Atlanta Symphony Orchestra: April 2014

Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

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contents April 2014

16

22

features

the music

16 Parts of the Sum

24 Program and Notes

An Inside Look at the ASO’s Chamber Music Series. By Sean Ward

22 Education: Voices & Vibes

Festival unites teens and arts in a bold

new way.

By Kelli Ffrench-Parker

departments 10 Robert Spano 12 Orchestra Leadership 14 Musicians 70 Staff 72 Calendar 74 General/Ticket Info 76 Gallery

4 Atlanta Symphony Orchestra | aso.org

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ASO | Music Director Robert Spano

R

ecognized as one of the most imaginative conductors of his generation, Robert Spano is currently in his 13th season as Music Director of the Atlanta Symphony Orchestra (ASO), where he has created a sense of inclusion, warmth, and community unique among American orchestras.

Under Mr. Spano’s guidance, the ASO and its audiences explore a creative programming mix. The Atlanta School of Composers reflects his commitment to American contemporary music, thus defining a new generation of American composers. He has led ASO performances at Carnegie Hall, Lincoln Center, and at the Ravinia, Ojai, and Savannah Music Festivals.

As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs for 630 students, including Aspen’s American Academy of Conducting. Guest engagements include the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia Symphony Orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles.

Mr. Spano is on the faculty of Oberlin Conservatory, and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Mr. Spano served as director of the Festival of Contemporary Music at the Boston Symphony Orchestra’s Tanglewood Music Center in 2003 and 2004, and from 1996 to 2004 was Music Director of the Brooklyn Philharmonic. He headed the Conducting Fellowship Program at the Tanglewood Music Center from 1998 to 2002. In May 2009, Mr. Spano was awarded Columbia University’s Ditson Conductor’s Award for the advancement of American music.

10 Atlanta Symphony Orchestra | aso.org

DEREK BLANKS

With an extensive discography of 21 recordings for Telarc, Deutsche Grammophon, and ASO Media, Mr. Spano has garnered six Grammy Awards. Dedicated to pedagogy and multi-disciplinary studies, he has lectured on “Community” for TEDx and recently completed a three-year residency at Emory University. He was inducted into the Georgia Music Hall of Fame in 2012.

ASO | leadership 2013-2014 Board of Directors Officers Karole F. Lloyd Chair

D. Kirk Jamieson Vice Chair

Joni Winston Secretary

Howard D. Palefsky Treasurer

Shirley Franklin Paul R. Garcia Carol Green Gellerstedt Virginia A. Hepner* Tad Hutcheson Roya Irvani Clayton F. Jackson Mark Kistulinec Steve Koonin Carrie Kurlander Edward A. Labry III James H. Landon Michael Lang † Donna Lee Hank Linginfelter Xia Liu

Kelly L. Loeffler Meghan H. Magruder † Brian F. McCarthy Penny McPhee† Michael J. Merlin Terence L. Neal Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Ronda Respess* Martin Richenhagen Stanley E. Romanstein, Ph.D.* William Schultz

John Sibley H. Hamilton Smith Lucinda B. Smith Paul Snyder Gail Ravin Starr† Mary Rose Taylor† Joseph M. Thompson Ray Uttenhove S. Patrick Viguerie Deltev von Platen Thomas Wardell Mark D. Wasserman† John B. White, Jr. Richard S. White, Jr. Patrice Wright-Lewis Camille Yow †

Directors Jim Abrahamson Ron Antinori Neil H. Berman Paul Blackney † Mary Rockett Brock Janine Brown C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Ronald M. Cofield Sylvia Davidson* Carlos del Rio, M.D. Lynn Eden Gary P. Fayard Dr. Robert M. Franklin, Jr. †

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

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Herb Karp Jim Kelley George Lanier

Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey

Joyce Schwob W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White

Life Directors Howell E. Adams, Jr. Mrs. Drew Fuller Bradley Currey, Jr. Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

* Ex-officio † 2013-2014 Sabbatical

12 Atlanta Symphony Orchestra | aso.org

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息2014 Rising Tide

AtlantaSymphonyOrchestra

ROBERT SPANO

Robert Spano Music Director The Robert Reid Topping Chair * Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair *

DONALD RUNNICLES

Michael Krajewski Principal Pops Conductor Jere Flint Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

MICHAEL Norman Mackenzie KRAJEWSKI Director of Choruses The Frannie and Bill Graves Chair

JERE FLINT

14

NORMAN MACKENZIE

FIRST VIOLIN

SECOND VIOLIN

David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair* The Mabel Dorn Reeder Honorary Chair* TBD Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Anastasia Agapova Carolyn Toll Hancock John Meisner Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

David Arenz Principal The Atlanta Symphony Associates Chair* Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair* Jay Christy Assistant Principal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

VIOLA

Reid Harris Principal The Edus H. and Harriet H. Warren Chair* Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair * Catherine Lynn Assistant Principal Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin

CELLO

PICCOLO

HORN

PERCUSSION

Christopher Rex Principal The Miriam and John Conant Chair* Daniel Laufer Associate Principal The Livingston Foundation Chair* Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner

Carl David Hall

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane Bruce Kenney

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle

BASS

Principal - TBD The Marcia and John Donnell Chair Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden FLUTE

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal C. Todd Skitch • Carl David Hall

OBOE

Elizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown Chair* Yvonne Powers Peterson Associate Principal Samuel Nemec Emily Brebach ENGLISH HORN

Emily Brebach CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez

TRUMPET

Stuart Stephenson • Principal The Madeline and Howell Adams Chair* Michael Tiscione Acting Associate Principal/Second Joseph Walthall Michael Myers •

BASS TROMBONE

LIBRARY

Ted Gurch

TUBA

BASS CLARINET

Alcides Rodriguez

Michael Moore Principal

BASSOON

TIMPANI

Juan de Gomar

KEYBOARD

Colin Williams Principal Nathan Zgonc Brian Hecht •

TROMBONE

Brian Hecht •

CONTRABASSOON

Elisabeth Remy Johnson Principal The Delta Air Lines Chair The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson

E-FLAT CLARINET

Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

HARP

Mark Yancich Principal The Walter H. Bunzl Chair* William Wilder Assistant Principal

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian

‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician • New this season Players in string sections are listed alphabetically

encoreatlanta.com | Atlanta’s Performing Arts Publication 15

PA‰TS OF THE SUM

An Inside Look at the ASO’s Chamber Music Series JEFF ROFFMAN

By Sean Ward

16 Atlanta Symphony Orchestra | aso.org

E

ach week, Atlanta Symphony Orchestra (ASO) Principal Flute Christina Smith tackles a schedule many would run and hide from.

When she’s not teaching at Kennesaw State University, she’s mentoring other students in her private studio. When she’s not playing in a chamber group around the city, she’s preparing for Atlanta Symphony Orchestra concerts. Oh, and she’s a mother of two who enjoys running marathons in her free time. Amidst this all, there’s always one thing Ms. Smith makes time for: the ASO’s Pre-Concert Chamber Music Series.

The Chamber Music Series features multiple pre-concert chamber recitals throughout the season during which small groups of ASO musicians perform, sans conductor, in a setting unlike anything you’ll experience in a full Orchestra performance.

“Chamber music, to me, is the core of all great music-making,” says ASO Concertmaster David Coucheron. “There’s no better feeling than sitting and playing chamber music in a group that works well.”

The Orchestra members don’t participate in the series just for the sake of enjoyment — they also use it to perfect their performance in the full orchestra setting.

“When you’re playing with all 87 people onstage, it’s easy to play for yourself and not be engaged by other musicians around you,” says Mr. Coucheron. “That’s why this series is so important; it helps us re-engage ourselves in the purest form of music-making.”

encoreatlanta.com | Atlanta’s Performing Arts Publication 17

SEAN WARD

Principal Flute Christina Smith and Principal Harp Elisabeth Remy Johnson play in an all-French pre-concert chamber recital as part of the ASO’s Pre-Concert Chamber Music Series.

The program is subsidized in part by the musicians and has already attracted benefactors. ASO Insider and Program It all started just a couple years ago when Annotator Ken Meltzer and his wife, ASO Percussionists Thomas Sherwood and Carolyn, have made financial gifts, and ASO Charles Settle began the process of creating Concertmaster David Coucheron recently a more intimate program that was just as chose to dedicate his Mabel Dorn Reeder artistically superb as an orchestra concert. Honorary Chair stipend to help support The biggest difference, though, is that the Chamber Music Series. The Honorary instead of sitting in the seats of the hall, Chair is awarded to an Atlanta Symphony patrons sit right on stage, just feet from Orchestra musician who demonstrates excellence in musical artistry, leadership, ASO musicians. collegiality, and community engagement.

“It really is such a different setting,” says Ms. Smith, who is also Chair of the Series’ Advisory Committee, which oversees and coordinates the concerts. “The audience gets to sit right on stage in seats where the Orchestra musicians usually sit. It’s really great because they get to see the hall from “This really speaks to the fact that the our perspective.” musicians of this Orchestra are 100 The Chamber Music Series is still relatively percent committed to connecting with our young, with the 2013/14 season being only community in every way we can,” says Ms. its third.

Chamber music, to me, is the core of all great music-making

18 Atlanta Symphony Orchestra | aso.org

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SEAN WARD

Audiences are invited to sit on stage for a Chamber concert an hour before the ASO subscription concert begins.

“You realize how every spoke of the wheel —every musician on stage— is an essential part of why we sound like one of the greatest Smith. “We’re grateful Ken and Carolyn orchestras in the world.”

[Meltzer] have been so generous, and we are thrilled David [Coucheron] has chosen to support this so intensively.”

While the Chamber Music Series is a unique experience for audiences, it also allows musicians to reconnect musically with each other in a more personal setting.

“Chamber music is great because it opens your ears and allows you to hear everyone’s individual sound,” says Principal Oboe Elizabeth Koch Tiscione, who will be performing the virtuosic Strauss Oboe Concerto in her ASO solo debut this month.

ASO concerts can be so much more meaningful when you feel like you have a connection with the players onstage

To learn more about the Pre-Concert Chamber Series and to view upcoming concerts, visit aso.org/chamberseries.

Sean Ward currently works in the communications department of the Atlanta From an audience perspective, hearing Symphony Orchestra. each individual sound gives a better understanding of the full orchestra sound, Ms. Smith explains.

20 Atlanta Symphony Orchestra | aso.org

e d u c at i o n

Voices & Vibes Festival Unites Teens and Arts in a Bold New Way

by Kelli Ffrench-Parker

S

25 highly-motivated teenagers who are dedicated to furthering the goals of the Wells Fargo ArtsVibe program. From actors to art appreciators, and everything in between, the council consists of teens involved in all facets the arts have to offer.

When asked about why she chose to be on The Voices & Vibes Festival, which is in the council, Shaina McLawrence, a 12th its second year, will take place in the heart grader at Chapel Hill High School, said she of Midtown at the Woodruff Arts Center “wanted to make a difference in the way (WAC). The WAC, which offers a vast young people view art.” smorgasbord of the visual and performing The Voices & Vibes festival is one of the arts to people of all ages, will be taken over biggest projects organized by the Teen by teenagers from across the Metro Atlanta Council, which has been feverishly planning area for a day full of art challenges, live for the past couple of months. Collectively, performances, and many other activities they have planned activities for the entire geared towards teens. day, including: performances on an outdoor Sponsored by the Wells Fargo ArtsVibe Teen stage; a variety of food trucks for the teens Program, the Voices & Vibes festival strives to grab a bite to eat; and even a series of art to engage metro Atlanta teens in the arts. challenges for a special arts centered “field The Wells Fargo ArtsVibe program, which day,” which consists of scavenger hunts, is the first of its kind in the nation, is a cross- creating song covers, sculpture building, divisional effort which harnesses expertise and many more interactive arts events. from all four divisions of the Woodruff The festival will culminate with the Voices Arts Center —Alliance Theatre, Atlanta showcase, which will take place in the Symphony Orchestra, High Museum of Alliance Theater. More than 40 talented Art, and Young Audiences— in order to metro-Atlanta teenagers will share their art provide powerful channels for expression with performances ranging from dancing to and communication to help young people singing to spoken word. Unicequa Holder, develop into confident, caring, and creative a senior at Southwest DeKalb High School, individuals. will be performing in the showcase along The Teen Program is organized by the with her friend Adia Reid, a senior at ArtsVibe Teen Council — a group of Elizabeth Andrews High School. The two i nging. Dancing. Art. Games. These are just a few things to expect on May 10, 2014, when the Woodruff Arts Center is completely transformed for the Voices & Vibes Festival — a daylong affair just for teens.

22 Atlanta Symphony Orchestra | aso.org

will perform a piece titled “ED,” where Ms. Reid will provide vocals and play the piano while Ms. Holder performs spoken word. “It’s a chance for more people to hear the positivity we hope to invoke inside of people,” said Ms. Holder.

Overall, the Voices & Vibes Festival will be an exciting day full of fun and expression for all teenagers, which Kaitlin Gress, the ArtsVibe Teen Program coordinator, describes as, “a celebration of teens and their artistic contributions to Atlanta’s identity.”

Any teen can contribute to that identity free of charge on May 10, 2014, starting at 2:00 p.m. at the Woodruff Arts Center. Teens can pre-register for this free event at http:// artsvibe.com/voices-vibes-festival.

Kelli Ffrench-Parker is an 11th-grader at Southwest DeKalb High School. This is Ms. Parker’s first year on the Wells Fargo ArtsVibe Teen Council.

ASO | sponsors AtlantaSymphonyOrchestra IS SPONSORED BY:

Delta is proud to celebrate over 70 years as Atlanta’s hometown airline.

Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It 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.

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

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.

Media sponsors: WABE, WSB AM, and AJC. Trucks provided by Ryder Truck Rental Inc.

24 Atlanta Symphony Orchestra | aso.org

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ASO | 4.2 | concert at a glance AtlantaSymphonyOrchestra ASO ASO | 3.6/7 | 4.2 | program

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Special Presentation Concert of Wednesday, April 2, 2014, at 8:00pm

Donald Runnicles, conductor Yo-Yo Ma, cello EDWARD ELGAR (1857-1934) Concerto for Cello and Orchestra in E minor, Opus 85 (1919) 30 MIN I. A dagio; Moderato II. L ento; Allegro molto

dagio III. A IV. Allegro; Moderato; Allegro, ma non troppo INTERMISSION

20 MIN

JOHANNES BRAHMS (1833-1897) Symphony No. 4 in E minor, Opus 98 (1885)

39 MIN

llegro non troppo I. A II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

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.

26 Atlanta Symphony Orchestra | aso.org

1

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.

1 I

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 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

encoreatlanta.com | Atlanta’s Performing Arts Publication 27

ASO | 4.2 | program

KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

ASO | 4.2 | concert at a glance

ASO | 4.2 | program

All Wars” had upon the world he knew and Symphony No. 4 in E minor, Opus 98 loved. As the composer wrote in 1917: “Ev- (1885) erything good & nice & clean & sweet is far JOHANNES BRAHMS was born 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 introduction (Adagio), the violas introduce the melody Elgar composed during his recuperative period (Moderato). The second movement also opens with a slow introduction (Lento), resolving to music whose filigree orchestration and furtive energy are worthy of the finest Mendelssohn scherzos (Allegro molto). The slow 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 pathos. Echoes of the preceding Adagio add to the mood of resignation, as the music seems to fade to a silent conclusion. But suddenly, a reprise of the Concerto’s formidable opening measures, followed by a brief restatement of the principal theme, lead to the terse resolution.

28 Atlanta Symphony Orchestra | aso.org

in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897.

The first performance of the Symphony No. 4 took place in Meiningen, Germany, on October 25, 1885, with the composer conducting the Meiningen Orchestra. The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, and strings.

J

ohannes Brahms composed his Fourth (and final) Symphony during the summers of 1884 and 1885, while vacationing in the Alpine village of Mürzzuschlag. On August 29, 1885, Brahms forwarded the manuscript of the Fourth Symphony’s opening movement to his friend, Elisabeth von Herzogenberg, along with the following playful correspondence:

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Will you allow me to send you a piece of a piece of mine, and would you have time to glance at it and send me a word about it? Generally speaking, my pieces are, unfortunately, pleasanter than I am, and people find less in them that needs putting right! The cherries in this part of the world never grow sweet and are uneatable — so that if the thing is not to your taste don’t hesitate to say so. I am not at all eager to write a bad No. 4...

In a letter of September 6, Mme. von Herzogenberg confessed, “(t)he movement from the Symphony has already been heaving many sighs and groans under my unskilled hands...there are many passages where I still get quite lost.” And, after hearing a piano duet performance of the

Symphony, the prominent Viennese critic, Eduard Hanslick, commented: “I feel as though I am being thrashed by two frightfully clever fellows.”

The eminent German pianist and conductor Hans von Bülow was thrilled by the score, and invited Brahms to conduct his Meiningen Orchestra in the October 25, 1885 premiere. The favorable response prompted that Orchestra to perform the Symphony during its autumn tour of Germany and Holland.

is an undisputed masterpiece, the E-minor is the perfect synthesis of Classical (and even pre-Classical) form with searing Romantic passion and lyricism. The Fourth Symphony’s dramatic power —couched in a miraculous economy of utterance— continues to move and amaze audiences.

The Symphony is in four movements. The first (Allegro non troppo) begins with the violins’ immediate presentation of the principal theme, based upon alternating pairs of descending and ascending notes.

The second movement (Andante moderato) On March 7, 1897, in Vienna, the mortallyis a series of variations on a theme, ill Brahms attended his final orchestral introduced at the outset by the horns and concert, in which Hans Richter conducted woodwinds. Brahms once described the the E-minor Symphony. The audience stirring third-movement scherzo (Allegro became aware of Brahms’s presence, and giocoso) as “Alexander the Great’s march applauded after each movement. At the to India.” In the finale (Allegro energico conclusion of the Symphony, the audience e passionato), Brahms uses his version of leapt to its feet and offered a massive music from J.S. Bach’s Cantata No. 150 as ovation in tribute to Brahms. The frail the underlying structure for a series of thirty composer summoned his remaining energy variations. The movement is also cast in a to rise and acknowledge the cheers. As general A–B–A form, with two fiery outer biographer Florence May described: sections and a central, lyrical episode. The Tears ran down his cheeks as he stood concluding “A” section continues to build there, shrunken in form with lined in intensity until the shattering final bars. countenance, strained expression, white hair hanging lank, and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master, and Brahms and his Vienna had parted forever.

It is entirely appropriate that the Fourth Symphony served to mark the farewell of Brahms to his beloved Viennese public.

The work represents the summit of the composer’s extraordinary symphonic output. While each of the Four Symphonies

encoreatlanta.com | Atlanta’s Performing Arts Publication 29

ASO | 4.2 | guests YO-YO MA, Cello

ASO | 4.2 | guests

T

he many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities.

He has a discography of over 90 albums, including more than 17 Grammy® Award winners.

Mr. Ma serves as the Artistic Director of the Silk Road Project — an organization he founded to promote the study of cultural, artistic and intellectual traditions along the ancient Silk Road trade routes. Since the Project’s inception, more than 60 works have been commissioned specifically for the Silk Road Ensemble, which tours annually. Mr. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Institute for Learning, Access and Training. His work focuses on the transformative power music can have in individuals’ lives and on increasing the number and variety of opportunities audiences have to experience music in their communities.

Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at the age of four, attended the Juilliard School and, in 1976, graduated from Harvard University. He has received numerous awards, among them the Avery Fisher Prize (1978), the National Medal of Arts (2001), the Sonning Prize (2006), the World Economic Forum’s Crystal Award (2008), the Presidential Medal of Freedom (2010), the Polar Music Prize (2012), and the Vilcek Prize in Contemporary Music (2013).

In 2011, Mr. Ma was recognized as a Kennedy Center Honoree.

Mr. Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

30 Atlanta Symphony Orchestra | aso.org

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ASO | 4.4/5/6 | concert at a glance

ASO | 4.4/5/6 | program

AtlantaSymphonyOrchestra This concert is dedicated in loving memory to our friend and champion Frances “Frannie” Graves.

Her passion and wisdom deepened our devotion to music and her smile and friendship remain deeply missed.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concert Concerts of Friday, April 4, 2014, at 6:30pm, Saturday, April 5, 2014, at 7:30pm, and Sunday, April 6, 2014, at 2:00pm

Donald Runnicles, conductor Kelley O’Connor, mezzo-soprano Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses JOHANNES BRAHMS (1833-1897) Gesang der Parzen, Opus 89 (1882)

12 MIN

Schicksalslied, Opus 54 (1868-1871)

16 MIN

Alto Rhapsody, Opus 53 (1869) 13 MIN Atlanta Symphony Orchestra Chorus Kelley O’Connor, mezzo-soprano (Alto Rhapsody) INTERMISSION

The Atlanta Symphony Orchestra Delta Classical Series is presented by:

with additional support provided by:

Symphony No. 4 in E minor, Opus 98 (1885) I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

42 MIN

The concert of Friday, April 4, is performed without intermission, and features the Symphony No. 4.

English surtitles by Ken Meltzer

The Atlanta Symphony Orchestra Chorus is presented by:

32 Atlanta Symphony Orchestra | aso.org

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

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1

KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

Gesang der Parzen, Opus 89 (1882) The first performance of Gesang der Parzen took place in Basel, Switzerland, on December 10, 1882. Gesang der Parzen is scored for mixed chorus, piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, and strings.

First ASO Classical Subscription Performances: March 10, 11 and 12, 1988, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor.

ASO Recording: Telarc CD-80176, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor.

I

n 1882, Brahms composed his final work for chorus and orchestra, Gesang der Parzen (Song of the Fates). The text is taken from the Priestess’s monologue in Goethe’s drama, Iphigenie. Brahms had seen a production in Vienna of Goethe’s play, starring the great Austrian actress, Charlotte Wolter.

As in the case of Brahms’s Schicksalslied (see, below), Song of the Fates explores man’s struggles in the face of the gods’ indifference.

Text by Johann Wolfgang von Goethe (1749-1832) Schicksalslied, Opus 54 (1868-1871) The first performance of Schicksalslied took place in Karlsruhe, Germany, on October 18, 1871, with Hermann Levi

conducting. Schicksalslied is scored for mixed chorus, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings.

First ASO Classical Subscription Performances: March 10, 11 and 12, 1988, Atlanta Symphony Orchestra Chorus, Robert Shaw, conductor.

ASO Recording: Telarc CD-80176, Atlanta Symphony Orchestra Chorus, Robert Shaw, conductor.

B

rahms began his Schicksalslied (Song of Destiny) in 1868, completing the work three years later. The premiere took place in Karlsruhe on October 18, 1871. The prominent German conductor, Hermann Levi, led the premiere (Levi also conducted the first performance of Richard Wagner’s final opera, Parsifal, on July 26, 1882). It was Levi who suggested the idea of including the Schicksalslied’s orchestral postlude as a method of providing some closure to the despairing final portion of Hölderlin’s poem.

ASO | 4.4/5/6 | program

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833 and died in Vienna, Austria, on April 3, 1897.

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Text by Friedrich Hölderlin (1770-1843)

encoreatlanta.com | Atlanta’s Performing Arts Publication 33

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ASO | 4.4/5/6 | concert at a glance

ASO | 4.4/5/6 | program

Alto Rhapsody, Opus 53 (1869)

The first performance of the Alto Rhapsody took place in Jena, Germany, on March 3, 1870, with Pauline ViardotGarcia as soloist. The Alto Rhapsody is scored for alto solo, male chorus, two flutes, two oboes, two clarinets, two bassoons, two horns, and strings.

First ASO Classical Subscription Performance: April 6, 1966, Mildred Miller, mezzo-soprano, Choral Guild of Atlanta, Henry Sopkin, conductor.

Most Recent ASO Classical Subscription Performances: March 10, 11, and 12, 1988, Marilyn Horne, mezzo-soprano, Atlanta Symphony Orchestra Chorus, Robert Shaw, conductor.

ASO Recording: Telarc CD-80176, Marilyn Horne, mezzo-soprano, Atlanta Symphony Orchestra Chorus, Robert Shaw, conductor.

I

n July of 1869, Julie Schumann, daughter of Robert and Clara, announced her engagement to Count Victor Radicati di Marmorito, whom she met on a visit to Italy. It appears that Brahms had secretly harbored romantic feelings for Julie. On September 22, 1869, the day Julie Schumann wed, Brahms came to Clara’s home after the ceremony. As Clara described in her diary: Johannes brought me a wonderful piece…the words from Goethe’s Harzreise, for alto, male chorus, and orchestra. He called it his bridal song. It is long since I remember being so moved by a depth of pain in words and music.

This piece seems to me neither more nor less than the expression of his own heart’s anguish.

34 Atlanta Symphony Orchestra | aso.org

The Alto Rhapsody, one of Brahms’s most beautiful and moving choral works, is a setting of three verses from Goethe’s 1777 poem, Harzreise im Winter (Harz Journey in Winter). A brooding orchestral introduction (Adagio) sets the stage for the opening verse —set as a recitative for the alto soloist— describing a lonely man’s aimless wanderings. The second verse (Poco andante), an aria for the soloist, is a vivid portrait of the man’s tortured state. In the final verse (Adagio), the key shifts from C minor to a radiant C Major, as the alto and male chorus join voices in a moving prayer for the suffering man’s redemption.

4

Text by Johann Wolfgang von Goethe (1749-1832)

Symphony No. 4 in E minor, Opus 98 (1885)

The first performance of the Symphony No. 4 took place in Meiningen, Germany, on October 25, 1885, with the composer conducting the Meiningen Orchestra. The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle and strings.

J

ohannes Brahms composed his Fourth (and final) Symphony during the summers of 1884 and 1885, while vacationing in the Alpine village of Mürzzuschlag. On August 29, 1885, Brahms forwarded the manuscript of the Fourth Symphony’s opening movement to his friend, Elisabeth von Herzogenberg, along with the following playful correspondence: Will you allow me to send you a piece of a piece of mine, and would you have time to glance at it and send me a word

In a letter of September 6, Mme. von Herzogenberg confessed, “(t)he movement from the Symphony has already been heaving many sighs and groans under my unskilled hands...there are many passages where I still get quite lost.” And, after hearing a piano duet performance of the Symphony, the prominent Viennese critic, Eduard Hanslick, commented: “I feel as though I am being thrashed by two frightfully clever fellows.”

The eminent German pianist and conductor Hans von Bülow was thrilled by the score, and invited Brahms to conduct his Meiningen Orchestra in the October 25, 1885 premiere. The favorable response prompted that Orchestra to perform the Symphony during its autumn tour of Germany and Holland.

hair hanging lank, and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master, and Brahms and his Vienna had parted forever.

It is entirely appropriate that the Fourth Symphony served to mark the farewell of Brahms to his beloved Viennese public.

The work represents the summit of the composer’s extraordinary symphonic output. While each of the Four Symphonies is an undisputed masterpiece, the E-minor is the perfect synthesis of Classical (and even pre-Classical) form with searing Romantic passion and lyricism. The Fourth Symphony’s dramatic power —couched in a miraculous economy of utterance— continues to move and amaze audiences.

The Symphony is in four movements. The first (Allegro non troppo) begins with the violins’ immediate presentation of the principal theme, based upon alternating pairs of descending and ascending notes.

The second movement (Andante moderato) is a series of variations on a theme, On March 7, 1897, in Vienna, the mortallyintroduced at the outset by the horns and ill Brahms attended his final orchestral woodwinds. Brahms once described the concert, in which Hans Richter conducted stirring third-movement scherzo (Allegro the E-minor Symphony. The audience giocoso) as “Alexander the Great’s march became aware of Brahms’s presence, and to India.” In the finale (Allegro energico applauded after each movement. At the e passionato), Brahms uses his version of conclusion of the Symphony, the audience music from J.S. Bach’s Cantata No. 150 as leapt to its feet and offered a massive the underlying structure for a series of thirty ovation in tribute to Brahms. The frail variations. The movement is also cast in a composer summoned his remaining energy general A–B–A form, with two fiery outer to rise and acknowledge the cheers. As sections and a central, lyrical episode. The biographer Florence May described: concluding “A” section continues to build in intensity until the shattering final bars.

Tears ran down his cheeks as he stood there, shrunken in form with lined countenance, strained expression, white encoreatlanta.com | Atlanta’s Performing Arts Publication 35

ASO | 4.4/5/6 | program

4

about it? Generally speaking, my pieces are, unfortunately, pleasanter than I am, and people find less in them that needs putting right! The cherries in this part of the world never grow sweet and are uneatable — so that if the thing is not to your taste don’t hesitate to say so. I am not at all eager to write a bad No. 4...

ASO | 4.4/5/6 | guests DONALD RUNNICLES, Principal Guest Conductor

ASO | 4.4/5/6 | guests

D

onlad Runnicles is concurrently the Principal Guest Conductor of the Atlanta Symphony Orchestra (ASO), General Music Director of the Deutsche Oper Berlin (DOB), Chief Conductor of BBC Scottish Symphony Orchestra (BBC SSO), and Music Director of the Grand Teton Music Festival in Jackson, Wyoming. His Atlanta Symphony association began with a 1999 guest engagement and quickly matured into an abiding musical relationship of ever increasing depth and accomplishment. The ASO named him Principal Guest Conductor in 2001 at the same time as appointment current ASO Music Director Robert Spano.

Together, they have shaped an era for the ASO defined by a rare symbiotic partnership and musical growth that the ASO has not seen since the time of Robert Shaw. He spends two to three weeks each season in Atlanta, and after a dozen years of making music together, has explored all corners of symphonic and choral repertory.

Mr. Runnicles’s recordings with the Atlanta Symphony Orchestra include a critically acclaimed concert disc with soprano Christine Brewer singing Strauss and Wagner; Mozart’s Requiem, Orff’s Carmina burana, and Beethoven’s Ninth Symphony.

Beyond his annual commitments, Mr. Runnicles is active in symphonic repertoire and guest conducts some of the world’s finest symphony orchestras. Though not peripatetic by nature, he finds time to maintain regular guest relationships with 36 Atlanta Symphony Orchestra | aso.org

the Berlin Philharmonic, Philadelphia Orchestra, with whom he toured China in June 2013, a tour marking their 40th anniversary tour to China, and London Symphony.

Mr. Runnicles was born in Edinburgh and was educated at Cambridge. He is a recipient of the Order of the British Empire (OBE) and holds honorary degrees from Edinburgh University, the San Francisco Conservatory of Music, and an honorary doctorate from the Royal Scottish Academy of Music and Drama.

KELLEY O’CONNOR, Mezzo-soprano

P

ossessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy® Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. Performances this season include the world premiere of John Harbison’s Crossroads with the Saint Paul Chamber Orchestra conducted by Edo de Waart, Peter Lieberson’s Neruda Songs with the Gothenburg Symphony Orchestra and Joana Carneiro, and Beethoven’s Ninth Symphony with Alan Gilbert and the New York Philharmonic. Miss O’Connor joins Franz Welser-Möst and the Cleveland Orchestra for an international tour of Beethoven’s Mass in C, a work that also serves for her return to the San Francisco Symphony under the baton of Michael Tilson Thomas. She collaborates with Vladimir Jurowski for the first time in performances of Adams’s El Niño with the London Philharmonic Orchestra. The artist returns to the Atlanta Symphony Orchestra for Brahms’ Alto Rhapsody led by Donald Runnicles as well as to the National Symphony Orchestra in performances of

El amor brujo conducted by the venerable Spanish maestro, Rafael Frühbeck de Burgos.

ZACHARY MAXWELL STURTZ

Her discography includes Lieberson’s Neruda Songs and Golijov’s Ainadamar with Robert Spano and the Atlanta Symphony as well as Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra for Deutsche Grammophon.

ASO | 4.10/11/13 | program The Atlanta Symphony Orchestra Delta Classical Series is presented by:

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

Delta Classical Series Concert Concerts of Thursday, April 10 and Friday, April 11, 2014, at 8:00pm, and Sunday, April 13, 2014, at 2:00pm

ASO | 4.10/11/13 | program

Donald Runnicles, conductor Elizabeth Koch Tiscione, oboe

RICHARD STRAUSS (1864-1949) Metamorphosen, A Study for 23 Solo Strings (1945) 28 MIN

Concerto for Oboe and Small Orchestra in D Major (1945) 26 MIN

I. Allegro moderato II. Andante III. Vivace Elizabeth Koch Tiscione, oboe

INTERMISSION

20 MIN

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 7 in A Major, Opus 92 (1812)

I. Poco sostenuto; Vivace

II. Allegretto

III. Presto; Assai meno presto

IV. Allegro con brio

1

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.

38 MIN

RICHARD STRAUSS was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949.

Metamorphosen, A Study for 23 Solo Strings

(1945)

KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

commission until January. On March 13, 1945, Strauss began the full score, finally completing Metamorphosen in Garmisch on April 12.

During this period, Strauss attempted to find solace in the works of Goethe. As Strauss told a visitor: “Now that I am old myself I will be young again with Goethe and then once again old with him — in First ASO Classical Subscription Performances: May 12, 13 and 14, 1977, his way, with his eyes. For he was a man of the eye — he saw what I heard.” Goethe Robert Shaw, Conductor. he final decade of Richard Strauss’s long frequently used the term “metamorphosis,” and productive life was, in many ways, both in reference to his own artistic the most difficult. Along with the kinds of development, and in the titles of works such challenges often encountered in later years, as Metamorphosis of Plants (1790) and Strauss witnessed the destruction of his Metamorphosis of Animals (1819). native Germany as World War II reached The premiere of Strauss’s Metamorphosen its devastating conclusion. In time, Strauss took place in Zürich on January 25, 1946, and his wife, Pauline, left their home in with Paul Sacher conducting. The dress Garmisch, and sought refuge in Switzerland. rehearsal was held the prior evening. Strauss

T

Nevertheless, Strauss’s last decade proved to be a remarkably creative period, one affectionately referred to as the composer’s “Indian Summer.” During the 1940s Strauss produced several marvelous works, including the opera Capriccio (1942), the Second Horn Concerto (1942), the Oboe Concerto (1945) (see, below), and the Four Last Songs (1948). Perhaps the crowning glory of Strauss’s “Indian Summer” is Metamorphosen, subtitled “A Study for 23 Solo Strings.”

attended the rehearsal, and asked Sacher if he could conduct. By all accounts, the composer gave a magnificent reading of the score many view as his most personal and heartfelt work. Richard Strauss thanked all of the players and quietly left the theater. He did not return for the premiere.

Metamorphosen opens with a brooding theme in the cellos and double-bass (Adagio ma non troppo). The fourth and fifth violas then play a descending, dotted-rhythm theme, marked piano and espressivo.

In the summer of 1944, the Swiss conductor, Strauss confessed that this central theme Paul Sacher, commissioned Strauss to write “escaped from his pen.” Its kinship with the a new piece for his Zürich Collegium music of another great German composer Musicum. Strauss began the Sacher becomes clear in Metamorphosen’s commission in August and September of concluding measures. Additional themes that year. Strauss continued work on the follow, suggesting memories of other works, new piece until October, when he set it aside. both by Strauss and his predecessors.

The composer turned his attention to other The central section presents various projects, and did not return to the Sacher permutations of the thematic material, with rich, contrapuntal writing for the encoreatlanta.com | Atlanta’s Performing Arts Publication 39

ASO | 4.10/11/13 | program

The first performance of Metamorphosen took place at the Tonhalle in Zürich, Switzerland, on January 25, 1946, with Paul Sacher conducting the Zürich Collegium Musicum. Metamorphosen is scored for ten violins, five violas, five cellos and three double-basses.

ASO | 4.10/11/13 | program

ASO | 4.10/11/13 | program various strings. The music propels to a stirring climax, immediately followed by the ensemble’s fortissimo reprise of the opening (Adagio, tempo primo). The energy of the central portion subsides, leading to Metamorphosen’s despairing, pianissimo resolution. In the closing measures, cellos and basses intone the opening measures of the second movement Funeral March of Ludwig van Beethoven’s Symphony No. 3, the “Eroica” (1804). Under the Beethoven quotation, Strauss wrote the words “IN MEMORIAM!”

GI, John de Lancie (1921-2002). In civilian life, de Lancie was then an oboist with the Pittsburgh Symphony Orchestra. De Lancie later became Principal Oboe of the Philadelphia Orchestra. Following his retirement from the Philadelphia Orchestra in 1977, John de Lancie was named Director of the Curtis Institute.

2

De Lancie suggested to Strauss that he write an Oboe Concerto. Strauss completed the short score of his Oboe Concerto on September 14, 1945, while still in Garmisch. By the time Strauss finished the orchestration six weeks later, he and Pauline Concerto for Oboe and Small had moved to Baden, Switzerland. The Orchestra in D Major (1945) February 26, 1946 premiere of the Oboe The first performance of the Oboe Concerto took place in nearby Zurich. The Concerto took place in Zurich, soloist was Marcel Saillet, accompanied Switzerland, on February 26, 1946, with by the Concerto’s dedicatees, conductor Marcel Saillet as soloist and Volkmar Volkmar Andreae and the Zurich Tonhalle Andreae conducting the Zurich Orchestra.

Tonhalle Orchestra. In addition to the solo oboe, the Concerto is scored for The Concerto is in three continuous two flutes, English horn, two clarinets, movements. The opening movement (Allegro moderato) begins with a sixteenthtwo bassoons, two horns and strings. note passage in the cellos, a recurring motif First ASO Classical Subscription throughout the Concerto. The soloist Performances: October 22, 23 and 24, enters with a beautiful and demanding 1992, Jonathan Dlouhy, Oboe, John exposition that spans almost 60 measures, Nelson, Conductor. without pause. The soloist also introduces the principal cantabile melody of the slowMost Recent ASO Classical tempo second movement (Andante). The Subscription Performances: March 4, 5 and 6, 1999, Jonathan Dlouhy, Oboe, oboe launches the Concerto’s rondo finale (Vivace) with the syncopated, tripping Yoel Levi, Conductor. ichard Strauss was not particularly principal melody. A brief cadenza leads not hospitable to American troops (as expected) to the final coda, but to a genial occupying Germany at the close of World Allegro episode, in 6/8 time. The true coda War II. Soldiers who approached Strauss’s (Tempo primo) offers a short restatement of Garmisch villa were met by the greeting: “I the main rondo theme, followed by a brief am the composer of Rosenkavalier; leave downward flourish by soloist and orchestra.

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me alone.”

Strauss made an exception for the American 40 Atlanta Symphony Orchestra | aso.org

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Symphony No. 7 in A Major, Opus 92 (1812)

3

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ASO | 4.10/11/13 | program

ASO | 4.10/11/13 | program 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 Seventh Symphony took place in the Hall of the University of Vienna on December 8, 1813, with the composer conducting. The Symphony No. 7 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

First ASO Classical Subscription Performance: October 26, 1947, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: February 17, 18 and 19, 2011, Jaap van Zweden, Conductor.

L

udwig van Beethoven completed his Seventh Symphony in 1812. The work received its premiere on December 8, 1813, at the grand Hall of the University of Vienna, as part of a concert for the benefit of wounded Austrian and Bavarian soldiers.

Beethoven served as conductor.

Because of Beethoven’s participation in the concert and its philanthropic mission, several of Vienna’s most eminent musicians agreed to play in the orchestra. The concert proved to be one of the great public triumphs of the composer’s career. The audience insisted upon an encore of the Seventh Symphony’s Allegretto. By popular demand, the entire concert was repeated four days later, raising another 4,000 florins for the wounded soldiers.

Still, Beethoven’s reliance in the Seventh upon the briefest of rhythmic motifs — often presented with relentless, and even frightening energy— inspired some negative reactions. Musician Friederich Wieck, father 42 Atlanta Symphony Orchestra | aso.org

of Clara Wieck Schumann, attended the first rehearsal of the Beethoven Seventh.

Wieck recalled that the general consensus among musicians and laymen alike was that Beethoven must have composed the Symphony, particularly its outer movements, in a drunken state (“trukenen Zustande”). Carl Maria von Weber, after hearing the Symphony for the first time, was reported to have exclaimed that Beethoven was now “quite ripe for the madhouse.”

On the other hand, Richard Wagner, in one of the most famous appreciations of a Beethoven Symphony, celebrated the finale as the “apotheosis of the dance.” Two centuries after the premiere, Beethoven’s Seventh continues to amaze audiences with its dramatic fire. It remains one of the most powerful of all symphonic creations.

The Beethoven Seventh is in four movements. The first begins with the most ambitious slow introduction (Poco sostenuto) of any Beethoven Symphony.

The flute offers premonitions of what develops into the central theme of the ensuing Vivace, a sprightly dance in 6/8 time. The theme’s dotted eighth/ sixteenth/eighth-note nucleus provides the foundation for virtually all that ensues in this remarkable movement.

The slow second movement (Allegretto), in the character of a somber march, opens and closes with a foreboding chord. By contrast, the vibrant thirdmovement scherzo (Presto) exhibits both extraordinary energy and power. The finale (Allegro con brio) is a miraculous combination of academic structure (sonata form) and Dionysian abandon. It is not until the terse final measures that the whirlwind of activity comes to a stunning halt.

ASO | 3.15 | guests ELIZABETH KOCH TISCIONE, Principal Oboe

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In addition to her responsibilities with the ASO, Ms. Tiscione plays Principal Oboe at the Grand Teton Music Festival and is a member of the Atlanta Chamber Players.

She has performed as a guest musician with the orchestras of Philadelphia, St. Louis, St. Paul, Baltimore, Rochester, Buffalo, and the Orpheus Chamber Orchestra. Recent solo engagements include the World Youth Symphony Orchestra, Orpheus Chamber Orchestra, Atlanta Symphony, and Dekalb Symphony Orchestra. She has been featured on NPR’s “From the Top,” and has also performed at many chamber music festivals throughout the country, including Tannery Pond, Cape Cod, and the Chamber Music Society of Lincoln Center.

Ms. Tiscione has a love for teaching, and is currently a faculty member at Kennesaw State University. She also teaches internationally at Festicamara, in Medellin, Colombia, and has a studio in Atlanta.

A native of Hamburg, NY, Ms. Tiscione began the oboe in the NY State public school systems at age nine, continued her studies at the Interlochen Arts Academy under Daniel Stolper, and went on to study with Richard Woodhams at the Curtis Institute of Music.

Other teachers include Mark DuBois, J. Bud Roach, Pierre Roy, Robert Walters, and Eugene Izatov.

Ms. Tiscione’s makeup this evening is courtesy of Laura Mercier and artist Tracy Everett.

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JEFF ROFFMAN

ASO | 3.15 | guests

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

ASO | 4.24/26 | concert at a glance AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor The Atlanta Symphony Orchestra Delta Classical Series is presented by:

ASO | 4.24/26 | program

with additional support provided by:

Delta Classical Series Concert Concerts of Thursday, April 24, 2014, at 8:00pm, and Saturday, April 26, 2014, at 7:30pm

Robert Spano, conductor Evelina Dobra˘ceva, soprano Anthony Dean Griffey, tenor Stephen Powell, baritone Gwinnett Young Singers Lynn Urda, Director

Atlanta Symphony Orchestra Chorus The Atlanta Symphony Orchestra Chorus is presented by:

Robert Spano and the Atlanta Symphony Orchestra and Chorus take Britten’s War Requiem to Carnegie Hall on April 30th.

The Atlanta Symphony Orchestra’s 2014 Carnegie Hall Tour is made possible through deeply appreciated gifts from the estate of Dr. Charles H. Hamilton, the Mercedes T. Bass Charitable Corporation, Triska Drake and G. Kimbrough Taylor, Jr., Dr. John Cooledge, Victoria and Howard Palefsky, Mr. Thurmond Smithgall, Ann Marie and John B. White, Jr. and two anonymous donors.

46 Atlanta Symphony Orchestra | aso.org

Norman Mackenzie, Director of Choruses BENJAMIN BRITTEN (1913-1976) War Requiem, Opus 66 (1961)

I. Requiem aeternam

II. Dies irae

III. Offertorium

IV. Sanctus

V. Agnus Dei

VI. Libera me

85 MIN

Words from the Missa pro defunctis and the poems of Wilfred Owen

This concert will be performed without intermission.

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

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KEN MELTZER, ASO Program Annotator | Ken’s in-depth program notes, detailed musical analysis, and listening samples can be found online: aso.org/encore

Benjamin Britten was born in Lowestoft, England, on November 22, 1913, and died in Aldeburgh, England, on December 4, 1976. The first performance of the War Requiem took place at St. Michael’s Cathedral, Coventry, England, on May 30, 1962, with Heather Harper, soprano, Peter Pears, tenor, and Dietrich Fischer-Dieskau, baritone, the Coventry Cathedral Chorus, City of Birmingham Symphony Orchestra, Melos Ensemble, and the boys of Holy Trinity, Leamington and Holy Trinity, Stratford, with Meredith Davies (chorus and full orchestra), and the composer (chamber orchestra), conducting. The War Requiem is scored for soprano, tenor and baritone solos; mixed chorus, boys’ choir; a large orchestra comprising piccolo, three flutes, three oboes, English horn, three clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, two side drums, tenor drum, bass drum, tambourine, triangle, cymbals, castanets, whip, Chinese blocks, gong bells (C and F-sharp), vibraphone, glockenspiel, antique cymbals (C and F-sharp), piano, organ (or harmonium) and strings; and a small orchestra comprising piccolo, flute, oboe, English horn, clarinet, bassoon, horn, timpani, side drum, bass drum, cymbal, gong, harp, two violins, viola, cello, and double bass.

First ASO Classical Subscription Performances: November 7, 8 and 10, 1968, Ella Lee, soprano, John McCollum, tenor, Theodor Uppman, baritone, Atlanta Symphony Chamber Chorus,

Choral Guild of Atlanta, Atlanta Boy Choir, Robert Shaw, conductor.

Most Recent ASO Classical Subscription Performances: March 14, 15 and 16, 2002, Elena Prokina, soprano, Anthony Dean Griffey, tenor, Nathan Gunn, baritone, Atlanta Symphony Orchestra Chorus, Gwinnett Young Singers, Donald Runnicles, conductor.

ASO Recording: Telarc CD-80157 (2 discs) Lorna Haywood, soprano, Anthony Rolfe Johnson, tenor, Benjamin Luxon, baritone, Atlanta Symphony Orchestra Chorus, Atlanta Boy Choir, Robert Shaw, conductor.

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n 1960, Benjamin Britten received a commission to compose a new work for the consecration of the St. Michael’s Cathedral, Coventry.

The original Cathedral had been destroyed during World War II. The commission specified that the new work “could be a full length or a substantial 30/40 minutes one: its libretto could be sacred or secular.”

Britten, a lifelong pacifist, and conscientious objector during World War II, chose to portray his disdain for the conflict that led to the Cathedral’s destruction. In a February 16, 1961, letter to the German baritone, Dietrich Fischer-Dieskau (1925– 2012), Britten described his vision: Please forgive me for writing to such a busy man as yourself… Coventry Cathedral, like so many wonderful buildings in Europe, was destroyed in the last war. It has now been rebuilt in a very remarkable fashion, and for the reconsecration of the new building they are holding a big Festival at the end of May and beginning of June next year.

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ASO | 4.24/26 | program

War Requiem, Opus 66 (1961)

ASO | 4.24/26 | concert at a glance

ASO | 4.24/26 | program

I have been asked to write a new work for what is to us all a most significant occasion.

I am writing what I think will be one of my most important works. It is a full-scale Requiem Mass for chorus and orchestra (in memory of those of all nations who died in the last war), and I am interspersing the Latin text with many poems of a great English poet, Wilfred Owen, who was killed in the First World War. These magnificent poems, full of the hate of destruction, are a kind of commentary on the Mass; they are, of course, in English.

These poems will be set for tenor and baritone, with an accompaniment of chamber orchestra, placed in the middle of the other forces. They will need singing with the utmost beauty, intensity, and sincerity.

Peter Pears1* has agreed to sing the tenor part, and with great temerity I am asking you whether you would sing the baritone.

Wilfred Owen (1893-1918) served as British Army officer in France during World War II. Owen was killed in battle on November 4, 1918, a week before the Armistice. During his military service, Wilfred Owen wrote a series of remarkable poems. Stripped of any romanticism or patriotic fervor, the poems graphically depict the horrors of war.

Indeed, Owen repeatedly depicts enemy soldiers as kindred spirits, innocent pawns in the hands of those who send them off to battle.

War Requiem changed in the summer of 1961. As part of the Aldeburgh Festival, Russian soprano Galina Vishnevskaya (1926–2012) gave a recital at Jubilee Hall, accompanied at the piano by her husband, cellist Mstislav Rostropovich (1927–2007).

Britten approached Vishnevskaya after the recital, and “said he was particularly glad he heard me right at that moment because he had begun to write his War Requiem and now wanted to write in a part for me.”

Britten told Vishnevskaya: “his composition which was a call for peace, would bring together representatives of the three nations that had suffered most during the war: an Englishman, Peter Pears; a German, FischerDieskau; and a Russian, myself.” When Britten learned that Vishnevskaya had never sung in English, they agreed he would write her part in Latin.

Britten completed his War Requiem on December 20, 1961. The work bears the following dedication: In loving memory of Roger Burney, Sub-Lieutenant, Royal Naval Volunteer Reserve Piers Dunkerley, Captain, Royal Marines David Gill, Ordinary Seaman, Royal Navy Michael Halliday, Lieutenant, Royal New Zealand Naval Volunteer Reserve

The dedicatees were all friends of Britten.

Three died during World War II. Piers Dunkerley committed suicide in 1959.

The premiere of the War Requiem took place at St. Michael’s Cathedra, Coventry, Britten’s plan for two vocal soloists in the on May 30, 1962 (the performance has recently been issued on the Testament label: * Peter Pears (1910–1986) was Britten’s partSBT 1490). On that occasion, Vishnevskaya ner, and the creator of most of the composer’s music for lead tenor.

48 Atlanta Symphony Orchestra | aso.org

included in later issues of the Decca/ London War Requiem, are an invaluable historical document. Britten was a first-rate conductor, and it is fascinating to hear his persuasive synthesis of perfectionism, spirit of collaboration, warmth and humor.

Britten’s recording rehearsal comments also provide a unique insight into the composer’s view of his War Requiem. It is clear from Britten’s instructions to the choruses that he envisioned the traditional Latin Mass for the Dead, and Wilfred Owen’s despairing WWI poetry, in the same light. Both are uttered not as a source of comfort, but as an expression of world-weariness and despair.

Like Britten, Giuseppe Verdi (1813–1901) was both a great opera composer and the author of a Requiem Mass. Prior to its 1874 premiere, the German conductor and pianist, Hans von Bülow dismissed the Verdi Requiem as an “opera in ecclesiastical garb.” Johannes Brahms responded that Britten told his sister that he hoped his War with such comments, “Bülow has made a Requiem would “make people think abit.” fool of himself for all time.”

And it is a work that never fails to make a Some observers leveled similar accusations profound impact, both upon the audience, toward the Britten War Requiem. In a 1969 and the performers. Dietrich FischerDieskau, a prisoner of war during WWII, interview, Britten responded: recalled in his autobiography: “The first …I think I would be a fool if I didn’t take performance created an atmosphere of such notice of how Mozart, Verdi, Dvořák — intensity that by the end I was completely whoever you like to name— had written undone; I did not know where to hide my their Masses. I mean, many people face. Dead friends and past suffering arose have pointed out to me the similarities in my mind.” Peter Pears had to assist the between the Verdi Requiem and bits of grief-stricken Fischer-Dieskau to his feet. my own War Requiem, and they may be there. If I have not absorbed that, that’s too bad. But that’s because I’m not a good enough composer, it’s not because I’m wrong.

Galina Vishnevskaya did join Peter Pears and Dietrich Fischer-Dieskau in January, 1963, for the first commercial recording of the War Requiem, conducted by the composer.

During rehearsals, Decca/London producer John Culshaw recorded (without Britten’s knowledge) the composer’s directions to the performers. These rehearsal recordings,

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ASO | 4.24/26 | program

was not the soprano soloist. The Soviet government, not at all pleased with the symbolism of reconciliation with Germany and England, prohibited her from traveling.

English soprano Heather Harper (b. 1930) was pressed into service. Ms. Harper studied with Britten, learning the music in just ten days, while in the midst of her busy opera and concert schedule.

ASO | 4.24/26 | guests ˘ EVELINA DOBRACEVA, Soprano

Wigmore Hall debut and Tatiana/Eugene n artist of immensely promising talent, Onegin with the Glyndebourne Festival. the Russian born soprano, Evelina Evelina has recorded with the West Deutsche Dobračeva began singing under the tuition Rundfunk for Dargomizhsky’s Rusalka of Professor Norma Sharp at the Hanns under the baton of Mikhail Jurovsky and Eisler Music College in Berlin. The soprano, will also feature a new Delphian recording now based in Berlin, maintains strong ties of Rachmaninov Songs accompanied by with Cologne Opera having sung numerous Iain Burnside, to be released in March 2014. roles there including; Micaela (Carmen) ANTHONY DEAN GRIFFEY, Tenor Vitellia (La Clemenza di Tito), Violetta our-time Grammy Award-winning tenor (La Traviata) and most recently her very Anthony Dean Griffey’s engagements successful role debut as Odabella (Attila). this season have included his returns to Evelina’s diverse concert repertoire the Houston Grand Opera as Alfred in Die includes; Brahms’s Ein Deutsches Requiem Fledermaus, the St. Louis Symphony for sung recently with the Odense Symphony Peter Grimes (in St. Louis and Carnegie Orchestra, Rossini’s Petite Messe Solennelle Hall), and his debut at the Orquestra which she has sung at the Berliner Dom, Simfònica del Gran Teatre del Liceu in Beethoven 9 and Margarita’s Songs by performances of Mahler’s Symphony No. 8.

Lokshin which she sang with the Orchestra Verdi in Milan conducted by the late and Mr. Griffey appears regularly with many distinguished international orchestras ingreat Maestro Rudolf Barshai. cluding the New York Philharmonic, ChicaThe 12/13 season saw Evelina give numerous go Symphony Orchestra, Boston Symphony concert appearances including; the Verdi Orchestra, Pittsburgh Symphony Orchestra, Requiem with the Deutsche Oper Berlin, the Philadelphia Orchestra, London Symphony Czech Philharmonic under Maestro Luisi Orchestra, Orchestre de Paris, Munich Philand Orquestra Sinfonica do Porto who harmonic Orchestra, and the Berlin Philhave re-invited her next season. Evelina harmonic. He has also has also had a huge success with Britten’s appeared in the world’s War Requiem singing with the CBSO and most prominent festiEdward Gardner at vals including the Aspen St Pauls Cathedral to Music and Tanglewood fantastic reviews, with Music festivals, among the Tim Ashley (The others.

Guardian) commending her vocal timbre and Also a celebrated opera comparing her implacable singer, Mr. Griffey has delivery to that of Galina sung the title role of Vishnevskaya, for whom Britten’s Peter Grimes all over the world, most recently in a new production at the the part was written.

Metropolitan Opera. Other highlights of Recent repertoire has included Shostakovich his career include his role debut as the Male Symphony No.14 and Mahler’s Symphony Chorus in The Rape of Lucretia at HousNo.4. Future performances include her ton Grand Opera, the title role in Kurka’s

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HARRY HELEOTIS

ASO | 4.24/26 | guests

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Orchestra and Music of the Baroque); Bach’s St. Matthew Passion and Rachmaninoff’s Spring Cantata (Atlanta Symphony Orchestra); Messiah (Baltimore Symphony Mr. Griffey holds degrees from Wingate Orchestra and San Francisco Symphony); University, the Eastman School of Music, Carmina Burana (Cincinnati Symphony and the Juilliard School. He was also a Orchestra, Philadelphia Orchestra, Atlanta member of the Metropolitan Opera’s Lin- Symphony Orchestra, Aspen Music Festival, demann Young Artists Program. He was and Cincinnati Symphony Orchestra); awarded the Doctorate of Humane Letters Rigoletto (Minnesota Orchestra and from Wingate University in May 2012 and Cincinnati Opera); Mahler’s Symphony No. was inducted into the North Carolina Mu- 8 (Tonhaller Orchester Zürich, recorded for RCA Red Seal, also Aspen Music Festival); sic Hall of Fame in 2011.

Franz Schmidt’s The Hunchback of Notre STEPHEN POWELL, Dame (American Symphony Orchestra); Baritone Fauré’s Requiem (Cincinnati Symphony Schoenberg’s Gurrelieder n 2013-14 Stephen Orchestra); Powell sings (Montreux Festival); Walton’s Belshazzar’s Enrico in Lucia di Feast (Singapore Symphony Orchestra); Lammmermoor with Brahms’ Requiem (Saint Louis Symphony Los Angeles Opera; Orchestra, also Baltimore Symphony Tonio in I Pagliacci Orchestra, Marin Alsop conducting); with San Diego Opera; Szymanowski’s Stabat Mater (Rome’s Bach’s Christmas Oratorio with St. Louis Accademia Nazionale di Santa Cecilia); Symphony Orchestra; Brahms’ A German Scarpia in Tosca (Minnesota Orchestra); Requiem with Nashville Symphony Miller in Luisa Miller (Cincinnati May Orchestra; Falstaff with Virginia Opera; Festival); Beethoven’s Symphony No. 9 Germont in La traviata with Michigan (Philadelphia Orchestra).

Opera Theatre; and title role of Rigoletto GWINNETT YOUNG SINGERS, at Caramoor Festival. His 2012-13 Lynn Urda, Conductor and Music Director engagements included Simon Boccanegra ynn Urda maintains an active schedule (1857 version, Ludwig van Beethoven as a guest clinician, conductor and Association, Warsaw); Carmina Burana adjudicator for choral festivals, All-State (Cleveland Orchestra); Peer Gynt (Leipzig’s Choruses and Honors Choirs. She has MDR Sinfonieorchesterm); Rigoletto (Lyric distinguished herself for her unique ways Opera Baltimore); Mozart’s Requiem of achieving excellence in choral blend, (St. Louis Symphony); Belshazzar’s Feast intonation and sensitive singing.

Mrs. Urda (Houston Symphony); Bach’s Mass in B holds a degree in Music Education and Minor (Atlanta Symphony); Iago in Otello Voice from Florida State University School (Jacksonville Symphony Orchestra,); and Rodrigue in Don Carlos (Caramoor of Music. She also serves as the Director of Festival). Recent highlights include Bach’s Youth and Children’s Choirs at Tucker First Mass in B Minor (Saint Louis Symphony United Methodist Church.

CHRISTIAN POLLARD

The Good Soldier Schweik with Glimmerglass Opera; and Lennie in Carlisle Floyd’s Of Mice and Men with the Houston Grand Opera and Opera Australia.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 51

ASO | 4.24/26 | guests

ASO | 4.24/26 | guests at the Georgia Music Educators Association conferences (GMEA) in Savannah, Georgia.

Now in its 24th season, Gwinnett Young Singers provides an advanced and extraordinary choral experience for children in five counties throughout the metro Atlanta area. Under the direction of Founder and Music Director Lynn Urda, and Associate Director Carol Wyatt, GYS is a nationally recognized children’s chorus, best noted for its mastery of challenging repertoire and exceptionally high musical standards. The faculty and staff are dedicated to professionalism in music education and strive to share the power and beauty of a wide variety of choral music.

GYS offers a program of beginning through advanced choirs for children in second through twelfth grades, including Treble Choir, Concert Choir, Chamber Choir and the Georgia Young Men’s Ensemble.

ATLANTA SYMPHONY ORCHESTRA CHORUS The Atlanta Symphony Orchestra Chorus (ASOC) was founded in 1970 by former ASO Music Director Robert Shaw. Comprised of 200 auditioned voices, the Chorus is an allvolunteer organization which performs on a regular basis with the ASO and is featured on many of the Orchestra’s recordings.

The Gwinnett Young Singers recently performed at the Fox Theatre with Celtic Woman, and are currently featured on their televised PBS special “Believe”.

Led by ASO Director of Choruses Norman GYS has performed over one hundred Mackenzie, the Chorus is known for its concerts with the ASO and chorus since precision and expressive singing quality.

1996. They have also performed for the Their recordings with the ASO have won American Choral Directors Association multiple GRAMMY® Awards, including (ACDA) conferences in South Carolina and Best Choral Performance, Best Classical Tennessee, and presented two performances Recording, and Best Opera Recording.

The Gwinnett Young Singers Concert Choir Lynn Urda, Conductor & Music Director Carol Wyatt, Associate Music Director Marguerite Baker Rose Barfield Anna Briley Julia Brosas Nichole Brown Delaney Burke Madison Clark Katie Collett Ryan Cox

Mikayla Dorman Virginia Lee Finnell Byron Fisher Abby Frick Maggie Frick Christian Gibson Catherine Gunn Katelyn Hensley Leigh Johnson

Janet Hildebrand, Accompanist Adrienne Gustafson, Assistant Director Amanda Dodd, Assistant Director

Emily Johnston Lydia Kelley Remahlia Kormales Anna Lavallee Jackie Lenz Adathel Lenzer Sarah Lo Liam McBane Dorothy McBane

52 Atlanta Symphony Orchestra | aso.org

Anna McCarthy Kelly Monahan Grace Orowski Emma Pattillo Amelia Pattillo Grace Rivord Jessie Rodgers Kinsy Sjogren Taylor Smith

Serena Song Zachary Stancea Ella Thomas Blair Varney Sophia Wicker Elizabeth Willet Gabrielle Willet Ruth Willet Hailey Williams Nathan Wright

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ASO | 4.24/26 | guests

ASO | 4.24/26 | guests

of numerous world-premiere commissioned choral works.

The Chorus made its debut at New York’s Carnegie Hall in 1976 with a performance of Beethoven’s Symphony No. 9. In addition, the Chorus performed in Washington, D.C., for President-elect Jimmy Carter’s Inaugural Concert in 1977. The chorus has traveled to Germany three times to be a special guest of the Berlin Philharmonic in December 2003 for performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in December 2009 for a week of Brahms Requiem performances — all with ASO Principal Guest Conductor Donald Runnicles.

Within the Chorus, there is an auditioned group of 60 musicians called the ASO 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.

NORMAN MACKENZIE, Director of Choruses As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the ASO, he prepares the Choruses for all 54 Atlanta Symphony Orchestra | aso.org

Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14year association with Mr. Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Mr. Shaw’s passing, and partnered with Robert Spano for the 2011 Carnegie Hall Workshop featuring the Berlioz Requiem.

JD SCOTT

Those include Vaughan Williams’s A Sea concerts and recordings, works closely with Robert Spano on the commissioning and Symphony and the Berlioz Requiem.

The ASOC performs large choral-symphonic realization of new choral-orchestral works, works with the full Orchestra under the and conducts holiday concerts annually. batons of Music Director Robert Spano Mr. Mackenzie also serves as Organist and and Principal Guest Conductor Donald Director of Music and Fine Arts for Atlanta’s Runnicles. In addition, the Chorus has Trinity Presbyterian Church, and pursues an been involved in the creation and shaping active recital and guest conducting schedule.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 55

Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

Peter Marshall, Accompanist

Nick Jones# Peter MacKenzie Jason Maynard John Newsome Brian Petty ALTO 2 Mark Russell Nancy Adams* Kendric Smith# Michelle Austin TENOR 2 John Stallings Ana Baida Curtis Bisges Marcia Chandler Nicholas Cavaliere Ike Van Meter Edgie Wallace Meaghan Curry Justin Cornelius Edward Watkins** Cynthia Goeltz Charles DeBold** Cottingham# BASS 2 Michèle Diament Ken Crouch Philip Barreca Sally Kann Phillip Crumbly* Charles Boone Nicole Khoury* Jeffrey Daniel Brian Brown Katherine Johnson Joseph Few* Joseph Champion MacKenzie ALTO 1 Hamilton Fong John Cooledge # Deborah Boland** Lynda Martin Earl Goodrich* Rick Copeland* Brenda Pruitt* Rachel Bowman Keith Jeffords Joel Craft** Andrea Schmidt Donna CarterSteven Johnstone* Paul Fletcher Sharon Simons Wood* Jonathan Marvel Andrew Gee* Alexandra Tanico Michael Parker Laurie Cronin Timothy Gunter Virginia Thompson Marshall Peterson* Patricia DinkinsMarcus Hill Matthews* Cheryl Vanture Brent Runnels Philip Jones Pamela Sarah Ward Clifton Russell Eric Litsey** Drummond* June Webb Wesley Stoner Sam Marley* Elise Eskew Sparks Kiki Wilson** Caleb Waters Evan Mauk Beth Freeman Diane Woodard** Robert Wilkinson Anthony Mims Pamela Griffin* TENOR 1 Mark Zekoff Stephen Ozcomert* Beverly Hueter SOPRANO 2 Jeffrey Baxter** Eckhart Richter* BASS 1 Shani Jefferson June Abbott** Daniel Bentley John Ruff* Michael Arens* Janet Johnson* Sloan Atwood* David Blalock** Jonathan Smith Daniel Bastian Virginia Little Marlysa Brooks-Alt John Brandt* Timothy Robert Bolyard Staria Lovelady Barbara Brown Jack Caldwell* Solomon** Richard Brock* Paige Mathis* Kelly Campobasso Daniel Cameron Benjamin Temko Russell Cason* Holly McCarren Suzannah Joseph CortesDavid Webster** Trey Clegg Meredith McCoy Carrington Gurulé Michael Cranford Seth Whitecotton Frances Martha Craft Clifford Edge* Gregory Whitmire* Steven Darst* McDowell** Ellen Dukes** Steven Farrow** Keith Wyatt* Leroy Fetters Linda Morgan** Mary Goodwin Wayne Gammon Robert Figueroa Katherine Murray* Kathleen KellyLeif Gilbert-Hansen * 20+ years Chad Gough Ashley Perry George John-Alan of service Jon Gunnemann* Katherine Kennedy Dominique PetiteGourdine ** 30+ years Chabukswar William David Marie Little James Jarrell of service Hansen** Kathleen Poe Ross Eda Mathews* Keith Langston #

C harter member Jonathan Havel Rachel Stewart** (1970) Sean Mayer Olivia Stone SOPRANO 1 JoAnn Alexander Liz Dean Laura Foster Meg Granum Amber Greer Michelle Griffin Erin Jones Liya Khaimova Victoria Kolterman Lauren Larkin Arietha Lockhart** Alexis Lundy Mindy Margolis Kali McMillian Erin McPherson Patricia Nealon* Joneen Padgett Lisa Rader Olivia Rutkowski Catherine Steen Lykins Brianne Turgeon* Allegra Whitney Lori Beth Wiseman Kara Mia Wray Wanda Yang Temko* Natalie York Eaker

Ryll Mathews Rachel O’Dell Vickie Orme Lindsay Patten Chantae Pittman Linda Searles Sydney SmithRikard Paula Snelling* Anne-Marie Spalinger Tommie Storer Emily Tallant Cheryl Thrash* Donna Weeks* Katie Woolf

Diana Reed Strommen Sharon Vrieland* Nancy York

56 Atlanta Symphony Orchestra | aso.org

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ASO | support The following list represents the cumulative total of philanthropy of $2,000 and above to the Orchestra’s fundraising campaigns, events and special initiatives during the 2014 fiscal year.

(Please note that donor benefits are based solely on contributions to the annual fund.)

Appassionato The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our aritistic and education initiatives.

$500,000+

Anonymous (3) Madeline & Howell E. Adams, Jr. Mrs. Anne Cox Chambers Delta Air Lines The Andrew W. Mellon Foundation The Mabel Dorn Reeder Foundation Wells Fargo Woodruff Arts Center

$250,000+

The Coca-Cola Company Mrs. William A. Schwartz Mrs. Charles A. Smithgall, Jr.

$100,000+

Anonymous Bank of America The Community Foundation for Greater Atlanta Ms. Lynn Eden First Data Corporation GE Asset Management Global Payments Inc. Abraham J. & Phyllis Katz Foundation NCR Foundation Turner Broadcasting System Susan & Thomas Wardell

$75,000+

Accenture LLP Susan & Richard Anderson Fulton County Arts & Culture Invesco The Charles Loridans Foundation, Inc. Tull Charitable Foundation, Inc.

$50,000+

Thalia & Michael C. Carlos Foundation

Celebrity Cruises Equifax, Inc. Genuine Parts Company Georgia Power Company William Randolph Hearst Foundations The Reiman Foundation UPS The Zeist Foundation, Inc.

$35,000+

AGL Resources, Inc. Alston & Bird LLP In honor of Donald Carson Mr. & Mrs. Bradley Currey, Jr. Georgia Natural Gas Karole & John Lloyd National Endowment for the Arts Victoria & Howard Palefsky Porsche Cars North America Publix Super Markets & Publix Super Markets Charities, Inc. Jeffrey C. Sprecher & Kelly Loeffler Ann Marie & John B. White, Jr.*

$25,000+

Atlanta Homes & Lifestyles Kelley & Neil H. Berman Mr. Arthur Blank Mary Rockett Brock Mr. & Mrs. C. Merrell Calhoun Marcia & John Donnell Catherine Warren Dukehart City of Atlanta Office of Cultural Affairs Betty Sands Fuller Paul & Carol Garcia Georgia Council for the Arts Ann & Gordon Getty Foundation IKEA Jones Lang LaSalle Lucy R. & Gary Lee, Jr. Lockheed Martin

60 Atlanta Symphony Orchestra | aso.org

Massey Charitable Trust Mueller Water Products Terence L. & Jeanne P. Neal* Pricewaterhouse Coopers LLP Rock-Tenn Company Newell Rubbermaid Patty & Doug Reid Ryder Systems, Inc. Mr. Thurmond Smithgall Steinway Piano Galleries SunTrust Bank Trusteed Foundation Walter H. & Marjory M. Rich Memorial Fund Sutherland Asbill & Brennan LLP Ray & John Uttenhove Mark & Rebekah Wasserman Adair & Dick White

$17,500+

Jim & Adele Abrahamson Mr. & Mrs. Paul J. Blackney Chick-fil-A Foundation Dr. John W. Cooledge The Jim Cox, Jr. Foundation Triska Drake & G. Kimbrough Taylor, Jr. Admiral James O. Ellis, Jr. in memory of Polly Ellis Carol G. & Larry L. Gellerstedt III The Home Depot Foundation Jane & Clay Jackson D. Kirk Jamieson, Verizon Wireless King & Spalding Printpack Inc. & The Gay & Erskine Love Foundation Suzanne & Bill Plybon* Stanley & Shannon Romanstein Robert Spano Chilton & Morgan Varner Patrick & Susie Viguerie Sue & Neil** Williams

$15,000+

The Antinori Foundation The Boston Consulting Group Janine Brown & Alex J. Simmons, Jr. The Capital Group Companies Charitable Foundation Wright & Alison Caughman Mr. & Mrs. Ronald M. Cofield Empire Distributors, Inc. Ernst & Young Gary & Nancy Fayard Ms. Nancy Field & Mr. Michael Schulder Charles & Mary Ginden Tad & Janin Hutcheson The Jamieson Family Mr. & Mrs. James C. Kennedy James H. Landon Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Mr. Ken & Dr. Carolyn Meltzer Nordstrom, Inc. Joyce & Henry Schwob Southern Company Loren & Gail Starr Alison M. & Joseph M. Thompson Trapp Family Mr. & Mrs. Edus H. Warren, Jr. Camille Yow

$10,000+

Anonymous ARSC in memory of Richard Warren, Jr. (1937–2012) longtime chair of the ARSC Grants Committee Atlanta Area Lexus Dealers Julie & Jim Balloun Bell Family Foundation Mr. & Mrs. Francis S. Blake Mr. David Boatwright Boxwoods Gardens & Gifts The Breman Foundation, Inc. John W. & Rosemary K. Brown The Walter & Frances Bunzl Foundation Coca-Cola Enterprises Ms. Cari Katrice Dawson & Mr. John Sparrow Drs. Jeannette Guarner & Carlos del Rio The Max & Victoria Dreyfus Foundation, Inc. E & J Gallo Winery Eleanor & Charles Edmondson Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould The Graves Foundation Jan & Tom Hough

IntercontinentalExchange, Inc. Roya & Bahman Irvani JBS Foundation Ann A. & Ben F. Johnson III* Anne Morgan & Jim Kelley Philip Kent, in honor of Neil Williams Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec Pat & Nolan Leake The Sally & Peter Parsonson Foundation Mr. & Mrs. Solon P. Patterson* Dr. & Mrs. Mark P. Pentecost, Jr. Mr.** & Mrs. Rezin E. Pidgeon, Jr. Priority Payment Systems, LLC Margaret & Bob Reiser Ricoh Ms. Pierrette Scanavino Bill & Rachel Schultz* Mr. John A. Sibley III Peter James Stelling Mary Rose Taylor Ticketmaster Liz & Mike Troy Ms. Kathy Waller & Mr. Kenny Goggins Neal & Virginia Williams YP

Patron Partnership

Paul T. Snyder, Patron Partnership Chair The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $2,000 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support.

$7,500+

Anonymous Lisa & Joe Bankoff Mr. & Mrs. Marquette Chester Sally & Carl Gable Belinda & Gino Massafra Linda & John Matthews Joseph & Caroline O’Donnell Ann E. Pasky John & Kyle Rogers Tito’s Handmade Vodka

$5,000+

Anonymous (5) Mrs. Kay Adams & Mr. Ralph Paulk*

Pinney L. Allen & Charles C. Miller III Aadu & Kristi Allpere* Ms. Julie M. Altenbach ADAC Arnall Golden Gregory LLP Private Wealth Group Ms. Lillian Balentine Benjamin Moore & Co. Blackwell Rum Patricia & William Buss Ms. Suzanne E. Mott Dansby Dr. & Mrs. Carl D. Fackler David L. Forbes Georgia-Pacific Foundation

Mr. & Mrs. Richard Goodsell The Robert Hall Gunn, Jr. Fund Steven & Caroline Harless Betty** & Gene Haywood Mr. & Mrs. Douglas J. Hertz Mr. & Mrs. Baxter Jones Robert J. Jones* Paul & Rosthema Kastin Donald S. Orr & Marcia K. Knight Steve & Eydie Koonin George H. Lanier Lubo Fund

The Devereaux F. & Dorothy McClatchey Foundation, Inc. The Fred & Sue McGehee Family Charitable Fund John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Walter W. Mitchell Ms. Lela M. Perry Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. & Mrs. Joel F. Reeves AGCO Corporation, Martin Richenhagen

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 61

ASO | support Vicki & Joe Riedel The Sartain Lanier Family Foundation AGCO Corporation, Lucinda B. Smith Hamilton & Mason Smith Mrs. C. Preston Stephens Geraldine Dillard Stutz Mr. Robert Taylor Dr. Sherry P. Taylor VeriFone Dr. Thomas E. Whitesides, Jr. Joan N. Whitcomb Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner Zeliff & Wallace Advisory Company, Inc

$3,500+

ACI Worldwide Mr. & Mrs. Stephen D. Ambo Jack & Helga Beam Rita & Herschel Bloom Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* Jean & Jerry Cooper Sally & Larry Davis Jere & Patsy Drummond* The Elster Foundation James F. Fraser Caroline & Harry** Gilham, Jr. Deedee & Marc Hamburger Mrs. Sally W. Hawkins Mr.** & Mrs. Jesse Hill, Jr. JoAnn Hall Hunsinger Mr. & Mrs. Robert A. Johnson Dick & Georgia Kimball*

Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss* Dr. & Mrs. James T. Lowman Mr. & Mrs. Albert S. McGhee Gregory & Judy Moore David Paule & Gary Mann Mr. & Mrs. Scott Nathan Margo Brinton & Eldon Park S. A. Robinson Mr. & Mrs. George P. Rodrigue Beverly & Milton Shlapak In memory of Willard Shull Stephen & Sonia Swartz Carol & Ramon Tome Family Fund* Total System Services, Inc. Burton Trimble Alan & Marcia Watt* Dr. & Mrs. James O. Wells, Jr. Hubert H. Whitlow, Jr. H. & T. Yamashita*

$2,250+

Anonymous (2) Mr. & Mrs. Phillip E. Alvelda* Paul & Linnea Bert in honor of Maestro Robert Spano Mr. Justin Blalock Leon & Linda Borchers Edith H. & James E. Bostic, Jr. Family Foundation Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Russell E. Butner

Mr. & Mrs. Walter K. Canipe Cynthia & Donald Carson Dr. & Mrs. William Clarkson IV* Ralph & Rita Connell Dr. & Mrs. William T. Cook Mr. & Mrs. Thomas G. Cousins Brant & Kathy Davis* Mr. Philip A. Delanty Peter & Vivian de Kok Dr. Xavier Duralde & Dr. Mary Barrett Ms. Diane Durgin Betty W. Dykes & Lars Steib Dr. Francine D. Dykes & Mr. Richard H. Delay David & Patty Emerson George T. & Alecia H. Ethridge Ellen & Howard Feinsand Ms. Julianne Fish Four Seasons Hotel Atlanta Mr. & Mrs. Nicholas R. Franz John & Michelle Fuller Representative Pat Gardner & Mr. Jerry Gardner Ed & Judy Garland Dr. Mary G. George & Mr. Kenneth Molinelli Mr. & Mrs. Henry W. Grady Mary C. Gramling Dr. & Mrs. Alexander Gross Ann GrovensteinCampbell & Charles Campbell Rand & Seth Hagen Harald R. Hansen* Mr. & Mrs. John E. Hellriegel Virginia Hepner & Malcolm Barnes Kenneth R. Hey Mr. Harvey & Dr. Sarah Hill*

In memory of Carolyn B. Hochman Harry & Tatty Howard Richard & Linda Hubert Dr. W. Manchester Hudson Dr. & Mrs. James M. Hund Ms. Cynthia Jeness Aaron & Joyce Johnson Mr. W. F. & Dr. Janice Johnston Hazel & Herb Karp Mr. & Mrs. L. Michael Kelly Mark B. Kent & Kevin A. Daft Mr. & Mrs. David E. Kiefer Dr. & Mrs. Scott I. Lampert Thomas C. Lawson Isabel Lamy Lee Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. Paul A. Lutz* Thomas & Marianne Mabry Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Kay & John Marshall Ruth & Paul Marston Ms. Shelley S. McGehee Mr. Justin R. McLain Birgit & David McQueen Mrs. Virginia K. McTague Sandy & Harriet Miller Angela & Jimmy Mitchell* Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Myers Carpet Company Dr. & Mrs. R. Daniel Nable Robert & Mary Ann Olive

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

62 Atlanta Symphony Orchestra | aso.org

SUNDAY BRUNCH Served Buffet Style | 11:30 AM - 3:30 PM LOCATED AT THE WOODRUFF ARTS CENTER

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Offer only valid for Sunday Brunch. Please present this coupon to your server when placing your order. No cash value. Cannot be combined with any other discount. Alcoholic beverages not included. encoreatlanta.com | Atlanta’s Performing Arts Publication 63

ASO | support Barbara & Sanford Orkin Mr. & Mrs. Andreas Penninger Susan Perdew Mr. & Mrs. Jerry Perullo Philips Elise T. Phillips ProvarĂŠ Technology, Inc. Mr. & Mrs. David M. Ratcliffe Dr. & Mrs. W. Harrison Reeves, Sr. Betsy & Lee Robinson Mr. & Mrs. Richard L. Rodgers John T. Ruff June & John Scott Elizabeth S. Sharp Angela & Morton Sherzer Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Mrs. J. Lucian Smith* Johannah Smith Amy & Paul Snyder Southwest Airlines Co. Barry & Gail Spurlock Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. The Reverend Karl F. Suhr Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo Sheila L. Tschinkel Bill & Judy Vogel Mr. & Mrs. William C. Voss Drs. Jonne & Paul Walter David & Martha West Sally Stephens Westmoreland

Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Patrice M. Wright-Lewis Mr. & Mrs. John C. Yates Allen W. Yee*

Dr. Larry McIntire Mr. & Mrs. Eugene F. Meany Mrs. Elizabeth Meeder Tom & Jennifer Merkling Ms. Amy Miele Mrs. Dorothy H. Miller Mr. & Mrs. George T. Munsterman Anonymous (2) Lebby Neal Dr. Evelyn R. Babey Melanie & Allan Nelkin Dr. & Mrs. Asad Bashey Dr.* & Mrs. Frank S. Pittman III Mr. & Mrs. R. Edwin Bennett The Reverend Neal P. Ponder, Jr. Mr. & Mrs. M. Les Bethune Mr. Leonard Reed* B. Sandford Birdsey III Roger & Lynn Lieberman Ritvo Ms. Bettina A. Jackson Cantador Ms. Susan Robinson & Mr. & Mrs. Chuck Carlin Ms. Mary Roemer The Gary W. Rollins Susan & Carl Cofer Foundation Mr. Malcomb D. Coley Dr. & Mrs. Rein Saral Mr. & Mrs. Edward S. Croft III Dr. & Mrs. Robert M. Schultz Thomas Dreeze & Evans Mirageas Mr. & Mrs. Samuel R. Shapiro Mary Frances Early W. Henry Shuford & Christopher & Sonnet Nancy Shuford Edmonds Mr. & Mrs. Alex Mach Flinn Summers Peg Simms Gary Drs. Julius & Michael Gillen Nanette Wenger Betty L. Hammack & Charles Meredith, M.D. Mrs. Frank L. Wilson, Jr. Drs. Holly & Marty York John & Martha Head The Zaban Foundation, Thomas High Inc. Stephanie & Henry Howell Additional The Hyman Foundation Support Mary B. & Wayne James Justin Blalock Foundation Mr. & Mrs. Alan M. Blonder Family Knieter Foundation J. Bancroft Lesesne & Implementation & Randolph Henning Consulting Services, Inc. Mr. & Mrs. J. David William McDaniel Lifsey Charitable Foundation Elvira & Jay Mannelly Private Bank of Buckhead Martha & Reynolds Techbridge McClatchey

$2,000+

Archive Support 250+ Yoshihisa Aoki Jack & Helga Beam Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Peter M. Chester Steven B. Farrow & Vernon Price Joe Guthridge & David Ritter John & Martha Head MailChimp Dr. John R. Paddock & Dr. Karen M. Schwartz Bob & Mary Martha Scarr Dr. Steven & Lynne Steindel Alan & Marcia Watt Ann Marie & John B. White, Jr.*

2014 Carnegie Hall Tour Sponsors Anonymous (2) Mercedes T. Bass Charitable Corporation Dr. John Cooledge The Estate of Dr. Charles H. Hamilton Victoria & Howard Palefsky Mr. Thurmond Smithgall Triska Drake & G. Kimbrough Taylor, Jr. Ann Marie & John B. White, Jr.

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

64 Atlanta Symphony Orchestra | aso.org

5th Anniversary

The Wonderful Wizard of Oz May 30 –August 2

A World Premiere Adaptation

by Rachel Teagle, based on the story

by L. Frank Baum Featuring Original Puppetry created by The Center for Puppetry Arts All shows Fridays & Saturdays at 11 am.

Tickets: $10 for Children (12 and under) $15 General Admission

Tickets at

www.serenbeplayhouse.com

encoreatlanta.com | Atlanta’s Performing Arts Publication 65

ASO | support Henry Sopkin Circle Recognizing planned gifts to the Atlanta Symphony Orchestra Anonymous (18) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese Margie & Pierce Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Mrs. Mary Frances Evans Comstock** Dr. John W. Cooledge John R. Donnell

Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth Etoll Brien P. Faucett Dr. Emile T. Fischer A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr., Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head

Ms. Jeannie Hearn Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.** & Mrs. Fred A. Hoyt, Jr. Jim & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr. & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham

Linda & John Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard** & Sandra Palay Dan R. Payne Bill Perkins Mrs. Lela May Perry** Mr.** & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce** The Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Charles H. Siegel**

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

Atlanta Symphony Associates 2013-2014 Board The volunteer organization of the Atlanta Symphony Orchestra Sylvia Davidson President Camille Kesler President-elect Belinda Massafra Advisor Gayle Lindsay Secretary Marie Hannon Treasurer Corrie Johnson Nominating Committee Chair Joan Abernathy Vice President of Membership

Judy Feldstein Directory Susan Levy, Pam Deaton & Dorsey Deaton Membership Initiatives Natalie Miller Vice President of Communication and Public Relations Hillary Linthicum Social Media Julie Witzel Newsletter Glee Lamb Vice President of Social Events

Bunny Davidson & Betsy Fleisig Fall Membership Party Liz Cohn & Betty Jeter ASA Night at the Symphony Julie Barringer & Beryl Pleasants Spring Luncheon Mollie Palmer Vice President of Education and Community Engagement

Beth Sullivan Children’s Concerts, Festivals Nancy Levitt Ambassador Program Wadette Bradford Volunteer Engagement Lisa Bankoff, Leslie McLeod, Dawn Mullican, Annie-York Trujillo & Liz Troy Fundraising Strategic Planning Committee

Brooke Merrill Decorators’ Show House & Gardens Chair Daron Tarlton Bravo! Chair Mary Frances Early & Joanne Lincoln Concerto Co-Chairs Joan Abernathy Encore Chair Ruth Marston & Poppy Tanner Ensemble Co-Chairs Nancy Chunka & Marge Frost Intermezzo Chair

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

66 Atlanta Symphony Orchestra | aso.org

corporate & government | support

Holiday Title Sponsor

Classical Title Sponsor Classic Chastain Title Sponsor Family and POPS! Presenting Sponsor

MUHTAR A. KENT Chairman of the Board and Chief Executive Officer

DARRYL HARMON Southeast Regional President

Atlanta School of Composers Presenting Sponsor

RICHARD H. ANDERSON Chief Executive Officer

PAUL R. GARCIA Chairman of the Board

PHILIP I. KENT Chairman and Chief Executive Officer

ED LABRY Vice Chairman

Supporter of the Atlanta Symphony Orchestra Chorus

Free Park Concert Series Title Sponsor GERI P. THOMAS Georgia State President

JERRY KARR Senior Managing Director

Mayor’s Office of Cultural Affairs

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

Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment

This program is supported in part by an award from the National Endowment for the Arts.

for the Arts

encoreatlanta.com | Atlanta’s Performing Arts Publication 67

The Woodruff Circle

The Woodruff Arts Center and our four artistic divisions – the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences – rely on the generosity of those donors whose support extends to all parts of our organization. The members of The Woodruff Circle each contributed more than $250,000 to our efforts last year. We are deeply grateful to these 34 partners who help to ensure that the arts thrive in our city. $1,000,000+

$500,000 - $999,999

$250,000 - $499,999

Yolandra & Joseph Alexander Gordon W. Bailey Debrah & Harris Feinn Georgia Power Foundation, Inc. The Goizueta Foundation Andrew W. Mellon Foundation Mabel Dorn Reeder Foundation Pamela & Douglass Selby Margaretta Taylor Turner Broadcasting System, Inc. Wells Fargo Bank, N.A. The Robert W. Woodruff Foundation

A Friend of The Woodruff Arts Center (3) AT&T Bank of America Charitable Foundation Pamela & Oliver Cobb The Community Foundation for Greater Atlanta, Inc. Deloitte, its Partners & Employees Equifax, Inc. & Employees Fulton County Arts Council The Home Depot Foundation Sarah & Jim Kennedy

PNC PwC, Partners & Employees The Rich Foundation, Inc. Mrs. William A. Schwartz SunTrust Foundation, SunTrust Bank Employees and The SunTrust Bank Trusteed Foundations: Florence C. and Harry L. English Memorial Fund and Greene-Sawtell Foundation UPS Zeist Foundation, Inc. Donations made from June 1, 2012- May 31, 2013

The Patron Circle Each year The Woodruff Arts Center raises

critical dollars in support of the organization’s day-to-day operations through the Annual Campaign. The Patron Circle contributors helped us exceed a $9.2 million goal, ensuring that our artistic divisions can continue to bring the best in visual and performing arts, as well as arts education, to millions of people in the year ahead. $500,000+ The Coca-Cola Company* Georgia Power Foundation, Inc.* $300,000+ Cox Interests Atlanta Journal-Constitution, James M. Cox Foundation, Cox Radio Group Atlanta, WSB-TV The Hon. Anne Cox Chambers* The Home Depot Foundation PwC, Partners & Employees UPS* $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc.

Deloitte, its Partners & Employees* Equifax Inc. & Employees Ernst & Young, Partners & Employees The Sara Giles Moore Foundation SunTrust Foundation, SunTrust Bank Employees and The SunTrust Bank Trusteed Foundations: Florence C. and Harry L. English Memorial Fund and Greene-Sawtell Foundation* $150,000+ Alston & Bird LLP Jones Day Foundation & Employees KPMG LLP, Partners & Employees The Rich Foundation, Inc. Turner Broadcasting System, Inc. Wells Fargo

68 Atlanta Symphony Orchestra | aso.org

$100,000+ AGL Resources Inc. Bank of America Delta Air Lines, Inc. Invesco Ltd. Kaiser Permanente Kilpatrick Townsend King & Spalding Partners & Employees The Marcus Foundation, Inc.* Sam’s Club/Wal-Mart Stores, Inc. The Vasser Woolley Foundation, Inc. The David, Helen & Marian Woodward Fund

$75,000+ Goodwin Group The Sartain Lanier Family Foundation, Inc. Novelis Inc. Regions Financial Corporation* RockTenn Carol & Ramon Tomé Family Fund $50,000+ A Friend of The Woodruff Arts Center Crawford & Company Frank Jackson Sandy Springs Toyota and Scion Holder Construction Company NCR Foundation PNC Foundation The Primerica Foundation Southwest Airlines Sutherland Asbill & Brennan LLP Frances Wood Wilson Foundation, Inc. Zeist Foundation, Inc. $35,000+ Chick-fil-A Foundation CSX The Imlay Foundation, Inc. Infor Global Solutions IntercontinentalExchange Sarah & Jim Kennedy Newell Rubbermaid Troutman Sanders LLP Verizon $25,000+ A Friend of The Woodruff Arts Center, In Honor of Virginia A. Hepner Atlanta Foundation Balch & Bingham Julie & Jim Balloun Lisa & Joe Bankoff BB&T Corporation The Connolly Family Foundation Cousins Properties Foundation First Data Corporation John & Mary Franklin Foundation, Inc. Mr. & Mrs. Lawrence L. Gellerstedt III Georgia Natural Gas Georgia-Pacific Price Gilbert, Jr. Charitable Fund GMT Capital Corporation Greenberg Traurig, LLP The Howell Fund, Inc.* Mr. & Mrs. M. Douglas Ivester JPMorgan Chase & Co. The Klaus Family Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Lockheed Martin Aeronautics Company

Norfolk Southern Foundation Printpack Inc./The Gay & Erskine Love Foundation Mr. & Mrs. David M. Ratcliffe Patty & Doug Reid Family Foundation SCANA Energy Southwire Company United Distributors, Inc. Waffle House, Inc. Gertrude & William C. Wardlaw Fund Yancey Bros. Co. $15,000+ ACE Charitable Foundation Acuity Brands, Inc. Aflac, Inc. AIG Alvarez & Marsal Arnall Golden Gregory LLP Assurant Specialty Property The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Juanita Powell Baranco Anna & Ed Bastian Susan R. Bell & Patrick M. Morris Laura & Stan Blackburn The Arthur M. Blank Family Foundation Nancy & Kenny Blank The Boston Consulting Group W. Paul Bowers Catherine S. & J. Bradford Branch Bryan Cave LLP Camp-Younts Foundation Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. CIGNA Foundation Cisco The Correll Family Foundation The Cousins Foundation, Inc. Ann & Jeff Cramer Mr. & Mrs. Bradley Currey, Jr. Suzie & Randy Donaldson Mike Donnelly Fifth Third Bank Ford & Harrison LLP Frazier & Deeter, CPA Gas South, LLC Genuine Parts Company Golden Peanut Company Harland Clarke Virginia Hepner & Malcolm Barnes IBM ICS Contract Services, LLC Jenny & Phil Jacobs Jamestown Properties

Lou Brown Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones Jones Lang LaSalle JPMorgan Chase, Atlanta Philip I. Kent Foundation Kimberly-Clark Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions Blanche Lipscomb Foundation, Inc. Livingston Foundation, Inc. Karole & John Lloyd Macy’s Foundation The Residences at Mandarin Oriental, Atlanta Mohawk Industries, Inc. & Mr. & Mrs. Frank H. Boykin Nonami Foundation Victoria & Howard Palefsky Vicki & John Palmer Mr. & Mrs. William A. Parker, Jr. The Sally & Peter Parsonson Foundation, Inc. Piedmont Charitable Foundation, Inc. Post Properties, Inc. Jane & Joe Prendergast Mary & Craig Ramsey/Accenture The H. English Ermine Cater Robinson Foundation Mr. & Mrs. William H. Rogers, Jr. Russell Reynolds Louise Sams & Jerome Grilhot Selig Enterprises, Inc./ The Selig Foundation Seyfarth Shaw LLP Mr. & Mrs. Richard D. Shirk Smith & Howard Karen & John Spiegel State Bank & Trust Company Superior Essex Inc. Mr. G. Kimbrough Taylor Taylor Consulting Group, Inc. Taylor English Duma LLP Tishman Speyer Properties Towers Watson Trimont Real Estate Advisors, Inc. Sue & John Wieland Womble Carlyle Sandridge & Rice, LLP Mr. & Mrs. James B. Williams Carla & Leonard Wood The Xerox Foundation Mr. & Mrs. Robert A. Yellowlees * Beauchamp C. Carr Challenge Fund Donor Donations for the Annual Campaign from June 1, 2012- May 31, 2013

encoreatlanta.com | Atlanta’s Performing Arts Publication 69

ASO | staff Orchestra Staff EXECUTIVE Stanley E. Romanstein, Ph.D. President & Chief Executive Officer Dionndra Prescott Assistant to the President & Chief Executive Officer Bob Scarr Archives Program Manager

EDUCATION & COMMUNITY ENGAGEMENT Mark Kent Vice President, Education & Community Engagement Katherine Algarra Program Assistant for Student Music Programs Niki Baker Manager of Ensembles & Instructions Janice Crews Manager of School and Family Programs Kaitlin Gress Arts Vibe Teen Program Coordinator Tiffany I. M. Jones Education Associate for Audience Development Ahmad Mayes Manager of Community Programs

Ashley Majher Marketing & Promotions Coordinator Natacha McLeod Marketing Manager Verizon Wireless Amphitheater at Encore Park Katie Daniel VIP Sales Manager Deborah Honan Customer Service Manager & Venue Rental Coordinator Brandon Schleicher Facility Manager Rebecca Simmons Director of Ticketing at ASO Presents

MARKETING & COMMUNICATIONS David Paule Vice President & Chief Marketing Officer Dallas Greene Season Tickets Associate Holly Hanchey Director of Marketing & Customer Experience Meko Hector OPERATIONS Marketing Production Julianne M. Fish Manager Vice President & General Jennifer Jefferson Manager, ASO Director of of eBusiness & Paul Barrett Interactive Media Senior Production Tegan Ketchie Stage Manager Manager of Broad Richard Carvlin Based Giving Stage Manager Melanie Kite DEVELOPMENT Jesse Pace Subscriptions Office Lucio Petroccione Orchestra Operations & Manager Vice President for Strategic Hall Rental Coordinator Pamela Kruseck Business Development Susanne Watts Manager of Group Rebecca Abernathy Manager of Orchestra Sales & Tourism Development Personnel and Operations Jan Lochmann FINANCE & Services Manager Russell Williamson Director of Revenue ADMINISTRATION Dave Adan Director of Orchestra Management Director of Corporate Personnel and Operations Susan Ambo Alesia Mack Vice President of Finance Development & Special Director of Season Tickets ARTISTIC Programs Shannon McCown & Customer Service Assistant to the Vice Evans Mirageas Tammie Cotton Kimberly Nogi Vice President for Artistic President of Finance Development Associate Communications Manager Planning Nicole Epstein Brien Faucett Robert Phipps Venue Accountant Carol Wyatt Associate Manager of Publications Director Executive Assistant to the Peter Dickson Individual Giving Music Director & Principal Senior Accountant Thomas Pinckney Melissa Muntz Group & Corporate Guest Conductor Development Manager Kimberly Hielsberg Sales Manager Jeffrey Baxter Senior Director of Financial Johnnie Oliver Choral Administrator Melissa Sanders Planning & Analysis Associate Manager Senior Director, Ken Meltzer Development Research Stephen Jones Communications ASO Insider & Symphony Store Gokul Parasuram Program Annotator Robin Smith Development Services April Satterfield Subscription & Christopher McLaughlin Coordinator Controller Education Sales Artist Assistant Kate Robson ASO PRESENTS Kourtnea Stevenson Special Events Coordinator Group & Corporate Trevor Ralph Lauren Turner Sales Associate Vice President, Chief Associate Manager of Operating Officer Karen Tucker Individual Giving Season Tickets Associate Clay Schell T. Williams Vice President, Russell Wheeler Individual Giving Director of Group & Programming Coordinator Corporate Sales Holly Clausen David Zaksheske Director of Marketing Manager of Corporate Lisa Eng Services Graphic Artist

70 Atlanta Symphony Orchestra | aso.org

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encoreatlanta.com | Atlanta’s Performing Arts Publication 71

ASO | calendar

22/24

UPCOMING CONCERTS FIRST FRIDAY MAY

MAY Thu: 8pm/Sat: 7:30pm Delta Classical

2

Fri: 6:30pm | First Friday

˘ DVORÁK: SYMPHONY NO. 9, “NEW WORLD” Robert Spano, conductor

9/10

MICHAEL MAY KRAJEWSKI Fri/Sat: 8pm | POPS!

ROCK TENORS

VOICE OF THE PEOPLE VERDI: Overture to I vespri siciliani BLOCH: Schelomo SHOSTAKOVICH: Symphony No. 10 Ilan Volkov, conductor Christopher Rex, cello

Michael Krajewski, conductor Micah Wilshire, Shem von Schroeck, MAY Thu/Fri: 8pm/Sat: 7:30pm Rob Evan, tenors Delta Classical

29/30/31

11

ROCK MAY TENORS Sun: 3pm | Youth Orchestra

FINALE CONCERT

15/16/17

MAY Thu/Fri: 8pm/Sat: 7:30pm Delta Classical

LEONIDAS KAVAKOS

THE “HEROIC” GREEK BACH: Violin Concerto No. 1 SIBELIUS: Pelléas et Mélisande Suite BEETHOVEN: Symphony No. 3, “Eroica” Leonidas Kavakos, conductor & violin Presented by:

JOSHUA BELL & ONE TO WATCH! CHARLES ZOLL: New Work WORLD PREMIERE HINDEMITH: Mathis der Maler Symphony BRAHMS: Violin Concerto Robert Spano, conductor Joshua Bell, violin

aso.org 404.733.5000 Woodruff Arts Center Box Office Make it a group! 404.733.4848

Supported by:

Media Sponsor:

Mayor’s Office of Cultural Affairs

CHRISTOPHER REX

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encoreatlanta.com | Atlanta’s Performing Arts Publication 73

ASO | general info LATE SEATING Patrons arriving after the concert begins are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts.

Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements.

SYMPHONY STORE The ASO’s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to T-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,000 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345 Donations & Development 404.733.4375

ASO | ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please consider passing them on to friends, or return them to the box office for resale.

To donate tickets, please call 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m. MondayFriday; noon-8 p.m. Saturday-Sunday.

Service charge applies. Phone orders are filled on a best-available basis. atlantasymphony.org Order any time, 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.

74 Atlanta Symphony Orchestra | aso.org

WOODRUFF ARTS CENTER BOX OFFICE Open 10 a.m. - 6 p.m. Monday; 10 a.m. - 8 p.m. Tuesday – Friday; and noon – 8 p.m.

Saturday; noon - 5 p.m. Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.

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

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 75

ASO | gallery

PHOTOS: JEFF ROFFMAN

2. Partying It Up: ASO clarinetist Alcides Rodriguez and his wife, Heather, with Karen Zgonc and her husband, ASO trombonist Nathan Zgonc.

3. A Talented Team: TDP members Donevon Howard, Perryn Bohler, Imani DuhĂŠ, and Keanu Mitanga with Audra McDonald.

4. Bringing Down the House: Broadway superstar Audra McDonald headlined the 2014 Symphony Gala.

4 76 Atlanta Symphony Orchestra | aso.org

PHOTO CAPTION GOES HERE

1. A Dynamic Duo: Delta CEO Richard Anderson and Symphony Gala Chair Ed Labry.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 77

of Taste the Nation

AT L A N TA

Join us for an evening of culinary creations and enchanting libations from 50 of Atlanta’s top restaurants to end childhood hunger.

Thursday, may 8, 2014

Georgia Aquarium VIP $350 – 6:30 to 10 pm General Admission $250 - 7:30 to 10 pm Black tie optional

Purch e.org ase ticke ts at atlantatast 100% of ticket sales support Share Our Strength’s efforts to end childhood hunger.

Event Chairmen

Pano Karatassos & George McKerrow

Honorary Carmen Quagliata, Executive Chef and Partner at chef Union Square Café

HELP US MAKE NO KID HUNGRY A REALITY

N AT I O N A L P R E S E N T I N G SPONSOR

N AT I O N A L S P O N S O R S

N AT I O N A L P R O D U C T S P O N S O R S

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Achieving our vision of world-class healthcare is even closer now that we are a proud new member of the Mayo Clinic Care Network, an innovative collaboration which brings the expertise of Mayo to our patients. As the first and only member of the Mayo Clinic Care Network in metro Atlanta, our depth of specialty care will be enhanced with new resources and tools while keeping patient care right here at home.

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