ASO ENCORE :: February 2018

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FEB 2018


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February 2018 | Content 6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 Musicians 24 Concert Program & Notes 54 ASO Support 54 ASO Staff



14 Exit Stage Left Christopher Rex concludes historic Atlanta Symphony Orchestra career by Mark Gresham

66 Ticket Info/General Info

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2 | @AtlantaSymphony |



—Kenn Wells, former lead dancer of the English National Ballet

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ASO | Welcome Dear Friends,


ebruary is Beethoven month at the Atlanta Symphony Orchestra. While we are focusing on the works of both Leonard Bernstein and Ludwig van Beethoven all season long, in this month we offer a rich selection of Beethoven’s tremendous body of work for the piano. Esteemed for his Beethoven interpretations, pianist Jorge Federico Osorio will offer Beethoven’s first four Piano Concertos—completing a full cycle including Beethoven’s “Emperor” Concerto in January--and pianist Jonathan Biss will perform the first of three intimate recitals of Beethoven’s Piano Sonatas this season. We’re delighted to celebrate Beethoven’s genius and legacy with you. In the midst of an ASO holiday season that featured sold-out houses and many magical musical moments, we are especially grateful to you for your gifts to our “Text for Tubas” campaign to help fund professional-quality instruments for the six graduating seniors in our Talent Development Program, which supports talented young African-American and Latino/a musicians with a comprehensive training program preparing them for the rigorous life of a classical musician. Thanks to you, the campaign raised a total of $26,000. What a tremendous gift to these talented young musicians! Don’t miss a chance to hear the TDP Fellows perform at their annual Spring Recitals on April 14 and 15. Visit for details. This month we say farewell to one of our most long-serving and beloved orchestra members, Christopher Rex. Please read his interview with Mark Gresham on page 14 for details on his extraordinary career. We thank Chris for his tremendous service to the Atlanta Symphony Orchestra. Looking forward to next month, there’s something for the whole family at the ASO, including Seuss at the Symphony on March 4th and the Atlanta Symphony Youth Orchestra Crescendo Concert on March 18th. Also, keep an eye out for our 2018-2019 season announcement in March. We look forward to sharing with you all of the wonderful programs that the ASO has in store.

Jennifer Barlament Executive Director

6 | @AtlantaSymphony |


Warm regards,

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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. Celebrating 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 |

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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 | leadership 2017-18 Board of Directors Officers Howard D. Palefsky, Chair Janine Brown, Chair-elect

Thomas Wardell, Vice Chair Lynn Eden, Vice Chair

Meghan H. Magruder, James Rubright, Secretary Treasurer

Carlos del Rio, M.D.+ Paul R. Garcia Jason Guggenheim Joseph W. Hamilton, III Bonnie B. Harris Caroline Hofland Doug Hooker Tad Hutcheson Roya Irvani D. Kirk Jamieson Randy Koporc Carrie Kurlander James H. Landon+ Donna Lee Hank Linginfelter Sukai Liu

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 Ebbie Parsons 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 James Wells, D. Min John B. White, Jr. Richard S. White, Jr.

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Jim Kelley 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.

Directors William Ackerman 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 Sloane Evans

Board of Counselors 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

12 | @AtlantaSymphony |

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

The Abraham J. & Phyllis Katz Foundation Chair

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 Principal BASSOON Andrew Brady Principal

Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair

The Terence L. Neal Chair, Honoring 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


Exit Stage

14 | @AtlantaSymphony |

Christopher Rex Concludes Historic Atlanta Symphony Orchestra Career by Mark Gresham


hristopher Rex joined the Atlanta Symphony Orchestra as Principal Cello in 1979. He is retiring this month after 39 seasons with the orchestra.

He has appeared nationwide as a soloist and chamber musician, and as Principal Cellist of several festival orchestras. He also shared Acting Principal duties for the New York Philharmonic’s European tour in 1988. As Principal Cellist, Mr. Rex’s solo performances with the ASO have been numerous. He has also been very active in chamber music. He is director of the Amelia Island Chamber Music Festival, which he founded, and the Madison Chamber Music Festival in Madison, Ga. He is also a member of Georgian Chamber Players. Encore recently spoke with Christopher Rex about his retirement and his 39 years with the ASO. Encore: You joined the ASO as Principal Cello in 1979. What are some recollections of the Orchestra’s development during your early years here? Christopher Rex: When I joined the Atlanta Symphony Orchestra, they had just recorded “The Firebird” the year before. It was the first classical CD ever made, so this Orchestra really got on the map all a sudden. It was a 48-week contract for a year or two, and then it became a 52-week season Orchestra. At that point | Atlanta’s Performing Arts Publication 15



The year marks Mr. Rex’s 50th year as a professional musician, beginning with the Harrisburg (PA) Symphony when he was 17 years old, playing with them and other regional orchestras while studying at the Curtis Institute of Music and at the Juilliard School. Beginning at age 21, he served for seven seasons as a section cellist of the Philadelphia Orchestra under Eugene Ormandy, prior to joining the ASO.


Christopher Rex with Robert Shaw, May 30, 1988 at the Schauspielhaus in East Berlin.

it became a major orchestra. It was exciting times, and we did a lot of recordings with the Chorus. I feel like those were really the golden years in the Orchestra. It really blossomed through all the Robert Shaw years. Encore: You’ve been in the ASO through three different music directors. How did this changing musical landscape look from your perspective, especially as a cellist and as one of the string section principals? Rex: In each time period there were different focuses. Different music directors have different priorities, so that necessitated my refining my playing for whatever priorities were at that time. The string sound of Atlanta had a richness with Shaw, then a very precise, lean string sound with Yoel Levi. It has maintained that precision but Robert Spano has gotten it more energized. It’s easier to be precise if you’re not trying to be emotionally charged. If you’re trying to be emotionally charged

and precise, it’s more difficult. I think we’re achieving that, keeping the precision that we had with Levi, but getting the energy with Spano. I feel privileged to hear the talent that’s here, in all the sections; I think it is as good as or better than talent anywhere. I feel that I hear things here that I wouldn’t hear any better or in some cases as well anywhere else. The wonderful thing about this orchestra is that they always want to be their best. All during that time, the ASO Chorus, of course, was a major aspect of the musical experience here. Frankly, in that sense, because the Chorus is so great, I think I’ve had musical experiences in that repertoire of a stature that I would not have had anywhere else. Encore: You have also been active on the side as a visual artist, as a painter. Rex: This building right here, for me, is the art school [the former Atlanta College of Art].

16 | @AtlantaSymphony |

Proud supporter of the

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I feel privileged to hear the talent that’s here, in all the sections; I think it is as good as or better than talent anywhere. I was a full time art student here even while I was Principal Cellist. The reason I got out of it was I had throat cancer. I had to drop out and I never really got back to it, but now I can get back to painting again. I’ve already talked to my painting teacher, who is excited. Understand that when I was young, visual arts was what I wanted to do, but my parents made me do music, which I took on as an identity and gave it all I had. Encore: So you are retiring at the beginning of February? Rex: My last week with the ASO will be the week of my 67th birthday; my last concerts on Feb. 1 and 3. Originally I was planning to play a couple more seasons, but I have had increasing pain and weakness as a result of nerve damage from radiation therapy and surgery for my throat cancer almost 20 years ago. In addition to the throat cancer, I had lung cancer 7 years later. So I’m a survivor twice. God has been good to me.

Over the years my nerves, in what they call the brachial plexus, have gotten brittle. I first noticed it about six years ago. Then when I had two cases of pneumonia in 2016, I had to be out of commission for about eight months. Not playing in the Symphony all during that time made the neuropathy worse. My goal in the hospital was to get back to doing my job. And I did it. Fortunately I won’t have to give up performing totally. I plan to be playing chamber music and some concertos, because I can pace myself. With orchestral playing the problem is just the long rehearsals and long concerts. I have to have to rest the arm when the pain gets too much. It isn’t quite fair to my colleagues to all of a sudden say, “I have to be out this week.” I think it’s better that I step down, do what I can do and not hang them up. I announced my decision to my colleagues several weeks ago at a rehearsal, when Spano was there. I wanted to tell them myself that I was stepping down early. I told them that I left the Philadelphia Orchestra after seven seasons there and came here, and I have never for one second regretted doing that. It has been a privilege and an honor to be the Principal Cellist of this great Orchestra.

18 | @AtlantaSymphony |

DISCOVER THE SPIVEY DIFFERENCE 2017-2018 Concert Series Clayton State University

GIL SHAHAM, violin AKIRA EGUCHI, piano Saturday, February 17

ALAN MORRISON Saturday, February 24

EMMANUEL PAHUD, flute ALESSIO BAX, piano Sunday, February 18

ELIAS STRING QUARTET Sunday, February 25

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



ASO | family & education events 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! FEB 5 | MAR 5 | APR 2 | MAY 7 All classes take place Monday, 10am Support provided by the Lettie Pate Evans Foundation

(recommended for children 1 to 5 years of age) Music of Europe FEB 24 | Sat: 9:30/10:30/11:30am FEB 25 | Sun: 1:30/2:30/3:30pm MAR 10 | Sat: 9:30/10:30/11:30am MAR 11 |Sun: 1:30/2:30/3:30pm

SEUSS AT THE SYMPHONY Family Concert MAR 4 | Sun: 3pm Stephen Mulligan, conductor Join Sam-I-Am and the gang as we meet Seuss at the Symphony! Watch as the timeless Dr. Seuss tale, Green Eggs and Ham, comes to life on stage along with Gail Kubik’s Gerald McBoing Boing, and selections from Aaron Copland’s Old American Songs. ATLANTA SYMPHONY YOUTH ORCHESTRA Crescendo Concert MAR 18 | 3pm Stephen Mulligan, conductor Enjoy the future of classical music with the region’s most talented young musicians. Tickets are only $12, and provide a great introduction to classical music for the novice, or an affordable family experience.

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

22 | @AtlantaSymphony |



Recipient of the Regional Theatre Tony Award®


bohème Puccini october 3, 6, 9, 11, 2015

JAN 29/31/FEB 1

March 11–29

Family Series on the Alliance Stage


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Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

T H E F OX T H E AT R E | F E B R U A R Y 2 0 1 5


Recipient of the Regional Theatre Tony Award®


PiraTesof Penzance GilberT & sullivan


March 5, 8, 11, 12, 13, 2016


The Rite of Spring MAR 13/15/16

Nov. 21–Dec. 24, 2014

Family Series on the Alliance Stage


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ADVERTISE IN ENCORE ATLANTA! To find out about advertising with Encore Atlanta contact Tom Casey by phone, 678–837–4032, or by email,, today!

Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor


Recipient of the Regional Theatre Tony Award®

Recipient of the Regional Theatre Tony Award®

FEB 27/28/ MAR 1 NIELSEN: Violin Concerto


Jan. 21–Feb. 22, 2015



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Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor



May 2012

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Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

Recipient of the Regional Theatre Tony Award®

F O X T H E AT R E . O R G | E N C O R E AT L A N TA . C O M

JAN 23/25/26 2012 Musical America MUSICIAN OF THE YEAR



APR 24/26

BRITTEN: Piano Concerto

Family Series on the Alliance Stage

Feb. 22–March 16, 2014

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FEB 1/3 | 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, February 1, and Saturday, February 3, 2018, at 8:00pm In addition to his genius as a composer, Beethoven was one of the greatest pianists of his time. Beethoven composed Five Piano Concertos, four of which he premiered as soloist. During the months of January and February, pianist Jorge Federico Osorio performs all Five of the Beethoven Concertos. FEB 8/10/11 BEETHOVEN: Piano Concerto No. 1 FEB 15/17 BEETHOVEN: Piano Concerto No. 4

ROBERT SPANO, Conductor JORGE FEDERICO OSORIO, piano LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 1 in C Major, Opus 21 (1800) I. Adagio molto; Allegro con brio II. Andante cantabile con moto III. Menuetto. Allegro molto e vivace IV. Adagio; Allegro molto e vivace Concerto for Piano and Orchestra No. 2 in B-flat Major, Opus 19 (1795) I. Allegro con brio II. Adagio III. Rondo. Molto allegro Jorge Federico Osorio, piano INTERMISSION Concerto for Piano and Orchestra No. 3 in C minor, Opus 37 (1803) I. Allegro con brio II. Largo III. Rondo. Allegro Jorge Federico Osorio, piano

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. 24 | @AtlantaSymphony |

26 MIN

28 MIN

20 MIN 36 MIN

Notes on the Program Ken Meltzer, Program Annotator LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. Symphony No. 1 in C Major, Opus 21 (1800) The first performance of the Symphony No. 1 took place at the Burgtheater in Vienna on April 2, 1800, with the composer conducting. The Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


First Classical Subscription Performance: December 1, 1946, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: February 11 and 13, 2010, Roberto Abbado, Conductor.

udwig van Beethoven completed the first of his Nine Symphonies in 1800. This was one of the happiest periods in Beethoven’s life, a time when the young musician was dazzling Vienna with his unique and remarkable talents as a composer and piano virtuoso. The Symphony No. 1 premiered on April 2, 1800, at the Burgtheater in Vienna. The concert, organized by the composer for his own benefit, also featured a Mozart symphony, an aria and duet from Haydn’s oratorio, The Creation, as well as Beethoven performing one of his Piano Concertos (either No. 1 or 2), and a keyboard improvisation.

Many viewed the First Symphony as the composer’s homage to the elegant works of his Classical-era predecessors, Franz Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791). Nevertheless, more than a few of Beethoven’s contemporaries perceived the work in a far different light. One German critic characterized the Symphony as “a caricature of Haydn pushed to absurdity.” For those familiar with the path-breaking music of Beethoven’s later Symphonies, such reactions seem misplaced, if not downright odd. The Beethoven First is a work overflowing with wit and high spirits. The scoring and architecture of the Symphony reflect the 18th century tradition. Beethoven even designates the Symphony’s third movement as a “Minuet”—an elegant court dance in triple meter that appears in virtually every mature Haydn and Mozart Symphony. In 1802, Beethoven proclaimed to his friend, Wenzel Krumpholz: “I am not satisfied with my works up to the present time. From today I mean to take a new road.” In terms of the Symphonies, that “new road” is most clearly first revealed in the Third (“Eroica”), Opus 55 (1803). Nevertheless, Beethoven’s First Symphony, for all of its homage to the past, offers more than a few hints that the revolution was just around the corner. The Symphony No. 1 is cast in the traditional four movements. The work opens with a slow-tempo introduction (Adagio molto). Despite its generally graceful nature, the ambiguous, shifting harmonies must have been unsettling to audiences of Beethoven’s time. An ascending and descending string passage leads to the principal Allegro con brio. While the slow-tempo second movement (Andante cantabile con moto) generally evokes the grace and elegance of the Classical era, there are moments of unrest and turmoil as well. Beethoven designates the third movement as a Minuet (Menuetto. Allegro molto e vivace). But here, the traditional elegant court dance in triple meter is replaced by fleet tempos and violent orchestral attacks, making it the first of the composer’s symphonic scherzos. The finale begins with a slow-tempo introduction (Adagio). After a grand, fortissimo orchestral chord, the first violins begin to introduce the movement’s principal theme. They do so quietly and tentatively, building the theme one note at a time. Finally, the first violins gather their courage to play the theme in its entirety, and the central Allegro molto e vivace is off and running. | Atlanta’s Performing Arts Publication 25

FEB 1/3 | program Concerto for Piano and Orchestra No. 2 in B-Flat Major, Opus 19 (1795) The first performance of the Piano Concerto No. Vienna on March 29, 1795, with the composer as soloist. In addition to the solo piano, the Concerto No. 2 is scored for flute, two oboes, two bassoons, two horns, and strings.


2 took place at the Burgtheater in First Classical Subscription Performance: December 4, 1962, Leon Fleisher, Piano, Henry Sopkin, Conductor.

t was as pianist, not as composer, that the Most Recent Classical Subscription young Ludwig van Beethoven first ascended to Performances: April 24, 26, and 27, prominence in Viennese musical circles. Audiences 2008, Ingrid Fliter, Piano, accustomed to the elegant and refined approach Hans Graf, Conductor. of such virtuosi as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven’s violent attacks upon the delicate fortepianos of the day. But pianist and composer Carl Czerny also noted that audiences were moved to tears by Beethoven’s keyboard performances, “for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing.” The work known as the Second of Beethoven’s Five Piano Concertos was actually the first in order of composition. Beethoven completed the B-flat Concerto, Opus 19, in 1795, three years before the composition of the Concerto in C. However, Beethoven revised the B-flat Concerto and withheld submitting the work to his publisher until 1801. By then, the C-Major Piano Concerto had already been published as Beethoven’s First, Opus 15. Beethoven offered the premiere of the B-flat Concerto on March 29, 1795, as part of a series of charity concerts at the Burgtheater, held for the benefit of widows and orphans of the Society of Musicians. The concerts marked Beethoven’s public debut in Vienna, and the pressure of the momentous event seems to have taken its toll on the 24-year old composer/pianist. Beethoven, suffering from severe colic, was unable to complete the Rondo finale until just two days before the concert. As he finished each sheet of the Rondo, Beethoven handed the music to copyists who sat in an anteroom, keenly awaiting the next installment. Despite Beethoven’s travails, the debut was a success. On April 1, the Wiener Zeitung reported that “the famous Herr Ludwig von (sic.) Beethoven reaped wholehearted approval of the public.” The Concerto No. 2 is in three movements. The first (Allegro con brio) features the traditional orchestral introduction of the principal themes prior to the entrance of the soloist. The slow-tempo second movement (Adagio) is notable for a rapt, sustained lyricism that allowed the young virtuoso to display those “magical” qualities Carl Czerny and others so admired. The finale (Rondo. Molto allegro) is based upon a tripping, syncopated melody, immediately introduced by the soloist. Beethoven maintains the sense of playfulness and high spirits to the work’s closing measures, as the orchestra overrules the pianist’s restrained conclusion with a final joyous outburst.

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Concerto for Piano and Orchestra No. 3 in C minor, Opus 37 (1803) The first performance of the Piano Concerto No. 3 took place in Vienna on April 5, 1803, at the Theater-an-der-Wien, with the composer as soloist. In addition to the solo piano, the C-minor Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: January 18, 1951, Hugh Hodgson, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: October 22 and 24, 2015, Olli Mustonen, Piano and Conductor.


eethoven was the soloist in the world premiere of his Third Piano Concerto. The concert, which took place at the Vienna Theater-an-der-Wien on April 5, 1803, also included a performance of Beethoven’s First Symphony, as well as the first performances of his Second Symphony and the oratorio, Christ on the Mount of Olives. The concert was far from a total success, the result of limited rehearsal time, particularly for a program featuring such a generous amount of new material. Beethoven’s pupil Ignaz von Seyfried offered this eyewitness account of the Concerto’s premiere: In the playing of the concerto movements he asked me to turn the pages for him; but—heaven help me!—that was easier said then done. I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphs wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all the solo part from memory, since, as was so often the case, he had not had time to put it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible pages and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper that we ate afterwards. Over time, of course, the Third Concerto has become one of the mainstays of the piano and orchestra repertoire. There is no question that Beethoven intended the Third Piano Concerto to display his unique talents as a concert pianist. The stormy opening movement (Allegro con brio) looks forward to another work in the key of C minor, the immortal Fifth Symphony, Opus 67 (1808). The second movement (Largo) evokes first-hand accounts describing Beethoven’s ability to move audiences to tears through the sheer beauty of his playing. The finale (Rondo. Allegro), on the other hand, reveals a lighter, even more humorous side of Beethoven that is too often overlooked. | Atlanta’s Performing Arts Publication 27

DEC1/3 FEB 9/10 | artists | program JORGE FEDERICO OSORIO, piano



orge Federico Osorio, born in Mexico, has been internationally lauded for his superb musicianship, powerful technique, vibrant imagination and deep passion. He is the recipient of several international prizes and awards, including the highly prestigious Medalla Bellas Artes, the most distinguished honor granted by Mexico’s National Institute of Fine Arts. Osorio has performed with many of the world’s leading ensembles, including the Symphony Orchestras of Atlanta, Chicago, Cincinnati, Dallas, Detroit, Milwaukee, Philadelphia, Pittsburgh, Seattle and the National Symphony Orchestra of Mexico; the Israel, Warsaw and Royal Philharmonics; the São Paulo Symphony Orchestra (OSESP), Moscow State Orchestra, Orchestre Nationale de France, Philharmonia Orchestra and Amsterdam’s Concertgebouw Orchestra. He has collaborated with such distinguished conductors as Rafael Frühbeck de Burgos, James Conlon, Bernard Haitink, Manfred Honeck, Mariss Jansons, Lorin Maazel, Juanjo Mena, Carlos Miguel Prieto, Robert Spano, Klaus Tennstedt and Jaap van Zweden, among many others. His concert tours have taken him to Europe, Asia, and North, Central, and South America. American festival appearances have included the Hollywood Bowl, Mainly Mozart, Newport, Grant Park and Ravinia, where he performed all five Beethoven Concerti with the Chicago Symphony Orchestra under the direction of Maestro Conlon in two consecutive evenings. He began studying the piano at the age of five with his mother, Luz María Puente, and later attended the conservatories of Mexico, Paris and Moscow, where he worked with Bernard Flavigny, Monique Haas and Jacob Milstein. He also studied with Nadia Reisenberg and Wilhelm Kempff. Highly revered in his native Mexico, Osorio is an American citizen and resides in the Chicagoland area where he serves on the faculty at Roosevelt University’s Chicago College of Performing Arts.

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FEB 8/10/11 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Beethoven composed Five Piano Concertos, but only one for the violin. The legendary violinist Joseph Joachim, who premiered the Brahms Violin Concerto, called the Beethoven, “the greatest (of the German violin concertos), the one that makes the fewest concessions.” APR 19/21 MATTHIAS PINTSCHER: Ex Nihilo, for Chamber Orchestra BEETHOVEN: Violin Concerto BRAHMS: Symphony No. 2 Matthias Pintscher, Conductor Nicola Benedetti, violin

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.

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

Concerts Thursday, February 8, and Saturday, February 10, at 8:00pm, and Sunday, February 11, 2018, at 3:00pm ROBERTO ABBADO, Conductor JORGE FEDERICO OSORIO, piano JESSICA RIVERA, soprano MAGDALENA WÓR, mezzo-soprano WILLIAM BURDEN, tenor TOM MCNICHOLS, bass ATLANTA SYMPHONY ORCHESTRA CHORUS, NORMAN MACKENZIE, Director of Choruses LUDWIG VAN BEETHOVEN (1770-1827) Concerto for Piano and Orchestra No. 1 in C Major, Opus 15 (1798) I. Allegro con brio II. Largo III. Rondo. Allegro scherzando Jorge Federico Osorio, piano INTERMISSION

WOLFGANG AMADEUS MOZART (1756-1791) Requiem in D minor, K. 626 (1791) (ed. Roberto Abbado) I. Introitus: Requiem II. Kyrie III. Sequenz No. 1: Dies irae No. 2: Tuba mirum No. 3: Rex tremendae No. 4: Recordare No. 5: Confutatis No. 6: Lacrimosa IV. Offertorium No. 1: Domine Jesu No. 2: Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux aeterna Jessica Rivera, soprano Magdalena Wór, mezzo-soprano William Burden, tenor Tom McNichols, bass Atlanta Symphony Orchestra Chorus

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38 MIN

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Notes on the Program Ken Meltzer, Program Annotator Concerto No. 1 for Piano and Orchestra in C Major, Opus 15 (1798) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. In addition to the solo piano, the Concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


First Classical Subscription Performances: April 26 and 27, 1969, Grant Johannesen, Piano, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: November 19 and 21, 2015, Yevgeny Sudbin, Piano, Carlos Kalmar, Conductor.

t was as a pianist that Ludwig van Beethoven first ascended to prominence in Viennese musical circles. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven’s attacks upon the delicate fortepianos of the day. Of course, Beethoven’s keyboard artistry consisted of far more than displays of brute strength. Pianist and composer Carl Czerny recalled that audience members were reduced to tears by the sheer eloquence of Beethoven’s improvisational powers, “for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing.” The work known as Beethoven’s First Piano Concerto, Opus 15, was actually the second in order of composition (if one excludes the youthful E-flat Concert pour le Clavecin ou Fortepiano, circa 1784). While the C-Major Concerto was completed in 1798, the B-flat Concerto, Opus 19, now known as the Second, was finished in 1795. However, Beethoven revised the B-flat Concerto and withheld submitting the work to his publisher until 1801, remarking, “I do not give it as one of my best.” By that time, the C-major Piano Concerto had already been published as Beethoven’s First. The C-Major Concerto probably received its premiere at a 1798 concert in Prague, with the composer as soloist. Beethoven’s C-Major Piano Concerto bears comparison with his First Symphony (1800), in that both appear in form and content to be descendents of the Classical-era works of Mozart and Franz Joseph Haydn. However, the bold rhythmic profile, adventurous harmonic modulations, and sharp dynamic contrasts of these early Beethoven works foreshadow the revolutionary figure soon to emerge in such works as the “Eroica” Symphony (1803). The Concerto is in three movements. The first (Allegro con brio) opens with the traditional orchestral introduction of the principal thematic material. When the soloist finally enters, he first appears to be introducing new material. Soon, however, it becomes apparent that the pianist is restating in somewhat improvisatory fashion the themes already introduced by the orchestra. The slow-tempo second movement (Largo) evokes that magic of a pianist who moved audiences to tears through the beauty of his artistry. The Rondo finale (Allegro scherzando) opens with the introduction of the playful central theme. The initial high spirits are maintained throughout, as the pianist and orchestra offer contrasting sections in spirited dialogue. Toward the conclusion, Beethoven provides two brief cadenzas. In the final measures, the orchestra at first seems puzzled as to its next step, but then dashes headlong to the finish. | Atlanta’s Performing Arts Publication 31

FEB 8/10/11 | program Requiem in D minor, K. 626 (1791) (ed. Roberto Abbado) WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. The Requiem is scored for soprano, alto, tenor, and bass solos, mixed chorus, two basset horns (clarinets may replace basset horns), two bassoons, two trumpets, three trombones, timpani, organ, and strings.


First Classical Subscription Performance: January 19, 1965, The Choral Guild of Atlanta, Robert Shaw, Conductor. Most Recent ASO Classical Subscription Performances: May 14, 16, and 17, 2009, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

n the early summer of 1791, Mozart received a visit Recordings: at his Vienna home from “an unknown messenger.” Atlanta Symphony Orchestra This individual, acting on behalf of another who wished Chorus, Robert Shaw, Conductor to remain anonymous, requested Mozart to compose a (Beyer, ed.) (Telarc CD-80128) Requiem Mass. According to Mozart’s early biographer, Atlanta Symphony Orchestra Franz Xaver Niemetschek, the messenger cautioned Chamber Chorus, Donald the composer not to try “to find out who had given the Runnicles, Conductor (Levin, ed.) order, as it would assuredly be in vain.” A few months (Telarc CD-80636) later, Mozart received another visit from the messenger, who “appeared like ghost,” and inquired about the status of the commission. As Mozart’s physical condition deteriorated, he desperately attempted to complete the Requiem. In fact, Mozart continued to work on the Requiem until almost the very moment of his death. The horrible irony of the situation was not lost upon the composer. On more than one occasion, Mozart remarked that he was writing his own Requiem. When Mozart died, just a few minutes before 1 a.m. on December 5, 1791, the Requiem was unfinished. Wolfgang Amadeus Mozart was 35 years old. Over time, much of the Requiem’s mystery has been replaced by fact. For example, we now know that the “unknown messenger” was representing Count Franz Walsegg, a nobleman who resided in Lower Austria. Count Walsegg was an amateur musician who played both the flute and cello. One of the Count’s hobbies was to commission, anonymously, works by various prominent composers, and then try to pass the music off as his own. The Count’s wife died on February 14, 1791. It is quite possible that Walsegg commissioned the Requiem from Mozart with the intention of presenting it on the first anniversary of her passing. The image of Mozart—deathly ill, and racing against time to complete the Requiem— certainly makes for a compelling story. In the case of Peter Shaffer’s Amadeus (1979), it even makes for compelling theater. But in truth, during a considerable portion of the time Mozart was involved in the creation of the Requiem, he was in reasonably good health and spirits. However, by the middle or end of October, Mozart began to feel ill. Mozart was convinced that he had been poisoned. He told Constanze: “I know I must die…someone has given me acqua toffana and has calculated the precise time of my death—for which they have ordered a Requiem, it is for myself I am writing this.” Constanze, fearful that the Requiem was the cause of her husband’s morbid thoughts, convinced him to put the work aside. A few weeks later, Mozart told Constanze: “Yes I see I was ill to have had such an absurd idea of having taken poison, give me back the Requiem and I will go on with it.” But on 32 | @AtlantaSymphony |

November 20, Mozart became stricken with the illness (perhaps, rheumatic fever) that would kill him in a few weeks’ time. Nevertheless, Mozart continued his work on the Requiem. Shortly before his passing, Mozart spoke with his student, Franz Xaver Süssmayr, concerning the completion of the Requiem. Constanze’s younger sister, Sophie, recalled that when she rushed back to the house, she found Mozart speaking to Süssmayr, “explaining to him how he thought he should finish it after his death…The last thing he did was to try to mouth the sound of the timpani in his Requiem; I can still hear it now.” Constanze’s final conversation with her husband occurred when she tried to reassure Mozart that his physician had offered an optimistic diagnosis. Mozart responded: “It isn’t true. I shall die, now when I am able to take care of you and the children. Ah, now I will leave you unprovided for.” And with those words, Mozart died. After Mozart’s death, Constanze ultimately entrusted Süssmayr with the task of completing the Requiem. Debate continues as to the precise contributions of Mozart and Süssmayr to the finished Requiem. But in any event, Süssmayr’s efforts allowed Constanze to receive the remainder of Count Walsegg’s commission fee. On December 14, 1793, Count Walsegg presented the Requiem in Wiener-Neustadt. The subsequent revelation of Mozart’s authorship of the work caused him no small embarrassment. By the very nature of its creation, Mozart’s Requiem has inspired considerable debate— not to mention several performing editions (these concerts feature an edition by Roberto Abbado). And while it is fascinating to speculate on what Mozart might have accomplished with the Requiem had he been given more time, what remains is a work of haunting eloquence, beauty, and power. Perhaps it is only fitting that a sublime genius, taken far too soon, would bequeath as his valedictory statement a glorious work that, nonetheless, leaves us yearning for more. | Atlanta’s Performing Arts Publication 33

FEB 8/10/11 | artists JORGE FEDERICO OSORIO, piano — see biography on page 30 JESSICA RIVERA, soprano



rammy© Award-winning soprano Jessica Rivera is one of the most creatively inspired vocal artists before the public today. The intelligence, dimension and spirituality with which she infuses her performances on great international concert and opera stages have garnered Rivera unique artistic collaborations with many of today’s most celebrated composers, including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff and Nico Muhly, and has brought her together with such esteemed conductors as Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Bernard Haitink and Michael Tilson Thomas. Rivera has long championed contemporary vocal music, and this season she appears at the Ford Theater in association with LA Opera to reprise her performance of Paola Prestini’s multidisciplinary The Hubble Cantata, which she premiered at the BRIC Festival in Brooklyn in August 2016. In 2017, Rivera gave the world premiere of Gabriela Lena Frank’s Requiem with the Houston Symphony and Chorus, conducted by Andrés Orozco-Estrada. She also performed John Harbison’s Requiem with the Nashville Symphony and Chorus under Giancarlo Guerrero, which was recorded for future release on the Naxos label. Ms. Rivera treasures a long-standing collaboration spanning over a decade with Robert Spano and the Atlanta Symphony Orchestra; she joined Spano on Christopher Theofanidis’s Creation/Creator in Atlanta and at the Kennedy Center’s 2017 SHIFT Festival of American Orchestras, where she also performed Robert Spano’s Hölderlin Lieder, a song cycle written specifically for her and recorded on the ASO Media label. MAGDALENA WÓR, mezzo-soprano


agdalena was featured last season with National Philharmonic for Haydn’s Lord Nelson Mass, Atlanta Symphony Orchestra for Mozart’s Mass in C “Coronation, ” and University of Kentucky Orchestra for Beethoven’s Ninth Symphony. Magdalena recently sang her debut performances with Seattle Symphony and Richmond Symphony as soloist for Messiah. She returns to Alabama Symphony Orchestra for Messiah this season and sings her first performance of Berlioz’s Les nuits d’été with Capital City Symphony (Washington, DC) under the baton of Victoria Gau.

Additional engagements and honors include Grieg Peer Gynt Suites with National Symphony Orchestra; Maddalena in Opera Birmingham’s Rigoletto; Mozart Requiem, Bach B Minor Mass and Magnificat, Handel Messiah and Prokofiev Alexander Nevsky with the National Philharmonic Orchestra; Suzuki in Opera Birmingham’s Madama Butterfly; the title role of Carmen for Palm Beach Opera and Lyric Opera of Virgina; Messiah with Atlanta Symphony Orchestra, Memphis Symphony Orchestra and Alabama Symphony Orchestra; Janáček Glagolitic Mass with Cathedral Chorale Society of the Washington National Cathedral; recitals at the Polish and Hungarian Embassies in Washington, D.C.; Tisbe for Washington Concert Opera’s La Cenerentola; Vivaldi Gloria and Mahler’s Symphony No. 2 with the National Philharmonic; solo recitals in London at the Polish Ośrodek Spoleczno-Kulturalny celebrating Chopin’s 200th Birth Anniversary; a concert with Baltic Opera; recognition as a finalist in the 2011 34 | @AtlantaSymphony |

Entertain covertly.

Written by Topher Payne Directed by Adam Koplan

FEBRUARY 22-MARCH 18, 2018 678.528.1500

FEB 8/10/11 | artists Marcello Giordani and Moniuszko International Vocal Competitions; and featured solo artist in the film documentary on Marcello Giordani. Magdelana is originally from Poland and has lived in the United States since 1991. She received her Bachelor’s and Master’s degrees in vocal performance from Georgia State University and is a student of Magdalena Moulson-Falewicz. WILLIAM BURDEN, tenor



merican tenor William Burden has appeared at the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Opera Philadelphia, Santa Fe Opera, La Scala, Glyndebourne Opera Festival, Paris Opera, Munich State Opera, Netherlands Opera, Canadian Opera and the Saito Kinen Festival. His many roles include the title roles of Les Contes d’Hoffmann, Pelléas et Mélisande, The Rake’s Progress and Béatrice and Bénédict; Loge in Das Rheingold, Laca in Jenůfa, Captain Vere in Billy Budd, Aschenbach in Death in Venice, Don José in Carmen, Edgardo in Lucia di Lammermoor, and Lensky in Eugene Onegin. He has also appeared with the Chicago Symphony Orchestra, San Francisco Symphony, Atlanta Symphony Orchestra, Philadelphia Orchestra, Minnesota Orchestra, St. Louis Symphony, Berlin Philharmonic, BBC Symphony Orchestra and with Les Arts Florissants on tour throughout Europe. His many recordings include Beethoven’s Symphony No. 9 with Michael Tilson Thomas and the San Francisco Symphony (SFS Media), Barber’s Vanessa with the BBC Symphony Orchestra (Chandos) and Musique adorable: The Songs of Emmanuel Chabrier (Hyperion). He also appeared in the Metropolitan Opera’s live HD broadcast of Thomas Adès’ The Tempest. Raised in Florida, Burden received his master’s degree in Vocal Performance at Indiana University. Burden is also member of the voice faculties at the Mannes School of Music and the Peabody Conservatory. TOM MCNICHOLS, bass


om McNichols recently returned to the Dallas Opera for Becoming Santa Claus and as the King in Aida with Austin Lyric Opera, then made his debut with Portland Opera as Sarastro in The Magic Flute. In concert he debuted with the Atlanta Symphony in Mozart’s Coronation Mass. In 2016-17 he performed Sarastro with the Cincinnati Opera. This summer he will make his debut the Bard Festival in the popular Polish national opera Halka. In 201718 he will return to the Atlanta Symphony Orchestra to perform Mozart’s Requiem with Maestro Roberto Abbado. This past season, he performed Mozart’s Requiem with Maestro Manfred Honeck at Carnegie Melon University Philharmonic. In 2014, he completed Colline in The Bohemians, a modern day HD film adaptation of La bohème set in Williamsburg, Brooklyn. Prior to that, he performed Death and the Powers at The Dallas Opera, Ferrando in Il trovatore with Opera Sacrament, and Colline with The South Texas Lyric Opera. 2012 marked Tom’s first Sarastro with Opera Grand Rapids, a role he reprised in the Jun Kaneko production with Opera Carolina and Opera Omaha in 2013.

Additional roles in 2013 included Acciano and Pirro in I lombardi – Opera Orchestra of NY and the workshop premiere of La Reina with American Lyric Theater. Prior to that, Tom debuted Opera de Monte Carlo as “The Administration” in Death and the 36 | @AtlantaSymphony |




Cathedral Choir and Schola

23, 7:30 p. m. —

Dale Adelmann, conductor

the cathedral of st . philip


24, 4 p. m. —

Rufus Müller, evangelist Mary Wilson, soprano Meg Bragle, mezzo-soprano Daniel Fridley, Jesus Jason McStoots, tenor Mischa Bouvier, baritone, Pilate

roswell presbyterian church

2744 Peachtree Road NW Atlanta, Georgia 30305




The Molly Blank of the Arthur Fund M. Family Foundat Blank ion

UNE 2017 H E AT R E | J T H E F OX T Tony Award




Theatre Recipient of the Regional




GARDENER Atlanta Botanica l Garden May 19 & 20, 2017














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OM TLANTA .C ENCOREA PM 5/24/17 7:11 ASO_1706_1-64.indd 1

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Spring 2017

JUN 10 – JUL 16, 2017 TAO_1705_Sec


5/25/17 12:22 AM



Robert Spano Music Director

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Find out what you need to know before the show. Read the current and past Encore Atlanta programs for the Fox Theatre; Atlanta Symphony Orchestra and Alliance Theatre at Woodruff Arts Center; The Atlanta Opera; Rialto Center for the Arts and Cobb Energy Performing Arts Centre online at | Atlanta’s Performing Arts Publication 37

FEB 8/10/11 | artists Powers, followed by his Carnegie Hall debut with the Opera Orchestra of NY and roles in Madama Butterfly, Donizetti’s Requiem, and the world premiere of Il caso Mortara. This was followed by revivals of Death and the Powers with The American Repertoire Theater and The Chicago Opera Theater, as well as a recording of the original cast album. 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 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 and 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 New York City’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 perfor38 | @AtlantaSymphony |

mances – 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.

Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 Kathryn Bishop Hanan Davis Khadijah Davis Liz Dean Laura Foster Jayme Hogan-Yarbro Courtney Hulsey Erin Jones Arietha Lockhart** 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* Jessica Barber 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* Chantae Pittman Chelsea Rhoades Donna Ross* Paula Snelling* Tommie Storer Emily Tallant Cheryl Thrash** Donna Weeks*

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

ALTO 1 Verena Anders 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** Linda Morgan** Laura Emiko Soltis Meesook Sonu Rachel Stewart** Diana Strommen Nancy York* ALTO 2 Nancy Adams* Michelle Austin Angelica BlackmanKeim Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament Afton Herring Sally Kann Nicole Khoury* Katherine MacKenzie Lynda Martin Laura Rappold Campbell Rogers Andrea Schmidt Sharon Simons* Alexandra Tanico

Peter Marshall, Accompanist

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

BASS 1 Dock Anderson Richard Brock* Russell Cason** Trey Clegg Michael Cranford Steven Darst** Michael Dennison Michael Ervin Jon Gunnemann* David Hansen** Lee Johnson Nick Jones # Jason Maynard Mitchell Moore Peter Shirts Kendric Smith # John Terry Ike Van Meter Edward Watkins** BASS 2 Michael Arens Charles Boone Brian Brown* Rick Copeland* Joel Craft** Paul Fletcher Andrew Gee* Timothy Gunter* Philip Jones Eric Litsey** Kevin Newman 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 39

FEB 15/17 | 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, February 15, and Saturday, February 17, at 8:00pm ROBERTO ABBADO, Conductor JORGE FEDERICO OSORIO, piano GIOACHINO ROSSINI (1792-1868) Overture to Semiramide (1823) The music of Beethoven continues to play a central role during the remainder of the 2017-18 season. APR 5/6 BEETHOVEN: Symphony No. 3, “Eroica” Robert Spano, Conductor APR 19/21 BEETHOVEN: Concerto for Violin and Orchestra Matthias Pintscher, Conductor Nicola Benedetti, Violin

12 MIN

FRANZ SCHUBERT (1797-1828) Symphony No. 8 in B minor, D. 759 (“Unfinished”) (1822) I. Allegro moderato II. Andante con moto

25 MIN


20 MIN

LUDWIG VAN BEETHOVEN (1770-1827) Concerto for Piano and Orchestra No. 4 in G Major, Opus 58 (1806) 35 MIN I. Allegro moderato II. Andante con moto III. Rondo. Vivace Jorge Federico Osorio, piano

APR 26/28/29 BEETHOVEN: Symphony No. 2 Carlo Rizzi, 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. 40 | @AtlantaSymphony |

Notes on the Program Ken Meltzer, Program Annotator Overture to Semiramide (1823)

First Classical Subscription

Performances: May 13-15, 1993, GIOACHINO ROSSINI was born in Pesaro, Italy, Yoel Levi, Conductor. on February 29, 1792, and died in Passy, France, on November 13, 1868. The first performance of Recording: Telarc CD-80334, Semiramide took place at the Teatro La Fenice in Yoel Levi, Conductor Venice, Italy, on February 3, 1823. The Overture to Semiramide is scored for piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, cymbals, and strings.


emiramide, the final opera Rossini composed for the Italian stage, premiered at Venice’s Teatro La Fenice on February 3, 1823. The libretto, by Gaetano Rossi, is based upon a tragedy by Voltaire. Semiramide concerns the story of the evil Queen of Babylon, who conspires with Prince Assur to murder her husband, King Nino. After a long absence, the son of Nino and Semiramide—now known as the warrior Arsace—returns to Babylon. Semiramide and Arsace are unaware of each other’s identity, and the Queen falls in love with the young hero. Arsace learns of his mother’s perfidy and swears vengeance. Arsace is unable to bring himself to kill his mother. However, in attempting to strike Assur, he accidentally stabs Semiramide. Arsace, racked with guilt, is crowned King by the Babylonians, who in turn arrest Assur.

In the first half of the 20th century, Semiramide suffered neglect, in great part due to a lack of singers able to do justice to Rossini’s demanding score. In more recent decades, a renaissance of superb Rossini vocalists spurred numerous revivals of this magnificent opera. But while the fortunes of the opera have fluctuated, Semiramide’s glorious Overture, incorporating music from the lyric drama, has maintained a constant presence in the concert hall. After a brief agitated passage (Allegro vivace), a quartet of horns intones the majestic principal melody of the slow-tempo introduction (Andantino), derived from the opera’s first-act finale. The return to the opening music and three forte chords precede the Allegro portion of the Overture, whose scurrying opening theme appears in the finale to the opera’s second act. Pizzicato strings accompany the clarinet and bassoon’s introduction of the triplet-based second theme. An orchestral fanfare leads to a stirring “Rossini crescendo,” based upon a motif from the Semiramide-Arsace duet, “Serbami ognor.” After a short lyrical interlude, there is a recapitulation of the Allegro themes and a brief, powerful coda. Symphony No. 8 in B minor, D. 759 (“Unfinished”) (1822) FRANZ SCHUBERT was born in Vienna, Austria, on January 31, 1797, and died there on November 19, 1828. The first performance of the “Unfinished” Symphony took place in Vienna on December 17, 1865, with Johann Herbeck conducting the Gesellschaft der Musikfreunde. The Symphony No. 8 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three


First Classical Subscription Performance: February 4, 1945, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances (Symphony completed by Marcel Tyberg): April 26-28, 2012, Michael Christie, Conductor. trombones, timpani, and strings.

o one is certain why Franz Schubert completed only two movements of what, by tradition, should have been a four-movement symphony. Schubert worked on the B-minor Symphony in October and November of 1822. During that time, | Atlanta’s Performing Arts Publication 41

FEB 15/17 | program he composed and orchestrated the first two movements. Schubert also sketched the third-movement Scherzo in almost complete form, and orchestrated its first nine bars. No other music survives from the Symphony, nicknamed the “Unfinished.” Schubert originally gave the score to a friend, composer Anselm Hüttenbrenner, as thanks for securing his Honorary Membership in the Music Society of Graz. Some thirty years later, Anselm’s brother, Joseph, wrote Johann Herbeck, conductor of the prestigious Vienna Gesellschaft der Musikfreunde. Anselm informed Herbeck that the Hüttenbrenners possessed “a treasure in Schubert’s B-minor Symphony, which we put on a level with the great Symphony in C (No. 9), his instrumental swan song, and any one of the symphonies by Beethoven.” Five years after this correspondence, Herbeck visited Anselm Hüttenbrenner in Graz. Herbeck informed Hüttenbrenner that he wanted to present a concert featuring one of his works, as well as compositions by Schubert and Franz Lachner. When Herbeck suggested that it would be “very appropriate to represent Schubert by a new work,” Hüttenbrenner produced a large stack of papers that included the score of the B-minor Symphony. One can only imagine Herbeck’s reaction as he perused this unknown masterpiece! When Herbeck asked permission to copy the music at his own cost, Hüttenbrenner graciously told the conductor to take the score with him. Herbeck and the Gesellschaft der Musikfreunde premiered the B-minor Symphony on December 17, 1865, 37 years after Schubert’s death. While Schubert did not complete his B-minor Symphony, the two surviving movements stand proudly on their own as a dramatic and fulfilling work, much like the three movements of Anton Bruckner’s Ninth (1896). Indeed, Schubert’s “Unfinished” Symphony is one of the most eloquent and beloved orchestral works of the first half of the 19th century. The first movement (Allegro moderato) opens with a brooding motif introduced by the cellos and basses that resolves to a restless string figure, and a plaintive melody, played by the oboes and clarinets. After a powerful climax, the cellos sing one of the most beloved themes in the symphonic literature. The slow-tempo second movement (Andante con moto) begins peacefully, but later journeys to moments of shattering violence. The final pages reinstate the serenity with which the movement began. Concerto for Piano and Orchestra No. 4 in G Major, Opus 58 (1806) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first public performance of the Fourth Piano Concerto took place in Vienna at the Theater-an-der-Wien on December 22, 1808, with the composer as soloist. In addition to the solo piano, the Concerto No. 4 is scored for flute, two oboes, two clarinets, First Classical Subscription two bassoons, two horns, two trumpets, timpani, Performance: March 21, 1951, and strings. Claudio Arrau, Piano, eethoven completed the score of his G-Major Henry Sopkin, Conductor. Concerto in 1806, and first performed the Most Recent Classical Subscription work during a March 1807 private concert at the Performances: February 9-11, 2017, palace of his patron, Prince Joseph Lobkowitz. Juho Pohjonen, Piano, The first public performance of the Fourth Piano Robert Spano, Conductor.


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Concerto took place at the Vienna Theater-an-der-Wien on December 22, 1808. In addition to the Fourth Piano Concerto, the concert, sponsored by Beethoven, included the world premieres of the composer’s Fifth and Sixth Symphonies and Choral Fantasy, as well as four movements from his Mass in C and the soprano aria, Ah! Perfido. Still, the benefit concert (known as an Akademie) was far from a resounding success. The meager rehearsal time was insufficient for a program of such length and difficulty. During the premiere of the Choral Fantasy, the orchestra was forced to stop in the middle of the work and begin a section over again. Further, the audience endured this taxing winter program in an unheated theater. Perhaps the Fourth Piano Concerto fared as well as any piece on the December 22, 1808 program. Beethoven was the soloist, and, according to German musician Johann Reichardt: “He played...with astounding cleverness and in the fastest possible tempi. The (second movement), a masterly movement of beautifully developed song, he sang on this instrument with a profound melancholy that moved me.” The Fourth Piano Concerto proved to be the last such work Beethoven composed for his own performance. Increasing deafness finally made public appearances all but impossible for one of the greatest piano virtuosos of his time. Beethoven completed his magnificent Fifth Piano Concerto (“Emperor”) in 1809. The “Emperor,” Beethoven’s final Concerto for Piano and Orchestra, is certainly a fitting culmination of the composer’s efforts in this genre. Still, there are many advocates for the G-Major Concerto as the composer’s finest. It is a miraculous blend of haunting lyricism, expressive virtuosity, and formal innovation. As British musicologist Sir Donald Francis Tovey observed: “Beethoven has now well and truly laid the foundations of his concerto form and is free to raise the edifice to heights undreamt of in earlier music.” The Beethoven Concerto No. 4 is in three movements. The first movement (Allegro moderato) is by far the longest of the three. Instead of the traditional purely orchestral introduction, the soloist immediately intones the first principal theme. The brief second movement (Andante con moto) is in the form of a dialogue between the strings and piano. Franz Liszt compared this episode to “Orpheus taming the wild beasts with his music.” The finale (Rondo. Vivace) ensues without pause. Beethoven presents a remarkable variety of moods and instrumental colors throughout. After a cadenza and series of trills, there is a moment of repose before the soloist and orchestra dash headlong to a Presto finish. | Atlanta’s Performing Arts Publication 43

FEB 15/17 | artists ROBERTO ABBADO, conductor



is sense of drama, his instinctive lyricism and his evocative command of different styles and composers have made Roberto Abbado one of the most appreciated orchestra conductors of his generation. Roberto Abbado studied orchestra conducting under Franco Ferrara at the Teatro La Fenice in Venice and at the Accademia di Santa Cecilia. He is Musical Director at the Palau de les Arts Reina Sofía in Valencia and has conducted the Concertgebouworkest, the Wiener Symphoniker, the Orchestre National de France, the Orchestre de Paris, the Staatskapelle Dresden, the Gewandhausorchester, the NDR Sinfonieorchester, the Los Angeles Philharmonic, the Saint Paul Chamber Orchestra, the Orchestra del Maggio Musicale Fiorentino, the Orchestra Sinfonica Nazionale della Rai, the Orchestra Filarmonica della Scala, the Orchestra of the Teatro Comunale di Bologna, to name a few. Roberto Abbado has conducted numerous new opera productions and world premieres, including Fedora and Ernani at the Met; La Gioconda, Lucia di Lammermoor, La donna del lago at La Scala; Aida and La traviata at the Bayerische Staatsoper; Le Comte Ory, Attila, I lombardi alla prima crociata, Il barbiere di Siviglia, Phaedra and Anna Bolena at the Maggio Musicale Fiorentino. He has recently interpreted La favorite at the Salzburg Festival, and has conducted Don Pasquale, Samson et Dalila, A Midsummer Night’s Dream and I vespri siciliani at the Palau de les Arts, Lucia di Lammermoor at the Teatro dell’Opera di Roma, Norma at Turin’s Teatro Regio, Macbeth and Parsifal at the Teatro Comunale di Bologna, Rigoletto at the Met, Simon Boccanegra in Hong Kong on a tour with the Teatro Regio, Benvenuto Cellini at the Teatro dell’Opera di Roma and Norma at the Teatro Real in Madrid. A passionate interpreter of contemporary music, Abbado’s repertoire includes composers like Luciano Berio, Salvatore Sciarrino, Luca Francesconi, Pascal Dusapin, Henri Dutilleux, Olivier Messaien, Hans Werner Henze, John Adams. Some of his most appreciated DC and DVD recordings include I Capuleti e i Montecchi (BBC Magazine “Best Recording of the Year”), Tancredi, Don Pasquale, Turandot, Verismo Arias with Mirella Freni, L’Amour and Arias for Rubini with Juan Diego Flórez, Bel Canto (“Echo Klassic Deutscher Schallplattenpreis” 2009) with Elina Garanča, Fedora with Freni and Domingo, Ermione, Zelmira and Mosè in Egitto. JORGE FEDERICO OSORIO, piano — see biography on page 30

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TONY AWARD BEST AVAILABILITY ON WEEKDAYS! MARCH 13 - 18 | Atlanta’s Performing Arts Publication 45

FEB 28 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

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

Concert of Wednesday, February 28, 2018, at 8:00pm JONATHAN BISS, piano LUDWIG VAN BEETHOVEN (1770-1827)

Jonathan Biss continues his survey of the 32 Beethoven Piano Sonatas:

APR 4 | Wed: 8pm Piano Sonata Nos. 4 | 17 | 5 | 23 MAY 30 | Wed: 8pm Piano Sonata Nos. 8 | 22 | 26 | 2 | 31

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.

Sonata No. 1 in F minor, Opus 2, No. 1 (1795) I. Allegro II. Adagio III. Menuetto. Allegretto IV. Prestissimo

20 MIN

Sonata No. 9 in E Major, Opus 14, No. 1 (1798-9) 14 MIN I. Allegro II. Allegretto III. Rondo. Allegro commodo Sonata No. 13 in E-flat Major, Opus 27, No. 1, “Quasi una fantasia” (1801) I. Andante; Allegro; Tempo I II. Allegro molto e vivace III. Adagio con espressione IV. Allegro Vivace; Tempo I; Presto

16 MIN


20 MIN

Sonata No. 12 in A-flat Major, Opus 26 (1801) I. Andante con Variazioni II. Scherzo. Allegro molto III. Marcia funebre sulla morte d’un Eroe. Maestoso Andante IV. Allegro

19 MIN

Sonata No. 21 in C Major, Opus 53, “Waldstein” (1804) I. Allegro con brio II. Introduzione. Adagio molto III. Rondo. Allegretto moderato

46 | @AtlantaSymphony |

23 MIN

Notes on the Program Ken Meltzer, Program Annotator LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827.


n the 1790s, Beethoven ascended to prominence in Vienna as a brilliant virtuoso pianist, albeit an iconoclastic one. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven’s attacks upon the delicate fortepianos of the day. Beethoven’s keyboard performances consisted of far more than displays of force. Pianist and composer Carl Czerny recalled that audience members were moved to tears by the eloquence of Beethoven’s improvisational powers at the keyboard, “for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing.” Another element of Beethoven’s keyboard magic was his masterful plasticity of phrasing that, according to first-hand accounts, employed unerring dynamic contrast and subtle tempo modification. Beethoven composed numerous works for solo piano that he performed to considerable acclaim. The tragic onset of deafness in the early 1800s soon brought Beethoven’s career as a concert pianist to an early close. It’s not surprising that Beethoven composed 18 of his 32 Piano Sonatas during the years 1795-1802. Nevertheless, as in the case of the symphony and string quartet, Beethoven continued to compose piano sonatas almost to the end of his life. As such, these works offer a treasured window into Beethoven’s growth and development as an artist. Sonata No. 1 in F minor, Opus 2, No. 1 (1795)


eethoven dedicated the Piano Sonatas published in 1796 as his Opus 2, Nos. 1-3, to his former teacher, Franz Joseph Haydn. The Opus 2 Piano Sonatas provided a showcase for Beethoven’s unique qualities as a keyboard artist. Typical of many of Beethoven’s early works, the Opus Two Sonatas both acknowledge the Classical era of Haydn and Mozart, and offer glimpses of the revolutionary path the composer would take in just a few years’ time. I. Allegro—The Sonata opens with an immediate presentation of the principal, ascending theme. A contrasting lyrical descending theme is followed by yet another, marked con espressione. The vibrant development section opens with a variant of the opening theme. A forte restatement of that theme ushers in the recapitulation, ultimately capped by the fortissimo closing statement. II. Adagio—The Sonata’s slow-tempo movement, in F Major, is based upon a noble, flowing melody (marked dolce), introduced in the opening bars. The lovely permutations of the melody suggest eyewitness accounts of Beethoven’s genius at improvisation. The Adagio finally resolves to a pianissimo conclusion. III. Menuetto. Allegretto—Beethoven eschews the traditional three-movement sonata of his time for one in four movements by adding a Minuet. The minor-key setting, sudden dynamic contrasts, and sforzando attacks conjure a troubled atmosphere. The central Trio, in F Major, features an eighth-note moto perpetuo theme. A reprise of the Minuet concludes the movement. IV. Prestissimo—The finale opens with scurrying triplet figures in the left hand, serving as accompaniment for a terse, three-note theme that alternates piano and forte dynamics. The restless energy of this opening section yields to a relaxed, lyrical episode, featuring a melody | Atlanta’s Performing Arts Publication 47

FEB 28 | program marked sempre piano e dolce. The three-note theme begins to insinuate itself once again, leading to a recapitulation of the opening section and the brilliant conclusion. Sonata No. 9 in E Major, Opus 14, No. 1 (1798-9) I. Allegro—The flowing initial principal theme, with insistent left hand accompaniment, is introduced at the outset. The second principal theme, launched by a descending figure, incorporates chromatic and contrapuntal elements. The traditional development and recapitulation are capped by a final statement of the opening theme. II. Allegretto—The second movement, in E minor and ¾ time, is a melancholy dance. There is a second, contrasting episode in C Major. It leads to a reprise of the opening, and a brief invocation of the second episode. III. Rondo. Allegro commodo—The principal theme of the Rondo finale (as in the first movement) is paired with insistent left hand accompaniment. High spirits and fleet passagework abound as the finale sprints to a forte close. Sonata No. 13 in E-flat Major, Opus 27, No. 1, “Quasi una fantasia” (1801)


eethoven referred to each of Opus 27, Nos. 1 and 2, as a “Sonata quasi una Fantasia.” In both, Beethoven departs from the traditional sonata-form opening movement, here with atmospheric and improvisatory music, set in an expansive tempo. I. Andante; Allegro; Tempo I—The Sonata’s four movements are played without pause. The first, in A—B—A form, is based upon a chorale, played to a tripping sixteenth note accompaniment. Variations on the theme lead to a whirlwind episode (Allegro), also related to the chorale. The movement concludes with a varied reprise of the initial episode. II. Allegro molto e vivace—The second movement is a brief scherzo, whose principal theme incorporates and juxtaposes the first movement chorale’s ascending and descending accompaniment. A jaunty central section leads to a reprise of the initial scherzo. III. Adagio con espressione—The brief slow-tempo movement, also in A—B—A form, concludes with a cadenza-like passage, leading directly to the finale. IV. Allegro Vivace; Tempo I; Presto—The finale opens with the first principal theme of a movement that combines elements of both rondo and sonata forms. The tireless energy of the opening episode seems destined to continue unabated to the finish. Suddenly, a reminiscence from the slow-tempo third movement (Tempo I) makes an unexpected appearance. The mood quickly changes once again, as a brief Presto concludes the work. Sonata No. 12 in A-flat Major, Opus 26 (1801) I. Andante con Variazioni—Instead of the traditional quick-tempo sonata-form first movement, Beethoven opens with a theme and variations initially set in a broad tempo. The beautiful principal theme is introduced at the outset. While the ensuing five variations are fully transcribed, they evoke eyewitness accounts of Beethoven’s ability to move his audiences to tears through his genius at improvisation. II. Scherzo. Allegro molto—The brief and vibrant second movement Scherzo is similar in character and melodic contour to the third movement of Beethoven’s First Symphony (1800). After a contrasting Trio section, the Scherzo returns to close the movement. III. Marcia funebre sulla morte d’un Eroe. Maestoso andante—Beethoven replaces the 48 | @AtlantaSymphony |




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FEB 28 | program expected lyrical slow-tempo movement with a Funeral March in Memory of a Hero. The music’s tragic cast, insistent dotted-rhythms, brief contrasting major-key episode, and resigned conclusion all look forward to the epic Funeral March in Beethoven’s revolutionary “Eroica” Symphony (1803). IV. Allegro—In sharp contrast to the preceding Funeral March, the finale, in rondo form, is playful and life-affirming from start to finish. The scurrying principal theme recurs throughout, finally resolving to a pianissimo close. Sonata No. 21 in C Major, Opus 53, “Waldstein” (1804)


eethoven dedicated his Sonata No. 21 to Count Ferdinand Waldstein. Count Waldstein, who met the young Beethoven in Bonn, was himself a musician of some talent. He is credited both with providing financial assistance, and encouraging Beethoven to develop his gifts at keyboard improvisation. Count Waldstein was also instrumental in obtaining permission for Beethoven to travel to Vienna in 1792 to study with Haydn. In later years, Ferdinand Waldstein came upon hard financial times. It also appears that he and Beethoven had some sort of falling out. But Count Waldstein will be forever immortalized in music history, thanks to Beethoven’s dedication of one of the great Piano Sonatas of the composer’s Middle Period. I. Allegro con brio—Insistent, hushed eighth notes culminate in a four-note motif. This sequence is explored at length. A brief, angular statement precedes the noble second theme, a chorale in E Major. A variant of the chorale in triplet form plays an important role in the ensuing development, launched by a reprise of the opening sequence. In the development section (and indeed, throughout the “Waldstein” Sonata), the remarkably challenging writing produces strikingly rich, complex sonorities. Toward the close of the development, hushed mystery yields to a fortissimo cascade, and the start of the recapitulation. The extended coda features a reprise of the chorale, followed by the opening sequence, and the emphatic final measures. II. Introduzione. Adagio molto—Beethoven originally composed an extended slow-tempo movement for the “Waldstein” Sonata. But ultimately, Beethoven substituted this brief Introduction (the original second movement became a free-standing concert work, the Andante favori, WoO 57). A repeated dotted-rhythm motif develops into a noble, lyric statement. Repetitions of the motif herald the finale, which follows without pause. III. Rondo. Allegretto moderato—The Rondo finale’s radiant central theme, introduced in hushed dynamics, emerges in all its glory following an extended trill. An expansive sequence, opening in C minor, culminates in a fortissimo C Major restatement of the central melody. The finale’s arresting vitality momentarily abates, leading to the concluding whirlwind Prestissimo, and the exultant final bars.

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FEB 28 | artist JONATHAN BISS, piano


onathan Biss is a world-renowned pianist who shares his deep musical curiosity with classical music lovers in the concert hall and beyond. In addition to performing a full schedule of concerts, he has spent eleven summers at the Marlboro Music Festival and written extensively about his relationships with the composers with whom he shares a stage. A member of the faculty of his alma mater the Curtis Institute of Music since 2010, Biss led the first massive open online course (MOOC) offered by a classical music conservatory, Exploring Beethoven’s Piano Sonatas, which has reached more than 150,000 people in 185 countries. Part three is set to come out in January 2018, and he will continue to add lectures until he covers all of the sonatas.

Biss has embarked on a nine-year, nine-disc recording cycle of Beethoven’s complete piano sonatas, and in early 2018 he released the seventh volume, including the sonatas Op. 2, No. 2; Op. 49, No. 2; Op. 31, No.2 (“Tempest”), and Op. 109. His bestselling eBook, Beethoven’s Shadow, describing the process of recording the sonatas and published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician. The recording cycle will be complete in 2020, at the same time as the final Coursera lectures on the sonatas. Biss represents the third generation in a family of professional musicians that includes his grandmother Raya Garbousova, one of the first well-known female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/ violinist Paul Biss. Growing up surrounded by music, Biss began his piano studies at age six, and his first musical collaborations were with his mother and father. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music with Leon Fleisher. For more information, please visit

52 | @AtlantaSymphony |

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Wedding and Event Planning Ad and logo by AW Design. | Atlanta’s Performing Arts Publication 53

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!


Delta Air Lines, Inc. The Kendeda Fund


Mrs. Anne Cox Chambers


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

1180 Peachtree AT&T Bank of America George M. Brown Trust Fund The Coca-Cola Company The Home Depot Foundation

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


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 Kaiser Permanente 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.

54 | @AtlantaSymphony |

ASO | support Appassionato We are so grateful for donors who give to the Annual Fund, Ball, and Special Projects 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 Alston & Bird Paul & Linea Bert 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 Mayor’s 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 Board of Commissioners Scott Hudgens Family Foundation, Inc. Lucy R. & Gary Lee, Jr. Hank Linginfelter The Charles Loridans Foundation, Inc. The Estate of Ms. Janice Murphy Terence L. & Jeanne P. Neal* Massey Charitable Trust Sunny Park The Marcus Foundation, Inc. One Museum Place The Sally & Peter Parsonson Foundation 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. WestRock Company Ann Marie & John B White, Jr.* Adair & Dick White Mrs. Sue S. Williams


Neale M. Bearden** Mr. & Mrs. Frank H. Bo ykin Wright & Alison Caughman William M. Graves D. Kirk & Kimberlee Jamieson Donna Lee & Howard Ehni Caroline & Joe O’Donnell 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 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 K. Dawson & John M. Sparrow Georgia-Pacific Foundation Jeannette Guarner, MD & Carlos del Rio, MD Jason & Carey Guggenheim/Boston Consulting Group Joe Hamilton Bonnie B. Harris Clay & Jane Jackson Ann A. & Ben F. Johnson III* Kero-Jet Brian & Carrie Kurlander James H. Landon Karole & John Lloyd Meghan & Clarke Magruder John & Linda Matthews Ken & Carolyn Meltzer Ms. Molly Minnear Moore Colson, CPAs & Bert & Carmen Mills Lynn & Galen Oelkers The Piedmont National Corporation Martha M. Pentecost Patty & Doug Reid Joyce & Henry Schwob June & John Scott Mr. & Mrs. Ross Singletary II Slumgullion Charitable Fund Jeffrey Sprecher & Kelly Loeffler Loren & Gail Starr Dr. James Wells & Susan Kengeter Wells Dr. & Mrs. James O. Wells, Jr.


A Friend of the Symphony Allstate Atlanta Beverage Company Farideh & Ali Azadi Foundation

Julie & Jim Balloun The Breman Foundation, Inc. The Walter & Frances Bunzl Foundation John W. Cooledge Janet Davenport, in honor of Norman Mackenzie Marcia & John Donnell DS Services Eleanor & Charles Edmondson Georgia Power Foundation, Inc. The Robert Hall Gunn, Jr. Fund Virginia Hepner & Malcolm Barnes Hertz Family Foundation Roya & Bahman Irvani JBS Foundation 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 Dr. and Mrs. Ebbie and Ayana Parsons Suzanne & Bill Plybon* Mr. John A. Sibley III Mr. Doug Shipman & Dr. Bijal B. Shah Dr. Steven & Lynne Steindel* Alison & Joe Thompson Ticketmaster Mr. and Mrs. Michael W. Trapp 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 55

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 Belinda Massafra June Scott Chair Vice-Chair, Communications & Kristi Allpere Newsletter Editor Chair Elect and Deedee Hamburger Vice Chair, Programs Programs Committee Helga Beam Vice-Chair, Annual Fund


Aadu & Kristi Allpere* The Estate of Donald S. & Joyce Bickers Lisa & Russ Butner Cobb EMC Community Foundation Sally & Carl Gable Georgia Council for the Arts Deedee & Marc Hamburger* 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 Ruth & Mark Coan William & Patricia Cook Thomas G. Cousins

Mr. & Mrs. Jonathan J. Davies Peter & Vivian de Kok Ms. Arlene DeMita Ms. Diane Durgin Ellen & Howard Feinsand John & Michelle Fuller Mary & Charles Ginden Mr. & Mrs. Richard Goodsell Sally W. Hawkins Azira G. Hill Tad & Janin Hutcheson Baxter Jones & Jiong Yan Cecile M. Jones Donald S. Orr & Marcia K. Knight Mr. Kurt P. Kuehn & Ms. Cheryl Davis Mr. & Mrs. Joshua Harbour Mr. & Mrs. J. Hicks Lanier/The Sartain Lanier Family Isabel Lamy Lee Loews Atlanta Hotel Peg & Jim Lowman Mary Ruth McDonald* Ms. Terry S. McGehee & Ms. Sheila A. Hunt, A.I.A. Belinda & Gino Massafra Mr. Bert Mobley Morgens West Foundation North Highland Northwestern Mutual Goodwin, Wright/ Northwestern Benefit Corporation of Georgia

Judy Hellriegel Annual Fund Committee Milt Shlapak Member-at-Large Sally Parsonson Communications Committee

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

Franca G. Oreffice Overture Lindbergh Margaret H. Petersen Jack & Susanne Pinkerton Mr. Leonard B. Reed* Mr. & Mrs. Joel F. Reeves Ms. Vicki J. Ridel Mr. Joseph A. Roseborough & Ms. Teresa Wynn Roseborough 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

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 Ms. & Ms. Tara King-Hughes Lillian Balentine Law Mr. Ralph Levy Joanne Lincoln William & Deborah Liss* Ms. Erin M. Marshall Susan Perdew Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. In Memory of Dr. Frank S. Pittman, III Tom & Mary Quigley S. A. Robinson Lou & Dick Stormont Edward & Jean L. Stroetz 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*


Margo Brinton & Eldon Park Karen & Rod Bunn Mr. & Mrs. Dennis M. Chorba

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

56 | @AtlantaSymphony |


A Friend of the Symphony (5) Ms. Mary Allen Ms. Amy-Gerome-Acuff & Mr. Daniel Acuff Mr. & Mrs. Stephen D. Ambo The Hisham & Nawal Araim Foundation Dr. Evelyn R. Babey Lisa & Joe Bankoff Anthony Barbagallo & Kristen Fowks Susan R. Bell & Patrick M. Morris Dr. & Mrs. Joel Berenson Charles Bjorklund & Stedman Mays 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* The Community Foundation for Greater Atlanta Ralph & Rita Connell Jean & Jerry Cooper Mr. Kenneth Cornwall Mr. & Ms. Jonathan Cramer Susan & Ed Croft Mr. & Mrs. Erik Curns Bertha Davis Lawrence & Sally Davis Mr. & Mrs. Donald Defoe* Mr. Philip A. Delanty

Mary & Mahlon Delong Xavier Duralde & Mary Barrett Gregory S. Durden Mr. & Mrs. Robert G. Edge Dieter Elsner Robert S. Elster Foundation George T. & Alecia H. Ethridge Mr. & Mrs. William M. Evans , Jr. Mr. & Mrs. Edward T. M. Garland Mr. & Mrs. William A. Flinn Mr. & Mrs. Edward T. M. Garland Drs. John & Gloria Gaston Mary D. Gellerstedt Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline M. Gilham Marty & John Gillin 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 John & Martha Head Mr. & Mrs. John E. Hellriegel Mr. William B. Hendrix Kenneth R. Hey Sarah & Harvey Hill* Dr. Walter J. Hill Mia & Ronald Hilley John & Laurie Hopkins Mr. & Mrs. James Horgan* Mrs. Sally Horntvedt Tatty & Harry Howard John E. & Hollis H. Hudak Dr. & Mrs. Roger J. Hudgins 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. W. F. & Dr. Janice Johnston 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 Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Mr. & Mrs. Tom Merkling* 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 Mr. & Mrs. E. Fay Pearce, Jr. Ms. Susan Perdew Elise T. Phillips Mary Kay & Gene Poland*

Ms. Kathy Powell 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 Gerald & Nancy Silverboard 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 Mrs. Sheila Tschinkel Vogel Family Foundation Carol Brantley & David Webster Joan & Howard Weinstein Dr. Nanette K. Wenger 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 W. Yow Herbert & Grace Zwerner | Atlanta’s Performing Arts Publication 57

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 Richard & Shirley McGinnis John & Clodagh Miller Janice Murphy Mr. & Mrs. Bertil D. Nordin Amy W. Norman** Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonson Dan R. Payne Bill Perkins Janet M. Pierce 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

58 | @AtlantaSymphony |

Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling 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

**deceased 288

Concert for World Peace Featuring

Dona Nobis Pacem Ralph Vaughan Williams The Glenn Chancel Choir Orchestra Steven Darsey, Conductor Friday, March 2, 2018 8:00 p.m.—Sanctuary Admission Free; Offering Taken

1660 N. Decatur Rd. NE, Atlanta, GA William Blake | Atlanta’s Performing Arts Publication 59

tdp and education donors The following represents gifts to the Azira G. Hill Scholarship Fund, TDP Endowment, Talent Development Fund for operations, and funding for education programs as of June 1, 2016. EDUCATION & TDP DONORS The following represents gifts to the Azira G. Hill Scholarship Fund, TDP Endowment, operations support of the Talent Development Program, and funding for education programs as of June 1, 2016. $100,000+ The Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation AT&T Wells Fargo $25,000+ Publix Super Markets Charities Kaiser Permanente Turner $10,000+ The Arnold Foundation, Inc. The Capital Group Companies Charitable Foundation Clark & Ruby Baker Foundation DS Services Estate of Neale M. Bearden Georgia-Pacific Foundation Georgia Power Company A Friend of the Atlanta Symphony $5,000+ The Azalea City Chapter of The Links, Inc. Cobb EMC Community Foundation Ms. Lynn Eden $1,000+ Anonymous Nancy Cooke John & Gloria Gaston Azira G. Hill *# Dr. Walter J. Hill * Ruth Hough Ralph & Eileen Levy Sally & Peter Parsonson In memory of Willard Shull Kathy N. Waller Sally Stephens Westmoreland

$500+ Charles Bjorklund and Stedman Mays Jacqueline A. & Joseph E. Brown, Jr. Drs. Jeannette Guarner & Carlos del Rio Mr. William C. Eisenhauer Dr. Annie J. Gavin Mary C. Gramling # Victoria and Howard Palefsky Susan Perdew Margaret and Bob Reiser The Society, Inc. $250+ Madeline & Howell E. Adams, Jr. Dr. Dwight D. Andrews & Dr. Desiree S. Pedescleaux Lisa & Joe Bankoff Kelley O. & Neil H. Berman Rita & Herschel Bloom Connie & Merrell Calhoun Mr. and Mrs. Bradley Currey, Jr. Maurice Harris Mrs. Patsy J. Hilliard Aaron & Joyce Johnson Joanne Lincoln Shengkai & Li Fu Lu Charles & Mary Moore Dr. Zelma A. Payne Joyce & Henry Schwob Ms. Chelsea Sharpe Earl & La Tanya Sharpe Ms. Allyson Till Kathy N. Waller Dr. and Mrs. McDonald Williams Mrs. Frank L. Wilson, Jr. $100+ Renee Alli Mr. William W. Allison Ms. Elaine B. Battles † Jack & Helga Beam Ms. Bonnie L. Beard Johnnie Booker Mr. Eric Brown * Ms. Elaine Call Dr. Marva Carter The Community Foundation for Greater Atlanta Ralph & Rita Connell Russell Currey & Amy Durrell

Dr. Shirley Ann DuhartGreen & Mr. Henry Green Xavier Duralde & Mary Barrett Mary Frances Early Rogers & Sherry English Robert Fleming Woodrow B. Grant † Daryll & Mike Griffin Rawn & Shelia Hairston Mrs. James M. Hund Ms. Laura M. Hunter Mr. and Mrs. C. Douglas Johnson Jaclyn Kottman † Mrs. Kathy A. Lamar Reverend and Mrs. Willie L. Langley Dr. Rubye D. McClendon Drs. Price & Jacqueline Michael Ms. Molly Minnear Ms. Lucile W. Neely Kevin & Crystal Oliver Ms. Ellen Pannell Mrs. Karen E. Webster Parks Toni S. Paz John & Monica Pearson, Sr. Mr. Stuart A. Peebles * Lavanya Ramanujan Ms. Josephine Reed-Taylor Ms. Shirley Y. Simmons Beth & Edward Sugarman E. Ginger Sullivan Italo Tancredi & Mrs. Maria Vera-Tancredi Sandy Teepen Dr. and Mrs. Richard Thio Mrs. William J. Thompson Burton Trimble Dr. Brenda G. Turner Mrs. Patricia Wallace Susan & Thomas Wardell Mr. Mack Wilbourne Ms. Barbara Williams Ms. Donna Williams Dr. Blenda J. Wilson & Dr. Louis Fair, Jr. Cliff Wilson Alfred & Lucy Wright In Honor of Mr. Bryan Wright $1 – 99 Brown & Moore Financial Services, LLC Ms. Eola A. Buchanan Karen & Rod Bunn Mr. W. Imara Canady Thomas & Brenda Cole

60 | @AtlantaSymphony |

James & Janet De Young In Memory of Dr. Joanne R. Nurss Pauline E. Drake Ms. Imani Duhe Mr. Gabriel English Mr. Wilfred Farquharson Richard & Anne Fleming Betty Sands Fuller Mr. Lovrick Gary Mr. Charles B. Gramling IV Jaki Griffin Mrs. Samuel W. Gulley Mrs. Wendolyn M. Harding Douglas & Linda Holly Bradley & Teresa Hoyt † Mary & Wayne James Ms. Gail B. Jones † Tiffany I. M. Jones Michael & Carole Lacour Ms. Kate A. Lee Andrew & Xochitl Leeper Ms. Ellen C. Logan Malinda Logan Ms. Janie Mardis Mr. Hinton Martin, Jr. Ms. Gabrielle Mason Mrs. Sonja R. Mason Mrs. Lois A. Miller Dr. and Mrs. Donald Ogletree, M.D. * Dr. Clara N. Okoka Emelda & James Oliver Ms. Gladys A. Parada Fay & Ann Pearce Lucy Pennington Derrick & Terri Polk Ms. Shirley Reeves Ms. Ronda P. Respess William & Dorka Rhyne Ms. Eleanor C. Robinson Sigma Alpha Iota Mr. and Mrs. Richard Schweitzer Hamilton & Mason Smith Mr. Daniel Tancredi Samantha P. Williams Mrs. Sue S. Williams Ethel Wynn * Gifts made in memory of Mrs. Beatrice Hill # Gifts made in memory of Mrs. Peggy Martin † Gifts made in memory of Ms. Susan Hill


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 44 partners who lead our efforts to ensure the arts thrive in our community.






SunTrust Teammates

Gordon W. Bailey

SunTrust Foundation

Bank of America

SunTrust Trusteed Foundations:

Mr. and Mrs. C. Merrell Calhoun

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

Georgia Power Foundation, Inc. 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 61


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

62 | @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 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. Printpack 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 Carolyn and Ken Meltzer 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 Family 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 63

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 Manager 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 Pam Kruseck Senior Manager of Sales & Business Development Madeleine Lawson Patron Services Assistant Jesse Pace Patron Services Manager Gokul Parasuram Database Manager Robin Smith Subscription & Education Sales Christopher Stephens Group & 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 Kendall Roney Family Programs Assistant Adrienne Thompson Manager, Talent Development Program Tyrone Webb Manager of Education and Community Programs OPERATIONS Paul Barrett Senior Production Stage Manager Tyler Benware Operations 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

64 | @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 Director of Marketing 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 65

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 anytime, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

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.

66 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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MAR 1/3

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The Andy Warhol Foundation for the Visual Arts Sarah Eby-Ebersole and W. Daniel Ebersole


PREMIER EXHIBITION SERIES SUPPORTERS Anne Cox Chambers Foundation The Antinori Foundation Ann and Tom Cousins Sarah and Jim Kennedy Jane and Hicks Lanier Louise Sams and Jerome Grilhot

CONTRIBUTING EXHIBITION SERIES SUPPORTERS: Barbara and Ron Balser, Corporate Environments, Peggy Foreman, James F. Kelly Charitable Trust, Jane Smith Turner Foundation, The Lubo Fund, Margot and Danny McCaul, and Joyce and Henry Schwob. GENEROUS SUPPORT IS ALSO PROVIDED BY The Alfred and Adele Davis Exhibition Endowment Fund, Anne Cox Chambers Exhibition Fund, Barbara Stewart Exhibition Fund, Dorothy Smith Hopkins Exhibition Endowment Fund, Eleanor McDonald Storza Exhibition Endowment Fund, Forward Arts Foundation Exhibition Endowment Fund, Helen S. Lanier Endowment Fund, Howell Exhibition Fund, and John H. and Wilhelmina D. Harland Exhibition Endowment Fund. Al Taylor (American,1948–1999), Odd Vows, 1988, The Estate of Al Taylor, Courtesy David Zwirner, New York/London. © The Estate of Al Taylor.


Al Taylor_November Fox Theatre.indd 1

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