ASO ENCORE :: Atlanta Symphony Orchestra :: March 2019

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2019/20 SEASON

MAR 2019 | Atlanta’s Performing Arts Publication C1

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14 Cause for Celebration Unveiling the Atlanta Symphony Orchestra’s 75th Season By Mark Gresham

6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 ASO Musicians 24 Concert Program & Notes 78 ASO Support 88 Ticket Info/General Info 90 ASO Staff

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PRODUCTION MANAGER Mark F Baxter DIGITAL MANAGER Ian Carson CONTRIBUTING WRITER Kathy Janich, Therra Gwyn Jaramillo ENCORE ATLANTA is published monthly by American Media Products Inc. PRESIDENT Tom Casey CHAIRPERSON Diane Casey GENERAL MANAGER Claudia Madigan CONTROLLER Suzzie Gilham

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his month we announce the Atlanta Symphony Orchestra’s 75th Anniversary Season. Nothing brings people together like the transformative power of music, and the Atlanta Symphony Orchestra’s 75th Anniversary Season serves as a time to both celebrate our rich history and set the stage for the future. The ASO is as unique and vibrant as the city and communities we serve. Throughout the season, the astonishing flexibility and virtuosity of the Orchestra and Chorus will be showcased in a classic blend of star power and orchestral fireworks. In addition to a star-studded classical season, we also have a few surprises in store that we can’t wait to share with you. Throughout the season, we will welcome some of our dear long-time friends, including opening weekend with superstar violinist Joshua Bell, pianists Emanuel Ax and Andre Watts, violinists Midori, Itzhak Perlman and Leila Josefowicz, and former Music Director Yoel Levi; and we will also introduce you to phenomenal new talents, including 20-year-old Malaysian piano sensation Tengku Irfan and trailblazing conductor Karina Canellakis. The Orchestra will take on towering masterpieces, including Mahler’s mighty “Symphony of a Thousand,” his Eighth Symphony, for the first time in nearly 30 years, featuring the Morehouse and Spelman College Glee Clubs and Gwinnett Young Singers alongside the ASO Chorus and a starry international cast for what promises to be a definitive performance. We will end the season by delving into one of the most transcendent and influential works of art, Wagner’s Tristan und Isolde, performed in a unique festival format in context with works of Bach, Schoenberg and Purcell over three nights. The 2019-20 subscription series goes on sale March 13, 2019. To learn more about the exciting year ahead, enjoy the season preview feature in this issue of Encore. We would like to thank the ASO Musicians, Chorus, Staff, Board of Directors and our subscribers, generous donors and volunteers for working together to envision all that is possible for the next 75 years and beyond.


Warm regards,

Jennifer Barlament Executive Director






6 | @AtlantaSymphony |

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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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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 Kevin Lyman Brian F. McCarthy Penelope McPhee ^ Bert Mills Molly Minnear Terence L. Neal Joseph M. O’Donnell^ Galen Lee Oelkers Howard D. Palefsky Ebbie Parsons Juliette Pryor 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. Betty Sands Fuller Azira G. Hill Mary D. Gellerstedt Mrs. Charles A. Smithgall, Jr.

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

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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

14 | @AtlantaSymphony |

Unveiling the Atlanta Symphony Orchestra’s 75th Season By Mark Gresham The Atlanta Symphony Orchestra’s 2019-20 season is being announced this month, in which the orchestra will celebrate its 75th anniversary in grand style. It’s the first of two valedictory seasons for ASO Music Director Robert Spano, revisiting his favorite repertoire as well as soloists he’s cherished during his tenure in Atlanta. The 2019-20 season also marks the 250th birth year of Ludwig van Beethoven, another major cause for celebration, including a significant invitation by Carnegie Hall for the Atlanta Symphony Orchestra and Chorus to present Beethoven’s Missa solemnis as a high point of their season-long Beethoven Celebration (April 4), with Atlanta Symphony Hall | Atlanta’s Performing Arts Publication 15

performances the week before (March 26, 27). Additional celebrations of Beethoven’s 250th birth year by the ASO include his Symphony No. 1 and Symphony No. 7, the Leonore Overture No. 3, the Violin Concerto performed by ASO concertmaster David Coucheron (January 16, 18, 19) and the Piano Concerto No. 5, “Emperor” performed by pianist André Watts (March 19, 21, plus a performance at the Savannah Music Festival on March 28). The new season’s wide range of programming includes the 24-week Delta Classical Series, Coca-Cola Holiday Concerts, Family Concert Series, Movies in Concert Series and Delta Atlanta Symphony Hall LIVE. In addition to classical season performances at Symphony Hall, and the Carnegie Hall performance in New York, the ASO has scheduled a variety concerts across Georgia to reach the larger regional community of classical music lovers. On the home front, the classical season at Symphony Hall opens and closes with a bang, with a lot of peaks in between. Among the highlights not mentioned above: Opening weekend with violin sensation Joshua Bell performing Henryk Wieniawski’s Violin Concerto No. 2, sharing the program with Wagner’s Prelude to Act I of Die Meistersinger von Nürnberg and Jennifer Higdon’s Concerto for Orchestra, with Robert Spano conducting (September 20, 21, 22). Robert Spano leads an all-star cast in Gustav Mahler’s Symphony No. 8 “Symphony of a Thousand” featuring the combined vocal forces of the mighty Atlanta Symphony Orchestra Chorus, the Morehouse and Spelman College Glee Clubs, the Gwinnett Young Singers and eight world-class vocal soloists (November 14,16). Pianist Emanuel Ax will perform Brahms’ Piano Concerto No. 1, led by Robert Spano, alongside a pair of world premieres written especially for the ASO (November 21, 23, plus a performance in Athens at University of Georgia’s Hugh Hodgson Hall on November 24). A pair of “Northern Lights” themed concerts will feature music of Scandinavia with guest conductor Thomas Søndergård. They will include violinist Blake Pouliot performing the Violin Concerto of Jean Sibelius (February 20, 22) and Edvard Grieg’s 16 | @AtlantaSymphony |

Piano Concerto performed by pianist Håvard Gimse (February 27, 29). A special one-night-only performance by acclaimed violinist Itzhak Perlman with former ASO Music Director Yoel Levi conducting. Perlman will perform Max Bruch’s Violin Concerto No. 1 on a program that also includes the Overture to Giuseppe Verdi’s La forza del destino and Gustav Mahler’s Symphony No. 1 (March 11). ASO Principal Guest Conductor Donald Runnicles will lead Carl Orff’s concupiscent choral dynamo, Carmina burana, featuring the Atlanta Symphony Orchestra Chorus and a trio of guest soloists in four performances at Symphony Hall (April 23, 24, 25, 26). WAGNER'S

The classical season will close with a first-ever Atlanta performance of Wagner’s complete Tristan und Isolde, with each of the week’s three concerts at Symphony Hall featuring a single act paired with a piece by either Bach, Schoenberg or Purcell: Act I on June 11, Act II on June 13 and Act II on June 14. Robert Spano will conduct the performances, which feature a powerhouse cast of operatic soloists that includes Tamara Wilson as Isolde and Simon O’Neill as Tristan in their ASO debuts, Georgia native Jamie Barton as Brangäne, Ryan McKinny as Kurwenal (also making his ASO debut), Andrea Mastroni as King Marke and Ric Furman as Melot. Ten guest conductors will join the ASO during the 2019-20 season: Karina Canellakis, Nicholas Carter, James Gaffigan, Yoel Levi, Nicola Luisotti, Thomas Søndergård, Emmanuel Villaume, Edo de Waart, Mark Wigglesworth and Nikolaj Szeps-Znaider. Four of them, Canellakis, Carter, Villaume and Szeps-Znaider will be making their Atlanta Symphony Orchestra conducting debuts. Three ASO musicians will be featured as soloists this season. Concertmaster David Coucheron will perform Beethoven’s Violin Concerto; Principal Oboe Elizabeth Koch Tiscione will be soloist for the Oboe Concerto of Ralph Vaughan Williams, Principal Trumpet Stuart Stephenson will perform Alexander Arutiunian’s Trumpet Concerto. The season will feature 14 guest instrumental soloists, four making their ASO debuts: Violinists Joshua Bell, James Ehnes, Leila Josefowicz, Midori, Itzhak Perlman and Blake Pouliot; pianists Ronald Brautigam, Håvard Gimse, Kirill Gerstein, Tengku Irfan, Jorge Federico Osorio, Andrew von Oeyen and André Watts; plus guitarist Miloš Karadaglić.

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2018-2019 Concert Series Clayton State University


MEET ME IN PARIS THE HOT CLUB OF SAN FRANCISCO featuring Isabelle Fontaine Saturday, March 23

EMANUEL AX, piano Sunday, March 24

SARAH SHAFER, soprano RICHARD GOODE, piano Sunday, March 31

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BEETHOVEN The full Atlanta Symphony Orchestra Chorus will be featured in three different masterworks, performing Mahler’s Symphony No. 8, Beethoven’s Missa solemnis and Orff’s Carmina burana, plus its annual holiday tradition of Christmas with the ASO. The ASO Chamber Chorus will sing Vaughan Williams’ “Serenade to Music,” J.S. Bach’s Cantata No. 29, “Wir danken dir, Gott”, Handel’s Messiah and in Act I of Wagner’s Tristan und Isolde. The Atlanta Symphony Orchestra’s 75th season promises to be an unforgettable celebration. The 2019-20 subscription series goes on sale March 13, 2019. Visit for more information.

20 | @AtlantaSymphony |

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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.

22 | @AtlantaSymphony |

Proud supporter of the

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MAURICE RAVEL (1875-1937) Ma mère l’oye (1908) (Complete Ballet) Prélude I. Danse du Rouet et Scène (Dance of the Spinning Wheel and Scene) II. Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) III. Les entretiens de la Belle et de la Bête (Conversations of Beauty and the Beast) IV. Petit poucet (Hop-o’ My Thumb) Interlude V. Laideronnette, Impératrice des Pagodes (Laideronnette, Empress of the Pagodas) VI. Le jardin féerique (The Fairy Garden)

filmaker, projection designer


NOAH HILL, lighting designer

STEPHEN PAULUS (1949-2014) Jump (2019) (arr. Robert Elhai) I. Rain’s Edge pt 1 II. Rain’s Edge pt 2 III. Vivo Pt 1 IV. From Afar V. Green Cathedral pt 1 VI. The Aged Sea pt 1 VII. The Aged Sea pt 2 VIII. Vivo pt 2 IX. Vivo pt 3 X. Vivo pt 4 XI. Green Cathedral pt 2 XII. Green Cathedral Reprise XIII, Short Poems XIV. Finale

Concert of Saturday, March 2, 2019 8:00pm ROBERT SPANO, conductor glo LAURI STALLINGS, choreographer MICHA BROWN, narrator JOEY REIMAN, librettist KEVIN KAPOOR, accompanist

MARGARET DINKINS, fashion designer for Mother Goose AUDREY MORRISON, sculptor, children’s wearable sculpture KRISTINA BROWN, paper artist Children from Barack & Michelle Obama Academy, Rising Starr Middle School, DeKalb Elementary School of the Arts, Avondale Heights LEAD Class and Lovinggood Middle School This evening’s performance is dedicated to the remarkable musicians and amazing staff of the Atlanta Symphony Orchestra on behalf of BILL & RACHEL SCHULTZ in appreciation for their support of the Annual Fund.

29 MIN

20 MIN 45 MIN

orld Premiere, W Commissioned by the Atlanta Symphony Orchestra

Sponsored by

Special thanks to 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.

24 | @AtlantaSymphony |


Ken Meltzer Program Annotator

Ma mère l’oye (1908) (Complete Ballet) MAURICE RAVEL was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The first performance of the original piano duet version of Ma mère l’oye took place at the Paris Salle Gaveau on April 20, 1910. The orchestral version of Ma mère l’oye is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, two horns, timpani, orchestra bells, tambour, bass drum, xylophone, triangle, cymbals a2, suspended cymbal, tam-tam, harp, celesta, and strings.


aurice Ravel’s Ma mère l’oye (Mother Goose) first appeared as a series of children’s pieces for piano four hands. Ravel composed the duets in 1908 as a surprise gift for Mimi and Jean, children of his dear friends, Ida and Jean Godebski. Ravel loved to play with young Mimi and Jean, and often delighted them with his animated readings of various Mother Goose tales. The first public performance of the piano four-hand version of Ma mère l’oye took place on April 20, 1910 at the Paris Salle Gaveau. The performers were Jeanne Leleu and Geneviève Durony, both 10 years old. Three years after composing the original piano work, Ravel orchestrated Ma mère l’oye. Finally, Ravel was commissioned to create a Ma mère l’oye ballet that received its premiere at the Théâtre des Arts in Paris on January 28, 1912. For the ballet, Ravel added a Prélude, another scene (Dance of the Spinning Wheel), and interludes to connect the various tableaus. This concert features the complete ballet score. Ravel noted that, “(m)y intention of awakening the poetry of childhood in these pieces naturally led me to simplify my style and thin out my writing.” Despite Ravel’s typically self-effacing posture, there is nothing simple about the magical atmosphere and charm he masterfully conjures in these exquisite miniatures, particularly when heard in their orchestral guise. Prélude—A hushed and evocative Prélude sets the stage for the magical tales that follow. The Prélude builds to its climax, leading directly to the first tableau. I. Danse du Rouet et Scène (Dance of the Spinning Wheel and Scene)—The story of the ballet version of Mother Goose is based on the fairy tale of The Sleeping Beauty. The young Princess enjoys some playtime as an old woman sits nearby at her spinning wheel (the action of the spinning wheel is depicted by a scurrying, 6/8 figure). The Princess trips and falls on the rod of the spinning wheel, injuring herself. She then falls into a deep slumber. II. Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty)—Delicate music, featuring woodwinds and muted strings, accompanies this scene in which the Good Fairy tends to Sleeping Beauty. The Good Fairy whistles for her aides, to whom she entrusts Sleeping Beauty’s care. During her slumber, the Princess has a series of dreams.

III. Les entretiens de la Belle et de la Bête (Conversations of Beauty and the Beast)— The Beauty takes note of the Beast’s kind heart that makes him, somehow, less | Atlanta’s Performing Arts Publication 25

unattractive. The Beast pleads with the Beauty to marry him. At first the Beauty declines, but finally agrees. Suddenly, the Beast disappears and is replaced by a handsome prince “more beautiful than Cupid.” The Beauty is portrayed by an elegant waltz, first played by the solo clarinet. A rumbling contrabassoon voices the Beast’s entreaties. A shimmering harp glissando depicts the magical transformation of the Beast, now represented in his princely form by a romantic solo violin. IV. Petit poucet (Hop-o’ My Thumb)—In the preface to this movement, Ravel includes the following excerpt from the Perrault fairy tale: He believed that he would have no difficulty in finding his way by means of the breadcrumbs that he had strewn wherever he had passed; but he was greatly surprised when he could not find a single crumb; the birds had come and eaten them all. Muted violins trace Hop-o’ My Thumb’s footsteps in the forest, as the oboe sings a lovely tune. Ravel recreates the sounds of the ravenous birds through a masterful combination of strings and woodwinds. Interlude—A brief and magical Interlude, featuring the harp, celeste, and flute sets the stage for Sleeping Beauty’s final dream. V. Laideronnette, Impératrice des Pagodes (Laideronnette, Empress of the Pagodas)—A beautiful princess is horribly transformed by an evil witch (later she is rescued by a prince). In his score, Ravel includes the following excerpt from the fairy tale: She undressed and went into the bath. The Pagodas and Pagodines began to sing and play on instruments; some had theorbos made of walnut shells; some had violas made of almond shells, for they were obliged to proportion the instruments to their figure. Ravel’s fascination with Asian music is reflected in the use of pentatonic scales and sonorities that recall gamelan ensembles. Again, the music is of the utmost delicacy. VI. Le jardin féerique (The Fairy Garden)—A handsome Prince enters the Fairy Garden and awakens Sleeping Beauty. The two fall in love and, of course, live happily ever after. The violins introduce a simple, yet hauntingly affecting melody. The movement grows in splendor, as Ravel’s Mother Goose reaches its shimmering and elegant resolution. Jump (2019) (arr. Robert Elhai) STEPHEN PAULUS was born in Summit, New Jersey, on August 24, 1949, and died in Arden Hills, Minnesota, on October 19, 2014. This is the world premiere of Jump. Jump is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, marimba, large tam-tam, tambourine, xylophone, chimes, crotales, hi-hat, orchestra bells, snare drum, small tam-tam, temple blocks, triangle, vibraphone, piatti, wood blocks, large suspended cymbal, small suspended cymbal, brake drum, two tom-toms, harp, electric organ, piano, and strings. 26 | @AtlantaSymphony |


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Main Campus, College Park, Pre-K to 12 Woodward North, Johns Creek, Pre-K to 6 404.765.4001

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ump began as a collaboration between composer Stephen Paulus and writer Joey Reiman. In 2008, the two artists began to consider subjects for a joint operatic project. Reiman shared a story he had written in college entitled The Princess Problem. The story, based upon the fairy tale of The Princess and the Frog, according to Reiman: was about a young girl who had everything in the world except herself. There are three frogs who want to marry the princess so they can become prince and run the kingdom. She falls in love with an unlikely suspect from the other side of the pond ... We started working on -- not an opera -- but our vision of a ballet. Paulus and Reiman entitled their work-in-progress Jump. Stephen Paulus had served as the Atlanta Symphony Orchestra’s Composer-in-Residence during the tenure of former Music Director Robert Shaw. The ASO was very interested in the new Paulus/ Reiman ballet collaboration. But Paulus’s untimely death in 2014 seemed to mark the end of project. After Paulus was posthumously awarded a Grammy®, Reiman approached the late composer’s family, and obtained their permission to complete the Jump ballet. Composer and arranger Robert Elhai, a protégé of Stephen Paulus, used the unfinished music of Jump, as well as portions of other Paulus compositions, to create a final, performing score for the ballet. The world premiere production of Jump combines the talents of Music Director Robert Spano and the Atlanta Symphony Orchestra with a broad cross-section of the Atlanta community. These include socially engaged dance company glo and its founding artist Lauri Stallings, children from local schools, visual artist Audrey Morrison, lighting artist Adam Larsen, and narrator Micha Brown, of Soul Food Cypher. Joey Reiman observes about the collaborative effort to bring Jump to life and to the stage: There are so many people involved and so many artists. It’s such a unique effort for the ASO. But the very basis is this notion that there’s a pilgrim soul in all of us, with this inner searching that continues throughout our lives. This is story about one of those pilgrim souls who really wanted to blossom in all her glory. Lauri Stallings adds: The piece unfolds as a succession of scenes, children working together to play games, share experiences, moving artists re-enacting scenes from adult life. The full evening develops as a hopeful dedication to humankind and children’s optimism, celebrating the spirit, imaginative freedom and potential of human nature. (The program notes for Jump include interview quotes from Andrew Alexander’s article, A Cultural Symphony, printed in the February, 2018 edition of Encore.)

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Antonio Vivaldi

Gloria – Winter Concerto from Four Seasons – Stabat Mater Nathan Medley, countertenor The Atlanta Baroque Orchestra The Cathedral of St. Philip Schola x

Friday, March 15, 7:30 p.m. at The Cathedral of St. Philip, Atlanta Saturday, March 16, 4:00 p.m. at St. David’s Episcopal Church, Roswell More information and tickets at | Atlanta’s Performing Arts Publication 29


g glo

lo is a collaborative platform of relationship building across issues, identities, and creative possibilities. Its mission is to demonstrate the impact of innovative and ambitious movement arts and cultural initiatives in the Deep South. Our work is framed by three core values: people matter, histories survive, our bodies unite. We intermingle the power and potential of communities, places and civic rituals that often are forgotten. glo debuted on the lawn of the High Museum of Art on July 24, 2009, led by its founders, production specialist Richard Carvlin, and choreographer Lauri Stallings. Moving Artists of glo: Virginia Coleman, Noëlle Davis, Christina Hiroko Kelly, Mandi Mpezo, Cailan Orn, Rebekah Pleasant Patterson, Raina Mitchell, Mary Jane Pennington, Cara Watkins glo people: Roy Sockwell Support for glo generously provided by MailChimp, Community Foundation for Greater Atlanta and Atlanta Mayor’s Office of Cultural Affairs Power2Give, The Lubo Fund, and Susan and Carl Cofer. LAURI STALLINGS, CHOREOGRAPHER auri Stallings is an artist who makes body-based work. A Rome Prize nominee and the inaugural recipient of Emory University’s Creative Arts Award, Stallings has been making rigorously crafted group experience in museums, theatres and public spaces since 2009. She gives equal weight to story and image, movement and stillness, while researching choreography as a tool box devised to bring together things that normally would never never meet. Stallings will represent Georgia in the 2019 Florence Biennale, as one of 250 artists from 45 countries around the globe. Along with her peers, Stallings is always trying to carve out a space somewhere between performance and social activism. MOTHER/JUMP is Stallings’ fifth creation with Maestro Robert Spano. Stallings is the only Georgian to be recognized with an Artadia Award, MOCA GA Fellow, and Hudgens Prize.







MICHA BROWN, NARRATOR ith a demeanor and demand to captivate every audience he’s placed in front of, recording artist and emcee Micha Brown aka MIC-Audio has an undeniable flow that can’t go unnoticed. MIC-Audio attended the astounding Clark Atlanta University and began creating a supportive fan base by freestyling and performing at various events on campus such as the 2009 CAU talent show where he showcased his lyrical skills. Having performed at the talent show and engaging with his peers, judges were amazed at the performance and voted unanimously in his favor and was titled the freestyle champion. This allowed MIC-Audio further opportunities to showcase his freestyling ability and he then won a freestyle battle with BET. This opportunity allowed him to win tickets to the 2009 BET Hip Hop Awards which opened even more doors for the college student.









MIC-Audio’s powerful lines within each song will capture your attention and have you wanting to hear more and more. This allowed a music representative

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from a multimedia company, Dark Knight Entertainment, to discover MIC-Audio’s talent. Since his signing to Dark Knight Entertainment, MIC-Audio has landed many successful opportunities such as opening up concerts and events for artists like Nappy Roots, has had musical appearances on television shows such as Tosh.0, Degrassi and Dark Knight Entertainment TV. The talented artists has even performed artist showcases within Atlanta like Georgia Media Agency and WSTU Radio’s monthly #TheArtistShowcase events. He has also hosted at local charity events and has made features on Georgia Tech, Emory and CAU student-run radio stations. The confidence and demeanor he bestows shows that he has nothing but success awaiting him as he continues to perfect his craft, perform and network with every opportunity he earns. JOEY REIMAN, LIBRETTIST


oey Reiman is globally known as the “King of Corporate Purpose.” For the past twenty-five years, he has helped Fortune 500 companies discover, articulate and activate their company and brand purpose. Fast Company magazine named Reiman one of the 100 people who will change the way the world thinks. Reiman was founder and Chairman of the global consultancy BrightHouse, a company whose sole purpose is to bring greater purpose to the business world. The world’s most prestigious organizations have adopted Reiman’s frameworks and methodologies, which include American Express, Carlsberg, Delta Air Lines, Mercedes, McDonald’s, Procter & Gamble and SunTrust. Reiman’s best-selling book, The Story of Purpose: The Path to Creating a Brighter Brand, a Greater Company, and a Lasting Legacy follows in the tradition of his breakthrough business book, Thinking For a Living, which created a global movement celebrating the power of ideas. For over a decade, Reiman has been teaching creative and critical thinking at Emory University’s Goizueta Business School. A frequent marketing and branding guest expert on CNN, World-renowned Professor Philip Kotler calls Reiman, “The Moses of Marketing.” A pioneer in marketing and neuroscience, Reiman was named Senior Research Fellow at Emory University’s Medical School. After twenty years as BrightHouse CEO, Reiman, and his consultancy joined the Boston Consulting Group (BCG) to bring purpose for companies around the world. In 2017, Reiman was named a BCG Fellow, a title given to the most accomplished thought leaders within the company. In 2018, Reiman took the helm as Founder and Chairman of Brand New World, the most purposeful storytelling company in the world. KEVIN KAPOOR, ACCOMPANIST


evin Kapoor is a professional beatboxer, who began his practice at age 14. He was a percussionist in the Knoxville Symphony Youth Orchestra, which sparked his interest in making drum sounds with his mouth; he has been honing his craft for over 10 years. In 2017, he won the American Beatbox Championship - Tag Team category under the stage name Fifth Floor. He has competed all over the nation as well as internationally, most notably at the 2018 World Championship in Berlin, Germany. | Atlanta’s Performing Arts Publication 31


Concert of Wednesday, Mar 6, 2019 8:00pm JONATHAN BISS, piano

LUDWIG VAN BEETHOVEN (1770-1827) Sonata No. 25 in G Major, Opus 79 (1809) I. Presto alla tedesca II. Andante III. Vivace Sonata No. 11 in B-flat Major, Opus 22 (1800) I. Allegro con brio II. Adagio con molta espressione III. Menuetto IV. Rondo. Allegretto Sonata No. 14 in C-sharp minor, Opus 27, No. 2, “Moonlight� (1801) I. Adagio sostenuto II. Allegretto III. Presto agitato Sonata No. 24 in F-sharp Major, Opus 78 (1809) I. Adagio cantabile; Allegro ma non troppo II. Allegro vivace


25 MIN

15 MIN

10 MIN

Sonata No. 30 in E Major, Opus 109 (1820) 19 MIN I. Vivace, ma non troppo; Adagio espressivo II. Prestissimo III. Andante molto cantabile ed espressivo. Gesangvoll, mit innigster Empfindung

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

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. 25 in G Major, Opus 79 (1809)


n May of 1809, Napoleon’s forces bombarded Vienna. As Beethoven’s lodgings stood directly in the line of fire, he took refuge in the basement of another home. During the massive shelling, Beethoven tried to protect the last remnants of his hearing by covering his ears with pillows. The succeeding French occupation brought physical and economic chaos. On July 26, 1809, Beethoven wrote to his publisher, Breitkopf and Härtel: “Normally I should now be having a change of scene and air—The levies are beginning this very day— What a destructive, disorderly life I see and hear around me, nothing but drums, cannons and human misery in every form....” Despite the hardships caused by the occupation, Beethoven continued to compose. During 1809, Beethoven wrote his Fifth (and final) Piano Concerto, the Emperor, Opus 73. He also composed the “Harp” String Quartet, Opus 74, and the Piano Sonatas Opus 78 and 79 (see, Sonata No. 24, Opus 78, below). These were the first Piano Sonatas since the great “Appassionata” (1806). Beethoven also began his “Les Adieux” Sonata in 1809, completing it early the following year. I. Presto alla tedesca—The fleet opening movement, which Beethoven directs be played “in the German manner,” is in the character of a vigorous country dance, | Atlanta’s Performing Arts Publication 33

in triple meter. Beethoven repeats both the exposition, and development and recapitulation episodes. II. Andante—The central movement, in G minor, opens with a flowing, espressivo melody in 9/8 meter. An E-flat Major interlude leads to a reprise of the G-minor opening. III. Vivace—The brief rondo finale features a tripping melody, stark dynamic contrasts, and a playful atmosphere that continues to the delightful final bars. Sonata No. 11 in B-flat Major, Opus 22 (1800)


he Opus 22 Sonata is one of several works Beethoven dedicated to his patron, Count Johann Georg von Browne-Camus. Beethoven was particularly pleased with this work, and informed his publisher: “This sonata is really something.” I. Allegro con brio—The movement opens with a playful sequence of sixteenth notes. The sixteenth notes then serve as accompaniment to the first principal theme, and indeed, are a presence throughout the entire opening movement. The exposition features a wealth of material, leading to an extended development section. A sustained chord leads to the recapitulation, capped by a final reprise of the opening theme, and a pair of fortissimo chords. II. Adagio con molta espressione—The second movement, cast in slow tempo and a flowing 9/8 meter, spotlights a noble, introspective melody. The subsidiary theme maintains the atmosphere created by its predecessor. An intense central episode, based upon the opening melody, yields to a reprise of the principal themes, and the gentle closing bars. III. Menuetto—The third-movement Minuet opens in the graceful, elegant fashion typical of the court dance. But soon, moments of storm and stress enter, and continue in the G-minor trio section. A reprise of the principal Minuet reaches a gentle conclusion. IV. Rondo. Allegretto—The finale, combining elements of rondo and sonata forms, features two principal melodies. The first, a charming, syncopated theme, is presented at the start. A stately theme, featuring trills and dotted rhythms, soon follows. Beethoven varies these themes as they reappear, each making a final statement prior to the resounding close. Sonata No. 14 in C-sharp minor, Opus 27, No. 2, “Moonlight” (1801)


eethoven referred to each of the Opus 27 works as a “Sonata quasi una Fantasia.” Here, Beethoven replaces the expected sonata-form opening movement with atmospheric and improvisatory music, set in an expansive tempo. I. Adagio sostenuto—The opening movement is the inspiration for the work’s famous “Moonlight” nickname, not assigned by Beethoven. The Adagio sostenuto, in A—B—A form, opens with a series of flowing triplets that ultimately serve as the accompaniment for a haunting melody, launched by a dotted-rhythm figure. The triplet accompaniment takes center stage in the yearning B section. The reprise of A is capped by two pianissimo chords. II. Allegretto—The brief second movement, set in ¾ time, is in the spirit of a minuet. The principal theme soon features right against left hand effects, continued in the

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Focused. Finely tuned. AND 773-325-7444 | Atlanta’s Performing Arts Publication 35

central Trio section. The movement concludes with a reprise of the opening section. III. Presto agitato—The finale sweeps aside the introspection of the first two movements. Here, Beethoven returns to sonata form. The first principal theme is a scurrying, ascending figure, capped by pairs of sforzando chords. The second theme is a plaintive melody, with sixteenth-note accompaniment in the left hand. Another melancholy theme closes the exposition. The restless mood continues in the development. A moment of repose gives way to the recapitulation of the principal themes. In the coda, brilliant passagework leads to another brief respite (Adagio). The closing principal theme returns a final time (Tempo I), leading to the “Moonlight” Sonata’s stormy conclusion. Sonata No. 24 in F-sharp Major, Opus 78 (1809) I. Adagio cantabile; Allegro ma non troppo—The Sonata opens with a brief, slowtempo introduction (Adagio cantabile), whose dotted rhythm also launches the central theme of the principal Allegro ma non troppo. Playful triplets are capped by forte and sforzando chords. Beethoven includes repeats of both the exposition, and development and recapitulation sections. The movement concludes with a series of emphatic forte chords. II. Allegro vivace—The opening movement’s seminal dotted rhythm also forms the basis for the rondo finale’s principal theme. The whirlwind of activity comes to a brief pause, leading to the brilliant closing flourish. Piano Sonata No. 30 in E Major, Opus 109 (1820)


ccording to Anton Schindler, Beethoven claimed he composed his final three Piano Sonatas (Nos. 30-32) “at one stretch.” While the inspiration for the works may have occurred during a concentrated period, the completion of this magnificent trilogy spanned the summer of 1820 to the start of 1822. Beethoven finished his Piano Sonata No. 30 by the late summer of 1820. Beethoven dedicated the work to Maximiliane Brentano, daughter of Antonie and Franz Brentano. In 1812, Beethoven dedicated a single-movement Piano Trio (in B-flat Major, WoO 39) to the ten-year-old Maximiliane: “For my little friend Maxe/Brentano, to enliven her/ piano-playing…l v Bthvn.” By the time Beethoven composed and dedicated his Opus 109 Sonata, Maximiliane was a young woman who had blossomed into a fine pianist. I. Vivace, ma non troppo; Adagio espressivo—The Sonata opens with a flowing (Sempre legato) and lively exchange between the right and left hand, set in 2/4 time. This sequence is abruptly juxtaposed with a solemn Adagio espressivo, in triple meter. The two episodes alternate, with the opening sequence having the final word. A sustained chord leads to the second movement. II. Prestissimo—The second movement is in a vibrant 6/8 meter. This scherzo, brief as its predecessor, features omnipresent energy and dramatic contrasts of loud and soft dynamics. III. Andante molto cantabile ed espressivo. Gesangvoll, mit innigster Empfindung— The finale, twice as long as the two previous movements combined, is the structural and emotional foundation of the Sonata. The piano introduces the principal melody 36 | @AtlantaSymphony | 288



TICKETS $10 each

Call ahead to purchase: 678-466-4200 or purchase at box office on May 25 & 26. Open to the public | Atlanta’s Performing Arts Publication 37

MEET THE ARTISTS (Songful, with the Deepest Feeling), in the spirit of a hymn. Six variations on the hymn follow. In the two concluding variations, contrapuntal writing and brilliant passagework yield to a final statement of the hymn. Var. I. Molto espressivo Var. II. Leggieramente Var. III. Allegro vivace Var. IV. Un poco meno andante ciò è un poco più adagio come il tema Var. V. Allegro, ma non troppo Var. VI. Tempo primo del tema JONATHAN BISS, PIANO


onathan Biss is a world-renowned pianist who shares his deep musical curiosity with classical music lovers in the concert hall and beyond. In addition to performing a full schedule of concerts, he has spent eleven summers at the Marlboro Music Festival and written extensively about his relationships with the composers with whom he shares a stage. A member of the faculty of his alma mater the Curtis Institute of Music since 2010, Biss led the first massive open online course (MOOC) offered by a classical music conservatory, Exploring Beethoven’s Piano Sonatas, which has reached more than 150,000 people in 185 countries. Biss has embarked on a nine-year, nine-disc recording cycle of Beethoven’s complete Piano Sonatas, and in early 2018 he released the seventh volume, including the Sonatas Op. 2, No. 2; Op. 49, No. 2; Op. 31, No. 2 (“Tempest”), and Op. 109. His bestselling eBook, Beethoven’s Shadow, describing the process of recording the Sonatas and published by RosettaBooks in 2011, was the first Kindle Single written by a classical musician. The recording cycle will be complete in 2020, at the same time as the final Coursera lectures on the Sonatas.


Biss represents the third generation in a family of professional musicians that includes his grandmother Raya Garbousova, one of the first well-known female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Growing up surrounded by music, Biss began his piano studies at age six, and his first musical collaborations were with his mother and father. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music with Leon Fleisher.






For more information, please visit

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

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April 11 - 28, 2019 By Woody Allen based on the film Bullets over Broadway by Woody Allen and Douglas McGrath Sponsored by

LOADED WITH BIG LAUGHS, COLORFUL CHARACTERS AND SONGS THAT MADE THE ‘20S ROAR—WILDLY ENTERTAINING! R o swe l l C u l t u ra l A r t s C e n t e r 9 5 0 Fo r r e s t S t , R o swe l l G E T. O R G | 7 7 0 . 6 4 1 . 1 2 6 0 | Atlanta’s Performing Arts Publication 39

MAR 7/9

Concerts of Thursday, Mar. 7, 2019 8:00pm Saturday, Mar. 9, 2019 8:00pm HENRIK NÁNÁSI, conductor DAVID COUCHERON, violin The Atlanta Symphony Orchestra Classical Series is presented by

ZOLTÁN KODÁLY (1882-1967) Dances of Galánta (1933) JULIUS CONUS (1869-1942) Concerto in E minor for Violin and Orchestra (1898) I. Allegro molto; Andante espressivo II. Adagio III. Cadenza; Allegro subito David Coucheron, violin INTERMISSION PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 4 in F minor, Opus 36 (1878) I. Andante sostenuto—Moderato con anima— Moderato assai, quasi Andante—Allegro vivo II. Andantino in modo di canzona III. Scherzo. Pizzicato ostinato—Allegro IV. Finale. Allegro con fuoco

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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15 MIN 19 MIN

20 MIN 45 MIN


Ken Meltzer Program Annotator

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


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

omposer Zoltán Kodály maintained a lifelong affection for the folk music of his native Hungary. A fine example of Kodály’s blending of Hungarian folk melodies into the fabric of an orchestral work may be found in his Dances of Galánta. Kodály composed the Dances in response to a commission by the Budapest Philharmonic Society Orchestra, as part of the celebration of its 80th anniversary. The premiere took place in Budapest on October 23, 1933, led by the eminent Hungarian composer and pianist, Ernő Dohnányi. In a preface to the score of his Dances of Galánta, Kodály provided the following background information: Galánta is a small Hungarian market-town known to travelers from Vienna and Budapest. The composer passed there seven years of his childhood. There existed at that time a famous Gypsy-band which has disappeared in the meantime. Their music was the first “orchestral sonority” which came to the ear of the child. The forebears of these gypsies were already known more than (a) hundred years ago. About 1800, some books of Hungarian dances were published in Vienna, one of which contained music “after several gypsies from Galánta.” They have preserved the old Hungarian tradition. In order to continue it the composer took his principal subjects from these ancient editions. The Dances of Galánta are based upon the verbunkos, a dance used in the 18th century to recruit soldiers for the Hungarian military. The verbunkos contrasts slow and fast sections, and also contains virtuoso elements. Concerto in E minor for Violin and Orchestra (1898)

First Classical Subscription Performances: October 21-23, 1993, Cecylia Arzewski, Violin, Darryl One, Conductor.

JULIUS CONUS was born in Moscow, Russia, on February 1, 1869, and died in Melenki, Vladimir Oblast, Russia, on January 3, 1942. The first performance of the Violin Concerto took place in Moscow in 1898, with the composer as soloist. In addition to the solo violin, the Concerto is scored three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.


ulius Conus was a member of a prominent Russian musical family that emigrated from France in the early 19th century. Conus studied at the Moscow Conservatory, where he was awarded the Gold Medal upon graduation. Conus also taught at that | Atlanta’s Performing Arts Publication 41

institution. Conus, a friend of Tchaikovsky, assisted the elder Russian composer in the preparation of the string bowings for the “Pathétique” Symphony (1893). Conus was a member of Paris Opera Orchestra and, thanks to the recommendation of Tchaikovsky, also served as concertmaster of the New York Symphony Orchestra. Julius Conus dedicated the Violin Concerto to his teacher, Jean Hrimaly. Conus was the soloist in the work’s 1898 premiere, which took place in Moscow. Such legendary violinists as Jascha Heifetz and Itzhak Perlman have helped to assure the Conus Violin Concerto’s continued presence in the repertoire. It is a presence more than justified by the work’s captivating melodies and numerous episodes of daredevil virtuoso display. The Concerto is in three principal sections, played without pause. The first opens with a dramatic orchestral introduction (Allegro molto) leading to the entrance of the soloist, with a Recitativo section that serves as a brief prelude to the flowing, principal melody (Andante espressivo). The tender Adagio section also has moments of thrilling passagework. An extended Cadenza precedes the Concerto’s whirlwind final bars (Allegro subito). Symphony No. 4 in F minor, Opus 36 (1878) First Classical Subscription PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Performances: Russia, on May 7, 1840, and died in St. Petersburg, Russia, on January 30, 1949, November 6, 1893. The first performance of the Symphony Henry Sopkin, Conductor. No. 4 took place in Moscow on February 22, 1878, with Nikolai Most Recent Classical Subscription Performances: March 9-11, 2017, Michael Stern, Conductor.


Rubinstein conducting. The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, bass drum, cymbals, and strings.

n July 18, 1877, Tchaikovsky wed Antonina Milyukova. Tchaikovsky realized from the outset that the marriage was a mistake. He lapsed into a profound depression, and later attempted suicide. Finally, on October 6—less than three months after the wedding—Tchaikovsky left his wife forever, rushing to St. Petersburg to meet his brother, Anatoly. Tchaikovsky suffered a nervous breakdown, and doctors stated that a resumption of the marital relationship was out of the question. Tchaikovsky, under doctor’s orders, journeyed to Switzerland for recuperation. Tchaikovsky completed his Fourth Symphony on January 7, 1878. The premiere took place in Moscow on February 22, 1878, under Nikolai Rubinstein’s direction. Tchaikovsky dedicated the Symphony to his patroness, Nadezhda von Meck, whom the composer described as “my best friend.” And, in a letter to von Meck, Tchaikovsky divulged the meaning of his Fourth Symphony (all of Tchaikovsky’s comments are indented, below): I. Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante— Allegro vivo— The introduction is the germ of the whole symphony, unarguably the main idea. This is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal, that jealously ensures our well-being and peace are not unclouded, that hangs over our heads like the sword of Damocles, that with

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Every day, I’m thankful for the foundation that my education at GAC has laid for me and for the role that GAC played in my path to Vanderbilt. My thirteen years at GAC fostered intellectual, spiritual, and interpersonal growth.

Molly Sullivan, Class of 2018

4 Scholastic Art Awards | Presidential Service Award | AP Scholar with Distinction | National AP Scholar | Scholar Athlete Award | Academic Achievement Medal in Latin and Art | National Latin Exam Awards | National Honor Society President | 3 mission trips | National Charity League Vice President | Researcher in Peabody College at Vanderbilt

Join us for a campus tour. Register online at | Atlanta’s Performing Arts Publication 43

steadfast persistence poisons our souls. It is invincible, you will never master it. One can only resign oneself to fruitless sorrow. Tchaikovsky depicts the inexorable power of Fate with stunning fanfares by the brass and winds. It is one of the most arresting and dramatic openings in all of symphonic literature. The joyless, hopeless feeling becomes more powerful and fierce. Would it not be better to turn away from reality and submerge oneself in dreams? Oh joy! There is at least a sweet and tender dream appearing! A bright and gracious human form flits by and lures us on somewhere. How lovely! And how remote the obsessive first allegro theme now sounds! The dreams have gradually taken full possession of the soul. All that was gloomy and joyless is forgotten. Here it is, here is happiness! No! They were dreams and Fate rouses us from them. So life is a constant alternation between grim reality and evanescent visions and dreams of happiness...There is no haven. Sail upon that ocean until it seizes you and engulfs you in its depths. That is roughly the program of the first movement. II. Andantino in modo di canzona— The second movement of the symphony expresses another phase of depression: that melancholy feeling that comes on in the evening, when you are sitting on your own, tired with work, and you take up a book but it falls out of your hands. Memories come flooding in. It is sad that so much has been and gone; it is pleasant to recollect one’s youth. One regrets the passing of time yet there is no wish to begin life anew. Life wears one out. It is pleasant to rest and reflect. There are so many memories! There have been happy moments when young blood coursed through the veins and life was good. There have also been difficult times, irreplaceable losses. But now that is all somewhere in the past. There is a sweet sadness in burying oneself in the past. III. Scherzo. Pizzicato ostinato—Allegro— The third movement does not express any precise feelings. These are whimsical arabesques, the elusive images that flash across one’s imagination when one has had a little wine to drink and is in the first stage of intoxication. One’s spirits are not happy, but neither are they sad. One does not think about anything: one gives free reign to one’s imagination that, for some reason, sets about painting strange pictures. Amongst them one recalls a picture of some roistering peasants and a street song. Then somewhere in the distance a military parade goes by. There is no connection between these images that are like those which flash through your mind as you are going to sleep. They have nothing to do with reality: they are strange, wild, and incoherent. IV. Finale. Allegro con fuoco— The fourth movement. If you find no cause for joy in yourself, look to others. Go amongst the common people and see now they know how to enjoy themselves, abandoning themselves completely to feelings of joy. Picture of a peasant 44 | @AtlantaSymphony |

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MEET THE ARTISTS celebration on a holiday. But scarcely have you managed to forget yourself and be distracted by the sight of other people’s pleasures than inexorable Fate appears once more and reminds you of its existence. Tchaikovsky portrays the “peasant celebration” by quoting a popular Russian folk song, “The Little Birch Tree,” sung by the winds after the Finale’s brief, raucous introduction. Later, the celebration is interrupted by the return of the “Fate” motif that launched the Symphony’s first movement. Tchaikovsky continues: But you are no concern of anyone else. They do not even turn round, they do not glance at you, and they have not noticed that you are lonely and sad. Oh! What fun it is for them! They are so lucky that all their feelings are simple and direct. Blame yourself and do not say that all the world is sad. There are simple but potent pleasures. Enjoy other people’s happiness. One can live despite everything. HENRIK NÁNÁSI, CONDUCTOR


s the General Music Director of the Komische Oper Berlin from 2012 to 2017, Henrik Nánási conducted new productions of Mazeppa, Eugene Onegin, Gianni Schicchi, La Belle Hélène, Die Zauberflöte, Così fan tutte, Don Giovanni, Bartók’s Duke Bluebeard’s Castle, Prokofiev’s The Fiery Angel, Massenet’s Cendrillon and Mussorgsky’s The Fair at Sorochyntsi, as well as revivals of Der Rosenkavalier, Rusalka and Rigoletto. Since his appointment in 2012, the Komische Oper Berlin has been named “Opera House of the Year 2013” by Opera World Magazine and “Opera Company of the Year 2015” at the Opera Awards.


Highlights of Nánási’s 2018/19 season include his debut at The Metropolitan Opera with Tchaikovsky’s Iolanta and Bartók’s Duke Bluebeard’s Castle, his return to the Royal Opera House Covent Garden with Simon Boccanegra, and the Opéra National de Paris with Die Zauberflöte. In addition, he will conduct Otello at the Oper Frankfurt, Die Zauberflöte at the Teatro dell’Opera di Roma and Iolanta at the Palau de les Arts Reina Sofia in Valencia. On the concert podium he will conduct the Atlanta Symphony Orchestra, the Orchestre National du Capitole de Toulouse, the Yomiuri Nippon Symphony Orchestra and the Essener Philharmoniker.






Nánási was born in Pécs/Hungary. After studying piano and composition at the Béla Bartók Conservatory in Budapest, he continued his studies at the University of Music and Performing Arts Vienna in orchestral conducting, coaching and composition. He worked as a musical assistant at the Royal Opera House Covent Garden under Sir Antonio Pappano, as well as at the Opéra de Monte Carlo, and he was intensely active in concerts as a pianist and Lieder accompanist. After engagements in Klagenfurt and Augsburg, he became First Conductor and Vice Chief Conductor at the Staatstheater am Gaertnerplatz in Munich.

46 | @AtlantaSymphony |



avid Coucheron joined the Atlanta Symphony Orchestra as Concertmaster in September 2010. At the time, he was the youngest concertmaster among any major U.S. orchestra.

Coucheron began playing the violin at age three. He earned his Bachelor of Music degree from The Curtis Institute of Music, his Master of Music from The Juilliard School and his Master of Musical Performance from the Guildhall School of Music and Drama, studying with teachers including Igor Ozim, Aaron Rosand, Lewis Kaplan and David Takeno. Coucheron plays a 1725 Stradivarius.


Coucheron has given solo recitals at Carnegie Hall, Wigmore Hall, the Kennedy Center and the Olympic Winter Games (Salt Lake City, Utah), as well as in Beograd, Chile, China, Hong Kong, Japan, Serbia, Singapore and Shanghai. His chamber music performances have included appearances at Suntory Hall as well as Wigmore Hall and Alice Tully Hall. Coucheron serves as the Artistic Director for the Kon Tiki Chamber Music Festival in his hometown of Oslo, Norway. He is also on the artist-faculty for the Aspen Music Festival and Brevard Music Festival.


Throughout his career, Coucheron has worked with conductors Robert Spano, Michael Tilson Thomas, Simon Rattle, Mstislav Rostropovich and Charles Dutoit, among others. He has performed as soloist with the BBC Symphony Orchestra, Bergen Philharmonic Orchestra, Sendai Symphony Orchestra, Oslo Philharmonic Orchestra and the Trondheim Symphony Orchestra.



FF | Atlanta’s Performing Arts Publication 47


MAR 10

Concert of Sunday, Mar. 10, 2019 3:00pm ATLANTA SYMPHONY YOUTH ORCHESTRA CRESCENDO CONCERT STEPHEN MULLIGAN, conductor JULIA SU, violin The Atlanta Symphony Youth Orchestra is sponsored by

PAUL DUKAS (1865-1935) La Péri: Fanfare (1912) ASYO Brass Ensemble

WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. 35 in D Major, K. 385 (“Haffner”) (1782) I. Allegro con spirito II. Andante III. Menuetto IV. Presto


18 MIN

PETER ILYICH TCHAIKOVSKY (1840-1893) Concerto for Violin and Orchestra in D Major, Opus 35 (1878) I. Allegro moderato Julia Su, violin

19 MIN


20 MIN

SAMUEL BARBER (1910-1981) Mutations from Bach (1968) ASYO Brass Ensemble


IGOR STRAVINSKY (1882-1971) Suite from Pulcinella (1922, rev. 1947) 24 MIN I. Sinfonia (Ouverture). Allegro moderato II. Serenata. Larghetto III. (a) Scherzino, (b) Allegro, (c) Andantino IV. Tarantella V. Toccata. Allegro VI. Gavotta; Allegro moderato (Variazione Ia: Allegretto, Variazione IIa: Allegro più tosto moderato) VII. Vivo VIII. (a) Minuetto. Molto moderato, (b) Finale. Allegro assai 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. 48 | @AtlantaSymphony |


Ken Meltzer Program Annotator

Symphony No. 35 in D Major, “Haffner,” K. 385 (1782) WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. The first performance of the “Haffner” Symphony took place at the Burgtheater in Vienna on March 23, 1783, with the composer conducting. The “Haffner” Symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.


he “Haffner” Symphony originated as a serenade, commissioned for the celebration of Siegmund Haffner’s ennoblement in the composer’s native Salzburg. Despite many other professional obligations and his impending marriage to Constanze Weber, Mozart completed the work. Later, Mozart converted the serenade into a standard four-movement symphony, and revised the orchestration. The premiere of the “Haffner” Symphony took place on March 23, 1783, part of a concert at the Vienna Burgtheater sponsored by Mozart, who appeared both as conductor and piano soloist. The concert opened with the first three movements of the “Haffner” Symphony. After the performance of several other instrumental and vocal works, the Symphony’s finale served to conclude the program, which, according to one reviewer, inspired “unanimous applause as has never been heard of here.”

The “Haffner” Symphony is in four brief movements. The first is a bracing Allegro con spirito, opening with the bold principal theme that predominates. The first violins introduce the elegant central theme of the slow-tempo second movement (Andante). The third movement Minuet (Menuetto) features striking dynamic contrasts. The finale (Presto) brings the “Haffner” Symphony to a rousing close. Concerto for Violin and Orchestra in D Major, Opus 35 (1878) PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Violin Concerto took place in Vienna, Austria, on December 4, 1881, with Adolf Brodsky as soloist and Hans Richter conducting the Vienna Philharmonic. In addition to the solo violin, the D-Major Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.


chaikovsky composed his only Violin Concerto during the spring of 1878. The composer dedicated the Concerto to Leopold Auer, the great Hungarian-born violinist, who was living and teaching in St. Petersburg. Auer, however, declined to play the Concerto. Violinist Adolf Brodsky was the soloist for the premiere, which took place in Vienna on December 4, 1881. Hans Richter conducted the Vienna Philharmonic. Tchaikovsky greatly appreciated the courage displayed by Brodsky in premiering a work “before a Viennese audience with a concerto by an unknown composer, and a Russian one to boot.” | Atlanta’s Performing Arts Publication 49

The extent of Brodsky’s courage becomes even clearer when the circumstances of the premiere are examined. The reaction by the audience and critics was unfavorable, to say the least. The performance inspired the prominent Viennese critic, Eduard Hanslick, to write one of the most infamous reviews in music history, capped by the following: “Friedrich Visser once observed, speaking of obscene pictures, that they stink to the eye. Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.” Still, Brodsky persevered in his advocacy of the Concerto, playing it throughout Europe. In time, the merits of the Tchaikovsky Violin Concerto became clear. Even Leopold Auer finally performed the work, as did such protégés as Mischa Elman and Jascha Heifetz. But it was Adolf Brodsky to whom Tchaikovsky dedicated this beloved masterpiece. I. Allegro moderato—The Concerto begins with an orchestral introduction, during which the violins foreshadow the movement’s main theme. The soloist enters and, after a brief opening passage, presents the flowing, principal melody. There are some playful flights for the soloist, followed by the presentation of another expressive, lyrical theme. A stunning virtuoso passage by the soloist leads to a grand orchestral proclamation of the principal melody, soon incorporated once again by the solo violin. After another orchestral statement of the theme, there is a fiery development section and a grand cadenza for the soloist. Over the soloist’s trills, the flute ushers in the recapitulation of the principal themes. The brilliant coda again features the soloist in breathtaking display. Suite from Pulcinella (1922, rev. 1947) IGOR STRAVINSKY was born in Lomonosov, Russia, on June 17, 1882, and died in New York on April 6, 1971. The first performance of the ballet, Pulcinella, took place at the Opéra in Paris, France, on May 15, 1920, with Ernst Ansermet conducting. The Suite from Pulcinella is scored for piccolo, two flutes, two bassoons, two horns, trumpet, trombone, and strings.


n the second decade of the 20th century, Igor Stravinsky rose to international prominence with a trilogy of ballets the young Russian composer wrote for Sergei Diaghilev’s Ballets Russes—The Firebird (1910), Pétrouchka (1911), and The Rite of Spring (1913). Each subsequent ballet was marked by increased rhythmic complexity and dissonance. In fact, the often barbaric music of The Rite of Spring so shocked some of those in attendance at the May 29, 1913 premiere, fistfights broke out in the Paris Champs-Elysées Theater. Stravinsky’s first collaboration with Diaghilev after World War I created a stir once again, but for a quite different reason. In the spring of 1919, Diaghilev suggested Stravinsky consider writing music for a ballet concerning the amorous escapades of the fictional harlequin, Pulcinella. The music would be based upon works by the 18thcentury Italian composer, Giovanni Pergolesi (1710-1736), whose music Stravinsky “liked and admired immensely.” Diaghilev assembled an extraordinary creative team for Pulcinella. In addition to Stravinsky, Diaghilev employed the great dancer, Leonide Massine, to choreograph

50 | @AtlantaSymphony |



TEAGAN FARAN, BM ’18 (violin performance), BFA ’18 (jazz & contemporary improvisation), was granted a Fulbright Scholarship to study how folk music traditions and improvisation strengthen communities in Argentina. Faran is also the director of Red Shoe Company, a performance arts ensemble that she founded as a student, which stages multi-genre events. umichsmtd

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the ballet and dance the title role. Pablo Picasso designed the scenery and costumes. The premiere of Pulcinella took place at the Opéra on May 15, 1920. Ernst Ansermet conducted the performance, which, according to Stravinsky, “ended in a real success.” A few years later, Stravinsky created a Pulcinella concert suite, featuring music from the ballet. The premiere of the Suite from Pulcinella took place on December 22, 1922, with Pierre Monteux (who also led the first performances of Pétrouchka and The Rite of Spring) conducting the Boston Symphony. Stravinsky’s Pulcinella—both in its complete ballet and concert suite form—continues to engage audiences with its lyric charm, infectious energy, and piquant orchestral sonorities. Subsequent discoveries that much of the music attributed to Pergolesi was actually written by other composers have, of course, done nothing to diminish Stravinsky’s achievement. Stravinsky’s Pulcinella Suite comprises eight brief movements: I. Sinfonia (Ouverture). Allegro moderato II. Serenata. Larghetto III. (a) Scherzino, (b) Allegro, (c) Andantino IV. Tarantella V. Toccata. Allegro VI. Gavotta; Allegro moderato (Variazione Ia: Allegretto, Variazione IIa: Allegro più tosto moderato) VII. Vivo VIII. (a) Minuetto. Molto moderato, (b) Finale. Allegro assai

52 | @AtlantaSymphony |





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


Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams’s Nixon in China at Walt Disney Concert Hall. ​





Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar and Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s assistant conductor, traveled to Helsinki to study Sibelius’s late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony. JULIA SU, VIOLIN


ulia Su, 17, began her violin studies at the age of four with her parents, both violinists that perform with the Atlanta Symphony Orchestra. Her dedication and passion for the violin has led to local and national recognition as well as several solo performances with orchestras. In 2017, Julia was the featured soloist on the ASO Family Holiday Concert, and performed “Winter” from Vivaldi’s The Four Seasons with the Atlanta Symphony Orchestra. Other solo appearances include the Tchaikovsky Violin Concerto with the DeKalb Symphony Orchestra and the Bruch Violin Concerto with the Georgia Youth Symphony Orchestra. JD SC


Julia has been the recipient of numerous awards, including MTNA 2018 Honorable Mention, MTNA 2016 Senior Strings Winner, and Audience Choice Award in the 2017 Rising Stars Competition. She has been named the winner of concerto competitions for the Dekalb Symphony Orchestra, Georgia Youth Symphony Orchestra, and the Atlanta Symphony Youth Orchestra. She has also been a member of the Georgia All-State Orchestra and currently serves

54 | @AtlantaSymphony |

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as the Concertmaster of the Atlanta Symphony Youth Orchestra. For the past two summers, Julia has had the honor of representing the United States as a member of the National Youth Orchestra of the USA and NYO2, sponsored by the Carnegie Hall Foundation. Through this program, a select group of young instrumentalists serve as cultural ambassadors and are mentored by the finest professional musicians in the country. With NYO-USA and NYO2, Julia has performed twice in Carnegie Hall, and this past summer embarked on a tour of Asia, performing in Taipei, Shanghai, Beijing, Seoul, and Daejon, under the baton of Maestro Michael Tilson Thomas. Julia is a student of Jan Mark Sloman, Professor of Violin at the Cleveland Institute of Music. She is currently a senior at Wheeler High School and a member of the National Honor Society. She plans to pursue a career in music. ATLANTA SYMPHONY YOUTH ORCHESTRA FIRST VIOLINS Jennifer Deng concertmaster

Ava Posner Kirsten Lee Erin Cho^ Raunak Kumar Zoe Willingham* Josephine Han^ Sung-Lin Hsieh Kylie Dickinson Mila Coleman Yuji Yamada Rebecca Goodwin Kelly Jeong Jenny Choi Naomi Fan Mary Konieczny Julia Su Nina Youn VIOLA Kaci Xie principal

Ardath Weck Chair Lydia Choi John Cho* Nina Nagarajan Claire Hong Becan Floyd Jason Seo Anna Laldin Anastasia Waid Skyler Bugg Lucy Gelber Christopher Wang

SECOND VIOLINS Tobias Liu principal

Zach Tseng Ellie Park Kevin Chen Bradley Hu Eunice Chon Angela Li^ Alice Zhang Jinsol Shin Eileen Liu Taylor Tookes Alexis Warnock CELLO Lexine Feng^ principal

Patrick Kim Maximilian Lou Harrison Marable^ Jordan Leslie Alicia Shin Tannessa Dang John Kang Ariel Najarian Aria Posner BASS Angela Leeper principal

Doug Sommer Chair Alex Petralia Corban Johnson Jesse Perry^ Noah Daniel Katie Tran Joy Best Matthew Jung

FLUTE Don Cofrancesco Harbin Hong Rachel Lee Sarah Zhang

TRUMPET Paul Armitage William Rich David Sanchez-Becerra* Andrew Wang

OBOE Hannah Lee Ojochilemi Okoka^ Jacks Pollard Sarah Williams

TENOR TROMBONE Austin Murray* Vincent Tapia, IV^

CLARINET Alex Choi Juliyan Martinez Triniti Rives Francisco Vidales

TUBA Griffin Haarbauer

BASSOON Brendan Bassett Allie Byrd Daniel Catanese Kasey Park HORN Brennan Bower Charles Dunn Ediz Eribac Sarah Harding Jaeheon Jeong Nathan Page Josh Vollbracht Jake Wadsworth

56 | @AtlantaSymphony |


PERCUSSION Sehyeon Jung^ Kobe Lester Evan Magill Reilly McLean Dylan So HARP Madeline Chen LeAndra Douds

*Elinor Rosenberg Breman Fellow ^ASYO Scholarship Recipient Winds, Harp, Piano, and Percussion are listed in alphabetical order



T H E F OX T H E AT R E | M AY 2 0 1 8

GEORGE ENESCU (1881-1955) Rumanian Rhapsody No. 1 in A Major, Opus 11 (1901) DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 1 in F minor, Opus 10 (1925) I. Allegretto; Allegro non troppo II. Allegro III. Lento IV. Allegro molto INTERMISSION PETER ILYICH TCHAIKOVSKY (1840-1893) Concerto for Violin and Orchestra in D Major, Opus 35 (1878) I. Allegro moderato II. Canzonetta. Andante III. Finale. Allegro vivacissimo Nikolaj Znaider, violin



36 MIN



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NOV. 23-24



Concerts of Thursday, May 31, and Saturday, June 2, at 8:00pm, and Sunday, June 3, 2018, at 3:00pm


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Find out what you need to know before the show. Read current and past Encore Atlanta programs.

Fox Theatre Atlanta Symphony Orchestra Alliance Theatre The Atlanta Opera Rialto Center for the Arts

Cobb Energy Performing Arts Centre Sandy Springs Performing Arts Center

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MAR 17

Concert of Sunday, Mar 17, 2019 1:30 & 3:00pm STEPHEN MULLIGAN, conductor

Music Adventure Featuring The Listener


BENJAMIN BRITTEN “Variations B-F” from The Young Person’s Guide to the Orchestra, Opus 34


The Atlanta Symphony Orchestra Family Series is presented by

LEONARD BERNSTEIN Overture to Candide


DMITRI SHOSTAKOVICH “Polka” from The Golden Age, Opus 22


JOHN WILLIAMS “The Flight to Neverland” from Hook


PIOTR ILYICH TCHAIKOVSKY No. 3, Dance des Cygnes from Swan Lake: Suite, Opus 20a


GEORGES BIZET No. 5, “Les Toréadors” from Carmen: Suite No. 1 edited Fritz Hoffman


WOLFGANG AMADEUS MOZART Mvt. IV from Symphony No. 39 in E-flat major, K.543


BENJAMIN BRITTEN “Variations B-F” from The Young Person’s Guide to the Orchestra, Opus 34


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.

BENJAMIN BRITTEN Fugue (Allegro molto) from The Young Person’s Guide to the Orchestra 3 MIN

See pg. 56 for Stephen Mulligan’s bio.

58 | @AtlantaSymphony | | Atlanta’s Performing Arts Publication 59

MAR 21/23

Concerts of Thursday, Mar. 21, 2019 8:00pm Saturday, Mar. 23, 2019 8:00pm PETER OUNDJIAN, conductor BENJAMIN GROSVENOR, piano

JOHANNES BRAHMS (1833-1897) Concerto for Piano and Orchestra No. 1 in D minor, Opus 15 (1861) I. Maestoso II. Adagio III. Rondo. Allegro non troppo Benjamin Grosvenor, piano

51 MIN


20 MIN

RICHARD STRAUSS (1864-1949) Also sprach Zarathustra, Opus 30 (1896)

33 MIN

The Atlanta Symphony Orchestra Classical Series is presented by

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. 60 | @AtlantaSymphony |


Ken Meltzer Program Annotator

Concerto for Piano and Orchestra No. 1 in D minor, Opus 15 (1861) JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833 and died in Vienna, Austria, on April 3, 1897. The first performance of the D-minor Piano Concerto took place on January 22, 1859, in Hanover, Germany, with the composer as soloist and Joseph Joachim conducting. In addition to the solo piano, the D-minor Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings. Approximate performance time is fifty-one minutes.


First Classical Subscription Performance: October 28, 1952, Rudolf Firkušný, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: February 25 and 27, 2016, Peter Serkin, Piano, Robert Spano, Conductor.

n September 30, 1853, a shy, 20-year-old Johannes Brahms appeared at the Düsseldorf home of Robert and Clara Schumann. Brahms, who greatly admired Robert Schumann, hoped that the senior and influential composer would assist his own budding musical career. Brahms played some of his piano compositions for Robert and Clara, both of whom were immediately impressed by the young man’s extraordinary talent. During the following month, Brahms visited the Schumanns on an almost daily basis. Robert Schumann began encouraging Brahms to consider applying his gifts to orchestral composition, more specifically, a symphony. Brahms, fearful of the inevitable comparisons with Beethoven, did not complete his First Symphony until 1876. On February 27, 1854, Schumann, plagued by hallucinations, plunged into the Rhine. After his suicide attempt, Schumann was admitted to an asylum in Endenich, where he remained until his death at the age of 46, on July 29, 1856. Shortly after Schumann’s attempted suicide, Brahms endeavored to fulfill his mentor’s grand expectations. In March of 1854, Brahms began to compose a large-scale sonata for two pianos. Brahms then attempted to convert this work into a symphony, orchestrating (with the aid of Joseph Joachim and Julius Grimm) the sonata’s opening movement. Brahms was dissatisfied with the results. After Schumann’s death, Brahms decided to convert the first movement of his proposed symphony into a piano concerto (other music from the uncompleted symphony later became part of the 1868 German Requiem). Brahms reworked the symphony’s Maestoso opening movement, and composed a new Adagio and Rondo finale. Brahms completed the score of his First Piano Concerto in March of 1858, although he continued to revise the work almost until the moment of its first performance. Brahms was the soloist, and Joseph Joachim the conductor, in the January 22, 1859 Hanover premiere. The audience reception was rather cool, but that proved to be far preferable to the reaction five days later at the Gewandhaus in Leipzig. Julius Rietz conducted and Brahms was again the soloist. The audience, confused by the | Atlanta’s Performing Arts Publication 61

Concerto’s epic length and implacable, stormy character, voiced its disapproval. Edward Bernsdorf, critic for the Signale, characterized the work as “a composition dragged to its grave...for more than three quarters of an hour one must endure this rooting and rummaging, this straining and tugging, this tearing and patching of phrases and flourishes!” The following day, Brahms wrote to Joachim: My Concerto has had here a brilliant and decisive—failure...At the conclusion three pairs of hands were brought together very slowly, whereupon a perfectly distinct hissing from all sides forbade any such demonstration...In spite of everything, the Concerto will meet with approval when I have improved its form and the next one will be quite different. Brahms did, in fact, revise his First Piano Concerto, and the score was published in 1861. The composer received his vindication four years later, when he played the Concerto at a triumphant Mannheim concert, led by Hermann Levi. Since that time, the eminence of this challenging, magnificent work has remained secure. The Concerto is in three movements. The first (Maestoso), by far the longest, opens with a stormy orchestral introduction that, according to Joachim, expresses Brahms’s despair upon learning of Schumann’s suicide attempt. The beautiful secondmovement Adagio, A—B—A form, is an affectionate tribute both to Robert and Clara Schumann. The Rondo finale (Allegro non troppo) is based upon a vigorous theme, introduced at the outset by the soloist. First Classical Subscription Performances: December 15 & 16, 1971, Maurice Abravanel, Conductor.

Also sprach Zarathustra, Opus 30 (1896)

RICHARD STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The first performance of Also sprach Zarathustra took place in Frankfurt, Germany, on November 27, Most Recent Classical 1896, with the composer conducting the Museums-Orchester Subscription Performances: of Frankfurt-am-Main. Also sprach Zarathustra is scored for two June 13-15, 2013, piccolos, three flutes, three oboes, English horn, E-flat clarinet, Robert Spano, Conductor. two clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, two tubas, timpani, bass drum, cymbals, triangle, orchestra bells, suspended cymbal, chime in E, two harps, organ, and strings.


uring the years 1895-97, Richard Strauss composed three orchestral tone poems based upon famous literary characters. The first, Till Eulenspiegel’s Merry Pranks (1895), is a rollicking tour-de-force depicting the exploits of the medieval jokester. The last, Don Quixote (1897), is a witty and often affecting musical portrayal of the misadventures of Cervantes’s beloved “Knight of the Sorrowful Countenance.” Strauss’s inspiration for the middle work in this trilogy was of a far different nature— Friedrich Nietzsche’s epic philosophic poem Also sprach Zarathustra (Thus Spake Zarathustra) (1883-5). The protagonist in Nietzsche’s Thus Spake Zarathustra is based upon the ancient Persian prophet, also known as Zoroaster. In Thus Spake Zarathustra, the prophet

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leaves the solitude of his mountain refuge to share his wisdom with mankind. During the course of the poem, Nietzsche, in the person of Zarathustra, denounces the very foundations of society—organized religion, democracy, and civilization—that he believes inhibit man’s ability to reach his greatest potential. Strauss began composition of the score on February 4, 1896, and completed the work on August 24 of that year. The composer led the Museums-0rchester of Frankfurtam-Main in the November 27, 1896 premiere. Prior to the first performance, Strauss provided this brief program: First movement: Sunrise, Man feels the power of God. Andante religioso. But man still longs. He plunges into passion (second movement) and finds no peace. He turns toward science, and tries in vain to solve life’s problem in a fugue (third movement). Then agreeable dance tunes sound and he becomes an individual, and his soul soars upward while the world sinks far below him. At the time of the tone poem’s December, 1896, Berlin premiere, Strauss confessed: I did not intend to write philosophical music or portray Nietzsche’s great work musically. I meant rather to convey in music an idea of the evolution of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche’s idea of the Superman. The whole symphonic poem is intended as my homage to the genius of Nietzsche, which found its greatest exemplification in his book Thus Spake Zarathustra. Strauss’s Also sprach Zarathustra opens with the famous “Sunrise,” followed by eight sections, performed without pause. Each has a title taken from a chapter in Nietzsche’s book. I. Sunrise (Sonnenaufgang) II. Of the Backworldsman (Von den Hinterweltlern) III. Of the Great Longing (Von der grossen Sehnsucht) IV. Of Joys and Passions (Von den Freuden und Leidenschaften) V. Song of the Grave (Das Grablied) VI. Of Science (Von der Wissenschaft) VII. The Convalescent (Der Genesende) VIII. The Dance Song (Das Tanzlied) IX. Night Wanderer’s Song (Das Nachwandlerlied) PETER OUNDJIAN, CONDUCTOR


dynamic presence in the conducting world, Peter Oundjian is renowned for his probing musicality, collaborative spirit and engaging personality.





The 2018-19 season includes debuts with the Indianapolis and New Zealand Symphony Orchestras, and return engagements with the St. Louis, Baltimore, Atlanta, Utah, Colorado and New World Symphonies as well as the Los Angeles Chamber Orchestra and Orchestre de la Suisse Romande. He completes his second season as Artistic Advisor of the Colorado Music Festival. 2017-18 marked Oundjian’s fourteenth and final season as Music Director

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MEET THE ARTISTS of the Toronto Symphony Orchestra (TSO). His appointment in 2004 reinvigorated the orchestra with recordings, tours, and acclaimed innovative programming, as well as extensive audience growth, significantly strengthening the ensemble’s presence in the world. In 2014, he led the TSO on a tour of Europe, which included a sold-out performance at Amsterdam’s Concertgebouw and the first performance of a North American orchestra at Reykjavík’s Harpa Hall. In the 16-17 season, Oundjian led the TSO on a major tour of Israel and Europe. From 2012 to 2018, Oundjian was Music Director of the Royal Scottish National Orchestra (RSNO). Under his baton, the orchestra toured China, the USA and across Europe. Together they recorded extensively for Sony and Chandos and presented Britten’s monumental War Requiem at the 2018 BBC Proms. Few conductors bring such musicianship and engagement to the world’s great podiums-from Berlin, Amsterdam and Tel Aviv, to New York, Chicago and Sydney. He has also appeared at some of the great annual gatherings of music and music-lovers: from the BBC Proms and the Prague Spring Festival, to the Edinburgh Festival and The Philadelphia Orchestra’s Mozart Festival, where he was Artistic Director from 2003 to 2005. BENJAMIN GROSVENOR, PIANO


ritish pianist Benjamin Grosvenor is internationally recognized for his electrifying performances, distinctive sound and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music making. Grosvenor first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of 11, and he was invited to perform with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms aged just 19. A pianist of widespread international acclaim, he was announced as the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic in 2016. Recent and forthcoming concerto highlights include engagements with the Boston and Chicago Symphony Orchestras, The Philadelphia Orchestra, New York Philharmonic, Finnish Radio Symphony Orchestra, Gürzenich-Orchestra Cologne, Hallé Orchestra, Orchestre National de Lyon, Orquesta Nacional de España, Filarmonica della Scala, London Philharmonic Orchestra, and the London, Melbourne, San Francisco and Washington National Symphony Orchestras.






Among Benjamin’s major recital dates in the 2018/19 season are London’s Barbican Hall, Théâtre des Champs Elysées Paris, Madrid’s Ciclo Grandes Intérpretes, San Francisco Performances, Sydney Symphony Orchestra’s recital series, Munich’s Herkulessaal, Milan’s Societá dei Concerti and Palau de la Música Catalana Barcelona. Also a keen chamber musician, he joins Tabea Zimmermann and others for a performance of Schubert’s "Trout" Quintet at Bonn’s Beethovenwoche 2019, and together with the Doric String Quartet performs piano quintets by Fauré and Dvořák as well as chamber settings of Chopin’s Piano Concertos as part of his concert series at London’s Barbican in 2019.

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MAR 28/29

Concerts of Thursday, Mar. 28, 2019 8:00pm Friday, Mar. 29, 2019 8:00pm ROBERT SPANO, conductor WU HAN, piano DANIEL HOPE, violin DAVID FINCKEL, cello The Atlanta Symphony Orchestra Classical Series is presented by

LUDWIG VAN BEETHOVEN (1770-1827) Overture to Egmont, Opus 84 (1810)


Concerto for Piano, Violin, Cello and Orchestra in C Major, Opus 56 (“Triple”) (1804) 36 MIN I. Allegro II. Largo III. Rondo alla Polacca Wu Han, Piano Daniel Hope, Violin David Finckel, Cello INTERMISSION

20 MIN

ROBERT SCHUMANN (1810-1856) Symphony No. 1 in B-flat Major, Opus 38, “Spring” (1841) 31 MIN I. Andante un poco maestoso; Allegro molto vivace II. Larghetto III. Scherzo. Molto vivace IV. Allegro animato e grazioso

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. 68 | @AtlantaSymphony |


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. “A truly miserable existence”


y the turn of the 18th century, Ludwig van Beethoven was celebrated as one of Vienna’s most prominent musicians—a virtuoso pianist and composer of the first rank. It appeared as if nothing could stand in the way of Beethoven’s continued rise to greatness. But then, tragedy struck. In 1800, Beethoven, not yet thirty, began to realize that his hearing was deteriorating. Beethoven sensed that the onset of deafness was only a matter of time. The irony was not lost on Beethoven—soon, he would be a pianist unable to perform in public, and a composer unable to hear his own musical creations. This turn of events engendered a supreme crisis in Beethoven’s life. In October 1802, Beethoven penned the immortal letter to his brothers that is known as the Heiligenstadt Testament. There, Beethoven confessed that the onset of his deafness: almost made me despair, and I was on the point of putting an end to my life—The only thing that held me back was my art. For indeed it seemed to me impossible to leave this world before I had produced all the works I felt the urge to compose; and thus I have dragged on this miserable existence—a truly miserable existence. Beethoven responded to his adversity by composing at a furious pace. Masterpieces from the first decade of the 19th century include the Symphonies, Nos. 2-6, the “Razumovsky” String Quartets, the “Waldstein” and “Appassionata” Piano Sonatas, and the composer’s only opera, Fidelio. The first half of this concert features two Beethoven compositions from that remarkable, post-Heiligenstadt decade. Overture to Egmont, Opus 84 (1810) The first performances of Beethoven’s incidental music to Egmont took place at the Burgtheater in Vienna on June 15, 1810. The Overture to Egmont is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.


First Classical Subscription Performance: November 27, 1951, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: May 9-11, 2013, Donald Runnicles, Conductor.

eethoven maintained a lifelong admiration for the immortal German poet, Johann Wolfgang von Goethe (1749-1832). In February of 1811, Beethoven wrote to a friend: “If you write to Goethe about me, try to find all the words that will assure him of my Recording: deepest respect and admiration…who can ever give enough thanks Telarc CD-80358, Yoel Levi, Conductor to a great poet, the most precious jewel a nation can possess?” Beethoven composed several works inspired by the writings of Goethe, including songs, the incidental music to the play Egmont (1810), and the cantata for chorus and orchestra, Calm Sea and Prosperous Voyage (1815). Beethoven composed his Egmont incidental music for a June 1810 production by the Vienna Burgtheater of Goethe’s play. The story of Egmont was one that greatly | Atlanta’s Performing Arts Publication 69

appealed to Beethoven, a tireless champion of political freedom. Egmont takes place in the 16th century, and concerns the oppression of the Netherlands at the hands of the Spanish dictator, the Duke of Alva. Count Egmont, a Dutch patriot, is imprisoned by the Duke, and sentenced to death. Egmont’s heroic martyrdom serves as a rallying cry to the Dutch people to defeat the Spanish invaders. Beethoven’s thrilling orchestral Overture foreshadows the course of Goethe’s drama. Concerto for Piano, Violin, Cello and Orchestra in C Major, Opus 56 (“Triple”) (1804) In addition to the solo piano, violin, and cello, the “Triple” Concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. First Classical Subscription Performances: November 16, 17 & 19, 1972, William Noll, Piano, Martin Sauser, Violin, Donovan Schumacher, Cello, Robert Shaw, Conductor.


eethoven began composition of his Concerto for Piano, Violin, Cello and Orchestra in late 1803, completing the work in the summer of 1804. Beethoven composed the piano part of the “Triple” Concerto for Archduke Rudolph (1788-1831), the youngest son of Emperor Leopold II. Rudolph, a longtime pupil, friend and patron of Beethoven, was the dedicatee of such pieces as the Fourth and “Emperor” Piano Concerto, the “Archduke” Piano Trio, the Piano Sonatas Opus 90 (“Les Adieux”), 106 (“Hammerklavier”), and 111, the great choral work, the Missa solemnis, and the Grosse Fugue for string quartet.

Most Recent ASO Classical Subscription Performances: May 9-11, 2013, Robert Spano, Piano, The fact that Beethoven composed the keyboard parts of both the David Coucheron, Violin, Triple Concerto and the “Archduke” Trio for Rudolph is testament Christopher Rex, Cello, to his considerable talents as a pianist. Beethoven dedicated the Donald Runnicles, Conductor. “Triple” Concerto to another of his patrons, Prince Joseph Franz von Lobkowitz. The first public performance of the “Triple” Concerto took place in Vienna, in May of 1808.

The Triple Concerto is scored for a trio of soloists (violin, cello, and piano) and orchestra. Beethoven composed the Triple Concerto around the same time as his path-breaking “Eroica” Symphony. However, the Concerto’s three movements present a far more genial and lyrical side of Beethoven’s craft. The opening Allegro is the most expansive of the work’s three movements. A hushed Largo leads, without pause, to the finale, a Rondo based upon a polonaise, a sparkling Polish dance. Symphony No. 1 in B-flat Major, Opus 38, “Spring” (1841) ROBERT SCHUMANN was born in Zwickau, Germany, on June 8, 1810, and died in Endenich, Germany, on July 29, 1856. The first performance took place at the Gewandhaus in Leipzig, Germany, on March 31, 1841, with Felix Mendelssohn conducting. The Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, and strings.


he early 1840s were joyous years for Robert Schumann. On September 12, 1840, the German composer wed his beloved Carla Wieck (1819-1896). The courtship had been a long and stressful one, as Clara’s father, Friedrich Wieck, vehemently

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First Classical Subscription Performance: January 25, 1948, Henry Sopkin, Conductor Most Recent Classical Subscription Performances: February 2 & 4, 2017, Jun Märkl, Conductor.

opposed a marriage between his daughter and Robert. Robert’s marriage to Clara—a gifted pianist and composer— seemed to inspire his creative powers. In the year of their wedding, Robert Schumann composed some 150 songs, including the glorious cycles Frauenliebe und -leben (A Woman’s Love and Life) and Dichterliebe (A Poet’s Love).

In 1841, Robert Schumann focused his energies upon orchestral music. In the early portion of that year, Schumann completed his “Spring” Symphony (No. 1 in B-flat Major). Schumann then composed his Overture, Scherzo and Finale. In May, Schumann penned a single-movement Fantasy in A minor for piano and orchestra (four years later, Schumann added an Intermezzo and Allegro vivace, transforming that Fantasy into the magnificent three-movement A-minor Piano Concerto). In that same productive year of 1841, Schumann composed the original version of his Symphony No. 4 in D minor. In a letter of November 23, 1842, Schumann wrote to his friend, composer Ludwig Spohr: “I composed the (First) symphony, so to speak, under the urge of spring which every year comes over men anew, even in full maturity.” A poem about spring, written by Adolph Böttger, provided further inspiration. That poem concludes with the following lines: “O wende, wende deinen Lauf, —Im Tale blühet Frühling auf!” “O turn, turn aside thy course, —Spring is blossoming in the vale!” The premiere of the “Spring” Symphony took place at the Leipzig Gewandhaus on March 31, 1841. Felix Mendelssohn led the performance (Clara also performed on the piano at the concert). It was a fine success, with the Symphony receiving a glowing reception from the audience. With music that is as enticing and lifeaffirming as its subject, the “Spring” Symphony remains one of Robert Schumann’s most beloved compositions. The “Spring” Symphony is in four movements. The first opens with a slow-tempo introduction (Andante un poco maestoso), and a fanfare for trumpets and horns. The eight-note fanfare is based upon the final line of Böttger’s poem, reproduced below. The added bold type corresponds to musical emphasis Schumann suggests in the score: “Im Ta-le blü-het Früh-ling auf!” The fanfare becomes the basis for the first principal theme of the opening movement’s ensuing quick-tempo section (Allegro molto vivace). The slow-tempo second movement (Larghetto) is based upon a radiant melody, introduced by the first violins. The melody returns in various guises, alternating with more agitated episodes. The third-movement Scherzo (Molto vivace) follows without pause. The Scherzo is based upon a brusque melody, introduced by the strings. There are two intervening Trio sections. A mysterious coda leads directly to the finale (Allegro animato e grazioso), which brings the “Spring” Symphony to a bracing conclusion.

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avid Finckel and Wu Han are among the most esteemed and influential classical musicians in the world today. Recipients of Musical America’s Musicians of the Year award, the energy, imagination and integrity they bring to their concert performances and artistic projects go unmatched. Season highlights include performances with The Chamber Music Society of Lincoln Center (CMS); a seven-city U.S. tour with violinist Daniel Hope and violist Paul Neubauer; trio performances with violinist Philip Setzer; and Far East appearances in Taipei, Hsinchu, and Shanghai. The duo will also be the subject of two television features to be broadcast on PBS stations across the country. David Finckel and Wu Han, Artistic Directors of The Chamber Music Society of Lincoln Center, are also the founders and Artistic Directors of Music@Menlo. The founders and Artistic Directors of South Korea’s Chamber Music Today festival, this season the duo inaugurates an immersive, week-long festival in Palm Beach. Wu Han also currently serves as Artistic Advisor of Wolf Trap’s Chamber Music at the Barns for two seasons. Leaders of the classical recording industry, they created ArtistLed in 1997, the first musician-directed and internet-based classical recording company. David Finckel and Wu Han have also overseen the multiple media projects at CMS, and the Music@Menlo LIVE label, which has been praised as “the most ambitious recording project of any classical music festival in the world” (San Jose Mercury News).


Dedicated to the next generation of artists, under their leadership at CMS Two Program identifies and inducts the finest young chamber artists into the entire spectrum of CMS activities. Music@Menlo’s Chamber Music Institute has provided hundreds of students with incomparable, immersive musical experiences. David Finckel and Wu Han direct the LG Chamber Music School in South Korea, and from 2013 to 2018, led an intensive chamber music studio at the Aspen Music Festival and School. This season, David Finckel and Wu Han’s website introduces a new initiative which addresses the challenges and opportunities facing today’s classical music performers and presenters. David Finckel and Wu Han reside in New York. For more information, please visit

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aniel Hope has toured the world as a virtuoso soloist for 25 years and is celebrated for his musical versatility as well as his dedication to humanitarian causes. Winner of the 2015 European Cultural Prize for Music, whose previous recipients include Daniel Barenboim, Plácido Domingo and the Berlin Philharmonic Orchestra, Hope appears as soloist with the world’s major orchestras and conductors, also directing many ensembles from the violin. At the start of the 2016/17 season Hope became Music Director of the Zurich Chamber Orchestra – an orchestra with whom he is closely associated since his early childhood. Devoted to contemporary music, Hope has commissioned over thirty works, enjoying close contact with composers such as Alfred Schnittke, Toru Takemitsu, Harrison Birtwistle, Sofia Gubaidulina, György Kurtág, Peter Maxwell-Davies and Mark-Anthony Turnage. Daniel Hope is one of the world’s most prolific classical recording artists, with over 25 albums to his name. His recording of Max Richter’s Vivaldi Recomposed, which reached No. 1 in over 22 countries is, with 160,000 copies sold, one of the most successful classical recordings of recent times. Hope has been an exclusive Deutsche Grammophon artist since 2007. Since 2004, Hope has been Associate Artistic Director of the Savannah Music Festival. From 2018/19 he will begin a new role as Music Director of the New Century Chamber Orchestra in San Francisco, being related to the orchestra since 2017 as Artistic Partner directing the Ensemble from the violin. In 2019 he will also start his new position as Artistic Director of the Frauenkirche Dresden Daniel Hope plays the 1742 “ex-Lipiński” Guarneri del Gesù, placed generously at his disposal by an anonymous family from Germany.









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he Orchestra donor list includes Annual Fund donations made June 1, 2017 – February 2, 2019. 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 & Thomas Wardell


Susan & Richard Anderson

Mary & Jim Rubright


AT&T The Antinori Foundation 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


Farideh & Ali Azadi Foundation, Inc.

National Endowment for the Arts Victoria & Howard Palefsky

78 | @AtlantaSymphony |


$25,000+ A Friend of the Symphony (3) Alston & Bird Paul & Linnea Bert Connie & Merrell Calhoun Thalia & Michael C. Carlos Foundation CBH International, Inc City of Atlanta Mayor's 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.*

Catherine Warren Dukehart Jeannette Guarner, MD & Carlos del Rio, MD Bonnie & Jay Harris The Hertz Family Foundation, Inc. Kero-Jet John & Linda Matthews Ken & Carolyn Meltzer Ms. Molly Minnear Moore Colson, CPAs & Bert & Carmen Mills Caroline & Joe O’Donnell David & Mary Scheible Ross & Sally Singletary Slumgullion Charitable Fund Mr.** & Mrs. Edus H. Warren, Jr. Adair & Dick White Mrs. Sue S. Williams

Joe Hamilton Anne Morgan & Jim Kelley Kimberly-Clark Foundation D. Kirk & Kimberlee Jamieson Brian & Carrie Kurlander James H. Landon Dr. Ginger Chen & Mr. Sukai Liu Meghan & Clarke Magruder Lynn & Galen Oelkers Martha M. Pentecost Jennifer Barlament & Kenneth Potsic Joyce & Henry Schwob June & John Scott Charlie & Donna Sharbaugh Amy & Paul Snyder Cari K. Dawson & John M. Sparrow Loren & Gail Starr Elliott & Elaine Tapp Carol & Ramon Tomé Family Fund John & Ray Uttenhove Mr. James Wells & Mrs. Susan Kengeter Wells Drs. Kevin & Kalinda Woods

Mr. Richard H. Delay & Dr. Francine D. Dykes Eleanor & Charles Edmondson Eversheds Sutherland Paul & Carol Garcia Henry F. Anthony & Carol R. Geiger Georgia Council for the Arts Georgia-Pacific Georgia Natural Gas Kathy Waller & Kenneth Goggins The Robert Hall Gunn, Jr., Fund Mr. & Mrs. Charles B. Harrison Roya & Bahman Irvani Clay & Jane Jackson Ann A. & Ben F. Johnson, III Anne & Mark Kaiser $15,000+ Mr. & Mrs. Madeline & Howell E. William K. Kapp, Jr. Adams, Jr. King & Spalding Mr. Keith Adams & Pat & Nolan Leake Ms. Kerry Heyward John F. & Marilyn M. Rita & Herschel Bloom McMullan Mr. David Boatwright Walter W. Mitchell The Breman The Monasse Family Foundation, Inc. Foundation Janine Brown & Dr. & Mrs. Ebbie & $10,000+ Alex J. Simmons, Jr. Ayana Parsons A Friend of The John & Rosemary Suzanne & Bill Plybon Brown Family Foundation the Symphony (2) Mr. Andrew Saltzman The Capital Group Aadu & Kristi Allpere* Pierette Scanavino Companies Charitable In memory of Leigh Baier Mr. John A. Sibley III Foundation Julie & Jim Balloun Dr. Steven & Lynne Russell Currey & Bell Family Foundation Steindel* Amy Durrell Mr. Benjamin Q. Brunt & Peter James Stelling Donna Lee & Ms. Catherine Meredith Alison & Joe Thompson Howard Ehni Walter & Frances The Trapp Family Ms. Angela L. Evans Bunzl Foundation Turner Foundation, Inc. Fifth Third Bank John W. Cooledge United Distributors Carl & Sally Gable $17,500+ Correll Family Chilton & Morgan Varner Dick & Anne Game Foundation, Inc. Juliet & John Allan Mark & Rebekah Georgia Power Janet Davenport, in honor Pinney L. Allen & Wasserman Foundation, Inc. of Norman Mackenzie Charles C. Miller III Mrs. Virginia S. Williams Marcia & John Donnell Mr. & Mrs. Paul J. Blackney Jason & Carey Ms. Joni Winston Wright & Alison Caughman Guggenheim/Boston Consulting Group

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased | Atlanta’s Performing Arts Publication 79


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

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

Sally Parsonson cultivation committee

Marcia Watt communications committee

Jonne Walter solicitation committee

THE PATRON PARTNERSHIP $7,500+ Jack & Helga Beam Lisa & Russ Butner Deedee & Marc Hamburger* The Piedmont National Family Foundation Betsy & Lee Robinson Mr. Jeffrey C. Samuels & Ms. Amy Levine-Samuels Beverly & Milton Shlapak

$5,000+ A Friend of the Symphony (3) William & Gloria Allgood Lisa & Joe Bankoff Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Patricia & William Buss Cadillac Robert Wenger & Susan Carney Ruth & Mark Coan William & Patricia Cook Mr. & Mrs. Jonathan J. Davies Carol Comstock & Jim Davis* Ms. Diane Durgin Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand Mr. & Mrs. William A. Flinn Mary & Charles Ginden Mr. & Mrs. Richard Goodsell Mr. & Mrs. Joshua Harbour Sally W. Hawkins 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 Mr. & Mrs. Brian F. McCarthy Mary Ruth McDonald Mr. & Mrs.** Peter Moraitakis Franca G. Oreffice Ms. Margaret Painter Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. Leonard B. Reed* Mr. & Mrs. Joel F. Reeves Mrs. Vicki J. Riedel Mrs. Robin Rodbell Mr. Joseph A. Roseborough John T. Ruff Gretchen Nagy & Allan Sandlin The Selig Foundation Hamilton & Mason Smith Mrs. C. Preston Stephens John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. Burton Trimble 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 $3,500+ Dr. Evelyn R. Babey Xavier Duralde & Mary Barrett Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis M. Chorba Ralph & Rita Connell Sally & Larry Davis Mary & Mahlon Delong Mr. Richard Dowdeswell Greg & Debra Durden Drs. John & Gloria Gaston Carol G. & Larry L. Gellerstedt III John & Martha Head Azira G. Hill James & Bridget Horgan Dr. Michael D. Horowitz Donald S. Orr & Marcia K. Knight Lillian Balentine Law Deborah & William Liss Mr. & Mrs. Frederick C. Mabry Belinda & Gino Massafra Mr. Bert Mobley Mr. Lonnie Johnson & Mrs. Linda A. Moore Judge Jane Morrison Michael & Carol Murphy Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk

80 | @AtlantaSymphony |

In memory of Dr. Frank S. Pittman III S.A. Robinson Ann Shearer Suzanne Shull Stephen & Sonia Swartz George & Amy Taylor Dale L. Thompson Drs. Jonne & Paul Walter David & Martha West Mr. & Mrs. M. Beattie Wood Camille W. Yow $2,000+ A Friend of the Symphony (5) Mr. & Mrs. Jan Abernathy Ms. Amy Gerome-Acuff & Mr. Daniel Acuff Kent & Diane Alexander Mr. & Mrs. Ivan Allen, IV Mr. & Mrs. Stephen D. Ambo Mr. James L. Anderson The Hisham & Nawal Araim Foundation Scott & Chris Arnold Ms. Susan AscheuerFunke Mr. Joel Babbit Richard K. & Diane Babush Mr. & Mrs. Patrick Battle 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 Julie & Jerry Chautin Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* 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 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

Ned Cone & Nadeen Green Lauren & Jim Grien Mr. & Mrs. George Gunderson Barbara & Jay Halpern Phil & Lisa Hartley Mr. & Mrs. Steve Hauser Mr. & Mrs. John Hellriegel Kenneth R. Hey Mr. Michael Hertz, in honor of Doug & Lila Hertz Thomas High Sarah & Harvey Hill Mr. Ron Hilley & Mrs. Mia Frieder Hilley Mr. & Mrs. Thomas M. Holder Mr. Thomas J. Collins & Mr. Jeff Holmes 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 Mrs. Gail Greene 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. 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 Mary Palmer Family Foundation The Parham Fund 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 George and Mary Rodrigue Mr. & Mrs. Mark Rosenberg Dr. & Mrs. 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 Mr. Morton S. 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 Mrs. Frank L. Wilson, Jr. Russell F. Winch Herbert & Grace Zwerner For more information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or William.Keene@

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased | Atlanta’s Performing Arts Publication 81


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 A Friend of the Mr. & Mrs. William R. Paul Kniepkamp, Jr. Symphony (21) Cummickel Miss Florence Kopleff** Madeline & Howell E. John R. Donnell Mr. Robert Lamy Adams, Jr. Dixon W. Driggs** Mr.** & Mrs. Pamela Johnson Drummond James H. Landon Ouida Hayes Lanier John E. Aderhold Mrs. Kathryn E. Duggleby Mr. & Mrs. Catherine Warren Dukehart Lucy Russell Lee** & Gary Lee, Jr. Ronald R. Antinori Ms. Diane Durgin Ione & John Lee Dr. & Mrs. William Bauer Mr. Richard H. Delay & Dr. Mr. Larry M. LeMaster Mr. Charles D. Belcher** Francine D. Dykes Mr.** & Mrs.** Neil H. Berman Arnold & Sylvia Eaves William C. Lester Susan & Jack Bertram Mr. & Mrs. Liz & Jay** Levine Mr.** & Mrs.** Robert G. Edge Robert M. Lewis, Jr. Karl A. Bevins Elizabeth Etoll Carroll & Ruth Liller The Estate of Donald S. & Mr. Doyle Faler Ms. Joanne Lincoln** Joyce Bickers Brien P. Faucett Jane Little** Mr.** & Mrs. Sol Blaine Dr. Emile T. Fisher Mrs. J. Erskine Love, Jr. Rita & Herschel Bloom Moniqua N Fladger The Estate of Mrs. Mr. & Mrs. Bruce W. Flower Nell Galt & Will D. Magruder Gilbert H. Boggs, Jr. K Maier A. D. Frazier, Jr. W. Moses Bond John W. Markham Nola Frink Mr.** & Mrs. Mrs. Ann B. Martin Betty & Drew** Fuller Robert C. Boozer Linda & John Matthews Sally & Carl Gable Elinor A. Breman** Mr. Michael A. William & Carolyn Gaik James C. Buggs** McDowell, Jr. Mr.** & Mrs. Mr. & Mrs.** Dr. Michael S. McGarry L.L. Gellerstedt, Jr. Richard H. Burgin Richard & Shirley McGinnis Ruth Gershon & Hugh W. Burke John & Clodagh Miller Sandy Cohn Mr. & Mrs. William Buss Ms. Vera Milner Micheline & Bob Gerson Wilber W. Caldwell Mrs. Gene Morse** Mr. & Mrs. John T. Glover Mr. & Mrs. C. Merrell Ms. Janice Murphy** Mrs. David Goldwasser Calhoun Robert Hall Gunn, Jr., Fund Mr. & Mrs. Cynthia & Donald Carson Stephen L. Naman Billie & Sig Guthman Mrs. Jane Celler** Mr. & Mrs. Bertil D. Nordin Betty G.** & Lenore Cicchese** Mrs. Amy W. Norman** Joseph** F. Haas Margie & Pierce Cline Galen Oelkers James & Virginia Hale Dr. & Mrs. Grady S. Roger B. Orloff Ms. Alice Ann Hamilton Clinkscales, Jr. Dr. Bernard** & Dr. Charles H. Hamilton Robert Boston Colgin Sandra Palay Sally & Paul** Hawkins Mrs. Mary Frances Sally & Pete Parsonsons John & Martha Head Evans Comstock** Dan R. Payne Ms. Jeannie Hearn** Miriam** & John A.** Barbara & John Henigbaum Bill Perkins Conant **Deceased

82 | @AtlantaSymphony |

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

Over the past two seasons, the Atlanta Symphony Orchestra has joyfully celebrated the lasting legacies of two great composers, Beethoven and Bernstein. Beethoven, one of the most iconic figures in classical music and Bernstein, an icon for classical music in America. You too can create a musical legacy and strengthen the future of classical music in our community by including a planned gift to Atlanta Symphony Orchestra as part of your estate plan. Whether through a bequest, beneficiary designation or trust distibution, making a planned gift is an easy and valuable way to support the music you love.

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@

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 85


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

$50,000+ 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 Sutherland 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 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

$25,000+ 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 Mr. and Mrs. Lawrence

86 | @AtlantaSymphony |

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 87

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


88 | @AtlantaSymphony |


APR 11/13 &14

APR 4/6

APR 25/26/27

PIANO CONCERTO NO. 25 Classical season presented by

ELGAR CELLO CONCERTO | Atlanta’s Performing Arts Publication 89

ASO | STAFF EXECUTIVE Jennifer Barlament executive director

Stephanie Smith executive assistant

Alvinetta CookseyWyche executive services office assistant

FINANCE & ADMINISTRATION Susan Ambo chief financial officer

Kim Hielsberg senior director of financial planning



V.S. Jones symphony store

Shannon McCown office manager

Brandi Reed


Elizabeth Daniell

senior director

director of multimedia

EDUCATION & COMMUNITY ENGAGEMENT Kaitlin Gress manager, atlanta

Lisa Eng

Adam Fenton technology

symphony youth

Caitlin Hutchinson



marketing coordinator

Tiffany I. M. Jones

Christine Lawrence

Natcha McLeod

managing producer of

box office manager

director of marketing

- aso & live Robert Phipps

Joanne Lerner event coordinator

publications director

Clay Schell consultant

Bob Scarr

Michael Tamucci Event Coordinator

archives program


associate marketing


William Strawn

Elizabeth Arnett director of

Nancy Field


manager of grants



William Keene manager of

artistic consultant

individual giving

Jeffrey Baxter

Gillian Kramer




April Satterfield



vice president of


choral administrator


multimedia creative

staff accountant

ARTISTIC Evans Mirageas


manager of special


principal guest


KC Commander digital marketing

general manager

operations manager

Megan Brook

director of patron

personnel assistant


Joseph Brooks




MARKETING & COMMUNICATIONS Tammy Hawk communications

OPERATIONS Sameed Afghani

Pam Kruseck

manager of artistic

to the music director


Tyler Benware

development operations


tdp anniversary

ticketing director

Christopher McLaughlin

of marketing


stage manager


executive assistant

& community Ryan Walks

Melanie Kite

manager of

Carol Wyatt

manager of education


patron services

senior director

Tyrone Webb

senior production


artist liaison

program annotator


Paul Barrett


Terra McVoy

Ken Meltzer

manager of family

of sales

Jesse Pace


Ruthie Miltenberger

senior director


Cynthia Harris

education concerts

Robin Smith patron services


season tickets


Christopher Stephens group & corporate sales manager

Caroline Tanner patron services assistant


90 | @AtlantaSymphony |

assistant stage manager

Richard Carvlin stage manager

Robert Darby stage technician

Victoria Moore assistant orchestra personnel 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 91

Enriching Lives, Realizing Visions

Investment Management Non-Profit Advisory and Administration Family Office Services Financial and Estate Planning Trust and Estate Services