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NOV 2018 | Atlanta’s Performing Arts Publication C1


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6 Welcome

14 Music for Generations The Atlanta Symphony Orchestra’s dedication to music education in Symphony Hall and beyond | by Mark Gresham

10 Orchestra Leadership

8 Robert Spano 12 ASO Musicians 24 Concert Program & Notes 70 ASO Support 80 Ticket Info/General Info 82 ASO Staff

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2 | @AtlantaSymphony |

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EDITOR Kathy Janich PRODUCTION MANAGER Mark F Baxter DIGITAL MANAGER Ian Carson CONTRIBUTING WRITERS Kathy Janich, Janet Roberts ENCORE ATLANTA is published monthly by American Media Products Inc. PRESIDENT Tom Casey CHAIRPERSON Diane Casey GENERAL MANAGER Claudia Madigan CONTROLLER Suzzie Gilham

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Meridian Chorale in concert Sing Greater Things

Saturday, November 17, 2018, 7:30 PM

Spivey Hall Daniel Taylor, countertenor Steven Darsey, conductor Through a compelling range of seminal literature, the Meridian Chorale will honor the Roman poet Virgil’s admonition to “sing greater things” in concert, November 17, 7:30 PM, in the acoustically renowned Spivey Hall. Composers represented include Josquin des Prez, Orlando Gibbons, Samuel Barber, and Steven Darsey. Steven Darsey

The concert will feature Leonard Bernstein’s Missa Brevis, which Bernstein presented to Robert Shaw in honor of his retirement as Music Director of the Atlanta Symphony Orchestra. The Missa Brevis will feature renowned countertenor Daniel Taylor, who will also perform arias from Handel operas. The concert will conclude with selections from opera and musical theater.

Daniel Taylor

Tickets are $25 at the box office or visit



e’re off to a tremendous start to the season with a very successful Opening Weekend, featuring three nearly sold-out performances. The following week, we welcomed the sensational Lang Lang to Symphony Hall for a sold-out performance and our second simulcast on Sifly Piazza, this time accompanied by a Live Stream that has been viewed nearly 280,000 times. We are also looking forward to two programs led by Principal Guest Conductor Donald Runnicles: Britten’s War Requiem with the Atlanta Symphony Orchestra and Chorus, as well as the first performance of Mahler‘s completed Tenth Symphony in more than 30 years. The ASO Talent Development Program’s (TDP) 25th anniversary celebration continues with news that TDP cofounder Mrs. Azira G. Hill is a recipient of the 2018 Governor’s Award for Arts and Humanities. The TDP’s legacy of training AfricanAmerican and Latinx musicians for music school and conservatory has also been recognized with a $600,000 grant from The Andrew W. Mellon Foundation. Please join us for the final fall TDP student recital on Nov. 30 at First Presbyterian Church of Atlanta and for a very special TDP 25th Anniversary Concert with the ASO on Feb. 9 in Symphony Hall, conducted by Music Director Robert Spano, with special guests including our talented TDP alumni. Visit for tickets or to donate to support this important program. Another cornerstone of the ASO’s education program, the Atlanta Symphony Youth Orchestra (ASYO), will hold its first concert of the season on Nov. 4 in Atlanta Symphony Hall. Led by ASYO Music Director and ASO Assistant Conductor Stephen Mulligan, the performance will demonstrate the passion and skill of these dynamic young musicians. To learn more, visit With December quickly approaching, be sure you have tickets to your favorite Coca-Cola Holiday concert. Celebrate the season with Christmas with the ASO on Dec. 8 & 9, Handel’s Messiah on Dec. 13 & 14, A Festive Family Holiday on Dec. 16 and A Very Merry Holiday on Dec. 20 & 21. This season we’ll also welcome Walt Disney’s delightful Silly Symphony on Nov. 25, Love Actually in Concert on Nov. 23 and 24, Celtic Woman: The Best of Christmas Tour with the ASO on Dec. 22 and more from the Delta Atlanta Symphony Hall LIVE series. Give the gift of music and family time this year – there’s something for everyone in Symphony Hall! With gratitude for your support— Sincerely,






Jennifer Barlament N

executive director

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obert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. Beginning his 18th season as Music Director of the Atlanta Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music with an entire community and concert hall. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers. He enjoys collaborations with composers and musicians of all ages, backgrounds and ability, especially through his leadership of the Atlanta School of Composers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and rising artists. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements have included the New York and Los Angeles Philharmonics, the San Francisco, Boston, Chicago, Oregon, Utah and Kansas City Symphonies, and the Cleveland, Philadelphia, and Minnesota Orchestras. Internationally, Maestro Spano has led the Orchestra Filarmonica della Scala, BBC Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Orquestra Sinfonica Brasileira, Orquestra Sinfonica Estado Sao Paulo, the Melbourne Symphony in Australia and the Saito Kinen Orchestra in Japan. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle. Spano also holds a conductor residency with the Colburn School Orchestra in Los Angeles.






Highlights of the 2018-19 season include Spano’s Metropolitan Opera debut, leading the US premiere of Marnie, the second opera by American composer Nico Muhly, with Isabel Leonard, Janis Kelly, Denyce Graves, Iestyn Davies and Christopher Maltman. With the Atlanta Symphony Orchestra, programs include the Music Director’s quintessentially rich, diverse pairings of contemporary works and cherished classics, welcoming seasoned guest artists and many new faces. With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has won six Grammy™ Awards with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and makes his home in Atlanta.

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ASO | LEADERSHIP | 2018/19 Board of Directors OFFICERS Howard D. Palefsky

Lynn Eden

Susan Antinori


vice chair


Janine Brown chair - elect

Thomas Wardell

James Rubright

vice chair


DIRECTORS Joan Abernathy * William Ackerman Keith Adams Juliet McClatchey Allan Susan Antinori Jennifer Barlament * Paul Blackney Rita Bloom Janine Brown Justin Bruns* Benjamin Q. Brunt C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Russell Currey

Carlos del Rio, M.D. Lynn Eden Sloane Evans Angela Evans Anne Game Paul R. Garcia Jason Guggenheim Joseph W. Hamilton, III Bonnie Harris Caroline Hofland Doug Hooker Tad Hutcheson Roya Irvani D. Kirk Jamieson^ Randy Koporc Carrie Kurlander

James H. Landon Donna Lee Hank Linginfelter Sukai Liu Kelly L. Loeffler Brian F. McCarthy Penelope McPhee ^ Bert Mills Molly Minnear Terence L. Neal Joseph M. O’Donnell^ Galen Lee Oelkers Howard D. Palefsky Ebbie Parsons Jay Richardson James Rubright

William Schultz Charles Sharbaugh Doug Shipman * John Sibley W. Ross Singletary, II Paul Snyder John Sparrow Gail Ravin Starr Elliott Tapp Joseph M. Thompson S. Patrick Viguerie Thomas Wardell Mark D. Wasserman Dr. James Wells, D. Min John B. White, Jr. Richard S. White, Jr.

Mrs. J. Erskine Love Meghan H. Magruder Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner G. Kimbrough Taylor

Michael W. Trapp Ray Uttenhove Chilton Varner Adair R. White Sue Sigmon Williams

BOARD OF COUNSELORS Helen Aderhold Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden John T. Glover

Dona Humphreys Aaron J. Johnson Ben F. Johnson, III Jim Kelley Patricia Leake Lucy Lee Karole F. Lloyd

LIFE DIRECTORS Howell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew Fuller Mary D. Gellerstedt

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

* Ex-Officio Non-Voting ^ 2018/2019 Sabbatical

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Robert Spano music director

The Robert Reid Topping Chair

Donald Runnicles principal guest conductor

The Neil & Sue Williams Chair





David Coucheron

music director of the atlanta symphony youth orchestra

The Zeist Foundation Chair

Justin Bruns

Sou-Chun Su

associate concertmaster

associate principal

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair


Jay Christy

assistant concertmaster

assistant principal

Jun-Ching Lin

Sharon Berenson

assistant concertmaster

David Braitberg

Anastasia Agapova acting assistant

Noriko Konno Clift


David Dillard

Carolyn Toll Hancock The Wells Fargo Chair

Eleanor Kosek Ruth Ann Little

John Meisner

Thomas O’Donnell Ronda Respess

Carol Ramírez

Frank Walton

Juan R. Ramírez Hernández


Olga Shpitko


Kenn Wagner


Sissi Yuqing Zhang

Paul Murphy acting/associate

The Edus H. & Harriet Lisa Wiedman Yancich H. Warren Chair SECTION VIOLIN ‡ Judith Cox

Raymond Leung The Carolyn McClatchey Chair Sanford Salzinger


The Mary & Lawrence Gellerstedt Chair Catherine Lynn assistant Principal Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane

Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair

CELLO Vacant principal

The Mr. & Mrs. Howard The Atlanta Symphony The Miriam & John R. Peevy Chair Associates Chair Conant Chair

Christopher Pulgram

Stephen Mulligan assistant conductor;

Julianne Lee

Jessica Oudin Madeline Sharp

Players in string sections are listed alphabetically

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Daniel Laufer acting/associate principal

The Livingston Foundation Chair Karen Freer

acting associate/ assistant principal

Dona Vellek assistant principal emeritus

Thomas Carpenter Joel Dallow The UPS Foundation Chair Larry LeMaster Brad Ritchie Paul Warner BASS

Joseph McFadden principal

The Marcia & John Donnell Chair Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair Karl Fenner Sharif Ibrahim Michael Kenady The Jane Little Chair Michael Kurth Daniel Tosky


Christina Smith principal

The Jill Hertz Chair Robert Cronin associate principal

C. Todd Skitch Gina Hughes



Alcides Rodriguez BASSOON

Andrew Brady principal


Gina Hughes

The Abraham J. & Phyllis Katz Foundation Chair


Anthony Georgeson

Elizabeth Koch Tiscione principal

The George M. & Corrie Hoyt Brown Chair Vacant

associate principal

Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar


Joseph Petrasek



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

The Julie & Arthur Montgomery Chair

BASS TROMBONE Brian Hecht The Home Depot Veterans Chair TUBA

Michael Moore


Samuel Nemec

The Betty Sands Fuller Chair


Susan Welty associate Principal


acting associate principal

Emily Brebach ENGLISH HORN Emily Brebach CLARINET

Laura Ardan


The Delta Air Lines Chair

Brice Andrus principal

Kimberly Gilman• Chelsea McFarland•

William Wilder assistant principal

Jaclyn Rainey*


The Robert Shaw Chair TRUMPET Stuart Stephenson The Mabel Dorn Reeder Honorary Chair principal The Madeline & Howell Ted Gurch Adams Chair associate Principal Marci Gurnow Alcides Rodriguez

Mark Yancich The Walter H. Bunzl Chair

Bruce Kenney

William Wilder assistant principal

The William A. Nathan Zgonc Schwartz Chair acting/associate principal Vacant Jason Patrick Robins• The Connie & Merrell Calhoun Chair Brian Hecht

Principal The Kendeda Fund Chair associate



Michael Stubbart HARP

Elisabeth Remy Johnson principal

The Sally & Carl Gable Chair KEYBOARD The Hugh & Jessie Hodgson Memorial Chair Peter Marshall † Sharon Berenson LIBRARY

Nicole Jordan principal

The Marianna & Solon Patterson Chair Holly Matthews assistant principal librarian

Hannah Davis asyo/assistant librarian

Michael Tiscione associate Principal Mark Maliniak•

‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season | Atlanta’s Performing Arts Publication 13

Ronda Respess coaching members of the 2018/19 Atlanta Symphony Youth Orchestra violin section.



by Mark Gresham

eople have different ideas about how they work in the community. My emphasis is always in music,” says Atlanta Symphony Orchestra (ASO) violinist Juan Ramírez, a member since 1973. This year Ramírez was one of five orchestral musicians in North America to receive a Ford Musician Award for Excellence in Community Service at the 2018 League of American Orchestras conference in Chicago – and ceremoniously presented in Atlanta at the ASO’s season-opening concert at Symphony Hall on Sept. 20. The award honors Ramirez’s outreach work to the metroAtlanta community at large, and especially the city’s Latino community.

“Even before the community outreach was established at the ASO, I’d been doing concerts for the Latin-American Association for 12 years,” says Ramírez, who as violinist, conductor, composer and educator has been associated with a myriad 14 | @AtlantaSymphony |

of community ensembles and institutions, in addition to his work with the ASO. He was one of the founders of both the ASO’s outreach program and its Talent Development Program (TDP). He especially believes in a musician’s responsibility to pass along his knowledge and love of music directly, insisting that, “A big piece of educating a diverse younger generation is through that living oral tradition that comes by way of direct mentoring.” Ramírez is not alone in his passion. He serves as but one prime example of how the ASO and its musicians are deeply involved in education and outreach, both through programs of the ASO’s education and community engagement initiatives and in independent initiatives, offering up an array of top-quality professional programs that impact educators, students, families and the community at large. Like Ramírez, fellow ASO violinist Ronda Respess was part of the original task force for both the institution’s outreach programs and TDP. Deeply committed to education, she has been recognized for her active role in the Atlanta Symphony Orchestra’s outreach programs, including her work as an Atlanta Symphony Youth Orchestra (ASYO) and TDP coach. Beyond the ASO, she is well known as Artistic Director of Franklin Pond Chamber Music, which she founded in 2001 as a unique, independent year-round chamber music program for talented string students, with faculty members and a resident string quartet of ASO musicians. This past year, Franklin Pond began a new collaboration with ASO Education to bring chamber music coaching to the ASYO program; something beyond the sectional coaching ASO musicians provide them. “The ASYO wouldn’t be what it is without the support of the ASO coaches, who nurture the students over the course of the entire season, from auditions to the final concert,”

Under the direction of Juan Ramírez, ASYO and TDP musicians played side-by-side with ASO musicians for a special Dia del Niño celebration performance at Summerour Middle School. | Atlanta’s Performing Arts Publication 15

says Stephen Mulligan, ASO Assistant Conductor and ASYO Music Director. “Some of their biggest contributions are the coaching sessions they give to each section on our concert repertoire. I love to walk around the Memorial Arts Building during these sessions, where I can hear the percussionists working with Bill Wilder onstage, the second violins working with Ronda Respess in the Symphony Hall lobby, the trumpets working with Mike Tiscione in the Rich Theater, and all of our ASYO Music Director other young musicians scattered throughout Stephen Mulligan the building with their coaches.” An ASO violinist since 1992, Christopher Pulgram points to the fact that it was the orchestra’s educational outreach programs that “discovered” violinist Kylie Dickinson at age nine when she participated in such a program south of Atlanta. Pulgram, who was participating as a coach, noticed her potential and convinced her family that she deserved private violin lessons. They began bringing her to Atlanta weekly to study with him. Six years later, Dickinson became one of the ASYO’s three concertmasters this season. It’s an especially moving story for Pulgram, who was himself at one time an ASYO concertmaster – an experience that played an important role in his decision to go to music school and become a professional violinist. Pulgram also enjoys other kinds of outreach programs the orchestra fosters. “Playing for seniors at retirement homes and in nursing care centers is one of my favorite things to do every Christmas,” he remarks about the holiday concerts he performs with a handful of ASO colleagues. “We are able to reach an audience sometimes simply unable to make the journey to Symphony Hall. We also give them a chance to sing along.” “Education is an inspiration for a lifetime,” says Respess, noting how among the outreach programs’ diversity of beneficiaries from preschoolers to seniors, musicians also have their own diverse creative ideas for education and outreach, and can design and propose their own projects that fall within the parameters of ASO Education guidelines. Michael Kurth, ASO bassist, noted composer and composer-inresidence for the Riverside Chamber Players, has his own unique perspective on work he has done in reaching kids with classical music. 16 | @AtlantaSymphony |

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Christopher Pulgram, left, Principal Second Violin Julianne Lee, middle, Principal Bass Joseph McFadden, right. “I try to make kids’ first classical music experience fun and memorable,” says Kurth. “Anything as old and stuffy as classical music has a danger of being boring for kids but it also has the potential to exhilarate and excite them, get them motivated to participate and inspired to achieve things musical and otherwise. The kids I work with remind me so much of myself at that age: insatiably curious, eager to find out what they’re good at, eager to make their mark in their school or their family or their world.” ASO Chorus member Brianne Turgeon knows well how early experiences can imprint kids with a love of great music. Turgeon teaches music at Springdale Park Elementary School (affectionately known as SPARK) and regularly brings her students to the ASO’s Concerts for Young People, as well as bringing ASO musicians to the school campus. She emphasizes how Orchestra members and the ASO education department act as “complete partners” with the school. William Wilder

“The curious part is I do not think that musicians’ involvement in my school is unique,” says Turgeon. “Our musicians and the ASO Education Department embrace any chance to help, to visit, to play, to give advice and coaching for many, many schools

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2018-2019 Concert Series Clayton State University

SIMON KEENLYSIDE, baritone NATALIA KATYUKOVA, piano Sunday, December 2


SONS OF SERENDIP Saturday, February 16

ANDREW VON OEYEN, piano Sunday, February 17

PETER EDWIN KRASINSKI SPEEDY starring Harold Lloyd Saturday, February 23

For tickets or more information call (678) 466-4200 or visit



in Atlanta and beyond. Together, and with the Youth Orchestra and Talent Development Program, they are growing the next generation of musicians and audience members for Atlanta.�

Chorus member Brianne Turgeon's class wrote letters of appreciation to the Orchestra after attending a recent performance.

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Atlanta Celebrates Photography has focused on making Atlanta an international hub for photography for 20 years. Get the picture at photo by Jerry Siegel • ad by SharpCase Creative

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

Delta is proud to celebrate more than 75 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a global airline, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. This includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships. Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin. The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation. The Atlanta Symphony Orchestra records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels. Trucks provided by Ryder Truck Rental Inc.

22 | @AtlantaSymphony |


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NOV 1/3

Concerts of Thursday, Nov. 1, 2018 8:00pm Saturday, Nov. 3, 2018 8:00pm DONALD RUNNICLES, Conductor

GUSTAV MAHLER (1860-1911) Symphony No. 10 (1910) 75 MIN (Performing version of Mahler’s draft prepared by Deryck Cooke) I. Adagio II. Scherzo. Schnelle Vierteln III. Purgatorio. Allegro moderato IV. Scherzo. Allegro pesante. Nicht zu schnell (attaca) V. Finale These concerts are performed without intermission.

The Atlanta Symphony Orchestra Classical Series is presented by


The November 1 concert is dedicated to Betty Sands Fuller for her extraordinary support of the Atlanta Symphony Orchestra and its Annual Fund, and to the memory of Drew R. Fuller for his lasting legacy of support of the ASO.

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.


t the time I did the 10th with the ASO it was not so long after the Mahler resurgence began with Leonard Bernstein’s celebration of the Mahler Centennial in 1960. Until then, we had not heard so much Mahler in the United States. Deryck Cooke performing versions of Mahler’s very complete 10th symphony “sketches” was highly controversial at the time. The “sketch" was so complete that Mahler reversed his instructions to his wife to destroy it after his death, telling her instead to use her judgement. A 1924 facsimile of Mahler’s original manuscript of the entire five movement sketch of the 10th Symphony was given to me by my dear friend, the violinist Sergio Luca. While doing my best to play through it one day, I came across the glorious moment in the fifth movement when the long, lonely and forlorn passage for the horn and flute gives way to the hope. I was completely overwhelmed. I was so moved by this music that I knew I had to perform this piece and that our Atlanta audience and Orchestra deserved to experience it.

The Mahler performances in Atlanta and elsewhere are some of my most cherished memories." — Michael Palmer, conductor

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Ken Meltzer Program Annotator

Symphony No. 10 (1910) (Performing version of Mahler’s draft prepared by Deryck Cooke)

First Classical Subscription Performances: January 7-9, 1971, Michael Palmer, Conductor

GUSTAV MAHLER was born in Kaliště, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. The first performance of the Cooke performing version took place at Most Recent Classical Royal Albert Hall in London, England, on August 13, 1964, Subscription Performances: September 26-28, 1985, with Berthold Goldschmidt conducting the London Symphony Orchestra. The Cooke performing version of the Symphony No. Louis Lane, Conductor 10 is scored for piccolo, four flutes, four oboes, English horn, Recording (Adagio): E-flat clarinet, four clarinets, bass clarinet, four bassoons, two Telarc CD-80548 (2 discs), contrabassoons, four horns, four trumpets, four trombones, Yoel Levi, Conductor tuba, timpani (two players), bass drum, large military drum, cymbals, triangle, tam-tam, switches, glockenspiel, harp, and strings.


n the summer of 1907, Gustav and Alma Mahler and their two young daughters made the annual trip to Maiernigg, a small village located on the banks of the Wörthersee in Southern Austria. On July 12, the older daughter, Maria (“Putzi”), died, four months shy of her fifth birthday, from scarlet fever. Shortly afterward, Gustav Mahler received the initial diagnosis of the heart disease that would claim him in four years’ time. Mahler soon became a shadow of his former, vibrant, self. According to Alma, her husband repeatedly stopped during walks to monitor his pulse. Alma recalled: I had often implored him to give up his long bicycle rides, his climbing and also swimming under water, to which he was so passionately attached. There was nothing of that sort now. On the contrary, he had a pedometer in his pocket. His steps and pulse-beats were numbered and his life a torment. This summer was the saddest we had ever spent or were to spend together. Every excursion, every attempt at distraction was a failure. Grief and anxiety pursued us wherever we went. Work was his one resource. He slaved at Das Lied von der Erde and the first drafts of the Ninth (Symphony).

It is not surprising that both of these compositions explore Mahler’s preoccupation with mortality. Das Lied von der Erde (The Song of the Earth) is a cycle of six poems for two solo voices and a large orchestra. The finale of Das Lied von der Erde— Der Abschied (The Farewell)—is an extended slow-tempo movement. The closing measures of Der Abschied juxtapose the temporality of man’s existence with Nature’s constant renewal: “My heart is still and awaits its hour! The beloved earth everywhere Blossoms in spring and grows green anew! Everywhere and forever the light shines blue in the distance. Eternally…eternally…” | Atlanta’s Performing Arts Publication 25

By the time that Mahler completed Das Lied von der Erde in 1909, he had composed eight Symphonies. Mahler was acutely aware that several composers, including Beethoven, Schubert, and Bruckner, had been unable to advance beyond their ninth symphonies. Mahler had previously written several symphonies that include vocal parts. Nevertheless, the superstitious Mahler opted for the title of Das Lied von der Erde, rather than “Symphony No. 9.” While composing his next Symphony, which he did call the Ninth, Mahler informed Alma: “Actually, of course, it’s the Tenth, because Das Lied von der Erde was really the Ninth.” Like Das Lied, the Ninth Symphony concludes with an expansive movement in slow tempo. In the summer of 1910, when Mahler began work on his Tenth Symphony, he announced to Alma, “Now the danger is past.”


Despite physicians’ warnings after the diagnosis of his heart condition, Mahler continued an exhausting work schedule. After resigning his position as Kappellmeister in Vienna, Mahler traveled to New York, where, beginning in 1908, he served as conductor of the Metropolitan Opera. The following year, Mahler became conductor of the New York Philharmonic. The strain proved to be too much. In February of 1911, Mahler conducted his final concerts in New M A York. Mahler returned to Vienna, where he died on May 18, 1911, at the age of 50. The premieres of Das Lied von der Erde and the Ninth Symphony, both led by Bruno Walter, took place after Mahler’s death. LE


The Tenth Symphony remained incomplete at the time of Mahler’s passing. The first movement Adagio existed in full score. Mahler’s sketches for the remaining four movements include the complete thematic line, and varying completions of harmony, counterpoint, and orchestration. In 1924, at Alma Mahler’s request, composer Ernst Krenek created a performing score of the first and third movements (the opening Adagio continues to serve the function of a free-standing concert piece). In 1959, the English musician and musicologist Deryck Cooke began work on a performing version of the complete five-movement Mahler Tenth Symphony. Cooke was able to persuade Alma Mahler to allow the performance and publication of such a project. The world premiere of the Deryck Cooke performing edition of the Mahler Tenth occurred at a BBC Promenade Concert on August 13, 1964, with Berthold Goldschmidt conducting the London Symphony Orchestra. Cooke subsequently produced two more performing versions, the last serving as the edition of choice. Deryck Cooke emphasized that his performing version of the Tenth does not purport to represent the Symphony as Mahler himself would have completed it. Based upon Mahler’s own practice, it is reasonable to assume that, given time and opportunity, he would have made changes even to the completed first-movement Adagio. And while Mahler’s notations in the remaining movements are detailed and precise, Cooke employed some educated speculation in order to fashion a fullycomposed and scored work. In the end, Cooke’s brilliant and expert labor of love allows us to hear this glorious music in a guise that convinces as entirely idiomatic.

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Musical Analysis I. Adagio—As in the Ninth Symphony, the Mahler Tenth begins with an epic, slowtempo movement. The violas play an extended, haunting theme (Andante). The first violins then sing a radiant, wide-ranging melody (Adagio). The two themes return, in varied form throughout. In the latter part of the Adagio, a serene passage for first and second violins is obliterated by a fortissimo episode. This culminates in a shattering, dissonant chord, and the trumpet’s piercing cry. Calm gradually returns, as the Adagio resolves to a serene close. II. Scherzo. Schnelle Viertel (Fast quarter-notes)—In marked contrast to the first movement, the second is a vibrant Scherzo, in quick tempo, with boundless energy, and ever-shifting meters. A ländler, a genial country dance in triple meter (and a rustic cousin of the waltz) serves as the trio section. The bustling closing measures are capped by the horns’ joyous exclamation. III. Purgatorio. Allegretto moderato—While at work on the Tenth Symphony, Mahler learned that Alma was having an affair with the young architect, Walter Gropius. This revelation (via a love letter Gropius wrote to Alma, but miss-addressed to Gustav) led Mahler to undergo psychotherapy with Siegmund Freud. It appears that Mahler completed the first two movements of the Tenth prior to the discovery of Alma’s affair. Mahler’s score for the third movement includes such hand-written comments as: “Erbarmen!!” (“Mercy!!”), “O Gott! O Gott! warum hast du mich verlassen?” (“O God! O God! Why hast Thou forsaken me?”), and “Dein Wille geschehe!” (“Thy will be done!”). The Purgatorio, by far the briefest of the Symphony’s five movements, is in the spirit of a danse macabre, capped by the sardonic final measures. IV. Scherzo. Allegro pesante. Nicht zu schnell (Not too fast)—The title page for this movement includes Mahler’s handwritten inscription, “Der Teufel tanzt es mit mir” (“The Devil dances it with me”). It is a waltz, but a sardonic one in the spirit of Ravel’s La valse (1920), or the Drinking Song of Earth’s Sorrow, the opening of Mahler’s Das lied von der Erde (which the composer alludes to in this Scherzo). The waltz is by turns restless, energetic, and even violent, with more lyrical episodes providing contrast. The waltz unravels to a quiet, halting conclusion. A moment of silence is shattered by the thwack of a large military drum. Here, Mahler wrote to Alma: “Du allein weißt was es bedeutet” (“You alone know what it means”). The finale ensues without pause. V. Finale—Mahler’s note to Alma refers to a funeral procession they witnessed from the 11th floor of their New York City apartment. The funeral was held for the Deputy Chief of the New York City Fire Department, killed in the line of duty. As Alma recalled: The chief mourners were almost immediately beneath us when the procession halted, and the master of ceremonies stepped forward and gave a short address. From our eleventh-floor window we could only guess at what he said. There was a brief pause, then a stroke on the muffled drum, followed by a dead silence. The procession then moved forward and all was over. The drum continues at the start of the Finale, truncating themes that attempt to assert themselves. The flute inaugurates a lyrical, glowing episode that once again 28 | @AtlantaSymphony |


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MEET THE ARTISTS comes hard upon the drum’s implacable presence. An agitated episode follows (Allegro moderato), based upon music from earlier movements, and culminating in the opening Adagio’s climactic dissonant chord. The Symphony concludes with a radiant apotheosis, where Mahler includes the written exclamation: “Für dich leben! für dich sterben!” (“To live for you! To die for you!”). And when the violins and violas offer one last exhortation, Mahler writes: “Almschi!” DONALD RUNNICLES, CONDUCTOR


onductor Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as the Principal Guest Conductor of the Atlanta Symphony Orchestra. He was recently named Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as its Chief Conductor from 2009-2016. Maestro Runnicles enjoys close and enduring relationships with several of the most significant opera companies and orchestras, and is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity.

Runnicles’ extensive discography includes complete recordings of Wagner’s Tristan and Isolde, Mozart’s Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, and Bellini’s I Capuleti e i Montecchi. His recording of Wagner arias with tenor Jonas Kaufmann and the Orchestra of the Deutsche Oper Berlin won the 2013 Gramophone prize for Best Vocal Recording, and his recording of Janáček’s Jenůfa with the Orchestra and Chorus of the Deutsche Oper Berlin was nominated for a 2015 Grammy® award for Best Opera Recording. Donald Runnicles is a recipient of the Order of the British Empire (OBE) and holds honorary degrees from the University of Edinburgh, Royal Scottish Academy of Music and Drama, and San Francisco Conservatory of Music.







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Atlanta Symphony Orchestra Youth Orchestra Concerts of Sunday, Nov. 4, 2018 3:00pm STEPHEN MULLIGAN, Conductor JASON GUO, piano ASYO Concerto Competition Winner

GEORGE ENESCU (1881-1955) Rumanian Rhapsody No. 1 in A Major, Opus 11 (1901) 13 MIN SERGEI RACHMANINOV (1873-1943) Concerto No. 2 for Piano and Orchestra in C minor, Opus 18 (1901) III. Allegro scherzando Jason Guo, piano

11 MIN


20 MIN

JOHANNES BRAHMS (1833-1897) Symphony No. 2 In D Major, Opus 73 (1877) I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi Andantino) IV. Allegro con spirito

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41 MIN


Ken Meltzer Program Annotator

Rumanian Rhapsody No. 1 in A Major, Opus 11 (1901) GEORGE ENESCU was born in Liveni Vîrnav (now George Enescu), Romania, on August 19, 1881, and died in Paris, France on May 3/4, 1955. The first performance of the Rumanian Rhapsody No. 1 took place at the Salle Gaveau in Paris in on February 7, 1908, with the composer conducting. The Rumanian Rhapsody No. 1 is scored for piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, triangle, side drum, cymbals, and strings.


omanian musician George Enescu excelled as a violinist, conductor, composer, and teacher of the first rank. Most of Enescu’s artistic life was centered in Paris. Among his pupils were several eminent violinists, including Arthur Grumiaux and Yehudi Menuhin. Enescu also made several visits to the United States, the earliest in 1923. Despite his busy international schedule, Enescu found time to return to his native country, where he contributed much to Romanian musical life. George Enescu was a versatile composer, whose works include chamber pieces, shorter orchestral works, five symphonies, and the lyric tragedy, Oedipe. However, Enescu remains best known for his two Rumanian Rhapsodies, Opus 11. Enescu conducted the premieres of the Rhapsodies at a February 7, 1908 concert, organized by the legendary Spanish cellist, Pablo Casals. The Rhapsody No.1 opens with a playful tune—introduced by the winds, and said to be inspired by the song “I have a Coin and I Want a Drink.” A series of charming melodies follows, each demonstrating Enescu’s considerable talents for orchestral color. Eventually, the pace quickens, as the music assumes the character a vigorous folk-dance. The furious activity comes to a brief pause before the Rhapsody finally speeds to a stirring finish. Concerto No. 2 for Piano and Orchestra in C minor, Opus 18 (1901) SERGEI RACHMANINOV was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of the Second Piano Concerto took place in Moscow, Russia, on November 9, 1901, with the composer as soloist and Alexander Siloti conducting the Moscow Philharmonic Society. In addition to the solo piano, the Concerto No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, and strings.


hen Sergei Rachmaninov completed his First Symphony in August of 1895, he was 22, and brimming with all the confidence of youth. “I imagined that there was nothing I could not do and had great hopes for the future,” he later recalled. Rachmaninov’s First Symphony received its premiere in St. Petersburg on March 15, 1897, with composer Alexander Glazunov conducting. The performance was a disaster, and immediately after the final notes sounded, Rachmaninov “fled, horrified, into the street.” | Atlanta’s Performing Arts Publication 33

While Rachmaninov was able to escape the confines of the theater, he still had to face the wrath of the critics. Russian composer César Cui wrote in the St. Petersburg News: If there were a conservatory in Hell, if one of its many talented students were instructed to write a programme symphony on the “Seven Plagues of Egypt,” and if he were to compose a symphony like Mr. Rachmaninov’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. It’s not surprising that Rachmaninov was devastated by this disastrous turn of events. He lapsed into a deep depression. Rachmaninov’s friends were alarmed by his profound depression and tried all forms of cures to buoy his spirits. Finally, they convinced Rachmaninov that he should consult Dr. Nikolai Dahl, a doctor who had gained some prominence for his employment of suggestion and auto-suggestion. Between January and April of 1900, Rachmaninov visited Dr. Dahl on a daily basis. Rachmaninov told Dahl that he had promised to compose a Piano Concerto. Dr. Dahl set about treating his patient: I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in Dr. Dahl’s study. “You will begin to write your Concerto...You will work with great facility...The Concerto will be of an excellent quality...” It was always the same, without interruption. Although it may sound incredible, this cure really helped me. Already at the beginning of the summer I began again to compose. The material grew in bulk, and new musical ideas began to stir within me—far more than I needed for my Concerto. Rachmaninov completed the final two movements of his Second Piano Concerto in the autumn of 1900 and performed them at a Moscow charity concert on October 14. Rachmaninov added the opening movement in the spring of the following year and appeared as soloist in the November 9, 1901 premiere of the entire Second Concerto. The composer readily acknowledged Dr. Dahl’s role in the creation of one of the most popular works of the 20th century, and dedicated the Concerto to him. The Concerto is in three movements. The finale (Allegro scherzando) is based upon two themes, the second, one of Rachmaninov’s most beloved. That theme makes a glorious return in the Concerto’s closing measures. Symphony No. 2 In D Major, Opus 73 (1877) JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of the Symphony No. 2 took place in the concert hall of the Musikverein in Vienna on December 30, 1877, with Hans Richter conducting the Vienna Philharmonic. The Symphony No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.


n 1870, Brahms wrote to conductor Hermann Levi: “I shall never write a symphony. You have no idea how the likes of us feel when we hear the tramp of a giant like him beside us.” The “giant” Brahms feared was Ludwig van Beethoven (1770-1827), whose Nine Symphonies form the cornerstone of the orchestral repertoire. Although he attempted the composition of a symphony as early as 1854, it wasn’t until 1876 that the 43-year-old Brahms gathered the courage to complete his First (in

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C minor, Opus 68). The Symphony No. 1 received its premiere on November 4, 1876. The premiere and early subsequent performances were far from unqualified triumphs. Nevertheless, Brahms had finally cast aside his trepidation about composing in a genre that invited comparisons to Beethoven. Brahms spent the following summer in Pörtschach, a tiny Austrian village on Lake Wörth. It was there, between the months of June and September 1877, that Brahms composed his Second Symphony. Brahms found Pörtschach a congenial place for musical inspiration. In addition to the Second Symphony, Brahms composed his Violin Concerto (1878), the G-Major Violin Sonata (1878-9), and Two Piano Rhapsodies (1879) while vacationing at the peaceful lakeside village. The first performance of the Brahms Second Symphony took place on December 30, 1877, at the concert hall of the Musikverein in Vienna. The eminent conductor, Hans Richter, led the Vienna Philharmonic. The D-Major Symphony seems to reflect the composer’s relaxed state of mind during the happy summer of 1877. The lyrical character of the work—sometimes referred to as Brahms’s “Pörtschach” or “Pastoral” Symphony—certainly is in marked contrast to the storm and stress that pervades the C-minor First (although to be sure, the Second Symphony has its moments of conflict as well, particularly in the first two movements). Brahms referred to his Second Symphony as a “charming new monster” and, in typically self-deprecating fashion, told his friend, Elisabeth von Herzogenberg, that it was merely a little Sinfonia. That of course, is hardly the case, and in spite of Brahms’s protestations to critic Eduard Hanslick that “there is nothing clever about it,” the Second Symphony is a remarkably intricate and unified composition. In its own genial fashion, the D-Major Symphony is as musically and dramatically rewarding as its heroic predecessor. The Symphony No. 2 is in four movements. The first (Allegro non troppo) opens with the cellos and basses intoning a three-note motif that will return in various guises throughout the Symphony. The movement also includes a waltz-like theme that recalls the composer’s beloved “Lullaby,” Opus 49, No. 4 (1868). The slow-tempo second movement (Adagio non troppo) alternates lyrical repose with moments of tension, not resolved until the final bars. The third movement (Allegretto grazioso) opens with the oboe’s presentation of the sprightly principal melody that returns throughout, alternating with fleet interludes. The concluding movement (Allegro con spirito), the most cheerful finale among Brahms’s Four Symphonies, radiates energy and optimism from start to finish. STEPHEN MULLIGAN, CONDUCTOR


onductor Stephen Mulligan began his term as the Assistant Conductor of the Atlanta Symphony Orchestra and the Music Director of the Atlanta Symphony Youth Orchestra in August 2017. From 2014-16, he served as Assistant Conductor of the Winston-Salem Symphony and the Music Director of the Winston-Salem Symphony Youth Orchestras Program. Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo 36 | @AtlantaSymphony |



Monday, November 12 7:30 p.m.

The Atlanta Symphony Brass Holiday Concert Friday, November 30 ~ 7:30 p.m.


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Founded at U-M, the Ivalas Quartet—Reuben Kebede, violin; Anita Dumar, violin; Pedro Sanchez, cello; Caleb Georges, viola—won 1st Prize at the 2018 10/9/18 Dale and Nancy Briggs Chamber Music Competition. Pictured here with Professor Matt Albert, chair of the Department of Chamber Music.



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10:12 PM

MEET THE ARTISTS Symphony Orchestra and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams’s Nixon in China at Walt Disney Concert Hall. ​






Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar and Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s assistant conductor, traveled to Helsinki to study Sibelius’s late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony. JASON GUO, PIANO


ason Guo is a 16-year-old student pianist from Johns Creek, Ga., who began studying piano at the age of 6 and is currently under the tutelage of Emory faculty member Dr. Elena Cholakova. Recently, Guo was the first-place prize winner of the 2018 Nashville Piano International Competition with a substantial college scholarship. Earlier this year, he was the first prize winner of the 2018 Georgia Member Teacher Association’s (GMTA) Concerto Competition and the winner of the 10th grade division Piano Competition. Guo is the pianist for the Atlanta Symphony Youth Orchestra. He was also the second-place prizewinner of the 2018 American Protégé International Concerto Competition and performed at Weill Recital Hall of Carnegie Hall, N.Y. He previously attended the 2016 Boston University Tanglewood Institute’s Young Artists Piano program. Through his training in the Franklin Pond Chamber Music program with members of the Atlanta Symphony Youth Orchestra, he has become passionate about chamber music and enjoys playing in chamber groups. In addition to his musicianship, he is a dedicated student and athlete. He is currently an 11th grader at The Paideia Schools in Atlanta where he is co-captain of the Varsity Golf Team, a member of the Entrepreneurship Club and a member of the Science Olympiad team. Additionally, he has been invited for an oral presentation to present his paper “The Costs of Climate Change” to the 2017 Fifth International Conference on Environmental Pollution and Protection, which was published in the conference proceeding and has been referenced in other scientific papers. In his free time, he loves to play golf, read books and travel around the world. 38 | @AtlantaSymphony |

ATLANTA SYMPHONY YOUTH ORCHESTRA Stephen Mulligan, music director, The Zeist Foundation Chair FIRST VIOLINS Kylie Dickinson concertmaster

Yuji Yamada Raunak Kumar Naomi Fan Kirsten Lee Ava Posner Jennifer Deng Erin Cho^ Jenny Choi Zoe Willingham* Mary Konieczny Josephine Han^ Julia Su Nina Youn Rebecca Goodwin Sung-Lin Hsieh VIOLA Lucy Gelber principal

Ardath Weck Chair

John Cho* Kaci Xie Lydia Choi Christopher Wang Jason Seo Becan Floyd Skyler Bugg Claire Hong Nina Nagarajan Anna Laldin Anastasia Waid

SECOND VIOLINS FLUTE Kelly Jeong Don Cofrancesco principal Harbin Hong Bradley Hu Rachel Lee Mila Coleman Sarah Zhang Zach Tseng OBOE Alexis Warnock^ Hannah Lee Ellie Park Ojochilemi Okoka^ Tobias Liu Jacks Pollard Kevin Chen Sarah Williams Eileen Liu Angela Li^ Alice Zhang Eunice Chon Taylor Tookes^ Jinsol Shin CELLO Maximilian Lou principal

Jordan Leslie Lexine Feng^ Patrick Kim Aria Posner John Kang^ Harrison Marable^ Alicia Shin Tannessa Dang Ariel Najarian BASS Angela Leeper^ principal

Doug Sommer Chair

Alex Petralia Corban Johnson Matthew Jung* Jesse Perry^ Noah Daniel Katie Tran Joy Best

TRUMPET Paul Armitage William Rich David SanchezBecerra* Andrew Wang TENOR TROMBONE Austin Murray* Vincent Tapia, IV^

CLARINET Alex Choi Juliyan Martinez Triniti Rives Francisco Vidales


BASSOON Brendan Bassett Allie Byrd Daniel Catanese Kasey Park

PERCUSSION Sehyeon Jung^ Kobe Lester Evan Magill Reilly McLean Dylan So

HORN Brennan Bower Charles Dunn Ediz Eribac Sarah Harding Jaeheon Jeong Nathan Page Josh Vollbracht Jake Wadsworth

TUBA Griffin Haarbauer

HARP Madeline Chen LeAndra Douds PIANO Jason Guo

*Elinor Rosenberg Breman Fellow ^ASYO Scholarship Recipient Winds, Harp, Piano, and Percussion are listed in alphabetical order | Atlanta’s Performing Arts Publication 39

NOV 8/10

Concerts of Thursday, Nov. 8, 2018 8:00pm Saturday, Nov. 10, 2018 8:00pm ROBERTO ABBADO, Conductor VERONIKA EBERLE, violin

GIOACHINO ROSSINI (1792-1868) Sonata for String Orchestra No. 1 in G Major (ca. 1804) 13 MIN I. Moderato II. Andante III. Allegro LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 8 in F Major, Opus 93 (1812) I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace INTERMISSION

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JOHANNES BRAHMS (1833-1897) Concerto for Violin and Orchestra in D Major, Opus 77 (1878) I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace Veronika Eberle, violin

THE MUSIC BRIEF Rossini was at the start of his second decade when he composed the Six Sonatas for Strings. Nevertheless, the Sonatas anticipate the mature works of one of Italy’s greatest opera composers. In his Symphony No. 8, Beethoven employs techniques previously employed for dramatic, and even tragic, expression, to create a work brimming with high spirits and humor. Brahms composed his only Violin Concerto for his dear friend, Joseph Joachim, one of the great virtuosos of the 19th century. The work is one of the most challenging in the repertoire, a masterful blend of Classical structure and Romantic passion.

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28 MIN

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40 MIN


Ken Meltzer Program Annotator

Sonata for String Orchestra No. 1 in G Major (ca. 1804) GIOACHINO ROSSINI was born in Pesaro, Italy, on February 29, 1792 and died in Passy, France, on November 13, 1868. The Sonata in G is scored for first and second violins, cellos, and basses.

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ioachino Rossini is universally acknowledged as one of the towering figures of the 19th-century lyric theater. His 39 operas include such comic masterpieces as The Italian Girl in Algiers (1813), The Barber of Seville (1816), and Cinderella (1817). In recent years, Rossini’s genius in more serious works has also enjoyed wider recognition, thanks to successful productions of such operas as Semiramide (1823) and William Tell (1829).




Rossini was the son of musicians. His father was a horn player, and his mother, a singer. They provided the young Rossini with his early musical education. Rossini’s first opera, Demetrio e Polibio (ca. 1810), was still six years away when, in 1804, he composed Six Sonatas for Strings. Rossini was only twelve at the time. Nevertheless, the Sonatas reveal a musician of considerable fluency, charm, and humor, thereby anticipating the operatic masterpieces for which this great composer is most beloved. I. Moderato—The Sonata opens with the first violins offering a playful theme. An abundance of thematic material quickly follows. A brief minor-key episode leads to the opening’s reprise, capped by a final invocation of the first theme. II. Andante—The slow-tempo second movement opens with a graceful theme played by the first violins. The response by the basses injects a darker and more unsettling element. A more playful dotted rhythm melody soon follows. A reprise of the opening melody brings the Andante to a close. III. Allegro—The first violins introduce a charming dance melody in a skipping 6/8 rhythm. The dance returns throughout, including a final appearance in the cheerful closing bars. Symphony No. 8 in F Major, Opus 93 (1812)

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Eighth Symphony took place at the Redoutensaal in Vienna First ASO Classical on February 27, 1814. The Eighth Symphony is scored for two Subscription Performance: flutes, two oboes, two clarinets, two bassoons, two horns, two February 27, 1949, trumpets, timpani, and strings. Henry Sopkin, Conductor.


eethoven began work on both his Seventh and Eighth Symphonies in 1811. After finishing the Seventh Symphony in June of 1812, Beethoven turned his full attention to the Eighth, completing that score on October 12. The premiere of the Eighth

Most Recent ASO Classical Subscription Performances: October 8, 10, and 11, 2015, Donald Runnicles, Conductor. | Atlanta’s Performing Arts Publication 41






Symphony took place as part of a February 27, 1814 concert at the Redoutensaal in Vienna. The program also contained the Seventh Symphony—which had received its premiere the previous December 13—and the (then) wildly popular Wellington’s Victory. Beethoven’s Eighth is the Symphony that most emphatically reflects the composer’s humorous side. The Eighth also bears a kinship with another comic jewel—Giuseppe Verdi’s final opera, Falstaff (1893). In both works, the composers—at the height of their maturity and powers— employ techniques previously used for the composition of “serious” music to fashion masterpieces overflowing with playful humor. And, if the Eighth Symphony presages a future comic masterpiece, it also pays tribute to the past. The work’s high spirits and economy of expression recall the greatest symphonic humorist of them all—Beethoven’s teacher, Franz Joseph Haydn. I. Allegro vivace e con brio—The orchestra immediately plunges into the boisterous opening theme. The strings, to puckish bassoon accompaniment, introduce a more subdued melody. Soon the energy of the opening bars returns and the exposition concludes with a flourish. The terse development builds to an extraordinary level of tension, finally released with the triumphant recapitulation of the opening theme. The extended coda proceeds to yet another climax. After a brief pause, there is a final outburst and a diminuendo, capped by a wisp of the opening theme. II. Allegretto scherzando—This lighthearted Allegretto replaces the traditional slowtempo movement. The first violins, to the accompaniment of repeated staccato wind chords, sing a playful melody. The humor of this movement is reinforced by sharply contrasting dynamics and orchestral sonorities, especially in the frantic closing measures. III. Tempo di Menuetto—This is the only minuet among Beethoven’s Symphonies (the third movement of the Symphony No. 1 is called a Menuetto, but is in reality the first of the composer’s many symphonic scherzos). After a brief introduction, the strings play the graceful principal theme that contrasts with some brusque orchestral interjections. The horns (to playful triplet cello accompaniment) introduce a lovely interlude that serves as Minuet’s trio section. The movement closes with a reprise of the Minuet.

IV. Allegro vivace—The finale begins with a device familiar from many Haydn First Classical symphonies. The strings play a scurrying, pianissimo figure that Subscription Performance: suddenly—and without warning—explodes with tremendous force. March 10, 1952, The first violins introduce the contrasting, lyrical second theme. Robert Harrison, Violin, The finale, a combination of sonata and rondo forms, is a beehive Henry Sopkin, Conductor. of activity from start to finish. The Symphony concludes with an extended and decidedly emphatic series of chords. Most Recent Classical Subscription Performances: Concerto for Violin and Orchestra in D Major, Opus 77 (1878) February 4-6, JOHANNES BRAHMS was born in Hamburg, Germany, on David Coucheron, Violin, May 7, 1833, and died in Vienna, Austria, on April 3, 1897. Roberto Span, Conductor. The first performance of the Violin Concerto took place at the 42 | @AtlantaSymphony |

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Gewandhaus in Leipzig, Germany, on January 1, 1879, with Joseph Joachim as soloist and the composer conducting. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.





rahms created the Violin Concerto for his dear friend, the Austro-Hungarian virtuoso violinist, composer and conductor, Joseph Joachim (1831-1907). Brahms, who frequently sought his friend’s counsel and advice, forwarded the solo violin part of the Concerto’s first movement to Joachim on August 22, 1878. Correspondence between the two continued throughout the year. On December 12, just a few weeks before the anticipated New Year’s Day premiere, Brahms wrote to Joachim: “I send you the part herewith and agree to your alterations. The orchestral parts will be ready for Jan. 1st in case you play it in Leipzig. If so, I will meet you in Berlin a few days before...” Despite the minimal amount of remaining preparation time, Joachim agreed to give the premiere as scheduled. He also composed the first-movement cadenza that, to this day, remains the preferred version among soloists.

The world premiere of the D-Major Violin Concerto took place at the Gewandhaus in Leipzig on New Year’s Day, 1879. Joachim, to whom Brahms dedicated the work, was the soloist. The premiere, conducted by Brahms, was far from an unqualified triumph. Perhaps the audience was confused by the unusual prominence of the orchestra, which traditionally played a decidedly subservient role in violin concertos. Brahms’s unconventional approach prompted Joseph Hellmesberger to dub the work a concerto “not for, but against the violin.” Violinist Bronisław Huberman took a somewhat different view, stating that the Brahms Concerto was “for violin against orchestra—and the violin wins!” Brahms and Joachim continued to work on revisions to the score, which was finally published in October of 1879. And in time (thanks in great part to Joachim’s sterling advocacy), the Brahms D-Major secured its place as one of the greatest violin concertos, a veritable Mt. Everest of technical and interpretive challenges. As with many of Brahms’s finest works, it is also a brilliant and immensely satisfying synthesis of Classical form and Romantic passion. The Concerto is in three movements. The first (Allegro non troppo) begins in traditional fashion, with a purely orchestral exposition of the movement’s principal themes. The soloist makes a fiery, dramatic entrance. The remainder of the movement features a broad range of moods and technical hurdles for the soloist. The oboe introduces the unforgettable central melody of the Concerto’s beautiful slow-tempo movement (Adagio). Many have viewed the vigorous rondo finale (Allegro giocoso, ma non troppo vivace) as a tribute by Brahms to Joachim’s Hungarian origins.

44 | @AtlantaSymphony | 288

All you have to do is drive onto campus to understand that we are given tremendous opportunities at GAC to learn, play, and perform, but it is what we do with these opportunities and how we treat others that really matters.

Jacob Brechbühl, 2018 GAC Graduate Attends Georgia Tech

National Merit Commended Scholar | AP Scholar with Distinction | National Honor Society | Mu Alpha Theta Mathematics Honor Society | American Legion Good Citizenship Award | Mayoral Commendation for community service | Three varsity letters | Governor’s Honors Program | Eagle Scout with Bronze Palm | 6 GAC and church mission trips

Join us for an Open House November 7 or December 5, or schedule a campus tour. Register online at | Atlanta’s Performing Arts Publication 45



oberto Abbado, awarded the prestigious “Premio Abbiati” by the Italian Music Critics Association, is Musical Director of the Palau de les Arts Reina Sofía in Valencia and, from 2018, of Parma’s Festival Verdi. He studied orchestra conducting under Franco Ferrara at the Teatro La Fenice in Venice and at the Accademia Nazionale di Santa Cecilia in Rome.





Musical Director of the Münchner Rundfunkorchester from 1991 to 1998, he has worked with many ensembles and conducted numerous world premieres and new opera productions, including Fedora and Ernani at the MET; I vespri siciliani at the Wiener Staatsoper; La Gioconda, La donna del lago and Teneke at La Scala; L’amour des trois oranges, Aida and La traviata at the Bayerische Staatsoper; Le Comte Ory, Attila, I Lombardi alla prima crociata, Henze’s Phaedra and Anna Bolena at the Maggio Musicale Fiorentino; Don Giovanni at the Deutsche Oper Berlin; Ermione, Zelmira and Mosè in Egitto at the Rossini Opera Festival. During recent seasons he has conducted Tancredi and La damnation de Faust in Valencia; Andrea Chénier and I masnadieri in Rome; Norma in Madrid; La traviata in Shangai; Le siège de Corinthe in Pesaro; Le Trouvère in Parma; Lucia di Lammermoor in Paris; Don Pasquale in Bilbao; Rigoletto and Lucia di Lammermoor in New York. Among his most popular recordings: I Capuleti e i Montecchi, Tancredi, Don Pasquale, Turandot, Verismo Arias, L’amour and Arias for Rubini (Decca); Bel Canto, Revive, the DVDs of Fedora, Ermione, Zelmira, Mosè in Egitto and of the New Year’s Concert at La Fenice in Venice (2008). VERONIKA EBERLE, VIOLIN


eronika Eberle’s exceptional talent and the poise and maturity of her musicianship have been recognized by many of the world’s finest orchestras, venues and festivals, as well as by some of the most eminent conductors. In 2018/19, Eberle will be artist in residence with the Jena Philharmonic Orchestra which will include concerto performances and recitals as well as educational projects and masterclasses. Her debuts include Atlanta, Ulster, Danish Radio and Swedish Radio (Harding) Symphony Orchestras as well as with the Luxembourg Philharmonic, Tokyo Symphony and Kansai Philharmonic Orchestras. She will also tour Spain with the Hamburg Philharmonic Orchestra conducted by Kent Nagano. Sir Simon Rattle’s introduction of 16-year-old Eberle to a packed Salzburg Festpielhaus at the 2006 Salzburg Easter Festival in a performance of the Beethoven Concerto with the Berliner Philharmoniker, brought her to international attention. Key orchestra collaborations since then include the London Symphony (Rattle), Concertgebouw (Holliger), New York Philharmonic (Gilbert), Montreal Symphony (Nagano), Munich Philharmonic and Gewandhaus Orchestras (Langree), Rundfunk Sinfonieorchester Berlin (Janowski), Hessischer Rundfunk Sinfonieorchester (P.Järvi), Bamberger Symphoniker (Ticciati, Nott), Tonhalle Orchester Zurich (M.Sanderling), NHK Symphony (Kout, Stenz, Norrington) and Rotterdam Philharmonic (Rattle, Gaffigan, Nézet-Seguin). 46 | @AtlantaSymphony |

Franklin Pond Chamber Music enriches the personal, cultural, and social lives of all people, especially young musicians, through chamber music. • Collaborate with faculty and peers. • Improve technique, musicianship discipline, and leadership. • Enjoy performing with friends.

Our faculty is made up of musicians from The Atlanta Symphony Orchestra. Year-round training for pre-college musicians. We are now accepting Summer and Fall Into Spring Applications.

MIDDLE & UPPER SCHOOL OPEN HOUSE November 17 at 1 p.m. LOWER SCHOOL OPEN HOUSE November 18 at 1 p.m.

WE THINK BIG Connecting learning to life at every level. | Atlanta’s Performing Arts Publication 47

Born in Donauwörth Southern Germany, she started violin lessons at the age of 6, and four years later became a junior student at the Richard Strauss Konservatorium in Munich with Olga Voitova. After studying privately with Christoph Poppen for a year, she joined the Hochschule in Munich, where she studied with Ana Chumachenco 2001-2012. Veronika Eberle plays the ‘Dragonetti’ Stradivarius (1700), on generous loan from the Nippon Music Foundation.

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NOV 15/17

Concerts of Thursday, Nov. 15, 2018 8:00pm Saturday, Nov. 17, 2018 8:00pm ROBERT SPANO, Conductor LOUIS LORTIE, piano The Atlanta Symphony Orchestra Classical Series is presented by

CHRISTOPHER THEOFANIDIS (b. 1967) Symphony (2009)

q = 72 q = 112 III. q = 160 IV. q = 56




35 MIN

20 MIN

PETER ILYICH TCHAIKOVSKY (1840-1893) Concerto for Piano and Orchestra No. 1 in B-flat minor, Opus 23 (1875) 35 MIN I. Allegro non troppo e molto maestoso; Allegro con spirito II. Andantino simplice III. Allegro con fuoco

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FROM THE ARCHIVES Music Director Robert Spano and Christopher Theofanidis at the Symphony World Premiere with the Atlanta Symphony Orchestra on April 2, 2009. "My Symphony is gratefully dedicated to Robert Spano, in admiration and friendship." — Christopher Theofanidis OF J EF F R

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Ken Meltzer Program Annotator

Symphony (2009) CHRISTOPHER THEOFANIDIS was born in Dallas, Texas, on December 18, 1967. The first performance of Symphony took place at Symphony Hall in Atlanta, Georgia, on April 2, 2009, with Robert Spano conducting the Atlanta Symphony Orchestra. Symphony is scored for piccolo, two flutes, three oboes, two E-flat clarinets, three B-flat clarinets (two doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, four C-trumpets, three trombones (3rd is bass trombone), tuba, timpani, five percussion, harp and strings.

First Classical Subscription Performances: April 2-4, 2009, Robert Spano, Conductor Recording: ASO Media CD-1002, Robert Spano, Conductor


he Atlanta Symphony Orchestra and its Music Director, Robert Spano have enjoyed a long and rewarding association with Christopher Theofanidis, a member of the “Atlanta School” of composers. In 2000, Maestro Spano conducted the Houston Symphony Orchestra in the world premiere of Rainbow Body. In 2002, he and the Atlanta Symphony Orchestra recorded the work for Telarc Records. Rainbow Body has subsequently been featured as part of several ASO concerts at Symphony Hall, throughout the Atlanta area, and on tour. On May 12, 2005, Robert Spano and the Atlanta Symphony Orchestra and Chorus performed the world premiere of Mr. Theofanidis’s The Here and Now (2005), a work commissioned by Maestro Spano. In addition to performances in Atlanta and a recording for Telarc, Maestro Spano and the ASO presented the New York premiere of The Here and Now at Carnegie Hall, on April 5, 2008. Maestro Spano and the ASO have also commissioned and premiered Une Certaine Joie de Vivre (2010) and Creation/Creator (ASO Media recording). In March of 2017, Maestro Spano and the ASO gave the Atlanta premiere of Dreamtime Ancestors, commissioned by New Music of America. Mr. Theofanidis’s Symphony (2009) was commissioned by The Atlanta Symphony with the generous participation of The Savannah Music Festival and the Immanuel & Helen Olshan Texas Music Festival. Robert Spano conducted the Atlanta Symphony Orchestra in the world premiere, which took place in Atlanta Symphony Hall on April 2, 2009, at Symphony Hall. Maestro Spano and the Orchestra also recorded the work for ASO Media. Christopher Theofanidis Discusses his Symphony This is my first attempt at a symphony. The work is cast in four movements, and the outer two are the big pillars of the piece, both emotionally and in scale. The first movement is about twelve minutes (I became very interested in the way a first movement defines a symphony, and started looking around at the lengths of the major symphonies that I love, and all of them seemed to have first movements in the twelve to fifteen-minute range). The first movement and last movement both hinge on two contrasting types of energies—in the first movement, the feeling is joyous but occasionally | Atlanta’s Performing Arts Publication 51



The second movement is about eight minutes long and is quite lyrical, but not slow. There is a kind of falling (or maybe more appropriately, “raining”) music that one hears in the opening bars which comes back throughout the movement. The primary melody is by contrast an upward, surging line. There are some unusual “nocturnal” effects, including various percussion (woodblocks, claves, etc.), but more notable maybe is that the orchestra itself is called upon twice to actually sing (unobtrusively, and on neutral syllables like “ah”, but a noticeable presence nonetheless).




takes turns into a slightly out-of-control version of itself. The last movement is quite dark and monolithic in character, but is occasionally tormented by flashes of light and beauty. I saw these two movements as mirrors of each other. The first is mostly quite fast, the last has a certain breadth and grandeur with some occasional faster music.








The third movement is a brief scherzo-ritornello. It is only about four minutes in length, but moves at a good clip. The ritornello is a swirling dance with the strings darting here and there and an abundance of pizzicato for a light touch. The main melodic material is heard first in the flutes and clarinets, and that refrain is heard many times in several slightly altered guises. The contour of the darting material of the strings provides the fuel for all of the rest of the material in the movement. This movement would have an almost classical feel to it, were it not for the tidal surges of the brass and percussion from time to time. My Symphony is gratefully dedicated to Robert Spano, in admiration and friendship. —Christopher Theofanidis

I. q = 72 | II. q = 112 | III.

q = 160 | IV. q = 56

Concerto for Piano and Orchestra No. 1 in B-flat minor, Opus 23 (1875)

PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Piano Concerto No. 1 took place in Boston, Massachusetts, on October 25, 1875, with Hans von Bülow as soloist. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two First Classical Subscription clarinets, two bassoons, four horns, two trumpets, three Performance: November trombones, timpani, and strings. 17, 1953, Leonard Pennario, Piano, Henry Tchaikovsky composed his First Piano Concerto in the span of Sopkin, Conductor. approximately seven weeks, completing it on January 2, 1875. Three days after putting the finishing touches on the work, Tchaikovsky Most Recent Classical played his new Concerto for Nikolai Rubinstein—head of the Subscription Performances: January 12 and 14, Moscow Conservatory, and a superb concert pianist. Tchaikovsky, 2017, Kirill Gerstein, then a professor at the Conservatory, hoped that Rubinstein would Piano, Donald Runnicles, agree to be the soloist in the Concerto’s premiere. Conductor. Recording: Telarc CD: 80386, André Watts, Piano, Yoel Levi, Conductor.

Nikolai Rubinstein was hardly impressed with Tchaikovsky’s new composition. In a letter dated February 2, 1878, Tchaikovsky described the encounter to his patroness, Nadezhda von Meck. Written three years after the episode, the letter reflects that

52 | @AtlantaSymphony |

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BEYOND CONFIDENT At Galloway, students (age 3-grade 12) are inspired to be fearless learners, to embrace challenges, and to discover more about themselves and the world around them.

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Rubinstein’s verbal assault remained seared in the composer’s memory. A “Worthless” and “Unplayable” Concerto The meeting between Tchaikovsky and Rubinstein took place at the Conservatory, prior to a Christmas Eve party (Russian Christmas occurs, according to the Western calendar, on January 7). Tchaikovsky began to play his new Concerto, all the while anxiously awaiting Rubinstein’s comments. Finally, Tchaikovsky rose from the piano and, summoning his courage, asked Rubinstein: “Well?” It was then that there began to flow from Nikolay Grigoryevich’s mouth a stream of words, quiet at first, but subsequently assuming more and more the tone of Jove, the Thunderer. It appeared that my concerto was worthless, that it was unplayable, that passages were trite, awkward, and so clumsy that it was impossible to put them right, that as composition it was bad and tawdry, that I had filched this bit from here and that bit from there, and there were only two or three pages that could be retained, and that the rest would have to be scrapped or completely revised. The devastated Tchaikovsky hurried out of the room and proceeded upstairs. Rubinstein followed Tchaikovsky: and, noticing my distraught state, drew me aside into a distant room. There he told me again that my concerto was impossible, and after pointing out to me a lot of places that required radical change, he said that if by such-and-such a date I would revise the concerto in accordance with his demands, then he would bestow upon me the honour of playing my piece in a concert of his. By this point, Tchaikovsky had more than his fill of Rubinstein’s comments: “‘I won’t change a single note,’ I replied, ‘and I’ll publish it just as it is now!’” An American Connection


It was the distinguished German conductor and pianist, Hans von Bülow, who had the honor of being the soloist in the first performance of the Tchaikovsky First Piano Concerto. Tchaikovsky had long maintained tremendous admiration for Bülow, TC and dedicated the Concerto to him. Hans von Bülow gave the Concerto’s premiere while on an American concert tour. And so, one of the most beloved Russian piano concertos received its first performance on October 25, 1875—not in Tchaikovsky’s homeland, but in Boston, Massachusetts. AI



The American audiences immediately responded with tremendous enthusiasm to a work that remains one of the most beloved in the entire repertoire. As Tchaikovsky reported: “Each time Bülow was obliged to repeat the whole finale of my concerto! Nothing like that happens in our country.” Tchaikovsky ultimately did pen some revisions to the Concerto for the score’s publication in 1879. In time, Nikolai Rubinstein reversed his scathing opinion of Tchaikovsky’s Concerto, and even became one of its greatest interpreters. The Concerto is in three movements. The first—by far the longest of the three— opens with one of the most beloved episodes in all of concert music (Allegro non troppo e molto maestoso). This famous sequence is, in fact, the introduction to the 54 | @AtlantaSymphony |


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MEET THE ARTISTS central portion of the opening movement (Allegro con spirito), whose first theme is based upon a Ukraine folk melody. Muted pizzicato strings accompany the solo flute’s dolcissimo introduction of the slow-tempo movement’s (Andantino simplice) principal melody. The whirlwind finale (Allegro con fuoco) is again based upon a Ukraine folk tune. A more graceful melody makes a glorious reappearance at the work’s conclusion, capped by the soloist and orchestra’s breathless race to the finish. LOUIS LORTIE, PIANO


or over three decades, French-Canadian pianist Louis Lortie has performed worldwide, building a reputation as one of the world’s great pianists. He extends his interpretative voice across a broad spectrum of repertoire rather than choosing to specialize in one particular style, and his performance and award-winning recordings attest to his remarkable musical range. Lortie is in demand internationally. As Artist in Residence of the Shanghai Symphony, he performed four different programs with them throughout the 2017/18 season. He also performed with the Symphony Orchestras of Sao Paulo, Perth, Adelaide, BBC, Dallas, Taipei, Philadelphia, Budapest, Detroit, Ottawa and Toronto, and many recitals including two at the Wigmore Hall in London and one presented by the Chicago Symphony. Upcoming concerts include returns to the New York Philharmonic, and to the orchestras of Atlanta, Milwaukee, Dallas, BBC, Hamburg NDR, Sao Paulo, Vancouver Toronto, Sydney, Adelaide and New Zealand. His complete Liszt “Annees de Pelerinage” will be heard at Cal Performances, Berkeley; and to celebrate Beethoven’s 250th birthday year in 2020, he performs complete Beethoven Sonata cycles and all of the Beethoven Concertos in North America and in Europe.






Louis Lortie is the Master in Residence at The Queen Elisabeth Music Chapel of Brussels. His long-awaited LacMus International Festival ( on Lake Como, Italy, made its debut in 2017. He studied in Montreal with Yvonne Hubert (a pupil of the legendary Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and subsequently with Schnabel disciple Leon Fleischer. In 1984, Lortie won First Prize in the Busoni Competition and was also prizewinner at the Leeds Competition. Lortie has lived mostly in Europe in the last decades with homes in Berlin, Canada and Italy.


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NOV 25

Concerts of Sunday, Nov. 25, 2018 1:30pm and 3:30pm THIAGO TIBERIO, Conductor

DISNEY IN CONCERT: A Silly Symphony Celebration Video Introduction by Walt Disney Opening Montage Origins of The Silly Symphony The Skeleton Dance (1929) Advent Of Three-Strip Technicolor Flowers And Trees (1932) Development Of Personality In Animation

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.

Three Little Pigs (1933) Technological Innovations: Sfx & The Multiplane Camera The Old Mill (1937) Lessons Learned From A Decade Of Silly Symphonies The Ugly Duckling (1939) In Conclusion Music Land (1935)



young and energetic new talent with a budding international career, maestro Thiago Tiberio is often praised by his peers for mature musicianship, clarity of expression, and accurate technique. A multifaceted musician, his classical, operatic, and film music career includes work with orchestras in Germany, United Kingdom, Canada, Spain, Australia, Switzerland, Turkey, South Korea, Japan, Brazil and the United States. His latest accolades include a concert of Shostakovich’s Tenth Symphony with Neojiba Youth Orchestra, hailed by critics as “genius,” and a concert with the Orquestra Sinfônica Nacional of Brazil which included the world-premiere of a new Critical Edition of Walter Burle Marx’s Fantasia Sobre o Thema do Hymno Nacional, as well as the first time in 40 years that his Symphony No. 4 “Macumba” was performed—marking the beginning of an extensive musical restoration project by the maestro. He also produced the adaptation of the film Love Actually to its live-to-picture concert setting as arranger, orchestrator and music director. Tiberio is a specialist in musical synchronization to film, having conducted orchestras in scoring sessions during most of his career. This naturally led to positions in live-to-picture concert productions. Being a film composer as well as conductor gives him special insight into the construction, interpretation and synchronization of each score’s music. Tiberio is the recipient of a Luso-Brazilian Award, received at the United Nations in recognition for special contributions to the American communities, and an International Brazilian Press Award as “Best Musician” in 2015. He worked with John Mauceri on the Live from Lincoln Center special “Danny Elfman’s Music from the Films of Tim Burton”, which won two Emmy Awards in 2016. 58 | @AtlantaSymphony |


NOV 29 DEC 1

Concerts of Thursday, Nov. 29, 2018 8:00pm Saturday, Dec. 1, 2018 8:00pm EDWARD GARDNER, Conductor SIMON TRPČESKI, piano The Atlanta Symphony Orchestra Classical Series is presented by

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.

NOV 30

SERGEI RACHMANINOV (1873-1943) The Isle of the Dead, Opus 29 (1909)

20 MIN

Concerto for Piano and Orchestra No. 4 in G minor, Opus 40 (1926, rev. 1941) 26 MIN I. Allegro vivace II. Largo III. Allegro vivace Simon Trpčeski, piano INTERMISSION

20 MIN

Symphonic Dances, Opus 45 (1940) I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai; Allegro vivace

37 MIN

THE MUSIC BRIEF Rachmaninov’s symphonic poem The Isle of the Dead was inspired by a series of paintings by the Swiss artist Arnold Böcklin (below: Third Version, 1883), suggesting Charon transporting the dead along the River Styx to the underworld. Rachmaninov, one of the greatest pianists of his generation, composed the Fourth Concerto for his own performance. The work is a compelling synthesis of virtuoso fireworks, rich orchestration, and flowing melodies. Rachmaninov described his final composition, the Symphonic Dances as “my last spark.” The orchestral piece, in three movements, quotes earlier Rachmaninov works, as well as the ancient plainchant, the Dies irae, a leitmotif throughout the Russian composer’s career.

Concert of Friday, Nov. 30, 2018 11:00am EDWARD GARDNER, Conductor This concert does not include Rachmaninov's Piano Concerto No. 4.

60 | @AtlantaSymphony |


Ken Meltzer Program Annotator

SERGEI RACHMANINOV was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. First Classical Subscription The Isle of the Dead, Opus 29 (1909) Performance: The first performance of The Isle of the Dead took place in November 5, 1955, Moscow, Russia, on May 1, 1909, with the composer conducting Henry Sopkin, Conductor. the Moscow Philharmonic Society. The Isle of the Dead is scored Most Recent Classical for piccolo, three flutes, two oboes, English horn, two clarinets, Subscription Performances: bass clarinet, two bassoons, contrabassoon, six horns, three May 2-4, 2002, trumpets, three trombones, tuba, timpani, bass drum, cymbals, Donald Runnicles, harp, and strings. Conductor.


n the fall of 1906, Sergei Rachmaninov and his family moved from their native Russia to Dresden, where they would live for about three years’ time. The relocation offered Rachmaninov the solitude he needed to devote himself entirely to composition. In October, Rachmaninov began his Second Symphony, and finished the first draft of the score on New Year’s Day, 1907. Another great orchestral work from the Dresden years is The Isle of the Dead. Rachmaninov completed his symphonic poem in 1909, and conducted the premiere in Moscow that May 1.

The inspiration for The Isle of the Dead came from a series of paintings with the same title, by the Swiss artist Arnold Böcklin (1827-1901). While visiting Leipzig (others say the viewing took place in Paris), Rachmaninov saw a black and white print of one of the Böcklin paintings (the composer later confessed: “I was not much moved by the colour…If I had seen the original first, I might not have composed my Isle of the Dead. I like the picture best in black and white”). While each of the Böcklin paintings offers a slightly different visual perspective, the theme remains the same. The Isle of the Dead paintings depict a boat that is rowed on calm waters by a mysterious, robed figure. In the boat, a figure clad in white stands over a coffin. The boat heads toward the entrance to an island with cypress trees rising above the apex of the rocky cliffs. Many have interpreted these paintings as a representation of Charon transporting the dead along the River Styx, en route to the underworld. Rachmaninov’s symphonic poem is a magical evocation of Böcklin’s artistic vision. Throughout, a leitmotif in Rachmaninov’s works, the ancient plainchant Dies Irae (“This day, this day of wrath”) from the Requiem Mass, is a constant, unsettling presence. Concerto for Piano and Orchestra No. 4 in G minor, Opus 40 (1926, rev. 1941) The first performance of the Piano Concerto No. 4 took place at the Academy of Music in Philadelphia, Pennsylvania, on March 18, 1927, with the composer as soloist, and Leopold Stokowski conducting the Philadelphia Orchestra. In addition to the solo piano, the Concerto is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, snare drum, tambourine, triangle, cymbals, suspended cymbal, bass drum, and strings. | Atlanta’s Performing Arts Publication 61

First Classical Subscription Performances: February 9 and 10, 1961, Leonard Pennario, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: April 21-23, 2011, Simon Trpčeski, Piano, Julian Kuerti, Conductor.


achmaninov began composition of his Fourth (and final) Piano Concerto in the mid-1920s in New York, while in American for a concert tour. In April of 1926, Rachmaninov and his wife departed New York for Paris. The family then traveled to Dresden. There, Rachmaninov completed the Piano Concerto No. 4, as well as his Three Russian Folk Songs for chorus and orchestra, Opus 41.



Rachmaninov dedicated the Fourth Piano Concerto to his friend, Russian composer Nikolai Medtner (1880-1951). In a letter to Medtner, Rachmaninov commented on what he viewed as the work’s unusual length, joking that, as in the case of Richard Wagner’s Ring Cycle, the Concerto might have to be performed over the course of several evenings.




Rachmaninov revised the score of his Fourth Concerto before its premiere, which took place in Philadelphia, on March 18, 1927. Rachmaninov was the soloist, and Leopold Stokowski conducted the Philadelphia Orchestra. Also on the program were the Three Russian Folk Songs, which Rachmaninov dedicated to Stokowski. The Concerto was not particularly well received by the critics, leading Rachmaninov to revise the work further. In the summer of 1941, Rachmaninov made final revisions. On October 17, Rachmaninov was once again the soloist in the first performance of the 1941 revised version, this time with Eugene Ormandy conducting the Philadelphia Orchestra. These same artists recorded the work for RCA on December 20, 1941, a treasured document that remains in the catalogue. The Concerto is in three movements. In the opening movement (Allegro vivace) the orchestra’s surging introduction sets the stage for the soloist’s introduction of the first of three principal themes. The development of these themes generates fearsome tension and energy. The varied restatement of the themes seems to portend a lyrical resolution, instead whisked aside by the terse final bars. The soloist’s brief prelude leads to the strings’ hushed presentation of the slow-tempo movement’s (Largo) central melody. The finale (Allegro vivace) ensues without pause. It is an almost nonstop tour-de-force for the soloist, one that also includes allusions to the opening movement. The coda spotlights breathtaking passagework for the soloist, capped by an emphatic final statement.

First Classical Subscription Performance: December 14, 1964, Robert Mann, Conductor. Most Recent Classical Subscription Performances: April 6 and 7, 2017, Robert Spano, Conductor. Recording: ASO Media:1003, Robert Spano, Conductor.

Symphonic Dances, Opus 45 (1940) The first performance of the Symphonic Dances took place at the Academy of Music in Philadelphia, Pennsylvania, on January 3, 1941, with Eugene Ormandy conducting the Philadelphia Orchestra. The Symphonic Dances are scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, snare drum, triangle, tambourine, tam-tam, orchestra bells, xylophone, chimes, harp, piano, and strings.

62 | @AtlantaSymphony |



Recipient of the Regional Theatre Tony Award ®

The Flying dutchman Wagner

November 4-12, 2017 Cobb Energy Centre Recipient of the Regional Theatre Tony Award ®


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Recipient of the Regional Theatre Tony Award®


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n June 30, 1938, Russian choreographer Michel Fokine presented the world premiere of Paganini, his ballet adaptation of Sergei Rachmaninov’s work for solo piano and orchestra, Rhapsody on a Theme of Paganini, Opus 43 (1934). Rachmaninov hoped to attend the London performance, but an injury sustained after a fall made that impossible. Rachmaninov soon regained his health, and the composer/pianist resumed a demanding European and American concert tour. Finally, in the spring of 1940, Rachmaninov was able to enjoy a period of rest. He traveled to Orchard Point, an estate near Huntington, Long Island. There, Rachmaninov composed his final work, the Symphonic Dances. “My last spark” It appears that Rachmaninov first conceived the Symphonic Dances as another potential ballet subject for Fokine. Rachmaninov originally entitled the work “Fantastic Dances,” with the three movements representing “Midday,” “Twilight,” and “Midnight” (Rachmaninov later discarded these titles and designated the various movements simply by their tempo markings). Prior to orchestrating the work, Rachmaninov played excerpts of the Dances on the piano for Fokine. However, the choreographer’s death in 1942 prevented any contemplated ballet from becoming a reality. Rachmaninov initially scored his Symphonic Dances for two pianos, before completing the orchestration in the autumn of 1940. He dedicated the work to conductor Eugene Ormandy and the Philadelphia Orchestra, who gave the premiere of the Symphonic Dances on January 3, 1941. The initial critical reception was not enthusiastic. However, in time, Rachmaninov’s Symphonic Dances became widely admired as the composer’s finest orchestral achievement. Rachmaninov himself was rather surprised by his accomplishment, observing: “I don’t know how it happened, it must have been my last spark.” Rachmaninov, who died two years after the premiere of his Symphonic Dances, never composed another work. While it is not clear that Rachmaninov intended the Symphonic Dances to be his final composition, the piece does have a decidedly valedictory character. The Symphonic Dances feature quotations of earlier Rachmaninov compositions, as well as a Rachmaninov trademark, the Dies irae (“This day, this day of wrath”) chant. Further, the masterful orchestration, captivating melodies, and brilliant juxtaposition of dramatic and lyric elements are all trademarks of Rachmaninov’s art. The Symphonic Dances are in three movements. The first (Non allegro) opens with various winds, over furtive string accompaniment, introducing the movement’s principal descending “short-short-long” rhythmic figure. An expansive, lyrical interlude features a solo alto saxophone, the only time that Rachmaninov included this instrument in his music (for this, the composer sought the advice of his friend, Broadway orchestrator Robert Russell Bennett). The second movement (Andante con moto) is an extended and brilliantly-scored waltz. The finale (Lento assai; Allegro vivace) is a fantasia on the Dies irae plainchant. As in the opening movement, the finale offers a lengthy contrasting central episode in slow tempo before the Dies irae returns in the propulsive conclusion.

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hief Conductor of the Bergen Philharmonic since October 2015, Edward Gardner has already led the Orchestra on multiple international tours, including acclaimed performances in London, Berlin, Munich and Amsterdam and continuing his hugely successful relationship with Chandos Records. In demand as a guest conductor, the 2017-18 season saw Edward debut with the New York Philharmonic, San Francisco Symphony, Finnish Radio Symphony and Netherlands Philharmonic orchestras; and return to the Gewandhausorchester Leipzig, Deutsches Symphonie-Orchester Berlin, Danish National Symphony and Philharmonia Orchestra.






Highlights of the 2018-19 season include re-invitations to conduct the Chicago Symphony, Netherlands Radio Philharmonic, Royal Stockholm Philharmonic, Orchestra del Teatro alla Scala di Milano and the London Philharmonic Orchestra – the latter for concerts in London and New York. Debuts include dates with the WDR Sinfonieorchester Köln, Wiener Symphoniker, Rundfunk-Sinfonieorchester Berlin, Orchestre Nazionale Sinfonica della RAI, and a new production of Káťa Kabanová at the Royal Opera House. Music Director of English National Opera for ten years (2006-15), Edward has an ongoing relationship with New York’s Metropolitan Opera where he has conducted productions of Carmen, Don Giovanni, Der Rosenkavalier and Werther. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Glyndebourne Festival Opera and Opéra National de Paris; while opera-in-concert continues to be a part of his work with the Bergen Philharmonic, including an acclaimed Peter Grimes at the Bergen and Edinburgh International Festivals. SIMON TRPČESKI, PIANO


acedonian pianist Simon Trpčeski (pronounced terp-CHESS-kee) has established himself as one of the most remarkable musicians to have emerged in recent years, praised not only for his powerful virtuosity and deeply expressive approach, but also for his charismatic stage presence and commitment to strengthening Macedonia’s cultural image. Simon Trpčeski is a frequent soloist with the major North American orchestras, including the Cleveland and Philadelphia Orchestras, the Los Angeles Philharmonic, and the San Francisco, St. Louis, Seattle and Baltimore Symphonies. Engagements with major European ensembles include the London Symphony, Philharmonia Orchestra, London Philharmonic, Netherlands Philharmonic, Royal Liverpool Philharmonic, City of Birmingham Symphony, Royal Concertgebouw Orchestra, Deutsche SymphonieOrchester, Dresden Philharmonic, Russian National Orchestra, Orchestre National de France and St. Petersburg Philharmonic. Elsewhere he has performed with the New Japan, Seoul and Hong Kong Philharmonics, and the Sydney, Adelaide, Melbourne and New Zealand Symphonies. Highlights of Trpčeski’s 2018-19 season in North America include summer festival appearances at Ravinia with the Chicago Symphony, Blossom Music Festival with the Cleveland Orchestra, Aspen and the Cabrillo Festival of Contemporary Music

66 | @AtlantaSymphony |

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(where he premieres a new concerto written by Macedonian composer Pande Sahov); and return appearances with the New York Philharmonic and the Chicago, National, Atlanta, Houston, Milwaukee, Utah, San Diego, Nashville and Puerto Rico Symphonies. Internationally, he performs with the Oslo Philharmonic in Oslo and on tour in Spain, in the UK with the London Symphony, Philharmonia Orchestra and the Royal Liverpool Philharmonic, returns to New Zealand for a six-concert tour throughout the country, and plays recitals in Sydney, São Paulo, Seattle, Beijing, Shanghai and Adelaide.






68 | @AtlantaSymphony |



3000 Old Alabama Road • Johns Creek, Ga. 30022 • (770) 664-8055 •



he Orchestra donor list includes Annual Fund donations made June 1, 2017 – October 2, 2018. This distinguished roster represents those among the Atlanta Symphony Orchestra family who wish to honor the transformative power of music—whether experienced during a one-time performance or over the course of a lifetime. Their collective generosity sustains the Orchestra’s ability to present musically-infused educational experiences for local schools, build community both on stage and across audiences, and remain a beacon of Atlanta’s cultural legacy and future innovation. On behalf of your Atlanta Symphony Orchestra—musicians, volunteers, and staff—we thank each of you for dedicating these vital contributions to the music and programming we work so passionately to create and share. $1,000,000

Delta Air Lines, Inc.


Mrs. Anne Cox Chambers


1180 Peachtree Bank of America George M. Brown Trust Fund The Coca-Cola Company The Home Depot Foundation


Susan & Richard Anderson


AT&T Arthur M. Blank Family Foundation Thalia & Michael C. Carlos Advised Fund

Mr. & Mrs.** Bradley Currey, Jr. Ms. Lynn Eden Four Seasons Hotel Atlanta The Graves Foundation Susan & Thomas Wardell


The Antinori Foundation Farideh & Ali Azadi Foundation, Inc.

National Endowment for the Arts Victoria & Howard Palefsky

70 | @AtlantaSymphony |

Invesco Ltd. Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation

APPASSIONATO We are extremely grateful for donors who give to the Annual Fund and Gala at the Appassionato level ($10,000+). These notable supporters are granted all the benefits of Patron Partnership, as well as advance notification of concerts and exclusive ticket offers through the season, VIP parking in the Woodruff Arts Center garage ($15,000+), concert dedication opportunities ($25,000+), and more. For further information about Appassionato, contact the Development Office at 404.733.5048. $25,000+

A Friend of the Symphony (2) Alston & Bird Paul & Linnea Bert Connie & Merrell Calhoun City of Atlanta Office of Cultural Affairs Jim Cox, Jr. Foundation The Roy & Janet Dorsey Foundation Betty Sands Fuller Fulton County Arts & Culture Mr. & Mrs. Gary Lee, Jr. Hank Linginfelter Charles H. Loridans Foundation The Marcus Foundation, Inc. Massey Charitable Trust Janice Murphy** Terence L. & Jeanne Perrine Neal* Porsche Cars North America, Inc. Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. Mary & Jim Rubright Bill & Rachel Schultz* Mrs. Charles A. Smithgall, Jr. Mr. G. Kimbrough Taylor & Ms. Triska Drake Turner The UPS Foundation Patrick & Susie Viguerie Ann Marie & John B. White, Jr.*

Georgia Council for the Arts The Hertz Family Foundation, Inc. Kero-Jet Ken & Carolyn Meltzer Ms. Molly Minnear Moore Colson, CPAs & Bert & Carmen Mills Caroline & Joe O’Donnell The Sally & Peter Parsonson Foundation David & Mary Scheible Mr. & Mrs. W. Ross Singletary, II Adair & Dick White Mrs. Sue S. Williams


Madeline & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward Juliet & John Allan Rita & Herschel Bloom Mr. David Boatwright The Breman Foundation, Inc. Janine Brown & Alex J. Simmons, Jr. The John W. & Rosemary K. Brown Family Foundation The Capital Group Companies Charitable Foundation Wright & Alison Caughman Cari K. Dawson & John M. Sparrow Russell Currey & Amy Durrell Donna Lee & Howard Ehni $17,500+ Ms. Angela L. Evans Pinney L. Allen & Charles Fifth Third Bank C. Miller III Georgia Power Cheryl & Chris Bachelder Foundation, Inc. Mr. & Mrs. Paul J. Blackney Jeannette Guarner, MD & CBH International, Inc Carlos del Rio, MD

Jason & Carey Guggenheim/Boston Consulting Group Joe Hamilton Bonnie & Jay Harris Kimberly-Clark Foundation D. Kirk & Kimberlee Jamieson Brian & Carrie Kurlander James H. Landon Dr. Ginger Chen & Mr. Sukai Liu Meghan & Clarke Magruder John & Linda Matthews Lynn & Galen Oelkers The Piedmont National Family Foundation Martha M. Pentecost The Piedmont National Family Foundation Jennifer Barlament & Kenneth Potsic Joyce & Henry Schwob June & John Scott Charlie & Donna Sharbaugh Slumgullion Charitable Fund Amy & Paul Snyder Carol & Ramon Tomé Family Fund John & Ray Uttenhove Mr. James Wells & Mrs. Susan Kengeter Wells


A Friend of the Symphony (2) Aadu & Kristi Allpere* In memory of Leigh Baier Julie & Jim Balloun Bell Family Foundation Walter & Frances Bunzl Foundation John W. Cooledge Correll Family Foundation, Inc.

Janet Davenport, in honor of Norman Mackenzie Marcia & John Donnell Mr. Richard H. Delay & Dr. Francine D. Dykes Eleanor & Charles Edmondson Eversheds Sutherland (US) LLP The Robert Hall Gunn, Jr., Fund Georgia-Pacific Georgia Natural Gas Hertz Family Foundation Roya & Bahman Irvani Clay & Jane Jackson Ann A. & Ben F. Johnson, III Anne & Mark Kaiser Anne Morgan & Jim Kelley King & Spalding Pat & Nolan Leake John F. & Marilyn M. McMullan Walter W. Mitchell The Monasse Family Foundation Dr. & Mrs. Ebbie & Ayana Parsons Suzanne & Bill Plybon Mr. Andrew Saltzman Mr. John A. Sibley III Dr. Steven & Lynne Steindel* Peter James Stelling Alison & Joe Thompson The Trapp Family Turner Foundation, Inc. United Distributors Chilton & Morgan Varner Kathy Waller & Kenneth Goggins Mark & Rebekah Wasserman Mrs. Virginia S. Williams Ms. Joni Winston

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. | Atlanta’s Performing Arts Publication 71


Helga Beam vice chair , solicitation Deedee Hamburger vice chair , programs

Belinda Massafra Judy Hellriegel vice chair , cultivation solicitation committee June Scott Milt Shlapak vice chair , communications member - at - large Bill Buss Peter Stelling

Sally Parsonson

cultivation committee

solicitation committee

programs committee

cultivation committee

Marcia Watt communications committee

Jonne Walter

Pat Buss cultivation committee

THE PATRON PARTNERSHIP We extend deep gratitude to all members who give to the Annual Fund at the Patron Partnership level ($2,000 - $9,999). These sustaining supporters enjoy exclusive invitations to post-concert Symphony Nightcaps, complimentary access to private dining in the Robert Shaw Room ($2,500+), and invitations to A Seat with the Symphony On-Stage Rehearsals ($5,000+). For more information about Patron Partnership, contact the Development Office at 404.733.4839. $7,500+

Tad & Janin Hutcheson Robert & Sherry Johnson Paul & Rosthema Kastin Peter & Vivian de Kok Mr. & Mrs. J. Hicks Lanier Mr. & Mrs. Theodore J. Lavallee, Sr. Isabel Lamy Lee Peg & Jim Lowman Mary Ruth McDonald Mr. & Mrs. Peter $5,000+ Moraitakis A Friend of Franca G. Oreffice the Symphony (3) William & Gloria Allgood Ms. Margaret Painter Margaret H. Petersen Jack & Helga Beam The Hellen Ingram Patricia & William Buss Plummer Charitable Cadillac Foundation, Inc. Robert Wenger & Mr. Leonard B. Reed* Susan Carney Mr. & Mrs. Joel F. Reeves Ruth & Mark Coan Mrs. Vicki J. Riedel William & Patricia Cook Mrs. Robin Rodbell Mr. & Mrs. Jonathan J. Mr. Joseph A. Roseborough Davies John T. Ruff Carol Comstock & The Selig Foundation Jim Davis* Hamilton & Mason Smith Ms. Diane Durgin Ellen & Howard Feinsand Mrs. C. Preston Stephens Mr. & Mrs. William A. Flinn John & Yee-Wan Stevens Mrs. Sheila Tschinkel Mary & Charles Ginden Alan & Marcia Watt Mr. & Mrs. Richard Goodsell Dr. & Mrs. James O. Mr. & Mrs. Joshua Harbour Wells, Jr. Thomas E. Whitesides, Mr. & Mrs. Charles B. Jr. M.D. Harrison Hubert H. Whitlow, Jr. Sally W. Hawkins Suzanne B. Wilner Azira G. Hill Lisa & Russ Butner Sally & Carl Gable Deedee & Marc Hamburger* Mr. Randolph J. Koporc Piedmont National Family Foundation Betsy & Lee Robinson Beverly & Milton Shlapak

Mr. Baxter P. Jones & Dr. Jiong Yan Mr. & Mrs. Comer Yates


Dr. Evelyn R. Babey Mr. & Mrs. Dennis M. Chorba Mr. Richard Dowdeswell Greg & Debra Durden Dr. & Mrs. Carl D. Fackler James & Bridget Horgan Donald S. Orr & Marcia K. Knight Lillian Balentine Law Deborah & William Liss Belinda & Gino Massafra Mr. Bert Mobley Michael & Carol Murphy Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk In memory of Dr. Frank S. Pittman III S.A. Robinson Suzanne Shull Mr. & Mrs. Edward W. Stroetz, Jr. Stephen & Sonia Swartz George & Amy Taylor Dale L. Thompson Burton Trimble Drs. Jonne & Paul Walter Mr. & Mrs. M. Beattie Wood Camille W. Yow

72 | @AtlantaSymphony | 74


A Friend of the Symphony (5) Ms. Amy Gerome-Acuff & Mr. Daniel Acuff Kent & Diane Alexander Mr. & Mrs. Stephen D. Ambo The Hisham & Nawal Araim Foundation Scott & Chris Arnold Ms. Susan Ascheuer-Funke Lisa & Joe Bankoff Xavier Duralde & Mary Barrett Mr. & Mrs. Patrick Battle Mr. & Mrs. Billy Bauman Dr. & Mrs. Joel E. Berenson Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower Martha S. Brewer Ms. Harriet Evans Brock Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Karen & Rod Bunn Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Ronald E. Canakaris Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer

Ralph & Rita Connell Jean & Jerry Cooper Jonathan & Rebekah Cramer Susan & Ed Croft Mr. & Mrs. Erik Curns Mr. & Ms. Jay M. Davis Sally & Larry Davis Mr. & Mrs. Donald Defoe Mr. Philip A. Delanty Mary & Mahlon Delong Mr. & Mrs. James Durgin Mr. & Mrs. Robert G. Edge Mr. & Mrs. David H. Eidson Dieter Elsner George T. & Alecia H. Ethridge Mr. & Mrs. Craig Fleming Mr. & Mrs. Bruce W. Flower Anthony Barbagallo & Kristen Fowks Viki & Paul Freeman Raj & Jyoti Gandhi Family Foundation Representative Pat Gardner & Mr. Jerry Gardner Mr. & Mrs. Edward T.M. Garland Drs. John & Gloria Gaston Mary D. Gellerstedt Sally & Walter George Caroline M Gilham Marty & John Gillin* Spencer Godfrey Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mrs. Louise Grant Lauren & Jim Grien

Mr. & Mrs. George Gunderson Barbara & Jay Halpern Phil & Lisa Hartley John & Martha Head Mr. & Mrs. John Hellriegel Kenneth R. Hey Thomas High Sarah & Harvey Hill Mr. Ron Hilley & Mrs. Mia Frieder Hilley Laurie House Hopkins & John D. Hopkins Mrs. Sally Horntvedt Dr. Michael D. Horowitz Drs. Patricia & Roger J. Hudgins Dona & Bill Humphreys Mrs. James M. Hund JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Bucky & Janet Johnson Robert N. Johnson, Esq. - Shareholder, Baker Donelson Law Firm Mr. W. F. & Dr. Janice Johnston William L. & Sally S. Jorden Ann T. Kimsey Mrs. Jo W. Koch David & Jill Krischer Wolfgang & Mariana Laufer Mr. & Mrs. Van R. Lear Olivia A. M. Leon Eddie & Debbie Levin Mr. & Mrs. Bertram L. Levy Mr. & Mrs. J. David Lifsey

Joanne Lincoln** Mr. & Mrs. Frederick C. Mabry Mr. Gary Madaris Kay & John T. Marshall Charles Bjorklund & Sted Mays Martha & Reynolds McClatchey Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Mr. & Mrs. Ed Mendel , Jr. Mr. & Mrs. Tom Merkling* Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Dr. Mary G. George & Mr. Kenneth Molinelli Ms. Susan R. Bell & Mr. Patrick M. Morris Judge Jane Morrison Janice & Tom Munsterman Ann A. Nable Melanie & Allan Nelkin Gary R. Noble Barbara & Sanford Orkin Mr. & Mrs. E. Fay Pearce, Jr.* Ms. Susan Perdew Elise T. Phillips Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. Ms. Kathy Powell Mr. Walter Pryor Ms. Cathleen Quigley Ms. Eliza Quigley Mrs. Susan H. Reinach Dr. Fulton D. Lewis III & S. Neal Rhoney

Susan Robinson & Mary Roemer Jan Lyons Robison Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. Mark Rosenberg Jane & Rein Saral Dr. Andrew Muir & Dr. Bess Schoen Mr. & Mrs. Martin Shapiro Nick & Annie Shreiber Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Mark & Linda Silberman Mr. K. Douglas Smith Baker & Debby Smith Johannah Smith Ms. Martha Solano Dr. Daniel Blumenthal & Dr. Marjorie Speers Dr. Odessa K. Spraggins Mr. & Mrs. Raymond F. Stainback, Jr. Lou & Dick Stormont Mr. Phillip Street Kay & Alex Summers Judith & Mark K. Taylor Vogel Family Foundation Carol Brantley & David Webster Dr. Nanette K. Wenger David & Martha West Sally Stephens Westmoreland Ron & Susan Whitaker Russell F. Winch Herbert & Grace Zwerner Mrs. Frank L. Wilson, Jr.

HENRY SOPKIN CIRCLE The Henry Sopkin Circle celebrates cherished individuals and families who have made a legacy gift to the Atlanta Symphony Orchestra. Whether through a bequest, beneficiary designation or trust distributions, planned gifts ensure the ASO’s success for future generations. Like the ASO’s first Music Director, Henry Sopkin, our planned giving donors preserve the Orchestra’s foundation, while simultaneously shaping its future. To learn more about the Henry Sopkin Circle, please contact the Development Office at 404.733.5044. Anonymous (21) Madeline & Howell E. Adams, Jr.

Mr.** & Mrs. John E. Aderhold Mr. & Mrs. Ronald R. Antinori

Dr. & Mrs. William Bauer Mr. Charles D. Belcher** Neil H. Berman

Susan & Jack Bertram Mr.** & Mrs.** Karl A. Bevins

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased | Atlanta’s Performing Arts Publication 75 73

ASO | SUPPORT HENRY SOPKIN CIRCLE The Estate of Donald S. & Joyce Bickers Mr.** & Mrs. Sol Blaine 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 Mr. & Mrs. William R. Cummickel John R. Donnell Dixon W. Driggs** Pamela Johnson Drummond Mrs. Kathryn E. Duggleby Catherine Warren Dukehart Ms. Diane Durgin Mr. Richard H. Delay & Dr. Francine D. Dykes Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge 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 Mr.** & Mrs. L.L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson 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. 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. Stephen L. Naman Mr. & Mrs. Bertil D. Nordin Mrs. Amy W. Norman** Galen Oelkers Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonsons 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 Pulgram 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 Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser 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 C. Mack** & Mary Rose Taylor 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

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

74 | @AtlantaSymphony | 76

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The Molly Blank of the Arthur Fund M. Family Foundat Blank ion

UNE 2017 H E AT R E | J T H E F OX T Theatre Tony Award




Recipient of the Regional




GARDENER Atlanta Botanica l Garden May 19 & 20, 2017














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OM TLANTA .C ENCOREA PM 5/24/17 7:11 ASO_1706_1-64.indd 1

JUN 2017


Spring 2017

JUN 10 – JUL 16, 2017 TAO_1705_Sec


5/25/17 12:22 AM



Robert Spano Music Director

Fox 1706_MammaMia


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3/14/17 7:43 PM 5/10/17 2:47 PM

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Find out what you need to know before the show. Read the current and past Encore Atlanta programs for the Fox Theatre; Atlanta Symphony Orchestra and Alliance Theatre at Woodruff Arts Center; The Atlanta Opera; Rialto Center for the Arts and Cobb Energy Performing Arts Centre online at

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



$500,000+ A Friend of the Atlanta Symphony Orchestra (2) Bank of America Chick-fil-A Foundation | Rhonda and Dan Cathy The Community Foundation for Greater Atlanta Mr. and Mrs.* Bradley Currey, Jr. Douglas J. Hertz Family Foundation Ms. Lynn Eden Forward Arts Foundation Georgia Power Foundation, Inc. The Home Depot Foundation

The Marcus Foundation, Inc. Sarah and Jim Kennedy SunTrust Teammates SunTrust Foundation SunTrust Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust The Zeist Foundation

$400,000+ Abraham J. & Phyllis Katz Foundation

PwC, Partners & Employees

$300,000+ EY, Partners & Employees King & Spalding, Partners & Employees KPMG LLP, Partners & Employees Lucy R. and Gary Lee, Jr. The Rich Foundation

The Sara Giles Moore Foundation Spray Foundation, Inc. UPS Mr. and Mrs. Leonard Wood

$250,000+ Invesco Ltd. Victoria and Howard Palefsky Pussycat Foundation

Louise S. Sams and Jerome Grilhot Turner

Contributions Made: June 1, 2017 – May 31, 2018 Beauchamp C. Carr Challenge Fund Donors *Deceased | Atlanta’s Performing Arts Publication 77


The Patron Circle includes donors who generously made contributions of $15,000 or more enterprise-wide.

Contributions Made: June 1, 2017 – May 31, 2018 | Beauchamp C. Carr Challenge Fund Donors | * Deceased

$200,000+ The Andrew W. Mellon Foundation Deloitte, its Partners & Employees Beth and Tommy Holder Mr. and Mrs. Solon P. Patterson Patty and Doug Reid The Sartain Lanier Family Foundation The Shubert Foundation

$150,000+ Madeline and Howell E. Adams, Jr. Alston & Bird Amy W. Norman Charitable Foundation Sandra and Dan Baldwin Dan and Merrie Boone Foundation / Dan W. Boone III The David, Helen & Marian Woodward Fund George M. Brown Trust Fund Georgia Natural Gas PNC Garnet and Dan Reardon Mr. and Mrs. Fred Richman Susan and Tom Wardell Wells Fargo

$100,000+ 1180 Peachtree Lauren Amos The Antinori Foundation / Ron and Susan Antinori Atlanta Homes & Lifestyles Atlantic Station Kathy and Ken Bernhardt Carol and Ramon Tomé Family Fund Barbara and Steve Chaddick Ann and Tom Cousins Crawford & Company First Data Corporation Sally and Carl Gable Georgia-Pacific Nena C. Griffith John H. & Wilhelmina D. Harland Foundation Jones Day Foundation & Employees Kaiser Permanente Kilpatrick Townsend Merrill Lynch National Endowment for the Arts Neiman Marcus Beth and David Park Revlon, Inc. Mr. Jim Richman Judith and Mark Taylor WestRock Company The Woodruff Arts Center Employees

$75,000+ Susan and Richard Anderson Arnall Golden Gregory LLP The Arthur M. Blank Family Foundation

City of Atlanta Mayor’s Office of Cultural Affairs Melinda and Brian Corbett Equifax Inc. Fulton County Board of Commissioners Google Mr. Kenneth Haines The Imlay Foundation Legendary Events Mr. and Mrs. Al Longman Massey Charitable Trust Merry McCleary and Ann Pasky Novelis, Inc. Publix Super Markets Charities

Margaret and Bob Reiser The Selig Foundation: Linda & Steve Selig and Cathy & Steve Kuranoff Mr. and Mrs. Marc Skalla Sara and Paul Steinfeld Margaret and Terry Stent Mr. Les Stumpff and Ms. Sandy Moon Mr.* and Mrs. Edus H. Warren, Jr. Dr. Stephen Wells and Mr. Wil Hackman Rod Westmoreland


A Friend of the Alliance Theatre & Woodruff Arts Center ABM The Allstate Foundation Arby’s Foundation Spring and Tom Asher Assurant Atlanta Beverage Company Atlanta Marriott Marquis Farideh and Al Azadi The Balloun Family Barbara and Ron Balser Lisa and Joe Bankoff Anna and Ed Bastian BB&T Mr. and Mrs. Paul Bert Jane and Dameron Black Mr. and Mrs. Paul J. Blackney Nancy and Kenny Blank Stephanie Blank-Jomaky BlueCross BlueShield of Georgia BNY Mellon Wealth Management The Boston Consulting Group Lee Ann and Terry Broscher Janine Brown and Alex J. Simmons, Jr. Lucinda W. Bunnen Frances B. Bunzl/The Walter & Frances Bunzl Foundation Mr. and Mrs. C. Merrell Calhoun Mr. and Mrs. Anthony Catalfano The Charles Loridans Foundation, Inc. Colliers International Cousins Properties Ann and Jeff Cramer Erica and David Cummings Mr. and Mrs. Tye G. Darland Marcia and John Donnell Mrs. Sarah A. Eby-Ebersole and Mr. W. Daniel Ebersole Abby and Matt Echols Mr. and Mrs. Mark A. Eden Ms. Angela L. Evans Ellen and Howard Feinsand Flavors Magazine Betty Sands Fuller Peggy Foreman Frances Wood Wilson Foundation Doris and Matthew Geller

A Friend of the High Museum of Art A Friend of The Woodruff Arts Center Mr. and Mrs. Henry Aaron Aarati and Peter Alexander AT&T Bloomberg Philanthropies Mr. and Mrs. James A. Carlos Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Sherri and Jesse Crawford DS Services Ed and Claude Fortson Charitable Trust Eversheds, Partners & Employees Katie and Reade Fahs Four Seasons Hotel Atlanta The Fraser-Parker Foundation Mr. Martin Gatins General Electric Company Genuine Parts Company Sara Goza The Graves Foundation The Partners & Employees of GreenSky, LLC/David Zalik, CEO & Chairman/Gerry Benjamin, Vice Chairman Allison and Ben Hill Holder Construction Company The Howell Fund, Inc. Mr. and Mrs. Hilton H. Howell, Jr. Karen and Jeb Hughes Intercontinental Exchange, Inc. JLL Mr. and Mrs. Michael L. Keough Mr. Joel S. Knox and Ms. Joan Marmo Ms. Nina Lesavoy The MAGNUM Companies Morris Manning & Martin LLP The Naserian Foundation Norfolk Southern Foundation Northwestern Mutual Goodwin, Wright/ Northwestern Benefit/ Bert and Cathy Clark Mr. and Mrs. Michael Plant The Primerica Foundation R. Howard Dobbs, Jr. Foundation Regions Bank


78 | @AtlantaSymphony |

Mr. and Mrs. Lawrence L. Gellerstedt III Geographics, Inc. Georgia Council for the Arts Shearon and Taylor Glover GMT Capital Corporation Goldman Sachs Carolyn and David Gould Nancy and Holcombe Green Susan and James B. Hannan The Harold and Mimi Steinberg Charitable Trust Nancy and Charles Harrison Virginia Hepner and Malcolm Barnes Mr. Wayne S. Hyatt IHG Jane and Clayton Jackson The Jim Cox, Jr. Foundation The John W. and Rosemary K. Brown Family Foundation Andrea and Boland Jones Anne and Mark Kaiser John C. Keller Mr. and Mrs. Michael A. Klump Hank Linginfelter Livingston Foundation, Inc. Lockheed Martin Kelly Loeffler and Jeffrey Sprecher MAP Fund The Mark and Evelyn Trammell Foundation MaxMedia Margot and Danny McCaul Mr. and Mrs. Forrest McClain Sally and Allen McDaniel McKenney’s Inc. Mr. and Mrs. John F. McMullan MetLife The Michael and Andrea Leven Family Foundation Judy Zaban Miller and Lester Miller Mrs. Nancy Montgomery Starr Moore and the James Starr Moore Memorial Foundation Moore Stephens Tiller Mr. and Mrs. James H. Morgens Moxie Ms. Janice Murphy* NCR Foundation Nelson Mullins Northern Trust Northside Hospital O. Wayne Rollins Foundation Lynn and Galen Oelkers Oxford Industries Martha M. Pentecost Susan and David Peterson Porsche Cars North America Alessandra and Elton Potts Printpack Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Mr. and Mrs. Robert Reeves Mr. and Mrs. Gregory K. Rogers

$25,000 + CONTINUED The Roy and Janet Dorsey Foundation Mary and Jim Rubright Ryder Truck Rental, Inc. Saks Fifth Avenue The Sally & Peter Parsonson Foundation SCANA Energy Rachel and Bill Schultz Joyce and Henry Schwob Bijal Shah and Doug Shipman Mr. and Mrs. Ross Singletary II Skanska Smith & Howard, PC Mrs. Lessie B. Smithgall Southwire Company Mr. G. Kimbrough Taylor and Ms. Triska Drake Lisa Cannon Taylor and Chuck Taylor Tents Unlimited Troutman Sanders U.S. Trust United Distributors, Inc. Mr. Brandon Verner Susie and Patrick Viguerie Kathy N. Waller Rebekah and Mark Wasserman Mr. and Mrs. Brad L. Watkins Ann Marie and John B. White, Jr. Elizabeth and Chris Willett Mrs. Sue S. Williams Wilmington Trust Suzanne B. Wilner Jan and Greg Winchester Ellen and John Yates

$15,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the High Museum of Art A Friend of The Woodruff Arts Center (2) AAA Parking Kristie and Charles Abney Acuity Brands, Inc. Keith Adams and Kerry Heyward Robin Aiken and Bill Bolen Akris Mr. and Mrs. John M. Allan Allied Universal Altria Client Services, Inc. American Express Mr. James L. Anderson Yum and Ross Arnold Wendy and Neal Aronson Ms. Evelyn Ashley and Mr. Alan McKeon Juanita and Gregory Baranco Jennifer Barlament and Kenneth Potsic Mr. and Mrs. Joseph F. Best III Nancy and Phil Binkow Laura and Stan Blackburn The Blanche Lipscomb Foundation Mrs. Stephanie Blomeyer Rita and Herschel Bloom Mr. David Boatwright Susan V. Booth and Max Leventhal Lisa and Jim Boswell The Breman Foundation, Inc.

Ron and Lisa Brill Brown & Brown Insurance, Inc. Bryan Cave Leighton Paisner Ms. Mary Cahill and Mr. Rory Murphy Camp-Younts Foundation The Capital Charities Group Companies Charitable Foundation Mr. and Mrs. Jeffrey S. Cashdan Wright and Alison Caughman CBH International, Inc. Center Family Foundation The Chatham Valley Foundation, Inc. Children’s Healthcare of Atlanta Choate Construction Chubb CIBC Private Wealth Management Susan and Carl Cofer Ann and Steve Collins Costco Wholesale Charlene Crusoe-Ingram and Earnest Ingram Rebecca and Chris Cummiskey Russell Currey and Amy Durrell Cheryl Davis and Kurt Kuehn Cari Dawson and John Sparrow Mr. and Mrs. Jeffrey A. DeHart Dennis Dean Catering Mr. and Mrs. Richard A. Denny, Jr. Dewberry Capital Mr. and Mrs. William W. Dixon Suzanne and Randal Donaldson Margaret and Scott Dozier DPR Construction Diane Durgin Eagle Rock Distributing Company Mr. and Mrs. Roderick Edmond Mr. Fredric M. Ehlers and Mr. David Lile Virginia and Brent Eiland Mr. and Mrs. Gordon Ely-Kelso Fifth Third Bank Jennifer and Marty Flanagan Gertrude and William C. Wardlaw Fund Marsha and Richard Goerss Mr. and Mrs. Richard Goodsell Graphic Packaging International, Inc. Jeannette Guarner, MD and Carlos del Rio, MD Jason and Carey Guggenheim/ Boston Consulting Group Gulfstream Aerospace Corporation Mr. Patrick J. Gunning Joe Hamilton Mr. and Mrs. Tom Harbin Bonnie and Jay Harris Mr. and Mrs. Greg Henry Mr. and Mrs. Jack K. Holland Jocelyn J. Hunter Mr. and Mrs. Bahman M. Irvani Mr. and Mrs. E. Neville Isdell

Phil and Jenny Jacobs D. Kirk and Kimberlee Jamieson Liza and Brad Jancik Lou Brown Jewell John and Mary Franklin Foundation Ann A. and Ben F. Johnson III Mary and Neil Johnson Sam Johnson Mr. Baxter P. Jones and Dr. Jiong Yan JP Morgan Private Bank Mr. James F. Kelley and Ms. Anne H. Morgan Philip I. Kent Kero-Jet Kimberly-Clark Malinda and David Krantz Carrie and Brian Kurlander Louise and E.T. Laird Dr. and Mrs. Scott I. Lampert James H. Landon Donna Lee and Howard Ehni Renee and Alan D. Levow Mr. Sukai Liu and Dr. Ginger J. Chen Ms. Jackie Lunan Lyft Macy’s Meghan and Clarke Magruder Dr. and Mrs. Steven Marcet Larry and Lisa Mark Ms. Barbara L. Matlock Mr. Kenneth H. and Dr. Carolyn C. Meltzer Anna and Hays Mershon Ms. Molly Minnear Hala and Steve Moddelmog Phil and Caroline Moïse Moore Colson, CPAs & Bert & Carmen Mills Morgan Stanley - Private Wealth Management Terence L. and Jeanne P. Neal Ms. Maripat Newington Noble Investment Group North Highland Caroline and Joe O’Donnell Gail O’Neill and Paul E. Viera Barbara and Sanford Orkin Vicki and John Palmer Karen and Richard Parker Perkins+Will Piedmont Charitable Foundation, Inc. The Piedmont National Family Foundation Suzanne and Bill Plybon Mr. Marc Pollack and Mrs. Robin Pollack Ponce City Market Porter Novelli Public Relations Portman Holdings Sandra and Larry Prince PulteGroup, Inc. Mr. and Mrs. Peter Quinones Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. William C. Rawson Redline Property Partners, LP Mr. and Mrs. Jonas Reisinger The Robert Hall Gunn, Jr. Fund Mr. and Mrs. Sidney Rodbell Mr. and Mrs. William H. Rogers, Jr. Patricia and Maurice Rosenbaum

Dr. and Mrs. Arnold B. Rubenstein Jack Sawyer and Dr. Bill Torres Mr. and Mrs. Derek Schiller Marci Schmerler and Walter W. Mitchell June and John Scott Seefried Industrial Properties ServiceNow Dr. and Mrs. Jeffrey Shapiro Mr. and Mrs. Charles Sharbaugh Dean DuBose and Bronson Smith Mr. and Mrs. E. Kendrick Smith Dr. and Mrs. Dennis Lee Spangler Karen and John Spiegel Gail and Loren Starr Dr. Steven and Lynne Steindel Charlita Stephens-Walker and Delores Stephens Edward Stephenson and Mo Akbar Michelle and Stephen Sullivan Surya Synovus Mr. Hugh M. Tarbutton , Jr. Thalia & Michael C. Carlos Foundation Thomas H. Lanier Family Foundation Lizanne Thomas and David Black Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Total Wine & More The Trillist Companies, Inc. & Yoo on the Park UBS Financial Services Inc. John and Ray Uttenhove Mr. and Mrs. K. Morgan Varner III Vine Vault Mr. and Mrs. William F. Voyles Kim and Reggie Walker Weber Shandwick Dr. James Wells and Mrs. Susan Kengeter Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Sue and John Wieland James B. and Betty A. Williams Richard Williams and Janet Lavine Willis Towers Watson Ms. Joni Winston Diane Wisebram and Edward D. Jewell Adair and Dick White Worldpay US, Inc. Paul Wrights WXIA-TV, 11Alive J. Comer Yates Mary and Bob Yellowlees Amy and Todd Zeldin | Atlanta’s Performing Arts Publication 79

ASO | TICKET INFO CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.

WOODRUFF ARTS CENTER BOX OFFICE Open Tue - Sat: noon – 6pm; Sun: noon – 5pm. Please note: No refunds or exchanges. All artists and programs are subject to change.

SINGLE TICKETS Call 404.733.5000. Tue - Sat: noon – 6pm; Sun: noon – 5pm. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final.

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

WWW.ATLANTASYMPHONY.ORG Order anytime, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000. DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.5263 or visit

ASO | GENERAL INFO LATE SEATING Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office to make advance arrangements: 404.733.5000. SYMPHONY STORE The Symphony Store is open before, during and after most concerts. THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,500 annually to become members of this private dining room to enjoy cocktails and dinner on concert evenings — private rentals are also available. Call 404.733.4839.

IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info)


Symphony Hall Box Office


Ticket Donations/Exchanges


Subscription Information/ Sales


Group Sales


Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Symphony Store


Donations & Development


80 | @AtlantaSymphony |



DEC 13 Thu: 8pm

DEC 8/9 Sat: 3 & 8pm | Sun: 3 & 8pm



Norman Mackenzie, conductor Morehouse College Glee Club Gwinnett Young Singers ASO Chorus

DEC 16 Sun: 1:30 & 3pm

Norman Mackenzie, conductor ASO Chamber Chorus


Stephen Mulligan, conductor

DEC 20/21 Thu/Fri: 8pm

A holiday

The Coca-Cola Holiday Concerts are presented by Coca-Cola. Holiday concerts are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.


Stephen Mulligan, conductor | Atlanta’s Performing Arts Publication 81

ASO | STAFF EXECUTIVE Jennifer Barlament executive director

Stephanie Smith executive assistant

Alvinetta CookseyWyche executive services

ATLANTA SYMPHONY Adam Fenton HALL LIVE director of multimedia technology Nicole Epstein senior director of Caitlin Hutchinson atlanta symphony

marketing coordinator senior director of

hall live

Natcha McLeod

Lisa Eng


Christine Lawrence

V.S. Jones

associate marketing

event coordinator



William Strawn

Joanne Lerner

Kim Hielsberg analysis

publications director

box office manager

Clay Schell

financial planning

- aso & live Robert Phipps

multimedia creative

chief financial officer

senior director of

director of marketing


office assistant


vice president of development

Shannon McCown

Elizabeth Arnett

office manager

director of

Brandi Reed




symphony store







Kaitlin Gress manager, atlanta symphony youth orchestra

Tiffany I. M. Jones managing producer of education concerts

Ruthie Miltenberger manager of family programs

senior director

Kendall Roney

of sales

family programs assistant



Adrienne Thompson manager, talent


Melanie Kite ticketing director

development program


Pam Kruseck

Tyrone Webb

staff accountant

Nancy Field

director of patron

April Satterfield

manager of grants


ARTISTIC Evans Mirageas


William Keene manager of individual giving

vice president for

Gillian Kramer

artistic planning

manager of special

Jeffrey Baxter


choral administrator


& community Ryan Walks

Jesse Pace

tdp anniversary



patron services manager

Robin Smith patron services


season tickets


Terra McVoy

manager of education



Christopher Stephens group & corporate



OPERATIONS Sameed Afghani general manager

Paul Barrett senior production

Christopher McLaughlin

manager of

manager of artistic

program annotator


Carol Wyatt

senior director

Joseph Brooks

of marketing

assistant stage


Ken Meltzer

executive assistant to the music director


principal guest


development operations

sales manager

Caroline Tanner patron services assistant


stage manager

Tyler Benware operations manager

Megan Brook personnel assistant



KC Commander

Richard Carvlin

digital marketing

stage manager


Bob Scarr

Elizabeth Daniell communications manager

82 | @AtlantaSymphony |

archives program manager


Mayor’s Office of Cultural Affairs

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

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

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

ARTSATL | Atlanta’s Performing Arts Publication 83


Join us before the show for an abbreviated pre-theater chef’s tasting. Visit our website for more information & reservations.

2277 Peachtree Road Atlanta, GA 30309 404.355.0321

READ ENCORE ATLANTA ONLINE Find out what you need to know before the show. Read the current and past Encore Atlanta programs for the Fox Theatre, Atlanta Symphony Orchestra, Alliance Theatre, The Atlanta Opera, Rialto Center for the Arts and Cobb Energy Performing Arts Centre online at

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EA-Issuu_2017_QP.indd 1

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84 | @AtlantaSymphony |

2:15 PM


WORKING TOGETHER. WORKING FOR YOU. At WellStar Health System, we want every patient to receive the care they need right here in Georgia. As a member of the Mayo Clinic Care Network, our doctors have special access to Mayo Clinic knowledge, expertise and resources. And you get the peace of mind that comes with knowing we’re here for you.

ASK YOUR WELLSTAR PHYSICIAN ABOUT THE MAYO CLINIC CARE NETWORK. WellStar is the first health system in Georgia to become a member of the Mayo Clinic Care Network. 770-956-STAR (7827)