Atlanta Symphony Orchestra: October 2015

Elisabeth Remy Johnson, harp Christina Smith, flute

MOZART Concerto for Flute & Harp OCT

2015

WHAT’S MORE BEAUTIFUL THAN LIFE IMITATING THE

Since 1986, Georgia Power has given more than $120 million to non-profits across the state. From Atlanta’s Woodruff Arts Center to Savannah’s Telfair Museums, our commitment to improving the cultural landscape is just one of the many ways we’re working to support our communities.

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TAKE CARE OF YOUR HEALTH.

Schedule Your Mammogram Today!

Call 678-581-5900 to schedule your digital mammogram at WellStar locations in Cherokee, Cobb, Douglas and Paulding counties.

Early morning, evening and weekend appointments available.

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For scheduling, please call 678-581-5900.

THE ORIGINAL MATERIAL GIRL

Uncover the story of Maria Theresa, one of 100 stories to discover in Habsburg Splendor: Masterpieces from Vienna’s Imperial Collections. Visit the High to see 600 years of sculptures, costumes, armor, and paintings rarely on view in the United States.

THIS IS THE HABSBURGS OPENS OCT. 18 | TICKETS: HIGH.ORG OR 404-733-5000 IMAGE: Diego Rodríguez de Silva y Velázquez (Spanish, 1599–1660), Infanta Maria Theresa (1638–1683) (detail), ca. 1652–1653, oil on canvas, Kunsthistorisches Museum, Vienna, Austria.

This exhibition is organized by the Minneapolis Institute of Arts; Museum of Fine Arts, Houston; High Museum of Art, Atlanta; and Kunsthistorisches Museum, Vienna.

Presenting Sponsors

Forward Arts Foundation

National Sponsor

Contributing Sponsors

Sara Giles Moore Foundation

Special thanks to the Rich Foundation, Frances B. Bunzl, Barbara and Michael Kaufmann, Mr. and Mrs. H. Burke Nicholson III, Sharon and Chip Shirley, Joan and Richard Whitcomb, and Loraine Williams. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities, the Margaretta Taylor Exhibition Endowment Fund, and the Anne Cox Chambers Exhibition Endowment Fund.

Thanks for making us a five-star hospital

HIGHES T R ATING BA SED ON PERSONAL E XPERIENCES OF PATIENTS

Recently, the Centers for Medicare & Medicaid Services implemented a new ratings system to help consumers quickly and easily compare hospitals. That system is based on the results of a patient-experience survey referred to as HCAHPS, the Hospital Consumer Assessment of Healthcare Providers and Systems. Fewer than 10% of hospitals in the country received five stars, the highest rating possible, including Cancer Treatment Centers of America® in metro Atlanta.* In the surveys, 98% of our patients said they would definitely recommend our hospital to others—and 94% rated their overall experience a nine or ten on a 10-point scale. With results like that, it’s easy to see why so many of our patients travel here for treatment.

To learn more about five-star care at Cancer Treatment Centers of America in metro Atlanta, visit cancercenter.com/atlanta.

cancercenter.com/atlanta 888.845.2471 * HCAHPS results can be found at www.cms.gov and were based on the published summary ratings provided by CMS for a data collection period of 10/1/2013 to 9/30/2014.

©2015 Rising Tide

content October 2015

ar experiences 3 WellStar 4

High Museum of Art

5

Cancer Treatment Centers of America

7

Tower Beer, Wine & Spirits

8

Augusta Metro CVB

9 Georgia Aquarium 11 Ruth’s Chris Steak House 13 Lure

18

features

15 Chateau Elan 21 Atlanta Contemporary

Jewlery Show 27 Spivey Hall

18 The Home Depot &

the Atlanta Symphony Orchestra Working in partnership to honor Georgia’s veterans. By Andrew Alexander

65 Center for Civil and

Human Rights 67 Emory Voice Center 73 Element Massage

departments

75 Gordon Biersch

10 Welcome

58 ASO Support

79 Publix

12 Robert Spano

66 ASO Community

80 Lexus

14 Orchestra Leadership

72 ASO Staff

16 Musicians

74 Ticket Info /

General Info

22 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!

6 Atlanta Symphony Orchestra | aso.org

77 Concentrics Restaurants

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8 Atlanta Symphony Orchestra | aso.org

HAVE SPOOKY GOOD FUN. Visit during Georgia A-Scary-Um and enjoy four weekends (Oct. 10 - Oct. 31) of Halloween fun activities in our 10-million gallon playground. Come for an entertainment show, a murder mystery, tricks and treats you’ll love, along with memories you’ll treasure. For more info visit GeorgiaAquarium.org | 404.581.4000 |

ASO | welcome Dear Patrons,

W

elcome to the Atlanta Symphony Orchestra, Atlanta’s national treasure.

I am thrilled you have chosen to join us at Symphony Hall, where every performance is a chance to celebrate the brilliant artistry of our world-class musicians.

We have come a long way in reaching our goal of ensuring your Orchestra will always fill this hall with great music. Our operating revenues for the 2014-15 season exceeded expenses, the first time in over a decade. In addition, our Musicians’ Endowment Campaign, which launched just last year, has already passed the midway mark, raising almost $15 million towards the $25 million goal. We extend our sincerest thanks to all of our donors, patrons and community partners for their support.

But there’s still a long way to go, and we can only reach our goal with the help of the entire Atlanta community. The Musicians’ Endowment Campaign is a restricted fund that will permanently endow musicians’ salaries and benefits, restoring the total number of musicians in the Orchestra from 77 to 88. There’s seldom been a more direct way to see the tangible impact your contributions can have on the artistic success of the Atlanta Symphony. All levels of support are welcome and needed, and your generosity, whether through your patronage, volunteer efforts or financial contributions, can help ensure the stability and size of our Orchestra in perpetuity.

To learn more about supporting the Atlanta Symphony Orchestra through the Musicians’ Endowment or the Annual Fund, please visit atlantasymphony.org/giving or speak to our Senior Development Coordinator, Shawn Gardner at 404.733.4839. The citizens of Atlanta and their commitment will help determine our success. Together, we will make sure that our city remains home to one of the world’s great orchestras and that the beautiful sounds that resonate in your senses tonight will resound in this hall for generations to come.

Sincerely,

Terence L. Neal Interim President & CEO

10 Atlanta Symphony Orchestra | aso.org

Ins I st on makI ng a t o a s t.

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

F ou r AtlAntA restAur Ants to s e rv e Y o u Alpharetta 路 Buckhead 路 Centennial olympic Park 路 Kennesaw For location details, visit RuthsChris.net

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, 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.

Dive in.

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

PRESENT YOUR TICKET STUB FOR 10% OFF YOUR MEAL!

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

Meghan H. Magruder Vice Chair

Thomas Wardell Vice Chair

John B. White, Jr. Secretary

Suzanne Tucker Plybon Treasurer

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

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

Board of Counselors

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

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

James H. Landon Donna Lee Hank Linginfelter Karole Lloyd Kelly L. Loeffler Belinda Massafra* Brian F. McCarthy Penny McPhee† Terence L. Neal Joe 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

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

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

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

2015 19th Annual Vineyard Festival Château Élan Winery & Resort

Sunday, November 8th, 1 p.m. - 5 p.m.

$85 per ticket | all-inclusive special packages available | advance purchase only

Four-Star Luxury Inn - Full Production Winery and Vineyards Wine Tasting and Tours - Wine Market Taste Domestic and International Wines Cooking and Wine Seminars with Chefs and Wine Experts Local Harvest Food Tent Live Music by “League of Decency” Dancing & Grape Stomping Overnight Packages Available Inquire about the Chef and Winemaker Dinner with Tickets Free Parking - Must be 21 or Over

order online www.chateauelan.com order by phone 678-425-0900 x 41 Join us at www.facebook.com/chateauelan Château Élan | 100 Tour De France, Braselton, Georgia 30517 Located I-85 North, Exit 126 - 30 Minutes North of Downtown Atlanta

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 †

CELLO

PICCOLO

HORN

PERCUSSION

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

Carl David Hall

Brice Andrus Principal The Betty Sands Fuller Chair Susan Welty Associate Principal 2nd Horn - Vacant Jaclyn Rainey † Bruce Kenney

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

BASS

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

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 Samuel Nemec Emily Brebach ENGLISH HORN

Emily Brebach CLARINET

E-FLAT CLARINET

Ted Gurch BASS CLARINET

Alcides Rodriguez BASSOON

Principal - Vacant Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar CONTRABASSOON

Juan de Gomar

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

Brian Hecht The Home Depot Veterans Chair TUBA

Michael Moore Principal TIMPANI

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

HARP

Elisabeth Remy Johnson Principal The Sally and Carl Gable Chair KEYBOARD

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

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian ‡ 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 Home Depot

The Atlanta Symphony Orchestra Working in Partnership To Honor Georgia’s Veterans

T

By Andrew Alexander

he Atlanta Symphony Orchestra is proud to announce The Home Depot Veterans Chair to be held by bass trombone and U.S. Navy veteran, Brian Hecht. Prior to joining the Atlanta Symphony Orchestra, Hecht served as a member of the United States Navy Band in Washington, D.C., from 2009 to 2013.

here in our hometown, we’re expanding into other areas as well, including the arts,” said Catherine Stodola, senior specialist, Atlanta Giving, The Home Depot. “We employ more than 35,000 veterans, so we know how talented they are. This is the perfect stage to showcase the accomplishments of veterans like Brian.”

For The Home Depot, which every day celebrates “Doing More for Veterans,” the new Veterans Chair is one more way to help those who are returning to civilian life after service.

“I am honored to receive The Home Depot Veterans Chair,” said Hecht. “My military service included performing at military memorial services for fallen members of the U.S. forces. I take great pride in what I did for my country by upholding the tradition of honoring our heroes, especially our fallen heroes. That’s a sacred duty.

“Nationally, our philanthropic efforts are focused on improving the homes and lives of U.S. veterans and their families. But 18 Atlanta Symphony Orchestra | aso.org

I’m honored to continue recognizing our veterans through my work with the Atlanta Symphony Orchestra.”

In addition to The Home Depot Veterans Chair, the Woodruff Arts Center and The Home Depot celebrate veterans together by providing U.S. military veterans, active service members and their families access to free parking and free tickets to Atlanta Symphony Orchestra and other Woodruff Arts Center events through The Home Depot Veterans Program. Since the program’s inception, more than 20,000 veterans and their families have enjoyed free performances from the Atlanta Symphony Orchestra, Alliance Theatre; events at the High Museum of Art; and student education classes, all thanks to The Home Depot.

“We are grateful to The Home Depot for their continued support of The Home Depot Veterans Program at The Woodruff Arts Center,” said Alvin Townley, director of corporate philanthropy and veterans programs at the Woodruff Arts Center.

“Music is good for the soul and whether you’re a veteran or not, music heals.

Many returning members of the military have gone through difficult times. The symphony is a place to unplug and absorb beautiful music. It’s a wonderful gift the Atlanta Symphony Orchestra is able to give the city.”

their military ID for admission to the High, or they can reserve seats for ticketed events up to seven days in advance at the Woodruff Box Office with presentation of ID. And on October 16, the Woodruff Arts Center will have another way to show appreciation when the Woodruff hosts a special Veterans Night. The Atlanta Symphony will perform Classical Mystery Tour, a musical tribute to the Beatles, as part of the Delta POPS! series. As always, the entire campus, including Alliance shows, museum admission and live music, will be free for veterans and their families on this night of special activities.

“We are always looking for new ways to engage Atlanta communities with the arts; and for the symphony to wrap the city in music,” said Townley. “Bringing veterans in and making them feel welcome is an integral part of our commitment to honor those who serve and to bring world-class music to our community.”

Townley is also a bestselling author and 2015 Georgia Author of the Year Award recipient. His latest book Defiant is about POWs who endured imprisonment in Vietnam and their families at home, so the challenges that returning veterans face is a subject he knows well.

Veterans interested in accessing the assets of the Woodruff campus need only show

Atlanta Symphony Orchestra bass trombonist Brian Hecht holds The Home Depot Veterans Chair.

encoreatlanta.com | Atlanta’s Performing Arts Publication 19

ASO | sponsors AtlantaSymphonyOrchestra

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

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

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

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

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

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

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

20 Atlanta Symphony Orchestra | aso.org

ASO | 10.1/2/3 | 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 | 10.1/2/3| program

Concerts of Thursday, October 1, and Saturday, October 3, at 8:00pm, and Friday, October 2, 2015, at 6:30pm.

Robert Spano, Conductor Jonathan Biss, piano JENNIFER HIGDON (b. 1962) Concerto for Orchestra (2002) 32MIN I. II. III. IV. V. 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) Concerto No. 5 for Piano and Orchestra in E-flat Major, Opus 73 (“Emperor”) (1809) 39MIN

I. Allegro

II. Adagio un poco mosso

III. Rondo. Allegro

Jonathan Biss, piano

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.

The “Casual Friday Concert” of October 2, performed without intermission, features the first movement of the Higdon Concerto for Orchestra and the complete Beethoven “Emperor” Piano Concerto.

22 Atlanta Symphony Orchestra | aso.org

Concerto for Orchestra (2002) JENNIFER HIGDON was born in Brooklyn, New York, on December 31, 1962. The first performance of the Concerto for Orchestra took place at Verizon Hall in Philadelphia, Pennsylvania, on June 12, 2002, with Wolfgang Sawallisch conducting the Philadelphia Orchestra.

The Concerto for Orchestra is scored for piccolo, three flutes, three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani; percussion I: chimes, crotales, suspended cymbal, snare drum, temple blocks, small triangle, sandpaper blocks, flexatone, tom-toms; percussion II: orchestra bells, vibraphone, tam-tam, suspended cymbal, Chinese cymbal, wood blocks, maraca, temple blocks, bongo drums, tomtoms, medium roto-tom; percussion III: marimba, crotales, small triangle, large triangle, bass drum, suspended cymbal, sizzle cymbal, vibraslap, castanet, guiro, floor tom-tom, slapstick, sandpaper blocks, tam-tam; piano/celeste, harp, and strings.

These are the first ASO Classical Subscription Performances.

ASO Recording: Telarc-CD 80620, Robert Spano, Conducting.

J

ennifer Higdon, the distinguished American composer and educator, is a charter member of the “Atlanta School” of composers. Robert Spano and the Atlanta Symphony Orchestra have performed and recorded (for Telarc) Ms. Higdon’s blue cathedral, City Scape, Dooryard Bloom, The Singing Rooms, and (for ASO Media) On A Wire.

The Philadelphia Orchestra commissioned the Concerto for Orchestra as part

of its Centennial Celebrations. The National Endowment for the Arts, The Philadelphia Music Project (funded by The Pew Charitable Trusts, administered by Settlement Music School) and Peter Benoliel provided funding. The premiere took place at Philadelphia’s Verizon Hall on June 12, 2002, with Music Director Wolfgang Sawallisch leading the Philadelphia Orchestra. In September of 2003, Maestro Spano and the Atlanta Symphony Orchestra made the world premiere recording of the Concerto for Orchestra, for Telarc.

Jennifer Higdon Discusses her Concerto for Orchestra

The “Concerto for Orchestra” is truly a concerto in that it requires virtuosity from the principal players, the individual sections, and the entire orchestra. Built from the inside out, the third movement was written first, and it is the movement that allows each principal player a solo, before moving into section solis. The winds are highlighted first, which are followed (after a tutti) by the strings, and then the brass. Each solo has its own unique material, some of which is utilized in the tutti sections of the movement.

The second movement was written next, inspired by the string sound of The Philadelphia Orchestra. This movement is like a scherzo in character, written in a jaunty rhythm and tempo that celebrates the joyous sound of strings. The movement begins with everyone playing pizzicato and then slowly integrates an arco sound, first through soloists, and then with all of the players. It continues to romp through to the end, where a snap pizzicato closes out the movement.

The fourth movement is a tribute to rhythm and the percussion section of the

encoreatlanta.com | Atlanta’s Performing Arts Publication 23

ASO | 10.1/2/3| program

Notes on the Program by Ken Meltzer

ASO | 10.1/2/3| program

ASO | 10.1/2/3 | program orchestra (harp, celesta, and piano are included in this movement). Since this piece was completed at the beginning of the 21st century, it seemed very fitting to have a movement that highlights the one section of the orchestra that has had the greatest amount of development during the 20th century. Ironically, the opening of this movement is the quietest and stillest part of the entire work, which is not what one might expect from percussion. The movement opens with bowed vibraphone and crotales… opening the way for the percussion to move through many of its pitched instruments (as well as collaborating with the harpist and celesta player, who are percussive in their nature).

Eventually, the musicians move to nonpitched percussion, which is emphasized by the movement’s tempo speeding up at key moments. This progression in the tempi will carry this movement from an extraordinarily slow start (quarter equals 42) through to the fifth movement, which continues the progression of increasing tempi, until the end of that movement, which arrives at a quarter equals 160-180 on the metronome.

These tempo increases occur at specific moments, usually covering 2 measures, and are meant to resemble the effect of a victrola being wound up.

that is stated within the first minute of the movement will eventually come back in rhythmic values that are twice as long, but with the increased tempo, will sound like it did at its first appearance.

Surprisingly, the first movement was the last to be composed. It took writing the other four movements to create a clear picture of what was needed to start this virtuosic tour-de-force. The opening of the piece begins with chimes and timpani, sounding together, and then a quick entrance by the strings in energetic scale patterns (octatonic), which moves the orchestra up through the winds and finally adds the brass in major chords, a major second apart (this is a sound the composer has been working with for years). This movement is primarily tutti in its use of instruments, but there are small chamber moments, in recognition of the fact that it takes many individuals to make the whole of the orchestra.

Concerto No. 5 for Piano and Orchestra in E-flat Major, Opus 73 (“Emperor”) (1809) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the “Emperor” Piano Concerto took place in Leipzig, Germany, on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz conducting. In addition to the solo piano, the Fifth Piano Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

The fifth movement, which begins with the entrance of the violins, highlights the entire orchestra and has its rhythm set up through an ostinato in the percussion, which has been carried over from the previous movement. The various sections of the orchestra converse in musical interplay throughout, while the First ASO Classical Subscription tempo continues to increase. This occurs Performance: January 22, 1953, Eugene to such an extent, that a primary theme Istomin, Piano, Henry Sopkin, Conductor.

24 Atlanta Symphony Orchestra | aso.org

Robert Shaw Performances: (Subscription, unless otherwise noted) April 26 and 27, 1969, Grant Johannesen, Piano; (Special) October 6, 1969, Barry Snyder, Piano; (Pension Fund Celebrity Series) March 13, 1973, Rudolf Serkin, Piano; April 29 and 30, May 1, 1976, Garrick Ohlsson, Piano; (Tour) May 26 and 28, 1976, Garrick Ohlsson, Piano.

P

erhaps the “Emperor” Piano Concerto is the work that most eloquently testifies to Ludwig van Beethoven’s ability to overcome seemingly insurmountable obstacles through the sheer force of will and genius. Beethoven, a fiery virtuoso, had previously stunned Vienna with brilliant performances of his keyboard compositions, including four Concertos for Piano and Orchestra. By the time Beethoven began work on his E-flat Concerto in 1808, however, increasing deafness had made public appearances all but impossible. The “Emperor” is, in fact, the only Beethoven Piano Concerto not premiered by the composer himself.

Beethoven completed his Fifth Piano Concerto in 1809, the year Napoleon invaded Vienna. In May, Napoleon’s forces bombarded the city. Beethoven’s lodgings stood directly in the line of fire, and so he took refuge in a basement of another home.

During the massive shelling, Beethoven tried to protect the last remnants of his hearing by covering his ears with pillows.

The succeeding French occupation brought physical and economic chaos. On July 26, 1809, Beethoven wrote to his publisher: “Normally I should now be having a change

of scene and air—The levies are beginning this very day—What a destructive, disorderly life I see and hear around me, nothing but drums, cannons and human misery in every form....”

Through all of this turmoil and despair, Beethoven never lost his fierce sense of independence and rebellious spirit. Once, during the occupation, a friend spied Beethoven in a café. There the composer stood behind a French officer, shaking his fist and proclaiming, “If I were a general and knew as much about strategy as I do counterpoint, I’d give you fellows something to think about.” And there is an undeniable pride and heroism in the E-flat Concerto, music that refuses to capitulate to the misery Beethoven suffered during its composition.

The Concerto’s nickname, “Emperor,” was first used after Beethoven’s death. It relates not to any specific political figure, but to the work’s majestic character. Beethoven would compose no more piano concertos during the remaining 18 years of his life.

Nevertheless, the “Emperor” is as fitting a summation of the composer’s achievements in the realm of the piano concerto as is the immortal Ninth in the symphonic repertoire.

The grand opening movement (Allegro) begins in dramatic fashion, as the orchestra’s massive chords are answered by the elaborate flourishes of the soloist. The beautiful slow second movement (Adagio un poco mosso) features a lovely melody, introduced by the muted violins. Toward the conclusion of the movement, one of several masterstrokes in this work creates a moment of incomparable magic. After a sudden and unexpected shift from B to B-flat, the soloist quietly entices the listener with fragments of the principal theme of the spirited finale, which follows without pause.

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ASO | 10.1/2/3| program

Most Recent ASO Classical Subscription Performances: January 5, 6, and 7, 2012, Dejan Lazic, Piano, Robert Spano, Conductor.

BENJAMIN EALOVEGA

ASO | 10.1/2/3| artists

ASO | 10.1/2/3 | artists The concluding movement (Rondo. Allegro) is based upon a jaunty theme, first played by the soloist, and immediately repeated by the orchestra. Beethoven adds a touch of mystery just before the closing measures, featuring the pianist accompanied only by the timpani. Suddenly a series of ascending flourishes by the soloist leads to an athletic restatement of the principal theme, and Beethoven’s “Emperor” Concerto reaches its triumphant conclusion.

JONATHAN BISS, piano

J

onathan Biss is a world-renowned pianist who shares his deep musical and intellectual curiosity with classical music lovers in the concert hall and beyond.

He performs a diverse repertoire ranging from Mozart and Beethoven, through the Romantics to Janáček and Schoenberg, as well as works by contemporary composer Gyorgy Kurtág and commissions from Leon Kirchner, Lewis Spratlan, and Bernard Rands. Biss has a noted recording career, including an album of Schubert sonatas and two short Kurtág pieces that NPR Music named as one of the best albums of the year.

His recent albums for EMI won Diapason d’Or de l’année and Edison awards, and in 2016 he releases the fifth volume of his nine-year, nine-disc recording cycle of Beethoven’s complete piano sonatas.

Biss studied at Indiana University and at the Curtis Institute of Music, where he joined the piano faculty in 2010. He led the first massive open online course (MOOC) offered by a classical music conservatory, Exploring Beethoven’s Piano Sonatas, which has reached more than 100,000 people in more than 160 countries, 26 Atlanta Symphony Orchestra | aso.org

and he will continue to add lectures until he covers all the sonatas. His bestselling eBook, Beethoven’s Shadow, published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician. This season Biss launches his latest Beethoven project, Beethoven/5, for which the Saint Paul Chamber Orchestra (SPCO) is commissioning five composers to write new piano concertos, each inspired by one of Beethoven’s five piano concertos.

Bach Collegium Japan November 1, 2015

Masaaki Suzuki conductor/harpsichord

Joanne Lunn soprano

Marc-AndrÊ Hamelin The King’s Singers piano

November 15, 2015

November 22, 2015

www.SpiveyHall.org Clayton State University

ASO | 10.8/10/11 | 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 | 10.8/10/11| program

Concerts of Thursday, October 8 and Saturday, October 10, at 8:00pm, and Sunday, October 11, 2015, at 3:00pm.

THE OCTOBER 8/10/11 WEEKEND IS GENEROUSLY SPONSORED BY Patty and Doug Reid

Donald Runnicles, Conductor Christina Smith, flute Elisabeth Remy Johnson, harp FRANZ SCHUBERT (1797-1828) Six German Dances, D.820 (1824) (orch. Anton Webern)

9MIN

WOLFGANG AMADEUS MOZART (1756-1791) Concerto for Flute, Harp, and Orchestra in C Major, K.299 [297c] (1778) 30MIN

I. Allegro

II. Andantino

III. Rondo. Allegro 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.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator

CLAUDE DEBUSSY (1862-1918) Prélude à “L’après-midi d’un faune” (1894) 10MIN LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 8 in F Major, Opus 93 (1812) 28MIN

I. Allegro vivace e con brio

II. Allegretto scherzando

III. Tempo di Menuetto

IV. Allegro vivace

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.

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Notes on the Program by Ken Meltzer

FRANZ SCHUBERT was born in Vienna, Austria, on January 31, 1797, and died there on November 19, 1828. Anton Webern was born in Vienna on December 3, 1883, and died in Mittersill, Austria, on September 15, 1945. The Webern orchestration of the Six German Dances is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, and strings.

First ASO Classical Subscription Performances: January 22 and 23, 1959, Warren Little, Flute, Mary Spalding, Harp, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: February 25, 26, and 27, 1993, Christina Smith, Flute, Isabelle Moretti, Harp, Yoel Levi, Conductor.

I

n September of 1777, Mozart began an 18-month journey to Munich, Augsburg, Mannheim, and Paris. Mozart hoped his First ASO Classical Subscription travels would lead to new opportunities, Performances: April 12, 13, and 14, 1979, allowing him to leave his native city of Hiroyuki Iwaki.

Salzburg. But when Mozart returned to n 1824, Franz Schubert composed a Salzburg in January of 1779, he had failed series of six German Dances for solo to secure new employment. piano. The work remained unpublished In April of 1778 while in Paris, Mozart during Schubert’s tragically brief life. In composed his Concerto for Flute and Harp 1931, Universal Edition offered the first in C Major. Mozart wrote the work for publication of Schubert’s Six German Adrien-Louis Bonnières de Souastre, Comte Dances, D.820. Universal was also Anton de Guines, and his daughter. The Comte Webern’s publisher, and it commissioned de Guines, the former French envoy to him to create an orchestral version of England, was an accomplished flutist. His Schubert’s original piano composition. daughter was Mozart’s composition pupil, Webern completed the orchestration and a fine harpist. In a May 14, 1778 letter, between May 19 and June 17, 1931. As Mozart informed his father, Leopold:

I

Webern confided to his mentor, Arnold Schoenberg: “But I have to confess that I had to give it much thought until I believed I had found the right way.” Webern scored the work for an ensemble typical of Schubert’s time, and in a manner that complements the lyrical charm of his great predecessor.

Concerto for Flute, Harp, and Orchestra in C Major, K.299 [297c] (1778) WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. In addition to the solo flute and harp, the Concerto in C Major is scored for two oboes, bassoon, two horns, and strings.

I think I told you in my last letter that the (Comte) de Guines, whose daughter is my pupil in composition, plays the flute extremely well, and that she plays the harp magnifique. She has a great deal of talent and even genius, and in particular has a marvelous memory, so that she can play all her pieces, actually about two hundred, by heart.

The Concerto is in three movements. The ensemble’s sprightly fanfare launches the initial exposition of the first movement’s (Allegro) principal themes. The soloists then enter with a more elaborate restatement of the exposition, often in the character of an intimate dialogue. The slow-tempo second

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ASO | 10.8/10/11| program

Six German Dances, D.820 (1824) (orch.

Anton Webern)

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ASO | 10.8/10/11 | program movement (Andantino) is scored for solo flute and harp, with strings. The graceful central theme, introduced by the violins, reappears throughout, alternating with episodes that maintain the lyrical repose of the opening measures. The Rondo finale (Allegro) is based upon the lively theme presented at the outset by the first violins.

After a final cadenza for the soloists, the Concerto ends with the orchestra’s forte exclamation.

Prélude à “L’après-midi d’un faune” (1894) CLAUDE DEBUSSY was born in St. Germain-en-Laye, France, on August 22, 1862, and died in Paris, France, on March 25, 1918. The first performance of Prélude à “L’après-midi d’un faune” took place in Paris at the Salle d’Harcourt on December 22, 1894, with Gustave Doret conducting the Société Nationale de Musique. Prélude à “L’après-midi d’un faune” is scored for three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, crotales (antique cymbals), two harps, and strings.

First ASO Classical Subscription Performance: Henry Sopkin, Conductor, March 10, 1953.

Most Recent ASO Classical Subscription Performances: May 7, 8 and 9, 2009, Robert Spano, Conductor.

Robert Shaw Performances: October 19, 1968 (Special Concert); October 9, 10, 1971 (Other Series); June 11, 12, 1971 (Other Series); October 6, 1974 (Family Concert); October 22, 1984 (Special); November 18, 1984 (Runout, Thomasville).

as 1865. L’après-midi d’un faune relates the tale of a faun’s erotic (and unrequited) fascination with a pair of nymphs.

Debussy described his Prelude to “The Afternoon of a Faun” as “a very free interpretation of Mallarmé’s poem. It has no pretensions of presenting a synthesis of the poem. It is rather a series of scenes against which the desires and dreams of the Faun are seen to stir in the afternoon heat.”

In an October 10, 1896 letter to music critic Henri Gauthier-Villars, Debussy observed: More precisely, the work conveys the general impression of the poem… it follows the ascendant movement of the poem and illustrates the scene marvelously described in the text. The close is a prolongation of the last line: “Couple adieu! Je vais voir l’ombre que tu deviens.” (“Farewell, couple! I go to see the shadow that you become.”)

Symphony No. 8 in F Major, Opus 93 (1812) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Eighth Symphony took place at the Redoutensaal in Vienna on February 27, 1814. The Eighth Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First ASO Classical Subscription Performance: February 27, 1949, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: April 21, 22, and 23, 2011, Julian Kuerti, Conductor.

Claude Debussy’s most famous orchestral Robert Shaw Performances: work was inspired by Stéphane Mallarmé’s (Subscription, unless otherwise poem, the genesis of which dates as far back noted): April 17, 18, 19, 1980; (Runout30 Atlanta Symphony Orchestra | aso.org

theme. The extended coda proceeds to yet another climax. After a brief pause, there is Beethoven began work on both his Seventh a final outburst and a diminuendo, capped and Eighth Symphonies in 1811. After by a pianissimo wisp of the opening theme. finishing the Seventh Symphony in June of II. Allegretto scherzando—This lighthearted 1812, Beethoven turned his full attention Allegretto replaces the traditional slow to the Eighth, completing that score on movement. The first violins, to the October 12. The premiere of the Eighth accompaniment of repeated staccato wind Symphony took place as part of a February chords, sing a playful melody. The humor 27, 1814 concert at the Redoutensaal in of this movement is reinforced by sharply Vienna. The program also contained the contrasting dynamics and orchestral Seventh Symphony—which had received sonorities, especially in the frantic closing its premiere the previous December 13— measures. and the (then) wildly popular Wellington’s III. Tempo di Menuetto—This is the only Victory. minuet among Beethoven’s Symphonies Beethoven’s Eighth is the Symphony that most emphatically reflects the composer’s humorous side. The Eighth also bears a kinship with another comic jewel—Giuseppe Verdi’s final opera, Falstaff (1893). In both works, the composers—at the height of their maturity and powers—employ techniques previously used for the composition of “serious” music to fashion masterpieces overflowing with playful humor. And, if the Eighth Symphony presages the future, it also pays tribute to the past. The work’s high spirits and economy of expression recall the greatest symphonic humorist of them all—Beethoven’s teacher, Franz Joseph Haydn.

(the First Symphony’s third movement is called a “Minuet,” but is in reality the first of the composer’s many symphonic “scherzos”). After a brief introduction, the strings play the graceful principal theme that contrasts with some brusque orchestral interjections. The horns (to playful triplet cello accompaniment) introduce a lovely interlude that serves as minuet’s trio section.

The movement closes with a reprise of the minuet.

IV. Allegro vivace—The finale begins with a device familiar from many Haydn symphonies. The strings play a scurrying, pianissimo figure that suddenly— and without warning—explodes with Musical Analysis tremendous force. The first violins introduce I. Allegro vivace e con brio—The orchestra the contrasting, lyrical second theme. The immediately plunges into the boisterous finale, a combination of sonata and rondo opening theme. The strings, to puckish forms, is a beehive of activity from start to bassoon accompaniment, introduce a more finish. The Symphony concludes with an subdued melody. Soon the energy of the extended and decidedly emphatic series of opening bars returns and the exposition chords. concludes with a flourish. The terse development builds to an extraordinary level of tension, finally released with the triumphant recapitulation of the opening encoreatlanta.com | Atlanta’s Performing Arts Publication 31

ASO | 10.8/10/11| program

Thomasville) April 20, 1980; September 5, 6, 7, 1985.

ASO | 10.8/10/11 | artists DONALD RUNNICLES, Conductor

PABLO CASTAGNOLA

ASO | 10.8/10/11| artists

D

onald Runnicles is the Principal Guest Conductor of the Atlanta Symphony Orchestra. He is concurrently the General Music Director of the Deutsche Oper Berlin, Chief Conductor the BBC Scottish Symphony Orchestra and Music Director of the Grand Teton Music Festival in Jackson, Wyoming. Mr. Runnicles enjoys close and enduring relationships with several of the most significant opera companies and orchestras and is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity.

2014-15 season highlights included a new production of Berlioz’s Les Troyens at San Francisco Opera; new productions at the DOB of Shostakovich’s Lady Macbeth of Mtsensk and Berlioz’s Roméo et Juliette, along with eight revival titles and guest conducting engagements with the Berlin Philharmonic, London Symphony Orchestra, Tonhalle-Orchestre Zürich and Sydney Symphony Orchestra.

extensive discography contains complete recordings of Wagner’s Tristan and Isolde, Mozart’s Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel and Bellini’s I Capuleti e i Montecchi.

Maestro Runnicles was awarded the OBE in 2004 and holds honorary degrees from the University of Edinburgh, Royal Scottish Academy of Music and Drama and San Francisco Conservatory of Music.

ELISABETH REMY JOHNSON, harp

E

lisabeth Remy Johnson was appointed principal harpist of the Atlanta Symphony Orchestra in 1995. She holds the endowed Carl and Sally Gable Chair and also held the honorary UPS Community Service Chair from 2006-07. With the Atlanta Symphony, Ms. Remy Johnson has performed concertos by Debussy, Handel, Mozart and Ginastera. Her studies were with Ann Hobson Pilot in Boston and with Alice Chalifoux at the Salzedo Summer Harp Colony in Camden, Maine. She graduated from Harvard University Phi Beta Kappa with a double major in Music and French.

Prior posts include San Francisco Opera, where he was Music Director from 19922008 and during his tenure led world premieres of John Adams’s Doctor Atomic, Conrad Susa’s Les Liaisons Dangereuses and the U.S. premiere of Messiaen’s Saint François d’Assise; Chief Conductor of New York’s Orchestra of St. Luke’s; and General Ms. Remy Johnson has recorded extensiveMusic Director of the Freiburg theater and ly with the Orchestra. Her first solo CD, orchestra from 1989-1993.

Whirlwind, was released in fall 2000, and Mr. Runnicles’s most a flute and harp recording with principal recent recording of flutist Christina Smith, Encantamiento, was Wagner arias with released in fall 2008.

Jonas Kaufmann and In addition to frequent solo and chamthe DOB orchestra won ber music recitals in the Atlanta area, the 2013 Gramophone Ms. Remy Johnson has performed with prize for best vocal the Atlanta Chamber Players, the Carolina recording, and his 32 Atlanta Symphony Orchestra | aso.org

Tim Day, and has collaborated extensively with master teacher and clinician Keith Underwood.

Ms. Smith has recently appeared as guest principal flutist with orchestras such as the Chicago Symphony, Los Angeles Ms. Remy Johnson teaches harp privately Philharmonic, the Vancouver Symphony, through the Orchestra’s Talent Development the Baltimore Symphony, the St. Paul Program and at several universities in the Chamber Orchestra, and the Pittsburgh Atlanta area. She coaches the harpists of the Symphony. She earned critical acclaim Atlanta Symphony Youth Orchestra and is while performing on the latter ensemble’s an artist affiliate at Emory University, Artist 2010 European Tour. in Residence at Kennesaw State University Equally passionate about teaching, Ms. and Adjunct Instructor at Georgia State Smith serves on the faculty at Kennesaw University. In fall of 2009, Ms. Remy State University and maintains a busy priJohnson was awarded the Atlanta Business vate studio. She remains highly in demand Chronicle’s “Up & Comers Award,” show- to teach master classes across the country. casing young community leaders in Atlanta.

CHRISTINA SMITH, flute

JD SCOTT

C

hristina Smith is one of the most sought-after flutists in the country as an orchestral player, soloist, chamber musician, and teacher. The 2015-16 season is Ms. Smith’s twenty-fifth anniversary season as principal flutist of the Atlanta Symphony Orchestra, where she holds the Jill Hertz Principal Flute chair, endowed in perpetuity. Ms. Smith’s flute solos can be heard on 37 ASO recordings. She has also appeared with the orchestra numerous times as concerto soloist.

She graduated from Interlochen Arts Academy and began her studies at the Curtis Institute of Music as a pupil of the legendary Julius Baker. After just two years in Mr. Baker’s studio, she won the principal flute chair in the ASO at age 20. Ms. Smith has also studied with Jeffrey Khaner, encoreatlanta.com | Atlanta’s Performing Arts Publication 33

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Chamber Music Festival and is a frequent guest at the Meeting House Chamber Music Festival. She has been a featured guest soloist at the Mid Atlantic Harp Festival and the International Harp Festival in Rio de Janeiro.

ASO | 10.16/17 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Michael Krajewski, Principal Pops Conductor

Delta POPS! Concert James Owen presents

Classical Mystery Tour

ASO | 10.16/17| program

Concerts of Friday, October 16 and Saturday, October 17, 2015, at 8:00pm.

Michael Krajewski, Conductor Jim Owen, rhythm guitar, piano, vocals Tony Kishman, bass guitar, piano, vocals David John, lead guitar, vocals Chris Camilleri, drums, vocals Eleanor Rigby Arr: Prechel The Atlanta Symphony Orchestra POPS! Series is presented by Delta Air Lines.

Classical Mystery Tour THERE WILL BE A 20 MINUTE INTERMISSION Lady Madonna Arr: Prechel My Love Arr: Prechel Classical Mystery Tour

THE OCTOBER 16 CONCERT MADE POSSIBLE IN PART BY The Home Depot Veterans Program

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

Performing selections from the following: A Day In the Life A Hard Day’s Night All You Need Is Love Come Together Eleanor Rigby Golden Slumbers Got to Get You Into My Life Here Comes the Sun Hello, Goodbye Help!

I Am the Walrus Imagine

Lady Madonna Live and Let Die My Love Penny Lane Sgt. Pepper’s Lonely Hearts Club Band/ With a Little Help From My Friends Something The Long and Winding Road Yellow Submarine Yesterday

Program is subject to change

34 Atlanta Symphony Orchestra | aso.org

James Owen presents CLASSICAL MYSTERY TOUR: A TRIBUTE TO THE BEATLES

S

ince its initial performance at the Orange County Performing Arts Center (now renamed Segerstrom Center for the Arts) in 1996, Jim Owen presents “Classical Mystery Tour: A Tribute to the Beatles” has become the #1 Symphony Pops attraction over the last decade. The group has been performing consistently for nearly 20 years with more than 100 orchestras in the US, Canada, Europe, Asia, and Australia. The group played to packed houses at the Sydney Opera House, they’ve performed more than a dozen times with the Fort Worth Symphony, and they’ve broken attendance records with the Indianapolis Symphony, San Diego Symphony, and many others.

The four musicians in Classical Mystery Tour look and sound just like The Beatles, but Classical Mystery Tour is more than just a rock concert. The show presents more than two dozen Beatles tunes transcribed note-for-note and performed exactly as they were originally recorded.

Hear “Penny Lane” with a live trumpet section, experience the beauty of “Yesterday” with an acoustic guitar and string quartet, enjoy the classical/rock blend on “I Am the Walrus,” and relish the cascading orchestral crescendo on “A Day in the Life.” Classical Mystery Tour is the best of The Beatles – from early Beatles music on through the solo years – like you’ve never heard them

The Los Angeles Times called Classical Mystery Tour “more than just an incredible simulation... the swelling strings and soaring French horn lines gave the live performance a high goose-bump quotient... the crowd stood and bellowed for more.”

MICHAEL KRAJEWSKI, Principal Pops Conductor

K

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, Michael 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 KitchenerWaterloo 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

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Classical Mystery Tour CDs and T-shirts are available for purchase on their website: ClassicalMysteryTour.com.

before. Many have called it “the best show the Beatles never did!”

TYE CARSON

All Beatles songs written by John Lennon, Paul McCartney or George Harrison.

ASO | 10.16/17| artists

ASO | 10.16/17 | artists Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting.

On recording, he has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. In 201415, 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 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 eleven years served as music director of the Modesto Symphony Orchestra.

Michael lives in Orlando, FL 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.

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.” — Charles Ward, Houston Chronicle 36 Atlanta Symphony Orchestra | aso.org

JIM OWEN (JOHN LENNON), Rhythm Guitar/Piano/Vocals

J

im Owen was born and raised in Huntington Beach, California. He gained rich musical experience from his father, who played music from the classics for him on the piano, and from his extensive library of recordings by the great classical artists. Jim began studying the piano at age six, and won honors in various piano performance competitions throughout his teenage years.

He was eight-years-old when he first heard The Beatles, and promptly decided to take up the study of the guitar. His first professional performance as a Beatle was at 16. At age 18, he began touring internationally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America.

It has long been Jim’s dream to share with the public live performances of some of the greatest music ever written and recorded, so in 1996, Owen began working on his idea for a new Beatles tribute show with orchestra.

Classical Mystery Tour was the result.

Most recently, Jim became associate producer of the dance musical “Shag with a Twist,” which premiered in Los Angeles in 2005, and debuted in Las Vegas in 2006.

TONY KISHMAN (PAUL MCCARTNEY), Bass Guitar, Piano, Vocals

S

inger-songwriter Tony Kishman was born in Tucson, Arizona where he began his musical career in the early 1970s.

Although he had been playing guitar for a number of years, it was not until age 19 that Tony started performing seriously. Kishman’s

DAVID JOHN (GEORGE HARRISON), Lead Guitar, Vocals

O

riginally from Nebraska, but now living in Salt Lake City, Utah, David has been performing in various musical acts since the age of 17. From rock, blues, and country to progressive and orchestra pit, he’s covered it all. David has shared the stage as an opening act with such notables as: The Beach Boys, Chicago, Peter Noone & Herman’s Hermits, The Young Rascals, Glen Campbell, America, Kansas, Styx, Peter Frampton, Night Ranger, Ted Nugent, The Romantics, KC and The Sunshine Band, Hall and Oats, Hootie and The Blowfish, John Waite, Big Bad Voodoo Daddy, Buddy Guy and The Temptations. But David’s main musical love captured his attention when The Beatles preformed in America for the first time on The Ed Sullivan Show.

Inspired by what he saw and heard, David focused on singing and studying guitar and feels privileged to portray

the “quiet, spiritual” one. Since 1993, he has taken the stage with a variety of Beatle tribute bands and traveled the world, but especially enjoys teaming up with a full orchestra to authentically reproduce the original recordings in a live concert setting.

David loves to present George’s guitar arrangements in their articulate detail.

CHRIS CAMILLERI (RINGO STARR), Drums/Vocals

B

orn and raised on Long Island, New York, Chris Camilleri had a convenient drum teacher; his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings. Gradually Chris gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationallyrenowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest). Chris has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatles-era bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles).

In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP and David Bowie.

When not playing music, Chris has an active commercial and voice-over career.

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early influences included Wishbone Ash, Bad Company and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals. Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group’s 18th album.

ASO | 10.18 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Special Presentation Itzhak Perlman Recital Concert of Sunday, October 18, 2015, at 3pm.

Itzhak Perlman, violin Rohan De Silva, piano Concert Repertoire to be announced.

LISA MARIE MAZZUCCO

ASO | 10.18| program

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

Please be kind to those around you and silence your mobile phone and other hand-held devices.

38 Atlanta Symphony Orchestra | aso.org

U

R

ohan De Silva’s partnerships with violin virtuosos Itzhak Perlman, Pinchas Zukerman, Cho-Liang Lin, Midori, Joshua Bell, Benny Kim, Kyoko Takezawa, Vadim Repin, Gil Shaham, Nadja SalernoSonnenberg, Julian Rachlin, James Ehnes The 2015-16 season commemorates Itzhak and Rodney Friend have led to highly Perlman’s 70th birthday with worldwide acclaimed performances at recital venues all concert tours and three album releases: A over the world. With these and other artists new Deutsche Grammophon album with he has performed on the stages of Carnegie pianist Emanuel Ax, a 25-disc box set of Hall, Lincoln Center’s Avery Fisher Hall his complete Deutsche Grammophon/Decca and Alice Tully Hall, the Kennedy Center, discography, and a 77-disc box set of his Library of Congress, Philadelphia Academy of Music, Ambassador Theater in Los complete EMI/Teldec discography.

Angeles, Concertgebouw in Amsterdam, For the first time in many years, this season Wigmore Hall in London, Suntory Hall Mr. Perlman tours with pianist and longtime in Tokyo, the Mozarteum in Salzburg, La friend Emanuel Ax in special duo recitals Scala in Milan and in Tel-Aviv, Israel. Mr. across America. In December 2015, he De Silva’s festival appearances include performs at Carnegie Hall in a special trio Aspen, Ravinia, Interlochen, Seattle collaboration with pianist Evgeny Kissin Chamber Music, Manchester, Schleswigand cellist Mischa Maisky, marking the Holstein, Pacific Music Festival and the first time he and Mr. Kissin have performed Wellington Arts Festival in New Zealand. together.

He performs season-opening He has performed chamber music in Beijing gala concerts with the Toronto Symphony with the American String Quartet and has under Peter Oundjian and the Pittsburgh appeared in recital worldwide with Itzhak Symphony under Manfred Honeck, and Perlman. makes conducting appearances with the Los Angeles Philharmonic and San Francisco Alongside Mr. Perlman, Mr. De Silva has Symphony. Mr. Perlman performs further performed multiple times at the White recitals with his regular collaborator, pianist House, most recently 2012 at the Rohan De Silva, in concerts that take them in invitation of President across North America, Asia and to Europe.

Barack Obama and Over the past two decades, Mr. Perlman Mrs. Obama for has become more actively involved in Israeli President and music education through his work with the Presidential Medal Perlman Music Program and the Juilliard of Freedom honoree School.

Shimon Peres; and at a Itzhak Perlman has been honored with 16 State Dinner in 2007, GRAMMY® Awards, four Emmy Awards, hosted by President George W. Bush and a Kennedy Center Honor, and a Grammy Mrs. Bush for Her Majesty The Queen and Lifetime Achievement Award.

His Royal Highness The Duke of Edinburgh. encoreatlanta.com | Atlanta’s Performing Arts Publication 39

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ROHAN DE SILVA, pianist

ndeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician.

Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world.

JOHN BEEBE

ITZHAK PERLMAN, violin

ASO | 10.18 | artists A native of Sri Lanka, Mr. De Silva was invited in 2015 by the Prime Minister of his country to perform at a luncheon for U.S. Secretary of State John Kerry on his historic visit to Sri Lanka.

ASO | 10.18| artists

In the 2015-16 season, Mr. De Silva performs with Itzhak Perlman in recitals that take them across North America, Asia and to Europe in their first appearances as a duo in London (Barbican Centre), Paris (Philharmonie de Paris) and Munich (Gasteig).

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ASO | 10.22/24 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, October 22, and Saturday, October 24, 2015, at 8:00pm.

Olli Mustonen, Conductor and piano

ASO | 10.22/24| program

THE OCTOBER 22/24 WEEKEND IS GENEROUSLY SPONSORED BY Adair and Dick White

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.

OLLI MUSTONEN (b. 1967) Vanha kirkko Petäjävedellä (The Old Church at Petäjävesi) (2007-2008) 16MIN

I. Kirkonrakentajat (The Builders of the Church). Pesante

II. Pyhän kosketus (The Sacred Touch)

III. Demonit (Demons). Precipitato

IV. Pyhä Kristoforos (St. Christopher).

Andantino

V. Apotheosis LUDWIG VAN BEETHOVEN (1770-1827) Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 (1803) 36MIN

I. Allegro con brio

II. Largo

III. Rondo. Allegro

Olli Mustonen, piano INTERMISSION 20MIN SERGEI PROKOFIEV (1891-1953) Symphony No. 5 in B-flat Major, Opus 100 (1944) 42MIN

I. Andante

II. Allegro marcato

III. Adagio

IV. Allegro giocoso

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Notes on the Program by Ken Meltzer

OLLI MUSTONEN was born in Helsinki, Finland, on June 7, 1967. The first performance of The Old Church at Petäjävesi took place at the Internationale Orgelwoche Nürnberg, Nuremberg, Germany, on June 29, 2008, with the composer conducting the Chamber Orchestra Basel. The Old Church at Petäjävesi is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, two horns, two trumpets, trombone, timpani, triangle, small bells, cymbals, suspended cymbal, chocalho (samba shaker), snare drum, bass drum, harp, and strings.

These are the first Classical Subscription Performances.

T

he old wooden church at Petäjävesi in Central Finland was built between 1763 and 1765 under the direction of Jaakko Klemetinpoika Leppänen, a local master carpenter. It is an example of ancient Finnish craftsmanship and of the vernacular architecture that emerged spontaneously out of the local spirituality and the highly-advanced tradition of building with logs. The church is in the shape of a cross with arms of equal length and has a steep shingle roof over a barrel-vaulted dome.

The pulpit, its supporting figure of St. Christopher, the four Evangelists and numerous angels were also created by a folk craftsman. The church has not been actively utilized since 1879. It was added to the UNESCO World Heritage List in 1994.

Composer-pianist Olli Mustonen (b. 1967) visited the Old Church at Petäjävesi in summer of 2006 and was

impressed by the superb craftsmanship and devout inspiration of the builders of long ago. Their naivist ecclesiastical art also reflects a connection with their “inner child”—a truly profound and pure spirituality. Mustonen composed The Old Church at Petäjävesi as a commission from the Menuhin Festival Gstaad for performances in Gstaad and Nuremberg in the summer of 2008. The traditional orchestral instruments are seasoned with a harp, percussion and piccolo, cor anglais, bass clarinet and double bassoon.

The first movement (Pesante) is a portrait of the church builders of yore and exudes the community spirit of their collective effort, the fragrant wood, the wood shavings flying hither and thither and the thundering hammers. It gets straight down to work, and the shifting time signatures illustrate the great enthusiasm just as much as the various building stages. Towards the end, the various musical ingredients are more and more densely superimposed, subsiding onto a cursory recapitulation that ends as suddenly as the movement began.

The Sacred Touch is the work’s slow movement, more intimate in tone and orchestration than its predecessor. The low strings and two flutes initially trace mysterious melodic patterns before the harp and high strings creep in to join and imitate them. The music culminates in mystical woodwind clusters, seven six-note chords which shine kaleidoscopically as the instruments change places in them. At the end of the movement the harmonic line aims upwards and the opening flutes return.

Demons (Precipitato) is a scherzo growing from ominous, nightmarish

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Vanha kirkko Petäjävedellä (The Old Church at Petäjävesi) (2007-2008)

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visions to wild jubilation. The music blends the associations of a snowstorm, rampaging angels and frenzied accordion playing—the accordion has sometimes been known in Finnish as “the devil’s lungs”. The quick melodic snatches are joined by chorale motifs, though evocative of a Christmas Mass once held inside the unfinished church in midwinter darkness.

St. Christopher (Andantino), the Christbearer, observes the churchgoers from under the pulpit. The cluster motif heard in The Sacred Touch returns, varied and accompanied by a signal motif on the triangle—the strings respond, creating the impression of slightly out-of-tune hymn singing. The saint’s heavy burden, bearing Christ and the whole weight of the world, is expressed by the viola’s gently lamenting, high, chromatic solo that is passed to a double bass at the end of the movement.

The finale of this church tableau is a wild, mysterious Apotheosis which gathers all the elements of the work together. It begins with a crashing chord motif and a whizzing whirl in which it is possible to detect both the strings’ snowstorm and a piercing wind on the piccolo.

Attending Mass far away in the wilds in days gone by demanded not only firm faith but also strength and stamina to withstand the long journeys on foot to fend off wild beasts. The old church at Petäjävesi represented a longed-for ray of light in a dark world, a haven of peace where weapons and worldly sorrows could be cast aside in the porch before entering the church itself.

— Antti Häyrynen Translation: Susan Sinisalo © Schott Music, reprinted by permission.

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Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 (1803) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the C-minor Piano Concerto took place in Vienna on April 5, 1803, at the Theater-an-der-Wien, with the composer as soloist. In addition to the solo piano, the C-minor Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: January 18, 1951, Hugh Hodgson, Piano, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: September 26, 27, and 28, 2013, André Watts, Piano, Robert Spano, Conductor.

Robert Shaw Performances: (Subscription, unless otherwise noted): October 26, 27, 29, 30, 31, November 1, 1976, Grant Johannesen, Piano (Tour); November 2, 1967, Grant Johannesen, Piano; April 26, 1968, Theodore Lettvin, Piano (Tour); April 24 and 25, 1969, Grant Johannesen, Piano; October 18, 19, and 20, 1973, Marilyn Neeley, Piano; June 14, 1978, Paul Schenly, Piano (Other Series); March 27, 28, and 29, 1986, Misha Dichter, Piano; April 4, 5, and 6, 1986, Misha Dichter, Piano (Tour).

B

eethoven was the soloist in the world premiere of his Third Piano Concerto.

The concert, which took place at the Vienna Theater-an-der-Wien on April 5, 1803, also included a performance of Beethoven’s First Symphony, as well as the world premieres of his Second Symphony and the oratorio, Christ on the Mount of Olives. The concert was far from a total success, the result of

Most Recent Classical Subscription Performances: January 8, 9, and 10, Roberto Abbado, Conductor.

Robert Shaw Performances: (Subscription, unless otherwise noted): March 22, 23, and 24, 1973; March 29, 30, April 2, 9, and 10, 1973 (Tour/ Runout); September 22, 23, and 24, 1977; October 4, 6, and 7, 1977 (Tour); November 6, 7, and 8, 1980; October 28, 29, and 30, 1983; October 10, 11, and 12, 1985; October 19 and 24, 1985, January 27, 28, 29, and 31, April 2, 4, 5, and 6, 1986 (Runout/Tour).

There is no question that Beethoven intended the Third Piano Concerto to display his unique talents as a concert pianist. The stormy opening movement (Allegro con brio) looks forward to another work in the key of C minor, the immortal Fifth Symphony (1808). The second-movement Largo evokes first-hand accounts describing Beethoven’s ability to move audiences Recording: Telarc CD-80289, Yoel Levi, to tears through the sheer beauty of his Conductor playing. The finale (Rondo. Allegro), on ergei Prokofiev offered the following the other hand, reveals a lighter, even more comments on the work that is generally humorous side of Beethoven that is too regarded as his symphonic masterpiece: often overlooked.

In the summer of 1944 I wrote my Symphony No. 5 in B-flat Major, Fifth Symphony, to which I attach great Opus 100 (1944) importance—firstly because with this work I returned to the genre of the SERGEI PROKOFIEV was born in symphony after a break of 16 years. The Sontsovka, Russia, on April 23, 1891, and Fifth, which I conceived as a symphony died in Moscow, Russia, on March 5, 1953. of the greatness of the human spirit, The first performance of the Symphony a song of praise of free and happy No. 5 took place at the Great Hall of mankind, may be said to conclude an the Moscow Conservatory on January entire creative period.

13, 1945, with the composer conducting

S

the State Symphonic Orchestra of the U.S.S.R. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, harp, piano, snare drum, triangle, tambourine, wood block, tam-tam, cymbals, suspended cymbal, bass drum, and strings.

First Classical Subscription Performances: March 8 and 9, 1962, Henry Sopkin, Conductor.

The first performance of Prokofiev’s Fifth Symphony took place on January 13, 1945, at the Great Hall of the Moscow Conservatory. It was a time of great hope in Soviet Russia—the end of the lengthy, horrific world conflict was finally in view.

When Prokofiev climbed the podium to conduct his Fifth Symphony, artillery fire from Soviet cannons sounded from outside the concert hall. The cannon fire was a tribute to the Red Army’s crossing of the Vistula on their way into Germany.

The premiere of the Fifth Symphony, a

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limited rehearsal time, particularly for a program featuring such a generous amount of new material. Over time, of course, the Third Concerto has become one of the mainstays of the piano and orchestra repertoire.

ASO | 10.22/24 | artists Eschenbach, Harnoncourt, Masur and Nagano. As a recitalist, Mustonen plays in all the significant musical capitals, including Mariinsky Theatre St Petersburg, Wigmore Hall, Beethoven-Haus Bonn, Symphony Center Chicago, New York Zankel Hall and Sydney Opera House.

In the current season, Mustonen appears in a triple role as pianist, conductor and composer with the Atlanta Symphony, New Russia Symphony and Royal Northern Sinfonia. A strong exponent of Prokofiev’s music, he is currently performing and The Fifth Symphony is in four recording all of Prokofiev’s Piano Concertos movements. The first (Andante), featuring with the Finnish Radio Symphony under the introduction, development and Hannu Lintu. Mustonen also presents a full recapitulation of thematic material, opens cycle of Prokofiev Piano Sonatas, appearing and closes with a theme first presented this season at Helsinki Music Centre and by the flutes and bassoon. The second Amsterdam Muziekgebouw. movement (Allegro marcato), in contrast In recent years, Mustonen has conducted to the first, is a playful scherzo. The slow the world premières of his own Symphony movement (Adagio) builds to a sustained, No.1 Tuuri with the Tampere Philharmonic violent outburst before finally yielding to and Symphony No. 2 Johannes Angelos the tranquil closing measures. The final with the Helsinki Philharmonic. Under movement (Allegro giocoso) opens with Mustonen’s baton, the First Symphony has a subdued introductory passage. But the gone on to receive further performances with violas soon launch the energetic principal the Melbourne Symphony, Tchaikovsky portion of the finale, which resolves to a Symphony and Helsinki Philharmonic. conclusion of irrepressible animation and This season, Mustonen conducts the vigor. world première of his Sonata for Cello and Orchestra on tour with the Australian lli Mustonen has a unique place on Chamber Orchestra.

Mustonen’s today’s music scene, combining the Olli roles of his musicianship as composer, latest release is a pianist and conductor in an equal balance h i g h l y - a c c l a i m e d recording of his own that is quite exceptional.

Mustonen has worked with most Cello Sonata for BIS, of the world’s leading orchestras, with Steven Isserlis.

OLLI MUSTONEN, conductor and piano

O

including the Berlin Philharmonic, New York Philharmonic and The Royal Concertgebouw, partnering conductors such as Ashkenazy, Barenboim, Dutoit, 46 Atlanta Symphony Orchestra | aso.org

OUTI TÖMÄLÄ

ASO | 10.22/24| artists

magnificent triumph for Prokofiev, was his final appearance as a conductor. A few days after the concert, Prokofiev became dizzy, the result of hypertension. Prokofiev fell and suffered a brain concussion.

Although he would live another eight years, Prokofiev’s health would never be the same. With those tragic events in mind, the optimism expressed in the Prokofiev Fifth—“a symphony of the greatness of the human spirit, a song of praise of free and happy mankind”—perhaps becomes all the more poignant.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 47

ASO | 10.31 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Halloween Hijinks!

Family Concert Concert of Saturday, October 31, 2015, at 2pm.

Joseph Young, Conductor MODEST MUSSORGSKY (arr. Nicolai Rimsky-Korsakov) A Night on Bald Mountain 5MIN ANATOLI LIADOV Baba-Yaga, Opus 56 4MIN JOHN WILLIAMS from The Empire Strikes Back: Suite 3MIN III. The Imperial March SERGEI PROKOFIEV from Cinderella, Suite No. 1, Opus 107 2MIN

7. Cinderella’s Waltz

8. Midnight

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JOHN WILLIAMS from Harry Potter and the Sorcerer’s Stone: Suite for Orchestra 3MIN

IV. Harry’s Wondrous World

III. Nimbus 2000 JOHN WILLIAMS from Harry Potter and the Sorcerer’s Stone: Children’s Suite for Orchestra 2MIN

VI. Quidditch

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.

JOHN WILLIAMS and PATRICK DOYLE (arr. Jerry Brubaker) Concert Suite from Harry Potter and the Goblet of Fire 9MIN

Voldemort! / Hedwig’s Theme; The Quidditch World Cup (The Irish); Foreign Visitors Arrive; Potter Waltz; Harry in Winter; Voldemort!; Hogwarts’ Hymn; Hedwig’s Theme PAUL DUKAS L’apprenti sorcier (The Sorcerer’s Apprentice) 7MIN JOHN WILLIAMS from Harry Potter and the Sorcerer’s Stone: Suite for Orchestra 5MIN

I. Hedwig’s Theme

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thered his conducting studies at the Cabrillo Contemporary Music Festival, the 2010 Jorma Panula International Master class oseph Young became Assistant in Porto, Portugal, and at the Tanglewood Conductor of the Atlanta Symphony Music Center Orchestra (ASO) and Music Director of the Mr. Young received a bachelor’s degree Atlanta Symphony Youth Orchestra in June in music education from the University of 2014. Mr. Young assists with the artistic South Carolina in 2004 and completed his leadership of the Orchestra and serves as graduate studies in conducting with Gustav the primary conductor for the ASO’s edu- Meier and Markand Thakar at the Peabody cation and community concerts.

Conservatory in 2009.

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

J

JEFF ROFFMAN

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

Mr. Young’s other professional accolades include being named a semi-finalist in the 2013 Gustav Mahler International 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. He has furencoreatlanta.com | Atlanta’s Performing Arts Publication 49

ASO | 10.31| program

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

ASO | 10.31 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Michael Krajewski, Principal Pops Conductor

ASO | 10.31| program

Delta POPS! Concert

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 handheld devices.

Program Subject to Change

Concert of Saturday, October 31, 2015, at 8:00pm.

Scott Dunn, Conductor OurSong, Atlanta’s Gay and Lesbian Chorus Soloist from the Georgia Boy Choir ACT 1 Charlie and the Chocolate Factory Pee-wee’s Big Adventure Beetlejuice Sleepy Hollow Mars Attacks Big Fish Batman/Batman Returns

ACT 2 Planet of the Apes Tim Burton’s Corpse Bride Dark Shadows Frankenweenie Tim Burton’s The Nightmare Before Christmas Edward Scissorhands Encore: Alice in Wonderland

There will be a 20 minute Intermission Concert Produced by: - Columbia Artists Management, LLC - Tim Fox & Alison Ahart Williams Kraft - Engel Management - Richard Kraft & Laura Engel

50 Atlanta Symphony Orchestra | aso.org

Danny and Tim, without doubt, are the two greatest gifts this job ever gave me. I would be neither here, there, nor probably anywhere without them and their general magnificence.

Now, the world is fully aware of the individual genius to be found betwixt the two, but what is more important here is the way in which these unique talents combine and ultimately complement one another, allowing the other’s work to bloom in a way unforeseen independently.

Essentially, Danny’s darkly sonorous creations are the audio manifestations of Tim’s singularly shadowy visions. He is the Ralph Steadman to Tim’s Hunter S. Thompson. Together they breathe color into one another’s worlds - from my initial experience, working alongside them both - on Edward Scissorhands, throughout the many projects that constitute a relationship, which now spans some 20 years... and counting.

His music, so warm and inviting, yet somehow unnerving, ultimately manages to sound both elegant and haunting, perfectly defining the character of that very first collaboration.

Having then unearthed the precise mood of Tim’s film, within the divine notes of his celestial score, Danny soundtracked the tale’s soul deep into the hearts of millions.

Subsequently, their working relationship has never floundered. Time after time, their industry gives birth to new beings of wonder and weirdness, charged to delight and excite cinema goers the planet ’round.

So, a match made in the stars, you might say.

Tim and Danny, it was simply meant to be.

CREDITS: Music Composed and Arranged by Danny Elfman Films & Artwork by Tim Burton Concert Produced by Columbia Artists Management, LLC - Tim Fox & Alison Ahart Williams, Kraft-Engel Management - Richard Kraft & Laura Engel Supervising Orchestrator: Steve Bartek Orchestrations: Steve Bartek, Edgardo Simone,

David Slonaker, Jeff Atmajian Additional Orchestrations: Scott Dunn Music Production Supervisor: Melisa McGregor Midi Supervision & Choir Music Preparation: Marc Mann Synth Programming & Technical Supervision: TJ Lindgren Score Proofreading: Misha Morgovsky, Tim Rodier Music Preparation: Dakota Music Services David Hage; Reprise Music Services Rob Skinnell Assistant to Mr. Elfman: Melissa Karaban Pre-record Mix Engineer: Noah Snyder Chief Studio Tech: Greg Maloney Transcriptions: Tim Rodier Midi Mock-ups: Dan Negovan, Peter Bateman, Miles Bergsma Technical Directors: Mike Edelman, Brendon Boyd Librarian: Travis Hendra Sibelius Set-up: Sandra Schneiders Project Interns: Alex Arntzen, Seth Kaplan, Sergei Stern Video Editing: Todd Miller & Chris Lebenzon Concert Producers’ Assistants: Jonathan Clark, Sarah Kovacs, Sarah Ruiz Special thanks to: Derek Frey, Holly Kempf Keller and Leah Gallo at Tim Burton Productions, Bill Abbott, Bob Badami, Peter Cobbin, Bobby Fernandez, Isobel Griffiths, Mike Higham, Doug Mark, Shawn Murphy, Bobbi Page, Shie Rozow, Dennis Sands, Steve Savitsky, Ellen Segal,Nick Woolidge, Gina Zimmitti, Patti Zimmitti, Cinesamples, Thomas DiGiovanni In Loving Memory of Richard Zanuck Assets from ALICE IN WONDERLAND, FRANKENWEENIE and THE NIGHTMARE BEFORE CHRISTMAS courtesy of Disney Enterprises, Inc. Footage and Stills from PLANET OF THE APES (2001) and EDWARD SCISSORHANDS courtesy of Twentieth Century Fox. All rights reserved.

SLEEPY HOLLOW courtesy of Paramount Pictures.

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A NOTE FROM JOHNNY DEPP

ASO | 10.31 | program BIG FISH courtesy of Columbia Pictures.

CORPSE BRIDE, PEE-WEE’S BIG ADVENTURE, BATMAN & BATMAN RETURNS, MARS ATIACKS, CHARLIE AND THE CHOCOLATE FACTORY, DARK SHADOWS AND BEETLEJUICE courtesy of Warner Brothers.

Music provided for: ALICE IN WONDERLAND, FRANKENWEENIE and THE NIGHTMARE BEFORE CHRISTMAS courtesy of Wonderland Music Company, Inc. and Buena Vista Music Company.

EDWARD SCISSORHANDS and PLANET OF THE APES courtesy of JoAnn Kane Music Service.

ASO | 10.31| program

SLEEPY HOLLOW and BIG FISH courtesy of Mandalay Entertainment Group & Sony/ATV Music Publishing LLC. Licensing of copyrighted material for CORPSE BRIDE, PEE-WEE’S BIG ADVENTURE, BATMAN & BATMAN RETURNS, MARS ATTACKS, CHARLIE AND THE CHOCOLATE FACTORY, DARK SHADOWS and BEETLEJUICE provided by Alfred Music on behalf of Warner Bros. Entertainment.

DANNY ELFMAN AND TIM BURTON Danny Elfman’s working relationship with Tim Burton is one of the longest and most successful filmmaker/composer collaborations in the history of film-and one of the most unexpected.

Elfman was drawn to the movies his entire life, but only came to music as a young adult and with no formal training. It was at 18, during a year of traveling in West Africa, when Elfman picked up his first musical instrument (violin) and began to toy with the fantasy of a musical direction for his life.

At 19, he teamed up with his brother Richard, who founded the avant-garde musical cabaret troupe “The Mystic Knights of the Oingo Boingo”, and it was there Elfman taught himself to write music by doing transcriptions of early 1930’s jazz bands. He also began writing his first compositions.

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After eight years with the troupe, Elfman started the idiosyncratic rock band known simply as Oingo Boingo. As their writer and singer he performed and recorded with them for almost two decades.

But there was another side to Danny Elfman–the kid who religiously attended Saturday matinees, watching every type of horror and fantasy movie imaginable. The young Danny had no interest in music-he wanted to be a scientist, or a “radiation biologist” as he once explained.

When he did begin to notice music, it was movie music, and he found a particular delight in the filmmaker/composer relationship of stopmotion animator Ray Harryhausen and Bernard Herrmann. “If I saw the names Harryhausen and Herrmann in the same title sequence,” he said, “I already knew the movie was going to be a huge favorite-something really special.”

In high school Elfman began listening to the classical composers who would later become his inspiration. The Russian composers Stravinsky, Prokofiev and Shostakovich particularly got under his skin. He also began to refine his interest in film, rediscovering Bernard Herrmann through the legendary composer’s other great collaborator, Alfred Hitchcock.

Elfman was absorbing the language of movie music. His first taste in scoring would come from another collaboration with his brother, who directed the cult film Forbidden Zone in the late ’70s-but he wouldn’t truly become a film composer until 1985, when he got a strange call from an extraordinary young animator he had never heard of.

Tim Burton came out of the suburbs of Burbank and the California Institute for the Arts (CalArts), and, like Elfman, he had been mesmerized by Ray Harryhausen’s stop-motion fantasies as a child, as well as the vivid blackand-crimson iconographies of horror films.

Burton had made an uncomfortable fit for the Walt Disney Company, toiling as a conceptual artist and animator on movies like The Fox and the Hound. But his short film Frankenweenie grabbed the attention of executives and filmmakers in Hollywood, including Paul

Reubens and Phil Hartman had written a movie for the character called Pee-wee’s Big Adventure, and after seeing Frankenweenie, Reubens quickly lobbied for Burton to direct it.

Both Burton and Reubens were familiar with Danny Elfman through Oingo Boingo; and Forbidden Zone, and when editor Billy Webber tracked a scene from the movie with music from Bernard Herrmann’s score to the Harryhausen movie The 7th Voyage of Sinbad, Burton loved the effect. When Elfman came in to interview for the job, he happened to mention that very same score as one of his life-long favorites. Burton was sold, and Elfman, after some hesitation, decided to jump into a completely new world, figuring he’d either learn to swim or drown in the attempt. He was certain of one thing: the score would not be a rock score. He would explore an insane mashup of Bernard Herrmann and Nino Rota (who did Federico Fellini’s scores) and in the process created an alternately joyous and manic sound that fit the hyper-enthusiastic Peewee character like a glove.

Elfman’s score to Pee-wee’s Big Adventure was a revelation, and an instantly indelible musical personality had invaded film. And Elfman was also now hooked on a new addiction… film scoring. He immediately began getting offers to score other films, but it was already clear he had a special working relationship with Burton. Their next collaboration was another comedy, but one out of left field-the “ghost exterminator” story Beetlejuice, a movie that allowed Burton to express his own personality more than he had on Pee-wee’s Big Adventure.

Elfman’s frantic opening music demonstrated his love for the “danse macabre”-the ability to have a fiendishly good time.

Elfman and Burton would both have to prove themselves on their next project: Batman. Shot well before the current vogue of costumed superheroes, Burton’s take on the Caped Crusader created a shadowy world halfway between a film noir and an animated graphic novel. The film required a major symphonic

score, which he knew would be an enormous challenge. Elfman’s score was a sensation- as quirky and unpredictable as his earlier comic works, yet so muscular and violently stark that it instantly helped define the comic book genre.

Amazingly, Elfman faced doubts again on his fourth collaboration with Burton, Edward Scissorhands. With three successes under his belt, Burton could afford to make a film that was truly his, and Edward was nakedly autobiographical, depicting an inarticulate, artistic character adrift in a hostile world that looked suspiciously like the suburbs of Burbank.

There were no questions about whether Elfman could score this kind of a movie, because no one knew what kind of a movie Edward Scissorhands was. But from the opening celeste notes of Elfman’s score, it was clear he had found Edward’s soul. Edward Scissorhands became a film music genre just as much as Burton’s film defined his output as a directorand it’s still perhaps Elfman’s most imitated and personal work.

Burton and Elfman revisited Batman with Batman Returns, expanding on the gothic landscape both men had initiated in their first effort, with Elfman providing distinctive approaches to Michelle Pfeiffer’s Catwoman and Danny DeVito’s Penguin. But for their next project, the two men dug into their past love of stop-motion animation and took advantage of Elfman’s skills as a songwriter and performer.

The Nightmare Before Christmas turned vintage Rankin-Bass holiday specials inside out, exploring a monsters-eye-view of Christmas through the character of Jack Skellington, brought to life with the singing voice of Elfman himself. The Nightmare Before Christmas was a vivid, original vision and a cult smash, throwing songs like “This Is Halloween” into the cultural marketplace and again demonstrating Elfman’s versatility.

Mars Attacks! bubbled with subversive humor, kicked off by Elfman’s Russian-inspired main title march, which grows from an impishly comic rhythm into a full-blown sci-ti anthem complete with theremin.

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Reubens, the performer who created and portrayed Pee-wee Herman.

ASO | 10.31 | program Elfman and Burton explored more serious genre territory in their next two collaborations. Sleepy Hollow was Burton’s love poem to the British Hammer horror movies he’d loved as a child, and Elfman responded with a richly atmospheric and gothic score. For Planet of the Apes, Elfman stepped into the footsteps of legendary composer Jerry Goldsmith, fashioning his own musical world of simian rule using the massive collection of exotic percussion instruments he’d collected as far back as his teenage trip to Africa.

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As he had with Batman, Burton followed up Planet of the Apes with a more personal project.

Big Fish mixed Burtonesque fantasy with a more serious personal drama, as a resentful son tries to come to terms with his father’s predilection for tall tales-lies, as the son sees them. By the time he scored Big Fish, Danny Elfman had been completely accepted in Hollywood-in 1997 hereceived his first Oscar nominations for both Good Will Hunting and Men in Black. For his touching Americana score to Big Fish, Elfman received his first Oscar nomination earned by one of his collaborations with Tim Burton.

For Charlie and the Chocolate Factory, Elfman again took advantage of his rock and performance background to create the songs performed by the movie’s diminutive OompaLoompas (all voiced by Elfman) in a pageant of pop rock styles-everything from Beatles-esque to Bollywood, all alongside an evocative orchestral score to characterize the edible environment of Willy Wonka’s sweets factory.

Burton and Elfman returned to the gothic stopmotion territory of The Nightmare Before Christmas in Corpse Bride, with Elfman creating songs whose inspiration ranged from Gilbert and Sullivan to Cab Calloway.

Burton’s adaptation of Alice in Wonderland became one of the biggest money makers in movie history in 2010, a hugely challenging technical exercise for the director, who shot the majority of the film on green screen sets so most of his cast could be transformed into computergenerated versions of Lewis Carroll’s classic characters. Elfman responded to the controlled chaos by writing one of his grandest scores, 54 Atlanta Symphony Orchestra | aso.org

driven by his stirring “Alice’s Theme.’’

For their most recent collaborations, Burton and Elfman once again turned to their genre pasts. Burton cast Johnny Depp, the star of numerous Burton films, as Barnabas Collins in his tongue-in-cheek remake of the DARK SHADOWS television series, which showed the director still has chops for the offbeat comedy he demonstrated in Pee-wee’s Big Adventure and Beetlejuice. Elfman created a lush score dominated by the iconic, sensuous flutes inspired by the eerie vibe from the ’70s television series.

Burton mounted an animated version of his own Frankenweenie in 2012 (which ironically, was his first live-action film). Filmed in blackand-white, Frankenweenie sprang directly from Burton’s illustrations, and Elfman returned to his gothic, yet emotionally charged style to accompany the story of a young boy who brings his pet dog back to life.

Elfman and Burton continue their movie music relationship with Burton’s forthcoming Big Eyes, which will mark their 16th collaboration spanning over 25 prolific years.

Jeff Bond is the author of Danse Macabre: 25 Years of Danny Elfman and Tim Burton.

DANNY ELFMAN Over the last 30 years, four-time Oscar nominee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, and Peter Jackson. Beginning with his first score on Tim Burton’s Pee-wee’s Big Adventure, Elfman has scored a broad range of films, including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Nightmare Before Christmas and Alice in

A native of Los Angeles, Elfman grew up loving film music. He traveled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big Adventure.

25 years later, the two have forged one of the most fruitful composer-director collaborations in film history. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp, a symphony entitled Serenada Schizophrana for Carnegie Hall, an overture called The Overeager Overture for the Hollywood Bowl, and, Iris–a Cirque du Soleil show. “Having a particular style is not bad,” says Elfman, “but I prefer to push myself in the direction of being a composer who you never know what he’s doing next.”

TIM BURTON Tim Burton, widely regarded as one of the cinema’s most imaginative filmmakers, has enjoyed great success in both the live-action and animation arenas. Most recently Burton directed and produced the critically acclaimed Frankenweenie which was a 2012 Academy Award® nominee for Best Animated Picture.

Earlier in 2012 Burton directed Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter and Eva Green in the gothic thriller Dark Shadows, based on the cult favorite television show. He also produced the fantasy horror Abraham Lincoln: Vampire Hunter which was directed

by Timur Behmambetov.

In 2010, he directed Alice in Wonderland, an epic fantasy based on the classic story by Lewis

Carroll, and starring Johnny Depp, Helena Bonham Carter, Anne Hathaway, and Mia Wasikowska in the title role. The film earned more than a billion dollars at the worldwide box office, making it the second­highestgrossing release of 2010. Alice in Wonderland also received a Golden Globe nomination for Best Picture - Musical or Comedy, and won two Academy Awards®, for Best Art Direction and Best Costume Design.

Burton was previously honored with an Academy Award® nomination for Best Animated Feature for the 2005 stop-motion film Corpse Bride, which he directed and produced. He earlier received BAFTA Award and Critics’ Choice Award nominations for Best Director for the acclaimed fantasy drama Big Fish. More recently, Burton won a National Board of Review Award and garnered Golden Globe and Critics’ Choice Award nominations for his directing work on Sweeney Todd: The Demon Barber of Fleet Street, which also won the Golden Globe for Best Film - Musical or Comedy. Depp earned an Oscar® nomination for his performance in the title role of Burton’s 2007 film adaptation of the Stephen Sondheim musical thriller, also starring Bonham Carter and Alan Rickman.

Burton began his film career in animation, and, in 1982, directed the stop-motion animated short Vincent, narrated by Vincent Price, which was an award winner on the film festival circuit.

He made his feature film directorial debut in 1985 with the hit comedy Pee-wee’s Big Adventure.

In 1988, Burton helmed the inventive comedy hit Beetlejuice, starring Michael Keaton as the title character. He then reteamed with Keaton on the action blockbusters Batman, which became the top­grossing film of 1989 and also starred Jack Nicholson as the Joker, and Batman Returns, also starring Michelle Pfeiffer and Danny DeVito.

In 1990, Burton directed, co-wrote and produced the romantic fantasy Edward Scissorhands, which was acclaimed by both

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Wonderland. Most recently he has provided the music for David O’Russell’s award-winning Silver Linings Playbook, Tim Burton’s Dark Shadows and Frankenweenie, Sasha Gervasi’s Hitchcock, as well as Sam Raimi’s Oz: The Great and Powerful, Chris Wedge’s animated film Epic and the Errol Morris documentary The Unknown Known: The Life and Times of Donald Rumsfeld and Tim Burton’s Big Eyes.

ASO | 10.31 | artists critics and audiences. The film also marked the start of his successful cinematic partnership with Johnny Depp, who delivered a poignant performance in the title role. Their subsequent collaborations include the Burton-directed films Ed Wood, also starring Martin Landau in an Oscar®-winning portrayal of Bela Lugosi; Sleepy Hollow, adapted from the classic tale

by Washington Irving; and the 2005 worldwide smash Charlie and the Chocolate Factory, which was based on RoaId Dahl’s beloved book and grossed more than $470 million worldwide.

Burton’s additional directing credits include the all-star sci-fi comedy Mars Attacks!, which he also produced, and the 2001 remake of Planet of the Apes, which marked his first collaboration with producer Richard Zanuck.

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Burton also conceived and produced the stopmotion animated feature The Nightmare Before Christmas, which remains an enduring holiday favorite. In addition, he has produced such films as Cabin Boy, Batman Forever, and the animated features James and the Giant Peach and 9.

In 2010, the filmmaker released The Art of Tim Burton, a 430-page book comprising more than 40 years of his personal and project artwork. In November of that year, the Museum of Modern Art (MoMA) opened an extensive exhibit of his work, which went on to tour in Melbourne, Toronto, Los Angeles, Paris, and Seoul.

SCOTT DUNN, Conductor

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merican conductor and pianist Scott Dunn is the Associate Conductor of the Hollywood Bowl Orchestra. In addition to today’s appearance with the Atlanta Symphony, he has recently led such distinguished ensembles as the Hollywood Bowl Orchestra, the Los Angeles Philharmonic, the Orchestra of Saint Luke’s, the Pittsburgh Symphony, the Seattle Symphony, the St. Petersburg (Russia) Philharmonic, the Sydney Symphony, the Vancouver (BC) Symphony, the Vienna Radio Orchestra (RSO) and has shared the stage with guitarist Trey Anastasio, Beck, Chris Botti, Elvis Costello, Natalie Cole, Sean Lennon, Steve 56 Atlanta Symphony Orchestra | aso.org

Martin and other noted artists. A one-time student of Byron Janis, he also has appeared in the world’s most distinguished venues and on numerous NAXOS recordings as pianist soloist and collaborator.

Dunn’s professional conducting career began in 1999, when Lukas Foss appointed him associate music director for The Music Festival of the Hamptons. Dunn subsequently held conducting posts at GIimmerglass Opera and at Pittsburgh Opera. In 2007 he joined the conducting staff of the LA Philharmonic’s Hollywood Bowl Orchestra and in 2010 was named Associate Conductor. He is known for his performances of Ives and has championed the works of his mentors Richard Rodney Bennett, Lukas Foss and Leonard Rosenman. He is also closely associated with songwriter/composer Vernon Duke having orchestrated, reconstructed and recorded most of Duke’s neglected concert works.

Of his remarkable musicality and versatility one New York critic noted “… he is a conductor of great promise, a pianist of note, and a sensitive and intelligent artist. All of these elements come together to give the audience an experience closer to heaven than most of us will get in this lifetime.”

OURSONG, ATLANTA’S GAY AND LESBIAN CHORUS

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ounded in 2002, OurSong, Atlanta’s Gay and Lesbian Chorus, comprises singers from across the greater Atlanta metropolitan area. The chorus has a reputation for performing diversified choral music at the highest standard of musical excellence and style. Noted for its innovative, artistic programs, OurSong has been invited to perform for numerous music conferences and venues. Most recently, the

”instrument” – the boys themselves. At every rehearsal, each boy is encouraged to “Be the Best Boy You Can Be.” The boys are taught the importance of hard work, selfdiscipline, and focus, all in an environment that is positive, encouraging, and fun. In this way, the boys are allowed to be their true selves and find expression of the greatness OurSong is excited to be presenting their that lies within them.

14th season and invites audiences to attend In the summer of 2010 the Choir embarked their upcoming holiday concert, “A (non) on its first international tour, delighting Traditional Holiday Concert”, December thousands throughout the country of China.

11-12, 2015. For more information or to In 2011 they traveled to England where they were the Choir-In-Residence at both Wells purchase tickets, visit oursongatlanta.org.

Cathedral and Christ Church Cathedral GEORGIA BOY CHOIR in Oxford. Summer 2012 saw the boys he purpose of the Georgia Boy Choir is and young men in Scandinavia where they to achieve the highest possible standard performed in Denmark, Norway, Sweden, of musical excellence, while instilling in its Finland, and Estonia. The Georgia Boy members a life-long appreciation of music; Choir made its Carnegie Hall debut in May an abiding love of beauty; a keen sense of of 2013, and returned to England in 2014 respect for themselves and others; and the where they served as the Choir-In-Residence self-discipline necessary to become effective at St. Paul’s Cathedral in London. In the leaders in their families, their communities summer of 2015 the Choir made its second and the world. trip to China where they received a hero’s Established in 2009, the Georgia Boy Choir welcome. has quickly gained a reputation as one of the finest Choirs of its kind. Known for the transcendent beauty of their singing and powerful, nuanced musical interpretation, the Choir has garnered an impressive international fan base through its many performance videos on YouTube which have been viewed by hundreds of thousands of listeners in more than 170 countries all around the world. Operating on a five-tier music education system, the Choir serves more than 100 boys and young men from all around the metropolitan Atlanta region. chorus was invited to attend and perform at the biennial festival for Various Voices in Dublin, Ireland. Under the direction of Dr. Robert Glor and Ellen Chase, the chorus provides a supportive and affirming experience, seeking to enrich the lives of those in the Atlanta gay, lesbian, bisexual and transgender community and their allies.

Recognizing that a musician must care for his instrument, the Georgia Boy Choir invests a great deal of time, energy, and focus on the care and development of its encoreatlanta.com | Atlanta’s Performing Arts Publication 57

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ASO | support

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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 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 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 Lucy R. & Gary Lee Jr. The Charles Loridans Foundation, Inc. Massey Charitable Trust

Newell Rubbermaid Mr. & Mrs. E. Fay Pearce Jr.* Porsche Cars North America Publix Super Market Charities, Inc. Ryder Systems, Inc. Bill & Rachel Schultz* The Mark & Evelyn Trammell Foundation WestRock 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. Ronadl M. Cofield* Russell Currey & Amy Durrell Fulton County Arts Council Drs. Jeannette Guarner & Carlos del Rio

*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

Connecting learning to life at every level.

We THINK BIG. www.paceacademy.org encoreatlanta.com | Atlanta’s Performing Arts Publication 59 Pace_ENC1510 hp.indd 1

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ASO | support Kennedy Center for the Performing Arts Donna Lee & Howard Ehni Xia Liu Ken & Carolyn Meltzer The Sally & Peter Parsonson Foundation Dr.** & Mrs. Mark P. Pentecost Jr. The Piedmont National Family Foundation 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 Caroline & Joe O’Donnell 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

$5,000+

A Friend of the Orchestra (2) Ms. Kay Adams* & Mr. Ralph Paulk Lisa & Joe Bankoff

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.

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 Cynthia Jeness 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 Joanne Lincoln 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 Mr. & Mrs. George P. Rodrigue Beverly & Milton Shlapak

*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

Academics+ART

Oklahoma, 2015

Offering the best in academics—balanced with more than 50 classes in the Fine Arts, all taught by professional artists.

Please join us for an Open House: Sat. Nov. 14 Kindergarten, 1:00 p m Sun. Nov. 15 Grades 1–5, 1:00 p m Grades 6–8, 3:30 p m Thu. Jan. 21 Grades 9–12, 6:30 p m

Lovett Learn more at www.lovett.org

The Lovett School practices a nondiscriminatory admission policy. Financial aid is available.

CHOOSE

Joy.

Come visit! Our open houses are Monday, October 26-Wednesday, October 28.

An independent Catholic school in Atlanta for students age 6 months-12th grade. www.holyspiritprep.org encoreatlanta.com | Atlanta’s Performing Arts Publication 61

ASO | support 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 Rhonda 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 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 Dr. Francine D. Dykes & Mr. Richard H. Delay Mary Frances Early Ellen & Howard Feinsand

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.

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 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 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 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 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.

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

62 Atlanta Symphony Orchestra | aso.org

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. Wegner 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.

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

N

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

Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia 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. Mr.** & Mrs. William C. Lester

64 Atlanta Symphony Orchestra | aso.org

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: delete (anonymous) 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

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ASO | community

Meet Leon Folsom Super-Subscriber Mr. Folsom and his wife have been full season subscribers for almost fifty years. We took a moment to ask him about his experiences at the Atlanta Symphony Orchestra.

How long have you been a subscriber?

We (Mr. Folsom and his wife) came when the hall opened, that was ‘67 or ‘68. We have had season tickets since then, the full season. That was the early Shaw days when they were trying to transition from semi pro to a professional orchestra. There was a tremendous difference when he showed up. He was demanding.

Can you describe your first Atlanta Symphony Orchestra concert?

We had some friends in Atlanta who had season tickets, I was 15, and when they had an extra ticket they would offer it to us and I would accept, but I have no idea what the concert was. It would have to have been in the fall of ’53.

What’s your most memorable ASO concert?

The 9/11 special program, that was just so emotional. There was some choral stuff, it was put together in a hurry, a potpourri of things that they knew and could play at a moment’s notice.

66 Atlanta Symphony Orchestra | aso.org

What’s your favorite piece and/or composer?

I like Brahms. Brahms’ 4th is right there near the top, and the German Requiem also.

What’s the best part about attending the Symphony?

The best part is we have this phenomenal group of folks who can produce real music and we get to go and listen. We’re enthusiastic about the Symphony. We have sat in the same seats except maybe a couple years ago we moved over a couple of seats.

We’ve been in Balcony Left Row E 7 and 8, now it’s 9 and 10.

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corporate & government | support

Mayor’s Office of Cultural Affairs

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

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

68 Atlanta Symphony Orchestra | aso.org

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

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

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

$1 MILLION+

A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA

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

JOY & TONY GREENE

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

Wells Fargo wish Foundation, Inc.

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

PwC, Partners & Employees Louise Sams & Jerome Grilhot UPS

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

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

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

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 69

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

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

$50,000+ BB&T Corporation Birch Carter’s Inc. 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 Jones Lang LaSalle, Inc. 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

Antique Piano Shop Arby’s Foundation, Inc. Arnall Golden Gregory LLP Assurant Specialty Property Atlanta Tech Village Atlantic Trust Company 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 Humphries and Company LLC ICS Contract Services, LLC Kimberly-Clark Corporation Macy’s NGI Investments Northside Hospital Performex Company Perkins & Will, Inc. Piedmont National Corporation PulteGroup, Inc. Recall Corporation Ricoh USA, Inc. Rooms to Go Children’s Fund Smith & Howard, PC Southwire Company Stonegate Designs Vertical Systems Womble Carlyle Sandridge & Rice, PLLC

FOUNDATION SUPPORTERS $150,000+

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

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

70 Atlanta Symphony Orchestra | aso.org

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

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

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

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

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

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

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

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 71

ASO | staff EXECUTIVE 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; and noon – 8 p.m.

Saturday; noon - 5 p.m. Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.

SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m. MondayFriday; noon-8 p.m. Saturday-Sunday.

Service charge applies. Phone orders are filled on a best-available basis.

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

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

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

DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.

ASO | general info LATE SEATING Patrons arriving later are seated at the discretion of house management.

Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons.

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

SYMPHONY STORE The Symphony Store is moving to a new location near Symphony Hall, opening fall 2015.

74 Atlanta Symphony Orchestra | aso.org

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

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

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ASO | calendar NOV 5/7 | Delta Classical Thu/Sat: 8pm JONATHAN LESHNOFF: Symphony No. 2, “Innerspace” WORLD PREMIERE BEETHOVEN: Symphony No. 7 Robert Spano, conductor NOV 12/14 | Delta Classical Thu/Sat: 8pm VERDI: Requiem Robert Spano, conductor Latonia Moore, soprano Jennifer Johnson Cano, mezzo-soprano Anthony Dean Griffey, tenor Nathan Stark, bass Atlanta Symphony Orchestra Chorus

BEETHOVEN: Piano Concerto No. 1

Robert Spano

NOV

27 28

VERDI:

NOV 15 | Atlanta Symphony Youth Orchestra Sun: 3pm OVERTURE CONCERT Joseph Young, conductor TCHAIKOVSKY: Symphony No. 4

THU: 8PM

Michael Krajewski, conductor

SAT: 2 & 8PM

NOV 15 | Talent Development Program Sun: 7pm MUSICALE AND ASPIRE AWARDS NOV 19/21 | Delta Classical Thu/Sat: 8pm SUPPÉ: Poet and Peasant Overture BEETHOVEN: Piano Concerto No. 1 BRAHMS (orch. Schoenberg): Piano Quartet in G Minor Carlos Kalmar, conductor Yevgeny Sudbin, piano NOV 27/28 | DELTA POPS! NOV Fri: 8pm/Sat: 2pm & 8pm STAR WARS & MORE: The Best of John WilliamsTHU: 8PM DEC 4/5/6 | DELTA POPS! Fri: 8pm/Sat: 2pm & 8pm/Sun: 3pm CIRQUE DE LA SYMPHONIE Holiday Spectacular

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T H E F OX T H E AT R E | A P R I L 2 0 1 5

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Recipient of the Regional Theatre Tony Award®

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

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ASO | gallery The Atlanta Symphony Orchestra Welcomes New Executive Director We are very excited to welcome Jennifer Barlament back to Atlanta to join the Atlanta Symphony Orchestra as Executive Director in January. Jennifer has served as the General Manager of the Cleveland Orchestra since 2013. She also served as Executive Director of the Kalamazoo Symphony Orchestra and General Manager of the Omaha Symphony.

The Atlanta Symphony Orchestra position brings Jennifer home to Atlanta, where she received a bachelor’s degree in music from Emory University. She has a master’s in clarinet performance from the Eastman School of Music at the University of Rochester in New York.

Please join us in welcoming Jennifer to Atlanta and the Atlanta Symphony Orchestra family.

“

be chosen to lead the Atlanta Symphony Orchestra. It is especially poignant for me to come home to Georgia to serve a city and an Orchestra that I love, working with Robert Spano, one of the great original thinkers in American classical music. Together with the entire team, I look forward to building on and enriching the Orchestra’s legacy in service to this great community, state and region.

”

78 Atlanta Symphony Orchestra | aso.org

ROGER MASTROIANNI

It is a tremendous honor to