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JAN 2019 | Atlanta’s Performing Arts Publication C1


WORKING TOGETHER. WORKING FOR YOU. At WellStar Health System, we want every patient to receive the care they need right here in Georgia. As a member of the Mayo Clinic Care Network, our doctors have special access to Mayo Clinic knowledge, expertise and resources. And you get the peace of mind that comes with knowing we’re here for you.

ASK YOUR WELLSTAR PHYSICIAN ABOUT THE MAYO CLINIC CARE NETWORK. WellStar is the first health system in Georgia to become a member of the Mayo Clinic Care Network. 770-956-STAR (7827)


THE FIRST-EVER LS 500. LIVE IN THE NEW. We didn’t merely try something new. We crafted an entirely new experience. With accents like Kiriko glass, designed by hand then delicately etched with thousands of cuts to catch the eye and transform in the light. A 416-horsepower1 twin-turbo engine paired with the first-ever 10-speed Direct-Shift automatic transmission in its class2 takes you from 0 to 60 in just 4.6 seconds.1,3 All this is complemented by cutting-edge technology with one of the largest Heads-Up Displays in the industry.2 The LS 500 isn’t simply new. It’s the most evocative LS ever. | #LexusLS

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BUTLER LEXUS OF SOUTH ATLANTA Union City 4025 Jonesboro Rd. (770) 969-0204 Options shown. 1. Ratings achieved using the required premium unleaded gasoline with an octane rating of 91 or higher. If premium fuel is not used, performance will decrease. 2. 2018 LS vs. 2017/2018 competitors. Information from manufacturers’ websites as of 8/4/2017. 3. Performance figures are for comparison only and were obtained with prototype vehicles by professional drivers using special safety equipment and procedures. Do not attempt. ©2018 Lexus



16 A Musician’s Composer Atlanta Symphony Orchestra's 18 years of music with one of America's most celebrated contemporary composers Jennifer Higdon by Jessica Langlois

n the cover O Principal Clarinet Laura Ardan's couture gown is courtesy of Atlanta-Based designer, Anne Barge. Sara Hanna Photography

8 Welcome 10 Robert Spano 12 Orchestra Leadership 14 ASO Musicians 26 Concert Program & Notes 64 ASO Support 74 Ticket Info/General Info 76 ASO Staff


46 A Charleston Adventure

Whether you’re a first-timer or a South Carolina regular, our rundown of must-do’s and should-do’s takes you all around town — to eateries, to the beach, back in time and back to nature. Story & Photos by David Danzig

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The Divine Beauty & Profound Wisdom

“Incredible... Groundbreaking!” —MSNBC

“Simply gorgeous stage magic. A must-see!” —Broadway World

“There was something pure and bright and very dignified about them. The show gave me a real sense of goodness and meaning in life.” —Anna Liceica, soloist, American Ballet Theater

April 5–14, 2019

Cobb Energy Centre 2800 Cobb Galleria Pkwy, Atlanta, GA 30339

“The ancient Chinese wisdom will not only benefit the Chinese people, but also the whole world.” —Ted Kavanau, founding senior producer of CNN headline news

“Mesmerizing performance! Reclaiming the divinely inspired cultural heritage of China.” —Donna Karan, fashion designer 877-ATL-Show(285-7469)

Early Bird Code: Early19 Get Best Seats, Waive Fees by Jan 31, 2019



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featuring: 3/7

EDITOR Kathy Janich

Bill Charlap Trio Somewhere: The Songs of Leonard Bernstein

3/14 Ben Sidran

There Was A Fire: Jews, Music and The American Dream

PRODUCTION MANAGER Mark F Baxter DIGITAL MANAGER Ian Carson PRODUCTION ASSISTANT Whitney Stubblefield CONTRIBUTING WRITERS David Danzig, Jessica Langlois ENCORE ATLANTA is published monthly by American Media Products Inc. PRESIDENT Tom Casey CHAIRPERSON Diane Casey GENERAL MANAGER Claudia Madigan

3/16 ATL Collective Relives The Sounds of Chess Records



CONTROLLER Suzzie Gilham

8920 Eves Road, #769479 Roswell, GA 30076 Phone 678-837-4004 Fax 678-837-4066 Copyright 2019 AMP Inc. All rights reserved. Reproduction in whole or in part is strictly prohibited. Encore Atlanta is 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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REMINGTON Closing Jan. 13

Treasures from the Frederic Remington Art Museum & Beyond He is the greatest Western artist ever. His bronzes are iconic. His paintings, symbolic. His art shaped our view of the American West. He is Frederic Remington. Experience the biggest Remington exhibit ever in the South – only at the Booth.

Booth Western Art Museum | Cartersville, GA

Photographs By

Patricia Terwilliger

Patricia Terwilliger has long had a love affair with the American West. In Spurs & Jalapenos, she focuses her lens on the men and women who have embraced cowboy traditions and amended them to suit their needs in the modern world. Given exclusive access to several prestigious working ranches, Pat has created a volume of story-telling photographs that reveal a culture undergoing fundamental change yet continuing to pay homage to the past. Individually, each picture captures a tale of today. Collectively, they provide a definitive record of the cowboy as this great icon moves through the 21st century.

“Pat Terwilliger’s latest book on the modern cowboy is visually striking to say the least. It is a beautiful book full of incredible photography of the modern cowboy and his world. It is a most have book for anyone who loves the West!”

Larry Marchant,

Professional Photographer Chairman of Programing – Booth Museum of Western Art, Photography Guild Order on-line: or purchase at the Booth Museum of Western Art gift shop in Cartersville, GA. See Treasures from the Frederic Remington Art Museum & Beyond Through January 13, 2019 – Special Exhibition Gallery



obert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. Beginning his 18th 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. He 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 since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and rising artists. He 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, the San Francisco, Boston, Chicago, Oregon, Utah and Kansas City Symphonies, and the Cleveland, Philadelphia, and Minnesota Orchestras. Internationally, Maestro Spano has led 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 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle. Spano also holds a conductor residency with the Colburn School Orchestra in Los Angeles.






Highlights of the 2018-19 season include Spano’s Metropolitan Opera debut, leading the US premiere of Marnie, the second opera by American composer Nico Muhly, with Isabel Leonard, Janis Kelly, Denyce Graves, Iestyn Davies and Christopher Maltman. With the Atlanta Symphony Orchestra, programs include the Music Director’s quintessentially rich, diverse pairings of contemporary works and cherished classics, welcoming seasoned guest artists and many new faces. 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. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and makes his home in Atlanta.

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Feb 2, 5, 8, 10, 2019 Cobb Energy Centre Music Jake heggie Libretto Terrence McNally Based on the novel by Sister Helen Prejean THIS OPERA WAS COMMISSIONED BY THE SAN FRANCISCO OPERA

Starring Jamie Barton Sister Helen Prejean role debut

Michael Mayes Joseph De Rocher

atlantaopera.orG 404-881-8885

ASO | LEADERSHIP | 2018/19 Board of Directors OFFICERS Howard D. Palefsky

Lynn Eden

Susan Antinori


vice chair


Janine Brown chair - elect

Thomas Wardell

James Rubright

vice chair


DIRECTORS Joan Abernathy * William Ackerman Keith Adams Juliet McClatchey Allan Susan Antinori Jennifer Barlament * Paul Blackney Rita Bloom Janine Brown Justin Bruns* Benjamin Q. Brunt C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Russell Currey

Carlos del Rio, M.D. Lynn Eden Sloane Evans Angela Evans Anne Game Paul R. Garcia Jason Guggenheim Joseph W. Hamilton, III Bonnie 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 Kelly L. Loeffler Brian F. McCarthy Penelope McPhee ^ Bert Mills Molly Minnear Terence L. Neal Joseph M. O’Donnell^ Galen Lee Oelkers Howard D. Palefsky Ebbie Parsons Jay Richardson James Rubright William Schultz Charles Sharbaugh

Doug Shipman * John Sibley W. Ross Singletary, II Paul Snyder John Sparrow Gail Ravin Starr Elliott Tapp Joseph M. Thompson S. Patrick Viguerie Thomas Wardell Mark D. Wasserman Dr. James Wells, D. Min John B. White, Jr. Richard S. White, Jr. Kevin E. Woods, M.D, M.P.H.

Mrs. J. Erskine Love Meghan H. Magruder 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

BOARD OF COUNSELORS Helen Aderhold Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden John T. Glover

Dona Humphreys Aaron J. Johnson Ben F. Johnson, III Jim Kelley Patricia Leake Lucy Lee Karole F. Lloyd

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

Mrs. Drew Fuller Mary D. Gellerstedt

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

* Ex-Officio Non-Voting ^ 2018/2019 Sabbatical

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The 5th Suwanee SculpTour exhibit will come to a close in March 2019. Come out to Town Center Park now before they're gone!

Robert Spano music director

The Robert Reid Topping Chair

Donald Runnicles principal guest conductor

The Neil & Sue Williams Chair





David Coucheron

music director of the atlanta symphony youth orchestra

The Zeist Foundation Chair

Justin Bruns

Sou-Chun Su

associate concertmaster

associate principal

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair


Jay Christy

assistant concertmaster

assistant principal

Jun-Ching Lin

Sharon Berenson

assistant concertmaster

David Braitberg

Anastasia Agapova acting assistant

Noriko Konno Clift


David Dillard

Carolyn Toll Hancock The Wells Fargo Chair

Eleanor Kosek Ruth Ann Little

John Meisner

Thomas O’Donnell Ronda Respess

Carol Ramírez

Frank Walton

Juan R. Ramírez Hernández


Olga Shpitko


Kenn Wagner


Sissi Yuqing Zhang

Paul Murphy acting/associate

The Edus H. & Harriet Lisa Wiedman Yancich H. Warren Chair SECTION VIOLIN ‡ Judith Cox

Raymond Leung The Carolyn McClatchey Chair Sanford Salzinger


The Mary & Lawrence Gellerstedt Chair Catherine Lynn assistant Principal Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane

Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair

CELLO Vacant principal

The Mr. & Mrs. Howard The Atlanta Symphony The Miriam & John R. Peevy Chair Associates Chair Conant Chair

Christopher Pulgram

Stephen Mulligan assistant conductor;

Julianne Lee

Jessica Oudin Madeline Sharp

Players in string sections are listed alphabetically

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Daniel Laufer acting/associate principal

The Livingston Foundation Chair Karen Freer

acting associate/ assistant principal

Dona Vellek assistant principal emeritus

Thomas Carpenter Joel Dallow The UPS Foundation Chair Larry LeMaster Brad Ritchie Paul Warner BASS

Joseph McFadden principal

The Marcia & John Donnell Chair Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair Karl Fenner Sharif Ibrahim Michael Kenady The Jane Little Chair Michael Kurth Daniel Tosky


Christina Smith principal

The Jill Hertz Chair Robert Cronin associate principal

C. Todd Skitch Gina Hughes



Alcides Rodriguez BASSOON

Andrew Brady principal


Gina Hughes

The Abraham J. & Phyllis Katz Foundation Chair


Anthony Georgeson

Elizabeth Koch Tiscione principal

The George M. & Corrie Hoyt Brown Chair Vacant

associate principal

Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar


Joseph Petrasek



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

The Julie & Arthur Montgomery Chair

BASS TROMBONE Brian Hecht The Home Depot Veterans Chair TUBA

Michael Moore


Samuel Nemec

The Betty Sands Fuller Chair


Susan Welty associate Principal


acting associate principal

Emily Brebach Xiaodi Liu• ENGLISH HORN Emily Brebach CLARINET

Laura Ardan principal


The Delta Air Lines Chair

Brice Andrus principal

Mark Yancich

Kimberly Gilman•

The Walter H. Bunzl Chair

Chelsea McFarland•

William Wilder

Bruce Kenney

assistant principal

Jaclyn Rainey* TRUMPET

William Wilder assistant principal

The William A. Nathan Zgonc Schwartz Chair acting/associate principal Vacant Jason Patrick Robins• The Connie & Merrell Calhoun Chair Brian Hecht

Principal The Kendeda Fund Chair associate



Michael Stubbart HARP

Elisabeth Remy Johnson principal

The Sally & Carl Gable Chair KEYBOARD The Hugh & Jessie Hodgson Memorial Chair Peter Marshall † Sharon Berenson LIBRARY

Nicole Jordan principal

The Marianna & Solon Patterson Chair Holly Matthews assistant principal librarian

The Robert Shaw Chair Stuart Stephenson principal The Mabel Dorn Reeder Honorary Chair The Madeline & Howell Adams Chair Ted Gurch Michael Tiscione associate Principal associate Principal Marci Gurnow Mark Maliniak• Alcides Rodriguez

Hannah Davis asyo/assistant librarian

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

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A Musician’s Composer by Jessica Langlois


ennifer Higdon will be in the audience in Atlanta Symphony Hall on Thursday, January 24, for the Atlanta premiere of her Viola Concerto. What is it like for a composer to attend a performance of their work? Will Jennifer be able to shut off her inner dialogue and enjoy the outputs of her Grammy® Awardwinning accomplishment?

“No,” says Higdon, “It’s amazing how unnerving it is for me to sit in the audience. People say, ‘that went fast,’ and it felt like five hours for me. I know it’s just my brain listening and analyzing and wondering what I should have done differently this way or that.” Constant self-critiquing is the burden of any great artist, but feeling is first in music, and Jennifer’s heart ultimately overrides her mind with regards to measuring a successful performance of her work. “With a piece that gets done a lot, the universe seems to ease the way as it goes along. It is not so easy with new music, so I am always pulling for the musicians. They are still learning what’s happening, and I have a lot of respect for that. I’m also very empathetic to what it’s like to learn something new and the pressure of getting it perfect. I always tell them, ‘Look, there is no such thing as a perfect performance, just pour your heart into it.’ I think to watch the musicians do that is quite an experience for the audience.” | Atlanta’s Performing Arts Publication 15

Jennifer sits a bit easier in Atlanta Symphony Hall. The ASO’s relationship with Jennifer spans two commissions, five recordings, one Grammy® Award and more than 60 performances. “The ASO is different than everyone else because I’ve known them for so long. The musicians have played my music enough that they know me. Every composer has their own sense of pacing and rhythm, which can sometimes be jarring, but they’ve recorded enough of my work and commissioned enough of my work that I feel they understand me. It’s a wonderful relationship.” The seeds of Jennifer’s legacy with the Atlanta Symphony Orchestra were planted 33 years ago when she was an undergrad in college. Determined to attend a graduate conducting seminar, Jennifer slipped into the first day of classes and asked the teacher if he would allow an undergraduate to participate. He said yes. That teacher was Robert Spano.

Jennifer Higdon and Robert Spano during a rehearsal of her work in September 2002.

“We really made an exception for Jennifer,” says Robert. “It was just so clear she was remarkable. She was a flute major at the time but already composing. I don’t think many people know what a brilliant flute player she is, and I think that’s one of the reasons why she writes so well for performers She was a terrific performer herself.”

Agreeing to allow an undergrad flute player into a graduate conducting course set destiny in motion. For one, the relationship between teacher and student blossomed into an authentic partnership. “There’s something about Robert in particular, maybe because he loves and respects composers, and he has composed himself. He relates differently to composers and new music. He brings his heart to the whole experience of getting that music out there. I really think I owe a lot of my career to Robert because he championed me when I was completely unknown. He commissioned me. He recorded me. Those recordings made all of the difference in my life.” Jennifer has not forgotten her days as a student musician. Her deep understanding of

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and compassion for a musician’s experience is reflected in the subjects she’s chosen for her most recent concertos, including the Viola Concerto. For the past six years, she has focused her writing on instruments lacking much repertoire. Beyond championing an orchestra’s unsung heroes, her purpose lies squarely in her dedication to the vitality of the performers. “Over the past couple of decades, the violists coming out of schools are just incredible, but they don’t have many concertos. Violists seem to do the same pieces when they do solos with an orchestra, but there are all of these really good players, so I feel like they need more music. It’s the same as last year when I wrote the Harp Concerto. Harpists don’t have a lot of rep. Tuba players don’t have a lot of rep, so I wrote something. Percussion soloists have only come into existence really in the latter half of the 20th century.” Jennifer’s 2010 Percussion Concerto was awarded her first Grammy® Award for Best Classical Contemporary Composition. That same year, she won the Pulitzer Prize for Music for her Violin Concerto. Jennifer naturally takes pride in her work and its reception, but her creative stamina and passion outpace the recognition she receives. She’s typically already written several more pieces by the time a Grammy® Award is announced. She’s moved on.

Higdon/Spano in a 2003 recording session with producer Elaine Martone, far right

“I write them and then I have to let them go because I have to go onto the next piece. The rewards for me are what the performers get out of it and what that performance says to the audience. For me, it’s always about celebrating the performer or the soloist. I kind of think about writing music that way in general.” The music Jennifer has written and recorded with the Atlanta Symphony Orchestra over the past 18 years represents her tenure as a member of the Atlanta School of Composers, an enduring commitment by Robert Spano and the Orchestra to nurture, commission and record contemporary music through multi-year partnerships with American composers. “The fact that Robert invites composers back to the ASO multiple times is amazing. Sometimes, I go to an orchestra, and they’ll perform one piece of mine, and it may be another decade before they program another one. The fact that he goes back to these composers and gets more pieces allows for maturity – for the musicians in the Orchestra and the composer. This approach allowed me and the other composers to grow.” Approaching composers with multiple engagements has also nurtured a sense of devotion. In considering the impact of the Atlanta School of Composers, Robert is 18 | @AtlantaSymphony |




Just a short drive from Atlanta, you’ll find unique shopping, historical attractions and the brand new Great Wolf Lodge, now open for business. Just off I-85, you’ll Be Surprised by all we have to offer.

The ASO has worked with Higdon on multiple recording projects on the former Telarc label and with the ASO's own ASO Media label.

most struck by how members have become genuine extensions of what he calls the “ASO Family.” “One of the things I find most beautiful is how loved they are, not by just the musicians themselves, but by the audiences that have grown up with them. They have their own groups of fans. It’s great to see Jennifer mobbed in the lobby.” Jennifer Higdon faces mobs of fans frequently these days. She has become one of America’s most acclaimed and performed living composers. She is a Pulitzer Prize and two Grammy® Awards into a career of already historic depth. So what does the Atlanta School of Composers mean to Jennifer Higdon today? “Robert is an amazing individual, and I love the Orchestra – there’s no substitute for them. You can’t ask for a better relationship than having someone who will interpret your music, will ask you questions, will push you on something, who will discuss commissions, and who will rehearse it and do a good job. Plus, the ASO records new music, which means the piece is going to have a life. It’s going to have a life beyond Atlanta. It’s the ultimate learning experience – it means absolutely everything.”

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2018-2019 Concert Series Clayton State University

SONS OF SERENDIP Saturday, February 16

PETER EDWIN KRASINSKI, organ SPEEDY starring Harold Lloyd Saturday, February 23

ANDREW VON OEYEN, piano Sunday, February 17

CALIDORE QUARTET Sunday, February 24

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



ASO | SPONSORS 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

rts A

JAN 10/12

Concerts of Thursday, Jan. 10 , 2019 8:00pm Saturday, Jan. 12, 2019 8:00pm CHRISTOPHER ALLEN, Conductor LAURA ARDAN, clarinet SASHA COOKE, mezzo-soprano JOSEPH LATTANZI, baritone MEN OF THE ATLANTA SYMPHONY ORCHESTRA CHORUS The Atlanta Symphony Orchestra Classical Series is presented by

The January 10th performance is dedicated in memory of D. Lurton Massee, Jr. on behalf of Kimbrough Taylor and Ms. Triska Drake, in appreciation for their support of the Atlanta Symphony Orchestra Annual Fund. The January 12th performance is dedicated to the Arthur M. Blank Family Foundation in appreciation of extraordinary support of the Atlanta Symphony Orchestra Annual Fund.

LEONARD BERNSTEIN (1918-1990) Prelude, Fugue and Riffs (1949) I. Prelude for the Brass II. Fugue for the Saxes III. Riffs for Everyone Laura Ardan, clarinet


Symphonic Dances from West Side Story (1960) Prologue. Allegro moderato Somewhere. Adagio Scherzo. Vivace leggiero Mambo. Presto Cha-Cha. Andantino con grazia Meeting Scene. Meno mosso Cool, Fugue. Allegretto Rumble. Molto allegro Finale. Adagio

23 MIN


20 MIN

“A Simple Song” from Mass (1971)


“The Great Lover”, “Lonely Town” and “Times Square: 1944” from On the Town (1944) 11 MIN “Take Care of This House” from 1600 Pennsylvania Avenue (1976)


Prelude to Act II and “Who Am I?” from Peter Pan (1950)


“To What You Said” from Songfest (1977)


“What a Movie!” from Trouble in Tahiti (1951)


“Pass The Football” and “Conga!” from Wonderful Town (1953) Sasha Cooke, mezzo-soprano Joseph Lattanzi, baritone Men of the Atlanta Symphony Orchestra Chorus


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

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Ken Meltzer Program Annotator

LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on August 25, 1918, and died in New York on October 14, 1990. First Classical Subscription Performances: Prelude, Fugue and Riffs (1949) The first performance of Prelude, Fugue and Riffs took place in April 8, 9 and 10, 1999, William Eddins, Conductor. New York on October 16, 1955, as part of an Omnibus television broadcast entitled The World of Jazz, with Al Gallodoro as soloist and the composer conducting. Prelude, Fugue and Riffs is scored for solo clarinet, two alto saxophones, two tenor saxophones, baritone saxophone, five trumpets, four trombones, timpani, tom-toms, trap set, xylophone, vibraphone, wood block, piano, and solo string bass.


Most Recent Classical Subscription Performances: November 19, 20 and 22, 2009, Laura Ardan, Clarinet, Robert Spano, Conductor.

eonard Bernstein’s Prelude, Fugue and Riffs, for Solo Clarinet and Jazz Ensemble, was commissioned in 1949 by the American clarinetist and bandleader, Woody Herman (1913-1987). Herman intended Bernstein’s new work to be part of a series of pieces for his band. Previously, Herman commissioned Russian composer Igor Stravinsky to write another jazz-oriented piece, the Ebony Concerto (1945). Bernstein completed Prelude, Fugue and Riffs on November 4, 1949. But by that time, Herman’s band was no longer in existence. Bernstein attempted, without success, to use the music from Prelude, Fugue and Riffs as a ballet sequence in the show Wonderful Town (1953). Bernstein ultimately dedicated the score to another legendary musician, Benny Goodman. The premiere of Prelude, Fugue and Riffs took place on October 16, 1955, as part of an Omnibus television broadcast, The World of Jazz, with Al Gallodoro playing the solo clarinet.

Prelude, Fugue and Riffs is scored for an ensemble featuring a solo clarinet, piano, and bass, brass, winds, and percussion. The work is in three brief movements, played without pause. The piece opens with a bracing Prelude for the Brass (Fast and exact). The first tenor saxophone launches the Fugue for the Saxes (Exactly the same beat). The finale, Riffs for Everyone, marks the appearance of the solo clarinet, initially in dialogue with the piano. Although the music is fully transcribed, the finale has an improvisational, freewheeling character that gathers breathtaking momentum, capped by the ffff concluding measure. Symphonic Dances from West Side Story (1960) The first performance of the Symphonic Dances from West Side Story took place at Carnegie Hall in New York on February 13, 1961, with Lukas Foss conducting the New York Philharmonic. The Symphonic Dances from West Side Story are scored for piccolo, three flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, vibraphone, xylophone, chimes, orchestra bells,

First Classical Subscription Performances: April 21, 22 and 23, 1988, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: April 4 and 5, 2013, Robert Spano, Conductor. | Atlanta’s Performing Arts Publication 25

guiro, suspended cymbal, bongo drums, triangle, snare drum, finger cymbals, bass drum, police whistle, tam-tam, timbales, conga drum, tambourine, small maracas, wood block, cowbells, drum set, harp, piano/celesta, and strings.


est Side Story premiered on August 19, 1957, at the National Theater in Washington, DC. The production featured one of the most remarkable collaborative teams in the history of musical theater—a book by Arthur Laurents, lyrics by Stephen Sondheim, music by Leonard Bernstein, with the entire production directed and choreographed by Jerome Robbins.

After performances in Washington, DC, and Philadelphia, West Side Story opened at the Winter Garden in New York City on September 26, 1957. The production finally closed on June 27, 1959, after 734 performances. A tour followed, as well as a Hollywood movie in 1961. West Side Story has remained in the repertoire ever since. West Side Story, one of the miracles of American musical theater, is a remarkable fusion of drama, music, and dance, all placed at the service of a powerful and timeless story. It also represents an amazing synthesis of popular and classical elements, a sublime marriage of the Broadway stage with the opera and ballet houses. As Bernstein wrote after the premiere: I am now convinced that what we dreamed all these years is possible; because there stands that tragic story, with a theme as profound as love versus hate, with all the theatrical risks of death and racial issues and young performers and “serious” music and complicated balletics—and it all added up for the audiences and critics. In West Side Story, the setting of Shakespeare’s Romeo and Juliet shifts from Verona to New York City. The Capulets are now the Puerto Rican gang, the Sharks. The Montagues become the Jets, a gang of “self-styled ‘Americans’”. Tony, a member of the Jets, and Maria, the sister of the leader of the Sharks, are the modern-day “starcrossed lovers.” In 1960, Bernstein fashioned an orchestral work from the original Broadway score. Sid Ramin and Irwin Kostal assisted Bernstein in orchestrating the Symphonic Dances from West Side Story, which premiered at New York’s Carnegie Hall on February 13, 1961, with Lukas Foss conducting the New York Philharmonic. The Symphonic Dances from West Side Story comprise the following sections, played without pause: Prologue. Allegro moderato Somewhere. Adagio Scherzo. Vivace leggiero Mambo. Presto Cha-Cha. Andantino con grazia Meeting Scene. Meno mosso Cool, Fugue. Allegretto Rumble. Molto allegro Finale. Adagio

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Before you head out, head over to


Arts Scene • Best Bets • Dining • Travel • Fashion Curated content for the cosmopolitan connoisseur. | Atlanta’s Performing Arts Publication 27

Songs and Dances


ass (1971), “A Theater Piece for Singers, Players and Dancers”, was commissioned by Jacqueline Kennedy in memory of her husband, President John F. Kennedy. Mass was also the work presented at the first public performance in the Kennedy Center for the Performing Arts, which took place on September 8, 1971. Bernstein’s use of theatrical elements in a sacred work, and his graphic portrayal of a crisis of faith caused no small amount of controversy. “A Simple Song”, sung by the Celebrant during the opening portion of the Mass, remains the most well-known and popular excerpt from the work. The Broadway show On the Town (1944) marked Bernstein’s initial formal collaboration with his dear friends Betty Comden and Adolph Green, who wrote the show’s book and lyrics. Comden and Green also starred in the show as Claire and Ozzie. After a trial run in Boston, On the Town premiered at New York’s Adelphi Theater on December 28, 1944, and ran for 463 performances. On the Town focuses on the adventures of three sailors (Gabey, Ozzie, and Chip) enjoying a 24-hour shore leave in New York City. “The Great Lover” is a portrait of Gabey and his search for true love. While in Central Park, Gabey laments that for all the glamour and excitement of New York, it is a “Lonely Town.” All the sailors enjoy their night in New York with the dance “Times Square: 1944.” In contrast to the success of On the Town, 1600 Pennsylvania Avenue (1976), a Broadway collaboration by Bernstein and Alan Jay Lerner, closed after only seven performances. Abigail Adams implores Lud, a young slave, to “Take Care of this House”. Bernstein and mezzo-soprano Frederica von Stade performed the song at President Jimmy Carter’s 1977 inaugural. Bernstein contributed several musical numbers for a Broadway production of J.M. Barrie’s play, based in turn upon his story of the eternally youthful Peter Pan (1950). The original production starred Boris Karloff and Jean Arthur. This concert includes the haunting Prelude to Act II, and Wendy’s soliloquy, “Who Am I?”


Songfest (1977) is Bernstein’s settings of texts by 13 American poets from the 17th to the 20th centuries. The lyrics for the haunting song “To What You Said” BE R are by Walt Whitman (1819-1892). The poem, never published during Whitman’s lifetime, confronts the issues of being homosexual in 19thcentury America. ST


Bernstein authored both the libretto and music for his one-act opera, Trouble in Tahiti (1951). The work depicts a suburban couple, Sam and Dinah, who, despite their comfortable life, are trapped in an unhappy marriage. The title of the opera is taken from an escapist South Sea romance film Dinah goes to see during the day (“What A Movie!”). Wonderful Town (1953), another Broadway musical collaboration with Comden and Green, is based upon the Broadway play, My Sister Eileen. After a tryout in Connecticut, Wonderful Town premiered at New York’s Winter Garden on February 26, 1953. Rosalind Russell portrayed Ruth, a woman searching for work in New York City as a writer. Ruth’s sister Eileen (Edie Adams) wants to be an actress. The two 28 | @AtlantaSymphony |



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

MEET THE ARTISTS move into a basement studio apartment that seems to be at the epicenter of all the activity in 1935 Greenwich Village. In “Pass the Football”, their upstairs neighbor, Wreck, tells Ruth and Eileen about his days as a college sports hero. Ruth goes to the Brooklyn Navy Yard to greet and interview a group of wealthy Brazilian naval cadets. But all the cadets want to do is to learn the latest dance craze, the “Conga!” CHRISTOPHER ALLEN, CONDUCTOR


ecipient of the 2017 Sir Georg Solti Conducting Award, Christopher Allen’s career was launched by the Bruno Walter Conducting Award and Memorial Career Grant and has been fostered by Plácido Domingo and James Conlon, who brought him to Los Angeles Opera as an Associate Conductor.








In the 2018-19 season, Allen makes several important debuts, leading Ne Quittez Pas at Opera Philadelphia, Candide at New England Conservatory, and The Barber of Seville at Michigan Opera Theatre. He returns to Opera Theatre of St. Louis to conduct The Marriage of Figaro and serves as Music Director of the Bel Canto Trio’s 70th anniversary tour, featuring rising young opera stars in the program originally toured by Mario Lanza, George London and Frances Yeend. On the concert stage, Allen leads a program of Bernstein repertoire with the Atlanta Symphony Orchestra, and will make his Lyric Opera of Chicago debut conducting the Rising Stars Concert in spring 2019. The recipient of a 2016 Solti Foundation U.S. Career Assistance Award, Allen is also an award-winning pianist who has played at Carnegie’s Weill Recital Hall and the John F. Kennedy Center for the Performing Arts. He is currently working on a writing and film project that explores the importance of the arts in modern American society. LAURA ARDAN, CLARINET


rincipal Clarinet Laura Ardan has been with the Atlanta Symphony Orchestra since 1982 and holds the endowed Robert Shaw Chair.

She has been a featured soloist with the Orchestra in works by Mozart, Weber, Debussy, Copland, Bernstein, Finzi, Rossini, Shaw and Michael Gandolfi, and has also performed with the Cleveland Quartet.


Ardan has performed in the Tanglewood, Marlboro, Mostly Mozart and Bellingham Music Festivals, and as a guest artist in “Emanuel Ax Invites...” on the Great Performers series at Lincoln Center. A frequent guest of the Atlanta Chamber Players, Georgian Chamber Players and Emory Chamber Music Society, she plays regularly at the Highlands Chamber Music Festival in North Carolina and the Grand Teton Chamber Music Festival in Wyoming.






A student of Roger Hiller and Stanley Drucker, Ardan attended The Juilliard School of Music on scholarships from both Juilliard and the Naumburg Foundation. Before joining the ASO, she was a resident clarinetist and teaching artist at the Lincoln Center Institute for four years. She also played in the Metropolitan Opera Orchestra for two seasons.

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

In 2018-19, Sasha Cooke’s operatic engagements will include role debuts as Eduige in Rodelinda at the Gran Teatre del Liceu and the title role of Orlando with the San Francisco Opera. She returns to the title role in Humperdinck’s Hänsel und Gretel which she performs with the Los Angeles Opera under the direction of James Conlon. Orchestral appearances include the Chicago Symphony Orchestra for Handel’s Messiah, Cleveland Orchestra for Mahler’s Symphony No. 2 Resurrection with Franz Welser-Möst that incorporates a domestic tour, National Symphony Orchestra for Ravel’s Shéhérazade under Mirga Gražinyte-Tyla, and Houston Symphony in her first performance of Dvořák’s Stabat Mater led by Andrés Orozco-Estrada. Cooke celebrates the centennial of Leonard Bernstein’s birth by performing his songs with the Atlanta Symphony Orchestra, in addition to the Symphony No. 1 Jeremiah with the Nashville Symphony, and Symphony No. 3 Kaddish with the St. Louis Symphony with Leonard Slatkin. She will reprise Passage (a work she created at the Kennedy Center in 2017) with the Sioux City Symphony Orchestra.





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


2017 recipient of a top prize from the Sullivan Foundation, Joseph Lattanzi established himself as a singer to watch with his portrayal of Hawkins Fuller in the world premiere of Greg Spears’ Fellow Travelers with Cincinnati Opera, followed by further performances for his debut with Lyric Opera of Chicago.








In the 2018-19 season, Lattanzi joins the roster of The Metropolitan Opera for the first time for their production of Nico Muhly’s Marnie and returns to Arizona Opera for the central role of Lt. Auderbert in Kevin Puts’ Silent Night. He makes his Jacksonville Symphony debut in the title role of Mozart’s Don Giovanni, sings Carmina Burana with the Rochester Philharmonic, sings a concert celebrating the music of Bernstein with Atlanta Symphony Orchestra, and returns to Cincinnati Opera as Count Almaviva in Mozart’s Le nozze di Figaro. Recent performances include his New York debut as Hawkins Fuller at PROTOTYPE Festival; his debut with Virginia Opera as Sonora in La fanciulla del West followed by performances of Demetrius in A Midsummer Night’s Dream; performances with Atlanta Opera as Le Dancaïre in Carmen and Anthony in Sondheim’s Sweeney Todd; and West Side Story at Grand Tetons Music Festival with Donald Runnicles. The Mableton, GA native has studied at the Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music. In addition to two summers at the Merola Opera Program, he has participated in programs at the Brevard Music Center and the Chautauqua Institute Voice Program.

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Join the Atlanta Symphony Orchestra, Music Director Robert Spano and TDP alumni in celebrating 25 IMPACTFUL YEARS OF THE TALENT DEVELOPMENT PROGRAM

Special guest host

Monica Pearson

With special guest







Imani Winds

Support for the Talent Development Program generously provided by:

JAN 17/19

Concerts of Thursday, Jan. 17, 2019 8:00pm Saturday, Jan. 19, 2019 8:00pm

LEONARD BERNSTEIN (1918-1990) Three Meditations from Mass, for Violoncello and Orchestra (1977) I. Lento assai, molto sostenuto II. Andante sostenuto—Variations I-IV—Coda III. Presto—Fast and primitive—Molto adagio Johannes Moser, cello INTERMISSION

ROBERT SPANO, Conductor JOHANNES MOSER, cello The Atlanta Symphony Orchestra Classical Series is presented by

DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 7 in C Major, Opus 60, “Leningrad” (1941) I. Allegretto II. Moderato (poco allegretto) III. Adagio IV. Allegro non troppo

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

34 | @AtlantaSymphony |

17 MIN

20 MIN

69 MIN


Ken Meltzer Program Annotator

Three Meditations from Mass, for Violoncello and Orchestra (1977) LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on First Classical Subscription Performances August 25, 1918, and died in New York on October 14, 1990. (Two Meditations): The first performance of Three Meditations from Mass took place at the Kennedy Center for the Performing Arts in Washington, April 21-23, 1988, DC, on October 11, 1977, with Mstislav Rostropovich as soloist, Robert Shaw, Conductor. and the composer conducting the National Symphony Orchestra. In addition to the solo cello, the Three Meditations are scored for vibraphone, xylophone, marimba, timpani, glockenspiel, cymbals, suspended cymbal, triangle, tambourine, gourds, tom-tom, two snare drums, bass drum, three hand drums (high, middle, low), harp, piano, organ, and strings.


ass, “A Theater Piece for Singers, Players and Dancers”, was commissioned by Jacqueline Kennedy in memory of her husband, President John F. Kennedy. Mass was also the work presented at the first public performance in the Kennedy Center for the Performing Arts, which took place on September 8, 1971. Some years later, Bernstein fashioned works for solo cello and piano, and solo cello and orchestra, based upon music from the original Mass score. Bernstein composed those works for the legendary Russian cellist Mstislav Rostropovich (1927-2007). The first performance of Three Meditations from Mass, for Violoncello Solo and Orchestra, took place at the Kennedy Center on October 11, 1977. Rostropovich was the cello soloist, and the composer conducted the National Symphony Orchestra. The first Meditation serves as an interlude between the “Confession” and “Gloria” portions of the Mass. The second Meditation, an interlude between the “Gloria” and “Epistle,” is a set of theme and variations, based upon music from the finale of Beethoven’s Ninth Symphony (1824). The final Meditation comprises several episodes from Mass. Symphony No. 7 in C Major, Opus 60, “Leningrad” (1941) Dmitri Shostakovich was born in St. Petersburg, Russia, on First Classical Subscription September 25, 1906, and died in Moscow, Russia, on August Performances: 9, 1975. The first performance of the “Leningrad” Symphony April 29-May 1, 1999, took place in Kuibyshev (Samara), Russia, on March 5, 1942, with Yoel Levi, Conductor. Samuil Samosud conducting the Orchestra of the Bolshoi Theater. The Symphony No. 7 is scored for piccolo, three flutes, alto flute, two oboes, English horn, E-flat clarinet, three B-flat clarinets, bass clarinet, two bassoons, contrabassoon, eight horns, six trumpets, six trombones, tuba, timpani, bass drum, tambourine, xylophone, snare drum, tam-tam, triangle, suspended cymbal, crash cymbal, two harps, piano, and strings.


n June 22, 1941, Dmitri Shostakovich learned of Germany’s invasion of the Soviet Union. The evacuation of Leningrad began in early July. Shostakovich refused to leave, instead volunteering to join the Red Army. His application was | Atlanta’s Performing Arts Publication 35

rejected, as was a subsequent attempt to become a member of the Civil Guard. Finally, Shostakovich joined the civil defense forces, digging ditches and constructing barriers. Later, Shostakovich served as a member of the city’s firefighting brigade. A photo of the helmeted Shostakovich, standing guard on the roof of the Leningrad Conservatory, became a worldwide symbol of Soviet resistance. Shostakovich also lent his art to the cause, continuing to teach at the Conservatory, and providing several arrangements of patriotic songs and arias. Shostakovich began a new large-scale work for soloist, chorus, and orchestra, based upon the Psalms of David. But he abandoned the project after just a few days. At this point, Dmitri Shostakovich turned his attention to a work that would serve as inspiration for millions—both in Russia, and throughout the world. On July 19, 1941, Shostakovich began the composition of his Seventh Symphony. Despite the horrific conditions engendered by the Nazi attack, Shostakovich composed at a feverish pace: “I worked day and night. I could hear ack-ack guns firing and shells exploding as I worked. But I never stopped working.” On August 29, the Nazis severed Leningrad’s final rail link with the rest of Russia. This led to the start of the 900-day siege that brought unspeakable destruction, famine, and disease to Leningrad. But despite mounting hardship, Shostakovich continued to resist efforts to evacuate him and his family. On September 3, Shostakovich completed the first movement of his Symphony No. 7. Two weeks later, Shostakovich put the finishing touches on the second movement. On October 1, two days after Shostakovich completed the Symphony’s third movement, the Soviets ordered the composer and his family to leave for Moscow. Shostakovich was able to take only a few scores with him, including the Symphony No. 7. Two weeks later, Shostakovich and his family were placed on a train bound east from Moscow to the war capital of Kuibyshev, where they arrived on October 22. There, on December 27, Shostakovich announced to his friends that he had completed his Symphony No. 7, “Dedicated to the city of Leningrad.” Shostakovich described the “Leningrad” as “a symphony about our age, our people, our sacred war and our victory.” The work received its premiere in Kuibyshev on March 5, 1942, with Samuil Samosud conducting the Orchestra of the Bolshoi Theater. That triumphant performance was broadcast throughout Russia and around the world. The “Leningrad” Symphony quickly became an international symbol of the struggle against fascism. In April, the score, preserved on microfilm, was flown to Tehran—the start of a journey to Western countries. The Symphony received its Western broadcast premiere on June 22, 1942, with Henry Wood conducting the London Philharmonic Orchestra. A fierce competition arose as to who would conduct the American premiere. That distinction was finally accorded to the legendary Italian maestro, Arturo Toscanini, who led his NBC Symphony Orchestra in a July 19, 1942 broadcast, heard by approximately 36 | @AtlantaSymphony |

20 million people. That year alone, Shostakovich’s “Leningrad” Symphony received more than 60 performances in America. But the most extraordinary presentation of the Symphony No. 7 took place in war-ravaged Leningrad, on August 9, 1942. By then, Leningrad’s Orchestra had been reduced to only fifteen musicians. Nevertheless, players from several other Russian orchestras—including troops recalled from the front lines—joined forces to create a full ensemble. For decades, people continued to assume that the “Leningrad” Symphony was precisely what Shostakovich publicly represented it to be—a depiction of the Nazi invasion and prophecy of its ultimate defeat. But in 1979, the publication of Testimony forced the music world to confront the possibility that Dmitri Shostakovich battled other enemies in his “Leningrad” Symphony. Solomon Volkov, a friend and student of Shostakovich, compiled Testimony. Subtitled “The Memoirs of Dmitri Shostakovich,” Testimony offers a quite different picture of a composer once typically viewed as a loyal and compliant member of Soviet Russia. In Testimony, Shostakovich describes the Seventh Symphony as “my requiem.” He goes on to state that the “Leningrad” Symphony “had been planned long before the war and consequently it cannot be seen as a reaction to Hitler’s attack.” In discussing the infamous “theme of war” of the Symphony’s opening movement, the Shostakovich of Testimony comments that it: has nothing to do with the attack. It was thinking of other enemies of humanity when I composed that theme… Actually, I have nothing against calling the Seventh the Leningrad Symphony, but it’s not about Leningrad under siege, it’s about the Leningrad Stalin destroyed and that Hitler merely finished off. The authenticity of Testimony continues to be the subject of heated debate. Many of Shostakovich’s friends have insisted that Testimony is an accurate depiction of the composer’s thoughts (I had the opportunity to discuss this issue with both Mstislav Rostropovich and composer Rodion Shchedrin, each of whom reaffirmed that position). In all likelihood, disagreements will remain both over Solomon Volkov’s book, and the meaning of the “Leningrad” Symphony. But regardless of the identity of the foe(s) portrayed in the “Leningrad” Symphony, what clearly emerges in the epic work is a profound expression of compassion for the suffering in a city Shostakovich once referred to as “my own house.” The “Leningrad” Symphony is in four movements. In program notes for the March 29, 1942 Moscow premiere, Shostakovich describes the opening episode (Allegretto) as portraying “the happy lives of our people, their confidence in themselves, and in their future.” Instead of the traditional development section, Shostakovich introduces the “theme of war,” first played quietly. A series of variations on the theme culminates in music of alarming brutality. The final section, “a funeral march, or rather, a requiem for the victims of the war” includes a hushed reprise of the “theme of | Atlanta’s Performing Arts Publication 37

MEET THE ARTISTS war.” Shostakovich describes the second movement (Moderato) as “a lyrical scherzo, which contains recollections of pleasant, happy events. Underlying this, there is a trace of sadness and meditation.” The third movement, “an emotional adagio”, yields to a highly agitated episode that recalls the composer’s Fifth Symphony (1937). Echoes of the Adagio’s opening portion lead, without pause, to the fourth and final movement (Allegro non troppo), a depiction of the “impending victory.” According to Shostakovich, it “opens with a short introduction, followed by the exposition of the stirring first theme. The second theme, triumphal in mood, is the climax of the entire composition. The climax develops peacefully and assuredly, culminating in the grand, joyful sound of the finale.” JOHANNES MOSER, CELLO


erman-Canadian cellist Johannes Moser has performed with the world’s leading orchestras and works regularly with conductors of the highest level.

Moser has a multi award-winning discography with his exclusive label PENTATONE, and he released his latest disc in November 2018 featuring the Lutosławski and Dutilleux concertos. In the 2018-19 season Johannes will be Artist-in-Residence with the Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, Rundfunk-Sinfonieorchester Berlin and the Oregon Symphony, undertaking a diverse range of projects including concerto and solo performances, education and outreach activities and a chamber orchestra tour directed from the cello. Other highlights of the season include Johannes’ debut with the Wiener Philharmoniker and Oslo Philharmonic orchestras, the World and European Premières of Andrew Norman’s cello concerto, and performances in Australia and New Zealand. Johannes is renowned for his efforts to expand the reach of the classical genre to all audiences, and his passionate involvement in commissioning new works for his instrument. Moser plays on an Andrea Guarneri Cello from 1694 from a private collection.



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JAN 23

Concert of Wednesday, Jan. 23, 2019 8:00pm JONATHAN BISS, piano

LUDWIG VAN BEETHOVEN (1770-1827) Sonata No. 6 in F Major, Opus 10, No. 2 (1795-8) I. Allegro II. Allegretto III. Presto Sonata No. 20 in G Major, Opus 49, No. 2 (1795-7) I. Allegro ma non troppo II. Tempo di Menuetto Sonata No. 18 in E-flat Major, Opus 31, No. 3, “The Hunt” (1802) I. Allegro II. Scherzo. Allegretto vivace III. Menuetto. Moderato e grazioso IV. Presto con fuoco INTERMISSION

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

Sonata No. 29 in B-flat Major, Opus 106, “Hammerklavier” (1818) I. Allegro II. Scherzo. Assai vivace—Presto—Tempo I III. Adagio sostenuto. Appassionato e con molto sentimento IV. Largo; Allegro; Allegro risoluto. Fuga a tre voci, con alcune licenze

40 | @AtlantaSymphony |

14 MIN


22 MIN

20 MIN 42 MIN


Ken Meltzer Program Annotator

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827.


n the 1790s, Beethoven ascended to prominence in Vienna as a brilliant virtuoso pianist, albeit an iconoclastic one. Audiences accustomed to the elegant and refined brilliance of such virtuosos as Wolfgang Amadeus Mozart and Muzio Clementi were stunned by the elemental force of Beethoven’s attacks upon the delicate fortepianos of the day. Beethoven’s keyboard performances consisted of far more than displays of force. Pianist and composer Carl Czerny recalled that audience members were moved to tears by the eloquence of Beethoven’s improvisational powers at the keyboard, “for apart from the beauty and originality of his ideas, and his ingenious manner of expressing them, there was something magical about his playing.” Another element of Beethoven’s keyboard magic was his masterful plasticity of phrasing that, according to first-hand accounts, employed unerring dynamic contrast and subtle tempo modification. Beethoven composed numerous works for solo piano that he performed to considerable acclaim. The tragic onset of deafness in the early 1800s soon brought Beethoven’s career as a concert pianist to an early close. It’s not surprising that Beethoven composed 18 of his 32 Piano Sonatas during the years 1795-1802. Nevertheless, as in the case of the symphony and string quartet, Beethoven continued to compose piano sonatas almost to the end of his life. As such, these works offer a treasured window into Beethoven’s growth and development as an artist. Sonata No. 6 in F Major, Opus 10, No. 2 (1795-1798)


he F-Major Piano Sonata is the second of three published collectively as Beethoven’s Opus 10. Beethoven dedicated the Sonatas to Countess BrowneCamus, 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—A playful introductory phrase launches the introduction of the first principal theme. While the remainder of the exposition offers a wealth of material, the ensuing development focuses upon but a small portion. A restatement of the opening theme in the unexpected key of D Major finally resolves to the home key of F for a full recapitulation, capped by the virtuoso final bars. II. Allegretto—The second movement, in triple meter and the key of F minor, is based upon a melancholy, undulating figure. The central episode, in D-flat Major, also has its troubled moments. The Allegretto concludes with a reprise of the F-minor sequence. | Atlanta’s Performing Arts Publication 41

III. Presto—The finale offers brilliant contrapuntal writing and compelling manipulation and development of the briefest thematic elements. High spirits abound, from the lighthearted opening to the fortissimo closing bars. Sonata No. 20 in G Major, Opus 49, No. 2 (1795-7)


I. Allegro ma non troppo—A brusque chord and series of triplets launch the Sonata and its first principal theme. A trio of repeated note heralds the flowing second theme. The brief development section is in the minor key. A restatement of the central themes leads to the emphatic closing bars.





he two Sonatas published in 1805 as Beethoven’s Opus 49, Nos. 1 and 2, were composed about a decade earlier. The works are referred to as “Zwei Leichte Sonaten” (“Two Easy Sonatas”). One may presume Beethoven intended them for study and performance by his students and other amateur players.

II. Tempo di Menuetto—The Sonata’s closing movement is a Minuet, an elegant dance in triple meter (Beethoven would soon favor the minuet’s more robust and playful cousin, the scherzo). The principal Minuet incorporates dotted rhythms that create a layer of tension and release. The key shifts from G to C Major for a rather martial trio section. The Sonata concludes with a reprise of the Minuet. Sonata No. 18 in E-flat Major, Opus 31, No. 3, “The Hunt” (1802)


he E-flat Major Sonata is one of three that Beethoven composed during 1802. The Sonatas were published by Nägeli in Zürich, collectively as Opus 31, Nos. 1-3, in 1803-4. I. Allegro—The Sonata opens with the juxtaposition of leisurely and vibrant elements, a device that recurs throughout the movement. The playful initial theme, incorporating the dotted rhythm of the opening measures, finally emerges. Another lighthearted theme features a bracing sixteenth-note accompaniment. The ensuing development employs elements of both themes. The development flows seamlessly into the recapitulation of the principal themes. A reprise of the opening dialogue is capped by a pair of forte chords.

II. Scherzo. Allegretto vivace—Beethoven dispenses with the traditional slowtempo movement, opting instead for a Scherzo, followed by a Minuet. The vibrant Scherzo, brimming with energy, also omits the expected leisurely central trio section. Beethoven provides numerous delightful surprises in the form of unexpected pauses, and dynamic and voicing contrasts, all very much in the spirit of his teacher, Franz Joseph Haydn. III. Menuetto. Moderato e grazioso—The third movement is a noble and introspective Minuet. The central Trio, while based upon the Minuet, is more overtly dramatic. After a reprise of the Minuet, the Coda resolves to a pianissimo finish. IV. Presto con fuoco—The finale, the source of the work’s nickname, “The Hunt,” is set in a skipping 6/8 meter. Over repeated accompaniment, the right hand sings the playful central motif. Although the finale is the creation of an artist then confronting 42 | @AtlantaSymphony |

the onset of the hearing loss that would end his career as a concert pianist, it radiates optimism, energy, and a joyous celebration of the intoxicating powers of virtuoso display. Sonata No. 29 in B-flat Major, Opus 106, “Hammerklavier” (1818)


eethoven composed his “Hammerklavier” Sonata during the years 1817-8, and dedicated the work to Archduke Rudolph. Beethoven is reputed to have informed Artaria, who published the “Hammerklavier” Sonata in 1819: “Now there you have a sonata that will keep the pianists busy when it is played fifty years hence.” Indeed, the “Hammerklavier’s” epic length, extraordinary technical demands, and breathtaking range of emotions and colors, make the work unique among Beethoven’s Piano Sonatas. It remains an Everest of the solo piano literature. I. Allegro—A pair of fanfares, launched by a dotted rhythm motif, and marked fortissimo, inaugurates the first theme group, in B-flat Major. The contrasting second theme group, in G Major, introduces a flowing, undulating passage, and a tranquil, cantabile episode. The extended development section includes a fugato section. The development slowly, but inexorably, builds to the fortissimo start of the recapitulation. The coda, based upon the opening fanfare, juxtaposes forceful and hushed dynamics, most dramatically in the final bars. II. Scherzo. Assai vivace—Presto—Tempo I—The Sonata’s opening dotted rhythm becomes the basis for the insistent Scherzo. A shift from B-flat Major to minor launches a sequence of episodes that chart a mercurial change of moods and colors. A reprise of the Scherzo, briefly interrupted toward the finish, completes this brief movement. III. Adagio sostenuto. Appassionato e con molto sentimento—The Adagio sostenuto is the emotional heart of the “Hammerklavier” Sonata, and one of Beethoven’s greatest slow-tempo movements. Beethoven directs it be played “passionately, and with much feeling.” After a single measure of introduction, the piano sings the first of two principal themes—melancholy, introspective, and incorporating the seminal dotted rhythm. The second theme, exploring the piano’s upper register, and embellished by filigree passagework, nonetheless continues the mood of its predecessor. The remainder of the Adagio (consistent with sonata form) includes a brief development, followed by a varied reprise of the principal themes, and a coda that journeys to a hushed, enigmatic close. IV. Largo; Allegro; Allegro risoluto. Fuga a tre voci, con alcune licenze—The finale opens with an extended introduction. A series of trills and a descending passage resolve to the principal three-voice Fugue, to be played “with some license(s).” The Fugue’s irrepressible momentum and vigor briefly abate in a tranquil episode, marked sempre dolce cantabile. But soon, the whirlwind returns, as the “Hammerklavier” Sonata hurtles to a thundering conclusion. | Atlanta’s Performing Arts Publication 43



onathan Biss is a world-renowned pianist who shares his deep curiosity with music lovers in the concert hall and beyond. He continues to expand his reputation as a teacher, musical thinker, and one of the great Beethoven interpreters of our time. He was recently named Co-artistic Director alongside Mitsuko Uchida at the Marlboro Music Festival, where he has spent twelve summers. In addition, he has 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. As 2020, the 250th anniversary of Beethoven's birth, approaches, Biss continues to add lectures to his online course until he covers all of the sonatas in time for the anniversary year. At the same time, he progresses in his nine-year, nine-disc recording cycle of Beethoven’s complete piano sonatas, which will also be completed in 2020. 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. These projects represent Biss' complete approach to music-making and connecting his audience to his own passion for the music.

He conceived the Beethoven/5 project, for which the Saint Paul Chamber Orchestra has co-commissioned Timo Andres, Sally Beamish, Salvatore Sciarrino, Caroline Shaw, and Brett Dean to write piano concertos, each inspired by one of Beethoven's. Biss is committed to making sure that the concertos become part of the repertoire and has performed the commissions globally beyond their premieres. Biss has long-standing relationships with the New York Philharmonic; the Philadelphia, Cleveland, and BEN Philharmonia orchestras; the Boston, Chicago, and Swedish Radio JAM IN EALO VE GA symphony orchestras; and the Leipzig Gewandhaus, Budapest Festival, and Royal Concertgebouw orchestras, among many others. Biss began piano lessons at age six and studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music with Leon Fleisher.

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Whether you’re a first-timer or a South Carolina regular, our rundown of must-do’s and should-do’s takes you all around town — to eateries, to the beach, back in time and back to nature. Story & Photos by David Danzig

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The veranda at the Zero George Street Hotel. Conde Nast named the Zero one of its Top 5 Foodie Hotels in the World. | Atlanta’s Performing Arts Publication 47

You're just a ferry ride away from the ruins of Fort Sumter in Charleston Harbor, where the first shots of the Civil War were fired some 150 years ago.


he Lowcountry in South Carolina marks the gradual transformation from land to sea, a fascinating nexus where terra firma gradually becomes something unstable, its surface beauty concealing a watery mystery below. The city of Charleston, like its environs, presents a duality of experiences. It’s one of the most beloved tourist towns in the world, a city endowed with Instagram-worthy beauty and preserved antebellum charm, punctuated by churches, cobblestone streets and gas lanterns that are more than a century old. But the city is also ballasted by conflict and mystery, a place where the narrative includes tales of pirates and persecution, all of it built upon slave labor. A visit to Charleston lays before you an inexhaustible supply of must-do experiences and, if you’re willing to dig a bit deeper, a whole world of should-do’s. With that in mind, we offer five must-do’s for novice visitors and five should-do’s for those of you who’ve been here a time a two. 1. GET ACQUAINTED MUST DO: Before the internal combustion engine, the horsepower around Charleston was provided by, well, horses. That clip-clopping still echoes in the streets, adding a rhythmic soundtrack to the city’s array of historically preserved homes, churches and cemeteries. Palmetto Carriage Co. staffs wooden carriage rides with knowledgeable guides who dispense historical information — some of it candidly controversial — while your noble steeds

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ladies and gentlemen,



Singer-songwriter Ronnie Johnson has done gigs and jam sessions that have taken him from Antarctica to South America, and from England to South Florida (Key West). These days, you’re just as likely to catch his act at any number of restaurants and clubs in the Charleston area. The Lowcountry artist, who was born in Valdosta, Ga., is known for his versatility and for playing a mix of original and cover songs. He works, he says, “wherever the music takes me.” His legions of fans are happy about that. Listen to some of their comments on his Facebook page (Ronnie Johnson Music, where you can also find upcoming gigs): • “Supremely talented and a master showman. Don’t miss the chance to see him.” • “Ronnie is a wonderful musician. Talented and able to play a wide variety of genres. Beautiful voice.” • “Tons of fun, and he plays it all! Guaranteed to have a blast.”

Johnson has shared the stage with Chuck Berry, opened for Tom Jones and Loretta Lynn, and hit the Billboard charts with his tune “For Old Times Sake,” recorded by rockabilly’s Jerry Naylor in 1986. Johnson even played ukulele and drums before settling on the guitar in his teenage years. For more than 14 years he performed regularly at Wild Dunes, a 1,600-acre gated oceanfront resort on South Carolina’s Isle of Palms. He took full control of his music when he left Wild Dunes and opened Buddy Roe’s Music Bar & Grill, also on the Isle of Palms, where food was the appetizer and music the main dish. The restaurant relocated and became Buddy Roe’s Shrimp Shack and then Sawyer’s on the Boulevard, but it’s no longer open. Johnson’s gravelly voice and precise picking sometimes lean toward the blues, but his country roots are always evident, as is his well-traveled, well-honed musicianship. He’s best described, he has said, as an all-round entertainer.

— Encore Atlanta | Atlanta’s Performing Arts Publication 49

Tour the Old City Jail (above) if you dare. It housed some of the worst criminals of its day. Palmetto Carriage Co. and its horses (right) will show you historic downtown Charleston all year long.

saunter through pre-selected hourlong routes around the historic downtown grid. Tickets: $26; $16 age 4-11. SHOULD DO: The Old City Jail caged some of the worst criminals of their day for 137 years — a who’s who of baddies that included pirates, Union Army prisoners and even the alleged first female serial killer, Lavinia Fisher (1793-1820), who was eventually hung. Now, while the 4-acre parcel awaits its future (developers are salivating to turn into a mixed-use something or other), guides from Bulldog Tours lead a frightful nightly journey through the jailhouse and share real-life tales of terror (conditions here were unimaginably inhumane) as well as tales of prisoners’ spirits who may still manifest themselves for guests. The 45-minute tours happen nightly. Tickets: $28; $18 children. 2. FEEDING FRENZY MUST DO: The Atlantic Ocean’s relationship with the Lowcountry creates a glorious fishing environment, and its bounty makes its way quickly from nets and hooks to your plate.

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The Hyman family has been in business in the Hyman Seafood building since the late 1800s and, since 1986, has served worldrenowned dishes (The Food Network lists it in its Top 5 seafood category). From Lowcountry boils to build-your-own seafood platters, Hyman’s serves the classics from an area stocked with oysters, crab, shrimp and even alligator for sausage. SHOULD DO: The micro-kitchen of Zero George Restaurant + Bar is, perhaps, an under-the-radar surprise. Found in the boutique-chic Zero George Street Hotel, it churns out some of the most creative culinary art around (it made Conde Nast’s Top 5 Foodie Hotels in the World). Crispy blowfish tail, liquid center corn tortellini and a nitro mozzarella balloon are a few of chef Vinson Petrillo’s masterpieces. Also seek out the elusive “Royal With Cheese,” a highly coveted burger made from wagyu beef, mushrooms, shaved truffles and Kraft Singles fondue. Petrillo makes only five each night and once they’re gone, they’re gone. The eatery opens at 5 nightly Tuesday-Sunday.

If seafood's your thing, arrive hungry. The family-owned Hyman Seafood on Meeting Street (top left) has been in business since the 1800s. Keep it fresh at the Folly Beach Crab Shack (above). Or commune with chef Vinson Petrillo (left) and his staff at Zero George.

3. NOTHING CIVIL ABOUT WAR MUST DO: About 150 years ago the first shots of the Civil War rang out here, over Fort Sumter. You’re just a ferry ride away from that piece of American history. Board a ship at Liberty Square and sail to the ruins that once guarded Charleston Harbor. Much of the fort was destroyed in the siege, but you can still walk the grounds and touch the 42-pounder smoothbore cannons and 100-pounder Parrott rifles on their original carriages. Tickets: $22; $14 children. SHOULD DO: In 1864, the Confederacy launched what would become the world’s first combat submarine. It sunk a | Atlanta’s Performing Arts Publication 51

The Folly Beach Crab Shack on Folly Island south of Charleston is a quintessential sand-andsurf dive known for its hyper-fresh seafood.

Union ship and eventually disappeared. The H.L. Hunley was raised off the coast of Charleston in 2000 and is now on display as part of an ongoing restoration project that’s as fascinating as the vessel itself. Incomprehensibly primitive by today’s standards but technologically ahead of its time, the Hunley is a historic, engineering and military marvel that tells an Icarus-like tale of military ambition and the lives it can take. Tickets: $16; $8 students/youth. 4. BEACH, BABY! MUST DO: Perhaps not in January, but if you want to feel your toes in the sand and bathe in gentility, keep the luxe 255-room Sanctuary at Kiawah Island Golf Resort in mind. You can live like a Vanderbilt or Carnegie at this five-star seaside castle and play some of the finest golf courses in the world. (January temperatures in Charleston normally range from 43 degrees to 57 degrees, by the way.) Other possibilities: bike-riding along island trails, playing tennis or letting resort personnel arrange a Lowcountry fishing experience or expert-led alligator tour for you. Note: Kiawah is 21 miles south of Charleston. Double rooms at The Sanctuary begin at $270 per night. SHOULD DO: Folly Island is, perhaps, the laidback “yang” to Kiawah’s posh “yin.” The beach lies just south of Charleston and is known to the locals as “the edge of America,” a nod to its community pier and surfer vibe. Bed-and-breakfasts and

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small hotels dot the seven-mile island and its sandy beaches. Visiting the pier is essential, especially if you wish to rent fishing gear and bait. In town, visitors and residents alike zip around on golf carts and devour hyper-fresh seafood in quintessential dives like the Folly Beach Crab Shack.

The Civil War-era H.L. Hunley (top), the world's first submarine, is open for tours.

5. NATURE CALLS MUST DO: The Center for Birds of Prey is home to 50 species, including eagles, hawks, owls, falcons, kites and vultures. A visit here gets you up close and personal with the South’s avian carnivores. The center is ideal for birders, photographers and anyone who enjoys watching raptors devour small rodents(?). The center’s Avian Medical Clinic treats more than 600 injured raptors and shorebirds each year, releasing most back into the wild. Tickets: $18; $12 kids. SHOULD DO: The South Carolina Aquarium, although pint-sized compared to the Georgia Aquarium, nevertheless documents Lowcountry animal life in fascinating ways. It brings freshwater, saltwater and brackish dwellers into a neatly organized environment and is home to more than 10,000 plants and animals. Aquarium residents include North American river otters, loggerhead sea turtles, alligators, bald eagles and sharks. It does top the Georgia facility in one category: Its Great Ocean Tank is the deepest in North America. Tickets: $29.95; $22.95 children. | Atlanta’s Performing Arts Publication 53

JAN 24/26

Concerts of Thursday, Jan. 24, 2019 8:00pm Saturday, Jan. 26, 2019 8:00pm ROBERT SPANO, Conductor ROBERTO DÍAZ, viola The Atlanta Symphony Orchestra Classical Series is presented by

ALEX TURLEY (b. 1995) city of ghosts (2015, rev. 2016) JENNIFER HIGDON (b. 1962) Viola Concerto (2015) I. q = 42 II. q = 102 III. q = 72 Roberto Díaz, viola INTERMISSION

10 MIN 22 MIN

20 MIN

Hector Berlioz (1803-1869) Symphonie fantastique, Opus 14 (1830) 52 MIN I. Reveries, Passions (Largo; Allegro agitato e appassionato assai) II. A Ball (Valse. Allegro non troppo) III. Scene in the Country (Adagio) IV. March to the Execution (Allegretto non troppo) V. Dream of a Witches’ Sabbath (Larghetto; Allegro)

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

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Ken Meltzer Program Annotator

city of ghosts (2015, rev. 2016)

These are the first Classical Subscription Performances. ALEX TURLEY was born in Sydney, Australia, on March 13, 1995. The first performance of city of ghosts took place at the Melbourne Recital Centre in Melbourne, Australia, on May 14, 2016, with Robert Spano conducting the Melbourne Symphony Orchestra. city of ghosts is scored for piccolo, flute, alto flute, oboe, English horn, two B-flat clarinets, clarinet in A, bass clarinet, bassoon, two horns, two trumpets, trombone, tuba, timpani, bass drum, tamtam, pitched gongs, mark tree, three triangles of different pitches, vibraphone, sleigh bells, suspended cymbal, harp, celesta, and strings.


he Melbourne Symphony Orchestra and Cybec Foundation, 2015, commissioned the young Australian composer Alex Turley’s orchestral work, city of ghosts. Robert Spano conducted the Melbourne Symphony Orchestra in the work’s May 14, 2016 world premiere, as part of the Metropolis New Music Festival. The score includes the following program note: City of Ghosts seems to evoke a sense of the ethereal, the supernatural… shimmering between different sound worlds and scales of time. As a metaphorical starting point the work was informed by the impression of a deserted city, clouded by fog and rain. There is movement in the shadows, just out of reach; bursts of colour and light bleed through the mist. The orchestration is thick and concealed, the ensemble oscillating between individual aleatoric activity and movement as one entity. The depth of focus is blurred between clouds of obscured sound and brief moments of clarity. Viola Concerto (2014) JENNIFER HIGDON was born in Brooklyn, New York, on December These are the first Classical 31, 1962. The first performance of the Viola Concerto took place Subscription Performances. in at the Coolidge Auditorium of the Library of Congress in Washington, DC, on March 7, 2015. Roberto Díaz was the viola soloist, and Robert Spano conducted the Curtis Chamber Orchestra. In addition to the solo viola, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, two trombones, glockenspiel, vibraphone, two bundle sticks, woodblock, cowbell, floor tam, and strings.


ennifer Higdon’s Viola Concerto was: Commissioned by The Library of Congress, in honor of Elizabeth Sprague Coolidge on the occasion of the 90th anniversary of the Library’s concert series. This commission was made possible with the generous support of the Baird Family in honor of Jane and Cameron Baird, and John J. Medveckis. As well as co-­commissioners: The Curtis Institute of Music (with support from the Musical Fund Society), The Aspen Music Festival and School (Robert Spano, Music Director), and Nashville Symphony (Giancarlo Guerrero, Music Director). | Atlanta’s Performing Arts Publication 55

Jennifer Higdon composed the Concerto for Roberto Díaz, the work’s dedicatee (for a biography of Mr. Díaz, see pp. 60-62.). Roberto Díaz was the soloist in the Concerto’s March 7, 2015 premiere, which took place at the Coolidge Auditorium of the Library of Congress in Washington, DC. Robert Spano conducted the Curtis Chamber Orchestra. For the premiere, Mr. Díaz performed on the Tuscan-Medici viola, made by Antonio Stradivari in 1690 in Cremona. The Tuscan-Medici viola is on loan to the Library of Congress from the Tuscan Corporation. Musicologists and critics have often written that my musical language sounds American and, while I don’t know exactly how to define that, I am sure that they are right. Since the lead commissioner of this work is the Library of Congress, and the co-­commissioners are all American institutions of learning and performance (The Curtis Institute of Music, The Aspen Music Festival, and The Nashville Symphony), it seemed natural that an American sound would be the basic fabric. With this in mind, and inspired by the one of the world’s best violists, Roberto Díaz, the process of creating a new concerto for this instrument came naturally. I have always loved the viola…my first sonata was written for this expressive instrument. It is my privilege to add to the repertoire of an instrument that has moved from being imbedded within ensembles to playing a prominent role at the front of the stage. Jennifer Higdon I. q = 42

II. q = 102 III. q = 72

Symphonie fantastique, Opus 14 (1830) HECTOR BERLIOZ was born in La Côte-Saint-André, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, 1869. The first performance of the Symphonie fantastique took place at the Paris Conservatoire on December 5, 1830, with François-Antoine Habeneck conducting the Orchestra of the Société des Concerts du Conservatoire. The Symphonie fantastique is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, four bassoons, four horns, two trumpets, two cornets, three trombones, two tubas, timpani (two players), bass drum, cymbals, suspended cymbals, snare drum, two low bells (offstage), two harps, and strings. First Classical Subscription Performances: February 12 and 13, 1958, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: June 2 and 4, 2016, Peter Oundjian, Conductor.


n September 1827, Hector Berlioz, then a 23-year-old student at the Paris Conservatory, attended productions by an English touring company of Shakespeare’s Hamlet and Romeo and Juliet. In those performances, Harriet Smithson, a beautiful and young Irish actress, portrayed the tragic heroines, Ophelia and Juliet. Berlioz immediately fell in love with her. Berlioz did everything within his power to try to get Smithson to take notice of him, but without success. In February of 1830, Berlioz wrote to his sister: “I am about to commence my grand symphony

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(Episode in the Life of An Artist), in which the development of my infernal passion will be depicted.” On April 16 of that same year, Berlioz announced that his Symphony was complete. The premiere of the Symphonie fantastique took place at the Paris Conservatory on December 5, 1830, with François-Antoine Habeneck conducting the Orchestra of the Société des Concerts du Conservatoire. The drama, innovation, and sheer audacity of the young composer’s vision stunned the audience. By the time Harriet Smithson returned to Paris in 1832 and attended a performance of the Fantastic Symphony, it seemed the actress was the only person in the entire city who didn’t realize she was the inspiration for the music. When Smithson discovered the truth, she finally agreed to meet Berlioz. After a brief courtship, the two wed on October 3, 1833. Franz Liszt and Heinrich Heine served as witnesses. However, the marriage deteriorated, and in the early 1840s, Smithson and Berlioz separated. Even after the acrimonious conclusion of their marriage, Berlioz acknowledged his artistic kinship with Harriet Smithson, and the profound influence she exercised upon his development as an artist. Toward the end of her life, Smithson suffered paralysis. After Harriet Smithson’s death in 1854, Liszt wrote to Berlioz: “She inspired you, you loved her and sang your love, her mission was fulfilled.” Berlioz, a gifted and prolific writer, provided the following program notes for his Symphonie fantastique. A young musician of morbidly sensitive temperament and lively imagination poisons himself with opium in an attack of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his feelings, his emotions, his memories are transformed in his sick mind into musical images. The Beloved herself becomes for him a melody, a cyclical theme (idée fixe) that he encounters and hears everywhere. (Annotator’s note: The idée fixe is introduced approximately five minutes into the opening movement by the flute and first violins.) I. Reveries, Passions (Largo; Allegro agitato e appassionato assai)—At first he recalls that sickness of the soul, those intimations of passion, the apparently groundless depression and intoxication he experienced before he met the woman he adores; then the volcanic love that she inspired in him, his delirious anguish, his furious jealousy, his return to tenderness, his religious consolation. II. A Ball (Valse. Allegro non troppo)—He meets his beloved again in the midst of the tumult of a glittering fête. III. Scene in the Country (Adagio)—On a summer evening in the country, he hears two shepherds piping back and forth a ranz des vaches (the traditional melody of Swiss shepherds for summoning their flocks); this pastoral duet, the peaceful landscape, the rustling of the trees gently rocked by the wind, some prospects of hope he recently found—all combine to soothe his heart with unusual tranquility and brighten his thoughts. But she reappears, he feels his heart tighten, he is smitten with sad foreboding: what if she were to prove false?…One of the shepherds resumes his | Atlanta’s Performing Arts Publication 57

simple tune; the other no longer responds. The sun sets…distant roll of thunder… solitude…silence. IV. March to the Execution (Allegretto non troppo)—He dreams he has murdered his Beloved, that he has been condemned to death and is being led to the scaffold. The procession advances to the sound of a march that is now somber and agitated, now brilliant and solemn, in which the muffled sound of heavy steps is suddenly juxtaposed with the noisiest clamor. At the end, the idée fixe returns for a moment like a final thought of love, suddenly interrupted by the death blow. V. Dream of a Witches’ Sabbath (Larghetto; Allegro)—He imagines himself at a Witches’ Sabbath, among a hideous throng of ghouls, sorcerers and monsters of every kind, assembled for his funeral. Ominous sounds, groans, bursts of laughter, distant cries that other cries seem to answer. The Beloved’s melody reappears, but it has lost its noble and timid character; it has become a vulgar dance tune, unworthy, trite and grotesque: there she is, coming to join the Sabbath…A roar of joy greets her arrival…She takes part in the infernal orgy…The funeral knell, a burlesque parody of the Dies irae…the witches’ round…the dance and the Dies irae are heard together. JENNIFER HIGDON, COMPOSER


ennifer Higdon is one of America’s most acclaimed and most frequently performed living composers. She has is a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 2010 Grammy® for her Percussion Concerto and a 2018 Grammy® for her Viola Concerto. Most recently, Higdon received the Nemmers Prize from Northwestern University which is given to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Higdon enjoys several hundred performances a year of her works, and blue cathedral is one of today’s most performed contemporary orchestral works, with more than 600 performances worldwide. Her works have been recorded on more than sixty CDs. Higdon’s first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere and the opera recording was nominated for 2 Grammy® awards. Dr. Higdon holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press.



violist of international reputation, Roberto Díaz is President and CEO of the Curtis Institute of Music, following in the footsteps of renowned soloist/directors such as Josef Hofmann, Efrem Zimbalist, and Rudolf Serkin. As a teacher of viola at Curtis and former Principal Viola of the Philadelphia Orchestra, Díaz has already had a significant impact on American musical life and continues to do so in his dual roles as performer and educator. As a soloist, Díaz collaborates with leading conductors of our time on stages throughout North and South America, Europe and Asia. He has also worked directly with important 20th- and 21st-century composers, including Krzysztof Penderecki, whose viola concerto he has performed many times with the composer on the podium

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Recipient of the Regional Theatre Tony Award ®

The Flying dutchman Wagner

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


OCT 2017

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Recipient of the Regional Theatre Tony Award®


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MEET THE ARTISTS and whose double concerto he premiered in the United States; and Edison Denisov who invited Díaz to Moscow to work on his viola concerto. Ricardo Lorenz, Roberto Sierra and Jennifer Higdon have all written concerti for Díaz. In addition to his decade-long tenure with the Philadelphia Orchestra, where he performed the entire standard viola concerto repertoire and gave a number of Philadelphia Orchestra premieres, Díaz was Principal Viola of the National Symphony under Mstislav Rostropovich, a member of the Boston Symphony under Seiji Ozawa, and a member of the Minnesota Orchestra under Sir Neville Marriner. Díaz plays the ex-Primrose Amati viola.



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he Orchestra donor list includes Annual Fund donations made June 1, 2017 – October 29, 2018. This distinguished roster represents those among the Atlanta Symphony Orchestra family who wish to honor the transformative power of music—whether experienced during a one-time performance or over the course of a lifetime. Their collective generosity sustains the Orchestra’s ability to present musically-infused educational experiences for local schools, build community both on stage and across audiences, and remain a beacon of Atlanta’s cultural legacy and future innovation. On behalf of your Atlanta Symphony Orchestra—musicians, volunteers, and staff—we thank each of you for dedicating these vital contributions to the music and programming we work so passionately to create and share. $1,000,000

Delta Air Lines, Inc.


Mrs. Anne Cox Chambers


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

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


Susan & Richard Anderson Mary & Jim Rubright

Susan & Thomas Wardell


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

Mr. & Mrs.** Bradley Currey, Jr. Ms. Lynn Eden Four Seasons Hotel Atlanta The Graves Foundation


The Antinori Foundation Farideh & Ali Azadi Foundation, Inc.

National Endowment for the Arts Victoria & Howard Palefsky

62 | @AtlantaSymphony |

APPASSIONATO We are extremely grateful for donors who give to the Annual Fund and Gala at the Appassionato level ($10,000+). These notable supporters are granted all the benefits of Patron Partnership, as well as advance notification of concerts and exclusive ticket offers through the season, VIP parking in the Woodruff Arts Center garage ($15,000+), concert dedication opportunities ($25,000+), and more. For further information about Appassionato, contact the Development Office at 404.733.5048. $25,000+

Georgia Council for the Arts The Hertz Family Foundation, Inc. Kero-Jet Ken & Carolyn Meltzer Ms. Molly Minnear Moore Colson, CPAs & Bert & Carmen Mills Caroline & Joe O’Donnell David & Mary Scheible Ross & Sally Singletary Adair & Dick White Mrs. Sue S. Williams

Marcia & John Donnell Mr. Richard H. Delay & Dr. Francine D. Dykes Eleanor & Charles Edmondson Eversheds Sutherland (US) LLP Paul & Carol Garcia The Robert Hall Gunn, Jr., Fund Georgia-Pacific Georgia Natural Gas Roya & Bahman Irvani Clay & Jane Jackson Ann A. & Ben F. Johnson, III $15,000+ Anne & Mark Kaiser Madeline & Howell E. Mr. & Mrs. William K. Adams, Jr. Kapp, Jr. Mr. Keith Adams & Anne Morgan & Jim Kelley Ms. Kerry Heyward King & Spalding Juliet & John Allan Pat & Nolan Leake Rita & Herschel Bloom John F. & Marilyn M. Mr. David Boatwright McMullan The Breman Walter W. Mitchell Foundation, Inc. The Monasse Family Janine Brown & Foundation Alex J. Simmons, Jr. Dr. & Mrs. Ebbie & The John W. & Ayana Parsons Rosemary K. Brown Suzanne & Bill Plybon Family Foundation $10,000+ Mr. Andrew Saltzman The Capital Group A Friend of Companies Charitable Pierette Scanavino the Symphony (2) Foundation Mr. John A. Sibley III Aadu & Kristi Allpere* Cari K. Dawson & In memory of Leigh Baier Dr. Steven & Lynne John M. Sparrow Steindel* Henry F. Anthony & Carol Russell Currey & Peter James Stelling R. Geiger Amy Durrell Alison & Joe Thompson Julie & Jim Balloun Donna Lee & Howard Ehni The Trapp Family Bell Family Foundation Ms. Angela L. Evans Turner Foundation, Inc. Mr. Benjamin Q. Brunt & Fifth Third Bank United Distributors Ms. Catherine Meredith Carl & Sally Gable Chilton & Morgan Varner Walter & Frances Dick & Anne Game Kathy Waller & Kenneth Bunzl Foundation Georgia Power Goggins John W. Cooledge $17,500+ Foundation, Inc. Mark & Rebekah Correll Family Pinney L. Allen & Jeannette Guarner, MD & Foundation, Inc. Wasserman Charles C. Miller III Carlos del Rio, MD Cheryl & Chris Bachelder Janet Davenport, in honor Mrs. Virginia S. Williams Jason & Carey Guggenheim/ of Norman Mackenzie Ms. Joni Winston Mr. & Mrs. Paul J. Blackney Boston Consulting Group Wright & Alison Caughman A Friend of the Symphony (2) Alston & Bird Paul & Linnea Bert Connie & Merrell Calhoun CBH International, Inc City of Atlanta Office of Cultural Affairs Jim Cox, Jr. Foundation The Roy & Janet Dorsey Foundation Betty Sands Fuller Fulton County Arts & Culture Mr. & Mrs. Gary Lee, Jr. Hank Linginfelter Charles H. Loridans Foundation The Marcus Foundation, Inc. Massey Charitable Trust Janice Murphy** Sally & Peter Parsonson Terence L. & Jeanne Perrine Neal* Porsche Cars North America, Inc. Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. Bill & Rachel Schultz* Mrs. Charles A. Smithgall, Jr. Mr. G. Kimbrough Taylor & Ms. Triska Drake Turner The UPS Foundation Patrick & Susie Viguerie Ann Marie & John B. White, Jr.*

Joe Hamilton Bonnie & Jay Harris Kimberly-Clark Foundation D. Kirk & Kimberlee Jamieson Brian & Carrie Kurlander James H. Landon Dr. Ginger Chen & Mr. Sukai Liu Meghan & Clarke Magruder John & Linda Matthews Lynn & Galen Oelkers Martha M. Pentecost Jennifer Barlament & Kenneth Potsic Patty & Doug Reid Joyce & Henry Schwob June & John Scott Charlie & Donna Sharbaugh Slumgullion Charitable Fund Amy & Paul Snyder Elliott & Elaine Tapp Carol & Ramon Tomé Family Fund John & Ray Uttenhove Mr. James Wells & Mrs. Susan Kengeter Wells

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. | Atlanta’s Performing Arts Publication 63


Helga Beam vice chair , solicitation Deedee Hamburger vice chair , programs

Belinda Massafra Judy Hellriegel vice chair , cultivation solicitation committee June Scott Milt Shlapak vice chair , communications member - at - large Bill Buss Peter Stelling

Sally Parsonson

cultivation committee

solicitation committee

programs committee

cultivation committee

Marcia Watt communications committee

Jonne Walter

Pat Buss cultivation committee

THE PATRON PARTNERSHIP We extend deep gratitude to all members who give to the Annual Fund at the Patron Partnership level ($2,000 - $9,999). These sustaining supporters enjoy exclusive invitations to post-concert Symphony Nightcaps, complimentary access to private dining in the Robert Shaw Room ($2,500+), and invitations to A Seat with the Symphony On-Stage Rehearsals ($5,000+). For more information about Patron Partnership, contact the Development Office at 404.733.4839. $7,500+

Sally W. Hawkins Azira G. Hill Tad & Janin Hutcheson Robert & Sherry Johnson Paul & Rosthema Kastin Peter & Vivian de Kok Mr. & Mrs. J. Hicks Lanier Mr. & Mrs. Theodore J. Lavallee, Sr. Isabel Lamy Lee Elizabeth J. Levine Peg & Jim Lowman $5,000+ Mr. & Mrs. Brian F. A Friend of McCarthy the Symphony (3) William & Gloria Allgood Mary Ruth McDonald Mr. & Mrs.** Peter Lisa & Joe Bankoff Moraitakis Jack & Helga Beam Franca G. Oreffice Patricia & William Buss Ms. Margaret Painter Cadillac Margaret H. Petersen Robert Wenger & The Hellen Ingram Susan Carney Plummer Charitable Ruth & Mark Coan Foundation, Inc. William & Patricia Cook Mr. Leonard B. Reed* Mr. & Mrs. Jonathan J. Mr. & Mrs. Joel F. Reeves Davies Mrs. Vicki J. Riedel Carol Comstock & Mrs. Robin Rodbell Jim Davis* Mr. Joseph A. Roseborough Ms. Diane Durgin Ellen & Howard Feinsand John T. Ruff Mr. & Mrs. William A. Flinn The Selig Foundation Hamilton & Mason Smith Mary & Charles Ginden Mrs. C. Preston Stephens Mr. & Mrs. Richard John & Yee-Wan Stevens Goodsell Mr. & Mrs. Joshua Harbour Mr. & Mrs. Edward W. Stroetz, Jr. Mr. & Mrs. Charles B. Burton Trimble Harrison Lisa & Russ Butner Deedee & Marc Hamburger* Mr. Randolph J. Koporc The Piedmont National Family Foundation Betsy & Lee Robinson Mr. Jeffrey C. Samuels & Ms. Amy Levine-Samuels Beverly & Milton Shlapak

Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk In memory of Dr. Frank S. Pittman III S.A. Robinson M. & Ann Shearer Suzanne Shull Stephen & Sonia Swartz George & Amy Taylor Dale L. Thompson $3,500+ Drs. Jonne & Paul Walter Dr. Evelyn R. Babey Jacqueline A. & Joseph E. David & Martha West Mr. & Mrs. M. Beattie Brown, Jr. Wood Mr. & Mrs. Dennis M. Camille W. Yow Chorba Sally & Larry Davis $2,000+ Mr. Richard Dowdeswell A Friend of the Symphony (5) Greg & Debra Durden Dr. & Mrs. Carl D. Fackler Mr. & Mrs. Jan Abernathy Drs. John & Gloria Gaston Ms. Amy Gerome-Acuff & Mr. Daniel Acuff Carol G. & Larry L. Kent & Diane Alexander Gellerstedt III Mr. & Mrs. Stephen D. James & Bridget Horgan Ambo Dr. Michael D. Horowitz Mr. James L. Anderson Donald S. Orr & Marcia K. Knight The Hisham & Nawal Araim Foundation Lillian Balentine Law Scott & Chris Arnold Deborah & William Liss Ms. Susan Ascheuer-Funke Belinda & Gino Massafra Mr. Joel Babbit Mr. Bert Mobley Richard K. & Diane Babush Mr. Lonnie Johnson & Mrs. Linda A. Moore Xavier Duralde & Mary Barrett Judge Jane Morrison Mr. & Mrs. Patrick Battle Michael & Carol Murphy Ms. Sheila Tschinkel Alan & Marcia Watt Dr. & Mrs. James O. Wells, Jr. Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr. Suzanne B. Wilner Mr. Baxter P. Jones & Dr. Jiong Yan Mr. & Mrs. Comer Yates

64 | @AtlantaSymphony |

Mr. & Mrs. Billy Bauman Dr. & Mrs. Joel E. Berenson Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower Martha S. Brewer Ms. Harriet Evans Brock Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Karen & Rod Bunn Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Ronald E. Canakaris Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Ralph & Rita Connell Jean & Jerry Cooper Jonathan & Rebekah Cramer Susan & Ed Croft Mr. & Mrs. Erik Curns Mr. & Ms. Jay M. Davis Mr. & Mrs. Donald Defoe Mr. Philip A. Delanty Mary & Mahlon Delong Mr. & Mrs. James Durgin Mr. & Mrs. Robert G. Edge Mr. & Mrs. David H. Eidson Dieter Elsner George T. & Alecia H. Ethridge Mr. & Mrs. Craig Fleming Mr. & Mrs. Bruce W. Flower Anthony Barbagallo & Kristen Fowks Viki & Paul Freeman Raj & Jyoti Gandhi Family Foundation Representative Pat Gardner & Mr. Jerry Gardner

Mr. & Mrs. Edward T.M. Garland Mary D. Gellerstedt Sally & Walter George Caroline M Gilham Marty & John Gillin* Spencer Godfrey Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mrs. Louise Grant Lauren & Jim Grien Mr. & Mrs. George Gunderson Barbara & Jay Halpern Phil & Lisa Hartley John & Martha Head Mr. & Mrs. John Hellriegel Kenneth R. Hey Thomas High Sarah & Harvey Hill Mr. Ron Hilley & Mrs. Mia Frieder Hilley Mr. & Mrs. Thomas M. Holder Laurie House Hopkins & John D. Hopkins Mrs. Sally Horntvedt Dr. Michael D. Horowitz Drs. Patricia & Roger J. Hudgins Dona & Bill Humphreys Mrs. James M. Hund JoAnn Hall Hunsinger The Hyman Foundation Mr. & Mrs. Phil S. Jacobs Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Bucky & Janet Johnson Robert N. Johnson, Esq. - Shareholder, Baker Donelson Law Firm Mr. W. F. & Dr. Janice Johnston William L. & Sally S. Jorden Mr. Terence M. Colleran & Ms. Lim J. Kiaw

Ann T. Kimsey Mrs. Jo W. Koch David & Jill Krischer Wolfgang & Mariana Laufer Mr. & Mrs. Van R. Lear Olivia A. M. Leon Eddie & Debbie Levin Mr. & Mrs. Bertram L. Levy Mr. & Mrs. J. David Lifsey Joanne Lincoln** Mr. & Mrs. Frederick C. Mabry Mr. Gary Madaris Kay & John T. Marshall Charles Bjorklund & Sted Mays Martha & Reynolds McClatchey Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Mr. & Mrs. Ed Mendel , Jr. Mr. & Mrs. Tom Merkling* Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Dr. Mary G. George & Mr. Kenneth Molinelli Charles & Sally Morn Ms. Susan R. Bell & Mr. Patrick M. Morris Janice & Tom Munsterman Ann A. Nable Melanie & Allan Nelkin Gary R. Noble Barbara & Sanford Orkin Mr. & Mrs. E. Fay Pearce, Jr.* Ms. Susan Perdew Elise T. Phillips Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. Ms. Kathy Powell Mr. Walter Pryor Ms. Cathleen Quigley Ms. Eliza Quigley

Mrs. Susan H. Reinach Dr. Fulton D. Lewis III & S. Neal Rhoney Jay & Arthur Richardson Susan Robinson & Mary Roemer Jan Lyons Robison Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. Mark Rosenberg Jane & Rein Saral Emily Scheible Dr. Andrew Muir & Dr. Bess Schoen Mrs. William A. Schwartz Mr. & Mrs. Martin Shapiro Nick & Annie Shreiber Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Mark & Linda Silberman Mr. K. Douglas Smith Baker & Debby Smith Johannah Smith Ms. Martha Solano Dr. Daniel Blumenthal & Dr. Marjorie Speers Dr. Odessa K. Spraggins Mr. & Mrs. Raymond F. Stainback, Jr. Lou & Dick Stormont Mr. Phillip Street Kay & Alex Summers Judith & Mark K. Taylor Vogel Family Foundation Carol Brantley & David Webster Dr. Nanette K. Wenger David & Martha West Sally Stephens Westmoreland Ron & Susan Whitaker Russell F. Winch Herbert & Grace Zwerner Mrs. Frank L. Wilson, Jr.

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased | Atlanta’s Performing Arts Publication 65


Jill** & Jennings** Hertz Mr. Albert L. Hibbard Richard E. Hodges Mr. & Mrs. Planned Giving Society Charles K. Holmes, Jr. Named for the Atlanta Symphony Mr.** & Mrs. Fred A. Hoyt, Jr. Orchestra’s founding Music Director, Jim** & Barbara Hund the HENRY SOPKIN CIRCLE celebrates Clayton F. Jackson cherished individuals and families who Mary B. James have made a planned gift to the Atlanta Mr. Calvert Johnson & Symphony Orchestra. These special Mr. Kenneth Dutter donors preserve the Orchestra’s deForest F. Jurkiewicz** foundation and ensure success Herb** & Hazel Karp Anne Morgan & for future generations. Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell Anonymous (21) Mr. & Mrs. William R. Paul Kniepkamp, Jr. Cummickel Madeline & Howell E. Miss Florence Kopleff** Adams, Jr. John R. Donnell Mr. Robert Lamy Mr.** & Mrs. Dixon W. Driggs** John E. Aderhold Pamela Johnson Drummond James H. Landon Ouida Hayes Lanier Mr. & Mrs. Mrs. Kathryn E. Duggleby Ronald R. Antinori Catherine Warren Dukehart Lucy Russell Lee & Gary Lee, Jr. Dr. & Mrs. William Bauer Ms. Diane Durgin Ione & John Lee Mr. Charles D. Belcher** Mr. Richard H. Delay & Dr. Mr. Larry M. LeMaster Neil H. Berman Francine D. Dykes Mr.** & Mrs.** Susan & Jack Bertram Arnold & Sylvia Eaves William C. Lester Mr.** & Mrs.** Mr. & Mrs. Liz & Jay** Levine Karl A. Bevins Robert G. Edge Robert M. Lewis, Jr. The Estate of Donald S. & Elizabeth Etoll Carroll & Ruth Liller Joyce Bickers Mr. Doyle Faler Ms. Joanne Lincoln** Mr.** & Mrs. Sol Blaine Brien P. Faucett Jane Little** Rita & Herschel Bloom Dr. Emile T. Fisher Mrs. J. Erskine Love, Jr. The Estate of Mrs. Moniqua N Fladger Gilbert H. Boggs, Jr. Mr. & Mrs. Bruce W. Flower Nell Galt & Will D. Magruder K Maier W. Moses Bond A. D. Frazier, Jr. John W. Markham Mr.** & Mrs. Nola Frink Robert C. Boozer Mrs. Ann B. Martin Betty & Drew** Fuller Elinor A. Breman** Linda & John Matthews Sally & Carl Gable James C. Buggs** Mr. Michael A. William & Carolyn Gaik McDowell, Jr. Mr. & Mrs.* Mr.** & Mrs. Richard H. Burgin Dr. Michael S. McGarry L.L. Gellerstedt, Jr. Hugh W. Burke Richard & Shirley McGinnis Ruth Gershon & Mr. & Mrs. William Buss John & Clodagh Miller Sandy Cohn Wilber W. Caldwell Ms. Vera Milner Micheline & Bob Gerson Mr. & Mrs. C. Merrell Mrs. Gene Morse** Mr. & Mrs. John T. Glover Calhoun Ms. Janice Murphy** Mrs. David Goldwasser Cynthia & Donald Carson Robert Hall Gunn, Jr., Fund Mr. & Mrs. Mrs. Jane Celler** Stephen L. Naman Billie & Sig Guthman Lenore Cicchese** Mr. & Mrs. Bertil D. Nordin Betty G. ** & Margie & Pierce Cline Mrs. Amy W. Norman** Joseph** F. Haas Dr. & Mrs. Grady S. Galen Oelkers James & Virginia Hale Clinkscales, Jr. Roger B. Orloff Ms. Alice Ann Hamilton Robert Boston Colgin Dr. Bernard** & Dr. Charles H. Hamilton Mrs. Mary Frances Sandra Palay Sally & Paul** Hawkins Evans Comstock** Sally & Pete Parsonsons John & Martha Head Miriam** & John A.** Dan R. Payne Ms. Jeannie Hearn** Conant Barbara & John Henigbaum Bill Perkins

Mrs. Lela May Perry** Mr.** & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Ms. Judy L. Reed** Carl J. Reith** Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Bill & Rachel Schultz* Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs** Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel** Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling Ms. Barbara Stewart C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.** & Mrs.** Charles R. Yates

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

66 | @AtlantaSymphony |

The Atlanta Symphony Orchestra, under the Woodruff Arts Center, is a 501c3 nonprofit organization. Federal Tax ID: 58-0633971

To learn more about creating your ASO legacy, please contact Elizabeth Arnett, Director of Development at 404.733.5048 or Elizabeth.Arnett@

Tapas ~ Small Dinner Plates Authentic Moroccan Cuisine Nightly Entertainment 2285 Peachtree Road, NE, Atlanta, GA 30309 (404) 351-0870 68 | @AtlantaSymphony |

THE WOODRUFF CIRCLE 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 partners who lead our efforts to ensure the arts thrive in our community.



$500,000+ A Friend of the Atlanta Symphony Orchestra (2) Bank of America Chick-fil-A Foundation | Rhonda and Dan Cathy The Community Foundation for Greater Atlanta Mr. and Mrs.* Bradley Currey, Jr. Douglas J. Hertz Family Foundation Ms. Lynn Eden Forward Arts Foundation Georgia Power Foundation, Inc. The Home Depot Foundation

The Marcus Foundation, Inc. Sarah and Jim Kennedy SunTrust Teammates SunTrust Foundation SunTrust Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust The Zeist Foundation

$400,000+ Abraham J. & Phyllis Katz Foundation

PwC, Partners & Employees

$300,000+ EY, Partners & Employees King & Spalding, Partners & Employees KPMG LLP, Partners & Employees Lucy R. and Gary Lee, Jr. The Rich Foundation

The Sara Giles Moore Foundation Spray Foundation, Inc. UPS Mr. and Mrs. Leonard Wood

$250,000+ Invesco Ltd. Victoria and Howard Palefsky Pussycat Foundation

Louise S. Sams and Jerome Grilhot Turner

Contributions Made: June 1, 2017 – May 31, 2018 Beauchamp C. Carr Challenge Fund Donors *Deceased | Atlanta’s Performing Arts Publication 69


The Patron Circle includes donors who generously made contributions of $15,000 or more enterprise-wide.

Contributions Made: June 1, 2017 – May 31, 2018 | Beauchamp C. Carr Challenge Fund Donors | * Deceased

$200,000+ The Andrew W. Mellon Foundation Deloitte, its Partners & Employees Beth and Tommy Holder Mr. and Mrs. Solon P. Patterson Patty and Doug Reid The Sartain Lanier Family Foundation The Shubert Foundation

$150,000+ Madeline and Howell E. Adams, Jr. Alston & Bird Amy W. Norman Charitable Foundation Sandra and Dan Baldwin Dan and Merrie Boone Foundation / Dan W. Boone III The David, Helen & Marian Woodward Fund George M. Brown Trust Fund Georgia Natural Gas PNC Garnet and Dan Reardon Mr. and Mrs. Fred Richman Susan and Tom Wardell Wells Fargo

$100,000+ 1180 Peachtree Lauren Amos The Antinori Foundation / Ron and Susan Antinori Atlanta Homes & Lifestyles Atlantic Station Kathy and Ken Bernhardt Carol and Ramon Tomé Family Fund Barbara and Steve Chaddick Ann and Tom Cousins Crawford & Company First Data Corporation Sally and Carl Gable Georgia-Pacific Nena C. Griffith John H. & Wilhelmina D. Harland Foundation Jones Day Foundation & Employees Kaiser Permanente Kilpatrick Townsend Merrill Lynch National Endowment for the Arts Neiman Marcus Beth and David Park Revlon, Inc. Mr. Jim Richman Judith and Mark Taylor WestRock Company The Woodruff Arts Center Employees

$75,000+ Susan and Richard Anderson Arnall Golden Gregory LLP The Arthur M. Blank Family Foundation

City of Atlanta Mayor’s Office of Cultural Affairs Melinda and Brian Corbett Equifax Inc. Fulton County Board of Commissioners Google Mr. Kenneth Haines The Imlay Foundation Legendary Events Mr. and Mrs. Al Longman Massey Charitable Trust Merry McCleary and Ann Pasky Novelis, Inc. Publix Super Markets Charities

Margaret and Bob Reiser The Selig Foundation: Linda & Steve Selig and Cathy & Steve Kuranoff Mr. and Mrs. Marc Skalla Sara and Paul Steinfeld Margaret and Terry Stent Mr. Les Stumpff and Ms. Sandy Moon Mr.* and Mrs. Edus H. Warren, Jr. Dr. Stephen Wells and Mr. Wil Hackman Rod Westmoreland


A Friend of the Alliance Theatre & Woodruff Arts Center ABM The Allstate Foundation Arby’s Foundation Spring and Tom Asher Assurant Atlanta Beverage Company Atlanta Marriott Marquis Farideh and Al Azadi The Balloun Family Barbara and Ron Balser Lisa and Joe Bankoff Anna and Ed Bastian BB&T Mr. and Mrs. Paul Bert Jane and Dameron Black Mr. and Mrs. Paul J. Blackney Nancy and Kenny Blank Stephanie Blank-Jomaky BlueCross BlueShield of Georgia BNY Mellon Wealth Management The Boston Consulting Group Lee Ann and Terry Broscher Janine Brown and Alex J. Simmons, Jr. Lucinda W. Bunnen Frances B. Bunzl/The Walter & Frances Bunzl Foundation Mr. and Mrs. C. Merrell Calhoun Mr. and Mrs. Anthony Catalfano The Charles Loridans Foundation, Inc. Colliers International Cousins Properties Ann and Jeff Cramer Erica and David Cummings Mr. and Mrs. Tye G. Darland Marcia and John Donnell Mrs. Sarah A. Eby-Ebersole and Mr. W. Daniel Ebersole Abby and Matt Echols Mr. and Mrs. Mark A. Eden Ms. Angela L. Evans Ellen and Howard Feinsand Flavors Magazine Betty Sands Fuller Peggy Foreman Frances Wood Wilson Foundation Doris and Matthew Geller

A Friend of the High Museum of Art A Friend of The Woodruff Arts Center Mr. and Mrs. Henry Aaron Aarati and Peter Alexander AT&T Bloomberg Philanthropies Mr. and Mrs. James A. Carlos Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Sherri and Jesse Crawford DS Services Ed and Claude Fortson Charitable Trust Eversheds, Partners & Employees Katie and Reade Fahs Four Seasons Hotel Atlanta The Fraser-Parker Foundation Mr. Martin Gatins General Electric Company Genuine Parts Company Sara Goza The Graves Foundation The Partners & Employees of GreenSky, LLC/David Zalik, CEO & Chairman/Gerry Benjamin, Vice Chairman Allison and Ben Hill Holder Construction Company The Howell Fund, Inc. Mr. and Mrs. Hilton H. Howell, Jr. Karen and Jeb Hughes Intercontinental Exchange, Inc. JLL Mr. and Mrs. Michael L. Keough Mr. Joel S. Knox and Ms. Joan Marmo Ms. Nina Lesavoy The MAGNUM Companies Morris Manning & Martin LLP The Naserian Foundation Norfolk Southern Foundation Northwestern Mutual Goodwin, Wright/ Northwestern Benefit/ Bert and Cathy Clark Mr. and Mrs. Michael Plant The Primerica Foundation R. Howard Dobbs, Jr. Foundation Regions Bank


70 | @AtlantaSymphony |

Mr. and Mrs. Lawrence L. Gellerstedt III Geographics, Inc. Georgia Council for the Arts Shearon and Taylor Glover GMT Capital Corporation Goldman Sachs Carolyn and David Gould Nancy and Holcombe Green Susan and James B. Hannan The Harold and Mimi Steinberg Charitable Trust Nancy and Charles Harrison Virginia Hepner and Malcolm Barnes Mr. Wayne S. Hyatt IHG Jane and Clayton Jackson The Jim Cox, Jr. Foundation The John W. and Rosemary K. Brown Family Foundation Andrea and Boland Jones Anne and Mark Kaiser John C. Keller Mr. and Mrs. Michael A. Klump Hank Linginfelter Livingston Foundation, Inc. Lockheed Martin Kelly Loeffler and Jeffrey Sprecher MAP Fund The Mark and Evelyn Trammell Foundation MaxMedia Margot and Danny McCaul Mr. and Mrs. Forrest McClain Sally and Allen McDaniel McKenney’s Inc. Mr. and Mrs. John F. McMullan MetLife The Michael and Andrea Leven Family Foundation Judy Zaban Miller and Lester Miller Mrs. Nancy Montgomery Starr Moore and the James Starr Moore Memorial Foundation Moore Stephens Tiller Mr. and Mrs. James H. Morgens Moxie Ms. Janice Murphy* NCR Foundation Nelson Mullins Northern Trust Northside Hospital O. Wayne Rollins Foundation Lynn and Galen Oelkers Oxford Industries Martha M. Pentecost Susan and David Peterson Porsche Cars North America Alessandra and Elton Potts Printpack Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Mr. and Mrs. Robert Reeves Mr. and Mrs. Gregory K. Rogers

$25,000 + CONTINUED The Roy and Janet Dorsey Foundation Mary and Jim Rubright Ryder Truck Rental, Inc. Saks Fifth Avenue The Sally & Peter Parsonson Foundation SCANA Energy Rachel and Bill Schultz Joyce and Henry Schwob Bijal Shah and Doug Shipman Mr. and Mrs. Ross Singletary II Skanska Smith & Howard, PC Mrs. Lessie B. Smithgall Southwire Company Mr. G. Kimbrough Taylor and Ms. Triska Drake Lisa Cannon Taylor and Chuck Taylor Tents Unlimited Troutman Sanders U.S. Trust United Distributors, Inc. Mr. Brandon Verner Susie and Patrick Viguerie Kathy N. Waller Rebekah and Mark Wasserman Mr. and Mrs. Brad L. Watkins Ann Marie and John B. White, Jr. Elizabeth and Chris Willett Mrs. Sue S. Williams Wilmington Trust Suzanne B. Wilner Jan and Greg Winchester Ellen and John Yates

$15,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the High Museum of Art A Friend of The Woodruff Arts Center (2) AAA Parking Kristie and Charles Abney Acuity Brands, Inc. Keith Adams and Kerry Heyward Robin Aiken and Bill Bolen Akris Mr. and Mrs. John M. Allan Allied Universal Altria Client Services, Inc. American Express Mr. James L. Anderson Yum and Ross Arnold Wendy and Neal Aronson Ms. Evelyn Ashley and Mr. Alan McKeon Juanita and Gregory Baranco Jennifer Barlament and Kenneth Potsic Mr. and Mrs. Joseph F. Best III Nancy and Phil Binkow Laura and Stan Blackburn The Blanche Lipscomb Foundation Mrs. Stephanie Blomeyer Rita and Herschel Bloom Mr. David Boatwright Susan V. Booth and Max Leventhal Lisa and Jim Boswell The Breman Foundation, Inc.

Ron and Lisa Brill Brown & Brown Insurance, Inc. Bryan Cave Leighton Paisner Ms. Mary Cahill and Mr. Rory Murphy Camp-Younts Foundation The Capital Charities Group Companies Charitable Foundation Mr. and Mrs. Jeffrey S. Cashdan Wright and Alison Caughman CBH International, Inc. Center Family Foundation The Chatham Valley Foundation, Inc. Children’s Healthcare of Atlanta Choate Construction Chubb CIBC Private Wealth Management Susan and Carl Cofer Ann and Steve Collins Costco Wholesale Charlene Crusoe-Ingram and Earnest Ingram Rebecca and Chris Cummiskey Russell Currey and Amy Durrell Cheryl Davis and Kurt Kuehn Cari Dawson and John Sparrow Mr. and Mrs. Jeffrey A. DeHart Dennis Dean Catering Mr. and Mrs. Richard A. Denny, Jr. Dewberry Capital Mr. and Mrs. William W. Dixon Suzanne and Randal Donaldson Margaret and Scott Dozier DPR Construction Diane Durgin Eagle Rock Distributing Company Mr. and Mrs. Roderick Edmond Mr. Fredric M. Ehlers and Mr. David Lile Virginia and Brent Eiland Mr. and Mrs. Gordon Ely-Kelso Fifth Third Bank Jennifer and Marty Flanagan Gertrude and William C. Wardlaw Fund Marsha and Richard Goerss Mr. and Mrs. Richard Goodsell Graphic Packaging International, Inc. Jeannette Guarner, MD and Carlos del Rio, MD Jason and Carey Guggenheim/ Boston Consulting Group Gulfstream Aerospace Corporation Mr. Patrick J. Gunning Joe Hamilton Mr. and Mrs. Tom Harbin Bonnie and Jay Harris Mr. and Mrs. Greg Henry Mr. and Mrs. Jack K. Holland Jocelyn J. Hunter Mr. and Mrs. Bahman M. Irvani

Mr. and Mrs. E. Neville Isdell Phil and Jenny Jacobs D. Kirk and Kimberlee Jamieson Liza and Brad Jancik Lou Brown Jewell John and Mary Franklin Foundation Ann A. and Ben F. Johnson III Mary and Neil Johnson Sam Johnson Mr. Baxter P. Jones and Dr. Jiong Yan JP Morgan Private Bank Mr. James F. Kelley and Ms. Anne H. Morgan Philip I. Kent Kero-Jet Kimberly-Clark Malinda and David Krantz Carrie and Brian Kurlander Louise and E.T. Laird Dr. and Mrs. Scott I. Lampert James H. Landon Donna Lee and Howard Ehni Renee and Alan D. Levow Barbara W. and Bertram L. Levy Mr. Sukai Liu and Dr. Ginger J. Chen Ms. Jackie Lunan Lyft Macy’s Meghan and Clarke Magruder Dr. and Mrs. Steven Marcet Larry and Lisa Mark Ms. Barbara L. Matlock Mr. Kenneth H. and Dr. Carolyn C. Meltzer Anna and Hays Mershon Ms. Molly Minnear Hala and Steve Moddelmog Phil and Caroline Moïse Moore Colson, CPAs & Bert & Carmen Mills Morgan Stanley - Private Wealth Management Terence L. and Jeanne P. Neal Ms. Maripat Newington Noble Investment Group North Highland Caroline and Joe O’Donnell Gail O’Neill and Paul E. Viera Barbara and Sanford Orkin Vicki and John Palmer Karen and Richard Parker Perkins+Will Piedmont Charitable Foundation, Inc. The Piedmont National Family Foundation Suzanne and Bill Plybon Mr. Marc Pollack and Mrs. Robin Pollack Ponce City Market Porter Novelli Public Relations Portman Holdings Sandra and Larry Prince PulteGroup, Inc. Mr. and Mrs. Peter Quinones Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. William C. Rawson Redline Property Partners, LP Mr. and Mrs. Jonas Reisinger The Robert Hall Gunn, Jr. Fund

Mr. and Mrs. Sidney Rodbell Mr. and Mrs. William H. Rogers, Jr. Patricia and Maurice Rosenbaum Dr. and Mrs. Arnold B. Rubenstein Jack Sawyer and Dr. Bill Torres Mr. and Mrs. Derek Schiller Marci Schmerler and Walter W. Mitchell June and John Scott Seefried Industrial Properties ServiceNow Dr. and Mrs. Jeffrey Shapiro Mr. and Mrs. Charles Sharbaugh Dean DuBose and Bronson Smith Mr. and Mrs. E. Kendrick Smith Dr. and Mrs. Dennis Lee Spangler Karen and John Spiegel Gail and Loren Starr Dr. Steven and Lynne Steindel Charlita Stephens-Walker and Delores Stephens Edward Stephenson and Mo Akbar Michelle and Stephen Sullivan Surya Synovus Mr. Hugh M. Tarbutton , Jr. Thalia & Michael C. Carlos Foundation Thomas H. Lanier Family Foundation Lizanne Thomas and David Black Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Total Wine & More The Trillist Companies, Inc. & Yoo on the Park UBS Financial Services Inc. John and Ray Uttenhove Mr. and Mrs. K. Morgan Varner III Vine Vault Mr. and Mrs. William F. Voyles Kim and Reggie Walker Weber Shandwick Dr. James Wells and Mrs. Susan Kengeter Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Sue and John Wieland James B. and Betty A. Williams Richard Williams and Janet Lavine Willis Towers Watson Ms. Joni Winston Diane Wisebram and Edward D. Jewell Adair and Dick White Worldpay US, Inc. Paul Wrights WXIA-TV, 11Alive J. Comer Yates Mary and Bob Yellowlees Amy and Todd Zeldin | Atlanta’s Performing Arts Publication 71

ASO | TICKET INFO CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.

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

SINGLE TICKETS Call 404.733.5000. Tue - Sat: noon – 6pm; Sun: noon – 5pm. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final.

GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.

WWW.ATLANTASYMPHONY.ORG 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.

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

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 to make advance arrangements: 404.733.5000. 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.

IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info)


Symphony Hall Box Office


Ticket Donations/Exchanges


Subscription Information/ Sales


Group Sales


Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Symphony Store


Donations & Development


72 | @AtlantaSymphony |



FEB 14/16





Classical season presented by

FEB 21/23 | Atlanta’s Performing Arts Publication 73

ASO | STAFF EXECUTIVE Jennifer Barlament

senior director of

senior director


atlanta symphony

of marketing

senior director of

hall live



Lisa Eng

KC Commander


multimedia creative

digital marketing



Christine Lawrence

Elizabeth Daniell

box office manager


Joanne Lerner


Tiffany I. M. Jones

event coordinator

Adam Fenton

managing producer of

chief financial officer

Clay Schell

director of multimedia

Kim Hielsberg


executive director

Stephanie Smith executive assistant

Alvinetta CookseyWyche executive services office assistant


senior director of financial planning



V.S. Jones




- aso & live Robert Phipps


Shannon McCown

Elizabeth Arnett

office manager

director of

publications director

Brandi Reed


William Strawn

staff accountant

Nancy Field

associate marketing

April Satterfield

manager of grants

ARTISTIC Evans Mirageas vice president for artistic planning

Jeffrey Baxter choral administrator

Cynthia Harris artist liaison

Christopher McLaughlin manager of artistic administration

Ken Meltzer program annotator

Carol Wyatt

William Keene manager of individual giving

Gillian Kramer manager of special initiatives

Terra McVoy manager of development operations



senior director of sales




Adrienne Thompson manager, talent development program

Tyrone Webb manager of education

& community Ryan Walks


tdp anniversary coordinator

OPERATIONS Sameed Afghani general manager

Paul Barrett senior production

Melanie Kite

stage manager

ticketing director

Tyler Benware

Pam Kruseck

operations manager

director of patron

Megan Brook


personnel assistant




Jesse Pace

Joseph Brooks assistant stage

patron services



Richard Carvlin

Robin Smith patron services




education concerts


to the music director principal guest



executive assistant



manager of family

symphony store


symphony youth

Ruthie Miltenberger

director of marketing


Kaitlin Gress manager, atlanta

Caitlin Hutchinson Natcha McLeod



technology marketing coordinator

vice president of


season tickets

Christopher Stephens group & corporate sales manager

Caroline Tanner patron services assistant

74 | @AtlantaSymphony |

stage manager

Robert Darby stage technician

Bob Scarr archives program manager

Daniel Stupin stage technician


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.

ARTSATL | Atlanta’s Performing Arts Publication 75

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76 | @AtlantaSymphony |

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