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Into the Spotlight STUART STEPHENSON








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I N T R O D U C T I O N S In Tune.

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Music Director..

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ASO Leadership. ASO Musicians.

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F E AT U R E Into the Spotlight. .

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Written by Michael Kurth




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Written by Ken Meltzer

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JAN 16, 17, 18, 19. . JAN 23, 25. .


JAN 30, FEB 1.

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D E PA R T M E N T S ASO Support. .

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ASO Staff. .


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Ticket Info/General Info.

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4 | encore ASO | IN TUNE Dear Friends, Happy New Year! I am excited to kick off 2020 with continued celebrations of the Atlanta Symphony Orchestra’s 75 years. There is much to look forward to for the remainder of the 2019/20 season, and I wanted to share a few of the things I'm most looking forward to with you. On February 4, 2020, the Atlanta Symphony Orchestra will officially turn 75-years-old, and we will celebrate this momentous occasion with a special Atlanta Symphony Day of Giving. Visit aso.org/give for more information. The ASO75 Around the A Series, presented by PNC will continue with performances at the 109th Morehouse College Glee Club Annual Spring Concert on February 16, and at Agnes Scott College on March 8. All Around the A performances are free and open to the public. To view a full list of upcoming events, visit aso.org/aroundthea. Our former Music Director Yoel Levi will return for a sold-out performance with legendary violinist Itzhak Perlman. Due to the popularity of this concert, it will also be streamed live online. Just visit aso.org or Facebook to join us March 11 at 8:00 p.m. In celebration of the 250th anniversary of Beethoven’s birthday, the Atlanta Symphony Orchestra and Chorus will travel to Carnegie Hall on April 4 to perform Missa solemnis, led by Music Director Robert Spano. This profound choral masterpiece will also be performed in Atlanta Symphony Hall on March 26 and 27. Our 75th season will culminate with a major artistic milestone for the ASO, the Atlanta premiere of Wagner’s Tristan und Isolde, which will be presented over three nights. Each act will be paired with a work that dramatically foreshadows, or was profoundly influenced by, this monumental work. We will also host a four-day festival in conjunction with these performances that will include panel discussions, lectures and chamber music performances from scholars, performers and thought leaders. More information and tickets for this historic event at aso.org/Tristan. Thank you for your continued love and support of the ASO. With gratitude, Jennifer Barlament Executive Director

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

February 7–15, 2020

Gospel, Brubeck & Rhythms of the City

The sweeping rhythms and infectious energy of jazz and gospel music intertwine three works making their Atlanta Ballet debut. Featuring members of the Spelman College Glee Club, Lydia Pace of The Anointed Pace Sisters, music by the iconic Dave Brubeck, and more!

Visit atlantaballet.com or call

| 1.800.982.2787 for tickets.

Groups of 10+, email groupsales@atlantaballet.com. Juliana Missano & Jonathan Philbert. Photo by Gene Schiavone.





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.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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

Howard Palefsky

Susan Antinori


immediate past chair


Lynn Eden

James Rubright

vice chair


DIRECTORS Joan Abernathy*

Carlos del Rio, M.D.

Donna Lee

Charles Sharbaugh

William Ackerman

Sloane Drake

Sukai Liu

Doug Shipman*

Keith Adams

Lynn Eden

Kelly Loeffler^

John Sibley

Kevin Lyman

Fahim Siddiqui

Juliet McClatchey Allan Angela Evans Susan Antinori

Craig Frankel

Brian McCarthy

W. Ross Singletary, II

Jennifer Barlament*

Anne Game

Penelope McPhee^

John Sparrow

Paul Blackney

Paul R. Garcia

Bert Mills

Gail Ravin Starr

Rita Bloom

Jason Guggenheim

Molly Minnear

Elliott Tapp

Janine Brown

Joseph W. Hamilton, III

Terry Neal

Brett Tarver

Justin Bruns*

Bonnie Harris

Galen Lee Oelkers

S. Patrick Viguerie

Benjamin Brunt

Caroline Hofland

Howard Palefsky

Kathy Waller

C. Merrell Calhoun

Tad Hutcheson

Ebbie Parsons

Mark D. Wasserman

William M. Carey

Roya Irvani

Juliette Pryor

Chris Webber

S. Wright Caughman, M.D.

Randy Koporc

Cathleen Quigley

Richard S. White, Jr.

Carrie Kurlander

James Rubright

John B. White, Jr.

Russell Currey

James Landon

Bill Schultz

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


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

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


At Woodward, we provide the compass.

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10 | encore ASO | 2019/20 Musician Roster




David Coucheron

Julianne Lee*

Rainer Eudeikis•




The Mr. & Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam & John Conant Chair

Justin Bruns

Sou-Chun Su

Daniel Laufer

associate concertmaster

acting principal

associate principal

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair

The Livingston Foundation Chair


Jay Christy

Karen Freer

assistant concertmaster

acting associate

assistant principal

Jun-Ching Lin


Dona Vellek

assistant concertmaster

Noriko Konno Clift

Anastasia Agapova

acting assistant

acting assistant



Sharon Berenson

Carolyn Toll Hancock

David Dillard

The Wells Fargo Chair

Sheela Iyengar**

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

Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess VIOLA Zhenwei Shi• principal

The Edus H. & Harriet H. Warren Chair

Paul Murphy

assistant principal emeritus

Thomas Carpenter Joel Dallow The UPS Foundation Chair

Larry LeMaster Brad Ritchie Paul Warner BASS Joseph McFadden principal

The Marcia & John Donnell Chair 

Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair

Brittany Conrad**

associate principal

Karl Fenner

The Carolyn McClatchey Chair

The Mary & Lawrence Gellerstedt Chair

Michael Kenady

Sanford Salzinger

Catherine Lynn

Michael Kurth

Raymond Leung

assistant principal

Marian Kent

The Jane Little Chair

Daniel Tosky

Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp Players in string sections are listed alphabetically

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Robert Spano

Donald Runnicles

music director

principal guest conductor

Stephen Mulligan associate conductor;

Norman Mackenzie

The Robert Reid Topping Chair

The Neil & Sue Williams Chair

music director of the atlanta

director of choruses

symphony youth orchestra

The Frannie & Bill Graves Chair

The Zeist Foundation Chair




Christina Smith

Andrew Brady

Michael Moore




The Jill Hertz Chair

The Abraham J. & Phyllis Katz Foundation Chair

The Delta Air Lines Chair

associate principal

Anthony Georgeson

C. Todd Skitch

associate principal

Mark Yancich

Robert Cronin

Gina Hughes PICCOLO Gina Hughes OBOE Elizabeth Koch Tiscione

Laura Najarian

Michael Stubbart assistant principal

Juan de Gomar


Zachary Boeding •

Susan Welty

associate principal

acting principal

The Kendeda Fund Chair

Kimberly Gilman

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


The Betty Sands Fuller Chair

The Julie & Arthur Montgomery Chair

William Wilder assistant principal

The William A. Schwartz Chair

Chelsea McFarland** Bruce Kenney

Vacant The Connie & Merrell Calhoun Chair

Michael Stubbart

Jaclyn Rainey*


TRUMPET Stuart Stephenson principal

The Madeline & Howell Adams Chair

Michael Tiscione associate principal

Mark Maliniak

Elisabeth Remy Johnson principal

The Sally & Carl Gable Chair

KEYBOARD The Hugh & Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson




Nicole Jordan


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


Nathan Zgonc acting / associate

Holly Matthews principal

Jeremy Buckler** Brian Hecht

† Regularly engaged musician


• New this season

Brian Hecht

** One-year appointment

PERCUSSION Joseph Petrasek


The George M. & Corrie Hoyt Brown Chair


The Walter H. Bunzl Chair



Emily Brebach


Juan de Gomar


Samuel Nemec


The Home Depot Veterans Chair

The Marianna & Solon Patterson Chair assistant principal librarian

Hannah Davis asyo / assistant


12 | encore

Into the Spotlight by Michael Kurth



Concertmaster JAN 16/18/19


aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony



s a bass player, I rarely experience any time in the spotlight. My role in the orchestra is supportive, in the background, literally the bottom line of the conductor’s score. I’ve always loved that role, especially when I get the opportunity to accompany a brilliant soloist. Hearing a virtuosic player perform a favorite concerto is enjoyable enough, but providing the bass line, laying the foundation, helping to lift their melodies on a sonic updraft while they soar above the orchestra - well, it feels utterly satisfying. And, occasionally, that soloist in the spotlight just happens to be a friend of mine, a colleague in the ASO. Atlanta audiences will get quite a few chances in the near future to enjoy the ASO’s own players in solo roles. I sat down with four of our

JUSTIN BRUNS Associate Concertmaster JAN 4

STUART STEPHENSON Principal Trumpet APR 30/MAY 2

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14 | encore brightest stars - Justin Bruns (Vivaldi’s The Four Seasons and Piazzolla’s The Four Seasons of Buenos Aires, Jan. 4), David Coucheron (Beethoven Violin Concerto, Jan. 16-19), Elizabeth Koch Tiscione (Vaughan Williams Oboe Concerto, Jan. 23 & 25) and Stuart Stephenson (Arutiunian Trumpet Concerto, Apr. 30 & May 3) to chat about what it’s like to step out of their sections and into the spotlight. I start with an obvious softball: “What was your first experience soloing with orchestra?” “I was five years old and played a Vivaldi concerto,” says David. “I don't remember much except I had to stand on a small table so the audience could see me better. Afterwards I got a radiocontrolled car as a present, which I was very excited about.” David is still excited about cars, but no longer needs to stand on a table to be seen. In fact, he's taller than most conductors, even when they're standing on a podium. Justin is next: “When I was nine, I played Mozart Concerto No. 5 with the Colorado Symphony. I don’t think ‘nerves’ had kicked in yet, but I do remember the players scrambling to catch up in a transition that was, um, supposed to slow down... I probably did the bare minimum of slowing down…” Liz chimes in, “Mine was the summer after my senior year of high school, with the World Youth Symphony Orchestra. I was asked to play the Bach Double Concerto for Oboe and Violin with Sarah Chang. I was absolutely thrilled! It was all a blur, but usually those performances are my best, when I can let myself just be in the moment and not think about it too much.” Must be nice. When I try playing without thinking, the result usually sounds like squeezing an empty ketchup bottle. Stuart adds, “My first was the Haydn Trumpet Concerto in grad school at Northwestern. I wasn't entirely comfortable with the flow of it, but I felt good afterward and the audience seemed to enjoy it. Looking back, likely it wasn't the most musical version I've ever played, but I was a much younger player then.” I’d hazard a guess that Stuart at any age is more musical than most trumpet players, like, ever. Digging a bit deeper, I ask, “What does it feel like to change roles from your regular job to soloist?” Liz says, “Playing in a group is much easier than standing up

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


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FEBRUARY CONCERTS FEB 6/8 | Thu/Sat: 8pm Delta Classical VAUGHAN WILLIAMS: Serenade to Music BACH: Cantata No. 29, “Wir danken dir, Gott” VAUGHAN WILLIAMS: Symphony No. 5 Robert Spano, conductor Maria Valdes, soprano Sofia Selowsky, mezzo-soprano Norman Shankle, tenor Morgan Smith, baritone ASO Chamber Chorus

FEB 20/22 | Thu/Sat: 8pm Delta Classical SIBELIUS: Finlandia SIBELIUS: Violin Concerto SIBELIUS: Symphony No. 6 SIBELIUS: Symphony No. 7 Thomas Søndergård, conductor Blake Pouliot, violin

FEB 20/22


FEB 6/8

NORDIC TREASURES FEB 13 | Thu: 8pm ANDREA BOCELLI with the Atlanta Symphony Orchestra Infinite Energy Arena Duluth, GA

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

FEB 27/29 | Thu/Sat: 8pm Delta Classical ALFVÉN: Suite from Bergakungen (The Mountain King) GRIEG: Piano Concerto STENHAMMAR: Florez and Blanzeflor NIELSEN: Symphony No. 3, “Espansiva” Thomas Søndergård, conductor Håvard Gimse, piano Sherri Seiden, soprano Andreas Landin, baritone



| 17

by yourself. It's a completely different feeling than sitting in the middle of the orchestra, a different way of playing, and a totally different mindset.” Stuart agrees. “It's sort of a double-edged sword: I'm comfortable with these players, they hear me all the time, but now I'm under a microscope, and how I play directly impacts the concert to a much higher level.” Justin’s conceptual glass is half full: “Playing together on a daily basis makes playing solos out front easier, because we share a common approach to making music happen.” And, ever the cheerleader, David says, “It's a very different role, but I feel incredibly lucky to have such amazing colleagues who inspire me every day. I think it will always be a different kind of pressure soloing with your home orchestra, but I can feel the energy behind me, and it helps tremendously.” Now for the juicy stuff. Best to tread cautiously, musicians can be cagey when cornered. A bit sheepishly, I ask, “Any funny concerto stories you don't mind sharing?” Stuart is the first to step into the confessional. “Not quite a trumpet concerto story, but the Shostakovich Piano Concerto No. 1 features a prominent role for trumpet - in fact it was originally supposed to be a trumpet concerto, but he kept rewriting it and decided on piano instead. Some of you might remember it from 2018 - one of the times I walked out, I dropped one of my mutes. I still cringe a little thinking about it.” Brass players, otherwise sanguine, live in perpetual fear that one of their myriad mutes, probably the clangiest one, will clatter to the floor during a quiet moment. The ice broken, Liz offers, “Well, the last time I soloed with the Mozart Concerto my page kept turning over because of a draft onstage and we had to stop the concert. That's something you could never practice for!” David’s turn: “I was playing the Conus Violin Concerto last year, and my E string broke. I had to go offstage to put on a new one before starting over. It's something that happens perhaps once a year in the practice room, but the odds of it happening on stage while soloing are very slim.” I think, David, buddy, I've been playing bass for forty years, and I've never once broken a string. Just sayin'...Guiding the

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

18 | encore conversation back to safer territory, I ask them about their upcoming concerto appearances. Justin’s solo turn looms closest on the calendar, so he begins. “I’ve played the Vivaldi a number of times, but this is my first time out of the chute with the Piazzolla. Learning it as an adult, I’m investing far more into the process. I have a number of recordings of both pieces, I read a Piazzolla biography and listened to his other music.” Justin certainly does his homework. Liz says, “I’m playing the Vaughan Williams Concerto for Oboe and Strings. I’ve never performed it, but I’ve always loved it. It’s an incredibly beautiful, lyrical, melancholy piece - perfect writing for the oboe.” Stuart says, “I’ve never heard it before. That’s always exciting.” David, still in cheerleader mode, adds, “I’m really excited for it! We’re so lucky to have you in the ASO. And I’m looking forward to discovering the Arutiunian,” referring to the upcoming trumpet concerto, “played by the wonderful Stuart.”Liz hops on the compliment wagon. “Stuart has a very confident presence when he is a soloist, something that I envy!” Stuart gives an aw-shucks look. “I've never played this piece with orchestra. Hopefully I can put my own spin on it. I first learned it in high school, and I still use the coffee-stained copy I've been using for close to 15 years. Maybe it's time to get a new one? But what I’m really looking forward to are David’s and Liz’s concertos. ” Liz says, “The Beethoven Concerto is one of the great violin concertos, and to hear David's beautiful tone will be stunning for listeners!” Justin agrees. “The Beethoven is structurally crystalline.” Before I can ask him to explain that, he continues the vocab lesson excitedly: “Its harmonic development is so perfect. There’s a sort of detached rationalism... I’m really looking forward to seeing what David infuses into it.” David deflects. “I’ve never played it before. All I can hope for is doing the piece justice.” Well, while I admire my colleagues’ humility, I’m free to brag about them all I want. And I promise you’ll not only be transported by the beauty of the music, you’ll also be stunned by the calibre of our own players’ virtuosity.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


| 19

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a newlyformed 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

Charles Harrison

Eliza Quigley

Keith Barnett

Nancy Harrison

David Quinn

Greg Blount

Mia Hilley

Frances Root

Jane Blount

Justin Im

Jim Schroder

Jim Camden

Swathi Khambhampati

Baker Smith

Tracey Chu

Kartikh Khambhampati

Cindy Smith

Paul Dimmick

Jason Liebzeit

Amy Taylor

Susan Dimmick

Keith Millner

George Taylor

Bernadette Drankoski

Jane Morrison

Otis Threatt, Jr.

Sally F. George

Bert Mobley

Taylor Winn

Burt Fealing

Regina Olchowski

Jennifer Winn

James Hammond

Ryan Oliver

David Worley

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

20 | encore 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



22 | jan4 Concert of Saturday, Jan. 4, 2020 8:00pm STEPHEN MULLIGAN, conductor JUSTIN BRUNS, violin EVA LUCERO & PATRICIO TOUCEDA, tango dancers

The Atlanta Symphony Orchestra Classical Series is presented by

ANTONIO VIVALDI (1678-1741) Le quattro stagioni (The Four Seasons), Opus 8, Nos. 1-4 (CA. 1725) 40 MIN La primavera (Spring), Opus 8, No. 1 in E Major I. Allegro II. Largo e pianissimo sempre III. Danza pastorale. Allegro L’Estate (Summer), Opus 8, No. 2 in G minor I. Allegro non molto II. Adagio; Presto III. Presto L’Autunno (Autumn), Opus 8, No. 3 in F Major I. Allegro II. Adagio molto III. Allegro L’Inverno (Winter), Opus 8, No. 4 in F minor I. Allegro non molto II. Largo III. Allegro Justin Bruns, violin INTERMISSION

20 MIN

ASTOR PIAZZOLLA (1921-1992) Las Cuatro Estacíones Porteñas (The Four Seasons of Buenos Aires) (1965-70) (arr. Leonid Desyatnikov) 29 MIN I. Verano Porteño (Buenos Aires Summer) II. Otoño Porteño (Buenos Aires Autumn) III. Invierno Porteño (Buenos Aires Winter) IV. Primavera Porteña (Buenos Aires Spring) Justin Bruns, violin Eva Lucero & Patricio Touceda, tango dancers

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.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

notesontheprogram Ken Meltzer Program Annotator

Le quattro stagioni (The Four Seasons), Opus 8, Nos. 1-4 (CA. 1725) ANTONIO VIVALDI was born in Venice, Italy, on March 4, 1678, and died in Vienna, Austria, on July 28, 1741. In addition to the solo violin, Le quattro Stagioni is scored for strings and continuo.


ntonio Vivaldi composed more than 230 concertos for solo violin. Among these, The Four Seasons is by far the best known. Indeed, almost three centuries after its composition, The Four Seasons remains one of the most popular works in all of concert music. The Four Seasons, scored for solo violin, continuo, and strings, is part of a larger work, a series of twelve concertos for violin and orchestra the composer entitled Il cimento dell’armonia e dell’inventione (The Contest of Harmony and Invention), Opus 8. The Four Seasons comprises the first four of the Opus 8 concertos. Le Cène, in Amsterdam, published Il cimento dell’armonia e dell’inventione in 1725. The 1725 score of The Four Seasons includes sonnets (that may have been written by the composer), describing the programs for each of the twelve movements. Further, certain passages in the score are accompanied by additional captions describing what the music is intended to portray. For example, the repeated forte viola figure in the second movement of Spring is designated by the composer as “Il cane che grida”—the goat herd’s “barking dog”! What is remarkable is that while Vivaldi incorporates dozens of such descriptive touches into The Four Seasons, the music never deteriorates into a mere series of effects. Rather, The Four Seasons demonstrates an admirable—and highly satisfying—sense of cohesion. This is achieved, in great part, by Vivaldi’s use of the ritornello (a recurring instrumental phrase) in the outer movements of each “Season.” Further, Vivaldi’s considerable melodic gifts, daring harmonies, and brilliant writing for the solo instrument produce an immensely entertaining work. If there was ever music that radiated the composer’s joy in its creation, it is Vivaldi’s The Four Seasons. The continued affection for Vivaldi’s masterpiece reflects that such enthusiasm was not misplaced.

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24 | encore Each “Season” consists of a three-movement concerto. Two quick-tempo outer movements frame a central slow-tempo movement. The sonnets included in the score provide a specific description of each movement. A prose translation of the original Italian is provided below. La Primavera (Spring), Opus 8, No. 1, in E Major I. Allegro— Festive Spring has arrived, The birds salute it with their happy song. And the brooks, caressed by little Zephyrs, Flow with a sweet murmur. The sky is covered with a black mantle, And thunder, and lightning, announce a storm. When they are silent, the birds Return to sing their lovely song. II. Largo e pianissimo sempre— And in the meadow, rich with flowers, To the sweet murmur of leaves and plants, The goatherd sleeps, with his faithful dog at his side. III. Danza pastorale. Allegro— To the festive sound of pastoral bagpipes, Dance nymphs and shepherds, At Spring’s brilliant appearance. L’Estate (Summer), Opus 8, No. 2, in G minor I. Allegro non molto— Under the heat of the burning summer sun, Languish man and flock; the pine is parched. The cuckoo finds its voice, and suddenly, The turtledove and goldfinch sing. A gentle breeze blows, But suddenly, the north wind appears. The shepherd weeps because, overhead, Lies the fierce storm, and his destiny. II. Adagio; Presto— His tired limbs are deprived of rest By his fear of lightning and fierce thunder, And by furious swarms of flies and hornets. III. Presto— Alas, how just are his fears,

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Thunder and lightning fill the Heavens, and the hail Slices the tops of the corn and other grain. L’Autunno (Autumn), Opus 8, No. 3, in F Major I. Allegro— The peasants celebrate with dance and song, The joy of a rich harvest. And, full of Bacchus’s liquor, They finish their celebration with sleep. II. Adagio molto— Each peasant ceases his dance and song. The mild air gives pleasure, And the season invites many To enjoy a sweet slumber. III. Allegro— The hunters, at the break of dawn, go to the hunt. With horns, guns, and dogs they are off, The beast flees, and they follow its trail. Already fearful and exhausted by the great noise, Of guns and dogs, and wounded, The exhausted beast tries to flee, but dies. L’Inverno (Winter), Opus 8, No. 4, in F minor I. Allegro non molto— Frozen and trembling in the icy snow, In the severe blast of the horrible wind, As we run, we constantly stamp our feet, And our teeth chatter in the cold. II. Largo— To spend happy and quiet days near the fire, While, outside, the rain soaks hundreds. III. Allegro— We walk on the ice with slow steps, And tread carefully, for fear of falling. If we go quickly, we slip and fall to the ground. Again we run on the ice, Until it cracks and opens. We hear, from closed doors, Sirocco, Boreas, and all the winds in battle. This is winter, but it brings joy.

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26 | encore Las Cuatro Estacíones Porteñas (The Four Seasons of Buenos Aires) (1965-70) (arr. Leonid Desyatnikov) ASTOR PIAZZOLLA was born in Mar del Plata, Argentina, on March 11, 1921, and died in Buenos Aires, Argentina, on July 4, 1992. The Desyatnikov arrangement of Four Seasons in Buenos Aires is scored for solo violin and strings.


stor Piazzolla, father of the “Tango Nuevo” (“New Tango”), was born in Mar del Plata, Argentina, on March 11, 1921. Four years later, the Piazzolla family moved to New York City’s Little Italy. There, a neighbor who was a classical pianist introduced the young Piazzolla to the music of Bach and other great composers. Jazz also played an important role in Astor Piazzolla’s early music life. And of course, the tango had a major presence in the Piazzolla household, most notably through the recordings of the great singer and songwriter, Carlos Gardel. As a young boy, Astor Piazzolla mastered the bandoneon, a square-build button accordion prominently featured in tango ensembles. Before the close of Piazzolla’s teenage years, he returned to Argentina, where he worked in various tango clubs. In 1944, Piazzolla began musical studies in Buenos Aires with the Argentine classical composer Alberto Ginastera. In 1954, Piazzolla moved to Paris, where he studied with the legendary teacher, Nadia Boulanger (whose students also included Aaron Copland). Piazzolla’s classical works failed to impress Boulanger. “This music is well written,” Boulanger observed, “but it lacks feeling.” But when Piazzolla performed one of his tangos, Boulanger exclaimed: “This is Piazzolla! Don’t ever leave it!” This marked a turning point for Piazzolla. As he later recalled, Boulanger “helped me find myself.” Piazzolla “threw away all the other music and, in 1954, started working on my New Tango.” This “New Tango” infused the seductive Latin American dance with elements of jazz and modern classical music. Piazzolla encountered considerable initial resistance to his “New Tango,” particularly in his native Argentina. However, by the time of his death in 1992, Piazzolla was recognized

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and mourned as a national hero. The admiration for Astor Piazzolla extended far beyond his native land. He earned the acclaim of some of the world’s greatest musicians, including such classical artists as Gidon Kremer, Mstislav Rostropovich, Yo-Yo Ma, and the Kronos String Quartet. Astor Piazzolla’s Las Cuatro Estacíones Porteñas (The Four Seasons of Buenos Aires) is a superb example of the composer’s blending of tango, jazz, and classical elements. In 1965, Piazzolla composed Verano Porteño (Buenos Aires Summer) as part of music for a play by Alberto Rodríguez Muñoz, entitled Melenita de oro. Piazzolla wrote Buenos Aires Summer for his Quinteto Nuevo Tango, an ensemble of bandoneon, violin, electric guitar, piano, and string bass. Over the next several years, Piazzolla composed the three remaining Seasons, scored for the same ensemble. Piazzolla also fashioned other instrumental arrangements of The Four Seasons of Buenos Aires. After Piazzolla’s death, violinist Gidon Kremer commissioned Russian composer Leonid Desyatnikov (b. 1955) to create a version of Piazzolla’s The Four Seasons of Buenos Aires for solo violin and string orchestra. Kremer paired Desyatnikov’s arrangement of Piazzolla’s work with Antonio Vivaldi’s baroque masterpiece, scored for the same combination of instruments, Le quattro stagioni, The Four Seasons (ca. 1725). And indeed, the Desyatnikov arrangement includes several delightful allusions to the Vivaldi (here, it should be noted that seasons in the Southern Hemisphere are the opposite of those in the Northern Hemisphere). As in the case of its famous Baroque counterpart, the Desyatnikov arrangement of Piazzolla’s The Four Seasons of Buenos Aires is a vibrant and thrilling virtuoso tour-deforce. I. Verano Porteño (Buenos Aires Summer) II. Otoño Porteño (Buenos Aires Autumn) III. Invierno Porteño (Buenos Aires Winter) IV. Primavera Porteña (Buenos Aires Spring)

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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. In 2018, Mulligan was awarded the prestigious Solti Foundation U.S. Career Assistance Award. 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. A native of Baltimore, Maryland, Stephen Mulligan began his music 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. JUSTIN BRUNS, ASSOCIATE CONCERTMASTER



ustin Bruns joined the Atlanta Symphony Orchestra as Assistant Concertmaster in 2006 and was appointed Associate Concertmaster in the fall of 2016 after winning a national audition for the position. During the summer, he serves as Concertmaster of the Cabrillo Festival of Contemporary Music. Before moving to Atlanta, Bruns was Assistant Concertmaster of the Colorado Symphony Orchestra and served as Concertmaster of the Boulder Bach Festival. Actively involved in teaching and bringing music to young audiences, he maintains a private teaching studio and regularly gives master classes, orchestral excerpt courses and chamber music coachings. Through the ASO, he has taught and mentored students in the Talent Development Program, coaches sections of the Atlanta Youth Symphony Orchestra and strives to build relationships with schools and other civic organizations

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through Education and Community Engagement programs. As a chamber musician, Bruns has performed throughout the United States and England. In the Atlanta area, he has performed with Georgian Chamber Players, Sonic Generator, Bent Frequency, KSU Faculty Chamber Music, ASO Chamber Music Concerts and the North Georgia Music Festival. While he was first violinist of Atlanta Chamber Players, he appeared at the San Miguel de Allende Chamber Music Festival and made his chamber music debut at Carnegie Hall’s Weill Recital Hall. Violinist Justin Bruns began his studies at age 3 and won his first competition two years later. He made his solo debut with an orchestra at age 9. Bruns graduated summa cum laude from the University of Michigan and was awarded the top prize upon graduation, the Stanley Medal. He received his master’s degree from Rice University. EVA LUCERO & PATRICIO TOUCEDA, DANCERS


va Lucero and Patricio Touceda were born in Argentina. Eva started her career as a ballet dancer and studied modern dance at Teatro San Martin arts school in Buenos Aires. She discovered tango later in her 20s and fell in love with it. Patricio has been studying Argentinian folk dance and tango since he was 10 years old. He learned directly from some of the most renowned tango maestros and milongueros. It is perhaps the explosive combination of energy and personalities of ballet and tango styles that make Lucero and Touceda such a unique duo. Symphonic tango is among their favorite repertoire. They believe the mystical, grandiose and complex arrangements elevate tango to a place that gives them the freedom to dance like nothing else. As Tango instructors, Eva Lucero and Patricio Touceda have taught in Argentina and have traveled many times around the world to teach special workshops to students of all levels. They currently teach In the Seattle area and contributed to promote and grow Argentine Tango for the last 19 years.

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30 | jan9&11 Concerts of Thursday, Jan. 9, 2020 8:00pm Saturday, Jan. 11, 2020 8:00pm ROBERT SPANO, conductor JORGE FEDERICO OSORIO, piano

The Atlanta Symphony Orchestra Classical Series is presented by

KRISTS AUZNIEKS (b. 1992) Crossing (2018)

10 MIN

MANUEL DE FALLA (1876-1946) Nights in the Gardens of Spain (1915) 25 MIN I. En el Generalife (At the Generalife) II. Danza lejana (Distant Dance) III. En los jardines de la Sierra de Córdoba (In the Gardens of the Mountains of Cordoba) Jorge Federico Osorio, Piano INTERMISSION SERGEI PROKOFIEV (1891-1953) Selections from Romeo and Juliet, Opus 64 (1938) Act I I. Introduction II. Romeo III. The Fight IV. The Duke’s Command V. The Young Juliet VI. Dance of the Knights VII. Balcony Scene; Love Dance Act II The Duel; Death of Mercutio; Romeo Decides to Avenge Mercutio; Finale

Act IV Juliet’s Funeral; Juliet’s Death

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

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20 MIN

50 MIN


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Ken Meltzer Program Annotator

Crossing (2018) These are the First Classical KRISTS AUZNIEKS was born in Riga, Latvia, on Subscription Performances. February 26, 1992. The first performance of Crossing took place in Aspen, Colorado, on August 15, 2018, with Patrick Summers conducting the Aspen Philharmonic Orchestra. Crossing is scored for two flutes (flute 1 doubling piccolo), two oboes, clarinet in B-flat, bass clarinet, two bassoons, four horns in F, three trumpets in B-flat, two tenor trombones, bass trombone, tuba, three percussion (percussion 1: bass drum, tam-tam; percussion 2: tubular bells, xylophone; percussion 3: vibraphone), harp, piano, and strings.


rists Auznieks, born in Latvia and now based in New York, received his degree in Composition from the Royal Conservatory of The Hague. Mr. Auznieks also studied electronic and computer music at the Royal Conservatory. After moving to the United States, Krists Auznieks received, in 2016, a Master’s Degree in Music (Composition) from Yale University. As a doctoral candidate at Yale, Krists Auznieks' teachers include Aaron Jay Kernis and David Lang. The music of Krists Auznieks has been performed at distinguished concert venues and festivals throughout Europe, Asia, and the United States, including Walt Disney Concert Hall in Los Angeles, The Royal Danish Theatre in Copenhagen, the Beijing National Arts Centre, the Aspen Music Festival, UNESCO International Rostrum of Composers in Finland, and the European Capital of Culture Aarhus 2017 Festival in Denmark. In 2019, Krists Auznieks' opera, NeoArctic, a collaboration with the British techno producer Andy Stott, received its U.S. premiere at the Kennedy Center for the Performing Arts in Washington, D.C. The orchestral work Crossing, “Commissioned by Aspen Music Festival and School, Robert Spano Music Director,” received its premiere on August 15, 2018. Patrick Summers conducted the Aspen Philharmonic Orchestra. In Crossing, the composer seeks to inspire a journey to a different state of mind: “I hope Crossing can become a leap from the familiar physical world and how memory operates in it to some other imaginary, utopian, idealistic world.” The composer inspires this journey through the manipulation

32 | encore and development of thematic material: “The same motifs are heard, re-heard, and misheard.” All of this is couched in a sound world that displays Krists Auznieks' compelling aesthetic orientation: “I will always go for the beautiful rather than the functional or practical.” Nights in the Gardens of Spain (1915) First Classical Subscription Performances: February 28, March 1 & 3, 1974, Alicia de Larrocha, Piano, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: November 18, 19, & 21, 2010, Ingrid Fliter, Piano, Jun Märkl, Conductor.

MANUEL DE FALLA was born in Cádiz, Spain, on November 23, 1876, and died in Alta Gracia, Argentina, on November 14, 1946. The first performance of Nights in the Gardens of Spain took place at the Teatro Real in Madrid, Spain, on April 9, 1916, with José Cubiles as piano soloist, and Enrique Fernández Arbós conducting the Orquesta Sinfónica de Madrid. Nights in the Gardens of Spain is scored for solo piano, piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, suspended cymbal, cymbals a2, harp, celesta, and strings.


anuel de Falla began composition of the work that would become known as Noches en los jardines de España (Nights in the Garden of Spain) in 1909. Falla originally conceived the music as a series of nocturnes for solo piano. Over the next several years, Falla worked on the piece, all the while considering various forms in which it might take shape. Falla shared the music with his fellow Spanish composer, Isaac Albéniz. It was Albéniz who suggested that Falla’s composition be scored for solo piano and orchestra. In 1915, Falla completed Nights in the Gardens of Spain. The work received its premiere at the Teatro Real in Madrid on April 9, 1916, with José Cubiles as piano soloist, and Enrique Fernández Arbós conducting the Orquestra Sinfónica de Madrid. Since that time, Nights in the Gardens of Spain has been celebrated as one of Falla’s masterpieces. As with many of the composer’s finest works, Nights in the Gardens of Spain offers a masterful, captivating synthesis of classical music and Spanish folk culture. I. En el Generalife (At the Generalife)— The Generalife is a 13thcentury villa, located on the outskirts of the Alhambra— the residences of the Moorish kings in Granada. The kings used the Generalife as a leisure retreat. There are several

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interpretations of the meaning of the villa’s name—the “Governor’s Garden,” the “Architect’s Garden,” and the “Vegetable Garden” are a few. The movement opens with an agitated, repeated figure in the violas. This motif serves as the basis for music that builds to a passionate, fff climax, resolving to the tranquil, pianissimo final bars. II. Danza lejana (Distant Dance)—In the brief and vibrant second movement, the piano evokes the sounds of a strumming guitar. A hushed episode yields to the soloist’s grand upward flourish and the finale, which follows without pause. III. En los jardines de la Sierra de Córdoba (In Gardens of the Mountains of Cordoba)—The final movement opens with a stirring descending and ascending motif that returns in various forms throughout. The finale’s irrepressible (and sometimes violent) energy yields to a delicate, pianissimo close. Selections from Romeo and Juliet, Opus 64 (1938) SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the ballet, Romeo and Juliet, took place at the Brno Opera House in Czechoslovakia, on December 30, 1938. Romeo and Juliet is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, tenor saxophone, two bassoons, contrabassoon, six horns, three trumpets, cornet, three trombones, tuba, timpani, field drum, xylophone, triangle, woodblock, maracas, glockenspiel, tambourine, chimes, cymbals, bass drum, two mandolins, viola d’amore (or viola), two harps, piano, celesta, and strings.


rokofiev’s Romeo and Juliet has long been celebrated as one of the greatest ballet scores. But during the period of its creation and early performances, Prokofiev met resistance at every turn. This prompted the great Russian ballerina Galina Ulanova, who danced the role of Juliet at the January 11, 1940 Russian premiere in Leningrad, to offer the following toast, a play on the concluding lines of the Shakespeare original: Never was a story of more woe Than this of Prokofiev’s music for Romeo.

First Classical Subscription Performances: April 10-13 1980, Louis Lane, Conductor. Most Recent Classical Subscription Performances: May 19 & 21, 2016, Joseph Young, Conductor.

34 | encore Despite the success of the January 1940 opening, it too was preceded by a period of storm and strife worthy of the Montagues and Capulets. Prokofiev’s score so intimidated the performers that they threatened a boycott, just a few weeks before the scheduled premiere. Finally, however, the genius of Prokofiev’s masterpiece gained the troupe’s confidence. Again, to quote Galina Ulanova: “And now if I were to be asked what the music of Romeo and Juliet should be like, I would say without hesitation: like Prokofiev’s, for I cannot now conceive of any other music.” Prokofiev adapted music from his Romeo and Juliet ballet for two Orchestral Suites (premiered, respectively, in Moscow, in 1936, and Leningrad, in 1937) as well as a collection of Ten Pieces for Solo Piano, Opus 75 (1937). Prokofiev completed a third Orchestral Suite in 1946. These concerts features excerpts from the complete ballet. Act I The Introduction presents themes associated with the “starcrossed lovers,” Romeo and Juliet. As the story begins, Romeo is deep in thought (Romeo). He is a member of the Montague family, at war with the Capulets. The Montagues and Capulets duel in the Verona Square (The Fight). The Duke of Verona comes upon the scene, and warns that if the battle between the Montagues and Capulets continues, he will banish the offenders (The Duke’s Command). Juliet is a member of the Capulet family. The playful nature of the thirteen-year-old Juliet is marvelously depicted by sprightly violin passages, but there is also more reflective music that suggests the emerging young woman (The Young Juliet). Romeo and Juliet meet for the first time at a ball in the Capulet household. The Dance of the Knights is part of the music accompanying the arrival of the guests to the ball. At night, Romeo stands below Juliet’s balcony and prays for her to appear. Juliet comes to the balcony, and the two declare their eternal love (Balcony Scene; Love Dance). Act II Tybalt, Juliet’s cousin, and Mercutio, Romeo’s friend, encounter each other in the square and begin to fight.

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Romeo, now married to Juliet, tries to stop the conflict, but is unsuccessful. Tybalt mortally wounds Mercutio. When Romeo learns that his friend has died, he is overcome with anger, and kills Tybalt (The Duel; Death of Mercutio; Romeo Decides to Avenge Mercutio; Finale). Act IV



orge Federico Osorio has been lauded throughout the world for his superb musicianship, powerful technique, vibrant imagination and deep passion. He is the recipient of several international prizes and awards, including the prestigious Medalla Bellas Artes, the highest honor granted by Mexico’s National Institute of Fine Arts. Osorio has performed with many of the world’s leading ensembles and conductors across Asia, North, Central and South America, and Europe. Osorio has given recitals recently in Los Angeles (The Wallis Annenberg Center for the Performing Arts); Mexico City and Xalapa, Mexico; Aix en Provence, France; Highland Park, Illinois (Ravinia Festival); San José, Costa Rica; and Rio de Janeiro, Brazil. A prolific recording artist, Osorio has documented a wide variety of repertoire through his accaliamed orchestral and solo recordings. Osorio’s recorded work may be found on the Artek, ASV, CBS, Cedille, EMI, IMP and Naxos labels. An avid chamber music performer, Osorio has served as artistic director of the Brahms Chamber Music Festival in Mexico; performed in a piano trio with violinist Mayumi Fujikawa and cellist Richard Markson; and collaborated with Yo-Yo Ma, Ani Kavafian, Elmar Oliveira, Henryk Szeryng and the Pacifica and Moscow Quartets. He began studying the piano at the age of five with his mother, Luz María Puente, and later attended the conservatories of Mexico, Paris and Moscow. Highly revered in his native Mexico, Osorio resides


Juliet, hoping to escape with Romeo, drinks a potion that places her in a deep sleep, simulating the appearance of death. The Capulet family carries Juliet’s lifeless body to the family tomb. Romeo believes that Juliet is dead, and rushes to the tomb. Romeo drinks poison and dies. Juliet awakens and sees her dead husband. She takes Romeo’s knife and kills herself (Juliet’s Funeral; Juliet’s Death).

36 | meettheartists in the Chicagoland area, where he serves on the faculty at Roosevelt University’s Chicago College of Performing Arts. Jorge Federico Osorio is a Steinway Artist. KRISTS AUZNIEKS, COMPOSER



rists Auznieks is a New York based Latvian composer. His quintet was featured in The New York Times among the week’s best classical music moments. His opera NeoArctic, co-written with British techno producer Andy Stott, won Danish Reumert Prize and had its U.S. premier at The Kennedy Center. Recent commissions include works for Atlanta Symphony, Aspen Music Festival, Cappella Amsterdam, Latvian Radio Choir, Contemporaneous, and Sinfonietta Riga. Auznieks’ music has been performed at The Lincoln Center, The Walt Disney Concert Hall, The Royal Danish Theatre, Beijing National Arts Centre, Amsterdam’s Muziekgebouw, London’s Southbank Center and featured in Gaudeamus, MATA, World Cultures Festival (Hong Kong), and UNESCO International Rostrum. Recognitions include Jacob Druckman Prize, Latvian Grand Music Award, fellowships from Aspen, Norfolk, Bennington, NEXT festivals, American Academy of Fontainebleau, Hermitage Artist Retreat, Serenbe Institute, and ACO Earshot. He has served on the faculty of Yale School of Music, Montclair State University, and NY Philharmonic's Very Young Composers Program.

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DISCOVER THE SPIVEY DIFFERENCE 2019-2020 Concert Series Clayton State University

RODERICK WILLIAMS, baritone JULIUS DRAKE, piano Saturday, January 11, 2020

LYSANDER PIANO TRIO Sunday, January 12, 2020

BEHZOD ABDURAIMOV Sunday, January 19, 2020

PAUL JACOBS Saturday, February 15, 2020

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



38 | jan16/17/18/19 Concerts of Thursday, Jan. 16, 2020 8:00pm Friday, Jan. 17, 2020 11:00am Saturday, Jan. 18, 2020 8:00pm Sunday, Jan. 19, 2020 3:00pm ROBERT SPANO, conductor DAVID COUCHERON, violin The Atlanta Symphony Orchestra Classical Series is presented by

OLIVER KNUSSEN (1952-2018) Two Organa (1995)


WITOLD LUTOSĹ AWSKI (1913-1994) Concerto for Orchestra (1954) 28 MIN I. Intrada. Allegro maestoso II. Capriccio notturno e arioso. Vivace III. Passacaglia, toccata e corale. Andante con moto INTERMISSION

20 MIN

LUDWIG VAN BEETHOVEN (1770-1827) Concerto for Violin and Orchestra in D Major, Opus 61 (1806) 44 MIN I. Allegro ma non troppo II. Larghetto III. Rondo. Allegro David Coucheron, violin The concert of Friday, Jan. 17 will be played without intermission and features the Beethoven Violin Concerto only.

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

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| 39

Ken Meltzer Program Annotator

Two Organa (1995) These are the First Classical OLIVER KNUSSEN was born in Glasgow, Scotland, on Subscription Performances. June 12, 1952, and died in Snape, England, on July 8, 2018. The first performance of Two Organa took place at the Teater aan de Parade, ‘s-Hertgenbosch, Holland, on February 7, 1995, with the composer conducting Members of the Het Brabants Orkest. Two Organa is scored for flute, alto flute, oboe, English horn, two clarinets, bassoon, two horns, trumpet, trombone, timpani, bass drum, chimes, maracas, orchestra bells, tam-tam, triangle, vibraphone, suspended cymbal, harp, harmonium, piano, celesta, and strings.


n July 8, 2018, Oliver Knussen died at the age of 66. In addition to being one of the finest composers of his generation, Oliver Knussen was a gifted conductor. Oliver Knussen appeared as guest conductor with the ASO on five separate occasions, most recently in November of 2011. In those concerts, Oliver Knussen programmed both his music, and the works of other composers. Among the highlights of Knussen’s appearances with the ASO were complete performances of his operatic collaboration with Maurice Sendak, Where the Wild Things Are (1979-83). Those performances took place at Symphony Hall on February 22 and 24, 2008. Music Director Robert Spano has also included Knussen’s compositions in his classical subscription programs. Oliver Knussen provided the following program notes on his orchestral work, Two Organa: These two short pieces approach the same idea in quite different ways. The 12th century organa of the Notre Dame School (e.g. Perotin) employ plainchant tones as the slow foundation for rapid, ecstatic, dancelike melismata. In June 1994 I used this technique to write a very short piece for a Dutch “music box” project in which thirty-two composers wrote for a two-octave musical box using only white notes. I dedicated the resulting Notre Dame des Jouets to Sir Peter Maxwell Davies on his 60th birthday and orchestrated it in February this year. The second Organum, dedicated to Reinbert de Leeuw, brings the same technique into a less “innocent” world employing

40 | encore the total chromatic in elaborate polyrhythmic layers. It should be listened to with half an ear on the foreground activity (which is partly defined by specific musical identities) and the other half on the extremely slow cantus firmus which defines its scale and resonances. The second Organum was first performed by the Schonberg Ensemble under Reinbert de Leeuw at its 20th anniversary concert in Utrecht in September last year. —Oliver Knussen Concerto for Orchestra (1954) First Classical Subscription Performances: October 30-November 1, 1986, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: September 21-23, 2000, Robert Spano, Conductor.

WITOLD LUTOSŁAWSKI was born in Warsaw, Poland, on January 25, 1913, and died there on February 7, 1994. The first performance of the Concerto for Orchestra took place in Warsaw on November 26, 1954, with the Warsaw Philharmonic Orchestra conducted by Witold Rowicki. The Concerto for Orchestra is scored for two piccolos, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, timpani, bass drum, field drum, tenor drum, tambourine, xylophone, orchestra bells, snare drum, tam-tam, cymbals, suspended cymbal, three tom-toms, two harps, piano, celesta, and strings.


fter World War II, Poland was under the control of Stalin’s Soviet Russia. Artists in Poland found themselves subject to the same types of regimentation and censorship suffered by their Russian colleagues. During this period, the Polish government mandated composer Witold Lutosławski to fashion numerous works based upon Polish folk songs. At the same time, however, Lutosławski began to experiment with couching these folk songs in a less traditional and more complex guise. Lutosławski awaited the moment he could employ this technique in a serious concert work. The composer recalled: A suitable opportunity for putting this into practice soon turned up. This was 1950. The director of the Warsaw Philharmonic, Witold Rowicki, asked me to write something especially for his new ensemble. This was to be something not difficult, but which could, however, give the young orchestra an opportunity

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to show its qualities. I started work on the new score not realizing that I was to spend nearly four years on it. Folk music and all that follows with it—of which I have already spoken—was to be used in my new work. Folk music has in this work, however, been merely a raw material used to build a large form of several movements which does not in the least originate from folk songs or from folk dances. A work came into being, which I could not help including among my most important works, as a result of my episodic symbiosis with folk music and in a way that was for me somewhat unexpected. This work is the “Concerto for Orchestra.” Rowicki, the work’s dedicatee, led the Warsaw Philharmonic Orchestra in the Concerto for Orchestra’s November 26, 1954 premiere. The brilliant, thrilling orchestral composition earned Lutosławski Poland’s State Prize (Class I) and Order of Labor (Class II) in 1955, and did much to establish him as a composer of international prominence. The Concerto for Orchestra is in three movements; the third longer than the first two combined. In the Baroque era, an intrada often served as the introduction to a musical work. Likewise, the Concerto for Orchestra’s first-movement Intrada (Allegro maestoso) sets the stage for the entire piece. Lutosławski uses Polish folk melodies as the basis for music of impressive energy and momentum, finally abating in the hushed closing bars. The second movement, Capriccio notturno e arioso (Vivace) serves the function of a mysterious, quicksilver scherzo, with an imposing central episode. The finale (Passacaglia, toccata e corale. Andante con moto) opens with a Passacaglia, a series of variations over an eightmeasure repeated bass theme. The Passacaglia builds to a grand climax before fading to silence. A brilliant toccata (in the Baroque era, a virtuoso instrumental showpiece) ensues. A noble chorale, launched by the oboes and clarinets, finally resolves to the whirlwind final measures. Concerto for Violin and Orchestra in D Major, Opus 61 (1806) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Violin Concerto took place in Vienna on December 23,

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42 | encore First Classical Subscription Performance: October 31, 1948, Robert Harrison, violin, Henry Sopkin, Conductor. Most recent Classical Subscription Performances: April 19-21, 2018, Nicola Benedetti, Violin, Matthias Pintscher, Conductor.

1806, with Franz Clement as soloist. In addition to the solo violin, the Concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


eethoven’s only Violin Concerto—along with those by Mendelssohn, Brahms and Tchaikovsky— represent the pinnacle of 19th-century compositions for solo violin and orchestra. But like many works now celebrated as masterpieces, the Beethoven Violin Concerto received a mixed reception at its premiere. It is always tempting to assume that contemporary observers were incapable of recognizing obvious genius. But an examination of the circumstances surrounding the premiere of the Beethoven Violin Concerto offers some perspective. The soloist for that first performance was among the finest available. The Austrian violinist, Franz Clement (1780-1842), himself a composer, was an acclaimed virtuoso and leader and director of the orchestra of the Theater-an-der-Wien. Clement was particularly renowned for the grace and lyricism of his playing, as well as his impeccable intonation. Still, there are indications that the first performance of the Violin Concerto left much to be desired. Beethoven composed the work at breakneck speed, in order for the Concerto to be presented as part of a December 23, 1806 benefit concert for Clement. While the account that Clement sight-read the score at the Concerto’s premiere is in all likelihood apocryphal, there is no doubt that Beethoven penned revisions almost until the day of the performance. These factors no doubt helped to create uncertainty at the premiere. The structure of the concert itself also put such a profound and organic work as the Beethoven Violin Concerto at an extreme disadvantage. After the opening movement, Clement interrupted the performance of the Concerto to offer one of his own sonatas, played on one string, with the violin held upside down! The final two movements of the Beethoven followed. The fortunes of Beethoven’s Violin Concerto improved considerably, although not in the composer’s lifetime. In

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fact, the work did not receive its proper due until a London concert on May 27, 1844, led by Felix Mendelssohn, in which violinist Joseph Joachim (a month shy of his 13th birthday) stunned the audience with his rendition of the Concerto. Joachim and his successors have been paying homage to this extraordinary work ever since. The Concerto is in three movements. Despite the genial mood, the first movement (Allegro ma non troppo) is in many ways as revolutionary as its counterpart in Beethoven’s 1803 Third (“Eroica”) Symphony. It is as long as the entirety of many violin concertos of the time. There is also an extraordinary level of interplay between the soloist and orchestra. The movement is based upon three principal themes. The first is introduced in arresting fashion; after four ominous timpani beats, the oboes sing the dolce melody. The oboes, clarinets, and bassoons offer the arching second theme in the major key, to which the strings respond with a minor-key version. A related ascending theme, played by the violins and woodwinds, serves to close the orchestral exposition. After a cadenza-like passage for the soloist, the principal themes are reprised, often in the form of a dialogue between violin and orchestra. The lyrical second movement (Larghetto) is a theme and set of variations. The keen sense of rapport between the solo violin and orchestra gives this movement a rare depth and poignancy. The generally serene mood is interrupted by the strings’ curt statement of a portion of the main theme. A brief flourish by the soloist leads without pause to the finale (Rondo. Allegro), one of Beethoven’s most joyous creations, overflowing with spirit and humor.

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avid Coucheron joined the Atlanta Symphony Orchestra as Concertmaster in September 2010. At the time, he was the youngest concertmaster among any major U.S. orchestra. Coucheron has performed as soloist with the BBC Symphony Orchestra, Bergen Philharmonic Orchestra, Sendai Symphony Orchestra, Oslo Philharmonic Orchestra and the Trondheim Symphony Orchestra. He has also given solo recitals at Carnegie Hall, Wigmore Hall, the Kennedy Center and the Olympic Winter Games (Salt Lake City, Utah), as well as in Beograd, Chile, China, Hong Kong, Japan, Serbia, Singapore and Shanghai. His chamber music performances have included appearances at Suntory Hall as well as Wigmore Hall and Alice Tully Hall. Coucheron serves as the Artistic Director for the Kon Tiki Chamber Music Festival in his hometown of Oslo, Norway, and he is on the artist-faculty for the Aspen Music Festival and Brevard Music Festival. An active recording artist, recordings with sister and pianist Julie Coucheron include “David and Julie” (Naxos/Mudi) and “Debut” (Naxos). He is also the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan Williams’ The Lark Ascending, which was released on ASO Media in Fall 2014. Coucheron began playing the violin at age three. He earned his Bachelor of Music degree from The Curtis Institute of Music, his Master of Music from The Juilliard School and his Master of Musical Performance from the Guildhall School of Music and Drama. Coucheron plays a 1725 Stradivarius.

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46 | jan23&25 Concerts of Thursday, Jan. 23, 2020 8:00pm Saturday, Jan. 25, 2020 8:00pm JAMES GAFFIGAN, conductor ELIZABETH KOCH TISCIONE, oboe

The Atlanta Symphony Orchestra Classical Series is presented by

JESSIE MONTGOMERY (B. 1981) Starburst (2012) LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 1 in C Major, Opus 21 (1800) I. Adagio molto; Allegro con brio II. Andante cantabile con moto III. Menuetto. Allegro molto e vivace IV. Adagio; Allegro molto e vivace INTERMISSION RALPH VAUGHAN WILLIAMS (1872-1958) Concerto for Oboe and String Orchestra in A minor (1944) I. Rondo Pastorale. Allegro moderato II. Minuet and Musette. Allegro moderato III. Finale (Scherzo). Presto Elizabeth Koch Tiscione, oboe

3 MIN 26 MIN

20 MIN

19 MIN

RICHARD STRAUSS (1864-1949) Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Opus 28 (1895) 16 MIN

The January 25th per-

Thursday evening ticket holders are invited to attend a

formance is dedicated to

conversation with Maestro James Gaffigan in Center Space

Lucy R. Lee** and Gary

immediately following the concert.

Lee, Jr. in appreciation for their extraordinary support of the Atlanta Symphony Orchestra Annual Fund and to the memory of Lucy R. Lee for her lasting legacy of support of the ASO.

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

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Ken Meltzer Program Annotator

Starburst (2012) These are the First Classical JESSIE MONTGOMERY was born in New York City on Subscription Performances. December 8, 1981. The first performance of Starburst took place at the New World Center in Miami, Florida, in September, 2012, performed by The Sphinx Virtuosi. Starburst is scored for string orchestra


tarburst, by American composer Jessie Montgomery, was commissioned by The Sphinx Organization. The premiere of Starburst was performed by the Sphinx Virtuosi in September, 2012, at the New World Center in Miami, Florida. The composer provides the following commentary: This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premieres the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind. —Jessie Montgomery Symphony No. 1 in C Major, Opus 21 (1800)

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Symphony No. 1 took place at the Burgtheater in Vienna on April 2, 1800, with the composer conducting. The Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


udwig van Beethoven completed the first of his Nine Symphonies in 1800. This was one of the happiest periods in Beethoven’s life, a time when the young musician was dazzling Vienna with his unique and remarkable talents as a composer and piano virtuoso. The Symphony No. 1 premiered on April 2, 1800, at the Burgtheater in Vienna. The concert, organized by the composer for his own benefit, also featured a Mozart

First Classical Subscription Performance: December 1, 1946, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: February 1 & 3, 2018, Robert Spano, Conductor.

48 | encore symphony, an aria and duet from Haydn’s oratorio, The Creation, as well as Beethoven performing one of his Piano Concertos (either No. 1 or 2), and a keyboard improvisation. Many viewed the first Symphony as the composer’s homage to the elegant works of his Classical-era predecessors, Franz Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791). Nevertheless, more than a few of Beethoven’s contemporaries perceived the work in a far different light. One German critic characterized the Symphony as “a caricature of Haydn pushed to absurdity.” For those familiar with the path-breaking music of Beethoven’s later Symphonies, such reactions seem misplaced, if not downright odd. The Beethoven First is a work overflowing with wit and high spirits. The scoring and architecture of the Symphony reflect the 18th century tradition. Beethoven even designates the Symphony’s third movement as a “Minuet”—an elegant court dance in triple meter that appears in virtually every mature Haydn and Mozart Symphony. In 1802, Beethoven proclaimed to his friend, Wenzel Krumpholz: “I am not satisfied with my works up to the present time. From today I mean to take a new road.” In terms of the Symphonies, that “new road” is most clearly first revealed in the Third (“Eroica”), Opus 55 (1803). Nevertheless, Beethoven’s First Symphony, for all of its homage to the past, offers more than a few hints that the revolution was just around the corner. The Symphony No. 1 is cast in the traditional four movements. The work opens with a slow-tempo introduction (Adagio molto). Despite its graceful nature, the ambiguous, shifting harmonies must have been unsettling to audiences of Beethoven’s time. An ascending and descending string passage leads to the principal Allegro con brio. While the slow-tempo second movement (Andante cantabile con moto) generally evokes the grace and elegance of the Classical era, there are moments of unrest and turmoil as well. Beethoven designates the third movement as a Minuet (Menuetto. Allegro molto e vivace). But here, the traditional elegant court dance in triple meter is replaced by fleet tempos and violent orchestral attacks, making it the first of the composer’s symphonic scherzos. The finale

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begins with a slow-tempo introduction (Adagio). After a grand, fortissimo orchestral chord, the first violins begin to introduce the movement’s principal theme. They do so quietly and tentatively, building the theme one note at a time. Finally, the first violins gather their courage to play the theme in its entirety, and the central Allegro molto e vivace is off and running. Concerto for Oboe and String Orchestra in A minor (1944) These are the First Classical RALPH VAUGHAN WILLIAMS was born in Down Subscription Performances. Ampney, England, on October 12, 1872, and died in London, England, on August 26, 1958. The first performance of the Oboe Concerto took place in Liverpool, England, on September 30, 1944, with Léon Goossens as soloist and Malcolm Sargent conducting the Liverpool Philharmonic Orchestra. The Concerto is scored for solo oboe and strings.


alph Vaughan Williams dedicated his Oboe Concerto to Léon Goossens, brother of conductor Sir Eugene Goossens and a renowned virtuoso, who inspired many composers to write for his considerable talents. Vaughan Williams hoped that his dear friend Sir Henry Wood, founder of the Promenade Concerts, would lead the work’s premiere. Bombing raids on London cancelled a performance scheduled for July 5, 1944 at Royal Albert Hall. Wood died on the August 19. The premiere took place in Liverpool on September 30, 1944, with Goossens as soloist and Sir Malcolm Sargent conducting the Liverpool Philharmonic Orchestra. The first London performance occurred on May 4, 1945, again with Goossens performing the solo part. Despite (or perhaps in response to) the chaos raging in London and the world at the time of the Concerto’s genesis, Vaughan Williams composed music notable for its charm and wealth of melodic ideas. It is an amiable work that nonetheless imposes considerable technical demands on the oboist, who plays almost without a break from start to finish. The Concerto is in three movements. The first is a Rondo Pastorale (Allegro moderato) based upon a theme introduced at the start by the soloist. The movement includes two

50 | encore accompanied cadenzas for the soloist. The second movement features two statements of a Minuet (Allegro moderato), a dance in triple meter. The Minuets frame a Musette, a form of music that suggests the sound of bagpipes. The Finale is a virtuoso Scherzo (Presto) that also includes more expansive episodes that acknowledge the composer’s lifelong affinity with English folk music. Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Opus 28 (1895) First Classical Subscription Performance: March 31, 1951, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: February 4 & 6, 2016, Robert Spano, Conductor.

RICHARD STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The first performance of Till Eulenspiegels lustige Streiche took place in Cologne, Germany, on November 5, 1895, with Franz Wüllner conducting the Gürzenich Orchestra. Till Eulenspiegel is scored for piccolo, three flutes, three oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, large ratchet, snare drum, cymbals a2, field drum, triangle, bass drum, and strings.


he legendary prankster Till Eulenspiegel (whose last name translates as “Owl Glass” or “Owl’s Mirror”) may have been an actual person. But others believe that Till Eulenspiegel, who delighted in revealing the foibles of the rich and powerful, was a purely mythical figure created to entertain the laborer and peasant, as well as those members of the privileged class who enjoyed a laugh at their own expense. Till’s adventures were published in book form and circulated throughout Europe. Eulenspiegel was well known and adored by 19th-century German schoolchildren, including Richard Strauss. As an adult, Strauss first conceived of an operatic setting of Till’s misadventures, and began to sketch a libretto in June of 1893. However, the lack of success of Strauss’s first operatic effort, Guntrum (1894), may have encouraged the composer to present his musical vision of Till in purely orchestral fashion. On May 6, 1895, Strauss completed the miraculous score, one described by the great 20th-century

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German conductor Wilhelm Furtwängler as “a stroke of genius, worthy of Beethoven.” The premiere took place that year in Cologne that November 5, with Franz Wüllner leading the Gürzenich Orchestra. Till Eulenspiegel is based upon two central themes, introduced at the outset of the work. The first, a somewhat plaintive theme, is played by the violins. The second, one of the most famous horn passages in all of symphonic music, is a puckish seven-measure staccato figure that twice hesitates, prior to bursting forth in its mischievous totality. The two themes reappear in various forms throughout a rather free orchestral rondo, contrasting with material depicting Till’s numerous pranks. The closing portion of the work depict Till’s arrest, trial, sentence, and execution. According to legend, Till Eulenspiegel continued to torment his enemies even after his death. The work’s raucous conclusion suggests that the prankster’s spirit indeed lives on.

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52 | meettheartists JAMES GAFFIGAN, CONDUCTOR



ailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention and is one of the most outstanding American conductors working today. James Gaffigan is currently the Chief Conductor of the Luzerner Sinfonieorchester and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra, his tenure for the third time. Since becoming Chief Conductor of the Luzerner Sinfonieorchester James has made a very significant impact on the orchestra’s profile, both nationally and internationally, with a number of highly successful tours and recordings. In recognition of this success his contract has been further extended until 2021. James is in high demand working with leading orchestras and opera houses throughout Europe, the United States and Asia. The 2019/20 season features re-invitations to the Chicago, San Francisco and Detroit Symphony Orchestras, Orchestre National de France and Czech Philharmonic, as well as debuts with Orchestre Symphonique de Montreal, Melbourne Symphony and the Swedish Radio Symphony Orchestra. He will also undertake four major opera productions in the United States, including La Cenerentola at the Metropolitan Opera in New York, Ernani at San Francisco Opera, Don Giovanni at Lyric Opera Chicago and Tristan und Isolde at Santa Fe Opera. ELIZABETH KOCH TISCIONE, OBOE



rincipal Oboe Elizabeth Koch Tiscione, joined the Atlanta Symphony Orchestra (ASO) at the beginning of the 2007/08 season. She currently holds the George M. and Corrie Hoyt Brown Chair.

In addition to her responsibilities with the ASO, Tiscione plays Principal Oboe at the Grand Teton Music Festival and is a member of the Atlanta Chamber Players. She has performed as a guest musician with the orchestras of Philadelphia, St. Louis, St. Paul, Baltimore, Rochester, Buffalo and the Orpheus Chamber Orchestra. Recent solo engagements include the World Youth Symphony

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Orchestra, Orpheus Chamber Orchestra, Atlanta Symphony Orchestra and Dekalb Symphony Orchestra. She has been featured on NPR’s “From the Top,” and has also performed at many chamber music festivals throughout the country, including Tannery Pond, Cape Cod and the Chamber Music Society of Lincoln Center. Tiscione has a love for teaching and is currently a faculty member at Kennesaw State University. She also teaches internationally at Festicamara, in Medellin, Colombia, and has a studio in Atlanta. A native of Hamburg, NY, Tiscione began the oboe in the New York State public school systems at age 9, continued her studies at the Interlochen Arts Academy under Daniel Stolper, and went on to study with Richard Woodhams at the Curtis Institute of Music. Other teachers include Mark DuBois, J. Bud Roach, Pierre Roy, Robert Walters and Eugene Izotov. JESSIE MONTGOMERY, COMPOSER


essie Montgomery is an acclaimed composer, violinist and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her solo, chamber, vocal and orchestral works are performed frequently around the world by leading musicians and ensembles. Since 1999, Montgomery has been affiliated with The Sphinx Organization and currently serves as composerin-residence for the Sphinx Virtuosi. She was a two-time laureate of the annual Sphinx Competition and was awarded a generous MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). Montgomery began her violin studies at the Third Street Music School Settlement and holds degrees from the Juilliard School and New York University. She is currently a Graduate Fellow in Music Composition at Princeton University. A founding member of PUBLIQuartet and currently a member of the Catalyst Quartet, she continues to maintain an active performance career as a violinist appearing regularly with her own ensembles, as well as with the Silkroad Ensemble and Sphinx Virtuosi.

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54 | jan30&feb1 Concerts of Thursday, Jan. 30, 2020 8:00pm Saturday, Feb. 1, 2020 8:00pm KARINA CANELLAKIS, conductor ITAMAR ZORMAN, violin

The Atlanta Symphony Orchestra Classical Series is presented by

LUDWIG VAN BEETHOVEN (1770-1827) Leonore Overture No. III, Opus 72b (1806) ALBAN BERG (1885-1935) Concerto for Violin and Orchestra (1935) I. Andante—Allegretto II. Allegro—Adagio Itamar Zorman, Violin INTERMISSION DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 5 in D minor, Opus 47 (1937) I. Moderato II. Allegretto III. Largo IV. Allegro non troppo

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

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14 MIN 26 MIN

20 MIN 50 MIN


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Ken Meltzer Program Annotator

Leonore Overture No. III, Opus 72b (1806) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Leonore Overture No. III took place in Vienna at the Theater an der Wien on March 29, 1806, as part of the premiere of the revised version of Fidelio. The Leonore Overture No. III is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.


eethoven’s only opera, Fidelio, occupied a special place in the composer’s heart. In his Will, Beethoven said of his beloved work: “before all others I hold it worthy of being possessed and used for the science of art.” The creation of Fidelio (called Leonore by the composer) was hardly an easy process. Beethoven composed at least three versions of Fidelio. The Leonore Overture No. III premiered as part of a revised version of the opera, first performed on March 29, 1806. Beethoven’s Fidelio is based upon a work created during the French Revolution by lawyer and writer Jean-Nicolas Bouilly. Fidelio takes place in 18th-century Spain. The evil governor Don Pizarro has imprisoned the nobleman Don Florestan for daring to speak out against his corrupt regime. In an attempt to rescue her husband, Florestan’s wife, Leonore, disguises herself as the young man, Fidelio. This allows Leonore to gain employment at the jail where her husband is imprisoned. When Pizarro learns that the benevolent minister, Don Fernando, is coming to inspect the prison, he vows to kill Florestan, thereby concealing evidence of his wrongdoing. Leonore discovers her husband in a dungeon. She places herself in front of Florestan, and holds Pizarro at bay with her pistol. The sound of trumpets heralds Don Fernando’s arrival. Fernando soon learns of Pizarro’s misdeeds and orders him imprisoned. Florestan and the prisoners are freed. All hail Leonore as their savior. Beethoven’s orchestral Overture tracks the opera’s course of action, and in thrilling fashion.

First Classical Subscription Performance: March 16, 1950, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: May 30 & June 1, 2019, Donald Runnicles, Conductor.

56 | encore First Classical Subscription

Concerto for Violin and Orchestra (1935)

Performance: March 7, 1968,

ALBAN BERG was born in Vienna, Austria, on February 9, 1885, and died there on December 24, 1935. The Robert Shaw, Conductor. first performance of the Violin Concerto took place in Barcelona, Spain, on April 19, 1936, at the Festival Most Recent Classical of the International Society of Contemporary Music. Subscription Performances: Louis Krasner was the violin soloist, and Hermann October 14-16, 2010, Scherchen conducted. In addition to the solo violin, Julian Rachlin, Violin, the Concerto is scored for two piccolos, two flutes, Donald Runnicles, Conductor. two oboes, English horn, three clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, two trumpets, trombone, bass trombone, tuba, timpani, three percussion (percussion I: alto gong, tamburo piccolo, cymbals a2, suspended cymbal, triangle; percussion II: triangle, bass drum with attached cymbals, suspended cymbal; percussion III: tam-tam basso, suspended cymbal), harp, and strings. Rafael Druian, Violin,


lban Berg composed his Violin Concerto in response to a commission from the American violinist, Louis Krasner. At first, Berg envisioned the Concerto as absolute music; i.e., a piece without extramusical associations. But on April 22, 1935, Manon Gropius died of polio, at the age of 18. Manon was the daughter of Walter Gropius, the famous German architect, and his wife, Alma Mahler Gropius, widow of Gustav Mahler. Alban Berg, who had long maintained a tender affection for the beautiful and spirited Manon, was devastated by the news of her passing. Berg dedicated his Violin Concerto “Dem Andenken eines Engels”—“To the Memory of an Angel.” In the Violin Concerto, Berg incorporates some music from other sources. A Carinthian folk melody is prominent in the second portion of the Concerto’s opening movement. Of far greater significance is the appearance of the Lutheran chorale, “Es ist genug” (“It is enough”). The chorale serves as the final movement of Johann Sebastian Bach’s Cantata No. 60, “O Ewigkeit, du Donnerwort” (“O Eternity, you Word of Thunder”): It is enough: Lord, when it pleases You, Then release me. My Jesus comes: now good night, o World! I go to Heaven’s house,

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| 57

I go there securely in peace, My great misery remains below. It is enough. Berg’s use of the “Es ist genug” chorale in the Violin Concerto is, of course, a poignant memorial to Manon Gropius. But this musical quotation also served as the stunning presage of impending tragedy. Shortly after completing the Violin Concerto, Berg developed a serious infection that ultimately led to a hospitalization in Vienna in mid-December. Shortly after midnight on Christmas Eve, Alban Berg passed away, just a few months shy of his 51st birthday—virtually the same age as Gustav Mahler when he died in May of 1911. Berg’s death mask was prepared by Anna Mahler—Gustav and Alma Mahler’s younger daughter. The Concerto is in two movements, each with a pair of sections that are played without pause. The first movement’s opening portion (Andante) features the soloist’s introduction of the work’s central ascending tone row. If the Andante depicts the gentle disposition of Manon Gropius, the succeeding Allegretto portrays the young woman’s more playful side. The music becomes more agitated, leading to an abrupt close. The second movement opens (Allegro) with the greatest agitation. The violence ultimately subsides, setting the stage for the Concerto’s concluding episode (Adagio). The soloist quietly introduces the “Es ist genug" chorale (related to Berg’s tone row). Noble variations on the chorale resolve to the radiant final measures. Symphony No. 5 in D minor, Opus 47 (1937) DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow, Russia, on August 9, 1975. The first performance of the Symphony No. 5 took place in Leningrad (St. Petersburg) on November 21, 1937, with Evgeny Mravinsky conducting the Leningrad Philharmonic. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, four percussion (percussion I: xylophone, orchestra bells, triangle; percussion

First Classical Subscription Performance: November 15, 1955, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: October 6 & 8, 2016, Robert Spano, Conductor. Recording: Telarc CD-80215, Yoel Levi, Conductor.

58 | encore II: snare drum; percussion III: cymbals a2, suspended cymbal; percussion IV: bass drum, tam-tam), harp, piano, celesta, and strings.


n 1936, Soviet dictator Joseph Stalin walked out of a Bolshoi performance of Dmitri Shostakovich’s “tragedysatire” opera, Lady Macbeth of Mtsensk. Shortly thereafter, an article appeared in the official Communist newspaper Pravda entitled, “Muddle Instead of Music.” Although the author of the article was not identified, it appears certain it was either written by Stalin, or penned under his direction and approval. The author dismissed Lady Macbeth as a “stream of deliberately discordant sounds…Lady Macbeth enjoys great success with the bourgeois audience abroad.” With a stroke of the anonymous writer’s pen, Shostakovich, once a shining light among young Soviet composers, had become a Communist persona non grata. Under Joseph Stalin’s regime, such a status could mean the end of Shostakovich’s career, if not his life. Shostakovich underwent an extended period of intense reflection and soul-searching. In December of 1936, Shostakovich withdrew his Fourth Symphony, a work he feared might inspire the same negative government reaction as Lady Macbeth. In the spring of 1937, Shostakovich turned his attention to the Fifth Symphony, which he composed between April and July, 1937.

The premiere of the Fifth Symphony took place in Leningrad on November 21, 1937, as part of a festival in celebration of the 20th anniversary of the Soviet Republic. A seemingly penitent Shostakovich offered the following subtitle for the work: “A Soviet Artist’s Practical Creative Reply to Just Criticism.” Shostakovich also provided the following analysis of the Symphony in an article entitled “My Artist’s Reply,” which appeared just a few days before the Moscow premiere on January 29, 1938: “The theme of my symphony is the development of the individual. I saw man with all his sufferings as the central idea of the work, which is lyrical in mood from start to finish; the finale resolves the tragedy and tension of the earlier movements on a joyous, optimistic note.” The 1937 premiere, conducted by the composer’s longtime friend and advocate Evgeny Mravinsky, was a resounding

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success. The Fifth Symphony pleased the Soviet critics, and soon, the world at large. It appeared that Shostakovich had succeeded in creating a work that managed both to glorify the Soviet regime and appeal to international audiences. Shostakovich returned to government favor, although he would be censured once again in 1948 for “manifestations of anti-People formalism and decadence.” The final measures of the Shostakovich Fifth have been the subject of much discussion. In the 1979 book, Testimony: The Memoirs of Dmitri Shostakovich, Solomon Volkov quotes the composer as describing the finale as: “forced, created under threat, as in (Mussorgsky’s opera) Boris Godunov.” The accuracy of Volkov’s Testimony continues to be the subject of heated debate and controversy. Shostakovich friends and collaborators, cellist Mstislav Rostropovich and composer Rodion Shchedrin, both told this writer that they firmly believe Testimony reflects Shostakovich’s thoughts. But for every Testimony advocate, there is an equally authoritative opponent. Is the Fifth Symphony a work in praise of, or a diatribe against, Soviet Russia? Are its closing pages “optimistic” or a “forced rejoicing”? (Rostropovich is quoted as saying: ‘’Anybody who thinks the finale is glorification is an idiot.”) In the context of these questions, it is worth noting that recordings of the Shostakovich Fifth by Mravinsky, who led the premiere and conducted the work throughout his life, document a noticeably broader, implacable pacing in the final measures than may be found in many other versions. But a consensus on the message of the Shostakovich Fifth is as unlikely as universal agreement upon whether Shakespeare’s Hamlet was mad. And that is precisely as it should be. One of the essential qualities of great artistic expression is its potential to resonate profoundly with each of us in a personal manner. The Symphony No. 5 is in four movements. The first (Moderato) is based upon two themes, introduced in quick succession at the outset of the movement. The ensuing Allegretto, cast in traditional scherzo and trio form, has a brevity and playful charm in sharp contrast to the storm and stress of the opening movement. The slow-tempo third movement (Largo) is constructed as a massive arch,

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60 | meettheartists inexorably building to a shattering climax before returning to the repose of the opening measures. The finale (Allegro non troppo) features a whirlwind of activity and arresting conflict, finally resolving to the blazing (and controversial) D-Major conclusion. KARINA CANELLAKIS, CONDUCTOR



arina Canellakis is the newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra and Principal Guest Conductor of Rundfunk Sinfonieorchester Berlin. Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Canellakis has conducted many of the top orchestras in North America, Europe, and Australasia since winning the Sir Georg Solti Conducting Award in 2016. She makes several notable debuts in the 2019/20 season, including Philadelphia Orchestra, the Symphony Orchestras of San Francisco, Atlanta and Minnesota, the London Symphony, Munich Philharmonic and NDR Elbphilharmonie Orchestra. With a strong presence at European summer festivals, Karina also makes debut appearances at St Denis Festival with Orchestre Philharmonique du Radio France and Edinburgh International Festival with BBC Scottish Symphony. On the operatic stage, Canellakis returns this season to Opernhaus Zurich, where she will lead a fully staged production of Verdi’s Requiem. Already known to many in the classical music world for her virtuoso violin playing, Canellakis was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of their Orchester-Akademie. In addition to appearing frequently as a soloist with various North American orchestras, she subsequently played regularly in the Chicago Symphony for over three years and appeared on several occasions as guest concertmaster of the Bergen Philharmonic in Norway. She also spent many summers performing at the Marlboro Music Festival. She plays a 1782 Mantegazza violin on generous loan from a private patron.

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tamar Zorman is one of the most soulful, evocative artists of his generation, distinguished by his emotionally gripping performances and gift for musical storytelling. Awarded the Borletti-Buitoni Trust Award for 2014, violinist Itamar Zorman is the winner of the 2013 Avery Fisher Career Grant, and the 2011 International Tchaikovsky Competition in Russia. Zorman has performed as a soloist with such Orchestras as the Mariinsky Orchestra, Israel Philharmonic, New World Symphony, Saint Paul Chamber Orchestra, KBS Symphony Seoul, Frankfurt Radio Symphony, German Radio Philharmonic, Orchestre National du Capitole de Toulouse, Kremerata Baltica, RTE National Symphony Orchestra (Dublin) and American Symphony. As a committed chamber player, he is a founding member of the Israeli Chamber Project and a member of the Lysander Piano Trio, with which he won the 2012 Concert Artists Guild Competition, the Grand Prize in the 2011 Coleman Chamber Music Competition, first prize in the 2011 Arriaga Competition and a bronze medal in the 2010 Fischoff National Chamber Music Competition. Born in Tel-Aviv in 1985 to a family of musicians, Itamar Zorman began his violin studies at the age of six with Saly Bockel at the Israeli Conservatory of Music in Tel-Aviv. He received his Bachelor of Music from the Jerusalem Academy of Music and Dance and his Master of Music from The Juilliard School in 2009. He then went on to receive an Artist Diploma from Manhattan School of Music in 2010 and an Artist Diploma from Juilliard in 2012, and he is an alumnus of the Kronberg Academy. Zorman is currently on faculty at the Eastman School of Music. He plays on a 1734 Guarneri del GesĂš from the collection of Yehuda Zisapel.

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62 | encore ASO | SUPPORT


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 Molly Blank Fund of the Arthur M. Blank Family Foundation The John & Rosemary Brown Family Foundation The Coca-Cola Company The Goizueta Foundation The Home Depot 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 Thalia & Michael C. Carlos Advised Fund 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 ° Lynn & Galen Oelkers Sally & Pete Parsonson∞ Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. Bill & Rachel Schultz ° Mrs. Charles A. Smithgall, Jr. Mr. G. Kimbrough Taylor & Ms. Triska Drake The UPS Foundation Patrick & Susie Viguerie Kathy Waller & Kenneth Goggins WarnerMedia Ann Marie & John B. White, Jr. ° Mrs. Sue S. Williams

Abraham J. & Phyllis Katz Foundation 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 ° Georgia Power Foundation, Inc. William M. Graves Joe Hamilton Ann A. & Ben F. Johnson, III ° 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


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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 ° 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


A Friend of the Symphony Aadu & Kristi Allpere ° Lisa & Joe Bankoff Mr. & Mrs. James N. Andress Jack & Helga Beam ∞ Julie & Jim Balloun Lisa & Russ Butner In memory of Leigh Baier Peter & Vivian de Kok Bell Family Foundation John & Michelle Fuller The Breman Foundation, Inc. Deedee & Marc Hamburger ° The Walter & Frances Ms. Margie Painter Bunzl Foundation Mr. Leonard B. Reed ° Chick-fil-A Mr. Jeffrey C. Samuels & Correll Family Foundation, Inc. Ms. Amy Levine-Samuels Marcia & John Donnell Beverly & Milton Shlapak Mr. Richard H. Delay & Alison & Joe Thompson Dr. Francine D. Dykes Eversheds Sutherland For more information Paul & Carol Garcia about giving to the Atlanta Georgia Council for the Arts Symphony Orchestra Annual Georgia-Pacific Fund, please contact Jason & Carey Guggenheim/ William Keene at 404.733.4839 Boston Consulting Group or william.keene@ atlantasymphony.org.

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

64 | encore ASO | SUPPORT (cont.) $5,000+ A Friend of the Symphony (4) Mrs. Kay Adams* & Mr. Ralph Paulk ° Mr. & Mrs. Calvin R. Allen Phyllis Abramson Mr. & Mrs. Stephen D. Ambo Keith Barnett Asad Bashey Jane & Gregory Blount Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Margo Brinton & Eldon Park Karen & Rod Bunn Patricia & William Buss Mr. James Camden Ms. Tracey Chu Ruth & Mark Coan William & Patricia Cook Mr. Jack E. Cummins Mr. & Mrs. Jonathan J. Davies Carol Comstock & Jim Davis ° Paul & Susan Dimmick Bernadette Drankoski Greg & Debra Durden Ms. Diane Durgin Dr. & Mrs. Carl D. Fackler Mr. & Mrs. Leroy Fass Mr. Burt Fealing Ellen & Howard Feinsand Sally & Walter George Mary & Charles Ginden Mr. & Mrs. Richard Goodsell Mr. & Mrs. James K. Hammond, Jr. Sally W. Hawkins Mr. Ron Hilley & Mrs. Mia Frieder Hilley Tad & Janin Hutcheson Mr. Justin Im & Dr. Nakyoung Nam Mr. Matthew Johnson & Ms. Yiging Chu Robert & Sherry Johnson

Mr. Baxter P. Jones & Dr. Jiong Yan Paul & Rosthema Kastin Kartikh & Swathi Khambhampati Donald S. Orr & Marcia K. Knight Mr. Charles R. Kowal Jane & Hicks Lanier Isabel Lamy Lee Elizabeth J. Levine Peg & Jim Lowman Lubo Fund Belinda & Gino Massafra Mr. & Mrs. Brian F. McCarthy Mary Ruth McDonald Judy Zaban-Miller & Lester Miller Mr. & Mrs. Arthur Mills, IV Mr. Bert Mobley Mr. & Mrs.* Peter Moraitakis Judge Jane Morrison Mr. Ryan Oliver Franca G. Oreffice Margaret H. Petersen Mrs. Susanne Pinkerton In Memory of Dr. Frank S. Pittman, III The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. Edward Potter & Ms. Regina Olchowski Ms. Eliza Quigley Mr. David Quinn & Mr. Jason Liebzeit Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel Betsy & Lee Robinson Frances Root John T. Ruff Gretchen Nagy & Allan Sandlin The Selig Foundation Mr. Doug Shipman & Dr. Bijal Shah Baker & Debby Smith Hamilton & Mason Smith Dr. K. Douglas Smith John & Yee-Wan Stevens

Mr. & Mrs. Edward W. Stroetz, Jr. George & Amy Taylor∞ Burton Trimble Sheila L. Tschinkel Ms. Charmaine WardMillner & Keith Millner Alan & Marcia Watt Ruthie Watts ° Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr.* Suzanne B. Wilner Jennifer & Taylor Winn David Worley Mr. & Mrs. Comer Yates

Suzanne Shull Mr. Morton S. Smith Ms. Martha Solano Mrs. C. Preston Stephens Stephen & Sonia Swartz Dale L. Thompson Drs. Jonne & Paul Walter David & Martha West Mr. & Mrs. M. Beattie Wood


A Friend of the Symphony (4) Mr. & Mrs. Jan Abernathy Ms. Victoria Afshani Ms. Mary Allen $3,500+ Mr. James L. Anderson Anonymous The Hisham & Nawal Dr. Evelyn R. Babey Araim Family Foundation Jacqueline A. & Joseph E. Mr. & Mrs. Scott J. Arnold Brown, Jr. Dr. & Mrs. Charles Arp Mrs. Judith D. Bullock Ms. Cyndae Arrendale Mr. & Mrs. Dennis M. Mr. Joel Babbit Chorba Richard K. & Diane Babush Ralph & Rita Connell Anthony Barbagallo & Sally & Larry Davis Kristen Fowks Mary & Mahlon Delong Mr. & Mrs. Patrick Battle Xavier Duralde & Mr. & Mrs. Billy Bauman Mary Barrett Ms. Susan R. Bell & Mr. & Mrs. John Dyer Mr. Patrick M. Morris Carol G. & Larry L. Mr. William Benton & Gellerstedt, III Mr. Michael Morrow Mrs. Louise Grant Dr. & Mrs. Joel E. Berenson John & Martha Head Shirley Blaine Mr. Kenneth & Ms. Colleen Hey Leon & Joy Borchers Thomas High Mr. & Mrs. Andrew J. Bower ° Azira G. Hill Martha S. Brewer Ms. Elizabeth A. Hobbs Ms. Harriet Evans Brock Dr. Michael D. Horowitz Mr. Lonnie Johnson & Mrs. Dr. & Mrs. Anton J. Bueschen Linda A. Moore Dr. Aubrey Bush & Lillian Balentine Law Dr. Carol Bush Deborah & William Liss ° Mr. & Mrs. Ronald E. Mr. & Mrs. Frederick C. Canakaris Mabry Mr. & Mrs. Walter K. Canipe Kay & John T. Marshall Michael & Carol Murphy ° Julie & Jerry Chautin Susan & Carl Cofer S.A. Robinson Mr. Terence M. Colleran & Jim Schroder Ms. Lim J. Kiaw Ann Shearer


| 65

Mr. & Mrs. J. David Lifsey Mr. & Mrs. Richard L. Mr. & Mrs. Barksdale R. Mr. & Mrs. Jay Halpern Rodgers Collins ° Longfield-Fitzgerald Phil & Lisa Hartley Interiors George* & Mary* Mr. Thomas J. Collins & Mr. & Mrs. Steve Hauser ° Mr. Jeff Holmes Rodrigue Mr. & Mrs. Marc S. Heilweil Mr. Gary Madaris Ned Cone & Mr. & Mrs. Mark Mr. & Mrs. John Hellriegel Meghan & Clarke Nadeen Green Rosenberg Magruder Michael Hertz Jean & Jerry Cooper Dr. & Mrs. Rein Saral Dr. & Mrs. Ellis L. Malone Sarah & Harvey Hill ° Jonathan & Rebekah Sharon & David Schachter Elvira Mannelly Mr. & Mrs. Thomas M. Cramer Mr. & Mrs. Chris Matheison Emily Scheible Holder Susan & Ed Croft Dr. Bess T. Schoen Mr. & Ms. James Laurie House Hopkins & Mrs. Lavona Currie McClatchey Mrs. William A. Schwartz John D. Hopkins Mr. & Mrs. Jay Davis Sam Schwartz & James & Bridget Horgan ° Martha & Reynolds Dr. Lynn Goldowski Mr. & Mrs. Donald Defoe ° Mrs. Sally Horntvedt McClatchey Dr. Martin Shapiro & Mr. Philip A. Delanty Albert S. McGhee Dona & Bill Humphreys Ms. Donna Shapiro Mr. & Mrs. James Durgin Dr. Larry V. McIntire Barbara M. Hund Nick & Annie Shreiber Mr. & Mrs. Robert G. Edge JoAnn Hall Hunsinger Birgit & David McQueen Helga Hazelrig Siegel Mr. & Mrs. David H. Eidson The Hyman Foundation Virginia K. McTague Mr. & Mrs. Mark Silberman Ms. Diana Einterz Mr. & Mrs. Ed Mendel, Jr. Mr. & Mrs. Phil S. Jacobs Gerald & Nancy Dieter Elsner & Anna & Hays Mershon Mary & Wayne James Silverboard Othene Munson David & Marie Monde Cynthia Jeness Diana Silverman Robert S. Elster Rebecca P. Moon & Aaron & Joyce Johnson Foundation Ms. Grace Sipusic Charles M. Moon, III Bucky & Janet Johnson George T. & Alecia H. Johannah Smith Mr. & Mrs. Charles A. Morn Mrs. Gail Johnson Ethridge Miss Elizabeth L. Morris & Barry & Gail Spurlock Mr. W. F. & Dr. Janice Rosi Fiedotin Lou & Dick Stormont Miss Christine Elliott Johnston Mr. & Mrs. Craig Fleming Janice & Tom Munsterman Mr. Phillip Street Cecile M. Jones Mr. & Mrs. William A. Flinn Beth & Edward Sugarman Melanie & Allan Nelkin William L. & Sally S. Mr. & Mrs. Bruce W. Kay & Alex Summers Richard C. Owens Jorden Flower Judith & Mark K. Taylor Mary Palmer Family Ann T. Kimsey Dr. & Mrs. Richard D. Foundation Ms. Juliana T. Vincenzino Pam Klomp Franco The Parham Fund Vogel Family Foundation Mrs. Jo W. Koch Mr. & Mrs. Paul R. Mr. & Mrs. E. Fay Carol Brantley & David & Jill Krischer Freeman Pearce, Jr. ° David Webster Dr. & Mrs. Scott I. Lampert Raj & Jyoti Gandhi Piedmont Group of Dr. Nanette K. Wenger Wolfgang & Mariana Family Foundation Atlanta, LLC Sally Stephens Laufer Mr. & Mrs. Edward T.M. Doris Pidgeon in Memory Westmoreland Mr. & Mrs. Theodore J. Garland of Rezin E. Pidgeon, Jr. Mrs. Frank L. Wilson, Jr. Lavallee, Sr. Mary D. Gellerstedt Dr. & Mrs. John P. Pooler Russell F. Winch Mr. & Mrs. Van R. Lear Dr. Mary G. George & Ms. Kathy Powell Mrs. Carol Winstead Olivia A. M. Leon Mr. Kenneth Molinelli Mr. & Mrs. Robert Ratonyi Ms. Joni Winston Mr. Edward J. Levin & Marty & John Gillin ° Mrs. Susan H. Reinach Camille W. Yow Mrs. Debbie Levin Sandra & John Glover Jay & Arthur Richardson Herbert & Grace Zwerner Dr. Fulton D. Lewis III & Mrs. Janet D. Goldstein Susan Robinson & S. Neal Rhoney Google Inc. Mary Roemer Dr. & Mrs. Carl Grafton Patron Partnership and Appassionato Leadership Committee Lauren & Jim Grien We give special thanks to this dedicated group of Atlanta Symphony Charles E. Griffin donors for their commitment to each year's annual support initiatives: Mr. & Mrs. George Kristi Allpere Pat Buss Linda Matthews Sheila Tschinkel Gunderson ° chair Deedee Hamburger Sally Parsonson Jonne Walter Helga Beam Judy Hellriegel June Scott Marcia Watt Bill Buss Belinda Massafra Milt Shlapak °We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased

66 | encore H E N RY S O P K I N CIRCLE

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

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

Donors Sally & Pete Parsonson lead the way to New ASO Leadership Council


he Atlanta Symphony Orchestra Leadership Council was created to honor those donors who are willing to make a three-year commitment to the Annual Fund. Sally and Pete Parsonson became the Council’s first members. Already among the Orchestra’s most generous donors, with Leadership Level Annual Fund donations, the Parsonsons saw their multi-year commitment as an opportunity to “allow the Orchestra to plan ahead.” As Pete said: “Fiscal stability and financial soundness are everything for any institution. If you want to do bold things, like taking the Orchestra to Carnegie Hall, you have to know that the money is coming in every year.” Pete, a retired engineer, grew up in Boston, and Sally is from Mississippi, but both have been in Atlanta for nearly 50 years. Pete describes himself as a “frustrated musician,” who played clarinet and saxophone. Music is an important part of their lives. For example, each summer they travel to London to attend the BBC Proms. When asked why they give to the ASO, Sally responded: “We give because we love the music…It’s that simple.”

Contact: Jimmy Paulk Annual Giving Officer james.paulk@ atlantasymphony.org 404.733.4485 The Atlanta Symphony Orchestra, under the Woodruff Arts Center, is a 501c3 nonprofit organization. Federal Tax ID: 58-0633971

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.




$400,000+ $500,000+

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 Bare Klein The SKK Foundation The Zeist Foundation, Inc.

Abraham J. & Phyllis Katz Foundation SunTrust Teammates

SunTrust Foundation SunTrust Trusteed Foundations:

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

$300,000+ King & Spalding, Partners & Employees The Molly Blank Fund of the Arthur M. Blank Family Foundation The Rich Foundation UPS


Pussycat Foundation PwC, Partners & Employees WarnerMedia

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

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.


Deloitte, its Partners & Employees EY, Partners & Employees Louise S. Sams and Jerome Grilhot The Shubert Foundation Susan and Tom* Wardell


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 Kilpatrick Townsend KPMG LLP, Partners & Employees The Marcus Foundation, Inc. Northside Hospital Mr. and Mrs. Solon P. Patterson Garnet and Dan Reardon Patty and Doug Reid The Sartain Lanier Family Foundation Wells Fargo


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 Sally and Carl Gable Georgia-Pacific Georgia Natural Gas Google Jones Day Foundation & Employees Kaiser Permanente Legendary Events Morris Manning & Martin LLP Victoria and Howard Palefsky PNC 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


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

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


Aarati and Peter Alexander Arnall Golden & Gregory LLP Bank of America Private Bank City of Atlanta Mayor’s Office of Cultural Affairs Crawford & Company Mr. and Mrs.* Bradley Currey, Jr. Fulton County Board of Commissioners Nena C. Griffith Allison and Ben Hill Mr. and Mrs. Hilton H. Howell, Jr. The Imlay Foundation Merill Lynch Mr. and Mrs. George L. Nemhauser Publix Super Markets Charities Margaret and Terry Stent Vasser Woolley Foundation, Inc.


Art Unlimited Advisors LLC AT&T BlackRock Nancy and Kenny Blank Barbara and Steve Chaddick Marcia and John Donnell Eversheds Sutherland Katie and Reade Fahs Peggy Foreman Four Seasons Hotel Atlanta

Genuine Parts Company

Mr. William M. Graves JLL Lucy R.* and Gary Lee, Jr. The MAGNUM Companies National Endowment for the Arts Norfolk Southern Foundation Novelis, Inc. Mr. and Mrs. Michael Plant The Primerica Foundation

Regions Bank

Mr. and Mrs. Fred Richman Mary and Jim Rubright The Sara Giles Moore Foundation Dean DuBose and Bronson Smith Veritiv Mr. and Mrs. Jamie Weeks Rod Westmoreland The Woodruff Arts Center Employees


A Friend of the Alliance Theatre & Woodruff Arts Center ABM Kristie and Charles Abney The Allstate Foundation AIG Arby’s Foundation Arrow Exterminators

Spring and Tom Asher Assurant The Balloun Family Lisa and Joe Bankoff Ed Bastian BB&T Mr. and Mrs. Paul J. Blackney Stephanie Blank Bloomberg BNY Mellon Wealth Management The Breman Foundation, Inc. Mr. and Mrs. Ronald M. Brill Janine Brown and Alex J. Simmons, Jr. Benjamin Q. Brunt Lucinda W. Bunnen Frances B. Bunzl* Cadence Mr. and Mrs. C. Merrell Calhoun Mr. and Mrs. Anthony Catalfano CBH International, Inc. The Charles Loridans Foundation, Inc. Chubb Bert and Cathy Clark Susan and Carl Cofer Ann and Steve Collins Cooper Carry Cousins Properties Ann and Jeff Cramer Cushman & Wakefield Kay and David Dempsey Catherine Warren Dukehart Mrs. Sarah A. EbyEbersole and Mr. W. Daniel Ebersole Mr. Matt Echols Virginia and Brent Eiland Ms. Angela L. Evans Ellen and Howard Feinsand Jennifer and Marty Flanagan Frances Wood Wilson Foundation Nick Franz Mrs. Betty Sands Fuller Mr. and Mrs. Lawrence L. Gellerstedt III Geographics, Inc. Georgia Council for the Arts GMT Capital Corporation Goldman Sachs Carolyn and David Gould Nancy and Holcombe Green Greenberg Traurig, LLP Ted and Kim Greene The Partners & Employees of GreenSky, LLC/David Zalik, CEO & Chairman/ Gerry Benjamin, Vice Chairman Mr. Kenneth Haines Bonnie and Jay Harris Nancy and Charles Harrison Mr. and Mrs. James L. Henderson III Mr. Rod Hildebrant and

Mr. Matthew Meehan Holder Construction Company The Howell Fund, Inc. Karen and Jeb Hughes Infor Global Solutions The Jim Cox, Jr. Foundation The John W. and Rosemary K. Brown Family Foundation Andrea and Boland Jones Mr. Baxter P. Jones and Dr. Jiong Yan Anne and Mark Kaiser James E. Kane The Katherine John Murphy Foundation Mr. and Mrs. Carl W. Knobloch, Jr. Joel Knox and Joan Marmo Ms. Nina Lesavoy Renee and Alan D. Levow Barbara W. and Bertram L. Levy Livingston Foundation, Inc. Macy’s Majestic Realty The Mark and Evelyn Trammell Foundation Massey Charitable Trust Joe Massey MaxMedia Margot and Danny McCaul Merry McCleary and Ann Pasky Mr. and Mrs. John F. McMullan The Michael and Andrea Leven Family Foundation Mrs. Nancy Montgomery Moxie Mueller Water Products, Inc. Naserian Foundation NCR Foundation Terence L. and Jeanne P. Neal Nelson Mullins Northern Trust Northwestern Mutual Goodwin, Wright - John and Laura Wright O. Wayne Rollins Foundation Lynn and Galen Oelkers Gail O’Neill and Paul E. Viera Oxford Industries Beth and David Park Martha M. Pentecost Estate of Janet M. Pierce Porsche Cars North America, Inc. PrimeRevenue Inc. Printpack The Ray M. and Mary Elizabeth Lee Foundation, Inc. The Robert Hall Gunn, Jr. Fund The Roy and Janet Dorsey Foundation Ryder Truck Rental, Inc.

Sage The Sally & Peter Parsonson Foundation Jack Sawyer and Dr. Bill Torres SCANA Energy Mr. and Mrs. David Scheible Rachel and Bill Schultz Joyce and Henry Schwob The Selig Family Foundation Shakespeare in American Communities: National Endowment for the Arts in Partnership with Arts Midwest Mr. and Mrs. Ross Singletary II Mr. and Mrs. Marc Skalla Skanska The Slumgullion Charitable Fund Smith & Howard, PC Mr. and Mrs. E. Kendrick Smith Mrs. Lessie B. Smithgall Southwire Company Steinberg Charitable Trust Sara and Paul Steinfeld Mr. Les Stumpff and Ms. Sandy Moon TalentQuest Mr. Hugh M. Tarbutton, Jr. Mr. G. Kimbrough Taylor and Ms. Triska Drake Judith and Mark Taylor Lisa Cannon Taylor and Chuck Taylor Thalia and Michael C. Carlos Foundation Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Sally G. Tomlinson Troutman Sanders United Distributors, Inc. Lori Vanderboegh and Brady Young Roxanne and Benny Varzi Susie and Patrick Viguerie Vine Vault Kathy N. Waller Mr.* and Mrs. Edus H. Warren, Jr. Rebekah and Mark Wasserman Mr. and Mrs. Bradford L. Watkins Ann Marie and John B. White, Jr. Elizabeth and Chris Willett Mrs. Sue S. Williams Ellen and John Yates


3M A Friend of the Atlanta Symphony Orchestra (2) A Friend of the High Museum of Art A Friend of The Woodruff Arts Center (3) AAA Parking



Mr. and Mrs. Henry Aaron Mr. and Mrs. William L. Ackerman Keith Adams and Kerry Heyward Madeline and Howell E. Adams, Jr. Robin Aiken and Bill Bolen Mr. and Mrs. John M. Allan Mary Allen Mr. and Mrs. James N. Andress Henry F. Anthony & Carol R. Geiger Yum and Ross Arnold Evelyn Ashley and Alan McKeon Atlanta Marriott Marquis Atlantic American Corporation; Delta Life Insurance; Gray Television Barbara and Ron Balser Juanita and Gregory Baranco Ms. Angele P. Barrow and Mr. John Barrow Mr. and Mrs. Luke Bayer Laura and Stan Blackburn The Blanche Lipscomb Foundation Mr. Arthur M. Blank Mrs. Stephanie Blomeyer Rita and Herschel Bloom Mr. and Mrs. Watt Boone Susan V. Booth and Max Leventhal The Boston Consulting Group Lisa and Jim Boswell Brown & Brown Insurance, Inc. Lisa and Paul Brown Brunner Bryan Cave Leighton Paisner Mr. and Mrs. Charles Burnett Ms. Mary Cahill and Mr. Rory Murphy Camp-Younts Foundation Mr. and Mrs. Jeffrey S. Cashdan Wright and Alison Caughman CBRE Colliers International Dr. John W. Cooledge Carolynn Cooper and Pratap Mukharji Melinda and Brian Corbett Ann and Tom Cousins Sherri and Jesse Crawford Charlene Crusoe-Ingram and Earnest Ingram Rebecca and Chris Cummiskey Russell Currey and Amy Durrell Cheryl Davis and Kurt Kuehn Mr. and Ms. Jay M. Davis Cari Dawson and John Sparrow Mr. and Mrs. Phil Deguire Mr. and Mrs. Robin E. Delmer

Mr. and Mrs. Richard A. Denny, Jr. Ms. Sloane Drake Diane Durgin Edgerton Foundation Eleanor and Charles Edmondson Mr. Fredric M. Ehlers and Mr. David Lile Mr. and Mrs. Gordon Ely-Kelso Ferrari Maserati of Atlanta Fifth Third Bank Mr. and Mrs. Foster Finley FleetCor Mr. and Mrs. James Freeman Anne and Dick Game Doris and Matthew Geller Marsha and Richard Goerss Mr. and Mrs. Richard Goodsell Mr. and Mrs. Thomas L. Gossage Ms. Caroline Gottschalk Sara Goza Graphic Packaging International, Inc. Mr. and Mrs. Seth Greenberg Jeannette Guarner, MD and Carlos Del Rio, MD Pat and Anne Gunning Mr. John Hall Joe Hamilton Mr. and Mrs. Tom Harbin Mr. John Haupert and Mr. Bryan Brooks Mr. and Mrs. Greg Henry Hilton Atlanta Jocelyn J. Hunter Mr. and Mrs. Robert E. Hutchinson, Jr. Ida Alice Ryan Charitable Trust Mr. and Mrs. Bahman M. Irvani Jane and Clayton Jackson Phil and Jenny Jacobs Liza and Brad Jancik Mr. Robert A. Jetmundsen Lou Brown Jewell Ann A. and Ben F. Johnson, III Katie and West Johnson Mary and Neil Johnson Sam Johnson JP Morgan Private Bank John C. Keller Mr. James F. Kelley and Ms. Anne H. Morgan Kennedy Center for the Performing Arts Philip I. Kent Mr. and Mrs. David E. Kiefer Kimberly-Clark Mr. and Mrs. David F. Kirkpatrick Mr. and Mrs. Michael A. Klump Mr. and Mrs. Charles R. Kowal Mr. and Mrs. David B. Kurzweil Louise and E.T. Laird Dr. and Mrs. Scott I. Lampert

James H. Landon Mr. and Mrs. Nolan C. Leake Donna Lee and Howard Ehni Mr. Sukai Liu and Dr. Ginger J. Chen Kelly Loeffler and Jeffrey Sprecher Loews Atlanta Hotel Ms. Jackie Lunan Mr. and Dr. Kevin Lyman Larry and Lisa Mark Sally and Allen McDaniel MetLife Mr. Charles C. Miller III & Ms. Pinney L. Allen Judy Zaban Miller and Lester Miller Mr. and Mrs. Bert Mills | Moore Colson, CPAs and Bert & Carmen Mills Ms. Molly Minnear Phil and Caroline MoĂŻse Morgens West Foundation Estate of Andrew Musselman Barbara and Sanford Orkin John Paddock and Karen Schwartz Margie Painter Kathie and Chuck Palmer Vicki and John Palmer Karen and Richard Parker Perkins & Will Margaret H. Petersen Piedmont Charitable Foundation, Inc The Piedmont National Family Foundation Suzanne and Bill Plybon Portman Holdings Alessandra and Elton Potts Mr. and Mrs. William H. Powell Sandra and Larry* Prince Mr. and Mrs. Walter Pryor PulteGroup, Inc. Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. William C. Rawson Mr. and Mrs. Robert Reeves Regal Entertainment Group Mr. Sean Richards Estate of Shirley Rivers Mr. and Mrs. Gregory K. Rogers Mr. Lin R. Rogers and Ms. Alexia Alarcon Patricia and Maurice Rosenbaum The Sartain Lanier Family Foundation June and John Scott ServiceNow Bijal Shah and Doug Shipman Mr. and Mrs. Charles Sharbaugh Mr. John A. Sibley III Amy and Paul Snyder Mr. and Mrs. John Somerhalder Song Space

Dr. and Mrs. Dennis Lee Spangler Karen and John Spiegel Gail and Loren Starr Dr. Steven and Lynne Steindel Michelle and Stephen Sullivan Surya Elliott and Elaine Tapp Thomas H. Lanier Family Foundation Lizanne Thomas and David Black Mr. and Mrs. Eric Tresh UBS Financial Services Inc. John and Ray Uttenhove Mr. and Mrs. K. Morgan Varner, III Mr. Brandon Verner Kim and Reggie Walker Weldon H. Johnson Family Foundation Dr. James Wells and Mrs. Susan Kengeter Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Adair and Dick White Mr. and Mrs. Benjamin T. White Sue and John Wieland James B. and Betty A. Williams Richard Williams and Janet Lavine Suzanne B. Wilner Diane Wisebram and Edward D. Jewell Drs. Kevin and Kalinda Woods Amy and Todd Zeldin Robert and Connie Zerden

72 | encore 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.


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 aso.org/give.

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.

SYMPHONY STORE The Symphony Store is open before, during and after most concerts.

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.

Subscription Information/ Sales 404.733.4800

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.

IMPORTANT PHONE NUMBERS The Woodruff Arts Center Box Office 404.733.5000 Ticket Donations/ Exchanges 404.733.5000

Group Sales


Atlanta Symphony Associates (Volunteers) 404.733.4485 Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Symphony Store


Donations & Development 404.733.5079



Tyrone Webb

Jennifer Barlament

manager of education

executive director

Stephanie Smith executive assistant

Tasha Cooksey executive & finance

| 73

Adam Fenton

Victoria Moore

director of multimedia

director of

community programs


orchestra personnel

Ryan Walks

Caitlin Hutchinson

Daniel Stupin

talent development

marketing coordinator

stage technician

program manager

Natacha McLeod


senior director of









Grace Sipusic


vice president of

Robert Phipps


publications director


Elizabeth Arnett


business development

Russell Wheeler

senior director of

Elena Dubinets chief artistic officer

senior director of

Jeffrey Baxter


choral administrator

Erika Burley,

Cynthia Harris artist liaison

Christopher McLaughlin manager

artistic administration

Ken Meltzer


Megan Brook


music consultant

manager of grants


projects coordinator


April Satterfield controller

Dana Parness


individual giving

Jesse Pace experience tickets

Christopher Stephens

Dennis Quinlan

Elena Dubinets chief artistic officer

Kaitlin Gress associate director of education




Niki Baker family programs assistant

Tiffany I. M. Jones managing producer of education concerts

Ruthie Miltenberger manager of family programs

Brandi Reed

patron services

individual giving

annual giving officer


office manager

staff accountant

James Paulk


symphony store

Madeleine Lawson

executive assistant principal guest


manager of leadership





Carol Wyatt to the music director

financial planning

Shannon McCown

director of patron


Kim Hielsberg

V.S. Jones

Pam Kruseck experience

vice president of

William Keene &


revenue management

front of house manager

Nancy Field communications

program annotator

Bob Scarr archivist &


coordinator of

chief financial officer

vice president of sales


Susan Ambo

manager of patron






patron services

Sarah Wilson development operations associate

MARKETING & COMMUNICATIONS Tammy Hawk vice president of marketing

Robin Smith



KC Commander content manager

Elizabeth Daniell communications manager

Nicole Panunti vice president

Lisa Eng

manager of development data analyst operations


multimedia creative


season tickets associate



Christine Lawrence associate director of guest services

Sameed Afghani Joanne Lerner vice president & general event manager manager

Paul Barrett senior production stage manager

Tyler Benware operations manager

Richard Carvlin

Clay Schell consultant

William Strawn marketing manager

Michael Tamucci Event Coordinator

stage manager

Robert Darby stage technician

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


Mayor’s Office of Cultural Affairs

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.


aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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

See this award-winning new musical at the Alliance Theatre.

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Our audience is your audience. Advertise with Encore and reach a targeted group of performing arts lovers. CO N TAC T Patti Ruesch 808-927-5115 patti@ encoreatlanta.com

Donna Choate 678-778-1573 donna@ encoreatlanta.com

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Encore Atlanta is the official show program for the Fox Theatre, the Atlanta Symphony Orchestra, the Alliance Theatre and the Hertz Stage, T...


Encore Atlanta is the official show program for the Fox Theatre, the Atlanta Symphony Orchestra, the Alliance Theatre and the Hertz Stage, T...

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