Atlanta Symphony Orchestra, January 2023

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JANUARY 2023 | @AtlantaSymphony | JANUARY 2023 INTRODUCTIONS In Tune 4 Music Director 7 ASO Leadership ................... 8 ASO Musicians ................... 10 NOTES ON THE PROGRAM Written by Noel Morris JANUARY 4 20 JANUARY 12, 15 .................. 30 JANUARY 19, 21 .................. 38 JANUARY 26, 28 44 DEPARTMENTS ASO Support 56 Henry Sopkin Circle 60 ASO Staff 61 Woodruff Circle .................. 63 Benefactor Circle 64 Page 14 Requiem on the Road: The ASO Chorus reminisces about taking Brahms to Berlin | 1


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Happy New Year from all of us at the Atlanta Symphony Orchestra! What an exciting month we have ahead of us, culminating in a performance of Brahms’ German Requiem, featuring the incomparable ASO Chorus. (See page 14 for more about this amazing group of singers.)

As for the rest of the season, we are looking forward to building on tremendous momentum. While the season started strong with Nathalie Stutzmann stepping into her role as Music Director with full concert halls during her first weeks on the podium, that was only the beginning.

We are especially happy to report that our audience has grown by leaps and bounds this season, as we’ve seen:  17% increase in overall attendance this season

More than 12,000 new audience members   30,000 young people, including every fifth grader in Fulton County and Atlanta Public Schools, experienced Students at the Symphony  14 sold-out houses (so far) at classical concerts, Movies in Concert, and Symphony Hall LIVE shows

Expanding the way people hear the Orchestra and experience Symphony Hall is extremely important to the mission of the ASO. Through our concerts, we bring people together in harmony and present many opportunities for Atlantans to indulge or fall in love with music.

No matter which performance brings you to Symphony Hall, whether it’s to hear Hilary Hahn play Tchaikovsky, watch with the ASO playing the score live, or to rock out with genrebending performances like Bobby Weir with the Atlanta Symphony Orchestra, we are honored to welcome audience members of all musical tastes.

Numbers are important, but they are just that. Each and every person who attends a concert, listens to our broadcasts, or reminisces over a favorite album is woven into the fabric of our history. If we learned anything throughout the past three years, it is that every person has a story. We are grateful to be a part of yours.

With gratitude, Jennifer Barlament, Executive Director | @AtlantaSymphony |
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The 2022/23 season marks an exciting new era for the ASO as Maestro Nathalie Stutzmann takes her role as our fifth Music Director, making her the only woman leading a major American orchestra. She has also served as the Principal Guest Conductor of The Philadelphia Orchestra since 2021 and Chief Conductor of the Kristiansand Symphony Orchestra in Norway since 2018.

Nathalie Stutzmann is considered one of the most outstanding musical personalities of our time. Charismatic musicianship combined with unique rigour, energy and fantasy characterize her style. A rich variety of strands form the core of her repertoire: Central European and Russian romanticism is a strong focus—ranging from Beethoven, Schumann, Brahms and Dvořák through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss—as well as French 19thcentury repertoire and impressionism.

Highlights as guest conductor in the next seasons include debut performances with the Munich, New York and Helsinki Philharmonics. She will also return to the London Symphony Orchestra and Orchestre de Paris.

Having also established a strong reputation as an opera conductor, Nathalie has led celebrated productions of Wagner’s Tannhäuser in Monte Carlo and Boito’s Mefistofele at the Orange festival. She began the 2022/23 season with a new production of Tchaikovsky’s Pikovaya Dama in The Royal Theater of La Monnaie in Brussels and will make her debut at the Metropolitan Opera this season with two productions of Mozart’s Die Zauberflöte reunite with Wagner’s Tannhäuser for a production at the Bayreuth in 2023.

As one of today’s most esteemed contraltos, she has done more than 80 recordings and received the most prestigious awards. Her newest album released in January 2021, Contralto, was awarded the Scherzo’s “Exceptional” seal, Opera Magazine’s Diamant d’Or and radio RTL’s Classique d’Or. She is an exclusive recording artist of Warner Classics/Erato.

Nathalie was named “Chevalier de la Légion d’Honneur,” France’s highest honor, and “Commandeur dans l’Ordre des Arts et des Lettres” by the French government.


ASO | LEADERSHIP | 2022/23 Board of Directors


Patrick Viguerie chair

Janine Brown immediate past chair

Bert Mills treasurer Angela Evans secretary


Phyllis Abramson

Keith Adams

Juliet M. Allan

Susan Antinori

Andrew Bailey

Jennifer Barlament*

Paul Blackney Rita Bloom Zachary Boeding* Janine Brown

Benjamin Q. Brunt

Betsy Camp

S. Wright Caughman, M.D. Lisa Chang

Susan Clare Russell Currey Sheila Lee Davies

Erroll Brown Davis, Jr.

Carlos del Rio, M.D. FIDSA

Lisa DiFrancesco, M.D.

Sloane Drake

Lynn Eden Angela Evans Craig Frankel Sally Bogle Gable Anne Game

Rod Garcia-Escudero Sally Frost George Robert Glustrom Bonnie B. Harris Charles Harrison

Tad Hutcheson, Jr. Roya Irvani Joia Johnson

Susan Antinori vice chair Lynn Eden vice chair

Chris Kopecky

Randolph J. Koporc Carrie Kurlander James H. Landon Donna Lee Sukai Liu Kevin Lyman Deborah Marlowe Shelley McGehee

Arthur Mills IV Bert Mills Molly Minnear Hala Moddelmog* Terence L. Neal Galen Lee Oelkers Dr. John Paddock Howard D. Palefsky Cathleen Quigley


Neil Berman

John W. Cooledge, M.D.

John R. Donnell, Jr. Jere A. Drummond

Carla Fackler

Charles B. Ginden John T. Glover

Dona Humphreys

Aaron J. Johnson, Jr.

Ben F. Johnson, III

James F. Kelley

Patricia Leake Karole F. Lloyd


Howell E. Adams, Jr. Connie Calhoun

*Ex-Officio Board Member

Meghan H. Magruder

Penelope McPhee

Patricia H. Reid

Joyce Schwob

John A Sibley, III H. Hamilton Smith

James Rubright vice chair

Doug Reid

James Rubright

William Schultz Charles Sharbaugh

Fahim Siddiqui W. Ross Singletary, II John Sparrow Elliott Tapp

Brett Tarver S. Patrick Viguerie Kathy Waller

Mark D. Wasserman Chris Webber

John B. White, Jr. Richard S. White, Jr. Kevin E. Woods, M.D., M.P.H.

C. Merrell Calhoun

G. Kimbrough Taylor, Jr. Michael W. Trapp

Ray Uttenhove

Chilton Varner

Adair M. White Sue Sigmon Williams

Azira G. Hill | @AtlantaSymphony |
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ASO | 2022/23 Musician Roster


David Coucheron


The Mr. and Mrs. Howard R. Peevy Chair

Justin Bruns associate concertmaster

The Charles McKenzie Taylor Chair Vacant assistant concertmaster

Jun-Ching Lin assistant concertmaster Anastasia Agapova acting assistant concertmaster

Kevin Chen

Carolyn Toll Hancock

The Wells Fargo Chair

John Meisner

Christopher Pulgram

Juan R. Ramírez Hernández

Olga Shpitko

Kenn Wagner

Lisa Wiedman Yancich Sissi Yuqing Zhang


Judith Cox

Raymond Leung

The Carolyn McClatchey Chair

Sanford Salzinger


Vacant principal The Atlanta Symphony Associates Chair

Sou-Chun Su

acting / associate principal

The Frances Cheney Boggs Chair

Jay Christy acting associate / assistantprincipal

Dae Hee Ahn

Robert Anemone Noriko Konno Clift

David Dillard Sheela Iyengar**

Eun Young Jung• Eleanor Kosek Yaxin Tan• Rachel Ostler VIOLA

Zhenwei Shi 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 Madeline Sharp


Rainer Eudeikis* principal

The Miriam and John Conant Chair

Nathalie Stutzmann

music director The Robert Reid Topping Chair

Daniel Laufer

acting / associate principal

The Livingston Foundation Chair

Karen Freer

acting associate / assistant principal

Thomas Carpenter

Joel Dallow

The UPS Foundation Chair

Peter Garrett•**

Brad Ritchie

Denielle Wilson•**


Joseph McFadden principal

The Marcia and John Donnell Chair  Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair

Karl Fenner

Michael Kenady

The Jane Little Chair

Michael Kurth

Nicholas Scholefield•

Daniel Tosky


Christina Smith principal The Jill Hertz Chair

Robert Cronin associate principal C. Todd Skitch

Gina Hughes

PICCOLO Gina Hughes | @AtlantaSymphony |
Players in string sections are listed alphabetically | ‡ Rotates between sections | * Leave of absence |
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Sir Donald Runnicles

principal guest conductor; The Neil & Sue Williams Chair


Elizabeth Koch Tiscione


The George M. and Corrie Hoyt Brown Chair

Zachary Boeding associate principal The Kendeda Fund Chair

Samuel Nemec

Emily Brebach

ENGLISH HORN Emily Brebach


Vacant principal

The Robert Shaw Chair

The Mabel Dorn Reeder Honorary Chair

Ted Gurch acting / associate principal Marci Gurnow

Alcides Rodriguez


BASS CLARINET Alcides Rodriguez


Andrew Brady* principal

The Abraham J. & Phyllis Katz Foundation Chair

Anthony Georgeson acting / associate principal

Laura Najarian Juan de Gomar

Jerry Hou

associate conductor; music director of the atlanta symphony youth orchestra

The Zeist Foundation Chair


Juan de Gomar

HORN Vacant principal

The Betty Sands Fuller Chair

Susan Welty acting / associate principal

Kimberly Gilman

Bruce Kenney


Stuart Stephenson* principal

The Madeline and Howell Adams Chair

Michael Tiscione acting / associate principal

Anthony Limoncelli Mark Maliniak

William Cooper•**


Vacant principal

The Terence L. Neal Chair, Honoring his dedication and service to the Atlanta Symphony Orchestra

Nathan Zgonc acting / associate principal

Jason Patrick Robins



The Home Depot Veterans Chair


Michael Moore principal

The Delta Air Lines Chair

Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair


Mark Yancich principal

The Walter H. Bunzl Chair

Michael Stubbart assistant principal


Joseph Petrasek principal

The Julie and Arthur Montgomery Chair Vacant assistant principal The William A. Schwartz Chair

Michael Stubbart

The Connie and Merrell Calhoun Chair

HARP Elisabeth Remy Johnson principal

The Sally and Carl Gable Chair


The Hugh and Jessie Hodgson Memorial Chair Peter Marshall †

Sharon Berenson †

LIBRARY Vacant principal

The Marianna & Solon Patterson Chair Holly Matthews assistant principal librarian Hannah Davis asyo / assistant librarian

† Regularly engaged musician | • New this season | ** One-year appointment

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a group of passionate and engaged individuals who act as both ambassadors and resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page.

2022/23 CHAIRS

Arthur Mills, IV advisory council chair

Justin Im internal connections task force co-chair Frances Root patron experience task force chair Jane Morrison diversity & community connection task force co-chair Eleina Raines diversity & community connection task force co-chair Cindy Smith diversity & community connection task force co-chair Otis Threatt

diversity & community connection task force co-chair Robert Lewis, Jr. internal connections task force co-chair


Dr. Marshall & Stephanie Abes Krystal Ahn Paul Aldo Evelyn Babey Keith Barnett Asad & Sakina Bashey Meredith W. Bell Jane Blount Cristina Briboneria Tracey Chu Donald & Barbara Defoe

Paul & Susan Dimmick Bernadette Drankoski Diana Einterz Bruce Flower John Fuller Tucker Green Caroline Hofland Justin Im Baxter Jones & Jiong Yan Brian & Ann Kimsey

Jason & Michelle Kroh Scott Lampert

Dr. Fulton Lewis III & Mr. Neal Rhoney Robert Lewis, Jr. Eunice Luke Belinda Massafra Erica McVicker

Arthur Mills IV Berthe & Shapour Mobasser Bert Mobley Caroline & Phil Moïse Anne Morgan Sue Morgan Jane Morrison Tatiana Nemo Gary Noble Bethani Oppenheimer Chris Owes Margie Painter Ralph Paulk Regina Olchowski Eliza Quigley Eleina Raines

Felicia Rives

Frances A. Root Thomas & Lynne Saylor Jim Schroder Baker Smith Cindy Smith Peter & Kristi Stathopoulos Kimberly Strong Stephen & Sonia Swartz George & Amy Taylor Otis Threatt Jr. Cathy Toren Sheila Tschinkel Roxanne Varzi Robert & Amy Vassey Juliana Vincenzino Robert Walt Nanette Wenger Kiki Wilson Taylor Winn Camille Yow

For more information about becoming an Advisory Council member, please contact Cheri Snyder at or 404.733.4904. | @AtlantaSymphony |

PROKOFIEV: Sinfonia concertante

SHOSTAKOVICH: Symphony No. 5 Nathalie Stutzmann, conductor Johannes Moser, cello

KODÁLY: Háry János Suite

RAVEL: Piano Concerto in G

DAWSON: Negro Folk Symphony Ryan Bancroft, conductor Conrad Tao, piano

ANNA CLYNE: This Midnight Hour

PROKOFIEV: Violin Concerto No. 1 MUSSORGSKY/Ravel: Pictures at an Exhibition Han-Na Chang, conductor Sayaka Shoji, violin

Season presented by Programs, dates and artists are subject to change.

FEB 2/3 FEB 9/11 FEB 23/24

Requiem on the Road:

The ASO Chorus reminisces about taking Brahms to Berlin

In December of 2009, a distinctly American chorus, under the baton of their Scottish Principal Guest Conductor, took on an incredible challenge, performing one of the most revered German compositions—Brahms’ A German Requiem—in front of a German audience, singing in German. They were nervous and excited, but also somewhat at home. The Atlanta Symphony Orchestra Chorus collaborated with the Berlin Philharmonic in 2003 and 2008 at the musicians’ invitation. In 2009, the chorus was invited to close out a year-long Brahms celebration.

Jeffrey Baxter, ASO Choral Administrator and long-time member of the chorus said, “The pressure was on, yes. We knew we had to be well prepared. We had done it [the Requiem] so many times, with Robert Shaw, with Robert Spano. We had done it with Donald, but this was another layer of pressure.” “We already had standards we had to live up to, and now we were singing for the Berliners in their own language in a piece that they own, really. A piece that is their standard repertoire.”

It is also a part of the ASO Chorus’ standard repertoire and familiar to each singer. Director of Choruses Norman Mackenzie said that while it has been performed many times, Brahms’ German Requiem is never the same. “Robert Shaw loved this work and made it a staple of this chorus’ repertoire in the years that he was conducting in Atlanta,” Mackenzie said. “We have been fortunate to continue that special heritage in recent years with Donald Runnicles and Robert Spano. That kind of history with a masterpiece creates the ability to probe its depths in constantly new and exciting ways that make an Atlanta Symphony Orchestra Chorus performance a uniquely rich emotional and intellectual experience.”

Brahms’ Ein deutsches Requiem is a favorite of choruses everywhere for good reason. His masterful composition both repeats themes and reinvents them, from the opening “selig sind, die da Leid tragen (blessed are they that mourn)” to the closing “selig sind die Toten (blessed are the dead).”

Mackenzie said, “Firstly, it’s a true work of genius. It is perfectly and elegantly crafted by a master of symphonic-choral literature. The writing for both

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orchestra and chorus is highly idiomatic, effective and communicative to the listener. But in the final analysis, it is the superb dramatic arc of the work and its unique personal and emotional content that have made it so meaningful to audiences all over the world.”

After the ASO Chorus sang the very last note of Brahms’ Requiem, there was silence. Then there was thunderous applause.

“We sort of were ready for that moment. German audiences are so well behaved and respectful,” said Baxter. “When it’s something that ends softly like that, there was this silence which seemed like an eternity. It was both overwhelmingly moving but also kind of nervewracking, thinking ‘Oh, did they like us?’ Then of course the applause came, and it would not stop.”

The German audience had embraced them fully, because in the words of a reviewer in the Berliner Morgenpost, the chorus “proved itself as a dependable, dynamic, gigantic instrument that lived up to the powerful proclamation continuously demanded by Runnicles.”

Mackenzie recalls “When the first performance ended in the hush of soft strings and harp, the audience was utterly silent for an unusually long time before the applause finally began. They were clearly deeply moved. That touching validation of our efforts meant so much more to Donald, to me and to the chorus than any ovation could have!”

Chorus member Marcia Chandler said, “I suspect I was holding my breath...this American chorus delivering Brahms’ German Requiem to a German audience. But the audience’s applause let me know we had done our job.”

But how was their German? Flawless, of course.

Long-time chorus member Jon Gunnemann spoke some German, and said, “I grabbed up every German newspaper I could find in the hotel lobby and looked for reviews, and there were several of them. I read them to my colleagues at breakfast, and one of them said, ‘The Chorus articulated the German text with extraordinary care and sensitive power. The excellent Berliner Rundfunk Chorus could learn something in this regard from their American colleagues.’”

“Which is a fairly stunning reviewer’s analysis of our German, so we were very, very happy. We all gave sort of a ‘Whoopee!’ as we were eating breakfast.”

The Atlanta Symphony Orchestra and Chorus will present Brahms’ Ein deutsches Requiem this month, Thursday and Saturday, January 26 and 28 at 8:00pm, again under the baton of Principal Guest Conductor Sir Donald Runnicles, with choral preparation by Director of Choruses Norman Mackenzie. | @AtlantaSymphony |
“Firstly, it's a true work of genius."
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— Norman Mackenzie

We are deeply grateful to the following leadership donors whose generous support has made the Atlanta Symphony Orchestra's season possible.



The Atlanta Symphony Orchestra is grateful to the generous donors who support our Education & Community Engagement Initiatives. The following list represents gifts of $500 or more made since June 1, 2021 in support of the Talent Development Program & the Orchestra’s other education & community programs.

Drs. Kevin & Kalinda Woods


A Friend of the Symphony Accenture

Arthur M. Blank Family Foundation The Coca-Cola Company Delta Georgia Power Graphic Packaging Home Depot Charles Loridans Foundation, Inc. PNC The Zeist Foundation, Inc.


A Friend of the Symphony John & Juliet Allan Alston & Bird

Costco Wholesale Sheila L. & Jonathan J. Davies

Dr. Carlos del Rio & Dr. Jeannette Guarner Ernst & Young Georgia-Pacific

Azira G. Hill Monasse Foundation Mr. Tyler Perry

Kathryn Petralia & Diane Bartlett

Mark & Evelyn Trammell Foundation

Ms. Kathy N. Waller & Mr. Kenny Goggins WarnerMedia


A Friend of the Symphony Farideh & Al Azadi Foundation

Mr. & Mrs. Andrew Bailey Ms. Tena Clark & Ms. Michelle LeClair Ned Cone & Nadeen Green Ms. Sloane Drake Ms. Angela L. Evans Georgia Council for the Arts

Mary C. Gramling International Women's Forum of Georgia Mr. & Ms. Josh Kamin Mrs. Heidi LaMarca Dr. & Mrs. John D. Merlino Mr. & Mrs. Peter Parsonson, Ph.D. Mr. & Mrs. Thomas Saylor Mr. Fahim Siddiqui & Ms. Shazia Fahim Angela Spivey

Candace Steele Ms. Sheila Tschinkel Dr. Brenda G. Turner


Mr. & Mrs. Kenneth V. Athaide

Mr. & Mrs. Joseph R. Bankoff

Johnnie Booker

George & Gloria Brooks

Mr. & Mrs. Rod D. Bunn Ms. Lisa V. Chang Mr. & Mrs. Michael E. Chanin

Mr. & Mrs. Michael D. Chiock

Ms. Tracey Chu Rita & Ralph Connell Mrs. Nancy Cooke Mr. and Mrs. John L. Cromartie II Mr. Charles Davis Mr. & Mrs. Reade Fahs Sharon, Lindsay & Gordon Fisher Ms. Donna G. Foland KS Ford Chanel H. Frazier Ms. Marci Gurnow & Mr. Sean Nagorny Ms. Kristin Hathaway Hansen & Mr. Norman Hansen

The Henegan Foundation Mr. Charles Huddleston & Ms. Cheryl McAfee Mr. & Mrs. William H. Jordan

Mrs. & Mr. Mona Kelly Daniel & Terri Laufer Grace & Josh Lembeck

Dr. & Mrs. Joel LeMon Angel R. Leon & Debra E. Brand Mr. Robert M. Lewis, Jr.

John Lippert

Ms. Malinda C. Logan

Mr. Kevin Lyman & Dr. Jennifer Lyman Ms. Deborah A. Marlowe & Dr. Clint Lawrence

Mr. & Mrs. Gino Massafra Mr. Edward Maydon

Mr. & Mrs. David H. Merritt Drs. Price & Jacqueline Michael

Mr. Bert Mobley

Hala & Steve Moddelmog Caroline & Phil Moïse

Mr. Christopher Mosley

Mr. Paul Murphy & Ms. Christina Smith

Lynn & Galen Oelkers

Mr. & Mrs. John Oglesby Jamie L. Onakoya

Victoria & Howard Palefsky

Ms. Margaret H. Petersen Ms. Cathleen Quigley

Ms. Donata Russell Ross Mrs. Dianna A. Scherer

Dr. La Tanya & Mr. Earl R. Sharpe

Mr. & Mrs. Fred B. Sheats III Ms. Fawn M. Shelton

Suzanne Shull

Mrs. Helga Siegel

The Society, Inc. Mr. Richard Spady

George & Amy Taylor

Mr. Christopher Thurman

Ms. Mary A. Valdecanas

Ms. Barbara Wheeler | @AtlantaSymphony |

Concert of Wednesday January 4, 2023, 8:00pm


JOHANN SEBASTIAN BACH (1685–1750) Brandenburg Concerto No. 3 in G Major, BWV 1048 (1721) 10 MINS I. [Without tempo marking] II. Adagio III. Allegro

EDVARD GRIEG (1843–1907)

From Holberg’s Time: Suite in the Olden Style, Op. 40 (1884) 21 MINS I. Prelude II. Sarabande III. Gavotte and Musette IV. Air V. Rigaudon


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.

ANTONIO VIVALDI (1678–1741) Le quattro stagioni (The Four Seasons), Op. 8, Nos. 1–4 (ca. 1725) 37 MINS Primavera (Spring), Op. 8, No. 1 (RV 269) in E Major I. Allegro II. Largo III. Allegro L’estate (Summer), Op. 8, No. 2 (RV 315), in G Minor I. Allegro II. Adagio III. Presto L’Autunno (Autumn), Op. 8, No. 3 (RV 293), in F Major I. Allegro II. Adagio III. Allegro L’inverno (Winter), Opus 8, No. 4 (RV 297), in F Minor I. Allegro II. Largo III. Allegro David Coucheron, violin | @AtlantaSymphony | | jan4

Brandenburg Concerto No. 3 in G Major, BWV 1048

This concerto is scored for strings and basso continuo.

First ASO performance: November 23, 1949

Henry Sopkin, conductor

Johann Sebastian Bach applied for his first church job at 18. As a serious candidate, young Bach’s musicianship wasn’t up for debate. But the church council in Arnstadt had other priorities. They put him through rigorous grilling on his knowledge of the Bible and Lutheran doctrine. After all, he would be expected to write music that reflected the weekly Bible readings. He was not unprepared. “Sebastian” was a fifth-generation church musician who’d been sent to school to study the Bible in German and Latin and—like all members of the Bach family—learned music at home. He had been orphaned at 10 and went to live with his older brother Johann Christoph—already a successful organist. Sebastian thrived in his brother’s care and won that job in Arnstadt; however, he was not destined to settle. After a few years, his music-making grew too experimental for the conservatives in town, and so he moved to Mühlhausen. There, he landed in the middle of a battle between the Pietists, who decried elaborate church music, and the orthodox Lutherans, who encouraged it. After a year, he took a job as a chamber musician and organist in Weimar, a happy arrangement that lasted for nine years until a feud broke out between different branches of the ruling family. Things came to a head when the old Kapellmeister died; Bach, the best qualified musician, was passed over for the top job. Sharing his frustration, the Duke Ernst August helped him find another job. Out of spite, the Duke of Weimar jailed Bach for a month. The next chapter of his life was a revelation for today’s classical instrumentalist: He went to work for Prince Leopold of Anhalt-Köthen, a Calvinist who was a fine musician but couldn’t permit music in the church. As a result, Bach went from composing sacred works to producing music for the court, including pieces for harpsichord and various string and wind instruments. Much of his instrumental music (other than for organ) comes from this period, including the Well-Tempered Clavier, the Cello Suites, the Orchestral Suites, the Violin Partitas and Sonatas, and likely some part of the Brandenburg Concertos.

Most recent ASO performance: March 22–24, 2018

Robert Spano, conductor

Bach was familiar with the Italian concerto form, thanks to a Dutch publication of (mostly) works by Antonio Vivaldi. From this, he made organ and harpsichord transcriptions, opening his mind to new possibilities in instrumental writing. The word “concerto” likely


stems from two ideas: to be in “concert,” as in to harmonize or act jointly, and “concertare,” as in the Latin word for argue and debate. Both ideas apply to Bach’s concertos in that the form sets the soloist(s) in musical dialogue or debate with a larger ensemble.

Given his orchestra of seventeen musicians in Anholt-Köthen, Bach mixed up the instrumental combinations from one Brandenburg Concerto to the next. “Every one of the six concertos set a precedent in scoring, and everyone was to remain without parallel,” wrote Bach biographer Christoph Wolff.

The piece calls for the unusual scoring of three solo violins, three solo violas, and three solo cellos (originally violas da gamba) with bass and continuo. Over the years, the middle movement has been a source of head-scratching—it consists of only two chords— prompting some scholars to speculate that the chords were intended as bookends to an extended improvisation to be played by Bach himself. Today, the second movement is usually played as written and treated as a bridge or “semi-colon” between the first movement and the rollicking finale.

After a few years in Köthen, Bach, again, found himself searching for a job. By this time, he had sons in need of a school, and there was no university in town. And so, in 1721, he packed up six concertos and sent them to Christian Ludwig, Margrave of Brandenburg-Schwedt, with the following dedication:

As I had the good fortune a few years ago to be heard by Your Royal Highness… I have in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigour of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.

As far as we know, the Margrave never wrote back. In 1723, Bach moved to Leipzig to become the cantor at St. Thomas’s Church.

From Holberg’s Time: Suite in the Olden Style, Op. 40

These are the first ASO performances.

The Holberg Suite is scored for strings.

At the age of 25, Edvard Grieg issued his Piano Concerto in A minor. Dazzling audiences with fiery bombast, the piece earned him instant recognition. Overnight | @AtlantaSymphony |
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he became the hero of Norwegian music and joined the ranks of Europe’s most important composers. Fans eagerly waited for more of the same. But going forward, Grieg favored music on a more intimate scale—songs, piano music, choral pieces.

The Holberg Suite brings together the hero of Norwegian music with a literary hero: Ludvig Holberg, who is credited with having brought the Enlightenment to Scandinavia. Holberg’s accomplishments seemed almost implausible: According to Britannica, “his seriocomic epic Peder Paars (1719), a parody of Virgil’s Aeneid, was the earliest classic of the Danish language.”

Orphaned as a child, Holberg set out on foot to visit the major cities of Europe. Along the way, he attended university and supported himself by teaching French, flute and violin. He turned out a series of comedies that helped establish Danish-language theater. He wrote novels in Danish and Latin. He became a professor of metaphysics and logic and chaired the departments of Latin literature and history at the University of Copenhagen. Grieg wrote the Holberg Suite (From Holberg’s Time: Suite in the Olden Style), in honor of the 200th anniversary of Holberg’s birth.

Born in Bergen, Norway, Holberg (1684–1754) is an exact contemporary of Bach and Vivaldi. To pay tribute, Grieg wrote a suite of piano pieces in the style of Baroque dances (as he understood them) from Holberg’s own time.

1. Praeludium: a prelude or introductory piece.

2. Sarabande: a slow Spanish dance in triple meter with hints of Arab influence. It was considered disreputable in 16th-century Spain before it spread to Italy, France and the Americas.

3. Gavotte: originally a French folk dance in quadruple meter with a strong upbeat that became popular in the court of Louis XIV and later found its way into concert works by composers ranging from Bach to Prokofiev.

4. Air: Akin to “aria,” air is a song-like composition.

5. Rigaudon: originally a rustic, 17th-century French folk dance in duple or quadruple meter. The rigaudon is an athletic dance that became popular at courts in England and France.

Grieg wrote the Holberg Suite for piano and played the premiere in Bergen at a celebration of the Holberg bicentennial. He arranged the piece for orchestra the following year.


First ASO performance of complete cycle: March 12–14, 1992

Pinchas Zukerman, violin and conductor

Most recent ASO performance of complete cycle: November 15–18, 2001 Robert Spano, conductor Gil Shaham, violin

Le quattro stagioni (The Four Seasons), Op. 8, Nos. 1–4 Le quattro stagioni are scored for solo violin, strings, and basso continuo.

Antonio Vivaldi was the master of the side hustle. He was an ordained priest, a schoolteacher, a touring opera composer, an impresario and theater director. During his lifetime, he achieved fame and fortune yet died a pauper and a stranger in a foreign land. Today, he is wildly popular but was almost lost to history. For all these reasons, Vivaldi’s music has been copied, borrowed, and arranged—he has a vast filmography (Fantastic Four, Six Feet Under, What We Do in the Shadows, Spy Game, Madagascar 2, etc.)—yet there are holes in what we know about his life. For example, we don’t know precisely when he wrote his most famous music, The Four Seasons.

Vivaldi was the son of a violinist who worked at St. Mark’s Basilica in Venice. As a working-class boy, he had only one path to higher education: the priesthood. Because he suffered from “tightness of the chest,” young Antonio was allowed to live at home, where he continued to play music with his father. Not long after his ordination in 1703, he received dispensation from having to say Mass. (There’s a rumor that he was caught writing music in the sacristy, but the official reason cited poor health.) That same year, he became master of violin at Ospedale della Pietà, a school for foundling girls. Because many of the students were illegitimate daughters of the nobility, the school was well funded, giving Vivaldi all the resources needed for an excellent orchestra. Over his lifetime, he produced some 500 concertos, many of which were written for the girls to play.

Later in life, as his popularity waned, Vivaldi turned his attention to Charles VI, the Holy Roman Emperor. Moving to the Austrian capital in 1740, the composer had hoped to win a royal appointment, but Charles died suddenly. Without income or royal protection, Vivaldi sank into poverty and died alone in 1741. His music was forgotten (apart from the Bach transcriptions) until 1926 when a crate of Vivaldi manuscripts was discovered at a boarding school in Italy’s Piedmont. There began an effort to recover, reconstruct, perform and publish his music. In 2012, an entire opera was discovered at an Italian library. | @AtlantaSymphony |
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The original manuscript of The Four Seasons has not been found, but the music was published in Amsterdam in 1725, part of a set of twelve violin concertos titled “The contest between harmony and invention.” Although we don’t know the year of composition, suffice it to say it was a golden age for the violin. Just a hundred miles from Venice, violin makers, especially the Amati, Bergonzi, Guarneri and Stradivari families, had made innovations to the instrument’s design. Today, their violins are priceless. (To put them in perspective, the most valuable guitar, a 1959 Martin D-18E played by Kurt Cobain on MTV Unplugged, sold for $6 million; a Stradivari violin recently sold for $20 million.) The other factor making the eighteenth century a golden age for the violin had to do with Vivaldi himself; his virtuosity as a player caused other composers to reimagine the expressive capabilities of the instrument.

With The Four Seasons, Vivaldi did something that would become popular a hundred years after his death: he used instrumental music to tell a story. The 1725 publication includes a sonnet for each concerto which Vivaldi paints with the sounds of the instruments. For example, during the harvest feast (Autumn), the countrymen sink into a drunken stupor. For this effect, Vivaldi uses irregular rhythms to evoke the image of a man staggering off in search of a place to sleep. Some editions of The Four Seasons credit Vivaldi as the author of the sonnets; however, this has never been confirmed.

The Four Seasons Sonnets attributed to Antonio Vivaldi Spring


Spring has arrived, and joyfully the birds greet her with glad song, while at Zephyr's breath the streams flow forth with a sweet murmur. Her chosen heralds, thunder and lightning, come to envelop the air in a black cloak; once they have fallen silent, the little birds return anew to their melodious incantation:


then on the pleasant, flowerbedecked meadow, to the happy murmur of fronds and plants, the goatherd sleeps next to his trusty dog.


To the festive sound of rustic bagpipes nymphs and shepherds dance beneath the beloved sky at the glorious appearance of spring. | 25

Summer Allegro

In a harsh season burned by the sun, man and flock languish, and the pine tree is scorched; the cuckoo unleashes its voice, and soon we hear the songs of the turtledove and the goldfinch. Sweet Zephyr blows, but Boreas suddenly opens a dispute with his neighbor; and the shepherd laments his fate for he fears a fierce squall is corning.


His weary limbs are robbed of rest by his fear of fierce thunder and lightning and by the furious swarm of flies and blowflies.


Alas, his fears are only too real: the sky fills with thunder and lightning, and hailstones hew off the heads of proud cornstalks.

Autumn Allegro

The countryman celebrates with dance and song the sweet pleasure of a good harvest, and many, fired by the liquor of Bacchus, end their enjoyment by falling asleep.


Everyone is made to abandon singing and dancing by the temperate air, which

gives pleasure, and by the season, which invites so many to enjoy the sweetness of sleep.


The huntsmen come out at the crack of dawn with their horns, guns and hounds; the quarry flees and they track it; already terrified and tired out by the great noise of the guns and hounds, the wounded beast makes a feeble effort to flee but dies in agony.

Winter Allegro

To shiver, frozen, amid icy snow in the bitter blast of a horrible wind; to run, constantly stamping one's feet; and to feel one's teeth chatter on account of the excessive cold; Largo to spend restful, happy days at the fireside while the rain outside drenches a good hundred [people];


to walk on the ice, and with slow steps to move about cautiously for fear of falling; to go fast, to slip and fall down; to go on the ice again and run fast until the ice cracks and opens up; to hear coming out of the iron gates Sirocco, Boreas and all the winds at war: that's winter, but of a kind to gladden one's heart. | @AtlantaSymphony |
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David Coucheron joined the Atlanta Symphony Orchestra as Concertmaster in September 2010. At the time, he was the youngest concertmaster among any major U.S. orchestra.

Throughout his career, Coucheron has worked with conductors Robert Spano, Michael Tilson Thomas, Simon Rattle, Mstislav Rostropovich and Charles Dutoit, and has performed as soloist with the BBC Symphony Orchestra, Bergen Philharmonic Orchestra, Sendai Symphony Orchestra, Oslo Philharmonic Orchestra and the Trondheim Symphony Orchestra.

Coucheron serves as the Artistic Director for the Kon Tiki Chamber Music Festival in his hometown of Oslo, Norway. Recordings with sister and pianist Julie Coucheron include “David and Julie” (Naxos/Mudi) and “Debut” (Naxos). He is also the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan Williams’ The Lark Ascending, released on ASO Media in Fall 2014.

Coucheron began playing the violin at age three. He earned his Bachelor of Music degree from The Curtis Institute of Music, his Master of Music from The Juilliard School and his Master of Musical Performance from the Guildhall School of Music and Drama.

Coucheron plays a 1725 Stradivarius, on kind loan from Anders Sveaas Charitable Trust.

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Concerts of Thursday, January 12, 2023 8:00 PM Sunday, January 15, 2023 3:00 PM


LOUISE FARRENC (1804–1875)

Overture No. 2, Op. 24 (1834) 7 MINS LUDWIG VAN BEETHOVEN (1770–1827)

Piano Concerto No. 4 in G Major, Op. 58 (1806) 35 MINS I. Allegro moderato II. Andante con moto III. Rondo: Vivace Tom Borrow, piano


JEAN SIBELIUS (1865-1957) Finlandia, Op. 26, No. 7 (1899) 9 MINS

“Valse triste” from Kuolema (Death), Op. 44, No. 1 (1904) 6 MINS

Symphony No. 7 in C Major, Op. 105, “In One Movement” (1924) 23 MINS | @AtlantaSymphony |
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Overture No. 2, Op. 24

This overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

These are the first ASO performances.

In 1840, Hector Berlioz heard a piece by Louise Farrenc and noted that it was “well written.” He went on to say that it was orchestrated “with a talent rare among women.” And it  was rare. These skills are usually developed in an academic setting—where women were not allowed.

The 19th century was a difficult time for musicians born of a certain gender. In affluent households, girls learned voice and piano and were afforded ample time to develop skills that would then be hidden from public view by protective fathers and husbands. Musicianship was a mark of accomplishment for the debutante (think of Jane Austen’s Pride and Prejudice or Emma), but it was to be shared with family and friends only.

Into this closed society came Louise Farrenc (née Dumont), born in 1804 to a family of artists. Her father was the sculptor Jacques-Edme Dumont, who arranged for her to receive piano lessons. When he realized she was gifted, he hired the best instructors available, including the prominent composerpianist Johann Nepomuk Hummel.

At 15, Louise enrolled as a piano student at the Paris Conservatory. Because girls weren’t permitted to attend the composition class, her father paid for private lessons with the composition professor, Anton Reicha. With a lot determination, Louise Farrenc developed into a formidable musician. Reicha, a friend of Beethoven, would go on to teach Franz Liszt, Hector Berlioz and César Franck.

While at the Conservatory, Louise fell in love with another student, the flutist Aristide Farrenc, who was ten years her senior. They married when she was 17. Becoming recital partners, they toured together and then returned to Paris to start a music publishing house. Louise continued to perform and, in 1842, won a faculty position at the Conservatory. She was the only female professor there during the entire 19th century.

For all her fortitude, Farrenc was humble about her own compositions. It was Aristide who pushed her to publish her works. In 1849, her Nonet earned broad acclaim after a premiere headed by the famous violinist Josef Joachim. With the wind in her sails, she presented the Conservatory management with an accounting of faculty compensation and demanded equal pay—which they granted.


Farrenc wrote her Overture No. 2 in 1834. The Paris Conservatory declined to admit women to the composition class until 1870.

First ASO performance: March 21, 1951

Henry Sopkin, conductor Claudio Arrau, piano

Most recent ASO performances: February 15–17, 2018

Roberto Abbado, conductor Jorge Federico Osorio, piano


Concerto No. 4 in G Major, Op. 58

In addition to the solo piano, this concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

Beethoven was a dreamy child. His mind would wander, and he’d fail to notice things happening around him; a family friend called it his “raptus.” It was a habit that persisted throughout his life. Biographer Jan Swafford wrote, “He spends hours lost in his raptus, improvising at the keyboard, ideas flowing from his fingers into sound, sketchbook on a table beside him to fix sounds before they are gone.”

Every day, no matter the weather, the composer would venture outdoors to roam the countryside and hike through the woods, “growling and howling and waving his arms conducting the music in his head, stopping to pencil ideas in the pocket sketchbooks,” wrote Swafford. Biographer Edmund Morris referred to those sketchbooks as “inspirational bedlam.” Between 1803 and 1804, Beethoven was a fountain of ideas; he jotted down hundreds of sketches and bound them into a 192-page book. About half the sketches went into Eroica Symphony. Others found their way into the Fifth and Sixth Symphonies, the opera  Fidelio, his Triple Concerto, and his Fourth Piano Concerto, which he wrote for himself to play. After all, he was among Vienna’s most sought-after pianists.

Through performances by composer-pianists, such as Mozart and Beethoven, the audience came to have certain expectations about piano concertos. Typically, the orchestra would play some introductory music, and then the solo piano would enter. With the Fourth Piano Concerto, Beethoven surprised them by opening with the piano alone. Curiously, that delicate music grows from a germinal idea, a four-note rhythm, that is a close cousin to something far more tempestuous—the opening of the Fifth Symphony. Where the Fifth Symphony explodes with a torrent of notes, the Fourth Piano Concerto moves like moonlight dancing on the water. What binds them, beyond the use of the same rhythmic figure, is the little book that lived in Beethoven’s pocket. The opening themes of both works appeared on the same page of his sketchbook, as if he’d had a brilliant inspiration that was too fertile to exhaust in a single composition. | @AtlantaSymphony |
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Sadly, the bedlam described by Edmund Morris was not limited to Beethoven’s sketchbooks. In the year 1806, the composer suffered from chronic illness and profound hearing loss. He had a spat with his theater manager and withdrew his opera. He quarreled with his brother, his publisher, and his patron, who cancelled Beethoven’s stipend. In spite of all this, the composer produced one landmark piece after another, including quartets, part of the Fifth Symphony, the Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto.

The Piano Concerto had its public premiere on a bitter-cold night in 1808. It was a legendary fiasco during which Beethoven presented a whopping four-hour concert in an unheated hall. Making matters worse, the orchestra got angry and was underrehearsed. Over the course of that one evening, Beethoven premiered the Fourth Piano Concerto, the Fifth Symphony, the Sixth Symphony, and the Choral Fantasy. After its chilly debut, the Fourth Piano Concerto languished until 1836 (nearly a decade after Beethoven’s death) when Felix Mendelssohn revived the piece and brought it into the repertoire.

Finlandia, Opus 26, No. 7

Finlandia is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals a2, bass drum, triangle and strings.

First ASO Performance: February 4, 1945 Henry Sopkin, conductor.

Most Recent ASO Performances: Jan. 29–30, 2022 David Danzmayr, conductor

Finland enjoyed relative autonomy for the greater part of the 19th century, despite its acquisition by Russia in 1809. In that year, Finland became a Grand Duchy under the Russian Czar. Nevertheless, Finland maintained its own government, army, currency and postal service. Finnish and Swedish served as official languages, and the Lutheran religion was maintained.

The situation deteriorated toward the end of the 19th century with the growth of Russian nationalism. In February of 1899, a Russian imperial decree ordered that the Russian State Council would be responsible for all laws affecting Finland. Russia incorporated the formerly autonomous Finnish postal system. The Finnish army was disbanded and citizens became liable for conscription into the Russian military. The threat of Russian censorship of the Finnish press inspired the “Press Pension Fund Pageant” in November of 1899. As part of the pageant, Kaarlo Bergbom, director of the Helsinki Finnish Theater, arranged a series of six tableaux depicting landmark events in Finnish history. Texts by Eino Leino and Jalmari Finne accompanied the presentation of each of the tableaux. Jean Sibelius composed | 33

“subdued (musical) accompaniment” to the texts, as well as overtures for the presentation of the tableaux. Sibelius composed his tone poem, Finlandia, for the final tableau, entitled “Finland Awakes.”

In describing the composition of Finlandia, Sibelius noted in his diaries: “(t)he themes on which it is built came to me directly. Pure inspiration.” Sibelius dismissed Finlandia as a “relatively insignificant piece” and attributed the work’s broad appeal to “its plein air style.” Musicians and audiences have disagreed with Sibelius’s characterization of Finlandia, a blazing patriotic work that continues to move and thrill listeners, regardless of nationality.

The accompanying text for the tableau that inspired Sibelius’s Finlandia begins: “The powers of darkness menacing Finland have not succeeded in their terrible threats. Finland awakes!” Finlandia opens in somber fashion (Andante sostenuto) with an ominous brass chorale that contrasts with a plaintive statement by the woodwinds and strings. Suddenly, the mood changes as brass fanfares introduce the heroic principal Allegro theme. The woodwinds intone a beautiful, espressivo hymn that is soon played by the strings. Brass fanfares herald the return of the heroic theme, which joins the hymn for the triumphant conclusion of Finlandia. Ken Meltzer

First and most recent ASO performances: May 14–16, 1992 Yoel Levi, conductor

“Valse triste” from Kuolema (Death)

“Valse triste” is scored for flute, clarinet, two horns, timpani and strings.

One of Jean Sibelius’ most popular and enduring works, the Valse triste began as a request from a family member. In 1903, Sibelius’ brother-in-law, author Arvid Järnefelt, asked the composer for incidental music to accompany a play he had written. “I’ll think about it,” Sibelius replied.

His thoughts soon turned into music, and he wrote pieces for six scenes of the play. Valse triste, or “sad waltz,” went with a scene in which the protagonist sits with his mother as she lies on her deathbed. She has dreamed of attending a ball. As the weary son sinks into sleep, the sounds of a waltz begin to grow in the distance. The dying woman arises from her bed, her nightgown turning into a ball gown, and begins to dance, imagining herself surrounded by party guests. The music stops as she falls into bed, but she is roused again by a vision of her dead husband and the dance music becomes wild. The scene fades away as it becomes clear that she sees not her husband before her, but Death.

Sibelius arranged the work a few years later and sold it to his publisher, | @AtlantaSymphony |
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reportedly for a pittance, and the rights were subsequently aquired by Breitkopf & Härtel in 1905. The piece became wildly popular, not only in the orchestral version heard on this concert, but in arrangements for a variety of instruments and ensembles. Sibelius, however, did not see a penny of the profits, having entered into an agreement that did not include rights or royalties — Leah Branstetter

Symphony No. 7 in C Major, Opus 105, “In One Movement”

Symphony No. 7 is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani and strings.

First ASO Performances: Oct. 29-Nov. 1, 1970 Robert Shaw, conductor. Most Recent ASO Performances: February 20–22, 2020 Thomas Søndergård, conductor

Jean Sibelius’s Seventh (and final) Symphony was the product of an extended and sometimes difficult creative process. The first mention of the work occurs in a diary entry by the composer, dated July 18, 1917: “I have the symphonies VI and VII in my head.”

In the May 20, 1918 letter to Axel Carpelan, Sibelius offers this description of his Seventh Symphony:

The Seventh Symphony. Joie de vivre and vitality, with appassionato passages. In three movements—the last a ‘Hellenic’ Rondo.

The planes will perhaps be changed as the musical ideas develop. As usual, I am a slave to my themes and adapt myself to their needs. It was not until March 2, 1924, that Sibelius completed his Symphony No. 7. By that time, the Symphony embodied a far different structure than described in the 1918 letter to Carpelan. As Sibelius told his biographer, Karl Ekman: “at night, as I entered in my diary, I completed Fantasia sinfonica—that is what I first thought of calling my seventh symphony in one movement.”

Sibelius conducted the world premiere of his Symphony No. 7 in Stockholm on March 24, 1924. At the time, the title of the piece was indeed Fantasia sinfonica. But when the work was published in 1925, it was finally given the title of the composer’s Symphony No. 7.

The Symphony No. 7 is an extraordinary work on many levels. It is designated as being “In One Movement,” and in that sense, is unique among the composer’s Seven Symphonies. But it is also possible to discern a series of symphonic movements within the structure. During the brief course of the Seventh Symphony, Jean Sibelius presents the | 35

constant metamorphosis of themes, couched in ever-shifting tempos and orchestral colors. The Sibelius Seventh manages to fly by in an instant, while maintaining an atmosphere of eternal timelessness. In every respect, the Sibelius Seventh represents the fitting culmination of a master composer’s unique achievements in this genre.

The Symphony opens with a brief, hushed statement by the timpani (Adagio). The cellos inaugurate an ascending passage encompassing a C-Major scale that culminates in a mysterious A-flat minor chord. The flutes, bassoons, and clarinets play an undulating sixteenth-note theme, followed by a descending passage in the oboes (the ascending scale and subsequent themes all play central roles throughout the Symphony). Divided strings inaugurate a sublime lyrical episode, culminating with a solo trombone proclaiming a noble sonore theme.

A further development of the principal themes (Un pochettino meno adagio) gathers momentum, resolving to a quicksilver scherzo (Vivacissimo) episode, featuring lightning-quick exchanges between the strings and winds. The tempo slows, and an undulating string figure serves as accompaniment for a reprise of the trombone theme (Adagio). An extended, quick-tempo episode (Allegro molto moderato) focuses upon a buoyant theme, first played by the winds.

A second scherzo episode (Vivace) jaunts to a Presto conclusion. The trombone melody returns heralding the Symphony’s expansive concluding measures (Adagio). Echoes of the central themes (including the trombone melody, now played by solo flute and bassoon), resolve to the majestic closing bars.


American conductor Kazem Abdullah, Music and Artistic Director of the City of Aachen, Germany from 2012 to 2017, most recently conducted the symphony orchestras of Oregon, Indianapolis, Detroit, Pittsburgh, and Cincinnati, as well as an opera Gala for the Concertgebouw in Amsterdam, the American premiere of Charles Wuorinen’s opera Brokeback Mountain with the New York City Opera, and Donizetti’s Maria Stuarda for Cape Town Opera.

Other notable engagements include leading the Orquestra de São Paulo, one of Brazil’s most celebrated classical music ensembles, on its third United States coast-to-coast tour; conducting the New World Symphony’s 2009 Ives In-Context Festival by special invitation from Michael Tilson Thomas; and substituting on very short notice to conduct the Tanglewood Music Center Orchestra in performances of Purcell’s Dido and Aeneas in | @AtlantaSymphony |
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collaboration with the Mark Morris Dance Group.

Born in Indiana, Mr. Abdullah began his music studies at the age of 10 with clarinet and piano. He studied at the Interlochen Arts Academy, Cincinnati Conservatory of Music, and the University of Southern California. His primary conducting teachers were Jorma Panula, Kurt Masur, James Levine, and Bernard Haitink. He was awarded the Outstanding Young Alumnus Award by his alma mater, CCM in 2015.


Born in Tel Aviv in 2000, Tom Borrow began studying piano aged five with Dr. Michal Tal at the Givatayim Music Conservatory, and currently studies with Prof. Tomer Lev of the Buchmann-Mehta School of Music at Tel Aviv University. Tom has been regularly mentored by Murray Perahia, and has participated in masterclasses under the instruction of Sir András Schiff, Christoph Eschenbach, Richard Goode, Menahem Pressler, and Tatiana Zelikman, among many others. Tom has won every national piano competition in Israel, including first prize at the Israeli Radio & Jerusalem Symphony Young Artist Competition in Jerusalem, and three first prizes at the “Piano Forever” Competition in Ashdod (in three different age categories). In 2018, he won the prestigious “Maurice M. Clairmont” award, given to a single promising artist once every two years by the America-Israel Cultural Foundation and Tel-Aviv University. Tom’s recent and forthcoming engagements include the Cleveland Orchestra, Baltimore Symphony, Atlanta Symphony, London Philharmonic, BBC Symphony Orchestra, Santa Cecilia Orchestra, Czech Philharmonic, Sao Paulo Symphony, Orchestre National du Capitole de Toulouse, Orchestra Sinfonica di Milano, Basque National Orchestra, English Chamber Orchestra and others. | 37

Concerts of Thursday, January 19, 2023 8:00 PM Saturday, January 21, 2023 8:00 PM

WOLFGANG AMADEUS MOZART (1756–1791) Piano Concerto No. 20 in D Minor, K. 466 (1785) 31 MINS I. Allegro II. Romanza: Andante III. Rondo: Allegro assai Jonathan Biss, piano


ANTON BRUCKNER (1824–1896), ed. Leopold Nowak Symphony No. 8 in C Minor (1890) 78 MINS I. Allegro moderato II. Scherzo: Allegro moderato — Trio: Langsam III. Adagio: Feierlich langsam, doch nicht schleppend IV. Finale: Feierlich, nicht schnell

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. | @AtlantaSymphony |
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Piano Concerto No. 20 in D Minor, K. 466

In addition to the solo piano, this concerto is scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings.

First ASO performance: December 15, 1961

José Iturbi, conductor and piano

On March 31, 1795, the celebrated pianist Ludwig van Beethoven walked onstage to play a benefit for Mozart’s widow. Beethoven’s choice of repertoire was a favorite of his: Mozart’s Piano Concerto No. 20 in D minor. Over the coming years, the Romantic era would take hold and displace the likes of Mozart; his music would be mostly forgotten—but not this concerto. There was something in its turbulent, minor-key affect that agreed with the Romantics.

Most recent ASO performances: January 27–29, 2011

Donald Runnicles, conductor Robert Spano, piano

Of his roughly two-dozen piano concertos, Mozart wrote only two in a minor key. The key of D minor was one he used for some of his most harrowing music, including the Requiem and Don Giovanni’s journey to hell. This is not to say that Mozart was personally struggling when he wrote the Concerto. In fact, he was at the top of his game in a splashy, urban playground.

At the age of 29, Mozart had been a keyboard soloist for more than two decades. He was only 8 when he was entertaining kings and queens across Europe. All along, his father’s greatest ambition was to see him working in the service of a ranking nobleman—possibly a royal. Yet the elder Mozart had unwittingly groomed the boy for life as a freelancer. Carting him from city to city, Leopold Mozart pushed young Wolfgang to jockey for projects from members of the nobility. In this way, Leopold grew the family coffers well beyond his own earnings. (Both Leopold and Wolfgang were lowranking servants of the Archbishop of Salzburg.) Wolfgang grew accustomed to fine clothing and elite company. In 1781, he broke with his father, broke with Salzburg, and moved to Vienna where the piano concerto became a primary source of income. Mozart’s life in Vienna was beyond hectic. Often, he taught ladies of the nobility by day and gave concerts at night, all the while pushing out piles of music. Living around the seat of the Holy Roman Empire, his world was strictly controlled by the Church. As such, theaters closed during Lent, creating an opportunity for a different form of entertainment. For the Lenten season of 1784, Mozart sold subscriptions and gave more than a dozen public concerts, with the piano concerto serving as the major draw. In the fall, he began a push to write more concertos culminating in concerts for the Lenten season of 1785, where he premiered his Piano Concerto No. 20—


while the ink was still wet.

In a letter to Mozart’s sister, Leopold Mozart wrote: “[I attended the premiere of] an excellent new piano concerto by Wolfgang, on which the copyist was still at work when we got there, and your brother didn’t even have time to play through the rondo because he had to oversee the copying operation.” The cadenzas of the concerto were improvised, leaving large gaps in the piece as it exists today.

In the coming years, Beethoven offered his own improvisation. Other cadenzas were written by Brahms, Hummel, and Busoni. The tradition continues today with the occasional performer opting to perform original cadenzas.

First ASO performances: January 6–8, 1983

Hiroyuki Iwaki, conductor

Most recent ASO performances: January 27–29, 2011

Donald Runnicles, conductor

Symphony No. 8 in C Minor

Symphony No. 8 is scored for three flutes, three oboes, three clarinets, three bassoons (one doubling contrabassoon), eight horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.

Anton Bruckner inspires a level of fandom that is rare among classical composers. If his music stirs you to the core, you are not alone. And, typical of fan culture, there are places to feed your most zealous feelings, such as the Bruckner Society of America,, and the Bruckner Journal. His symphonies are said to be “cathedrals of sound”; they step outside the fast-paced rhythm of life to forge their own relationship to space and time and carry the listener into unexpected places—an unsettling proposition that has engendered detractors and devotees since Bruckner started issuing symphonies at the age of 43.

Although Bruckner was a newcomer to the concert hall, he was not new to music. In fact, he was by then among the greatest organists alive. His father had been an organist, and Anton learned to play as a boy. When he lost his father at 13, he enrolled at the school that would become his spiritual home, the monastery at St. Florian, where he started as a choirboy and eventually matured into roles as teacher and organist.

St. Florian, located in Upper Austria, proved to be an ideal environment for him. He was deeply religious. He thrived in the solitude of the organ loft and found an accepting and nurturing community. (Bruckner was not neurotypical; he had an obsessive nature that drove him to count things such as roof tiles and cobblestones). St. Florian offered a magnificent library and a fine | @AtlantaSymphony |
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pipe organ (now called the Bruckner Organ), which helped to feed his soul.

Starting in 1855 he took composition lessons with Simon Sechter in Vienna and then with Otto Kitzler in Linz. By this time, he was approaching his 40th birthday. When Sechter died in 1868, Bruckner, the perennial student, assumed Sechter’s teaching post at the Vienna Conservatory. There, he started producing symphonies.

For Bruckner, Vienna was a harsh place. People tittered at his country accent and baggy suits. They found him socially awkward. And as he started presenting his symphonies, the Vienna Philharmonic declined to play them. Poor Bruckner was ill-equipped to handle the criticism and became an obsessive reviser of his works.

Nevertheless, 1884 was a banner year. The conductor Hermann Levi saw merit in the Seventh Symphony and began introducing the piece around Europe. With that, the sixty-year-old Bruckner finally tasted success as a symphonist. Feeling vindicated and empowered, he launched into his next Symphony and presented it to Levi in 1887 with a gushing letter.

“Halleluja!” Bruckner wrote. “The Eighth is finished at last and my ‘father-in-music’ must be the first to hear the news.” Alas, his “father in music,” Levi, found the Eighth Symphony baffling and declined to perform it. Bruckner, who had already started writing his Ninth Symphony, was crushed.

Within a month, he had put the Ninth aside and launched into extensive revisions of the Eighth as well as some of his earlier symphonies. It was a process that occupied him for more than two years. Tragically, by the time he returned to the Ninth, he had reached the end of his life.

“Today, Bruckner’s Eighth should still be controversial,” wrote Tom Service in The Guardian. “This is a piece that is attempting something so extraordinary that if you’re not prepared to encounter its expressive demons, or to be shocked and awed by the places Bruckner’s imagination takes you, then you’re missing out on the essential experience of the symphony.”

As the last completed symphony of Anton Bruckner, it is ironic that he altered the ending of the first movement, changing it from a bold, heroic ending to one that tapers off into something dark and unsettling. “This is how it is when one is on his deathbed,” wrote Bruckner, “and opposite hangs a clock, which, while his life comes to its end, beats on ever steadily: tick, tock, tick, tock.” | 41

Bruckner dedicated his Eighth Symphony to Emperor Franz Joseph I. Hans Richter led the Vienna Philharmonic in the first performance in December of 1892.


Sir Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019 Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016. Runnicles enjoys close and enduring relationships with many of the leading opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic repertoire, which are core to his musical identity.

Sir Donald Runnicles was born and raised in Edinburgh. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.


Jonathan Biss is Co-Artistic Director alongside Mitsuko Uchida at the Marlboro Music Festival, where he has spent fifteen summers. He also recently led a massive open online course (MOOC) via Coursera, reaching an international audience of over 150,000. Biss has authored four audio- and e-books, including UNQUIET: My Life with Beethoven (2020), the first Audible Original by a classical musician and one of Audible’s top audiobooks of 2020.

During the 2022-23 season, Biss gives solo recitals in cities including Cologne, New York, and Philadelphia, performing works by Berg, Schumann, and Schubert, and appears as soloist with the Atlanta Symphony, Budapest Symphony, and the Rochester Philharmonic, as well as with the New York String Orchestra at Carnegie Hall playing Beethoven’s Piano Concerto No. 5 (“Emperor”).

In 2020, coinciding with the 250th anniversary of Beethoven’s birth, Biss concluded over a decade-long immersion in the composer’s music, which included concert series, recordings, writings, lectures, and commissions of Beethoven-inspired works, and recorded the composer’s complete piano sonatas.

He began his piano studies at age six, and has studied with Evelyne Brancart at Indiana University and Leon Fleisher at the Curtis Institute of Music. | @AtlantaSymphony |
42 | meettheartists

Concerts of Thursday, January 26, 2023, 8:00 PM Saturday, January 28, 2023, 8:00 PM



YING FANG, soprano



Epitaph for a Man Who Dreamed: In Memoriam: Martin Luther King, Jr. (1929-1968) (1979) 7 MINS


Ein deutsches Requiem (A German Requiem), Op. 45 (1868) 68 MINS

I. Chorus: Selig sind, die da Leid tragen II. Chorus: Denn alles Fleisch es ist wie Gras III. Baritone and Chorus: Herr, lehre doch mich, daß ein Ende mit mir haben muß IV. Chorus: Wie lieblich sind deine Wohnungen, Herr Zebaoth V. Soprano: Ihr habt nun Traurigkeit Chorus: Ich will euch trösten VI. Chorus: Denn wir haben hie keine bleibende Statt Baritone: Seihe, ich sag euch ein Geheimnis VII. Chorus: Selig sind die Toten, die in dem Herren sterben

Thursday’s concert is dedicated to SALLY & CARL GABLE in honor of their extraordinary support of the 2021/22 Annual Fund.

Saturday’s concert is dedicated to JUNE & JOHN SCOTT in honor of their extraordinary support of the 2021/22 Annual Fund.

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. | @AtlantaSymphony |
44 | jan26/28

Epitaph for a Man Who Dreamed:

In Memoriam: Martin Luther King, Jr.

Epitaph for a Man Who Dreamed is scored for three flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.

First and most recent ASO performances: January 11–13, 1996 Yoel Levi, conductor

Adolphus Hailstork received his doctorate in composition from Michigan State University, where he was a student of H. Owen Reed. He had previously studied at the Manhattan School of Music, under Vittorio Giannini and David Diamond, at the American Institute at Fontainebleau with Nadia Boulanger, and at Howard University with Mark Fax.

Hailstork has written numerous works for chorus, solo voice, piano, organ, various chamber ensembles, band, orchestra, and opera. Significant performances by major orchestras (Philadelphia, Chicago, and New York) have been led by leading conductors such as James de Priest, Paul Freeman, Daniel Barenboim, Kurt Masur, Lorin Maezel, Jo Ann Falletta and David Lockington.

The composer’s second symphony (commissioned by the Detroit Symphony), and second opera, Joshua’s Boots (commissioned by the Opera Theatre of St. Louis and the Kansas City Lyric Opera) were both premiered in 1999.  Hailstork’s second and third symphonies were recorded by the Grand Rapids Symphony Orchestra (David Lockington) and were released by Naxos. Another Naxos recording, An American Port of Call (Virginia Symphony Orchestra) was released in spring 2012.

Hailstork’s newest works include The World Called (based on Rita Dove’s poem Testimonial), a work for soprano, chorus and orchestra commissioned by the Oratorio Society of Virginia (premiered in May 2018) and Still Holding On (February 2019) an orchestra work commissioned and premiered by the Los Angeles Philharmonic. He is currently working on his Fourth Symphony, and A Knee on a Neck (tribute to George Floyd) for chorus and orchestra.

Dr. Hailstork resides in Virginia Beach Virginia, and is Professor of Music and Eminent Scholar at Old Dominion University in Norfolk.

From the composer:

A great man is being buried. A few mourners ring the gravesite singing a spiritual. Gradually, more bereaved gather and join in (strings). They reflect upon their memories of hopes and | 45

dreams inspired by their fallen leader. The service concludes and the bowed heads begin to lift. They will carry on.

Technically the piece is a study in understatement and control. There is no virtuosity. There are no sudden dramatic effects. Harmony is simple, coloration is medium to dark. There is a very restrained and careful control of the climax, there being only one at the end of the work.

Epitaph was first performed in January 1980 by the Baltimore Symphony Orchestra under the direction of William Henry Curry.

First ASO performances: March 17–18, 1960

Henry Sopkin, conductor

Most recent ASO performances: April 14–16, 2016

Robert Spano, conductor


deutsches Requiem, Op. 45

Ein deutsches Requiem is scored for soprano and baritone solo, mixed chorus, piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, harp, organ and strings.

The Backstory

Traditionally, a requiem is a musical setting of the Roman Catholic funeral. A rite that dates back (at least) to the sixteenth century, the language remained virtually unchanged for hundreds of years. This means that if you sing a requiem by Victoria (1603) or Duruflé (1947), you’ll find that much of the language is identical—and always in Latin. It wasn’t until the 1960s that the Church condoned saying Mass in other tongues. As a musical work, the requiem took on a life of its own. For many composers, it is the magnum opus, one that connects them to masterpieces by Verdi, Fauré, Berlioz, Mozart and Duruflé. For this reason, some composers continue to write requiems in Latin—but it wasn’t always optional.

Back in the 1530s, a scholar named William Tyndale translated the Bible into English, ran it through a printing press, and began distributing copies. For his effort, he was arrested, strangled and burned at the stake. Less than three hundred miles away, Martin Luther had better luck. He started translating the New Testament into German while hiding at Wartburg Castle. He completed the Bible and Apocrypha in 1545. It was the Luther Bible that provided the source material for Brahms’s  A German Requiem.

Ein deutsches Requiem

Brahms had come from a family with little money, but he always had a robust support system in his hometown of Hamburg. As a child, he | @AtlantaSymphony |
| encore 46

received free piano lessons from local musicians. He was provided a piano and a room for practicing by others in the community. In 1853, at the age of twenty, Brahms turned up at the doorstep of two musical heavyweights: Robert and Clara Schumann. Immediately, the Schumanns brought him into their orbit. Making him their protégé, they made public endorsements and offered lots of career advice (they urged him to start writing symphonies). Clearly, there was a potent chemistry between them—Brahms remained devoted to the Schumanns for the rest of his life, although their trio lasted for just nine months.

In February of 1854, Robert Schumann left home in his nightshirt and jumped into the icy waters of the Rhine. A worker fished him out, but he never recovered and spent his last two years in an institution. Young Brahms gravitated to the one person who shared his grief: Clara. Brahms stepped in to help her with her seven little Schumanns (it must be said, there is no evidence of a romance between them). On his own, Brahms began to sketch out a somber movement for a symphony based on the Spanish sarabande. It didn’t come to anything, but years later, the material found its way into the second movement of A German Requiem. Schumann died in July 1856. Years went by; Brahms settled in Vienna and gained experience as a choral conductor and composer. (He still didn’t manage to write a symphony.) Clara, one of the greatest pianists of their time, started touring to support her children.

In 1864, Brahms received some bad news from Hamburg: his parents had separated. Brahms wrote to them, urging them to reconcile. And then a telegram arrived from his brother, Fritz. “If you want to see our mother again,” he wrote, “come at once.” Brahms made the 600-mile trip in two days but was too late. She had died of stroke. He was devastated. Back in Vienna, he poured his grief into music. Within a few months of her passing, he sent to Clara an excerpt from a new piece, a “so-called deutsches Requiem.” The work took shape over the next year. He also called it “The Human Requiem” because he had chosen versus from the Luther Bible that offered consolation. Where the Latin Mass is written for an “audience of one”—God—the Brahms  Requiem is written for the bereaved. In the opening section, for example, the Latin Mass is a prayer beseeching God to grant eternal rest. In the Brahms Requiem, the opening comes from the Beatitudes: “Blessed are they who mourn, for they shall be comforted.” | 47

Musically, the opening adheres closer to the traditional requiem; it is hushed, mournful, and smacks of death. In fact, Brahms leaves the violins out altogether, choosing the darker timbre of the lower strings. When the violins make their appearance in the second movement, they’re muted, spinning a ghostly sheen around an offkilter funeral march (marches are typically written in two for the benefit of two-legged people; Brahms’s funeral march is in three).

Taking a left turn mid-movement, the clouds part, and Brahms unleashes the full might of the ensemble to proclaim: “they shall obtain joy and gladness, and sorrow and sighing shall flee away (Isaiah 51:11).”

Where the Latin Mass for the dead combines God’s wrath with urgent appeals for mercy, Brahms chose a different message: “But the souls of the righteous are in the hand of God, and there shall no torment touch them. (Wisdom of Solomon 3:1).” The resulting requiem is a journey through sorrow and doubt that ultimately wraps the bereaved in an almost Heavenly embrace.

In December of 1867, Brahms premiered the first three movements of his requiem in Vienna, where there was a mix of enthusiasm and criticism—and evidently some hissing. Brahms made revisions. Rehearsals for the official premiere of a  six-movement version began the following month. The concert took place at the Breman Cathedral on April 10, 1868—Good Friday. There was one mild disagreement between the composer and the director of music. Organist and conductor Carl Martin Reinthaler suggested to Brahms that he add language about the resurrection of Christ. Brahms declined. At the same time, he wasn’t entirely settled with the piece. After the premiere, he sent a copy of the score to his one-time piano teacher in Hamburg, Eduard Marxsen, who suggested an additional movement featuring a solo soprano. Brahms sat down and wrote “Ihr habt nun Traurigkeit,” the present-day fifth movement. The revised version of A German Requiem premiered in Leipzig the following year. | @AtlantaSymphony |
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Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen, und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.


Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen. So seid geduldig.

Aber des Herrn Wort bleibet in Ewigkeit.

Blessed are they that mourn: for they shall be comforted.

— Matthew 5:4

They that sow in tears shall reap in joy. He that goes forth and weeps, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

— Psalm 126:5–6

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withers, and the flower thereof falls away.

— I Peter 1:24

Be patient, therefore, brethren, unto the coming of the Lord. Behold, the husband waits for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain. Be ye also patient.

— James 5:7–8

But the word of the Lord endures forever.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden Sie ergreifen, und Schmerz und Seufzen wird weg müssen.

— I Peter 1:25

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away.

— Isaiah 35:10

Text and Translation

Baritone and Chorus

Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht, wer es kriegen wird. Nun Herr, wes soll ich mich trösten? Ich hoffe auf dich.

Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.


Wie lieblich sind deine Wohnungen, Herr Zebaoth!

Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar!

Lord, teach me that there must be an end of me, and my life has a term, and I must go hence. Behold, my days are a handbreadth before Thee, and my life is as nothing before Thee: Ah, what vain things are all men, that yet live so sure of themselves. They go about like a shadow, and make themselves much useless anxiety; they amass possessions, and know not who will enjoy them. Now, Lord, in what shall I find solace? My hope is in Thee.

— Psalm 39:4–7

The souls of the righteous are in God’s hand, And no pain touches them.

— Wisdom 3:1

How amiable are Thy tabernacles, O Lord of hosts!

My soul desires, yea, even longs for the courts of the Lord: my heart and my flesh cry out for the living God. Blessed are they that dwell in Thy house: they will still be praising Thee.

Soprano and Chorus

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen.

Ich will euch trösten, wie einen seine Mutter tröstet.

— Psalm 84:1–2, 4 Ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.

— John 16:22

I will comfort you, as one whom his mother comforts.

— Isaiah 66:13 | @AtlantaSymphony |
| encore 50

Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Baritone and Chorus

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

Siehe, ich sage euch ein Geheimnis. Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?

Herr, du bist würdig, zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen und durch deinen Willen haben sie das Wesen und sind geschaffen.


Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

Behold me: I have for a little while had tribulation and labor, and have found great comfort.

— Ecclesiasticus 51:35

For here have we no enduring city, but we seek one to come.

— Hebrews 13:14

Behold, I shew you a mystery; we shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trumpet: For the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. Then shall be brought to pass the saying that is written: Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

— I Corinthians 15:51–52, 54–55

Thou art worthy, O Lord, to receive glory and honor and power: for Thou hast created all things, and for Thy pleasure they are and were created.

— Revelation 4:11

Blessed are the dead which die in the Lord from henceforth. Yea, says the Spirit, that they may rest from their labors; and their works do follow them.

— Revelation 14:13 | 51


See bio Page 42


This season, Chinese soprano Ying Fang returns to the San Francisco Symphony for Mahler’s Symphony No. 4 conducted by Robin Ticciati, debuts with the Atlanta Symphony Orchestra in Brahms’ Ein deutsches Requiem led by Sir Donald Runnicles, and performs with the Pittsburgh Symphony Orchestra in Mozart’s Mass in C minor and Handel’s Messiah, led by Manfred Honeck.

A native of Ningbo, China, Ms. Fang is the recipient of the Martin E. Segal Award, the Hildegard Behrens Foundation Award, the Rose Bampton Award of The Sullivan Foundation, The Opera Index Award, and First Prize of the Gerda Lissner International Vocal Competition. In 2009, she become one of the youngest singers to win one of China’s most prestigious awards – the China Golden Bell Award for Music.

She holds a Master’s degree and an Artist Diploma in Opera Study from The Juilliard School and a Bachelor’s degree from the Shanghai Conservatory of Music and is a former member of the Metropolitan Opera’s Lindemann Young Artist Development Program.


Baritone Russell Braun’s highlights of the 2021/22 season include Sam in A Quiet Place for Opéra national de Paris, Speaker in Die Zauberflöte for the Canadian Opera Company and on the concert platform, Britten’s War Requiem with the Tonhalle-Orchester Zürich. Braun sings regularly with the world’s major conductors and orchestras, including the Atlanta Symphony, Toronto Symphony, Montreal Symphony, Danish National Symphony and Houston Symphony. He has performed Peter Eötvös’s Senza Sangue in Rome, London, Norway and Sweden, Brett Dean’s Knocking at the Hell Gate with the BBC Symphony in London, and Kaija Saariaho’s Cinque reflets de l’amour de loin with the Radio-Sinfonieorchester in both Stuttgart and Freiburg. Recent highlights include Brahms’s Vier Ernste Gesänge arranged by Detlev Glanert and Fauré’s Requiem with the Royal Concertgebouw Orchestra and Vaughn Williams’s A Sea Symphony with the Toronto Symphony Orchestra.

His discography features the Grammy® nominated Das Lied von der Erde (Dorian), JUNO winners Mozart Arie e duetti (CBC) and Apollo e Daphne, and JUNO nominee Winterreise (CBC). His most recent release is Dietch’s Le Vaisseau Fantôme with Les Musiciens du Louvre Grenoble on the Naïve label. | @AtlantaSymphony |
ACOSTA JOHANNES IFKOVITS 52 | meettheartists


The Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director, Robert Shaw, is an all-volunteer, auditioned ensemble that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have garnered 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording).

The Chorus performs large symphonic choral works, under the direction of Co-Artistic Advisors Maestro Robert Spano and Principal Guest Conductor Sir Donald Runnicles, and Music Director Nathalie Stutzmann. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works.


Norman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Chorus for the Atlanta Symphony Orchestra (ASO) since 2000, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw. During his tenure, the Chorus has made numerous tours and garnered several Grammy® awards, including Best Classical Album and Best Choral Performance.

At the ASO, he prepares the Choruses for all concerts and recordings, works closely with Nathalie Stutzmann on the commissioning and realization of new choral-orchestral works and conducts holiday concerts. In his 14-year association with Mr. Shaw, he was keyboardist for the ASO, principal accompanist for the ASO Choruses and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States and the famed Shaw/Carnegie Hall Choral Workshops.

He prepared the ASO Chorus for its acclaimed 2003 debut and successive 2008 and 2009 performances in Berlin with the Berlin Philharmonic, in Britten’s War Requiem, Berlioz’s Grande Messe des Morts and Brahms’ Ein deutsches Requiem, respectively, conducted by ASO Principal Guest Conductor Donald Runnicles. | @AtlantaSymphony |
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Ellen Abney Khadijah Davis Liz Dean* Laura Foster Michelle Griffin* Erin Jones*

Arietha Lockhart** Mindy Margolis* Joneen Padgett* Rachel Paul Susan Ray Samaria Rodriguez Emily Salmond Lydia Sharp Susie Shepardson Chelsea Toledo Brianne Turgeon** Deanna Walton Erika Wuerzner Michelle Yancich Wanda Yang Temko**

SOPRANO 2 Debbie Ashton Sloan Atwood* Jessica Barber Tierney Breedlove Barbara Brown Maggie Carpenter Martha Craft Gina Deaton

Erika Elliott Mary Goodwin Amanda Hoffman Melissa Mack Heidi Padovano

Tramaine Quarterman

Marianna Schuck

Paula Snelling**

Anne-Marie Spalinger* Emily Tallant

Cheryl Thrash** Donna Weeks**


June Abbott** Pamela Amy-Cupp

Deborah Boland** Emily Campbell

Donna Carter-Wood** Patricia DinkinsMatthews* Angel Dotson-Hall Katherine Fisher Beth Freeman* Unita Harris Beverly Hueter* Susan Jones Kathleen KellyGeorge* Virginia Little* Staria Lovelady* Alina Luke Frances McDowellBeadle** Sara McKlin Linda Morgan** Katherine Murray** Natalie Pierce Kathleen Poe Ross Noelle Ross Laura Emiko Soltis Camilla Springfield** Rachel Stewart** Nancy York*

ALTO 2 Nancy Adams* Angelica BlackmanKeim Elizabeth Borland Emily Boyer Marcia Chandler* Carol Comstock Meaghan Curry Cynthia Goeltz

DeBold** Michèle Diament* Alyssa Harris Joia Johnson Sally Kann Nicole Khoury* Katherine MacKenzie Lynda Martin Lalla McGee Sun Min Laura Rappold* Sharon Simons*

Virginia Thompson* Cheryl Vanture Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Christian Bigliani David Blalock** LaRue Bowman John Brandt** Jack Caldwell** Daniel Cameron* Daniel Compton Justin Cornelius Joseph Cortes Clifford Edge** Leif Gilbert-Hansen* James Jarrell* Keith Langston* Sean Mayer* Christopher Patton* Stephen Reed # Mark Warden*

TENOR 2 Sutton Bacon Matthew Borkowski Steve Brailsford Charles Cottingham # Phillip Crumbly* Steven Dykes Joseph Few** Sean Fletcher John Harr Keith Jeffords** David Kinrade Michael Parker Timothy Parrott Marshall Peterson* Brent Runnels Matthew Sellers Thomas Slusher Scott Stephens** BASS 1

Dock Anderson William Borland* Russell Cason** Jeremy Christensen

Joshua Clark Trey Clegg* Rick Cobb Michael Cranford Michael Devine Thomas Elston Jon Gunnemann** Jason Hamlet Noah Horton Nick Jones # Frank Kingsley Alp Koksal Jameson Linville Jason Maynard Jackson McCarthy Hal Richards Peter Shirts John Terry Marshall Todd Edgie Wallace* BASS 2 Philip Barreca Marcel Benoit Jacob Blevins John Carter Terrence Connors Joel Craft** Paul Fletcher Timothy Gunter* Thomas Hanrahan David Hansen** Philip Jones Tamir Mickens Michael Nedvidek Joel Rose John Ruff* Jonathan Smith* George Sustman Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt*

* 20+ years of service ** 30+ years of service # Charter member (1970)

Norman Mackenzie director of choruses The Frannie & Bill Graves Chair Jeffrey Baxter choral administrator The Florence Kopleff Chair Peter Marshall accompanist | 55


The Atlanta Symphony Orchestra continues to prosper thanks to the support of our generous patrons. The list below recognizes the donors who have made contributions since June 1, 2021. Their extraordinary generosity provides the foundation for this world-class institution.



1180 Peachtree

The Antinori Foundation

The Molly Blank Fund of The Arthur M. Blank Family Foundation∞

The Coca-Cola Company Sheila L. & Jonathan J. Davies

A Friend of the Symphony∞

Delta Air Lines

Lettie Pate Evans Foundation Barney M. Franklin & Hugh W. Burke Charitable Fund Georgia Power Company The Home Depot Foundation Invesco QQQ

Abraham J. & Phyllis Katz Foundation∞

Charles Loridans Foundation, Inc. Amy W. Norman Charitable Foundation

Ann Marie & John B. White, Jr.°∞ The Zeist Foundation, Inc.

Alston & Bird LLP


$75,000+ Accenture LLP

The John & Rosemary Brown Family Foundation

Thalia & Michael C. Carlos Advised Fund


BlackRock, Inc. City of Atlanta Mayor’s Office of Cultural Affairs Sally & Larry Davis The Roy & Janet Dorsey Foundation


Aadu & Kristi Allpere°

Jennifer Barlament & Kenneth Potsic Paul & Linnea Bert

Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr. Connie & Merrell Calhoun Chick-fil-A John W. Cooledge

Mr. Richard H. Delay & Dr. Francine D. Dykes∞

Arthur M. Blank Family Foundation PNC

Thalia & Michael C. Carlos Foundation

Ms. Lynn Eden Emerald Gate Charitable Trust Ms. Angela L. Evans∞ The Gable Foundation Georgia Council for the Arts

EY, Partners & Employees Fulton County Arts & Culture Google

Donna Lee & Howard Ehni National Endowment for the Arts John R. Paddock, Ph.D. &

Betty Sands Fuller*

John D. Fuller∞

Dick & Anne Game° Sally & Walter George Jeannette Guarner, MD & Carlos del Rio, MD

The Halle Foundation

Bonnie & Jay Harris League of American Orchestras The Marcus Foundation, Inc.∞ Massey Charitable Trust John & Linda Matthews∞ Moore Colson, CPAs & Bert & Carmen Mills

Slumgullion Charitable Fund Kathy Waller & Kenneth Goggins

Graphic Packaging International, Inc. The Graves Foundation

Gary Lee, Jr. Morris, Manning & Martin, LLP Truist

David, Helen & Marian Woodward Fund, Atlanta

Karen M. Schwartz, Ph.D. Sally & Pete Parsonson∞ Patty & Doug Reid Mary & Jim Rubright Patrick & Susie Viguerie Mr.* & Mrs. Edus H. Warren, Jr.

Northside Hospital


Victoria & Howard Palefsky Mr. Tyler Perry

Publix Super Markets Charities, Inc. Bill & Rachel Schultz° June & John Scott∞ Ross & Sally Singletary Mr. G. Kimbrough Taylor & Ms. Triska Drake WarnerMedia Mrs. Sue S. Williams

56 | encore | @AtlantaSymphony |


A Friend of the Symphony

Mr. Keith Adams & Ms. Kerry Heyward° John & Juliet Allan

Mr. & Mrs. Andrew Bailey Benjamin Q. Brunt Wright & Alison Caughman Choate Bridges Foundation Russell Currey & Amy Durrell

Mr. & Mrs. Erroll B. Davis, Jr. Cari K. Dawson & John M. Sparrow Florencia y Rodrigo Garcia-Escudero

Mr. Max M. Gilstrap∞ Mr. & Mrs. Charles B. Harrison

The Estate of John H. Head

The Hertz Family Foundation, Inc. Azira G. Hill James H. Landon

The Ray M. & Mary Elizabeth Lee Foundation, Inc.

Mr. Kevin Lyman & Dr. Jennifer Lyman Ms. Deborah A. Marlowe & Dr. Clint Lawrence Anne Morgan & Jim Kelley Terence L. & Jeanne Perrine Neal° Lynn & Galen Oelkers Ms. Margaret Painter∞ Martha M. Pentecost

The Hellen Ingram Plummer Charitable Foundation, Inc. Ms. Cathleen Quigley


Joyce & Henry Schwob

Mr. Fahim Siddiqui & Ms. Shazia Fahim

Dr. Steven & Lynne Steindel° Ms. Brett A. Tarver

The Mark & Evelyn Trammell Foundation


Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr.

Mr. David Boatwright

Ms. Lisa V. Chang Mr. & Mrs. Benjamin Clare°

The Jim Cox, Jr. Foundation

Lisa DiFrancesco, MD & Darlene Nicosia

Eleanor & Charles Edmondson

Fifth Third Bank Craig Frankel & Jana Eplan Georgia-Pacific Pam & Robert Glustrom Roya & Bahman Irvani

Mr. Sukai Liu & Dr. Ginger J. Chen John F. & Marilyn M. McMullan Ms. Molly Minnear New Music, USA North Highland Company

Mr. Edward Potter & Ms. Regina Olchowski° Charlie & Donna Sharbaugh Beverly & Milton Shlapak

Mr. John A. Sibley, III Elliott & Elaine Tapp John & Ray Uttenhove Adair & Dick White Drs. Kevin & Kalinda Woods


A Friend of the Symphony (2) Paul & Melody Aldo∞ Mr. & Mrs. Calvin R. Allen Paul & Marian Anderson* Farideh & Al Azadi Foundation∞ Julie & Jim Balloun

Keith Barnett

Bell Family Foundation for Hope Inc Mr. & Mrs. Gerald R. Benjamin Kelley O. & Neil H. Berman Bloomberg Philanthropies

The Boston Consulting Group The Breman Foundation, Inc. Lisa & Russ Butner∞


Colliers International Peter & Vivian de Kok Donald & Barbara Defoe° Marcia & John Donnell Ms. Diane Durgin Eversheds Sutherland Dr. & Mrs. Leroy Fass

The Robert Hall Gunn, Jr., Fund Deedee & Marc Hamburger°

Clay & Jane Jackson

JBS Foundation

Ann A. & Ben F. Johnson III

James Kieffer

Stephen & Carolyn Knight

The Sartain Lanier Family Foundation

Pat & Nolan Leake

Meghan & Clarke Magruder Mr. Nicholas Marrone Belinda & Gino Massafra

Merrill Lynch

The Monasse Family Foundation∞

Moore, Colson & Company, P.C.

Mr. & Mrs. James F. Nellis , Jr. Kathryn Petralia & Diane Bartlett

Leonard Reed°

David F. & Maxine A.* Rock Thomas & Lynne Saylor Peter James Stelling* John & Yee-Wan Stevens

George & Amy Taylor Judith & Mark K. Taylor

Dr. & Mrs. James O. Wells, Jr.

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

For information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@ atlantasymphony. org. ∞ Leadership Council We salute these extraordinary donors who have signed pledge commitments to continue their support for three years or more.

ASO | SUPPORT (cont.)


Jack & Helga Beam∞

Karen & Rod Bunn

Patricia & William Buss∞ Mark Coan & Family Sally W. Hawkins

Grace Ihrig*

Ann & Brian Kimsey

Jason & Michelle Kroh Dr. Fulton D. Lewis III & S. Neal Rhoney

Mr. Robert M. Lewis, Jr. Mr. & Mrs. Arthur Mills IV Mr. Bert Mobley

Hala & Steve Moddelmog Caroline & Phil Moïse

Judge Jane Morrison∞

Gretchen Nagy & Allan Sandlin

Margaret H. Petersen Ms. Felicia Rives

Hamilton & Mason Smith Mr. & Mrs. Edward W. Stroetz, Jr.

Stephen & Sonia Swartz Drs. Jonne & Paul Walter Mrs. Frank L. Wilson, Jr. Mr. David J. Worley & Ms. Bernadette Drankoski


A Friend of the Symphony

Dr. Marshall & Stephanie Abes

Mrs. Kay Adams* & Mr. Ralph Paulk

Judy & Dick Allison Dr. Evelyn R. Babey

Lisa & Joe Bankoff

Juanita & Gregory Baranco

Asad Bashey

Mr. Herschel V. Beazley

Meredith Bell

Bennett Thrasher LLP Natalie & Matthew


Rita & Herschel Bloom Jane & Gregory Blount

Dr. & Mrs. Jerome B. Blumenthal

Mrs. Sidney W. Boozer Carol Brantley & David Webster

Mrs. Cristina Briboneria Margo Brinton & Eldon Park

Jacqueline A. & Joseph E. Brown, Jr. Mrs. Judith D. Bullock CBH International, Inc John Champion & Penelope Malone

Ms. Tena Clark & Ms. Michelle LeClair Dr. & Mrs. Richard W. Compans

Carol Comstock & Jim Davis

Ralph & Rita Connell William & Patricia Cook

Janet & John Costello Mr. & Mrs. Paul H. Dimmick Dorsey Alston Realtors

Xavier Duralde & Mary Barrett

Mr. & Mrs. John Dyer Paulette Eastman & Becky Pryor Anderson∞ Diana Einterz

Dieter Elsner & Othene Munson

Robert S. Elster Foundation Ellen & Howard Feinsand Bruce W. & Avery C. Flower

David L. Forbes Mary* & Charles Ginden

Mr. & Mrs. Richard Goodsell∞

Melanie & Tucker Green William Randolph Hearst Foundations

Mr. Justin Im & Dr. Nakyoung Nam Mr. & Mrs. Baxter Jones Paul* & Rosthema Kastin

Ms. Carrie L. Kirk Mr. Charles R. Kowal

Mrs. Heidi LaMarca Dr. & Mrs. Scott I. Lampert Peg & Jim Lowman Ms. Eunice Luke Dr. & Mrs. Ellis L. Malone Elvira & Jay Mannelly Mr. & Mrs. Christopher D. Martin

Mr. Robert S. Mathews Mary Ruth McDonald The Fred & Sue McGehee Family Charitable Fund Ed & Linda McGinn° Ms. Erica McVicker Berthe & Shapour Mobasser

Ms. Sue L. Morgan∞ Gary R. Noble, MD Ms. Bethani Oppenheimer Ms. Eliza Quigley

Mr. & Mrs. Joel F. Reeves Margaret & Bob Reiser Cammie & John Rice Vicki & Joe Riedel Betsy & Lee Robinson Mrs. Nita Robinson Ms. Frances A. Root Mr. Joseph A. Roseborough John T. Ruff Katherine Scott Suzanne Shull Gerald & Nancy Silverboard

Baker & Debby Smith Ms. Cynthia Smith Dr. K. Douglas Smith Tom & Ani Steele

In memory of Elizabeth B. Stephens by Powell, Preston & Sally∞ Richard M. Stormont & Sally C. Jobe Ms. Kimberly Strong Dr. Nossi Taheri & Ms. Hope Vaziri Dede & Bob Thompson Carolyn C. Thorsen∞ Mr. & Mrs. Peter Toren Trapp Family

Burton Trimble

Chilton & Morgan* Varner Mr. & Mrs. Benny Varzi Amy & Robert Vassey Ms. Juliana T. Vincenzino Mr. Robert Walt & Mr. Daniel J. Hess Alan & Marcia Watt Ruthie Watts

Dr. Nanette K. Wenger Suzanne B. Wilner Camille W. Yow


Mr. John Blatz

Mr. & Mrs. Dennis M. Chorba

Jean & Jerry Cooper

The Aaron Copland Fund for Music, Inc. Phil & Lisa Hartley Martha Reaves Head Barbara M. Hund Mr. & Mrs. Ari Levine° Deborah & William Liss° Martha & Reynolds McClatchey

Judy Zaban-Miller & Lester Miller

Donald S. Orr & Marcia K. Knight

Mr. & Mrs. Edmund F. Pearce, Jr.°

In Memory of Dr. Frank S. Pittman III Dr. & Mrs. John P. Pooler Ms. Kathy Powell

Mrs. Susan H. Reinach S.A. Robinson

Dr. & Mrs. Rein Saral

Donna Schwartz

Ms. Martha Solano

Angela Spivey

Beth & Edward Sugarman Mrs. Dale L. Thompson

Mr. & Mrs. Robert L. Welch David & Martha West Mr. & Mrs. M. Beattie Wood

| encore 58 | @AtlantaSymphony |


A Friend of the Symphony (3) 2492 Fund

Dr. & Mrs. Joel M. Adler, D.D.S. Kent & Diane Alexander Mr. & Mrs. Ivan Allen IV Mr. & Mrs. Walker Anderson

The Hisham & Nawal Araim Family Foundation

Anthony Barbagallo & Kristen Fowks

Drs. Jay & Martin Beard-Coles

Susan & Jack Bertram Catherine Binns & Jim Honkisz*

Shirley Blaine Leon & Joy Borchers

Mr. & Mrs. Andrew J. Bower°

Martha S. Brewer

Harriet Evans Brock Dr. Aubrey Bush & Dr. Carol Bush

Ms. Elizabeth W. Camp

Mr. & Mrs. Walter K. Canipe Mrs. Betty Case Julie & Jerry Chautin Mr. James Cobb Susan S. Cofer Liz & Charlie Cohn° Malcolm & Ann Cole Mr. & Mrs. R. Barksdale Collins°

Ned Cone & Nadeen Green Mrs. Nancy Cooke Mary Carole Cooney & Henry R. Bauer, Jr. R. Carter & Marjorie A. Crittenden Foundation

Dr. & Mrs. F. Thomas Daly, Jr.

Mr. & Mrs. John C. Dancu Mary & Mahlon Delong

Mr. & Mrs. Graham Dorian Gregory & Debra Durden

Mr. & Mrs. Robert G. Edge Erica Endicott & Chris Heisel

Dr. & Mrs. Carl D. Fackler Mr. Ramsey Fahs°

Mr. & Mrs. Paul G. Farnham Ken Felts & A. Richard Bunn

Mr. & Mrs. William A. Flinn Dr. Karen A. Foster Ms. Elizabeth C. French Gaby Family Foundation Mr. & Mrs. Sebastien Galtier

Raj & Jyoti Gandhi Family Foundation

Marty & John Gillin° Sandra & John Glover Mrs. Janet D. Goldstein Mary C. Gramling Richard & Debbie Griffiths

Mr. & Mrs. George Gunderson

Linda & Hank Harris Mr. & Mrs. Steve Hauser Mr. & Mrs. John Hellriegel Ms. Elizabeth Hendrick Mr. Kenneth & Ms. Colleen Hey Sarah & Harvey Hill, Jr.° Laurie House Hopkins & John D. Hopkins James & Bridget Horgan Mrs. Sally Horntvedt Ms. & Mr. Carli Huband Dona & Bill Humphreys Mary & Wayne James Nancy & John Janet Ms. Rebecca Jarvis Mrs. Gail Johnson

Mr. W. F. & Dr. Janice Johnston Cecile M. Jones Mr. & Mrs. David T. Jones Lana M. Jordan William L. & Sally S. Jorden

Teresa M. Joyce, Ph.D Mr. & Ms. Josh Kamin Mr. & Mrs. Todd E. Kessler Wolfgang* & Mariana Laufer

Mr. & Mrs. Theodore J. Lavallee, Sr. Lillian Balentine Law Mr. & Mrs. Chris Le Grace & Josh Lembeck Elizabeth J. Levine Mr. & Mrs. J. David Lifsey Dr. Marcus Marr Dr. & Mrs. David H. Mason In Memory of Pam McAllister

Mr. & Mrs. James McClatchey

Birgit & David McQueen Dr. & Mrs. John D. Merlino Anna & Hays Mershon Mr. & Mrs. Thomas B. Mimms, Jr. Laura & Craig Mullins Janice & Tom Munsterman∞ Michael & Carol Murphy Melanie & Allan Nelkin Dr. & Mrs. John Nelson Mr. and Mrs. Solon P. Patterson

The Piedmont National Family Foundation

John H. Rains

Sharon & David Schachter° Mrs. Dianna A. Scherer

Drs. Bess Schoen & Andrew Muir

Drs. Lawrence & Rachel Schonberger

Nick & Annie Shreiber

Helga Hazelrig Siegel

Diana Silverman

Jeanne & Jim Simpson Mr. Matthew Sitler

The Alex & Betty Smith Donor-Advised Endowment Fund

Anne-Marie Sparrow Peggy & Jerry Stapleton

Candace Steele

James & Shari Steinberg Dr. & Mrs. John P. Straetmans

Kay R Summers

Ms. Linda F. Terry Ms. Lara C. Tumeh° Dr. Brenda G. Turner Wayne & Lee Harper Vason

Vogel Family Foundation Ron & Susan Whitaker

Russell F. Winch & Mark B. Elberfeld

Mrs. Lynne M. Winship

Ms. Sonia Witkowski

Zaban Foundation, Inc. Herbert* & Grace Zwerner

Linda Matthews


Kristi Allpere

Helga Beam

Bill Buss

Pat Buss

Kristen Fowks

Deedee Hamburger Judy Hellriegel

Nancy Janet

Belinda Massafra

Sally Parsonson

June Scott

Milt Shlapak

Sheila Tschinkel

Jonne Walter Marcia Watt | 59
are grateful to these donors for taking the extra time to acquire matching gifts from their employers.
Partnership and Appassionato Leadership Committee We give special thanks to this dedicated group of Atlanta
Orchestra donor-volunteers for their commitment to each year’s annual support initiatives:


Named for the Atlanta Symphony Orchestra’s founding Music Director, the HENRY SOPKIN CIRCLE celebrates cherished individuals and families who have made a planned gift to the Atlanta Symphony Orchestra. These special donors preserve the Orchestra’s foundation and ensure success for future generations.

A Friend of the Symphony (22)

Madeline* & Howell E. Adams, Jr.

Mr.* & Mrs.* John E. Aderhold

Mr. & Mrs. Paul Aldo

Mr. & Mrs. Ronald R. Antinori

Dr. & Mrs. William Bauer

Helga Beam

Mr. Charles D. Belcher * Neil H. Berman Susan & Jack Bertram

Mr.* & Mrs.* Karl A. Bevins

The Estate of Donald S. & Joyce Bickers

Ms. Page Bishop*

Mr.* & Mrs. Sol Blaine John Blatz

Rita & Herschel Bloom

The Estate of Mrs. Gilbert H. Boggs, Jr. W. Moses Bond

Mr.* & Mrs. Robert C. Boozer

Elinor A. Breman* James C. Buggs*

Mr. & Mrs.* Richard H. Burgin

Hugh W. Burke*

Mr. & Mrs. William Buss

Wilber W. Caldwell

Mr. & Mrs. C. Merrell Calhoun

Cynthia & Donald Carson Mrs. Jane Celler*

Lenore Cicchese*

Margie & Pierce Cline

Dr. & Mrs. Grady S. Clinkscales, Jr.

Robert Boston Colgin Mrs. Mary Frances Evans Comstock*

Miriam* & John A.* Conant Dr. John W. Cooledge

Mr. & Mrs. William R. Cummickel Bob* & Verdery* Cunningham

Mr. Richard H. Delay & Dr. Francine D. Dykes

John R. Donnell Dixon W. Driggs*

Pamela Johnson Drummond Mrs. Kathryn E. Duggleby

Catherine Warren Dukehart*

Ms. Diane Durgin

Arnold & Sylvia Eaves

Mr. & Mrs. Robert G. Edge Geoffrey G. Eichholz*

Elizabeth Etoll

Mr. Doyle Faler Brien P. Faucett

Dr. Emile T. Fisher*

Moniqua N Fladger

Mr. & Mrs. Bruce W. Flower

A. D. Frazier, Jr.

Nola Frink*

Betty & Drew* Fuller Sally & Carl Gable

William & Carolyn Gaik

Dr. John W. Gamwell*

Mr.* & Mrs.* L.L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Max Gilstrap

Mr. & Mrs. John T. Glover Mrs. David Goldwasser Robert Hall Gunn, Jr. Fund Billie & Sig Guthman

Betty G.* & Joseph* F. Haas

James & Virginia Hale

Ms. Alice Ann Hamilton Dr. Charles H. Hamilton* Sally & Paul* Hawkins John* & Martha Head Ms. Jeannie Hearn*

Barbara & John Henigbaum

Jill* & Jennings* Hertz Mr. Albert L. Hibbard Richard E. Hodges

Mr.* & Mrs. Charles K. Holmes, Jr.

Mr.* & Mrs.* Fred A. Hoyt, Jr. Jim* & Barbara Hund Clayton F. Jackson Mary B. James Mr. Calvert Johnson & Mr. Kenneth Dutter deForest F. Jurkiewicz* Herb* & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey

James W.* & Mary Ellen* Kitchell

Paul Kniepkamp, Jr. Vivian & Peter de Kok

Miss Florence Kopleff* Mr. Robert Lamy James H. Landon Ouida Hayes Lanier Lucy Russell Lee* & Gary Lee, Jr. Ione & John Lee Mr. Larry M. LeMaster Mr.* & Mrs.* William C. Lester Liz & Jay* Levine

Robert M. Lewis, Jr. Carroll & Ruth Liller Ms. Joanne Lincoln* Jane Little*

Mrs. J. Erskine Love, Jr.* Nell Galt & Will D. Magruder K Maier

John W. Markham* Mrs. Ann B. Martin Linda & John Matthews Mr. Michael A. McDowell, Jr. Dr. Michael S. McGarry Richard & Shirley McGinnis John & Clodagh Miller Ms. Vera Milner

Mrs. Gene Morse* Ms. Janice Murphy*

Mr. & Mrs. Bertil D. Nordin Mrs. Amy W. Norman* Galen Oelkers

Roger B. Orloff

Barbara D. Orloff

Dr. Bernard* & Sandra Palay Sally & Pete Parsonson James L. Paulk

Ralph & Kay* Paulk

Dan R. Payne

Bill Perkins

Mrs. Lela May Perry*

Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce*

Reverend Neal P. Ponder, Jr. William L.* & Lucia Fairlie*


Ms. Judy L. Reed*

Carl J. Reith*

Mr. Philip A. Rhodes

Vicki J. & Joe A. Riedel

Helen & John Rieser

Dr. Shirley E. Rivers*

David F. & Maxine A.* Rock

Glen Rogerson*

Tiffany & Richard Rosetti

Mr.* & Mrs.* Martin H. Sauser

Bob & Mary Martha Scarr

Mr. Paul S. Scharff & Ms. Polly G. Fraser

Dr. Barbara S. Schlefman Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs*

Dr. & Mrs. George P. Sessions

Mr. W. G. Shaefer, Jr. Charles H. Siegel*

Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall*

Ms. Margo Sommers

Elliott Sopkin

Elizabeth Morgan Spiegel

Mr. Daniel D. Stanley Gail & Loren Starr

Peter James Stelling* Ms. Barbara Stewart Beth & Edward Sugarman

C. Mack* & Mary Rose* Taylor

Isabel Thomson*

Jennings Thompson IV

Margaret* & Randolph* Thrower Kenneth & Kathleen Tice

Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell

Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh

Mrs. Anise C. Wallace

Mr. Robert Wardle, Jr.

Mr. & Mrs. John B. White, Jr. Adair & Dick White

Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams

Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn

Ms. Joni Winston

George & Camille Wright

Mr.* & Mrs.* Charles R. Yates | @AtlantaSymphony | | encore 60


Jennifer Barlament executive director

Alvinetta Cooksey executive & finance assistant Emily Fritz-Endres executive management fellow


Gaetan Le Divelec vice president, artistic planning

Jeffrey Baxter choral administrator

RaSheed Lemon aso artist liaison


Sarah Grant director of education Ryan Walks talent development program manager

Elena Gagon coordinator of education & community engagement


Tyler Benware director of orchestra operations & asyo Elizabeth Graiser manager of operations & asyo

Victoria Moore director of orchestra personnel

Paul Barrett senior production stage manager

Richard Carvlin stage manager Holly Matthews, assistant principal librarian

Hannah Davis, assistant librarian


Ashley Mirakian vice president, marketing & communications

Delle Beganie content & production manager

Leah Branstetter director of digital content

Adam Fenton director of multimedia technology Will Strawn associate director of marketing, live Caitlin Buckers marketing manager, live

Lisa Eng multimedia creative manager, live Mia Jones-Walker marketing manager

Rob Phipps director of creative services Bob Scarr archivist & research coordinator

Madisyn Willis marketing manager


Russell Wheeler vice president, sales & revenue management

Nancy James front of house supervisor Erin Jones director of sales

Jesse Pace senior manager of ticketing & patron experience Dennis Quinlan data analyst

Robin Smith patron services & season ticket associate

Jake Van Valkenburg sales coordinator Milo McGehee guest services coordinator

Anna Caldwell guest services associate


Grace Sipusic vice president of development

Cheri Snyder senior director of development

William Keene director of annual giving



Nicole Panunti vice president, atlanta symphony hall live Christine Lawrence associate director of guest services Michael Tamucci associate director of performance management, atlanta symphony hall live

Dan Nesspor ticketing manager, atlanta symphony hall live


Susan Ambo chief financial officer & vice president, business operations Kimberly Hielsberg vice president of finance Brandi Hoyos director of diversity, equity & inclusion April Satterfield controller Brandi Reed staff accountant

James Paulk senior annual giving officer

Renee Contreras associate director, development communications Julia Filson director of corporate relations

Dana Parness manager of individual giving and prospect research

Catherine MacGregor assistant manager of donor engagement

Robert Cushing development associate, major gifts

Sarah Wilson development operations associate

Sharveace Cameron senior development associate

ASO | STAFF | 61 | @AtlantaSymphony | | encore 62
This program is supported in part by an award from the National Endowment for the Arts. Major funding is provided by the Fulton County Board of Commissioners. Major support is provided by the Mayor’s Office of Cultural Affairs.


Woodruff Circle members have contributed more than $250,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.


A Friend of the Atlanta Symphony Orchestra


The Antinori Foundation Bank of America

A Friend of the Atlanta Symphony Orchestra



AT&T Foundation

Farideh & Al Azadi Foundation

The Molly Blank Fund

Helen Gurley Brown Foundation

Chick-fil-A Foundation | Rhonda & Dan Cathy

The Goizueta Foundation

Invesco QQQ



Mr. & Mrs. Shouky Shaheen

The Home Depot Foundation

Sarah and Jim Kennedy

The Rich Foundation, Inc.

Alfred A. Thornton Venable Trust

Truist Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Thomas Guy Woolford Charitable Trust



The Zeist Foundation, Inc.


Leadership Circle corporations have committed to a contribution of $1,000,000 over one or more years to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art.


The Coca-Cola Company


Delta Air Lines Georgia Power

Graphic Packaging Novelis




Benefactor Circle members have contributed more than $100,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.

1180 Peachtree

ACT Foundation, Inc.

Alston & Bird

Atlantic Station

John Auerbach

Sandra & Dan Baldwin


The Arthur M. Blank Family Foundation

City of Atlanta Mayor’s Office of Cultural Affairs

The Community Foundation for Greater Atlanta

Melinda & Brian Corbett

Sheila L. & Jonathan J. Davies

Barney M. Franklin & Hugh W. Burke Charitable Fund

Georgia-Pacific Google

Graphic Packaging

Mr. and Mrs. James S. Grien

Louise S. Sams and Jerome Grilhot

The John H. & Wilhelmina D. Harland Charitable Foundation

The Hertz Family Foundation, Inc.

Mr. & Mrs. Hilton H. Howell, Jr.

The Imlay Foundation Institute of Museum & Library Services

Jones Day Foundation & Employees

Kaiser Permanente

Abraham J. and Phyllis Katz Foundation

King & Spalding, Partners & Employees

The Sartain Lanier Family Foundation

Charles Loridans Foundation, Inc.

The Henry Luce Foundation, Inc.

The Marcus Foundation, Inc.

John W. Markham III*

Andrew W. Mellon Foundation

Morris Manning & Martin LLP

National Endowment for the Arts

Newell Brands

Norfolk Southern Foundation

Amy W. Norman Charitable Foundation

Northside Hospital

Victoria & Howard Palefsky

Patty and Doug Reid

The Shubert Foundation

Carol & Ramon Tomé Family Fund

Dr. Joan H. Weens

Kelly and Rod Westmoreland

Ann Marie and John B. White, Jr. wish Foundation

The David, Helen & Marian Woodward Fund | @AtlantaSymphony |
*notates deceased
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