DONALD RUNNICLES Principal Guest Conductor
MAY 2019 encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication
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CONTENTS | MAY 2019
16 TIMPANI SERENDIPITY
How two brothers found their voices on the kettledrums By Mark Gresham
10 Robert Spano 12 Orchestra Leadership 14 ASO Musicians 26 Concert Program & Notes 60 ASO Support 70 Ticket Info/General Info 72 ASO Staff
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encoreatlanta.com | Atlanta’s Performing Arts Publication
The Grammy® Award-winning Atlanta Symphony Orchestra’s
75th Anniversary Season will bring people together through the
transformative power of music. The ASO is as unparalleled and vibrant as the city we represent. We have our own unique sound, an appetite for artistic innovation, and a spirit that is woven into the fabric of our community. The 2019/20 season will open in September with superstar violinist Joshua Bell. We will continue the celebration by welcoming many of our dear friends to Symphony Hall, including
Itzhak Perlman, Midori, Emanuel Ax, André Watts, and many more.
We are proud to be Atlanta’s Symphony Orchestra. Season presented by:
ASO | MUSIC DIRECTOR ROBERT SPANO
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.
10 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
ASO | LEADERSHIP | 2018/19 Board of Directors OFFICERS Howard D. Palefsky
Janine Brown chair - elect
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 Kevin Lyman Brian F. McCarthy Penelope McPhee ^ Bert Mills Molly Minnear Terence L. Neal Joseph M. Oâ&#x20AC;&#x2122;Donnell^ Galen Lee Oelkers Howard D. Palefsky Ebbie Parsons Juliette Pryor 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 Kathy Waller Thomas Wardell Mark D. Wasserman Dr. James Wells, D. Min John B. White, Jr. Richard S. White, Jr. Kevin E. Woods, M.D, M.P.H.
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. Betty Sands Fuller Azira G. Hill Mary D. Gellerstedt Mrs. Charles A. Smithgall, Jr.
* Ex-Officio Non-Voting ^ 2018/2019 Sabbatical**Deceased
12 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Robert Spano music director
The Robert Reid Topping Chair
Donald Runnicles principal guest conductor
The Neil & Sue Williams Chair
music director of the atlanta symphony youth orchestra
The Zeist Foundation Chair
The Charles McKenzie Taylor Chair
The Frances Cheney Boggs Chair
Anastasia Agapova acting assistant
Noriko Konno Clift
Carolyn Toll Hancock The Wells Fargo Chair
Eleanor Kosek Ruth Ann Little
Thomas O’Donnell Ronda Respess
Juan R. Ramírez Hernández
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
Stephen Mulligan assistant conductor;
Jessica Oudin Madeline Sharp
Players in string sections are listed alphabetically
14 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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
2018/19 MUSICIAN ROSTER FLUTE
Christina Smith principal
The Jill Hertz Chair Robert Cronin associate principal
C. Todd Skitch Gina Hughes
E-FLAT CLARINET Ted Gurch
Alcides Rodriguez BASSOON
Andrew Brady principal
The Abraham J. & Phyllis Katz Foundation Chair
Elizabeth Koch Tiscione principal
The George M. & Corrie Hoyt Brown Chair Vacant
Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar
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
The Betty Sands Fuller Chair
Susan Welty associate Principal
acting associate principal
Emily Brebach Xiaodi Liu• ENGLISH HORN Emily Brebach CLARINET
Laura Ardan principal
The Delta Air Lines Chair
Brice Andrus principal
The Walter H. Bunzl Chair
Jaclyn Rainey* TRUMPET
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
The Robert Shaw Chair Stuart Stephenson principal The Mabel Dorn Reeder Honorary Chair The Madeline & Howell Adams Chair Ted Gurch Michael Tiscione associate Principal associate Principal Marci Gurnow Mark Maliniak• Alcides Rodriguez
Hannah Davis asyo/assistant librarian
‡ rotate between sections* Leave of absence † Regularly engaged musician • New this season
encoreatlanta.com | Atlanta’s Performing Arts Publication 15
Mark (left) and Paul rehearse in 2011 for the premiere of DYNASTY
16 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
by Mark Gresham
Mark and Paul Yancich share a singular life passion: playing timpani. Both are Principal Timpanists in major American symphony orchestras - Mark with the Atlanta Symphony Orchestra and Paul with The Cleveland Orchestra. More than that, the natives of Rochester, New Paul (left) and Mark York come from a family that boasts four generations of professional musicians and music teachers on both sides. Their father and his brother were both professional French horn players â&#x20AC;&#x201C; their father in the Rochester Philharmonic, their uncle in the Boston Symphony Orchestra. Their mother was a French horn player as well.
encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 17
One pair of grandparents were both professional violinists. Grandfather Paul White was also a composer and conductor of the Rochester Orchestras for 36 years while simultaneously teaching at the Eastman School of Music. His wife Josephine was a child prodigy soloist, who had a successful solo career before focusing on raising her four children. Her father, Paul and Mark's great grandfather, was the renowned cornetist and Bohumir Kryl bandmaster Bohumir Kryl, who was Cornet soloist with John Philip Sousa in the 1890's before he formed his own band and orchestras. He also recorded extensively for the Columbia, Victor and Edison labels. Although rare, it's not unheard of that brothers or sisters play the same instrument professionally in notable symphony orchestras. In addition to the Yancich brothers' father and uncle, one can cite well-known examples like the Gomberg brothers, Ralph and Harold, who were Principal Oboists in the Boston Symphony and New York Philharmonic. It happens sometimes, and when it does, it offers ample opportunity to celebrate musically. Such was the case when composer James Oliverio wrote DYNASTY: Double Timpani Concerto for Mark and Paul Yancich in honor of the rich legacy of their ancestry. The brothers premiered the concerto with the Atlanta Symphony Orchestra in June 2011, with Robert Spano conducting, then performed it again with the Cleveland Orchestra that September. This month, on May 9 and 11, Mark and Paul Yancich will reprise Oliverio’s Double Timpani Concerto with Spano and the ASO. Given the brothers’ family legacy, “Dynasty” is an appropriate descriptive handle for the piece. As the children of French horn players, how Mark and Paul became percussionists makes for its own intriguing story. Mark (left) and Paul in their high school band uniforms.
“Paul started playing percussion first,” says Mark Yancich. “I was playing other instruments. Eventually, when we got into high school, I switched over to drums and followed his lead.”
Those public high school years in Rochester served as a watershed period. At that time, their father taught French Horn at the Eastman School of Music. So, in addition to their school's own rich music programs, Rochester and Eastman offered them a full symphonic band, youth wind ensemble, youth orchestra and jazz ensembles which were sources of great musical experiences that shaped their life choices; sometimes in ways that were purely the luck of the moment. “A lot of it was serendipity,” says Paul. “I was waiting for my dad to finish a class at the Eastman School of Music and a college student walked by with a pair of drumsticks 18 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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in his back pocket, and that was it. I thought, ‘That’s cool. I want to do that.’” Paul had his first drum lesson that following summer, and he was hooked. In contrast, Mark came to play percussion from playing French horn and classical guitar, but most of all he was drawn to drums through jazz.
Mark (left) and Paul in at the beginning of their professional careers
“I played in the jazz band,” says Mark. “I also enjoyed playing in the symphonic band with Paul, but for me it was more about the drum set at that time. I quickly realized playing the timpani gave me the same kind of shiver down my spine. In the end, I felt like I found a little bit more of a voice with the timpani, and for some reason, Paul had found a voice in timpani, too.” The drum set didn't grab Paul in the same way it did Mark, and the timpani didn't draw him in until high school. “When I got in to high school, the band director told me I was going to play timpani. I thought, ‘Okay, I’d better learn how to do this then.’”
“When I was a freshman in high school, Paul was a senior,” recalls Mark. “When he had to play the harder percussion parts that came up, I would go over and play timpani. He’d play Boléro on snare drum, and I’d play the timpani. He took the lead, and I really enjoyed what he was doing.” They both went onto the Cleveland Institute of Music, where they studied with Cloyd Duff, timpanist of the Cleveland Orchestra. After their rigorous studies, it became a matter of auditions. “Playing in the Atlanta Symphony was my first professional position,” says Paul. “Mark was playing in South America. There was an opening in the Cleveland Orchestra and I was fortunate enough to win that job in 1981. That made an opening in Atlanta, which Mark won.” It was at the Cleveland Institute of Music that Mark and Paul forged a friendship with fellow student and composer James Oliverio. Oliverio wrote a piece for Paul’s senior recital, which marked the beginning of the long creative professional relationship that ultimately led to the DYNASTY: Double Timpani Concerto. The ASO will record the work for release on ASO Media this fall.
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Paul (left) and Mark at 2011 concert premiere
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TODAY is the day to make your donation to the Atlanta Symphony Orchestra Annual Fund. Each dollar you contribute will be matched by a very generous donor before May 31, 2019.
The Annual Fund provides operational support that spans every endeavor of the ASO. Your gift can help us create transformational musical moments, such asâ&#x20AC;Ś
Introducing young listeners to the magic of classical music
Championing victories and soothing souls through the power of music
Providing high level instruction and mentoring to gifted young musicians
Connecting the community with classical concerts â&#x20AC;&#x201D; beyond Symphony Hall
GIVE Today Act before May 31, 2019 and DOUBLE YOUR GIFT! aso.org/give 404.733.4839 firstname.lastname@example.org The Atlanta Symphony Orchestra, at the Woodruff Arts Center, is a 501c3 nonprofit organization. Federal Tax ID: 58-0633971
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ASO | SPONSORS The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Delta is proud to celebrate more than 75 years as Atlantaâ&#x20AC;&#x2122;s hometown airline. Deltaâ&#x20AC;&#x2122;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.
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Concerts of Thu., May 2, 2019 8:00pm Sat., May 4, 2019 8:00pm LIONEL BRINGUIER, conductor LISE DE LA SALLE, piano
The Atlanta Symphony Orchestra Classical Series is presented by
SERGEI PROKOFIEV (1891-1953) Symphony No. 4 in C Major, Opus 112 (1929-30/1947) 34 MIN I. Andante; Allegro eroico; Allegretto II. Andante tranquillo III. Moderato, quasi allegretto IV. Allegro risoluto INTERMISSION MAURICE RAVEL (1875-1937) Piano Concerto in G Major (1931) I. Allegramente II. Adagio assai III. Presto Lise de la Salle, piano IGOR STRAVINSKY (1882-1971) Suite from The Firebird (1910, 1919 Revision) I. Introduction: The Firebird and Her Dance; Variation of the Firebird II. The Princesses’ Round: Khorovode III. Infernal Dance of King Kastcheï IV. Berceuse V. Finale
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. 26 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
20 MIN 23 MIN
NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
Symphony No. 4 in C Major, Opus 112 (1929-30/1947)
These are the First Classical
Subscription Performances. SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the Symphony No. 4 took place at Symphony Hall in Boston, Massachusetts, on November 14, 1930, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The 1947 version of the Symphony No. 4 is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, tambourine, wood block, snare drum, triangle, cymbals, harp, piano, and strings.
n May 21, 1929 at the Théâtre-Sarah Bernhardt in Paris, Sergei Diaghilev’s Ballets Russes (see, The Firebird, below) staged Sergei Prokofiev’s Ballet, The Prodigal Son. George Balanchine choreographed the work based upon the biblical parable. It was around this same period that Prokofiev received a request from conductor Serge Koussevitsky and the Boston Symphony Orchestra to compose a new symphony for the Orchestra’s 50th anniversary celebration. Prokofiev responded with his Symphony No. 4, based upon music from The Prodigal Son Ballet. Philip Hale’s program notes for the BSO premiere of the Prokofiev Fourth Symphony quote the composer: in some passages of the Symphony I have used the same musical material which is introduced in the ballet The Prodigal Son. This does not lead to the conclusion that the Symphony is written on the material extracted from The Prodigal Son or that The Prodigal Son on the material from the Symphony. Merely, in the Symphony I had the possibility to develop symphonically what a ballet-form did not enable me to do. A precedent may be recalled with Beethoven’s Ballet The Creatures of Prometheus and his Symphony No. 3 (annotator’s note: In the finale of his1803 “Eroica” Symphony, Beethoven offers an extended treatment of a melody introduced in his 1801 ballet). The original version of the Fourth Symphony was published as the composer’s Opus 47. In 1947, Prokofiev revised the Symphony, expanding both the orchestration, and length of the score (by approximately eleven minutes). The Symphony is in four movements. The first opens with an extended slow-tempo introduction (Andante), resolving to the principal Allegro eroico. The Symphony’s slow-tempo second movement is based upon the Prodigal Son’s return in the final act of Prokofiev’s Ballet. The third movement, the Symphony’s scherzo and trio, includes music from the Prodigal Son’s encounter with the seductive Beautiful Maiden. The finale (Allegro risoluto) opens with a gruff, insistent episode. A jaunty section in 6/8 meter (Andantino) provides contrast. The final measures feature a triumphant statement of music from the Symphony’s first movement. Piano Concerto in G Major (1931) encoreatlanta.com | Atlanta’s Performing Arts Publication 27
First Classical Subscription Performance: January 10, 1963, Philippe Entremont, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: April 30, May 1 & 2, 2015, Jean-Yves Thibaudet, Piano, Robert Spano, Conductor.
MAURICE RAVEL was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The first performance of the G-Major Piano Concerto took place at the Salle Pleyel in Paris on January 14, 1932, with Marguerite Long as soloist, and the composer conducting the Lamoureux Orchestra. In addition to the solo piano, the G-Major Concerto is scored for piccolo, flute, oboe, English horn, B-flat clarinet, E-flat clarinet, two bassoons, two horns, trumpet, trombone, snare drum, wood block, triangle, tam-tam, suspended cymbal, whip, bass drum, and strings.
oward the close of 1927, Maurice Ravel embarked upon a four-month tour of the United States and Canada. Ravel traveled across the North American continent, appearing as pianist and conductor in twenty-five cities. Ravel enjoyed a glowing reception from the American people. At an all-Ravel concert at New York’s Carnegie Hall, performed by Serge Koussevitsky and the Boston Symphony Orchestra, the composer was greeted by a standing ovation. “You know, this doesn’t happen to me in Paris,” Ravel wistfully commented. While in America, Ravel had the opportunity to meet such musicians as George Gershwin and Paul Whiteman. Ravel and Gershwin traveled to Harlem on several occasions to listen to jazz. Ravel was greatly impressed by what he called “the national music of the United States.” Ravel completed his G-Major Piano Concerto in the fall of 1931. Ravel originally intended to be the soloist in the Concerto’s world premiere, but was prevented by illness. The composer did, however, conduct the January 14, 1932 premiere with pianist Marguerite Long (who also played the first performance of Ravel’s Le Tombeau de Couperin). In an interview, Ravel acknowledged that the jazz he so enjoyed in the United States influenced the G-Major Concerto. Ravel queried: “What is being written today without the influence of jazz? It is not the only influence, however; in the concerto one also finds bass accompaniments from the time of Bach, a melody that recalls Mozart, the Mozart of the Clarinet Quintet, which by the way is the most beautiful piece he wrote.” Of course, the success of the G-Major Concerto is the product of Ravel’s genius at synthesizing various (and potentially disparate) influences into an engaging, unified, and individual work. The Concerto in G Major is in three movements. The first movement (Allegramente) opens with the soloist accompanying a vivacious piccolo melody, apparently based upon a Basque folk tune. Ravel introduces several additional themes, notably a descending blues passage. The inspiration for the Concerto’s slow-tempo second movement (Adagio assai) was its counterpart in Mozart’s Clarinet Quintet, K. 581 (1789). The virtuoso finale (Presto) is the Concerto’s most overtly jazz-influenced movement. Suite from The Firebird (1910, 1919 Revision) IGOR STRAVINSKY was born in Lomonosov, Russia, on June 17, 1882, and died in New York on April 7, 1971. The first performance of The Firebird took place at the Paris Opéra on June 25, 1910, with Gabriel Pierné conducting. The 1919
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SUPERB ACOUSTICS • OUTSTANDING INTERNATIONAL MUSICIANS INTIMATE CONCERT EXPERIENCES
First Classical Subscription Performance: January 21 & 22, 1960, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: November 10 & 12, 2016, Robert Spano, Conductor.
Suite from The Firebird is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, xylophone, tambourine, triangle, cymbals, suspended cymbal, bass drum, harp, piano, celesta, and strings.
ussian composer Igor Stravinsky composed his ballet, The Firebird, at the invitation of Sergei Diaghilev, impresario of the Ballets Russes. Stravinsky began composition of The Firebird in November of 1909, and completed the score on May 18, 1910. The composer participated in all the rehearsals at the Paris Opéra. Tamara Karsavina, who danced the title role in the premiere of The Firebird, recalled that during one rehearsal when Stravinsky approached the orchestra pit, Diaghilev turned to her and said: “Mark him well. He is a man on the eve of celebrity.”
Recording: Telarc CD-80039, Robert Shaw, Conductor.
The fulfillment of Diaghilev’s prophecy took place on June 25, 1910, with The Firebird’s triumphant premiere. Among the appreciative audience members at the premiere was French composer Claude Debussy, who came on stage after the performance to offer Stravinsky his compliments. The Firebird’s winning synthesis of lyric and dramatic elements, couched in dazzling orchestration, captured the imagination of the Paris audiences and catapulted Stravinsky to national and international prominence. Stravinsky fashioned three orchestral Suites from The Firebird, the first (1911) employing the huge orchestral forces of the original score. In 1919, Stravinsky created another Suite for reduced orchestra. Stravinsky completed the third (and final) Suite in 1945. The 1919 Suite— the most frequently performed of the three—is featured in these concerts. The Story of The Firebird I. Introduction: The Firebird and Her Dance; Variation of the Firebird—The Suite opens with a mysterious Introduction. While wandering in the forest at night, the Prince Ivan encounters a magic Firebird. The Prince is entranced by the Firebird’s beauty and captures her. However, the Prince takes pity on the Firebird and sets her free. In gratitude, the Firebird gives the Prince one of her feathers and promises to aid him in his hour of need. II. The Princesses’ Round: Khorovode—The Prince comes to the courtyard of an enchanted castle, where he finds thirteen beautiful Princesses, captives of the evil magician Kastcheï. The Princesses warn Prince Ivan not to enter the castle, for Kastcheï has the power to turn intruders to stone. The Prince boldly ignores their warnings. III. Infernal Dance of King Kastcheï—The Prince is suddenly confronted by Kastcheï’s horrible servants, and ultimately, the magician himself. Kastcheï tries to turn the Prince into stone, but the hero produces the Firebird’s magic feather. The Firebird appears and forces Kastcheï and his followers into a frenetic dance. IV. Berceuse—When Kastcheï and his followers are exhausted, the Firebird lulls them to sleep. V. Finale—Kastcheï and his retinue are destroyed. All of the prisoners are set free, including the Thirteenth Princess, whom the Prince weds. 30 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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MEET THE ARTISTS LIONEL BRINGUIER, CONDUCTOR
rench conductor Lionel Bringuier is one of the most engaging conductors of his generation, heralded for his artistic maturity and insightful programming. He appears frequently with the world’s preeminent orchestras, and collaborates with top artists both in concert, in the opera house and on acclaimed recordings.
Spring 2019 sees Lionel Bringuier return to the United States to conduct the National Symphony Orchestra, as well as the Dallas and Atlanta Symphony Orchestras and the Los Angeles Philharmonic Orchestra. He concludes the main season with visits to Oslo to conduct Ravel’s Daphnis Suite No. 2 before leading the Deutsche Symphonie Orchester in Berlin.
Bringuier has appeared with the Cleveland Orchestra, Chicago Symphony Orchestra, London Symphony Orchestra and Munich Philharmonic, and has conducted numerous premieres, including Rands’ Concerto for English Horn and Orchestra, Salonen’s Karawane, and the Swiss premiere of Saariaho’s “Trans” for Harp and Orchestra. His discography includes two Ravel compilations on Deutsche Grammophon, among others. Bringuier was named a Chevalier de l’Ordre National du Mérite by the French government, and has been lauded with the Médaille d’or à l’unanimité avec les félicitations du jury à l’Académie Prince Rainier III de Monaco and the Médaille d’or from the City of Nice. In 2007, Bringuier was selected to serve as Assistant Conductor of the Los Angeles Philharmonic. He became the youngest to do so in the orchestra’s history and was reappointed to the position under Gustavo Dudamel and promoted to Resident Conductor in 2011. LISE DE LA SALLE, PIANO
career of already over 15 years, award-winning Naïve recordings, international concert appearances – Lise de la Salle has established herself as one of today’s most exciting young artists and as a musician of uncommon sensibility and maturity. Highlights of 2018/19 include her debut with the Royal Philharmonic Orchestra under Rafael Payare at Royal Festival Hall, performances with Detroit Symphony Orchestra, Münchner Kammerorchester, Atlanta Symphony Orchestra as well as concerts at Paris’ Louvre Auditorium, Luzern KLL, Zürich’s Tonhalle, NY Alice Tully Hall and Wigmore Hall.
LL O IS
Born in Cherbourg (France) in 1988, Lise de la Salle started the piano at age four and gave her first concert five years later in a live broadcast on Radio France. She studied at Paris Conservatoire and made her concerto debut at 13 with Beethoven’s Piano Concerto No. 2 in Avignon, her Paris recital debut at the Louvre before going on tour with Orchestre National d’Ile de France, playing Haydn’s Concerto in D Major. She has worked closely with Pascal Nemirovski and was long-term advisee of Genevieve Joy-Dutilleux. In 2004, Lise de la Salle won the Young Concert Artists International Auditions in New York. Later that year, the organization presented both her New York and Washington, D.C. debuts. At the Ettlingen International Competition in Germany, Lise de la Salle won First Prize and the Bärenreiter Award. She has also won First Prize in many French piano competitions.
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William Pu Violinist
The 2019 Atlanta Festival Academy
Wei Lin Violinist
is the Southeast’s first international, 9-day, classical music festival and camp in partnership with Menuhin Competition and the Lin Yao Ji Music Foundation. The festival will attract young musicians, instructors and performers from around the world to participate in master classes, lectures and workshops, as well as private lessons, chamber music and orchestra coaching by world renowned teachers from Asia, America and Europe.
Amy Chang Violist
Mauricio Fuks Violin
Georgia Ekonomou Conductor
Xie Nan Violin
James Dunham Viola
Register for Day or Overnight Camp at atlantafestivalacademy.org Jay Liu Viola
Yi-Bing Chu Cello
Joseph McFadden Bass
Chloe Chua Soloist 2018 Menuhin Junior Competition winner
AFA International Music Camp will be held at Johns Creek United Methodist Church 11180 Medlock Bridge Rd. Johns Creek, GA 30097
Gordon Back Pianist Artistic Director of the Menuhin Competition
The 2019 Atlanta Festival Academy Concerts
Shining Stars Fundraising Concert — July 27 sponsored by Atlanta Chinese Entrepreneur Club
With works by Sarasate, Vivaldi, Wagner, Ernst and others.
2019 Atlanta Festival Academy Finale Concert — July 30 sponsored by WePartner Group
Highlighting works by Mendelssohn, Dvorak and other composers, the Finale concert will feature 12-year old violin sensation Chloe Chua as soloist, and showcase all AFA students on the Byers Theater stage at the Sandy Springs Performing Arts Center.
Ticket info: citysprings.com/events
atlantafestivalacademy.org encoreatlanta.com | Atlanta’s Performing Arts Publication 33
Concerts of Thu., May 9, 2019 8:00pm
RICHARD PRIOR (b. 1966) …of shadow and light… (incantations for orchestra) (2013)
Sat., May 11, 2019 8:00pm
JAMES OLIVERIO (b. 1956) DYNASTY: Double Timpani Concerto (2011) I. Impetuous II. Naïveté III. Interlude IV. Ancestors Within V. Destiny Mark Yancich, timpani Paul Yancich, timpani
ROBERT SPANO, conductor MARK YANCICH, timpani PAUL YANCICH, timpani
INTERMISSION 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.
LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 5 in C minor, Opus 67 (1808) I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro
The May 9 performance is dedicated to SUSAN & THOMAS WARDELL in appreciation for their extraordinary support of the Atlanta Symphony Orchestra Annual Fund.
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15 MIN 26 MIN
20 MIN 34 MIN
NOTES ON THE PROGRAM
…shadow and light… (incantations for orchestra) (2013)
First Classical Subscription Performances: RICHARD PRIOR was born in Royal Tunbridge Wells, Kent, United Kingdom, on July 26, 1966. The first performance October 3-5, 2013, of …of shadow and light… took place at Symphony Hall in Robert Spano, Conductor. Atlanta, Georgia, on October 3, 2013, with Robert Spano conducting the Atlanta Symphony Orchestra. The work is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets in C, two trombones, bass trombone, tuba, timpani, bass drum, snare drum, crash cymbals, suspended cymbal, anvil, tambourine, tam-tam, optional Chau Gongs: C4-C6, tubular bells, glockenspiel, xylophone, harp, and strings.
ichard Prior’s orchestral composition, …of shadow and light… (incantations for orchestra), commissioned by the Atlanta Symphony Orchestra, received its world premiere at Symphony Hall on October 3, 2013. The composer provides the following comments on …of shadow and light…: …of shadow and light… (incantations for orchestra) is a compact symphonic poem, a journey through a range of evocative and dramatic musical landscapes. The central musical themes are introduced in the opening measures that convey a tension between lyric yearning and restlessness. From an early age, I have been very interested in the dramatic arts and the humanistic correlation with psychological/emotional progression in Music. And throughout …of shadow and light… the principal musical ideas both reappear, and are continually transformed, in much the same way that characters evolve or are put into contrasting situations in a play or film. There is a broad range of expression in the emotional spectrum of this work. A darker brooding lyricism yields to a yearning melodic oasis. Energetic, exciting — even violent — gestures lead to ecstatic affirmations and resolutions, but ones that perhaps still bear the experiences of the journey there. What might be considered Impressionistic and/or Neo-Romantic characteristics are infused with a personalized palette of musical elements that have resonance with my perception of the world as a composer. It adds an extraordinarily powerful dimension to the creative process when you are writing music for an orchestra and musicians that you really know; an intensity and fervor that further feeds the fires of the imagination. This extends to the imagining my composition under the musical shaping and leadership of Maestro Robert Spano. While composing this work, I was constantly mindful of the musicians of Atlanta Symphony Orchestra, both as artists and unique people. —Richard Prior DYNASTY: Double Timpani Concerto (2011) JAMES OLIVERIO was born in Cleveland, Ohio, on April 11, 1956. The first encoreatlanta.com | Atlanta’s Performing Arts Publication 35
First Classical performance of DYNASTY took place at Symphony Hall in Subscription Performances: Atlanta, Georgia, on June 2, 2011, with Mark and Paul Yancich, June 2 & 4, 2011, soloists, and Robert Spano conducting the Atlanta Symphony Mark & Paul Yancich, Soloists, Orchestra. In addition to two sets of five drums for two solo Robert Spano, Conductor. timpanists, DYNASTY is scored for piccolo, two flutes, alto flute, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, percussion marimba, cymbals a2, small suspended cymbal, large suspended cymbal, large bass drum, medium bass drum, two harps, and strings.
YNASTY: Double Timpani Concerto, was commissioned by The Brothers Yancich, Mark and Paul. The work received its premiere at Symphony Hall on June 2, 2011.
The composer provided the following program notes on DYNASTY: In setting out to create a virtuosic yet memorable concerto for world premiere by the Brothers Yancich, there were a number of musical and extra-musical considerations. First and foremost, the work had to give both soloists an equal opportunity to feature their musical talents while showcasing the capabilities of the timpani, an instrument most commonly relegated to an important but primarily accompanimental role at the back of the orchestra. The best musical range of the timpani is lower in pitch than most of the other instruments of the orchestra, and therefore can easily slip into the background melodically when any of the other higher-pitched instruments play at the same time. And while the audience is accustomed to hearing the drums provide rhythmic underpinning or support for orchestral crescendos, they are generally not attuned to perceiving melodies played with the timbre of the kettledrums… My overarching esthetic consideration was to evoke and honor the rich legacy of the Brothers and their ancestors, whose love and passion for music continues on across multiple generations. The musical metaphor for DYNASTY was conceived and developed on several levels: the personal, the ancestral, the political and, in the case of the only two timpanist brothers currently holding simultaneous posts with major American orchestras, as a professional analogy as well. The energy and naïve optimism of a person or organization in its youth, the character evidenced in meeting challenges faced in times of transition, the fulfillment and meaning derived from a long period of accomplishment; these are all notions that influenced and inspired me as I undertook the composition of this work. The first movement, Impetuous, begins with a brief introduction that sets up a harmonic counterpoint that will appear in various iterations throughout the entire concerto. The ensuing rhythmic passages feature a dynamic exchange of bold melodic gestures, moving back and forth between the soloists’ ten drums and the orchestral ensemble. An emphatic pronouncement in 6/2 time is several times interjected, increasingly adorned with orchestral variations until the movement concludes with a final tutti statement. The second movement, entitled Naïveté, is cast entirely in a lilting 5/2 time. While the timpani begin with an arpeggiated accompanimental figure, it is not 36 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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long before they pick up the main theme from the alto flute and English horn. The dual harps also play an important role alongside the two timpani soloists in creating a flowing forward motion that supports the main theme’s long melodic line as it presents itself in a variety of orchestral colors. A brief Interlude for unaccompanied timpani comprises the third movement. Hearing the sound of the drums themselves, sans orchestral color, allows the listener to appreciate some of the more subtle nuances of the timpanic craft. These include devices such as one performer playing two separate musical lines simultaneously, as well as melodic rolls in the middle register of the instrument. Often times a player will seek to change pitches on a drum with no audible transition. Several times in this passage however, the changing of a drum’s pitch (a pedal glissando) is purposefully made audible and actually featured as an expressive melodic technique. The fourth movement, entitled Ancestors Within, begins and ends with an offering from the solo French horn. The timpani and orchestral writing weaves a nostalgic remembrance of the life and times of those who have come and gone before us. The middle section once again calls upon the dual harps to accompany the timpani soloists, now in a playful 7/4 time. The music rises to a brief understated climax, then subsides to a final gentle statement honoring those whose essence we carry, literally and metaphorically, inside us. The fifth and final movement, Destiny, unfolds with numerous passages for melodic timpani, often cast into rhythmically complex structures. The initial theme is voiced across the two sets of five timpani, building in intensity until the strings offer a contrasting melodic opportunity. The timpani are quick to add this new influence into their own thematic arsenal, soon propelling the rest of the orchestra to engage in a variety of cross-rhythms. The interchanges continue, leading up to two solo timpani cadenza passages. Following the brief improvised cadenze, the orchestra and soloists work together to forge a new synthesis, coalescing their combined forces into an energetic finale with an emphatic conclusion. —James Oliverio Symphony No. 5 in C minor, Opus 67 (1808) First Classical Subscription Performance: December 17, 1949, Henry Sopkin, conductor. Most Recent Classical Subscription Performances: November 20, 22, & 23, 2014, Robert Spano, conductor.
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 Fifth Symphony took place in Vienna at the Theater an der Wien on December 22, 1808, with the composer conducting. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani, and strings.
eethoven’s immortal Fifth Symphony is music that continues to astonish listeners with its elemental power, taut drama, and, above all else, a sense of absolute inevitability. And yet, there was nothing inevitable about the process of
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MEET THE ARTISTS the work’s creation. The composition of the Fifth Symphony took place over a span of approximately four years (1804-1808). During that time, Beethoven wrote and rewrote passages, filling sketchbook upon sketchbook with ideas for the Symphony. Today, of course, the Beethoven Fifth maintains its status as one of the greatest and most popular Symphonies. However, the extraordinary power and revolutionary nature of the Beethoven Fifth at first inspired confusion, awe, and even fear on the part of some music lovers. In his Memoirs, Hector Berlioz recalled an 1828 performance of the Beethoven Fifth in Paris, attended by one of the young French composer’s teachers at the Conservatoire, Jean-François Lesueur. The next day, Berlioz met Lesueur at his home. Lesueur “shook his head with a curious smile, and said, ‘All the same, such music ought not to be written.’ To which Berlioz replied, ‘Don’t be afraid, dear master, there will never be too much of it.’” The Fifth Symphony’s furious opening movement (Allegro con brio) begins with a proclamation of the famous “short-short-short-long” motif—the seed from which the entire work will grow (Anton Schindler quoted the composer as describing this passage in the following manner: “Thus fate knocks at the door!” The authenticity of this quote has long been a subject of dispute). The second movement (Andante con moto) is in the form of variations on two themes, the latter incorporating the central four-note motif. The third-movement scherzo (Allegro) proceeds to a breathtaking transitional passage, in which the timpani softly repeats the four-note motif. The first violins intone echoes of the scherzo, as the orchestra moves inexorably to the glorious finale (Allegro), which follows without pause. Now, the central motif is transformed into a triumphant celebration, reinforced by the introduction of piccolo, contrabassoon, and trombones—all making their first appearance in a Beethoven Symphony. A quiet reprise of the scherzo resolves to the work’s glorious presto conclusion, where all is bathed in the brightest sunlight. MARK YANCICH, TIMPANI
ark Yancich, Atlanta Symphony Orchestra Principal Timpanist (Walter H. Bunzl Chair) since 1981, is active as publisher, clinician and teacher at Emory University. He annually hosts the Mark Yancich Timpani Class, and in 1991, founded The Atlanta Percussion Seminar. Yancich is on the faculty and performs at the Aspen Music Festival. He can be heard on more than 100 recordings with the Atlanta Symphony Orchestra, including most of the great choral repertoire with Robert Shaw conducting. Yancich is featured on the performance video of James Oliverio’s Timpani Concerto No. 1 and the “Art of Timpani” educational DVDs entitled “Changing & Tuning Plastic Timpani Heads,” “Tucking Calfskin Timpani Heads with Cloyd Duff” and “Sewing Felt Timpani Sticks.” JE
Yancich has appeared as guest timpanist with the Chicago, Pittsburgh, Detroit, Minnesota and Ft. Worth Symphonies, as well as soloist with other orchestras performing Oliverio’s Timpani Concerto No. 1, Phillip Glass’s Concerto Fantasy for Two Timpanists, and most recently, playing the world premiere of Oliverio’s DYNASTY: Double Timpani Concerto with his brother, Paul, in both Atlanta and Cleveland.
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Yancich’s teachers include Cloyd Duff, Richard Wiener, Saul Goodman, Ruth Cahn, Bill Cahn and Vinnie Ruggiero. Prior to joining the ASO, he was Principal Percussionist and Timpanist of orchestras in Caracas and Maracaibo, Venezuela, and also taught percussion in El Sistema. He is married to Atlanta Symphony Orchestra violinist Lisa Yancich. PAUL YANCICH, TIMPANI
aul Yancich was appointed Principal Timpani of The Cleveland Orchestra by Lorin Maazel in 1981. He first appeared as soloist with the Orchestra 1990, performing the world premiere of James Oliverio’s Timpani Concerto No. 1. In June 2011, he performed the world premiere of Oliverio’s DYNASTY: Double Timpani Concerto with his brother, Mark Yancich, with the Atlanta Symphony Orchestra, and together they played it again in September that year with The Cleveland Orchestra. Yancich’s most recent appearances as soloist with the Orchestra were in May 2013, in Johann Carl Christian Fischer’s Symphony with Eight Obbligato Timpani. A native of Rochester, New York, Paul Yancich comes from a long line of professional musicians on both sides of his family. He began weekly snare drum lessons at age nine with William Street, professor of percussion at the Eastman School of Music. Studies continued with some of the world’s best-known percussionists, including William Cahn of the Rochester Philharmonic and Saul Goodman, timpanist of the New York Philharmonic. Yancich earned a Bachelor of Arts degree from Case Western Reserve University and a Bachelor of Music degree from the Cleveland Institute of Music, where he was a student of Cloyd Duff and Richard Weiner, Principal Timpani and Principal Percussion of The Cleveland Orchestra, respectively.
ER M AST
Upon graduation, Yancich joined the Atlanta Symphony Orchestra under Robert Shaw’s direction and became a timpani instructor at Georgia State University. He currently co-chairs the Cleveland Institute of Music’s percussion department and serves as director of the CIM Percussion Ensemble. His timpani and percussion students perform in more than 40 orchestras in the United States and abroad. Yancich is a regular clinician at leading conservatories and with Miami’s New World Symphony and teaches as a faculty member of the Aspen Music Festival.
encoreatlanta.com | Atlanta’s Performing Arts Publication 41
Concert of Sun., May 12, 2019 3:00pm STEPHEN MULLIGAN, conductor LEXINE FENG, cello The Atlanta Symphony Youth Orchestra is sponsored by:
ATLANTA SYMPHONY YOUTH ORCHESTRA FINALE CONCERT EDWARD ELGAR (1857-1934) Concerto for Cello and Orchestra in E minor, Opus 85 (1919) IV. Allegro; Moderato; Allegro, ma non troppo Lexine Feng, cello
GUSTAV MAHLER (1860-1911) Symphony No. 1 in D Major (“Titan”) (1888) 53 MIN I. Langsam. Schleppend. (“Wie ein Naturlaut”)— Im Anfang sehr gemächlich II. Kräftig bewegt, doch nicht zu schnell—Trio. Recht gemächlich III. Feierlich und gemessen, ohne zu schleppen IV. Stürmisch bewegt
The Molly Blank Fund of the Arthur M. Blank Family Foundation
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. 42 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
Concerto for Cello and Orchestra in E minor, Opus 85 (1919), Fourth Movement EDWARD ELGAR was born in Broadheath, near Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. The first performance of the Cello Concerto took place at the Queen’s Hall in London, England, on October 27, 1919, with Felix Salmond as soloist, and the composer conducting the London Symphony Orchestra. In addition to the solo cello, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.
n the spring of 1918, following a long and painful illness finally diagnosed as tonsillitis, Edward Elgar underwent surgery. The composer’s daughter, Carice, recalled: “He was in a great deal of pain for several days; (there) were not anything like the sedatives that we have now, but nevertheless he woke up one morning and asked for pencil and paper.” Elgar then composed the first music he had written in nine months—a beautiful melody in 9/8 time. That fall, Alice Elgar noted that her husband was at work orchestrating the melody.
By the spring of the following year, Elgar devoted much time and attention to this music, which now took form as his Cello Concerto in E minor. On June 26, 1919, Elgar wrote to his friend, Sidney Colvin: “I am frantically busy writing & have nearly completed a Concerto for Violoncello—a real large work & I think good & alive.” Elgar later dedicated the Concerto to Sidney Colvin and his wife, Frances. Cellist Felix Salmond assisted Elgar in the composition of the solo part. In August, Elgar offered Salmond the opportunity to be the soloist in the Concerto’s world premiere, which took place at the Queen’s Hall in London on October 27, 1919. It was the opening of the London Symphony Orchestra’s first concert season following World War I. Albert Coates, the Orchestra’s new conductor, was scheduled to lead music by Wagner, Scriabin, and Borodin. Elgar would take the podium for the premiere of his Cello Concerto. Coates decided to devote virtually all of the allotted rehearsal time to the music he was conducting. As a result, the Concerto received a woefully inadequate performance. In a review of the premiere of the Elgar Cello Concerto, the eminent British music critic, Ernest Newman, wrote: “never, in all probability, has so great an orchestra made so lamentable a public exhibition of itself.” Still, Newman was able to discern the considerable qualities of Elgar’s newest composition: “The work itself is lovely stuff, very simple—that pregnant simplicity that has come upon Elgar’s music in the last couple of years—but with a profound wisdom and beauty underlying its simplicity… the realization in tone of a fine spirit’s lifelong wistful brooding upon the loveliness of the earth.” In time, the Elgar Concerto has become recognized as one of the 20th century’s finest works for cello and orchestra. Many commentators have recognized the Concerto’s “profound wisdom,” first cited by Ernest Newman. However, they often attribute that wisdom to far less genial circumstances than those suggested by Newman. Elgar encoreatlanta.com | Atlanta’s Performing Arts Publication 43
composed the Cello Concerto after the devastation of the First World War. Elgar was all too aware of the effect the “War to End All Wars” had upon the world he knew and loved. As the composer wrote in 1917: “Everything good & nice & clean & sweet is far away—never to return.” And perhaps Elgar sensed that his own life—at least as a composer—was reaching its final stages. In his catalogue of works, Elgar wrote the following next to the listing of his Cello Concerto: “FINIS R.I.P.” And after his beloved Alice’s death in 1920, Elgar was never the same. Although Edward Elgar lived another fifteen years after the premiere of the Cello Concerto, it proved to be his last major work. The Concerto is in four movements. In the finale (Allegro; Moderato; Allegro, ma non troppo), the music’s lively gait slows for a lengthy episode of extraordinary introspection and pathos. Echoes of the preceding Adagio add to the mood of resignation, as the music seems to fade to a silent conclusion. Suddenly, a reprise of the Concerto’s formidable opening measures, followed by a brief restatement of the principal theme, leads to the terse resolution. Symphony No. 1 in D Major, “Titan” (1888, Rev. 1893-6) 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 Symphony No. 1 took place in Budapest, Hungary, on November 20, 1889, with the composer conducting the Budapest Philharmonic. The “Titan” Symphony is scored for three piccolos, four flutes, four oboes, English horn, two E-flat clarinets, four clarinets, bass clarinet, three bassoons, contrabassoon, seven horns, four trumpets, three trombones, tuba, timpani (two players), bass drum, bass drum with attached cymbal, cymbals, gong, suspended cymbals, triangle, tam-tam, harp, and strings.
oward the close of March of 1888, Gustav Mahler informed his parents of the completion of his First Symphony: “There! I have today finished my work and can say thank God that it has turned out well. I hope that I have taken a big step forward with it.” The first performance took place on November 20, 1889, with the composer leading the Budapest Philharmonic. For the premiere, Mahler designated the work not as a symphony, but as a “Symphonic Poem in Two Parts.” In January of 1893, Mahler revised his “Symphonic Poem,” and now referred to it as a symphony. He added the nickname “Titan”—after a novel by Jean Paul—and also assigned titles to each of the Symphony’s movements. My time will come,” Mahler predicted—and indeed, it has. Mahler’s Nine completed Symphonies have become staples of the orchestral repertoire. The “Titan” is perhaps the most popular, and certainly, the most accessible. Today’s audiences might then wonder what so perplexed (and even angered) those who attended the work’s premiere. However, it is important to bear in mind that the first performance of the “Titan” took place only four years after the premiere of Johannes Brahms’s Fourth Symphony. Those accustomed to the mainstream German repertoire, exemplified by Brahms and his predecessors, may perhaps be excused for having failed to appreciate Mahler’s bold new symphonic language. The “Titan” strives for an epic mode of expression. And the work’s abrupt shifts in
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emotion and tone can be disconcerting—for some, even frightening. As in the case of Beethoven’s First Symphony, Mahler’s “Titan,” while at times paying homage to the past, clearly points the way to the revolutionary path that would soon follow. Mahler’s 1893 program for his “Titan” Symphony is reproduced below in italics and bold type. TITAN, A tone poem in the form of a symphony First Part “From the days of youth,” flower, fruit and thorn pieces. “Endless Spring” (Introduction and Allegro Comodo) (The introduction depicts the awakening of Nature from its long winter sleep.) I. Langsam. Schleppend. (Slow, Dragging) (“Wie ein Naturlaut”) (“Like a Nature Sound”)—Im Anfang sehr gemächlich (In the beginning very leisurely)—The slowtempo introduction presents the Symphony’s central motif, a descending fourth, as well as bird calls and distant fanfares. The cuckoo’s song develops into the principal melody of the opening movement, introduced by the lower strings, and based upon the second of Mahler’s 1885 Songs of a Wayfarer—“Ging heut’ morgen übers Feld” (“This morning I went through the field”). “Under full sail” (Scherzo) II. Kräftig bewegt, doch nicht zu schnell (Forceful, animated, but not too fast)—Trio. Recht gemächlich (Restrained)—The second-movement scherzo is in the spirit of the ländler, a popular Austrian folk dance. After a raucous outburst, a brief passage for solo horn serves as a bridge to the genial Trio section. The ländler returns to conclude the movement. Second Part “Commedia humana” (“Human Comedy”) “Stranded!” (A funeral march in Callot’s manner) For this movement, the following explanation will help: the basic inspiration for it was found by the author in a humorous engraving, well known to all Austrian children: “The Huntsman’s Funeral,” from an old book of fairy tales. The forest animals accompany the dead hunter’s coffin to the grave. Hares carry the banner, in front of them marches a group of Bohemian musicians, accompanied by singing cats, toads, crows, etc. Stags, deer, foxes, and other four-legged and feathered animals follow the procession in all kinds of farcical positions. III. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, but not dragging)—Over the insistent beat of the timpani, a solo muted bass softly chants a macabre variation of the children’s nursery song, “Frère Jacques” (“Are you sleeping, Brother John?”). A village band episode, and a quotation of Mahler’s beautiful song, “The Two Blue Eyes,” also play important roles. The mood expressed is sometimes ironic and merry, sometimes gloomy and uncanny, then suddenly... “Dall’Inferno” (“From the Inferno”) (Allegro furioso), follows, like the last despairing cry of a deeply wounded heart. IV. Stürmisch bewegt (Stormy, animated)—In the extended finale, the conflict ultimately resolves to the Symphony’s glorious D-Major apotheosis. 46 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
2019 FRANKLIN POND
AW ARD S CO N CERT Sunday, May 26, 2019 4:00 PM CLAYTON STATE UNIVERSITY
TICKETS $10 each
Call ahead to purchase: 678-466-4200 or purchase at box office on May 25 & 26. Open to the public
YOU BELONG HERE
TEAGAN FARAN, BM ’18 (violin performance), BFA ’18 (jazz & contemporary improvisation), was granted a Fulbright Scholarship to study how folk music traditions and improvisation strengthen communities in Argentina. Faran is also the director of Red Shoe Company, a performance arts ensemble that she founded as a student, which stages multi-genre events.
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MEET THE ARTISTS 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 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. JEF O FR
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. LEXINE FENG, CELLO
exine Feng, a sixteen-year-old homeschooler, began cello lessons at the age of seven and currently studies with Wendy Warner, professor at Columbus State University. Her previous teachers include Martha Gerschefski and Guang Wang of the Vega Quartet. Feng has won first prize in many competitions, including the 2019 DeKalb Symphony Orchestra Young Artists Concerto Competition, the 2018 Atlanta Symphony Youth Orchestra Concerto Competition, the 2018 Ruth Kern Young Artists Concerto Competition, and the 2018 and 2017 Franklin Pond Chamber Music Competitions. She performed at Lincoln Center in 2014 as a featured soloist with the Emory Junior Chamber Orchestra, and she performed at Weill Recital Hall of Carnegie Hall in the 2012 American Protégé Winners’ Recital. Feng has performed with the DeKalb Symphony Orchestra and the Atlanta Community Symphony Orchestra, and she has been invited to perform at events hosted by the Atlanta Taiwanese Association of America. She has also performed in the Atlanta’s Young Artists concerts at Emory University and at the Cellomania! Concerts at the Highlands-Cashiers Chamber Music Festival with distinguished cellists. 48 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Feng has performed in solo masterclasses for renowned cellists such as Daniel Laufer, Felix Wang, Amit Peled and Steven Isserlis. She has enjoyed playing chamber music under the instruction of the Vega Quartet during her six years in the Emory Youth Chamber Program. She has been a member of the Atlanta Symphony Youth Orchestra since 2015, and she is currently in a cello quartet as a part of the ASYO Chamber Players program. Feng was awarded scholarships to attend Credo Music Festival at Oberlin Conservatory in 2018 and Summit Music Festival in 2017. She attended the cello workshop at Boston University Tanglewood Institute in 2016 and will attend the string quartet workshop this summer. Feng is a high school junior and dual enrolls at Georgia State University.
ATLANTA SYMPHONY YOUTH ORCHESTRA FIRST VIOLINS Julia Su, concertmaster
SECOND VIOLINS Bradley Hu, principal
Kirsten Lee Naomi Fan Raunak Kumar Yuji Yamada Jenny Choi Kylie Dickinson Mimi Konieczny Ava Posner Nina Youn Josephine Han^ Zoe Willingham* Jennifer Deng Erin Cho^ Sung-Lin Hsieh Rebecca Goodwin
Tobias Liu Kelly Jeong Alexis Warnock Mila Coleman Eileen Liu Zach Tseng Taylor Tookes Jinsol Shin Kevin Chen Alice Zhang Ellie Park Angela Li^
VIOLA John Cho*,
Aria Posner Patrick Kim John Kang Maximilian Lou Tannessa Dang Alicia Shin Ariel Najarian Lexine Feng^ Harrison Marable^
Ardath Weck Chair Lucy Gelber Lydia Choi Becan Floyd Kaci Xie Anna Laldin Christopher Wang Skyler Bugg Anastasia Waid Claire Hong Nina Nagarajan Jason Seo
CELLO Jordan Leslie,
FLUTE Don Cofrancesco Harbin Hong Rachel Lee Sarah Zhang
TRUMPET Paul Armitage William Rich David Sanchez-Becerra* Andrew Wang
OBOE Hannah Lee Ojochilemi Okoka^ Jacks Pollard Sarah Williams
TENOR TROMBONE Austin Murray* Vincent Tapia, IV^
CLARINET Alex Choi Juliyan Martinez Triniti Rives Francisco Vidales
TUBA Griffin Haarbauer
BASSOON Brendan Bassett Allie Byrd Daniel Catanese Kasey Park
HORN Brennan Bower Charles Dunn Ediz Eribac Sarah Harding Jaeheon Jeong Nathan Page Josh Vollbracht Jake Wadsworth
BASS Angela Leeper, principal
Doug Sommer Chair Corban Johnson Matthew Jung Alex Petralia Katie Tran Joy Best Jesse Perry^ Noah Daniel
BASS TROMBONE Samuel Seo^
PERCUSSION Sehyeon Jung^ Kobe Lester Evan Magill Reilly McLean Dylan So HARP Madeline Chen LeAndra Douds
*Elinor Rosenberg Breman Fellow ^ASYO Scholarship Recipient Winds, Harp, Piano, and Percussion are listed in alphabetical order
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Concert of Wed., May 22, 2019 8:00pm JONATHAN BISS, piano
LUDWIG VAN BEETHOVEN (1770-1827) Sonata No. 15 in D Major, Opus 28, â&#x20AC;&#x153;Pastoralâ&#x20AC;? (1801) 24 MIN I. Allegro II. Andante III. Scherzo. Allegro vivace IV. Rondo. Allegro ma non troppo Sonata No. 10 in G Major, Opus 14, No. 2 (1798-9) I. Allegro II. Andante III. Scherzo. Allegro assai
Sonata No. 3 in C Major, Opus 2, No. 3 (1795) I. Allegro con brio II. Adagio III. Scherzo. Allegro IV. Allegro assai
Sonata No. 32 in C minor, Opus 111 (1822) I. Maestoso; Allegro con brio ed appassionato II. Arietta. Adagio molto semplice e cantabile
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.
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NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827.
n the 1790s, Beethoven ascended to prominence in Vienna as a brilliant virtuoso pianist, albeit an iconoclastic one. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven’s attacks upon the delicate fortepianos of the day. Beethoven’s keyboard performances consisted of far more than displays of force. Pianist and composer Carl Czerny recalled that audience members were moved to tears by the eloquence of Beethoven’s improvisational powers at the keyboard, “for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing.” Another element of Beethoven’s keyboard magic was his masterful plasticity of phrasing that, according to first-hand accounts, employed unerring dynamic contrast and subtle tempo modification. Beethoven composed numerous works for solo piano that he performed to considerable acclaim. The tragic onset of deafness in the early 1800s soon brought Beethoven’s career as a concert pianist to a premature close. It’s not surprising that Beethoven composed 18 of his 32 Piano Sonatas during the years 1795-1802. Nevertheless, as in the case of the symphony and string quartet, Beethoven continued to compose piano sonatas almost to the end of his life. As such, these works offer a treasured window into Beethoven’s growth and development as an artist. Sonata No. 15 in D Major, Opus 28, “Pastoral” (1801)
eethoven dedicated his Piano Sonata No. 15 to Joseph von Sonnenfels, a Freemason, leading figure of the Enlightenment, and advisor to Emperor Joseph II. The work’s genial lyricism inspired its nickname, “Pastoral.” I. Allegro—The Sonata opens with a lilting theme in triple meter. The ensuing subsidiary themes maintain the relaxed mood and melodic contour of their predecessor. The development section generates increased tension and drama. After some furtive starts, the true recapitulation ensues, leading to the tranquil final bars. II. Andante—The second movement, in D minor, is in the character of a subdued march. Fanfares introduce (and reappear throughout) a playful D Major episode. A more elaborate restatement of the march, and a brief recollection of the fanfare, bring the Andante to a whispered close. III. Scherzo. Allegro vivace— The brief Scherzo features a tripping theme and striking dynamic contrasts. The B-minor Trio precedes a repeat of the D-Major Scherzo. IV. Rondo. Allegro ma non troppo— The Rondo finale is based upon a melody that recalls its counterpart in the opening movement, but now cast in the spirit of an undulating barcarole. The most virtuoso of the Sonata’s four movements sprints to a whirlwind close (Più allegro, quasi presto). encoreatlanta.com | Atlanta’s Performing Arts Publication 51
Sonata No. 10 in G Major, Opus 14, No. 2 (1798-9)
eethoven dedicated his two Opus 14 Sonatas, his last of the 18th century, to Baroness Josephine von Braun. The Baroness was the wife of Baron Peter von Braun, who oversaw the operation of the Vienna Court theaters. Beethoven may have hoped these dedications would facilitate access to the theaters as venues for his concerts. I. Allegro—The Sonata opens with the playful, syncopated initial theme. A quartet of eighth notes heralds the descending second theme. The extended and vigorous development, opening with a minor-key version of the first theme, includes a false recapitulation. The actual recapitulation leads to a final reprise of the opening theme, and the delicate closing bars. II. Andante—The second movement, based upon a march tune in C Major, is in theme and variations form, and capped by a delightful surprise. III. Scherzo. Allegro assai—The Scherzo features a skipping refrain introduced at the outset. The finale, very much in the spirit of Beethoven’s teacher, Franz Joseph Haydn, contains all kinds of unexpected twists and turns, right to the very close. Sonata No. 3 in C Major, Opus 2, No. 3 (1795)
eethoven dedicated the Piano Sonatas published in 1796 as his Opus 2, Nos. 1-3, to his former teacher, Franz Joseph Haydn. According to an advertisement in the Wiener Zeitung: Since the previous work of the author, the three clavier trios, Opera I (i.e., Opus I), which is now in the hands of the public, has been received with so much approbation, it is probable that the same will be accorded the present work, the more so because in addition to the intrinsic worth of the (composition) one can experience from it not only the force which Herr v. Beethoven possesses as a pianist but also the delicacy with which he knows how to treat the instrument. As the advertisement suggests, the three Opus 2 Piano Sonatas provided a showcase for Beethoven’s unique qualities as a keyboard artist. Also, typical of many of Beethoven’s early works, the Opus Two Sonatas both acknowledge the Classical era of Haydn and Mozart, and offer glimpses of the revolutionary path the composer would take in just a few years’ time.
I. Allegro con brio—The opening movement of the C-Major Sonata is distinguished from its counterparts in the Opus 2 series by a combination of grand scale, wealth of thematic material, and brilliant, virtuoso writing. The first principal theme incorporates a series of jaunty sixteenth notes. A minor-key second theme, and flowing, dolce melody round out the exposition. The ensuing development and recapitulation of the principal themes are traditional elements of sonata form. Far less traditional is an extended passage, in the spirit of a cadenza typically found in a concerto for soloist and orchestra. A brief reprise of the opening theme leads to the stirring final bars. II. Adagio—The Adagio features two components. The slow-tempo movement opens with an episode in E Major. The key shifts to E minor for an extended sequence, featuring undulating thirty-second notes. Both episodes are reprised in varied form, 52 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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along with some jarring fortissimos, prior to the hushed closing bars. III. Scherzo. Allegro—The principal Scherzo features whirlwind multi-voiced writing. The A-minor Trio offers no sense of repose. The reprise of the Scherzo reaches an abrupt conclusion. IV. Allegro assai—The finale, in a tripping 6/8 meter, is filled with high spirits, humor, and virtuoso display from start to finish. It is, most emphatically, the product of a young virtuoso who was taking Vienna by storm. Piano Sonata No. 32 in C minor, Opus 111 (1822)
eethoven completed his final Piano Sonata, No. 32 in C minor, in early 1822, and dedicated it to Archduke Rudolph. A traditional piano sonata of Beethoven’s time consisted of three movements, each of about equal duration, with the two quicktempo movements framing one set in a measured pace. The Opus 111 Sonata is in two movements, with the first, quick-tempo movement (with broad-tempo introduction) followed by an expansive theme and variations, twice as long as its predecessor. Beethoven’s friend and biographer, Anton Schindler, confused by this unorthodox structure: allowed myself, in my innocence, to put a question to the master, who was seated opposite me; why, I asked, had he not written a third movement comparable in character to the first. Beethoven answered calmly that he had no time for a third movement; that was why the second movement had to be extended to such large proportions. The ironic humor of Beethoven’s response seems to have eluded Schindler, who confessed: “I was unable to understand (and still cannot) how the two movements, so drastically opposed to one another in character, can be said to form a self-contained, coherent whole…” But over time, pianists and audiences have indeed understood. I. Maestoso; Allegro con brio ed appassionato—The work opens with an extended and intense slow-tempo introduction (Maestoso), featuring dramatic juxtapositions of dynamics, as well as dotted rhythms and grand flourishes. A crescendo leads to the Allegro con brio ed appassionato, and the introduction of the principal theme, forcefully invoked in the lower register. A contrapuntal treatment of the theme yields to the hushed, descending subsidiary melody. The agitation of the opening portion of the Allegro con brio soon returns to round out the exposition. In the brief development, which includes a fugato passage, Beethoven, in characteristic fashion, focuses upon three notes of the principal theme to create music of extraordinary momentum and drama. A fortissimo statement of the opening theme launches the recapitulation. The three-mote motif returns in the coda, which finally diminishes to a pp major-key resolution. II. Arietta. Adagio molto semplice e cantabile—The final movement, in C Major, is a theme and variations. The stern dotted rhythms of the first movement’s slow-tempo introduction now serve as the basis for music of breathtaking beauty and repose. A remarkable series of variations follows, exploring a kaleidoscope of moods, colors, and musical styles. In the closing measures, delicate trills resolve to gossamer passages, a final, noble invocation of the principal melody, and a poignant C-Major chord.
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MEET THE ARTISTS JONATHAN BISS, PIANO
onathan Biss is a world-renowned pianist who shares his deep musical curiosity with classical music lovers in the concert hall and beyond. In addition to performing a full schedule of concerts, he has spent eleven summers at the Marlboro Music Festival and written extensively about his relationships with the composers with whom he shares a stage. A member of the faculty of his alma mater the Curtis Institute of Music since 2010, Biss led the first massive open online course (MOOC) offered by a classical music conservatory, Exploring Beethoven’s Piano Sonatas, which has reached more than 150,000 people in 185 countries. Biss has embarked on a nine-year, nine-disc recording cycle of Beethoven’s complete Piano Sonatas, and in early 2018 he released the seventh volume, including the Sonatas Op. 2, No. 2; Op. 49, No. 2; Op. 31, No.2 (“Tempest”), and Op. 109. His bestselling eBook, Beethoven’s Shadow, describing the process of recording the Sonatas and published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician. The recording cycle will be complete in 2020, at the same time as the final Coursera lectures on the Sonatas. Biss represents the third generation in a family of professional musicians that includes his grandmother Raya Garbousova, one of the first well-known female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Growing up surrounded by music, Biss began his piano studies at age six, and his first musical collaborations were with his mother and father. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music with Leon Fleisher. For more information, please visit www.jonathanbiss.com.
AL O BE N J AMIN E
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Concerts of Thu., May 23, 2019 8:00pm Sat., May 25, 2019 8:00pm DONALD RUNNICLES, conductor KIM-LILLIAN STREBEL, soprano
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.
DARIUS MILHAUD (1892-1974) Le bœuf sur le toit, Opus 58 (1919) JOSEPH CANTELOUBE (1879-1957) Excerpts from Songs of the Auvergne (1923) “La Pastoura als Camps” “Baïlèro” “Trois Bourrées” Kim-Lillian Strebel, soprano INTERMISSION
18 MIN 17 MIN
CLAUDE DEBUSSY (1862-1918) Excerpts from Préludes, Books I (1909-10) and II (1912-13) (orch. Colin Matthews) 14 MIN Minstrels (1909-10) (orch. 2003) “Les sons et les parfums tournent dans l’air du soir” (1909-10) (orch. 2005) La Puerta del Vino (1912-13) (orch. 2003) Général Lavine—eccentric (1912-13) (orch. 2004) La mer (The Sea), Three Symphonic Sketches (1905) 24 MIN I. De l’aube à midi sur la mer (From Dawn until Noon on the Sea) II. Jeux de vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea) English surtitles by Ken Meltzer
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NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
Le bœuf sur le toit, Opus 58 (1919)
These are the First Classical Darius Milhaud was born in Aix-en-Provence, France, on Subscription Performances. September 4, 1892, and died in Geneva, Switzerland, on June 22, 1974. The first performance of Le boeuf sur le toit took place at the Théâtre des Champs-Elysées in Paris, France, on February 21, 1920. Le boeuf sur le toit is scored for piccolo, two flutes, oboe, two clarinets, bassoon, two horns, two trumpets, trombone, bass drum, tambourine, guiro, cymbals, and strings.
rench composer Darius Milhaud first conceived of Le boeuf sur le toit (The Bull on the Roof) as music to accompany a silent film. When that project didn’t come to fruition, Milhaud collaborated with Jean Cocteau to create a ballet from the score. Le boeuf sur le toit premiered at the Paris Théâtre des Champs Elysées on February 21, 1920. Cocteau authored the scenario for the ballet, featuring costumes by Guy-Pierre Fauconnet, and stage designs by Raoul Dufy. The ballet takes place at a “Nothing Doing Bar” in Manhattan (Prohibition went into effect in the United States in 1920). The “plot” involves the surrealistic comings and goings of various characters, some portrayed at the premiere by the Fratellini clowns. For the score, Milhaud called upon melodies he heard while serving as Paul Claudel’s secretary, when the writer was a French diplomat in Brazil during WWI. “Le boeuf sur le toit” was the title of a Brazilian hit song. Milhaud explained that he “assembled a few popular melodies, tangoes, maxixes, sambas, and even a Portuguese fado, and transcribed them with a rondo-like theme recurring between each successive pair.” During the course of the brief work, Milhaud explores all 12 major keys, and most of the minor ones as well. But there is nothing academic about the impact of a score that is teeming with melody, seductive rhythmic energy, and humor. Excerpts from Songs of the Auvergne (1923) JOSEPH CANTELOUBE was born in Annonay, France, on October 21, 1879, and died in Grigny, France, on November 4, 1957. The featured songs are collectively scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, trumpet, timpani, piano, and strings.
First Classical Subscription Performances: May 25-27, 1989, Frederica von Stade, mezzo-soprano, Yoel Levi, conductor. Most Recent Classical Subscription Performances: January 19-21, 1995, Frederica von Stade, mezzo-soprano, Yoel Levi, conductor.
he French composer Joseph Canteloube was a prolific artist, whose large catalogue of works encompasses a wide variety of musical genres, both instrumental and vocal. However, Canteloube is today best remembered for a single group of compositions, his arrangements of folksongs known as the Songs of the Auvergne.
Joseph Canteloube was born in Annonay, in south central France. Canteloube’s family was of Auvergne descent. As a child, Canteloube often accompanied his father on walks through various Auvergne villages. The young Canteloube was enchanted both by the spectacular mountain vistas and the folk songs and dances of the Auvergne people. encoreatlanta.com | Atlanta’s Performing Arts Publication 57
In the early 20th century, Canteloube moved to Paris to study with French composer Vincent d’Indy (1851-1931). D’Indy taught a group of young composers who, like their mentor, believed that folksong should play a pivotal role in contemporary French concert music. Canteloube spent a great deal of time collecting and studying folksongs from various regions and cultures throughout France. He arranged many of these songs for performance, including the pieces known as the Songs of the Auvergne. All told, Canteloube published five Series of these Songs. The first two were completed in 1923, and published the following year. Series Three followed in 1927, followed three years later by Series Four. The Fifth and final Series (1954) was published in 1955. Canteloube’s heartfelt tribute to the music of his people and homeland continues to charm music lovers around the world. CLAUDE DEBUSSY was born in St. Germaine-en-Laye, France, on August 22, 1862, and died in Paris, France, on March 25, 1918. Excerpts from Préludes, Books 1 (1909-10) and II (1912-13) (orch. Colin Matthews) These are the First Classical The Matthews orchestrations featured in these concerts are Subscription Performances. collectively scored for two flutes, alto flute, two oboes, English horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, side drum, tenor drum, tambourine, triangle, glockenspiel, tam-tam, tubular bells, xylophone, castanets, cymbals, suspended cymbal, two harps, celesta, and strings.
rench composer Claude Debussy created two sets of twelve Préludes for solo piano (1909-10, 1912-13). From 2001-2007, contemporary English composer Colin Matthews (b. 1946) fashioned orchestrations of all 24. Matthews notes that in creating these orchestrations, he vowed to “remain faithful” to Debussy’s “remarkable soundworld.” “But in order to avoid contriving a pastiche of Debussy’s orchestral style I kept the sound in my head and did not look at a single orchestral score of Debussy’s while working on the project.” Matthews transposed the keys of some of the Préludes in order for them to function better in their orchestral guises. But with a few exceptions, Matthews’s changes to Debussy’s original music are minimal. The Matthews orchestrations of the Debussy Préludes are captivating, brilliant works, a respectful and affectionate tribute by a gifted modern composer to one of his great predecessors. Minstrels (1909-10) (orch. 2003) The first performance of the Matthews orchestration of Minstrels took place at Bridgewater Hall in Manchester, England, on March 16, 2003, with Edward Gardner conducting the Hallé Orchestra. Minstrels (I, 12)—Music inspired by Debussy’s encounters with the song and dance musicians. “Les sons et les parfums dans l’air du soir” (1909-10) (orch. 2005) The first performance of the Matthews orchestration of “Les sons et les parfums dans l’air du soir” took place at Bridgewater Hall in Manchester, England, on
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March 11, 2005, with Mark Elder conducting the Hallé Orchestra. “Les sons et les parfums tournent dans l’air du soir” (“The Sounds and the Perfumes Turn in the Evening Air”) (I, 4)—The title of this Prélude is the third line in Charles Baudelaire’s Harmonie du soir (Evening Harmony), a poem Debussy used as the text for an 1889 song. La Puerta del Vino (1912-13) (orch. 2003) The first performance of the Matthews orchestration of La Puerta del Vino took place at the Assembly Rooms, Derby, England, on February 18, 2004, with Kristian Järvi conducting the Hallé Concerts Society. La Puerta del Vino (The Wine Gate) (II, 3)—This Prélude was inspired by a picture postcard of a gate in the Alhambra, sent to Debussy by fellow composer Manuel de Falla. Debussy noted the music’s “brusque contrasts between violence and impassioned sweetness.” Général Lavine—eccentric (1912-13) (orch. 2004) The first performance of the Matthews orchestration of Général Lavine eccentric took place at Bridgewater Hall in Manchester, England, on November 18, 2004, with Cristian Mandeal conducting the Hallé Orchestra. Général Lavine—eccentric (II, 6)—A musical portrait of the American clown, Edward Lavine, whom Debussy saw perform in 1910 at the Champs-Élysées Théâtre Marigny. Lavine was billed as someone who spent his life as a soldier (thus, the “General” reference). Debussy’s Prélude, “in the style and motion of a cake-walk”, includes references to the Stephen Foster song, “Camptown Races.” La mer (The Sea), Three Symphonic Sketches (1905) First Classical The first performance of La mer took place in Paris on Subscription Performances: October 15, 1905, at the Concerts Lamoureux, with December 1 & 2, 1961, Camille Chevillard conducting. La mer is scored for piccolo, Henry Sopkin, Conductor. two flutes, two oboes, English horn, two clarinets, three Most Recent Classical Subscription Performances: March 31 & April 2, 2016, Thomas Søndergård, conductor.
bassoons, contrabassoon, four horns, three trumpets, two cornets, three trombones, tuba, timpani, glockenspiel, tamtam, cymbals, suspended cymbal, triangle, bass drum, two harps, and strings.
rench composer Claude Debussy once confided to fellow composer André Messager: “You perhaps do not know that I was destined for the fine life of a sailor and that it was only by chance that I was led away from it. But I still have a great passion for the sea.” This “passion” may be traced as far back as Debussy’s childhood visits to Cannes. And, the composer’s fascination with the sea continued throughout his life. It is perhaps ironic that the majority of the composition of La mer took place when Debussy was at inland locations. However, Debussy did not view this as a handicap. As he told Messager: you’ll reply that the Atlantic doesn’t wash the foothills of Burgundy...! And that the result could be one of those hack landscapes done in the studio! But I have
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innumerable memories, and those, in my view, are worth more than a reality which, charming as it may be, tends to weigh too heavily on the imagination. In fact, Debussy once admitted to a friend that he found it difficult to compose while in close proximity to the sea he loved so much. The premiere of La mer took place in Paris on October 15, 1905, at the Concerts Lamoureux, with Camille Chevillard conducting. While critical reaction varied, most recognized the importance of La mer in the development of French musical expression. Debussy’s La mer is a magical product of the composer’s lifelong fascination with the sea and its infinite mysteries. Debussy’s La mer, like its subject, continues to elude description, all the while exerting a powerful attraction. La mer is in three movements, each with a descriptive title: I. De l’aube à midi sur la mer (From Dawn until Noon on the Sea) II. Jeux de vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)
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MEET THE ARTISTS 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.
SI M O
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. KIM-LILLIAN STREBEL, SOPRANO
ritish/Swiss soprano Kim-Lillian Strebel has received rapturous critical acclaim following a number of high-profile debuts. These include Pamina in Barrie Koksy’s production of Die Zauberflöte for Cincinnati Opera - marking her U.S. operatic debut – and Théâtre National de l’Opéra-Comique, Cendrillon for Theater Freiburg, and Lauretta in Calixto Bieito’s new production of Gianni Schicchi at the Komische Oper Berlin. Recent concert performances include her U.S. concert debut with the Atlanta Symphony in performances of Missa Solemnis and her BBC Scottish Symphony Orchestra debut in Beethoven’s Symphony No. 9, as well as joining the TonhalleOrchester Zürich under Peter Kennel as Solveig in Peer Gynt and the Kammerorchester Basel for Mozart’s Requiem under Giovanni Antonini. Last season, she opened the Mozarteum Orchester Salzburg’s season with CPE Bach’s Magnificat under Riccardo Minasi and sang Messiah with La Orquesta Sinfonica Y Coro RTVE, as well as returning to Atlanta Symphony for Bach’s Cantata No. 80 under Robert Spano and sang the Mozart Requiem in Skopje with the Macedonian Philharmonic under Emil Tabakov. Kim-Lillian, born in London to an artistic Central European family, was trained at an early age as a dancer. Her singing talent was then discovered by the late Anthony Rolfe-Johnson. She is now an honour ARAM of the Royal Academy of Music where she studied under Ryland Davies and Audrey Hyland. She then continued at the Royal Conservatoire of Scotland and became a pupil of Dame Kiri Te Kanawa.
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ASO | SUPPORT
he Orchestra donor list includes Annual Fund donations made September 1, 2017 – April 2, 2019. 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 Invesco Ltd.
Abraham J. & Phyllis Katz Foundation The Andrew W. Mellon Foundation Amy W. Norman Charitable Foundation Susan & Thomas Wardell
Susan & Richard Anderson
Mary & Jim Rubright
AT&T The Antinori Foundation 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
Alston & Bird Farideh & Ali Azadi Foundation, Inc.
National Endowment for the Arts Victoria & Howard Palefsky
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$25,000+ A Friend of the Symphony (3) Paul & Linnea Bert Connie & Merrell Calhoun Thalia & Michael C. Carlos Foundation CBH International, Inc City of Atlanta Mayor's 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** Sally & Peter Parsonson Terence L. & Jeanne Perrine Neal* Porsche Cars North America, Inc. Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. 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.* $17,500+ Juliet & John Allan Pinney L. Allen & Charles C. Miller III Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr.
Jason & Carey Guggenheim/Boston Consulting Group Joe Hamilton Anne Morgan & Jim Kelley Kimberly-Clark Foundation D. Kirk & Kimberlee Jamieson Brian & Carrie Kurlander James H. Landon Dr. Ginger Chen & Mr. Sukai Liu Jeffrey Sprecher & Kelly Loeffler Mr. & Dr. Kevin Lyman Meghan & Clarke Magruder Lynn & Galen Oelkers Martha M. Pentecost Jennifer Barlament & Kenneth Potsic Joyce & Henry Schwob June & John Scott $15,000+ Charlie & Donna Madeline & Howell E. Sharbaugh Adams, Jr. Mr. John A. Sibley III Mr. Keith Adams & Amy & Paul Snyder Ms. Kerry Heyward Cari K. Dawson & Rita & Herschel Bloom John M. Sparrow Mr. David Boatwright Loren & Gail Starr The Breman Elliott & Elaine Tapp Foundation, Inc. Carol & Ramon Tomé The John & Rosemary Family Fund Brown Family Foundation John & Ray Uttenhove The Capital Group Mr. James Wells & Mrs. Companies Charitable Susan Kengeter Wells Foundation Drs. Kevin & Kalinda John W. Cooledge Woods Russell Currey & $10,000+ Amy Durrell A Friend of Donna Lee & Howard Ehni the Symphony (2) Ms. Angela L. Evans Aadu & Kristi Allpere* Fifth Third Bank In memory of Leigh Baier Carl & Sally Gable Julie & Jim Balloun Dick & Anne Game Bell Family Foundation Henry F. Anthony & Mr. Benjamin Q. Brunt & Ms. Catherine Meredith Carol R. Geiger Walter & Frances Georgia Power Bunzl Foundation Foundation, Inc.
Wright & Alison Caughman Catherine Warren Dukehart Jeannette Guarner, MD & Carlos del Rio, MD Bonnie & Jay Harris The Hertz Family Foundation, Inc. Kero-Jet John & Linda Matthews Ken & Carolyn Meltzer Ms. Molly Minnear Moore Colson, CPAs & Bert & Carmen Mills Caroline & Joe O’Donnell David & Mary Scheible Ross & Sally Singletary Slumgullion Charitable Fund Mr.** & Mrs. Edus H. Warren, Jr. Adair & Dick White Mrs. Sue S. Williams
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 Paul & Carol Garcia Georgia Council for the Arts Georgia-Pacific Georgia Natural Gas Kathy Waller & Kenneth Goggins The Robert Hall Gunn, Jr., Fund Mr. & Mrs. Charles B. Harrison Roya & Bahman Irvani Clay & Jane Jackson Ann A. & Ben F. Johnson, III Anne & Mark Kaiser Mr. & Mrs. William K. Kapp, Jr. 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 Pierette Scanavino Dr. Steven & Lynne Steindel* Peter James Stelling Alison & Joe Thompson The Trapp Family Turner Foundation, Inc. United Distributors Chilton & Morgan Varner 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.**Deceased
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ASO | SUPPORT 2018/19 PATRON PARTNERSHIP AND APPASSIONATO LEADERSHIP COMMITTEE Kristi Allpere chair
Helga Beam vice chair , solicitation Deedee Hamburger vice chair , programs
Belinda Massafra Pat Buss vice chair , cultivation cultivation committee June Scott Judy Hellriegel vice chair , communications solicitation committee Bill Buss Milt Shlapak cultivation committee member - at - large
Sally Parsonson cultivation committee
Marcia Watt communications committee
Jonne Walter solicitation committee
THE PATRON PARTNERSHIP $7,500+ Jack & Helga Beam Lisa & Russ Butner Deedee & Marc Hamburger* The Piedmont National Family Foundation Betsy & Lee Robinson Mr. Jeffrey C. Samuels & Ms. Amy Levine-Samuels Beverly & Milton Shlapak
$5,000+ A Friend of the Symphony (3) Phyllis Abramson William & Gloria Allgood Lisa & Joe Bankoff Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Patricia & William Buss Cadillac Robert Wenger & Susan Carney Ruth & Mark Coan William & Patricia Cook Jean & Jerry Cooper Mr. & Mrs. Jonathan J. Davies Carol Comstock & Jim Davis* Ms. Diane Durgin Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand Mr. & Mrs. William A. Flinn Sally & Walter George Mary & Charles Ginden Mr. & Mrs. Richard Goodsell Mr. & Mrs. Joshua Harbour Sally W. Hawkins
Mr. Ron Hilley & Mrs. Mia Frieder Hilley 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 Elizabeth J. Levine Peg & Jim Lowman Mr. & Mrs. Brian F. McCarthy Mary Ruth McDonald Mr. & Mrs.** Peter Moraitakis Mr. Edward Potter & Ms. Regina Olchowski Franca G. Oreffice Ms. Margaret Painter Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Ms. Eliza Quigley Mr. Leonard B. Reed* Mr. & Mrs. Joel F. Reeves Mrs. Vicki J. Riedel Mrs. Robin Rodbell Mr. Joseph A. Roseborough John T. Ruff Gretchen Nagy & Allan Sandlin The Selig Foundation Hamilton & Mason Smith Mrs. C. Preston Stephens John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. Burton Trimble
Ms. Sheila Tschinkel Alan & Marcia Watt Dr. & Mrs. James O. Wells, Jr. Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr. Suzanne B. Wilner Mr. Baxter P. Jones & Dr. Jiong Yan Mr. & Mrs. Comer Yates $3,500+ Dr. Evelyn R. Babey Xavier Duralde & Mary Barrett Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis M. Chorba Ralph & Rita Connell Sally & Larry Davis Mary & Mahlon Delong Mr. Richard Dowdeswell Greg & Debra Durden Drs. John & Gloria Gaston Carol G. & Larry L. Gellerstedt III John & Martha Head Azira G. Hill James & Bridget Horgan Dr. Michael D. Horowitz Donald S. Orr & Marcia K. Knight Lillian Balentine Law Deborah & William Liss Mr. & Mrs. Frederick C. Mabry Kay & John T. Marshall Belinda & Gino Massafra Mr. Bert Mobley Mr. Lonnie Johnson & Mrs. Linda A. Moore
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Judge Jane Morrison Michael & Carol Murphy Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk In memory of Dr. Frank S. Pittman III S.A. Robinson Ann Shearer Suzanne Shull Stephen & Sonia Swartz George & Amy Taylor Dale L. Thompson Drs. Jonne & Paul Walter David & Martha West Mr. & Mrs. M. Beattie Wood Camille W. Yow $2,000+ A Friend of the Symphony (5) Mr. & Mrs. Jan Abernathy Ms. Amy Gerome-Acuff & Mr. Daniel Acuff Kent & Diane Alexander Mr. & Mrs. Ivan Allen, IV Mr. & Mrs. Stephen D. Ambo Mr. James L. Anderson The Hisham & Nawal Araim Foundation Scott & Chris Arnold Ms. Susan AscheuerFunke Mr. Joel Babbit Richard K. & Diane Babush Mr. & Mrs. Patrick Battle Mr. & Mrs. Billy Bauman Mr. William Benton 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 Julie & Jerry Chautin Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Jonathan & Rebekah Cramer Susan & Ed Croft Mr. & Mrs. Erik Curns Mr. & Ms. Jay M. Davis Mr. & Mrs. Donald Defoe Mr. Philip A. Delanty Mr. & Mrs. James Durgin Mr. & Mrs. Robert G. Edge Mr. & Mrs. David H. Eidson Miss Elizabeth L. Morris & Miss Christine Elliott 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 Mary D. Gellerstedt Caroline M Gilham Marty & John Gillin* Spencer Godfrey
Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mrs. Louise Grant Ned Cone & Nadeen Green Lauren & Jim Grien Mr. & Mrs. George Gunderson Barbara & Jay Halpern Phil & Lisa Hartley Mr. & Mrs. Steve Hauser Mr. & Mrs. John Hellriegel Kenneth R. Hey Mr. Michael Hertz, in honor of Doug & Lila Hertz Thomas High Sarah & Harvey Hill Mr. & Mrs. Thomas M. Holder Mr. Thomas J. Collins & Mr. Jeff Holmes 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 Mr. & Mrs. Phil S. Jacobs Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Bucky & Janet Johnson Mrs. Gail Greene Johnson Robert N. Johnson, Esq. - Shareholder, Baker Donelson Law Firm Mr. W. F. & Dr. Janice Johnston Cecile M. Jones William L. & Sally S. Jorden Mr. Terence M. Colleran & Ms. Lim J. Kiaw Ann & Brian Kimsey Mrs. Jo W. Koch David & Jill Krischer Dr. & Mrs. Scott I. Lampert
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. Gary Madaris Elvira Mannelly 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 Charles & Sally Morn Ms. Susan R. Bell & Mr. Patrick M. Morris Janice & Tom Munsterman Ann A. Nable Melanie & Allan Nelkin Gary R. Noble Barbara & Sanford Orkin Mary Palmer Family Foundation The Parham Fund Mr. & Mrs. E. Fay Pearce, Jr.* Ms. Susan Perdew Elise T. Phillips Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. Dr. & Mrs. John P. Pooler Ms. Kathy Powell Mr. Walter Pryor Ms. Cathleen Quigley Mrs. Susan H. Reinach Dr. Fulton D. Lewis III & S. Neal Rhoney Jay & Arthur Richardson Susan Robinson & Mary Roemer
Jan Lyons Robison Mr. & Mrs. Richard L. Rodgers George** & Mary** Rodrigue Mr. & Mrs. Mark Rosenberg Dr. & Mrs. Rein Saral Emily Scheible Dr. Andrew Muir & Dr. Bess Schoen Mrs. William A. Schwartz 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 Mr. Morton S. 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 Ruthie Watts Carol Brantley & David Webster Dr. Nanette K. Wenger David & Martha West Sally Stephens Westmoreland Ron & Susan Whitaker Mrs. Frank L. Wilson, Jr. Russell F. Winch Herbert & Grace Zwerner For more information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or William.Keene@ atlantasymphony.org.
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers.**Deceased
encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 67
H E N RY SOPKIN CIRCLE
Jill** & Jennings** Hertz Mr. Albert L. Hibbard Richard E. Hodges Mr. & Mrs. Planned Giving Society Charles K. Holmes, Jr. Named for the Atlanta Symphony Mr.** & Mrs. Fred A. Hoyt, Jr. Orchestra’s founding Music Director, Jim** & Barbara Hund the HENRY SOPKIN CIRCLE celebrates Clayton F. Jackson cherished individuals and families who Mary B. James have made a planned gift to the Atlanta Mr. Calvert Johnson & Symphony Orchestra. These special Mr. Kenneth Dutter donors preserve the Orchestra’s deForest F. Jurkiewicz** foundation and ensure success Herb** & Hazel Karp Anne Morgan & for future generations. Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell A Friend of the Mr. & Mrs. William R. Paul Kniepkamp, Jr. Symphony (21) Cummickel Miss Florence Kopleff** Madeline & Howell E. John R. Donnell Mr. Robert Lamy Adams, Jr. Dixon W. Driggs** Mr.** & Mrs. Pamela Johnson Drummond James H. Landon Ouida Hayes Lanier John E. Aderhold Mrs. Kathryn E. Duggleby Mr. & Mrs. Catherine Warren Dukehart Lucy Russell Lee** & Gary Lee, Jr. Ronald R. Antinori Ms. Diane Durgin Ione & John Lee Dr. & Mrs. William Bauer Mr. Richard H. Delay & Dr. Mr. Larry M. LeMaster Mr. Charles D. Belcher** Francine D. Dykes Mr.** & Mrs.** Neil H. Berman Arnold & Sylvia Eaves William C. Lester Susan & Jack Bertram Mr. & Mrs. Liz & Jay** Levine Mr.** & Mrs.** Robert G. Edge Robert M. Lewis, Jr. Karl A. Bevins Elizabeth Etoll Carroll & Ruth Liller The Estate of Donald S. & Mr. Doyle Faler Ms. Joanne Lincoln** Joyce Bickers Brien P. Faucett Jane Little** Mr.** & Mrs. Sol Blaine Dr. Emile T. Fisher Mrs. J. Erskine Love, Jr. Rita & Herschel Bloom Moniqua N Fladger The Estate of Mrs. Mr. & Mrs. Bruce W. Flower Nell Galt & Will D. Magruder Gilbert H. Boggs, Jr. K Maier A. D. Frazier, Jr. W. Moses Bond John W. Markham Nola Frink Mr.** & Mrs. Mrs. Ann B. Martin Betty & Drew** Fuller Robert C. Boozer Linda & John Matthews Sally & Carl Gable Elinor A. Breman** Mr. Michael A. William & Carolyn Gaik James C. Buggs** McDowell, Jr. Dr. John W. Gamwell Mr. & Mrs.** Dr. Michael S. McGarry Mr.** & Mrs. Richard H. Burgin Richard & Shirley McGinnis L.L. Gellerstedt, Jr. Hugh W. Burke The Estate of Mr. Boyd M. Ruth Gershon & Mr. & Mrs. William Buss McKeown Sandy Cohn Wilber W. Caldwell John & Clodagh Miller Micheline & Bob Gerson Mr. & Mrs. C. Merrell Ms. Vera Milner Mr. & Mrs. John T. Glover Calhoun Mrs. Gene Morse** Mrs. David Goldwasser Cynthia & Donald Carson Robert Hall Gunn, Jr., Fund Ms. Janice Murphy** Mrs. Jane Celler** Mr. & Mrs. Billie & Sig Guthman Lenore Cicchese** Stephen L. Naman Betty G.** & Margie & Pierce Cline Mr. & Mrs. Bertil D. Nordin Joseph** F. Haas Dr. & Mrs. Grady S. Mrs. Amy W. Norman** James & Virginia Hale Clinkscales, Jr. Galen Oelkers Ms. Alice Ann Hamilton Robert Boston Colgin Roger B. Orloff Dr. Charles H. Hamilton Mrs. Mary Frances Dr. Bernard** & Sally & Paul** Hawkins Evans Comstock** Sandra Palay John & Martha Head Miriam** & John A.** Sally & Pete Parsonsons Ms. Jeannie Hearn** Conant Dan R. Payne Barbara & John Henigbaum Dr. John W. Cooledge Bill Perkins
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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 **Deceased
FREE CONCERTS under the stars! JUNE 12 | Thu: 7:30pm JUNE 19 | Thu: 7:30pm Piedmont Park — Oak Hill
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T H E F OX T H E AT R E | O C TO B E R 2 0 1 7
Recipient of the Regional Theatre Tony Award®
MILLION DOLLAR QUARTET
Robert Spano Music Director
SEPT. 20 & 21
Robert Spano Music Director
March 19–April 9, 2017 JUN 2017 COBBENERGYCENTRE.COM 1709_CEPAC–Cover_MillionDollarQuartet.indd CEPAC 1709_1-32.indd 1 1
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THE WOODRUFF CIRCLE Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to ensure the arts thrive in our community.
JOY AND TONY* GREENE
$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
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THE PATRON CIRCLE
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
$50,000+ 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 Sutherland 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 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
$25,000+ 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 Mr. and Mrs. Lawrence
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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 Barbara W. and Bertram L. Levy 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
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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.org.
ASO | GENERAL INFO LATE SEATING Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office 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
Subscription Information/ Sales
Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs
Atlanta Symphony Youth Orchestra
Lost and Found
Donations & Development
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SEASON FINALES MAY30/ JUN1/2
OVERTURE NO. 3
SYMPHONY NO. 6 Donald Runnicles, conductor Christina Smith, flute
Classical season presented by
Robert Spano, conductor Christine Goerke/Leonore Joseph Kaiser/Florestan Nmon Ford/Pizarro Arthur Woodley/Rocco Laura Tatulescu/Marzelline David Walton/Jacquino Richard Clement/First Prisoner Second Prisoner/Stephen Ozcomert Morris Robinson/Don Fernando ASO Chorus
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ASO | STAFF EXECUTIVE Jennifer Barlament executive director
Stephanie Smith executive assistant
Alvinetta CookseyWyche executive services office assistant
FINANCE & ADMINISTRATION Susan Ambo chief financial officer
Kim Hielsberg senior director of financial planning
V.S. Jones symphony store
Shannon McCown office manager
ATLANTA SYMPHONY HALL LIVE Nicole Panunti
Elizabeth Daniell Adam Fenton
EDUCATION & COMMUNITY ENGAGEMENT Kaitlin Gress
director of multimedia
manager of asyo
Tiffany I. M. Jones
managing producer of
box office manager
director of marketing
- aso & live Robert Phipps
Clay Schell consultant
Michael Tamucci Event Coordinator
archives program manager
DEVELOPMENT Grace Sipusic
vice president of
Elizabeth Arnett director of
manager of grants
William Keene manager of
Gillian Kramer manager of special
Ruthie Miltenberger manager of family programs
Tyrone Webb manager of education
& community Ryan Walks
interim talent development program manager
SALES & REVENUE MANAGEMENT Russell Wheeler
ARTISTIC Evans Mirageas
OPERATIONS Sameed Afghani general manager
director of patron
Jesse Pace patron services
manager of artistic
MARKETING & COMMUNICATIONS Tammy Hawk
executive assistant to the music director
KC Commander digital marketing specialist
Gokul Parasuram data analyst
Robin Smith patron services
Robert Darby stage technician
Victoria Moore assistant orchestra personnel manager
Christopher Stephens Daniel Stupin group & corporate stage technician sales manager
Caroline Tanner patron services assistant
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ASO | CORPORATE & GOVERNMENT SUPPORT
Mayor’s Office of Cultural Affairs
Major support is provided by the City of Atlanta Office of Cultural Affairs.
Major funding is provided by the Fulton County Board of Commissioners.
This program is supported in part by an award from the National Endowment for the Arts.
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