Atlanta Symphony Orchestra: September 2015

OPENING WEEKEND

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

SEP 17/19 Thu/Sat: 8pm Opening Weekend

MAHLER: Symphony No. 2, “Resurrection”

SEPT

2015

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content September 2015

ar experiences

18

features 18 Jane Little

Celebrates a record-breaking 71 years with the Atlanta Symphony Orchestra.

By Andrew Alexander

departments 10 Welcome

40 ASO Support

12 Robert Spano

56 ASO Staff

14 Orchestra Leadership

58 Ticket Info /

General Info

16 Musicians

60 ASO Calendar

24 Concert Program

and Notes

62 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

2 Atlanta Boy Choir 3 WellStar 4 Publix 7 Tower Beer, Wine & Spirits 8 Augusta Metro CVB 9 Schwartz Center for

Performing Arts 11 Lexus 13 Georgia Aquarium 18 Jane Little (feature) 41 Ruth’s Chris Steak House 43 Cancer Treatment

Centers of America 45 Encore Atlanta Contests 47 PoshDealz 49 Center for Civil and

Human Rights 49 Element Massage 51 Michael C. Carlos Museum 51 Advertise in

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8 Atlanta Symphony Orchestra | aso.org

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March 18, 2016

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ASO | welcome Dear Patrons,

I

t is a great pleasure to welcome you to the 71st season of the Atlanta Symphony Orchestra, surely one to remember as we celebrate the tremendous legacy of Robert Shaw. We will perform a number of Shaw’s signature works, many featuring the peerless chorus he created, and among the lineup of soloists and conductors many had the good fortune to build their careers with his guidance.

We would also like to extend our sincere thanks to our donors, patrons and community partners, for your tireless support. The Atlanta Symphony Orchestra completed the 2014-15 fiscal year with an operating surplus for the first time in more than a decade.

In addition, the Musicians’ Endowment Campaign is more than halfway to its $25 million goal. This restricted fund will endow musicians’ salaries and benefits in perpetuity and restore 11 positions to the Orchestra’s complement. The Woodruff Foundation generously donated a $7.7 million Challenge Grant, which has been activated by generous leadership gifts from Sally and Carl Gable, the Abraham J. and Phyllis Katz Foundation, The Kendeda Fund, Connie and Merrell Calhoun, Lucy R. and Gary Lee Jr. and an anonymous donor in honor of Ms. Betty Sands Fuller.

We have set the stage with this positive news, but more work remains to be done to achieve long-term financial stability, while continuing to achieve the highest level of musical excellence. The Musicians’ Endowment Campaign is of paramount importance, but all levels of support are needed and welcome to sustain our success — including your continued patronage, volunteer efforts and contributions to the Annual Fund.

To learn more about becoming part of the Atlanta Symphony Orchestra family, please visit atlantasymphony.org/Giving or speak to our Senior Development Coordinator, Shawn Gardner, at 404.733.4839.

It is thanks to the efforts and generosity of all who care about the Atlanta Symphony Orchestra that Atlanta remains home to one of the world’s great orchestras. To our many individual and corporate donors, we say Thank You!

Warm Regards,

Terence L. Neal Interim President & CEO

Robert Spano Music Director

10 Atlanta Symphony Orchestra | aso.org

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ASO | conductor Robert Spano

C

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

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah music festivals.

Guest engagements have included orchestras such as the New York and Los Angeles philharmonics, 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.

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.

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 Requiem and Leshnoff’s Zohar in Atlanta and at Carnegie Hall.

Witness the remarkable behavior of

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

Meghan H. Magruder Vice Chair

Thomas Wardell Vice Chair

John B. White Jr. Secretary

Suzanne Tucker Plybon Treasurer

Directors 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* Douglas R. Hooker Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Camille Kesler* Carrie Kurlander

James H. Landon Donna Lee Hank Linginfelter Karole Lloyd Kelly L. Loeffler Belinda Massafra* Brian F. McCarthy Penny McPhee† Terence L. Neal Joseph O’Donnell Howard D. Palefsky Sunny K. Park E. Fay Pearce Jr.

Ronda Respess* William Schultz John Sibley Paul Snyder 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

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

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

Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob

H. Hamilton Smith W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White

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

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall Jr.

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

SEPT 25, 26 & 27, 2015 MIDTOWN AT TECH SQUARE

TOA15_CS_045_Encore_FullPage_081915_OL.indd 1

8/19/15 2:09 PM

AtlantaSymphonyOrchestra

ROBERT SPANO

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

DONALD RUNNICLES

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

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

JOSEPH YOUNG

FIRST VIOLIN

SECOND VIOLIN

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

Principal — vacant The Atlanta Symphony Associates Chair Sou-Chun Su Associate/Acting Principal The Frances Cheney Boggs Chair Jay Christy Assistant/Acting Associate Principal 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

NORMAN MACKENZIE

VIOLA

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

Jane Little Celebrates A Record Breaking 71 Years with the Atlanta Symphony Orchestra

18 Atlanta Symphony Orchestra | aso.org

F

or as long as there’s been an Atlanta Symphony Orchestra, bassist Jane Little has been a part of it.

At 17 years old, Little performed with the Atlanta Symphony Orchestra at its very first concert in February of 1945, when it was still known as the Atlanta Youth Symphony Orchestra. She has now completed an incredible 70 seasons performing with the Atlanta Symphony Orchestra and is beginning her 71st, setting the world record as the orchestra musician with the longest-running career.

“I’ve always loved music since the time I was a kid,” says Little, who grew up in Atlanta on Monroe Drive near Piedmont Park.

Surprisingly, she didn’t start playing the bass until she was 15. “Mother played the piano, but I was a kid of the Depression and we couldn’t afford a piano back then. My next door neighbors had a piano. I went over there — it drove them crazy — but I taught myself to play. I was just determined.”

By Andrew Alexander

Throughout her career, that sense of determination has served her well. Her original dream was to be an opera singer, but after she aced a music exam her first week at Atlanta Girls’ High School in Grant Park, the music director, who was in desperate need of more bass players, suggested she learn to play the instrument. At 5’3” and less than 100 pounds, Little was initially resistant, but she eventually decided to give it a try.

encoreatlanta.com | Atlanta’s Performing Arts Publication 19

“Back then, the basses had gut strings,” she recalls. “I have a very small hand, and I couldn’t even push the E-string down.” But she kept at it, excusing herself from study halls and staying after school to practice on the school’s bass. “It was hard. My hand was aching. I had a high-pitched soprano voice, so it took me a long time to be able to even hear those low notes. But after a couple of months I was in love with it,” she says.

illustrious Robert Shaw, brought to the Orchestra, transforming a fine regional symphony into a world-class institution. “He was such a big name,” says Little. “He was internationally known. We were in awe.”

At the time Shaw started coming to Atlanta as a visiting conductor from Cleveland, most members of the Atlanta Symphony Orchestra had to have second jobs to get by — teaching school, working in business or doing secretarial work. Shaw sought to transform the Orchestra and one of his first tasks was to ask the musicians to come play for him individually. Shaw assured the players that it was merely a part of the process of getting to know how they played, but Little says that they understood they were auditioning for their jobs. “We had three weeks’ notice,” she says. “My audition was the day after Christmas. I told my family that Christmas would be on hold. I was practicing eight or nine hours a day, everything I knew. It was very traumatic. That could have been it for me.”

In her high school orchestra, she was soon promoted to principal over students who had been studying the bass for years. She eventually convinced her father to take her downtown to Atlanta’s only music store, Southeastern Music Co., where he bought Jane her first bass for $95. At the time, there wasn’t a single bass teacher in Atlanta, so Little studied on Saturday afternoons with Rudolph Gretina, a cello teacher from the University of Georgia who lived in Atlanta’s Ansley Park. “That’s all I wanted to do in my life: Play the bass,” she says. “I was so fortunate that the next year the Atlanta Youth Symphony Orchestra was formed, Undaunted, Little put on her best outfit and and I got in on the ground floor.” set out determined to play her best. “I realThe Atlanta Youth Symphony was created ly liked him,” she says of her first meeting under founding Music Director Henry Sop- with Shaw. “He was just so nice. I had a kin. The group, which included Little from great English bass at the time, and he loved the beginning, originally started practicing my bass. I started playing, and I played betat Boys’ High School, now Grady High. By ter than I’ve ever played in my life.” At the 1947, it became the Atlanta Symphony Or- end of the audition, a bass solo from Verdi’s chestra and started hiring professionals. A Otello, Shaw clapped. “Not long after that, lot of the young student musicians dropped contracts came out. I couldn’t believe it: He out as the Orchestra began rehearsing more made me co-principal.” and more, but Little stuck with it. Flutist The changes Shaw made to the Orchestra Warren Little, who became Jane’s husband, came quickly, Little recalls. Shaw expanded joined the Orchestra in 1948. “I picked up the concert offerings, founded the now lega great big flute player to carry my bass for endary Atlanta Symphony Orchestra Chome,” she jokes. rus and Chamber Chorus, and expanded Sopkin retired in 1966, and Little still recalls the size and pay of the symphony, bringing the enormous changes that his successor, the in new professional musicians from else20 Atlanta Symphony Orchestra | aso.org

where. “He was nervous the first couple years,” recalls Little. “You had to really concentrate to follow him, but he got better and better. He was such a musician. Finally we knew what he wanted. As he got better and more sure of himself, he got tougher. He was so musical.”

Little has worked under all of the Atlanta Symphony Orchestra’s music directors: Sopkin, Shaw, Yoel Levi and now Robert Spano. “He’s one of the only conductors we call by his first name,” says Little of the Atlanta Symphony Orchestra’s current music director. “Others you either call Maestro or by their last name. You feel very comfortable with him. He’s a great conductor, and we’re lucky to have him.”

Little says that after a run of 71 years, this is the year she’ll likely retire (her husband retired in 1992). “To be absolutely sure I break the record, I’m going to keep playing into my 71st season,” she says. “These young kids, they play faster and faster. It’s hard for us old folks, but we have to keep up with all the little geniuses around!”

“Jane is a treasure,” says bassist Michael Kurth, who has worked alongside Little since he joined the Atlanta Symphony Orchestra in 1994. “Classical music is built on revered traditions, and we have been so fortunate to have Jane alongside us to pass down those traditions. Her experience is invaluable, her uncompromising work ethic is inspirational and her positive attitude is a gift to everyone who works with her.” encoreatlanta.com | Atlanta’s Performing Arts Publication 21

ASO | sponsors AtlantaSymphonyOrchestra

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

Delta is proud to celebrate more than 71 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

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

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

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

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

22 Atlanta Symphony Orchestra | aso.org

ATLANTA POPS ORCHESTRA and OGLETHORPE UNIVERSITY TWO-NIGHT GALA EVENT CELEBRATING

70

YEARS OF

AND

At la nta P o ps or ch es tra

YEARS OF

ogleth o rpe un i ve rs i t y on pe ach t re e

Jason Altieri

Music Director

October 2

and

3

at

8:00pm

CONANT PERFORMING ARTS CENTER, OGLETHORPE UNIVERSITY

Bringing Together the Past

and

Present with special guests

CECIL WELCH BRENT RUNNELS SCOTT PORTER MICHELLE MALONE JOE GRANSDEN CHRIS WRIGHT MONTANA SKIES LEVI LOWREY

Two-night Package $55 00

One Night $35 00

TICKETS AVAILABLE ONLINE AT WWW.ATLANTAPOPS.COM/GALA

“Presented by arts, education and ideas at oglethorpe university” encoreatlanta.com | Atlanta’s Performing Arts Publication 23

ASO | 9.17/19 | program AtlantaSymphonyOrchestra

ASO | 9.17/19| program

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

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, Sept. 17 and Saturday, Sept. 19, 2015, at 8pm

SEPTEMBER 17/19 WEEKEND GENEROUSLY SPONSORED BY

Susan & Thomas Wardell THURSDAY’S CONCERT SPONSORED BY

D. Kirk and Kimberlee Micek Jamieson SATURDAY’S CONCERT SPONSORED BY

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

Robert Spano, Conductor Laura Tatulescu, soprano Kelley O’Connor, mezzo-soprano Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses JOHN STAFFORD SMITH (1750-1836) (arr. Walter Damrosch) The Star-Spangled Banner GUSTAV MAHLER (1860-1911) 86 MIN Symphony No. 2 in C minor, “Resurrection” (1894)

I. Allegro maestoso

II. Andante moderato

III. In ruhig fliessender Bewegung (In calm, flowing motion)

IV. Urlicht (Primal Light). (Sehr feierlich, aber schlicht) (Very solemn, but simply) V. Im Tempo des Scherzo (In Scherzo Tempo)

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator

These concerts are performed WITHOUT INTERMISSION.

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.

English surtitles by Ken Meltzer

24 Atlanta Symphony Orchestra | aso.org

Notes on the Program by Ken Meltzer

GUSTAV MAHLER was born in Kalište, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. The first performance of the complete “Resurrection” Symphony took place in Berlin, Germany, on Dec. 13, 1895, with the composer conducting the Berlin Philharmonic. The “Resurrection” Symphony is scored for soprano and alto solos, mixed chorus, four piccolos, four flutes, four oboes, two English horns, two E-flat clarinets, five clarinets, bass clarinet, four bassoons, two contrabassoons, 10 horns, eight trumpets, four trombones, tuba, timpani (two players), orchestra bells, snare drum, low chimes, triangle, rute, cymbals, suspended cymbals, high tam-tam, bass drum, low tam-tam, offstage timpano, offstage triangle, offstage cymbals, offstage bass drum, two harps, organ and strings.

First Classical Subscription Performance: April 6, 1966, Irene Callaway, soprano, Mildred Miller, mezzo-soprano, Choral Guild of Atlanta, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: Jan. 26 and 28, 2012, Nicole Cabell, soprano, Kelley O’Connor, mezzo-soprano, Atlanta Symphony Orchestra Chorus, Donald Runnicles, Conductor.

Robert Shaw Performances: May 22, 23, 24 and 25, 1980, Jeanné Brown, soprano, Elizabeth Mannion, mezzo-soprano, Atlanta Symphony Orchestra Chorus.

ASO Recording: Telarc CD-80548 (2 Discs), Barbara Bonney, soprano,

Mary Philips, M\mezzo-soprano, Atlanta Symphony Orchestra Chorus, Yoel Levi, Conductor.

“Absolutely hopeless as a composer”

G

ustav Mahler’s epic “Resurrection” Symphony was the product of an extended and mighty struggle. Mahler composed the various movements in fits and starts over a seven-year period. Even after Mahler had completed four of the Symphony’s five movements, the composer despaired that he would never be able to fashion a suitable conclusion.

In January of 1888, Mahler began to sketch the massive opening movement he called Totenfeier (Funeral Rites). Mahler completed Totenfeier that August. It appears that the composer intended from the outset that Totenfeier would be the opening movement of a symphony. The original score bears the work’s title, as well as the designations “Symphony in C Minor” (crossed out) and “Movement I” (not crossed out).

In March of 1891, Mahler was appointed conductor of the Stadttheater in Hamburg.

That September, Mahler approached the eminent conductor and leader of the Hamburg Orchestra, Hans von Bülow.

Mahler asked Bülow to hear Totenfeier, which had still not been performed.

The meeting was a disaster. Bülow had the utmost respect for Mahler as a conductor, but did not care for the young man’s compositions. Mahler played a piano reduction of the score for Bülow. Although Bülow repeatedly covered his ears, he urged the increasingly agitated composer to continue. Finally, as Mahler related to his friend, composer Josef Foerster:

encoreatlanta.com | Atlanta’s Performing Arts Publication 25

ASO | 9.17/19| program

Symphony No. 2 in C minor, “Resurrection” (1894)

ASO | 9.17/19| program

ASO | 9.17/19 | program When I had finished I awaited the verdict silently. But my only listener remained at the table silent and motionless. Suddenly, he made an energetic gesture of rejection and said: “If that is still music then I do not understand a single thing about music.”

We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer.

conductor Anton Seidl, Mahler recalled: For a long time I had been pondering the idea of including a choir in the last movement. Only the fear that this might be considered an overt imitation of Beethoven made me hesitate again and again! When Bülow died, I attended his funeral. The mood in which I was in as I sat there thinking of the deceased was very much in the spirit of the work I had on my mind at the time.

Then, from the organ loft, the choir sang (Friedrich G.) Klopstock’s chorale Resurrection! This hit me like lightning, and everything appeared clearly and distinctly before me! Every creative artist waits for that stroke of lightning; it is a kind of holy conception!

After his encounter with Bülow, Mahler seemed to abandon the idea of making Totenfeier part of a multi-movement symphony. A month after the unhappy meeting, Mahler sent a letter to his publisher, referring to Totenfeier as a “symphonic That very afternoon, Mahler resumed work poem.” on his “Resurrection” Symphony. Over the A ‘stroke of lightning’ next few months, he penned revisions to the In the summer of 1893, Mahler suddenly various movements and sketched the finale. found new inspiration. He quickly On June 29, 1894, Mahler announced the completed the second-movement Andante Symphony’s completion. In a July 19 letter and third-movement Scherzo. Mahler to Richard Strauss, Mahler stated: used an orchestration of the song, Urlicht, In recent weeks I have completed from Des Knaben Wunderhorn, as the the final movement of my Second Symphony’s fourth movement. But once Symphony. When you hear it you will again, Mahler became frustrated, this time understand why I had to do something with creating a finale that would properly other than correct my shed skin (i.e., the answer the questions posed in the opening First Symphony). I have grown a new Totenfeier. Mahler drove himself almost one — a better fit. In fact, my new work to the point of a nervous breakdown in relation to the one you know is like a attempting, without success, to complete man to a newborn baby. the symphony.

Mahler conducted the premiere of the As it turned out, the source of inspiration Symphony’s first three movements in Berlin for the finale of Mahler’s Second Symphony on March 4, 1895. The first performance of came from Hans von Bülow. The conductor the entire “Resurrection” Symphony took died, at the age of 64, on Feb. 12, 1894. place on Dec. 13 of that year, again with Mahler attended the March 28 memorial the composer conducting. Despite a severe service. In a Feb. 17, 1897, letter to migraine attack that incapacitated Mahler 26 Atlanta Symphony Orchestra | aso.org

Mahler describes his ‘Resurrection’ Symphony

Mahler authored several programs for his “Resurrection” Symphony, but they are similar in terms of conveying the work’s meaning. The following musical synopsis quotes the program Mahler prepared for a 1901 Dresden performance. References to other programs by the composer are specifically designated.

I. Allegro maestoso —

We are standing beside the coffin of a man beloved. (Note: In a letter of March 26, 1896, Mahler informs Max Marschalk: “I have called the first movement Totenfeier, and if you would like to know, I am interring the hero of my D Major Symphony [No. 1, “Titan”], whose life I capture in a pure reflection from a higher vantage point.”) For the last time, his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this solemn and deeply stirring moment, when we are released from the paltry distractions of everyday life, our hearts are gripped by a voice of awe-inspiring solemnity, that we seldom or never hear above the deafening traffic of mundane affairs. What next? it says. What is life — and what is death?

Have we any continuing existence?

Is it all an empty dream, or has this life of ours, and our death, a meaning?

If we are to go on living, we must answer this question. (Note: In the 1896 letter

to Marschalk, Mahler concludes: “This answer I give in the last movement.”)

The massive opening movement begins with string tremolos and a thundering motif played fff by the cellos and basses. The movement is cast as an epic funeral march, although there are frequent and often wildly divergent fluctuations of tempo and mood. Mahler introduces several themes that will return in the finale, including a lyrical ascending passage for strings that forms the basis of the resurrection chorale, “Mit Flügeln, die ich mir errungen.” The tempest of the opening movement seems to move toward a quiet resignation, ultimately shattered by a final orchestral outburst and two pizzicato chords.

The next three movements are conceived as intermezzi.

II. Andante moderato —

You must have had the experience of attending the funeral of a person dear to you and then, perhaps, on the way back suddenly the picture of a happy hour long, long past arises in your mind like a ray of sun undimmed by anything — and you can almost forget what has just happened. That is the second movement. (1896 letter to Marschalk) The change of mood from the preceding Allegro maestoso is so profound that Mahler specified a pause of “at least five minutes” between the two movements. The Andante is cast in rondo form and opens with the strings’ graceful presentation of the principal theme, in the spirit of the ländler, a rustic cousin of the waltz. The movement is a superb example of the composer’s unerring dramatic genius — the contrasting sections are increasingly violent, while each reprise of the principal section (played first

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on the afternoon of the performance, the premiere was a great success with the public, although critical reaction was mixed.

ASO | 9.17/19 | program by muted, and then, pizzicato strings) seems to be a dying echo of its predecessor.

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III. In ruhig fliessender Bewegung (In calm, flowing motion) —

A spirit of unbelief and negation has taken possession of him. Looking into the turmoil of appearances, he loses together with the clear eyes of childhood the sure foothold that love alone gives. (Note: In a discussion with Nathalie Bauer-Lechner, Mahler described this individual as “destitute and unlucky: To such a person, the world appears as in a concave mirror, distorted and mad.”) He despairs of himself and of God. The world and life become a witch’s brew; disgust of existence in every form strikes him with (an) iron fist and drives him to an outburst of despair.

Mahler bases this scherzo on a song from his setting of a poem from Des Knaben Wunderhorn (The Youth’s Magic Horn) titled “Des Antonius von Padua Fischpredigt” (“St. Anthony of Padua Preaches to the Fishes”). In the satiric text, St. Anthony finds the churches empty. And so he goes to the rivers to deliver his sermon.

The fish appear to be quite attentive and moved by St. Anthony’s words. But as soon as the sermon ends, they immediately forget its message and resume their flawed lives.

The scherzo features a manic juxtaposition of mood, stunning in its cumulative effect.

As in the opening movement, Mahler presents themes that will play important roles in the finale.

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IV. Urlicht (Primal Light). (Sehr feierlich, aber schlicht) (Very solemn, but simply) —

The moving voice of ingenuous belief sounds in our ears.

“I am from God and will return to God! God will give me a candle to light me to the bliss of eternal life.”

The penultimate movement is a setting for alto solo and orchestra of “Urlicht” (“Primal Light”) from Des Knaben Wunderhorn.

Mahler described the text as an expression of “the questioning and agonized searching of the soul for God and its own eternal existence.” As such, this movement serves as a bridge between the despair of the previous movement and the transformation that will be attained in the finale — but only after a titanic struggle.

V. Im Tempo des Scherzo (In Scherzo Tempo) —

We are confronted once more by terrifying questions.

A voice is heard crying aloud: The end of all living things is come — the Last Judgment is at hand and the horror of the day of days has come.

The earth quakes, the graves burst open, the dead arise and stream on in endless procession. The great and the little ones of the Earth — kings and beggars, righteous and godless — all press on — the cry for mercy and forgiveness strikes fearfully on our ears.

The wailing rises higher — our senses desert us, consciousness dies at the approach of the eternal spirit. The “Great Roll-Call” is heard —t he trumpets of the Apocalypse ring out; in the eerie

“Thou shalt arise, surely thou shalt arise.” Then appears the glory of God! A wondrous, soft light penetrates us to the heart — all is holy calm!

And behold — it is no judgment — there are no sinners, no just. None is great, none is small. There is no punishment and no reward.

An overwhelming love lightens our being. We know and are.

The finale opens with an orchestral explosion reminiscent of the third movement’s “outburst of despair.” Offstage horns represent the “voice crying aloud,” inspired by Isaiah 40:3: “A voice cries in the wilderness: Prepare the way of the Lord, make straight in the desert a highway for our God.” After Mahler’s stunning depiction of the Day of Judgment, a chorus softly intones the opening lines of Klopstock’s Resurrection. The first two stanzas of the final movement’s text are derived from Klopstock’s poem. The remaining stanzas (beginning with the alto solo, “O glaube”) are by the composer. An organ enters for the exultant, fff proclamation by the chorus of the final stanza, “Auferstehn, ja auferstehn wirst du, mein Herz in einum Nu!” (“Rise again, yes you will rise again my heart, in an instant!”)

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silence that follows we can just catch the distant, barely audible song of a nightingale, a last tremulous echo of earthly life! A chorus of saints and heavenly beings softly breaks forth:

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SIMON PAULEY

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omanian-American soprano Laura Tatulescu sang acclaimed performances as Serpetta in Mozart’s La finta giardiniera at Santa Fe Opera in summer 2015. In the 2015-16 season she debuts with the Atlanta Symphony Orchestra singing Mahler’s Symphony No. 2 under Robert Spano, Cincinnati Opera portraying Marzelline in Beethoven’s Fidelio and with Florida Grand Opera as Norina in Donizetti’s Don Pasquale. She also returns to Stadttheater Klagenfurt for her role debut as Helena in Britten’s A Midsummer Night’s Dream, following performances as Blanche de la Force in Poulenc’s Dialogues des Carmélites last season.

Ms. Tatulescu’s roles at the Bavarian State Opera in Munich have included Zerlina in Don Giovanni, Despina in Cosi fan tutte, Musetta in La bohème, Gretel in Hänsel und Gretel, Adina in L’elisir d’amore, and the title role in L’enfant et les sortilèges. She portrayed Susanna in Le nozze di Figaro at the Glyndebourne Festival, Bavarian State Opera, Vienna State Opera and in concert with the Budapest Festival Orchestra under Iván Fischer in Budapest, at the Mostly Mozart Festival in New York and with the Konzerthausorchester Berlin. Her other roles at the Vienna State Opera have included Despina in Cosi fan tutte and Sophie in Werther. She debuted as Phoebe in Barrie Kosky’s production of Rameau’s Castor and Pollux at English National Opera and as Lauretta in Woody Allen’s production of Gianni Schicchi at Los Angeles Opera and at the Spoleto Festival in Italy.

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On the concert stage she has sung with the MDR Radio Orchestra in Leipzig under James Gaffigan, Prague Philharmonia under Jakub Hrůša, Scottish Chamber Orchestra under Robin Ticciati, at the Amsterdam Concertgebouw and appeared in recital at Carnegie Hall’s Weill Recital Hall and at Teatro Mayor in Bogota.

KELLEY O’CONNOR, mezzo-soprano

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ossessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.

During the 2015-16 season, the California native’s impressive calendar includes Mahler’s Second Symphony with Robert Spano and the Atlanta Symphony Orchestra, Andrew Litton and the Colorado Symphony, Leonard Slatkin and the Detroit Symphony Orchestra and with Michael Tilson Thomas and the San Francisco Symphony, Mahler’s Third Symphony with Franz Welser-Möst and the Cleveland Orchestra and Giancarlo Guerrero leading the Nashville Symphony, Mahler’s Das Lied von der Erde with Donald Runnicles at the Grand Tetons Music Festival, Lieberson’s Neruda Songs with Robert Spano and the Minnesota Orchestra, and Berlioz’s Roméo et Juliette with Leonard Slatkin and the Saint Louis Symphony Orchestra.

Performances in past seasons include Anna Bolena and A Midsummer Night’s Dream at the Lyric Opera of Chicago, Debussy’s La Damoiselle élue and Duruflé’s Requiem

KRISTINA CHOE JACINTH

LAURA TATULESCU, soprano

For her debut with the Atlanta Symphony in Golijov’s Ainadamar, she joined Robert Spano for performances and a Grammy Award-winning Deutsche Grammophon recording.

Her discography includes Lieberson’s Neruda Songs with Robert Spano and the Atlanta Symphony as well as Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra, both for Deutsche Grammophon.

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with the Berliner Philharmoniker, Ravel’s Shéhérazade with the Philharmonia Orchestra at the Edinburgh Festival, and Elgar’s Sea Pictures and Britten’s Spring Symphony the City of Birmingham Symphony Orchestra. John Adams wrote the title role of The Gospel According to the Other Mary for Kelley O’Connor and she has performed the work, internationally, both in concert and in the Peter Sellars production, under the batons of the composer, Gustavo Dudamel, and Grant Gershon.

JD SCOTT

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ASO | 9.17/19 | artists NORMAN MACKENZIE, Director of Choruses

ATLANTA SYMPHONY ORCHESTRA CHORUS

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s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works, and conducts holiday concerts annually. During his tenure, the chorus has made numerous tours, garnered several Grammy awards for best classical album and best choral performance and made an acclaimed debut with the Berlin Philharmonic. Mr. Mackenzie also serves as organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church and pursues an active recital and guest conducting schedule. Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Mr. Shaw, he was keyboardist for the Atlanta Symphony Orchestra, Principal Accompanist for the Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing and partnered with Robert Spano for the Workshop featuring the Berlioz Requiem.

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

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

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

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

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

The Chorus made its debut at New York’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Shaw. In addition, the Chorus performed in Washington, D.C., for President-elect Jimmy Carter’s inaugural concert in 1977. The Chorus has traveled to Germany three times to be a special guest of the Berlin Philharmonic: in December 2003 for performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem and in December 2009 for a week of Brahms Requiem performances — all with ASO Principal Guest Conductor Donald Runnicles.

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

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

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

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

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

Peter Marshall, Accompanist

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

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

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

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

Dock Anderson Michael Arens* Richard Brock* Russell Cason* *2 0+ years of Trey Clegg service Steven Darst* 0+ years of Michael Dennison ** 3 service Jon Gunnemann* #C harter member David Hansen** (1970)

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

ASO | 9.24/26 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

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

Concerts of Thursday, Sept. 24, and Saturday, Sept. 26, 2015, at 8pm.

SEPTEMBER 24/26 WEEKEND GENEROUSLY SPONSORED BY

AVNER DORMAN (b. 1975) Spices, Perfumes, Toxins! (2006) 26 MIN I. Spices. Allegro (attaca subito) II. Perfumes. Adagio (attaca subito) III. Toxins! Presto energico Thomas Sherwood, percussion Charles Settle, percussion

Mr. & Mrs. C. Merrell Calhoun THURSDAY’S CONCERT SPONSORED BY

John & Linda Matthews SATURDAY’S CONCERT SPONSORED BY

Caroline & Joe O’Donnell 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.

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Robert Spano, Conductor Thomas Sherwood, percussion Charles Settle, percussion

INTERMISSION

20 MIN

PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 5 in E minor, Opus 64 (1888) 47 MIN I. Andante; Allegro con anima II. Andante cantabile, con alcuna licenza III. Valse. Allegro moderato IV. Finale. Andante maestoso; Allegro vivace

Spices, Perfumes, Toxins! (2006) AVNER DORMAN was born in Tel Aviv, Israel, on April 14, 1975. The first performance of Spices, Perfumes, Toxins! took place at the Mann Auditorium in Tel Aviv on April 2, 2006, with soloists PercaDu and the Israel Philharmonic, Zubin Mehta, conducting. Spices, Perfumes, Toxins! is scored for two percussion soloists (Percussion I: marimba, darbukas, tom-toms, drum set, vibraphone, tam-tam, whistle, metal strip, Arabic tambourine, wind chimes; Percussion II: marimba, darbukas, tom-toms, drum set, metal strip, bongo, drums, orchestra bells, cowbell), piccolo, three flutes, alto flute, bass flute, three oboes, three clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, suspended cymbal, triangle, harp, keyboard, piano and strings.

These are the first Classical Subscription Performances.

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he title Spices, Perfumes, Toxins! refers to three substances that are extremely appealing, yet filled with danger. Spices delight the palate but can cause illness; perfumes seduce but can also betray; toxins bring ecstasy but are deadly. The concerto combines MiddleEastern drums, orchestral percussion and rock drums with orchestral forces — a unique sound both enticing and dangerous.

Spices, Perfumes, Toxins! is a result of years of collaboration with PercaDu. While we were still students at the Rubin Academy of Music in Tel Aviv, Tomer and Adi asked me to write a piece for them. All three of us aimed at a piece that

would be markedly Israeli and would reflect young Israeli culture. The process of composing the piece involved working closely with PercaDu on my ideas and testing them on the instruments long before the piece was done. In hindsight, I believe that the most important choice in making the piece sound Israeli was the use of four darbukas and tom-toms in addition to the marimbas. The piece, Udacrep Akubrad (PercaDu Darbuka spelled backward) became one of PercaDu’s signature pieces and my most performed composition and is the basis for the first movement of the concerto.

“Spices” — the first movement draws its inspiration from the music of our region (extending its boundaries to the east as far as the Indian sub-continent).

The piece is largely based on MiddleEastern and Indian scales and uses the Indian system of Talas for rhythmic organization. I use these elements within a large-scale dramatic form and employ repetitive minimalism as it appears in the music traditions of the East and in the works of Western minimalists of the past 40 years. Approximately at the movement’s golden section there is a cadenza that precurses the last movement of the concerto.

In “Perfumes,” the sonic world changes as one of the percussionists leaves the marimba and plays on a vibraphone. In “Perfumes” I use what I call multicultural polyphony. The opening theme of the movement (in the marimba) is reminiscent of Baroque arias. The three flutes that accompany the melody (regular, alto and bass) echo the ornamental nature of the melody and transform it into lines characteristic of

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Notes on the Program by Ken Meltzer

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Middle-Eastern folk music. At the same time, the bass line borrows its sound from the world of jazz. Each part of the texture contributes the “soul” of its genre, so to speak, in an effort to create a humanistic whole that expresses the diversity of our time and culture. As the movement progresses the soloists and orchestra embark on a colorful journey from the seductive to the dangerous.

In “Toxins!” the soloists use the entire variety of percussion instruments at their disposal. The movement is based on alternation between an aggressive rhythmic pattern (played on drum sets) and passionate outbursts in the orchestra. It swings like a pendulum between extreme joyous ecstasy and obsessive anxiety, pain and delusions.

As the movement develops, the music becomes increasingly fanatical until the final outburst of catharsis and death.

— Avner Dorman The work’s three movements are played without pause.

I. Spices. Allegro (attaca subito) II. Perfumes. Adagio (attaca subito) III. Toxins!. Presto energico

Symphony No. 5 in E minor, Opus 64 (1888) PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on Nov. 6, 1893. The first performance of the Symphony No. 5 took place in St. Petersburg on Nov. 17, 1888, the composer conducting. The Symphony No. 5 is scored for piccolo, three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings.

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First Classical Subscription Performance: Dec. 7, 1949, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: Feb. 27 and 28, and March 1, 2014, Thierry Fischer, Conductor.

Robert Shaw Performances (Subscription, unless otherwise noted): April 10, 11 and 13, 1969; April 14, 15, 16, 17, 18 and 19, 1969 (tour); Feb. 24, 1972 (tour); June 18 and 19, 1974 (Promenade II); Oct. 8, 1976 (tour); Sept. 18, 19 and 20, 1986; Oct. 22, 1986 (Campus Series); Oct. 23, 24 and Nov. 23, 1986 (runout); Jan. 21, 22, 23 and 24, 1987 (tour); Feb. 3, 1987 (runout); April 24 and 25, 1987 (Tour).

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eter Ilyich Tchaikovsky composed his Symphony No. 5 during the summer of 1885. During this period, Tchaikovsky also worked on a “Fantasy-Overture,” based upon William Shakespeare’s Hamlet.

Tchaikovsky completed his Fifth Symphony on Aug. 26. He put the finishing touches on the Hamlet “Fantasy-Overture” on Oct. 19.

Tchaikovsky conducted the premiere of his Symphony No. 5 in St. Petersburg on Nov. 17, 1888. In many ways, it was a grand triumph for the composer. At the concert, the orchestra saluted Tchaikovsky with a triple fanfare. He also received an honorary membership in the St. Petersburg Society.

The audience greeted the new work with a rousing ovation.

By Tchaikovsky’s own admission, both the Fourth and his final Symphony, the Sixth, feature programmatic elements.

Tchaikovsky insisted that his Fifth Symphony did not contain a program.

However, the progression of Symphony No. 5 — with its presentation, frequent reappearance and dramatic metamorphosis

If it is true that Tchaikovsky’s Symphony No. 5 portrays a struggle with fate, the outcome seems far more positive than that depicted in the Fourth and Sixth symphonies. But such considerations are, in the final analysis, secondary to the glorious music of this gripping and unforgettable symphonic journey.

Musical Analysis The Symphony No. 5 opens with a slow introduction (Andante). The clarinets present an ominous theme that will appear as the central leitmotif in each of the Symphony’s four movements. The theme soon becomes the basis for the opening melody of the ensuing Allegro con anima. The slow second movement (Andante cantabile, con alcuna licenza) features a radiant outpouring of melody, twice interrupted by savage outbursts of the central leitmotif. The third movement Waltz (Valse. Allegro moderato), in A-B-A form, concludes with a rather insinuating repetition of the central leitmotif, capped by six fortissimo chords. The Finale opens with a slow-tempo introduction (Andante maestoso), with the central leitmotif transformed to the major key. After a protracted struggle and dramatic pause, the leitmotif returns for the last time — now cast as a triumphal march (Moderato assai e molto maestoso).

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of a central leitmotif — certainly seems to hint at some extra-musical significance. And among Tchaikovsky’s sketches for the Fifth are words from the composer suggesting the Symphony depicted a confrontation with fate.

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om Sherwood is the Principal Percussionist of the Atlanta Symphony Orchestra. A native of Fairfax, Va., his musical career began at a young age when he discovered his father’s old drum set packed away in the garage. He graduated with his bachelor of music in percussion performance from the University of Illinois at Champaign-Urbana. A student of Tom Siwe, he was the youngest recipient of the Edgard Varèse Memorial Scholarship.

He went on to earn his master of music from Temple University, where he studied with Alan Abel (former Associate Principal Percussionist of the Philadelphia Orchestra).

Tom made his solo debut with the Atlanta Symphony Orchestra in the 2004-05 season, performing Tan Dun’s Concerto for Water Percussion and Orchestra under the baton of Maestro Robert Spano. For the past 11 years, Tom has also performed regularly at the Grand Teton Music Festival. He can be heard with the Orchestra on Telarc, Deutsche Grammophon and ASO Media recordings.

In addition to his work with the orchestra, Tom is a passionate advocate for contemporary music. For the past eight years, he has been the artistic director and percussionist for Sonic Generator, a chamber ensemble specializing in the performance of modern electroacoustical music.

Since 2008, Tom has been the director of the Modern Snare Drum Competition, an annual event hosted by the Atlanta Symphony Orchestra.

This unique 38 Atlanta Symphony Orchestra | aso.org

competition attracts students from all over the country and has led to the creation of almost a dozen new works for the snare drum.

Before joining the Atlanta Symphony Orchestra, he was a member of the prestigious New World Symphony, under the direction of Michael Tilson Thomas.

An active teacher and clinician, Tom has presented master classes at Oberlin Conservatory, Columbus State University and the Northwestern Percussion Symposium, as well as the 2001 and 2003 Percussive Arts Society International Conventions. Tom is an endorser of Pearl Drums, Adams Musical Instruments, Freer Percussion and Zildjian.

CHARLES SETTLE, Acting Principal Percussion

C

harles Settle joined the percussion section of the Atlanta Symphony Orchestra at the beginning of the 2004-05 season. Before accepting the position in Atlanta, he was a member of the New World Symphony in Miami Beach from 2000-04.

During this time, he also performed as an extra percussionist with the Philadelphia Orchestra. During the 2008-09 season, Mr. Settle took a one-year leave of absence from the Atlanta Symphony and joined the New York Philharmonic as a percussionist and assistant timpanist, touring, participating in recording projects and performing with the Berlin Staatskapelle Orchestra during their residency at Carnegie Hall. He also performs as a member of the Sun Valley Summer Symphony Orchestra

JD SCOTT

THOMAS SHERWOOD, Principal Percussion

encoreatlanta.com | Atlanta’s Performing Arts Publication 39

ASO | 9.24/26| artists

in Sun Valley, Idaho, and has performed with the Chicago Symphony, Cleveland Orchestra, Seattle and Toronto symphonies, and the Detroit Symphony Orchestra. An active educator, Mr. Settle has given master classes at the University of Miami (Fla.), DePaul University in Chicago, Manhattan School of Music and the Curtis Institute of Music. He also serves as an adjunct faculty member at Georgia State University, teaches privately out of his home in Atlanta, is a faculty member of the Atlanta Symphony Talent Development Program and coaches the Atlanta Symphony Youth Orchestra.

These performances of Spices, Perfumes, Toxins! mark Mr. Settle’s solo debut with the Atlanta Symphony Orchestra. Mr. Settle graduated high school from the Interlochen Arts Academy and received his bachelor of music degree from the Curtis Institute of music, where he studied with Michael Bookspan and Don Liuzzi. He also serves as an artist and clinician for Zildjian Cymbals and Freer Percussion products.

ASO | support

T

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

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

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

Bravo!

$500,000+

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

$250,000+

Mrs. Anne Cox Chambers Ticketmaster

$100,000+

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

$75,000+

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

$50,000+

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

$35,000

The Jim Cox Jr. Foundation D. Kirk Jamieson, Verizon Wireless National Endowment for the Arts Adair & Dick White Mr. & Mrs. John B. White Jr.*

$25,000+

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

The Charles Loridans Foundation, Inc. Massey Charitable Trust Newell Rubbermaid Mr. & Mrs. E. Fay Pearce Jr.* Publix Super Market Charities, Inc. RockTenn Bill & Rachel Schultz* The Mark & Evelyn Trammell Foundation Joan N. Whitcomb The Vasser Woolley Foundation, Inc.

$17,500

Dr. John W. Cooledge Fulton County Arts Council Georgia Council for the Arts Ann A. & Ben F. Johnson III* Mr. & Mrs.** Fred McGehee 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 Capital Group Companies, Inc. Mr. & Mrs. Ronadl M. Cofield* Russell Currey & Amy Durrell GMT Capital Corporation 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.

40 Atlanta Symphony Orchestra | aso.org

Ins Ist 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 E a r s a l s . hav E y our st E ak and E at I t, t o o .

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ASO | support Kennedy Center for the Performing Arts Donna Lee & Howard Ehni Xia Liu Ken & Carolyn Meltzer Meredith Corporation (Traditional Home) The Sally & Peter Parsonson Foundation Dr.** & Mrs. Mark P. Pentecost Jr. Piedmont National Corporation 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+

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+

Atlanta Decorative Arts Center 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

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.

Lisa & Joe Bankoff Jack & Helga Beam Rita & Herschel Bloom Jacqueline A. & Joseph E. Brown Jr. Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Dr. & Mrs. William T. Cook Greg & Debra Durden The Robert S. Elster Foundation George T. & Alecia H. Ethridge Carol G. & Larry L. Gellerstedt III Mary D. Gellerstedt Mr. & Mrs. Richard Goodsell Georgia-Pacific Corporation Deedee & Marc Hamburger* Dr. Lewis H. Hamner III & Thomas J. Brendiar Dr. & Mrs. Geoffrey Henson Jan & Tom Hough Tad & Janin Hutcheson Roya & Bahman Irvani Cynthia Jeness Mr. & Mrs. Baxter Jones Cecile M. Jones Paul & Rosthema Kastin The Philip I. Kent Foundation Kohler Co. The Sartain Lanier Family Foundation Wolfgang** & Mariana Laufer Lillian Balentine Law Isabel Lamy Lee Lenox Square 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

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

42 Atlanta Symphony Orchestra | aso.org

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

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

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.

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

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

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

44 Atlanta Symphony Orchestra | aso.org

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encoreatlanta.com | Atlanta’s Performing Arts Publication 45

ASO | support Mr. & Mrs. Richard L. Rodgers The Gary W. Rollins Foundation Jane & Rein Saral Helga Hazelrig Siegel Lewis Silverboard Baker & Debby Smith Johannah Smith Southern Company

Dr. Odessa K. Spraggins Jonathan & Victoria Sprinzen Mr. & Mrs. Raymond F. Stainback Jr. John & Yee-Wan Stevens Kay & Alex Summers Poppy Tanner Mr. & Mrs. Edward M. Tate

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 Kass Wagner David & Martha West Robert Wenger Hubert H. Whitlow Jr. Mrs. Frank L. Wilson Jr. Mary Lou Wolff Mr. & Mrs. John C. Yate

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.

46 Atlanta Symphony Orchestra | aso.org

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

N

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

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

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

48 Atlanta Symphony Orchestra | aso.org

Lucy Russell Lee & Gary Lee Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis Jr. Joanne Lincoln Jane Little Mrs. J. Erskine Love Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis: 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 & Mason Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble Jr. Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White Jr. Hubert H. Whitlow Jr. Sue & Neil** Williams Mrs. Frank L. Wilson Jr. Joni Winston George & Camille Wright Mr.** & Mrs. Charles R. Yates

You can leave a legacy of music.

Call Jessica Langlois, Director of Development for more information.

404.733.2864 **Deceased

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corporate & government | support

Mayor’s Office of Cultural Affairs

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

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

52 Atlanta Symphony Orchestra | aso.org 50

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 53

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

54 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 55

ASO | staff EXECUTIVE Terry Neal Interim President & Chief Executive Officer Alesia Mack Director of Executive Services Alvinetta Cooksey-Wyche 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 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

56 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 Cherrelle Morrison Community ARTreach Assistant 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

Dive in.

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

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975 West Peachtree Street Atlanta, Georgia 404-876-5003 800-642-3629

regencysuites.com encoreatlanta.com | Atlanta’s Performing Arts Publication 57

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.

58 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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encoreatlanta.com | Atlanta’s Performing Arts Publication 59

MO

ASO | calendar

ST

FE

LY

ST

IV

AL

Jonathan Biss

Elisabeth Remy Johnson

OCT 1/3 Delta Classical Thu/Sat: 8pm JENNIFER HIGDON: Concerto for Orchestra BEETHOVEN: Piano Concerto No. 5, “Emperor” Robert Spano, conductor Jonathan Biss, piano OCT 8/10/11 | Delta Classical Thu/Sat: 8pm/Sun: 3pm SCHUBERT/arr. Webern: Six German Dances MOZART: Concerto for Flute and Harp DEBUSSY: Prelude to The Afternoon of a Faun BEETHOVEN: Symphony No. 8 Donald Runnicles, conductor Christina Smith, flute Elisabeth Remy Johnson, harp OCT 16/17 | DELTA POPS! Fri/Sat: 8pm CLASSICAL MYSTERY TOUR: A Tribute to The Beatles Michael Krajewski, conductor

Christina Smith

OCT 18 | Special Itzhak Perlman Presentation Sun: 3pm ITZHAK PERLMAN Recital Rohan De Silva, piano OCT 22/24 | DELTA CLASSICAL Thu/Sat: 8pm OLLI MUSTONEN: The Old Church at Petäjävesi BEETHOVEN: Piano Concerto No. 3 PROKOFIEV: Symphony No. 5 Olli Mustonen, conductor and piano OCT 30/31 | DELTA POPS! Fri: 8pm/Sat: 8pm DANNY ELFMAN’S Music From the Films of TIM BURTON featuring film clips OCT 31 | Family Sat: 2pm HALLOWEEN HIJINKS! Joseph Young, conductor

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Woodruff Arts Center Box Office

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encoreatlanta.com | Atlanta’s Performing Arts Publication 61

ASO | gallery 1 The Music for the Very Young program 1

provides early learners (ages 3-5) an opportunity to experience classical music in an up-close and engaging way. Through these intimate, chamber-music-style performances featuring Atlanta Symphony musicians, young children are introduced to rhythm, tempo, articulation and timbres of instruments in a fun, age-appropriate setting.

Join us as we go beyond our visual senses and explore how to become active listeners of classical music through Stories in Sound.

2

2 The Grammy Award-winning Atlanta Robert Spano, conductor Atlanta Symphony Orchestra & Chorus Jessica Rivera, soprano Kelley O’Connor, mezzo-soprano

Thomas Cooley, tenor Nmon Ford, baritone Evan Boyer, bass

CHRISTOPHER THEOFANIDIS

CREATION/ CREATOR TM

WORLD PREMIERE | LIVE RECORDING

Creation/Creator Booklet FINAL EDITED.indd 1

CD-1006

6/18/15 11:53 AM

Symphony Orchestra’s latest recording, titled Creation/Creator by Atlanta School of Composers member Christopher Theofanidis, is now available on the ASO Media record label at iTunes and aso.org/ asomedia. Creation/Creator features Music Director Robert Spano leading the Atlanta Symphony Orchestra and Chorus, along with soprano Jessica Rivera, mezzo-soprano Kelley O’Connor, tenor Thomas Cooley, baritone Nmon Ford, bass Evan Boyer and stage direction by James Alexander.

The Atlanta Symphony’s history at Piedmont Park dates back to its initial performances in 1976 with Robert Shaw. Since then, the Orchestra has performed more than 100 concerts in the park, bringing free live symphonic music to the greater Atlanta community.

PHOTOS: JEFF ROFFMAN

3 The Atlanta Symphony Orchestra returned to Piedmont Park for three free concerts this summer as part of the Bank of America and Merrill Lynch present “Performance on the Promenade” concert series. The sold-out concerts were led by Atlanta Symphony Orchestra Assistant Conductor Joseph Young.

H I G H

HIGH MUSEUM OF ART ATLANTA

Your Summer Playlist The Coca-Cola Bottle: An American Icon at 100

From the Village to Vogue : The Modernist Jewelry of Art Smith

Through October 4

Final Weeks! Ends September 13

Los Trompos (Spinning Tops)

Seriously Silly!

The art & whimsy of Mo Willems

Through November 29

Through January 10

1280 PEACHTREE STREET, N.E. | TICKETS: HIGH.ORG OR 404-733-5000 GROUPS OF TEN OR MORE RECEIVE DISCOUNTED ADMISSION. CALL 404-733-4550. | MEMBERS ALWAYS FREE! Images: Peter Basch, Model Wearing Art Smith’s “Modern Cuff” Bracelet, ca. 1948, black-and-white photograph, courtesy of Brooklyn Museum, 2007.61.15. Los Trompos photograph by Jonathan Hillyer. Elephant & Piggie Art © Mo Willems. Exhibition dates are subject to change.

ARTFULLY CURATING YOUR NEXT MOVE WWW.HARRYNORMAN.COM

ATLANTA NORTH 770-622-3081

ATLANTA PERIMETER 770-394-2131

BUCKHEAD 404-233-4142

BUCKHEAD CHASTAIN 404-233-1492

BUCKHEAD NORTH 404-814-9000

BUCKHEAD NW 404-261-2700

COBB MARIETTA 770-422-6005

FORSYTH/LAKE LANIER 770-497-2000

EAST COBB 770-977-9500

INTOWN ATLANTA 404-897-5558

NORTH FULTON 678-461-8700

SANDY SPRINGS 404-250-9900