestra | aso.org

Orchestra

W

“

e program a wide variety of shows to appeal to different audiences and to put everyone in the holiday spirit,” says Alex Malone, managing producer of Symphony POPS!.

“We make the entire experience a memorable one for our patrons, offering a little something for every music lover.”

The season of family-friendly concerts begins Thanksgiving weekend with “Star Wars” and More, the Best of John Williams.” Conductor Michael Krajewski will lead the Orchestra in performances of Williams’ famous scores for Star Wars, Jaws, Harry Potter, War Horse and Jurassic Park, among others. The first weekend of December brings Cirque de la Symphonie’s Holiday Spectacular, featuring jugglers, clowns and acrobats flying high above the Orchestra, all set to a score of light classical and holiday favorites.

The timeless Atlanta tradition, Christmas With the ASO, created by the great Robert Shaw, will feature more than 400 musicians on Dec. 12-13. The Morehouse College Glee Club and Gwinnett Young Singers perform the classic program with the Orchestra and Chorus, as part of the CocaCola holiday concert series. The Atlanta Symphony Orchestra will also welcome some special guest stars during the holidays, with concerts from multi-platinum-selling, two-time Emmy and five-time Grammy Award-nominated musician Michael Feinstein on Dec. 3; the angelic sound of the Vienna Boys Choir on Dec. 9; and Irish singing sensation Celtic Woman in a special Christmas-themed concert on Dec. 20.

Malone says one of the most anticipated

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concerts of the season is the Very Merry Holiday POPS! Concert, on Dec. 17-19.

“While the program is new every year, the core components, including a chorus, incredibly talented soloists and, of course, Santa, are always at the heart of this holiday tradition,” he says.

Robinson began his appointment as the ASO’s new artist-in-residence in October with a concert at Ebenezer Baptist Church, the former home church of the Rev. Martin Luther King Jr.

He says the holiday concerts are emblematic of the type of outreach to young people A Very Merry Holiday POPS! this year he’s looking forward to doing, both in includes performances from the All-City Symphony Hall and in the broader Atlanta High School Chorus, bass Morris Robinson community. “Christmas music is universal,” and soprano Capathia Jenkins, who he says. “Those tunes travel the globe. All performed at the Orchestra’s Classic Soul kids can relate to the things that this type of music invokes. It’s an opportunity to bring concert in April. people together for a wonderful experience The concert is an event, Malone says, with listening to beautiful music.” carolers and a brass band welcoming guests in the festively decorated lobby. Santa Claus Christmas is likewise a special time for will also pay a visit during the show, and the musicians of the Atlanta Symphony stay for photographs afterward in the lobby. Orchestra, says violinist Ronda Respess, who has played with the Orchestra for 46 For Robinson, who is an Atlanta native, years. It doesn’t feel like the season has the concert is a special occasion for many begun for her, she says, until the Orchestra reasons. plays the opening notes of “O Come, O “It’s a homecoming for me,” he says. “Very Come, Emmanuel,” the piece that always rarely am I home for Christmas. As an opera begins the Christmas With the ASO concert. singer, I’m always on the road. It will be an “It’s been the same every single year,” she opportunity to be at home participating in says. “It starts with the percussion doing the festivities with the Atlanta Symphony this very bell-like sound. It’s very soft and Orchestra, and I’m excited about that.” simple. It announces Christmas in a slow, 20 Atlanta Symphony Orchestra | aso.org

quiet way. That’s the concert that kicks off the season for me. It just doesn’t feel like Christmas until I hear those first few notes.”

Whatever tune rings in the season for you, concerts with the Atlanta Symphony Orchestra are the perfect way to celebrate the holidays with family and friends.

“It just doesn’t feel like Christmas until I hear those first few notes.”

Ronda Respess, violin

ASO | sponsors AtlantaSymphonyOrchestra

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

Delta is proud to celebrate over 71 years as Atlanta’s hometown airline.

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

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

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

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

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

22 Atlanta Symphony Orchestra | aso.org

ASO | 11.5/7 | program AtlantaSymphonyOrchestra

ASO | 11.5/7| program

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

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, Nov. 5, and Saturday, Nov. 7, 2015, at 8 p.m.

Robert Spano, Conductor THIS NOV. 5/7 WEEKEND IS GENEROUSLY SPONSORED BY Catherine Warren Dukehart THE NOV. 5 CONCERT IS GENEROUSLY SPONSORED BY Dr. Steve & Lynne Steindel

JONATHAN LESHNOFF (b. 1973) Symphony No. 2 (“Innerspace”) (2014) 35MIN

I. Broad, Maestoso

II. : Netzach, Fast and Intense

III. Slow

IV. Fast

V. Unimaginable World premiere. Commissioned by Robert Spano and the Atlanta Symphony Orchestra INTERMISSION 20MIN

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.

LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 7 in A Major, Opus 92 (1812) 38MIN

I. Poco sostenuto; Vivace

II. Allegretto

III. Presto; Assai meno presto

IV. Allegro con brio Symphony No. 2 (“Innerspace”) (2014)

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.

Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Jonathan Leshnoff was born Sept. 8, 1973, in New Brunswick, N.J. The Symphony No. 2 is scored for piccolo, three flutes, three oboes, English horn, E-flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, two tenor trombones, alto trombone, bass trombone, tuba, timpani, crash cymbals (small, medium and large), snare drum, mounted kick drum, two toms, xylophone, congas, bongos, vibraphone, three log drums, bass drum, large crash cymbals, vibraphone, harp and strings.

These are the world premiere performances.

24 Atlanta Symphony Orchestra | aso.org

Notes on the Program by Ken Meltzer

J

onathan Leshnoff’s compositions have earned international acclaim for their accessible melodies, structural complexity and weighty themes. Commissioned by Carnegie Hall as well as the Philadelphia, Atlanta, Baltimore, Nashville and Kansas City symphony orchestras, his compositions have been performed by more than 45 orchestras worldwide. He has written for Gil Shaham, Manuel Barrueco, Ricardo Morales and Jessica Rivera. His catalog includes three symphonies, 10 concerti, four string quartets, three oratorios, and more than 50 works. Born in 1973, Leshnoff now lives in Baltimore, where he is a professor of music at Towson University.

Leshnoff’s 2015-16 season is his busiest yet. February will see Gil Shaham and the Knights Orchestra premiere Leshnoff’s Chamber Concerto for Violin and Orchestra.

In April, the Philadelphia Orchestra will premiere his Clarinet Concerto, which it commissioned, under the baton of Yannick Nézet-Séguin. And in May, Leshnoff’s Symphony No. 3, commissioned by the Kansas City Symphony, will receive its first performances.

Symphony No. 2, Innerspace

On March 6, 2014, at Symphony Hall, soloist Jeffrey Khaner, music director Robert Spano and the Atlanta Symphony Orchestra performed Mr. Leshnoff’s Flute Concerto (2009). Maestro Spano and the ASO commissioned Mr. Leshnoff to compose his Symphony No. 2. That work receives its world premiere at these concerts.

“When I was in college, I read a book

by Rabbi Aryeh Kaplan, Innerspace (Moznaim Publishing Corp., Brooklyn, New York, 1990), which started a 23-year journey into and discovery of

my Jewish heritage. This book explains the deepest levels of the Jewish religion, exposing — in the most profound and sublime way that I have ever seen — the basic structure that holds the entire religion together.

Rabbi Kaplan explains the ancient mystical concept of “olomos” (pronounced oh-LOHM-ohs) — universes. The basic idea being that G-d’s unique essence is too powerful for any other being to exist; as such, He had to occlude His perceptibility for anything else to even exist. This occlusion occurs in five stages, with the last stage leaving “room” for our existence. The first stage is a barrier separating Him from anything else, infinitely high from us, but infinitely lower than G-d. Each stage is a universe.

The structure of my symphony parallels these five universes. Starting with clarion brass, my symphony begins with the lowest universe, which is our universe (Broad, Maestoso). The music starts with a jolt, but ends quickly and inconclusively, in quiet contemplation.

The second movement (Fast and Intense) is furious, with restless energy from start to finish. This movement is associated with the Hebrew letter Vav and Netzach, meaning overpowering, as in when a teacher overwhelms a students with overabundance of knowledge. The third movement, slow and expansive, opens and closes with a hushed episode scored for harp and strings. These episodes frame intense lines that explode with tremendous force. The penultimate movement (Fast) is unceasing in momentum.

Suddenly, that momentum halts (attaca Largo), leading to the final movement

encoreatlanta.com | Atlanta’s Performing Arts Publication 25

ASO | 11.5/7| program

JONATHAN LESHNOFF

ASO | 11.5/7 | program

ASO | 11.5/7| program

(Unimaginable). This brief, final movement, consists of a mere single note by the first clarinet and a rest, which was the first idea in my mind.

In a sense, I had to write the whole symphony just for this last note.

My symphony is dedicated to three people who have changed my universe.

First, is Rabbi Aryeh Kaplan, as Innerspace still speaks to me to this day.

Second is Evans Mirageas, friend and adviser, always helpful and with wise advice. The final dedicatee is Robert Spano. Maestro Spano inspires me. He inspires me to go higher and higher to reach places I never thought I could.

And he is right there to breathe life into what I wrote, going even higher.”

— Jonathan Leshnoff Symphony No. 7 in A Major, Opus 92 (1812) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on Dec. 17, 1770, and died in Vienna on March 26, 1827.

The first performance of the Seventh Symphony took place in the Hall of the University of Vienna on Dec. 8, 1813, with the composer conducting. The Symphony No. 7 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

First Classical Subscription Performance: Oct.26, 1947, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: April 10, 11 and 13, 2014, Donald Runnicles, Conductor.

Robert Shaw Performances: (Subscription, unless otherwise noted): Nov. 16, 1967; Nov. 20, Dec. 1-2, 1967 (tour); Sept. 16-18, 1976; Oct. 5, 6, 7 and 26 Atlanta Symphony Orchestra | aso.org

9, 1976 (tour); Oct. 24, 1976 (special); June 15, 1980 (Atlanta parks); Jan. 15-17, 1981; Feb. 6, March 3, 23, 24 and 27, 1981 (tour); Nov. 29-30, Dec. 1, 1984; Jan. 27, 1985 (runout); March 13 and 16, 1985 (tour); April 22, 1985 (special); May 8, 1985 (campus series); May 9, 1985 (special); Sept. 29, 1987 (Great Performers).

L

udwig van Beethoven completed his Seventh Symphony in 1812. The work received its premiere on Dec. 8, 1813, at the grand Hall of the University of Vienna, as part of a concert for the benefit of wounded Austrian and Bavarian soldiers. Beethoven conducted.

Because of Beethoven’s participation in the concert and its philanthropic mission, several of Vienna’s most eminent musicians agreed to play in the orchestra. The concert proved to be one of the great public triumphs of the composer’s career. The audience insisted upon an encore of the Seventh Symphony’s Allegretto. By popular demand, the entire concert was repeated four days later, raising another 4,000 florins for the wounded soldiers.

Still, Beethoven’s reliance in the Seventh upon the briefest of rhythmic motifs — often presented with relentless, and even frightening energy — inspired some negative reactions. Musician Friederich Wieck, father of Clara Wieck Schumann, attended the first rehearsal of the Beethoven Seventh.

Wieck recalled that the general consensus among musicians and laymen alike was that Beethoven must have composed the Symphony, particularly its outer movements, in a drunken state (“trukenen Zustande”). Carl Maria von Weber, after hearing the Symphony for the first time, was reported to have exclaimed that Beethoven was now “quite ripe for the madhouse.”

III. Presto; Assai meno presto — The scherzo (Presto) begins with a forte orchestral outburst, immediately followed by a quicksilver figure in the winds and strings.

Two centuries after its premiere, Beethoven’s Various sections of the orchestra engage Seventh continues to amaze audiences with in lively dialogue, as the scherzo grows its dramatic fire. It remains one of the most in power. The trio section (Assai meno presto) begins in far more tranquil fashion, powerful of all symphonic creations. but soon moves to a grand statement, as Musical analysis well. The scherzo and trio sections repeat, I. Poco sostenuto; Vivace — The opening but what initially appears to be a third movement begins with the most ambitious statement of the trio is truncated by five slow introduction (Poco sostenuto) of any brusque fortissimo chords.

Beethoven symphony. At the conclusion IV. Allegro con brio — The finale is a of the introduction, the flute offers miraculous combination of academic premonitions of the central theme, and then structure (sonata form) and Dionysian launches the Vivace with a full statement abandon. After a brief fortissimo of that initial subject — a sprightly dance introduction, the first violins launch into the melody in 6/8 time. After a brief pause, scurrying principal theme of the finale. The the entire orchestra joins in a festive subsidiary themes (a descending phrase and proclamation of the main theme. The a skipping motif, both introduced by the first subsidiary themes and ensuing development violins), while offering some contrast, do — indeed the entire Vivace — are based little to slow the breathless pace. It is not until upon the dotted eighth/sixteenth/eighththe terse final measures that the whirlwind of note motif that is the nucleus of the principal activity comes to a stunning halt. theme. Another dramatic pause leads to a coda that builds to a stunning finish.

II. Allegretto — A foreboding chord in the winds introduces an equally ominous march figure, played by the violas, cellos and bases. The tension increases during a series of variations that ultimately erupt in a fortissimo orchestral outburst. Following a diminuendo, a contrasting lyrical section appears, prominently featuring the winds.

After a varied reprise of the principal sections, a brief coda offers fragments of the march figure, capped by a reprise of the opening chord.

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On the other hand, Richard Wagner, in one of the most famous appreciations of a Beethoven Symphony, celebrated the finale as the “apotheosis of the dance.”

ASO | 11.12/14 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert

ASO | 11.12/14| program

Concerts of Thursday, Nov. 12, and Saturday, Nov. 14, 2015, at 8 p.m.

THIS NOV. 12/14 WEEKEND IS GENEROUSLY SPONSORED BY Victoria and Howard Palefsky THE NOV. 12 CONCERT IS GENEROUSLY SPONSORED BY Janice H. Landon

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

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.

Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

Robert Spano, Conductor Latonia Moore, soprano Jennifer Johnson Cano, mezzo-soprano Anthony Dean Griffey, tenor Nathan Stark, bass Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses GIUSEPPE VERDI (1813-1901) Messa da requiem (1874)

I. Requiem

II. Dies irae

III. Offertorium

IV. Sanctus

V. Agnus Dei

VI. Lux aeterna

VII. Libera me This concert will be performed without an intermission.

English surtitles by Ken Meltzer

28 Atlanta Symphony Orchestra | aso.org

84MIN

Notes on the Program by Ken Meltzer GIUSEPPE VERDI was born in Roncole, Italy, on Oct. 9 or 10, 1813, and died in Milan, Italy, on Jan. 27, 1901. The first performance of the Messa da requiem took place at the Church of San Marco in Milan on May 22, 1874, with the composer conducting. The Messa da requiem is scored for soprano, alto, tenor and bass solo, mixed chorus, piccolo, three flutes, two oboes, two clarinets, four bassoons, four horns, four trumpets (and four offstage trumpets), three trombones, tuba, timpani, bass drum and strings.

First Classical Subscription Performances: March 30, 1954, Atlanta Symphony Chorus, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: April 22, 24, and 25, 2010, 2006, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

Robert Shaw Performances: (Subscription, unless otherwise noted): May 22, 23 and 25, 1969, Atlanta Symphony Chamber Chorus, Choral Guild of Atlanta; May 19-21, 1977, Atlanta Symphony Orchestra Chorus; March 20-22, 1980, Atlanta Symphony Orchestra Chorus; April 3, 1980, Atlanta Symphony Orchestra Chorus (tour); April 9-11, 1987, Atlanta Symphony Orchestra Chorus.

“This is the day, of all days of the year, that he loved best. Christmas Eve reminded him of the holy marvels of childhood, the enchantments of a faith that is truly celestial only when it attains to belief in miracles. That belief, alas, he lost early, like all of us, but perhaps more than the rest of us he retained all his life a keen regret for it.

He provided an example of Christian faith by the moving beauty of his religious works, by observing rites (you must remember his beautiful head bowed in the chapel of [his home in] Sant’Agata), by his illustrious homage to (Alessandro) Manzoni [the Messa da requiem], by the directions for his funeral found in his will: “one priest, one candle, one cross.” He knew that faith was the sustenance of hearts. ... In the ideal and moral sense he was a great Christian, but one should take care not to present him as a Catholic in the political and strictly theological sense of the word: Nothing could be further from the truth.”

The “truth” was that Giuseppe Verdi harbored a lifelong distrust for organized religion. “Sta lontan dai pret” (“Stay away from priests”), he once cautioned a family member. And in such operas as Don Carlos and Aida, Verdi graphically portrays hypocrisy within the religious hierarchy.

Verdi’s negative feelings toward organized religion may have had their origins in a childhood incident. When Verdi was about 7 years old, he served as an altar ‘Stay away from priests’ boy at the church of San Michele in his omposer Arrigo Boito (1842-1918), who birthplace of Roncole. During Mass, the also served as the librettist for Giuseppe young Verdi failed to respond promptly to Verdi’s final operatic masterworks, Otello the priest’s request for water and wine. The (1887) and Falstaff (1893), offered this priest shoved Verdi, and the child fell from description of the maestro’s religious beliefs: the altar. The humiliated boy responded Atlanta Symphony Orchestra recording: Telarc CD-80152 (two discs), Robert Shaw, Conductor

C

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Messa da requiem (1874)

ASO | 11.12/14 | program Italy. Verdi himself called I promessi sposi “not just a book, but a consolation to all mankind.” After finally meeting the author in 1868, Verdi wrote: “What can I say of Manzoni? How to describe the But Verdi was also capable of writing music extraordinary, indefinable sensation the of extraordinary beauty that portrayed presence of that saint ... produced in me? sincere religious fervor. One need only hear I would have knelt down before him if we the supplications of Amelia in Un ballo in were allowed to worship men.” maschera, Leonora in La forza del destino, Manzoni died on May 22, 1873. Verdi Aida, or Desdemona in Otello to realize was so devastated by the loss that he was that Verdi’s operatic characters could pray unable to attend the funeral. However, with as much devotion as anyone. And it Verdi wrote to publisher Giulio Ricordi: should be noted that Italy’s foremost opera “I shall come in a little while to visit his composer ended his career with a sacred grave, alone and without being seen, and perhaps (after further reflection, and after work, the Quattro pezzi sacri (1898).

I have weighed up my strength) to propose ‘I would have knelt before him’ some way of honoring his memory.” Verdi The 1874 Requiem Mass represents Verdi’s decided that his homage to Manzoni would greatest achievement in the realm of sacred be in the form of a Requiem Mass, to be music. The work had its origin in the Nov. offered on the first anniversary of the 13, 1868, passing of opera composer author’s death. In the Manzoni Requiem, Gioachino Rossini. Verdi proposed that Verdi incorporated the Libera me from the several Italian composers collaborate on ill-fated Messa per Rossini. a Requiem Mass to be presented on the first anniversary of Rossini’s death. Verdi ‘His latest opera in ecclesiastical garb’ contributed the concluding Libera me to the The premiere of Verdi’s Requiem Mass Messa per Rossini. Due to various political took place on May 22, 1874, in Milan at intrigues, the work was not performed the Church of San Marco. Verdi himself until 1988. However the death of another conducted the orchestra, chorus and immortal Italian artist five years after distinguished vocal quartet of soprano Rossini’s demise inspired Verdi to compose Teresa Stolz, mezzo-soprano Maria his Requiem Mass.

Waldmann, tenor Giuseppe Capponi Throughout his life, Verdi revered the and bass Ormondo Maini. Reactions of beloved Italian writer Alessandro Manzoni the audience and critics were generally (1785-1873), the author of the epic 1827 favorable. However, the day before the novel I promessi sposi (The Betrothed). premiere, the conductor, pianist and Richard I promessi sposi tells the story of a young Wagner disciple Hans von Bülow, wrote the couple in early 17th-century Italy who are following for the Allgemeine Zeitung:

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with the peasant curse, “Dio t’ manda ‘na sajetta!” (“May God strike you with lightning!”) In a surreal turn of events eight years later, the priest was indeed struck by lightning and killed.

separated by political and social tyranny.

This magnificent work resonated with those who, like Verdi, advocated the overthrow of foreign rulers and the unification of 30 Atlanta Symphony Orchestra | aso.org

“Tomorrow will see at the Church of St. Mark, Milan, decked out like a theatre for the event, a monster performance of Verdi’s Requiem, conducted,

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ASO | 11.12/14 | program exceptionally by the composer himself ... a work with which the all-powerful corrupter of Italian artistic taste presumably hopes to sweep away the remains of Rossini’s immortality, which is so troublesome to his ambition. His latest opera in ecclesiastical garb will then be exposed to public admiration at La Scala for three evenings in succession...

These words prompted Bülow’s friend, Johannes Brahms, to remark: “Bülow has made a fool of himself for all time; only a genius could write such a work.”

Several years later, Bülow wrote to Verdi and confessed that a performance of the Requiem had moved him to tears.

“Now I admire you, I love you!,” Bülow exclaimed. “Will you forgive me, will you use the sovereign’s right to grant pardon? ...

Long live VERDI, the Wagner of our dear allies!” Verdi replied, “There is no trace of sin in you. Besides, who knows? Perhaps you were right the first time!” Privately, however, Verdi told Ricordi that Bülow was “decidedly mad.”

‘To the greater glory of God’

Bülow’s original observations, as caustic as they are, do point to a criticism that has often been leveled against the Verdi Requiem — specifically, that the music is too operatic, too overtly dramatic for a liturgical text. It is true that in the composition of the Requiem, Verdi drew upon his 35 years of experience in the theater. Verdi was 60 at the time of the work’s premiere, and had composed all but two of his 28 operas. In Verdi’s defense, however, one might rhetorically inquire what text is more dramatic than one depicting man at the end of his days upon Earth, awaiting eternal judgment?

While some may question the 32 Atlanta Symphony Orchestra | aso.org

appropriateness of Verdi’s setting of the Requiem, few would argue with the proposition that the work is the creation of a genius at the height of his powers.

For Verdi’s part, he summarized his feelings about the Manzoni Requiem this way: “I have done nothing but write note after note, to the greater glory of God. ... Now the music is done, and I am happy to have written it.”

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DALLAS KILPONEN

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merican soprano Latonia Moore studied at the Academy of Vocal Arts in Philadelphia. She has become particularly associated with the title role in Verdi’s Aida, which she has sung with great success in theaters the world over, including New York’s Metropolitan Opera; the Royal Opera House, Covent Garden; the Opernhaus Zurich; the Hamburg State Opera; Tokyo’s New National Theatre; Opera Australia in Sydney; and for the San Diego, Cincinnati, Pittsburgh, Detroit and Dallas operas. Other Verdi roles include Elisabetta (Don Carlo), which she has sung for Opera Australia; Amelia (in Un ballo in maschera and in Simon Boccanegra), both sung for the Hamburg State Opera; Elvira (Ernani), which she has performed in Trieste, Italy; and Lucrezia (I due Foscari), which she has sung in Bilbao, Spain. Her repertoire includes CioCio-San (Madama Butterf ly), which she has sung at the Hamburg State Opera, Liù (Turandot), sung in Dresden’s Semperoper and at Covent Garden, Mimì (La bohème), also for Dresden’s Semperoper, Micaëla (Carmen), the title role in Catalani’s La Wally and the title role in Carlisle Floyd’s Susannah.

In concert, she has sung Vivetta (L’arlesiana) and Fidelia (Edgar) in Carnegie Hall with the Opera Orchestra of New York, Nedda (Pagliacci) at La Monnaie in Brussels and Bess (Porgy and Bess) with the Berlin Philharmonic under Sir Simon Rattle.

Ms. Moore has recorded the Mahler Symphony No. 2 for Deutsche Grammophon with the Vienna Philharmonic and Gilbert Kaplan

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and the role of Lady Macbeth (Macbeth) for Chandos with Edward Gardner.

JENNIFER JOHNSON CANO, mezzo-soprano

A

naturally gifted singer noted for her profound musicianship, meticulous work ethic and warm personality, Jennifer Johnson Cano is a 2012 Richard Tucker Career Grant and George London Winner who joined the Lindemann Young Artist Development Program at the Metropolitan Opera in 2008 and made her Met debut in the 2009-10 season. As the first-prize winner of the 2009 Young Concert Artist International Auditions, she has given stunning recital debuts with her on- and offstage partner Christopher Cano in New York at Carnegie Hall’s Weill Recital Hall; in Washington, D.C., at the Kennedy Center; in Boston at the Isabella Stewart Gardner Museum; and in Philadelphia at the Kimmel Center.

In the past two seasons, Ms. Cano has bowed at the Metropolitan Opera as Mercédès, Emilia, Wellgunde and Waltraute, and debuted as Meg Page in Falstaff and Bersi in Andrea Chénier. In addition to her continued relationship with the Met, Ms. Cano has appeared with such esteemed orchestras as the New York and Los Angeles philharmonics, San Francisco Symphony and Orchestra of St. Luke’s. She toured with Musicians From Marlboro, singing Respighi’s Il tramonto and Cuckson’s Der gayst funem shture, which was recorded live and released by the Marlboro Recording Society. At the request of Carol Armstrong, Ms. Cano was honored to be invited to sing the Anderson/Weill September Song at the private funeral for American icon and

MATTHU PLACEK

LATONIA MOORE, soprano

NATHAN STARK, bass

ANTHONY DEAN GRIFFEY, tenor

JIMMY WILLIAMS

F

our-time Grammy Award-winning tenor Anthony Dean Griffey has appeared in the world’s most prestigious opera houses, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Houston Grand Opera, Paris Opera and the Saito Kinen Festival in Japan. He sung the title role in the Met’s live broadcast of Peter Grimes, which was released on DVD (EMI Classics), and his portrayal of Lennie in the Australia Opera’s production of Carlisle Floyd’s Of Mice and Men won a Helpmann Award for best male performer. Mr. Grifffey appears regularly with many distinguished international orchestras, including the New York Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, Pittsburgh Symphony Orchestra, Philadelphia Orchestra, London Symphony Orchestra, Orchestre de Paris, Munich Philharmonic Orchestra and the Berlin Philharmonic. He has also appeared at the BBC Proms and the Tanglewood, Ravinia, Aspen Music, Edinburgh and Lanaudière festivals. Mr. Griffey holds degrees from Wingate University, the Eastman School of Music and the Juilliard School, and was a member of the Metropolitan Opera’s Lindemann Young Artists Program. He was inducted into the North Carolina Music Hall of Fame in 2011. He is professor of voice at the Eastman School of Music at the University

I

n the 2015-16 season, Mr. Stark is soloist in Dayton Opera’s opening concert, singing excerpts from Susannah and The Ballad of Baby Doe. He makes his debut with Tulsa Opera as Colline in La bohème, with Hawaii Opera Theatre as Bottom in Britten’s A Midsummer Night’s Dream, with Fort Worth Opera in the roles of Gravedigger/ Montressor in Buried Alive and Embedded, and he returns to Cincinnati Opera as Rocco in Fidelio. In summer of 2015 he performed Sulpice in La fille du régiment with Mill City Summer Opera. Recent season highlights include Mustafa in L’italiana in Algeri (Opera San Jose); Monterone in Rigoletto (Atlanta Opera); Sparafucile in Rigoletto (Opera in the Heights); soloist in Verdi’s Requiem (Defiant Requiem Foundation at Boston’s Symphony Hall, Andris Nelsons conducting); in Beethoven’s Symphony No. 9 and Choral Fantasy (Canton Symphony Orchestra); and singing in recital at El Camino College. Other highlights include First Nazarene in Strauss’ Salome (Boston Symphony Orchestra); Commendatore in Don Giovanni and Sulpice (Madison Opera); Beethoven’s Symphony No. 9 (Dayton Philharmonic Orchestra); Zuniga in Carmen, roles in Glass’ Galileo Galilei, and Sylvano in Cavalli’s La Calisto (Cincinnati Opera); Nourabad in Les Pêcheurs de perles (Virginia Opera); Leporello in Don Giovanni (Opera Grand Rapids); Haydn’s The Creation (Valdosta Symphony Orchestra); Basilio in Il barbiere di Siviglia (Canton Symphony Orchestra); and Hunding in Die Walküre (Dayton Opera). He made his debut with the Metropolitan Opera as One-Armed Man in Die Frau ohne Schatten.

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PAUL SIROUCHMAN

of Rochester, N.Y.

Ms. Cano is a native of St. Louis, and earned her bachelor’s degree in music from Webster University and her master’s degree from Rice University.

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astronaut Neil Armstrong.

JD SCOTT

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ASO | 11.12/14 | artists NORMAN MACKENZIE, Director of Choruses

ATLANTA SYMPHONY ORCHESTRA CHORUS

A

T

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 founding conductor Robert Shaw to a new generation of music lovers. He prepares the Choruses for all concerts and recordings, works closely with music director Robert Spano on the commissioning and realization of new choral-orchestral works and conducts annual holiday concerts. During his tenure, the chorus has made numerous tours, earned several Grammy awards for best classical album and best choral performance and made an acclaimed debut with the Berlin Philharmonic. Mr. Mackenzie also serves as organist and director of music and fine arts at Atlanta’s Trinity Presbyterian Church and pursues an active recital and guest conducting schedule.

The New York Times hailed Mr. Mackenzie 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 Shaw’s passing and partnered with Robert Spano for the 20th anniversary workshop featuring the Berlioz Requiem.

36 Atlanta Symphony Orchestra | aso.org

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

Led by director of choruses Norman Mackenzie, the Chorus is known for its precision and expressive singing quality.

Its recordings with the Atlanta Symphony Orchestra have won multiple Grammy awards, including best choral performance, best classical recording and best opera recording. Those include Vaughan Williams’ A Sea Symphony and the Berlioz Requiem.

The Chorus performs large choral-symphonic works with the full Orchestra under the batons of music director Robert Spano and principal guest conductor Donald Runnicles.

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 in a performance of Beethoven’s Symphony No. 9, with the ASO led by Mr. Shaw. In addition, the Chorus performed in Washington, D.C., for President 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 Mr. Runnicles.

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

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

Dominique PetiteChabukswar Anna Prokop Laura Soltis Meesook Sonu Rachel Stewart** Diana Strommen Nancy York* ALTO 2

Nancy Adams* Michelle Austin Ana Baida Stephanie Bizardi Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament PeggyDee Fleck Sally Kann Nicole Khoury* Lynda Martin Brenda Pruitt* Andrea Schmidt Sharon Simons Alexandra Tanico Virginia Thompson* Cheryl Vanture Sarah Ward June Webb Ryan Whicker Alexandra Willingham Kiki Wilson** Diane Woodard** TENOR 1

Jeffrey Baxter** David Blalock** John Brandt* Jack Caldwell* Daniel Cameron* Justin Cornelius Joseph Cortes Clifford Edge**

Peter Marshall, Accompanist

Steven Farrow** Leif GilbertHansen James Jarrell Keith Langston Jeffrey LeCraw Clinton Miller Matthew Neylon Christopher Patton Stephen Reed# Nathan Schreer Mark Warden * TENOR 2

Randall Barker** Mark Barnes Curtis Bisges Charles Cottingham# Evan Crowther Phillip Crumbly* Jeffrey Daniel* Joseph Few* Hamilton Fong Keith Jeffords* Steven Johnstone* David Lamb Jonathan Marvel Michael Parker Marshall Peterson* Brent Runnels Clifton Russell Wesley Shearer Scott Stephens* Caleb Waters Robert Wilkinson BASS 1

Nick Jones# Jameson Linville Peter MacKenzie Jason Maynard Monte Nichols Andrew Riechel Mark Russell Kendric Smith# Owen Talley Ike Van Meter Aaron Villalobos Edgie Wallace* Edward Watkins** BASS 2

Philip Barreca Clarence Bell Charles Boone Brian Brown* John Cooledge# Rick Copeland* Joel Craft** Paul Fletcher Andrew Gee* Timothy Gunter* Eric Litsey** Evan Mauk Eckhart Richter* John Ruff* Jonathan Smith Timothy Solomon** Benjamin Temko David Webster** Seth Whitecotton Gregory Whitmire* Keith Wyatt*

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

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

ASO | 11.15 | program AtlantaSymphonyYouthOrchestra Joseph Young, Music Director Concert of Sunday, Nov. 15, 2015, at 3 p.m.

The Atlanta Symphony Youth Orchestra is sponsored by

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Abraham J. & Phyllis Katz Foundation

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

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator

OVERTURE CONCERT Joseph Young, Conductor Robert Henry, pianist PAUL DUKAS (1865-1935) The Sorcerer’s Apprentice (1897) EDVARD GRIEG (1843-1907) Concerto for Piano and Orchestra in A minor, Opus 16 (1868)

I. Allegro molto moderato

II. Adagio

III. Allegro moderato molto e marcato

Robert Henry, pianist INTERMISSION 20MIN PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 4 in F minor, Opus 36 (1878)

I. Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo

II. Andantino in modo di canzona

III. Scherzo. Pizzicato ostinato — Allegro

IV. Finale. Allegro con fuoco

Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.

Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

38 Atlanta Symphony Orchestra | aso.org

PAUL DUKAS was born Oct. 1, 1865, in Paris, and died there May 17, 1935. The first performance of The Sorcerer’s Apprentice took place in Paris as part of a concert by the Société Nationale, on May 18, 1897. The Sorcerer’s Apprentice is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, two trumpets, two cornets, three trombones, timpani, orchestra bells, suspended cymbals, triangle, cymbals, bass drum, harp and strings.

T

he Sorcerer’s Apprentice is not only the best-known work of French composer Paul Dukas, it remains one of the most familiar of all concert pieces. The Sorcerer’s Apprentice, an instant success at its 1897 premiere, continued to enjoy tremendous popularity for the next several decades. Then, in 1940, it was immortalized on the silver screen, courtesy of the Walt Disney animated classic Fantasia. In the film, Mickey Mouse portrays the hapless apprentice, whose misadventures are set to Dukas’ brilliant score, performed by Leopold Stokowski and the Philadelphia Orchestra.

The great German poet Johann Wolfgang von Goethe (1749-1832) provided the inspiration for Dukas’ magical orchestral scherzo. In a ballad titled Die Zauberlehrling, Goethe tells the story of a magician’s apprentice. The apprentice has observed his master’s ability to bring a broomstick to life in order to do the sorcerer’s bidding. The apprentice has divined the sorcerer’s magical incantation.

And so, when the sorcerer departs, the apprentice animates the broomstick and orders it to fetch water. The broomstick complies, but much too enthusiastically — soon the magician’s house is overflowing with water! The apprentice tries to stop the

disaster by chopping the broom in half with an ax, but that causes two brooms to emerge and further inundate the house with water.

Finally, the sorcerer returns, and with a wave of his hand, restores calm.

The action of Goethe’s story is masterfully portrayed in Dukas’ scintillating music.

Concerto for Piano and Orchestra in A minor, Opus 16 (1868) EDVARD GRIEG was born June 15, 1843, in Bergen, Norway, and died there Sept.

4, 1907. The first performance of the Piano Concerto in A minor took place April 2, 1869, in Copenhagen, Denmark.

In addition to the solo piano, the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

E

dvard Grieg’s beloved Piano Concerto was the product of a particularly happy period in the Norwegian composer’s life.

In 1867, Grieg and his wife, Nina, were married. The following April, their daughter, Alexandra, was born. That summer, Edvard, Nina and Alexandra traveled to Søllerød, near Copenhagen. The Grieg family vacationed in a rented cottage. There, Edvard composed the A-minor Piano Concerto.

The premiere of the concerto, which took place in Copenhagen on April 3, 1869, was generally well-received by the Norwegian press. One critic viewed the work, which incorporated Norwegian folk idioms, as presenting “all Norway in its infinite variety and unity,” and compared the slow movement to “a lonely mountain-girt tarn that lies dreaming of infinity.”

The concerto is in three movements. The first (Allegro moderato) features one of concert music’s most famous and dramatic openings.

The second movement (Adagio) opens with

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The Sorcerer’s Apprentice (1897)

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ASO | 11.15| program

an extended introduction spotlighting the muted strings. This precedes the entrance of the soloist, whose presence dominates the remainder of this brief and affecting slow movement. The finale (Allegro moderato molto e marcato) begins with a short introduction that anticipates the soloist’s presentation of the main theme — a jaunty rhythmic passage based on a Norwegian folk dance known as the halling. The flute initiates a lovely contrasting interlude, but the spirited halling motif soon returns. The closing pages present the orchestra’s majestic transformation of the interlude, accompanied by the soloist’s grand flourishes.

Symphony No. 4 in F minor, Opus 36 (1878) PETER ILYICH TCHAIKOVSKY was born May 7, 1840, in Kamsko-Votkinsk, Russia, and died in St. Petersburg, Russia, on Nov. 6, 1893. The first performance of the Symphony No. 4 took place Feb. 22, 1878, in Moscow, with Nikolai Rubinstein conducting. The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, bass drum, cymbals and strings.

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n July 18, 1877, Peter Ilyich Tchaikovsky wed Antonina Milyukova. Tchaikovsky realized from the outset that the marriage was a mistake. He lapsed into a profound depression, and later attempted suicide.

On Oct. 6 — less than three months after the wedding — Tchaikovsky left his wife forever, rushing to St. Petersburg to meet his brother, Anatoly. Tchaikovsky suffered a nervous breakdown, and doctors said that a resumption of the marital relationship was out of the question. Tchaikovsky, under doctor’s orders, journeyed to Switzerland for recuperation.

It was during this tumultuous period 40 Atlanta Symphony Orchestra | aso.org

that Tchaikovsky composed his Fourth Symphony, completing the work on Jan. 7, 1878. He dedicated the symphony to his patroness, Nadezhda von Meck, whom the composer described as “my best friend.” In a letter to von Meck, Tchaikovsky divulged the meaning of his Fourth Symphony (all of Tchaikovsky’s comments are indented, below): I. Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo — “The introduction is the germ of the whole symphony, unarguably the main idea. This is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal, that jealously ensures our well-being and peace are not unclouded, that hangs over our heads like the sword of Damocles, that with steadfast persistence poisons our souls. It is invincible, you will never master it. One can only resign oneself to fruitless sorrow.”

Tchaikovsky depicts the inexorable power of Fate with stunning fanfares by the brass and winds. It is one of the most arresting and dramatic openings in all of symphonic literature.

“The joyless, hopeless feeling becomes more powerful and fierce. Would it not be better to turn away from reality and submerge oneself in dreams?

Oh joy! There is at least a sweet and tender dream appearing! A bright and gracious human form flits by and lures us on somewhere.

How lovely! And how remote the obsessive first allegro theme now sounds!

The dreams have gradually taken full possession of the soul. All that was gloomy and joyless is forgotten. Here

Ins Ist on makI ng a t o a s t.

Enjo y l I f E t o t hE f ul lE s t thEr E arE no drE ss rE h E a r s a l s . hav E y our st E ak and E at I t, t o o .

Four AtlAntA r estAur Ant s to s e rv e Y o u Alpharetta 路 Buckhead 路 Centennial olympic Park 路 Kennesaw For location details, visit RuthsChris.net

ASO | 11.15 | program it is, here is happiness! No! They were dreams and Fate rouses us from them.

So life is a constant alternation between grim reality and evanescent visions and dreams of happiness. ...T here is no haven.

Sail upon that ocean until it seizes you and engulfs you in its depths. That is roughly the program of the first movement.”

ASO | 11.15| program

II. Andantino in modo di canzona — “The second movement of the symphony expresses another phase of depression: that melancholy feeling that comes on in the evening, when you are sitting on your own, tired with work, and you take up a book but it falls out of your hands.

Memories come flooding in. It is sad that so much has been and gone; it is pleasant to recollect one’s youth. One regrets the passing of time yet there is no wish to begin life anew. Life wears one out. It is pleasant to rest and reflect. There are so many memories! There have been happy moments when young blood coursed through the veins and life was good.

There have also been difficult times, irreplaceable losses. But now that is all somewhere in the past. There is a sweet sadness in burying oneself in the past.”

III. Scherzo. Pizzicato ostinato — Allegro — “The third movement does not express any precise feelings. These are whimsical arabesques, the elusive images that flash across one’s imagination when one has had a little wine to drink and is in the first stage of intoxication. One’s spirits are not happy, but neither are they sad.

One does not think about anything: One gives free reign to one’s imagination that, for some reason, sets about painting strange pictures. Amongst them one recalls a picture of some roistering peasants and a street song. Then somewhere in the distance a military 42 Atlanta Symphony Orchestra | aso.org

parade goes by. There is no connection between these images that are like those which flash through your mind as you are going to sleep. They have nothing to do with reality: They are strange, wild and incoherent.”

IV. Finale. Allegro con fuoco — “The fourth movement. If you find no cause for joy in yourself, look to others.

Go amongst the common people and see now they know how to enjoy themselves, abandoning themselves completely to feelings of joy. Picture of a peasant celebration on a holiday. But scarcely have you managed to forget yourself and be distracted by the sight of other people’s pleasures than inexorable Fate appears once more and reminds you of its existence.”

Tchaikovsky portrays the “peasant celebration” by quoting the popular Russian folk song “The Little Birch Tree,” sung by the winds after the Finale’s brief, raucous introduction. Later, the celebration is interrupted by the return of the Fate motif that launched the Symphony’s first movement.

Tchaikovsky continues: “But you are no concern of anyone else.

They do not even turn round, they do not glance at you, and they have not noticed that you are lonely and sad.

Oh! What fun it is for them! They are so lucky that all their feelings are simple and direct. Blame yourself and do not say that all the world is sad. There are simple but potent pleasures. Enjoy other people’s happiness. One can live despite everything.”

ASO | 11.15 | artists JOSEPH YOUNG, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director

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.

JEFF ROFFMAN

ASO | 11.15| artists

oseph Young became assistant conductor of the Atlanta Symphony Orchestra (ASO) and music director of the Atlanta Symphony Youth Orchestra (ASYO) 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.

Before joining the ASO, Mr. Young was resident conductor at the Phoenix Symphony and also spent a season as assistant conductor and a League of American Orchestras conducting fellow with the Buffalo Philharmonic.

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.

ROBERT HENRY, pianist

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ailed as a “consummate artist — brilliant, formidable, effortless and the epitome of control and poise,” Robert Henry is an internationally distinguished pianist, performing throughout the world as orchestral soloist, recitalist, accompanist and chamber musician. Since winning the Gold Medal in four International Piano Competitions, he has presented critically acclaimed solo debuts at Carnegie Hall, the Kennedy Center and concert tours of the United States, England, Nova Scotia and Italy. In 2010, Mr. Henry released his award-winning debut CD, Twelve Nocturnes and a Waltz, which included a world premiere. Future projects include a London debut in prestigious Wigmore Hall.

Mr. Young’s other professional accolades include being named a semifinalist in the 2013 Gustav Mahler International Conducting Competition and being featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview. Additionally, he was the first recipient of the Sir Georg Solti Foundation Career Grant for young conductors.

As educator and pedagogue, Mr. Henry presents lectures, master classes, residencies, and youth concerts, and has been featured in American Music Teacher. magazine. He has served as recitalist, clinician, and juror for state, regional and national MTNA conventions and competitions.

He has furthered his conducting studies at the Cabrillo Contemporary Music Festival, the 2010 Jorma

Mr. Henry earned a doctor of musical arts degree from the University of Maryland.

A Steinway Artist, he maintains his Web presence at www.roberthenry.org.

44 Atlanta Symphony Orchestra | aso.org

He is artistic director of the Great Performances Concert Series in Highlands, N.C., and proudly serves as artist-inresidence at Kennesaw State University.

Atlanta Symphony Youth Orchestra Joseph Young, Music Director All sections are listed alphabetically Eugene Ahn Lesley Chang Yueci Chen Eunice Choi Aomeng Cui Jennifer Deng Whit Fitzgerald Nam Kim Malhar Kute Sarah Li Jasmine Liu Phoebe Liu Passacaglia Mason George Pan Kyle Qian Alex Yang

Grace Zhou Raymond Zhu

Kalli Edwards Austin Summy

CELLO

HORN

Joe Billips Joseph Brown Brandon Chung Clarisa Colton Tannessa Dang Jefferson Downs Lexine Feng Olivia Hunt Rayen Kang Kevin Li Aria Posner Leonardo Tang

Jonathon Chiou Hannah Culbreth Nick Fratto Tyler Lane Molly Shannon Sean Turner Akhil Vaidya Elyza Wylder

BASS

Daniel Barket Bailey Bennett Will Bontempo*** Malcolm Crowder Sarah Chen Gabriel English Vivian Cheng Matthew Henson Naomi Fan Blake Hilley Andrew Fu Matthew Jung Brianna Hou Travis Lorenz Serena Gao Nicole Mann MK Guthrie Daniel Tancredi** Maya Kang FLUTE Julia Koh Rachel Anders Christine Liu Haiwen Gui Zoe Lo Jack Kang Julia Lu Nina Qin Annie Su OBOE Julia Su Mekhi Samuel Surbrook Gladden*** VIOLA Sydney Hancock William Church Hannah Lee Emma DeJarnette* Alexa Levy Wilfred CLARINET Farquharson Caleb Rucker Joy Hsieh Michael Tang Kelsey Johnson Eric Wang James Kang* Alisha Zamore Jun Kang BASSOON Amy Liu Allie Byrd Richard Pei Christopher Matthew Pinder Chung Ive Xue VIOLIN II

TRUMPET

Michael Barbour Imani Duhe Steven Lukehart Richard Stinson Lizbeth Yanez TROMBONE

Lovrick Gary Hans Kang*** Andrew Taylor Evan Roussey TUBA

Errol Rhoden III Joshua Williams PERCUSSION

Michael Dehan Jim Graber Drew Hooper Parker Olson Dylan So HARP

Kimberly Walker KEYBOARD

Ethan Shen *Ardath W. Weck Chair **Douglas Sommer Chair ***Elinor Rosenberg Breman ASYO Fellowship

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ASO | 11.15| artists

VIOLIN I

ASO | 11.19/21 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Nov. 19 and 21, 2015, at 8 p.m.

Carlos Kalmar, Conductor Yevgeny Sudbin, piano

ASO | 11.19/21| program

THE NOV. 19/21 WEEKEND IS GENEROUSLY SPONSORED BY Bill and Rachel Schultz

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

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.

Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.

FRANZ VON SUPPÉ (1819-1895) Poet and Peasant Overture (1846)

9MIN

LUDWIG VAN BEETHOVEN (1770-1827) Concerto No. 1 for Piano and Orchestra in C Major, Opus 15 (1798) 38MIN

I. Allegro con brio

II. Largo

III. Rondo. Allegro scherzando

Yevgeny Sudbin, piano

INTERMISSION 20MIN JOHANNES BRAHMS (1833-1897) Piano Quartet No. 1 in G minor, Opus 25 (orch.

Arnold Schoenberg) (1861, 1937) 43MIN

I. Allegro

II. Intermezzo. Allegro ma non troppo

III. Andante con moto; Animato

IV. Rondo all zingarese. Presto

46 Atlanta Symphony Orchestra | aso.org

Notes on the Program by Ken Meltzer FRANZ VON SUPPÉ was born April 18, 1819, in Spalato, Dalmatia (Split, Croatia) and died May 21, 1895, in Vienna. The first performance of Poet and Peasant took place at the Theater an der Wien in Vienna on Aug. 24, 1846. The Overture to Poet and Peasant is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum with attached cymbals, harp and strings.

Viennese operetta, but the composer was proudest of Boccaccio (1879), a work he deemed “the greatest success of my life.” Suppé was at work on yet another operetta, Das Modell, at the time of his death in 1895, at age 76.

Today, Suppé is best remembered for a handful of overtures, the most famous of which is Poet and Peasant. He composed the Overture as a curtain-raiser for a comedy (in German, Dichter und Bauer).

The work premiered Aug. 24, 1846, at Vienna’s Theater-an-der-Wien. The immediate and immense popularity of the Overture is reflected by the fact that it These are the first Classical was published in dozens of arrangements.

Subscription Performances.

Typical of Suppé’s overtures, Poet and rancesco Ezechiele Ermenegildo Peasant brims with melodic invention, Cavaliere Suppé Demelli, better colorful orchestration, and irrepressible known as Franz von Suppé, was born in energy and charm. These qualities the Dalmatian port city of Spalato (now have assured Suppé’s Poet and Peasant Split, Croatia). His father, an Austrian civil Overture a continued and beloved place servant working in Dalmatia, opposed the in the concert repertoire. idea of his son pursuing a musical career.

Nevertheless, by the age of 13, Suppé Concerto No. 1 for Piano and Orchestra had composed a full-scale Catholic Mass in C Major, Opus 15 (1798) titled Missa dalmatica. The young Suppé LUDWIG VAN BEETHOVEN was studied law at the University of Padua but baptized in Bonn, Germany, on Dec. continued secretly to pursue his musical 17, 1770, and died in Vienna on March interests.

26, 1827. In addition to the solo piano,

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After his father’s death in 1835, Suppé and his mother moved to Vienna. In 1845, Suppé began his 17-year tenure as Kappellmeister at the famous Theater an der Wien. There, he achieved fame both as a composer and conductor. He later served in similar capacities for the Vienna Kaitheater and Carltheater.

the Concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

Suppé’s prolific musical output included songs, operettas, full-scale operas, liturgical works, chamber music and symphonies. Suppé’s Das Pensionat (1860) is considered the first successful

Most Recent Classical Subscription Performances: May 3, 5 and 6, 2007, Shai Wosner, Piano, Donald Runnicles, Conductor.

First Classical Subscription Performances: April 26-27, 1969, Grant Johannesen, Piano, Robert Shaw, Conductor.

Other Robert Shaw Performances:

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ASO | 11.19/21| program

Poet and Peasant Overture (1846)

ASO | 11.19/21 | program (Subscription, unless otherwise noted): May 9, 1978, Misha Dichter, Piano (special); May 11-13, 1978, Misha Dichter, Piano; June 15, 1978, Paul Schenly, Piano (other series).

ASO | 11.19/21| program

I

bears comparison with his First Symphony (1800), in that both appear in form and content to be descendents of the Classical-era works of Mozart and Franz Joseph Haydn. However, the bold rhythmic profile, adventurous harmonic modulations and sharp dynamic contrasts of these early Beethoven works foreshadow the revolutionary figure soon to emerge in such works as the Eroica Symphony (1803).

t was as a pianist that Ludwig van Beethoven first ascended to prominence in Viennese musical circles. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Musical analysis Beethoven’s attacks upon the delicate The Concerto No. 1 is in three movements. fortepianos of the day.

The first (Allegro con brio) opens with the Of course, Beethoven’s keyboard artistry traditional orchestral introduction of the consisted of far more than displays of principal thematic material. When the brute strength. Pianist and composer Carl soloist finally enters, he first appears to be Czerny recalled that audience members introducing new material. Soon, however, were reduced to tears by the sheer it becomes apparent that the pianist is eloquence of Beethoven’s improvisational restating in somewhat improvisational powers, “for apart from the beauty and fashion the themes already introduced by originality of his ideas, and his ingenious the orchestra. The slow second movement manner of expressing them, there was (Largo) recalls the pianist who moved something magical about his playing.” audiences to tears through the beauty of The work known as Beethoven’s First his playing. The Rondo finale (Allegro Piano Concerto, Opus 15, was actually scherzando) opens with the introduction the second in order of composition (if one of the playful central theme. The initial excludes the youthful E-flat Concert pour le high spirits are maintained throughout, as Clavecin ou Fortepiano, circa 1784). While the pianist and orchestra offer contrasting the C-Major Concerto was completed in sections in spirited dialogue. Toward the 1798, the B-flat Concerto, Opus 19, now Rondo’s conclusion, Beethoven provides known as the Second, was finished in 1795. two brief cadenzas. In the final measures, However, Beethoven revised the B-flat the orchestra at first seems puzzled as to Concerto and withheld submitting the work its next step, but then dashes headlong to to his publisher until 1801, remarking, “I the finish. do not give it as one of my best.” By that time, the C-Major Piano Concerto had already been published as Beethoven’s First.

The C-Major Concerto probably received its premiere at a 1798 concert in Prague, with the composer as soloist.

Beethoven’s C-Major Piano Concerto 48 Atlanta Symphony Orchestra | aso.org

Piano Quartet No. 1 in G minor, Opus 25 (orch. Arnold Schoenberg) (1861, 1937) JOHANNES BRAHMS was born May 7, 1833, in Hamburg, Germany, and died in Vienna on April 3, 1897. Arnold Schoenberg was born Sept. 13, 1874, in Vienna and died in Los Angeles on

First Classical Subscription Performances: April 12-14, 1979, Hiroyuki Iwaki, Conductor.

Most Recent Classical Subscription Performances: Nov. 4-6, 2004, Jun Märkl, Conductor.

B

rahms completed his G-minor Piano Quartet in 1861. The premiere of the G-minor Quartet took place Nov. 16, 1861, in Brahms’ native city of Hamburg, with Clara Schumann as pianist.

Although Arnold Schoenberg is best remembered for his pioneering work in atonal musical expression, the Austrian composer maintained a lifelong admiration for many of his more traditional predecessors. In particular, Schoenberg harbored a profound respect and affection for the music of Brahms.

In 1937, Schoenberg (without the benefit of a commission) created an orchestral version of the Brahms G-minor Piano Quartet. In a March 18, 1939, letter to Alfred Frankenstein, music and art editor of the San Francisco Chronicle, Schoenberg explained his motivations for orchestrating Brahms’ chamber work:

“Here are a few remarks about the Brahms: My reasons: 1. I love the piece. 2. It is seldom played. 3. It is always played very badly, because the better the pianist the louder he plays, and one hears nothing of the strings.

I wanted for once to hear everything, and this I have achieved. My intentions: 1. To remain strictly in the style of Brahms, not going any further than he himself would have gone had he still been alive. 2. Strictly to obey the laws which Brahms obeyed and to break none of the laws known only to musicians who grew up in his surroundings.”

It is appropriate to note that even in its original scoring for piano, violin, viola and cello, the Brahms G-minor Quartet boasts a remarkable wealth and development of thematic material, couched in rich instrumental sonorities. It is among the most “symphonic” of chamber works, culminating in a stunning finale.

Schoenberg’s orchestration of the Brahms G-minor Piano Quartet is a respectful and affectionate tribute by one great composer to another. It is also a beautiful and, at times, wildly entertaining piece. And to the extent it presents both composers at their least inhibited, the Brahms/Schoenberg Piano Quartet offers a valuable insight into the personalities of two of concert music’s most influential figures.

Musical analysis The work is in four movements. The first (Allegro) opens with a melody, introduced by the clarinets, that returns in various guises throughout the movement. The second-movement Intermezzo (Allegro ma non troppo), in A-B-A form, contrasts C-minor episodes with a more playful

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ASO | 11.19/21| program

July 13, 1951. The first performance of the Schoenberg orchestration of the Brahms G-minor Piano Quartet took place in Los Angeles on May 7, 1938, with Otto Klemperer conducting the Los Angeles Philharmonic. The Schoenberg orchestration is scored for piccolo, three flutes, three oboes, English horn, E-flat clarinet, two B-flat clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, triangle, orchestra bells, snare drum, cymbals, bass drum, tambourine and strings.

ASO | 11.19/21 | artists central A-flat major section. The third movement (Andante con moto), also in A-B-A structure, features a yearning melody, framing a stirring march-like episode in C major. The finale (Rondo alla zingarese. Presto) is a whirlwind dance in the Gypsy style. Brahms’ friend Joseph Joachim, who featured Gypsy music in his violin concerto In the Hungarian Manner (1861), exclaimed: “You have defeated me on my own territory!” Schoenberg’s generous use of percussion reinforces the finale’s wild spirit, and the finale hurtles to the breathless closing bars.

performance of Vaughan Williams’ Fourth Symphony as “positively searing … with fearless edge-of-seat tempos … breathtakingly negotiated by all.” The Oregon Symphony again won a coveted Spring for Music Carnegie Hall concert for 2013.

Mr. Kalmar is a regular guest conductor with major orchestras worldwide and has been a recent guest with the symphony orchestras of Chicago, Boston, San Francisco, Los Angeles, Cincinnati, Dallas, Houston, and Minnesota, NACO, Vancouver, Lahti, Berlin Radio, Frankfurt Radio, Mozarteumorchester Salzburg, Vienna Radio, RotCARLOS KALMAR, Conductor terdam, Helsinki, Czech Philharmonic, Searlos Kalmar enters his 13th season attle, Detroit and City of Birmingham, and as music director of the Oregon returns soon to St. Louis, Baltimore and Symphony in September 2015. He is also Milwaukee. chief conductor and artistic director of the Mr. Kalmar was born in Uruguay to AustriRTVE Orchestra in Madrid, and artistic an parents and showed an early interest in director and principal conductor of the music, beginning violin studies at age 6. By Grant Park Music Festival in Chicago. the time he was 15, his musical promise was In May 2011 he made his New York debut such that his family moved back to Austria at Carnegie Hall with the Oregon Sympho- in order for him to study conducting with ny as part of the inaugural Spring for Music Karl Osterreicher at the Vienna Academy of festival. Both his imaginative program Mu- Music. Before coming to Portland, he served sic for a Time of War and the performance as music director for the Hamburg Symphoitself were praised by critics in The New ny, the Stuttgart Philharmonic, Vienna’s York Times, The New Yorker magazine and Tonnkunsterorchester and the Anhaltisches Musical America, and the recording of the Theater in Dessau, Germany.

MICHAEL JONES

ASO | 11.19/21| artists

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concert program on the PentaTone label was nominated for a 2012 Grammy. New Yorker critic Alex Ross called the Oregon Symphony’s performance under Kalmar “the highlight of the festival and one of the most gripping events of the season.” That verdict was echoed by Sedgwick Clark, writing for Musical America, who described the 50 Atlanta Symphony Orchestra | aso.org

YEVGENY SUDBIN, Piano

Y

evgeny Sudbin has been called

by London’s Daily Telegraph as “potentially one of the greatest pianists of the 21st century.” In addition to annual recitals in London’s Wigmore Hall Master Series, he has appeared in recital at the Tonhalle in Zurich, the Concertgebouw in Amsterdam, Gilmore and Singapore international piano festivals, and in New York, Boston, Seattle, Montreal, Vancouver, and Milan, among others. He has performed

ASO | 11.19/21| artists MARK HARRISON

with the London Philharmonic, at the BBC Proms, at the Grand Teton Music Festival, Mostly Mozart Music Festival at Lincoln Center and with the symphony orchestras of Atlanta, Indianapolis, Utah, Kansas City and Vancouver. He has toured in Australia with the Australian Chamber Orchestra.

Sudbin records for BIS and has performed and recorded with the Sao Paulo and Singapore symphony orchestras, the Bergen Philharmonic and Tapiola Sinfonietta in Finland. He is completing his recording project with the Minnesota Orchestra, under Osmo Vänskä, performing all of the Beethoven piano concerti. Born in St. Petersburg, Russia, Sudbin displayed exceptional musical talent from an early age and, in 1987, entered the Specialist Music School of the St. Petersburg Conservatory.

In 1990 he continued his studies in Berlin and, in 1997, he moved to London. There he studied with Christopher Elton at the Royal Academy of Music. He now lives in London with his wife and two young children. The Pulvermacher Foundation, Alexis Gregory Foundation and Wall Trust have played important roles in Sudbin’s career. He recently made his Chicago debut opening the Grant Park Music Festival.

ASO | 11.27/28| artists

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

Delta POPS! Concert Friday, Nov. 27 and Saturday, Nov. 28, 2015, at 2 and 8 p.m.

JOHN WILLIAMS (b. 1927) The Flight to Neverland from Hook Theme from Jaws Flying Theme from E.T.: The Extraterrestrial Hedwig’s Theme from Harry Potter and the Sorcerer’s Stone Dartmoor, 1912 from War Horse* Superman March* THERE WILL BE A 20-MINUTE INTERMISSION

Jurassic Park “The Mission” Theme* Music from Star Wars: Twentieth Century Fox Fanfare Main Title Duel of the Fates (Phantom Menace Suite) Anakin’s Theme (Phantom Menace Suite) Imperial March (Star Wars Suite) Throne Room and End Title (Star Wars Suite) * The Saturday matinee will feature a slightly reduced repertoire; the marked pieces will not be performed.

The Atlanta Symphony Orchestra POPS! 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. encoreatlanta.com | Atlanta’s Performing Arts Publication 53

ASO | 11.27/28| artists

Michael Krajewski, Conductor

ASO | 11.27/28 | artists MICHAEL KRAJEWSKI, Principal Pops Conductor

K

TYE CARSON

ASO | 11.27/28| artists

nown for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is music director of the Philly Pops and principal pops conductor of the Houston, Atlanta and Jacksonville symphonies.

As a guest conductor, Mr. Krajewski has performed with the Cleveland and Philadelphia orchestras; the Boston and Cincinnati pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National symphonies; and numerous other orchestras across the United States. In Canada, he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and Kitchener-Waterloo symphonies.

Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra, as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and this season’s debut with Spain’s Bilbao Symphony Orchestra.

Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. He has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival.

In 2014-15, Michael conducted his original Sounds of Simon & Garfunkel program all over North America, featuring national touring artists AJ Swearingen and Jonathan Beedle.

Michael’s other collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel 54 Atlanta Symphony Orchestra | aso.org

Romero, and pop artists Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, the Preservation Hall Jazz Band, the Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, Big Bad Voodoo Daddy and the Midtown Men. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony, and for 11 years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Fla., with his wife, Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.

“His wry wit, as spontaneous as a stand-up comedian’s, emerged to amuse the audience,” critic Charles Ward wrote in the Houston Chronicle. “Krajewski turned to the orchestra to lead a bright, sassy account. It showed that he is as effective and entertaining a communicator in music as he is in words.”

501st LEGION The 501st Legion is an international Star Wars costuming organization with more than 7,500 members dedicated to constructing Stormtroopers, Sith Lords and other “bad guys” from the Star Wars universe. The 501st Legion dispatches volunteer members to charity events, children’s hospitals, literacy programs, anti-bullying initiatives and communitybuilding events.

Live with the Atlanta Ballet Orchestra

December 11 – 27, 2015 at the Fox Theatre

It’s never too early to plan a magical holiday tradition for your family!

Tickets as low as $25!

Call or visit atlantaballet.com/nutcracker Groups of 10 or more call 404.873.5811 x207

Mayor’s Office of Cultural Affairs

Anne-Tyler Harshbarger. Photo by Jim Fiscus.

ASO | support

T

he Orchestra donor list includes all donations made since June 1, 2014. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime.

Those among us who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world.

On behalf of your Atlanta Symphony Orchestra — musicians, volunteers, and staff — we thank you for playing such an important part in the music we work so passionately to create and share.

Bravo!

$500,000+

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

$250,000+

Mrs. Anne Cox Chambers

$100,000+

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

$75,000+

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

$50,000+

AGL Resources Inc. Alston & Bird LLP

Marcia & John Donnell Equifax Inc. The Graves Foundation Karole & John Lloyd Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Mr. Robert Spano UPS The Ziest Foundation Inc.

$35,000

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

$25,000+

Atlanta Homes & Lifestyle Mr. & Mrs. Paul J. Blackney The Arthur M. Blank Family Foundation Mary Rockett Brock Wright & Alison Caughman City of Atlanta Office of Cultural Affairs Catherine Warren Dukehart Ms. Lynn Eden Betty Sands Fuller Ann & Gordon Getty Foundation Charles & Mary Ginden James. H. Landon The Charles Loridans Foundation, Inc. Massey Charitable Trust Newell Rubbermaid

Mr. & Mrs. E. Fay Pearce Jr.* Porsche Cars North America, Inc. Publix Super Market Charities, Inc. Ryder Truck Systems, Inc. WestRock Company Bill & Rachel Schultz* The Mark & Evelyn Trammell Foundation Joan N. Whitcomb The Vasser Woolley Foundation, Inc.

$17,500

Capital Group Companies, Inc. Dr. John W. Cooledge Fulton County Arts Council Georgia Council for the Arts GMT Capital Corporation Ann A. & Ben F. Johnson III* Mr. & Mrs.** Fred McGehee Meredith Corporation (Traditional Home) Mark & Rebekah Wasserman

$15,000+

The Antinori Foundation Mr. & Mrs. Frank H. Boykin Janine Brown & Alex J. Simmons Jr. John W. & Rosemary K. Brown Kelley O. & Neil H. Berman Mr. & Mrs. Ronald M. Cofield* Russell Currey & Amy Durrell Fulton County Arts Council Graphic Packaging International, Inc. Drs. Jeannette Guarner &

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

56 Atlanta Symphony Orchestra | aso.org

gift cards order online or call 678-425-0900 www.chateauelan.com

Château Élan | 100 Tour De France, Braselton, Georgia 30517 Located I-85 North, Exit 126 - 30 Minutes North of Downtown Atlanta

encoreatlanta.com | Atlanta’s Performing Arts Publication 57

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

$10,000+

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

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

$7,500+

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

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

$5,000+

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

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

58 Atlanta Symphony Orchestra | aso.org

strategic thinking about wealth Great wealth creates both opportunity and complexity. Individuals, families and foundations are often charting a course that will influence many generations.

Hansberger & Merlin at Morgan Stanley has been helping ultra high net worth families plan for and grow their wealth for decades. Understanding the specialized nature of this work, we take on only a limited number of clients so we can stay focused on your unique situation. We look forward to helping you think strategically about your wealth.

Hansberger & Merlin at Morgan Stanley James Hansberger Managing Director, Wealth Management Financial Advisor Michael J. Merlin, CFP® Managing Director, Wealth Management Financial Advisor 3280 Peachtree Road Northeast, Suite 1900 Atlanta, GA 30305 404-842-2300 www.morganstanleyfa.com/hansberger&merlin

Board of Standards Inc. owns the certification marks CFP ,® CERTIFIED FINANCIAL PLANNER ™ and CFP ® (with flame logo)® in the U.S., which it awards to individuals who successfully complete CFP® Board’s initial and ongoing certification requirements. © 2015 Morgan Stanley Private Wealth Management, a division of Morgan Stanley Smith Barney LLC. Member SIPC. 2011-PS-3345 10/15 8390778 PWM001 10/15

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

$3,500+

A Friend of the Orchestra (4) Ronald & Gayle Breakstone Alison & Chuck Carlin Mr. & Mrs. Dennis M. Chorba Carol Comstock & Jim Davis* Thomas G. Cousins Betty W Dykes David & Patty Emerson Dr. & Mrs. Carl D. Fackler Frontgate Peg Simms Gary Sally W. Hawkins Henry Howell Dr. & Mrs. James M. Hund Robert & Sherry Johnson Mark B. Kent & Kevin A. Daft Dick and Georgia Kimball* Allyson M. Kirkpatrick Olivia A. M. Leon J. Bancroft Lesesne & Randolph Henning Dr. & Mrs. James T.

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

$2,000+

A Friend of the Orchestra Mr. & Mrs. John Allan Ms. Mary Allen Aadu & Kristi Allpere* Dr. Evelyn R. Babey Asad Bashey Mr. & Mrs. R. Edwin Bennett Shirley Blaine Leon Borchers Dr. Aubrey M. Bush & Dr. Carol T. Bush California Closets Henry & Claudia Colvin Ralph & Rita Connell Jean & Jerry Cooper Mrs. Lavona Currie Peter & Vivian de Kok Mary & Mahlon Delong Xavier Duralde & Mary Barrett Ms. Diane Durgin

patron partnership

Members of the Patron Partnership ($2,000-$9,999) enjoy a host of benefits that include event invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.

Dr. Francine D. Dykes & Mr. Richard H. Delay Mary Frances Early Ellen & Howard Feinsand Phyllis & Dr. Richard D. Franco Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline Gilham Mrs. Janet D. Goldstein Mrs. Louise Grant Joanne & Alex Gross Mr. & Mrs. Gary Guy Harald R. Hansen Virginia Hepner & Malcolm Barnes John & Martha Head Thomas High Sarah & Harvey Hill Mrs. Sally Horntvedt Harry & Tatty Howard Richard & Linda Hubert Dr. W. Manchester Hudson JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Mr. & Mrs. Alan M. Knieter Mrs. Jo W. Koch Jessica Langlois Thomas C. Lawson Dr. Fulton D. Lewis III & S. Neal Rhoney Mr. & Mrs. J. David Lifsey Joanne Lincoln

Mr. & Mrs. Paul A. Lutz* Kay & John Marshall Elvira & Jay Mannelly Martha & Reynolds McClatchey Mrs. Kathryn M. McGrew Mr. Justin R. McLain McMaster-Carr Supply Company Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Midtown Bank & Trust Company The Mortimer Family* Dr. & Mrs. R. Daniel Nable Melanie & Allan Nelkin Gary & Peggy Noble Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. The Reverend Neal P. Ponder, Jr. Tom & Mary Quigley Dr. & Mrs. W. Harrison Reeves, Sr. Mrs. Susan H. Reinach Margaret & Bob Reiser Roger & Lynn Lieberman Ritvo Ms. Susan Robinson & Ms. Mary Roemer Mr. & Mrs. Richard L. Rodgers The Gary W. Rollins Foundation Jane & Rein Saral

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

60 Atlanta Symphony Orchestra | aso.org

ASO | support Helga Hazelrig Siegel Lewis Silverboard Baker & Debby Smith Johannah Smith Southern Company Dr. Odessa K. Spraggins Jonathan & Victoria Sprinzen

Mr. & Mrs. Raymond F. Stainback, Jr. John & Yee-Wan Stevens Kay & Alex Summers Poppy Tanner Mr. & Mrs. Edward M. Tate Mr. & Mrs. George B. Taylor, Jr.

Judith & Mark K. Taylor Mr. & Mrs. Kenneth Tice Sheila L. Tschinkel Vogel Family Foundation Mr. & Mrs. William C. Voss Dr. Nanette K. Wenger David & Martha West

Robert Wenger Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Mary Lou Wolff Mr. & Mrs. John C. Yates

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

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

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

Sabine Sugarman Secretary Glee Lamb Treasurer Sylvia Davidson Nominating Chair

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

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

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 61

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

N

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

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

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

62 Atlanta Symphony Orchestra | aso.org

Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard** & Sandra Palay Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton and Mason Smith

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

You can leave a legacy of music.

Call Jessica Langlois, Director of Development for more information.

404.733.4864

**Deceased

70th

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Recipient of the Regional Theatre Tony Award®

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ASO | community Get to Know The Atlanta Symphony Orchestra Talent Development Program Now in its 22nd year, the mission of the Atlanta Symphony Orchestra Talent Development Program (TDP) is to identify and develop musically gifted and motivated African-American and Latino classical music students for acceptance in top music programs in preparation for careers as professional musicians.

9

New TDP students have joined

the program for the 2015-16 season

14 7

19

T DP students attended summer

TDP . By The Numbers

T DP students are continuing their

participation in the program

T DP graduates from the 2015

class are pursuing musical studies at conservatories or universities

music programs with help from the Azira G. Hill Scholarship

Thank you to the parents, volunteers and donors who make this program a reality; and a special thank you to our Atlanta Symphony Orchestra musicians for their unwavering support in the form of music instruction and mentoring.

JOIN US

2015/16

Musicale & Aspire Awards NOV 15 | Sun: 7pm | Atlanta Symphony Hall Enjoy an evening of music from our incredible students.

Special guests include this year’s Aspire Award recipient, Anthony McGill, principal clarinet, New York Philharmonic and “America’s Got Talent” finalists the Sons of Serendip, featuring TDP alumnus Mason Morton, harp. The program will also feature TDP students performing a composition by our own Michael Kurth, Atlanta Symphony Orchestra Tickets bass. Proceeds and donations only support summer music experiences for $10 at aso.org/tdp TDP students.

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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 Franklin Pond Chamber Music enriches the personal, cultural, and social lives of all people, especially young musicians, through chamber music.

Accepting applications for Summer, Fall Into Spring, and College programs.

www.franklinpond.org encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 65

corporate & government | support

Mayorâ&#x20AC;&#x2122;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.

66 Atlanta Symphony Orchestra | aso.org

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

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

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

$1 MILLION+

A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA

$500,000+ A Friend of the Atlanta Symphony Orchestra Chick-fil-A Foundation / Rhonda and Dan Cathy Sally and Carl Gable Georgia Power Foundation, Inc. The Home Depot $400,000+ The Community Foundation for Greater Atlanta, Inc. Sarah and Jim Kennedy Mr. and Mrs. Donald Keough $300,000+ AT&T The Goizueta Foundation Invesco Ltd. $250,000+ Bank of America Deloitte, its Partners & Employees Equifax Inc. & Employees EY, Partners & Employees King & Spalding LLP, Partners & Employees

JOY & TONY GREENE

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

Wells Fargo wish Foundation, Inc.

PwC, Partners & Employees Louise Sams & Jerome Grilhot UPS

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

PNC Patty and Doug Reid Mrs. Charles A. Smithgall Jr. Woodruff Circle & Patron Circle donations made: June 1, 2014 â&#x20AC;&#x201C; May 31, 2015 Beauchamp C. Carr Challenge Fund Donors

68 Atlanta Symphony Orchestra | aso.org

emoryhealthcare.org/voicecenter 288

encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 69

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

CORPORATE PARTNERS $200,000+ KPMG LLP, Partners & Employees

$50,000+ BB&T Corporation Birch Carter’s Charitable Foundation Crawford & Company GMT Capital Corporation Norfolk Southern Corporation North Highland Company Primerica, Inc. Printpack, Inc. Publix Super Market Charities, Inc. Regions Financial Corporation U.S. Trust

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

$25,000+ ACE Charitable Foundation AGSI Business Techology Americas Mart Real Estate, LLC

$15,000+ ABM Acuity Brands, Inc. Alvarez & Marsal

$150,000+ Alston & Bird LLP Jones Day Foundation & Employees Porsche Cars North America $100,000+ AGL Resources Inc. First Data Corporation GE Asset Management Genuine Parts Company Intercontinental Exchange, Inc. Kaiser Permanente Kilpatrick Townsend LLP Northern Trust Company Target Stores $75,000+ General Electric Company Georgia-Pacific Corporation Newbridge Management WestRock Company

FOUNDATION SUPPORTERS $150,000+

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

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

70 Atlanta Symphony Orchestra | aso.org

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

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

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

The Oscar G. and Elsa S. Mayer Family Foundation Piedmont Charitable Foundation, Inc. Price Gilbert, Jr. Charitable Fund The Ray M. and Mary Elizabeth Lee

Foundation, Inc. The Vasser Woolley Foundation, Inc. Walter Clay Hill & Family Foundation $15,000+ The Blanche Lipscomb Foundation Camp-Younts Foundation Center Family Foundation

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

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

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

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 71

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

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

72 Atlanta Symphony Orchestra | aso.org

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

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

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

WOODRUFF ARTS CENTER BOX OFFICE Open 10 a.m.-6 p.m. Monday; 10 a.m.-8 p.m. Tuesday-Friday; noon-8 p.m. Saturday; and 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 initially be 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 at 404.733.5000 to make advance arrangements.

SYMPHONY STORE The Symphony Store is moving to a new location directly across from the Delta 360 Club. Opening soon!

74 Atlanta Symphony Orchestra | aso.org

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,000 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345 Donations & Development 404.733.4262

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regencysuites.com encoreatlanta.com | Atlanta’s Performing Arts Publication 75

ASO | calendar

Capathia Jenkins

Vienna Boys Choir

All-City High School Cirque de la Symphonie

Holiday

Home Alone

concerts

Morehouse College Glee Club

DEC 3 Thu: 8pm MICHAEL FEINSTEIN’S Sinatra Centennial Celebration with the Atlanta Symphony Orchestra DEC 4/5/6 Fri: 8pm/Sat: 2pm & 8pm Sun: 3pm CIRQUE DE LA SYMPHONIE Holiday Spectacular

DEC 14 Sun: 7:30pm MICHAEL MCDONALD THIS CHRISTMAS – An Evening of Holiday and Hits DEC 17/19 Thu: 8pm/Sat: 2pm & 8pm A VERY MERRY HOLIDAY POPS! Michael Krajewski, conductor Capathia Jenkins, vocalist Morris Robinson, vocalist Marcus Terell, featured performer All-City High School Chorus

DEC 9 Wed: 8pm VIENNA BOYS CHOIR Christmas in Vienna

DEC 20 Sun: 8pm CELTIC WOMAN DEC 12/13 Home for Christmas Sat: 2pm & 8pm/Sun: 3pm — the Symphony Tour CHRISTMAS WITH THE ASO JAN 2/3 Norman Mackenzie, Sat: 8pm/Sun: 3pm conductor HOME ALONE Gwinnett Young Singers featuring Morehouse College complete film Glee Club Constantine ASO Chorus Kitsopolous, conductor

Buy Tickets Here!

Woodruff Arts Center Box Office Holiday concerts are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.

Presented by:

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855 Peachtree Street NE • Suite #4 Atlanta, GA 30308 • (678) 656-9969 facebook.com/lemacaronatlanta encoreatlanta.com | Atlanta’s Performing Arts Publication 77 LeMacaron_ENC1511 eighth.indd 1

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ASO | gallery

1 Atlanta Symphony Orchestra musicians get into the spirit of the new season with an opening night #SymphonySelfie. (from left: Galina Kiep (guest), Jessica Oudin and Elizabeth Tiscione.

2 Music director Robert Spano takes a moment to celebrate the opening of the Atlanta Symphony Orchestraâ&#x20AC;&#x2122;s 71st season with Vicki and Howard Palefsky (top) and Ann Marie and John White.

3 Atlanta Symphony Orchestra Principal Clarinet Laura Ardan delighted the crowd at Verizon Wireless Amphitheatre with Coplandâ&#x20AC;&#x2122;s Clarinet Concerto, as the Orchestra performed A Salute to American Classics on Sept. 27.

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PHOTOS: JEFF ROFFMAN

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3 Have you spotted our POPS! bus? Snap a shot of our favorite @Marta bus around town and tag #ASOpopsbus so we can see it in action!

78 Atlanta Symphony Orchestra | aso.org

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