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MAR 2018

March 2018 | Content 6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 Musicians 24 Concert Program & Notes 74 ASO Support 84 ASO Staff



14 Master of the Maracas Alcides Rodriguez trades his clarinet for maracas in a seldom-heard concerto. by Mark Gresham

86 Ticket Info/General Info

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EDITOR Kathy Janich PRODUCTION MANAGER Mark F Baxter DIGITAL MANAGER Ian Carson CONTRIBUTING WRITER Mark Gresham ENCORE ATLANTA is published monthly by American Media Products Inc. PRESIDENT Tom Casey CHAIRPERSON Diane Casey TREASURY Kristi Casey Sanders SECRETARY Evan Casey CONTROLLER Suzzie Gilham

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

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

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

ASO | Welcome Dear Friends,


his month, the Atlanta Symphony Orchestra will announce its 74th season, including our Delta Classical and Family Series and Coca-Cola Holiday Concerts. The current season, our 73rd, has been incredibly energizing, with large and enthusiastic audiences enjoying our two-season survey of Ludwig van Beethoven and Leonard Bernstein. We will continue the celebration of these musical icons next season with more performances, guest artists, and a few surprises along the way, including a special, one-night engagement by superstar pianist Lang Lang. We look forward to sharing this wonderful season with you! The heart and soul of the ASO is our musicians, and it is my pleasure to share some good news with you. First, Principal Clarinetist Laura Ardan has been awarded the Mabel Dorn Reeder Honorary Chair. This endowed chair is awarded for a period of five years to a member of the Orchestra who demonstrates excellence in musical artistry, leadership, collegiality and community engagement. Laura is not only one of the most engaged and compelling musicians to grace our stage, she is equally engaged off the stage, serving as a community ambassador and teaching many aspiring young clarinetists—including our own Second Clarinetist Marci Gurnow and me. I would also like to congratulate Joseph McFadden, who has been named Principal Bass and Michael Tiscione, who has been named Associate Principal Trumpet. Both Joseph and Michael are integral members of the Orchestra, and we are delighted to recognize their new leadership roles. Please join me in congratulating Laura, Michael and Joseph. Finally, as we celebrate Music in our Schools Month in March, please take a moment to thank a music teacher, or call a superintendent or principal and advocate for in-school music education. If not for my dedicated and passionate band directors and music teachers in Hinesville, GA, I would not have had the musical opportunities that have led me to where I am today. It is a privilege to be part of an institution that is so invested in music education, creating life-changing experiences with the Atlanta Symphony Youth Orchestra, and a pipeline of talented and diverse young Talent Development Program graduates. While these programs help young people develop a lifelong relationship with music and with the Orchestra, they cannot replace standards-based K-12 music education. Please join us in advocating for music in our schools—an investment that lasts a lifetime. Many thanks for your love of the Atlanta Symphony Orchestra! Warm regards,

Jennifer Barlament Executive Director 6 | @AtlantaSymphony |



“ I’ve reviewed about 4,000 shows. None can compare to what I saw tonight.” —Richard Connema, renowned Broadway critic

“Absolutely the No.1 show in the world. No other company or any style can match this!” —Kenn Wells, former lead dancer of the English National Ballet

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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 |

AVANT GARDEN Let’s take this outside. Take a stroll along our historic tree-lined streets or through one of the bestpreserved 19th century grounds in the country at Hills & Dales Estate. To experience gardening of a different sort, check out the Market on Main for garden-fresh finds. In any form, our gardens are nothing short of surprising.

Be whisked away from the humdrum of everyday life. Plan your itinerary at 706.884.8671

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 |

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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

Justin Bruns Associate Concertmaster

Sanford Salzinger

Paul Murphy Associate Principal

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

The Atlanta Symphony Assistant Principal Associates Chair Marian Kent

The Mr. & Mrs. The Carolyn Howard R. Peevy Chair McClatchey Chair

The Charles McKenzie Taylor Chair

SECOND VIOLIN Julianne Lee• Principal Sou-Chun Su Associate Principal

The Frances Cheney Boggs Chair

Jay Christy Assistant Principal Sharon Berenson David Braitberg The Wells Fargo Chair Noriko Konno Clift 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 •

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

The UPS Foundation Chair

The Edus H. & Harriet H. Warren Chair

Larry LeMaster Brad Ritchie Paul Warner

The Mary & Lawrence Gellerstedt Chair

BASS Joseph McFadden Principal The Marcia & John Donnell Chair  Gloria Jones Allgood Associate Principal

Catherine Lynn

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

Lucy R. & Gary Lee Jr. Chair

Karl Fenner Sharif Ibrahim • Michael Kenady

The Jane Little Chair

Michael Kurth 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

OBOE Elizabeth Koch Tiscione Principal

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

The Abraham J. The George M. & Corrie & Phyllis Katz Hoyt Brown Chair Foundation Chair

Yvonne Powers Peterson Associate Principal The Kendeda Fund Chair

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

Anthony Georgeson• Associate Principal Laura Najarian Juan de Gomar


Nathan Zgonc Second/Associate Principal Brian Hecht BASS TROMBONE Brian Hecht The Home Depot Veterans Chair

TUBA Michael Moore Principal

CONTRA-BASSOON The Delta Air Juan de Gomar Lines Chair HORN Brice Andrus Principal

The Betty Sands Fuller Chair

The Robert Shaw Chair Susan Welty The Mabel Dorn Associate Principal Reeder Honorary Chair Jaclyn Rainey

Ted Gurch Associate Principal Marci Gurnow Alcides Rodriguez

Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair

Bruce Kenney

TRUMPET Stuart Stephenson Principal The Madeline & Howell Adams Chair

Michael Tiscione Associate Principal TROMBONE Samuel Schlosser Principal

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

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*

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


s a professional musician, Alcides Rodriguez is first and foremost a clarinetist. Atlanta audiences know him best as clarinetist and bass clarinetist of the Atlanta Symphony Orchestra, as well as from his performances in chamber music ensembles, such as the Atlanta Chamber Players, as a concert soloist, and on his 2010 debut CD, The Venezuelan Clarinet. This month, however, Rodriguez will show off his expertise on an entirely different musical instrument, the maracas, as featured soloist for Ricardo Lorenz’s Pataruco: Concerto for Venezuelan Maracas and Orchestra in ASO subscription concerts on March 15th and 17th, with guest conductor Miguel Harth-Bedoya. Used in many genres of Caribbean and Latin music, maracas are so ubiquitous in Rodriguez’s native Venezuela that almost every household has them. Usually played in pairs, they are essentially gourds mounted on wooden handles, filled with the very hard, round, coffee-colored seeds of a plant called “capacho” – a common type of canna lily, the Canna indica. In some regions of Venezuela the maracas are often referred to as “the capachos.” But don’t let their seeming simplicity deceive you. The techniques for skillfully playing maracas are actually complex. In the hands of an accomplished performer, they produce a variety of subtle, articulate sounds within their ostensibly modest sonic palette. Rodriguez spoke recently with Encore about how he came to play the maracas and to perform Lorenz’s concerto with the ASO. The following dialogue is drawn from that conversation. Encore: How did it come about that you will be the soloist for this Maracas Concerto with the ASO?

Master of the

Alcides Rodriguez trades his clarin

Alcides Rodriguez: I shared a recording of the piece with Robert Spano and the artistic team about eight years ago. I remember Robert telling me that he was interested in 14 | @AtlantaSymphony |

net for maracas in a seldom-heard concerto. by Mark Gresham | Atlanta’s Performing Arts Publication 15


e Maracas

I grew up in Venezuela, where maracas are part of the culture… in almost every household there is a pair. doing it someday, but programming has to make sense, and he couldn’t promise that it would be soon. When they asked me to perform it this season, I was thrilled. Encore: You’re primarily known as a clarinetist, but how did your expertise with maracas come about? Rodriguez: It started about maybe 19 years ago. That’s how long I’ve been in the United States. Experiencing a new culture, that’s when you realize and understand how much you miss some things from home. When I was in my first college semester, I started missing all that. The first time I went back to Venezuela I actually got myself a pair of maracas. The very interesting story about this is that the person that made the maracas that I’m playing is Maximo Teppa. He’s a very famous maracas maker. Every percussionist in the world knows maracas by Maximo Teppa. What I didn’t know was that he lives in my home town. I went back and I called him and he said come over. I had some basic knowledge of how to play, how to move, but he’s the one that started to show me how to do certain techniques, some of the things I do in the concerto. Every time I went back to Venezuela I would visit him. We would get together and talk, and I would buy his maracas to sell in the U.S. That’s how percussionists started to know about me,

because I would show them how to play. It seems like an easy instrument to play but it’s actually complicated. By going to Venezuela and getting together with Maximo, I started to get more into the whole technique of the maracas. When I would come back to the United States, I would practice and practice, and figure out rhythms and listen to recordings of Venezuelan music. On one visit he offered me a CD which was a recording of this Concerto for Maracas by Ricardo Lorenz. Playing maracas on the recording was Ed Harrison, Principal Timpanist of the Chicago Lyric Opera. He’s the one that premiered the concerto with the Chicago Sinfonietta. Encore: Have you played it with other orchestras? Rodriguez: Yes. The first time I played it with orchestra was in October 2005 with the Jacksonville Symphony. I was practicing, getting better and better. I contacted the composer and obtained the music, so I started practicing it. I approached the conductor of the Jacksonville Symphony, Fabio Mechetti. Weeks went by and one day he said, “I listened to the piece. I’m thinking of programming it.” He did. It was scheduled for the next season. That was the first time I actually played it. Then I went to Brazil to play it with the same conductor. I also played it at the Wintergreen Summer Music Festival in July 2014. The last time I played it was in March 2016 with the Chicago Sinfonietta, the group that actually commissioned the concerto. Encore: Do you play maracas much in other music? Rodriguez: I grew up in Venezuela, where maracas are part of the culture, almost like

16 | @AtlantaSymphony |

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toys for us. In almost every household there is a pair of maracas, but they weren’t a focus for me until I came to the US. I actually use maracas to relax. I love playing them. Encore: It’s interesting, though, that you didn’t start playing maracas seriously until after your arrival in the U.S. Rodriguez: I came to the United States when I was 22 years old. I always knew I wanted to leave Venezuela to get a degree and get better at clarinet. Things have been great with my career. I am amazed at how far I have come. I’m the only one of my family who decided to go out of the country. It is always difficult to go back, especially right now when Venezuela is going through a

very difficult time. The children are dying of hunger. I want to dedicate this performance to the children of Venezuela. From the bottom of my heart, I just want the opportunity as an artist to create awareness about it, because the children are the future, the future of a nation. I think about it every day. I talk to my parents, I think of my family. I come from a very small region in Venezuela. I was a kid, just like those kids, but I had an opportunity to follow a dream and that’s why I am here. That’s the wonderful thing about this country: people like me can come here and be successful, have a family and change our lives.

18 | @AtlantaSymphony |

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Apr 28, May 1, 4, 6 Cobb Energy Centre

atlantaopera.orG 404-881-8885

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! 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 MAR 10 | Sat: 9:30/10:30/11:30am MAR 11 | Sun: 1:30/2:30/3:30pm Music of South America APR 14 | Sat: 9:30/10:30/11:30am APR 15 | Sun: 1:30/2:30/3:30pm TALENT DEVELOPMENT PROGRAM SPRING RECITALS APR 14/15 Sat/Sun: 4pm Join our TDP Fellows as they showcase their incredible talents and hard work from this season. Reserve your FREE tickets now!

ATLANTA SYMPHONY YOUTH ORCHESTRA CRESCENDO CONCERT MAR 18 | Sun: 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. 20 | @AtlantaSymphony |

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





Saturday, March 10

Saturday, March 17

Sunday, March 11

Saturday, April 7

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



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.

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Tu Tu & More Supported by

April 13–15, 2018 Featuring Tu Tu by Stanton Welch, Minus 16 by Ohad Naharin & a world premiere by Tara Lee. Witness three show-stopping works that might even have you dancing center stage!

Bach to Broadway Supported by

May 11–13, 2018 Featuring Who Cares? by George Balanchine, 7 for Eight by Helgi Tomasson & the world premiere of Concerto Armonico by Maxim Petrov.

All performances at

Enjoy the music of Bach and Gershwin performed by Atlanta Ballet Orchestra.

Visit or call | 1.800.982.2787 to get your tickets today! Groups of 10 or more, call 404.873.5811 x207.

Jessica He & Jackie Nash. Photos by Charlie McCullers.

MAR 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, March 1, and Saturday, March 3, 2018, at 8:00pm EDO DE WAART, Conductor AUGUSTIN HADELICH, violin

Other Russian Romantic masterworks this season: MAY 31/JUN 2/3 Christian Macelaru, Conductor Nikolaj Znaider, violin TCHAIKOVSKY: Violin Concerto SHOSTAKOVICH: Symphony No. 1

DMITRI SHOSTAKOVICH (1906-1975) Concerto for Violin and Orchestra No. 1 in A minor, Opus 99 (1948, rev. 1955) 38 MIN I. Nocturne. Moderato II. Scherzo. Allegro III. Passacaglia. Andante—Cadenza IV. Burlesque. Allegro con brio Augustin Hadelich, violin INTERMISSION SERGEI RACHMANINOV (1873-1943) Symphony No. 2 in E minor, Opus 27 (1907) I. Largo; Allegro molto II. Allegro molto III. Adagio IV. Allegro vivace

JUN 7/9 Robert Spano, Conductor RIMSKY-KORSAKOV: Scheherazade

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 |

20 MIN 66 MIN

Notes on the Program Ken Meltzer, Program Annotator Concerto for Violin and Orchestra No. 1 in A minor, Opus 99 (1948, rev. 1955) DMITRI SHOSTAKOVICH was born in St. Petersburg, First Classical Subscription Russia, on September 25, 1906, and died in Moscow, Performances: October 13-15, Russia, on August 9, 1975. The first performance of 1988, Victor Tretyakov, Violin, the Violin Concerto No. 1 took place in Leningrad Yoel Levi, Conductor. Philharmonic Hall in Leningrad (St. Petersburg) on Most Recent Classical Subscription October 29, 1955, with David Oistrakh as soloist Performances: January and Evgeny Mravinsky conducting the Leningrad 30-February 1, 2014, Nadja Philharmonic Orchestra. In addition to the solo Salerno-Sonnenberg, Violin, violin, the Concerto in A minor is scored for piccolo, Roberto Abbado, Conductor. three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, tuba, timpani, xylophone, tam-tam, tambourine, two harps, celesta, and strings.


n January of 1948, Communist leader Andrei Zhdanov summoned members of the Union of Soviet Composers for a conference. There, Zhdanov censured such prominent Russian composers as Dmitri Shostakovich, Sergei Prokofiev, Aram Khachaturian and Nikolai Miaskovsky for writing music that displayed “formalist deviations, subjectivism, and the rejection of Socialist Realism.” At the Zhdanov conference, Shostakovich’s compositions were characterized as favored listening “of nobody except foreign bandits and imperialists.” A month later, Zhdanov issued an official decree that included a condemnation of Shostakovich’s music. Shostakovich completed his First Violin Concerto on March 24, 1948, the month after the Zhdanov decree. He dedicated the work to his dear friend, the brilliant Russian violinist, David Oistrakh (1908-1974). Shostakovich well understood, given Russia’s existing political climate, that a performance of this complex and emotionally searching piece was out of the question. In fact, it was not until after Joseph Stalin’s death in March of 1953 that even a modicum of freedom of artistic expression became possible in Soviet Russia. The premiere of the Shostakovich First Violin Concerto took place seven years after its original composition. Oistrakh, the work’s dedicatee, was the soloist. Evgeny Mravinsky conducted the Leningrad Philharmonic Orchestra at the October 29, 1955 concert. David Oistrakh, an immensely popular Soviet artist, immediately championed the Concerto in an article that appeared at the time of the premiere. Oistrakh’s defense of the Shostakovich First Violin Concerto was not only eloquent but courageous, given the fact that his assessment came in advance of any “official” verdict by the Soviet Composers’ Union: We have prepared this premiere with the very greatest care—we have insisted on about ten rehearsals in the presence of the composer...The Concerto poses exceedingly interesting problems for the performer, who plays, as it were, a pithy “Shakespearean” role, which demands from him complete emotional and intellectual involvement, and gives him ample opportunities not only to demonstrate his virtuosity but above all to reveal his deepest feelings, thoughts and moods. The premiere of the Shostakovich First Violin Concerto was a great success, with the audience offering an enthusiastic reception. Oistrakh’s continued sterling advocacy of this magnificent work helped to assure its status as one of the finest of 20th-century Violin Concertos. | Atlanta’s Performing Arts Publication 25

MAR 1/3 | program The Shostakovich First Violin Concerto is in four movements. The first is an extended, mysterious Nocturne (Moderato). The second movement Scherzo (Allegro) is a danse macabre. The slow-tempo third movement is a Passacaglia (Andante), a series of variations over a repeated figure (here, introduced by the cellos, bass, and timpani). A lengthy solo Cadenza leads without pause to the closing movement (Burlesque. Allegro con brio) in the spirit of a trepak, a vigorous Russian dance in 2/4. First Classical Subscription Symphony No. 2 in E minor, Opus 27 (1907) Performance: November 24, 1953, SERGEI RACHMANINOV was born in Semyonovo, Henry Sopkin, Conductor. Russia, on April 1, 1873, and died in Beverly Most Recent Classical Subscription Hills, California, on March 28, 1943. The first Performances: March 12 and 14, performance of the Second Symphony took place 2015, John Storgårds, Conductor. in St. Petersburg, Russia, on February 8, 1908, with the composer conducting. The Second Symphony is scored for piccolo, three flutes, three oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, snare drum, cymbals, bass drum, and strings. “A conservatory in Hell”


ergei Rachmaninov completed his First Symphony in August of 1895. Thanks in large part to the efforts of composers Sergei Taneyev and Alexander Glazunov, the Symphony received its premiere at the Hall of the Nobility in St. Petersburg (now St. Petersburg Philharmonic Hall) on March 27, 1897. Glazunov conducted, but it seems he didn’t do much to advance the cause of Rachmaninov’s new composition. A few months later, Rachmaninov lamented to his friend, Alexander Zatayevich: I am amazed how such a highly talented man as Glazunov can conduct so badly. I am not speaking now of his conducting technique (one can’t ask that of him) but about his musicianship. He feels nothing when he conducts. It’s as if he understands nothing...So I assume that the performance might have been the cause of the failure. (I do not say for certain; I am just assuming.) If the public had been familiar with the symphony, then they would have blamed the conductor (I continue to “assume”); if a symphony is both unfamiliar and badly performed, then the public is inclined to blame the composer. Rachmaninov remained backstage during the entire March 15 premiere. After the wretched performance, Rachmaninov escaped to the street, rather than face the audience’s negative reaction. Still, he could not avoid the ire of such critics as composer César Cui, who wrote: If there were a conservatory in Hell, if one of its many talented students were instructed to write a programme symphony on the “Seven Plagues of Egypt,” and if he were to compose a symphony like Mr. Rachmaninov’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. Rachmaninov’s First Symphony was neither performed again nor published during the composer’s lifetime.

26 | @AtlantaSymphony |

MAR 1/3 | program “Does anybody need music like this?” The disastrous premiere of the First Symphony precipitated a three-year crisis for the young Rachmaninov, who lost all confidence in his abilities as a composer. In 1900, Princess Alexandra Liven attempted to lift Rachmaninov’s spirits by arranging for him to visit Leo Tolstoy. Rachmaninov met Tolstoy on two occasions, the second time accompanied by the Russian basso, Feodor Chaliapin. But the encounters with Tolstoy did little to buoy Rachmaninov’s confidence. In fact, they only served to heighten his feelings of inadequacy. After Rachmaninov gathered the nerve to play one of his compositions for Tolstoy, the author responded by inquiring: “Tell me, does anybody need music like this?” However, a breakthrough for Rachmaninov occurred that same year. On the advice of relatives, Rachmaninov consulted Dr. Nikolai Dahl, a psychiatrist who used hypnosis in the treatment of his patients. The consultations with Dr. Dahl were an extraordinary success. Rachmaninov experienced a tremendous resurgence of confidence and immediately began to compose his Second Piano Concerto (1901), a work he dedicated to Dr. Dahl. The Second Symphony Rachmaninov even summoned the courage to attempt another Symphony. In the fall of 1906, Rachmaninov and his family moved from their native Russia to Dresden. The relocation offered Rachmaninov the solitude he needed to devote himself entirely to composition. In October, Rachmaninov began his Second Symphony, and finished the first draft of the score on New Year’s Day, 1907. Rachmaninov tried to keep the project a secret, but a Russian newspaper announced the Symphony’s completion. In February of 1907, Rachmaninov admitted to his friend, Mikhail Slonov: I have composed a symphony. It’s true! It’s only ready in rough. I finished it a month ago, and immediately put it aside. It was a severe worry to me and I am not going to think about it any more. But I am mystified how the newspapers got into it! Rachmaninov later refined the score of his Second Symphony and conducted its premiere in St. Petersburg on February 8, 1908. The work’s favorable reception by the audience and critics did much to vindicate Rachmaninov after the humiliating premiere of his First Symphony. The Second Symphony proved to be immensely popular throughout Rachmaninov’s life, and remains one of his most beloved orchestral works. The rich orchestration and passionate melodies make it one of the finest Russian symphonies of the late Romantic era. The Second Symphony is in four movements. The first begins with an extended slow-tempo introduction (Largo), opening with a motif that will appear in various guises throughout the work. The principal quick-tempo section (Allegro moderato) follows. The second movement is a vibrant scherzo (Allegro molto), culminating with the brass’s chorale transformation of the Symphony’s opening measures. The beautiful third movement (Adagio) is based upon two melodies, presented at the outset. The finale (Allegro vivace), recalling music from previous movements, propels to an exuberant close.

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DEC 9/10 MAR 1/3 | artists | program EDO DE WAART, conductor



usic Director of the New Zealand Symphony Orchestra, Edo de Waart also holds the positions of Conductor Laureate at the Antwerp Symphony, Netherlands Radio Philharmonic and Milwaukee Symphony Orchestra, having concluded his tenure as Music Director in Milwaukee at the end of the 2016-17 season. The 2017-18 season sees his annual appearance with the Netherlands Radio Philharmonic Orchestra where he conducts a program of Bernstein and Brahms, as well as a return to the Antwerp Symphony Orchestra who he joins for a German tour in May 2018 with Alice Sara Ott. A highlight of his season is a return to the New York Philharmonic with Emanuel Ax in the autumn, and he also looks forward to concerts with the Atlanta Symphony Orchestra. Continuing his strong relationship with the San Diego Symphony, he opens their 2017-18 season with Jean-Yves Thibaudet and returns to the Orchestra twice more in the spring. In addition to his existing positions he was previously Music Director of the San Francisco Symphony, the Minnesota Orchestra, the Hong Kong Philharmonic, the Rotterdam Philharmonic Orchestra and Sydney Symphony Orchestra, and Chief Conductor of De Nederlandse Opera. As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra de Bastille, Santa Fe Opera and The Metropolitan Opera. De Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc and RCA. Recent recordings include Henderickx Symphony No.1 and Oboe Concerto, Mahler’s Symphony No.1 and Elgar’s Dream of Gerontius, both with the Royal Flemish Philharmonic. AUGUSTIN HADELICH, violin



usical America’s 2018 Instrumentalist of the Year, Augustin Hadelich has firmly established himself as one of the great violinists of today. He has performed with every major orchestra in the U.S., many on numerous occasions, as well as an ever-growing number of major orchestras in the UK, Europe and the Far East. Highlights of Hadelich’s 2017-18 season have included performances with the Boston Symphony, the San Francisco Symphony, as well as the Symphony Orchestras of Fort Worth, Indianapolis, Milwaukee, Nashville, Oregon, Seattle, St. Louis and Utah. Upcoming performances include Detroit, Houston and Pittsburgh. Abroad, Hadelich has played with the Seoul Philharmonic Orchestra, Polish National Radio Orchestra and Royal Scottish National Orchestra; remaining performances this season include the Lahti Symphony/ Finland, The Hallé Orchestra in Manchester and the Orquesta Sinfónica de Castilla y León/Spain. Summer 2018 appearances will include return engagements in Aspen, Bravo! Vail and the Colorado Music Festival. Hadelich’s career took off when he was named Gold Medalist of the 2006 International Violin Competition of Indianapolis. Since then, he has garnered an impressive list of honors, including an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship in the UK 30 | @AtlantaSymphony |


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DEC 9/10 MAR 1/3 | artists | program (2011); Lincoln Center’s Martin E. Segal Award (2012); the inaugural Warner Music Prize (2015); a Grammy Award (2016) and an honorary doctorate from the University of Exeter in the UK (2017). Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. Hadelich plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

32 | @AtlantaSymphony |

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MAR 4 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Sunday, March 4, 2018 at 3:00pm


Accessibility for the Deaf and Hard of Hearing: This performance is Sign Language Interpreted.

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.

RICHARD EINHORN (b. 1952) My Many Colored Days Some Days Bright Blue Days A Yellow Day A Gray Day My Orange Days Happy Pink Days Mixed Up Days

16 MIN

AARON COPLAND (1900-1990) The Boatman’s Dance






ROBERT KAPILOW (b. 1952) Green Eggs and Ham

34 | @AtlantaSymphony |

20 MIN | Atlanta’s Performing Arts Publication 35

MAR 4 | program STEPHEN MULLIGAN, conductor


onductor Stephen Mulligan began his term as the Assistant Conductor of the Atlanta Symphony Orchestra and the Music Director of the Atlanta Symphony Youth Orchestra in August 2017. From 2014-16, he served as Assistant Conductor of the Winston-Salem Symphony and the Music Director of the Winston-Salem Symphony Youth Orchestras Program.


Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra, and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams‘s Nixon in China at Walt Disney Concert Hall. ​ Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar, and Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s Assistant Conductor, traveled to Helsinki to study Sibelius’s late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former Concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony. AMY LITTLE, soprano



soprano of vocal purity and resonance, Amy Little wields versatile vocal artistry that exquisitely lends itself to the roles of Mimì, Liù and the Countess, and equally as well to an orchestral evening of Marvin Hamlisch favorites. Her eclectic repertoire encompasses operatic and orchestral literature, contemporary art music, popular music, musical theater, and cabaret. Little joined the Alabama Symphony Orchestra for Handel’s Messiah and Bach’s Magnificat in their 2017-18 season. Recent engagements include multiple appearances with the Atlanta Symphony Orchestra including a holiday concert, a performance of highlights from Puccini’s La bohème, and a performance with the Atlanta Symphony Youth Orchestra. Other performances include Mendelssohn’s Elijah with the Huxford Symphony Orchestra at the University of Alabama and Brahms’ Ein Deutsches Requiem with the West Virginia Symphony Orchestra. 36 | @AtlantaSymphony |

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MAR 4 | program Little has performed numerous roles with the Atlanta Opera including the First Lady in Mozart’s Die Zauberflöte, the Priestess in Verdi’s Aida, Inez in Verdi’s Il trovatore, and Lula in Carlisle Floyd’s Cold Sassy Tree. Touring with the Atlanta Opera Studio, Ms. Little performed the role of Mimì in Puccini’s La bohème and Love Simpson in Cold Sassy Tree. Other performances include Countess in the Peach State Opera’s production of Mozart’s Le nozze di Figaro, soprano soloist for the Atlanta Symphony Orchestra Pops Concert Series, Helena Symphony’s performance of Mozart’s Requiem, and the Atlanta Baroque Orchestra’s performance of Vivaldi’s Gloria. Previously, Ms. Little has been soprano soloist for performances of Handel’s Messiah, Beethoven’s 9th Symphony, and Mass in C, Dubois’s The Seven Last Words of Christ, Mendelssohn’s Elijah, and Saint-Säens’ Christmas Oratorio. She has also appeared with the University of Alabama’s Contemporary Music Ensemble, performing Alban Berg’s Sieben fruhe Lieder and in the premiere performance Jacob Miller Smith’s What Once Was, for soprano and ensemble. MARCO SCHITTONE, boy soprano


arco Schittone is thrilled to be making his debut performance with the Atlanta Symphony Orchestra as Sam-I-am. Marco’s other notable work includes Broadway Tuck Everlasting (Thomas Tuck/ensemble), Alliance Theatre’s A Christmas Carol (Tiny Tim 2016, 2017), Shakespeare in Love (Webster U/S), Alliance Theatre’s Tuck Everlasting (ensemble), MJCC’s Les Miserables (Gavroche). TV and Film appearances include Fox Network’s The Gifted, AMC Network Lodge 49, Today Show Live and Sleepy Hollow. Schittone is a violinist in his school orchestra, a member of the Atlanta Boys Dance Troupe and is a junior member of Children Helping Children Foundation. He would like to thank his family and all his amazing coaches and teachers for their love and support. Schittone is represented by CESD (NY, LA) and AM&T Agencies.



tephen Ozcomert performs regularly in Atlanta area concert halls. Steve has been privileged to sing as a soloist with the Atlanta Symphony Orchestra on more than a dozen occasions under the direction of maestros Robert Spano, Donald Runnicles, Robert Shaw, Yoel Levi, Jere Flint, Alexander Mickelthwate and Howard Shore. He has also served as a soloist with the ASO Chorus on other occasions under Norman Mackenzie. His ASO solo credits include two solo performances in New York’s Carnegie Hall and he may be heard in a supporting role on Telarc Digital’s Atlanta Symphony recording of Puccini’s La bohème. Steve currently serves as a staff soloist at the Glenn Memorial United Methodist Church and has appeared as soloist with the William Baker Festival Singers/Summer Singers of Atlanta, Emory University Orchestra and Chorus, Oglethorpe University Orchestra and Choruses, Collegium Vocale and many area churches and civic organizations. His solo work has been featured on radio broadcasts by WABE. Steve has performed in the Southeast in several operas and operettas and has an extensive repertoire of more than twenty oratorios, from Bach Cantatas to Mendelssohn’s Elijah to Orff’s Carmina burana. 38 | @AtlantaSymphony |




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MAR 4 | program Chorally, Steve has performed with the ASO Chamber Chorus, the Robert Shaw Chamber Singers and currently sings with Coro Vocati, led by John Dickson. Until her passing, Steve was a student of Elizabeth Colson.

KEN MELTZER, narrator


en Meltzer is the Atlanta Symphony Orchestra’s Program Annotator and “Insider.” He is the author of the Atlanta Symphony’s program notes, and is a visible and active presence throughout the community as a public voice for the Atlanta Symphony. He hosts the Orchestra’s “Inside the Music” pre-concert lectures and the weekly radio show, “Meet the Classics,” on AM-1690.


Ken began working for the Atlanta Symphony Orchestra in 2005, when he and his wife Carolyn moved to Atlanta from Pittsburgh. From 1994-2005, Ken was the Pittsburgh Symphony Orchestra’s Program Annotator. Ken also appeared with the Pittsburgh Symphony as narrator in Sergei Prokofiev’s Peter and the Wolf, Igor Stravinsky’s The Soldier’s Tale and Benjamin Britten’s The Young Person’s Guide to the Orchestra. With the Atlanta Symphony, Ken has narrated The Young Person’s Guide, Vincent Persichetti‘s A Lincoln Address, and Aaron Copland’s A Lincoln Portrait. Ken hosted and produced “Saturday at the Opera,” a program that aired on Pittsburgh’s classical music station, WQED-FM. His liner notes have been featured in recordings on the ASO Media, Boston Records, Curtain Call, EMI, Four Winds, Harmonia Mundi, and Immortal Performances labels. Ken is a consultant to such performing arts organizations as the Kansas City Symphony and the Savannah Music Festival. He also reviews classical recordings for Fanfare magazine.

40 | @AtlantaSymphony |

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MAR 8/10 | 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, March 8, and Saturday, March 10, 2018, at 8:00pm HENRIK NÁNÁSI, Conductor BEHZOD ABDURAIMOV, piano ZOLTÁN KODÁLY (1882-1967) Dances of Galánta (1933)

Richard Strauss acknowledged that Ein heldenleben was inspired in part, by Ludwig van Beethoven’s Symphony No. 3, the “Eroica” (1803). Robert Spano conducts one of music’s great revolutionary works. APR 5/6 Robert Spano, Conductor BEETHOVEN: Symphony No. 3, “Eroica”

15 MIN

SERGEI PROKOFIEV (1891-1953) Concerto for Piano and Orchestra No. 3 in C Major, Opus 26 (1921) 28 MIN I. Andante; Allegro II. Tema. Andantino Variations i. L’istesso tempo ii. Allegro iii. Allegro moderato (poco meno mosso) iv. Andante meditativo v. Allegro giusto Tema. L’istesso tempo III. Allegro ma non troppo Behzod Abduraimov, piano INTERMISSION

20 MIN

RICHARD STRAUSS (1864-1949) Ein heldenleben (A Hero’s Life), Opus 40 (1898)

45 MIN

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.

42 | @AtlantaSymphony |

Notes on the Program Ken Meltzer, Program Annotator Dances of Galánta (1933) ZOLTÁN KODÁLY was born in Kecskemét, Hungary, on December 16, 1882, and died in Budapest, Hungary, on March 6, 1967. The first performance of Dances of Galánta took place in Budapest on October 23, 1933, with Ernő Dohnányi conducting the Budapest Philharmonic Society Orchestra. The Dances of Galánta are scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, snare drum, triangle, orchestral bells, and strings.

First Classical Subscription Performances: May 2-4, 1985, Yoel Levi, Conductor. Most Recent Classical Subscription Performances: May 26-28, 2009, Gilbert Varga, Conductor. Recording: Yoel Levi, Conductor (Telarc CD-80413)


omposer Zoltán Kodály maintained a lifelong affection for the folk music of his native Hungary. A fine example of Kodály’s blending of Hungarian folk melodies into the fabric of a classical work may be found in his Dances of Galánta. Kodály composed the orchestral work in response to a commission by the Budapest Philharmonic Society Orchestra, as part of the celebration of its 80th anniversary. The premiere took place in Budapest on October 23, 1933, led by the eminent Hungarian composer and pianist, Ernő Dohnányi. In a preface to the score of his Dances of Galánta, Kodály provided the following background information: Galánta is a small Hungarian market-town known to travelers from Vienna and Budapest. The composer passed there seven years of his childhood. There existed at that time a famous Gypsy-band which has disappeared in the meantime. Their music was the first “orchestral sonority” which came to the ear of the child. The forebears of these gypsies were already known more than (a) hundred years ago. About 1800, some books of Hungarian dances were published in Vienna, one of which contained music “after several gypsies from Galánta.” They have preserved the old Hungarian tradition. In order to continue it the composer took his principal subjects from these ancient editions. The Dances of Galánta are based upon the verbunkos, a dance used in the 18th century to recruit soldiers for the Hungarian military. The verbunkos contrasts slow and fast sections, and also contains virtuoso elements (Bartók used the verbunkos as the basis for the opening movement of Contrasts, his 1938 work for clarinet, violin, and piano). The Dances of Galánta open with a slow-tempo introduction (Lento), in which a terse motif, introduced by the cellos, alternates with swirling string figures. A solo cadenza for the clarinet resolves to its introduction of a leisurely dance (Andante maestoso). The flutes, over pizzicato strings, launch a sprightlier dance (Allegretto moderato) that becomes increasingly passionate. The oboe initiates a contrasting, delicate section (Allegro con moto, grazioso). Two quick-tempo dances (Allegro and Allegro vivace), and a measure of silence, followed by a brief interlude (Andante maestoso), are capped by the brilliant closing bars (Allegro molto vivace). Concerto for Piano and Orchestra No. 3 in C Major, Opus 26 (1921) SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the Piano Concerto No. 3 took place in Chicago, Illinois, on December 16, 1921, with the composer as soloist and Frederick Stock conducting the Chicago Symphony Orchestra. In addition to the solo | Atlanta’s Performing Arts Publication 43

MAR 8/10 | program piano, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, bass drum, tambourine, castanets, suspended cymbal, and strings.


First Classical Subscription Performance: March 2, 1950, William Kapell, Piano, Henry Sopkin, Conductor.

rom 1918-1933, Prokofiev resided in the West, where Most Recent Classical he was acclaimed both as a composer and piano Subscription Performances: virtuoso. Prokofiev completed his Third Piano Concerto in January 28-30, 2016, Vadym the summer of 1921, while vacationing in St. Brevin-les-Pins, Kholodenko, Piano, Miguel on the Brittany coast. But some of the Concerto’s material Harth-Bedoya, Conductor. dated as far back as 1911. Prokofiev acknowledged that when he began composition of the Third Piano Concerto: “I already had the entire thematic material with the exception of the subordinate theme of the first movement and the third theme of the finale.” Prokofiev was the soloist in the Concerto’s world premiere, which took place in Chicago on December 16, 1921. On December 30 in Chicago, Prokofiev conducted the fist performance of his opera, The Love for Three Oranges. A few days before the Concerto’s premiere, Prokofiev confided to a friend: “My Third Concerto has turned out to be devilishly difficult. I’m nervous and I’m practicing hard three hours a day.” Contemporary reviews, as well as the composer’s own 1932 EMI studio recording, attest to Prokofiev’s brilliant mastery of the extremely challenging solo part. The Concerto opens with a brief slow-tempo introduction (Andante), and a haunting dolce melody sung by the clarinet. The ensuring principal Allegro features two themes; the first introduced by the piano, the second by the oboe, accompanied by the pizzicato strings and castanets. The second movement is a series of five variations on a march tune introduced at the outset (Tema. Andantino), and repeated at the close, now decorated by the pianist’s chords (Tema. L’istesso tempo). The bassoons and pizzicato strings introduce the finale’s principal theme (Allegro ma non troppo). A more lyrical central episode resolves to the stirring, virtuoso conclusion. Ein heldenleben (A Hero’s Life), Opus 40 (1898) RICHARD STRAUSS was born in Munich, Germany, on First Classical Subscription June 11, 1864, and died in Garmisch-Partenkirchen, Performance: March 10, 1965, Germany, on September 8, 1949. The first Robert Mann, Conductor. performance of Ein heldenleben took place at the Most Recent ASO Classical Museumsgesellschaft of Frankfurt am Main, Germany, Subscription Performances: on March 3, 1899, with the composer conducting. Ein January 8-10, 2015, heldenleben is scored for piccolo, three flutes, four Asher Fisch, Conductor. oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, two trumpets in E-flat, three trumpets in B-flat, three trombones, tenor tuba, bass tuba, timpani, small military drum, cymbals, suspended cymbals, tam-tam, triangle, bass drum, large tenor drum, two harps, and strings.


uring the last decade or so of the nineteenth century, Richard Strauss elevated the orchestral tone poem to new and dazzling heights. The composer often called upon immortal literary characters as the basis for such orchestral works as Macbeth (1888), Don Juan (1888), Also sprach Zarathustra (1896), and Don Quixote (1897). 44 | @AtlantaSymphony |


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MAR 8/10 | program Strauss’s selection of his next protagonist raised a few eyebrows. “I do not see why I should not compose a symphony about myself; I find myself quite as interesting as Napoleon or Alexander,” Strauss confided to his friend and admirer, Romain Rolland. The generous selfassessment—both in his comments to Rolland and in the thrilling music of Ein heldenleben— seems highly at odds with a life that was remarkable for its lack of adventure and heroism. It is perhaps important to keep in mind that Strauss was a man with a keen sense of humor and the capacity to laugh at himself. A comment by Strauss also helps to place Ein heldenleben in context: “I think so strongly of Don Quixote and Ein heldenleben as being directly linked together that in particular Don Quixote is only fully and completely comprehensible when put side by side with Heldenleben.” It is clear that the perceptions of a man who mistakes windmills for giants, and sheep and goats for enemy soldiers, do not comport with objective reality. But it is precisely the heroic strivings against all odds and reality that make Cervantes’s knight-errant such an endearing character. And it is perhaps the aspiration in all of us to the heroic that allows the listener to thrill to the saga depicted so masterfully in Strauss’s Ein heldenleben, despite its lack of confluence with the composer’s actual life. Richard Strauss completed the full score of Ein heldenleben on December 27, 1898. Strauss dedicated the work to conductor Willem Mengelberg and the Concertgebouw Orchestra of Amsterdam. But it was Strauss who conducted the Museumsgesellschaft of Frankfurt am Mein in the March 3, 1899 premiere. Ein heldenleben comprises six episodes, performed without pause. I. The Hero—The work begins with a bold statement of the protagonist’s wide-ranging main theme, followed by the introduction of numerous subsidiary themes associated with the Hero. II. The Hero’s Adversaries—Here, Strauss meets his critics, portrayed by a cacophonous series of motifs, played by the woodwinds and brass. III. The Hero’s Companion—A solo violin portrays Strauss’s wife Pauline, whom the composer describes as “very complex, very feminine, a little perverse, a little coquettish, never like herself, at every minute different from how she had been the moment before.” After a passionate love sequence, the cackling of the Hero’s adversaries is heard in the distance. The sound of trumpets summons the Hero to battle. IV. The Hero’s Deeds of War—Over the din of drums and trumpet calls, the motifs of the Hero and his enemies collide in a passage of extraordinary violence and energy. Finally, the Hero emerges victorious. V. The Hero’s Works of Peace—This episode includes quotes from prior Strauss compositions, including Don Juan, Also sprach Zarathustra, Death and Transfiguration, Don Quixote, and Till Eulenspiegel. VI. The Hero’s Retreat From the World—Recollections of prior conflicts finally resolve peacefully. A final majestic statement fades to a serene conclusion.

46 | @AtlantaSymphony |



Where AUTHENTIC CHRISTIAN MISSION and ACADEMIC EXCELLENCE aren’t mutually exclusive. LEARN MORE AT WWW.WESLEYANSCHOOL.ORG/EVENTS | Atlanta’s Performing Arts Publication 47

MAR 8/10 | artists HENRIK NÁNÁSI, Conductor



enrik Nánási served as General Music Director of the Komische Oper Berlin from 2012 to 2017, where he has conducted new productions of Mazeppa, Eugene Onegin, Gianni Schicchi, La Belle Hélène, Die Zauberflöte, Così fan tutte, Don Giovanni, Bartók’s Duke Bluebeard’s Castle, Prokofiev’s The Fiery Angel and Massenet’s Cendrillon, as well as revivals of Der Rosenkavalier, Rusalka and Rigoletto. Highlights of the 2017-18 season include his debuts at the San Francisco Opera with Elektra, the Teatro dell’Opera di Roma with La bohème, and the Teatro di San Carlo in Naples with Rigoletto, as well as his return to the Royal Opera House Covent Garden conducting Strauss’ Salome. On the concert podium he will be conducting Orchestra del Maggio Musicale Fiorentino, Orchestra Sinfonica Nazionale della RAI, Yomiuri Nippon Symphony Orchestra, Essener Philharmoniker, Orquestra de la Comunitat Valenciana, Orchestra del Teatro La Fenice di Venezia and the Orchestra del Teatro di San Carlo di Napoli. Henrik Nánási was born in Pécs/Hungary. After studying piano and composition at the Béla Bartók Conservatory in Budapest he continued his studies at the University of Music and Performing Arts Vienna in orchestral conducting, rehearsal techniques and composition. He worked as a musical assistant at the Royal Opera House Covent Garden under Antonio Pappano as well as at the Opéra de Monte Carlo, and he was intensely active in concerts as a pianist and Lieder accompanist. After first engagements in Klagenfurt and Augsburg he became First Conductor and Vice Chief Conductor at the Staatstheater am Gaertnerplatz in Munich. BEHZOD ABDURAIMOV, piano


ehzod Abduraimov’s captivating performances are rapidly establishing him as one of the forerunners of his generation.

Recent seasons have seen Abduraimov work with leading orchestras worldwide such as the Los Angeles Philharmonic, Boston Symphony, NHK Symphony and Leipzig Gewandhaus Orchestras, and prestigious conductors including Valery Gergiev, Vladimir Ashkenazy, Manfred Honeck, Vasily Petrenko, James Gaffigan, Jakub Hrůša and Vladimir Jurowski.


Following his spectacular debut at the BBC Proms with the Münchner Philharmoniker under Gergiev in July 2016, Behzod immediately returned in July 2017. This was followed by his debut at the Festspielhaus Baden-Baden and Rheingau Musik Festivals. Upcoming European highlights include the Lucerne Festival, Royal Concertgebouw Orchestra, Münchner Philharmoniker, hr-Sinfonieorchester, Philharmonia, Czech Philharmonic and BBC Symphony Orchestras. In recital he is one of the featured artists for the Junge Wilde series at the Konzerthaus Dortmund and will be presented in recital at the main halls of the Barbican, London and Concertgebouw, Amsterdam. Abduraimov will also collaborate in recital with the cellist Truls Mørk, which will see them on tour in Europe and the US. In North America Abduraimov appears at the Hollywood Bowl, Blossom and Ravinia Festivals. 48 | @AtlantaSymphony |

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MAR 8/10 | artists He will make his debut with the San Francisco Symphony and returns to both the Dallas and Atlanta Symphony Orchestras. Last season, Abduraimov gave his Stern Auditorium recital following his debut success at Carnegie Hall in 2015 and has appeared in concerts with the Houston Symphony and Pittsburgh Symphony Orchestra, Orchestre symphonique de Montréal and the Minnesota Orchestra. Abduraimov is an alumnus of Park University’s International Center for Music where he studied with Stanislav Ioudenitch, and now serves as the ICM’s artist-in-residence.

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Recipient of the Regional Theatre Tony Award ®

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November 4-12, 2017 Cobb Energy Centre Recipient of the Regional Theatre Tony Award ®


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MAR 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, March 15, and Saturday, March 17, 2018, at 8:00pm MIGUEL HARTH-BEDOYA, Conductor ALCIDES RODRIGUEZ, maracas According to Pierre Boulez: “modern music was awakened” by the Prelude to The Afternoon of a Faun (1894), a work composed by Ravel’s contemporary, Claude Debussy. Debussy’s hypnotic masterpiece opens the final classical subscription concerts of 2017-18. JUN 7/9 DEBUSSY: Prélude à L’après-midi d’un faune ALAN FLETCHER : Piano Concerto (ASO Premiere) RIMSKY-KORSAKOV: Scheherazade Robert Spano, Conductor Inon Barnatan, piano

KSENIJA SIDOROVA, bandoneon JIMMY LÓPEZ (b. 1978) Bel Canto: A Symphonic Canvas, Orchestral Suite in Three Movements (2017) 30 MIN I. “Peru, Real and Unreal” II. “La Garúa” III. “The End of Utopia” World premiere, co-commissioned by the Atlanta Symphony Orchestra, Fort Worth Symphony Orchestra, and Bremen Philharmonic. RICARDO LORENZ (b. 1961) Pataruco, Concerto for Venezuelan Maracas and Orchestra (1999) Alcides Rodriguez, maracas INTERMISSION ASTOR PIAZZOLLA (1921-1992) Aconcagua, Concerto for Bandoneon and Small Orchestra (1979) I. Allegro marcato II. Moderato III. Presto Ksenija Sidorova, bandoneon MAURICE RAVEL (1875-1937) Boléro (1928)

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. 52 | @AtlantaSymphony |

15 MIN 20 MIN

20 MIN

15 MIN

Notes on the Program Ken Meltzer, Program Annotator Bel Canto: A Symphonic Canvas, Orchestral Suite in Three Movements (2017) JIMMY LÓPEZ was born in Lima, Peru, on October 21, 1978. These are the world premiere performances. Bel Canto: A Symphonic Canvas, is scored for three flutes (2nd and 3rd doubling piccolo), three oboes (3rd doubling English horn), three clarinets in B-flat (2nd doubling E-flat clarinet), three bassoons (3rd doubling contrabassoon), four horns in F, three trumpets in B-flat/C (2nd doubling on pututo in E-flat; 3rd doubling on piccolo trumpet in A-flat), three trombones, tuba, timpani, percussion I (glockenspiel, triangle, three cowbells, snare drum, suspended cymbal, tam-tam, low tom-tom); percussion II (suspended cymbal, crash cymbals, woodblocks, vibraphone, tam-tam), three tom-toms, large ratchet; percussion III (bass drum, triangle, tambourine, snare drum, tam-tam, tubular bells, lion’s roar, mark tree), harp, and strings. Creating Bel Canto: The Opera, was one of the most exhilarating experiences of my career. From its inception back in 2010, through its announcement in 2012 and subsequent premiere in 2015, culminating with its nation-wide broadcast on PBS in January of 2017, it encompassed a period of my life which saw me grow personally and professionally, defining my thirties, both as an artist and human being. Commissioned by the Lyric Opera of Chicago as part of the Renée Fleming initiative, Bel Canto is based on the homonymous, best-selling novel by Ann Patchett, which is, in turn, inspired by real events that took place in Lima, Peru between 1996-97 (annotator’s note: the Japanese Embassy Hostage Crisis). The creation of the libretto fell into the hands of Pulitzer Prize winner, Nilo Cruz. Bel Canto: A Symphonic Canvas, captures the essence of the opera, highlighting some of its most striking instrumental and vocal moments. Those who have already seen the opera will recognize the overall arch of the story condensed into a mere 30 minutes, while those who have not, will find this instrumental suite, with its classic three movement structure, satisfying on its own. Bel Canto: A Symphonic Canvas has been co-commissioned by the Fort Worth Symphony Orchestra, Atlanta Symphony Orchestra and Bremen Philharmonic. My special gratitude goes to the FWSO and its principal conductor, Miguel Harth-Bedoya, without whose initiative this commission would not have been made possible. The world premiere performances will take place in Atlanta, with subsequent performances in Fort Worth, Washington DC, and Bremen during March, April, and May of 2018. Jimmy López © 2017 Pataruco, Concerto for Venezuelan Maracas and Orchestra (1999) RICARDO LORENZ was born in Maracaibo, Venezuela, These are the First Classical on May 24, 1961. The first performance of the Concerto Subscription Performances. took place at Symphony Hall in Chicago, Illinois, on March 15, 1999, with Edward Harrison as soloist, and the Chicago Sinfonietta. In addition to the solo Venezuelan maracas, the Concerto is scored for two flutes, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, bass trombone, timpani, vibraphone, xylophone, claves, bongo, maracas, harp, and strings. | Atlanta’s Performing Arts Publication 53

MAR 15/17 | program


he Concerto Pataruco, for Venezuelan Maracas and Orchestra, was commissioned by the Chicago Sinfonietta with generous funds provided by Citgo Petroleum Corporation and BOC Gases. The world premiere took place in Chicago’s Symphony Hall on March 15, 1999, with Edward Harrison as soloist, performing with the Chicago Sinfonietta. In a preface to the score, the composer provided the following commentary: Pataruco was composed for percussionist Ed Harrison, one of the leading exponents of maracas technique. The solo part showcases Harrison’s specialty, the style of maraca playing found only in the folk music of Venezuela and Colombia. In their original context, the virtuosic gestures performed by the maracas are never notated. They are transmitted aurally. Devising a system to notate this performance practice presents a serious challenge to the composer as well as to the performer: it can become an obstacle rather than an aid to express the subtle nuances of this arcane performance style. After consulting Ed Harrison, and after studying Javier Álvarez’s Temazcal, the only other score I know to incorporate this specific performing technique, I decided to approach the maracas part by notating the resulting rhythmic patterns rather than by notating the intricate mechanics that must take place in order to create the desired effect (as in the case of Álvarez’s Temazcal). Therefore, the solo part is meant to be performed by percussionists experienced in this particular style of maracas technique and it will make sense only to such percussionists. —Ricardo Lorenz According to the composer, the Concerto’s title, “Pataruco,” is derived from two sources. “Pataruco” is Venezuelan slang for “someone or something provocative and cocky”. It is also a reference to the title character in a story by Rómulo Gallegos. There, Pataruco learns that a European education can never separate him from his Venezuelan heritage and traditions. The composer enhances the soloist’s freedom of performance by including several cadenzas (none transcribed). Toward the close, there is a delightful musical and visual surprise, leading to the stirring final bars. Aconcagua, Concerto for Bandoneon and Small Orchestra (1979) ASTOR PIAZZOLLA was born in Mar del Plata, Argentina, These are the First Classical on March 11, 1921 and died in Buenos Aires, Argentina, Subscription Performances. on July 4, 1992. The first performance of the Bandoneon Concerto took place at the Auditorio de Belgrano in Buenos Aires, on December 15, 1979, with the composer as soloist, and Simón Blech, conducting. In addition to the solo bandoneon, the Concerto is scored for bass drum, guiro, triangle, harp, piano, and strings.


stor Piazzolla, the father of the “Tango Nuevo” (“New Tango”), infused the seductive Latin American dance with elements of jazz and modern classical music. Piazzolla encountered considerable initial resistance to his “New Tango,” particularly in his native Argentina. However, by the time of his death in 1992, Astor Piazzolla was mourned and celebrated as a national hero. The admiration for Astor Piazzolla extended far beyond his native land. He earned the acclaim of some of the world’s greatest musicians, including such classical artists as Gidon Kremer, Yo-Yo Ma, and the Kronos String Quartet. Piazzola’s 1979 Concerto for Bandoneon and Small Orchestra (percussion, harp, piano, and strings) was commissioned by the Banco de la Provincia de Buenos Aires. The composer,

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a virtuoso performer on the bandoneon (a square-build button accordion, prominently featured in tango ensembles) was the soloist in the December 15, 1979 world premiere, which took place at the Auditorio de Belgrano. After Piazzolla’s death in 1992, his agent and publisher Aldo Pagani assigned the Concerto the title Aconcagua, a reference to the highest peak in the Andes Mountains. Pagani contended that the Concerto represented the apex of Piazzolla’s work as a composer. Piazzolla scored the Concerto for an ensemble that excludes winds and brass, thereby intensifying the presence of the featured solo instrument. The Concerto is in three movements. The soloist joins the ensemble for the opening of the first movement (Allegro marcato), energetic, and with a strong, syncopated rhythmic profile. The soloist soon takes center stage, a role that continues in the more lyric central episode (Cantabile) that includes a pair of solo cadenzas. A reprise of the opening portion (Tempo I) brings the movement to an emphatic close. The soloist launches the slow-tempo second movement (Moderato) that builds to a passionate statement. The whirlwind finale (Presto) resolves to a more reflective episode (Melanconico final. Moderato). In the final measures (Pesante), an insistent, repeated figure hurtles inexorably to the shattering ffff conclusion. Boléro (1928) First Classical Subscription MAURICE RAVEL was born in Ciboure, BassesPerformance: November 24, 1954, Pyrénées, France, on March 7, 1875, and died in Henry Sopkin, Conductor. Paris, France, on December 28, 1937. The first performance of Boléro took place at the Paris Most Recent Classical Subscription Opéra on November 22, 1928, with Walther Performances: November 18, 19 and Straram conducting. Boléro is scored for piccolo, 21, 2010, Jun Märkl, Conductor. two flutes, two oboes, oboe d’amore, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, sopranino saxophone, soprano saxophone, tenor saxophone, four horns, three trumpets, piccolo trumpet, three trombones, tuba, timpani, two snare drums, cymbals, tam-tam, bass drum, celesta, harp, and strings.


rench composer Maurice Ravel created Boléro, one of the most famous of all concert scores, at the request of his friend, the dancer Ida Rubinstein. Originally, Ravel intended to transcribe six pieces from Isaac Albéniz’s Iberia. While at work on the project, Ravel learned that Enrique Fernandez Arbós had already orchestrated Iberia and that further, copyright laws prohibited any other transcriptions. Arbós graciously agreed to relinquish his exclusive rights to Iberia, but Ravel instead decided to compose an original work. He initially called his new ballet Fandango, later changing the title to Boléro. Ravel completed the ballet in five months’ time. The premiere of Boléro took place at the Paris Opéra on November 22, 1928, with Rubinstein dancing the lead role. Ravel conducted the Lamoureux Orchestra in the first concert performance, on January 11, 1930. The ballet scenario for Boléro takes place in a Spanish Inn. A woman surrounded by male admirers dances seductively on a table. As the dance continues, the passions of the woman and her entourage increase. The men accompany the woman’s fiery dance with the clapping of hands and stamping of feet. Toward the conclusion, a violent quarrel breaks out among the men. | Atlanta’s Performing Arts Publication 55

MAR 15/17 | artists MIGUEL HARTH-BEDOYA, Conductor



elebrating 30 years of professional conducting, Grammy®-nominated and Emmy Award-winning conductor Miguel Harth-Bedoya is currently Chief Conductor of the Norwegian Radio Orchestra/Oslo and is in his 18th season as Music Director of the Fort Worth Symphony Orchestra. He is also the Founder and Artistic Director of Caminos del Inka, Inc., a non-profit organization that performs and promotes the music of the Americas. ( Harth-Bedoya has conducted top American orchestras including Chicago, Boston, Cleveland, Philadelphia, Los Angeles and New York. He has also conducted widely throughout Europe, Australia, New Zealand, Asia and Latin America. He led the world premiere of Jennifer Higdon’s acclaimed opera, Cold Mountain, for Santa Fe Opera. Other opera productions include La bohème at English National Opera, Golijov’s Ainadamar with the Santa Fe Opera, and Rossini’s Barber of Seville with the Canadian National Opera. Harth-Bedoya’s discography features recordings on the Harmonia Mundi, Deutsche Grammophon, Decca and Sony labels. In 2017 he launched a catalog of Latin American orchestral music (www.latinorchestralmusic. com), a subscription resource providing comprehensive information about orchestral music from Latin America and the Caribbean. He also developed a Fundamentals of Orchestra Conducting Workshop, which will take place in June 2018 with the Fort Worth Symphony at Texas Christian University. Harth-Bedoya received his Bachelor of Music from the Curtis Institute of Music and his Master of Music from The Juilliard School, both under the guidance of Otto-Werner Mueller ALCIDES RODRIGUEZ, maracas


lcides Rodriguez joined the Atlanta Symphony Orchestra in 2005 as clarinet and bass clarinet.

A versatile musician, Rodriguez can be heard in chamber, orchestral and concerto performances on clarinet and bass clarinet. He is a member of the Atlanta Chamber Players.


A dedicated educator, he is on the faculty of the Atlanta Symphony’s Talent Development Program and maintains a private studio at home. He is an Artist and Clinician for the Buffet Group and Vandoren, and plays Buffet clarinets and Vandoren reeds exclusively. A native of Venezuela, Rodriguez obtained his musical training through the System of Youth Orchestras of Venezuela before moving to the United States. He obtained a Master of Music degree from Northwestern University, and a Bachelor of Music degree from Baylor University. His main teachers were Russell Dagon, Richard Shanley and J. Lawrie Bloom. Rodriguez has participated in various summer music festivals, including the New Hampshire Music Festival, the National Repertory Orchestra and the National Orchestral Institute. Internationally, he has performed at the San Miguel de Allende Chamber 56 | @AtlantaSymphony |

MAR 15/17 | artists Music Festival (México), the Pacific Music Festival (Japan) and the Campos do Jordão International Winter Festival (Brazil). An avid advocate of Venezuelan music, Rodriguez also plays maracas and cuatro. He has been featured as a maracas soloist, performing the Concerto for Maracas and Orchestra by Ricardo Lorenz. He has also played maracas in the percussion section of the Atlanta Symphony. His album The Venezuelan Clarinet (2010) is a tribute to the music of his native country, and a showcase of Rodriguez’s versatility. Throughout his career, Rodriguez has earned prizes in clarinet competitions such as the Young Texas Artist Music Competition, the Kingsville Competition and the Orchestral Excerpts Competition of the International Clarinet Association. While in Venezuela he often performed as a soloist with various youth orchestras, playing some of the most important works in the clarinet repertoire. In 1997, he gave the first performance in Venezuela of Carl Nielsen’s Clarinet Concerto. Alcides Rodriguez would like to dedicate this performances to the children of Venezuela. KSENIJA SIDOROVA, bandoneon



senija Sidorova is the leading ambassador for the accordion. Sidorova’s 2017-18 season includes performances with MDR Sinfonieorchester Leipzig (Kristjan Järvi), NDR Elbphilharmonie Orchester (Thomas Hengelbrock), Orchestre Philharmonique de MonteCarlo (Mikhail Geerts), Orchestre Philharmonique du Luxembourg (Paavo Järvi), Stuttgarter Philharmoniker (Jan Willem de Vriend), NFM Wrocław Philharmonic (Daniel Raiskin), Bilkent Symphony Orchestra (Manuel López Gómez) and with the Tonkünstler-Orchester Niederösterreich at the Grafenegg Music Festival. Following a successful debut recital at Mostly Mozart Festival in New York’s Lincoln Centre, she continues her recital tour in MITO and Macerata Festivals, Baden-Baden, Lucerne, Paris, Salzburg and Birmingham. She is one of the featured artists for the Junge Wilde series and has performed at Cheltenham, Verbier, Bad Kissingen and Rheingau festivals. Sidorova continues her ongoing collaboration with Avi Avital across Germany and Italy. She regularly collaborates with Miloš Karadaglić, Juan Diego Flórez, Nicola Benedetti, Thomas Gould, Andreas Ottensamer and Joseph Calleja. Her first album, Carmen, was released on Deutsche Grammophon in summer 2016. Encouraged to take up the instrument by a grandmother steeped in the folk tradition of accordion playing, Sidorova started to play the instrument at age six under the guidance of Marija Gasele in her hometown of Riga. Her quest for more exposure to both classical and contemporary repertoire took her to London where she became a prize-winning undergraduate at the Royal Academy of Music studying under Owen Murray.

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CCFA.ORG/GA | Atlanta’s Performing Arts Publication 59

MAR 18 | program Atlanta Symphony Youth Orchestra is sponsored by

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

Concert of Sunday, March 18, 2018, at 3:00pm STEPHEN MULLIGAN, Conductor GIOACHINO ROSSINI (1792-1868) Overture to Guillaume Tell (1829) Audition applications for the 2018-19 ASYO are open through May 1, 2018 to all rising 8th through 12th grade musicians. Visit to apply today. Don’t miss the ASYO FINALE CONCERT May 4, 7:30pm

SCOTT LEE (b. 1988) Vicious Circles, for Orchestra (2016) INTERMISSION

12 MIN 9 MIN 20 MIN

JEAN SIBELIUS (1865-1957) Symphony No. 1 in E minor, Opus 39 (1899) 38 MIN I. Andante, ma non troppo; Allegro energico II. Andante (ma non troppo lento) III. Scherzo. Allegro IV. Finale (Quasi una Fantasia). Andante; Allegro molto

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Notes on the Program Ken Meltzer, Program Annotator Overture to Guillaume Tell (1829) GIOACHINO ROSSINI was born in Pesaro, Italy, on February 29, 1792, and died in Passy, France, on November 13, 1868. The first performance of Guillaume Tell took place at the Opéra in Paris, France, on August 3, 1829. The Overture to Guillaume Tell is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, bass drum, cymbals, and strings.


ioachino Rossini’s final opera, Guillaume Tell, is based upon Friedrich Schiller’s play, Wilhelm Tell. Guillaume Tell takes place in 14th-century Switzerland, and relates the story of the Swiss victory over their Habsburg oppressors. With its epic length, spectacle, and ballet, Guillaume Tell is in the tradition of French Grand Opera. Rossini provided music of extraordinary power and eloquence, departing from the early 19th-century bel canto practices that had often featured individual vocal display at the expense of the drama. Guillaume Tell premiered at the Paris Opéra on August 3, 1829. Rossini was thirty-seven and would live another thirty-nine years. Yet, he composed no operas after Guillaume Tell. Between 1812 and 1829, Rossini composed thirty-nine operas, and the years of hard labor had taken a tremendous toll on his physical and emotional health. Rossini spent the remainder of his life enjoying the company of friends, and composing many salon pieces he affectionately referred to as “Sins of My Old Age.” In an 1866 letter to composer Giovanni Pacini, Rossini expressed no regrets about his abrupt retirement from opera: “such a presentiment is not given to everyone; God granted it to me and I bless him for it every hour.” The famous Overture to Guillaume Tell begins with an extended slow-tempo introduction (Andante) that features a magical combination of five solo cellos. The rustlings of the strings and winds (Allegro) are prelude to a storm sequence of tremendous power. After the storm abates, the English horn, in tandem with the flute, offers a ranz des vaches, the traditional call of the Swiss herdsman to his cattle (Andante). Trumpet fanfares launch the triumphant final section (Allegro vivace). The music, known (perhaps all too well) for its association with the 1950s television series The Lone Ranger, still generates tremendous excitement on its own terms. Vicious Circles, for Orchestra (2016) SCOTT LEE was born in St. Petersburg, Florida, on December 1, 1988. The first performance Vicious Circles took place at the Rutgers-Camden Center for the Arts in Camden, New Jersey, on January 28, 2017, performed by the Symphony In C. Vicious Circles is scored for three flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (3), and strings.


he music of American composer Scott Lee celebrates both classical and popular music traditions. He has worked with musicians across various genres, from the Baltimore Symphony Orchestra, to chatterbird, to Ben Folds. He has been commissioned to write new works for the Aspen Music Festival and School, loadbang, the Baltimore Classical Guitar Society, the Occasional Symphony, and the American Craft Council. A James B. Duke Fellow at Duke University, Scott Lee is pursuing his PhD in Composition. Scott Lee has taught music courses at Duke University and the Duke TIP summer program. Mr. Lee also taught composition to middle school boys from at-risk neighborhoods in Baltimore, as part of the Peabody Institute’s Junior Bach program. An accomplished pianist, Scott Lee has earned acclaim for | Atlanta’s Performing Arts Publication 61

MAR 18 | program performances of his own works, and music by other composers. The composer provided the following commentary on his Vicious Circles (2016): Vicious Circles is a nine-minute orchestral work that explores a number of cyclical music ideas, each looping back on itself. The title refers to a chain of events in which the response to one difficulty creates a new problem that aggravates the original difficulty, resulting in an endlessly repeating loop. An example from The Little Prince: ‘I am drinking,’ answered the drunkard lugubriously. ‘Why are you drinking?’ the little prince asked. ‘In order to forget,’ replied the drunkard. ‘To forget what?’ enquired the little prince, who was already feeling sorry for him. ‘To forget that I am ashamed,’ the drunkard confessed, hanging his head. ‘Ashamed of what?’ asked the little prince who wanted to help him. ‘Ashamed of drinking!’ concluded the drunkard, withdrawing into total silence. - Antoine de Saint-Exupery Symphony No. 1 in E minor, Opus 39 (1899) JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää , Finland, on September 20, 1957. The first performance of the Symphony No. 1 took place in Helsinki, Finland, on April 26, 1899, with the composer conducting the Helsinki Philharmonic. The Symphony No. 1 is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, triangle, harp, and strings.


innish composer Jean Sibelius completed his First Symphony in early 1899. The premiere of the Symphony No. 1 took place in Helsinki on April 26, 1899, with Sibelius leading the Helsinki Philharmonic. The premiere coincided with a particularly tumultuous period in Finland’s history. Despite its acquisition as a Grand Duchy under the Russian Czar in 1809, Finland enjoyed relative autonomy for the better part of the 19th century. During that period, Finland maintained its own government, army, currency, and postal service. Finnish and Swedish served as official languages, and the Lutheran religion was maintained. However, in February of 1899, a Russian imperial decree ordered that, the Russian State Council would now be responsible for all laws affecting Finland. Russia incorporated the formerly autonomous Finnish postal system. The Finnish army was disbanded, and citizens became liable for conscription into the Russian military. In 1899, the same year Sibelius completed his First Symphony, he composed the orchestral tone poem, Finlandia, depicting the Finnish people rebelling against their oppressors. Unlike Finlandia, the First Symphony does not contain a specific program. Still, the work did serve Finland’s patriotic cause. In 1900, Finnish conductor Robert Kajanus and the Helsinki Philharmonic began their first European tour. It encompassed several major cities, including Paris, where the World Exhibition was in progress. The artists hoped that by showcasing Finland’s rich artistic heritage, they would rally support for their struggle with Russia. The Helsinki Philharmonic concerts featured several works by Sibelius, including Finlandia (called 62 | @AtlantaSymphony |

“La Patrie,” in order to avoid the wrath of Russian censorship), and the Symphony No. 1. Sibelius accompanied the performers on the tour and even, on occasion, conducted the orchestra. Although a relatively early work, the First Symphony’s brooding melancholy, explosive drama, and stark, transparent orchestration already reflect the unique voice of Finland’s greatest composer. Six years after the Symphony’s premiere, the eminent British music critic Ernest Newman was moved to comment: “I have never listened to any music that took me away so completely from our usual Western life, and transported me into a quite new civilization. Every page of (the First Symphony) breathes another manner of thought, another way of living, even another landscape and seascape than ours.” The First Symphony is in four movements. The first opens with a haunting, slow-tempo introduction (Andante, ma non troppo), finally resolving to the principal Allegro energico. The slow-tempo second movement, Andante (ma no troppo lento) features striking juxtapositions of moods. The third-movement Scherzo (Allegro) is based upon an insistent, seven-note motif. A slow-tempo interlude precedes the final reprise of the Scherzo. The Finale (Quasi una fantasia) opens with a reprise of its counterpart in the opening movement. This leads to the principal Allegro molto, finally resolving to the triumphant final measures, capped by two pizzicato chords. | Atlanta’s Performing Arts Publication 63

MAR 18 | program STEPHEN MULLIGAN, conductor



onductor Stephen Mulligan began his term as the Assistant Conductor of the Atlanta Symphony Orchestra and the Music Director of the Atlanta Symphony Youth Orchestra in August 2017. From 2014-16, he served as Assistant Conductor of the Winston-Salem Symphony and the Music Director of the Winston-Salem Symphony Youth Orchestras Program. Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra, and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams‘s Nixon in China at Walt Disney Concert Hall. ​ Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar, and Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s assistant conductor, traveled to Helsinki to study Sibelius’s late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony.

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Atlanta Symphony Youth Orchestra Stephen Mulligan, Music Director FIRST VIOLIN Julia Su concertmaster

Phoebe Liu Sarah Chen Kirsten Lee Naomi Fan Jenny Choi Yuji Yamada Alexis Boylan Yueci Chen Zoe Lo Sylvia Tang Melody Bearden Scott Lozier* Eunice Choi Tobias Liu Erin Kong VIOLA Clara Smallwood, principal

Ardath Weck Chair Annabelle Spoto Lucy Gelber Junwon Kang Jordan Watt Ashley Ahn Alan Ko Claire Hong Christopher Wang Doyoung Jeong John Cho Nina Nagarajan Ruby Lee

SECOND VIOLIN Kylie Dickinson Principal Erin Cho Ava Posner Raunak Kumar Kelly Jeong Serena Gao Josephine Han Eunice Chon Abigail Carpenter Sophie Chan Nina Youn Mashu Takeda Sung-Lin Hsieh Jason Zhuang

FLUTE Don Cofrancesco Hyesu Kim Renee Wang Sarah Zhang

TROMBONE William Clark Hans Kang Evan Roussey Philip Williams

OBOE Saffiya Bashey Jacob Duff Makenzie Hill Hannah Lee

TUBA Errol Rhoden, III Joshua Williams

CELLO Aria Posner Principal Maximilian Lou Lexine Feng* John Kang Joseph Brown Brandon Chung Tannessa Dang Patrick Kim Alicia Shin Phillip Kim

BASSOON Allie Byrd Ethan Clark Aaron Lanning Derek Rizzi*

BASS Blake Hilley principal

Doug Sommer Chair Alex Pu Angela Leeper* Daniel Barket Corban Johnson Hollie Greenwood Matthew Jung Zoe Hood

CLARINET Alex Choi Triniti Rives Francisco Vidales Alisha Zamore

HORN Brennan Bower Joseph Clarke Charles Dunn Ediz Eribach Spencer Hodge Varun Patel Molly Shannon Joshua Vollbracht

HARP Madeline Chen LeAndra Douds PIANO Jason Guo PERCUSSION Michael Dehan* Kobe Lester Alexander Madison Evan Magill Dylan So *Elinor Rosenberg Breman Fellow Winds, Harp, Piano, and Percussion are listed in alphabetical order

TRUMPET Paul Armitage Richard Stinson Ben Stocksdale Andrew Wang | Atlanta’s Performing Arts Publication 65

MAR 22/24 | 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, March 22 and Saturday, March 24, 2018, at 8:00pm

More music by Michael Kurth, composer and member of the ASO’s bass section. APR 5/6 KURTH: May Cause Dizziness (Fanfare for Orchestra)

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.

ROBERT SPANO, Conductor KIM-LILLIAN STREBEL, soprano KELLEY O’CONNOR, mezzo-soprano DAVID WALTON, tenor HADLEIGH ADAMS, baritone ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS, NORMAN MACKENZIE, Director of Choruses MICHAEL KURTH (b. 1971) Miserere (2017) 23 MIN I. Miserere I II. By the Rivers of Babylon III. Quoniam iniquitatem IV. How Deserted Lies the City V. You Must First Look Past VI. Miserere II VII. Gimme the Broke Skin VIII. Miserere III Kelley O’Connor, mezzo-soprano Atlanta Symphony Orchestra Chamber Chorus World Premiere, Commissioned by the Atlanta Symphony Orchestra, Robert Spano, Music Director JOHANN SEBASTIAN BACH (1685-1750) Orchestral Suite (Overture) No. 3 in D Major, BWV 1068 (ca. 1717-1723) I. Ouverture II. Air III. Gavotte I et II IV. Bourrée V. Gigue INTERMISSION JOHANN SEBASTIAN BACH (1685-1750) Brandenburg Concerto No. 3 in G Major, BWV 1048 (1721) I. (Without tempo marking) II. Adagio III. Allegro

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10 MIN

20 MIN

19 MIN

Notes on the Program Ken Meltzer, Program Annotator Cantata No. 80, “Ein feste Burg ist unser Gott”, BWV 80 (ca. 1744) I. Chorus: “Ein feste Burg ist unser Gott” II. Aria (Soprano, Bass): “Mit unser Macht” III. Recitative (Bass): “Erwäge doch, Kind Gottes” IV. Aria (Soprano): “Komm in mein Herzenshaus” V. Chorale: “Und wenn die Welt voll Teufel wär” VI. Recitative (Tenor): “So stehe denn bei Christi blutgefärbten Fahne” VII. Duet (Alto, Tenor): “Wie selig sind doch die” VIII. Chorale: “Das Wort sie sollen lassen stahn” Kim-Lillian Strebel, soprano Kelley O’Connor, mezzo-soprano David Walton, tenor Hadleigh Adams, baritone Atlanta Symphony Orchestra Chamber Chorus

25 MIN

English surtitles by Ken Meltzer Miserere (2017) MICHAEL KURTH was born in Falls Church, Virginia, on November 22, 1971. These are the world premiere performances. Miserere is scored for mezzo-soprano solo, mixed chamber chorus, percussion I (suspended crash cymbal, djembe, kick drum, hihat cymbals), percussion II (congas, cajon, shekere, bucket of nails, crotales), percussion III (bowed China cymbal, maracas, coins in kettle, two brake drums, shekere, mounted tambourine), clavinet, and strings.


hen ASO Music Director Robert Spano asked me for new music for the 2017-18 season, I told him I was eager for an opportunity to write for the spectacular ASO Chorus or Chamber Chorus. My ASO commissions so far have been purely instrumental, but I’ve written quite a bit for voices. When Robert agreed, I decided to push my luck a bit further: could I also include mezzo-soprano megastar and frequent ASO collaborator Kelley O’Connor? To my great delight, everyone’s schedules aligned, and the work was inked on the calendar. The next task: what to write? I have enjoyed previous choral collaborations with Atlanta poet Jesse Breite, who wrote text for my works Magnificat and Tenebrae. His poetry captures both the mysterious beauty and the tragic bleakness of the modern faithscape, and I wondered what the subject of betrayal might inspire him to create. Betrayal is something we all experience, both as victims and perpetrators, and the deep agony and shame we all feel merits artistic exploration. Miserere was written as a personal expression of conviction, contrition, and self-admonition. Texts from ancient Judeo-Christian tradition about the Israelites in captivity and the spiritual infidelity of Jerusalem are interwoven with modern poetic reflections on the New Testament characters of Judas, who betrayed, and Thomas, who doubted. These condemnations of the inability of the faithful to live into their covenants are bookended by impassioned cries for forgiveness; we are all captive to our flawed nature, we are all unfaithful, we all doubt, and we all betray our better selves. Perhaps we think ourselves Christ-like, but if we can muster the courage and humility to identify with someone like Judas, to behold the repugnance of our | Atlanta’s Performing Arts Publication 67

MAR 22/24 | program flaws and all their attendant misery, and aspire to become holier, more beautiful creatures, we will be much better equipped to envision and enact the progress toward enlightenment and justice to which our faith traditions call us. Musically, Miserere is written in a style I think of as “modern-primitive-sacred-spooky”. It’s completely tonal, often groove-based, and tends to dwell in the shadowy corners of spirituality. It involves a lot of percussion, mostly played by hand, and in a modern twist on the traditional Baroque ensemble’s reliance on harpsichord, it features the clavinet, a funkdrenched electric keyboard most familiarly heard in Stevie Wonder’s “Superstition”. —Michael Kurth Michael’s Miserere draws primarily from Psalm 51, 37, and Lamentations 1, my contributions reconsider the voices of Judas and Thomas respectively. These reconsiderations are less concerned with historical accuracy and/or context and more centered in the gritty emotional core of disbelief, betrayal, and doubt that seems to persist and transcend historical context and moment. As the psalms and lamentations yearn for relief from oppressive sorrow and suffering, my poetic texts turn to the self-wounding that brings the speaker, the nation, the audience back yet again to the woeful prayer for mercy. “You Must First Look Past” reads like instructions on how to ignore one’s conscience or betray one’s integrity. The voice is aware but unaffected by the harm that accompanies position and privilege in the narrative… “Gimme the Broke Skin” is a voice of insatiable demand. In asking for proof, the speaker is one of doubt and disbelief, but this skepticism immediately breeds excess, obsession and addiction—a rapid-fire desire for an obliterating and apocalyptic consumption, destructive to all in its presence. Conceptually, both voices are biblical, but they speak to a sense of national disease, noxious authority and demand that revives the old sorrows. —Jesse Breite JOHANN SEBASTIAN BACH was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750.

First Classical Subscription Performance: December 22, 1946, Henry Sopkin, Conductor.

Orchestral Suite (Overture) No. 3 in D Major, BWV 1068 (ca. 1717-1723)

Most Recent Classical Subscription Performances: September 26, 27, and 28, 2013, Robert Spano, Conductor.

The Third Orchestral Suite is scored for two oboes, three trumpets, timpani, harpsichord, and strings.


ach’s Four Orchestral Suites date from his seven-year tenure as Kappellmeister to Prince Leopold in the German town of Cöthen, located some sixty miles north of Weimar. Prince Leopold was a talented musician (Bach described him as “a gracious prince, a lover and connoisseur of music”). The Prince hoped to duplicate in Cöthen the superb court music establishments he encountered during his studies throughout Europe. Thanks to the patronage of Prince Leopold, Bach was able to compose for several of Europe’s finest instrumentalists. The orchestral suite, an extremely popular form of instrumental ensemble music in the 17th and 18th centuries, comprises an overture and several dance movements. Because of the preeminence of the introductory movement, the entire works were known as overtures (French: ouverture). 19th-century scholars later applied the term “suite” to the multi68 | @AtlantaSymphony |

movement overture. Overtures showcase the talents of the instrumentalists, and Bach certainly allows for moments of thrilling display. The Third Orchestral Suite prominently features oboes, trumpets, and timpani in the generally festive piece. However, as with virtually of all of Bach’s works, the Third Suite also contains moments of unrivaled poignancy and eloquence, notably in the second movement Air. The Third Orchestral Suite is in five movements. First is the Ouverture, stately music juxtaposed with a lively fugue. The radiantly beautiful Air is scored for strings and continuo. The third movement offers a pair of Gavottes, a dance set in duple meter and moderate tempo. Next is a Bourrée, a sprightly dance in duple meter. The Suite closes with a Gigue (Jig), a dance of moderate to quick tempo, here cast in 6/8 meter. Brandenburg Concerto No. 3 in G Major, BWV 1048 (1721) The Third Brandenburg Concerto is scored for three violins, three violas, three cellos, and basso continuo (violone and harpsichord).


First Classical Subscription Performance: November 23, 1949, Henry Sopkin, Conductor.

Most Recent Classical Subscription n the winter of 1718-19, Bach traveled from his Performances: October 7-9, 1993, residence in Cöthen to Berlin. There he purchased Yoel Levi, Conductor. a superb new harpsichord, the creation of Michael Mietke, the instrument maker at the court of Berlin from 1697 until his death in 1719. It was during this journey that Bach probably first met the Margrave Christian Ludwig of Brandenburg, the youngest son of the “Great Elector,” Frederick William. The Margrave offered Bach a commission to compose a series of works. Two years later, Bach presented the Margrave with scores he entitled, “Six Concerts Avec plusieurs Instruments,” (“Six Concertos with Several Instruments”). It appears that the Margrave never heard the magnificent works ultimately known as the Brandenburg Concertos. The Margrave employed a small ensemble of musicians, too few in numbers to encompass all the parts of the Six Concertos. Scholars believe that Bach did not initially compose these works for the Margrave. Rather, he wrote them for performance at various concerts by the excellent musicians in the court of Prince Leopold in Cöthen, for whom Bach served as Kappellmeister. Bach ultimately presented these independent works as a collection to fulfill the Margrave’s commission. According to Bach’s son, Carl Philipp Emanuel, his father preferred to play the viola when leading an instrumental ensemble. It seems reasonable to assume that in performances of the Third Brandenburg Concerto, Bach played first viola and led the instrumental group that features strings in nine parts (three each of violins, violas, and cellos). The Concerto No. 3 is in three movements. The vigorous sixteenth and eighth-note figure immediately presented by the violins forms the basis for the entire movement. The printed score of the second-movement Adagio consists of a single measure comprising two chords. In Bach’s time, a solo cadenza may have been performed here as prelude to the finale. The concluding movement (Allegro) is a lively gigue. Cantata No. 80, “Ein feste Burg ist unser Gott”, BWV 80 (ca. 1744)

These are the First Classical Subscription Performances.

MAR 22/24 | artists The Cantata No. 80 is scored for soprano, alto, tenor, and bass solos, mixed chorus, three oboes, three trumpets, timpani, organ, and strings.


ach composed his great Cantata, “Ein feste Burg ist unser Gott” in Leipzig, for the Feast of the Reformation. In the Cantata, Bach incorporates Martin Luther’s hymn “Ein feste burg ist unser Gott” (“A Mighty Fortress Is Our God”), based upon Psalm 46. Bach was able to draw upon an earlier work, his Cantata Alles, was von Gott geboren, BWV 80a (1715), which also employed the Luther hymn. In the Cantata No. 80, Bach sets the text of the Luther hymn, as well as additional, complementary verse by the Weimer court poet, Salomo Franck. The Cantata opens with one of the glories of Bach’s choral writing, a setting of the first verse of the Luther hymn that is breathtaking in its complexity, beauty, and emotional power. Throughout, Bach vividly depicts Man’s battle with the powers of Satan, a conflict that is not fully and finally resolved until the final Chorale. KIM-LILLIAN STREBEL, soprano


ritish soprano Kim-Lillian Strebel has received rapturous critical acclaim following a number of high-profile debuts. These include Pamina in Barrie Koksy’s production of Die Zauberflöte for Cincinnati Opera – marking her US operatic debut – and Théâtre national de l’Opéra-Comique, Cendrillon for Theater Freiburg, and Lauretta in Calixto Bieito’s new production of Gianni Schicchi at the Komische Oper Berlin.

In the ensembles of Theater Freiburg and Theater Basel, Kim-Lillian has acquired both a wealth of stage experience and an extensive repertoire to include the roles of Micaëla (Carmen) and Fiordiligi (Così fan tutte), Adina (L’elisir d’amore), Euridice (Orfeo ed Euridice) and Angelica (Orlando). Equally, during her time in the Junge Ensemble of the Deutsche Opera, roles included Papagena and First Lady (Die Zauberflöte), 2nd Niece (Peter Grimes), Nicoletta (The Love of Three Oranges) and Countess Ceprano (Rigoletto) under Pablo Heras-Casado, amongst others. As a guest artist, she recently returned to Berlin as Musetta (La bohème) and Gretel (Hänsel und Gretel) under Donald Runnicles, and this season sings First Lady in Günter Krämer’s production of Die Zauberflöte, as well as returning to the Komische Opera on tour in South Korea as Pamina. Elsewhere, she sings Guillermo Amaya’s new production of Donizetti’s Adelia for Theater für Niedersachsen, Hildesheim, marking the German premiere of the piece.


Born in London and raised in Switzerland, Kim-Lillian has studied at the Royal Academy of Music under the tutelage of the late Anthony Rolfe-Johnson, and the Royal Conservatoire of Scotland. She has also been a pupil of Dame Kiri Te Kanawa and Ryland Davies. KELLEY O’CONNOR, mezzo-soprano


ossessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy® Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2017-18 season, O’Connor’s impressive symphonic calendar includes performances of Bernstein’s “Jeremiah” Symphony with Alan Gilbert and the New York Philharmonic and with Jahja Ling and the

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San Diego Symphony, Beethoven’s Missa Solemnis with David Robertson and the St. Louis Symphony, Mahler’s Eighth Symphony with Andrés Orozco-Estrada leading the TonkünstlerOrchester Niederösterreich, and Mahler’s Des knaben Wunderhorn with Krzysztof Urbański and the Indianapolis Symphony Orchestra. She returns to the stage of the Kennedy Center for performances of John Adams’ The Gospel According to the Other Mary marking her first collaboration with Gianandrea Noseda, and sings Beethoven’s Ninth Symphony with Jun Märkl on the podium of the Milwaukee Symphony. Kelley O’Connor gives the world premiere of a song cycle by Bryce Dessner at Carnegie Hall with Robert Spano leading the Orchestra of St. Luke’s.The American mezzo brings Carmen into her repertoire with presentations by Opera Buffs and the Los Angeles Opera under the baton of James Conlon. Her discography includes a Grammy® Award-winning recording of Osvaldo Golijov’s Ainadamar and Peter Lieberson’s Neruda Songs with Robert Spano and the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra. DAVID WALTON, tenor


avid Walton dazzles stages across the country to critical acclaim. This season, he sings the title role in Albert Herring with Union Avenue Opera, a Summer in the Park concert with Madison Opera, Salome with Minnesota Orchestra, Ernesto in Don Pasquale with Minnesota Opera, as a soloist in “A Three Tenor Christmas” with Chanhassen Dinner Theater, Belmonte in Die Entführung aus dem Serail with Madison Opera and Brava! Opera Theatre, performs as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra, sings Bach Cantata No. 80 with Atlanta Symphony, sings Carmina Burana with Virginia Tech Symphony and performs as Count Almaviva in Il barbiere di Siviglia with the Glimmerglass Festival. Last season, Walton’s engagements included performing the role of Ernesto in Don Pasquale with Brava! Opera Theater, debuting the role of Silvio in a new production of the Lorenzo Da Ponte rarity: L’arbore di Diana and covering Larry Renault in Minnesota Opera’s world premiere of William Bolcom’s Dinner at Eight. Recently in his final season of the Minnesota Opera Resident Artist Program, Walton performed an array of roles including Tamino in Die Zauberflöte, Ed Mavole in the world première of Manchurian Candidate, Brighella in Ariadne auf Naxos, Spoletta in Tosca, and Postiglione in La fanciulla del West. He also sang in the world premiere of Paul Moravec’s The Shining as Delbert Grady. HADLEIGH ADAMS, baritone


ew Zealand baritone Hadleigh Adams has been featured in Opera News magazine as a Soundbyte artist and has received international acclaim for his performances on stage and in concert. He is renowned for his dynamic stage presence and ability to draw true, honest characters in his performances. His broad repertoire spans from Baroque and Bel Canto through Britten and to contemporary composition. He has collaborated with some of today’s greatest artists on the concert platform, and on the opera stage. Over the past season Hadleigh has made his debut performances with some of the United States’ top companies. He has performed with Pittsburgh Opera, Cincinnati Opera, Oakland Symphony, the San Francisco Symphony, Michigan Opera Theatre, the Colorado Symphony | Atlanta’s Performing Arts Publication 71

MAR 22/24 | artists and Opera Omaha. He also made his debut with London’s Philharmonia Orchestra. He has also performed repeatedly with the San Francisco Opera, the Los Angeles Philharmonic and the San Francisco Symphony. The coming season includes performances with the Philharmonia Baroque Orchestra, American Bach Soloists and the Los Angeles Philharmonic. Hadleigh made his professional debut at London’s Royal National Theatre singing the role of Christ in Jonathan Miller’s staged production of Bach’s St Matthew Passion to critical acclaim. He performed in concert at London’s St Martin-in-the-Fields, the London Song Recital series, and has performed at the Wigmore Hall as a Voiceworks series artist. Following these performances, Hadleigh was invited to join the Merola Opera Program at the San Francisco Opera and was subsequently invited to join the San Francisco Opera as an Adler Fellow, the first New Zealander to ever hold the position. During his two-year tenure with the company Hadleigh appeared in more than 75 main stage performances, and over 20 concert performances. 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 CHAMBER CHORUS


cclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Orchestra Chamber Chorus has been an important part of the orchestra’s programming since its founding by the late Robert Shaw. The Chamber Chorus, which debuted on December 14, 1967, is composed of 60 volunteers selected by audition from the ranks of the ASO Chorus, who meet for extra rehearsals and perform with the ASO each season. The Chamber Chorus performs music of the Baroque and Classical eras, as well as works by modern masters such as Golijov, Tavener, Pärt, Paulus, Theofanidis and 72 | @AtlantaSymphony |

Britten. Highlights of the ASO Chamber Chorus’s history include a residency with the ASO and Robert Spano for California’s Ojai Festival, participation with the ASO in recordings of masterworks by Bach, Golijov, Handel, Haydn, Mozart, Schubert, Vivaldi, and a 2005 a cappella recording that features the Vaughan Williams Mass under Norman Mackenzie. Their Carnegie Hall appearances include performances of the B-Minor Mass, Magnificat, the Matthew and John Passions of Bach, the Rachmaninoff Vespers, Stravinsky’s Nightingale and the Mozart Requiem.

Atlanta Symphony Orchestra Chamber Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO Hanan Davis Khadijah Davis Sakinah Davis Virginia Elizondo Kathleen Kelly-George Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Anne-Marie Spalinger* Brianne Turgeon* Brenda Turner Allegra Whitney Katie Woolf Wanda Yang Temko*

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

ALTO Verena Anders Ana Baida Donna Carter-Wood** Marcia Chandler Michelle Levesque Katherine MacKenzie Linda Morgan** Katherine Murray* Laura Rappold Laura Soltis Diana Strommen Alexandra Tanico Carol Wyatt*

TENOR Randall Barker** Jeffrey Baxter** Christian Bigliani David Blalock** John Brandt Jack Caldwell* Daniel Compton Justin Cornelius Phillip Crumbly Jeffrey Daniel* Leif Gilbert-Hansen* Keith Langston Clinton Miller Michael Parker Christopher Patton Brent Runnels

Peter Marshall, Accompanist BASS Dock Anderson Philip Barreca Charles Boone Russell Cason** Joseph Champion Trey Clegg Steven Darst** Michael Dennison Michael Ervin Timothy Gunter* Jameson Linville Peter MacKenzie Jason Maynard Mark Mendenhall Kendric Smith** Edgie Wallace* Edward Watkins** * 20+ years of service ** 30+ years of service | Atlanta’s Performing Arts Publication 73

ASO | support


he Orchestra donor list includes annual fund donations made between June 1, 2016 – February 2, 2018 . 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

Mr. & Mrs. Bradley Currey, Jr. 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.

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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 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. Boykin 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 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 Charlie & Donna Sharbaugh 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 Bell Family Foundation 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. Jeannette Guarner, MD & Carlos del Rio, MD The Robert Hall Gunn, Jr. Fund Virginia Hepner & Malcolm Barnes Hertz Family Foundation Roya & Bahman Irvani JBS Foundation 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 Anne Morgan & Jim Kelley 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 75

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* 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 Natalie & Matthew Bernstein The Breman Foundation, Inc. Jacqueline A. & Joseph E. Brown, Jr. Patricia & William Buss Ruth & Mark Coan Family William & Patricia Cook Thomas G. Cousins Mr. & Mrs. Jonathan J. Davies

Peter & Vivian de Kok Ms. Arlene DeMita Ms. Diane Durgin Ellen & Howard Feinsand Mr. & Mrs. William A. Flinn John & Michelle Fuller Mary & Charles Ginden Mr. & Mrs. Richard Goodsell Sally W. Hawkins Azira G. Hill Tad & Janin Hutcheson Robert & Sherry Johnson Baxter Jones & Jiong Yan Cecile M. Jones Paul & Rosthema Kastin Mr. Kurt P. Kuehn & Ms. Cheryl Davis Mr. & Mrs. Joshua Harbour Mr. & Mrs. Charles B. Harrison Mr. & Mrs. J. Hicks Lanier/The Sartain Lanier Family Lillian Balentine Law Isabel Lamy Lee Loews Atlanta Hotel Peg & Jim Lowman Mary Ruth McDonald* The Fred & Sue McGehee Family Charitable Fund Belinda & Gino Massafra Mr. Bert Mobley Morgens West Foundation North Highland Northwestern Mutual

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

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

Goodwin, Wright/ Northwestern Benefit Corporation of Georgia Donald S. Orr & Marcia K. Knight Franca G. Oreffice Overture Lindbergh Margaret H. Petersen Jack & Susanne Pinkerton Mr. Leonard B. Reed* Mr. & Mrs. Joel F. Reeves Ms. Vicki J. Ridel Clyde Rodbell Family Philanthropic Fund 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


Margo Brinton & Eldon Park Karen & Rod Bunn Mr. & Mrs. Dennis M. Chorba Carol Comstock & Jim Davis* Mr. Richard Dowdeswell 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 Mr & Mrs. Theodore J. Lavallee, Sr. 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

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

76 | @AtlantaSymphony |

Stephen & Sonia Swartz Elliott & Elaine Tapp George & Amy Taylor Judith & Mark K. Taylor Dale L. Thompson Burton Trimble Drs. Jonne & Paul Walter Mr. & Mrs. Tomohiro Yamashita*


A Friend of the Symphony (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 Carol Brantley & David Webster 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. James Durgin Mr. & Mrs. Robert G. Edge Dieter Elsner Robert S. Elster Foundation George T. & Alecia H. Ethridge Mr. & Mrs. William M. Evans , Jr. Raj & Jyoti Gandhi Family Foundation 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 Ms. Susan Robinson & Ms. Mary Roemer Mr. & Mrs. Richard L. Rodgers Jane & Rein Saral Mr. & Mrs. Robert Schlotman Sam Schwartz & Dr. Lynn Goldowski Mr. Randy Shields & Mrs. Sarah Shields Helga Hazelrig Siegel 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 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 77

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

78 | @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 | Atlanta’s Performing Arts Publication 79

talent development program and education donors The following represents gifts to the Azira G. Hill Scholarship Fund, TDP Endowment, Talent Development Fund for operations, instruments, and funding for education programs given between June 1, 2016-February 2, 2018. $100,000+ George M. Brown Trust Fund The Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation AT&T Wells Fargo $25,000+ Ms. Lynn Eden 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 $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 Slumgullion Charitable Fund 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 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

80 | @AtlantaSymphony |

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 81


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

82 | @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 83

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 Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Christopher McLaughlin Manager of Artistic Administration 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 & Patron Engagement 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 Sameed Afghani General Manager Paul Barrett Senior Production Stage Manager Tyler Benware Operations Manager Joseph Brooks Assistant Stage Manager Richard Carvlin Stage Manager Kourtnea Stevenson Assistant Orchestra Personnel Manager Russell Williamson Interim Orchestra Personnel Manager

84 | @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 85

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.

86 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




these local restaurants before or after the show. For dinner-and-show packages, visit

AMERICAN LIVINGSTON RESTAURANT AND BAR — It’s hard to beat the location (across from the Fox Theatre in the Georgian Terrace), and diners get complimentary parking, but the main attraction is the glamour of the main dining room, which has hosted the likes of Clark Gable, and the al fresco seating area. 659 Peachtree St. NE, 404.897.5000, M LOBBY — The much-praised Lobby Bar and Bistro is a stylish yet casual modern American bistro that entices guests with its tempting aromas and alluring atmosphere.. 361 17th St. NE, 404.961.7370,, M ONE. MIDTOWN KITCHEN — This oneof-a-kind concept, located in a renovated urban warehouse, offers approachable, high-energy American cuisine. Whether it is small plates or a three-course meal, ONE adds gourmet flair using the freshest seasonal ingredients. 559 Dutch Valley Road, 404.892.4111, M PACES & VINE — Located in The Vinings Jubilee with classic American comfort food crafted from locally sourced ingredients. Shared plates, fish, steaks. Winecentric bar with craft cocktails. Weekday lunch, weekend brunch and dinner menus led by Atlanta Chef Kyle Schmidt who comes to Paces & Vine after eight years in Atlanta kitchens King and Duke, JCT Kitchen and No. 246, among others. Lunch, dinner, Saturday and Sunday brunch. 4300 Paces Ferry Road, 404.205.8255, V PARISH — Unique people, delicious food and good-for-the-Earth goods all come together at this brasserie and neighborhood café. Step off the BeltLine and join

the vibrant culture of Inman Park. Whether you go upstairs to the brasserie or head downstairs to the café, expect inspired familiar American food, inventive beverages and warm hospitality. 240 North Highland Ave. NE, 404.681.4434, OFW SOHO — American-style bistro offers fish and seafood, beef, game and poultry, with gluten-free lunch and dinner options, plus their specially-priced Cobb Energy Centre theater menu will get you in and out with plenty of time to make the performance; just show your tickets to your server. Different weekly “wine and tapas” flights debut each Wednesday night. Vinings Jubilee, 4300 Paces Ferry Road, 770.801.0069, V TWO URBAN LICKS — Heats up the Atlanta restaurant scene with its fiery American cooking. The experience available at TWO urban licks has made it one of the city’s busiest restaurants on a nightly basis. 820 Ralph McGill Blvd., 404.522.4622, M AMERICAN/STEAKHOUSE ROOM AT TWELVE — Go to this modern American steakhouse for drinks, steaks and sushi. You’ll find it on West Peachtree NEIGHBORHOOD CODES A Alpharetta M Midtown BR Brookhaven NA North Atlanta BW Brookwood OFW Old Fourth Ward B Buckhead P Perimeter Mall D Downtown SS Sandy Springs DK DeKalb V Vinings DW Dunwoody VH Virginia Highland IP Inman Park W Westside | Atlanta’s Performing Arts Publication 87

THE ENCORE ATLANTA DINING GUIDE Street in the boutique TWELVE Hotel, Centennial Park. Room is open seven days a week for breakfast, lunch and dinner. Call or visit for reservations and more. 400 Peachtree St NW, #12, 404.418.1250., D RUTH’S CHRIS STEAK HOUSE — A favorite local steakhouse with multiple locations near shopping and entertainment hot spots. Sides are generous, and the quality of the steaks and seafood is excellent. Four locations: Alpharetta, 11655 Haynes Bridge Road, 770.777.1500; Buckhead, 3285 Peachtree Road NE, 404.365.0660; Centennial Olympic Park, 267 Marietta St. NW, 404.223.6500; Kennesaw, 620 Chastain Road NW, 770.420.1985; A, B, D STK ATLANTA — STK blends a chic lounge and a dynamic fine dining experience with the superior quality of a traditional steakhouse. Midtown: 1075 Peachtree St., NE (at 12th St.); 404.793.0144, stk-atlanta. M

THE SOUTHERN GENTLEMAN — This Southern-inspired gastropub located in The Shops Buckhead Atlanta “celebrates every aspect of what it means to be from the South,” using locally sourced ingredients in their fresh, modern take on traditional dishes. Beverages? Your choices run from barrel-aged cocktails to bottled libations to adult beverages on tap, along with New World wines and craft beers and the “perfect” mint julep. 3035 Peachtree Rd., NE, Suite A208, 404.939.9845, B BREW PUB/GOURMET PUB FARE TAP –A GASTROPUB — The spot for seasonally driven, innovative comfort food. An extensive international beer list and innovative barrel wine program make TAP a convivial place to have a pint. 1180 Peachtree St. NE, 404.347.2220, M

SOHO’s Painted Hills short rib tacos, black pepper mustard, caramelized onions, cilantro sauce in a potato chip shell.

CREOLE/CAJUN COPELAND’S OF NEW ORLEANS — Bayou fare, plus steak, chicken, pasta and sandwiches. Fresh desserts and pastries from the Cheesecake Bakery. Live Jazz Sunday brunch buffet. A favorite gathering spot for Saints fans. Libations include the “Pontchartrain Beach” martini. Lunch, brunch, dinner. Takeout available. 3101 Cobb Parkway, 770.612.3311, copelandsatlanta. com. V DINNER THEATER LIPS-ATLANTA — Part cocktail bar, part restaurant, part wa-a-ay over-the-top dinner theater in Brookhaven. The only things padded here are the waitresses. Open Wed.-Sun. only. Reservations required for dinner shows (not for the bar). Complimentary on-site valet parking. See website for more important information. 3011 Buford Hwy, 404.315.7711,, BH

88 | @AtlantaSymphony |


BREW PUB/GOURMET PUB FARE GORDON BIERSCH — Fresh-brewed beers are a tasty accent to this brewery-restaurant’s hearty pizzas, salads and sandwiches. 242 Peachtree Road NE, 404.264.0253, B

Looking to plan an event or wedding? Golden B Wedding and Event Planning is just the ticket. Call or e-mail us today: 404.368.2100

Claudia Madigan

Wedding and Event Planning

Chief Planner & Founder

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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














TRE.ORG FOXTHEA _1-64_final.indd



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

Fox 1706_MammaMia


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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 89

THE ENCORE ATLANTA DINING GUIDE SPANISH/IBERIAN FUSION GYPSY KITCHEN — The culinary riches of Spain, influenced by Moroccan and Indian cuisines; sharable Spanish snacks and plates served in a stylish modern atmosphere in The Shops Buckhead Atlanta. 3035 Peachtree Rd., NE, Suite A209, 404.939.9840, B SEAFOOD/SUSHI LURE — A modern interpretation of a classic fish house with a focus on seasonality and freshness. 1106 Crescent Ave., 404.817.3650. M VEGAN HERBAN FIX — With a mission to share the best fusion vegan cuisine with local residents, businesses and visitors, Herban Fix offers a fusion vegan menu to let you experience the most iconic food throughout different parts of Asia. Taking inspiration from various cuisines, the menu

HERBAN FIX’s sweet pea ravioli in curry jus with leeks and assorted mushrooms.

at Herban Fix is carefully crafted and plated and all the dishes are designed for sharing. Ingredients are premium select, organic, fresh and aimed at good health as well as great taste. 565-A Peachtree Street NE, 404.815.8787. M




Read about the artists onstage, see what’s happening around town and discover the best Atlanta has to offer. We’re more than just a show program. We’re your ticket to the arts.

90 | @AtlantaSymphony |

gordon biersch brewery restaurant

crafted for you Still going strong in Buckhead 3242 PEACHTREE RD. NE BUCKHEAD

6 miles north of the Fox Theatre 404.264.0253 Lunch & Late night Private dining available


Void where prohibited by law. No cash value. For promotional purposes only. Not valid towards gift card purchases. One per table.Valid at participating restaurants only. Not valid at airport locations. Alcohol purchase may be prohibited. Not valid with any other offer or discount. No stored value. Must be used in a single visit. A printed copy of this offer or a digital copy via mobile device must be presented to your server to qualify for this discount. Excludes tax and gratuity. Must be 21 years or older to consume alcohol. Promo to 10off20ATL. EXPIRES 02/28/2018

Let us FIX your meal on your next restaurant outing! Named top restaurant in Georgia in 2016 by YELP and USA TODAY Best of Atlanta Vegan Restaurant award from Atlanta Magazine in 2016

Check our website or Facebook for info on Jazz night!

Lunch • Sunday Brunch • Dinner • Carry-out • Catering 565-A Peachtree Street NE | Atlanta, Georgia 30308 | ph (404) 815-8787

Private event room available for birthdays, company events and holiday parties. PMS 7529

PMS 7533

PMS 484

Study with a faculty that includes 30 members of the San Francisco Symphony

800.899.SFCM | | Atlanta’s Performing Arts Publication 91

S O SH TA KO : H IC V Piano


Concerto No. 1

Serenade (after Plato’s “Symposium”)


Robert McDuffie


APR 5/6

APR 12/14


Elizabeth Koch Tiscione oboe

APR 19/21


Nicola Benedetti

Violin Concerto

APR 26/28/29

Oboe Concerto

Buy Tickets Here! 404.733.5000 | Woodruff Arts Center Box Office


Discount tickets available at select Sam’s Clubs

BUY DISCOUNT TICKETS ONLINE Atlanta’s Best Entertainment Value! Free Parking! JUST SOUTH OF ATLANTA – I 85 AT EXIT 61 - 1.5 MILES WEST

WellStar and Mayo Clinic. Working together. Working for you. As a proud member of the Mayo Clinic Care Network, WellStar Health System is even closer to achieving our vision of world-class healthcare. Through this innovative collaboration, WellStar doctors have special access to Mayo Clinic knowledge, expertise and resources while patients continue to receive care delivered right here, close to home. And now with even more WellStar locations working together with Mayo Clinic, you get peace of mind knowing that we are here for you. Innovation. World-class care. WellStar. For more information, please visit For physician referral, please call 770-956-STAR (7827).

WellStar Health System, the largest health system in Georgia, is known nationally for its innovative care models, focused on improving quality and access to healthcare. WellStar consists of WellStar Medical Group, 240 medical office locations, outpatient centers, health parks, a pediatric center, nursing centers, hospice, homecare, as well as 11 inpatient hospitals: WellStar Atlanta Medical Center, WellStar Atlanta Medical Center South, WellStar Kennestone Regional Medical Center (anchored by WellStar Kennestone Hospital), WellStar West Georgia Medical Center, and WellStar Cobb, Douglas, North Fulton, Paulding, Spalding Regional, Sylvan Grove and Windy Hill hospitals. As a not-forprofit, WellStar continues to reinvest in the health of the communities it serves with new technologies and treatments.

We believe in life well-lived.

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