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OCTOBER | 2019

CONVERSATION STARTER, INSIDE AND OUT. THE HIGHLY ADVANCED NX With its sharp curves and available Premium Triple-Beam LED headlamps, the Lexus NX has always been designed to make a statement. And now with Amazon Alexa1 compatibility, it’s also designed to respond. Allowing you to get directions, play music and control your Alexa-enabled smart-home devices with a simple voice command. And when you combine all that with the standard safety features of Lexus Safety System+,2 the NX changes the conversation about what a luxury crossover can be. LEXUS SAFETY SYSTEM+2 AVAILABLE F SPORT STYLING AMAZON ALEXA1 COMPATIBILITY




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BUTLER LEXUS OF SOUTH ATLANTA Union City 4025 Jonesboro Rd. (678) 619-3045 Options shown. 1. Amazon, Alexa and all related logos are trademarks of, Inc. or its affiliates. Certain functions require adequate signal strength and/or smartphone technology/connectivity. Not all Amazon Alexa functionality is available for in-vehicle use. See applicable app for details. Download of the Lexus+Alexa app is required to begin in-vehicle use of Alexa. Data charges may apply for certain functions. Apps and services subject to change at any time without notice. To learn more, go to To learn more about Lexus Enform’s data collection, use, sharing and retention, please visit 2. Lexus Safety System+ effectiveness is dependent on many factors including road, weather and vehicle conditions. Drivers are responsible for their own safe driving. Always pay attention to your surroundings and drive safely. See Owner’s Manual for additional limitations and details. ©2019 Lexus

Welcome! Oscar Wilde once said, “The stage is not merely the meeting place of all the arts, but is also the return of art to life.” Welcome to our new stage... and the new life of Encore! For the past five months, the Encore team has worked tirelessly behind the curtain to create and curate our new look and feel alongside our fabulous director, Debbi Shapiro, and her amazing cast of brand ambassadors at HSP Marketing. Our goal? To become the defining voice of performing arts in Atlanta. We offer to you, the Atlanta arts patron, a cleaner, crisper, more updated, more relevant version of our previous self – one that is clearly defined and recognizable from afar, one that has a well-defined stage presence. Our insides have changed, too. No longer will we perform, editorially, in topics outside of the arts. Readers will now find photos and features focused exclusively on celebrating and chronicling the performing arts, and will enjoy arts-focused content on our newly redesigned website. Across all platforms, Encore is committed to bringing quality content to Atlanta’s arts patrons – from breaking news to backstage stories, and from season announcements to red carpet excitement. As this new Encore comes to life, we continue to be so grateful to our partners around town, without whom we couldn’t perform at all: The Fox Theatre, Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, Cobb Energy Performing Arts Centre, Atlanta Ballet, The Atlanta Opera, Rialto Center for the Arts and Sandy Springs Performing Arts Center. So please join us as we allow our former Encore to take a bow – and help us raise the curtain on the new and improved Encore! We hope you enjoy it – and we hope you enjoy the show!

Brantley Manderson Publisher

The energy of the stage.




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F E AT U R E From There to Here.

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The ASO 75 Years in the Making Written by James Paulik S H OW


Written by Ken Meltzer OCT 3 & 5..

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OCT 17 & 19. OCT 20. .


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P age 10


D E PA R T M E N T S Welcome.

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Robert Spano.

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Ticket Info/General Info. ASO Staff. .


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Orchestra Leadership. ASO Musicians.

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P age 46


ASO | HIGH NOTES Dear Friends,


hank you for joining us during the Atlanta Symphony Orchestra’s historic 75th season. We have many reasons for celebration this season. The fiscal and artistic health of the ASO is not only better than it has been in decades, but our work in Atlanta is also being recognized as extraordinary across the classical music field. FY19 marked our fifth consecutive year with a budget surplus. We have nearly tripled our subscriber base for the Delta Classical Series and doubled our Family Concert Series in terms of patrons and revenue. In addition, we have doubled our net revenue from our popular music series, Atlanta Symphony Hall LIVE, which also includes Movies in Concert with the ASO. Last year, thanks to your generous support, we raised nearly two million dollars in new and increased contributions. On the education front, we celebrated the 25th Anniversary of the Talent Development Program, which prepares talented African American and Latinx youth for careers in classical music. The program is not only recognized as a model of success in Atlanta but is now being replicated by orchestras across the country. The five 2019 TDP graduates received more than $700,000 in scholarship offers and have begun the next leg of their journey at some of the top music schools in the country. Our 37 Atlanta Symphony Youth Orchestra seniors earned over $7.3M in scholarship offers, and three out of four of them have elected to study music after high school, inspired in large part by their experience in ASYO. In celebration of our 75th Anniversary season, we’ll hit the road with a new program called Around the A, presented by PNC Bank. Visit to find the most up-to-date information on the ASO’s free community concerts. On behalf of the entire Atlanta Symphony Orchestra family, thank you for your support. We look forward to a truly memorable season. Sincerely, Janine Brown, Atlanta Symphony Orchestra Board Chair





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 19th season as Music Director of the Atlanta Symphony Orchestra and first season as Principal Guest Conductor of the Fort Worth Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers. 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 young performers. The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center and the Ravinia, Ojai, and Savannah Music Festivals. Highlights of Spano’s 2019/20 season include a return to the Dallas Symphony Orchestra, conducting the world premiere of George Tsontakis’s Violin Concerto No. 3 alongside Vaughan Williams’s A Sea Symphony. He returns to the Indianapolis Symphony, the Singapore Symphony and the BBC Symphony Orchestra in the world premiere of Dimitrios Skyllas’s Kyrie eleison, commissioned by the BBC. Conducting debuts include the NHK Symphony Orchestra, Auckland Philharmonia and Wroclaw Philharmonic. As the newly appointed Principal Guest Conductor of the Fort Worth Symphony, Spano appears on the Orchestra’s Symphonic Series, conducting two of the ten scheduled concert weekends. With the Atlanta Symphony Orchestra, programs include Spano’s quintessentially rich, diverse pairings of contemporary works and cherished classics, welcoming seasoned guest artists and many new faces. The Orchestra’s 75th season features 16 ASO premieres and two world premieres. In celebration of Beethoven’s 250th birthday, the ASO and Chorus travels to Carnegie Hall in April 2020 to perform Missa solemnis with soprano Susanna Phillips, mezzo-soprano Sasha Cooke, tenor Benjamin Bliss and bass Matthew Rose. The season concludes with the Atlanta premiere of Wagner’s Tristan und Isolde. With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has garnered 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. | @AtlantaSymphony |


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ASO | LEADERSHIP | 2019/20 Board of Directors OFFICERS Janine Brown chair

Howard Palefsky immediate past chair

Susan Antinori secretary

Lynn Eden vice chair

James Rubright treasurer

DIRECTORS Joan Abernathy*

Sloane Drake

Kelly Loeffler^

Fahim Siddiqui

William Ackerman

Lynn Eden

Kevin Lyman

W. Ross Singletary, II

Keith Adams

Angela Evans

Brian McCarthy

John Sparrow

Juliet McClatchey Allan

Craig Frankel

Penelope McPhee^

Gail Ravin Starr

Susan Antinori

Anne Game

Bert Mills

Elliott Tapp

Jennifer Barlament*

Paul R. Garcia

Molly Minnear

Brett Tarver

Paul Blackney

Jason Guggenheim

Terry Neal

Joseph M. Thompson

Rita Bloom

Joseph W. Hamilton III

Galen Lee Oelkers

S. Patrick Viguerie

Janine Brown

Bonnie Harris

Howard Palefsky

Kathy Waller

Justin Bruns*

Caroline Hofland

Ebbie Parsons

Mark D. Wasserman

Benjamin Brunt

Tad Hutcheson

Juliette Pryor

Richard S. White, Jr.

C. Merrell Calhoun

Roya Irvani

Cathleen Quigley

John B. White, Jr.

William M. Carey

Randy Koporc

James Rubright

S. Wright Caughman, M.D.

Carrie Kurlander

Bill Schultz

Kevin E. Woods, M.D., M.P.H.

James Landon

Charles Sharbaugh

Russell Currey

Donna Lee

Doug Shipman*

Carlos del Rio, M.D

Sukai Liu

John Sibley


John T. Glover

Karole Lloyd

G. Kimbrough Taylor, Jr.

Neil Berman

Dona Humphreys

Meghan H. Magruder

Michael W. Trapp

John Cooledge

Aaron J. Johnson, Jr.

Patricia Reid

Ray Uttenhove

John R. Donnell, Jr.

Ben F. Johnson, III

Joyce Schwob

Chilton Varner

Jere A. Drummond

James Kelley

Hamilton Smith

Adair White

Carla Fackler

Patricia Leake

Rhett Tanner

Sue Sigmon Williams

Charles B. Ginden

LIFE DIRECTORS Howell E. Adams, Jr.

Betty Sands Fuller

Azira G. Hill

Bradley Currey, Jr.

Mary D. Gellerstedt

Lessie B. Smithgall, Jr.

^ 2019/20 Sabbatical * Ex-Officio Non-Voting | @AtlantaSymphony |

So many ways to save. Find tools and resources to help save money and energy. Georgia Power has energy-saving tips on everything from controlling airflow to adding weatherstripping. Plus you’ll have access to resources like Online Energy Checkup and My Power Usage to learn about your energy consumption. There are hundreds of simple ways for you to save energy – and saving energy means saving money. To learn more, visit ©2019 Georgia Power. All rights reserved.



ASO | 2019/20 Musician Roster




David Coucheron concertmaster

Julianne Lee* principal

Rainer Eudeikis• principal

The Mr. & Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam & John Conant Chair

Justin Bruns Sou-Chun Su associate concertmaster acting principal The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair

Daniel Laufer associate principal

Vacant assistant concertmaster

Jay Christy acting associate principal

Karen Freer assistant principal

Jun-Ching Lin assistant concertmaster Anastasia Agapova acting assistant concertmaster Carolyn Toll Hancock The Wells Fargo Chair

John Meisner Christopher Pulgram Juan R. Ramírez Hernández Olga Shpitko Kenn Wagner Lisa Wiedman Yancich Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox Raymond Leung

The Carolyn McClatchey Chair

Sanford Salzinger

Noriko Konno Clift acting assistant principal Sharon Berenson David Dillard

The Livingston Foundation Chair

Dona Vellek assistant principal emeritus Thomas Carpenter Joel Dallow

The UPS Foundation Chair

Sheela Iyengar**

Larry LeMaster

Eleanor Kosek

Brad Ritchie

Ruth Ann Little

Paul Warner

Thomas O’Donnell


Ronda Respess

Joseph McFadden principal

VIOLA Zhenwei Shi• principal

The Marcia & John Donnell Chair

The Edus H. & Harriet H. Warren Chair

Gloria Jones Allgood associate principal

Paul Murphy associate principal

Brittany Conrad**

The Lucy R. & Gary Lee Jr. Chair

The Mary & Lawrence Gellerstedt Chair

Karl Fenner

Catherine Lynn assistant principal

The Jane Little Chair

Marian Kent Yang-Yoon Kim

Michael Kenady Michael Kurth Daniel Tosky

Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp Players in string sections are listed alphabetically | @AtlantaSymphony |

Robert Spano music director The Robert Reid Topping Chair

Donald Runnicles principal guest conductor The Neil & Sue Williams Chair

Stephen Mulligan

associate conductor; music director of the atlanta symphony youth orchestra

Norman Mackenzie director of choruses The Frannie & Bill Graves Chair

The Zeist Foundation Chair




Christina Smith principal

Andrew Brady principal

Michael Moore principal

The Jill Hertz Chair

Robert Cronin associate principal C. Todd Skitch Gina Hughes PICCOLO Gina Hughes OBOE Elizabeth Koch Tiscione principal The George M. & Corrie Hoyt Brown Chair

Zachary Boeding • associate principal The Kendeda Fund Chair

Samuel Nemec Emily Brebach ENGLISH HORN Emily Brebach CLARINET Laura Ardan principal

The Robert Shaw Chair | The Mabel Dorn Reeder Honorary Chair

Ted Gurch associate principal Marci Gurnow Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez ‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season ** One-year appointment

The Abraham J. & Phyllis Katz Foundation Chair

Anthony Georgeson associate principal Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar HORN Vacant principal

The Betty Sands Fuller Chair

Susan Welty acting principal Kimberly Gilman Chelsea McFarland** Bruce Kenney Jaclyn Rainey* TRUMPET Stuart Stephenson principal The Madeline & Howell Adams Chair

Michael Tiscione associate principal Mark Maliniak TROMBONE Vacant principal

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

Nathan Zgonc acting/associate principal Jeremy Buckler** Brian Hecht BASS TROMBONE Brian Hecht

The Home Depot Veterans Chair

The Delta Air Lines Chair

TIMPANI Mark Yancich principal

The Walter H. Bunzl Chair

Michael Stubbart assistant principal PERCUSSION Joseph Petrasek principal The Julie & Arthur Montgomery Chair

William Wilder assistant principal

The William A. Schwartz Chair


The Connie & Merrell Calhoun Chair

Michael Stubbart HARP Elisabeth Remy Johnson principal The Sally & Carl Gable Chair


The Hugh & Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson LIBRARY Nicole Jordan principal

The Marianna & Solon Patterson Chair

Holly Matthews assistant principal librarian Hannah Davis asyo /assistant librarian




from There By James Paulk

The ASO | @AtlantaSymphony |


to Here

75 years in the making


n February 4, 1945, the Atlanta Music Club sponsored a concert with Henry Sopkin conducting the Atlanta Youth Symphony Orchestra at the Municipal Auditorium. While many of the details are lost to history, it’s unlikely that the small group of dedicated women who brought it together could have imagined that this modest ensemble, with musicians aged 11 to 25, would grow to become a renowned orchestra and chorus whose sounds and recordings echo around the globe, with far-reaching community and education initiatives reaching hundreds of thousands of children and adults each year.




our previous attempts to form an orchestra, from 1905 to 1939, all had failed. But this time, with World War II still raging, the four women who led the effort had the foresight to hire Sopkin, a genial and visionary music teacher whose unique mix of talent, enthusiasm and business skills were essential as he served as conductor, manager, fundraiser, union negotiator and sometimes janitor. Working part time at first, he transformed the Orchestra into an adult professional ensemble, with small fees paid to each of the musicians. Henry Sopkin

Sopkin moved quickly to develop the new ensemble, which officially became the Atlanta Symphony Orchestra in 1947, and which soon became a respected regional orchestra, ultimately moving into the cavernous old Municipal Auditorium on Courtland Street and attracting world famous soloists such as Rïsë Stevens and Jan Peerce. Two historic events capped the end of the Sopkin era. In 1965, the Orchestra received a life-changing $1.75 million Ford Foundation grant, paired with a $1 million local match (the ASO budget at the time was only $350,000). Meanwhile, a 1962 plane crash had killed 103 of Atlanta’s leading arts patrons. Ultimately, the tragedy united Atlanta’s leaders behind the Atlanta Memorial Arts Center, later renamed the Woodruff Arts Center, which included Symphony Hall. Construction began in 1966, the year Sopkin stepped down. Thanks to Sopkin, Atlanta had developed a taste for excellence that would endure and grow. With the new hall and the grant money, the stage was set for a momentous transformation. With Robert Shaw’s arrival as Music Director in 1967, the Orchestra acquired one of the great musical geniuses of the 20th Century, already world-famous for his pioneering choral work. A tireless workaholic, Shaw immediately set to work transforming the ASO from a part-time orchestra into an international ensemble. He made the Orchestra a | @AtlantaSymphony |

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recording powerhouse, winning 18 Grammy® Awards during his era and racking up record sales in the millions.

Robert Shaw

And then there’s the ASO Chorus, Shaw’s masterpiece, a 200-voice, all-volunteer ensemble whose unrivaled virtuosity has done so much to put the Orchestra on the map. When the Orchestra and Chorus performed at Jimmy Carter’s inauguration, Washington Post critic Paul Hume commented: “If the rest of the country could sing the way these people from Georgia sing, Jimmy Carter’s problems would be over before he gets started.” It continues as perhaps the finest volunteer choral ensemble in America. Shaw’s hurricane-force personality, his legendary communication skills (“It’s about God, God-dammit!”) and his passion for civil rights made him a force to be reckoned with in the community as well as the concert hall. He programmed new music so extensively that in 1971 his board fired him, only to back down after an astonishing outpouring of support from subscribers. When Shaw stepped down in 1988, the Orchestra turned to 36-year-old Romanian-born Yoel Levi, an Assistant Conductor at the Cleveland Orchestra, just as Shaw had been before coming to Atlanta. Levi set about refining the Orchestra’s sound and won praise from critics for a series of landmark recordings, especially those of Mahler’s Symphonies. Among the highlights of his tenure was an extraordinary European tour which included an emotional concert in East Berlin. His influence on the Orchestra’s sound was profound and lasting. After Levi’s departure in 2000, the Orchestra recruited Music Director Robert Spano and Principal Guest Conductor Donald Runnicles as a collaborative team to share responsibility for the Orchestra. | @AtlantaSymphony |

Yoel Levi


Sure Shooting!

Through December 31 Andy Warhol, Cowboys and Indians: General Custer, 1986 Screenprint on Lenox, museum board Edition 55/250 36 × 36 inches, Collection Booth Western Art Museum, © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), NY; Andy Warhol, Cowboys and Indians: Annie Oakley, 1986 Screenprint on Lenox museum board Edition 55/250 36 × 36 inches, Collection Booth Western Art Museum © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), NY | Cartersville, GA



Spano had won praise as Director of the Brooklyn Philharmonic Orchestra. A supremely talented musician, he has steadily refined the Orchestra’s unique sound. A beloved figure with both musicians and fans, Maestro Spano has championed contemporary music, building special relationships with Robert Spano a distinguished group of composers, dubbed the “Atlanta School.” His friendships across the music universe have made the ASO a destination for a parade of distinguished guest artists. In 2012, he became Music Director of the famed Aspen Music Festival and School. Maestro Runnicles is currently General Music Director of the Deutsche Oper Berlin and the Grand Teton Music Festival. As Jerry Garcia put it: “What a long strange trip it’s been!” The road has been rocky at times. At many junctures, the Orchestra faced dire financial threats, most recently in 2014. The resolution of that crisis, with the community once again coming together to support its Orchestra, set the stage for a new era. Finances have stabilized, the Orchestra’s size has been restored, and the audience has responded. Last season, the ASO enjoyed 17 sold-out concerts and an average of 89% of Symphony Hall filled for the Delta Classical Series. We will celebrate this amazing heritage with an entire season filled with special activities: ASO75. Highlights include: he ASO hitting the road with a new series called T ASO75 Around the A, presented by PNC Bank. These free events range from full-orchestra concerts to more intimate chamber ensemble performances — featuring Atlanta Symphony Orchestra musicians, as well as members of the Atlanta Symphony Youth Orchestra and Talent Development Program. | @AtlantaSymphony |



artnerships with two of Atlanta’s public art P organizations: In September we unveil a mural with Living Walls, located across from the Center for Civil and Human Rights, as well as our very own Tiny Doors ATL door in Callaway Plaza. everal concerts, including the March 11 concert, S featuring Itzhak Perlman and conducted by Yoel Levi, will be live-streamed, courtesy of the Goizueta Foundation. These concerts will also be carried on Georgia Public Broadcasting. ut the most important celebration will take place B here in Symphony Hall, with our magnificent Orchestra performing its greatest season yet, joined by some of our best friends, like Midori, Emanuel Ax and André Watts, showcasing the ASO’s unique sound, spirit and appetite for innovation.

FOUR TENACIOUS WOMEN who brought the Atlanta Youth Symphony to life Josephine (Mrs. James O’Hear) Sanders was president of the Atlanta Music Club and had the idea to “grow an orchestra” from the youth group. Her organization was directly responsible for the creation of the ASO and nurtured it in the early years. Anne Grace O’Callaghan supervised music education for Atlanta high schools and formed the “In and About Atlanta Orchestra” which morphed into the Atlanta Youth Symphony Orchestra. Marcia Weissgerber, a music teacher, was the “In and About” conductor, and had prepared the musicians who would be performing at that first concert. Dorothy (Mrs. Lon) Grove was the chair. Her efforts kept the budding public eye. In 1945, she founded the Atlanta Youth Symphony Orchestra, the Atlanta Symphony Associates.

Music Club’s publicity orchestra before the Junior Guild of the the forerunner of | @AtlantaSymphony |


2019-2020 Concert Series Clayton State University

CHRISTIAN TETZLAFF, violin LARS VOGT, piano Saturday, October 19, 2019

CHRISTOPH PRÉGARDIEN, tenor JULIUS DRAKE, piano Sunday, October 20, 2019

HORSZOWSKI TRIO Sunday, November 3, 2019

CHRISTIAN SANDS HIGH WIRE TRIO Saturday, November 16, 2019

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





Members of the Atlanta Symphony Orchestra

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

MEMBERS Arthur Mills, IV chair

Phyllis Abramson

Nancy Harrison

Regina Olchowski

Keith Barnett

Mia Hilley

Ryan Oliver

Greg Blount

Justin Im

Eliza Quigley

Jane Blount

Swathi Khambhampati David Quinn

Jim Camden

Kartikh Khambhampati Baker Smith

Tracey Chu

Jason Liebzeit

Otis Threatt, Jr.

Sally F. George

Keith Millner

Taylor Winn

Burt Fealing

Jane Morrison

Jennifer Winn

James Hammond

Bert Mobley

Charles Harrison

For more information about becoming an Advisory Council member, please contact Elizabeth Arnett at, or 404.733.5048. | @AtlantaSymphony |



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ASO | 75TH ANNIVERSARY SEASON SPONSORS We are deeply grateful to the Sponsors who have given generously in support of the Atlanta Symphony Orchestra's 75th Anniversary Season.


The John & Rosemary Brown Family Foundation

LEADERSHIP sponsors | @AtlantaSymphony |



Concerts of Thursday, Oct 3, 2019 8:00pm Saturday, Oct 5, 2019, 8:00pm ROBERT SPANO, Conductor TENGKU IRFAN, piano The Atlanta Symphony Orchestra Classical Series is presented by

RICHARD WAGNER (1813-1883) Preludes to Acts I and III of Lohengrin (1850) BÉLA BARTÓK (1881-1945) Concerto for Piano and Orchestra No. 2 (1931) I. Allegro II. Adagio—Presto—Adagio III. Allegro molto; Presto Tengku Irfan, piano INTERMISSION

12 MIN

28 MIN

20 MIN

JOHANNES BRAHMS (1833-1897) Symphony No. 1 in C minor, Opus 68 (1876) 46 MIN I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco Allegretto e grazioso IV. Adagio; Più Andante; Allegro non troppo, ma con brio

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. | @AtlantaSymphony |



Ken Meltzer Program Annotator

Preludes to Acts I and III of Lohengrin (1850)

First Classical Subscription

RICHARD WAGNER was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of the opera Lohengrin took place at the Hoftheater in Weimar, Germany, on August 28, 1850, conducted by Franz Liszt. The Preludes to Acts I and III are scored for three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, tambourine, and strings.



Prelude to Act I: February 23 and 25, 2012, James Gaffigan, Conductor. Prelude to Act III: January 26, 1947, Henry Sopkin, Conductor Most Recent Classical Subscription Performances: Prelude to Act III:

he story of Wagner’s opera, Lohengrin, takes January 18-20, 1979, place in Antwerp, in the early 10th century. The Robert Shaw, Conductor. maiden Elsa is falsely accused of murdering her brother, the rightful heir to the throne. A knight arrives in a swan-drawn boat and agrees to defend Elsa’s honor. The knight demands that Elsa never try to determine his origin or name. Elsa consents, and the knight defeats her accuser. Elsa and the knight wed, but soon, she becomes suspicious. Finally, she asks the knight the forbidden question. The knight reveals his identity. He is Lohengrin, a Knight of the Holy Grail. Because Elsa has violated her trust, the heartbroken Lohengrin must leave her forever. Before he departs, Lohengrin prays, and the swan is transformed back into the person of Elsa’s brother. Wagner saw the story of Lohengrin as a metaphor of the artist’s attempt to gain understanding within society. He began work on the text of Lohengrin in 1845, finally completing the score on April 28, 1848. The opera received its premiere in Weimar, under the direction of Franz Liszt, on August 28, 1850. In time, Lohengrin emerged as one of Wagner’s most beloved works. The orchestral Preludes to Acts I and III have also enjoyed a regular presence in the concert hall. The Prelude to Act I of Lohengrin (Langsam) is one of Wagner’s most sublime compositions. According to the composer, it is a depiction of the “miraculous descent of the Holy Grail, accompanied by an angelic host, and its consignment to the custody of exalted men.”



“The infinitely delicate outline of a miraculous band of angels takes shape, floating imperceptibly down from Heaven and bearing a sacred vessel.” Finally, the orchestra majestically proclaims the appearance of the Grail, “the precious vessel out of which our Savior drank at the Last Supper with His disciples; in which his blood was caught when, for love of His brethren, He suffered upon the cross.” After entrusting the Grail to the knights, “the seraphic hosts disappear into the bright light of the celestial blue from which they first emerged.” The brief and “very lively” (Sehr lebhaft) Prelude to Act III depicts the celebrations attending the wedding of Elsa and Lohengrin. Concerto No. 2 for Piano and Orchestra (1931) First Classical Subscription Performances: October 23-25, 1975, Michael Ponti, Piano, Otto-Werner Mueller, Conductor. Most Recent Classical Subscription Performances: September 28-30, 1995, Garrick Ohlsson, Piano, Ádám Fischer, Conductor.

BÉLA BARTÓK was born in Nagyszentmiklós, Hungary (now, Sînnicolau Mare, Romania), on March 25, 1881, and died in New York on September 26, 1945. The first performance of the Second Piano Concerto took place in Frankfurt, Germany, on January 23, 1933, with the composer as soloist, and Hans Rosbaud conducting the Frankfurt Radio Symphony. In addition to the solo piano, the Concerto No. 2 is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, small snare drum, triangle, tambourine, tam-tam, and strings.


he Hungarian composer Béla Bartók completed his First Piano Concerto in 1926. Bartók, a superb pianist, was the soloist in the Concerto’s world premiere, which took place as part of the Festival of the International Society of Contemporary Music at Frankfurt, on July 1, 1927. Wilhelm Furtwängler was the conductor. Four years later, Bartók completed his Second Concerto. Bartók was once again the soloist in that work’s January 23, 1933 world premiere. Hans Rosbaud conducted the Frankfurt Radio Symphony. | @AtlantaSymphony |


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In a 1939 Swiss newspaper article, Bartók contrasted the two Piano Concertos: I composed my first piano concerto in 1926. I consider it a good composition although the structure is a bit—or indeed one might say very—difficult for orchestra and audience alike. A few years later, in 1930-31, I wished to compose as a counterpart the Piano Concerto No. 2 with fewer difficulties for the orchestra and more pleasing in its thematic material. This is why most of the themes in the piece are more popular and light in character. Because of its lightness it is sometimes almost reminiscent of one of my early works, the Suite No. 1 for orchestra, op. 3 (1905). Both Concertos share the composer’s stunning virtuoso writing for the soloist, propulsive rhythms, brilliant and varied deployment of instrumental colors, and a celebration of Bartók’s affection for the folk music of his native land. The Concerto is in three movements, each presenting a unique sound world. The opening Allegro, in sonata form (exposition, development, recapitulation of central themes) is scored for solo piano, winds, and percussion. The second movement features two Adagio episodes (scored for piano, muted strings, and timpani) framing a whirlwind Presto (piano, strings, winds, and percussion). The finale, the only movement featuring the full complement of the orchestra, is a rondo, based upon a propulsive theme, introduced by the soloist. Contrasting episodes feature reprises of music from the Concerto’s opening movement. A final iteration of the rondo’s central theme resolves to the scintillating closing measures. First Classical Subscription Performance: April 30, 1949, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: May 5-7, 2016, Lothar Zagrosek, Conductor.

Symphony No. 1 in C minor, Opus 68 (1876) JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of the Symphony No. 1 took place in Karlsruhe, Germany, on November 4, 1876, with Felix Otto Dessoff conducting. The Symphony No. 1 is | @AtlantaSymphony |




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


s early as 1853, prominent musicians, Robert Schumann included, urged the young Johannes Brahms to try his hand at symphonic composition. Brahms, however, resisted the call. In 1870, Brahms wrote to conductor Hermann Levi: “I shall never write a symphony. You have no idea what the likes of us feel when we hear the tramp of a giant like him beside us.” Here, Brahms referred to the great shadow cast by Ludwig van Beethoven and his epochal Nine Symphonies. And it was not until 1876, when Brahms was forty-three years old, that he completed his First Symphony. The November 4, 1876, premiere took place in Karlsruhe, under the direction of Felix Otto Dessoff. Although Beethoven had been dead nearly half a century when the C-minor Symphony premiered, comparisons with the man Brahms called a “giant” were inevitable. The Brahms First presents a dramatic journey from C minor to C Major, as does Beethoven’s Fifth. A four-note motif, also reminiscent of the famous opening theme of the Beethoven Fifth, plays a prominent role the first movement. A friend of Brahms noted the similarity of the finale’s principal theme to the Ode “To Joy” in Beethoven’s Ninth. To this observation, Brahms responded, “any ass can see that!” The eminent conductor, Hans von Bülow, dubbed the work “Beethoven’s Tenth.” Although Bülow certainly meant that as a compliment, it provided Brahms no great satisfaction.

For Brahms’s part, it seems that the completion of his First Symphony liberated him from the paralyzing specter of Beethoven’s imposing legacy. Three more Brahms Symphonies followed over the ensuing decade—each, like the first, a monument of the late 19th-century orchestral repertoire. In time, it became abundantly clear that in his Four Symphonies, Brahms, a musical descendent of Beethoven, spoke very much in his own voice—a voice of Romantic lyricism, passion, and grandeur. | @AtlantaSymphony |

The Symphony’s opening movement begins with a dramatic introduction (Un poco sostenuto), featuring the timpani’s relentless hammer-blows and hints of the ensuing Allegro’s thematic material. Another brusque chord launches the Allegro proper and the strings’ forte presentation of the ascending and descending theme that forms the nucleus of the movement’s thematic material. Two relatively brief movements follow. The beautiful slowtempo movement (Andante sostenuto) concludes with a shimmering violin solo. The third movement (Un poco Allegretto e grazioso) is a graceful intermezzo. As with the opening movement, the finale begins with an extended introduction (Adagio). The principal section of the finale (Allegro non troppo, ma con brio) opens with the broad and majestic theme that bears a kinship to Beethoven’s Ode “To Joy.” Storm and stress finally resolve to the triumphant closing measures.






alaysian pianist, composer and conductor Tengku Irfan, 20, began piano lessons at 7 and made his debut at 11, performing Beethoven’s Piano Concerto No. 4 and improvising his own cadenzas with Claus Peter Flor and the Malaysian Philharmonic Orchestra (MPO). He has performed as soloist with orchestras worldwide under Neeme Järvi, Kristjan Järvi, Robert Spano, Osmo Vänskä, David Robertson, George Stelluto, Jeffrey Milarsky, among others. Previous performances include at the Montreal la Virée classique Festival (invitation from Kent Nagano), with AXIOM, MDR Sinfonieorchester, Aspen Chamber Symphony, the Juilliard, Singapore Symphony, Sao Paulo State Youth, Estonian National Symphony, Malaysian & Lexington Philharmonic, Peoria Symphony, Aspen Philharmonic and Minnesota Orchestras, among others. He won the Aspen Music Festival 2013 Prokofiev Piano Concerto No. 2 Competition, followed by performances of this concerto worldwide. He served his fourth consecutive year as resident pianist for the Aspen Contemporary Ensemble in 2017. In conjunction with the Malaysian Philharmonic Orchestra’s 20th Season Anniversary, Irfan was appointed as the MPO Youth Ambassador to cultivate appreciation in classical music among the new generation and inspire young musicians. | @AtlantaSymphony |

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Concerts of Thursday, Oct 17, 2019 8:00pm* Saturday, Oct 19, 2019 8:00pm EDO DE WAART, Conductor RONALD BRAUTIGAM, piano

The Atlanta Symphony

WOLFGANG AMADEUS MOZART (1756-1791) Concerto for Piano and Orchestra No. 22 in E-flat Major, K. 482 (1785) 34 MIN I. Allegro II. Andante III. Allegro Ronald Brautigam, piano INTERMISSION RICHARD STRAUSS (1864-1949) Ein Heldenleben (A Hero’s Life), Opus 40 (1898) David Coucheron, violin

Orchestra Classical Series is presented by

*Thursday evening ticket holders are invited to attend a conversation with Maestro Edo De Waart in Center Space immediately following the concert.

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. | @AtlantaSymphony |

20 MIN

40 MIN



Ken Meltzer Program Annotator

Concerto No. 22 in E-flat Major for Piano and Orchestra, K. 482 (1785) Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. In addition to the solo piano, the Concerto in E-flat Major, K. 482, is scored for flute, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


First Classical Subscription Performances: November 1, 2, and 3, 1979, Garrick Ohlsson, Piano, Hiroyuki Iwaki, Conductor. Most Recent Classical Subscription Performances: October 6 and 8, 2016,

n the spring of 1781, Wolfgang Amadeus Mozart, Pedja Muzijevic, Piano, then 25, left his hometown of Salzburg to Robert Spano, Conductor. stake his independence in Vienna. For a time, Mozart enjoyed public approval and financial success commensurate with his incomparable talents. During the mid-1780s Mozart was in great demand in Vienna as a teacher, composer, and performer. In a letter to his father Leopold written in February of 1784, Mozart proudly exclaimed: “The whole morning is given over to my pupils, and nearly every evening I have to play (here the composer lists twenty-two events from February 26 to April 3)...Have I not enough to do? I do not think I shall get out of practice in these circumstances...” Mozart was one of the finest keyboard artists of his day. Between the years 1784 and 1786, Mozart wrote twelve piano concertos he often premiered in concerts (or “academies”) given under his sponsorship. In October of 1785, Mozart began work on his opera The Marriage of Figaro. Mozart was anxious to establish himself as an important composer of Italian opera buffa. He poured his energies into Figaro, which premiered at the Burgtheater in Vienna on May 1, 1786. Still, Mozart found time to compose several other important works during this period, including three Piano Concertos—K. 482 in Eb, K. 488 in A, and K. 491 in C minor. Mozart completed the E-flat Major Piano Concerto on December 16, 1785. While specific documentation of the work’s premiere date no longer exists, Mozart’s usual practice was to offer the first performance of a piano concerto shortly after its completion. And in a



letter of January 13, 1786, Leopold Mozart reported to his daughter Nannerl: Meanwhile to two letters of mine I have had only one reply from your brother, dated December 28, in which he said that he gave without much preparation three subscription concerts to 120 subscribers, that he composed for this purpose a new piano concerto in E-flat, in which (a rather unusual occurrence) he had to repeat the Andante. The Concerto No. 22 is in three movements. The first (Allegro) opens with the traditional orchestral exposition of the movement’s principal themes, the first of which is a grand orchestral statement. The soloist soon enters with his versions of the thematic material. Throughout, the solo writing is notable for the elegance and technical brilliance that were hallmarks of Mozart’s keyboard artistry. The C-minor slow-tempo movement (Andante) maintains a hushed, melancholy atmosphere throughout. The soloist immediately presents the tripping principal theme of the rondo finale (Allegro). The appearance of an introspective, elegant minuet (Andantino cantabile) provides surprising contrast prior to the Concerto’s spirited conclusion. Ein Heldenleben (A Hero’s Life), Opus 40 (1898) First Classical Subscription Performance: March 10, 1965, Robert Mann, Conductor. Most Recent Classical Subscription Performances: January 8, 9, and 10, 2015, Asher Fisch, Conductor.

RICHARD STRAUSS was born in Munich, Germany, on June 11, 1864, and died in GarmischPartenkirchen, Germany, on September 8, 1949. The first performance of Ein Heldenleben took place at the Museumsgesellschaft of Frankfurt am Main, Germany, on March 3, 1899, with the composer conducting. Ein Heldenleben is scored for piccolo, three flutes, four oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, two trumpets in E-flat, three trumpets in B-flat, three trombones, B-flat tenor tuba, bass tuba, timpani, small military drum, cymbals, suspended cymbals, tam-tam, triangle, bass drum, large tenor drum, two harps, and strings. | @AtlantaSymphony |

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uring the last decade or so of the nineteenth century, Richard Strauss elevated the orchestral tone poem to new and dazzling heights. The composer often called upon immortal literary characters as the basis for such orchestral works as Macbeth (1888), Don Juan (1888), Also sprach Zarathustra (1896), and Don Quixote (1897). Strauss’s selection of his next protagonist raised a few eyebrows. “I do not see why I should not compose a symphony about myself; I find myself quite as interesting as Napoleon or Alexander,” Strauss confided to his friend and admirer, Romain Rolland. The generous self-assessment—both in his comments to Rolland and in the grandiose music of Ein Heldenleben—seems highly at odds with a life that was remarkable for its lack of adventure and heroism. It is perhaps important to keep in mind that Strauss was a man with a keen sense of humor and the capacity to laugh at himself. A comment by Strauss also helps to place Ein Heldenleben in context: “I think so strongly of Don Quixote and Ein Heldenleben as being directly linked together that in particular Don Quixote is only fully and completely comprehensible when put side by side with Heldenleben.” It is clear that the perceptions of a man who mistakes windmills for giants, and sheep and goats for enemy soldiers, do not comport with objective reality. But it is precisely the heroic strivings against all odds that make Cervantes’s knight-errant such an endearing character. And it is perhaps the aspiration in all of us to the heroic that allows the listener to thrill to the saga depicted so masterfully in Strauss’s Ein Heldenleben, despite its lack of confluence with the composer’s actual life. Richard Strauss completed the full score of Ein Heldenleben on December 27, 1898. Strauss dedicated the work to conductor Willem Mengelberg and the Concertgebouw Orchestra of Amsterdam. But it was Strauss who conducted the Museumsgesellschaft of Frankfurt am Mein in the work’s March 3, 1899 premiere. | @AtlantaSymphony |

Ein Heldenleben comprises six episodes, performed without pause. I. The Hero—The work begins with a bold statement of the protagonist’s wide-ranging main theme, followed by the introduction of numerous subsidiary themes associated with the Hero. II. The Hero’s Adversaries—Here, Strauss meets his critics, portrayed by a cacophonous series of motifs, played by the woodwinds and brass. III. The Hero’s Companion—A solo violin portrays Strauss’s wife Pauline, whom the composer describes as “very complex, very feminine, a little perverse, a little coquettish, never like herself, at every minute different from how she had been the moment before.” After a passionate love sequence, the cackling of the hero’s adversaries is heard in the distance. The sound of trumpets summons the hero to battle against his enemies. IV. The Hero’s Deeds of War—Over the din of drums and trumpet calls, the motifs of the Hero and his enemies collide in a passage of extraordinary violence and energy. Finally, the Hero emerges victorious. V. The Hero’s Works of Peace—This episode includes quotes from prior Strauss compositions, such as Don Juan, Also sprach Zarathustra, Death and Transfiguration, Don Quixote, Till Eulenspiegel, as well as the song “Traum durch die Dämmerung” (“Dream in the Twilight”). VI. The Hero’s Retreat From the World—Recollections of prior conflicts resolve peacefully. A final majestic statement fades to a serene conclusion.






usic Director of the New Zealand Symphony Orchestra, Edo de Waart also holds the positions of Conductor Laureate of the Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and Music Director Laureate of the Milwaukee Symphony Orchestra.


In addition to his existing posts, he was previously Music Director of the San Francisco Symphony, Minnesota Orchestra, Hong Kong Philharmonic, Rotterdam Philharmonic Orchestra and Sydney Symphony Orchestra, and Chief Conductor of De Nederlandse Opera. A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools, and the Music Academy of the West in Santa Barbara. De Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc and RCA. Recent recordings include Henderickx’s Symphony No. 1 and Oboe Concerto, Mahler’s Symphony No. 1 and Elgar’s Dream of Gerontius, all with the Royal Flemish Philharmonic. Beginning his career as an Assistant Conductor to Leonard Bernstein at the New York Philharmonic, de Waart then returned to Holland where he was appointed Assistant Conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. In 1973 he was appointed Chief Conductor and Artistic Director of the Rotterdam Philharmonic Orchestra. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts. | @AtlantaSymphony |




onald Brautigam has deservedly earned a reputation as one of Holland’s most respected musicians, remarkable not only for his virtuosity and musicality but also for the eclectic nature of his musical interests. He has received numerous awards including the Dutch Music Price and a 2010 MIDEM Classical Award for best concerto recording for his reconstruction of Beethoven’s Piano Concerto No. 4.

Besides his performances on modern instruments Ronald Brautigam has established himself as a leading exponent of the fortepiano. His impressive discography on Swedish label BIS includes the complete works of Mozart and Haydn on fortepiano as well as Beethoven’s complete concertos on modern piano with the Norrköping Symphony Orchestra conducted by Andrew Parrott. In 2004 he released the first of a 15-CD Beethoven cycle on fortepiano. After the first six volumes this series had already become firmly established as the benchmark cycle on fortepiano. Besides his work for BIS, Ronald Brautigam has recorded Piano Concertos by Shostakovich, Hindemith and Frank Martin with the Royal Concertgebouw Orchestra conducted by Riccardo Chailly for Decca and has made several recordings with violinist Isabelle van Keulen. Brautigam’s recordings have earned a number of awards including three Edisons, a Diapason d’Or de l’Année. a MIDEM Classical Award for best solo piano recording (2004) and in 2010 he won the prestigious MIDEM Classical Award for best concerto recording. Ronald Brautigam is Professor at the Musikhochschule in Basel.


A student of the legendary Rudolf Serkin, Ronald Brautigam performs regularly with leading Orchestras including the Royal Concertgebouw, London Philharmonic, BBC Philharmonic, City of Birmingham Symphony, Hong Kong Philharmonic, Sydney Symphony, Japan Philharmonic, Budapest Festival Orchestra, Orchestre National de France, Gewandhausorchester Leipzig and the Rundfunk-Sinfonieorchester Berlin.



Concerts of Sun., October 20, 2019 1:30pm & 3:30pm


The Atlanta Symphony Orchestra Family Series is sponsored by

RICHARD WAGNER “Ride of the Valkyries” from Die Walküre (The Valkyrie) LUDWIG VAN BEETHOVEN Symphony No. 3 in E-flat Major, “Eroica” III. Scherzo. Allegro vivace MICHAEL GIACCHINO “Incredits” from The Incredibles JOHN WILLIAMS “Princess Leia’s Theme” from Star Wars JOHN WILLIAMS “The Imperial March” (Darth Vader’s Theme) from The Empire Strikes Back CAMILLE SAINT-SAËNS Marche héroique (Heroic March) IGOR STRAVINSKY “Infernal Dance” from The Firebird JOHN WILLIAMS Theme from Superman These concerts are performed without intermission.

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. | @AtlantaSymphony |








merican conductor Stephen Mulligan is Associate Conductor of the Atlanta Symphony Orchestra and Music Director of the Atlanta Symphony Youth Orchestra. In the 2018/19 season, Mulligan served as a Dudamel Conducting Fellow with the Los Angeles Philharmonic, leading the Orchestra on the Toyota Symphonies for Youth series and assisting Music Director Gustavo Dudamel, Conductor Laureate Esa-Pekka Salonen, and guest conductors Lionel Bringuier, Mirga GražinytėTyla, Zubin Mehta, and Michael Tilson Thomas. In the 2019/20 season, Mulligan debuts with the Phoenix Symphony, Virginia Symphony and the Rochester Philharmonic. During the 2017/18 season, his first with the Atlanta Symphony Orchestra, Mulligan stepped in on short notice for three classical subscription programs over the course of six weeks, working with mezzo-soprano Jennifer Johnson Cano and pianists Jorge Federico Osorio and Behzod Abduraimov to critical acclaim. In 2018, Mulligan was awarded the prestigious Solti Foundation U.S. Career Assistance Award. ​ ighlights of recent seasons include appearances with the H St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra, Reading Symphony Orchestra, London Symphonia and Aspen Philharmonic Orchestra. ​ rom 2014 to 2016, Stephen Mulligan served as Assistant F Conductor of the Winston-Salem Symphony and Music Director of the Winston-Salem Symphony Youth Orchestras Program. In the summer of 2015, after winning the Aspen Conducting Prize, he served as the Assistant Conductor of the Aspen Music Festival. ​​ native of Baltimore, MD, Stephen Mulligan began his music A studies with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony Orchestra. He studied conducting at Yale University with Toshiyuki Shimada, at the Peabody Institute with Gustav Meier; Markand Thakar; and Marin Alsop; and at the Aspen Music Festival and School with Robert Spano. | @AtlantaSymphony |



Concerts of Thursday, Oct 31, 2019 8:00pm Saturday, Nov 2, 2019 8:00pm DONALD RUNNICLES, Conductor KELLEY O’CONNOR, mezzo-soprano The Atlanta Symphony Orchestra Classical Series is presented by

RICHARD WAGNER (1813-1883) Selections from Parsifal (1882) 24 MIN Prelude to Act I “Good Friday Spell” (“Karfreitagszauber”) ERICH WOLFGANG KORNGOLD (1897-1957) Lieder des Abschieds, Opus 14 (1920-21) I. Sterbelied. (Requiem) II. Dies eine kann mein Sehnen nimmer fassen. (This one thing my longing can never comprehend) III. Mond, so gehst du wieder auf. (So you rise again, moon) IV. G efaßter Abschied. (Calm Farewell) Kelley O’Connor, mezzo-soprano INTERMISSION

The Oct. 31 performance is dedicated to Connie and Merrell Calhoun in appreciation for their extraordinary support of the Atlanta Symphony Orchestra Annual Fund

15 MIN

20 MIN

ANTON BRUCKNER (1824-1896) Symphony No. 4 in E-flat Major, “Romantic” (1874, rev. 1878-1880, 1886-87, ed. Haas) 65 MIN I. Bewegt, nicht zu schnell II. Andante quasi Allegretto III. Scherzo. Bewegt; Trio. Nicht zu schnell. Keinesfalls schleppend IV. Finale. Bewegt, doch nicht zu schnell English surtitles by Ken Meltzer

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. | @AtlantaSymphony |



Ken Meltzer Program Annotator

Prelude to Act I and “Good Friday Spell” from Parsifal (1882) RICHARD WAGNER was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of Parsifal took place at the Festspielhaus in Bayreuth, Germany, on July 26, 1882, Hermann Levi, conducting. The Prelude to Act I and “Good Friday Spell” are scored for three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, and strings.


ichard Wagner’s final opera, Parsifal, premiered at the Bayreuth Festspielhaus on July 26, 1882. The story of Parsifal takes place in Spain, on a mountain called Montsalvat. Knights guard the Grail from which Christ drank at the Last Supper, and the Holy Spear, used by the Centurion to wound Jesus on the Cross. One of the knights, Amfortas, journeys to battle the evil magician, Klingsor. Through his magical powers, Klingsor is able to wrest the Spear from Amfortas and wound the knight. Amfortas’s suffering may only be cured by a touch from the Spear, recovered from Klingsor by a “pure fool”. It is Parsifal who fulfills that prophecy, culminating in Amfortas’s redemption on Good Friday. Prelude to Act I

First Classical

The Prelude to Act I of Parsifal (Sehr langsam) contains three principal themes. The English horn, clarinet, bassoon, and muted violins and cellos sing the first theme—associated with the Sacrament, and called “Love” by Wagner. Later, after a brief pause, the trumpets proclaim a noble ascending motif, the “Dresden Amen,” that in Parsifal symbolizes the Holy Grail. The brass respond with a forte statement of the Prelude’s final theme, that of “Faith.” The themes reappear in various guises throughout the Prelude, finally resolving to a hushed closing statement of the “Grail” motif and a pianissimo chord.

Subscription Performance: March 21, 1967, Robert Mann, Conductor. Most Recent Classical Subscription Performances: February 19, 21, and 22, 2015, Robert Spano, Conductor.



First Classical Subscription Performance: April 6, 1950, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: February 19, 21, and 22, 2015, Robert Spano, Conductor.

These are the First Classical Subscription Performances.

“Good Friday Spell” (“Karfreitagszauber”) Many years after defeating the magician Klingsor, Parsifal returns to Montsalvat. It is the morning of Good Friday. Parsifal observes the beauty of nature’s rebirth, and the elderly Knight Gurnemanz replies it “is the magic of Good Friday.” When Parsifal remarks that on this day of grief, all should be weeping, Gurnemanz observes “it is not so.” Instead, everyone gives thanks to Christ for the sacrifice that redeemed man. The thankful tears of repentant sinners water the fields and meadows, making them flourish. Lieder des Abschieds, Opus 14 (1920-21) ERICH WOLFGANG KORNGOLD was born in Brno (now the Czech Republic), on May 29, 1897, and died in Hollywood, California, on November 29, 1957. The first performance of Lieder des Abschieds took place in Vienna, Austria, on November 5, 1921, with Maria Olszewska, contralto, and the composer at the piano. Lieder des Abschieds are scored for solo voice, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, bass drum, cymbals, tam-tam, triangle, harp, celesta, and strings.


n June of 1906, the eminent Viennese music critic, Julius Korngold, paid a visit to the home of Gustav Mahler. Korngold introduced his nine-year-old son, Erich Wolfgang. The young Korngold played his cantata, Gold, from memory while Mahler followed the score. Gustav Mahler was unable to contain his enthusiasm. He walked about the room, all the while repeating the words, “A genius...a genius!” At Mahler’s recommendation, young Erich studied with composer Alexander von Zemlinsky from 1909-1911. As a young man, Korngold enjoyed extraordinary success with several chamber, orchestra and operatic works. The greatest triumph of Korngold’s early years, however, occurred with the December 4, 1920 simultaneous premieres in Hamburg and Cologne of his opera Die tote Stadt. That work proved to be an international sensation, with subsequent performances by no fewer than eighty- | @AtlantaSymphony |

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three opera houses. Korngold later taught opera and composition at the Vienna Staatsakademie. The president of Austria named Korngold professor honoris causa. Lieder des Abschieds Korngold composed his Lieder des Abschieds (Songs of Farewell) during the same period as the early performances of Die tote Stadt. The origin of this song cycle dates as far back as 1915, when Korngold wrote the song, “Österreischischer Soldantenabschied” (“Austrian Soldier’s Farewell”). That became the basis for the concluding song of Lieder des Abschieds, “Gefaßter Abschied” (“Calm Farewell”). The premiere of Lieder des Abschieds took place in Vienna on November 5, 1921, performed by the German contralto Maria Olszewska, with the composer at the piano. Korngold later arranged the cycle for voice and orchestra, premiered by soprano Rosette Anday in Vienna on January 14, 1923. Korngold dedicated the work to Franz Schalk, who, along with Richard Strauss, was co-director of the Vienna State Opera. The Songs of Farewell are a haunting example of Korngold’s lush and evocative form of late-Romantic expression. And in their orchestral guise, they display the composer’s mastery of instrumental colors that captivated audiences in the opera house, concert hall, and cinema. Symphony No. 4 in E-flat Major, “Romantic” First Classical Subscription Performances: October 2-4, 1975 (ed. Haas), Kazoyushi Akiyama, Conductor. Most Recent Classical Subscription Performances: May 3-6, 2007 (ed. Haas), Donald Runnicles, Conductor.

(1874, rev. 1878-1880, 1886-87, ed. Haas)

ANTON BRUCKNER was born in Ansfelden, Austria, on September 4, 1824, and died in Vienna, Austria, on October 11, 1896. The first performance of Bruckner’s Fourth Symphony took place in Vienna on February 20, 1881, with Hans Richter conducting the Vienna Philharmonic. The Fourth Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings.


espite his prodigious musical gifts, Anton Bruckner was plagued by the agonies of selfdoubt. As a result, the history of the composition of Bruckner’s Symphonies is one of constant evaluation, | @AtlantaSymphony |

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reevaluation and modification. And it is Bruckner’s most popular Symphony, the Fourth (“Romantic”), that underwent the most revisions. Many of the revisions were by Bruckner himself, but some were by the composer’s well-meaning (but misguided) advocates. Today, performances of Bruckner’s Fourth Symphony (save a rare concert presentation or recording of the original 1874 version) are limited to one of two editions, issued by the International Bruckner Society of Vienna. The first, edited by Robert Haas and published in 1936, reproduces Bruckner’s 1880 version. In 1974, the Society published Leopold Nowak’s edition, consisting of Bruckner’s 1880 manuscript and 1886-7 revisions suggested by conductor Anton Seidl. These performances of the Bruckner Fourth Symphony feature the Haas edition. The successful premiere of Bruckner’s Fourth Symphony took place on February 20, 1881, with the legendary conductor Hans Richter leading the Vienna Philharmonic. Later, Richter recalled the first rehearsal: “Bruckner was an old man then. His works were hardly performed anywhere.” During rehearsal, Richter stopped, pointed to the score, and asked Bruckner, “What note is this?” Bruckner, so overwhelmed that his Symphony would be performed by the great Hans Richter and the Vienna Philharmonic replied, “Any note you please. Just as you like.” Richter recalled that after the rehearsal, “Bruckner came over to me. He was radiant with enthusiasm and happiness. I felt him put something in my hand. ‘Take it’ he said, ‘and drink a mug of beer to my health.’” It was a Thaler, a coin worth about 75 cents. Richter was so moved by Bruckner’s humility and naïveté that he wept. Hans Richter later added that coin to his watch chain as a memento of the unforgettable encounter. The Fourth is the only Bruckner Symphony with a title. Bruckner himself coined the nickname “Romantic” two years after he completed the score. The composer also provided the following programmatic description for the opening movement: “A medieval city—Sunrise—Reveille is sounded from the towers—The gates open—The Knights sally forth | @AtlantaSymphony |

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into the countryside on their spirited horses, surrounded by the magic of nature—Forest murmurs—Bird songs—And so the romantic picture develops further.” In later years, Bruckner also described the “first movement as a scene out of the days of chivalry, the second as a rustic love scene, the third as a hunt interrupted by a festival dance.” However, Bruckner was then asked about the meaning of the finale. His response speaks volumes about the importance Bruckner accorded such extra-musical programs: “I’m sorry, but I have forgotten just what it was about.” When teaching classes at the Vienna Conservatory, Bruckner would interrupt his lectures whenever the church bells rang, in order to kneel and pray. Bruckner considered each of his compositions a testament to the Almighty. Indeed, he dedicated his Ninth and final Symphony, “to the Lord of lords, to my dear God, my last work, and hope that He will grant me enough time to complete it and will generously accept my gift.” Bruckner’s Symphonies are a profoundly religious composer’s musical expression of his devotion. While few argue that Bruckner’s Symphonies are models of economy of expression, the finest—including the Fourth—are profoundly moving works, overflowing with music of unsurpassed inspiration and beauty. The “Romantic” Symphony is in four movements. Bruckner directs that the opening movement be played “animated, not too fast” (Bewegt, nicht zu schnell). It opens in Bruckner’s characteristic fashion, with tremolo strings serving as the basis for the introduction of the movement’s bold, predominant theme. The slow-tempo second movement (Andante quasi Allegretto) features several themes. In the final pages, a triumphant statement yields to quiet resignation. The third-movement Scherzo (Bewegt) is based upon vigorous hunting horn passages. The central Trio, played “neither too fast nor slow” (Nicht zu schnell. Keinesfalls schleppend), remains peaceful throughout. A reprise of the hunting-horn Scherzo concludes the third movement. The Finale (Bewegt, doch nicht zu schnell) opens with echoes of the previous movements. A battle between forceful and lyrical elements continues until the final coda, and the “Romantic” Symphony’s triumphant resolution. | @AtlantaSymphony |






onald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019 Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016. Runnicles enjoys close and enduring relationships with many of the leading opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic repertoire, which are core to his musical identity. In the 2019/20 season, Runnicles will return to the Toronto Symphony and make his debut with the New Zealand Symphony Orchestra, in addition to his regular concerts with the BBC Scottish Symphony Orchestra, Atlanta Symphony Orchestra and Sydney Symphony Orchestra. At the Deutsche Oper, highlights of Runnicles’ season include the premiere of Das Rheingold as part of an ambitious new Ring Cycle extending through 2021, as well as a new production of A Midsummer Night’s Dream, which continues Runnicles’ Britten cycle at the house. He also conducts seven revival titles and brings the company to the Edinburgh Festival in a performance of Manon Lescaut. Runnicles’ extensive discography includes complete recordings of Wagner’s Tristan und Isolde, Mozart’s Requiem, Orff’s Carmina burana, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, and Bellini’s I Capuleti e i Montecchi. His recording of Wagner arias with 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 2016 Grammy® Award for Best Opera Recording. Most recently, he released a recording of Aribert Reimann’s new opera L’invisible. | @AtlantaSymphony |




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

John Adams wrote the title role of The Gospel According to the Other Mary for Kelley O’Connor and she has performed the work, both in concert and staged versions, the world over. She gave the premiere of Bryce Dessner’s Voy a Dormir with Robert Spano leading the Orchestra of St. Luke’s at Carnegie Hall, and she has received unanimous international, critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar. O’Connor created the role for the world premiere at Tanglewood, and subsequently she has performed the opera in Los Angeles, Madrid, New York and Santa Fe. For her debut with the Atlanta Symphony in Ainadamar, Kelley O’Connor joined Robert Spano for performances and a Grammy® Award-winning Deutsche Grammophon recording. Her discography also includes Mahler’s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson’s Neruda Songs with Robert Spano and the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra.


Sought after by the world’s great conductors, she enjoys close artistic partnerships with Gustavo Dudamel, Iván Fischer, Louis Langrée, Andrés Orozco-Estrada, David Robertson, Donald Runnicles, Esa-Pekka Salonen, Robert Spano and Franz Welser-Möst; these relationships have led to performances on the premiere stages of the world including the Barbican Centre, Berliner Philharmonie, Carnegie Hall, Davies Symphony Hall, Lincoln Center, Severance Hall and Walt Disney Hall among many others.





hroughout our 75-year history, the Atlanta Symphony Orchestra has prospered thanks to the annual support of generous patrons. The Leadership Donors listed below have made Leadership Council ∞ contributions of $2,000 or more since June 1, We salute those extraordinary 2018. Their extraordinary generosity provides the donors who have signed foundation for this world-class institution. pledge commitments to continue their annual giving for three years or more.


Delta Air Lines, Inc.


1180 Peachtree Bank of America The John & Rosemary Brown Family Foundation The Coca-Cola Company The Home Depot Foundation Abraham J. & Phyllis Katz Foundation


Mary & Jim Rubright


Alston & Bird The Antinori Foundation Arthur M. Blank Family Foundation Mr. & Mrs.* Bradley Currey, Jr.

Ms. Lynn Eden Four Seasons Hotel Atlanta The Graves Foundation Lucy R.* & Gary Lee, Jr. King & Spalding


Farideh & Al Azadi Foundation, Inc.∞ National Endowment for the Arts

Victoria & Howard Palefsky ∞ The Vasser Woolley Foundation, Inc.


Mr. & Mrs. Paul J. Blackney Mr. Benjamin Q. Brunt & Ms. Catherine Meredith CBH International, Inc. Connie & Merrell Calhoun Thalia & Michael C. Carlos Foundation City of Atlanta Mayor’s Office of Cultural Affairs Jim Cox, Jr. Foundation Roy & Janet Dorsey Foundation Ms. Angela L. Evans Mrs. Betty Sands Fuller Georgia Power Foundation, Inc. Bonnie & Jay Harris The Livingston Foundation, Inc. The Marcus Foundation, Inc.

Massey Charitable Trust Terence L. & Jeanne Perrine Neal º Lynn & Galen Oelkers Sally & Pete Parsonson∞ Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. Bill & Rachel Schultz º Mrs. Charles A. Smithgall, Jr. Mr. G. Kimbrough Taylor & Ms. Triska Drake The UPS Foundation Patrick & Susie Viguerie Kathy Waller & Kenneth Goggins WarnerMedia Ann Marie & John B. White, Jr. º Mrs. Sue S. Williams

Charles H. Loridans Foundation, Inc. The Andrew W. Mellon Foundation Amy W. Norman Charitable Foundation Susan & Thomas* Wardell

$17,500+ Juliet & John Allan Janine Brown & Alex J. Simmons, Jr. Mercedes-Benz Wright & Alison Caughman Catherine Warren Dukehart Fulton County Arts & Culture Mr. & Mrs. Douglas J. Hertz John & Linda Matthews Moore Colson, CPAs & Bert & Carmen Mills Porsche Cars North America, Inc. Mr. & Mrs. David W. Scheible Joyce & Henry Schwob Ross & Sally Singletary Slumgullion Charitable Fund Mr.* & Mrs. Edus H. Warren, Jr. Adair & Dick White

$15,000+ Mr. & Mrs. William L. Ackerman ∞ Madeline & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward Henry F. Anthony & Carol R. Geiger Jennifer Barlament & Kenneth Potsic Rita & Herschel Bloom Mr. David Boatwright John W. Cooledge Russell Currey & Amy Durrell Jeannette Guarner, MD & Carlos del Rio, MD Sloane Drake Eleanor & Charles Edmondson Fifth Third Bank Sally & Carl Gable Dick & Anne Game º Georgia Power Foundation, Inc. William M. Graves Joe Hamilton Ann A. & Ben F. Johnson III º Anne Morgan & Jim Kelley

Kimberly-Clark Brian & Carrie Kurlander James H. Landon Donna Lee & Howard Ehni Mr. Sukai Liu & Dr. Ginger J. Chen Jeffrey Sprecher & Kelly Loeffler Mr. Kevin & Dr. Jennifer Lyman John F. & Marilyn M. McMullan Ms. Molly Minnear Martha M. Pentecost The Piedmont National Family Foundation Mr. & Mrs. Walter Pryor June & John Scott Charlie & Donna Sharbaugh Mr. John A. Sibley, III Amy & Paul Snyder Cari K. Dawson & John M. Sparrow Loren & Gail Starr Elliott & Elaine Tapp John & Ray Uttenhove Dr. James Wells & Mrs. Susan Kengeter Wells Drs. Kevin & Kalinda Woods

$10,000+ A Friend of the Symphony Aadu & Kristi Allpere º Mr. & Mrs. James N. Andress Julie & Jim Balloun In memory of Leigh Baier Bell Family Foundation The Breman Foundation, Inc. The Walter & Frances Bunzl Foundation Chick-fil-A Correll Family Foundation, Inc. Marcia & John Donnell Mr. Richard H. Delay & Dr. Francine D. Dykes Eversheds Sutherland Paul & Carol Garcia Georgia Council for the Arts Georgia-Pacific Jason & Carey Guggenheim/ Boston Consulting Group


The Robert Hall Gunn, Jr. Fund Mr. & Mrs. Charles B. Harrison Roya & Bahman Irvani Clay & Jane Jackson Mr. & Mrs. Mark A. Kaiser Mr. Randolph J. Koporc Pat & Nolan Leake The Ray M. & Mary Elizabeth Lee Foundation Ken & Carolyn Meltzer The Monasse Family Foundation∞ Dr. Ebbie & Mrs. Ayana Parsons Sage Mr. Andrew Saltzman Dr. Steven & Lynne Steindel º Peter James Stelling Carol & Ramon Tomé Family Fund Trapp Family Turner Foundation, Inc. United Distributors, Inc. Chilton & Morgan Varner Mark & Rebekah Wasserman Dr. & Mrs. James O. Wells, Jr. Mrs. Virginia S. Williams

$7,500+ Lisa & Joe Bankoff Jack & Helga Beam Lisa & Russ Butner Peter & Vivian de Kok John & Michelle Fuller Deedee & Marc Hamburger º Ms. Margie Painter Mr. Leonard B. Reed º Mr. Jeffrey C. Samuels & Ms. Amy Levine-Samuels Beverly & Milton Shlapak Alison & Joe Thompson

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



ASO | SUPPORT (cont.) $5,000+

Donald S. Orr & Marcia K. Knight A Friend of the Mr. Charles R. Kowal Symphony (4) Jane & Hicks Lanier Mr. & Mrs. Calvin R. Allen Isabel Lamy Lee Phyllis Abramson Elizabeth J. Levine Mr. & Mrs. Stephen D. Peg & Jim Lowman Ambo Lubo Fund Keith Barnett Belinda & Gino Massafra Asad Bashey Mr. & Mrs. Brian F. Jane & Gregory Blount McCarthy Mr. & Mrs. Philip P. Bolton Mary Ruth McDonald Mrs. Sidney W. Boozer Judy Zaban-Miller & Margo Brinton & Lester Miller Eldon Park Mr. & Mrs. Arthur Mills, IV Karen & Rod Bunn Mr. Bert Mobley Patricia & William Buss Mr. & Mrs.* Peter Mr. James Camden Moraitakis Ms. Tracey Chu Judge Jane Morrison Ruth & Mark Coan Mr. Ryan Oliver William & Patricia Cook Franca G. Oreffice Mr. Jack E. Cummins Margaret H. Petersen Mr. & Mrs. Jonathan J. Mrs. Susanne Pinkerton Davies In Memory of Carol Comstock & Dr. Frank S. Pittman III Jim Davis º The Hellen Ingram Greg & Debra Durden Plummer Charitable Foundation, Inc. Ms. Diane Durgin Dr. & Mrs. Carl D. Fackler Mr. Edward Potter & Ms. Regina Olchowski Mr. & Mrs. Leroy Fass Ms. Eliza Quigley Mr. Burt Fealing Ellen & Howard Feinsand Mr. David Quinn & Mr. Jason Liebzeit Sally & Walter George Mr. & Mrs. Joel F. Reeves Mary & Charles Ginden Vicki & Joe Riedel Mr. & Mrs. Richard Betsy & Lee Robinson Goodsell John T. Ruff Mr. & Mrs. James K. Gretchen Nagy & Hammond, Jr. Allan Sandlin Sally W. Hawkins The Selig Foundation Mr. Ron Hilley & Mr. Doug Shipman & Mrs. Mia Frieder Hilley Dr. Bijal Shah Tad & Janin Hutcheson Baker & Debby Smith Mr. Justin Im & Hamilton & Mason Smith Dr. Nakyoung Nam Dr. K. Douglas Smith Mr. Matthew Johnson & Ms. Yiging Chu John & Yee-Wan Stevens Robert & Sherry Johnson Mr. & Mrs. Edward W. Stroetz, Jr. Mr. Baxter P. Jones & Dr. Jiong Yan Burton Trimble Paul & Rosthema Kastin Sheila L. Tschinkel Kartikh & Swathi Ms. Charmaine WardKhambhampati Millner & Keith Millner

Alan & Marcia Watt Ruthie Watts º Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr.* Suzanne B. Wilner Jennifer & Taylor Winn Mr. & Mrs. Comer Yates

$3,500+ Mrs. Kay Adams & Mr. Ralph Paulk º Dr. Evelyn R. Babey Jacqueline A. & Joseph E. Brown, Jr. Mrs. Judith D. Bullock Mr. & Mrs. Dennis M. Chorba Ralph & Rita Connell Sally & Larry Davis Mary & Mahlon Delong Mr. Richard Dowdeswell Xavier Duralde & Mary Barrett Mr. & Mrs. John Dyer Carol G. & Larry L. Gellerstedt III Mrs. Louise Grant John & Martha Head Mr. Kenneth & Ms. Colleen Hey Thomas High Azira G. Hill Ms. Elizabeth A. Hobbs Dr. Michael D. Horowitz Mr. Lonnie Johnson & Mrs. Linda A. Moore Lillian Balentine Law Deborah & William Liss º Mr. & Mrs. Frederick C. Mabry Kay & John T. Marshall Michael & Carol Murphy º S.A. Robinson Ann Shearer Suzanne Shull Mr. Morton S. Smith Ms. Martha Solano Mrs. C. Preston Stephens Stephen & Sonia Swartz George & Amy Taylor∞ Dale L. Thompson

Drs. Jonne & Paul Walter David & Martha West Mr. & Mrs. M. Beattie Wood

$2,000+ A Friend of the Symphony (4) Mr. & Mrs. Jan Abernathy Mr. Daniel Acuff & Ms. Amy Gerome-Acuff Ms. Victoria Afshani Ms. Mary Allen Mr. James L. Anderson Mr. Aous Araim & Ms. Nadine Kashlan Mr. & Mrs. Scott J. Arnold Dr. & Mrs. Charles Arp Ms. Cyndae Arrendale Mr. Joel Babbit Richard K. & Diane Babush Anthony Barbagallo & Kristen Fowks Mr. & Mrs. Patrick Battle Mr. & Mrs. Billy Bauman Ms. Susan R. Bell & Mr. Patrick M. Morris Mr. William Benton & Mr. Michael Morrow Dr. & Mrs. Joel E. Berenson Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower º Martha S. Brewer Ms. Harriet Evans Brock Dr. & Mrs. Anton J. Bueschen Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Ronald E. Canakaris Mr. & Mrs. Walter K. Canipe Julie & Jerry Chautin Susan & Carl Cofer Mr. Terence M. Colleran & Ms. Lim J. Kiaw Mr. & Mrs. Barksdale R. Collins º Mr. Thomas J. Collins & Mr. Jeff Holmes

Ned Cone & Nadeen Green Jean & Jerry Cooper Jonathan & Rebekah Cramer Susan & Ed Croft Mrs. Lavona Currie Mr. & Mrs. Jay Davis Mr. & Mrs. Donald Defoe º Mr. Philip A. Delanty Mr. & Mrs. James Durgin Mr. & Mrs. Robert G. Edge Mr. & Mrs. David H. Eidson Ms. Diana Einterz Dieter Elsner & Othene Munson George T. & Alecia H. Ethridge Rosi Fiedotin Mr. & Mrs. Craig Fleming Mr. & Mrs. William A. Flinn Mr. & Mrs. Bruce W. Flower Dr. & Mrs. Richard D. Franco Mr. & Mrs. Paul R. Freeman Raj & Jyoti Gandhi Family Foundation Mr. & Mrs. Edward T.M. Garland Mary D. Gellerstedt Dr. Mary G. George & Mr. Kenneth Molinelli Marty & John Gillin º Sandra & John Glover Mrs. Janet D. Goldstein Google Inc. Dr. & Mrs. Carl Grafton Lauren & Jim Grien Charles E. Griffin Mr. & Mrs. George Gunderson º Mr. & Mrs. Jay Halpern Phil & Lisa Hartley Mr. & Mrs. Steve Hauser º

Mr. & Mrs. Marc S. Heilweil Mr. & Mrs. John Hellriegel Michael Hertz Sarah & Harvey Hill º Mr. & Mrs. Thomas M. Holder Laurie House Hopkins & John D. Hopkins James & Bridget Horgan º Mrs. Sally Horntvedt Dona & Bill Humphreys JoAnn Hall Hunsinger The Hyman Foundation Mr. & Mrs. Phil S. Jacobs Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Bucky & Janet Johnson Mrs. Gail Johnson Mr. W. F. & Dr. Janice Johnston Cecile M. Jones William L. & Sally S. Jorden Ann T. Kimsey Pam Klomp Mrs. Jo W. Koch David & Jill Krischer Dr. & Mrs. Scott I. Lampert Wolfgang & Mariana Laufer Mr. & Mrs. Theodore J. Lavallee, Sr. Mr. & Mrs. Van R. Lear Olivia A. M. Leon Mr. Edward J. Levin & Mrs. Debbie Levin Dr. Fulton D. Lewis III & S. Neal Rhoney Mr. & Mrs. J. David Lifsey Longfield-Fitzgerald Interiors

Mr. Gary Madaris Meghan & Clarke Magruder Dr. & Mrs. Ellis L. Malone Elvira Mannelly Mr. & Mrs. Chris Matheison Mr. & Ms. James McClatchey Martha & Reynolds McClatchey Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Mr. & Mrs. Ed Mendel, Jr. Anna & Hays Mershon David & Marie Monde Rebecca P. Moon & Charles M. Moon, III Mr. & Mrs. Charles A. Morn Miss Elizabeth L. Morris & Miss Christine Elliott Janice & Tom Munsterman Melanie & Allan Nelkin Richard C. Owens Mary Palmer Family Foundation The Parham Fund Mr. & Mrs. E. Fay Pearce, Jr. º Piedmont Group of Atlanta, LLC Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. Dr. & Mrs. John P. Pooler Ms. Kathy Powell Mr. & Mrs. Robert Ratonyi Mrs. Susan H. Reinach Jay & Arthur Richardson Susan Robinson & Mary Roemer


Mr. & Mrs. Richard L. Rodgers George* & Mary* Rodrigue Mr. & Mrs. Mark Rosenberg Dr. & Mrs. Rein Saral Sharon & David Schachter Emily Scheible Dr. Bess T. Schoen Mrs. William A. Schwartz Sam Schwartz & Dr. Lynn Goldowski Dr. Martin Shapiro & Ms. Donna Shapiro Nick & Annie Shreiber Helga Hazelrig Siegel Mr. & Mrs. Mark Silberman Gerald & Nancy Silverboard Diana Silverman Ms. Grace Sipusic Johannah Smith Barry & Gail Spurlock Lou & Dick Stormont Mr. Phillip Street Beth & Edward Sugarman Kay & Alex Summers Judith & Mark K. Taylor Ms. Juliana T. Vincenzino Vogel Family Foundation Carol Brantley & David Webster Dr. Nanette K. Wenger Sally Stephens Westmoreland Mrs. Frank L. Wilson, Jr. Russell F. Winch Mrs. Carol Winstead Ms. Joni Winston Camille W. Yow Herbert & Grace Zwerner

Patron Partnership and Appassionato Leadership Committee We give special thanks to this dedicated group of Atlanta Symphony donors for their commitment to each year's annual support initiatives: Kristi Allpere chair Helga Beam Bill Buss

Pat Buss Deedee Hamburger Judy Hellriegel

Belinda Massafra Linda Matthews Sally Parsonson June Scott

Milt Shlapak Sheila Tschinkel Jonne Walter Marcia Watt

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



Ms. Jeannie Hearn* Barbara & John Henigbaum Jill* & Jennings* Hertz Named for the Atlanta Symphony Mr. Albert L. Hibbard Richard E. Hodges Orchestra’s founding Music Mr. & Mrs. Director, the HENRY SOPKIN Charles K. Holmes, Jr. Mr.* & Mrs. CIRCLE celebrates cherished Fred A. Hoyt, Jr. individuals and families who have Jim* & Barbara Hund made a planned gift to the Atlanta Clayton F. Jackson Symphony Orchestra. These special Mary B. James Mr. Calvert Johnson & donors preserve the Orchestra’s Mr. Kenneth Dutter foundation and ensure success deForest F. Jurkiewicz* for future generations. Herb* & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey A Friend of the Dr. John W. Cooledge James W. & Mary Ellen* Symphony (21) Mr. & Mrs. William R. Kitchell Madeline & Howell E. Cummickel Paul Kniepkamp, Jr. Adams, Jr. John R. Donnell Miss Florence Kopleff* Mr.* & Mrs. Dixon W. Driggs* Mr. Robert Lamy John E. Aderhold Pamela Johnson James H. Landon Mr. & Mrs. Drummond Ouida Hayes Lanier Ronald R. Antinori Mrs. Kathryn E. Duggleby Dr. & Mrs. William Bauer Catherine Warren Dukehart Lucy Russell Lee* & Gary Lee, Jr. Mr. Charles D. Belcher* Ms. Diane Durgin Ione & John Lee Neil H. Berman Mr. Richard H. Delay & Dr. Mr. Larry M. LeMaster Susan & Jack Bertram Francine D. Dykes Mr.* & Mrs.* Mr.* & Mrs.* Arnold & Sylvia Eaves William C. Lester Karl A. Bevins Mr. & Mrs. Liz & Jay* Levine The Estate of Donald S. & Robert G. Edge Robert M. Lewis, Jr. Joyce Bickers Elizabeth Etoll Carroll & Ruth Liller Ms. Page Bishop Mr. Doyle Faler Ms. Joanne Lincoln* Mr.* & Mrs. Sol Blaine Brien P. Faucett Jane Little* Rita & Herschel Bloom Dr. Emile T. Fisher Mrs. J. Erskine Love, Jr. The Estate of Mrs. Moniqua N Fladger Gilbert H. Boggs, Jr. Mr. & Mrs. Bruce W. Flower Nell Galt & Will D. Magruder W. Moses Bond K Maier A. D. Frazier, Jr. Mr.* & Mrs. John W. Markham Nola Frink Robert C. Boozer Mrs. Ann B. Martin Betty & Drew* Fuller Elinor A. Breman* Linda & John Matthews Sally & Carl Gable James C. Buggs* Mr. Michael A. William & Carolyn Gaik Mr. & Mrs.* McDowell, Jr. Dr. John W. Gamwell Richard H. Burgin Dr. Michael S. McGarry Mr.* & Mrs. Hugh W. Burke Richard & Shirley McGinnis L.L. Gellerstedt, Jr. Mr. & Mrs. William Buss John & Clodagh Miller Ruth Gershon & Wilber W. Caldwell Ms. Vera Milner Sandy Cohn Mr. & Mrs. C. Merrell Mrs. Gene Morse* Micheline & Bob Gerson Calhoun Ms. Janice Murphy* Mr. & Mrs. John T. Glover Cynthia & Donald Carson Mr. & Mrs. Mrs. David Goldwasser Mrs. Jane Celler* Stephen L. Naman Robert Hall Gunn, Jr. Fund Lenore Cicchese* Mr. & Mrs. Bertil D. Nordin Billie & Sig Guthman Margie & Pierce Cline Mrs. Amy W. Norman* Betty G.* & Dr. & Mrs. Grady S. Galen Oelkers Joseph* F. Haas Clinkscales, Jr. Roger B. Orloff James & Virginia Hale Robert Boston Colgin Dr. Bernard* & Ms. Alice Ann Hamilton Mrs. Mary Frances Sandra Palay Dr. Charles H. Hamilton Evans Comstock* Sally & Pete Parsonsons Sally & Paul* Hawkins Miriam* & John A.* Conant Dan R. Payne John & Martha Head Bill Perkins

Mrs. Lela May Perry* Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce* Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Ms. Judy L. Reed* Carl J. Reith* Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers* David F. & Maxine A. Rock Mr.* & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling Ms. Barbara Stewart C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph* Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.* & Mrs.* Charles R. Yates *Deceased 288

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THE WOODRUFF CIRCLE Woodruff Circle members each contribute more than $250,000 annually making a significant investment in 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.






A Friend of The Woodruff Arts Center Farideh and Al Azadi

Bank of America Chick-fil-A Foundation | Rhonda and Dan Cathy The Community Foundation for Greater Atlanta Georgia Power Foundation, Inc. The Goizueta Foundation The Douglas J. Hertz Family The Home Depot Foundation Estate of Dr. Luella Klein The SKK Foundation The Zeist Foundation, Inc.

The Molly Blank Fund of the Arthur M. Blank Family Foundation The Rich Foundation SunTrust Teammates

SunTrust Foundation SunTrust Trusteed Foundations:

Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust



Invesco Ltd. Pussycat Foundation WarnerMedia


Abraham J. & Phyllis Katz Foundation Contributions Made: June 1, 2018 – May 31, 2019 | Beauchamp C. Carr Challenge Fund Donors | *Deceased | Atlanta’s Performing Arts Publication 65

THE BENEFACTOR CIRCLE We are deeply grateful to the Benefactor Circle members, who generously contribute more than $100,000 annually enterprise-wide, investing in the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra and High Museum of Art.



Louise S. Sams and Jerome Grilhot The Shubert Foundation Susan and Tom* Wardell

1180 Peachtree The Arthur M. Blank Family Foundation Atlanta Homes & Lifestyles Atlantic Station Sandra and Dan Baldwin Kathy and Ken Bernhardt Carol and Ramon TomĂŠ Family Fund CIBC Dan and Merrie Boone Foundation | Dan W. Boone III Deloitte, its Partners & Employees Sally and Carl Gable

$150,000+ Alston & Bird Amy W. Norman Charitable Foundation The Antinori Foundation | Ron and Susan Antinori The David, Helen & Marian Woodward Fund-Atlanta Frederic R. Coudert Foundation King & Spalding, Partners & Employees

The Marcus Foundation Northside Hospital Mr. and Mrs. Solon P. Patterson Garnet and Dan Reardon Patty and Doug Reid The Sartain Lanier Family Foundation Wells Fargo

Georgia-Pacific Georgia Natural Gas Google Jones Day Foundation & Employees Kaiser Permanente Legendary Events Victoria and Howard Palefsky PNC PwC, Partners & Employees Estate of Judy Reed Margaret and Bob Reiser

WestRock Company William Randolph Hearst Foundations Wish Foundation

Contributions Made: June 1, 2018 – May 31, 2019 | Beauchamp C. Carr Challenge Fund Donors | *Deceased

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FREE CONCERT NOV 23 | Sat: 4pm

Talent Development Program MUSICALE Atlanta Symphony Hall



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. 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. 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.

ASO | GENERAL INFO LATE SEATING Patrons arriving late will be seated at an appropriate interval in the concert program, determined by the House Manager. Reserved seats are not guaranteed after the performance starts. Late comers may be 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. THE ROBERT SHAW ROOM ASO donors who give $2,500 or more annually gain special access to this private dining room. For more information, please call 404.733.5060.

WWW.ATLANTASYMPHONY.ORG Order anytime, any day. Service charge applies. GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most Delta Classical concerts, subject to ticket availability. Call 404.733.4848. GIFT CERTIFICATES Available in any amount for any concert, through the box office. Call 404.733.5000. DONATE Donations to the ASO allow us to broaden our audiences locally and globally, reach greater artistic heights, and transform lives through the power of our music. To make a gift, please call 404.744.5079 or visit

SYMPHONY STORE The Symphony Store is open before, during and after most concerts. IMPORTANT PHONE NUMBERS The Woodruff Arts Center Box Office


Ticket Donations/Exchanges 404.733.5000 Subscription Information/ Sales


Group Sales


Atlanta Symphony Associates (Volunteers) 404.733.4855 Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Symphony Store


Donations & Development 404.733.5079


NOV 21/23 | Thu/Sat: 8pm BRIAN NABORS: Rapido! Winner World Premiere COPELAND: Appalachian Spring BRAHMS: Piano Concerto No. 1 Robert Spano, conductor Emanuel Ax, piano NOV 7/9 | Thu/Sat: 8pm SHOSTAKOVICH: Symphony No. 15 TCHAIKOVSKY: Violin Concerto Donald Runnicles, conductor James Ehnes, violin NOV 14/16 | Thu/Sat: 8pm MAHLER: Symphony No. 8, “Symphony of a Thousand” Robert Spano, conductor Evelina Dobračeva, soprano Erin Wall, soprano Nicole Cabell, soprano Michelle DeYoung, mezzo-soprano Kelley O’Connor, mezzo-soprano Toby Spence, tenor Russell Braun, baritone Morris Robinson, bass Morehouse College Glee Club Spelman College Glee Club Gwinnett Young Singers ASO Chorus

with the

Atlanta Symphony Orchestra Programs, artists and prices are subject to change. Season presented by



ASO | STAFF EXECUTIVE Jennifer Barlament executive director Stephanie Smith executive assistant Tasha Cooksey executive and finance assistant

Tiffany I. M. Jones managing producer of education concerts Ruthie Miltenberger manager of family programs

Caitlin Hutchinson marketing coordinator

Robert Darby stage technician Natacha McLeod senior director of Victoria Moore marketing - aso & live director of orchestra personnel Robert Phipps publications Daniel Stupin director stage technician

Tyrone Webb manager of Sarah Wilson education & SALES & REVENUE assistant community programs MANAGEMENT David Daly Ryan Walks Russell Wheeler symphony hall talent development vice president of project coordinator program manager sales & revenue ARTISTIC

DEVELOPMENT Elena Dubinets Grace Sipusic chief artistic officer vice president of development Jeffrey Baxter choral Elizabeth Arnett administrator senior director of Cynthia Harris artist liaison

Christopher McLaughlin manager of artistic administration


Ken Meltzer program annotator Bob Scarr archives program manager

Dana Parness individual giving coordinator

Carol Wyatt executive assistant to the music director & principal guest conductor

James Paulk annual giving officer



Megan Brook front of house manager Pam Kruseck director of patron experience & season tickets

Nancy Field Jesse Pace manager of grants & manager of patron communications experience and season tickets William Keene manager of leadership and individual giving

MARKETING & COMMUNICATIONS Tammy Hawk vice president of marketing & communications

Elena Dubinets chief artistic officer KC Commander content manager Niki Baker Elizabeth Daniell family programs communications assistant manager Kaitlin Gress Adam Fenton interim director director of of education and multimedia manager of asyo technology

Richard Carvlin stage manager

Robin Smith patron services & season tickets associate Christopher Stephens group & corporate sales manager Kelsey Woods patron services assistant OPERATIONS Sameed Afghani vice president and general manager Paul Barrett senior production stage manager

FINANCE & ADMINISTRATION Susan Ambo chief financial officer & v.p. of business development Kim Hielsberg senior director of financial planning & analysis V.S. Jones symphony store Shannon McCown office manager Brandi Reed staff accountant April Satterfield controller ATLANTA SYMPHONY HALL LIVE Nicole Panunti vice president Lisa Eng multimedia creative manager Christine Lawrence associate director of guest services Joanne Lerner event manager

Tyler Benware operations manager

Clay Schell consultant

Megan Brook assistant personnel manager

William Strawn associate marketing manager

Joseph Brooks assistant stage manager

Michael Tamucci Event Coordinator

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

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

ARTSATL | @AtlantaSymphony |

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

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