ENCORE ATLANTA :: ATLANTA SYMPHONY ORCHESTRA :: MARCH 2020

AT L A N TA SY M P H O N Y O R C H E S T R A

MARCH 2020

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4 | encore ASO | IN TUNE Dear Friends of the Atlanta Symphony Orchestra,

D

uring the month of March, we continue to celebrate the 75th anniversary of the Atlanta Symphony Orchestra with a diverse array of transformative orchestral experiences at Symphony Hall, all around Atlanta, and across the State of Georgia.

This month we welcome back to the podium our former Music Director Yoel Levi for a special one-night-only, sold-out performance with the legendary violinist Itzhak Perlman—a performance that will also be live streamed on aso.org and across our social media platforms. In addition, we continue our partnership with GPB with statewide broadcasts of three upcoming performances: the Levi/Perlman performance, one of our Concerts for Young People, especially for schools and our May 7th performance of Holst’s The Planets with conductor Jonathan Heyward and Miloš Karadaglić, “the hottest guitarist in the world” (Sunday Times). Stay tuned for dates and details; we hope you’ll tune in!

This month we are grateful to partner once again with Atlanta Magazine to bring back an Atlanta tradition— the Atlanta Symphony Orchestra Designer Showhouse.

Be inspired and come witness the work of Atlanta’s leading designers and artisans while supporting the Atlanta Symphony Orchestra, now through March 22. Visit aso. org/DesignerShowhouse for tickets and more information.

March is Music in Our Schools Month. To all of the school music teachers in the audience and on our stage (including 26 members of the ASO Chorus), we salute you and express our gratitude for all you do to share music with young people— including the students in our Talent Development Program and Atlanta Symphony Youth Orchestra. To learn more about the ASO’s education programs, or to make a gift to support, please visit aso.org/donate.

In the coming weeks we look forward to announcing details of the Orchestra’s landmark 2020/2021 season, which will mark two milestones: Robert Spano’s 20th and final season as Music Director, and the 50th anniversary of the world-renowned Atlanta Symphony Orchestra Chorus. Woven into the season you will also find a diverse array of guest conductors, composers and artists, presenting beloved works with a few surprises. We look forward to sharing this exciting season with you.

Warm regards,

Jennifer Barlament Executive Director

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ASO | MUSIC DIRECTOR ROBERT SPANO

R

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 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’ A Sea Symphony. He returns to the Indianapolis Symphony, the Singapore Symphony and the BBC Symphony Orchestra in the world premiere of Dimitrios Skyllas’ 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 travel 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

DEREK BLANKS

School since 2011, he oversees the programming of more than 300

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

Howard Palefsky

Susan Antinori

chair

immediate past chair

secretary

Lynn Eden

James Rubright

vice chair

treasurer

DIRECTORS Joan Abernathy*

Carlos del Rio, M.D.

Donna Lee

Doug Shipman*

William Ackerman

Sloane Drake

Sukai Liu

John Sibley

Keith Adams

Lynn Eden

Kevin Lyman

Fahim Siddiqui

Brian McCarthy

W. Ross Singletary, II

Juliet McClatchey Allan Angela Evans Susan Antinori

Craig Frankel

Penelope McPhee^

John Sparrow

Jennifer Barlament*

Anne Game

Bert Mills

Gail Ravin Starr

Paul Blackney

Paul R. Garcia

Molly Minnear

Elliott Tapp

Rita Bloom

Jason Guggenheim

Terry Neal

Brett Tarver

Janine Brown

Joseph W. Hamilton, III

Galen Lee Oelkers

S. Patrick Viguerie

Justin Bruns*

Bonnie Harris

Howard Palefsky

Kathy Waller

Benjamin Brunt

Caroline Hofland

Ebbie Parsons

Mark D. Wasserman

C. Merrell Calhoun

Tad Hutcheson

Juliette Pryor

Chris Webber

William M. Carey

Roya Irvani

Cathleen Quigley

Richard S. White, Jr.

S. Wright Caughman, M.D.

Randy Koporc

James Rubright

John B. White, Jr.

Carrie Kurlander

Bill Schultz

Russell Currey

James Landon

Charles Sharbaugh

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

BOARD OF COUNSELORS Helen Aderhold

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

Mrs. Charles A. Smithgall, Jr.

^ 2019/20 Sabbatical * Ex-Officio Non-Voting

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

10 | encore ASO | 2019/20 Musician Roster

FIRST VIOLIN

SECOND VIOLIN

CELLO

David Coucheron

Julianne Lee*

Rainer Eudeikis•

concertmaster

principal

principal

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

Vacant

Jay Christy

Karen Freer

assistant concertmaster

acting associate

assistant principal

Jun-Ching Lin

principal

Dona Vellek

assistant concertmaster

Noriko Konno Clift

Anastasia Agapova

acting assistant

acting assistant

principal

concertmaster

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 ‡

Eleanor Kosek Ruth Ann Little Ronda Respess VIOLA Zhenwei Shi• principal

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

The Edus H. & Harriet H. Warren Chair

Gloria Jones Allgood

Paul Murphy

The Lucy R. & Gary Lee Jr. Chair

associate principal

associate principal

Brittany Conrad**

Raymond Leung

The Mary & Lawrence Gellerstedt Chair

Karl Fenner

The Carolyn McClatchey Chair

Catherine Lynn

Judith Cox

Sanford Salzinger

assistant principal

Marian Kent Yang-Yoon Kim

Michael Kenady The Jane Little Chair

Michael Kurth Daniel Tosky

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

FLUTE

BASSOON

TUBA

Christina Smith

Andrew Brady

Michael Moore

principal

principal

principal

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

principal

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

principal

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*

HARP

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

TROMBONE

LIBRARY

Vacant

Nicole Jordan

principal

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

principal

Nathan Zgonc acting / associate

Holly Matthews principal

Jeremy Buckler** Brian Hecht

† Regularly engaged musician

BASS TROMBONE

• New this season

Brian Hecht

** One-year appointment

PERCUSSION Joseph Petrasek

HORN

The George M. & Corrie Hoyt Brown Chair

ENGLISH HORN

The Walter H. Bunzl Chair

CONTRA-BASSOON

Vacant

Emily Brebach

principal

Juan de Gomar

principal

Samuel Nemec

TIMPANI

The Home Depot Veterans Chair

The Marianna & Solon Patterson Chair assistant principal librarian

Hannah Davis asyo / assistant

librarian

12 | encore

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

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 Keith Barnett Greg Blount Jane Blount Catharine Burkett Jewel Burks Jim Camden Tracey Chu Paul Dimmick Susan Dimmick Bernadette Drankoski Burt Fealing John Fuller Sally F. George James Hammond

Charles Harrison Nancy Harrison Sally Hawkins Mia Hilley Justin Im Kartikh Khambhampati Scott Lampert Jason Liebzeit Keith Millner Bert Mobley Anne Morgan Jane Morrison Regina Olchowski Ryan Oliver Swathi Padmanabhan

Eliza Quigley David Quinn Eleina Raines Frances Root Ray Rubin Jim Schroder Baker Smith Cindy Smith Kim Strong Amy Taylor George Taylor Otis Threatt, Jr. Taylor Winn David Worley

For more information about becoming an Advisory Council member, please contact Christopher Stephens at christopher.stephens@atlantasymphony.org or 404.733.5278.

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APRIL CONCERTS APR 16/18 | Thu/Sat: 8pm Delta Classical HAYDN: Symphony No. 44, “Trauersinfonie” BARTÓK: Violin Concerto No. 2 PROKOFIEV: Symphony No. 5 Nicholas Carter, conductor Midori, violin

APR 23/24/25 | Thu/Fri/Sat: 8pm APR 26 Sun: 3pm Delta Classical ORFF: Carmina burana Donald Runnicles, conductor Meechot Marrero, soprano Andrew Bidlack, tenor Stephen Powell, baritone Gwinnett Young Singers ASO Chorus APR 30/MAY 2 | Thu/Sat: 8pm Delta Classical PROKOFIEV: Suite from Lieutenant Kijé ARUTIUNIAN: Trumpet Concerto STRAVINSKY: The Rite of Spring Stephen Mulligan, conductor Stuart Stephenson, trumpet

Stravinsky’s

CARMINA BURANA

aso.org Programs, artists and prices are subject to change.

Season presented by

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.

PRESENTING

sponsor

The John & Rosemary Brown Family Foundation

LEADERSHIP

sponsors

MADAMA BUTTERFLY Giacomo Puccini

May 2, 5, 8, 10, 2020 Cobb Energy Centre

404-881-8885 ATLANTAOPERA.ORG

18 | mar5&7 Concerts of Thursday, Mar. 5, 2020 8:00pm Saturday, Mar. 7, 2020 8:00pm EMMANUEL VILLAUME, conductor ANDREW VON OEYEN, piano

The Atlanta Symphony Orchestra Classical Series is presented by

RICHARD WAGNER (1813-1883) Siegfried Idyll (1870)

21 MIN

FRANZ LISZT (1811-1886) Concerto for Piano and Orchestra No. 1 in E-flat Major, S. 124 (1855) 19 MIN

I. Allegro maestoso. Tempo giusto

II. Quasi Adagio

III. Allegretto vivace

IV. Allegro marziale animato

Andrew von Oeyen, piano INTERMISSION

20 MIN

CAMILLE SAINT-SAËNS (1835-1921) Symphony No. 3 in C minor, Opus 78 (“Organ Symphony”) (1886) 36 MIN

I. Adagio; Allegro moderato. Poco adagio

II. Allegro moderato; Presto. Maestoso; Allegro

Saturday evening ticket holders are invited to attend a conversation with maestro Emmanuel Villaume in Center Space immediately following the concert.

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

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

notesontheprogram

| 19

Ken Meltzer Program Annotator

Siegfried Idyll (1870) RICHARD WAGNER was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of Siegfried Idyll took place at the Wagners’ home in Tribschen, Switzerland, on December 25, 1870.

Siegfried Idyll is scored for flute, oboe, two clarinets, bassoon, two horns, trumpet, and strings.

I

First Classical Subscription Performance: January 13, 1954, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: January 22, 24, and 25, 2015, Matthias Pintscher, Conductor.

n the summer of 1864, Richard Wagner began an affair with Cosima von Bülow—the daughter of Franz Liszt, and wife of conductor and pianist Hans von Bülow.

Richard and Cosima’s first child, Isolde, was born in 1865.

Richard and Cosima later moved to a villa in Tribschen (Wagner spelled it “Triebschen”), at Lake Lucerne. Their second daughter, Eva, was born at Tribschen in 1867. The birth of Richard and Cosima’s son, Siegfried, took place two years later.

After Hans von Bülow agreed to divorce Cosima, she and Wagner married on August 25, 1870. That November, Richard Wagner composed a special musical birthday gift for his wife, one that also served to commemorate the birth of Siegfried, whom the couple nicknamed “Fidi.”

Cosima Wagner’s birthday was December 24. On Christmas morning, 1870, Richard Wagner presented his special gift to Cosima. In her diary, Cosima described the magical event: I can give you no idea, my children, about this day, nor about my feelings. I shall only tell you quite barely what happened: As I awoke, my ear caught a sound, which swelled fuller and fuller; no longer could I imagine myself to be dreaming; music was sounding, and such music! When it died away, Richard came into my room with the children and offered me the score of the symphonic birthday poem. I was in tears, but so was all the rest of the household. Richard had arranged his orchestra on the staircase, and thus our Triebschen was consecrated forever...After lunch the orchestra came into our house downstairs, and now the Idyll was heard once again, to the profound emotion of us all.

Wagner originally entitled this work Triebschener Idyll, with Fidi’s Birdsong and Orange Sunrise, as a Symphonic Birthday

20 | encore Greeting from Richard to Cosima. Wagner never intended this composition to be made public. Later, however, during a period of severe financial duress, Wagner agreed to the score’s publication, with the title Siegfried Idyll.

In Siegfried Idyll, Wagner incorporates several melodic themes that also appear in his epic cycle of heroic operas, The Ring of the Nibelung. But in the Siegfried Idyll, the themes are part of an instrumental work of extraordinary tenderness, introspection, and beauty. As such, Wagner’s Siegfried Idyll provides another, and most valuable window to the artistry of one of opera’s most revolutionary composers.

Concerto for Piano and Orchestra No. 1 in E-flat Major, S. 124 (1855) First Classical Subscription Performance: November 30, 1947, Despy Karlas, Piano, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: November 2 & 3, 2013, Stephen Hough, Piano, James Gaffigan, Conductor.

FRANZ LISZT was born in Raiding, Hungary, on October 22, 1811, and died in Bayreuth, Germany, on July 31, 1886. The first performance of the Piano Concerto No. 1 took place at the hall of the palace of the Grand Duke of Weimar, Germany, on February 17, 1855, with the composer as soloist, and Hector Berlioz conducting. In addition to the solo piano, the Concerto No. 1 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, triangle, cymbals a2, and strings.

F

ranz Liszt was one of the greatest and most charismatic virtuosos in music history. Liszt exerted an almost otherworldly control over his audiences, due in great part to his brilliant technical and interpretive mastery. It was not uncommon for members of the audience to faint during a Liszt recital. Others would rush to the stage, and try to retrieve such souvenirs as Liszt’s cigar stubs, gloves, and broken piano strings. These items took on an almost religious significance for his devoted followers.

The legend of Franz Liszt, virtuoso pianist and showman, sometimes overshadows his considerable achievements as a composer. Liszt’s phenomenal technique and keen ear allowed him to create works that explored new vistas in keyboard sonorities. One of the great pioneers of the Romantic movement, Liszt advanced the concept of music as a form of programmatic expression and, in fact, invented the term “sinfonische Dichtung” (“symphonic poem”). He

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

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| 21

also demonstrated bold and revolutionary possibilities for traditional musical conventions and forms, as in the case of his Piano Concerto No. 1. The premiere of the First Piano Concerto took place on February 17, 1855, at the hall of the palace of the Grand Duke of Weimar, with Liszt as soloist.

The conductor was French composer Hector Berlioz, whose works Liszt championed in Weimar.

Liszt’s first Piano Concerto is cast in a single movement that divides into four sections, each played without pause.

The Concerto opens (Allegro maestoso. Tempo giusto) with the strings’ emphatic, fortissimo statement of a motif, to which the winds and brass respond with a short fanfare. The soloist responds with a grand cadenza. The principal motif and fanfare return throughout the opening section that features numerous dazzling episodes for the soloist. In the ensuing slow-tempo section (Quasi Adagio), muted strings introduce an ascending and descending theme, soon played by the soloist. The scherzo portion of the Concerto (Allegretto vivace) is a gossamer dance in ¾ time, enhanced by the triangle’s sparkling presence.

The final episode (Allegro marziale animato) features transformations of themes from the previous sections, with the Concerto’s initial motif making a final appearance in the brilliant closing pages.

Symphony No. 3 in C minor, Opus 78 (“Organ Symphony”) (1886) CAMILLE SAINT-SAËNS was born in Paris, France, on October 9, 1835, and died in Algiers, Algeria, on December 16, 1921. The first performance of the “Organ Symphony” took place at St. James’s Hall in London, England, on May 19, 1886, with the composer conducting the Royal Philharmonic Society. The “Organ” Symphony is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, piano (four-hands), organ, cymbals a2, suspended cymbal, triangle, bass drum, and strings.

C

amille Saint-Saëns composed his Third Symphony at the request of London’s Royal Philharmonic Society. Saint-Saëns had been contemplating a

First Classical Subscription Performances: November 29 & 30, and December 1, 1974, Robert Shaw, Conductor.

Most Recent Classical Subscription Performances: January 29, 31, & February 1, 2015, Jun Märkl, Conductor.

22 | encore new symphony for some time. A few months after the 1885 commission, the composer informed the Philharmonic that the work was: well under way. It will be terrifying, I warn you...This imp of a symphony has gone up a half-tone; it didn’t want to stay in B minor and it is now in C minor. It will be a treat for me to conduct it. Will it be a treat, though, for the people who hear it? That is the question. It’s you who asked for it. I wash my hands of the whole thing.

The premiere of the Third Symphony took place in London’s St. James’s Hall on May 19, 1886. The evening was a great personal triumph for Saint-Saëns. The composer led the Royal Philharmonic Society in his new Symphony, and was also the soloist in his Fourth Piano Concerto.

The London audience’s response to the Symphony was generally positive. After the concert, Saint-Saëns was given an audience with the Prince of Wales, later crowned King Edward VII. The January 9, 1887 Paris premiere, again conducted by Saint-Saëns, was yet another success. After the performance, as Saint-Saëns descended the podium, composer Charles Gounod proclaimed: “There goes the French Beethoven!”

The Saint-Saëns Third, with its stunning orchestration and ingenious thematic manipulation, is one of the most important French symphonies of the second half of the nineteenth century. Camille Saint-Saëns did not compose another symphony during the final thirty-five years of his life. As he remarked: “I have given all that I have to give...

What I have done I shall never do again.”

The Third Symphony comprises two principal sections, each with two parts. Part I begins with a brief slow-tempo introduction (Adagio), leading to the Allegro moderato, and a restless string figure that will appear in various guises throughout the Symphony. In the slow-tempo portion of Part I (Poco adagio), the organ accompanies the violins, violas, and cellos, as they play the affecting principal melody.

The opening portion of Part II (Allegro moderato), serving the function of a traditional scherzo, begins with a dialogue between the strings and thundering timpani. A quicksilver Presto episode introduces, according to the composer, “a

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| 23

fantastic spirit.” The final portion of the “Organ Symphony” (Maestoso; Allegro) brings the work to a majestic close.

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24 | meettheartists EMMANUEL VILLAUME, CONDUCTOR

F MARCO BORGGREVE

rench-born conductor Emmanuel Villaume has led captivating performances with the most prominent opera companies and symphony orchestras around the world.

Villaume continues his tenure this season as Music Director and Chief Conductor of the PKF – Prague Philharmonia, a position he has held since 2015. Recent special projects with the Prague Philharmonia include Deutsche Grammophon recordings with Anna Netrebko and Ben Bernheim, Warner Classics releases with soprano Angela Gheorghiu, pianist Andrew von Oeyen, and tenor Bryan Hymel, and a special New Year’s celebration concert at the Royal Opera House Muscat.

Entering his seventh season as Music Director of The Dallas Opera, Villaume leads three productions at the Winspear Opera House in the 2019/20 season, including Mozart’s Magic Flute and Rimsky Korsakov’s Golden Cockerel. Following his critically acclaimed performances of Les Pêcheurs de Perles, Thaïs and David McVicar’s new production of Tosca at the Metropolitan Opera, Villaume returns to the Met in April for performances of La bohème.

He finishes his Dallas Opera season with Don Carlo in March, followed by his debut in Napoli with Carmen at the Teatro di San Carlo.

Born in Strasbourg in 1964, Villaume studied music at the Conservatoire de Strasbourg. He continued his education at Khâgne and the Sorbonne in Paris, where he received degrees in literature, philosophy and musicology. As author of noted articles of musicology, Villaume was appointed Dramaturg of the Opéra National du Rhin in Strasbourg at the age of 21. He holds an honorary doctorate from the University of Indianapolis. Villaume makes his home in Paris and Dallas.

ANDREW VON OEYEN, PIANO

H

ailed worldwide for his elegant and insightful interpretations, balanced artistry and brilliant technique, Andrew von Oeyen has established himself as one of the most captivating pianists of his generation.

Von Oeyen’s 2019/20 engagements include, among

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others, appearances with the San Francisco Symphony, Orchestra Sinfonica di Milano Giuseppe Verdi, PKFPrague Philharmonia, Orquesta Filarmonica de Buenos Aires, Murten Classics Festival in Switzerland, Zagreb Philharmonic, Jerusalem Symphony and Los Angeles Chamber Orchestra, in addition to recitals across the US and Europe. He also makes his debut in the Teatro Colon, in Kuwait City, and records his third album for Warner Classics. von Oeyen, of German and Dutch origin, was born in the U.S. He began his piano studies at age 5 and made his solo orchestral debut at age 10. An alumnus of Columbia University and graduate of The Juilliard School, where his principal teachers were Herbert Stessin and Jerome Lowenthal, he also worked with Alfred Brendel and Leon Fleisher. He won the prestigious Gilmore Young Artist Award in 1999 and also took First Prize in the Leni Fe Bland Foundation National Piano Competition in 2001. von Oeyen lives in Paris and Los Angeles.

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MARCO BORGGREVE

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26 | mar11 Concert of Wednesday, Mar. 11, 2020 8:00pm YOEL LEVI, conductor ITZHAK PERLMAN, violin

GIUSEPPE VERDI (1813-1901) Overture to La forza del destino (1862)

8 MIN

MAX BRUCH (1838-1920) Concerto for Violin and Orchestra No. 1 in G minor, Opus 26 (1866) 25 MIN

I. Vorspiel. Allegro moderato

II. Adagio

III. Finale. Allegro energico

Itzhak Perlman, violin INTERMISSION

20 MIN

GUSTAV MAHLER (1860-1911) Symphony No. 1 in D Major (“Titan”) (1888) 56 MIN

I. Langsam. Schleppend. (“Wie ein Naturlaut”)—Im Anfang sehr gemächlich

II. Kräftig bewegt, doch nicht zu schnell—Trio.

Recht gemächlich

III. Feierlich und gemessen, ohne zu schleppen

IV. Stürmisch bewegt

This concert is made possible by a generous gift from The John & Rosemary Brown Family Foundation.

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

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notesontheprogram Ken Meltzer Program Annotator

Overture to La forza del destino (1862) GIUSEPPE VERDI was born in Roncole, Italy, on October 9 or 10, 1813, and died in Milan, Italy, on January 27, 1901. The first performance of La forza del destino took place at the Bolshoi Theater in St. Petersburg, Russia, on November 10, 1862. The Overture to La forza del destino is scored for piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, and strings.

I

n 1861, the famous tenor Enrico Tamberlik proposed that Giuseppe Verdi compose an opera—based upon a story of the Italian composer’s choosing—for the Imperial Theater of St. Petersburg, Russia. Verdi finally decided upon a sprawling 1830s Spanish play, Don Alvaro, or The Force of Destiny, by Ángel de Saavedra, Duke of Rivas. The first performance took place in St. Petersburg on November 10, 1862. A revised version premiered at the La Scala Opera House in Milan, Italy, on February 27, 1869.

The Force of Destiny takes place in Spain, toward the close of the 18th century. Don Alvaro accidentally kills the Marquis of Calatrava—the father of the woman he loves, Leonora di Vargas. Don Carlo, the Marquis’s son, searches for Don Alvaro and Leonora in order to avenge his father’s death.

Don Carlo finally confronts Don Alvaro (now a priest), and challenges him to a duel. Don Alvaro mortally wounds Don Carlo, who in turn fatally stabs Leonora when she tries to comfort her brother. Don Alvaro curses the fates, but when he finally prays for forgiveness, Leonora dies in peace.

Verdi composed a Prelude for the original, 1862 version of La forza del destino that he revised into the famous Overture for the 1869 La Scala production. It is a magnificent orchestral showpiece that remains Verdi’s most popular overture in the concert hall. Typical of overtures of the time, it incorporates various melodies from the opera. The Overture begins with the repeated ominous brass chords that serve to open Act II. The strings then introduce the relentless, churning motif of destiny that, introduced in Act I, pursues Leonora di Vargas throughout the opera. Several further melodies from the opera—often accompanied by the fate motif—are introduced with the unerring contrast

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28 | encore and inexorable forward motion that are hallmarks of one of the lyric theater’s greatest dramatists. A rousing coda brings the Overture to a stunning conclusion.

Concerto for Violin and Orchestra No. 1 in G minor, Opus 26 (1866) MAX BRUCH was born in Cologne, Germany, on January 6, 1838, and died in Friedenau, Germany, on October 2, 1920. The first performance of the G-minor Violin Concerto took place at the Music Institute of Koblenz on the Rhine, Koblenz, Germany, on April 24, 1866, with Otto von Königslöw as soloist, and the composer conducting the Gürzenich Orchestra of Cologne. In addition to the solo violin, the Concerto No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

M

ax Bruch began composition of his First Violin Concerto at the age of nineteen, finally completing the work nine years later. The first performance took place on April 24, 1866, at a concert of the Music Institute of Koblenz on the Rhine. Bruch, then Music Director of Koblenz, conducted the Gürzenich Orchestra of Cologne. The Orchestra’s concertmaster, Otto von Königslöw, served as soloist.

Shortly after the premiere, Bruch decided to revise the Concerto. He forwarded the score to the eminent Austro-Hungarian violinist, Joseph Joachim. Due to the improvisational spirit of the Concerto’s opening movement, Bruch had contemplated renaming the work a “Fantasy.”

Joachim disagreed, commenting: “For a fantasy, the last two movements are too completely and symmetrically developed. The different sections are brought together in a beautiful relationship, yet and this is the principal thing— there is sufficient contrast.”

Bruch followed Joseph Joachim’s counsel. After penning extensive revisions, the composer dedicated the final version of his First Violin Concerto to Joachim, who gave its premiere in Bremen on January 5, 1868. In 1906, at his 75th birthday party, Joachim stated: “The Germans have four violin concertos,” and named those by Ludwig van Beethoven, Felix Mendelssohn, Bruch, and Johannes Brahms. While Joachim praised each of these magnificent aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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works, he commented: “Max Bruch wrote the richest and most enchanting of the four.”

The Concerto is in three movements. The first (Vorspiel.

Allegro moderato), which Bruch calls a “Prelude,” begins in dramatic fashion, with a dialogue between orchestra and soloist. The soloist introduces both of the principal melodies, highly contrasting in character. A reprise of the opening orchestra-soloist dialogue leads to a brief passage, serving as a bridge to the slow-tempo movement (Adagio), which follows without pause. It is based upon a series of two lovely melodies, again both introduced by the soloist. The Finale (Allegro energico) presents an almost continuous series of technical challenges for the soloist, who concludes the Concerto with a fiery, Presto sequence.

Symphony No. 1 in D Major “Titan” (1888, Rev. 1893-6) GUSTAV MAHLER was born in Kaliště, Bohemia, on July Recording: 7, 1860, and died in Vienna, Austria, on May 18, 1911. The Telarc CD-80545, first performance of the Symphony No. 1 took place Yoel Levi, Conductor in Budapest, Hungary, on November 20, 1889, with the composer conducting the Budapest Philharmonic.

The “Titan” Symphony is scored for three piccolos, four flutes, four oboes, English horn, two E-flat clarinets, four clarinets, bass clarinet, three bassoons, contrabassoon, seven horns, four trumpets, three trombones, tuba, timpani (two players), triangle, tam-tam, cymbals a2, suspended cymbal, bass drum with attached cymbals, harp, and strings.

T

oward the close of March of 1888, Gustav Mahler informed his parents of the completion of his First Symphony: “There! I have today finished my work and can say thank God that it has turned out well. I hope that I have taken a big step forward with it.” The first performance took place on November 20, 1889, with the composer leading the Budapest Philharmonic.

For the premiere, Mahler designated the work not as a symphony, but as a “Symphonic Poem in Two Parts.” In January of 1893, Mahler revised his “Symphonic Poem,” and now referred to it as a symphony. He added the nickname “Titan”—after a novel by Jean Paul—and also assigned titles to each of the Symphony’s movements.

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30 | encore My time will come,” Mahler predicted—and indeed, it has.

Mahler’s Nine completed Symphonies have become staples of the orchestral repertoire. The “Titan” is perhaps the most popular, and certainly, the most accessible. Today’s audiences might then wonder what so perplexed (and even angered) those who attended the work’s premiere.

However, it is important to bear in mind that the first performance of the “Titan” took place only four years after the premiere of Johannes Brahms’ Fourth Symphony.

Those accustomed to the mainstream German repertoire, exemplified by Brahms and his predecessors, may perhaps be excused for having failed to appreciate Mahler’s bold new symphonic language.

The “Titan” strives for an epic mode of expression. And the work’s abrupt shifts in emotion and tone can be disconcerting—for some, even frightening. As in the case of Beethoven’s First Symphony, Mahler’s “Titan,” while at times paying homage to the past, clearly points the way to the revolutionary path that would soon follow.

Mahler’s 1893 program for his “Titan” Symphony is reproduced below in italics and bold type.

TITAN, A tone poem in the form of a symphony First Part “From the days of youth,” flower, fruit and thorn pieces.

“Endless Spring” (Introduction and Allegro Comodo) (The introduction depicts the awakening of Nature from its long winter sleep.)

I. Langsam. Schleppend. (Slow, Dragging) (“Wie ein Naturlaut”) (“Like a Nature Sound”)—Im Anfang sehr gemächlich (In the beginning very leisurely)—The slowtempo introduction presents the Symphony’s central motif, a descending fourth, as well as bird calls and distant fanfares. The cuckoo’s song develops into the principal melody of the opening movement, introduced by the lower strings, and based upon the second of Mahler’s 1885 Songs of a Wayfarer—“Ging heut’ morgen übers Feld” (“This morning I went through the field”).

“Under full sail” (Scherzo) II. Kräftig bewegt, doch nicht zu schnell (Forceful, animated,

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but not too fast)—Trio. Recht gemächlich (Restrained)—The second-movement scherzo is in the spirit of the ländler, a popular Austrian folk dance. After a raucous outburst, a brief passage for solo horn serves as a bridge to the genial Trio section. The ländler returns to conclude the movement.

Second Part “Commedia humana” (“Human Comedy”) “Stranded!” (A funeral march in Callot’s manner) For this movement, the following explanation will help: the basic inspiration for it was found by the author in a humorous engraving, well known to all Austrian children: “The Huntsman’s Funeral,” from an old book of fairy tales. The forest animals accompany the dead hunter’s coffin to the grave. Hares carry the banner, in front of them marches a group of Bohemian musicians, accompanied by singing cats, toads, crows, etc. Stags, deer, foxes, and other fourlegged and feathered animals follow the procession in all kinds of farcical positions.

III. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, but not dragging)—Over the insistent beat of the timpani, a solo muted bass softly chants a macabre variation of the children’s nursery song, “Frère Jacques” (“Are you sleeping, Brother John?”). A village band episode, and a quotation of Mahler’s beautiful song, “The Two Blue Eyes,” also play important roles.

The mood expressed is sometimes ironic and merry, sometimes gloomy and uncanny, then suddenly...

“Dall’Inferno” (“From the Inferno”) (Allegro furioso), follows, like the last despairing cry of a deeply wounded heart.

IV. Stürmisch bewegt (Stormy, animated)—In the extended finale, the conflict ultimately resolves to the Symphony’s glorious D-Major apotheosis.

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32 | meettheartists YOEL LEVI, CONDUCTOR

Y

oel Levi is one of the world’s leading conductors, known for his vast repertoire, masterly interpretations and electrifying performances. He was Chief Conductor of the KBS Symphony Orchestra in Seoul, a position he held through December of 2019. The fourth Seoul Arts Center Awards bestowed Levi and the KBS Symphony Grand Prize in 2017.

Yoel Levi has conducted some of the most prestigious orchestras and opera companies throughout the world with many esteemed soloists. He served as Music Director of the Atlanta Symphony Orchestra from 1988 to 2000.

Other posts have included Principal Conductor of the Brussels Philharmonic from 2001-2007 and Principal Conductor of the Orchestre National d’Ile de France from 2005 to 2012. He was the first Israeli to serve as Principal Guest Conductor of the Israel Philharmonic.

Yoel Levi’s extensive discography--on several labels featuring many composers--numbers more than forty.

This includes more than thirty with the ASO on the Telarc label. His most recent recording, released on the Deutsche Grammophon label, is a live recording of Mahler’s Ninth Symphony with the KBS Symphony.

Born in Romania, Levi was raised in Israel where he studied at the Tel Aviv Academy of Music. Receiving a Master of Arts degree with distinction, he also studied under Mendi Rodan at The Jerusalem Academy of Music. Subsequently Levi studied with Franco Ferrara in Siena and Rome and with Kirill Kondrashin in the Netherlands and at London’s Guildhall School of Music and Drama.

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| 33

ITZHAK PERLMAN, VIOLIN

U

Numerous publications and institutions have paid tribute to Itzhak Perlman for the unique place he occupies in the artistic and humanitarian fabric of our times. Harvard, Yale, Brandeis, Roosevelt, Yeshiva and Hebrew universities are among the institutions which have awarded him honorary degrees. He was awarded an honorary doctorate and a centennial medal on the occasion of Juilliard’s 100th commencement ceremony in May 2005. President Reagan honored Perlman with a “Medal of Liberty” in 1986, and in December 2000, President Clinton awarded Perlman the “National Medal of Arts.” His presence on stage, on camera and in personal appearances of all kinds speaks eloquently on behalf of the disabled, and his devotion to their cause is an integral part of Perlman’s life.

Born in Israel in 1945, Mr. Perlman completed his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on the Ed Sullivan Show in 1958. Following his studies at the Juilliard School with Ivan Galamian and Dorothy DeLay, Perlman won the prestigious Leventritt Competition in 1964, which led to a burgeoning worldwide career. Since then, Itzhak Perlman has appeared with every major orchestra and in recitals and festivals around the world.

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LISA MARIE MAZZUCCO

ndeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician. Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to the irrepressible joy of making music, which he communicates.

34 | mar15 The Atlanta Symphony Youth Orchestra Crescendo Concert

HECTOR BERLIOZ (1803-1869) Le carnaval romain (Roman Carnival) Overture (1844)

8 MIN

Concert of Sunday, Mar. 15, 2020 3:00pm

GABRIEL FAURÉ (1845-1924) Pavane, Opus 50 (1887)

7 MIN

STEPHEN MULLIGAN, conductor

MAURICE RAVEL (1875-1937) Rapsodie espagnole (1908) 16 MIN

I. Prélude à la nuit. Très modéré

II. Malagueña. Assez vif

III. Habanera. Assez lent et d’un rythme las

IV. Feria. Assez animé INTERMISSION

Support for the Atlanta Symphony Youth Orchestra is generously provided by: The John & Rosemary Brown Family Foundation

GEORGES BIZET (1838-1875) Carmen Suite, No. 2 (1875)

I. Marche des contrebandiers

II. Habanera

III. Nocturne

IV. Chanson du toréador

V. La grade montante

VI. Dance bohème CAMILLE SAINT-SAËNS (1835-1921) Bacchanale, from Samson et Dalila (1877)

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

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

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20 MIN 19 MIN

8 MIN

notesontheprogram Ken Meltzer Program Annotator

Le carnaval romain (Roman Carnival) Overture (1844) HECTOR BERLIOZ was born in La Côte-Saint-André, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, 1869. The first performance of the Roman Carnival Overture took place at the Salle Herz in Paris on February 3, 1844, with the composer conducting. The Roman Carnival Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, timpani, two tambourines, cymbals, triangle, and strings.

H

ector Berlioz’s opera, Benvenuto Cellini, based upon the life of the Italian Renaissance sculptor, goldsmith, architect, writer, and musician, premiered at the Paris Opéra on September 10, 1838. The performance was a fiasco. As Berlioz recalled, the opera’s Overture was “extravagantly applauded; the rest was hissed with exemplary precision and energy.”

Berlioz, however, maintained faith in Benvenuto Cellini. In 1850, he wrote: “I have just re-read my score carefully and with the strictest impartiality, and I cannot help recognizing that it contains a variety of ideas, an energy and exuberance and a brilliance of colour such as I may perhaps never find again, and which deserved a better fate.” Five years after the premiere of Benvenuto Cellini, Berlioz composed his Roman Carnival Overture, based upon music from the opera. During the composer’s lifetime, the Roman Carnival enjoyed a dual life as both a second Overture to the opera, Benvenuto Cellini, and as an independent concert piece.

The vivacious and brilliantly-scored work remains one of Hector Berlioz’s most popular Overtures.

Pavane, Opus 50 (1887) GABRIEL FAURÉ was born in Pamiers, France, on May 12, 1845 and died in Paris, France, on November 4, 1924. The Pavane is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, and strings.

T

he Pavane, one of the most popular works by French composer Gabriel Fauré, exists in two versions.

Fauré originally composed the piece in a purely orchestral version. Later, at the request of his patroness, the Countess Élisabeth Greffulhe, Fauré created another

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36 | encore version of the Pavane for orchestra and chorus.

The pavane originated in the 16th and 17th centuries as a tranquil court dance, usually in duple meter. The plucked strings that accompany the famous central melody in the Fauré Pavane might serve to evoke a lute from those earlier times. The introduction and varied reprise of the haunting melody frame a more turbulent central episode.

Throughout, the Fauré Pavane is notable for its lyricism and rich, transparent orchestration.

Rapsodie espagnole (1908) MAURICE RAVEL was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The first performance of the Rapsodie espagnole took place in Paris at the Théâtre du Châtelet on March 15, 1908, with Éouard Colonne conducting the Colonne Orchestra. The Rapsodie espagnole is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, sarrusophone (a contrabassoon may substitute for the sarrusophone), four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, snare drum, triangle, tambourine, tam-tam, xylophone, castanets, two harps, celesta, and strings.

I

n an autobiographical sketch, Maurice Ravel noted: “I was born in Ciboure, a township in the Lower Pyrenees next to Saint-Jean-de-Luz, on March 7, 1875.

My father, originally from Versoix, on the shore of Lake Geneva, was a civil engineer. My mother belonged to an old Basque family.”

It was from Marie Delouart Ravel that the young Maurice learned about Basque history and culture. Among Ravel’s earliest memories were the Spanish folk songs that his beloved mother sang to him. It’s not surprising that several compositions by this French composer reflect a marked Spanish influence.

Ravel composed his Spanish Rhapsody during the span of thirty days in the summer of 1907. Ravel originally composed the piece as a work for piano duet, and completed the orchestration shortly before the Rhapsody’s March 15, 1908 premiere at the Paris Théâtre du Châtelet. The Rapsodie

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espagnole’s vibrant rhythms, enticing melodies, and brilliant orchestration continue to weave their magic spell.

The Spanish Rhapsody is in four brief movements: I. Prélude à la nuit. Très modéré (Prelude to the Night.

Very moderate) II. Malagueña. Assez vif (Relatively lively. A Malagueña is a dance in the fandango tradition that originated in Málaga and Murcia.)

III. Habanera. Assez lent et d’un rythme las (Relatively slow and in a weary rhythm. The Habanera is a Cuban dance and song from Havana.)

IV. F eria. Assez animé (Relatively lively. “Feria” is the Spanish word for fair or carnival.)

Carmen Suite No. 2 (1875) GEORGES BIZET was born in Paris, France, on October 25, 1838, and died in Bougival, France, on June 3, 1875.

The first performance of Carmen took place at the Paris Opéra-Comique on March 3, 1875. The Carmen Suite No. 2 is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, tambourine, cymbals, bass drum, and strings.

G

eorges Bizet’s Carmen is one of the most performed and beloved operas. In fact, Carmen has long been known as a member of opera’s “ABCs,” along with Giuseppe Verdi’s Aida (1871), and Giacomo Puccini’s La bohème (1896). However, the premiere of Carmen, which took place in Paris on March 3, 1875, was a disaster. Bizet died three months later, at the age of only 36. Some have suggested that Bizet’s death was hastened by the failure of Carmen.

It’s not at all difficult to understand the reasons for Carmen’s early lack of acceptance. The plot, based upon an 1847 novel by Prosper Mérimée, tells the story of a gypsy who has multiple affairs, and is murdered on stage by one of her jealous lovers. This did not sit well with the audience of the Paris Opéra-Comique, a theater usually reserved for light opera and family entertainment.

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One critic said Carmen was: A savage, half gypsy, half Andalusian, sensual, foulmouthed, brazen, who believes neither in God nor the devil—in a word, the small-time, gutter prostitute. More than one good lady opera-goer was clearly outraged by this low-class courtesan who goes round slashing the faces of her work-mates with a knife.

Another critic labeled Bizet’s Carmen “music of the future.” And though the critic did not intend this as a compliment, Carmen was, in fact, an opera far ahead of its time. With its graphic depiction of the passion and violence of everyday life, Carmen anticipates by 15 years the Italian verismo (or “Realism”) movement and such operas as Pietro Mascagni’s Cavalleria rusticana (1890) and Ruggiero Leoncavallo’s I pagliacci (1892). Bizet’s masterful and dramatic employment of various melodic leitmotifs is another aspect that looks forward to operas of the late 19th and 20th centuries.

Over time, the elements that caused such a stir at Carmen’s premiere made the opera a riveting theatrical experience, beloved by audiences around the world. And Bizet’s genius for melody and rich, inventive orchestral sonorities helped to make Carmen a mainstay not only in the opera house, but on the orchestral concert stage and in popular culture as well. Bizet’s Carmen is a work that continues to fascinate, beguile, and intoxicate audiences. It is clear that, more than 130 years after Carmen’s premiere, the gypsy has lost none of her powers of seduction.

The two Carmen Suites include purely orchestral excerpts from the opera, as well as vocal selections in transcriptions for orchestra. This concert features the Second Suite.

I. Marche des contrebandiers (Introduction to Act III) II. Habañera (Act I) III. Nocturne (Micaëla’s Aria, Act III) IV. Chanson du toréador (Act II) V. La garde montante (Street Urchins’ Chorus, Act I) VI. Danse bohème (Gypsy Song, Act II)

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40 | encore Bacchanale from Samson et Dalila (1877) CAMILLE SAINT-SAËNS was born in Paris, France, on October 9, 1835, and died in Algiers, Algeria, on December 16, 1921. The first performance of Samson et Dalila took place at the Hoftheater in Weimar, Germany, on December 2, 1877. The Bacchanale is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, triangle, cymbals, bass drum, finger cymbals, castanets, two harps, and strings.

D

uring his long, productive, and highly influential career, Camille Saint-Saëns composed successfully in a wide variety of genres. His catalogue includes a dozen operas; but only one, Samson et Dalila, has maintained a regular place in the repertoire. In the late 1860s, Saint-Saëns became interested in the ill-fated affair of Samson and Delilah as the basis for an oratorio.

Ferdinand Lemaire, who authored the work’s libretto, convinced Saint-Saëns instead to use the episode from the Book of Judges to create a fully-staged opera.

Within a few years of its 1877 premiere, Samson et Dalila established itself as a mainstay of the French repertoire, a status it holds to this day. Some excerpts from the opera enjoy an independent life in the concert hall, including Delilah’s second-act aria, “Mon coeur s’ouvre à ta voix” (“My heart opens at your voice”) and the third-act’s brilliant orchestral Bacchanale. In the Temple of Dagon, the Philistines celebrate their victory over the blinded Samson.

But that victory proves to be short-lived, when Samson destroys the Temple, and his enemies.

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Join us for these upcoming FREE PERFORMANCES featuring musicians of the Atlanta Symphony Orchestra and the ASO’s Talent Development Program.

MAR 8 | Sun: 4pm

International Women's Day Performance Celebrating Rosa Parks

Agnes Scott College MAR 8 | Sun: 5pm

Talent Development Program Recital

First Presbyterian Church of Atlanta Reserve free tickets at aso.org/TDP

presented by

MAR 17 | Wed: 8pm

Listen: Works by Women

Schwartz Center for Performing Arts Featuring The Merian Ensemble, composed of ASO musicians Elisabeth Remy Johnson, Christina Smith, Emily Brebach, Marci Gurnow and Jessica Oudin.

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42 | meettheartists STEPHEN MULLIGAN, CONDUCTOR

A

JEFF ROFFMAN

merican conductor Stephen Mulligan is Assistant 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.

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ATLANTA SYMPHONY YOUTH ORCHESTRA FIRST VIOLIN Tobias Liu concertmaster

Erin Cho^ Yuji Yamada Bradley Hu Abigail Carpenter Doowon Kim Kevin Chen Gordon Meeks Kangin Joo^ Sophie Chan Zoe Willingham^ Eileen Liu Josephine Han^ Jinsol Shin* Angela Li Danielle Najarian SECOND VIOLIN Kelly Jeong principal

Jeremiah Jung Zach Tseng Ellie Park Suann Kim Brandon Lee Yoon Ji Cho* Aidan Payne^ Kailyn Brown Mila Coleman Amartya Kallingal Hannah Lee Mabel Htay Hyejun Kang

VIOLA Jason Seo^ principal

Ardath Weck Chair

Nina Nagarajan John Cho^ Kaci Xie Ivy Xue Claire Hong Skyler Bugg Anastasia Waid Zoë Schwartz Sujay Rao Victoria Kang Rachel Lee CELLO Maximilian Lou principal

Lexine Feng^ Jordan Leslie Brandon Leonard Timothy Cho Patrick Kim* Alicia Shin Richard Wang Cal Walrath Connor Swain BASS Bria Rives principal

Doug Sommer Chair

Corban Johnson^ Noah Daniel Jonathan Sandberg Dennis Smallwood Brenden Feldman Aiden Johnson Evan Smallwood

FLUTE Harbin Hong Rachel H. Lee Rachel Y. Lee* Benjamin Smith OBOE Jacob Duff Hannah Lee^ Ojochilemi Okoka Kristen Van CLARINET Alexandria Carrillo Darren Dunn Daniel Kim Juliyan Martinez^ BASSOON Brendan Bassett Daniel Catanese Joshua Konfrst Samuel Song HORN Brennan Bower Charles Dunn Ediz Eribac Abby Lewis Steven Liberman Mauricio Martinez^ Nathan Page Jake Wadsworth

TRUMPET David SanchezBecerra^ Barton Sopata* Ben Stocksdale Andrew Wang^ TROMBONE Anthony F. Cangemi Austin Murray^ Samuel Seo^ Jonas Ventresca^ TUBA Kyla Hampson PERCUSSION Michelle Jiang Issac Jung^ Kobe Lester Evan Magill Dylan So Ian Valdés HARP Madeline Chen LeAndra Douds PIANO Jason Guo LIBRARY Hannah Davis asyo/assistant librarian

* Elinor Rosenberg Breman Fellow ^ ASYO Scholarship Recipient Winds, Percussion, Harp & Piano are listed in alphabetical order

44 | mar19&21 Concerts of Thursday, Mar. 19, 2020 8:00pm Saturday, Mar. 21, 2020 8:00pm ROBERT SPANO, conductor ANDRÉ WATTS, piano

The Atlanta Symphony Orchestra Classical Series is presented by

MAURICE RAVEL (1875-1937) Le tombeau de Couperin (1914-1917, ORCH. 1919) 17 MIN

I. Prélude. Vif

II. Forlane. Allegretto

III. Menuet. Allegro moderato

IV. Rigaudon. Assez vif Concerto for the Left Hand for Piano and Orchestra in D Major (1930) 19 MIN

André Watts, piano INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 7 in A Major, Opus 92 (1812)

I. Poco sostenuto; Vivace

II. Allegretto

III. Presto; Assai meno presto

IV. Allegro con brio

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

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20 MIN 38 MIN

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Ken Meltzer Program Annotator

MAURICE RAVEL was born in Ciboure, BassesPyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937.

First Classical

Le tombeau de Couperin (1914-1917, orch. 1919)

Henry Sopkin, Conductor.

The first performance of the orchestral version of Le tombeau de Couperin took place in Paris on February 28, 1920, with Rhené-Baton conducting the Pasdeloup Orchestra. Le tombeau de Couperin is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, two horns, trumpet, harp, and strings.

Most Recent Classical

A

s with many of Maurice Ravel’s finest orchestral pieces, Le tombeau de Couperin originated as a work for solo piano. The outbreak of World War I halted Ravel’s progress on this and other compositions. As the composer recalled in his 1928 autobiographical sketch: “At the beginning of 1915 I enlisted in the army, and because of this my musical activities were interrupted...” Later, Ravel joined the Thirteenth Artillery Regiment as a truck driver.

His duties involved the nocturnal transportation of war materials, a responsibility that often placed the composer’s life at risk. Ravel took great pride and even delight in his wartime status, often signing his correspondence “Conducteur (‘Driver’) Ravel.”

In the autumn of 1917, Ravel was discharged from military service and “then finished Le Tombeau de Couperin.” Ravel used the piece as an opportunity to pay tribute to those who had given their lives during the War. Each movement of Le Tombeau de Couperin is dedicated to a friend of the composer who died in the conflict. In 1919, Ravel orchestrated four of the work’s original six movements.

The title, The Tomb of Couperin, refers to the Parisian composer François Couperin (1668-1733). Nevertheless, Ravel insisted: “The homage is directed less in fact to Couperin himself than to French music of the eighteenth century.” The piece is in the style of a Baroque Suite, with an introduction followed by a series of dances.

I. Prélude. Vif—The lively Prélude features vibrant (and fiendishly challenging) oboe writing.

II. Forlane. Allegretto—A Forlane (Forlana) is a sprightly 18th-century court dance of northern Italian origin.

Subscription Performances: March 5 & 6, 1959,

Subscription Performances: March 14, 15 & 16, 2013, Jun Märkl, Conductor.

46 | encore III. Menuet. Allegro moderato—The Menuet (Minuet) is another court dance, cast in triple meter.

IV. Rigaudon. Assez vif—The Rigaudon (Rigadoon) is a lively dance popular in France and England during 17th and 18th centuries.

First Classical Subscription Performance: March 4, 1952, Robert Casadesus, Piano, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performance: March 31 & April 2, 2016, Alexandre Tharaud, Piano, Thomas Søndergård, Conductor.

Concerto for the Left Hand for Piano and Orchestra in D Major (1930) The first performance of the D-Major Concerto took place in Vienna, Austria, on November 27, 1931, with Paul Wittgenstein as soloist. In addition to the solo piano, the Concerto is scored for piccolo, three flutes, two oboes, English horn, E-flat clarinet, two clarinets in A and B-flat, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, triangle, cymbals, suspended cymbal, bass drum, wood block, tam-tam, harp, and strings.

P

aul Wittgenstein (1887-1961), brother of philosopher Ludwig Wittgenstein, was a member of an affluent Viennese family. Paul Wittgenstein made his professional debut as a concert pianist in December of 1913. A promising career was interrupted by World War I, and seemed to come to an early and tragic end when Wittgenstein lost his right arm while serving as a soldier on the Russian front.

After this horrific turn of events, Wittgenstein arranged several solo pieces for left hand that he played in concerts throughout Europe, the United States, and the Near East.

Wittgenstein also commissioned piano concertos from such prominent composers as Richard Strauss, Paul Hindemith, Sergei Prokofiev, Benjamin Britten, and Maurice Ravel.

Wittgenstein was the soloist in the premiere of the Concerto for the Left Hand, which took place in Vienna on November 27, 1931. From the time of the first performance, critics have marveled at how the Concerto sounds as if it is indeed written for performance by two hands. At the Paris premiere, critic Henry Prunières marveled that at times, the Concerto seemed to be a work scored for piano duet! Of course, the illusion is due in great part to Ravel’s mastery of instrumental colors. But it must also be acknowledged that a piano virtuoso of the highest order is required for

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the Concerto to weave its magical spell. For in truth, Ravel often requires the left hand to perform the work of two (if not four). In these concerts, André Watts performs the Concerto in his reworking for right hand.

Ravel’s Piano Concerto for the Left Hand is in a single movement, featuring various contrasting sections. The opening section (Lento) includes the first of two lengthy solo cadenzas, during which the Concerto’s principal theme is introduced. Another slow-tempo section (Andante) gathers momentum and leads headlong into the central jazzoriented portion (Allegro). The concluding section (Tempo 1o) includes the second extended solo cadenza, which, in turn, leads to a final outburst by the soloist and orchestra.

Symphony No. 7 in A Major, Opus 92 (1812) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Seventh Symphony took place in the Hall of the University of Vienna on December 8, 1813, with the composer conducting. The Symphony No. 7 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

L

udwig van Beethoven completed his Seventh Symphony in 1812. The work received its premiere on December 8, 1813, at the grand Hall of the University of Vienna, as part of a concert for the benefit of wounded Austrian and Bavarian soldiers. Beethoven served as conductor. Because of Beethoven’s participation in the concert and its philanthropic mission, several of Vienna’s most eminent musicians agreed to play in the orchestra.

Composer and violinist Louis Spohr was one of the members of the orchestra. Spohr offered this colorful description of Beethoven on the podium: Often as I had heard of it, it surprised me extremely.

He was accustomed to convey the marks of expression to the band by the most peculiar motions of his body.

Thus at a sforzando he tore his arms, which were crossed before on his breast, violently apart. At a piano he crouched down, bending lower the softer the tone.

At the crescendo he raised himself by degrees until at

First Classical Subscription Performance: October 26, 1947, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: January 11 & 13, 2018, Peter Oundjian, Conductor.

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the forte he sprang up to his full height; and without knowing it, would often at the same time shout aloud.

The concert proved to be one of the great public triumphs of Beethoven’s career. The audience insisted upon an encore of the Seventh Symphony’s Allegretto. By popular demand, the entire concert was repeated four days later, raising another 4,000 florins for the wounded soldiers.

Still, Beethoven’s reliance in the Seventh upon the briefest of rhythmic motifs—often presented with relentless, and even frightening energy—inspired some negative reactions. Musician Friedrich Wieck, father of Clara Wieck Schumann, attended the first rehearsal of the Beethoven Seventh. Wieck recalled that the general consensus among musicians and laymen alike was that Beethoven must have composed the Symphony, particularly its outer movements, in a drunken state (“trukenen Zustande”). Carl Maria von Weber, after hearing the Symphony for the first time, was reported to have exclaimed that Beethoven was now “quite ripe for the madhouse.”

On the other hand, Richard Wagner, in one of the most famous appreciations of a Beethoven Symphony, celebrated the finale as the “apotheosis of the dance.” More than two centuries after the premiere, Beethoven’s Seventh continues to amaze audiences with its dramatic fire. It remains one of the most powerful of all symphonic creations.

The Beethoven Seventh is in four movements. The first begins with the most ambitious slow-tempo introduction (Poco sostenuto) of any Beethoven Symphony. The flute offers premonitions of what emerges as the central theme of the ensuing Vivace, a sprightly dance in 6/8 time. The theme’s dotted eighth/sixteenth/eighth-note nucleus provides the foundation for virtually all that follows in this remarkable movement. The second movement (Allegretto), in the character of a somber march, opens and closes with a foreboding chord. By contrast, the vibrant third-movement scherzo (Presto) exhibits both extraordinary energy and power. The finale (Allegro con brio) is a miraculous combination of academic structure (sonata form) and Dionysian abandon. It is not until the terse final measures that the whirlwind of activity comes to a stunning halt.

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50 | encore ANDRÉ WATTS, PIANO

A

STEVEN J. SHERMAN

ndré Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic on one of the orchestra’s Young People’s Concerts. Only two weeks later, Bernstein asked him to perform with the New York Philharmonic, thus launching his career in storybook fashion. More than half a century later, André Watts remains one of America’s most distinguished and celebrated performing artists, appearing with leading orchestras across the world.

A much-honored artist who has played before royalty in Europe and heads of government in nations internationally, André Watts received a 2011 National Medal of Arts. In June 2006, he was inducted into the Hollywood Bowl of Fame to celebrate the 50th anniversary of his debut (with the Philadelphia Orchestra at the age of 10) and he is also the recipient of the 1988 Avery Fisher Prize. At age 26 Watts was the youngest person ever to receive an Honorary Doctorate from Yale University and he has since received numerous honors from highly respected schools including The Juilliard School, his Alma Mater, the Peabody Conservatory of Johns Hopkins University, and more.

Watts was appointed to the Jack I. and Dora B. Hamlin Endowed Chair in Music at the Jacobs School of Music at Indiana University in May 2004 and in 2017 was named a Distinguished Professor, the highest academic rank the university bestows upon its faculty.

André Watts recordings available on the SONY Classical, Philips, Angel/EMI and Telarc labels. André Watts appears by arrangement with CM Artists.

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

BENJAMIN GROSVENOR Saturday, April 4, 2020

Alan Morrison, organ

Joel Dallow, cello

ALEXANDER ROMANOVSKY Saturday, April 25, 2020

Karen Slack, soprano

Min Kwon, piano

ALAN MORRISON & FRIENDS Saturday, May 2, 2020

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

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52 | mar22 Concert of Sunday, Mar. 22, 2020 1:30pm and 3:00pm

Platypus Theatre’s

STEPHEN MULLIGAN, conductor PLATYPUS THEATRE COMPANY PETER DUSCHENES, writer, director & performer DANIELLE DESORMEAUX, actor WENDY ROCKBURN, stage manager

Family Series sponsored by

(Max’s Musical Misadventure) Excerpts from the following: DE ABREU: Tico Tico no Fubá SOUSA: Liberty Bell March BÉLANGER, MARC POTPOURRI: Lavalois PIAZZOLLA: Oblivion ALAIN TRUDEL: Drum Magic TRADITIONAL (arr. Wagler): "La Mariposa Revueltas Duelo" from Hommaje a Federico Garcia Lorca TRADITIONAL (arr. Wagler): La Bruja ROBERT SHELDON: Danzas Cubanas MORRICONE: "Gabriel's Oboe" from The Mission BERNSTEIN (arr. Peress): "Mambo" from West Side Story Written and directed by PETER DUSCHENES Musical Direction by ALAIN TRUDEL Artistic advisors: LISA GRIFFITHS and HÉLÈNE DUCHARME

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

Puppets and masks by Claude Rodrigue, Sandra Turgeon and Colin St-Cyr Duhamel This production was co-commissioned by The National Arts Centre Orchestra, The Vancouver Symphony, the Edmonton Symphony and the Toronto Symphony.

hand-held devices.

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54 | meettheartists Please see STEPHEN MULLIGAN'S biography on page 46 PLATYPUS THEATRE Since 1989, almost one million young audience members have been introduced to classical music through Platypus Theatre. After more than 650 performances with more than 75 orchestras worldwide, Platypus has established itself as one of North America’s premiere music education theatre companies. Original and engaging storylines are presented in an intelligent and interactive way, with music always taking the lead role. Children laugh, sing and empathize with the characters while learning musical concepts, styles, and much more. In 2006, one of Platypus’ most cherished productions How the Gimquat Found her Song was produced for TV and went on to win several awards including Best Children’s Program at the prestigious Banff World Television Festival. In 1991, Platypus was the subject of a nationally broadcast documentary on CTV, followed by a PBS full-performance broadcast in 2000. During its 25th anniversary year, Platypus premiered its eighth original production, Presto, Mambo!, in partnership with four orchestras across Canada. Other Platypus Productions include Emily Saves the Orchestra, Rhythm in your Rubbish, Bach to the Future, Charlotte and the Music-Maker, Flicker of Light on a Winter’s Night, and Peter and the Wolf.

PETER DUSCHENES, ARTISTIC DIRECTOR AND WRITER

T

housands of young classical music fans have Peter to thank for introducing them to symphonic music. He co-founded the Platypus Theatre touring company in 1989 to make orchestral music accessible for youth, and more than half a million concert-goers have benefitted from his creativity. As an award-winning playwright, Peter’s writing credits include - among others - all eight Platypus productions, the television adaptation of How the Gimquat Found Her Song which won Best Children’s Program at the prestigious Banff World Television Festival in 2008. In addition to his roles in Platypus shows, he has also acted and directed with companies across Canada and the United States. When Peter isn’t busy helping the Gimquat find her song, he and his wife Sarah are helping their children, Magda and Theo, find their socks.

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DANIELLE DESORMEAUX, ACTOR Danielle is one of the more adaptable creatures in the Platypus Theatre touring company. You can see her as the Gimquat in How the Gimquat Found Her Song, as Corky in Bach to the Future, as Emily in Emily Saves the Orchestra and as a hobo in Rhythm in Your Rubbish, a production she helped create. She is a highly-accomplished actor who has worked extensively in theatre, in film, and also as several animated characters on TV. She is also an experienced improviser and clown, and has written and created a number of critically-acclaimed works. Danielle has been a part of the Platypus touring company for 17 years but will never forget “the first time I heard a live orchestra playing on stage with me it literally took my breath away. I couldn’t believe how powerful the sound was. Then I thought: ‘Wow! Best job ever!’”

WENDY ROCKBURN, STAGE MANAGER

W

ant to know who and what goes where and when and how? Wendy’s the one who has it well under control. Since 2005, Wendy has expertly juggled all of the details for Platypus Theatre productions, from monster’s heads to lighting cues. Not only does she manage the Platypus touring company’s stage, but she also works with theatres all over Eastern and Central Canada.

And as often as possible, she jets off to far places to photograph the world, and has been known to skydive over the desert in Namibia or outrace a gaucho in Argentina.

Her favorite part about Platypus shows is watching the kids follow every turn in the story in rapt attention. And the climax of the Gimquat still makes her cry, even after all of these years. No wonder we’re wild about Wendy!

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56 | mar26&27 Concerts of Thursday, Mar. 26, 2020 8:00pm Friday, Mar. 27, 2020 8:00pm ROBERT SPANO, conductor SUSANNA PHILLIPS, soprano SASHA COOKE, mezzo-soprano

LUDWIG VAN BEETHOVEN (1770-1827) Missa solemnis in D Major, Opus 123 (1823)

I. Kyrie

II. Gloria

III. Credo

IV. Sanctus

V. Agnus Dei

80 MIN

This concert is performed without intermission.

English Surtitles by Ken Meltzer

BEN BLISS, tenor MATTHEW ROSE, bass ATLANTA SYMPHONY ORCHESTRA CHORUS, NORMAN MACKENZIE, Director of Choruses The Atlanta Symphony Orchestra Classical Series is presented by

This program is made possible by a generous gift from The John & Rosemary Brown Family Foundation.

This weekend's performances are in loving memory of Sally McClelland Currey (1929-2018).

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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Missa solemnis in D Major, Opus 123 (1823)

First Classical Subscription

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 Missa solemnis took place in St. Petersburg, Russia, on April 7, 1824. The Missa solemnis is scored for soprano, alto, tenor, and bass soloists, mixed chorus, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, organ, and strings.

Performance: May 2, 1968,

“My hearing has grown steadily weaker”

January 21 & 23, 2016,

B

y the close of the 18 century, Ludwig van Beethoven had established himself as one of Vienna’s most important pianists and composers. However, in June of 1801, Beethoven wrote to his friend, Franz Wegeler: “But now that envious demon, my bad health, has played me a scurvy trick, namely: for the past three years my hearing has grown steadily weaker...” th

Beethoven consulted with physicians in a desperate attempt to save his hearing. In April of 1802, Beethoven, on the advice of his doctor, relocated to the beautiful country village of Heiligenstadt, where he remained until the early fall. During his stay in Heiligenstadt, it appears Beethoven experienced a further decline in his hearing. Beethoven was forced to confront the possibility, even the likelihood, that he would lose his hearing altogether. It was, of course, the cruelest joke fate could play upon Beethoven. He would soon become a virtuoso pianist unable to perform in public, and a composer unable to hear his own music.

It is not surprising that Beethoven spent much time contemplating the meaning of his life. One of the products of this soul-searching process was the document known as the “Heiligenstadt Testament,” written in October of 1802.

Addressed to his two brothers, the Testament was found among Beethoven’s papers after the composer’s death in 1827.

In the “Heiligenstadt Testament,” Beethoven confessed: But how humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing, or if somebody heard a shepherd

The Atlanta Symphony Chamber Chorus, The Atlanta Choral Guild, The Atlanta Intercollegiate Chorus, Robert Shaw, Conductor.

Most Recent Classical Subscription Performances: Atlanta Symphony Orchestra Chorus, Donald Runnicles, Conductor.

Recording: Telarc CD-80150 (2CD), Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor.

58 | encore sing and again I heard nothing—Such experiences almost made me despair, and I was on the point of putting an end to my life—The only thing that held me back was my art. For indeed it seemed to me impossible to leave this world before I had produced all the works I felt the urge to compose; and thus I have dragged on this miserable existence—a truly miserable existence…

In the decade following the “Heiligenstadt Testament,” Beethoven responded with ferocious and unflagging energy and determination. During this extraordinary period, Beethoven composed such masterpieces as the Symphonies Nos. 2-8, the Fourth and Fifth (“Emperor”) Piano Concertos, the “Razumovsky” String Quartets, the “Waldstein,” “Appassionata,” and “Les Adieux” Piano Sonatas, and the composer’s only opera, Fidelio.

“Human misery in every form” During the time known as Beethoven’s “Middle Period,” the composer faced other challenges. In May of 1809, Napoleon’s forces bombarded Vienna. Beethoven’s lodgings stood directly in the line of fire, and he took refuge in a basement in another residence. During the massive shelling, Beethoven tried to protect the last remnants of his hearing by covering his ears with pillows. The succeeding French occupation brought physical and economic chaos.

On July 26, 1809, Beethoven wrote to his publisher: “What a destructive, disorderly life I see and hear around me, nothing but drums, cannons and human misery in every form....”

Through all of this turmoil and despair, Beethoven never lost his fierce sense of independence and rebellious spirit.

Once, during the occupation, a friend spied Beethoven in a café. There the composer stood behind a French officer, shaking his fist and proclaiming: “If I were a general and knew as much about strategy as I do counterpoint, I’d give you fellows something to think about.” It was during this period that Beethoven composed his “Emperor” Piano Concerto. There is an undeniable pride and heroism in the “Emperor,” music that refuses to capitulate to the despair Beethoven witnessed during its composition.

The Missa solemnis: Composition and Early Performances

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The years immediately following the post-“Heiligenstadt” decade were far less productive. Beethoven struggled with health issues. After the death of his brother, Beethoven also became embroiled in fierce and protracted custody litigation over his nephew, Karl. As the second decade of the 19th century drew to a close, the general belief in Vienna was that Beethoven’s career was finished. Beethoven’s friend, Anton Schindler, recalled that when Beethoven heard these rumors, he replied: “Wait a while; you will soon learn differently.” In the final decade of his life, Beethoven composed several of his greatest and most adventurous works. These include the late Sonatas Opus 109-111, and the Diabelli Variations for solo piano, the five late Quartets and Grosse Fugue for string quartet, and the Ninth Symphony.

Another masterpiece from Beethoven’s extraordinary “Late Period” is the Missa solemnis, Opus 123. The original impetus for the Missa solemnis occurred in 1819. That spring, Rudolf, Archduke of Austria (1788-1831), the youngest son of Emperor Leopold II, learned he had been appointed Archbishop of Olmütz in Moravia (now, Olomouc, the Czech Republic).

Rudolph, Beethoven’s longtime pupil, cherished friend, and generous patron, was the dedicatee of such pieces as the Fourth and “Emperor” Piano Concerto, the “Archduke” Piano Trio, the Piano Sonatas Opus 81a (“Les Adieux”), 106 (“Hammerklavier”), and 111, and the Grosse Fugue.

In June of 1819, Beethoven wrote to Rudolph: The day on which a High Mass composed by me will be performed during the ceremonies solemnized for Your Imperial Highness will be the most glorious day of my life; and God will enlighten me so that my poor talents may contribute to the glorification of that solemn day.

Prior to starting work on the Missa solemnis, Beethoven entered in his journal: “In order to write true church music… look through all the monastic church chorales and also the strophes in the most correct translations and perfect prosody in all Christian-Catholic psalms and hymns generally.” Beethoven embarked upon an intense study of the Renaissance composer Giovanni Palestrina and his contemporaries, as well as the music of Handel, J.S. Bach, and C.P.E. Bach. Beethoven also prepared a copy of the Latin text that included a line-by-line German translation,

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62 | encore as well as notations for accentuation of each word.

Rudolf’s installation took place on March 9, 1820.

Beethoven did not complete the Missa solemnis in time for the ceremony and in fact, did not finish the work until 1823 (Beethoven did dedicate the Missa solemnis to Rudolf).

The ongoing litigation involving his nephew Karl may have delayed progress, as did, perhaps, work on various other compositions, including the Ninth Symphony.

The premiere of the Missa solemnis took place in St. Petersburg, Russia, on April 7, 1824. The concert, by the Philharmonic Society of St. Petersburg, was organized

by Prince Nikolai Galitzin, a devout music-lover, gifted amateur cellist, and patron of Beethoven (three of the late String Quartets are dedicated to Galitzin). The first Vienna performance of the Missa solemnis took place at the Kärntnertor Theater on May 7, 1824. That concert, featuring only the Kyrie, Credo, and Agnus Dei portions, also marked the world premiere of Beethoven’s Ninth Symphony.

Beethoven stood next to the conductor, Michael Umlauf, following the score and beating time, even though he could hear neither the performances nor the audience’s tumultuous ovations at their conclusion. A complete performance took place in Warnsdorf, Bohemia, on June 29, 1830, after the composer’s death.

“From the Heart—May it Return to the Heart” The Missa solemnis is a majestic work that continues to inspire reverence, awe, and perhaps some misconceptions as well. The remarkable demands placed upon the range and stamina of the singers (both the soloists and chorus) are often attributed to Beethoven’s lack of sympathy (perhaps exacerbated by his hearing loss) for the capabilities of the human voice. It’s an accusation leveled, too, at the vocal writing in Beethoven’s Ninth Symphony and the composer’s opera, Fidelio. In his Autobiography, Russian composer Igor Stravinsky addressed a similar criticism directed at Beethoven’s austere orchestral palette: “But Beethoven’s music is intimately linked up with his instrumental language, and finds its most exact and perfect expression in the sobriety of that language.”

Perhaps the almost superhuman vocal demands are

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precisely what Beethoven intended for the “exact and perfect expression” of his goal in composing the Missa solemnis. Beethoven wrote to Johann Andreas Streicher: “My chief aim was to awaken and permanently instill religious feelings not only into the singers but also the listeners.” Beethoven understood, perhaps as well as anyone, the fortitude required to maintain faith while confronting life’s challenges. Beethoven did not hesitate to portray those challenges in the Missa solemnis. The struggle is not fully resolved until the defeat of the stunning “war” episodes in the concluding Agnus Dei (subtitled by Beethoven “A Prayer for Inner and Outer Peace”). But that struggle makes the triumphant final bars of the Missa solemnis all the more gratifying, a fulfillment of Beethoven’s fervent wish, inscribed at the top of the score: “From the Heart—May it Return to the Heart.”

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labama-born soprano Susanna Phillips, recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists.

In the 2019/20 season, Phillips will return to the Metropolitan Opera for a twelfth consecutive season to sing the Countess in Le nozze di Figaro and make her role debut in the title role of Kát’a Kabanová. She will also reprise Musetta in La bohème with the company.

Additionally, she will return to Opera Theatre of St. Louis to make her role debut in the title role of Floyd’s Susannah. In concert, Ms. Phillips will sing the Messiah with the Philadelphia Orchestra under the baton of Jane Glover, as well as Adams’ El Niño with the Houston Symphony under the baton of David Robertson.

A native of Huntsville, Alabama, over 400 people traveled from her hometown to New York City in December 2008 for Phillips’ Metropolitan Opera debut in La bohème. She returns frequently to her native state for recitals and orchestral appearances.

ZACHARY MAXWELL

SUSANNA PHILLIPS, SOPRANO

64 | meettheartists SASHA COOKE, MEZZO-SOPRANO

VERO KHERIAN

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wo-time Grammy® Award-winning mezzo-soprano Sasha Cooke is sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music.

During the 2019/20 season, Cooke returns to the San Francisco Opera to reprise the title role in Humperdinck’s Hansel and Gretel and Laurene Jobs in Mason Bates’s The (R)evolution of Steve Jobs, a role she created in 2017 at Santa Fe Opera. Her orchestral appearances include performances with the New York Philharmonic, the Accademia Nazionale di Santa Cecilia, the Pittsburgh Symphony, the Radio Filharmonisch Orkest, the Houston Symphony the Cleveland Orchestra and the Chicago Symphony. Cooke will undertake a residency with the San Francisco Symphony; and she will also return to London’s Wigmore Hall, New York’s 92nd Street Y and Kennedy Center’s Terrace Theater in Washington, D.C. She will also perform a solo recital at the Santa Fe Chamber Music Festival, as well as a world premiere with violinist Daniel Hope for the Music at Kohl Mansion in California.

Sasha Cooke is a graduate of Rice University and The Juilliard School. She also attended the Music Academy of the West, the Aspen Music Festival, the Ravinia Festival’s Steans Music Institute, the Wolf Trap Foundation, the Marlboro Music Festival, the Metropolitan Opera’s Lindemann Young Artist Development Program, and Seattle Opera and Central City Opera’s Young Artist Training Programs.

BEN BLISS, TENOR

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DARIO ACOSTA

merican tenor Ben Bliss has gained a reputation as one of the most valuable and versatile performers of his generation.

His 2019/20 season features a return to the Metropolitan Opera as Ferrando in Così fan tutte, conducted by Harry Bicket, Don Ottavio in Don Giovanni for his debut at the Lyric Opera of Chicago, Tom Rakewell in Britten’s The Rake's Progress with The Glyndebourne Festival and Belmonte in Die Entführung aus dem Serail at Lyric Opera of Kansas

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F R I E N D S O F C AT H E D R A L M U S I C

The Choir of St. John’s College, Cambridge, England O N E OF THE MOST CELEBRA TED CH O IR S OF MEN & BOYS I N THE WO R L D

Monday, March 23, 2020 at 7:30 p.m. ~

THE CATHEDRAL OF ST. PHILIP, ATLANTA Tickets are available online at www.cathedralATL.org/concerts

BEYOND THE PERFORMANCE

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City, his hometown. Concert appearances include a debut with the San Francisco Symphony and Michael Tilson Thomas singing Steuermann in Wagner’s Der Fliegende Holländer, the Chicago Symphony Orchestra singing Orff’s Carmina burana, conducted by Alain Altinoglu, Beethoven’s Missa solemnis with The Atlanta Symphony with performances in both Atlanta and in New York City at Carnegie Hall, Bernstein’s Songfest with the Seattle Symphony and Handel’s Messiah with the St. Paul Chamber Orchestra.

Ben Bliss was a 2016 recipient of the Martin E. Segal Award, received the Mozart and Plácido Domingo awards and placed second overall at the 2015 Francisco Viñas International Competition in Barcelona, first prize in the 2014 Gerda Lissner and Licia Albanese-Puccini Foundation competitions, as well as a Sara Tucker and Sullivan Foundation grant.

Bliss is also the 2013 Operalia Don Plácido Domingo Sr. Zarzuela prizewinner. He resides with his wife Dana in Seattle, Washington.

M

atthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Program at Royal Opera House, Covent Garden. In 2006 he made an acclaimed debut at the Glyndebourne Festival Opera as Bottom in Britten’s A Midsummer Night’s Dream, for which he received the John Christie Award, and he has since performed at opera houses throughout the world.

He has performed under the baton of Sir Colin Davis, Gustavo Dudamel, Sir Andrew Davis, Vladimir Jurowski, Sir Charles Mackerras, Yannick Nézet-Seguin and Antonio Pappano and is already a critically acclaimed recording artist, winning a Grammy® Award for Best Opera Recording for Ratcliffe/Billy Budd. Other recordings include Winterreise with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau (Stone Records).

This season, Rose will sing Leporello Don Giovanni for Chicago Lyric Opera, Claudio Agrippina and Colline La bohème for the Metropolitan Opera, Baron Orchs Der Rosenkavalier for La Monnaie and Nick Shadow The Rake’s Progress for Glyndebourne Festival Opera. Forthcoming concert highlights include Beethoven’s Missa solemnis with the Wroclaw Philharmonic Orchestra led by Giancarlo Guerrero.

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LENA KERN

MATTHEW ROSE, BASS

68 | encore NORMAN MACKENZIE, DIRECTOR OF CHORUSES

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s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. In his 14-year association with Robert Shaw, Mackenzie was keyboardist for the Atlanta Symphony Orchestra, Principal Accompanist for the Choruses, and ultimately Assistant Choral Conductor.

Mackenzie prepares the Atlanta Symphony Orchestra Chorus and Chamber Chorus for all concerts and recordings and works closely with Robert Spano on the commissioning and realization of new choral-orchestral works. During his tenure, the Chorus has made numerous tours and garnered its four most recent Grammy® Awards.

Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.

ATLANTA SYMPHONY ORCHESTRA CHORUS

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

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

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ATLANTA SYMPHONY ORCHESTRA CHORUS Norman Mackenzie

Jeffrey Baxter

Peter Marshall

director of choruses

choral administrator

accompanist

The Frannie and Bill Graves Chair

The Florence Kopleff Chair

SOPRANO 1 Ellen Abney Hanan Davis Khadijah Davis Liz Dean* Laura Foster Michelle Griffin Jayme Hogan-Yarbro Erin Jones Victoria Latimer Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Mary Martha Penner Callaway Powlus Susan Ray Brianna Riley Samaria Rodriguez Natalie Rogers Stacey Tanner Sarah Barton Thomas Brianne Turgeon* Deanna Walton Erika Wuerzner Wanda Yang Temko* SOPRANO 2 June Abbott** Sloan Atwood* Jessica Barber Diana Rose Becker Jasmine Blue-Williams Barbara Brown Martha Craft Ellen Dukes** Mary Goodwin Amanda Hoffman Kathleen Kelly-George* Eda Mathews** Mary Mulvey Shannon Nesbit Rachel O’Dell Vickie Orme* Heidi Padovano Chantae Pittman Tramaine Quarterman Paula Snelling* Anne-Marie Spalinger* Tommie Storer Emily Tallant

Cheryl Thrash** Donna Weeks** Katie Woolf ALTO 1 Akosua Adwini-Poku Pamela Amy-Cupp Yasmin Anderson Deborah Boland** Rachel Bowman Donna Carter-Wood** Patricia DinkinsMatthews* Angel Dotson-Hall Katherine Fisher Beth Freeman Unita Harris Noelle Hooge Beverly Hueter* Janet Johnson** Susan Jones Virginia Little* Staria Lovelady* Frances McDowellBeadle** Sara McKlin Linda Morgan** Katherine Murray* Kathleen Poe Ross Laura Emiko Soltis Camilla Springfield Rachel Stewart** Diana Strommen Nancy York* ALTO 2 Nancy Adams* Angelica Blackman-Keim Emily Boyer Marcia Chandler* Christa Joy Chase* Laurie Cronin Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament Sally Kann Nicole Khoury* Katherine MacKenzie Lynda Martin Laura Rappold* Campbell Reiter Taylor Russell

Chandler Scott Sharon Simons* Virginia Thompson* Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Jordan Bell David Blalock** John Brandt* Jack Caldwell** Daniel Cameron* Daniel Compton Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Keith Langston* Sean Mayer* Clinton Miller Christopher Patton Elston Peacock Stephen Reed# Nathaniel Sundholm Mark Warden* TENOR 2 Sutton Bacon Randall Barker* Mark Barnes Steve Brailsford Charles Cottingham# Phillip Crumbly* Sean Fletcher John Harr Keith Jeffords* Steven Johnstone Joseph Kang Michael Parker Timothy Parrott Marshall Peterson* Brent Runnels Brian Scully Matthew Sellers Thomas Slusher Scott Stephens** Keith Thompson Alexander Wilson

BASS 1 Henry Adams Dock Anderson Russell Cason** Trey Clegg Steven Darst** Michael Dennison Michael Devine Thomas Elston Michael Ervin Jon Gunnemann* Nathan Holmes Lee Johnson Nick Jones# Frank Kingsley Jameson Linville Peter MacKenzie Jason Maynard John Newsome Brian Petty Peter Shirts Kendric Smith# Joel Terning John Terry Edgie Wallace* Edward Watkins** BASS 2 Philip Barreca David Bonaker Brian Brown* John Carter Terrence Connors Rick Copeland** Joel Craft** Paul Fletcher Timothy Gunter* David Hansen** Philip Jones Tamir Mickens Michael Nedvidek John Ruff* Jonathan Smith* Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970)

70 | encore ASO | SUPPORT

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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.

$1,000,000+

Delta Air Lines, Inc.

$100,000+

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

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

$75,000+

The Antinori Foundation

Mary & Jim Rubright

$50,000+

Alston & Bird LLP Arthur M. Blank Family Foundation Mr. & Mrs.* Bradley Currey, Jr. Ms. Lynn Eden Four Seasons Hotel Atlanta

The Graves Foundation King & Spalding Lucy R.* & Gary Lee, Jr. The Marcus Foundation, Inc. ∞

$35,000+

Farideh & Al Azadi Foundation, Inc. ∞ City of Atlanta Mayor’s Office of Cultural Affairs

Bonnie & Jay Harris National Endowment for the Arts Victoria & Howard Palefsky ∞ The Vasser Woolley Foundation, Inc.

$25,000+

Mr. & Mrs. Paul J. Blackney Mr. Benjamin Q. Brunt & Ms. Catherine Meredith CBH International, Inc. Connie & Merrell Calhoun Thalia & Michael C. Carlos Advised Fund Thalia & Michael C. Carlos Foundation Jim Cox, Jr. Foundation The Roy & Janet Dorsey Foundation Ms. Angela L. Evans Betty Sands Fuller Fulton County Arts & Culture Georgia Power Foundation, Inc. Jeannette Guarner, MD & Carlos del Rio, MD The Livingston Foundation, Inc. Massey Charitable Trust Mr. Charles M. Moon III

Mrs. Rebecca P. Moon 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° Mr. & Mrs. W. Ross Singletary, II 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

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$17,500+ Mr. Keith Adams & Ms. Kerry Heyward Mr. & Mrs. John Allan Wright & Alison Caughman Catherine Warren Dukehart Sally & Carl Gable Mr. & Mrs. Douglas J. Hertz John & Linda Matthews Mercedes-Benz Mr. & Mrs. Bert Mills Martha M. Pentecost Porsche Cars North America, Inc. Mr. & Mrs. David W. Scheible Joyce & Henry Schwob June & John Scott Mr. Alex J. Simmons, Jr. & Ms. Janine Brown Slumgullion Charitable Fund Cari K. Dawson & John M. Sparrow Ms. Brett A. Tarver John & Ray Uttenhove Mr.* & Mrs. Edus H. Warren, Jr. Adair & Dick White

Anne Morgan & Jim Kelley Kimberly-Clark Brian & Carrie Kurlander James H. Landon Donna Lee & Howard Ehni Mr. Sukai Liu & Dr. Ginger J. Chen Mr. Kevin & Dr. Jennifer Lyman John F. & Marilyn M. McMullan Ms. Molly Minnear The Piedmont National Family Foundation Mr. & Mrs. Walter Pryor Charlie & Donna Sharbaugh Mr. John A. Sibley, III Mr. Fahim Siddiqui & Ms. Shazia Fahim Jeffrey Sprecher & Kelly Loeffler Loren & Gail Starr Elliott & Elaine Tapp Dr. James Wells & Mrs. Susan Kengeter Wells Drs. Kevin & Kalinda Woods

$10,000+

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Mr. Randolph J. Koporc Mr. & Mrs. J. Hicks Lanier Pat & Nolan Leake Lubo Fund Ken & Carolyn Meltzer The Monasse Family Foundation ∞ Dr. Ebbie & Mrs. Ayana Parsons Ray M. & Mary E. Lee Foundation, Inc. Sage Mr. Andrew Saltzman Gretchen Nagy & Allan Sandlin Dr. Steven & Lynne Steindel ° Peter James Stelling Mr. & Mrs. Trevor W. Tank Carol & Ramon Tomé Family Fund Trapp Family Turner Foundation, Inc. United Distributors Chilton & Morgan Varner Mark & Rebekah Wasserman Dr. & Mrs. James O. Wells, Jr. Mrs. Virginia S. Williams

$7,500+

Aadu & Kristi Allpere ° In memory of Leigh Baier Lisa & Joe Bankoff Julie & Jim Balloun Jack & Helga Beam ∞ $15,000+ Bell Family Foundation Lisa & Russ Butner Mr. & Mrs. William L. Ackerman∞ The Breman Foundation, Inc. Peter & Vivian de Kok Madeline & Howell E. Adams, Jr. The Walter & Frances Bunzl Deedee & Marc Hamburger ° Mr. Henry F. Anthony & Foundation Ms. Jane Morrison Ms. Carol R. Geiger Chick-fil-A Ms. Margaret Painter Ms. Jennifer Barlament & Correll Family Foundation, Inc. In Memory of Dr. Frank S. Mr. Ken Potsic Mr. & Mrs. Jonathan J. Davies Pittman III Mr. Andrew T. Bayman Marcia & John Donnell Leonard Reed ° Rita & Herschel Bloom Mr. Richard H. Delay & Mr. Jeffrey C. Samuels & Mr. David Boatwright Dr. Francine D. Dykes Ms. Amy Levine-Samuels John W. Cooledge Eversheds Sutherland Beverly & Milton Shlapak Russell Currey & Amy Durrell John & Michelle Fuller ∞ Suzanne Shull Ms. Sloane Drake Paul & Carol Garcia Alison & Joe Thompson Eleanor & Charles Edmondson Georgia Council for the Arts Fifth Third Bank Georgia-Pacific For more information Dick & Anne Game ° Jason & Carey Guggenheim/ about giving to the Atlanta William M. Graves Boston Consulting Group Symphony Orchestra Annual Mr. & Mrs. Joseph W. Hamilton III The Robert Hall Gunn, Jr., Fund Fund, please contact Ann A. & Ben F. Johnson III ° Mr. & Mrs. Charles B. Harrison William Keene at 404.733.4839 Roya & Bahman Irvani or william.keene@ Clay & Jane Jackson atlantasymphony.org. °We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased

72 | encore ASO | SUPPORT (cont.) $5,000+ A Friend of the Symphony (3) Phyllis Abramson Mr. & Mrs. Calvin R. Allen Mr. & Mrs. Stephen D. Ambo Keith Barnett Asad Bashey Kelley O. & Neil H. Berman Jane & Gregory Blount Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Rod D. Bunn Ms. Catharine Burkett Jewel Burks Patricia & William Buss Mr. James Camden Ms. Tracey Chu Ruth* & Mark Coan William & Patricia Cook Carol Comstock & Jim Davis° M. Susan Dimmick Greg & Debra Durden Ms. Diane Durgin Paulette Eastman & Becky Pryor Anderson ∞ Dr. & Mrs. Carl D. Fackler Mr. & Mrs. Leroy Fass Mr. Burt Fealing Ellen & Howard Feinsand Mr. Craig M. Frankel & Mrs. Jana A. Eplan Sally & Walter George Mr. Max M. Gilstrap Mary & Charles Ginden Mr. & Mrs. Richard Goodsell ∞ Mr. & Mrs. James K. Hammond, Jr. Sally W. Hawkins The Hellen Ingram Plummer Charitable Foundation, Inc. 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 Mr. Kartikh Khambhampati & Ms. Swathi Padmanabhan Donald S. Orr & Marcia K. Knight Mr. Charles R. Kowal Dr. & Mrs. Scott I. Lampert Isabel Lamy Lee Elizabeth J. Levine Longfield-FitzGerald Design Peg & Jim Lowman Belinda & Gino Massafra Mr. & Mrs. Brian F. McCarthy Mary Ruth McDonald Mr. Jeremy McMillan Judy Zaban-Miller & Lester Miller Mr. Keith Millner & Ms. Charmaine Ward-Millner Mr. & Mrs. Arthur Mills IV Mr. Bert Mobley Mr. Peter Moraitakis Mr. Ryan Oliver Franca G. Oreffice Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk° Margaret H. Petersen Mrs. Susanne Pinkerton Mr. Edward Potter & Ms. Regina Olchowski Ms. Eliza Quigley Mr. David Quinn & Mr. Jason Liebzeit Eleina Raines Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel Betsy & Lee Robinson Ms. Frances A. Root Dr. Raymond A. Rubin & Mr. Jeffrey L. Shelton John T. Ruff Mr. Doug Shipman & Dr. Bijal Shah Baker & Debby Smith Ms. Cynthia Smith Hamilton & Mason Smith Dr. K. Douglas Smith Amy & Paul Snyder

John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. George & Amy Taylor ∞ Judith & Mark K. Taylor The Selig Foundation Burton Trimble Ms. Sheila Tschinkel Ms. Kristen Tullos & Mr. Ryan Oliver Mrs. Robert V. Waltemeyer Alan & Marcia Watt Thomas E. Whitesides, Jr. M.D. Mr. Hubert H. Whitlow* Suzanne B. Wilner Jennifer & Taylor Winn Mr. David J. Worley & Ms. Bernadette Drankoski Mr. & Mrs. Comer Yates

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

$2,000+

A Friend of the Symphony (2) Joan & Jan Abernathy Dr. Victoria Afshani Mr. & Mrs. Ivan Allen IV Ms. Mary Allen Mr. & Mrs. David Allman Mr. James L. Anderson Mr. & Mrs. Scott J. Arnold $3,500+ The Hisham & Nawal A Friend of the Araim Foundation Symphony (1) Dr. & Mrs. Charles Arp Dr. Evelyn R. Babey Ms. Cyndae Arrendale Mrs. Judith D. Bullock Mr. Joel Babbit Mr. & Mrs. Dennis M. Chorba Betty & Robert Balentine Ralph & Rita Connell Mrs. Juanita Baranco Sally & Larry Davis Anthony Barbagallo & Mary & Mahlon Delong Kristen Fowks Xavier Duralde & Mr. & Mrs. Billy Bauman Mary Barrett Ms. Susan R. Bell & Mr. & Mrs. James Durgin Mr. Patrick M. Morris Mr. & Mrs. John Dyer Mr. William Benton & Carol G. & Larry L. Mr. Michael Morrow Gellerstedt III Dr. & Mrs. Joel E. Berenson Mary D. Gellerstedt Shirley Blaine Henry B. Harris Leon & Joy Borchers John & Martha Head Mr. James W. Boswell lll Mr. Kenneth & & Dr. Elizabeth Boswell Ms. Colleen Hey Mr. & Mrs. Andrew J. Bower° Thomas High Martha S. Brewer Dr. Michael D. Horowitz Ms. Harriet Evans Brock Mr. Lonnie Johnson & Dr. & Mrs. Anton J. Mrs. Linda A. Moore Bueschen Lillian Balentine Law Dr. Aubrey Bush & Deborah & William Liss° Dr. Carol Bush Mr. & Mrs. Frederick C. Mr. & Mrs. Ronald E. Mabry Canakaris Kay & John T. Marshall Mr. & Mrs. Walter K. Canipe Cathey & Peter Millichap Mr. & Mrs. Jameson Carroll Michael & Carol Murphy° Ms. Cynthia W. Cass & Mr. Ms. Kathy Powell Lawrence J. Skowronek S.A. Robinson

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

74 | 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 Parsonson 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

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

Burton Trimble: His life in music led to a planned gift for the ASO

A

s a young boy in 1931, Burton Trimble, Jr. came to Atlanta, where his father would become dean of Emory University’s Candler School of Theology.

Burton trained as a singer, and by the time he graduated from Emory and moved to New York City, he was a fast-rising tenor. In New York he quickly became a soloist at a prominent church, studied at Union Theological Seminary, where he obtained a degree in church music, and was accepted into the Robert Shaw Chorale. In 1948 he cofounded the After Dinner Opera Company (still in existence) and went on to sing numerous roles with them, including the lead tenor role in the world premiere of Lukas Foss’s The Jumping Frog of Calaveras County.

Returning to Atlanta, Burton taught English at Tucker High School for 30 years and at Georgia State University for 8 years before retiring. He was deeply involved in Atlanta’s musical scene, singing in the ASO Chorus and as a church soloist for decades. Burton lives at Kingsbridge Retirement Community in Druid Hills. He loves coming to ASO concerts, and has been an ASO donor for more than 40 years. He is a member of the Henry Sopkin Circle, having included a bequest to the Orchestra in his estate plan.

Asked why he gives to the ASO, he explained: “When I came back from New York and was deprived of hearing the music and culture of New York City, I could go to the Orchestra. What Shaw brought was authenticity in classical music that had not existed here before. That authenticity is the importance of the ASO. To me,

having a symphony orchestra is the key to having a musical culture for the whole city."

Become a member of the Henry Sopkin Circle by making a Planned Gift to the Orchestra.

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.

$1 MILLION+ A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA

JOY AND TONY* GREENE

$500,000+

A Friend of The Woodruff Arts Center Farideh and Al Azadi Foundation

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.

SARAH AND JIM KENNEDY

$400,000+ 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

$250,000+

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.

$200,000+

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

$150,000+

Alston & Bird Amy W. Norman Charitable Foundation The Antinori Foundation | Ron and Susan Antinori The David, Helen & Marian Woodward Fund-Atlanta Frederic R. Coudert Foundation 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

$100,000+

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

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

$75,000+

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.

$50,000+

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

$25,000+

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

$15,000+

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)

$15,000+

(CONT.)

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

80 | 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.

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.

SINGLE TICKETS Call 404.733.5000. Tue - Sat: noon – 6pm; Sun: noon – 5pm. Visit aso.org to order anytime. All single-ticket sales are final.

GIFT CERTIFICATES Available in any amount for any concert, through the box office. Call 404.733.5000.

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

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.

ASO | GENERAL INFO LATE SEATING Patrons arriving late will be seated at an appropriate interval in the concert program, determined by the House Manager. Reserved seats are not guaranteed after the performance starts.

Late comers may be seated in the back, out of courtesy to the musicians and other patrons.

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

404.733.4848

Atlanta Symphony Associates (Volunteers) 404.733.4485 Educational Programs

404.733.4633

Atlanta Symphony Youth Orchestra

404.733.5037

Lost and Found

404.733.4263

Symphony Store

404.733.4345

Donations & Development 404.733.5079

Connecting learning to life at every level.

WWW.PACEACADEMY.ORG/ARTS

WE THINK for college for life forever Holy Spirit Prep embraces the traditions of Catholic education to form students of deep faith, advanced intellect, and heroic virtue.

An independent Catholic school for students age 6 months-12th grade. holyspiritprep.org

82 | encore ASO | STAFF EXECUTIVE

Tyrone Webb

Jennifer Barlament

manager of education

executive director

Stephanie Smith executive assistant

Tasha Cooksey executive & finance

Adam Fenton

Hsing-I Ho

director of multimedia

assistant orchestra

community programs

technology

personnel manager

Ryan Walks

Caitlin Hutchinson

Victoria Moore

talent development

marketing coordinator

director of

program manager

Natacha McLeod

orchestra personnel

DEVELOPMENT

senior director of

&

marketing

-

&

aso

Daniel Stupin live

assistant

Grace Sipusic

ARTISTIC

vice president of

Robert Phipps

development

publications director

Elizabeth Arnett

SALES & REVENUE MANAGEMENT

Elena Dubinets chief artistic officer

senior director of

Jeffrey Baxter

development

choral administrator

Erika Burley,

Cynthia Harris artist liaison

Christopher McLaughlin manager

development

&

stewardship

Megan Brook

of

&

music consultant

Nancy Field manager of grants

special

projects coordinator

manager of leadership individual giving

Dana Parness individual giving

Carol Wyatt

coordinator

executive assistant

James Paulk

to the music director

&

&

William Keene &

principal guest

conductor

EDUCATION & COMMUNITY ENGAGEMENT Elena Dubinets

annual giving officer

Christopher Stephens operations

&

prospect

research

Sarah Wilson development operations

Kaitlin Gress

MARKETING & COMMUNICATIONS

&

community

engagement

Tiffany I. M. Jones managing producer of education concerts

Ruthie Miltenberger manager of family programs

director of patron season

vice president of marketing

&

communications

Delle Beganie content coordinator

KC Commander content manager

Elizabeth Daniell communications manager

&

vice president of

business development

Kim Hielsberg financial planning

&

analysis

Shannon McCown office manager

tickets

Brandi Reed

Madeleine Lawson

staff accountant

patron services

April Satterfield

coordinator

controller

Jesse Pace

ATLANTA SYMPHONY HALL LIVE

manager of patron experience

&

season

Nicole Panunti

Dennis Quinlan

vice president

Robin Smith patron services

Lisa Eng &

season tickets associate

Tammy Hawk

chief financial officer

symphony store

Pam Kruseck &

Susan Ambo

V.S. Jones

sales manager

data analyst

associate

education

Erin Jones

experience

FINANCE & ADMINISTRATION

senior director of

manager of development tickets

chief artistic officer

associate director of

revenue management

front of house manager

communications

program annotator

Bob Scarr archivist &

vice president of sales

coordinator

artistic administration

Ken Meltzer

Russell Wheeler

stage technician

OPERATIONS

multimedia creative manager

Christine Lawrence associate director of

guest services Sameed Afghani vice president & general Joanne Lerner manager

event manager

Paul Barrett

Clay Schell

senior production stage

consultant

manager

William Strawn

Tyler Benware operations manager

Richard Carvlin stage manager

Robert Darby stage technician

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

marketing manager

Michael Tamucci Event Coordinator

5 SOLUTIONS

PRINTING FULFILLMENT MARKETING TECHNOLOGY MERCHANDISE

One Company

COMMUNICORP

Communicorp is a leading edge Marketing Solutions Provider, offering customized solutions designed to meet your unique business needs. Our focus is to deliver quality products, innovative technology and a marketing strategy that drives results and brings value. We’re not just a print company, we’re a single source provider for all your marketing needs. From design to delivery, we make ideas happen.

ADDY

®

“Best Workplace in the Americas” – 15 yrs. and running

Multiple awards – American Advertising Federation of Montgomery

37 Years of industry expertise – ISO 9001:2015 SRI Certified

G7 Master Printer certified

Multiple print industry awards

Communicorp.com 1.800.775.7998 Atlanta: 770.541.4515 Columbus: 706.324.1182

84 | encore ASO | CORPORATE & GOVERNMENT SUPPORT

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.

ARTSATL

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

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

From Greek Mythology to

ocean limestone found on Mount Everest, the events of September 11, to the Cold War,

each of the 14 pieces in the sixth installment of the City of Suwanee’s award-winning culpour temporary sculpture exhibit

city permanent collection) (not to mention the 20 pieces in the city’s

as a tory.

learn more at suwanee.com

| 20 minutes north of Atlanta on I-85