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Sheku Kanneh-Mason is clearly on a roll By Andrew Alexander

6 Welcome 8 Robert Spano 10 Orchestra Leadership 12 ASO Musicians 24 Concert Program & Notes 58 ASO Support 68 Ticket Info/General Info 70 ASO Staff

2 | @AtlantaSymphony |

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ENCORE ATLANTA is published monthly by American Media Products Inc. 8920 Eves Road, #769479 Roswell, GA 30076 | Phone 678-837-4004 Fax 678-837-4066 PRESIDENT Tom Casey | CHAIRPERSON Diane Casey | GENERAL MANAGER Claudia Madigan | CONTROLLER Suzzie Gilham Copyright 2019 AMP Inc. All rights reserved. Reproduction in whole or in part is strictly prohibited. Encore Atlanta is a registered publication of AMP Inc. The publisher shall not be liable for failure to publish an ad, for typographical errors or errors in publication. Publisher reserves the right to refuse any advertising for any reason and to alter advertising copy or graphics deemed unacceptable for publication.

4 | @AtlantaSymphony |



e hope you have taken notice of the renewed energy, the excitement, and the full houses in Symphony Hall. It truly is an exciting time to be a part of the Atlanta Symphony Orchestra and we want to thank you for being such an instrumental part of our transformation. We are often asked, by our friends in Atlanta and by our peers across the country, what exactly is going on here? The answer sounds simple -- a lot of great work and artistry by every member of the team, from musicians to staff to our Board members and volunteers, but if we had to highlight the key initiatives that helped lead to our turnaround they would be as follows. T he $25 million Musicians’ Endowment campaign, completed two years ahead of schedule and $2 million above goal. Thanks to the success of this campaign, we are well on our way to restoring the Orchestra’s complement to 88 musicians, welcoming many new musicians, and raising the artistic bar along the way. W e focused on fiscal responsibility, with a balanced budget sharing the stage with artistic excellence. This meant an institution-wide commitment to expense management, earned and contributed revenue growth, as well as innovation that will take the ASO to the next level. W e made leveraging our two greatest assets, the Orchestra and Symphony Hall, a strategic imperative. One of the most effective ways we have accomplished this goal is by merging ASO Presents, Movies in Concert and the Pops Series under the Delta Atlanta Symphony Hall LIVE umbrella, nearly doubling the net revenue for our non-classical offerings. W e also took a hard look at our marketing mix and cut our per-concert marketing spend in half. We invested the savings in research and audience and brand building initiatives, such as our BRAVO young professionals’ group, and there’s more to come. F inally, the successful extension of the Collective Bargaining Agreement with the musicians, six months prior to the expiration. This important accomplishment signaled a new era of collaboration within the institution. As we head into our 75th season, we are excited to continue to raise the bar. We have the “wind to our backs” and we look forward to the next 75 years and beyond! Warm regards,

Howard Palefsky, Chairman of the Board 6 | @AtlantaSymphony |



Recipient of the Regional Theatre Tony Award ®

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


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T H E F OX T H E AT R E | F E B R U A R Y 2 0 1 7

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Recipient of the Regional Theatre Tony Award®


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Recipient of the Regional Theatre Tony Award®




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Recipient of the Regional Theatre Tony Award®




Robert Spano Music Director

SEPT. 20 & 21

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Robert Spano Music Director

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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.

8 | @AtlantaSymphony |

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 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 Kathy Waller 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

10 | @AtlantaSymphony |

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

12 | @AtlantaSymphony |

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 |


By Andrew Alexander

heku Kanneh-Mason is clearly on a roll. In 2016, the cellist won the BBC Young Musician of the Year award. That’s a career-making move for almost any young instrumentalist, but KannehMason made an even bigger splash last May when he performed at the royal wedding of Prince Harry and Meghan Markle, playing three pieces chosen by the young Duke and Duchess of Sussex while the couple signed the register off camera at St George’s Chapel in Windsor: Franz Schubert's "Ave Maria," Gabriel Fauré's "Après un rêve" and Maria Theresia von Paradis' "Sicilienne." | Atlanta’s Performing Arts Publication 15

“For me the most exciting thing about that was the opportunity to perform for so many people,” says Kanneh-Mason, whose already burgeoning career shot into the stratosphere after the event. “It’s all been really, really amazing. I’ve just enjoyed everything that’s happened since then, but sometimes it’s the little things, like playing for children in a school, that are really special to me.” Also special to him is the opportunity at just 19 years old to perform the great repertoire of cello music around the globe with the world’s great orchestras. From April 25-27, Kanneh-Mason will perform Elgar’s Cello Concerto with the Atlanta Symphony Orchestra at Symphony Hall in celebration of the work’s 100th anniversary. “I always love working with new people, hearing what they bring to the piece,” he says of the upcoming concert. Elgar’s Cello Concerto is an especially appropriate selection since Kanneh-Mason’s impassioned playing is often compared to one of the Concerto’s most famous interpreters: Jacqueline du Pré, who died in 1987. On his bestselling album, Inspiration, Kanneh-Mason even performs the track “Tears for Jacqueline” as a tribute to the cellist, and he says that part of the reason he first got into the cello was through listening to her celebrated recording of Elgar’s Concerto. “It’s very difficult precisely because of the iconic status of that du Pré recording,” he says. “Her interpretation sticks in the mind. But it’s important to find your own way.” The young cellist also says he’s especially interested in the context in which the piece was written. One of Elgar’s final works, the contemplative and elegiac piece was created in the aftermath of World War I. “With every piece, you can’t ignore the context in which it was written,” says Kanneh-Mason. “It’s very important actually to understand what the composer was writing about. You can definitely feel the sense of loss coming after the tragic war… I think music is such an amazing art in expressing yourself and understanding other people’s expression. Life and music are very connected and that’s a really special thing.” Precocious talent like Kanneh-Mason’s seems like it would be absolutely singular, but even in his own household Sheku is actually one among many.

16 | @AtlantaSymphony |

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Kanneh-Mason grew up in Nottingham, England, to parents Stuart Mason, a business manager originally from Antigua, and Dr. Kadiatu Kanneh, a former university lecturer in literature originally from Sierra Leone. Both parents played instruments in their childhood, but didn’t pursue professional careers in music. Their eldest daughter Isata was the first to take up piano, and at 8 years old, she got into the Junior Department of the Royal Academy of Music. It wasn’t long before the other siblings, including Sheku, started saying they wanted to play instruments too. Now, Isata (21) plays the piano, Braimah (20) plays the violin and Konya (17) and Aminata (12) play both violin and piano. Jeneba (15) and the youngest KannehMason, Mariatu (8), play both cello and piano. (Sheku originally started on violin but switched to cello at six years old). In 2015, Sheku and five of his siblings competed on Britain’s Got Talent together. They performed Monti’s ‘Csárdás’ in their first audition, ultimately making it to the semifinals of the show, when they played a musical medley of Tchaikovsky’s Swan Lake, Prokofiev’s “Montagues and Capulets,” “Rather Be” by Clean Bandit and Tchaikovsky’s 1812 Overture. Kanneh-Mason says he remains keenly interested in encouraging diversity in the world of classical music and inspiring others to play. Growing up, he performed in Chineke!, a groundbreaking ensemble of young black and minority ethnic musicians. “Chineke! has done some really wonderful things in changing perceptions of classical music,” he says. “It’s so important because it’s really easy to be inspired by someone you can maybe relate with because they look like you or have a similar background and that’s what the orchestra is trying to do. For me, playing in the orchestra, I was one of the youngest and it was really inspiring. I have always wanted to inspire others.” Sheku is currently a full-time student at the Royal Academy of Music in London where he studies with cellist Hannah Roberts. Ultimately, he seems unfazed by all the popular success. “I’m still a student,” he says. “I really enjoy learning and discovering music. I think it’s something that will never stop. That’s one of the exciting things about classical music.”

18 | @AtlantaSymphony |

Announcing the 2019-2020


Clayton State University










and much more...

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







oin us for the Atlanta Symphony Orchestra‘s season finale performances. Over the course of five days, the ASO presents the final performances of a twoyear celebration of Ludwig van Beethoven and Leonard Bernstein. MAY 30/JUN 1/2 | Thu/Sat: 8pm BEETHOVEN: Leonore Overture No. 3 BERNSTEIN: Halil BEETHOVEN: Symphony No. 6, “Pastoral” Donald Runnicles, conductor Christina Smith, flute JUN 6/8 | Thu/Sat: 8pm BEETHOVEN: Fidelio Robert Spano, conductor James Alexander, stage director Christine Goerke/Leonore, soprano Joseph Kaiser/Florestan, tenor Nmon Ford/Pizarro, baritone Arthur Woodley/Rocco, bass Laura Tatulescu/Marzelline, soprano David Walton/Jacquino, tenor Richard Clement/First Prisoner/tenor Morris Robinson/Don Fernando, bass ASO Chorus 20 | @AtlantaSymphony |

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 |

APR 4/6

Concerts of Thu., April 4, 2019 8:00pm Sat., April 6, 2019 8:00pm ROBERT SPANO, conductor ELIZABETH KOCH TISCIONE, oboe LAURA ARDAN, clarinet ANDREW BRADY, bassoon BRICE ANDRUS, horn JEREMY DENK, piano

The Atlanta Symphony Orchestra Classical Series is presented by

MICHAEL GANDOLFI (b. 1956) Imaginary Numbers (2015) I. Sky and Water II. Duetti Misteriosi III. Hymn of the Five Suns IV. Mandelbrot’s Scherzo Elizabeth Koch Tiscione, oboe Laura Ardan, clarinet Andrew Brady, bassoon Brice Andrus, horn WOLFGANG AMADEUS MOZART (1756-1791) Concerto for Piano and Orchestra No. 25 in C Major, K. 503 (1786) I. Allegro maestoso II. Andante III. Allegretto Jeremy Denk, piano INTERMISSION

25 MIN

30 MIN

20 MIN

BÉLA BARTÓK (1881-1945) Concerto for Orchestra (1943) 38 MIN I. Introduzione. Andante non troppo; Allegro vivace II. Giuoco delle coppie. Allegro scherzando III. Elegia. Andante, non troppo IV. Intermezzo interrotto. Allegretto IV. Finale. Pesante; Presto

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

24 | @AtlantaSymphony |


Imaginary Numbers (2015)

Ken Meltzer Program Annotator

First Classical Subscription Performances: April 30, May 1 & 2, 2015, Elizabeth Koch Tiscione, Oboe, Laura Ardan, Clarinet, Keith Buncke, Bassoon, Brice Andrus, Horn, Robert Spano, Conductor.

MICHAEL GANDOLFI was born in Melrose, Massachusetts, on July 5, 1956. The first performance of Imaginary Numbers took place at Symphony Hall in Atlanta, Georgia, on April 30, 2015, with soloists Elizabeth Koch Tiscione, oboe, Laura Ardan, clarinet, Keith Buncke, bassoon, and Brice Andrus, horn, and Robert Spano conducting the Atlanta Symphony Orchestra. Imaginary Numbers is scored for solo oboe, clarinet, bassoon, and horn, and an orchestra comprising two flutes, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, cymbals, chimes, orchestra bells, triangle, ride cymbal, vibraphone (motor off), bass drum, wood blocks, medium suspended cymbal, bongo drums, vibraslap, tambourine, mark tree, large gong, snare drum, triangle – mounted, small splash cymbal, harp, and strings.


ichael Gandolfi’s Imaginary Numbers was “Commissioned by Paul and Linnea Bert—In honor of their long-time friendship with Dede and Tony Spano and Robert Spano, Music Director of the Atlanta Symphony Orchestra.” Paul and Linnea Bert are supporters and friends of the composer. They are also longtime friends of Robert Spano’s parents, Dede and Tony Spano. To celebrate this friendship, Gandolfi composed a concerto for four soloists and orchestra. Franz Joseph Haydn’s Sinfonia concertante (1792), for solo oboe, bassoon, violin, and cello, served to some degree as a template. However, Gandolfi notes his own “instrumentation is a bit heftier and affords more color, without delving into the extravagances of a Romantic-era or modern-era full-orchestra, which I felt was unsuitable for the more intimate result that I was seeking in this work.” The following is excerpted from the composer’s program notes for the work’s April 30, 2015 world premiere. Imaginary Numbers is cast in four movements, totaling about twenty-two minutes in length. Its title is a play on words. ‘Imaginary number’ is a term coined by Descartes to describe a mathematical concept that today is known as a ‘complex number.’ ‘Number’ might also refer to a dance, as in a dance ‘number.’ I play with both meanings in the piece. The first movement, Sky and Water, derives from an M.C. Escher lithograph. Sky and Water I., the title of Escher’s work, depicts geese descending from the sky that smoothly morph into fish as they enter the water. I composed a rhythmical pattern that has two interpretations (one pulsates, the other ‘swings’) that morph from one to the other (and back) in the course of the movement; a musical corollary to Escher’s visual work. The second movement, Duetti Misteriosi, is a pas-de-deux (duet dance), which casts playful music alongside mysterious music. Its elaborate form expresses a carefully circumscribed symmetry that is wound around a raging, middle section. The third movement, Hymn of the Five Suns, is a chorale with episodes that | Atlanta’s Performing Arts Publication 25

feature the soloists’ individual voices, all of which I hear as a slow dance. ‘Five Suns’ is a term found in creation myths. The Aztecs and Nahua peoples refer to the ‘Five Suns’ as five cycles of creation and destruction, four of which they claim have already occurred. The Hymn-like quality of the opening chorale led me to this title. The fourth movement, Mandelbrot’s Scherzo, is a fast and playful dance that affords the soloists and orchestra the opportunity to display their technical wares before closing the piece. Mandelbrot Sets are based on complex numbers. —Michael Gandolfi Concerto for Piano and Orchestra No. 25 in C Major, K. 503 (1786) First Classical Subscription Performances: February 23-25, 1978, Paul Badura-Skoda, Piano, Robert Shaw, Conductor.

WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756 and died in Vienna, Austria, on December 5, 1791. In addition to the solo piano, the Concerto No. 25 is scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.


ozart completed his C-Major Concerto on December 4, Most Recent Classical 1786. Although there is no specific documentation, in all Subscription Performances: likelihood the first performance took place that same month, with January 26-28, 2006, Mozart as soloist during a series of Advent academies at the Vienna Stephen Kovacevich, Piano, Trattner Casino. Seven years after the composer’s death, Mozart’s Laura Jackson, Conductor. widow, Constanze, published the work at her own expense. The Concerto suffered unjustifiable neglect for well over a century. Today, however, the C-Major Concerto, K. 503, is recognized as one of Mozart’s finest. Its key of C Major and epic grandeur of the opening movement have prompted some commentators to dub the work Mozart’s “Jupiter” Concerto—a reference to the composer’s magnificent final Symphony, No. 41, K. 551 (1788). The Concerto No. 25 is in three movements. The first (Allegro moderato) features the traditional double exposition, with the orchestra first introducing the principal themes, followed by the soloist’s virtuoso presentation of the material. A march introduced during the exposition plays a crucial role in the ensuing development. The expected recapitulation, solo cadenza, and brief coda round out the opening movement. The slow-tempo second movement (Andante) provides a lyrical interlude. The rondo finale (Allegretto) opens with the orchestra’s statement of the principal, recurring melody. The soloist performs several challenging passages, many tinged with melancholy. The closing pages, however, offer a refreshing exuberance and satisfying conclusion to this rich and varied work. First Classical Subscription Performance: January 17, 1967, Robert Mann, Conductor. Most Recent Classical Subscription Performances: January 5 & 7, 2017, Peter Oundjian, Conductor.

Concerto for Orchestra (1943) BÉLA BARTÓK was born in Sînnicolau Mare, Hungary, on March 25, 1881 and died in New York on September 26, 1945. The first performance of the Concerto for Orchestra took place at Symphony Hall in Boston, Massachusetts, on December 1, 1944, with Serge Koussevitsky conducting the Boston Symphony Orchestra. The Concerto for Orchestra is scored for piccolo, three flutes, three oboes, English horn,

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three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, side drum, tam-tam, triangle, cymbals, suspended cymbal, bass drum, two harps, and strings.


éla Bartók composed his Concerto for Orchestra during a period of overwhelming adversity and despair. In October of 1940, Bartók and his wife left Hungary to escape the Nazis. During the journey to the United States, the composer wrote, “this voyage plunging into the unknown from what is known but unbearable...God only knows how and for how long I’ll be able to work over there.” Bartók’s fortunes continued to decline when he settled in New York. Commissions for new musical works were scarce during this turbulent period story. Bartók, his health rapidly deteriorating, was often unable to fulfill those few assignments he received. In 1943, Serge Koussevitsky, conductor of the Boston Symphony Orchestra, paid Bartók a surprise visit at his New York hospital room. Koussevitsky offered Bartók a commission to write a new orchestral work. Koussevitsky’s visit seemed to rejuvenate the gravely-ill composer. Bartók worked on his Concerto for Orchestra “practically night and day” during a period from August 15 to October 8, 1943, while staying at a private sanatorium in Lake Saranac, New York. Koussevitsky and the Boston Symphony Orchestra presented the triumphant world premiere of Bartók’s Concerto for Orchestra at Symphony Hall on December 1, 1944. Illness finally overcame Bartók’s great spirit, and the composer died in New York on September 26, 1945, less than a year after the Concerto for Orchestra’s stunning premiere. The popularity of the Concerto for Orchestra, one of Bartók’s most optimistic and brilliant works, continues unabated. Bartók offered the following general description of his Concerto for Orchestra for the 1944 premiere: The title of this symphony-like orchestral work is explained by its tendency to treat the single instruments or instrument groups in a “concertant” or soloistic manner. The “virtuoso” treatment appears, for instance, in the fugato section of the first movement (brass instruments), or in the “perpetuum mobile”-like passage of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments consecutively appear with brilliant passages.

The Concerto for Orchestra is in five movements. The first opens with a brooding Introduction (Andante non troppo), leading to the energetic principal Allegro vivace. The second movement, Giuoco delle coppie. Allegro scherzando, a sprightly “game of pairs,” features a series of passages for groups of two instruments. The third movement Elegy (Andante, non troppo) is, according to the composer, a “lugubrious death-song.” The fourth-movement Intermezzo interrotto (Interrupted Intermezzo) includes the unwelcome appearance of Dmitri Shostakovich’s “Leningrad” Symphony (1941), a work Bartók detested. Bartók both parodies and obliterates the “Leningrad” before resuming the Intermezzo. The Concerto for Orchestra concludes with a breathtaking Finale (Pesante; Presto).

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eremy Denk is one of America’s foremost pianists. Winner of a MacArthur “Genius” Fellowship, and the Avery Fisher Prize, Denk was recently elected to the American Academy of Arts and Sciences. He has recently appeared as soloist with the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, the symphony orchestras of Boston, Chicago, San Francisco, and London, as well as at the BBC Proms, both in recital and with the San Francisco Symphony and Michael Tilson Thomas. This past season he returned to Carnegie Hall, both to perform Beethoven 5 with the Orchestra of St. Luke’s and alongside Joshua Bell, one of his long-time musical partners. Jeremy Denk also went on tour with the Seattle Symphony performing Beethoven 5, and he continues as Artistic Partner of the St. Paul Chamber Orchestra with multiple performances throughout the season, including the premiere of a new piano concerto written for him by Hannah Lash. In the 2019/20 season, Jeremy Denk will offer a new concerto by John Adams, Must the Devil Have All the Good Tunes? He will also focus on Beethoven offering all 5 concertos as well as Choral Fantasy. ELIZABETH KOCH TISCIONE, OBOE



lizabeth Koch Tiscione has been principal oboist of the Atlanta Symphony since the 2007/08 season and holds the George M. and Corrie Hoyt Brown endowed chair.






In addition to her responsibilities with the ASO, Tiscione plays Principal Oboe at the Grand Teton Music Festival, Festival Mozaic, and is a member of the Atlanta Chamber Players. She has performed as a guest musician with the Orchestras of Philadelphia, Chicago, San Francisco, Saint Louis, Korean Broadcasting System, Detroit, Baltimore, Rochester, Buffalo, and the Saint Paul and Orpheus Chamber Orchestras. She has appeared as a soloist with the Atlanta Symphony, World Youth Symphony Orchestra, Orpheus Chamber Orchestra, Dekalb Symphony Orchestra, Georgia Tech Symphony, Chamber Music Society of Lincoln Center and Saint Paul Chamber Orchestra. She has been featured on NPR's "From the Top," and has also performed at many of the elite chamber music festivals throughout the country and abroad. Tiscione began the oboe in the New York State public school systems at age nine, continued her studies at the Interlochen Arts Academy under Daniel Stolper, and went on to study with Richard Woodhams at the Curtis Institute of Music. Other teachers include Mark Dubois, Robert Walters and Eugene Izotov. Elizabeth is on faculty at Kennesaw State University and teaches a small private home studio. LAURA ARDAN, CLARINET rincipal Clarinet Laura Ardan has been with the Atlanta Symphony Orchestra since 1982 and holds the endowed Robert Shaw Chair.








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

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Ardan has performed in the Tanglewood, Marlboro, Mostly Mozart and Bellingham Music Festivals, and as a guest artist in “Emanuel Ax Invites...” on the Great Performers series at Lincoln Center. A frequent guest of the Atlanta Chamber Players, Georgian Chamber Players and Emory Chamber Music Society, she plays regularly at the Highlands Chamber Music Festival in North Carolina and the Grand Teton Chamber Music Festival in Wyoming. A student of Roger Hiller and Stanley Drucker, Ardan attended The Juilliard School of Music on scholarships from both Juilliard and the Naumburg Foundation. Before joining the ASO, she was a resident clarinetist and teaching artist at the Lincoln Center Institute for four years. She also played in the Metropolitan Opera Orchestra for two seasons.


ndrew Brady joined the Atlanta Symphony Orchestra in January 2016 as Principal Bassoon. Brady was formerly Principal Bassoonist with the Louisiana Philharmonic, a position he held since 2013.






Brady is from Johnson City, TN, where he began his musical studies on saxophone, but was drawn to switch to bassoon at age 14 after seeing the quirky instrument at a band clinic. Four years later he performed on NPR’s From the Top; and in 2010, he received the Grand Prize in the Pasadena Showcase House for the Arts Competition, adjudicated by members of the Los Angeles Philharmonic. In January 2011, Brady performed Mozart’s Bassoon Concerto with the Seattle Symphony under invitation from then Music Director Gerard Schwarz. While in Seattle, he gave free public concerts as well as interactive demonstrations in area schools. An active soloist, Brady has performed concertos by Mozart, Weber and Zwilich with the Southeast Symphony, the Los Angeles Doctor’s Symphony and The Colburn Orchestra, respectively. Enthusiastically involved in music education, he has worked as a teaching artist with the Harmony Project’s Youth Orchestra Los Angeles program, where he assisted underserved teens in learning to play bassoon. Brady received his Bachelor of Music degree from The Colburn School Conservatory of Music, where he studied with Richard Beene. Other teachers include Anthony Parnther, Rick Ranti and Suzanne Nelsen. rincipal Horn Brice Andrus joined the Atlanta Symphony Orchestra in 1966 while still a student at Georgia State University. He became Principal Horn in 1975.







Andrus’ recent solo appearances with the Atlanta Symphony include R. Strauss’ Concerto No. 2, Oliver Knussen’s Concerto for Horn, Britten’s Serenade, and Mozart’s Concerto No. 4. Andrus has toured on several occasions with the Summit Brass and was a featured artist at the International Horn Society Workshops in 1993 and 1999, at which he received the Society’s Punto Award recognizing distinguished service. He has performed for festivals at Highlands / Cashiers, Amelia Island, Grand Tetons and Bellingham, WA. Andrus studied horn with Forrest Standley and Dale Clevenger. He currently teaches at Georgia State University and is married to Susan Welty, the ASO’s Associate Principal Horn. | Atlanta’s Performing Arts Publication 31


APR 11/13/14

Concerts of Thu., April 11, 2019 8:00pm Sat., April 13, 2019 8:00pm Sun., April 14, 2019 3:00pm

LEONARD BERNSTEIN (1918-1990) Chichester Psalms (1965) I. Psalm 108, vs. 2; Psalm 100, entire II. Psalm 23, entire; Psalm 2, vs. 1-4 [attacca] III. Psalm 131, entire; Psalm 133 vs. 1 Daniel Moody, countertenor Atlanta Symphony Orchestra Chorus


INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 9 in D minor, Opus 125, “Choral” (1824) I. Allegro ma non troppo, un poco maestoso II. Molto vivace; Presto; Molto vivace III. Adagio molto e cantabile IV. Presto Jessica Rivera, soprano Stephanie Lauricella, mezzo-soprano Thomas Cooley, tenor Andrea Mastroni, bass Atlanta Symphony Orchestra Chorus

19 MIN

20 MIN

68 MIN

English surtitles by Ken Meltzer

The Atlanta Symphony Orchestra Classical Series is presented by In appreciation for their extraordinary support of the Atlanta Symphony Orchestra Annual Fund,

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.

The April 11 concert is dedicated to the joyful life of PAUL HOSKINS HACKETT (January 18, 1995 – April 8, 2018) on behalf of Peter J. Stelling. The April 13 concert is dedicated to the Atlanta Symphony Orchestra musicians by JUNE & JOHN SCOTT. The April 14 concert is dedicated to MRS. LESSIE SMITHGALL.

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Ken Meltzer Program Annotator

Chichester Psalms (1965) LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on August 25, 1918, and died in New York on October 14, 1990. The first performance of Chichester Psalms took place at Philharmonic Hall (now Avery Fisher Hall) in New York on July 15, 1965, with the composer conducting the New York Philharmonic, the Camerata Singers (Abraham Kaplan, director) and John Bogart, alto. The Chichester Psalms are scored for mixed chorus (or male chorus), boy solo (or counter-tenor), three trumpets, three trombones, timpani, snare drum, bass drum, three bongos, tambourine, cymbals, suspended cymbal, triangle, wood block, temple blocks, whip, rasp, chimes, glockenspiel, xylophone, two harps, and strings.


First Classical Subscription Performances: November 13, 14 & 15, 1980, Chris Thomas, Boy Soprano, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: October 18 & 20, 2012, John Holiday, Countertenor, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

uring the 1964-65 season, Leonard Bernstein took a sabbatical Recording: Telarc CD: 80181, from his duties as Music Director of the New York Philharmonic, a post he assumed in 1958. Bernstein hoped that the sabbatical Derek Lee Ragin, would afford him a greater opportunity to devote his energies to Countertenor, composition. Bernstein’s major venture was a collaboration with Atlanta Symphony Betty Comden and Adolph Green—a musical based upon Thornton Orchestra Chorus, Wilder’s The Skin of Our Teeth. However, by January of 1965, it Robert Shaw, Conductor. was clear that the project would not come to fruition. During the sabbatical period, Bernstein also experimented with “12-tone music and even more experimental stuff. I was happy that all these new sounds were coming out; but after about six months of work I threw it all away. It just wasn’t my music. It wasn’t honest. The end result was the CHICHESTER PSALMS...” In 1964, Bernstein received a commission from Dr. Walter Hussey, Dean of the Chichester Cathedral in Sussex, England, to compose a new work for its summer music festival. Bernstein originally intended to call the work Psalms of Youth, but finally decided upon Chichester Psalms, because the piece “is far too difficult.” Bernstein composed his Chichester Psalms in Manhattan during the spring of 1965, completing the work on May 7. The Cathedral graciously allowed Bernstein to conduct the premiere not at Chichester, but at a July 15 New York Philharmonic concert. That performance featured a mixed choir (male and female voices). On July 31, the first performance of the composer’s preferred original version—with a male choir—took place in Chichester. In describing the structure of the Chichester Psalms, the composer observed, “The work is in three movements, lasting about eighteen and a half minutes, and each movement contains one complete psalm plus one or more verses from another complementary psalm by way of contrast or amplification.” Bernstein characterized his Chichester Psalms as “the most accessible, B-flat-majorish tonal piece I’ve ever written. If one is trying to find optimism versus pessimism in my | Atlanta’s Performing Arts Publication 33

music, the closest musical equivalent is tonality versus non-tonality.” And in a poem written at the conclusion of Bernstein’s New York Philharmonic sabbatical, he offered an affectionate tribute to his new work: These psalms are a simple and modest affair, Tonal and tuneful and somewhat square, Certain to sicken a stout John Cager With its tonics and triads and E-flat major. But there it stands—the result of my pondering, Two long months of avant-garde wandering— My youngest child, old-fashioned and sweet, And he stands on his own two tonal feet. Symphony No. 9 in D minor, Opus 125, “Choral” (1824) LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Ninth Symphony took place at the Kärnthnerthor Theater in Vienna on May 7, 1824, with Ignaz Umlauf conducting. The Ninth Symphony is scored for soprano, alto, tenor, and bass soloists, mixed chorus, piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, bass drum, cymbals, triangle, and strings. First Classical Subscription Performance: October 19, 1967, Choral Guild of Atlanta, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: November 13 and 15, 2014, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.


eethoven’s Ninth and final Symphony (“Choral”) represents, on a number of levels, a summit of the immortal composer’s artistic life. The Ninth is by far the most epic of Beethoven’s Symphonies, both in terms of length and performing forces. The revolutionary introduction of vocal soloists and chorus in the finale was a bold masterstroke that forever expanded the potential of symphonic expression.

The text of the Symphony’s finale, based upon the 1785 Ode “To Joy” by the great German writer, Friedrich Schiller (1759-1805), held a lifelong attraction for the composer. Likewise, Beethoven’s melodic setting of Schiller’s Ode in the finale of Beethoven’s Ninth was the product of an extended genesis. A version of the melody Recording: (Telarc CD-80603) first appears in a song Beethoven composed in the mid-1790s, Soloists and Atlanta entitled “Gegenliebe” (“Mutual Love”), based upon a poem by Symphony Orchestra Chorus, Gottfried August Bürger. An even more startling premonition of Donald Runnicles, Conductor the Ninth Symphony may be found in Beethoven’s 1808 Fantasia in C minor for Piano, Chorus, and Orchestra, Opus 80. And the sublime writing for the vocal soloists and chorus in the final scene of Beethoven’s only opera, Fidelio (1805, rev. 1806, 1814), looks forward to the finale of the Ninth. Beethoven composed the Ninth Symphony during a period between the spring of 1823 and January 1824. As late as the summer of 1823, Beethoven considered ending his Symphony in traditional fashion with a purely instrumental fourth movement. Even after Beethoven made the final decision to employ Schiller’s text, the question remained of how to effect the appropriate transition to this new and daring path. 34 | @AtlantaSymphony |



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And then one day (according to the composer’s friend and biographer, Anton Schindler), Beethoven exclaimed: “I’ve got it, I’ve got it.” Beethoven had sketched the following words: “Let us sing the song of the immortal Schiller.” This text was to be performed by the basses of the chorus, with the soprano then presenting Schiller’s Ode. Beethoven ultimately modified the above text to read: “O friends, no more these sounds! Let us sing songs that are more cheerful and full of joy!” Both these lines, and the beginning of Schiller’s Ode, are given to the solo bass vocalist. The premiere of Beethoven’s Ninth Symphony took place at the Vienna Kärnthnerthor Theater on May 7, 1824. By this stage of Beethoven’s life, the composer’s hearing had deteriorated to such an extent that conducting the performance was out of the question. Instead, Ignaz Umlauf led the premiere. But all the while, Beethoven was at Umlauf’s side, attempting to direct the tempos for the various movements. At the conclusion of the performance, the audience erupted with a spirited ovation. Karoline Unger was the contralto soloist at the premiere of the Beethoven Ninth. More than four decades later, she met with the British music writer, Sir George Grove. During that meeting, Unger described what happened at the May 7, 1824 concert: The master, though placed in the midst of this confluence of music, heard nothing of it at all and was not even sensible of the applause of the audience at the end of his great work, but continued standing with his back to the audience, and beating the time, till Fräulein Unger, who had sung the contralto part, turned him, or induced him to turn round and face the people, who were still clapping their hands, and giving way to the greatest demonstrations of pleasure. His turning round, and the sudden conviction thereby forced upon everybody that he had not done so before, because he could not hear what was going on, acted like an electric shock on all present, and a volcanic explosion of sympathy and admiration followed, which was repeated again and again, and seemed as if it would never end. The Ninth Symphony is in four movements. The first (Allegro ma non troppo, un poco maestoso) opens with the furtive introduction of a two-note descending motif (pairs of descending notes provide the thematic nucleus for much of the Ninth Symphony), soon thundered fortissimo by the orchestra. The winds also hint at the immortal Ode “To Joy” theme with a dolce ascending and descending theme. The movement proceeds to a fierce resolution, capped by a final statement of the opening theme. The scherzo (Molto vivace; Presto; Molto vivace) appears as the Symphony’s second (rather than the traditional third) movement. Once again, a descending two-note motif, introduced the outset, provides the thematic nucleus. In the central trio, the winds introduce a flowing theme that is another precursor to the Ode “To Joy” melody. The beautiful slow-tempo movement (Adagio molto e cantabile) is based upon two themes, both derived from a descending two-note motif. In the finale (Presto) the principal themes from the first three movements return, only to be rejected in turn by the orchestra. Finally, the orchestra sings the immortal Ode “To Joy” melody. The bass heralds the entrance of the vocal soloists and chorus. A series of variations on the melody culminates in the orchestra’s Prestissimo race to the finish. 36 | @AtlantaSymphony | 288

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anish conductor Thomas Søndergård is Music Director of Royal Scottish National Orchestra, after six seasons as Principal Guest Conductor. He served as Principal Conductor of BBC National Orchestra of Wales (BBCNOW) from September 2012 – August 2018, and prior to this, as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra for three seasons.








The 2018/19 season includes his debuts with Chicago Symphony Orchestra joined by Alexander Gavrylyuk, New Zealand Symphony Orchestra, Helsinki Philharmonic Orchestra, Orchestre National de France and Tapiola Sinfonietta. He makes return visits to Atlanta Symphony Orchestra, Toronto Symphony Orchestra, BBC National Orchestra of Wales, Danish National Symphony Orchestra, the orchestra of the Royal Danish Academy Copenhagen, Swedish Radio Symphony Orchestra, Bayerische Staatsoper (Turandot) and Deutsche Oper Berlin (Berlioz’s Romeo and Juliet). Plans with RSNO include tours to China and the United States, premieres of new commissions and Marsalis’ Violin Concerto with Nicola Benedetti. DANIEL MOODY, COUNTERTENOR


ountertenor Daniel Moody has garnered widespread acclaim for his commanding yet expressive vocal timbre and his breathtaking musicianship

Opera appearances include the title roles in Handel’s Giulio Cesare and Rinaldo, Arsamene in Handel’s Xerxes, Oberon in Britten’s A Midsummer Night’s Dream, L’Enfant in Ravel’s L’enfant et les sortileges and most recently, Nerone in Monteverdi’s L’incoronazione di Poppea with Cincinnati Opera alongside Anthony Roth Costanzo.








Recent highlights include the American premiere of George Benjamin’s Dream of the Song (Stefan Asbury conducting) at the Festival of Contemporary Music at Tanglewood Festival; engagements with Charleston Symphony, WinstonSalem Symphony, Illinois Symphony, Handel’s Hercules with Staunton Festival singing Lichas, Great Music in a Great Space series (Kent Tritle conducting) and Boston Symphony, standing in for Bejun Mehta. In 2016, Daniel was one of four vocalists in Joyce DiDonato’s Carnegie Hall Masterclasses, broadcast live on Medici TV. Moody is a graduate of the Peabody Conservatory (BM ’14), Yale School of Music and Institute of Sacred Music (MM ‘16) and has won awards and been recognized by Metropolitan National Council Auditions (Regional award winner), George London Competition ($5,000 prize), Handel Aria Competition (2nd prize), Rochester Oratorio Society Classical Idol, New York Oratorio Society Competition, and Russell Wonderlic Competition (1st prize). JESSICA RIVERA, SOPRANO


rammy Award-winning soprano Jessica Rivera is one of the most creatively inspired vocal artists before the public today. The intelligence, dimension and spirituality with which she infuses her performances on great international concert and opera stages has garnered Rivera unique artistic collaborations with many

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of today’s most celebrated composers, including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff and Nico Muhly, and has brought her together with such esteemed conductors as Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Bernard Haitink and Michael Tilson Thomas. During the 2018/19 season, Rivera makes debuts at the Aspen Music Festival in Gabriela Lena Frank’s La Centinela y la Paloma with the Aspen Philharmonic Orchestra led by Federico Cortese, and at the Grand Teton Music Festival performing Barber’s Knoxville: Summer of 1915. Orchestral engagements include performances of Mozart’s Requiem with the Louisville Orchestra conducted by Teddy Abrams, Handel’s Messiah with the Nashville Symphony and Giancarlo Guerrero, Four Last Songs by Richard Strauss with the Fort Worth Symphony and Robert Spano, and Beethoven’s Ninth Symphony with the Atlanta Symphony Orchestra conducted by Thomas Søndergård. A major voice in the rich culture of Latin American music and composers, Rivera performs in Antonio Lysy’s beloved Te Amo Argentina with Arizona Friends of Chamber Music. Rivera also performs the world premiere of a new work by acclaimed composer Nico Muhly with the National Children’s Chorus and the American Youth Symphony conducted by Carlos Izcaray at Walt Disney Concert Hall in Los Angeles. STEPHANIE LAURICELLA, MEZZO-SOPRANO


ezzo-soprano Stephanie Lauricella returns to the role of Dorabella in Così fan tutte in her Staatsoper Hamburg and Oper Stuttgart debuts in the 2018/19 season. She also joins Oper Stuttgart and returns to Deutsche Oper Berlin for performances of Rosina in Il barbiere di Siviglia and joins the Atlanta Symphony for Beethoven’s Symphony No. 9. Last season, she returned to Opéra national de Paris for Dorabella in Così fan tutte, sang Rosina in Il barbiere di Siviglia with Arizona Opera, and made her Glyndebourne Opera debut as Annina in Der Rosenkavalier, while also being responsible for Octavian.





Other recent performances include her Opéra national de Paris debut as Dorabella in Così fan tutte, which she also sang in a return to the Deutsche Oper Berlin, her Asian debut as Rosina in Il barbiere di Siviglia with Opera Hong Kong, the title role in La cenerentola with El Paso Opera and Stephano in Roméo et Juliette with Madison Opera. She also recently returned to the Grand Théâtre de Genève as Hermia in A Midsummer Night’s Dream, made her debut with Seattle Opera as Isolier in Le comte Ory, and returned to the Deutsche Oper Berlin for numerous roles. On the concert stage, sang Beethoven’s Missa solemnis with Donald Runnicles conducting both the BBC Scottish Symphony and the Atlanta Symphony Orchestra. She has won numerous awards including the William Matheus Sullivan Foundation Award, Fritz and Lavinia Jensen Encouragement Award, Connecticut Opera Guild’s Catherine Martin Award, Connecticut Concert Opera’s Artistic Director Award, second place Great Lakes Regional Winner of the Metropolitan Opera National Council Auditions, the Santa Fe Opera Campbell Wachter Memorial Award, and the Central City Opera McGlone Award. Ms. Lauricella holds a Bachelor of Music degree in vocal

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performance from Ithaca College and a Master of Music degree in vocal performance from Manhattan School of Music. THOMAS COOLEY, TENOR



homas Cooley is singer of great virtuosity, expressiveness and versatility. In demand internationally, Cooley performs a wide range of repertoire, from the Renaissance to the present day with premiere orchestras, ensembles and conductors. Cooley has received exceptional acclaim for the role of the Evangelist in Bach’s Passions and in the great oratorios of Handel.







This season, Cooley performs twice with each of Chicago’s Music of the Baroque and the Atlanta Symphony. He also performs with Houston Symphony, Fort Wayne Philharmonic, Musica Angelica and at New York’s St. Thomas Church. Cooley makes regular appearances with such historically informed groups as Philharmonia Baroque Orchestra, Handel and Haydn Society, and the Carmel Bach Festival. ANDREA MASTRONI, BASS


talian bass Andrea Mastroni began his musical education as a clarinetist before moving to vocal studies where he graduated from the Istituto Claudio Monteverdi in Cremona. His awards include the Mario Basiola prize (2005), the Giuseppe Di Stefano prize (Trapani) for his portrayl of Sparafucile Rigoletto, the Bibiena (Mantua) prize (2007) and the XXXVII Prize Franco Abbiati for his performance in Perocco’s Aquagranda at Teatro La Fenice.








Andrea’s repertoire includes Rocco Fidelio, Seneca L’Incoronazione di Poppea, Colline La bohème, Sparafucile Rigoletto, Hundung Die Walküre, Selim Il Turco in Italia, Il Re di Scozia Ariodante, Heinrich Lohengrin, Daland Der fliegende Holländer, Sarastro Die Zauberflöte, Gremin Eugene Onegin, Achille in Sciro, Mustàfa Italiana in Algeri, Cardinal de Brogni La Juive, König Marke Tristan und Isolde, and the title roles in Don Giovanni and Don Pasquale among many others. He has appeared at Metropolitan Opera, Opernhaus Zurich, Teatro Real Madrid, Bayerische Staatsoper, Deutsche Staatsoper, Hamburgische Staatsoper, Cincinnati Opera, Theatre des Champs Elysées, Teatro Massimo Di Palermo and Royal Opera House Covent Garden. NORMAN MACKENZIE, CONDUCTOR








orman Mackenzie’s abilities as musical collaborator, conductor, and concert organist have brought him international recognition. Appointed Director of Choruses for the Atlanta Symphony Orchestra by Robert Spano in 2000, and holder of its endowed Frannie and Bill Graves Chair, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. During his tenure, the Chorus has made numerous tours, garnered several Grammy® awards for Best Classical Album and Best Choral Performance and has three times been invited to sing with the Berlin Philharmonic. At the ASO, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts annually. In recent seasons he has conducted a “Shaw Choral Celebration” with

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MAY 3-12, 2019

JUL 12-21, 2019


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the ASO and Chorus and performances of the Rachmaninov Vespers with the ASO Chamber Chorus as part of the Robert Shaw Centenary celebrations. He has prepared choruses for performance under Robert Shaw, Robert Spano, Donald Runnicles, John Adams, Roberto Abbado, Charles Dutoit, Bernard Labadie, Nicholas McGegan, John Nelson, Alan Gilbert, James Conlon and Sir Neville Marriner, among others. Recent appearances have included New York, Washington D.C., Chicago, Kansas City, Philadelphia and Minneapolis. A native of suburban Philadelphia, Mackenzie made his debut as a pianist with the Philadelphia Orchestra at age 12. He holds degrees from the University of the Arts in Philadelphia and Westminster Choir College and worked closely with Robert Shaw for 14 years. Mackenzie’s acclaimed Telarc recording of a cappella sacred music (featuring the Vaughan Williams Mass in G-Minor) represents the ASO Chamber Chorus’s first recording apart from the Orchestra. ATLANTA SYMPHONY ORCHESTRA CHORUS


he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director Robert Shaw, remains an important part of the Orchestra’s programming. The Chorus is an all-volunteer, auditioned organization that performs on a regular basis with the Orchestra and is featured on many of its recordings.

Led by Director of Choruses, Norman Mackenzie, the Chorus is known for its precision and expressive singing quality. Its recordings have won 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). Those include Vaughan Williams’ A Sea Symphony and the Berlioz Requiem. The Chorus performs large choral-symphonic works under the direction of Music Director, Robert Spano and Principal Guest Conductor, Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous worldpremiere commissioned works. The Chorus made its debut at New York’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Shaw. In addition, the Chorus performed in Washington, DC, for President-elect Jimmy Carter’s Inaugural Concert in 1977, and returned there with Robert Spano in 2017 as part of the SHIFT Festival. In 1988, it accompanied Shaw and the Orchestra on their European debut tour. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic – in December 2003 for three performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in December 2009 for a week of the Brahms Requiem performances – all with Atlanta Symphony Orchestra Principal Guest Conductor, Donald Runnicles. Within the Chorus, there is an auditioned group of 60 singers called the Atlanta Symphony Orchestra Chamber Chorus. The Chamber Chorus, which formed before the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters. 44 | @AtlantaSymphony |




Jeffrey Baxter

Peter Marshall

director of choruses

choral administrator


The Frannie and Bill Graves Chair

The Florence Kopleff Chair

SOPRANO 1 Amy Baker Mary Martha Clark Hanan Davis Khadijah Davis Sakinah Davis Liz Dean Virginia Elizondo Laura Foster Jayme Hogan-Yarbro Erin Jones Arietha Lockhart** Mindy Margolis* Joneen Padgett* Rachel Paul Callaway Powlus Lisa Rader* Susan Ray Joanna Reesman Brianna Riley Samaria Rodriguez Natalie Rogers Natalie Spruell Stacey Tanner Brianne Turgeon* Erika Wuerzner Wanda Yang Temko* SOPRANO 2 June Abbott** Sloan Atwood* Jessica Barber Barbara Brown Martha Craft Ellen Dukes** Mary Goodwin Amanda Hoffman Kathleen Kelly-George* Eda Mathews** Shannon Nesbit Vickie Orme* Heidi Padovano Chantae Pittman Donna Ross* Paula Snelling* Anne-Marie Spalinger* Tommie Storer

Emily Tallant Cheryl Thrash** Donna Weeks* Katie Woolf ALTO 1 Akosua Adwini-Poku Pamela Amy-Cupp Deborah Boland** Rachel Bowman Donna Carter-Wood** Laurie Cronin Angel Dotson-Hall Katherine Fisher Beth Freeman Noelle Hooge Beverly Hueter Janet Johnson** Virginia Little* Staria Lovelady Meredith McCoy Frances McDowellBeadle** Mary Elizabeth Mendenhall Linda Morgan** Katherine Murray* Kathleen Poe Ross Laura Emiko Soltis Meesook Sonu Rachel Stewart** Diana Strommen Nancy York* ALTO 2 Nancy Adams* Angelica BlackmanKeim Christa Joy Chase* Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament Emily Jenkins Sally Kann Nicole Khoury* Katherine MacKenzie Campbell Rogers

Sharon Simons* Alexandra Tanico Virginia Thompson* Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Jordan Bell Christian Bigliani David Blalock** John Brandt* Jack Caldwell** Daniel Cameron* Daniel Compton Joseph Cortes Clifford Edge** Steven Farrow** Nicholas Flott Leif Gilbert-Hansen* James Jarrell Keith Langston* Sean Mayer* Clinton Miller Christopher Patton Stephen Reed# Nathaniel Sundholm Mark Warden* TENOR 2 Randall Barker* Mark Barnes Steve Brailsford Charles Cottingham# Phillip Crumbly* Joseph Few* Sean Fletcher Hamilton Fong Steven Johnstone Joseph Kang Michael Parker Timothy Parrott Marshall Peterson* Brent Runnels Matthew Sellers Thomas Slusher Scott Stephens**

Keith Thompson Alexander Wilson BASS 1 Dock Anderson Russell Cason** Trey Clegg Steven Darst** Michael Dennison Thomas Elston Jon Gunnemann* David Hansen** Lee Johnson Nick Jones# Frank Kingsley Jameson Linville Peter MacKenzie Jason Maynard Mark Mendenhall Peter Shirts Kendric Smith# John Terry Ike Van Meter Edgie Wallace* Edward Watkins** BASS 2 Philip Barreca Charles Boone Brian Brown* John Carter Rick Copeland** Joel Craft** Paul Fletcher Timothy Gunter* Eric Litsey** Kevin Newman Stephen Ozcomert John Ruff* Jonathan Smith* Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970) | Atlanta’s Performing Arts Publication 45

APR 17

Concert of Wed., April 17, 2019 8:00pm

LUDWIG VAN BEETHOVEN (1770-1827) Sonata No. 19 in G minor, Opus 49, No. 1 (1795-7) I. Andante II. Rondo. Allegro


JONATHAN BISS, piano Sonata No. 16 in G Major, Opus 31, No. 1 (1802) I. Allegro vivace II. Adagio grazioso III. Rondo. Allegretto

23 MIN

Sonata No. 7 in D Major, Opus 10, No. 3 (1795-8) I. Presto II. Largo e mesto III. Menuetto. Allegro IV. Rondo. Allegro

25 MIN

Sonata No. 27 in E minor, Opus 90 (1814) 13 MIN I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck II. Nicht zu geschwind und sehr singbar vorgetragen Piano Sonata No. 28 in A Major, Opus 101 (1816) 21 MIN I. Etwas lebhaft, und mit der innigsten Empfindung (Allegretto, ma non troppo) II. Lebhaft. Marchmässig (Vivace alla Marcia) III. Langsam und sehnsuchtsvoll (Adagio, ma non troppo, con affetto)—Geschwind, doch nicht zu sehr, und mit Entschlossenheit (Allegro)

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

46 | @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.


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 a premature 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. 19 in G minor, Opus 49, No. 1 (1795-7)


he two Sonatas published in 1805 as Beethoven’s Opus 49, Nos. 1 and 2, were composed about a decade earlier. The works are referred to as “Zwei Leichte Sonaten” (“Two Easy Sonatas”). One may presume Beethoven intended them for study and performance by his students and other amateur players. I. Andante—The first movement exposition features two principal themes. The flowing initial theme is couched as a dialogue between the right and left hand. The second theme, while incorporating the eighth notes of its predecessor, is in the major key, and far more playful. The development section, initiated by a forte trill, finally resolves to the restatement of the principal themes, now both in the minor key.

II. Rondo. Allegro—The finale opens with the immediate presentation of the Rondo’s principal, recurring refrain, a tripping melody in 6/8 meter. The hushed dynamics of the closing measures are swept away by a pair of fortissimo chords. Sonata No. 16 in G Major, Opus 31, No. 1 (1802)


he G-Major Sonata is one of three that Beethoven composed during the year he authored the “Heiligenstadt Testament”, a confession of the torment brought on by his hearing loss. The Sonatas were published by Nägeli in Zürich, collectively as Opus 31, Nos. 1-3, in 1803-4. | Atlanta’s Performing Arts Publication 47

I. Allegro vivace—A brisk descending flourish heralds the opening theme, featuring dotted rhythms and dynamic contrasts. The playful second theme is echoed in the minor by the left hand. A brief, sighing figure rounds out the exposition. The development, focusing upon the initial theme, includes brilliant passagework. A mysterious episode is swept aside by the fortissimo start of the recapitulation. The coda’s hushed dynamics are interrupted by a fortissimo outburst before returning to a final piano statement. II. Adagio grazioso—A trill launches the slow-tempo second movement’s highly elaborate and decorated principal melody. The melody returns in varied form throughout. While the music is, of course, fully transcribed, the Adagio is very much in the character of an extended improvisation, with writing designed to showcase the pianist’s lyric and technical prowess. The Adagio concludes with an elegant, ascending passage. III. Rondo. Allegretto—The Rondo finale’s recurring principal theme appears at the outset. The finale is striking throughout for its quicksilver energy and humor. Toward the close, the theme is couched in contrasting tempos, capped by a Presto dash to the finish. Sonata No. 7 in D Major, Opus 10, No. 3 (1795-8)


he D-Major Piano Sonata is the last of three published collectively as Beethoven’s Opus 10. Beethoven dedicated the Sonatas to Countess Browne-Camus, the wife of one of his patrons, Count Johann Georg von Browne-Camus. Over a period of five years, Beethoven dedicated several works to the Count and Countess. In his dedication to the Count of the three Opus 9 String Trios, Beethoven wrote: “L’auteur auroit la satisfaction tant désirée de presenter au premier Mécene de sa muse la meilleure de ces oeuvres” (“It would give the author a much-desired satisfaction to present to the first Maecenas of his muse the finest of his works”). I. Presto—A playful descending and ascending figure is the first of several themes presented and varied in the exposition. After a brief moment of silence, the ensuing development begins in hushed fashion, but soon acquires impressive power and vigor. The development concludes with a sustained chord, leading to the recapitulation of the central themes, and the stirring close. II. Largo e mesto—Beethoven directs that the second movement be played in a very broad tempo and with “sad” (mesto) expression. Indeed, the first episode is fashioned along the lines of a grand and tragic operatic solo. The central section, opening in the major key, soon acquires pathos of its own, accentuated by numerous halting pauses. A varied reprise of the opening builds to a series of anguished climaxes before yielding to the whispered conclusion. III. Menuetto. Allegro—The Largo’s despair gives way to the sunshine of the final two movements. First is a lovely Minuet that includes a contrapuntal episode. The central Trio, with its brilliant, repeated triplets, leads to a reprise of the Minuet. IV. Rondo. Allegro—The Rondo finale’s principal refrain incorporates the pauses of the second-movement Largo, but now to charming effect. The lively movement concludes with a final statement of the refrain, now serving as accompaniment to fleet passagework.

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Sonata No. 27 in E minor, Opus 90 (1814)


eethoven dedicated the E-minor Sonata to Count Moritz Lichnowsky, the brother of his friend and patron, Prince Karl Lichnowsky.

I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck—Beethoven directs that the sonata-form opening movement be played “With vivacity and always with feeling and expression.” The work opens with the stark initial principal theme. The agitated second principal theme is closely related to its predecessor. The development and recapitulation of the themes resolve to the closing bars, a hushed reminiscence of the first theme. II. Nicht zu geschwind und sehr singbar vorgetragen —The second movement is to be performed “Not too fast and always in a singing manner.” What the piano sings is an affecting, dolce melody that recurs throughout, not once overstaying its welcome. A final reprise of the melody leads to a delicate resolution. Piano Sonata No. 28 in A Major, Opus 101 (1816)


n the second decade of the 19th century, Beethoven continued to struggle with the loss of his hearing, as well as with other health issues. After the death of his brother, Beethoven also became embroiled in fierce and protracted custody litigation over his nephew, Karl. During this challenging period, Beethoven’s prodigious creative powers seemed to come to a standstill. The general belief in Vienna was that Beethoven’s remarkable career was over. Beethoven’s friend, Anton Schindler, recalled that when the composer learned of these rumors, he replied: “Wait a while; you will soon learn differently.” And in the final decade of his life, Beethoven composed several of his greatest and most adventurous works—the String Quartets Nos. 12-16 and Grosse Fugue, his choral masterpiece, the Missa solemnis, and the Ninth Symphony. Also from Beethoven’s “Late Period” are a series of masterpieces for solo piano; the Sonatas, Nos. 28-32, and the Diabelli Variations. Beethoven completed the first of the Late Sonatas, Opus 101, in November of 1816. He dedicated the Sonata to Baroness Dorothea von Ertmann. Beethoven affectionately referred to Ertmann, a pupil and superb interpreter of his piano compositions, as his “Dorothea-Cecilia.” In 1831, Felix Mendelssohn visited the Baroness in Milan: (The Baroness von Ertmann) told me that when she lost her last child, Beethoven was at first unable to come to her house any more. Finally he invited her to come to him, and when she came he sat at the piano and merely said: “We will now converse in music,” and played for over an hour, and, as she expressed it, “He said everything to me, and also finally gave me consolation.” I. Etwas lebhaft, und mit der innigsten Empfindung (Allegretto, ma non troppo)— Beethoven directs that the brief opening movement be played “with the deepest feeling.” Set in a flowing 6/8 meter, the lyric principal melody is tinged with nostalgia. II. Lebhaft. Marchmässig (Vivace alla Marcia)—The second movement is a vigorous March, with dissonances and unexpected intervals that must have stunned the audiences of Beethoven’s time. A far more tranquil episode in B-flat Major builds to a reprise of the opening March.

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MEET THE ARTISTS III. Langsam und sehnsuchtsvoll (Adagio, ma non troppo, con affetto)—Geschwind, doch nicht zu sehr, und mit Entschlossenheit (Allegro)—The introspective slow-tempo introduction (Adagio ma non troppo, con affetto) is capped by a brief cadenza (Non presto). A brief reminiscence of the opening movement (Tempo del primo pezzo: tutto il Cembalo ma piano) concludes with a series of trills. The final section (Allegro), with brilliant contrapuntal writing that culminates in a grand fugue, is a compositional and pianistic tour de force. The music abounds with energy and humor, right to the closing fortissimo ascent. 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 A VEG AL O Samuel Barber composed his Cello Concerto), and his parents, violinist BE N J AMIN E 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 | Atlanta’s Performing Arts Publication 51

APR 25/27

Concerts of Thu., April 25, 2019 8:00pm Sat., April 27, 2019 8:00pm CARLOS KALMAR, conductor SHEKU KANNEH-MASON, cello The Atlanta Symphony Orchestra Classical Series is presented by

ARTHUR SULLIVAN (1842-1900) Overture di ballo (1870) EDWARD ELGAR (1857-1934) Concerto for Cello and Orchestra in E minor, Opus 85 (1919) I. Adagio; Moderato II. Lento; Allegro molto III. Adagio IV. Allegro; Moderato; Allegro, ma non troppo Sheku Kanneh-Mason, cello INTERMISSION ROBERT SCHUMANN (1810-1856) Symphony No. 2 in C Major, Opus 61 (1846) I. Sostenuto assai; Allegro, ma non troppo II. Scherzo. Allegro vivace III. Adagio espressivo IV. Allegro molto vivace

11 MIN

31 MIN

20 MIN 39 MIN

Sponsored by

This evening’s performance is dedicated to Mrs. Azira G. Hill, Mrs. Mary Gramling, the musicians of the Atlanta Symphony Youth Orchestra and the Talent Development Program on behalf of SUSAN AND TOM WARDELL in appreciation for their support of the Atlanta Symphony Orchestra Annual Fund. The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. 52 | @AtlantaSymphony |


Ken Meltzer Program Annotator

Overture di ballo (1870)

These are the first Classical ARTHUR SULLIVAN was born in London, England, on May Subscription Performances. 13, 1842, and died there on November 22, 1900. The first performance of the Overture di ballo took place at the Birmingham Triennial Festival in Birmingham, England, in August of 1870, with the composer conducting. The Overture di ballo is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon (optional), four horns, two trumpets, three trombones, tuba (second tuba optional), timpani, bass drum, snare drum, triangle, cymbals, and strings.


nglish composer Arthur Seymour Sullivan is of course best known for his numerous collaborations with librettist W.S. Gilbert (1836-1911). The Gilbert and Sullivan light operas include such beloved masterpieces as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), Iolanthe (1882), and The Mikado (1885). But Sullivan composed numerous works independent of Gilbert, including his “Irish” Symphony, and a Cello Concerto (both in 1866), incidental music to plays, operas, choral and chamber music, church music, and songs. The Overture di ballo (Dance Overture) is one of Sullivan’s best known orchestral works apart from various overtures to G&S operas. Sullivan composed the work for the Birmingham Triennial Festival, and conducted the Overture’s premiere in August of 1870. The Overture di ballo’s melodic inspiration and sparkling orchestration will be familiar to Savoyards everywhere. The Overture di ballo opens with a grand introduction (Andante moderato), leading to a dance in the spirit of a polonaise. An extended waltz sequence (Allegro. Tempo di Valse). A spirited galop (Tempo di Galop) brings the Overture di ballo to a rousing close. Concerto for Cello and Orchestra in E minor, Opus 85 (1919) EDWARD ELGAR was born in Broadheath, near Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. The first performance of the Cello Concerto took place at the Queen’s Hall in London, England, on October 27, 1919, with Felix Salmond as soloist, and the composer conducting the London Symphony Orchestra. In addition to the solo cello, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.


First Classical Subscription Performances: October 9, 10 & 12, 1969, Leonard Rose, Cello, Robert Shaw, Conductor. Most Recent Classical Subscription Performances: February 16, 17 & 19, 2012, Johannes Moser, Cello, Roberto Minczuk, Conductor.

n the spring of 1918, following a long and painful illness finally diagnosed as tonsillitis, Edward Elgar underwent surgery. The composer’s daughter, Carice, recalled: “He was in a great deal of pain for several days; (there) were not anything like the sedatives that we have now, but nevertheless he woke up one morning and asked for pencil and paper.” Elgar then composed the first music he had written in nine months—a beautiful melody in 9/8 time. That fall, Alice Elgar noted | Atlanta’s Performing Arts Publication 53

that her husband was at work orchestrating the melody. By the spring of the following year, Elgar devoted much time and attention to this music, which now took form as his Cello Concerto in E minor. On June 26, 1919, Elgar wrote to his friend, Sidney Colvin: “I am frantically busy writing & have nearly completed a Concerto for Violoncello—a real large work & I think good & alive.” Elgar later dedicated the Concerto to Sidney Colvin and his wife, Frances. Cellist Felix Salmond assisted Elgar in the composition of the solo part. In August, Elgar offered Salmond the opportunity to be the soloist in the Concerto’s world premiere, which took place at the Queen’s Hall in London on October 27, 1919. It was the opening of the London Symphony Orchestra’s first concert season following World War I. Albert Coates, the Orchestra’s new conductor, was scheduled to lead music by Wagner, Scriabin, and Borodin. Elgar would take the podium for the premiere of his Cello Concerto. Coates decided to devote virtually all of the allotted rehearsal time to the music he was conducting. As a result, the Concerto received a woefully inadequate performance. In a review of the premiere of the Elgar Cello Concerto, the eminent British music critic, Ernest Newman, wrote: “never, in all probability, has so great an orchestra made so lamentable a public exhibition of itself.” Still, Newman was able to discern the considerable qualities of Elgar’s newest composition: “The work itself is lovely stuff, very simple—that pregnant simplicity that has come upon Elgar’s music in the last couple of years—but with a profound wisdom and beauty underlying its simplicity… the realization in tone of a fine spirit’s lifelong wistful brooding upon the loveliness of the earth.” In time, the Elgar Concerto has become recognized as one of the 20th century’s finest works for cello and orchestra. Many commentators have recognized the Concerto’s “profound wisdom,” first cited by Ernest Newman. However, they often attribute that wisdom to far less genial circumstances than those suggested by Newman. Elgar composed the Cello Concerto after the devastation of the First World War. Elgar was all too aware of the effect the “War to End All Wars” had upon the world he knew and loved. As the composer wrote in 1917: “Everything good & nice & clean & sweet is far away—never to return.” And perhaps Elgar sensed that his own life—at least as a composer—was reaching its final stages. In his catalogue of works, Elgar wrote the following next to the listing of his Cello Concerto: “FINIS R.I.P.” And after his beloved Alice’s death in 1920, Elgar was never the same. Although Edward Elgar lived another fifteen years after the premiere of the Cello Concerto, it proved to be his last major work. The Concerto is in four movements. After a slow-tempo introduction (Adagio), the violas introduce the melody Elgar composed during his recuperative period (Moderato). The second movement also opens with a slow-tempo introduction (Lento), resolving to music whose filigree orchestration and furtive energy are worthy of the finest Mendelssohn scherzos (Allegro molto). The third movement (Adagio) features an elegiac, wide-ranging melody, played molto espressivo by the soloist. The finale (Allegro; Moderato; Allegro, ma non troppo) ensues without pause. The music’s lively gait slows for a lengthy episode of extraordinary introspection and 54 | @AtlantaSymphony |

pathos. Echoes of the preceding Adagio add to the mood of resignation, as the music seems to fade to a silent conclusion. Suddenly, a reprise of the Concerto’s formidable opening measures, followed by a brief restatement of the principal theme, leads to the terse resolution. Symphony No. 2 in C Major, Opus 61 (1846) ROBERT SCHUMANN was born in Zwickau, Germany, on June 8, 1810, and died in Endenich, Germany, on July 29, 1856. The first performance of the Symphony No. 2 took place in Leipzig, Germany, on November 5, 1846, with Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra. The Symphony No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings.


First Classical Subscription Performances: May 13, 14 & 15, 1971, James Levine, Conductor. Most Recent Classical Subscription Performances: November 15, 16, & 18, 2007, Kwamé Ryan, Conductor.

obert Schumann composed his Symphony No. 2 in the wake of a physical breakdown suffered in the spring and summer of 1844. Clara Schumann recalled: “Robert did not sleep a single night. His imagination painted the most terrible pictures. In the early morning I generally found him bathed in tears. He gave himself up completely.” Schumann’s health was slow in returning. As he wrote to Felix Mendelssohn in October of 1845: Unfortunately, I have not recovered my usual strength. Any sort of disturbance of the simple order of my life throws me off my balance and into a nervous, irritable state…Wherever there is fun and enjoyment I must still keep out of the way. The only thing to be done is hope, hope—and so I will.

Schumann’s condition improved sufficiently to allow him to resume composition. He authored several keyboard works in 1845, including the final two movements of his Piano Concerto in A minor, which he completed in July. A few months later, Schumann wrote to Mendelssohn: “For a few days now my mind has been throbbing to the sound of trumpets and drums. I wonder what it will lead to.” The answer was the Symphony No. 2, which Schumann sketched between December 12 and 18, 1845. Additional physical problems—this time in the form of tinnitus— delayed Schumann’s orchestration of the Symphony. Schumann finally completed the work on October 19, 1846. Felix Mendelssohn conducted the Gewandhaus Orchestra of Leipzig in the premiere, which took place on November 5. The Symphony No. 2 is in four movements. The first opens with a slow-tempo introduction (Sostenuto assai), featuring the simultaneous presentation of two themes. Each of these themes—a brass fanfare motif and flowing string melody—will play a significant role throughout the work. The introduction segues to the principal, energetic Allegro ma non troppo. The second-movement alternates the main Scherzo (Allegro vivace) with two contrasting Trio sections. The third movement (Adagio espressivo) maintains a haunting lyricism throughout. The finale (Allegro molto vivace) brings the Symphony to a triumphant resolution. | Atlanta’s Performing Arts Publication 55



arlos Kalmar is in his sixteenth season as Music Director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago.


He made his New York debut at Carnegie Hall with the Oregon Symphony as part of the inaugural Spring for Music festival. Both his imaginative program, Music for a Time of War, and the performance itself were hailed by critics in The New York Times, New Yorker magazine and Musical America, and the concert was recorded and released on the PentaTone label, subsequently earning two Grammy® nominations (Best Orchestral Performance and Best Engineered). Under Kalmar’s guidance the orchestra has recorded subsequent CDs on the PentaTone label—“This England,” featuring works by Britten, Vaughan Williams, and Elgar, and “The Spirit of the American Range,” with works by Copland, Piston, and Antheil which received another Best Orchestral Performance Grammy nomination.







Carlos Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of six. By the time he was fifteen his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the Chief Conductor and Artistic Director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the music director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. He lives in Portland with his wife, Raffaela, and their two young sons. SHEKU KANNEH-MASON, cello


heku Kanneh-Mason, winner of the 2016 BBC Young Musician competition, became a household name worldwide in May 2018 after performing at the Wedding of the Duke and Duchess of Sussex at Windsor Castle. His performance was greeted with universal excitement after being watched by nearly two billion people globally.




In June 2018, Sheku received the Male Artist of the Year and the Critics’ Choice Classic BRIT awards, and in July 2018 became the first recipient of the BRIT Certified Breakthrough Award. Sheku has already performed with many of the UK’s most important orchestras and the 2018/19 and 2019/20 seasons include debuts with the Seattle Symphony, Frankfurt Radio Symphony, Orchestre Philharmonique de Radio France, Atlanta Symphony and Netherlands Chamber Orchestra, as well as a performance at the Vienna Musikverein with the Japan Philharmonic. As the first London Music Masters Junior Ambassador, he believes firmly that music should be accessible to all and is a strong advocate of the importance of music education in schools. In 18/19, he serves as ‘Young Artist in Residence’ at the Royal Liverpool Philharmonic. In 2017 Sheku received the South Bank Sky Arts Breakthrough Award and in February 2018, he performed ‘Evening of Roses’ at the BAFTAS Awards show at the Royal Albert Hall, with four of his six siblings, the first time any artist has been invited to perform during the ceremony two years running. Sheku is a full-time ABRSM Scholarship student at the Royal Academy of Music, studying with Hannah Roberts. He plays an Antonius and Hieronymus Amati cello c.1610, kindly on loan from a private collection.

56 | @AtlantaSymphony |

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he Orchestra donor list includes Annual Fund donations made June 1, 2017 – March 4, 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

58 | @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.* $17,500+ Juliet & John Allan Pinney L. Allen & Charles C. Miller III Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr.

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 Jeffrey Sprecher & Kelly Loeffler Mr. & Dr. Kevin Lyman 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 $15,000+ Cari K. Dawson & Madeline & Howell E. John M. Sparrow Adams, Jr. Loren & Gail Starr Mr. Keith Adams & Elliott & Elaine Tapp Ms. Kerry Heyward Carol & Ramon Tomé Rita & Herschel Bloom Family Fund Mr. David Boatwright John & Ray Uttenhove The Breman Mr. James Wells & Mrs. Foundation, Inc. Susan Kengeter Wells The John & Rosemary Drs. Kevin & Kalinda Brown Family Foundation Woods The Capital Group $10,000+ Companies Charitable Foundation A Friend of John W. Cooledge the Symphony (2) Russell Currey & Aadu & Kristi Allpere* Amy Durrell In memory of Leigh Baier Donna Lee & Julie & Jim Balloun Howard Ehni Bell Family Foundation Ms. Angela L. Evans Mr. Benjamin Q. Brunt & Fifth Third Bank Ms. Catherine Meredith Carl & Sally Gable Walter & Frances Dick & Anne Game Bunzl Foundation Georgia Power Correll Family Foundation, Inc. Foundation, Inc. Jason & Carey Janet Davenport, in honor Guggenheim/Boston of Norman Mackenzie Consulting Group

Wright & Alison Caughman 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

Marcia & John Donnell 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 Mr. & Mrs. William K. Kapp, Jr. King & Spalding Pat & Nolan Leake John F. & Marilyn M. McMullan Walter W. Mitchell The Monasse Family Foundation Dr. & Mrs. Ebbie & Ayana Parsons Suzanne & Bill Plybon Mr. Andrew Saltzman Pierette Scanavino Mr. John A. Sibley III Dr. Steven & Lynne Steindel* Peter James Stelling Alison & Joe Thompson The Trapp Family Turner Foundation, Inc. United Distributors Chilton & Morgan Varner Mark & Rebekah Wasserman Mrs. Virginia S. Williams Ms. Joni Winston

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers.**Deceased | Atlanta’s Performing Arts Publication 59


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 Jean & Jerry Cooper 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

Mr. Ron Hilley & Mrs. Mia Frieder Hilley 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. Ms. Eliza Quigley 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

60 | @AtlantaSymphony |

Michael & Carol Murphy Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk 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 Mr. William Benton

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* 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 Miss Elizabeth L. Morris & Miss Christine Elliott 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. & 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 Cecile M. Jones 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 Elvira Mannelly 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 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 61


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. Dr. John W. Gamwell Mr. & Mrs.** Dr. Michael S. McGarry Mr.** & Mrs. Richard H. Burgin Richard & Shirley McGinnis L.L. Gellerstedt, Jr. Hugh W. Burke John & Clodagh Miller Ruth Gershon & Mr. & Mrs. William Buss Ms. Vera Milner Sandy Cohn Wilber W. Caldwell Mrs. Gene Morse** Micheline & Bob Gerson Mr. & Mrs. C. Merrell Ms. Janice Murphy** Mr. & Mrs. John T. Glover Calhoun Mr. & Mrs. Mrs. David Goldwasser Cynthia & Donald Carson Stephen L. Naman Robert Hall Gunn, Jr., Fund Mrs. Jane Celler** Mr. & Mrs. Bertil D. Nordin Billie & Sig Guthman Lenore Cicchese** Mrs. Amy W. Norman** Betty G.** & Margie & Pierce Cline Galen Oelkers Joseph** F. Haas Dr. & Mrs. Grady S. Roger B. Orloff James & Virginia Hale Clinkscales, Jr. Dr. Bernard** & Ms. Alice Ann Hamilton Robert Boston Colgin Sandra Palay Dr. Charles H. Hamilton Mrs. Mary Frances Sally & Pete Parsonsons Sally & Paul** Hawkins Evans Comstock** Dan R. Payne John & Martha Head Miriam** & John A.** Bill Perkins Ms. Jeannie Hearn** Conant Barbara & John Henigbaum Mrs. Lela May Perry** Dr. John W. Cooledge

62 | @AtlantaSymphony |

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 **Deceased

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 distribution, 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@

Proud supporter of the

rts A

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 65


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

66 | @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 67

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


68 | @AtlantaSymphony |



MAY 2/4


Double Double Timpani Timpani Concerto Concerto

MAY 9/11


Classical season presented by | Atlanta’s Performing Arts Publication 69

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 Adam Fenton


senior director

director of multimedia

interim education

Lisa Eng



multimedia creative

Caitlin Hutchinson

Tiffany I. M. Jones


marketing coordinator managing producer of

Christine Lawrence

Natcha McLeod

box office manager

director of marketing

- aso & live Robert Phipps

event coordinator

manager of education

Michael Tamucci Event Coordinator

archives program


associate marketing


William Strawn

Elizabeth Arnett director of



William Keene manager of

artistic consultant

Jeffrey Baxter

Gillian Kramer




individual giving



vice president of

manager of grants

manager of special

Tyler Benware

ticketing director

operations manager

Pam Kruseck

Megan Brook

director of patron

personnel assistant


Joseph Brooks


development operations

manager of artistic



principal guest




Christopher McLaughlin


KC Commander digital marketing

general manager

stage manager


to the music director

OPERATIONS Sameed Afghani

Melanie Kite

patron services




manager of

of marketing

development program

senior production


artist liaison

executive assistant

interim talent

Paul Barrett


Terra McVoy

Carol Wyatt


of sales

Jesse Pace

senior director

& community Ryan Walks

senior director


program annotator


Tyrone Webb


Ken Meltzer

manager of family

Bob Scarr

Nancy Field


Ruthie Miltenberger


Clay Schell

April Satterfield

Cynthia Harris

education concerts

publications director


choral administrator


Joanne Lerner

staff accountant

ARTISTIC Evans Mirageas


Robin Smith patron services


season tickets


Christopher Stephens group & corporate sales manager

Caroline Tanner patron services assistant


70 | @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 71




ARE YOU LOOKING FOR A GREAT NIGHT OUT? Try one of these local restaurants before or after the show. N E I GH BO R H O O D CO D ES A Alpharetta D Downtown BK Buckhead DK DeKalb BR Brookhaven DW Dunwoody BW Brookwood IP Inman Park C Cumberland JC Johns Creek

M Midtown NA North Atlanta OFW Old Fourth Ward P Perimeter Mall PB Peachtree Battle

72 | @AtlantaSymphony |

SS Sandy Springs V Vinings VH Virginia Highland W Westside

Park e


of S






THE ENCORE ATLANTA DINING GUIDE AMERICAN/NEW AMERICAN PARISH — (OFW) Unique people, delicious food and good-for-the-Earth goods all come together at this brasserie and neighborhood café. Step off the BeltLine and join the vibrant culture of Inman Park. Whether you go upstairs to the brasserie or head downstairs to the café, expect inspired familiar American food, inventive beverages and warm hospitality. 240 North Highland Avenue NE 404-681-4434 TWO URBAN LICKS — (M) Heats up the Atlanta restaurant scene with its fiery American cooking. The experience available at TWO urban licks has made it one of the city’s busiest restaurants on a nightly basis. 820 Ralph McGill Boulevard 404-522.4622 MOLLY B’S — (D) A southern inspired chophouse with a chef-driven menu, Molly B’s is a destination restaurant and private club located in Mercedes-Benz Stadium boasting an outstanding view of the field. See website for important information. Mercedes-Benz Stadium 1 AMB Drive NW 470-341-5050 DINNER THEATER LIPS-ATLANTA – (BR) Part cocktail bar, part restaurant, part wa-a-ay over-the-top dinner theater in Brookhaven. The only things padded here are the waitresses. Open Wed.-Sun. only. Reservations required for dinner shows (not for the bar). Complimentary on-site valet parking. See website for more important information. 3011 Buford Highway 404-315-7711

EUROPEAN FUSION ECCO – (BK, M) Esquire Magazine named this casual, European-influenced bistro a best new restaurant in America. It’s received raves for its wine list, wood-fired pizzas, and impressive meat and cheese menus. Three locations. Buckhead: 3586 Peachtree Road 404-347-9558 Midtown: 40 7th Street NE 404-347-9555 ITALIAN ALTOBELI’S (JC) has been your Italian neighborhood restaurant since 1988. following classic Italian food recipes, Altobeli’s creates a wide selection of dishes — antipasti, meat, fish and pasta, including gluten free and vegetarian fare — made from the freshest ingredients available. 3000 Old Alabama Road 770-664-8055 LA TAVOLA – (M) Neighborhood hub for classic Italian comfort food has a cozy, exposed-brick interior and a back patio. 992 Virginia Avenue NE 404-873-5430 MAGGIANO’S LITTLE ITALY – (BK, C, P) Specializing in Italian cuisine — and lots of it — in a classy-casual setting. Pick a booth for an intimate date night, or go big; This place is good for kids and groups, too. Takeout available at all locations. Buckhead: 3368 Peachtree Road 404-816-9650 Cumberland: 1601 Cumberland Mall 770-799-1580 Perimeter Mall: 4400 AshfordDunwoody Road 770-804-3133

74 | @AtlantaSymphony |

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

Be our guest for a Chick-fil-A Backstage Tour! You will be guided on a walking, storytelling experience to learn more about the restaurant you love, while being inspired by the life and vision of founder S. Truett Cathy. ABOUT THE TOURS • Original: An enlightening journey through the history of Chick-fil-A founder S. Truett Cathy, and the core values of the company. • The Deluxe: Visit S. Truett Cathy’s office, enjoy tastings in The Kitchen and experience The Nest, our training center. PLAN YOUR VISIT • Tours are held Monday – Friday for adults and children over six. • For schedule and pricing options visit: Contact info: 5200 Buffington Road • Atlanta, GA 30349

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

Check our website or Facebook for info on Jazz night!

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

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

PMS 7533

PMS 484 | Atlanta’s Performing Arts Publication 75

THE ENCORE ATLANTA DINING GUIDE MEXICAN ALMA COCINA – (D) A refreshing approach to contemporary Mexican cuisine. Bright, fresh ingredients and traditional regional influences come together with other Latin American flavors in vibrant dishes that feel familiar and new all at once. Downtown: 191 Peachtree Sreet NE 404-968-9662 Buckhead (coming soon): Terminus 100, 3280 Peachtree Road NE #100 EL TACO – (VH) An eco-friendly watering hole serving fresh Mexican food made with all-natural meats and tasty margaritas. 1186 North Highland Avenue NE 404-873-4656 MOROCCAN/NORTH AFRICAN IMPERIAL FEZ — (PB) offers a unique dining experience centered around the traditional flavorful foods of North Africa — along with nightly exotic entertainment. It’s more than just a night out, it’s event dining at its finest! 2285 Peachtree Road NE 404-351-0870 SEAFOOD BULLY BOY (M) offers eastern seaboard fare from its farms, rivers and coastal waters with an approach that has far reaching influences. Fare is paired with a nostalgic cocktail list and local and coastal craft brews. The wine program offers a focused selection of global classics and relevant surprises. Bully Boy is a destination restaurant located in the Old Fourth Ward. 828 Ralph McGill Boulevard 678-904-5607

LURE – (M) A modern interpretation of a classic fish house with a focus on seasonality and freshness. 1106 Crescent Avenue 404-817-3650 SOUTHERN/SOUTHERN-INSPIRED SIMON’S RESTAURANT (M) brings innovative cuisine to Midtown Atlanta with signature dishes such as the Guinness Braised Short Ribs, Red Snapper and Dr. Pepper Glaze Pork Belly. Simon’s fulfills the vision of a vibrant restaurant where the cuisine, service, atmosphere, and energy are second to none. 793 Juniper Street NE 404-698-3715 SOUTH CITY KITCHEN – (A, B, M, V) With a stylish, Southern-contemporary menu, this DiRoNA restaurant helped make grits hip for the business crowd. Four locations: Alpharetta (in Avalon): 9000 Avalon Way 678-722-3602 Buckhead: 3350 Peachtree Road #175 404-815-6677 Midtown: 1144 Crescent Avenue 404-873-7358 Vinings: 1675 Cumberland Parkway 770-435-0700 VEGAN HERBAN FIX — (M) With a mission to share the best fusion vegan cuisine with local residents, businesses and visitors, Herban Fix offers a fusion vegan menu to let you experience the most iconic food throughout different parts of Asia. Taking inspiration from various cuisines, the menu at Herban Fix is carefully crafted and plated and all the dishes are designed for sharing. Ingredients are premium select, organic, fresh and aimed at good health as well as great taste. 565-A Peachtree Street NE 404-815-8787

76 | @AtlantaSymphony |

COSMETIC, IMPLANT & GENERAL DENTISTRY FOR THE FAMILY. An international leader in cosmetic, implant and general dentistry for more than three decades, Dr. David Mastro’s patients travel world-wide for his Atlanta cosmetic dentistry and report that he is one of the country’s top cosmetic and general dentists.

NOT YOUR ORDINARY DENTIST, NOT YOUR ORDINARY DENTAL OFFICE. Dr. Mastro is a unique dentist with his artistic expression developed through years of hand crafting crowns, veneers and bridges. Today, with the aid of the most advanced technology available, Dr. Mastro can care for patients’ complete dental needs from oral surgery and implants to fillings and general cleanings. Dr. Mastro is legendary for quality dentistry and for transforming smiles for people from all walks of life.

DR. DAVID MASTRO 800 Mansell Road Roswell, Georgia 30076 770.642.9900 1.888.SeeMySmile

BEAUTY DELIVERED After researching cosmetic dentists, I found Dr. Mastro is the best. My smile has never been prettier. — Patti Simmons Miss Georgia USA, 2000 | Atlanta’s Performing Arts Publication C3

Enriching Lives, Realizing Visions

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



C4 | @AtlantaSymphony |

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