ASO ENCORE :: November 2017

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Elisabeth Remy Johnson Principal Harp

NOV 2017





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November 2017 | Content 6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 Musicians 22 Concert Program & Notes 60 ASO Support 70 ASO Staff



72 Ticket Info/General Info

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14 Center Stage

with Bassist and Composer Michael Kurth

by Mark Gresham


Kathy Janich




Stephanie Smith




Whitney Stubblefield CONTRIBUTING WRITER

Mark Gresham

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IFC CommuniCorp

37 Spivey Hall

1 WellStar

41 Woodward Academy

3 Atlantic Private Residences

43 Emory Voice

5 Southern Lexus Dealer Association

57 Rialto Center for the Arts

7 City of Suwanee

73 Gordon Biersch


73 Concentrics

11 It’s Better in Braselton

75 Atlanta Botanical Garden

19 Arts at Emory

76 Aurora Theatre

21 Northside Hospital

IBC Tower Beer, Wine and Spirits

25 Overture at Lindbergh + Barrett

27 Fifth Group – Lure

BC Vital Life Centers for Health & Optimum Performance

33 Château Élan

35 Ruth’s Chris Steak House

4 | @AtlantaSymphony | | Atlanta’s Performing Arts Publication


ASO | Welcome Dear Friends,


ur 73rd season is off to a tremendous start, thanks to all of you! On behalf of all of us at the Atlanta Symphony Orchestra, I would like to extend my deepest gratitude for your ongoing support and dedication.

As we near the end of 2017, I encourage you to consider the importance of a continued commitment to the future of your Orchestra. While our present momentum is strong, we must remain vigilant in our efforts to ensure beautiful music for the Atlanta community for years to come. Each contribution is crucial to the stability and artistic integrity of the Atlanta Symphony Orchestra. Please visit to lend your vote of confidence by making a gift to your ASO.

There’s no better holiday gift than the gift of music and time together with the family. Please join us to celebrate cherished holiday traditions in Symphony Hall with Christmas with the ASO on Dec. 9 & 10, A Very Merry Holiday Pops on Dec. 15 & 16 and Handel’s Messiah on Dec. 22. This season we’ll also welcome Disney’s Broadway Hits with the ASO on Nov. 25 & 26, Harry Potter and the Sorcerer’s StoneTM in Concert on Dec. 1 & 2, and more from the Atlanta Symphony Hall LIVE series—including a special one-night-only performance by Jennifer Nettles (of Sugarland fame) with the ASO on Dec. 20. There’s something for every musical taste with the ASO this holiday season, so I hope you’ll join us. Sincerely, Jennifer Barlament Executive Director

6 | @AtlantaSymphony |


This month, we’ll showcase two of our flagship education programs, demonstrating this institution’s important investment in building the next generation of classical musicians and music lovers. First, we feature the 103 dynamic young musicians of the Atlanta Symphony Youth Orchestra, who were chosen from over 350 applicants, offering their opening concert of the season on Sunday, Nov. 5, led by Assistant Conductor and ASYO Music Director, Stephen Mulligan. In addition, we are thrilled to present the annual Talent Development Program (TDP) Musicale on Nov. 12, which features TDP Fellows and special guests in a festive concert celebrating these talented young African-American and Latino/a musicians. If you’ve never heard the ASYO or TDP students in action, I urge you to join us. Their passion, dedication and skill will leave you feeling inspired about the future. To learn more about supporting these important programs, please go to our web site:

What does a popsicle duo, a swinger, and Humpty Dumpty’s doppelganger have in common?

n suwanee

Vibrant, thriving communities across the country share a common bond: a strong commitment to public art.

Join us in Town Center Park to meet the 20-or-so new Suwanee residents that make up our fifth Suwanee SculpTour temporary sculpture exhibition, joining the 16 pieces of art in the city’s permanent collection.

ASO | Music Director Robert Spano


onductor, pianist, composer and teacher Robert Spano is known worldwide for the intensity of his artistry and distinctive communicative abilities. Beginning his 17th season as Music Director of the Atlanta Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music with an entire community and concert hall. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers and enjoys collaborations with composers and musicians of all ages, backgrounds and ability, especially through his leadership of the Atlanta School of Composers. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs for 630 students and rising artists; he also holds a conducting residency with the Colburn School Orchestra in Los Angeles. Spano has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals. Guest engagements have included the New York and Los Angeles Philharmonics, and San Francisco, Boston, Cleveland, Chicago, Minnesota, Oregon, Utah, Kansas City and Philadelphia Symphony Orchestras, the Orchestra Filarmonica della Scala, BBC Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Orquestra Sinfonica Brasileira, Orquestra Sinfonica Estado Sao Paulo, the Melbourne Symphony in Australia and the Saito Kinen Orchestra in Japan. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the Seattle Opera’s Wagner Ring cycles.


With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has won six Grammy® Awards with the Atlanta Symphony Orchestra. 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.

8 | @AtlantaSymphony |


Visit the pre-Civil War gardens and the Callaway family home, which will be adorned with fresh garland, flower arrangements, and live trees for the Christmas season. Tours are given from 10 am – 5 pm Tuesday through Saturday. Plan your visit at

Biblical History Center

Follow the journey of Joseph and Mary as they travel from Nazareth to Bethlehem and learn new insights into the Christmas story. Every Friday and Saturday night in December up to Christmas Eve. Call for reservations at 706.885.0363. Just a short drive from Atlanta, visit LaGrange where you can explore history while celebrating the holiday season. Plan your journey our way at or call


ASO | leadership 2017-18 Board of Directors Officers Howard D. Palefsky, Chair

Directors Keith Adams Juliet Allan Susan Antinori Jennifer Barlament* Neil H. Berman+ Paul Blackney Rita Bloom Janine Brown Karen Bunn* C. Merrell Calhoun+ Bill Carey S. Wright Caughman, M.D.+ Russell Currey Lynn Eden

Thomas Wardell, Vice Chair Lynn Eden, Vice Chair

Meghan H. Magruder, James Rubright, Secretary Treasurer

Paul R. Garcia Jason Guggenheim Joseph W. Hamilton, III Bonnie Harris Caroline Hofland Doug Hooker Tad Hutcheson Roya Irvani D. Kirk Jamieson Carrie Kurlander James H. Landon+ Donna Lee Hank Linginfelter Karole F. Lloyd

Kelly L. Loeffler Meghan H. Magruder Brian F. McCarthy Penelope McPhee+ Bert Mills Molly Minnear Terence L. Neal Joseph M. O’Donnell Galen Lee Oelkers Howard D. Palefsky Suzanne Tucker Plybon+ Ronda Respess* James Rubright William Schultz

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

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Jim Kelley George Lanier Patricia Leake

Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner

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

Mrs. Drew Fuller Mary D. Gellerstedt

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

Board of Counselors Mrs. Helen Aderhold Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden

Life Directors

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

* Ex-officio + 2017-2018 Sabbatical 10 | @AtlantaSymphony |


Robert Spano Music Director The Robert Reid Topping Chair

MUSICIAN ROSTER FIRST VIOLIN David Coucheron Concertmaster

SECTION VIOLIN ‡ Judith Cox Raymond Leung

VIOLA Reid Harris Principal

The Mr. & Mrs. The Carolyn Howard R. Peevy Chair McClatchey Chair The Mabel Dorn Sanford Salzinger Reeder Honorary Chair

The Edus H. & Harriet H. Warren Chair

Justin Bruns Associate Concertmaster

The Mary & Lawrence Gellerstedt Chair

The Charles McKenzie Taylor Chair

Vacant Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Anastasia Agapova Acting Assistant Concertmaster Carolyn Toll Hancock

SECOND VIOLIN Julianne Lee• Principal

Paul Murphy Associate Principal Catherine Lynn

The Atlanta Symphony Assistant Principal Associates Chair Marian Kent

Sou-Chun Su Associate Principal

The Frances Cheney Boggs Chair

Jay Christy Assistant Principal Noriko Konno Clift Acting Assistant Principal Sharon Berenson The Wells Fargo Chair David Braitberg John Meisner David Dillard Christopher Pulgram Eleanor Kosek Carol Ramirez Ruth Ann Little Juan Ramirez Thomas O’Donnell Olga Shpitko Ronda Respess Kenn Wagner Frank Walton Lisa Wiedman Yancich Sissi Yuqing Zhang •

Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp

CELLO Christopher Rex Principal The Miriam & John Conant Chair

Daniel Laufer Associate Principal The Livingston Foundation Chair

Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Thomas Carpenter •

Players in string sections are listed alphabetically

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Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair Joel Dallow

The UPS Foundation Chair

Larry LeMaster Brad Ritchie Paul Warner BASS Vacant Principal The Marcia & John Donnell Chair  Gloria Jones Allgood Associate Principal Lucy R. & Gary Lee Jr. Chair

Karl Fenner Sharif Ibrahim • Michael Kenady

The Jane Little Chair

Michael Kurth Joseph McFadden* Daniel Tosky FLUTE Christina Smith Principal The Jill Hertz Chair

Robert Cronin Associate Principal C. Todd Skitch Gina Hughes PICCOLO Gina Hughes

Michael Krajewski Principal Pops Conductor

Stephen Mulligan Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair

OBOE Elizabeth Koch Tiscione Principal

Anthony Georgeson• Associate Principal Laura Najarian The George M. & Corrie Juan de Gomar Hoyt Brown Chair

Yvonne Powers Peterson Associate Principal The Kendeda Fund Chair

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

Nathan Zgonc Second/Associate Principal Brian Hecht

BASS TROMBONE CONTRA-BASSOON Brian Hecht The Home Depot Juan de Gomar Veterans Chair

HORN Brice Andrus Principal The Betty Sands Fuller Chair

Susan Welty Associate Principal Jaclyn Rainey Bruce Kenney

TRUMPET The Robert Shaw Chair Stuart Stephenson Principal Ted Gurch The Madeline & Associate Principal Howell Adams Chair Marci Gurnow Vacant Alcides Rodriguez Associate Principal E-FLAT CLARINET Michael Tiscione Acting Associate Ted Gurch Principal/Second BASS CLARINET TROMBONE Alcides Rodriguez Samuel Schlosser BASSOON Principal The Terence L. Neal Andrew Brady Chair, Honoring Principal The Abraham J. & Phyllis Katz Foundation Chair

Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair

his dedication and service to the Atlanta Symphony Orchestra

TUBA Michael Moore Principal The Delta Air Lines Chair

TIMPANI Mark Yancich Principal The Walter H. Bunzl Chair

William Wilder Assistant Principal PERCUSSION Joseph Petrasek • Principal

HARP Elisabeth Remy Johnson Principal The Sally & Carl Gable Chair


The Hugh & Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson LIBRARY Nicole Jordan Principal The Marianna & Solon Patterson Chair

Holly Matthews Assistant Principal Librarian Hannah Davis ASYO/Assistant Librarian

The Julie & Arthur Montgomery Chair

Charles Settle* Acting Principal The Connie & Merrell Calhoun Chair

William Wilder Assistant Principal The William A. Schwartz Chair

Michael Stubbart •

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


mbedded within the panoply of delights that make up the Atlanta Symphony Orchestra’s 2017-18 season is the music of Michael Kurth, a member of the ASO’s contrabass section. Over the last six years, Kurth has become increasingly noted as one of Atlanta’s leading composers, both for his chamber music and the orchestral works he has written for the ASO.

A good handful of your compositions are being performed this season by the Atlanta Symphony Orchestra, then many of them many will be recorded by the ASO in May to be released on CD by ASO Media.

That CD, to be recorded in May 2018, is expected to include Kurth’s A Thousand Words, May Cause Dizziness, Everything Lasts Forever, Miserere, an arrangement of The Star-Spangled Banner and quite possibly the humorous mash-up of “Happy Birthday” with the slow movement of Beethoven’s Symphony No. 5 Kurth wrote for the 80th birthday of the late fellow ASO contrabassist Jane Little.

orchestration not any content. One thing we added this time, which was actually in the original score but only as an option, was the “Berlioz” bells. [A pair of enormous bells owned by the ASO, designed specifically for use in Berlioz’s Symphonie fantastique.] I wrote a part for it in the first movement and in the last movement. We used them in this season’s opening concert and will again on the CD.

In the following Q&A, Michael Kurth talks about some of his music that the ASO will perform and record this year, and his double life as contrabassist and composer.

That concert also included the premiere of your new arrangement of The Star-Spangled Banner to open the second half. How does it differ from

Michael Kurth: Yes, they will. It’s the Symphony’s policy and practice to perform everything in the season they record it, as close to the recording as possible, but “Michael is such an amazing talent, and there’s so much of mine that they had to his music is an astonishing amalgam of spread it out quite a bit. It was kind of styles and influences. His is an exhilarating like sifting something with a sieve into and fresh voice,” says ASO Music Director programs that had the right duration and Robert Spano, who has been an active orchestration hole in them, and they let champion of Kurth’s music. “I look forward the pieces fall where they fit. The piece to celebrating his music throughout the that fit on the season’s opening concert season, as well as the release of his was A Thousand Words. recording on ASO Media in 2019.” I did some revision to it, just some

14 | @AtlantaSymphony |

CENTER STAGE MICHAEL KURTH with Bassist and Composer


by Mark Gresham | Atlanta’s Performing Arts Publication 15

Kurth: Yes. It’s a piece for the chamber chorus and chamber orchestra and Kelley Kurth: Mine came to me on a hike, hiking O’Connor, the mezzo-soprano who I have with my wife and just the Andante pace worked with many times. The piece is of my steps, with probably the way I was written for her and the Chamber Chorus, tapping my hands on my face as I walked. I with them specifically in mind. It’s called created this polyrhythm and that became a Miserere. It’s in eight movements, 24 signature drum groove for the thing. So it’s minutes long. heavy drums, and beyond that it’s a more Your first orchestral composition, slightly jazzy harmonization. It’s the familiar which the ASO premiered in 2011, was melody of course, and it’s in a key that’s a the four-minute fanfare, May Cause little more singable than the Damrosch, Dizziness, which will be performed again in April. How has your music and just a half-step more comfortable. your relationship with Robert Spano But there is one other new piece of and the Atlanta Symphony evolved yours that will premiere during the since then – not only as a composer, Holiday season this December, but but also from your perspective as a won’t be part of the CD. Tell us about member of the orchestra’s contrabass that piece. section? Kurth: For the “Christmas with the ASO” concert, they asked me to compose a Kurth: I think the way it has changed and grand piece that involved everybody evolved over the years is I’ve tried to grow on stage: the Morehouse College Glee more sensitive as an orchestrator and as Club and drummers, the ASO Chorus, the a colleague, because I know what it’s like Gwinnett Young Singers, and of course the to play too much of someone’s music, Orchestra. So I found an old hymn that I and I know what it’s like when composers like, “Amid the Winter’s Snow.” It’s only are heavy-handed in the way they treat familiar to Presbyterians. Nobody else orchestras. I don’t want to be that guy. knows it. I just used the words, gutted the Everybody in the orchestra can tell when music, and made it a big, huge, bombastic some composer who has never played in Christmas joyfest, so I’m looking forward an orchestra before puts something on our to that, although it won’t be on the stands. It’s just obvious. I hope my stuff is a CD. It’s one of my pieces that’s entirely little more idiomatic 100% diatonic, no accidentals in the entire I’m a composer, but I’m a colleague first – a thing, which is a limitation I put on myself bass player in the orchestra. That’s my day sometimes – sort of like walking with ankle job, and I want to maintain a relationship for my entire career. If the composing gets weights. more and more successful, great, but my But there is another choral work of first role is a bass player and colleague to yours that will premiere in March that this great orchestra. I have such amazing will be part of the CD? colleagues. They’re so generous and talented. They’ll play anything but they’ll also be honest with me. the familiar arrangement by Walter Damrosch?

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Kurth: The best way I’ve come to describe my goals, as a composer who wants to appeal to audiences, is I imagine a Kurth: That piece is what it is. I love it, it spectrum with two crossed axes, one of required zero revision, I think it’s fine as it depth of appeal and one of breadth of is. It’s not the most substantial piece in the appeal. I want to be where those axes world, but I like it as it is, I didn’t have to intersect, where I have equal parts breadth and depth of appeal. revise it a bit. There’s the reprise of your wonderful graffiti-inspired Everything Lasts Forever in late January.

Concerning the public art that inspired Everything Lasts Forever, is much of that artwork gone now? Some sites, like the Krog Street Tunnel, have been painted over or have been demolished or otherwise disappeared.

Do pieces that you feel are your best work also wind up being the audience’s favorites?

Kurth: It’s always surprising. There’s a piece I wrote [for string quartet] called Mean Old Pony Tango. That’s everybody’s Kurth: The title piece, Everything Lasts favorite. I don’t think it’s my best work. Forever, that was gone long before that It’s catchy. I’m glad people like it, but if I [painting-over of the Krog Street Tunnel]. didn’t know that and I had to guess what That’s sort of the ironic point of the piece was everybody’s favorite, it would not be was that we can say what we do lasts that one. forever but it’s gone by the time we’re Will you be seated in the audience for finished saying it, or it’s on its way out these performances of your music or playing in the orchestra? anyway. Kurth: I’ll be playing instead of sitting in the audience. That will be kind of a new experience, as I’ve had no Kurth: And it’s ephemeral, too. I wouldn’t repeat performances by the ASO until go so far as to say it’s disposable. I want now. For the premieres, I’ve always the pieces to live. I want them to grow and sat in the audience. This time I need evolve and change and every interpreter to help out, pull my own weight. to have their own resonance with them in performance of it. So in that sense, I’m not Portions of the above article first appeared disappointed that we’re recording them at on in September. all, but I would hate for the recording to be the last word. So there are some ways in which the music is a snapshot that’s archival of things no longer with us.

It’s very clear that Robert Spano likes your music. Kurth: He likes it and he is not risk-averse. He’s willing to take chances on me and I’m beyond grateful. I’m really fortunate. How do you describe your own aesthetic objectives? 17

ASO | education MUSICAL MONDAYS A new hands-on music education experience for early learners and their caregivers to explore fun, engaging ways to make music together with movement, instruments, singing and more! NOV 13 | DEC 4 | JAN 15 | FEB 5 MAR 5 | APR 2 | MAY 7 All classes take place Monday, 10am Support provided by the Lettie Pate Evans Foundation Talent Development Program MUSICALE NOV 12 | Sun: 3:00pm The ASO Talent Development Program educates and develops musically gifted African American and Latino musicians committed to pursuing a career in orchestral music. Join us as the fellows showcase their talents and hard work in a special program also featuring TDP alumnae and New World Symphony fellow Chelsea Sharpe.

(recommended for children 1 to 5 years of age) Music of North America NOV 18 | Sat: 9:30/10:30/ 11:30am NOV 19 | Sun: 1:30/2:30/3:30pm Music of Africa DEC 16 | Sat: 9:30/10:30/11:30am DEC 17 | Sun: 1:30/2:30/3:30pm Family Holiday featuring The Snowman Movie

DEC 3 | Sun: 3pm Grab your family and friends and get in the winter spirit with the Atlanta Symphony Orchestra as we perform Howard Blake’s soundtrack to The Snowman movie live with the film! Also featuring Peter Ilyich Tchaikovsky’s Nutcracker Overture and Antonio Vivaldi’s ”Winter” from The Four Seasons. 18 | @AtlantaSymphony |

2017 - 2018




SUSAN GRAHAM, MEZZO-SOPRANO Saturday, February 3, 2018 at 8 p.m.


MURRAY PERAHIA, PIANO Sunday, April 15, 2018 at 7 p.m.


BOX OFFICE 404.727.5050


ASO | sponsors AtlantaSymphonyOrchestra

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

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

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Midtown and Northside. Like the sound of that? Coming soon.

NOV 2/4 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Concerts of Thursday, November 2, and Saturday, November 4, 2017, at 8:00pm JUN MÄRKL, Conductor Additional support for While Richard Strauss’s Opening Weekend Burleske is an early work, performances generously Ein Heldenleben (A Hero’s provided by Victoria and Life) (1898), was written Howard D. Palefsky. when the composer was at the height of his fame and powers. In this grand orchestral showpiece, the Hero, none other than Strauss himself, does battle with his enemies, the critics who refused to accept his revolutionary form of musical expression. A Hero’s Life is one of Strauss’s most thrilling and majestic works. MAR 8/10 STRAUSS Ein Heldenleben Henrik Nánási, Conductor

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 handheld devices.

CATALINA CUERVO, soprano BERTRAND CHAMAYOU, piano MANUEL DE FALLA (1876-1946) El amor brujo (Love, the Magician) (1915) 24 MIN I. Introduction and Scene II. In the Cave: Night III. Song of Love’s Sorrow IV. The Apparition V. Dance of Terror VI. The Magic Circle. Song of the Fisherman VII. Midnight: Witchcraft VIII. Ritual Fire Dance, to Drive Away the Evil Spirits IX. Scene X. Song of the Will-o’-the-Wisp XI. Pantomime XII. Dance of the Game of Love XIII. Finale. The Bells of Morning Catalina Cuervo, soprano RICHARD STRAUSS (1864-1949) Burleske in D minor for Piano and Orchestra (1885-6) Bertrand Chamayou, piano

17 MIN

INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 4 in B-flat Major, Opus 60 (1806) 35 MIN I. Adagio; Allegro vivace II. Adagio III. Menuetto. Allegro vivace IV. Allegro ma non troppo English surtitles for El amor brujo by Ken Meltzer

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Notes on the Program Ken Meltzer, Program Annotator El amor brujo (Love, the Magician) (1915)

First Classical Subscription Performances: March 13-14, 1958, Henry Sopkin, Conductor.

MANUEL DE FALLA was born in Cádiz, Spain, on November 23, 1876, and died in Alta GraMost Recent Classical Subscription cia, Argentina, on November 14, 1946. The Performances: March 7-9, 2002, first performance of the original version of El Robert Spano, Conductor. amor brujo took place at the Teatro Lara in Madrid, Spain, on April 15, 1915, with José Moreno Ballesteros conducting. The first performance of the revised version took place at the Théâtre du Trianon-Lyrique in Paris, France, on May 22, 1925, with the composer conducting. El amor brujo is scored for mezzo-soprano solo, piccolo, two flutes, oboe, English horn (optional), two clarinets, bassoon, two horns, two trumpets, timpani, chimes, piano, and strings.


he inspiration for Manuel de Falla’s ballet El amor brujo (Love, the Magician) came from the celebrated Spanish dancer and singer, Pastora Imperio (1889-1979). Imperio wanted Falla to collaborate with the Spanish writer, Gregorio Martinez Sierra (1881-1947) to create a “song and dance” for her to perform. Both Falla and Sierra embarked upon a concentrated study of Spanish folk music and legend, assisted along the way by Imperio, and her mother, a famous dancer in her own right. The premiere of the original version of El amor brujo took place at Madrid’s Teatro Lara on April 4, 1915, conducted by José Moreno Ballesteros. Pastora Imperio danced the role of the heroine, Candelas. After the premiere, Falla and Martinez set about revising El amor brujo, expanding the orchestration, as well as adding principal characters. On May 22, 1925, Falla conducted the premiere of the revised version of El amor brujo in a brilliant production at the Paris Théâtre du Trianon-Lyrique. The premiere was a rousing success, and since that time, Falla’s Love, the Magician has continued to weave its magical spell, both on the ballet stage and orchestral concert hall. The story of Love, the Magician focuses upon Candelas, a beautiful and passionate young woman. Candelas mourns the death of her lover, who haunts her constantly. Even though Candelas’s life with the man was a profoundly unhappy one, she cannot forget him, and is terrified of the possibility of his return. With the arrival of spring, Candelas falls in love with the handsome young man, Carmelo. But when Carmelo approaches Candelas and tries to kiss her, the ghost of her former lover intervenes and separates them. Carmelo, who knew Candelas’s former lover when he was alive, hatches a plan. Carmelo suggests that the beautiful gypsy girl, Lucia, seduce the ghost. Lucia is tantalized by the prospect. Carmelo once again approaches Candelas. When the ghost returns to foil the new lovers, Lucia begins her seduction. While the ghost is distracted, Carmelo convinces Candelas of his true love. He kisses Candelas, thereby breaking the spell of the ghost, who disappears forever. Burleske in D minor for Piano and Orchestra (1885-6) RICHARD STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The first performance of Burleske took place at the Tonkünstlerfest in Eisenach, Germany, on June 21, 1890, with Eugen d’Albert as piano soloist, and the composer conducting the Festival Orchestra. Burleske is scored for solo piano, piccolo, two flutes, two oboes, two clarinets, two | Atlanta’s Performing Arts Publication 23

NOV 2/4 | program bassoons, four horns, two trumpets, timpani, and strings.


First Classical Subscription Performances: May 12-14, 1977, James Tocco, Piano, Robert Shaw, Conductor.

n the early part of 1885, Richard Strauss, then 20 years old, became an apprentice to Hans von Most Recent Classical Subscription Bülow (1830-1894), the director of the distinguished Performances: September 27-29, Meiningen Court Orchestra. The conducting 2001, Jean-Yves Thibaudet, Piano, apprenticeship, which lasted six months, was a Robert Spano, Conductor. period of intense activity for the young Strauss. As a result, he found little time to compose. One of the few pieces from that Meiningen period is the Burleske, scored for solo piano and orchestra. Burleske dates from about the same time as such early Strauss compositions as the Serenade for Thirteen Winds (1881), the First Horn Concerto (1883), and the Piano Quartet in C minor (1883-4). Strauss was 20 years old, and such breakthrough works as the orchestral tone poem Don Juan (1888-9), and his opera Salome (1905), were still on the horizon. At the time, the influences of such composers as Robert Schumann (1810-1856) and Johannes Brahms (1833-1897) weighed heavily on Strauss. To be sure, the presence of Brahms is strongly felt in the Burleske (Bülow and the Meiningen Orchestra were frequent and close collaborators with Brahms). And yet, from time to time, hints of Strauss’s own, more famous works, also suggest themselves. Both a highly accomplished and entertaining work in its own right, and a harbinger of the unique genius who would soon take the music world by storm, the Strauss Burleske continues to inspire the affection of concert pianists and their audiences. Allegro vivace—Burleske opens with the timpani’s insistent motif. This motif, which recurs throughout the work, serves as the foundation for the jaunty principal theme, introduced by the orchestra. The soloist soon makes his initial, glittering appearance. In addition to the opening theme, Strauss introduces additional melodies that provide glowing lyric contrast. The writing for the soloist is brilliant throughout. Toward the close of Burleske, the soloist plays several unaccompanied passages. In the final measures, the timpani and soloist engage in furtive exchanges. The kettledrum has the final say—a single hushed note. Symphony No. 4 in B-flat Major, Opus 60 (1806) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The Symphony No. 4 is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: November 27, 1951, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: January 22, 24, and 25, 2015, Matthias Pintscher, Conductor. uring the summer of 1806, Ludwig van Beethoven visited his friend and patron, Prince Karl Lichnowsky, who owned a Silesian country estate. During that visit, Lichnowsky introduced Beethoven to Count Franz von Oppersdorf, whose castle was located nearby. Oppersdorf, an avid music-lover, greeted Beethoven with a performance of the composer’s Symphony No. 2, played by the Count’s own court orchestra.


It was on that occasion that Count Oppersdorf commissioned Beethoven to write a new symphony. Beethoven had already begun work on what would become known as his Symphony No. 5. However, he temporarily put that work aside, in order to compose the B-flat Major Symphony for Prince Oppersdorf. Beethoven composed his Fourth Symphony 24 | @AtlantaSymphony |

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NOV 2/4 | program during the months of September and October 1806, while residing at Prince Lichnowsky’s estate. The Symphony probably received its premiere in March of the following year, at the Vienna Palais Lobkowitz. It was Robert Schumann who characterized Beethoven’s Fourth Symphony as “a slender Greek maiden between two huge Nordic giants.” It is certainly true that the Fourth does not present the epic struggles found in the “Eroica” and Fifth Symphonies. Nevertheless, there is plenty of drama in the Beethoven Fourth, as well as humor. The latter is a characteristic not often associated with a man who, through genius and force of will, overcame the greatest obstacles, including deafness. Still, we know from contemporary accounts that Beethoven did, indeed, possess a robust sense of humor. And, we should also bear in mind that in his early years, Beethoven was a student of the greatest of all symphonic humorists, Franz Joseph Haydn. In listening to the Fourth, it is appropriate to recall what Haydn wrote of his young pupil in 1793: “Beethoven will in time become one of the greatest musical artists in Europe, and I shall be proud to call myself his teacher.” The Symphony is in four movements. The first opens with an extended and mysterious slow-tempo introduction (Adagio). A crescendo leads to a whiplash motif in the strings, the springboard to the skipping principal motif of the Allegro vivace. The slow-tempo second movement (Adagio) begins with a repeated figure in the second violins. This serves as the accompaniment for the lovely cantabile (i.e., in a singing style) opening theme, played by the first violins, and later repeated by the winds. Beethoven titled the Fourth Symphony’s third movement a Minuet (Menuetto. Allegro vivace). But in truth, the third movement is a fine example of the minuet’s more vigorous cousin, the scherzo. The principal scherzo portion alternates with the more pastoral Trio section. A brief horn call precedes a concluding fortissimo chord. The finale (Allegro ma non troppo) opens with a perpetuum mobile figure in the strings, establishing the playful mood that predominates throughout. The coda seems to proceed toward a quiet resolution, but, suddenly, a raucous exclamation brings the Symphony No. 4 to a fortissimo conclusion.

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NOV 2/4 | artists JUN MÄRKL, conductor



un Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012).

From 2014-17 seasons, he is Principal Conductor to the Basque National Orchestra. He guests with the World’s leading Orchestra, including the Cleveland Orchestra, Philadelphia Orchstra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic and Tonhalle Orchester Zürich. Märkl works regularly with many of the North American Orchestra — St. Lois, Atlanta , Baltimore, Cincinnati, Minnesota, Detroit, Houston and Vancouver, among others. Märkl has been a regular guest at the State Opera of Vienna, Munich and Semper Oper Dresden, and was until 2005 Permanent Conductor of the Bavarian State Opera in Munich. In 2014 Naxos released two Hosokawa discs recorded by Jun Märkl with Royal Scottish National Orchestra. He has also recorded the complete Schumann symphonies live with the NHL Symphony, Dvořák on Telarc, Mendelssohn and D’Albert with MDR, and Ravel, Messaien and a highly acclaimed nine-disc Debussy set with the Orchestre National de Lyon on Naxos. Presently he is recvording a cycle of works of Saint-Saëns and Hosokawa for Naxos. In recognition of his achievements in Lyon, he was honored by the French Ministry of Culture in 2012 with the Chevalier de l’Ordre des Arts et des Lettres. CATALINA CUERVO, soprano Known as the “Fiery Soprano,” Colombian/American soprano Catalina Cuervo holds the distinction of having performed the most performances of Piazzolla’s Maria de Buenos Aires. Cuervo has performed the role of Maria for numerous prestigious companies including Florida Grand Opera, Cincinnati Opera and Syracuse Opera, to name a few. Following her debut as Maria in Chicago, Cuervo performed at venues and festivals including Chicago Dance Festival and Latino Music Festival together with Kaia Quartet and the acclaimed tango show “This is Tango.” Recently, Cuervo made her debut in Detroit, with much success, as Frida Kahlo in the opera Frida with Michigan Opera Theater. This opera gave her a huge following in the state of Michigan and ended with all sold-out shows and triumphant reviews. As a consequence, Catalina was named one of the five most successful Colombian sopranos in the Opera World by the Ministry of Culture of Colombia. Other recent roles include Adriana in the Zarzuela Los Gavilanes, and Hanna in the operetta The Merry Widow with La Fundacion Manzur in Bogota, Colombia. Before that, she performed the role of Amapola in the Zarzuela La Leyenda del Beso, Musetta in La bohème with La Fundación Prolirica in Medellin, Magda in Puccini’s La rondine and as cover to Alinda in Cavalli’s Giasone for the Chicago Opera Theater. 28 | @AtlantaSymphony |

Cuervo was a finalist at the Neue Stimmen International Singing Competition in Germany and won the Graduate Division of the Chicago Area for the Classical Singer Competition, and was a finalist in New York for the same. Besides singing, Catalina Cuervo is also a successful model, fitness enthusiast and belly dancer. BERTRAND CHAMAYOU, piano


The 2017/18 season will see him make his debuts with New York Philharmonic under Semyon Bychkov, Tonhalle-Orchester Zürich, Bamberger Symphoniker, Staatskapelle Berlin, Atlanta Symphony Orchestra, Orchestre symphonique de Québec and Detroit Symphony Orchestra. Further highlights include his return to Orchestre National de Belgique, Orquesta Nacional de España, Orchestre de Paris and Orchestre National de France. He will perform as soloist on tour in South Africa with the Orchestre National du Capitole de Toulouse.


ertrand Chamayou has mastered an extensive repertoire displaying striking assurance, imagination, artistic approach and remarkable consistency in his performances. He is a regular performer in venues such as the Théâtre des Champs Élysées, Lincoln Center, the Herkulessaal Munich and London’s Wigmore Hall. He has appeared at major festivals including New York’s Mostly Mozart Festival, the Lucerne Festival, Edinburgh International Festival, Rheingau Musik Festival, Beethovenfest Bonn and Klavier-Festival Ruhr.

Chamayou is a regular chamber music performer, with partners including Renaud and Gautier Capuçon, Quatuor Ebène, Antoine Tamestit and Sol Gabetta. The pianist will open the season at London’s International Piano Series and perform in recitals at Wigmore Hall, Kissinger Sommer, Lakeside Arts Center Nottingham, in Monte Carlo, Vilnius, Essen, at Salzburg’s Easter Festival and Great Performers series at Lincoln Center, New York. Bertrand Chamayou has made a number of highly successful recordings, including a Naïve CD of music by César Franck, which was awarded several accolades including Gramophone’s Editor’s Choice. In 2011, Chamayou celebrated Liszt’s 200th anniversary with a recording of the complete Années de Pèlerinage - also for Naïve - which he performed in several venues throughout the world. The album received rave reviews worldwide – including Gramophone Choice. The only artist to win France’s prestigious Victoires de la Musique on four occasions he has an exclusive recording contract with Warner/Erato and was awarded the 2016 ECHO Klassik for his recording of Ravel’s complete works for solo piano. | Atlanta’s Performing Arts Publication 29

NOV 5 | program The Atlanta Symphony Youth Orchestra is sponsored by AT&T.

AtlantaSymphonyYouthOrchestra Stephen Mulligan, Music Director

Concert of Sunday, November 5, 2017, at 3:00pm STEPHEN MULLIGAN, Conductor RICHARD WAGNER (1813-1883) Prelude to Act III of Lohengrin (1850) Don’t miss the ASYO CRESCENDO CONCERT MAR 18 Did you know? Some ASYO musicians are also fellows of the ASO Talent Development Program (TDP), which identifies and develops musically gifted and motivated African American and Latinx classical music students for acceptance in top music programs in preparation for careers as professional musicians.


RICHARD STRAUSS (1864-1949) Tod und Verklärung (Death and Transfiguration), Opus 24 (1889) 23 MIN INTERMISSION CHARLES IVES (1874-1954) The Unanswered Question (1906) LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 5 in C minor, Opus 67 (1808) I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro


The 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 6 MIN 31 MIN

Notes on the Program Ken Meltzer, Program Annotator Prelude to Act III of Lohengrin (1850) RICHARD WAGNER was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of the opera Lohengrin took place at the Hoftheater in Weimar, Germany, on August 28, 1850, conducted by Franz Liszt. The Prelude to Act III is scored for three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, tambourine, and strings.


he story of Wagner’s opera, Lohengrin, takes place in Antwerp, in the early 10th century. The maiden Elsa is falsely accused of murdering her brother, the rightful heir to the throne. A knight arrives in a swan-drawn boat and agrees to defend Elsa’s honor. The knight demands that Elsa never try to determine his origin or name. Elsa consents, and the knight defeats her accuser. Elsa and the knight wed, but soon, she becomes suspicious. Finally, she asks the knight the forbidden question. The knight reveals his identity. He is Lohengrin, a Knight of the Holy Grail. Because Elsa has violated her trust, the heartbroken Lohengrin must leave her forever. Before he departs, Lohengrin prays, and the swan is transformed back into the person of Elsa’s brother. Wagner saw the story of Lohengrin as a metaphor of the artist’s attempt to gain understanding within society. He began work on the text of Lohengrin in 1845, finally completing the score on April 28, 1848. The opera received its premiere in Weimar, under the direction of Franz Liszt, on August 28, 1850. In time, Lohengrin emerged as one of Wagner’s most beloved works. The orchestral Preludes to Acts I and III have also enjoyed a regular presence in the concert hall. The brief and “very lively” (Sehr lebhaft) Prelude to Act III portrays the celebrations attending the wedding of Elsa and Lohengrin. Tod und Verklärung (Death and Transfiguration), Opus 24 (1889)

RICHARD STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The first performance of Tod und Verklärung took place as part of the Tonkünstlerfest in Eisenach, Germany, on June 21, 1890, with the composer conducting the Tonkünstlerfest Orchestra. Tod und Verklärung is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, tam-tam, two harps, and strings.


ichard Strauss composed his orchestral tone poem, Death and Transfiguration in 1889. Strauss conducted the world premiere in Eisenach, Germany, on June 21, 1890.

In an 1894 letter to a friend, Richard Strauss outlined the story depicted in his tone poem: It was six years ago that it occurred to me to present in the form of a tone poem the dying hours of a man who had striven toward the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy, irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever—as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s | Atlanta’s Performing Arts Publication 31

NOV 5 | program path, the conception, the ideal that he has sought to realize, to present artistically, but that he has not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things that could not be fulfilled here below. The Unanswered Question (1906) CHARLES IVES was born in Danbury, Connecticut on October 20, 1874, and died in New York on May 19, 1954. The first performance of The Unanswered Question took place at Columbia University in New York, on May 11, 1946. The Unanswered Question is scored for four flutes, trumpet, and strings.


lthough Charles Ives composed The Unanswered Question in the first decade of the 20th century, the publication did not take place until 1941, after several revisions. Five years later, The Unanswered Question received its premiere at Columbia University in New York. The May 11, 1946 performance was part of an all-Ives concert, held as part of the Second Annual Festival of Contemporary Music. The Unanswered Question is scored for a chamber ensemble of trumpet, flute quartet, and (muted) strings, although Ives allows for changes of instrumentation, if necessary. The composer also provided the following description of this mysterious, atmospheric work: The strings play ppp throughout with no change in tempo (Annotator’s note: Ives directs that they be positioned either “‘off-stage,’ or away from the trumpet and flutes”). They are to represent “The Silences of the Druids—who Know, See, and Hear Nothing.” The trumpet intones “The Perennial Question of Existence,” and states it in the same tone of voice each time. But the hunt for “The Invisible Answer” undertaken by the flutes and other human beings becomes gradually more active, faster and louder through an animando to a con fuoco… “The Fighting Answerers,” as the time goes on, and after a “secret conference,” seem to realize a futility, and begin to mock “The Question”—the strife is over for the moment. After they disappear, “The Question” is asked for the last time, and the “Silences” are heard beyond in “Undisturbed Solitude.” Symphony No. 5 in C minor, Opus 67 (1808) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Fifth Symphony took place at the Theater an der Wien in Vienna on December 22, 1808, with the composer conducting. The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani, and strings.


eethoven’s immortal Fifth Symphony is a work that continues to astonish listeners with its elemental power, taut drama, and, above all else, a sense of absolute inevitability. And yet, there was nothing inevitable about the process of this Symphony’s creation. The composition of the Fifth Symphony took place over a span of approximately four years, 18041808. During that time, Beethoven wrote and rewrote passages, filling sketchbook upon sketchbook with ideas for the Symphony. Beethoven finally completed his Fifth Symphony in the spring of 1808. The work received its premiere at a December 22, 1808 concert, sponsored by the composer, and held at the

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NOV 5 | program Theater an der Wien. Beethoven served as both conductor and pianist in a marathon program, featuring almost four hours of his music. Perhaps a music lover who had access to a time machine might choose this concert as his first destination. Imagine the opportunity to witness Beethoven performing several of his greatest masterworks! By all accounts, however, the event was far from a triumph. A lack of sufficient rehearsal time, coupled with Beethoven’s failings as a conductor, led to performances that were haphazard at best, and disasters at worst. Further, the audience endured this marathon concert—held in the dead of winter—in an unheated theater. The Beethoven Fifth maintains its status as one of the greatest and most popular Symphonies. However, the work’s extraordinary power and revolutionary nature at first inspired confusion, awe, and even fear on the part of some music lovers. In his Memoirs, Hector Berlioz recalled an 1828 performance of the Beethoven Fifth in Paris, attended by one of the young composer’s teachers at the Conservatoire, Jean-François Lesueur. Following the performance, Lesueur told Berlioz: “All the same, such music ought not to be written.” Berlioz responded: “Don’t be afraid, dear master, there will never be too much of it.” The Fifth Symphony’s furious opening movement (Allegro con brio) begins with a proclamation of the famous “short-short-short-long” motif—the seed from which the entire work will grow (Anton Schindler quoted the composer as describing this passage in the following manner: “Thus fate knocks at the door!” The authenticity of this quote has long been a subject of dispute). The second movement (Andante con moto) is in the form of variations on two themes, the latter incorporating the central four-note motif. The third-movement scherzo (Allegro) moves to a breathtaking transitional passage, in which the timpanist softly repeats the four-note motif. The first violins intone echoes of the scherzo, as the orchestra moves inexorably to the glorious finale (Allegro), which follows without pause. The four-note motif is now transformed into a triumphant celebration. A quiet reprise of the scherzo resolves to the work’s glorious, Presto conclusion, where all is bathed in the brightest sunlight. STEPHEN MULLIGAN, conductor


onductor Stephen Mulligan was recently appointed as the Assistant Conductor of the Atlanta Symphony Orchestra and the Music Director of the Atlanta Symphony Youth Orchestra, where he began his term in August 2017. From 2014-16, he served as Assistant Conductor of the Winston-Salem Symphony and the Music Director of the Winston-Salem Symphony Youth Orchestras Program. Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra, and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams‘s Nixon in China at Walt Disney Concert Hall. ​ Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar, and 34 | @AtlantaSymphony |

Ins I st on makI ng a t o a s t. Enjo y l I f E t o t hE f ul l E s t thEr E arE no drE ss rE h Ea r s a l s . hav E y our st E ak and E at I t, t o o .

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NOV 5 | artists Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s Assistant Conductor, traveled to Helsinki to study Sibelius’s late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony.

Atlanta Symphony Youth Orchestra

Stephen Mulligan Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra, The Zeist Foundation Chair FIRST VIOLINS Phoebe Liu Concertmaster Julia Su Sarah Chen Kirsten Lee Naomi Fan Jenny Choi Yuji Yamada Alexis Boylan Yueci Chen Zoe Lo Sylvia Tang Melody Bearden Scott Lozier Eunice Choi Tobias Liu Erin Kong SECOND VIOLINS Kylie Dickinson Principal Erin Cho Ava Posner Raunak Kumar Kelly Jeong Ruby Lee Serena Gao Josephine Han Eunice Chon Abigail Carpenter Sophie Chan Nina Youn

Sung-Lin Hsieh Mashu Takeda VIOLA Lucy Gelber Principal Ardath Weck Chair Junwon Kang Clara Smallwood Annabelle Spoto Jordan Watt Ashley Ahn Alan Ko Claire Hong Christopher Wang Doyoung Jeong John Cho Nina Nagarajan CELLO Aria Posner, Principal Maximillian Lou Lexine Feng John Kang Joseph Brown Brandon Chung Tannessa Dang Patrick Kim Alicia Shin Phillip Kim BASS Blake Hilley Principal Doug Sommer Chair

Alex Pu Angela Leeper Daniel Barket Corban Johnson Hollie Greenwood Matthew Jung Zoe Hood FLUTE Don Cofrancesco Hyesu Kim Renee Wang Sarah Zhang OBOE Saffiya Bashey Jacob Duff Makenzie Hill Hannah Lee CLARINET Alex Choi Triniti Rives Francisco Vidales Alisha Zamore BASSOON Allie Byrd Ethan Clark Aaron Lanning Derek Rizzi HORN Brennan Bower Joseph Clarke Charles Dunn Ediz Eribach

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Spencer Hodge Varun Patel Molly Shannon Joshua Vollbracht TRUMPET Paul Armitage Richard Stinson Ben Stocksdale Andrew Wang TROMBONE William Clark Hans Kang Evan Roussey Philip Williams TUBA Errol Rhoden, III Joshua Williams HARP Madeline Chen LeAndra Douds PIANO Jason Guo PERCUSSION Michael Dehan Kobe Lester Alexander Madison Evan Magill Dylan So Winds, Harp, Piano, and Percussion are listed in alphabetical order.















GERALD FINLEY, bass-baritone



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NOV 9/11 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Concerts of Thursday, November 9, and Saturday, November 11, 2017, at 8:00pm ROBERT SPANO, Conductor STEVEN ISSERLIS, cello It was Robert Schumann who hailed the young Johannes Brahms as a great hope for the future: “When he waves his magic wand and the power of great orchestral and choral forces will aid him, then we shall be shown still more the wonderful glimpses into the secrets of the spirit-world.” The Brahms Symphony No. 2 is one of the German composer’s most lyrical and joyful creations, culminating in a finale that radiates optimism from start to finish.

ROBERT SCHUMANN (1810-1856) Concerto for Cello and Orchestra in A minor, Opus 129 (1850) I. Nicht zu schnell II. Langsam III. Sehr lebhaft Steven Isserlis, cello INTERMISSION

25 MIN

20 MIN

GUSTAV MAHLER (1860-1911) 77 MIN Symphony No. 7 in E minor (1905) I. Langsam (Adagio); Allegro risoluto, ma non troppo II. Nachtmusik. Allegro moderato III. Scherzo. Schattenhaft (Fliessend, aber nicht schnell; in den Anfangstakten noch etwas zögernd) IV. Nachtmusik. Andante amoroso V. Rondo-Finale. Allegro ordinario

APR 19/21 BRAHMS: Symphony No. 2 in D Major Matthias Pintscher, Conductor

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

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Notes on the Program Ken Meltzer, Program Annotator Concerto for Cello and Orchestra in A minor, Opus 129 (1850) ROBERT SCHUMANN was born in Zwickau, Germany, on June 8, 1810, and died in Endenich, Germany, on July 29, 1856. The first performance of the Cello Concerto took place at the Leipzig Conservatory in Leipzig, Germany, on June 9, 1860, with Ludwig Ebert as soloist. In addition to the solo cello, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First Classical Subscription Performances: October 2-4, 1975, Lynn Harrell, Cello, Kazuyoshi Akiyama, Conductor. Most Recent Classical Subscription Performances: January 21-23, 1999, Truls Mørk, Cello, Eri Klas, Conductor.


n the fall of 1850, Robert Schumann began his tenure as Music Director in Düsseldorf. In September, Schumann and his family arrived in Düsseldorf to a glorious welcome. On October 24, Schumann conducted his first concert as Director of the Düsseldorf orchestra. The musicians greeted their new conductor at the podium with a triple fanfare. Schumann’s wife, Clara Wieck Schumann, performed Mendelssohn’s G-minor Piano Concerto. The orchestra and large audience lavished praise upon the distinguished composer and new Music Director. Perhaps the euphoria of those early months inspired Schumann’s creative powers, for in the span of five weeks during November and December, he composed his magnificent Symphony No. 3, the “Rhenish.” Even more amazing is the fact that Schumann completed his Concerto for Cello and Orchestra during the same two-week time period (between October 10 and 24) that he was preparing to lead his inaugural orchestral concert in Düsseldorf. Clara Schumann was hardly impartial when it came to her husband or to his work, but the distinguished musician’s eloquent characterization of the Cello Concerto, part of her diary entry of October 11, 1851, bears repeating: I have played Robert’s Violoncello Concerto again and thus procured for myself a truly musical and happy hour. The romantic quality, the flight, the freshness and the humor, and also the highly interesting interweaving of cello and orchestra are, indeed, wholly ravishing, and what euphony and what deep sentiment are in all the melodic passages! The Concerto is in three movements, played without pause. The first (Nicht zu schnell) (Not too fast) opens with a trio of piano woodwind chords (supported by pizzicato strings) that introduce the soloist, who sings the arching, mournful principal theme. The soloist also presents the second principal melody. The slow-tempo second movement (Langsam) is in A—B—A form. Schumann directs that the soloist play the principal theme “with expression.” The main subject of the energetic rondo finale (Sehr lebhaft) (Very lively) is in the form of a dialogue, as the cello responds to the orchestra’s three introductory chords with a curt, ascending motif. A delicately-accompanied cadenza appears toward the close. The Concerto ends triumphantly with a forceful reprise of the principal motif, and a joyous flourish by the soloist. Symphony No. 7 in E minor (1905) GUSTAV MAHLER was born in Kalište, Bohemia, on July 7, 1860 and died in Vienna, Austria, on May 18, 1911. The first performance of the Symphony No. 7 took place | Atlanta’s Performing Arts Publication 39

NOV 9/11 | program in Prague, the Czech Republic, on September First Classical Subscription 19, 1908, with the composer conducting. The Performances: March 6-8, 1980, Symphony No. 7 is scored for two piccolos, four Louis Lane, Conductor. flutes, three oboes, English horn, E-flat clarinet, Most Recent Classical Subscription three clarinets, bass clarinet, three bassoons, Performances: November 19-22, contrabassoon, tenor horn, four horns, three 1998, Yoel Levi, Conductor. trumpets, three trombones, tuba, timpani, bass Recording: Telarc-80514 (2 CDs), drum, deep bells, rute, tambourine, bass drum Yoel Levi, Conductor. with attached cymbals, orchestra bells, snare drum, tam-tam, triangle, cymbal, herdbells, guitar, mandolin, two harps, and strings. During the first decade of the 20th century, Gustav Mahler’s responsibilities as Kappellmeister in Vienna limited his composing to the summer months. In 1901, Mahler constructed a villa at Maiernigg, located on the banks of the Wörthersee in southern Austria. It was there, during summer breaks, that Gustav Mahler wrote many of his greatest works, including the Symphonies Nos. 5-8, and the song cycle, Kindertotenlieder. Mahler composed his Symphony No. 7 during the summers of 1904 and 1905. He wrote the Symphony’s second and fourth movements in 1904. In a May, 1910 letter to his wife, Alma, Gustav Mahler described his completion of the Symphony: In art as in life I am at the mercy of spontaneity. If I had to compose, not a note would come…(In the summer of 1905) I made up my mind to finish the Seventh, both Andantes of which were there on my table. I plagued myself for two weeks until I sank into gloom, as you well remember; then I tore off to the Dolomites. There I was led the same dance, and at last gave it up and returned home, convinced that the whole summer was lost…I got into the boat to be rowed across. At the first stroke of the oars the theme (or rather the rhythm and character) of the introduction to the first movement came into my head—and in four weeks the first, third and fifth movements were done. In the early part of 1906, Mahler put the finishing touches on his Seventh Symphony. This, however, did not mark the end of the composer’s work on the piece. In September of 1908, Alma Mahler traveled to Prague, where, on the 19th of that month, Gustav conducted the world premiere. The premiere of the Mahler Seventh inspired mixed receptions. Alma recalled: “The Seventh was scarcely understood by the public. It had a succès d’estime.” The Seventh remains one of Mahler’s more problematic works, with most of the controversy focused upon the finale. Critics and audiences have often been hard-pressed to reconcile the finale’s bravura and irrepressible C-major optimism with the intense drama of the work’s opening, the sardonic humor of the central Scherzo, and the hushed beauty and mystery of its surrounding “Night Music” movements. There is no doubt the Mahler Seventh is an enigmatic work. But a successful performance can have an overwhelming impact, as it did upon the young Arnold Schoenberg. After hearing the Vienna premiere, the composer wrote to Mahler: “the impression made on me by the Seventh, and before that, by the Third, are permanent. I am now really and entirely yours.” I. Langsam (Adagio); Allegro risoluto, ma non troppo—The Symphony opens with a slow40 | @AtlantaSymphony |


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NOV 9/11 | program tempo introduction (Langsam). Over the repeated tread of the winds and strings, a solo tenor horn intones a dotted-rhythm theme. Mahler compared this horn call to the roar of a stag (“Hier röhrt die Natur”). The introduction finally resolves to the start of the principal, quick-tempo march section (Allegro risoluto, ma non troppo), with a fortissimo statement by the horns of a theme once again derived from the music of the introduction. The violins sing a radiant, flowing melody in C major. The march episode returns, as the exposition draws to a conclusion. Mahler’s extended development of the principal thematic material features a wide variety of moods and instrumental effects. The orchestra’s tread heralds a varied recapitulation of the introduction and principal Allegro. The irrepressible momentum of the final measures is capped by the orchestra’s fortissimo exclamation. II. Nachtmusik. Allegro moderato—The first of the two “Night Music” movements opens with a haunting exchange between two horns, the second muted. Other instruments soon incorporate the motif, decorated by woodwind passages evoking the sounds of birdcalls (in the final portion of the movement, Mahler directs that this music be played “Wie Vogelstimmen”). A whirlwind descending chromatic passage leads to the horns’ introduction of the central march theme—punctuated by col legno violins, and based upon the Nachtmusik’s opening horn motif. These three principal elements—the horn dialogue, birdcalls, and march—return throughout, sometimes alternating with contrasting sections. III. Scherzo. Schattenhaft (Fliessend, aber nicht schnell; in den Anfangstakten noch etwas zögernd) (Flowing, but not fast; hesitant in the opening bars)—Mahler directs that the Scherzo, the work’s briefest movement, be played in “shadow-like” (Schattenhaft) fashion. The main section is a danse macabre, an angular waltz punctuated by ghoulish orchestral interjections. The central Trio offers a somewhat brighter mood, but has eerie moments as well. Both the opening section and Trio return in varied form, as the Scherzo slithers to an abrupt close. IV. Nachtmusik. Andante amoroso—For the Symphony’s final “Night Music,” Mahler reduces his large orchestra to a chamber-like ensemble. Two additions to the scoring create a magical effect, as a guitar and mandolin make their only appearance in the Symphony. Alma Mahler wrote that when Mahler composed the second “Night Music” movement of this Symphony, “he was beset by Eichendorff-ish visions—murmuring springs and German romanticism.” The movement is in a rather expansive A—B—A form. V. Rondo-Finale. Allegro ordinario—After three consecutive movements exploring shadow and night, Mahler propels the music into blinding sunshine. Over pounding timpani and orchestral fanfares, the trumpets offer a fortissimo statement of the Rondo’s central theme. The mood briefly calms, and the oboes introduce a genial subsidiary theme, punctuated by trills in the flutes and clarinets. After a reprise of the principal Rondo theme, there is a playful, Grazioso theme. This trio of themes returns throughout, with the first predominating. Toward the close, the horns triumphantly reprise the principal melody of the Symphony’s opening movement, as the Finale hurtles to a blazing fff resolution.

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NOV 9/11 | artists STEVEN ISSERLIS, cello



cclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a uniquely varied career as a soloist, chamber musician, educator, author and broadcaster. He appears with the world’s leading orchestras and conductors, including the Gewandhausorchester Leipzig, Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Zurich Tonhalle and Los Angeles Philharmonic orchestras; and gives recitals every season in major musical centers. As a chamber musician, he has curated concert series for many prestigious venues, including the Wigmore Hall, New York’s 92nd St Y and the Salzburg Festival. Unusually, he also directs chamber orchestras from the cello in classical programs. He has a strong interest in historical performance, working with many period-instrument orchestras and giving recitals with harpsichord and fortepiano. He is also a keen exponent of contemporary music and has premiered many new works, including John Tavener’s The Protecting Veil, Thomas Adès’s Lieux retrouvés and Gyorgy Kurtag’s ‘For Steven.’ Since 1997, Steven Isserlis has been Artistic Director of the International Musicians Seminar at Prussia Cove, Cornwall. He also enjoys playing for children, and has created three musical stories, with the composer Anne Dudley. His two books for children, published by Faber’s, have been translated into many languages; and his latest book, a commentary on Schumann’s famous Advice for Young Musicians, has recently been published by Faber’s. He gives most of his concerts on the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music.

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At Wesleyan, we believe Academic excellence and a Christ-centered community are not mutually exclusive. FOR MORE INFORMATION GO TO WWW.WESLEYANSCHOOL.ORG/DISCOVER-MORE

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

Discover Galloway Open House December 3, 2017 1:00 to 3:00 p.m.

GALLOWAYSCHOOL.ORG/ADMISSIONS | Atlanta’s Performing Arts Publication 45

NOV 16/18 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Concerts of Thursday, November 16, and Saturday, November 18, 2017, at 8:00pm DONALD RUNNICLES, Conductor ERIN WALL, soprano JAMIE BARTON, mezzo-soprano DIMITRI PITTAS, tenor The Atlanta Symphony Orchestra Chorus performs another magnificent setting of the Requiem, Wolfgang Amadeus Mozart’s final masterpiece. FEB 8/10/11 MOZART: Requiem Roberto Abbado, Conductor Jessica Rivera, soprano Magdalena Wór, mezzo-soprano William Burden, tenor Tom McNichols, bass ASO Chorus Norman Mackenzie, Director of Choruses

PETER ROSE, bass ATLANTA SYMPHONY ORCHESTRA CHORUS, NORMAN MACKENZIE, Director of Choruses GIUSEPPE VERDI (1813-1901) Messa da requiem (1874) I. Requiem II. Dies irae III. Offertorium IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me This concert is performed without intermission. English surtitles by Ken Meltzer

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

46 | @AtlantaSymphony |

84 MIN

Notes on the Program Ken Meltzer, Program Annotator Messa da requiem (1874) 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 the Messa da requiem took place at the Church of San Marco in Milan on May 22, 1874, with the composer conducting. The Messa da requiem is scored for soprano, alto, tenor, and bass solo, mixed chorus, piccolo, three flutes, two oboes, two clarinets, four bassoons, four horns, four trumpets (and four offstage trumpets), three trombones, tuba, timpani, bass drum, and strings.

First Classical Subscription Performances: March 30, 1954, The Atlanta Symphony Chorus, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: November 12 and 14, 2015, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor. Recording: Telarc CD-80152 (2 discs), Robert Shaw, Conductor

“Stay away from priests”


omposer Arrigo Boito (1842-1918), who also served as the librettist for Giuseppe Verdi’s final operatic masterworks, Otello (1887) and Falstaff (1893), offered this description of the maestro’s religious beliefs: This is the day, of all days of the year, that he loved best. Christmas eve reminded him of the holy marvels of childhood, the enchantments of a faith that is truly celestial only when it attains to belief in miracles. That belief, alas, he lost early, like all of us, but perhaps more than the rest of us he retained all his life a keen regret for it. He provided an example of Christian faith by the moving beauty of his religious works, by observing rites (you must remember his beautiful head bowed in the chapel of [his home in] Sant’Agata), by his illustrious homage to (Alessandro) Manzoni (the Messa da requiem), by the directions for his funeral found in his will: “one priest, one candle, one cross.” He knew that faith was the sustenance of hearts. ...In the ideal and moral sense he was a great Christian, but one should take care not to present him as a Catholic in the political and strictly theological sense of the word: nothing could be further from the truth. The “truth” was that Giuseppe Verdi harbored a lifelong distrust for organized religion. “Sta lontan dai pret” (“Stay away from priests”), he once cautioned a member of his family. And in such operas as Don Carlos and Aida, Verdi graphically portrays hypocrisy within the religious hierarchy. Verdi’s negative feelings toward organized religion may have had their origins in a childhood incident. When Verdi was about seven years old, he served as an altar boy at the church of San Michele in his birthplace of Roncole. During Mass, the young Verdi failed to respond promptly to the priest’s request for water and wine. The priest shoved Verdi, and the child fell from the altar. The humiliated boy responded with the peasant curse, “Dio t’ manda ‘na sajetta!” (“May God strike you with lightning!”) In a surreal turn of events, eight years later the priest was indeed struck by lightning and killed. But Verdi was also capable of writing music of extraordinary beauty that portrayed sincere religious fervor. One need only hear the supplications of Amelia in Un ballo in maschera, Leonora in La forza del destino, Aida, or Desdemona in Otello to realize that Verdi’s operatic characters could pray with as much devotion as anyone. And, it should be noted that | Atlanta’s Performing Arts Publication 47

NOV 16/18 | program Italy’s foremost opera composer ended his career with a sacred work, the Quattro pezzi sacri (1898). “I would have knelt before him” The 1874 Requiem Mass represents Verdi’s greatest achievement in the realm of sacred music. The work had its origin in the November 13, 1868 passing of opera composer Gioachino Rossini. Verdi proposed that several Italian composers collaborate on a Requiem Mass to be presented on the first anniversary of Rossini’s death. Verdi contributed the concluding Libera me to the Messa per Rossini. Due to various political intrigues, the work was not performed until 1988. However the death of another immortal Italian artist five years after Rossini’s demise inspired Verdi to compose his Requiem Mass. Throughout his life, Verdi revered the beloved Italian writer Alessandro Manzoni (1785-1873), the author of the epic 1827 novel, I promessi sposi (The Betrothed). I promessi sposi tells the story of a young couple in early 17th-century Italy who are separated by political and social tyranny. This magnificent work resonated with those who, like Verdi, advocated the overthrow of foreign rulers and the unification of Italy. Verdi himself called I promessi sposi “not just a book, but a consolation to all mankind.” After finally meeting the author in 1868, Verdi wrote: “What can I say of Manzoni? How to describe the extraordinary, indefinable sensation the presence of that saint...produced in me? I would have knelt down before him if we were allowed to worship men.” Manzoni died on May 22, 1873. Verdi was so devastated by the loss that he could not bring himself to attend the funeral. However, Verdi wrote to publisher Giulio Ricordi: “I shall come in a little while to visit his grave, alone and without being seen, and perhaps (after further reflection, and after I have weighed up my strength) to propose some way of honoring his memory.” Verdi decided that his homage to Manzoni would be in the form of a Requiem Mass, to be offered on the first anniversary of the author’s death. In the Manzoni Requiem, Verdi incorporated the Libera me from the ill-fated Messa per Rossini. “His latest opera in ecclesiastical garb” The premiere of Verdi’s Requiem Mass took place in Milan at the Church of San Marco on May 22, 1874. Verdi himself conducted the orchestra, chorus, and distinguished vocal quartet of soprano Teresa Stolz, mezzo-soprano Maria Waldmann, tenor Giuseppe Capponi, and bass Ormondo Maini. Reactions of the audience and critics were generally favorable. However, on the day before the premiere, the conductor, pianist, and Richard Wagner disciple, Hans von Bülow, wrote the following for the Allgemeine Zeitung: Tomorrow will see at the Church of St. Mark, Milan, decked out like a theatre for the event, a monster performance of Verdi’s Requiem, conducted, exceptionally by the composer himself...a work with which the all-powerful corrupter of Italian artistic taste presumably hopes to sweep away the remains of Rossini’s immortality, which is so troublesome to his ambition. His latest opera in ecclesiastical garb will then be exposed to public admiration at La Scala for three evenings in succession... These words prompted Bülow’s friend, Johannes Brahms, to remark: “Bülow has made a fool of himself for all time; only a genius could write such a work.” Several years later, Bülow wrote to Verdi and confessed that a performance of the Requiem had moved him to tears. “Now I admire you, I love you!”, Bülow exclaimed. “Will you forgive me, will you use the 48 | @AtlantaSymphony |

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NOV 16/18 | program sovereign’s right to grant pardon?...Long live VERDI, the Wagner of our dear allies!” Verdi replied: “There is no trace of sin in you. Besides, who knows? Perhaps you were right the first time!” Privately, however, Verdi told Ricordi that Bülow was “decidedly mad.” “To the greater glory of God” Bülow’s original observations, as caustic as they are, do point to a criticism that has often been leveled against the Verdi Requiem—specifically, that the music is too operatic, too overtly dramatic for a liturgical text. It is true that in the composition of the Requiem, Verdi drew upon his thirty-five years of experience in the theater. Verdi was sixty at the time of the work’s premiere, and had composed all but two of his twenty-eight operas. In Verdi’s defense, however, one might rhetorically inquire what text is more dramatic than that depicting man at the end of his days upon Earth, awaiting eternal judgment? While some may question the appropriateness of Verdi’s setting of the Requiem, few would argue with the proposition that the work is the creation of a genius at the height of his powers. For Verdi’s part, he summarized his feelings about the Manzoni Requiem: “I have done nothing but write note after note, to the greater glory of God...Now the music is done, and I am happy to have written it.”

50 | @AtlantaSymphony |

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NOV 16/18 | artists DONALD RUNNICLES, conductor



onductor Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and the Music Director of the Grand Teton Music Festival, as well as the Principal Guest Conductor of the Atlanta Symphony Orchestra. He was recently named Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as its Chief Conductor from 20092016. Maestro Runnicles enjoys close and enduring relationships with several of the most significant opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity. In the 2017-18 season, Maestro Runnicles will lead the complete Ring cycle at the San Francisco Opera, and returns to the Metropolitan Opera to conduct Humperdinck’s Hansel and Gretel. He also guest conducts the Philadelphia Orchestra, Dallas Symphony, National Symphony Orchestra and the Toronto Symphony. In Europe and elsewhere, he returns to the Tonhalle-Orchester Zürich, Staatskapelle Dresden, BBC Scottish Symphony and the Sydney Symphony for two subscription weeks. Opera productions include the world premiere of Aribert Reimann’s L’Invisible and a new production of Strauss’s Die Fledermaus with the Deutsche Oper Berlin, and Strauss’s Salome at the Hannover Staatstheater. Donald Runnicles’s previous posts include Music Director of the San Francisco Opera (19922008), during which he led world premieres of John Adams‘s Doctor Atomic, Conrad Susa’s Les Liaisons dangereuses and the U.S. premiere of Messiaen’s Saint François d’Assise; Principal Conductor of the Orchestra of St. Luke’s in New York City (2001-2007); and General Music Director of the Theater Freiburg and Orchestra (1989-1993). Runnicles’s extensive discography includes complete recordings of Wagner’s Tristan and Isolde, Mozart’s Requiem, Orff’s Carmina burana, Beethoven’s Ninth Symphony, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, and Bellini’s I Capuleti e i Montecchi. His recording of Wagner arias with tenor Jonas Kaufmann and the Orchestra of the Deutsche Oper Berlin won the 2013 Gramophone prize for Best Vocal Recording, and his recording of Janáček’s Jenůfa with the Orchestra and Chorus of the Deutsche Oper Berlin was nominated for a 2015 Grammy® Award for Best Opera Recording. Donald Runnicles was appointed OBE in 2004. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama and the San Francisco Conservatory of Music.


ERIN WALL, soprano


ith an extensive repertoire spanning three centuries, Canadian soprano Erin Wall works with many of the world’s leading conductors on opera and concert stages alike and is in great demand around the globe thanks to an innate musicality and vocal versatility.

Wall’s current season includes the title role of Arabella with the Canadian Opera Company, Marguerite in Faust with the Lyric Opera of Chicago and Ellen Orford in Peter Grimes with the Vancouver Symphony. Her concert appearances include Brahms’s A German Requiem with 52 | @AtlantaSymphony |

28 — 7:30 p. m. The Atlanta Symphony Brass Holiday Brass Concert november

Program highlights will include selections from Tchaikovsky’s Nutcracker Suite, Bruckner’s Ave Maria, traditional holiday chorales with organ and brass, and several standards from the symphony orchestra repertoire.

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An independent Catholic school for students age 6 months-12th grade. | Atlanta’s Performing Arts Publication 53

NOV 16/18 | artists the Toronto Symphony, Zosha di Castri’s Dear Life with the National Arts Centre on tour in Calgary and Vancouver, Afghanistan: Requiem for a Generation and Mendelssohn’s Symphony No. 2 with the Calgary Philharmonic, Verdi’s Requiem with the Atlanta Symphony Orchestra, Messiah with the New Jersey Symphony, Mahler’s Symphony No. 8 with the Rotterdam Philharmonic, Strauss’s Four Last Songs with the Calgary Philharmonic and the BBC National Orchestra of Wales, Beethoven’s Symphony No. 9 with the Cleveland Orchestra, Montreal Symphony and Kitchener-Waterloo Symphony and Mahler’s Symphony No. 2 with the Vancouver Symphony. Future engagements include returns to the Lyric Opera of Chicago and Melbourne Symphony Orchestra and debuts with the Washington National Opera and the Liceu. Wall’s extensive discography includes Richard Strauss’s Four Last Songs with the Melbourne Symphony Orchestra/Sir Andrew Davis (MSO Live), Dvořák’s Stabat Mater with Bayerischer Rundfunk/Mariss Jansons (BR Klassik), as well as several recordings of Mahler’s Symphony No.8 (San Francisco Symphony/Michael Tilson-Thomas, Staatskapelle Berlin/Pierre Boulez) and Beethoven’s Symphony No.9 (Orchestre symphonique de Montréal/Kent Nagano and San Francisco Symphony/Michael Tilson-Thomas). JAMIE BARTON, mezzo-soprano



ecipient of the Metropolitan Opera’s 2017 Beverly Sills Artist Award and the 2015 Richard Tucker Award, and winner of the 2013 Cardiff Singer of the World Main and Song Prizes, Jamie Barton is one of the greatest talents to have emerged in recent years. Following her critically acclaimed debut in the role of Adalgisa (Norma) at the Metropolitan Opera, Jamie Barton subsequently made an equally noted debut as Fricka (Das Rheingold) for Houston Grand Opera, as well as company debuts with Oper Frankfurt as Cornelia (Giulio Cesare), the Royal Opera House, Covent Garden as Fenena (Nabucco) and Deutsche Oper Berlin as Eboli (Don Carlo).

In recent seasons, Jamie has debuted with several major conductors, including Franz Welser-Möst for Britten’s Spring Symphony with The Cleveland Orchestra, Osmo Vänskä for Mahler’s Symphony No.3 with the Iceland Symphony Orchestra, and Marin Alsop for Brahms’s Alto Rhapsody for her BBC Proms debut, and reunites with Alsop this season for her debut with the London Symphony Orchestra singing Bernstein’s Symphony No.1 Jeremiah. This season, Jamie debuts in concert at Teatro Real Madrid as Léonor (La favorite) in concert, and returns to some of the top houses in the US: Washington National Opera as Eboli, San Francisco Opera as Fricka, Waltraute and Second Norn, and both Houston Grand Opera and The Met as Adalgisa. DIMITRI PITTAS, tenor


imitri Pittas has performed on leading opera stages throughout North America and Europe, including debuts with the Bavarian State Opera, the Vienna State Opera, the Royal Opera at Covent Garden and the Canadian Opera Company. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and has been heard on the Met stage as Rodolfo in La bohème, Macduff in Macbeth, Nemorino in L’elisir d’amore and Tamino in Die Zauberflöte. 54 | @AtlantaSymphony |

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GAC practices a non-discriminatory policy of admissions.

Eastside Christian School does not discriminate on the basis of race or national origin in the administration of its educational policies, admission policies or employment practices.

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Inspiring academics, dexterous fine arts, vigorous athletics. Visit us to learn more. | Atlanta’s Performing Arts Publication 55


NOV 16/18 | artists Pittas begins the current season singing Verdi’s Requiem for the BBC Proms with the Orchestra of the Age of Enlightenment under Marin Alsop, Beethoven’s Symphony No. 9 with the Oslo Philharmonic, and Rachmaninov’s The Bells with the Orchestre Metropolitain de Montreal, under the baton of Yannick Nézet-Séguin. Operatic engagements include Nemorino in L’elisir d’amore with Houston Grand Opera, a return to the Bolshoi Opera in the title role of Don Carlo, his role debut as Lt. Pinkerton in Madama Butterfly with Washington National Opera, and performances of Alfred in Die Fledermaus with Santa Fe Opera.

Concert highlights comprise Beethoven’s Symphony No. 9 with the Cincinnati Symphony and the Cleveland Orchestra, Verdi’s Requiem with the Colorado Symphony Orchestra, as well as at Carnegie Hall at the annual recital of the Marilyn Horne Foundation. PETER ROSE, bass



regular guest at the world’s greatest opera houses including the Metropolitan Opera in New York, Covent Garden; La Scala, Milan; Vienna; Paris; Rome; Berlin; Munich and Bayreuth. Peter Rose’s enormous repertoire includes Ochs, Gurnemanz, Boris, Ramfis, Fasolt, Somnus, Daland, King Marke, Commendatore, Basilio, Kecal, Banquo, Philip, Prince Gremin, Leporello, Osmin, Zaccaria, La Roche, Claggart, the Four Villains and Falstaff. He has won particular acclaim for his performances of Bottom which he has sung in Aix-en-Provence, Paris, Chicago, Barcelona, London, Rome, on the occasion of his debut at the Metropolitan Opera, New York and for Glyndebourne Festival Opera. A prolific concert artist his engagements have included Beethoven’s Symphony No.9 with Giulini, Maazel, and Barenboim; Mozart’s Requiem with Mackerras, Barenboim, Mehta, Shaw, and Jurowski; Mahler 8 with Tilson Thomas; Verdi Requiem with Rizzi; La Damnation de Faust with the Chicago Symphony Orchestra and Solti; Ravel L’Enfant et les Sortileges and L’Heure Espagnole with the Cleveland Orchestra and Boulez; Beethoven’s Missa solemnis with the New York Philharmonic and Masur; and Bach’s St. Matthew Passion with the Rotterdam Philharmonic.

Engagements this season and beyond include Arkel Pelléas et Mélisande and Baron Ochs Der Rosenkavalier at the Wiener Staatsoper, Don Basilio Il barbiere di Siviglia, Der Rosenkavalier at the Bayerische Straatsoper and Daland Der fliegende Holländer at the Bayreuth Festival. Concert engagements include Arkel Pelléas et Mélisande with the Cleveland Orchstra, Tristan und Isolde with the Sao Paulo State Symphony, Verdi’s Requiem with the Atlanta Symphony Orchestra and Fidelio with the Finnish Radio Symphony Orchestra. NORMAN MACKENZIE, Director of Choruses


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. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts annually. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy® Awards. Mr. Mackenzie 56 | @AtlantaSymphony |

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For Rialto Series Shows in the 100 Peachtree Parking Garage (formerly the Equitable Deck) on Fairlie Street. r I a lto C E N t E r F o r t H E a rtS

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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. The New York Times describes Mr. Mackenzie as Robert Shaw’s “designated successor.” In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing, and partnered with Robert Spano for the 20th anniversary workshop featuring the Berlioz Requiem. ATLANTA SYMPHONY ORCHESTRA CHORUS


he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director Robert Shaw, remains an important part of the Orchestra’s programming. The Chorus is an all-volunteer, auditioned organization 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). Those include Vaughan Williams’s A Sea Symphony and the Berlioz Requiem. The Chorus performs large choral-symphonic works under the direction of Music Director, Robert Spano; Principal Guest Conductor, Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works. The Chorus made its debut at NY’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Shaw. In addition, the Chorus performed in Washington, DC, for President-elect Jimmy Carter’s Inaugural Concert in 1977, and returned there with Robert Spano in 2017 as part of the SHIFT Festival. In 1988, it accompanied Shaw and the Orchestra on their European debut tour. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic – in December 2003 for three performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in December 2009 for a week of Brahms Requiem performances – all with Atlanta Symphony Orchestra Principal Guest Conductor, Donald Runnicles. Within the Chorus, there is an auditioned group of 60 singers called the Atlanta Symphony Orchestra Chamber Chorus. The Chamber Chorus, which formed before the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters.

58 | @AtlantaSymphony |

Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 Ellen Abney Kathryn Bishop Hanan Davis Khadijah Davis Sakinah Davis Liz Dean Virginia Elizondo Laura Foster Jayme Hogan-Yarbro Courtney Hulsey Erin Jones Victoria Latimer Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Lisa Rader* Joanna Reesman Brianna Riley Natalie Rogers Stacey Tanner Brianne Turgeon* Wanda Yang Temko* SOPRANO 2 June Abbott** Sloan Atwood* Barbara Brown Kelly Campobasso Martha Craft Amy Dowis Ellen Dukes** Brianna Gilliam Mary Goodwin Amanda Hoffman Kathleen Kelly-George Eda Mathews** Shannon Nesbit Vickie Orme* Lindsay Patten Chantae Pittman Chelsea Rhoades Donna Ross* Paula Snelling* Emily Tallant Cheryl Thrash** Donna Weeks*

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

ALTO 1 Verena Anders Erin Axson Emily Bateman Deborah Boland** Rachel Bowman Donna Carter-Wood** Laurie Cronin Patricia DinkinsMatthews* Shana Evans-Bassett Katherine Fisher Beth Freeman Noelle Hooge Beverly Hueter Janet Johnson** Virginia Little* Staria Lovelady Meredith McCoy Frances McDowell** Mary Elizabeth Mendenhall Linda Morgan** Katherine Murray* Laura Emiko Soltis Rachel Stewart** Diana Strommen ALTO 2 Nancy Adams* Michelle Austin Ana Baida Angelica BlackmanKeim Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament Afton Herring Sally Kann Nicole Khoury* Katherine MacKenzie Lynda Martin Campbell Rogers Sharon Simons* Alexandra Tanico Virginia Thompson*

Peter Marshall, Accompanist

Alexandra Willingham Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Jordan Bell Christian Bigliani David Blalock** John Brandt Jack Caldwell* Daniel Cameron* Daniel Compton Matthew Cook Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Keith Langston Sean Mayer* Clinton Miller Christopher Patton Stephen Reed # Nathaniel Sundholm TENOR 2 Randall Barker** Mark Barnes Steve Brailsford Charles Cottingham # Phillip Crumbly* Joseph Few* Sean Fletcher Hamilton Fong John Harr Keith Jeffords** Steven Johnstone* Jonathan Marvel Michael Parker Marshall Peterson* Brent Runnels Thomas Slusher Scott Stephens* Keith Thompson

BASS 1 Dock Anderson Richard Brock* Russell Cason** Trey Clegg Steven Darst** Michael Dennison Michael Ervin Jon Gunnemann* David Hansen** Lee Johnson Nick Jones # Jameson Linville Peter MacKenzie Jason Maynard Mark Mendenhall Mitchell Moore Peter Shirts Kendric Smith # John Terry Ike Van Meter Edgie Wallace* Edward Watkins** BASS 2 Joshua Alexander Charles Boone Brian Brown* Joseph Champion Rick Copeland* Joel Craft** Paul Fletcher Andrew Gee* Timothy Gunter* Philip Jones Eric Litsey** Kevin Newman John Ruff* Jonathan Smith* Benjamin Temko* David Webster** Seth Whitecotton Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970) | Atlanta’s Performing Arts Publication 59

ASO | support


he Orchestra donor list includes annual fund donations made since June 1, 2016. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime. Those who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world. On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share. Bravo!

$500,000+ $250,000+ $100,000+

Delta Air Lines, Inc. The Kendeda Fund

Lettie Pate Evans Foundation, Inc. The Andrew W. Mellon Foundation

Mrs. Anne Cox Chambers

1180 Peachtree AT&T Bank of America The Coca-Cola Company The Home Depot Foundation

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


Susan & Richard Anderson The Antinori Foundation

Susan & Thomas Wardell


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

Ms. Lynn Eden The Graves Foundation The Zeist Foundation


Catherine Warren Dukehart Ann & Gordon Getty Foundation National Endowment for the Arts

Victoria & Howard Palefsky Ann Marie & John B. White, Jr.* Charlie & Dorothy Yates Family Fund

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

60 | @AtlantaSymphony |

ASO | support Appassionato We are so grateful for donors who give to the Annual Fund and Gala at the Appassionato level ($10,000+). They enjoy the benefits of the Patron Partnership, while also having opportunities to receive VIP concierge service for ticketing and reservations, exclusive access to artists’ events and recognition as a concert sponsor. For more information, contact the Development Office at 404.733.4262.


A Friend of the Symphony The John W. & Rosemary K. Brown Family Foundation John & Rosemary Brown Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. C. Merrell Calhoun CBH International, Inc. City of Atlanta Office of Cultural Affairs Jim Cox, Jr Foundation Mr. & Mrs. Bradley Currey, Jr. The Roy & Janet Dorsey Foundation Four Seasons Hotel Atlanta Betty Sands Fuller Fulton County Arts Council Scott Hudgens Family Foundation, Inc. Lucy R. & Gary Lee, Jr. Hank Linginfelter The Charles Loridans Foundation, Inc. Ms. Molly Minnear Terence L. & Jeanne P. Neal* Massey Charitable Trust Sunny Park Mr. & Mrs. E. Fay Pearce, Jr. Porsche Cars North America Inc. Publix Super Markets Charities Mary & Jim Rubright Ryder Truck Rental, Inc. Bill & Rachel Schultz* Mrs. William A. Schwartz Mrs. Charles A. Smithgall, Jr. Southern Company Gas

Mr. G. Kimbrough Taylor & Ms. Triska Drake Turner The UPS Foundation Patrick & Susie Viguerie Mr.** & Mrs. Edus H. Warren, Jr. Ann Marie & John B White, Jr.* Adair & Dick White Mrs. Sue S. Williams


Neale M. Bearden** Mr. & Mrs. Frank H. Boykin Wright & Alison Caughman William M. Graves Kirk & Kim Jamieson Donna Lee & Howard Ehni Caroline & Joe O’Donnell The Sally & Peter Parsonson Foundation Ms. Sara C. Passarella, in memory of Ann E. Calk Estate of Dr. Shirley E. Rivers University of Michigan Mark & Rebekah Wasserman


A Friend of the Symphony Madeline & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward Mr. & Mrs. John Allan Alston & Bird Clark & Ruby Baker Foundation Kelley O. & Neil H. Berman Mr. & Mrs. Paul J. Blackney Rita & Herschel Bloom

Mr. David Boatwright Mary & John Brock The Capital Group Companies Charitable Foundation Russell Currey & Amy Durrell Cari Dawson & John Sparrow Marty & John Gillin Drs. Jeannette Guarner & Carlos del Rio Jason & Carey Guggenheim/Boston Consulting Group Clay & Jane Jackson Ann A. & Ben F. Johnson III* James H. Landon Karole & John Lloyd Meghan & Clarke Magruder Linda & John Matthews Ken & Carolyn Meltzer Lynn & Galen Oelkers The Piedmont National Corporation Dr.** & Mrs. Mark P. Pentecost, Jr. Patty & Doug Reid Joyce & Henry Schwob Mr. & Mrs. Ross Singletary II Slumgullion Charitable Fund Jeffrey Sprecher & Kelly Loeffler Loren & Gail Starr Trapp Family Dr. James Wells & Susan Kengeter Wells Dr. & Mrs. James O. Wells, Jr.


A Friend of the Symphony Atlanta Beverage Company Julie & Jim Balloun

The Walter & Frances Bunzl Foundation John W. Cooledge Janet Davenport, in honor of Norman Mackenzie Marcia & John Donnell DS Services Eleanor & Charles Edmondson Georgia-Pacific Foundation Georgia Power Foundation, Inc. The Robert Hall Gunn, Jr. Fund Virginia Hepner & Malcolm Barnes Hertz Family Foundation Roya & Bahman Irvani Robert & Sherry Johnson Mr. & Mrs. William K. Kapp, Jr. Sarah & Jim Kennedy Mr. ** & Mrs.** Donald Keough King & Spalding Pat & Nolan Leake Lenox Square Mr. & Mrs. Brian F. McCarthy John F. & Marilyn M. McMullan Walter W. Mitchell Suzanne & Bill Plybon* June & John Scott Mr. John A. Sibley III Mr. Doug Shipman & Dr. Bijal B. Shah Dr. Steven & Lynne Steindel* Turner Foundation, Inc. John & Ray Uttenhove Chilton & Morgan Varner Mrs. Virginia S. Williams Ms. Joni Winston

* We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased. | Atlanta’s Performing Arts Publication 61

ASO | support the patron partnership We are grateful for members of the Patron Partnership, who give $2,000–$9,999 within a given fiscal year and enjoy all the benefits of the Conductor’s Circle, as well as others, that include invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal. For more information about the Patron Partnership, contact the Development Office at 404.733.5102.


committee June Scott Belinda Massafra Chair Vice-Chair, Communications & Kristi Allpere Newsletter Editor Vice-Chair, Programs Deedee Hamburger Helga Beam Programs Committee Vice-Chair, Annual Member Fund Judy Hellriegel Annual Fund Committee Member


Aadu & Kristi Allpere* The Estate of Donald S. & Joyce Bickers Lisa & Russ Butner Sally & Carl Gable Deedee & Marc Hamburger* Azira G. Hill Paul & Rosthema Kastin Betsy & Lee Robinson Beverly & Milton Shlapak Amy & Paul Snyder


A Friend of the Symphony (5) Mrs. Kay Adams* & Mr. Ralph Paulk ADP William & Gloria Allgood Asad Bashey Jack & Helga Beam Bell Family Foundation for Hope, Inc. Natalie & Matthew Bernstein The Breman Foundation, Inc. Jacqueline A. & Joseph E. Brown, Jr. Patricia & William Buss William & Patricia Cook

Jean & Jerry Cooper Thomas G. Cousins Mr. & Mrs. Jonathan J. Davies Peter & Vivian de Kok Ms. Arlene DeMita Ms. Diane Durgin Ellen & Howard Feinsand John & Michelle Fuller Mr. & Mrs. Charles B. Ginden Mr. & Mrs. Richard Goodsell Sally W. Hawkins Tad & Janin Hutcheson Mr. Baxter P. Jones & Dr. Jiong Yan Cecile M. Jones Donald S. Orr & Marcia K. Knight Mr. Kurt P. Kuehn & Ms. Cheryl Davis Mr. & Mrs. J. Hicks Lanier/The Sartain Lanier Family Isabel Lamy Lee Peg & Jim Lowman Mary Ruth McDonald* Ms. Terry S. McGehee & Ms. Sheila A. Hunt, A.I.A. Mr. Bert Mobley Morgens West Foundation

Cindy Jeness Communications Committee Member Milt Shlapak Member-at-Large Sally Parsonson Communications Committee Member

Peter Stelling Programs Committee Member Jonne Walter Annual Fund Committee Member Marcia Watt Communications Committee Member

North Highland Northwestern Mutual Goodwin, Wright/ Northwestern Benefit Corporation of Georgia Franca G. Oreffice Overture Lindbergh Margaret H. Petersen Jack & Susanne Pinkerton Mr. & Mrs. Joel F. Reeves John T. Ruff In memory of Willard Shull Hamilton & Mason Smith Ms. Caroline Stackhouse Peter James Stelling Mrs. C. Preston Stephens John & Yee-Wan Stevens Carol & Ramon Tomé Family Fund* Kathy N. Waller Ms. Toni Ward Alan & Marcia Watt Robert Wenger & Susan Carney Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr. Suzanne B. Wilner Mr. & Mrs. John C. Yates


Margo Brinton & Eldon Park Karen & Rod Bunn Mr. & Mrs. Dennis M. Chorba Ruth & Mark Coan Carol Comstock & Jim Davis* Jere & Patsy Drummond Betty W. Dykes Mr. Richard H. Delay & Dr. Francine D. Dykes Dr. & Mrs. Carl D. Fackler Mr. & Mrs. Jeff Githens John & Martha Head The Hellen Ingram Plummer Charitable Foundation, Inc. James & Bridget Horgan Dick & Georgia Kimball* Ms. & Ms. Tara King-Hughes Lillian Balentine Law Mr. Ralph Levy Joanne Lincoln William & Deborah Liss* Ms. Erin M. Marshall Belinda & Gino Massafra Susan Perdew Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr.

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

62 | @AtlantaSymphony |

In Memory of Dr. Frank S. Pittman III Tom & Mary Quigley Mr. Leonard B. Reed S. A. Robinson Lou & Dick Stormont Stephen & Sonia Swartz Elliott & Elaine Tapp George & Amy Taylor Judith & Mark K. Taylor Dale L. Thompson Burton Trimble Drs. Jonne & Paul Walter Mr. & Mrs. Tomohiro Yamashita*


A Friend of the Symphony (4) Ms. Mary Allen Mr. & Mrs. Stephen D. Ambo The Hisham & Nawal Araim Foundation Dr. Evelyn R. Babey Lisa & Joe Bankoff Anthony Barbagallo & Kristen Fowks Dr. & Mrs. Joel Berenson Shirley Blaine Daniel Blumenthal Jane & Gregory Blount Mr. Roger Blythe Leon Borchers Andrew & Elissa Bower Martha S. Brewer Ms. Harriet Evans Brock Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Capitol Connection, Inc. Alison & Chuck Carlin Mr. & Mrs. George E. Case, III Susan & Carl Cofer Mr. Terence M. Colleran & Ms. Lim J. Kiaw Mr. & Mrs. R. Barksdale Collins* Ralph & Rita Connell Mr. Kenneth Cornwall

Mr. & Ms. Jonathan Cramer Susan & Ed Croft Bertha Davis Lawrence & Sally Davis Mr. & Mrs. Donald Defoe* Mr. Philip A. Delanty Mary & Mahlon Delong Mrs. Sheila Tschinkel Xavier Duralde & Mary Barrett Mr. & Mrs. Robert G. Edge Dieter Elsner The Elster Foundation George T. & Alecia H. Ethridge Mr. & Mrs. William M. Evans , Jr. Mr. & Mrs. Clayton H. Farnham Mr. & Mrs. William A. Flinn Drs. John & Gloria Gaston Mary D. Gellerstedt Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline M. Gilham Spencer Godfrey Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mary C. Gramling Mrs. Louise Grant Joanne & Alex Gross Charles Campbell & Ann Grovenstein-Campbell Mr. & Mrs. George N. Gundersen* Harald R. Hansen** Phil & Lisa Hartley Mr. & Mrs. John E. Hellriegel Mr. William B. Hendrix Kenneth R. Hey Sarah & Harvey Hill* Dr. Walter J. Hill Mia & Ronald Hilley Mr. & Mrs. James Horgan* Mrs. Sally Horntvedt Tatty & Harry Howard John E. & Hollis H. Hudak

Dona & Bill Humphreys Mrs. James M. Hund JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Janet & Bucky Johnson Mr. & Mrs. Robert E. Johnson Mrs. Jo W. Koch Dr. Rose Mary Kolpatzki Mr. Jeffery Koon Mr. & Mrs. Charles R. Kowal David & Jill Krischer Wolfgang & Mariana Laufer Mr. & Mrs. Van R. Lear Oliva A. M. Leon Dr. Fulton D. Lewis, III & S. Neal Rhoney Mr. & Mrs. J. David Lifsey Lubo Fund Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Kay & John T. Marshall Martha & Reynolds McClatchey Mr. & Mrs. Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague The Community Foundation for Greater Atlanta Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Gregory & Judy Moore The Honorable Jane Morrison Mr. Andrew Muir Janice & Tom Munsterman Mr. & Mrs. Michael J. Murphy* Ann A. Nable Melanie & Allan Nelkin Gary R. Noble Robert & Mary Ann Olive Barbara & Sanford Orkin

Mr. Nat Padget Mary Kay & Gene Poland* Ms. Kathy Powell Mr. Leonard B. Reed* Mr. J. A. Reiman & Ms. Cynthia Good Mrs. Susan H. Reinach Peach State Truck Centers Roger & Lynn Lieberman Ritvo Ms. Susan Robinson & Ms. Mary Roemer Mr. & Mrs. Richard L. Rodgers Jane & Rein Saral Mr. & Mrs. Robert Schlotman Sam Schwartz & Dr. Lynn Goldowski Mr. Randy Shields & Mrs. Sarah Shields Helga Hazelrig Siegel Diana Silverman Anne Marie Gary Baker & Debby Smith Johannah Smith Mr. K. Douglas Smith Mr. & Mrs. Morton S. Smith Mr. & Mrs. Raymond F. Stainback, Jr. Kay & Alex Summers Vogel Family Foundation Carol Brantley & David Webster Joan & Howard Weinstein Dr. Nanette K. Wegner David & Martha West Dr. William West Sally Stephens Westmoreland Ron & Susan Whitaker Mr. & Mrs. Peter L. Whitcup Mrs. Frank L. Wilson, Jr. Russell F. Winch Mary Lou Wolff Mr. & Mrs. M. Beattie Wood Camille Yow Herbert & Grace Zwerner | Atlanta’s Performing Arts Publication 63

ASO | support henry sopkin circle The Henry Sopkin Circle celebrates individuals and families who have made a legacy gift to the Atlanta Symphony Orchestra. Whether through a bequest, beneficiary designation, or trust distribution, planned gifts ensure the ASO’s success for future generations. Just like the Symphony’s first Music Director, Henry Sopkin, our planned giving donors are shaping the future of the Atlanta Symphony Orchestra. To learn more about the Henry Sopkin Circle, please contact the development Office at 404.733.4262. Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia & William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese* Margie & Pierce** Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela Johnson Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth R. Etoll Brien P. Faucett Dr. Emile T. Fisher Bruce & Avery Flower A. D. Frazier, Jr. Nola Frink

Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Mary Virginia Hearn** Barbara & John** Henigbaum Richard E. Hodges, Jr. Pat & Chuck Holmes Mr.** & Mrs. Fred A. Hoyt, Jr. Jim** & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb** & Hazel Karp Anne Morgan & Jim Kelley Robert Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** Rob Lamy James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy R. & Gary Lee, Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little**

Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K. Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Amy W. Norman** Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonson Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram 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 June & John Scott Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling

64 | @AtlantaSymphony |

C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell John & Ray Uttenhove Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Ms. Joni Winston George & Camille Wright Mr.** & Mrs.** Charles R. Yates

You can help make music happen! For more information on giving at any level, call 404.733.5102 or visit


The Woodruff Arts Center is proud to bring former combat photographer Stacy Pearsall’s nationally-acclaimed Veterans Portrait Project to Atlanta.

EXHIBITION November 11 - January 15 Beauchamp C. Carr Gallery at The Woodruff Arts Center


musicians’ endowment Robert Spano, John B. White, Jr., Co-Chairs The Atlanta Symphony Orchestra surpassed our $25 Million Musicians’ Endowment Campaign goal, nearly two years ahead of schedule. A special thanks to The Delta Air Lines Foundation for their pledge of $2.5 Million, along with all of the generous individuals, foundations and corporations listed below, who helped the Orchestra achieve this critically important milestone. The Musicians’ Endowment will permanently endow 11 positions in the Atlanta Symphony Orchestra and strengthen our foundation to ensure that the Atlanta Symphony Orchestra remains a strong cultural presence for generations to come.

The Robert W. Woodruff Foundation Betty Gage Holland Anonymous, in honor of Betty Fuller Anonymous, in honor of Terence L. Neal Connie & Merrell Calhoun

Thalia & Michael C. Carlos Foundation The Delta Air Lines Foundation Sally & Carl Gable Wilbur & Hilda Glenn Family Foundation

Estate of Cora Nunnally Miller

Abraham J. & Phyllis Katz Foundation The Kendeda Fund Lucy R. & Gary Lee, Jr. The UPS Foundation Wells Fargo

Mr. & Mrs. Solon P. Patterson

Betty & Robert Balentine Estate of Michael McDowell

Patty & Doug Reid

David, Helen & Marian Woodward Fund

The Antinori Foundation Mrs. Hugh M. Chapman Marty & John Gillin Clay & Jane Jackson The Besse Johnson & George Blanton Allen Foundation Mrs. Azira G. Hill Brenda & Charles Moseley Victoria & Howard Palefsky

Mr. & Mrs. Wyatt T. Johnson Massey Charitable Trust The Fred & Sue McGehee Family Charitable Fund Powell Charitable Trust

The Sumgullion Charitable Fund Mark & Evelyn Trammell Foundation Susan & Tom Wardell Sue Williams

Joyce & Henry Schwob Mr. John A. Sibley III Chilton & Morgan Varner

The Vasser Woolley Foundation, Inc.

Don Carson Dr. John Cooledge The Roy & Janet Dorsey Foundation

The Robert S. Elster Foundation Nancy D. Gould Elizabeth J. Levine

Bill & Rachel Schultz The Trapp Family Mr. & Mrs. Edus H. Warren, Jr.

Jan & Gus Bennett Terri & Jim Coil D. D. Conrad Arnika & Stephen Dawkins Dr. & Mrs. Carl D. Fackler

Mr. & Mrs. Richard K. Hines V Pat & Nolan Leake Dr. & Mrs. William M. McClatchey Mr. & Mrs. John W. Scott

Estate of Chip Siegel Dr. Steven & Lynne Steindel Mr. & Mrs. Mason W. Stephenson Liz & Mike Troy

Mr. & Mrs. John Allen Margo Brinton & Eldon Park Mr. & Mrs. William B. Fryer

Mr. & Mrs. Robert D. Hays Lynn & Galen Oelkers The Sally & Peter Parsonson Foundation

Mr. & Mrs. John C. Staton, Jr. Adair & Dick White

66 | @AtlantaSymphony |


Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these 43 partners who lead our efforts to ensure the arts thrive in our community.






SunTrust Teammates

Bank of America

SunTrust Foundation

Mr. and Mrs. C. Merrell Calhoun

Georgia Power Foundation, Inc.

SunTrust Trusteed Foundations: Harriet McDaniel Marshall Trust Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust

The Home Depot Foundation Invesco Ltd. Sarah and Jim Kennedy

WellsFargo The Zeist Foundation, Inc.

The Marcus Foundation, Inc. The Sara Giles Moore Foundation


Estate of Andrew Musselman PwC, Partners & Employees Tull Charitable Foundation

Abraham J. & Phyllis Katz Foundation The Douglas J. Hertz Family Lucy R. and Gary Lee, Jr.

$300,000+ King & Spalding, Partners & Employees PNC The Rich Foundation Spray Foundation, Inc.



UPS Mr. and Mrs. Leonard Wood

KPMG LLP, Partners & Employees

Victoria and Howard Palefsky Mr. and Mrs. Solon P. Patterson Patty and Doug Reid Louise S. Sams and Jerome Grilhot

Contributions Made: June 1, 2016 – May 31, 2017

Beauchamp C. Carr Challenge Fund Donors

The Antinori Foundation / Ron and Susan Antinori

Deloitte, its Partners & Employees | Atlanta’s Performing Arts Publication 67


The Andrew W. Mellon Foundation Equifax & Employees EY, Partners & Employees Sally and Carl Gable The Sartain Lanier Family Foundation The Shubert Foundation William Randolph Hearst Foundations


1180 Peachtree Alston & Bird The Arthur M. Blank Family Foundation Lucinda W. Bunnen Frances B. Bunzl The David, Helen & Marian Woodward Fund - Atlanta Edgerton Foundation New American Plays Jones Day Foundation & Employees Katherine John Murphy Foundation Estate of Amy Norman Susan and Tom Wardell


A Friend of the Alliance Theatre & Woodruff Arts Center AT&T Sandra and Dan Baldwin In honor of Alleene and Jim Bratton Barbara and Steve Chaddick Community Foundation for Greater Atlanta, Inc. Ellen and Howard Feinsand First Data Corporation Peggy Foreman Fulton County Arts Council Genuine Parts Company Georgia-Pacific Corporation Google Beth and Tommy Holder Intercontinental Exchange, Inc. Kaiser Permanente Kilpatrick Townsend & Stockton LLP Merrill Lynch Morgens West Foundation Garnet and Dan Reardon Margaret and Bob Reiser Southern Company Gas Carol and Ramon Tomé Family Fund Mr.* and Mrs. Edus H. Warren, Jr. WestRock Company


Susan and Richard Anderson BB&T Kathy and Ken Bernhardt Bloomberg Philanthropies BNY Mellon Wealth Management Ann and Jeff Cramer Katie and Reade Fahs The Fraser-Parker Foundation JLL Livingston Foundation, Inc. Massey Charitable Trust

National Endowment for the Arts Publix Super Markets Charities, Inc. Thalia and Michael C. Carlos Advised Fund Elizabeth and Chris Willett


A Friend of the High Museum of Art ADP Aarati and Peter Alexander Atlanta Area BMW Centers The Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Melinda and Brian Corbett Crawford & Company Mr. and Mrs. Bradley Currey, Jr. Dan and Merrie Boone Foundation / Dan W. Boone III Mr. and Mrs. Richard A. Denny, Jr. DS Services Catherine Warren Dukehart Eversheds Sutherland (US) LLP Jennifer and Marty Flanagan Betty Sands Fuller Kate and Paul Gaffney Carol and Paul Garcia General Electric Company George Lucas Family Foundation GMT Capital Corporation The Graves Foundation Nena C. Griffith Halle Foundation Allison and Ben Hill The Howell Fund, Inc. Karen and Jeb Hughes The John W. and Rosemary K. Brown Family Foundation & John and Rosemary Brown Katie and West Johnson Mr. Baxter P. Jones and Dr. Jiong Yan Joel Knox and Joan Marmo Merry McCleary and Ann Pasky Starr Moore and the James Starr Moore Memorial Foundation Morris Manning & Martin LLP Moxie Norfolk Southern Foundation North Highland Mr. and Mrs. David Parker The Primerica Foundation Regions Bank The Selig Foundation: Linda and Steve Selig & Cathy and Steve Kuranoff Mr. and Mrs. H. Bronson Smith Ms. Iris Smith and Mr. Michael S. Smith Sara and Paul Steinfeld Sally G. Tomlinson Mrs. Sue S. Williams The Woodruff Arts Center Employees

The Patron Circle includes donors who generously made contributions to our FY17 annual funds and/or long-term special projects and endowment funds.


A Friend of the High Museum of Art Kristie and Charles Abney Mrs. Kristin Adams Madeline and Howell E. Adams, Jr. Allstate Insurance Company Ann and Gordon Getty Foundation Arby’s Foundation, Inc. Arnall Golden Gregory LLP Yum and Ross Arnold Spring and Tom Asher Assurant Atlanta Beverage Company Atlantic Trust Company The Balloun Family Barbara and Ron Balser Lisa and Joe Bankoff Juanita and Gregory Baranco Anna and Ed Bastian Kelly O. and Neil H. Berman Birch Communications Mr. and Mrs. Paul J. Blackney Nancy and Kenny Blank Janine Brown and Alex J. Simmons, Jr. Lisa and Paul Brown Camp-Younts Foundation The Capital Group Companies Charitable Foundation Elaine and John Carlos Wright and Alison Caughman CBH International, Inc. The Charles Loridans Foundation, Inc. Compass Group Tony Conway Cousins Properties Sherri and Jesse Crawford Erica and David Cummings Cushman & Wakefield, Inc. Cheryl Davis and Kurt Kuehn Kay and David Dempsey Marcia and John Donnell Margaret and Scott Dozier Mrs. Sarah A. Eby-Ebersole and Mr. W. Daniel Ebersole Ed and Claude Fortson Charitable Trust Ms. Lynn Eden Mr. Fredric M. Ehlers and Mr. David Lile Virginia and Brent Eiland Four Seasons Hotel Atlanta Frances Wood Wilson Foundation, Inc. Nick Franz Sonya and Rick Garber Mr. and Mrs. Lawrence L. Gellerstedt III General Building Maintenance, Inc. George M. Brown Trust Fund of Atlanta, Georgia Georgia Natural Gas Gertrude and William C. Wardlaw Fund, Inc. Goldman Sachs & Co. Carolyn and David Gould Sara Goza Mr. Kenneth Haines The Harold & Mimi Steinberg Charitable Trust

68 | @AtlantaSymphony |

Virginia Hepner and Malcolm Barnes Holder Construction Company Mr. and Mrs. Hilton H. Howell, Jr. Jane and Clayton Jackson Kim and Kirk Jamieson Lori and Bill Johnson Andrea and Boland Jones JP Morgan Private Bank Kaneva John C. Keller James F. Kelly Charitable Trust Mr. and Mrs. Donald R. Keough * Mr. and Mrs. David E. Kiefer Wendy and Scott Kopp Malinda and David Krantz Mr. and Mrs. Jeffrey A. Lewis Hank Linginfelter Karole and John Lloyd Lockheed Martin Aeronautics Company Kelly Loeffler and Jeffrey Sprecher The Mark & Evelyn Trammell Foundation Margot and Danny McCaul Sally and Allen McDaniel The Michael and Andrea Leven Family Foundation Judy Zaban-Miller and Lester Miller Printpack Morgan Stanley – Atlanta Private Wealth Management Mueller Water Products, Inc. NCR Foundation Terence L. and Jeanne P. Neal Nelson Mullins Riley & Scarborough LLP Northern Trust Northwestern Mutual Goodwin, Wright/ Northwestern Benefit Corporation of Georgia Novelis, Inc. Oscar G. and Elsa S. Mayer Family Foundation Oxford Industries, Inc. Vicki and John Palmer Ms. Sara C. Passarella, in Memory of Ann E. Caulk Mr. and Mrs. E. Fay Pearce, Jr. Dr.* and Mrs. Martha Pentecost Porsche Cars North America, Inc. Quikrete Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Mr. and Mrs. Robbie Robinson Mrs. Ruth Magness Rollins Ron & Lisa Brill Charitable Trust Mary and Jim Rubright Ryder Truck Rental, Inc. The Sally & Peter Parsonson Foundation

$25,000+ CONTINUED

Samuel H. Kress Foundation SCANA Energy Rachel and Bill Schultz Mrs. William A. Schwartz Joyce and Henry Schwob Linda and Mark Silberman Mr. and Mrs. Ross Singletary II Mr. and Mrs. Marc Skalla Skanska Mr. and Mrs. E. Kendrick Smith Mrs. Lessie B. Smithgall Southwest Airlines Southwire Company State Bank & Trust Company Dr. Steven and Lynne Steindel Margaret and Terry Stent Mr. G. Kimbrough Taylor and Ms. Triska Drake Troutman Sanders LLP United Distributors, Inc. Lori Vanderboegh and Brady Young Mr. Brandon Verner Susie and Patrick Viguerie Waffle House Kim and Reggie Walker Leigh and Tim Walsh Rebekah and Mark Wasserman Adair and Dick White Ann Marie and John B. White, Jr. Susan and John Wieland Wilmington Trust Suzanne B. Wilner Ellen and John Yates Amy and Todd Zeldin


A Friend of the Atlanta Symphony Orchestra A Friend of the High Museum of Art (2) A Friend of The Woodruff Arts Center (2) AAA Parking ABM Acuity Brands, Inc. Keith Adams and Kerry Heyward Robin Aiken and Bill Bolen Akris Mary Allen The Allstate Foundation Altria Client Services, Inc. Alvarez & Marsal Arris Group, Inc. Evelyn Ashley and Alan McKeon Atlanta Marriott Marquis Atlantic American Corporation/Delta Life Insurance/ Gray Television Atlantic Capital Bank Mr. and Mrs. Ali Azadi Margaret Baldwin and L. Paul Pendergrass Jennifer Barlament and Kenneth Potsic Susan R. Bell and Patrick M. Morris Nancy and Phil Binkow Stan and Laura Blackburn

The Blanche Lipscomb Foundation Stephanie Blank-Jomaky Mr. David Boatwright Susan V. Booth and Max Leventhal Lisa and Jim Boswell Mr. and Mrs. Frank H. Boykin The Breman Foundation, Inc. Brenau University Laura Brightwell Mary and John Brock Brown & Brown Insurance, Inc. Bryan Cave Ms. Mary Cahill and Mr. Rory Murphy The Casey Slade Group, Merrill Lynch Mr. and Mrs. Jefrrey S. Cashdan Center Family Foundation Chamberlain, Hrdlicka, White, Williams & Aughtry The Chatham Valley Foundation, Inc. Chubb Clark and Ruby Baker Foundation Cathy and Bert Clark Susan and Carl Cofer Colliers International Ann and Steve Collins Cooper Global Ann and Tom Cousins Charlene Crusoe-Ingram and Earnest Ingram CSX Transportation Rebecca and Chris Cummiskey Russell Currey and Amy Durrell Elaine and Erroll Davis Cari Dawson and John Sparrow Mr. and Mrs. James Douglass Diane Durgin Mr. and Mrs. Merritt P. Dyke Eagle Rock Distributing Company Dr. Geoffrey G. Eichholz L. Franklyn Elliott, M.D. Fifth Third Bank Ford Motor Company Fund The Fred and Sue McGehee Family Charitable Fund Gas South, LLC Sue and Tim Gedrych Doris and Matthew Geller Marty and John Gillin Mr. and Mrs. Richard G. Goerss Mr. and Mrs. Richard Goodsell Graphic Packaging International, Inc. Nancy and Holcombe Green Joy and Tony Greene Drs. Jeannette Guarner and Carlos del Rio Jason and Carey Guggenheim/Boston Consulting Group Mr. Patrick J. Gunning Angelle and Jack Hamilton Nancy and Charles Harrison HD Supply

Grace B. Helmer Hogan Construction Group Mr. and Mrs. Christopher D. Hohlstein Mr. and Mrs. Jack K. Holland Jocelyn J. Hunter Ida Alice Ryan Charitable Trust Infor Global Solutions Inglett & Stubbs, LLC Insight Sourcing Group Jabian Consulting Jackson Healthcare Sheree and John Jay Lou Brown Jewell Ann A. and Ben F. Johnson III Mary and Neil Johnson Anne and Mark Kaiser James E. Kane Greg Kelly Kennedy Center for the Performing Arts Kimberly-Clark Lisa and Scott Kirkpatrick Eydie and Steve Koonin Mr. and Mrs. Charles R. Kowal Carrie and Brian Kurlander Louise and E.T. Laird James H. Landon Donna Lee and Howard Ehni Macy’s MAG Mutual Insurance Company Meghan and Clarke Magruder Majestic Realty Mr. and Mrs. Mike McCarthy Mr. and Mrs. Forrest McClain McKinsey & Company Mr. and Mrs. John F. McMullan Anna and Hays Mershon Ms. Molly Minnear Hala and Steve Moddelmog Phil and Caroline Moïse Montag Wealth Management Winifred B. and Richard S. Myrick Jane and Jeffrey Neumeyer Northside Hospital Caroline and Joe O’Donnell Lynn and Galen Oelkers Oldcastle, Inc. Gail O’Neill and Paul E. Viera Barbara and Sanford Orkin Overture Lindbergh Beth and David Park Karen and Richard Parker Perkins & Will Susan and David Peterson Piedmont Charitable Foundation, Inc. The Piedmont Group MassMutual The Piedmont National Family Foundation Plateau Excavation Suzanne and Bill Plybon Portman Holdings Alessandra and Elton Potts Sandra and Larry Prince Pure Storage Mr. and Mrs. William C. Rawson Regal Entertainment Group

Estate of Shirley Rivers The Robert Hall Gunn, Jr. Fund Mr. and Mrs. William H. Rogers, Jr. Rooms to Go Foundation Patricia and Maurice Rosenbaum The Roy and Janet Dorsey Foundation S.J. Collins Enterprises Salesforce Savannah Distributing Company Jack Sawyer and Dr. Bill Torres Marci Schmerler and Walter W. Mitchell June and John Scott ServiceNow The Slumgullion Charitable Fund Smith & Howard, PC Biljana and Phil Southerland Dr. and Mrs. Dennis Lee Spangler Spencer Stuart Karen and John Spiegel Gail and Loren Starr STARS of the Alliance Theatre Chandra Stephens-Albright and Warren Albright Charlita StephensWalker, Charles and Delores Stephens Judith and Mark Taylor Lisa Cannon Taylor and Chuck Taylor Thomas H. Lanier Foundation Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Transwestern Trapp Family U.S. Trust University of Michigan School of Music, Theatre & Dance John and Ray Uttenhove Roxanne and Benny Varzi Walden Security Kathy N. Waller Mr. and Mrs. Bradford L. Watkins Weldon H. Johnson Family Foundation Mrs. Susan Kengeter Wells and Dr. James Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Rod Westmoreland James B. and Betty A. Williams Richard Williams and Janet Lavine Jan and Greg Winchester Ms. Joni Winston Diane Wisebram and Edward D. Jewell Dina Woodruff Paul Wrights Mary and Bob Yellowlees

* Deceased | Atlanta’s Performing Arts Publication 69

ASO | staff EXECUTIVE Jennifer Barlament Executive Director Stephanie Smith, Executive Assistant Alvinetta CookseyWyche Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning & Operations Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer Insider & Program Annotator Scott O’Toole Artist Liaison Bob Scarr Archives Program Manager DEVELOPMENT Toni Paz Director of Development Jordan Keegan Development Assistant William Keene Annual Fund Coordinator Nancy Field Grants Manager Brenda Turner Associate Director of Individual Giving

MARKETING & COMMUNICATIONS Tammy Hawk Senior Director of Marketing & Communications KC Commander Digital Marketing Specialist Elizabeth Daniell Communications Coordinator Adam Fenton Director of Multimedia Technology Caitlin Hutchinson, Marketing Coordinator Robert Phipps Publications Director SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management Melanie Kite Director of Subscriptions & Patron Services Pamela Kruseck Senior Manager of Sales Jesse Pace Patron Services Manager Gokul Parasuram Database Manager Robin Smith Subscription & Education Sales Christopher Stephens Corporate Sales Manager

EDUCATION & COMMUNITY ENGAGEMENT Holly Hudak Senior Director of Education and Community Engagement Kaitlin Gress Manager, Atlanta Symphony Youth Orchestra Tiffany I. M. Jones Managing Producer of Educational Concerts Ruthie Miltenberger Manager of Family Programs Adrienne Thompson Manager, Talent Development Program Tyrone Webb Manager of Education and Community Programs OPERATIONS Paul Barrett Senior Production Stage Manager Joseph Brooks Assistant Stage Manager Richard Carvlin Stage Manager Christopher McLaughlin Manager of Artistic Administration Kourtnea Stevenson Assistant Orchestra Personnel Manager Susanne Watts Orchestra Personnel Manager

70 | @AtlantaSymphony |

FINANCE & ADMINISTRATION Susan Ambo Chief Financial Officer Kimberly Hielsberg Senior Director of Financial Planning & Analysis V.S. Jones Symphony Store Shannon McCown Office Manager Brandi Reed, Staff Accountant April Satterfield Controller ATLANTA SYMPHONY HALL LIVE Nicole Epstein Senior Director of Atlanta Symphony Hall Live Lisa Eng Multimedia Creative Manager Christine Lawrence Box Office Manager Joanne Lerner Event Coordinator Natacha McLeod Senior Marketing Manager Clay Schell Consultant Will Strawn Associate Marketing Manager

corporate & government | support

Mayor’s Office of Cultural Affairs

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

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

This program is supported in part by an award from the National Endowment for the Arts. | Atlanta’s Performing Arts Publication 71

ASO | ticket info CAN’T ATTEND A CONCERT? You may exchange your tickets by 4 pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000. SINGLE TICKETS Call 404.733.5000 Tuesday - Saturday noon to 6 pm and Sunday noon to 5 pm. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final. Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

ASO | general info

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

72 Atlanta Symphony Orchestra |

WOODRUFF ARTS CENTER BOX OFFICE Open Tuesday - Saturday noon to 6 p.m. and Sunday noon to 5 p.m. Please note: No refunds or exchanges. All artists and programs are subject to change. GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848. GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000. DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.5263 or visit

IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office


Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales


Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs


Atlanta Symphony Youth Orchestra


Box Office TTD Number


with Special Needs


Lost and Found


Symphony Store


Donations & Development




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