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APR 2018

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April 2018 | Content 6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 Musicians 22 Concert Program & Notes 54 ASO Support



14 What Makes a Classic? Bernstein, Beethoven & Beyond: The Atlanta Symphony Orchestra’s 2018/19 season promises a rich spectrum of repertoire by Mark Gresham

64 ASO Staff 66 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 TREASURER Kristi Casey Sanders SECRETARY Evan Casey CONTROLLER Suzzie Gilham

8920 Eves Road, #769479 Roswell, GA 30076 Phone 678.837.4004 Fax 678.837.4066 opyright 2018 AMP Inc. All rights reserved. Reproduction in whole or in part is strictly prohibited. Encore Atlanta is C a registered publication of AMP Inc. The publisher shall not be liable for failure to publish an ad, for typographical errors or errors in publication. Publisher reserves the right to refuse any advertising for any reason and to alter advertising copy or graphics deemed unacceptable for publication.

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ASO | Welcome Dear Friends,


t is a busy and exciting time here at the Atlanta Symphony Orchestra, filled with important milestones.

First, I’m delighted to report that the ASO and the Atlanta Symphony Orchestra Players’ Association reached an agreement for a three-year extension of our collective bargaining agreement that will continue through the Orchestra’s 2020/21 season. This is a great outcome for the institution, building on the positive momentum of the past several seasons. All parties approached this negotiation in a collegial and collaborative manner, working together towards an achievable compromise that offers both artistic progress and financial sustainability. On March 14, we announced the Orchestra’s 74th season, the second in our twoseason-long celebration of Leonard Bernstein and Ludwig van Beethoven. With more than a thousand of new subscribers joining the ASO family this year, the 2018/19 season ticket campaign is off to a tremendous start. Enjoy the feature story by Mark Gresham in this issue of Encore to learn more about all the upcoming season has to offer, and visit to secure your seats for what promises to be another wonderful season. It is my pleasure to welcome two new members of the senior leadership team at the ASO. Grace Sipusic joins us as Vice President of Development, having led the fundraising of The Florida Orchestra and served in a variety of roles at The Cleveland Orchestra. Sameed Afghani joins the ASO as General Manager from the Chicago Symphony Orchestra.

There is still time to enjoy the next generation of classical musicians this season as our Talent Development Program Fellows perform Spring Recitals on April 14 and 15, in the Rich Theatre. Reserve your free tickets at Thank you for your love and support of the Atlanta Symphony Orchestra!

Jennifer Barlament Executive Director

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Warm regards,

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ASO | Music Director Robert Spano


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


With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has won six Grammy® Awards with the Atlanta Symphony Orchestra. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin.

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

Thomas Wardell, Vice Chair Lynn Eden, Vice Chair

Meghan H. Magruder, James Rubright, Secretary Treasurer

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

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

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

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

Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner G. Kimbrough Taylor

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

Mrs. Drew Fuller Mary D. Gellerstedt

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

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

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

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

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


Robert Spano Music Director The Robert Reid Topping Chair

MUSICIAN ROSTER FIRST VIOLIN David Coucheron Concertmaster

SECTION VIOLIN ‡ Judith Cox Raymond Leung

VIOLA Reid Harris Principal

Sanford Salzinger

Paul Murphy Associate Principal

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

Justin Bruns Associate Concertmaster

The Charles McKenzie Taylor Chair

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

SECOND VIOLIN Julianne Lee• Principal

The Edus H. & Harriet H. Warren Chair

The Mary & Lawrence Gellerstedt Chair

Catherine Lynn

The Atlanta Symphony Assistant Principal Associates Chair Marian Kent

Sou-Chun Su Associate Principal

The Frances Cheney Boggs Chair

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

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

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

The UPS Foundation Chair

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

Karl Fenner Sharif Ibrahim • Michael Kenady

The Jane Little Chair

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

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

Michael Krajewski Principal Pops Conductor

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

OBOE Elizabeth Koch Tiscione Principal

BASSOON Andrew Brady Principal

Yvonne Powers Peterson Associate Principal

Anthony Georgeson• Associate Principal Laura Najarian Juan de Gomar

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

The Kendeda Fund Chair

Samuel Nemec Emily Brebach

Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair

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

Nathan Zgonc Second/Associate Principal Brian Hecht

CONTRA-BASSOON BASS TROMBONE Juan de Gomar Brian Hecht ENGLISH HORN HORN The Home Depot Emily Brebach Veterans Chair Brice Andrus CLARINET Principal TUBA The Betty Sands Laura Ardan Michael Moore Principal Fuller Chair Principal The Robert Shaw Chair Susan Welty The Delta Air The Mabel Dorn Associate Principal Lines Chair Reeder Honorary Chair Jaclyn Rainey TIMPANI Ted Gurch Bruce Kenney Associate Principal Mark Yancich TRUMPET Principal Marci Gurnow The Walter H. Stuart Stephenson Alcides Rodriguez Bunzl Chair Principal E-FLAT CLARINET The Madeline & William Wilder Howell Adams Chair Ted Gurch Assistant Principal Michael Tiscione BASS CLARINET PERCUSSION Associate Principal Alcides Rodriguez Joseph Petrasek • Principal The Julie & Arthur Montgomery Chair

Charles Settle*

The Connie & Merrell Calhoun Chair

William Wilder Assistant Principal The William A. Schwartz Chair

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


What Makes a Classic? BERNSTEIN, BEETHOVEN & BEYOND: The Atlanta Symphony Orchestra’s 2018/19 season promises a rich spectrum of repertoire by Mark Gresham

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ith spring in full swing, and as we enter the final months of the current symphonic season, Atlanta audiences are already looking forward with anticipation to Atlanta Symphony Orchestra’s 2018/19 season, which was announced in mid-March. The new season will mark both the acclaimed Orchestra’s 74th year and the 18th season of the prolifically creative artistic partnership of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles. At the center of the Orchestra’s programming universe for next season is the 24-week Delta Classical Series, for which the overarching theme is the conclusion of a two-year celebration of the music of Ludwig van Beethoven and Leonard Bernstein, with a wide and colorful spectrum of music surrounding it that complements and often reflects upon that principal motif, including works of composers championed by Bernstein as a conductor. It’s a plan that has proven highly successful in the current ASO season. “Beethoven is perhaps the most iconic figure in classical music, while Bernstein is certainly an icon for classical music in America,” said Spano in the announcement. “In planning these celebrations, it was important to highlight the legacies and artistic genius. With Bernstein, we also wanted to acknowledge his extraordinary legacy as a performer and interpreter, as well as his work as a composer. For many Americans, Bernstein’s larger-than-life presence was an access point to classical music of all periods.” Music by Bernstein and Beethoven will be performed throughout the season, but in two concerts they will be featured side by side on the same program. One of those will open with Bernstein’s Chichester Psalms and conclude with Beethoven’s Symphony No. 9. Of it, Robert Spano remarked: “This program pays homage to Christmas 1989, when Bernstein went to old East Berlin shortly after the Berlin Wall started to fall and gave a historic concert of Beethoven’s Ninth with musicians from by Mark Gresham West and East Germany, France, England and the U.S. On that occasion, he asked the choirs to change one word in Schiller’s immortal text. Instead of ‘Freude’ or joy, he asked them to sing ‘Freiheit,’ freedom.” | Atlanta’s Performing Arts Publication 15



to war, including Shostakovich’s “Leningrad” Symphony, Bernstein’s Halil, Elgar’s Cello Concerto and Britten’s monumental War Requiem, a powerful musical anti-war statement that includes poetry written by English World War I poet Wilfred Owen, to be led by Donald Runnicles. A half dozen of the season’s concerts will also celebrate a theme of specific national cultures: two Russian programs, three French and one Spanish in focus. One of the all-Russian programs will open the season, September 20, 22 and 23, led by Robert Spano, featuring pianist Kirill Gerstein as soloist in Rachmaninov’s Piano Concerto No. 2, paired with Tchaikovsky’s Symphony No. 5. One week later comes a one-night all-Mozart special featuring acclaimed pianist Lang Lang and led by guest conductor Mei-Ann Chen, a former Assistant Conductor of the ASO who is now Music Director of the Chicago Sinfonietta.


Additional celebrations of Beethoven’s music include three more of his Symphonies (Nos. 5, 6 and 8), the “Triple” Concerto, the Leonore Overture No. 3, and a concert performance of his sole opera, Fidelio, with Robert Spano leading the ASO and Chorus with a cast of internationally-acclaimed vocalists, as the season’s grand finale. Pianist Jonathan Biss will also complete his cycle of all 32 of Beethoven’s Piano Sonatas, begun this season, in a series of four intimate recitals. Additional themes for the new season include commemoration of the 100th anniversary of the end of World War I, featuring some of history’s most eloquent musical responses

Spano will conduct a total of ten concert programs next season, Runnicles will lead four. Ten guest conductors will take the ASO podium during the 2018/19 season, including Mei-Ann Chen, Jun Märkl, Roberto Abbado, Christopher Allen, Peter Oundjian, Thomas Søndergård, Carlos Kalmar, Lionel Bringuier, and Edward Gardner, who will make his Atlanta Symphony Orchestra debut. Eleven of the scheduled guest artists will be making their debuts with the ASO: violinists Giora Schmidt and Veronika Eberle, violist Roberto Díaz, cellists Sheku Kanneh-Mason and David Finckel, pianists Lise de la Salle and Nikolai Lugansky, and four vocal soloists – soprano Laura Tatulescu, countertenor Daniel Moody, baritone Joseph Lattanzi and bass Andrea Mastroni. In addition to pianists Gerstein and Lang, additional guest artists include pianists Louis Lortie, Benjamin Grosvenor and Wu Han,

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cellist Johannes Moser, sopranos Jessica Rivera, Christine Goerke and Kim-Lillian Strebel, baritone Nmon Ford, and bass Morris Robinson, along with many more. Seven of the ASO’s own musicians will be featured as soloists this season. Concertmaster David Coucheron will perform Lalo’s Symphonie epsagnole. Principal Flute Christina Smith will perform Bernstein’s Halil. Principal Clarinetist Laura Ardan will perform Bernstein’s Prelude, Fugue and Riffs. Michael’s Gandolfi’s Imaginary Numbers will feature a quartet of winds: Ardan, Principal Oboe Elizabeth Koch Tiscione, Principal Bassoon Andrew Brady and Principal Horn Brice Andrus. Principal Timpani Mark Yancich and his brother, Paul Yancich, Principal Timpani of The Cleveland Orchestra, will perform James Oliverio’s Double Timpani Concerto. The ASO Chorus will be featured in five significant works this season: Benjamin Britten’s War Requiem, Verdi’s Four Sacred Pieces, Bernstein’s Chichester Psalms, Beethoven’s Symphony No. 9 and his sole opera, Fidelio. In December, the ASO Chamber Chorus will again perform a holiday favorite, Handel’s Messiah. Six new works will enter the ASO’s repertoire, including an ASO commission and world premiere of Richard Prior’s Symphony No. 4. Other ASO premieres include Jennifer Higdon’s Viola Concerto performed by Roberto Díaz, Alex Turley’s City of Ghosts, Bernstein’s Halil, Prokofiev’s Symphony No. 4 and the Colin Matthews orchestration of Debussy’s Préludes. The Atlanta Symphony Orchestra is not only the pride of Atlanta, but also of the region. Beyond their performances at Symphony Hall, the ASO will take programs across Georgia throughout the season, to cities such as Athens, Marietta, Savannah, Covington, Madison, Sandy Springs, Gainesville, Rabun Gap and Waleska.




Also on tap for 2018/19 are the seasonal Coca-Cola Holiday Concerts, an expanded Family Concert Series, Movies in Concert Series and Delta Atlanta Symphony Hall LIVE. The ASO’s panoply of recordings have won a total of 28 Grammy® Awards to date, and the Orchestra’s involvement in making new recordings continues in full swing next season. The ASO’s premiere of Gluck’s Orfeo ed Euridice will be released on ASO Media in 2018. In early 2019, ASO Media will release a recording of compositions by its own Michael Kurth. During the new season, the orchestra will perform and record a collection of ASO commissions, past and present. | Atlanta’s Performing Arts Publication 17

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! 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 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 Finale Concert MAY 4 | 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. 18 | @AtlantaSymphony |

DISCOVER THE SPIVEY DIFFERENCE 2017-2018 Concert Series Clayton State University Season 2018-2019 Subscriptions Now On Sale! GERALD FINLEY, bass-baritone JULIUS DRAKE, piano Saturday, April 28

TRULS MØRK, cello BEHZOD ABDURAIMOV, piano Saturday, May 5

PAUL LEWIS Sunday, May 6








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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Proud supporter of the

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APR 4 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Concert of Wednesday, April 4, 2018, at 8:00pm JONATHAN BISS, piano LUDWIG VAN BEETHOVEN (1770-1827)

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

MAY 30 | Wed: 8pm Piano Sonatas Nos. 8 | 22 | 26 | 2 | 31

Sonata No. 4 in E-flat Major, Opus 7 (1797) I. Allegro molto e con brio II. Largo, con gran espressione III. Allegro IV. Rondo. Poco Allegretto e grazioso Sonata No. 17 in D minor, Opus 31, No. 2, “Tempest” (1802) I. Largo—Allegro II. Adagio III. Allegretto INTERMISSION

28 MIN

23 MIN

20 MIN

Sonata No. 5 in C minor, Opus 10, No. 1 (1795-8) 18 MIN I. Allegro molto e con brio II. Adagio molto III. Finale. Prestissimo Sonata No. 23 in F minor, Opus 57, “Appassionata” (1805) I. Allegro assai II. Andante con moto III. Allegro ma non troppo; Presto

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.

22 | @AtlantaSymphony |

24 MIN

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


n the 1790s, Beethoven ascended to prominence in Vienna as a brilliant virtuoso pianist, albeit an iconoclastic one. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven’s attacks upon the delicate fortepianos of the day. Beethoven’s keyboard performances consisted of far more than displays of strength. Pianist and composer Carl Czerny recalled that audience members were moved to tears by the eloquence of Beethoven’s improvisational powers at the keyboard, “for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing.” Another element of Beethoven’s keyboard magic was his masterful plasticity of phrasing that, according to first-hand accounts, employed unerring dynamic contrast and subtle tempo modification. Beethoven composed numerous works for solo piano that he performed to considerable acclaim. The tragic onset of deafness in the early 1800s soon brought Beethoven’s career as a concert pianist to an early close. It’s not surprising that Beethoven composed 18 of his 32 Piano Sonatas during the years 1795-1802. Nevertheless, as in the case of the symphony and string quartet, Beethoven continued to compose piano sonatas almost to the end of his life. As such, these works offer a treasured window into Beethoven’s growth and development as an artist. Sonata No. 4 in E-flat Major, Opus 7 (1797)


eethoven dedicated his Fourth Piano Sonata to his student, the Countess Babette von Keglevics. The Princess’s nephew wrote that Beethoven “had the whim—one of many— since he lived across from her, of coming to give her lessons clad in a dressing-gown, slippers and a peaked nightcap.” I. Allegro molto e con brio—A series of restless triplets emerges as the vivacious, first principal theme. The hymn-like second theme soon incorporates the triplets as well. A brilliant sixteenth-note triplet episode, and syncopated passage conclude the exposition. The syncopated figure takes on much greater importance in the development section. Typical of Beethoven’s style, he manipulates motive fragments to create remarkable dramatic tension, finally resolved by the fortissimo start of the recapitulation. A moment of tonal ambiguity is swept aside by the emphatic final chords. II. Largo, con gran espressione—The slow-tempo movement opens with the immediate introduction of the principal theme—noble, and all the more arresting for its silent intervals. The Largo is notable throughout for its dramatic juxtapositions of a wide range of dynamics and articulation. The resulting tension is not resolved until the very final bars. III. Allegro—The third movement is a minuet. Once again, Beethoven uses moments of silence to great effect. The grace and elegance of this minuet are swept aside by the central E-flat minor episode (Minore), whose relentless, hurtling triplets foreshadow the horrifying nocturnal ride portrayed in Franz Schubert’s 1815 song, Erlkönig. The movement concludes with a reprise of the minuet. IV. Rondo. Poco Allegretto e grazioso—The Rondo finale opens with the recurring, genial principal theme. A sequence featuring brilliant thirty-second-note runs, punctuated by | Atlanta’s Performing Arts Publication 23

APR 4 | program violent, sforzando chords, reminds us that Beethoven, the brilliant keyboard virtuoso, was known to snap a piano string or two in his day. A final reprise of the Rondo theme leads to the pianissimo closing bars. Piano Sonata No. 17 in D minor, Opus 31, No. 2, “Tempest” (1802)


eethoven’s friend, Anton Schindler, once asked Beethoven to explain the meaning of the D-minor and “Appassionata,” (1805) Sonatas. Beethoven, “in a cheerful mood,” replied, “Just read (Shakespeare’s) The Tempest.” Beethoven may well have been having fun at his friend’s expense, but the nickname has become forever associated with this fascinating work. I. Largo-Allegro—The “Tempest” Sonata opens with an arresting dialogue, juxtaposing hushed arpeggios (Largo) with a volatile eighth-note passage (Allegro). This dialogue returns throughout to launch various episodes in the sonata-form movement. The pervasive, restless mood finally abates in the closing measures. II. Adagio—The Adagio, in B-flat Major, provides a reprieve from the storm and stress of the outer movements. Nevertheless, as in the opening movement, contrast plays a crucial and dramatic (perhaps even operatic) role—here, with frequent juxtapositions of the piano’s upper and lower registers. The rapt lyricism established in the opening measures continues to the hushed final bars. III. Allegretto—The finale opens with a repeated four-note motif. As in the case of the opening movement of his immortal Fifth Symphony (1808), Beethoven employs the motif as the basis for music of extraordinary concentration, drive, and emotional impact. And, like the Beethoven Fifth, the finale of the “Tempest” proceeds with unrelenting momentum. The closing measures, while far more subdued than their counterpart in the Fifth, are no less striking. Sonata No. 5 in C minor, Opus 10, No. 1 (1795-8)


he C-minor Piano Sonata is the first of three published collectively as Beethoven’s Opus 10. Beethoven dedicated the Sonatas to Countess Browne-Camus, the wife of one of his patrons, Count Johann Georg von Browne-Camus. Over a period of five years, Beethoven dedicated several works to the Count and Countess. In his dedication to the Count of the three Opus 9 String Trios, Beethoven wrote: “L’auteur auroit la satisfaction tant désirée de presenter au premier Mécene de sa muse la meilleure de ces oeuvres” (“It would give the author a much-desired satisfaction to present to the first Maecenas of his muse the finest of his works”). I. Allegro molto e con brio—The Sonata opens in striking fashion, with a brusque forte chord, followed by an ascending dotted-rhythm fanfare. The agitated theme culminates in a measure of silence, followed by the introduction of the second principal theme, a waltzlike melody in E-flat major. The development of the principal themes journeys to a hushed sequence, shattered by the recapitulation of the opening chord and ascending fanfare. The return of the second theme leads to the coda, capped by two imposing fortissimo chords. II. Adagio molto—The slow-tempo movement, in A-flat Major, features two principal components. The first is an extended, noble melody, introduced at the very outset. Brusque chords and cascading figures launch the second principal episode, containing lovely filigree passagework. A reprise of these two episodes resolves to the lyrical coda, and the pianissimo closing bars.

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APR 4 | program III. Finale. Prestissimo—The brief Finale contains two principal themes; the first, a hushed, agitated figure initially played in octaves. The stately major-key second theme provides contrast. A brief intervening episode, based upon the first theme, leads to the recapitulation. The coda, invoking both principal themes, comes to an abrupt and unexpected resolution. Sonata No. 23 in F minor, Opus 57, “Appassionata” (1805)


eethoven dedicated his Sonata No. 23 to his dear friend, Count Franz von Brunswick. The nickname, “Appassionata,” was originated by a publisher more than a decade after Beethoven’s death. Beethoven’s pupil and friend, Ferdinand Ries, recalled a summer visit (probably in 1804) to the composer’s residence in Baden. When Ries arrived for his lesson, he heard Beethoven in the next room, improvising. Beethoven greeted Ries and announced: “We won’t have a lesson today. Instead let us take a walk together, the morning is so beautiful.” During their walk, a bird offered a beautiful song. It soon became clear to Ries that Beethoven could not hear it. Ries lamented: The sweet fascination which those tones had exercised on me at first now turned into profound sadness…When after several hours we returned home, he sat down impatiently at the piano and exclaimed: “Now I shall play something for you.” With irresistible fire and mighty force he played the Allegro of the great F Minor Sonata. The day will forever remain unforgettable to me. I. Allegro assai—The “Appassionata” opens with a series of hushed arpeggio chords, capped by delicate trills. An ominous four-note motif that anticipates the Fifth Symphony (1808) follows. Soon, the troubled repose is shattered by a forte outburst, followed by the explosive first principal theme, based upon the opening measures. The contrasting majorkey second theme is a clear descendent of the opening measures as well. The remainder of this sonata-form movement is an epic conflict between those diverse forces. In the extended coda, mysterious repetitions of the four-note motif lead to the final Più Allegro, in which the relationship between the two principal themes is now made crystal clear. The storm and stress of the opening movement finally resolves to a restive ppp conclusion. II. Andante con moto—The second movement is in theme and variations form. The noble principal theme, marked piano e dolce, appears at the outset. The ensuing variations become ever more active. A final reprise of the principal melody yields to a pair of arpeggio chords, juxtaposing pianissimo and fortissimo dynamics. The finale ensues without pause. III. Allegro ma non troppo; Presto—Bold fanfares herald the finale’s principal theme—bracing moto perpetuo sixteenth notes, punctuated by opposing hand interjections. As in the first movement, Beethoven omits the traditional sonata form repetition of the exposition. But in the finale, he also adds a repeat of the development and recapitulation. The concluding Presto is a breathtaking technical and dramatic tour-de-force.

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APR 4 | artist JONATHAN BISS, piano


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

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

28 | @AtlantaSymphony |

Actual Patient of

Dr. Ken Anderson, FISHRS

404-256-4247 | Atlanta’s Performing Arts Publication 29

APR 5/6 | 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, April 5 and Friday, April 6, 2018, at 8:00pm This concert is dedicated in loving memory of Bob Minnear by his family and friends.

More Beethoven during the month of April: APR 19/21 BEETHOVEN: Violin Concerto Matthias Pintscher, Conductor Nicola Benedetti, violin APR 26/28/29 BEETHOVEN: Symphony No. 2 Carlo Rizzi, Conductor

ROBERT SPANO, Conductor ROBERT MCDUFFIE, violin MICHAEL KURTH (b. 1971) May Cause Dizziness, Fanfare for Orchestra (2010) 4 MIN LEONARD BERNSTEIN (1918-1990) Serenade (after Plato’s “Symposium”) (1954) 34 MIN I. Phaedrus: Pausanias. Lento; Allegro marcato II. Aristophanes. Allegretto III. Eryximachus. Presto IV. Agathon. Adagio V. Socrates: Alcibades. Molto tenuto; Adagio; Allegro molto vivace; Molto giocoso Robert McDuffie, violin INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 3 in E-flat Major, Opus 55 (“Eroica”) (1803) I. Allegro con brio II. Marcia funebre. Adagio assai III. Scherzo. Allegro vivace IV. Finale. Allegro molto

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.

30 | @AtlantaSymphony |

20 MIN

49 MIN

Notes on the Program Ken Meltzer, Program Annotator May Cause Dizziness, Fanfare for Orchestra (2010)

First Classical Subscription Performances: March 31MICHAEL KURTH was born in Falls Church, Virginia, on April 1, 2011, Roberto November 22, 1971. The first performance of May Cause Abbado, Conductor. Dizziness took place at Atlanta Symphony Hall on March 31, 2011, Roberto Abbado, conductor. May Cause Dizziness is scored for piccolo, flute, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, triangle, bass drum with pedal, tom-toms, snare drum, hi-hat, ride cymbals, cymbals a2, tambourine, and strings.


he Atlanta Symphony Orchestra has been proud to commission and premiere several compositions by Michael Kurth, a member of the ASO’s bass section since 1994. May Cause Dizziness was one of several orchestral fanfares the ASO commissioned various composers to write for the 2010-2011 season that marked the tenth anniversaries of Robert Spano’s tenure as Music Director, the Artistic Partnership between Maestro Spano and Principal Guest Conductor Donald Runnicles, and the Atlanta School of Composers.

I wrote May Cause Dizziness in December 2010 in celebration of Robert Spano’s tenth season as our Music Director. It’s my first piece for large orchestra. The title refers to a warning label I noticed on the side of a medicine bottle, accompanied by a funny picture of a half-closed eye with spirals above it. It begins with an insistent rhythm that’s been floating in my brain for several years, and grows into something (I hope) suitably fanfarish. — Michael Kurth First Classical Subscription Serenade (after Plato’s “Symposium”) (1954) Performances: September 27-29, LEONARD BERNSTEIN was born in Lawrence, 1984, Peter Zazofsky, Violin, Massachusetts, on August 25, 1918, and died William Fred Scott, Conductor. in New York on October 14, 1990. The first Most Recent Classical Subscription performance of the Serenade took place at the Performances: September Teatro La Fenice in Venice, Italy, on September 29-October 1, 2005, Tai Murray, 9, 1954, with Isaac Stern as violin soloist, and Violin, Marin Alsop, Conductor. the composer conducting the Israel Philharmonic Orchestra. In addition to the solo violin, the Serenade is scored for timpani, Chinese blocks, suspended cymbals, tenor drum, tambourine, xylophone, chimes, orchestra bells, snare drum, triangle, bass drums, harp, and strings.


eonard Bernstein composed his Serenade between late 1953 and August, 1954. During that period, Bernstein was also at work on Candide (1956). The Serenade fulfilled both a longstanding commission from the Koussevitsky Foundation, and Bernstein’s desire to write a piece for his friend, the great American violinist Isaac Stern (1920-2001). Stern was the soloist, and Bernstein the conductor of the Israel Philharmonic, in the Serenade’s world premiere, which took place at Venice’s Teatro La Fenice on September 9, 1954. Bernstein noted that the Serenade “resulted from a rereading of Plato’s charming dialogue, The Symposium. He added: “The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet.” Just as each succeeding speaker uses the comments of his predecessor as a starting point, so each movement of the Serenade develops thematic material previously introduced in the work. | Atlanta’s Performing Arts Publication 31

APR 5/6 | program The following are excerpts from program notes by the composer, written the day after completing his Serenade: I. Phaedrus; Pausanias (Lento; Allegro marcato). Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love…Pausanias continues by describing the duality of the lover as compared with the beloved. II. Aristophanes (Allegretto). Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime-storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm. III. Eryximachus (Presto). The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. IV. Agathon (Adagio). Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. V. Socrates; Alcibiades (Molto tenuto; Allegro molto vivace). Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love…The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. Symphony No. 3 in E-flat Major, Opus 55 (“Eroica”) (1803) LUDWIG VAN BEETHOVEN was baptized in Bonn, First Classical Subscription Germany, on December 17, 1770, and died in Performance: October 22, 1949, Vienna, Austria, on March 26, 1827. The first public Henry Sopkin, Conductor. performance of the “Eroica” Symphony took place Most Recent Classical Subscription in Vienna on April 7, 1805, at the Theater an der Performance: May 15-17, 2014, Wien, with the composer conducting. The “Eroica” Leonidas Kavakos, Conductor. Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani, and strings. “Composed to celebrate the memory of a great man”


n the early part of the 19th century, many idealists, Beethoven included, viewed Napoleon Bonaparte as a staunch defender of liberty and democratic ideals. By the spring of 1804, Beethoven had completed his Third Symphony, which he entitled “Bonaparte.” Beethoven’s friend, Ferdinand Ries, informed the composer that Napoleon had proclaimed himself emperor. According to Ries, Beethoven: flew into a rage and cried out: “Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only in his ambition. He will exalt himself above all others, become a tyrant!” Beethoven went to the table, took hold of its title page by the top, tore it in two, and threw it on the floor. The first page was rewritten and only then did the symphony receive the title Sinfonica eroica. Some biographers, including Maynard Solomon (Beethoven, Schirmer Books, New York, 1977), suggest that Beethoven’s actions may have also been motivated by career aspirations. During the relevant time frame, Beethoven contemplated, and ultimately rejected, the notion of relocating from Vienna to Paris. 32 | @AtlantaSymphony |

With that scenario in mind, conductor Arturo Toscanini’s remarks about the “Eroica’s” first movement offer a useful perspective: “To some it is Napoleon, to some it is Alexander, to me it is Allegro con brio (i.e., the movement’s tempo marking).” In other words, the significance of Beethoven’s Third Symphony, which the composer ultimately subtitled Sinfonica Eroica, Composed to Celebrate the Memory of a Great Man, rests not with its dedicatee, but with the revolutionary nature of the music itself. Beethoven’s “New Road” In 1802, Beethoven proclaimed to his friend, Wenzel Krumpholz: “I am not satisfied with my works up to the present time. From today I mean to take a new road.” Certainly there are many aspects of the “Eroica” that establish a profound line of demarcation between it and the composer’s first two symphonies—not to mention the symphonies of Beethoven’s great predecessors, Haydn and Mozart. The extraordinary length of the opening movement, achieved in great part by an unprecedented expansion of the development and coda sections (as well as the transitional material between themes), is perhaps the most obvious example. Likewise, the use of an epic funeral march is a stunning departure from the lyricism found in most slow-tempo movements of the day. Still, it would be incorrect to characterize the “Eroica” as a total rejection of the musical style of Beethoven’s first two Symphonies. The Symphonies in C (1800) and D (1802) already offer hints of the rhythmic drive, pungent dynamic contrast, bold harmonic strokes, and ingenious thematic development that characterize the “Eroica.” It should also be mentioned that Beethoven conjures the profoundly revolutionary atmosphere of his “Eroica” with an orchestra quite similar in size and instrumentation to that of a late Haydn or Mozart Symphony. The revolutionary character of Beethoven’s “Eroica” Symphony inspired a sense of awe, even of disorientation, on the part of the early audiences. It’s not surprising that reviews were decidedly mixed. While many questioned the attractiveness of the Third Symphony as a form of entertainment, few could deny its power and innovation. Indeed, symphonic music would never be the same after the “Eroica.” Musical Analysis Beethoven introduces his musical “new road” in bracing fashion with two brusque chords (Allegro con brio), out of which emerges the cellos’ statement of the opening theme. Several themes follow, and they soon undergo a rich and varied development that becomes a fierce battleground. A recapitulation of the themes and extended coda are capped by a repeat of the opening two chords. In the second movement, Beethoven replaces the traditional lyrical interlude with an extended and epic Funeral March (Marcia funebre. Adagio assai). The mood is transformed from despair to joy with the arrival of the ebullient third-movement (Scherzo. Allegro vivace), with a central Trio section that prominently features the horns. The Finale (Allegro molto) is a brilliant set of variations on a theme, first introduced with hushed string pizzicatos. The third variation features the oboes playing a melody that will return in different guises throughout the finale. It is a melody that was a particular favorite of Beethoven, one that makes appearances in his Contredanses, WoO 14 (1802), the “Eroica” Piano Variations, Opus 35 (1802), and the ballet, The Creatures of Prometheus, Opus 43 (1801). The entire Finale closes in thrilling fashion, with a headlong rush into a Presto coda, featuring yet another version of the “Prometheus” melody. | Atlanta’s Performing Arts Publication 33

DEC 5/6 APR 9/10 | program | program ROBERT MCDUFFIE, violin


rammy-nominated violinist, Robert McDuffie, enjoys a dynamic and multi-faceted career. While appearing as soloist with the world’s foremost orchestras, he has also shared the stage with Chuck Leavell and the late Gregg Allman in Midnight Rider and with actress/playwright Anna Deavere Smith in Martin Luther King, Jr.’s Letter from Birmingham Jail. Philip Glass dedicated his Second Violin Concerto, “The American Four Seasons,” to McDuffie. Mike Mills of the iconic band R.E.M. has composed a Concerto for Violin, Rock Band and String Orchestra for him. Robert McDuffie is the founder of both the Rome Chamber Music Festival in Italy and the Robert McDuffie Center for Strings at Mercer University in his native city of Macon, Georgia. Mr. McDuffie holds the Robert McDuffie Violin Faculty Chair at the Aspen Music Festival and School. Robert McDuffie has appeared as soloist with most of the major orchestras of the world. He gave the world premiere of Philip Glass’ Violin Concerto No. 2, “The American Four Seasons” with the Toronto Symphony and completed a thirty-city U.S. tour with the Venice Baroque Orchestra, pairing the Glass “Four Seasons” with the Vivaldi Four Seasons. The Mills Concerto for Violin, Rock Band and String Orchestra was also premiered with the Toronto Symphony, followed by performances at the Rome Chamber Music Festival, the Aspen Music Festival and a three-week tour of the U.S. As founder of the Rome Chamber Music Festival, Robert McDuffie has been awarded the prestigious Premio Simpatia by the Mayor of Rome in recognition of his contribution to the city’s cultural life. Mr. McDuffie holds the Mansfield and Genelle Jennings Distinguished University Professor Chair at Mercer University in his native city of Macon, Georgia. He plays a 1735 Guarneri del Gesù violin, known as the “Ladenburg.” The instrument is owned by a limited partnership formed by Mr. McDuffie. He lives in New York City.

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3000 Old Alabama Road • Johns Creek, Ga. 30022 • (770) 664-8055 •

APR 12/14 | 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, April 12, and Saturday, April 14, 2018, at 8:00pm CHRISTIAN ARMING, Conductor CONRAD TAO, piano

Another early work by Shostakovich, along with the beloved Tchaikovsky Violin Concerto. MAY 31/JUN 2/3 ENESCU: Rumanian Rhapsody No. 1 SHOSTAKOVICH: Symphony No. 1 TCHAIKOVSKY: Violin Concerto Cristian Macelaru, Conductor Nikolaj Znaider, violin

LEOŠ JANÁČEK (1854-1928) Taras Bulba, Rhapsody for Orchestra (1915-18) I. The Death of Andri II. The Death of Ostap III. The Prophesy and Death of Taras Bulba

23 MIN

DMITRI SHOSTAKOVICH (1906-1975) Concerto No. 1 for Piano and Orchestra in C minor, Opus 35 (1933) 21 MIN I. Allegro moderato II. Lento III. Moderato IV. Allegro con brio Conrad Tao, piano Stuart Stephenson, trumpet INTERMISSION ANTONÍN DVOŘÁK (1841-1904) Symphony No. 7 in D minor, Opus 70 (1885) I. Allegro maestoso II. Poco adagio III. Scherzo. Vivace IV. Finale. Allegro

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other handheld devices. 36 | @AtlantaSymphony |

20 MIN 39 MIN

Notes on the Program Ken Meltzer, Program Annotator Taras Bulba, Rhapsody for Orchestra (1915-18)

First Classical Subscription Performances: February 26-28, 1976, Robert Shaw, Conductor.

LEOŠ JANÁČEK was born in Hukvaldy, Moravia (now, the Czech Republic), on July 3, 1854, and died in Most Recent Classical Moravská Ostrava, on August 12, 1928. The first Subscription Performances: performance of Taras Bulba took place at the National October 27-29, 1988, Sir Theater in Brno, on October 9, 1921, with František Charles Mackerras, Conductor. Neumann conducting the National Theater Orchestra. Taras Bulba is scored for piccolo, three flutes, two oboes, English horn, three clarinets, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, chimes, snare drum, triangle, suspended cymbal, harp, organ, and strings.


anáček’s Orchestral Rhapsody, Taras Bulba, is based upon the historical novella of the same name (1835, rev. 1842) by Russian author Nikolai Gogol (1809-1852). Gogol’s tale, set in the 17th century, relates the adventures of the title character, a Ukranian Cossack. Taras Bulba’s two sons, Andri and Ostap, have just returned from studies at the seminary in Kiev. Taras, Andri, and Ostap set off to fight the Poles. The remainder of the novella relates, in thrilling and often graphic detail, their heroic adventures and tragic fates. Ernest Hemingway praised Taras Bulba as “one of the ten greatest books of all time.” The adventures of the Ukrainian Cossacks fighting against foreign invaders resonated with Janáček, whose native Moravia had long been under the rule of the Habsburg Monarchy. During the time Janáček composed Taras Bulba (1915-18), the Habsburg reign in what is now known as the Czech Republic came to a close. In a letter written three years after the 1921 premiere, Janáček explained the reasons Gogol’s novella moved him to compose Taras Bulba: Not because he killed his own son for betraying his people (part I: The battle of Dubno), not for the martyr’s death of his second son (part II: The Warsaw trials), but because in the whole world there are not to be found either fires or tortures strong enough to destroy the vitality of the Russian nation. For these words which fell into the searing sparks and flames of the stake on which died the famous Hetman of the Cossacks, Taras Bulba (part III and close), did I compose this rhapsody based upon the legend written by N.V. Gogol. I. The Death of Andri—All of the episodes portrayed in Janáček’s orchestral work take place toward the close of Gogol’s novella. The Cossacks lay siege to the town of Dubno, causing starvation among the residents. Andri learns that a Polish woman he fell in love with during his time in Kiev is one of the inhabitants of Dubno. Andri deserts the Cossacks and joins the Polish forces. When Taras Bulba learns of this betrayal, he confronts Andri. Taras exclaims: “I gave you life, I will also kill you!”, and shoots his son. II. The Death of Ostap—Ostap is captured by the Poles and imprisoned in Warsaw. Taras follows his son there and joins the crowd that witnesses Ostap’s horrible torture and execution. As death approaches, Ostap cries out: “Father! where are you? do you hear?” Taras replies: “I hear!”, and disappears into the crowd. III. The Prophesy and Death of Taras Bulba—Taras Bulba is captured by the Poles and condemned to be burned at the stake. As the flames creep upward, Taras Bulba proclaims: | Atlanta’s Performing Arts Publication 37

APR 12/14 | program (H)ave ye caught me? Think ye there is anything in the world that a Cossack fears? Wait; the time will come when ye shall learn what the orthodox Russian faith is! Already the people scent it far and near. A czar shall arise from Russian soil, and there shall not be a power in the world which shall not submit to him! Concerto for Piano and Orchestra No. 1 in C minor, Opus 35 (1933) DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow, Russia, on August 9, 1975. The first performance of the Piano Concerto No. 1 took place in Leningrad First Classical Subscription (St. Petersburg) on October 15, 1933, with the Performances: September 14-16, composer as soloist, and Fritz Stiedry conducting 1995, Olli Mustonen, Piano, the Leningrad Philharmonic. In addition to the solo James Thompson, Trumpet, piano, the Concerto in C minor is scored for trumpet Yoel Levi, Conductor. and strings.


n the spring of 1933, Dmitri Shostakovich began work on his first Piano Concerto. The composer later confided to a student that he first intended the piece to be a concerto for trumpet and orchestra. However, Shostakovich finally decided to fashion the work as a piano concerto, featuring a prominent, and quite brilliant, trumpet part. Shostakovich, a highly accomplished pianist, was the soloist in the premiere of his Piano Concerto No. 1, featured as part of the Leningrad Philharmonic’s opening concert of the season. Fritz Stiedry conducted the performance, which took place October 15, 1933. On December 9 of that year, Shostakovich was again the soloist in the Moscow premiere of the Piano Concerto. Five days later, Shostakovich offered the following commentary on his new work: What is the basic artistic theme of this concerto? I do not consider it necessary to follow the example of many composers, who try to explain the context of their works by means of extreme definitions borrowed from related fields of art. I cannot describe the content of my concerto by any means other than those I used to write the concerto… I am a Soviet composer. Our age, as I perceive it, is heroic, spirited and joyful. That is what I wanted to convey in my concerto. It is for the audience, and possibly the music critics, to judge whether or not I succeeded. There often appears to be a dissonance between Shostakovich’s public characterizations to the Soviet government and people on the nature and meaning of his music, and its impact upon the listener. One could argue with justification that the Shostakovich First Piano Concerto also contains music that is melancholy, heartbreakingly poignant, acerbic, and, at times, smacking of parody (most notably in Shostakovich’s references to other composer’s works). One of the glories of music is that it allows each listener to draw his own conclusions and meaning. The Shostakovich Concerto in C minor is scored for an ensemble consisting of solo piano, trumpet, and string orchestra. The work is in four movements, played without pause. The first (Allegro moderato) is based upon two contrasting principal themes, both introduced by the soloist. The slow-tempo second movement (Lento), in ¾ time, journeys to a ffff explosion before resolving to a peaceful close. The brief third movement (Moderato) serves as a bridge 38 | @AtlantaSymphony |

to the finale (Allegro con brio), featuring numerous comic touches. Symphony No. 7 in D minor, Opus 70 (1885)

First Classical Subscription Performances: December 5 and 6, ANTONÍN DVOŘÁK was born in Mühlhausen, 1957, Henry Sopkin, Conductor. Bohemia (now Nelahozeves, the Czech Republic), on September 8, 1841, and died in Prague on May Most Recent Classical 1, 1904. The first performance of the Symphony Subscription Performances: No. 7 took place at St. James’s Hall in London, January 28 and 30, 2016, England, on April 22, 1885, with the composer Miguel Harth-Bedoya, Conductor. conducting the London Philharmonic Society. The Symphony No. 7 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.


n June of 1884, The London Philharmonic Society nominated Antonín Dvořák as an Honorary Member, and requested he compose a new symphony. Dvořák hoped that his new creation would receive international acclaim in the manner of the works of his friend and idol, the German composer, Johannes Brahms. In a December, 1884 letter to a friend, Dvořák wrote: “Now I am occupied with my new symphony (for London), and wherever I go I have nothing else in mind but my work, which must be such as to make a stir in the world and God grant that it may!” The premiere of the Symphony No. 7 took place in London’s St. James’s Hall on April 22, 1885, with Dvořák conducting the London Philharmonic Society. Although the first performance was a success, Dvořák decided to cut 40 bars from the slow-tempo second movement. The composer informed his publisher, Simrock: “Now I am convinced that there is not a single superfluous note in the work.” The Symphony No. 7 is in four movements. The first (Allegro maestoso) is based upon two themes. The violas and cellos softly introduce the insinuating first principal theme that grows in volume and intensity. The woodwinds sing a lyrical, major-key waltz-like theme, marked dolce (“sweetly”), that in time also gains tremendous power. In a dramatic masterstroke, Dvořák concludes with a quiet, fragmented restatement of the opening theme. The slow-tempo second movement (Poco adagio) recalls its counterpart in the Brahms Third Symphony (1883), a work Dvořák greatly admired. The third movement is a Scherzo (Vivace). The literal translation of the Italian word scherzo is “joke,” but there is little humor in this fiery movement, set in the home key of D minor. The stormy Finale (Allegro) gives every indication of maintaining a tragic mood to the work’s conclusion. Suddenly, and most unexpectedly, the orchestra erupts in a D-Major outburst, bringing the Symphony to a triumphant (but perhaps somewhat unsettling) resolution. | Atlanta’s Performing Arts Publication 39

APR 12/14 | artists CHRISTIAN MARMING, Conductor



hristian Arming is one of Austria’s most sought after conductors, highly successful in both the symphonic and operatic fields. Since 2011/12 season he has held the position of Music Director of the Orchestre Philharmonique Royal de Liège, prior to which he was Music Director of the New Japan Philharmonic in Tokyo. In 2017, he was named Principal Guest Conductor of the Hiroshima Symphony Orchestra. He was born in Vienna and studied conducting under Leopold Hager at the University of Music and Performing Arts in Vienna. Seiji Ozawa has also been a mentor and strong supporter of his career, introducing him to Boston and Tokyo. At the age of 24, Arming was appointed Chief Conductor of the Janáček Philharmonic in Ostrava, Czech Republic, a position he held from 1996 for six years before being named Music Director of the Lucerne Theatre and Symphony Orchestra from 2002 – 2004. Since conducting the Czech Philharmonic at the opening concert of the Prague Spring Festival in May 2003, Christian Arming’s career has flourished and he has subsequently conducted many of the top European orchestras including the Deutsches Sinfonieorchester, Radio Symphony Orchestra Frankfurt, Staatskapelle Weimar, Staatskapelle Dresden, Salzburg Mozarteum, Vienna Symphony, Orchestre de la Suisse Romande, Prague Symphony Orchestra, Orquesta Sinfonica de Barcelona, Orchestra Verdi Milan, Academia Nazionale di Santa Cecilia, Orchestre National de Belgique, Orchestre National du Capitole de Toulouse and RAI Turin. In May 2008 Arming replaced Georges Prêtre at the Academia Santa Cecilia in Rome conducting Mahler Symphony No 5 gaining much critical acclaim and a re-invitation to conduct the orchestra in Mahler Symphony No 3 two years later. In North America, he has conducted the Boston Symphony Orchestra as well as the Cincinnati, Houston, Colorado, Utah, New Jersey and Vancouver Symphony Orchestras. He is annually invited to both Aspen and Round Top Festivals in the US and in the 2017/18 season will make important debuts with the Saint Louis and Atlanta symphony orchestras. CONRAD TAO, piano



wenty-two-year-old Conrad Tao has appeared worldwide as a pianist and composer. His accolades and awards include being a Presidential Scholar in the Arts, a YoungArts gold medal-winner in music, a Gilmore Young Artis, and an Avery Fisher Career Grant-winner. Tao’s career as composer has garnered eight consecutive ASCAP Morton Gould Young Composer Awards and the Carlos Surinach Prize from BMI. In 2013, the Dallas Symphony Orchestra premiered Tao’s orchestral composition The world is very different now, commissioned in observance of the 50th anniversary JFK’s assassination. In September 2015, the Chamber Orchestra of Philadelphia premiered his piano concerto An Adjustment, with Tao at the piano. A Warner Classics recording artist, Tao’s first two albums Voyages and Pictures have been praised by NPR, The New York Times, The New Yorker’s Alex Ross and many more.

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An Exciting Season Awaits including sensational pianist

Lang Lang








Classical Season ROBERT SPANO Music Director



Secure your seats ASO.ORG

Classical season presented by:

APR 19/21 | 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, April 19, and Saturday, April 21, 2018, at 8:00pm MATTHIAS PINTSCHER, Conductor NICOLA BENEDETTI, violin More Beethoven this season: APR 26/28/29 BEETHOVEN: Symphony No. 2

MATTHIAS PINTSCHER (b. 1971) Ex Nihilo, for Chamber Orchestra (2011) LUDWIG VAN BEETHOVEN (1770-1827) Concerto for Violin and Orchestra in D Major, Opus 61 (1806) I. Allegro ma non troppo II. Larghetto III. Rondo. Allegro Nicola Benedetti, violin INTERMISSION JOHANNES BRAHMS (1833-1897) Symphony No. 2 In D Major, Opus 73 (1877) I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi Andantino) IV. Allegro con spirito

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 |

12 MIN

44 MIN

20 MIN 41 MIN

Notes on the Program Ken Meltzer, Program Annotator Ex Nihilo, for Chamber Orchestra (2011)

These are the First Classical Subscription Performances. MATTHIAS PINTSCHER was born in Marl, Germany, on January 29, 1971. The first performance of Ex Nihilo took place in Glasgow, Scotland, on January 19, 2012, with the composer conducting the BBC Scottish Symphony Orchestra. Ex Nihilo is scored for flute (also piccolo), alto flute in G (also flute), clarinet in B-flat, bass clarinet in B-flat, bassoon, contrabassoon, two horns, two trumpets in C, two trombones, harp, piano, percussion (3), and strings.


atthias Pintscher’s work for chamber orchestra, Ex Nihilo, was commissioned by the BBC Radio 3 for the BBC Scottish Symphony Orchestra. The composer, the BBC Scottish Symphony Orchestra’s Artist-in-Association, led the work’s January 19, 2012 world premiere, in Glasgow. Ex Nihilo (Out of Nothing) was inspired by an experience familiar to someone who, like the composer, frequently engages in international travel. The music suggests awaking, jetlagged and disoriented, in a strange, dark, hotel room. Soon, the protagonist begins to make out shapes in the darkness. To depict this state of agitated confusion, the composer not only combines the instrumental voices in fascinating and unique ways, he calls upon them to employ unusual techniques (ex., the alto flute plays with the mouthpiece “entirely covered by the lips, holding it between the teeth”). Toward the close, a muted trumpet (perhaps in a nightclub near the hotel) plays a jazzy refrain, capped by the orchestra’s ffff outburst.

Concerto for Violin and Orchestra in D Major, Opus 61 (1806) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Violin Concerto took place at the Theater an der Wien in Vienna on December 23, 1806, with Franz Clement as soloist. In addition to the solo violin, the Concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: October 31, 1948, Robert Harrison, Violin, Henry Sopkin, Conductor. Most recent Classical Subscription Performances: October 4, 6, and 7, 2012, Midori, Violin, Robert Spano, Conductor.


eethoven’s only Violin Concerto—along with those by Mendelssohn, Brahms, and Tchaikovsky—represent the pinnacle of 19th-century compositions for solo violin and orchestra. But like many works now celebrated as masterpieces, the Beethoven Violin Concerto received a mixed reception at its premiere. It is always tempting to assume that contemporary observers were incapable of recognizing obvious genius. But an examination of the circumstances surrounding the premiere of the Beethoven Violin Concerto offers some perspective. The soloist for that first performance was among the finest available. The Austrian violinist, Franz Clement (1780-1842), himself a composer, was an acclaimed virtuoso and leader and director of the orchestra of the Theater-an-der-Wien. Clement was particularly renowned for the grace and lyricism of his playing, as well as his impeccable intonation. Still, there are indications that the first performance of the Violin Concerto left much to be desired. Beethoven composed the work at breakneck speed, in order for the Concerto to be presented as part of a December 23, 1806 benefit concert for Clement. While the account | Atlanta’s Performing Arts Publication 43

APR 19/21 | program that Clement sight-read the score at the Concerto’s premiere is, in all likelihood, apocryphal, there is no doubt that Beethoven penned revisions almost until the day of the performance. These factors no doubt helped to create uncertainty at the premiere. The structure of the concert itself also put such a profound and organic work as the Beethoven Violin Concerto at an extreme disadvantage. After the opening movement, Clement interrupted the performance of the Concerto to offer one of his own sonatas, played on one string, with the violin held upside down! The final two movements of the Beethoven followed. The fortunes of Beethoven’s Violin Concerto improved considerably, although not in the composer’s lifetime. In fact, the work did not receive its proper due until a London concert on May 27, 1844, led by Felix Mendelssohn, in which violinist Joseph Joachim (a month shy of his 13th birthday) stunned the audience with his rendition of the Concerto. Joachim and his successors have been paying homage to this extraordinary work ever since. The Concerto is in three movements. Despite the genial mood, the first movement (Allegro, ma non troppo) is in many ways as revolutionary as its counterpart in Beethoven’s 1803 Third (“Eroica”) Symphony. It is as long as the entirety of many violin concertos of the time. There is also an extraordinary level of interplay between the soloist and orchestra. The movement is based upon three principal themes. The first is introduced in arresting fashion; after four ominous timpani beats, the oboes sing the dolce melody. The oboes, clarinets, and bassoons offer the arching second theme in the major key, to which the strings respond with a minorkey version. A related ascending theme, played by the violins and woodwinds, serves to close the orchestral exposition. After a cadenza-like passage for the soloist, the principal themes are reprised, often in the form of a dialogue between violin and orchestra. The lyrical second movement (Larghetto) is a theme and set of variations. The keen sense of rapport between the solo violin and orchestra gives this movement a rare depth and poignancy. The generally serene mood is interrupted by the strings’ curt statement of a portion of the main theme. A brief flourish by the soloist leads without pause to the finale (Rondo. Allegro), one of Beethoven’s most joyous creations, overflowing with spirit and humor. Symphony No. 2 In D Major, Opus 73 (1877)

First Classical Subscription Performance: April 6, 1950, Henry Sopkin, Conductor.

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Most Recent Classical Subscription Austria, on April 3, 1897. The first performance Performances: June 9, 11, and 12, of the Symphony No. 2 took place in the 2016, Robert Spano Conductor. concert hall of the Musikverein in Vienna on December 30, 1877, with Hans Richter conducting the Vienna Philharmonic. The Symphony No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.


n 1870, Brahms wrote to conductor Hermann Levi: “I shall never write a symphony. You have no idea how the likes of us feel when we hear the tramp of a giant like him beside us.” The “giant” Brahms feared was Ludwig van Beethoven (1770-1827), whose Nine Symphonies form the cornerstone of the orchestral repertoire. Although he attempted the composition of a symphony as early as 1854, it wasn’t until 1876 that the 43-year-old Brahms gathered the courage to complete his First (in C minor, Opus 44 | @AtlantaSymphony |

68). The Symphony No. 1 received its first performance on November 4, 1876. The premiere and early subsequent performances were far from unqualified triumphs. Nevertheless, Brahms had finally cast aside his trepidation about composing in a genre that invited comparisons to Beethoven. Brahms spent the following summer in Pörtschach, a tiny Austrian village on Lake Wörth. It was there, between the months of June and September 1877, that Brahms composed his Second Symphony. Brahms found Pörtschach a congenial place for musical inspiration. In addition to the Second Symphony, Brahms composed his Violin Concerto (1878), the G-Major Violin Sonata (1878-9), and Two Piano Rhapsodies (1879) while vacationing at the peaceful lakeside village. The first performance of the Brahms Second Symphony took place on December 30, 1877, at the concert hall of the Musikverein in Vienna. The eminent conductor, Hans Richter, led the Vienna Philharmonic. The D-Major Symphony seems to reflect the composer’s relaxed state of mind during the happy summer of 1877. The lyrical character of the work—sometimes referred to as Brahms’s “Pörtschach” or “Pastoral” Symphony—certainly is in marked contrast to the storm and stress that pervades the C-minor First (although to be sure, the Second Symphony has its moments of conflict as well, particularly in the first two movements). Brahms referred to his Second Symphony as a “charming new monster” and, in typically self-deprecating fashion, told his friend, Elisabeth von Herzogenberg, that it was merely a little Sinfonia. That of course, is hardly the case, and in spite of Brahms’s protestations to critic Eduard Hanslick that “there is nothing clever about it,” the Second Symphony is a remarkably intricate and unified composition. In its own genial fashion, the D-Major Symphony is as musically and dramatically rewarding as its heroic predecessor. The Symphony No. 2 is in four movements. The first (Allegro non troppo) opens with the cellos and basses intoning a three-note motif that will return in various guises throughout the Symphony. The movement also includes a waltz-like theme that recalls the composer’s beloved “Lullaby,” Opus 49, No. 4 (1868). The slow-tempo second movement (Adagio non troppo) alternates lyrical repose with moments of tension, not resolved until the final bars. The third movement (Allegretto grazioso) opens with the oboe’s presentation of the sprightly principal melody that returns throughout, alternating with fleet interludes. The concluding movement (Allegro con spirito), the most cheerful finale among Brahms’s Four Symphonies, radiates energy and optimism from start to finish. MATTHIAS PINTSCHER, Conductor Matthias Pintscher is the Music Director of the Ensemble Intercontemporain and became Principal Conductor of the Lucerne Festival Academy Orchestra at the start of the 2016/17 season. He is currently in his eighth year as Artist-in-Association with the BBC Scottish Symphony Orchestra. In the 2017/18 season, Pintscher makes several significant debuts including with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Berlin Radio Symphony, Finnish Radio Symphony and the Gulbenkian Orchestra in Lisbon. Pintscher and the Ensemble Intercontemporain bring an ambitious presentation of Pierre Boulez’s Répons to the Park Avenue Armory in New York and perform a number of concerts on tour in London (Royal | Atlanta’s Performing Arts Publication 45


APR 19/21 | artists Festival Hall), Vienna (Konzerthaus) and Cologne (Philharmonie). In addition, they will be joined by alumni of the Lucerne Festival in a special multi-media Messiaen project which will be performed in four cities. Return guest engagements this season include the Los Angeles Philharmonic in both a subscription week and at the Hollywood Bowl, Atlanta Symphony Orchestra, Utah Symphony, Saint Paul Chamber Orchestra (where he premieres Salvatore Sciarrino’s new piano concerto with Jonathan Biss), Orchestre de la Suisse Romande, Frankfurt Radio Symphony, and the Mahler Chamber Orchestra conducting Beethoven’s Ninth Symphony. An enthusiastic supporter of and mentor to students and young musicians, Pintscher will also work with the Karajan Academy of the Berlin Philharmonic, culminating in a concert at the Philharmonie. Matthias Pintscher began his musical training in conducting, studying with Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. He began to divide his time equally between conducting and composing, rapidly gaining critical acclaim in both areas of activity. As composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra and the Orchestre de Paris. Bärenreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo and Winter & Winter. Pintscher has been on the composition faculty of the Juilliard School since 2014. NICOLOA BENEDETTI, violin Nicola Benedetti is one of the most sought-after violinists of her generation. Her ability to captivate audiences with her innate musicianship and dynamic presence, coupled with her wide appeal as a high-profile advocate for classical music, has made her one of the most influential classical artists of today.


With concerto performances at the heart of her career, Nicola is in much demand with major orchestras and conductors across the globe. Conductors with whom Nicola has worked include Vladimir Ashkenazy, Jiří Bělohlávek, Stéphane Denève, Christoph Eschenbach, James Gaffigan, Hans Graf, Valery Gergiev, Alan Gilbert, Jakub Hrůša, Kirill Karabits, Andrew Litton, Kristjan Järvi, Vladimir Jurowski, Cristian Măcelaru, Zubin Mehta, Andrea Marcon, Peter Oundjian, Vasily Petrenko, Donald Runnicles, Thomas Søndergård, Krzysztof Urbanski, Juraj Valcua, Edo de Waart, Pinchas Zukerman and Jaap van Zweden. Nicola enjoys working with the highest level of orchestras including collaborations with the London Symphony Orchestra, London Philharmonic Orchestra, New York Philharmonic, National Symphony Orchestra of Washington D.C., Orchestra of the Mariinsky Theatre, Leipzig Gewandhausorchester, Frankfurt Radio Symphony, Camerata Salzburg, Czech Philharmonic, Danish National Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony and the Chicago Symphony at the Ravinia Festival.

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14, 7:30 p.m. —

2744 Peachtree Road NW Atlanta, Georgia 30305

tickets: 288 | Atlanta’s Performing Arts Publication 47

APR 26/28/29 | 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, April 26, and Saturday, April 28, at 8:00pm, and Sunday, April 29, 2018, at 3:00pm CARLO RIZZI, Conductor ELIZABETH KOCH TISCIONE, oboe

Concerts featuring the music of Sergei Prokofiev’s contemporary, Dmitri Shostakovich, as well as their great predecessor, Peter Ilyich Tchaikovsky. MAY 31/JUN 2/3 SHOSTAKOVICH: Symphony No. 1 TCHAIKOVSKY: Violin Concerto Cristian Macelaru, Conductor Nikolaj Znaider, violin

SERGEI PROKOFIEV (1891-1953) Symphony No. 1 in D Major, Opus 25, “Classical” (1917) I. Allegro II. Larghetto III. Gavotta. Non troppo allegro IV. Finale. Molto vivace WOLFGANG AMADEUS MOZART (1756-1791) Concerto for Oboe and Orchestra in C Major, K. 285d (K. 314) (1777) I. Allegro aperto II. Adagio non troppo III. Rondo. Allegretto Elizabeth Koch Tiscione, oboe INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 2 in D Major, Opus 36 (1802) I. Adagio molto; Allegro con brio II. Larghetto III. Scherzo. Allegro IV. Allegro molto

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.

48 | @AtlantaSymphony |

15 MIN

21 MIN

20 MIN 32 MIN

Notes on the Program Ken Meltzer, Program Annotator Symphony No. 1 in D Major, Opus 25, “Classical” (1917) SERGEI PROKOFIEV was born in Sontsovka, First Classical Subscription Russia, on April 23, 1891, and died in Moscow, Performance: February 24, 1946, Russia, on March 5, 1953. The first performance Henry Sopkin, Conductor. of the “Classical” Symphony took place on in Most Recent Classical Subscription Petrograd (St. Petersburg), Russia, April 21, 1918, Performances: May 15, 16, and 17, with the composer conducting. The “Classical” 2008, Laura Jackson, Conductor. Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


ergei Prokofiev composed his “Classical” Symphony, one of the most popular concert works of the 20th century, during a period that spanned the years 1916-1917. He completed the orchestration on September 10, 1917. The world premiere of Prokofiev’s “Classical” Symphony took place in Petrograd on April 21, 1918. The composer led the former St. Petersburg Court Orchestra. Despite the turbulence that plagued Russia during the composition of the “Classical” Symphony, the work represents Prokofiev at his wittiest and most carefree. Perhaps this is not that surprising, given that the “Classical” Symphony is Prokofiev’s tribute to the greatest of symphonic humorists—the 18th-century Austrian composer, Franz Joseph Haydn (17321809). In his autobiography, Prokofiev described his approach to this beloved work: It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony: in the first place because that was simpler, and secondly for the fun of it, to “tease the geese,” and in the secret hope that I would prove to be right if the symphony really did turn out to be a piece of classical music. The “Classical” Symphony is in four brief movements. The first is a bracing Allegro. Prokofiev directs that the central theme of the slow-tempo second movement (Larghetto) be played molto dolce (“very sweetly”). The third movement is a Gavotte, a court dance in 4/4 time. The Finale (Molto vivace) brings the “Classical” Symphony to a joyful close. Concerto for Oboe and Orchestra in C Major, K. 285d (K. 314) (1777) WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. In addition to the solo oboe, the Concerto is scored for two oboes, two horns, and strings.

These are the First Classical Subscription Performances.


ozart composed his Oboe Concerto in the spring or summer of 1777. Mozart originally wrote the work for Giuseppe Ferlendis, an oboist in the Salzburg Court Orchestra. But later that year, Mozart gave the Concerto to Friedrich Ramm, principal oboe in the Mannheim Court Orchestra. In a letter to his father, Leopold, Mozart described Ramm as “a very good, jolly, honest fellow of about thirty-five, who has already traveled a great deal, and consequently has plenty of experience.” (In another letter to Leopold, Mozart called Ramm “a decent fellow, but a libertine.”) | Atlanta’s Performing Arts Publication 49

APR 26/28/29 | program It appears that Ramm was thrilled with Mozart’s new Concerto. In fact, Mozart described Ramm as “quite crazy with delight” when the oboist received the work. In a letter of February 14, 1778, Mozart informed Leopold of a Mannheim concert in which “Herr Ramm…played for the fifth time my oboe concerto, written for Ferlendis, which is making a great sensation here. It is now Ramm’s cheval de bataille (‘war horse’).” Later, the score of Mozart’s Oboe Concerto disappeared, and was presumed lost forever. However, in 1920, manuscript parts were discovered in the library of the Mozarteum in Salzburg. A review of those parts quickly revealed that the work was identical to Mozart’s Flute Concerto in D, completed in 1778 in fulfillment of a commission. The Concerto is in three movements. The opening movement (Allegro aperto) features the traditional double exposition of the principal themes; first by the ensemble, and then in more elaborate fashion, by the soloist. A solo cadenza leads to the spirited conclusion. Typical of the slow-tempo movements in Mozart’s concertos, the second (Adagio ma non troppo) is in the style of an opera aria without words, with the soloist assuming the role of vocalist. The Rondo finale Allegretto) is based upon a recurring theme, immediately played by the soloist (in 1782, this theme reappeared in the aria, “Welche Wonne, welche lust” [“What bliss, what rapture”], in Mozart’s highly successful opera, The Abduction from the Seraglio). A final solo cadenza leads to the exuberant conclusion of Mozart’s Oboe Concerto. Symphony No. 2 in D Major, Opus 36 (1802) LUDWIG VAN BEETHOVEN was baptized in First Classical Subscription Bonn, Germany, on December 17, 1770, and Performance: October 31, 1948, died in Vienna, Austria, on March 26, 1827. The Henry Sopkin, Conductor. first performance of the Symphony No. 2 took Most Recent Classical Subscription place at the Theater-an-der-Wien in Vienna on Performances: September 23-26, April 5, 1803, with the composer conducting. 2004, Robert Spano, Conductor. The Symphony No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


y the start of the 19th century, Ludwig van Beethoven had firmly established himself as one of Vienna’s most important pianists and composers. But during that same period, Beethoven began to experience the hearing loss that would plague the composer for the remainder of his life. It is not surprising that Beethoven spent much time contemplating the meaning of his life. One of the products of this soul-searching process was the document known as the “Heiligenstadt Testament,” written in October of 1802. Addressed to his two brothers, the Testament was found among Beethoven’s papers after the composer’s death in 1827. In the “Heiligenstadt Testament,” Beethoven confessed: But how humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing, or if somebody heard a shepherd sing and again I heard nothing—Such experiences almost made me despair, and I was on the point of putting an end to my life—The only thing that held me back was my art. For indeed it seemed to me impossible to leave this world before I had produced all the works I felt the urge to compose; and thus I have dragged on this miserable existence—a truly miserable existence…

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Around the same time Beethoven penned the “Heiligenstadt Testament,” he put the finishing touches on a work begun the previous year, the Symphony No. 2. The D-Major Symphony received its premiere on April 5, 1803 at Vienna’s Theater-an-der-Wien. In 1801, Beethoven announced to his friend, Wenzel Krumpholz: “I am only a little satisfied with my previous works. From today on I will take a new path.” Musical historians usually designate the 1803 “Eroica”, Opus 55, as the commencement of Beethoven “new path”—at least in terms of symphonic composition. It is interesting, then, to read the following critique of the premiere of the Second Symphony, published in the Vienna Zeitung für die Elegante Welt on April 16, 1803: Herr van Beethoven even augmented the price of the seats for his Cantata and announced several days in advance and with much pomp that all of the pieces to be played would be of his composition…They consisted of two symphonies, of which the first is essentially of more value than the second, because it is developed with an unforced lightness, while in the second the striving for the new and astonishing is more apparent. The following May, that same paper characterized the Symphony No. 2 as “a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect.” Upon closer inspection, it is not difficult to find the elements of the Symphony No. 2 that so troubled those critics. It is true that the Symphony is not cast in the epic mode that made the “Eroica” such an epochal work. On the other hand, the D-Major Symphony offers frequent and compelling employment of dynamic contrasts, dissonance, and brilliant thematic manipulation. All of these elements point the way to the revolutionary style so indelibly associated with Beethoven. That Beethoven was able to write such vibrant, masterful (and indeed, high-spirited) music while in the grips of a shattering personal crisis, testifies to the spirit of a man who once vowed: “I will seize Fate by the throat; it shall certainly not bend and crush me completely.” The Symphony No. 2 is in four movements. In the first, an extended and dramatic slowtempo introduction (Adagio molto) resolves to the vibrant, high-spirited principal Allegro con brio. The slow-tempo second movement (Larghetto) exudes gracious lyricism, as well as more agitated moments in the central episode. The third-movement Scherzo (Allegro) is based upon a three-note motif, bandied about by the orchestra in vibrant dialogue, featuring abrupt juxtapositions of loud and soft dynamics. High spirits prevail in the finale (Allegro molto), capped by the raucous closing bars. CARLO RIZZI, conductor


arlo Rizzi ranks among today’s leading conductors. Equally at home in opera and the concert hall, his vast repertoire spans everything from the foundation works of the operatic and symphonic canon to rarities by Bellini, Cimarosa and Donizetti. He is in high demand as a guest artist at the world’s most prestigious venues and festivals, not least for the insight and integrity of his musicianship and the visceral energy and psychological depths of his interpretations. Opera is imprinted in Maestro Rizzi’s musical DNA. He discovered the art form during his formative years in Milan, attending productions at the Teatro alla Scala and, following his


APR 26/28/29 | artists graduation from the city’s famous conservatory, contributing to their development as a répétiteur with the company. Since launching his conducting career in 1982 with Donizetti’s L’ajo nell’imbarazzo, he has performed almost one hundred operas. The Rizzi repertoire list, rich in Italian works but also well stocked with the music of Wagner, Richard Strauss, Britten and Janáček, reflects the genuine breadth of his interests and the questing nature of his curiosity. Two fruitful periods as Music Director of Welsh National Opera (19922001; 2004-08) and frequent guest conducting engagements at the Metropolitan Opera and the The Royal Opera, London belong to the great bedrock of experience supporting Rizzi’s work. His artistic development has also drawn from the critically acclaimed success of concert performances with distinguished orchestras around the world and most recently completed a cycle of Tchaikovsky’s symphonies with the Orchestre du Théâtre Royal de La Monnaie as well as concerts with Filarmonica della Scala, Orchestra di Santa Cecilia, Netherlands Radio Philharmonic Orchestra and Hong Kong Philharmonic. In 2015 Rizzi was honoured to take up the position of Conductor Laureate of Welsh National Opera. ELIZABETH KOCH TISCIONE, oboe


rincipal Oboe Elizabeth Koch Tiscione, joined the Atlanta Symphony Orchestra (ASO) at the beginning of the 2007-2008 season. She currently holds the George M. and Corrie Hoyt Brown Chair.


In addition to her responsibilities with the ASO, Tiscione plays Principal Oboe at the Grand Teton Music Festival and is a member of the Atlanta Chamber Players. She has performed as a guest musician with the orchestras of Philadelphia, St. Louis, St. Paul, Baltimore, Rochester, Buffalo and the Orpheus Chamber Orchestra. Recent solo engagements include the World Youth Symphony Orchestra, Orpheus Chamber Orchestra, Atlanta Symphony, and Dekalb Symphony Orchestra. She has been featured on NPR’s “From the Top,” and has also performed at many chamber music festivals throughout the country, including Tannery Pond, Cape Cod and the Chamber Music Society of Lincoln Center. Ms. Tiscione has a love for teaching, and is currently a faculty member at Kennesaw State University. She also teaches internationally at Festicamara, in Medellin, Colombia, and has a studio in Atlanta. A native of Hamburg, New York, Tiscione began the oboe in the New York State public school systems at age nine, continued her studies at the Interlochen Arts Academy under Daniel Stolper, and went on to study with Richard Woodhams at the Curtis Institute of Music. Other teachers include Mark DuBois, J. Bud Roach, Pierre Roy, Robert Walters and Eugene Izatov.

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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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Recipient of the Regional Theatre Tony Award®


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Recipient of the Regional Theatre Tony Award®




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Recipient of the Regional Theatre Tony Award®




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ASO | support


he Orchestra donor list includes annual fund donations made June 1, 2016 - March 6, 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. Brad 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.

54 | @AtlantaSymphony |

ASO | support Appassionato We are so grateful for donors who give to the Annual Fund, Ball, and Special Projects at the Appassionato level ($10,000+). They enjoy the benefits of the Patron Partnership, while also having opportunities to receive VIP concierge service for ticketing and reservations, exclusive access to artists’ events and recognition as a concert sponsor. For more information, contact the Development Office at 404.733.5060.


A Friend of the Symphony Alston & Bird Paul & Linea Bert The John W. & Rosemary K. Brown Family Foundation Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. 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 Ross and Sally Singletary 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 Robert & Sherry Johnson Mr. & Mrs. William K. Kapp, Jr. Sarah & Jim Kennedy Mr. ** & Mrs.** Donald Keough King & Spalding Pat & Nolan Leake Lenox Square Mr. & Mrs. Brian F. McCarthy John F. & Marilyn M. McMullan Walter W. Mitchell The Monasse Family Foundation 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 Trapp Family Turner Foundation, Inc. John & Ray Uttenhove Chilton & Morgan Varner Mrs. Virginia S. Williams Ms. Joni Winston

* We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased. | Atlanta’s Performing Arts Publication 55

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

2017-18 committee

Belinda Massafra Chair Kristi Allpere Chair Elect and Vice Chair, Programs 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

Cindy Jeness June Scott Vice-Chair, Communications Communications & Committee Newsletter Editor Milt Shlapak Member-at-Large Bill & Pat Buss Programs Committee Sally Parsonson Communications Deedee Hamburger Programs Committee Committee Judy Hellriegel Annual Fund Committee

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

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 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 Isabel Lamy Lee Loews Atlanta Hotel Peg & Jim Lowman Mary Ruth McDonald* Ms. Terry S. McGehee & Ms. Sheila A. Hunt, A.I.A. Belinda & Gino Massafra Mr. Bert Mobley Morgens West Foundation North Highland Northwestern Mutual Goodwin, Wright/ Northwestern Benefit Corporation of Georgia Franca G. Oreffice Overture Lindbergh

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. Lillian Balentine Law Mr. Ralph Levy Joanne Lincoln William & Deborah Liss* Ms. Erin M. Marshall Donald S. Orr & Marcia K. Knight 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 Suzanne Shull Lou & Dick Stormont Edward & Jean L. Stroetz Stephen & Sonia Swartz Elliott & Elaine Tapp George & Amy Taylor Judith & Mark K. Taylor Dale L. Thompson Burton Trimble Drs. Jonne & Paul Walter Mr. & Mrs. Tomohiro Yamashita*

Margaret H. Petersen Jack & Susanne Pinkerton Mr. Leonard B. Reed* Mr. & Mrs. Joel F. Reeves Ms. Vicki J. Ridel Mr. Joseph A. Roseborough & Ms. Teresa Wynn Roseborough John T. Ruff 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

56 | @AtlantaSymphony |


A Friend of the Symphony (5) Ms. Mary Allen Ms. Amy-Gerome-Acuff & Mr. Daniel Acuff Mr. & Mrs. Stephen D. Ambo The Hisham & Nawal Araim Foundation Ms. Susan AscheuerFunke 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 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 Margie Painter 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

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased. | Atlanta’s Performing Arts Publication 57

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

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

Jane Little** Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K. Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry Richard & Shirley McGinnis John & Clodagh Miller Janice Murphy** Mr. & Mrs. Bertil D. Nordin Amy W. Norman** Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonson Dan R. Payne Bill Perkins Janet M. Pierce Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser June & John Scott Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith Mrs. Lessie B. Smithgall Elliott Sopkin

58 | @AtlantaSymphony |

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

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


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READ ENCORE ATLANTA ONLINE 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, Alliance Theatre, The Atlanta Opera, Rialto Center for the Arts and Cobb Energy Performing Arts Centre online at | Atlanta’s Performing Arts Publication 59 EA-Issuu_2017_QP.indd 1

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& talent development program donors

The following represents gifts to the Azira G. Hill Scholarship Fund, TDP Endowment, Talent Development Fund for operations, and funding for education programs between June 1, 2016 and March 6, 2018. EDUCATION & TDP DONORS The following represents gifts to the Azira G. Hill Scholarship Fund, TDP Endowment, operations support of the Talent Development Program, and funding for education programs as of June 1, 2016. $100,000+ The Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation AT&T Wells Fargo $25,000+ Publix Super Markets Charities Kaiser Permanente Turner $10,000+ A Friend of the Atlanta Symphony 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 The Monasse Family Foundation $5,000+ The Azalea City Chapter of The Links, Inc. Cobb EMC Community Foundation Ms. Lynn Eden $1,000+ Anonymous Nancy Cooke John & Gloria Gaston Azira G. Hill *# Dr. Walter J. Hill * Ruth Hough Ralph & Eileen Levy Sally & Peter Parsonson In memory of Willard Shull Kathy N. Waller Sally Stephens Westmoreland

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

Green & 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

60 | @AtlantaSymphony |

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


Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these 44 partners who lead our efforts to ensure the arts thrive in our community.






SunTrust Teammates

Gordon W. Bailey

SunTrust Foundation

Bank of America

SunTrust Trusteed Foundations:

Mr. and Mrs. C. Merrell Calhoun

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

Georgia Power Foundation, Inc. The Home Depot Foundation Invesco Ltd. Sarah and Jim Kennedy

WellsFargo The Zeist Foundation, Inc.

The Marcus Foundation, Inc. The Sara Giles Moore Foundation


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

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

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



UPS Mr. and Mrs. Leonard Wood

KPMG LLP, Partners & Employees

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

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

Beauchamp C. Carr Challenge Fund Donors

The Antinori Foundation / Ron and Susan Antinori

Deloitte, its Partners & Employees | Atlanta’s Performing Arts Publication 61


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


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


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


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

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


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

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


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

62 | @AtlantaSymphony |

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

$25,000+ CONTINUED

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


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

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

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

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

* Deceased | Atlanta’s Performing Arts Publication 63

ASO | staff EXECUTIVE Jennifer Barlament Executive Director Stephanie Smith, Executive Assistant Alvinetta CookseyWyche Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning 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 Grace Sipusic Vice President of Development Nancy Field Grants Manager William Keene Annual Fund Coordinator Gillian Kramer Individual Giving Manager Toni Paz Director of Development 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

64 | @AtlantaSymphony |

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

corporate & government | support

Mayor’s Office of Cultural Affairs

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

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

This program is supported in part by an award from the National Endowment for the Arts. | Atlanta’s Performing Arts Publication 65

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

ASO | general info

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

66 Atlanta Symphony Orchestra |

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

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


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


Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs


Atlanta Symphony Youth Orchestra


Box Office TTD Number


with Special Needs


Lost and Found


Symphony Store


Donations & Development


LET’S BE FRIENDS At Encore Atlanta, we love our fans.

That’s why we frequently give away tickets, share special 50% off deals and the best Atlanta has to offer every day. So connect with Encore Atlanta on Twitter, Facebook, YouTube, Google+ and Pinterest!

Violin Concerto

Nikolaj Znaider

MAY 31/ JUN 2/3



Sche hera zade

JUN 7/9


Buy Tickets Here! 404.733.5000 | Woodruff Arts Center Box Office

t h u r sday, m ay g r a n d ta s t i n g

3 rd, 2 0 1 8 |

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