SEP/ OCT 2018 Encore Atlanta | Atlantaâ€™s Performing Arts Publication | encoreatlanta.com C1
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CONTENTS | SEPTEMBER/OCTOBER 2018
14 Celebrating 25 Years The ASO Talent Development Program — mentoring talented music students | by Michael Kurth
10 Orchestra Leadership
20 Meet the Musicians Get to know the new faces you'll see on stage
74 ASO Staff
8 Robert Spano 12 ASO Musicians 24 Concert Program & Notes 64 ASO Support 72 Ticket Info/General Info
Don’t forget, on EncoreAtlanta.com/ contests, you can win additional prizes, like show tickets to the Atlanta Symphony Orchestra, Fox Theatre, Alliance Theatre and more!
2 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
e l l i v s n a 2018 Ho g d F estiva l r i b g n i m Hu m ay d n u S & y a Satu rd 018 2 , 1 2 & 0 2 r O cto b e
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ASO | PRESIDENT’S LETTER DEAR FRIENDS,
elcome to the Atlanta Symphony Orchestra’s 74th season! This year we are excited to conclude a two-year celebration of the lives and legacies of Ludwig van Beethoven and Leonard Bernstein—two composers and performers who made an indelible impact on music. Bernstein celebrations will include his Broadway hits, choral works, and lesserknown instrumental works for cello and flute. In celebration of Bernstein’s legacy as a conductor, Music Director Robert Spano will conduct a work he championed— Shostakovich’s heroic “Leningrad” Symphony in concerts that open with Bernstein’s Three Meditations from MASS. Works by Beethoven include his Fifth, Sixth and Eighth Symphonies, the “Triple” Concerto, the Egmont and Third Leonore Overtures, as well as a complete performance of his only opera Fidelio, featuring the ASO Chorus. Jonathan Biss will also perform four remaining recitals to complete all 32 of Beethoven’s Piano Sonatas. The Orchestra will bring together the two “LBs” in a program that features Bernstein’s Chichester Psalms and concludes with Beethoven’s mighty Ninth Symphony. Due to the tremendous response to our concert simulcast in May, we’re offering Atlantans and music lovers around the world the opportunity to enjoy Lang Lang with the world-class Atlanta Symphony Orchestra, simulcast on the wall of the Anne Cox Chambers wing of the High Museum to viewers on the Piazza. Viewers around the world may also Live Stream from home via Facebook on Wednesday, September 26. Visit aso.org for more information. Royal wedding sensation, cellist Sheku-Kanneh Mason, joins us in April. A third performance has been added on Friday, April 26, due to popular demand. BRAVO, our young professionals group, is back this year with the first event on Saturday, October 13. We hope you’ll join us this season.
This year marks a major Atlanta Symphony Orchestra milestone, the 25th Anniversary of the Talent Development Program. Enjoy the TDP 25th Anniversary feature story in this issue of Encore, penned by the ASO’s own Michael Kurth. And finally, you may have noticed something a little different in Symphony Hall… new photos of all the Atlanta Symphony Orchestra musicians. It’s a new day and time for a new look. Here’s to a magical season! Sincerely, Jennifer Barlament executive director
Howard Palefsky board chair
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ASO | MUSIC DIRECTOR ROBERT SPANO
obert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. Beginning his 18th season as Music Director of the Atlanta Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music with an entire community and concert hall. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers. He enjoys collaborations with composers and musicians of all ages, backgrounds and ability, especially through his leadership of the Atlanta School of Composers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and rising artists. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements have included the New York and Los Angeles Philharmonics, the San Francisco, Boston, Chicago, Oregon, Utah and Kansas City Symphonies, and the Cleveland, Philadelphia, and Minnesota Orchestras. Internationally, Maestro Spano has led the Orchestra Filarmonica della Scala, BBC Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Orquestra Sinfonica Brasileira, Orquestra Sinfonica Estado Sao Paulo, the Melbourne Symphony in Australia and the Saito Kinen Orchestra in Japan. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycle. Spano also holds a conductor residency with the Colburn School Orchestra in Los Angeles.
Highlights of the 2018-19 season include Spano’s Metropolitan Opera debut, leading the US premiere of Marnie, the second opera by American composer Nico Muhly, with Isabel Leonard, Janis Kelly, Denyce Graves, Iestyn Davies and Christopher Maltman. With the Atlanta Symphony Orchestra, programs include the Music Director’s quintessentially rich, diverse pairings of contemporary works and cherished classics, welcoming seasoned guest artists and many new faces. With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has won six Grammy© Awards with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and makes his home in Atlanta.
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October 19 â€” November 4, 2018
ASO | LEADERSHIP | 2018/19 Board of Directors OFFICERS Howard D. Palefsky
Janine Brown chair - elect
DIRECTORS Joan Abernathy * William Ackerman Keith Adams Juliet McClatchey Allan Susan Antinori Jennifer Barlament * Paul Blackney Rita Bloom Janine Brown Justin Bruns* Benjamin Q. Brunt C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Russell Currey
Carlos del Rio, M.D. Lynn Eden Sloane Evans Angela Evans Anne Game Paul R. Garcia Jason Guggenheim Joseph W. Hamilton, III Bonnie Harris Caroline Hofland Doug Hooker Tad Hutcheson Roya Irvani D. Kirk Jamieson^ Randy Koporc Carrie Kurlander
James H. Landon Donna Lee Hank Linginfelter Sukai Liu Kelly L. Loeffler Brian F. McCarthy Penelope McPhee ^ Bert Mills Molly Minnear Terence L. Neal Joseph M. Oâ€™Donnell^ Galen Lee Oelkers Howard D. Palefsky Ebbie Parsons Jay Richardson James Rubright
William Schultz Charles Sharbaugh Doug Shipman * John Sibley W. Ross Singletary, II Paul Snyder John Sparrow Gail Ravin Starr Elliott Tapp Joseph M. Thompson S. Patrick Viguerie Thomas Wardell Mark D. Wasserman Dr. James Wells, D. Min John B. White, Jr. Richard S. White, Jr.
Mrs. J. Erskine Love Meghan H. Magruder Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner G. Kimbrough Taylor
Michael W. Trapp Ray Uttenhove Chilton Varner Adair R. White Sue Sigmon Williams
BOARD OF COUNSELORS Helen Aderhold Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden John T. Glover
Dona Humphreys Aaron J. Johnson Ben F. Johnson, III Jim Kelley Patricia Leake Lucy Lee Karole F. Lloyd
LIFE DIRECTORS Howell E. Adams, Jr. Bradley Currey, Jr.
Mrs. Drew Fuller Mary D. Gellerstedt
Azira G. Hill Mrs. Charles A. Smithgall, Jr.
* Ex-Officio Non-Voting ^ 2018/2019 Sabbatical
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Robert Spano music director
The Robert Reid Topping Chair
Donald Runnicles principal guest conductor
The Neil & Sue Williams Chair
music director of the atlanta symphony youth orchestra
The Zeist Foundation Chair
The Charles McKenzie Taylor Chair
The Frances Cheney Boggs Chair
Anastasia Agapova acting assistant
Noriko Konno Clift
Carolyn Toll Hancock The Wells Fargo Chair
Eleanor Kosek Ruth Ann Little
Thomas O’Donnell Ronda Respess
Juan R. Ramírez Hernández
Sissi Yuqing Zhang
Paul Murphy acting/associate
The Edus H. & Harriet Lisa Wiedman Yancich H. Warren Chair SECTION VIOLIN ‡ Judith Cox
Raymond Leung The Carolyn McClatchey Chair Sanford Salzinger
The Mary & Lawrence Gellerstedt Chair Catherine Lynn assistant Principal Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane
Norman Mackenzie director of choruses
The Frannie & Bill Graves Chair
CELLO Vacant principal
The Mr. & Mrs. Howard The Atlanta Symphony The Miriam & John R. Peevy Chair Associates Chair Conant Chair
Stephen Mulligan assistant conductor;
Jessica Oudin Madeline Sharp
Players in string sections are listed alphabetically
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Daniel Laufer acting/associate principal
The Livingston Foundation Chair Karen Freer
acting associate/ assistant principal
Dona Vellek assistant principal emeritus
Thomas Carpenter Joel Dallow The UPS Foundation Chair Larry LeMaster Brad Ritchie Paul Warner BASS
Joseph McFadden principal
The Marcia & John Donnell Chair Gloria Jones Allgood associate principal
The Lucy R. & Gary Lee Jr. Chair Karl Fenner Sharif Ibrahim Michael Kenady The Jane Little Chair Michael Kurth Daniel Tosky
2018/19 MUSICIAN ROSTER FLUTE
Christina Smith principal
The Jill Hertz Chair Robert Cronin associate principal
C. Todd Skitch Gina Hughes
E-FLAT CLARINET Ted Gurch
Alcides Rodriguez BASSOON
Andrew Brady principal
The Abraham J. & Phyllis Katz Foundation Chair
Elizabeth Koch Tiscione principal
The George M. & Corrie Hoyt Brown Chair Vacant
Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar
The Terence L. Neal Chair, Honoring his dedication and service to the Atlanta Symphony Orchestra
The Julie & Arthur Montgomery Chair
BASS TROMBONE Brian Hecht The Home Depot Veterans Chair TUBA
The Betty Sands Fuller Chair
Susan Welty associate Principal
acting associate principal
Emily Brebach ENGLISH HORN Emily Brebach CLARINET
The Delta Air Lines Chair
Brice Andrus principal
Kimberly Gilman• Chelsea McFarland•
William Wilder assistant principal
The Robert Shaw Chair TRUMPET Stuart Stephenson The Mabel Dorn Reeder Honorary Chair principal The Madeline & Howell Ted Gurch Adams Chair associate Principal Marci Gurnow Alcides Rodriguez
Mark Yancich The Walter H. Bunzl Chair
Michael Tiscione associate Principal Mark Maliniak•
‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season
William Wilder assistant principal
The William A. Nathan Zgonc Schwartz Chair acting/associate principal Vacant Jason Patrick Robins• The Connie & Merrell Calhoun Chair Brian Hecht
Principal The Kendeda Fund Chair associate
Michael Stubbart HARP
Elisabeth Remy Johnson principal
The Sally & Carl Gable Chair KEYBOARD The Hugh & Jessie Hodgson Memorial Chair Peter Marshall † Sharon Berenson LIBRARY
Nicole Jordan principal
The Marianna & Solon Patterson Chair Holly Matthews assistant principal librarian
Hannah Davis asyo/assistant librarian You may have noticed something a little different at the entrance to Symphony Hall… enjoy NEW PHOTOS of all the Atlanta Symphony Orchestra musicians. It’s a new season, and time for a new look. Special thanks to Studio B Interior Design, Shaye Strager, Robin Cason and photography by Jeff Roffman.
encoreatlanta.com | Atlanta’s Performing Arts Publication 13
The Atlanta Symphony Orchestra Talent Development Program — mentoring talented African-American and Latinx classical music students for acceptance into top music programs.
by Michael Kurth
n 1892, Antonin Dvořák packed his portmanteau for New York City, bringing with him all the accumulated musical insight of centuries of European musical tradition. But Dvořák left any sense of Eurocentric cultural supremacy in the Old Country; he was determined to learn about, and be influenced by, the music of Native- and African-Americans. Traveling the US, he heard melodies and rhythms that opened his mind, expanded his palette, and inspired one of the most beloved pieces in the classical canon: the "New World" Symphony. And the conservatory he was hired to lead was very unusual for its time – it allowed women and people of color to enroll.
Other composers have likewise transformed classical music by including influences of other cultures; think Beethoven’s Turkish March, Brahms’ Hungarian Dances, the Asian influence on the music of Ravel and Debussy, or the electrifying Mambo from Bernstein’s West Side Story. 14 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
The world of classical music becomes larger, more enriched, and more appealing to a wider audience with each generation’s greater openness to inclusion of other cultures. Today, we are at the beginning of the next wave of classical music’s evolution: the stage at which the performers who bring us this art truly reflect the diversity of our society. And one chief catalyst for this change is the ASO’s Talent Development Program (TDP). The Talent Development Program is celebrating 25 years of identifying, mentoring, and developing middle and high school Atlanta-area musicians of African-American and Latino heritage for careers as professional classical musicians, and has helped nurture nearly 100 young musicians to earn admission to the nation’s top music schools. The program now includes weekly private lessons with ASO musicians, summer program financial assistance, mentoring and one-on-one coaching, audition preparation assistance, solo recital and chamber music performances, family education and life skills training. I recently spoke with some of the TDP’s most accomplished graduates about the importance of the program to their development, the doors it opened for them and which they, in turn, are now opening doors for others. We also discussed the meaning of diversity and the importance of inclusion to the future of classical music. Cellist Khari Joyner, a 2009 graduate of the TDP, has been hailed by the New York Classical Review as “one of the most exciting young musicians on the classical scene.” Atlanta audiences will remember his thrilling performance of Tchaikovsky’s Rococo Variations with the ASO at Piedmont Park in June. Currently pursuing his doctoral degree at Juilliard, he is crafting a remarkable career as a performer and teacher, engaging audiences around the world. “It’s important for anyone wanting to become a musician to see people like themselves represented on stage,” says Joyner. “The TDP was a great way to get exposure to people that looked like me. Part of achieving our goal of inclusion is continually pushing for musicians from backgrounds that have traditionally been left out, and giving them more opportunities.” Harpist Angelica Hairston, a 2009 TDP grad, is channeling the life lessons she’s learned as one of only a handful of young African-American harpists into the leadership of Challenge the Stats, an organization devoted to finding tangible solutions toward a more equitable arts field, as well as directing the Urban Youth Harp Ensemble.
“I remember the excitement of youth orchestra rehearsals – the music was so captivating. But I would notice how much I stood out among my colleagues; I was swimming in a sea of 200 musicians with only a handful of complexions that resembled my own. I realized that the classical music field would often be isolating as a woman of color. It took me a while to be comfortable in my own skin. Mentors in the Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 15
ANGELICA HAIRSTON TDP helped me navigate through these spaces – what it means to be yourself when ‘yourself’ is not the norm in classical music.” Chelsea Sharpe, a 2011 TDP grad, is now a professional orchestral violinist in the New World Symphony, an innovative Miami orchestra designed as a launching pad for talented musicians at the beginning of their careers. “As I continue to evolve as a player, the more I realize how crucial the Talent Development Program was to my growth as well as how much it played a role in establishing my love for sharing music. Navigating the classical music world, which is certainly behind other arts institutions in diversity and inclusion, was difficult because I did not have many role models and the majority of students at the music festivals I attended were not people of color. The TDP greatly aided me in demonstrating that I was capable of reaching my musical goals, and it gave me a community of young people who looked like me and had similar goals.” Stanford Thompson, a 2005 TDP graduate, divides his professional time between playing trumpet, and serving as Executive Director of ‘Play On, Philly’, an organization that provides classical music instruction and mentoring to hundreds of underserved African-American, Latinx and Southeast Asian youth. He is also in demand as a keynote speaker and consultant on issues of inclusion and collaboration. “The mentorship that I received through the TDP helped me during the times I doubted my chances of successfully auditioning for each next step. They often believed in me more than I believed in myself. The ASO family became my extended family.” It seems a safe assumption that we should collectively pursue diversity in the arts. But why assume? Why not ask those on the front lines, as it were, what diversity really means, what it takes to achieve it, and what the actual benefits are?
“Diversity enhances excellence and helps reach the changing demographics around us,” says Stanford Thompson. “I believe this music is for everyone, and has the power to address some of the most compelling problems in society.” Khari Joyner adds, “The roots of classical music are much more broad than they appear. A truly enriching and inclusive atmosphere will increase our music’s relevance among a wider population with the vibrancy, energy and innovation that people of different backgrounds can bring.”
“Artistry is about empathy,” says Angelica Hairston. “We have to create spaces where everyone feels welcome, where no one is isolated, where arts can actually penetrate into those points that make us uncomfortable. Aritsts should be at the center of the conversation, building empathy.” 16 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
DISCOVER THE SPIVEY DIFFERENCE
2018-2019 Concert Series Clayton State University
Season 28 Opening Celebration
CHRISTINA & MICHELLE NAUGHTON, piano Sunday, September 30
STEPHEN HOUGH, piano Saturday, November 10
ANDREW VON OEYEN, piano Sunday, February 17
BEATRICE RANA, piano Sunday, March 10
EMANUEL AX, piano Sunday, March 24
For tickets or more information call (678) 466-4200 or visit
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And Hairston sums it up with words that inspire and motivate: “Privilege is such a powerful thing when it’s used to uplift and empower people of color. At the end of the day, you just keep doing the right thing and the needle will continue to move in the right direction.” As I interviewed these talented musicians by phone, I used audio editing software to record our conversations. Being STANFORD in the room myself, my questions were naturally input at a THOMPSON higher volume level than their speaker-phone responses. In transcribing, I amplified their volume levels, a process appropriately called ‘normalization’, and thought, “Yes, their message needs to be amplified! It’s as if they’re speaking to us from across the street, with a lot of cultural traffic noise obscuring our ability to hear.” For the benefit of artists and audiences alike, we can all act as amplifiers, allies and advocates. Support for the Talent Development Program generously provided by AT&T, The Coca-Cola Company, Georgia Power and Georgia Pacific.
TDP 25TH ANNIVERSARY RECITAL SERIES SEP 22 | 4pm FIRST PRESBYTERIAN CHURCH MARIETTA TDP FOUNDER:
AZIRA G. HILL
native of Cuba, Mrs. Azira Gonzales Hill and her late husband, Jesse, have promoted community advancement, worked for civil rights and helped African-Americans attain leadership positions in local, state and federal offices for more than six decades. Mrs. Hill joined the Atlanta Symphony Orchestra’s Board of Directors in 1990 and soon after founded the Orchestra’s Talent Development Program, in which she has been deeply involved since its inception and its ultimate launch in 1993. The Azira G. Hill scholarship was established in 1999, which enables TDP Fellows to attend intensive summer music study programs across the nation.
OCT 14 | 3pm BIG BETHEL AME CHURCH NOV 30 | 8pm FIRST PRESBYTERIAN CHURCH ATLANTA Recitals are free, but ticketed. Reserve your tickets at aso.org/TDP TDP 25TH ANNIVERSARY CONCERT FEB 9 | 8pm ATLANTA SYMPHONY HALL Music Director Robert Spano, TDP alumni, the Atlanta Symphony Orchestra and special guests Imani Winds will join together for an evening of music in celebration of the 25 impactful years of the Talent Development Program. More information and tickets at aso.org/TDP25.
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Jerusalem Quartet, photo by Felix Broede
FALL 2018 CONCERTS MAX RICHTER with THE ACME ENSEMBLE
Friday, September 28, 2018, 8 p.m.
JERUSALEM QUARTET with PINCHAS ZUKERMAN & AMANDA FORSYTH
Wednesday, October 10, 2018, 8 p.m.
DANIEL HOPE and FRIENDS “AIR – A BAROQUE JOURNEY”
Wednesday, October 31, 2018, 8 p.m.
LISE de la SALLE, PIANO
Saturday, November 17, 2018, 8 p.m.
ASO | MEET THE MUSICIANS CHELSEA McFARLAND third horn ( one - year appointment )
HOMETOWN: Atlanta, Georgia EDUCATION: Bachelor’s degree from Curtis Institute of Music What’s the most interesting or difficult facet of your instrument? Horn is one of the hardest instruments to play, and the most difficult part is accepting that you will never truly master playing it. It also makes it the most exciting, because there is always more to learn! What do you do in your free time outside of work? I love cooking for my friends and family, and I’m currently training to run my first half-marathon.
PHOTOGRAPHY: JEFF ROFFMAN
What’s one thing about you that may surprise people? The first time I ever played horn in an orchestra was on the Atlanta Symphony Hall stage with the Atlanta Symphony Youth Orchestra. After our first concert, I decided that I wanted to play horn for the rest of my life. What’s your earliest musical memory? My earliest musical memory was attending a Callenwolde Chorus concert and asking my mom what the conductor was doing with her hands. She said that she was leading the chorus with a secret musical language, and I remember wanting to learn that language. Cats or dogs? Dogs Who are your favorite composers? Richard Strauss is one of my favorites because he wrote such incredible horn parts. He was able to write parts that
masterfully balanced showcasing the beautiful tone of the horn, as well as the exhilarating technical passages illustrating the scenery perfectly in his tone poems. KIMBERLY GILMAN second horn
HOMETOWN: Washington Township, New Jersey EDUCATION: The Peabody Conservatory, Manhattan School of Music, The Juilliard School Why did you choose your instrument? I started the horn in public school in fourth grade. I chose it because I thought it looked pretty and because there were no girls playing it at my elementary school, only boys! What’s the most interesting or difficult facet of your instrument? The most interesting facet of the horn is how flexible it is. We can blend with a beautiful woodwind chord or come to the fore in brass fanfare. We can soar up with the trumpets or be a part of the bass line. It never gets boring! What do you do in your free time outside of work? I have two daughters, ages 4 and 5. They take up most of my free time! What’s your earliest musical memory? I’m not sure this is the earliest, but it’s one of the most formative. My parents took my brother and I to see the Nutcracker when I was about 10 or 11. We were high in the balcony and I could see down into the orchestra pit. I remember that I barely watched the
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dancers because I was fascinated by the orchestra. Cats or dogs? Both! Who are your favorite composers? Beethoven is probably my number one. I also love Mahler, Rachmaninov, Brahms, and Tchaikovsky. MARK MALINIAK utility trumpet
HOMETOWN: Cleveland, Ohio EDUCATION: Baldwin-Wallace University Conservatory of Music, Cleveland Institute of Music Why did you choose your instrument? To be honest, I picked the trumpet in fifth grade because I thought with only three “buttons” to push, it had to be the easiest instrument to learn. Also, my band director was a trumpet player, and that really influenced my choice. What’s the most interesting or difficult facet of your instrument? The trumpet is such a versatile instrument that produces a variety of colors, from sweeping or tender lyrical solos to triumphant and exciting fanfares. It’s an instrument that projects very easily in the orchestra, which can create a lot of pressure in front of a listening audience, but also exciting moments. For me it requires consistent practicing of fundamentals to stay in top physical shape, which means even on vacation, I need to pack two things - my bathing suit and my trumpet! What do you do in your free time outside of work? I enjoy exercising, cooking/grilling new recipes, and golfing.
What’s your earliest musical memory? I come from a European background - though I was born in the United States, my entire family emigrated from Poland. I’d say my earliest memories were listening to them singing Polish folk songs at the dinner table during the holidays. Cats or dogs? Dogs, 100%! I hope to own a Husky someday! What’s your go-to karaoke song? “Don’t Stop Believin’” by Journey. But instead of singing, I play it on the piano! JASON ROBINS
second trombone ( one - year appointment )
HOMETOWN: Stone Mountain, Georgia EDUCATION: Stenson University and Yale University Why did you choose your instrument? As a child, I liked watching the final scene of The Music Man with the trombones leading the parade. What’s the most interesting or difficult facet of your instrument? Sometimes it’s difficult knowing when to come in after a long rest. What do you do in your free time outside of work? Cycling, over 5,000 miles a year. I also have a pilot’s license and love to fly. What are you looking forward to about living in Atlanta? I grew up in Stone Mountain, so I’m excited to come back for so many reasons.
Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 21
ASO | SPONSORS The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Delta is proud to celebrate more than 75 years as Atlantaâ€™s hometown airline. Deltaâ€™s community spirit worldwide continues to be a cornerstone of our organization. As a global airline, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. This includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships. Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin. The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation. The Atlanta Symphony Orchestra records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels. Trucks provided by Ryder Truck Rental Inc.
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Proud supporter of the
rts A northside.com
Concerts of Thursday, Sept. 20, 2018 8:00pm
JOHN STAFFORD SMITH (1750-1836) (arr. Walter Damrosch) The Star-Spangled Banner
Saturday, Sept. 22, 2018 8:00pm
SERGEI RACHMANINOV (1873-1943) Concerto for Piano and Orchestra No. 2 in C minor, Opus 18 (1901) 34 MIN I. Moderato II. Adagio sostenuto III. Allegro scherzando Kirill Gerstein, piano
Sunday, Sept. 23, 2018 3:00pm ROBERT SPANO, Conductor KIRILL GERSTEIN, piano The Atlanta Symphony Orchestra Classical Series is presented by
The September 20, 2018 performance is dedicated to Victoria and Howard Palefsky in appreciation of their extraordinary support of the Atlanta Symphony Orchestra Annual Fund. The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 5 in E minor, Opus 64 (1888) I. Andante; Allegro con anima II. Andante cantabile, con alcuna licenza III. Valse. Allegro moderato IV. Finale. Andante maestoso; Allegro vivace
LISTENING GUIDE Did you use the Visual Listening Guide during this performance? We want to hear from you! Visit aso.org/ListeningGuideto tell us what you think.
WEE SEP 20/22 &23
or, Op. KY E Min IKOVS o. 5 in TCHA ony N Symph
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NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
Concerto for Piano and Orchestra No. 2 in C minor, Opus 18 (1901) SERGEI RACHMANINOV was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of the Second Piano Concerto took place in Moscow, Russia, on November 9, 1901, with the composer as soloist, and Alexander Siloti conducting the Moscow Philharmonic Society. In addition to the solo piano, the Concerto No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, and strings.
hen Sergei Rachmaninov completed his First Symphony in August of 1895, he was 22, and brimming with all the confidence of youth. “I imagined that there was nothing I could not do and had great hopes for the future,” he later recalled. Rachmaninov’s First Symphony received its premiere in St. Petersburg on March 15, 1897, with composer Alexander Glazunov conducting. The performance was a disaster, and immediately after the final notes sounded, Rachmaninov “fled, horrified, into the street.” While Rachmaninov was able to escape the confines of the theater, he still had to face the wrath of the critics. Russian composer César Cui wrote in the St. Petersburg News:
First Classical Subscription Performance: DEC 17, 1949, Jacques Abram, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: JAN 14/16, 2016, Simon Trpčeski, Piano, Robert Spano, Conductor.
If there were a conservatory in Hell, if one of its many talented students were instructed to write a programme symphony on the “Seven Plagues of Egypt,” and if he were to compose a symphony like Mr. Rachmaninov’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell.
Half my days were spent lying on a couch and sighing over my ruined life. My only occupation consisted of a few piano lessons which I was forced to give in order to keep myself alive. This condition, which was as tiresome for myself as for those about me, lasted more than a year. I did not live; I vegetated, idle and hopeless. The thought of spending my life as a piano-teacher gave me cold shudders. But what other activity was there left for me?
Rachmaninov, devastated by this turn of events, lapsed into a profound depression:
Rachmaninov’s friends were alarmed by his profound depression and tried all forms of cures to buoy his spirits. Finally, they convinced Rachmaninov to consult Dr. Nikolai Dahl, a doctor who had gained some prominence for his employment of hypnosis. Between January and April of 1900, Rachmaninov visited Dr. Dahl on a daily basis. Rachmaninov told Dahl that he had promised to compose a Piano Concerto. Dr. Dahl set about treating his patient: Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 25
I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in Dr. Dahl’s study. “You will begin to write your Concerto...You will work with great facility...The Concerto will be of an excellent quality...” It was always the same, without interruption. Although it may sound incredible, this cure really helped me. Already at the beginning of the summer I began again to compose. The material grew in bulk, and new musical ideas began to stir within me—far more than I needed for my Concerto. Rachmaninov completed the final two movements of his Second Piano Concerto in the autumn of 1900 and performed them at a Moscow charity concert on October 14. Rachmaninov added the opening movement in the spring of the following year and appeared as soloist in the November 9, 1901 premiere of the entire Second Concerto. The composer readily acknowledged Dr. Dahl’s role in the creation of one of the most popular works of the 20th century, and dedicated the Concerto to him. The Concerto is in three movements. The first (Moderato) opens with a series of tolling chords by the soloist, leading to the surging first principal melody, marked con passione. The Concerto’s slow-tempo movement (Adagio sostenuto) is a fantasia on a lovely theme, related to a melody in the Concerto’s opening Moderato. The finale (Allegro scherzando) is based upon two themes, the second, one of Rachmaninov’s most beloved creations. That theme makes a glorious return in the Concerto’s closing measures.
Symphony No. 5 in E minor, Opus 64 (1888) PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Symphony No. 5 took place in St. Petersburg on November 17, 1888, the composer conducting. The Symphony No. 5 is scored for piccolo, three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings. First Classical Subscription Performance: DEC 7, 1949, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: SEP 24/26, 2015, Robert Spano, Conductor.
eter Ilyich Tchaikovsky composed his Symphony No. 5 during the summer of 1885. During this period, Tchaikovsky also worked on a “Fantasy-Overture,” based upon William Shakespeare’s Hamlet. Tchaikovsky completed his Fifth Symphony on August 26. He put the finishing touches on the Hamlet “Fantasy-Overture” on October 19.
Tchaikovsky conducted the premiere of his Symphony No. 5 in St. Petersburg on November 17, 1888. In many ways, it was a grand triumph for the composer. At the concert, the orchestra saluted Tchaikovsky with a triple fanfare. He also received an honorary membership in the St. Petersburg Society. The audience greeted the new work with a rousing ovation. However, the critics were far less enthusiastic about the Fifth Symphony. Tchaikovsky, who frequently battled the demons of self-doubt, soon wrote to his patroness, Nadezhda von Meck:
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Having played my Symphony twice in Petersburg and once in Prague, I have come to the conclusion that it is a failure. There is something repellent in it, some over-exaggerated color, some insincerity of fabrication which the public instinctively recognizes. It was clear to me that the applause and ovations referred not to this but to other works of mine, and that the Symphony itself will never please the public. All this causes deep dissatisfaction with myself… Yesterday evening I looked through the Fourth Symphony…How much better and superior it is! However, in the early part of 1889, Tchaikovsky conducted the Fifth Symphony in Hamburg, Germany. The work earned the praises of the orchestra musicians, as well as the great German composer, Johannes Brahms. This reception seemed to buoy Tchaikovsky’s spirits. He wrote to his nephew, Vladimir Davïdov: “The Fifth Symphony was magnificently played and I like it far better now, after having held a bad opinion of it for some time.” TC
By Tchaikovsky’s own admission, both the Fourth and his final Symphony, the Sixth, feature programmatic elements. Tchaikovsky insisted that his Fifth Symphony did not contain a program. However, the progression of the Symphony No. 5—with its presentation, frequent reappearance, and dramatic metamorphosis of a central leitmotif—certainly seems to hint at some extra-musical significance. And among Tchaikovsky’s sketches for the Fifth are words from the composer suggesting the Symphony depicts a confrontation with Fate.
V S KY
If it is true that Tchaikovsky’s Symphony No. 5 portrays a struggle with Fate, the outcome seems far more positive than that depicted in the Fourth and Sixth Symphonies. But such considerations are secondary to the glorious music of this gripping and unforgettable symphonic journey. The Symphony opens with a slow-tempo introduction (Andante). The clarinets present an ominous theme that will appear as the central leitmotif in each of the Symphony’s four movements. The theme soon becomes the basis for the opening melody of the ensuing Allegro con anima. The slow-tempo second movement (Andante cantabile, con alcuna licenza) features a radiant outpouring of melody, twice interrupted by savage outbursts of the central leitmotif. The third movement Waltz (Valse. Allegro moderato), in A—B—A form, concludes with a rather insinuating repetition of the central leitmotif, capped by six fortissimo chords. The Finale opens with a slow-tempo introduction (Andante maestoso), with the central leitmotif transformed to the major key. After a protracted struggle and dramatic pause, the leitmotif returns for the last time—now cast as a triumphal march (Moderato assai e molto maestoso).
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MEET THE ARTISTS KIRILL GERSTEIN, PIANO
ianist Kirill Gerstein’s curiosity and versatility has led to a powerful engagement with a wide range of repertoire and styles. From Bach to Adès, his playing is distinguished by its clarity of expression, discerning intelligence and virtuosity. Gerstein’s energetic and imaginative musical personality has rapidly taken him to the top of his profession. An American citizen based in Berlin, Kirill Gerstein balances his career between the US and Europe. Highlights of his 2018-19 season in North America include reengagements with the Cleveland and Philadelphia Orchestras, as well as with the Toronto, Atlanta, St. Louis, Detroit and Cincinnati symphonies, and a tour with the Czech Philharmonic in California. His summer festival appearances include his debut at the Grand Teton Festival and a return to Chicago’s Grant Park Music Festival. Brought up in the former Soviet Union studying both classical and jazz piano, at 14 Gerstein moved to the US where he was the youngest student to attend Boston’s Berklee College of Music. Shifting his focus to the classical repertoire, he studied with Solomon Mikowsky in New York, Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Gerstein has received a series of prestigious accolades, including First Prize at the 10th Arthur Rubinstein Competition in 2001 and a Gilmore Young Artist Award in 2002. In 2010 he was awarded both an Avery Fisher Career Grant and the Gilmore Artist Award, which provided the funds for him to commission new works from Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen and Brad Mehldau.
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Concert of Wednesday, Sept. 26, 2018, 8:00pm MEI-ANN CHEN, Conductor LANG LANG, piano The Atlanta Symphony Orchestra Classical Series is presented by
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WOLFGANG AMADEUS MOZART (1756-1791) Serenade in G Major, K. 525, Eine kleine Nachtmusik (1787) I. Allegro II. Romanze. Andante III. Menuetto and Trio. Allegretto IV. Rondo. Allegro
Symphony No. 40 in G minor, K. 550 (1788) I. Molto allegro II. Andante III. Menuetto. Allegretto IV. Allegro assai
Concerto for Piano and Orchestra No. 24 in C minor, K. 491 (1786) 31 MIN I. Allegro II. Larghetto III. Allegretto Lang Lang, piano
THE MUSIC BRIEF The Serenade for strings Eine kleine Nachtmusik is one of Mozart’s sunniest works, abounding with high spirits and elegant lyricism. By contrast, the Symphony No. 40 in G minor has a dark undercurrent and restless energy that inspired one writer to characterize it as “plunges into the abyss of the soul.” Mozart, one of the finest pianists of his era, composed the Piano Concerto No. 24 for his own performance. The Concerto, in C minor, foreshadows the brooding Romantic expression favored by many 19th century composers.
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NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756 and died in Vienna, Austria, on December 5, 1791.
Serenade in G Major, K. 525, Eine kleine Nachtmusik (1787) Eine kleine Nachtmusik is scored for first and second violins, violas, cellos, and basses.
fair amount of mystery surrounds Mozart’s Serenade in G, Eine kleine Nachtmusik. Mozart’s own catalog reflects that the work was completed on August 10, 1787, while the composer was in Vienna working on his opera, Don Giovanni. But we don’t know the circumstances surrounding the Serenade’s composition, or even if Eine kleine Nachtmusik was performed during Mozart’s lifetime.
It was Mozart himself who gave the serenade its famous title, Eine kleine Nachtmusik (A Little Night Music). As was typical of 18th-century serenades, the work originally contained five movements, with an initial Minuet appearing between the opening Allegro and the Romanze. That movement appears to have been lost forever. In its familiar four-movement structure, Mozart’s Eine kleine Nachtmusik is one of the composer’s most performed and beloved works. Eine kleine Nachtmusik begins with a spirited Allegro, opening with the famous ascending and descending fanfare-like motif. The second movement is an elegant Romance (Romanze. Andante). A stately Minuet alternates with a sotto voce Trio section. The Rondo (Allegro) finale begins with an infectious, tripping motif that returns throughout. High spirits prevail, right to the buoyant final measures.
Symphony No. 40 in G minor, K. 550 (1788) The Symphony No. 40 is scored for flute, two oboes, two clarinets, two bassoons, two horns, and strings.
ozart completed his final three Symphonies—No. 39 in E-flat Major, K. 543, No. 40 in G minor, K. 550, and No. 41 in C Major (“Jupiter”) K. 551—over the remarkably brief span between June 26 and August 10, 1788. Even more remarkable is the fact that these glorious Symphonies, among Mozart’s crowning achievements, were the product of a particularly distressing period in the composer’s life. Mozart’s career in Vienna as a composer, teacher, virtuoso pianist, and impresario reached its apex in the mid-1780s. However, the exhilaration of those triumphant years soon yielded to profound frustration and unhappiness. Mozart experienced a sharp decline in the demands for his services in Vienna. In time, Mozart was reduced to begging for money from acquaintances—principally, Michael Puchberg, a fellow Mason and ardent music lover. Several of Mozart’s letters to Puchberg have survived, and they are indeed heartbreaking to read. Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 33
The mystery of Mozart’s final three Symphonies Mozart completed his G-minor Symphony, K. 550, on July 25, 1788 (the work is often referred to as the “Great,” to distinguish it from the 1773 “Little” G-minor Symphony, K. 183). There exists no specific documentation that the G-minor—or, for that matter, any of the final three Symphonies—was performed during Mozart’s lifetime. This fact has led some to theorize that Mozart composed these Symphonies not for monetary gain, but out of an overwhelming need to express himself in music. In this context, the G-minor becomes a manifestation of the despair Mozart experienced during this difficult period in his life. Such a theory, of course, fails to explain what autobiographical elements are expressed in the high spirits of the E-flat Symphony, or in the heroic grandeur of the “Jupiter.” Further, Mozart almost always composed large-scale works (such as piano concertos and symphonies) for specific, upcoming concerts. Correspondence from Mozart refers to subscription concerts scheduled for the summer of 1788. It is not certain whether these concerts ever took place. However, there is documentation of concerts conducted by Mozart in Germany in 1789 and 1790. The concert programs included symphonies by Mozart. While the specific symphonies are not designated in the programs, it is reasonable to assume that they would have included his most recent efforts; i.e., one or more of the final trilogy. A further clue is found in the fact that Mozart’s autograph of the score for the G-minor Symphony contains modifications of the original version’s Andante, as well as a revised version of the entire work, adding clarinets to the orchestration. Such modifications would not have been made without the existence of previous performances, and the promise of new ones. “Plunges into the abyss of the soul” Of much greater importance, of course, is the music itself. As with any masterpiece of such depth and profundity, Mozart’s G-minor Symphony has inspired glowing, but quite varied, responses. Robert Schumann praised the work’s “impassive beauty,” while Hector Berlioz characterized the G-minor Symphony as a “model of delicacy and naïveté.” On the other hand, pianist and historian Charles Rosen found “passion, violence and grief.” Mozart biographer, Alfred Einstein, termed the work a “fatalistic piece of chamber music,” with “plunges into the abyss of the soul, symbolized in modulations so bold to Mozart’s contemporaries they must have seemed to lose their way entirely, and so distant that only Mozart himself could find the path back from them into the light of day.” The G-minor Symphony is in four movements. The first (Molto allegro) is highly dramatic, featuring a terse development section that anticipates the music of Beethoven in its brilliant manipulation of the briefest rhythmic motifs. The slowtempo movement (Andante) provides some lyrical relief, but there are also episodes that reinforce the turmoil and foreboding found throughout much of the Symphony. The third-movement Minuet (Menuetto. Allegretto) is far more aggressive than the typical courtly dance, although the central Trio radiates elegance and repose. The finale (Allegro assai) is a stormy affair, propelling relentlessly to the abrupt final bars. 34 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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Concerto for Piano and Orchestra No. 24 in C minor, K. 491 (1786) The first performance of the Piano Concerto No. 24 took place at the Burgtheater in Vienna on April 7, 1786, with the composer as soloist. In addition to the solo piano, the Concerto No. 24 is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
ne of Mozart’s most lucrative activities during the height of his popularity in Vienna was a series of Lenten subscription concerts, also known as “academies.” These concerts, sponsored by Mozart, featured the composer performing his own music. Often, the highlight of the academy was the premiere of a new Mozart concerto for piano and orchestra, with the composer as soloist. From 1784-1786, Mozart composed twelve Piano Concertos, three of which were completed between December of 1785 and March of 1786. Mozart finished the last of this trio—No. 24 in C minor, K. 491—on March 24, 1786. The composer was the soloist in the Concerto’s April 7 premiere, which took place at the Vienna Burgtheater. Mozart once stated that “(p)assions, whether violent or not, must never be expressed to the point of exciting disgust, and…must never offend the ear.” And while Mozart certainly adheres to this approach in his Concerto No. 24, profound darkness, and even despair, permeate this magnificent work. It is one of only two Mozart Piano Concertos in the minor key (the other is the 1785 No. 20 in D minor, K. 466). Mozart also employs the largest orchestra he had used to that date for a Piano Concerto. The C-minor Concerto both epitomizes the grace and elegance of the late 18th century, and foreshadows the torrid Romantic expression that was soon to follow. The Concerto is in three movements. The first (Allegro) opens with the strings and bassoons quietly intoning the ominous principal theme that soon takes on a far more aggressive character. The winds introduce a plaintive descending theme that also serves as the basis for the entrance of the soloist. The themes are the foundation for extended, florid excursions by the piano. After a solo cadenza, the opening movement finally resolves to a pianissimo whisper. The slow-tempo second movement (Larghetto), in E-flat Major, featuring reduced orchestration (no trumpets or drums) and restrained dynamics, is far more introspective than its predecessor. The piano sings the lovely principal theme that returns throughout, alternating with contrasting episodes. The finale (Allegretto) is a series of variations on a theme, introduced at the outset by the ensemble. The final portion, in C minor and a skipping 6/8 meter, provides an intriguing and perhaps rather unsettling conclusion to this superb work.
MOZART: PIANO CONCERTO NO. 24 36 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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MEET THE ARTISTS LANG LANG, PIANO
ang Lang continues to play sold out recitals and concerts in every major city in the world.
Lang Lang’s success has catapulted him into the world spotlight. In 2014, He performed at 2014 World Cup concert in Rio, with Placido Domingo, to celebrate the final game. In 2008, Lang Lang was featured in concert with jazz pianist Herbie Hancock at the 50th Annual Grammy® Awards, as well as the 56th and 57th Grammy® Award two years in a row, where he performed with Metallica and Pharrell Williams. He was also a featured performer at the Opening Ceremonies of the 2008 Beijing Olympics. In 2009, Lang Lang appeared in the Time’s annual list of the 100 Most Influential People in the World. Most recently, Lang Lang has been chosen as an official worldwide ambassador for the 2010 Shanghai Expo.
Lang Lang is seen as a symbol of the youth and future of China, and is an inspiration to the 40 million classical piano students there. In 2004, he was appointed an International Goodwill Ambassador for the United Nations Children Fund (UNICEF). In 2008, he established the Lang Lang International Music Foundation with the goal of expanding young audiences and inspiring the next generation of musicians through outreach programs. Lang Lang began playing piano at the age of 3, won first prize at the Tchaikovsky International Young Musicians Competition and played the complete 24 Chopin Études at age 13. His break into stardom came at age 17 when he was called upon for a dramatic last-minute substitution at the “Gala of the Century,” playing the Tchaikovsky Concerto with the Chicago Symphony Orchestra. Shortly thereafter Lang Lang became the first Chinese pianist to be engaged by the Berlin Philharmonic, the Vienna Philharmonic and all the top American orchestras. For more information on Lang Lang visit www.langlang.com MEI-ANN CHEN, CONDUCTOR
nnovation, imagination, passion and dynamism are the hallmarks of conductor MeiAnn Chen. Music Director of the MacArthur Award-winning Chicago Sinfonietta since 2011, and Artistic Director & Conductor for the National Taiwan Symphony Orchestra Summer Festival since 2016, Chen is acclaimed for infusing orchestras with energy, enthusiasm and high-level music-making, and galvanizing audiences and communities alike. A sought-after guest conductor, Chen’s reputation as a compelling communicator has resulted in growing popularity with orchestras globally.
North American guesting credits include appearances with the Symphony Orchestras of Atlanta, Baltimore, Cincinnati, Chicago, Detroit, Fort Worth, Houston, Indianapolis, Nashville, Oregon, Pacific, River Oaks Chamber, San Diego, San Francisco, Seattle, Toronto and Vancouver. Overseas engagements include the symphonies of BBC Scottish, Denmark’s National, Aalborg, Aarhus, Odense, Sweden’s Gävle, Gothenburg, Helsingborgs,
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Malmö, Norrköping, Netherlands Philharmonic Orchestra at the Concertgebouw, Norwegian Radio and Trondheim, Finland’s Tampere Philharmonic, Austria’s Grosses Orchester Graz, Germany’s Badische Staatskapelle Karlsruhe, Brazil’s São Paulo Symphony Orchestra, and National Taiwan. Future engagements include debuts with Philharmonic of Denmark’s Copenhagen, Germany’s Würth, Norway’s Oslo, and symphony orchestras of Switzerland’s Basel, Turkey’s Bilkent, and Atlanta’s Gala with Lang Lang, multiple returns to Graz and Malmö, among others. Her honors and awards include being named one of Musical America’s 2015 Top 30 Influencers, 2012 Helen M. Thompson Award from the League of American Orchestras and First Prize Winner of Copenhagen’s 2005 Malko Competition. Chen also holds the title of Conductor Laureate of the Memphis Symphony.
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Concerts of Thursday, Oct. 11, 2018 8:00pm
HECTOR BERLIOZ (1803-1869) Overture to Benvenuto Cellini, Opus 23 (1838)
Saturday, Oct. 13, 2018 8:00pm
HENRI VIEUXTEMPS (1820-1881) Concerto for Violin and Orchestra No. 5 in A minor, Opus 37 (1861) 18 MIN I. Allegro non troppo; Moderato II. Adagio III. Allegro con fuoco Giora Schmidt, violin
JUN MÄRKL, Conductor GIORA SCHMIDT, violin The Atlanta Symphony Orchestra Classical Series is presented by
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
INTERMISSION MAURICE RAVEL (1875-1937) Daphnis et Chloé (1912) I. Première Partie II. Deuxième Partie III. Troisième Partie
THE MUSIC BRIEF Berlioz’s opera Benvenuto Cellini is based upon the life of the 16th-century Italian Renaissance artist. The opera’s Overture is a vibrant, brilliantly-scored work. The Belgian composer and violinist Henri Vieuxtemps was one of the preeminent instrumentalists of his day. The Concerto No. 5 (in three movements, played without pause) is a marvelous showpiece, long beloved by virtuosos and their audiences. Ravel’s ballet Daphnis et Chloé is best known via the two Orchestral Suites derived from the complete score. But Ravel’s magic shines brightest when the ballet is heard in its entirety.
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NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
Overture to Benvenuto Cellini, Opus 23 (1838) HECTOR BERLIOZ was born in La Côte-Saint-André, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, 1869. The first performance of Benvenuto Cellini took place at the Opéra in Paris on September 10, 1838, with Françoise-Antoine Habeneck conducting. The Overture to Benvenuto Cellini is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, four bassoons, four horns, four trumpets, two cornets, three trombones, tuba, timpani, bass drum, cymbals, triangle, and strings. First Classical Subscription
n 1833, Hector Berlioz read the autobiography of the Italian Renaissance sculptor, goldsmith, architect, writer, and musician, Benvenuto Cellini (1500-1571). Today, Cellini is best known for his statue of Perseus (1545-54), on display in the Loggia dei Lanzi in Florence. As Berlioz recalled in his Memoirs: “I had been greatly struck with certain episodes in the life of Benvenuto Cellini, and was so unlucky as to think they offered an interesting and dramatic subject for an opera.”
Performances: December 17-20, 1970, Sixten Ehrling, Conductor. Most Recent Classical Subscription Performances: September 7-10, 1989, Yoel Levi, Conductor.
The premiere of Berlioz’s Benvenuto Cellini took place at the Paris Opéra on September 10, 1838. The performers, perplexed by Berlioz’s revolutionary score, did not do the work justice. In addition, Berlioz now had to face an audience that included composers and artists he had pointedly criticized in his own music reviews. Berlioz recalled that during the September 10, 1838 premiere, the Overture “received exaggerated applause, and the rest was hissed with admirable energy and unanimity. It was given three times, however, after which (tenor Gilbert-Louis) Duprez threw up the part of Benvenuto, and the work disappeared from the bills, not to reappear till long afterwards…” Benvenuto Cellini did enjoy some revivals during Berlioz’s lifetime, notably an 1852 staging in Weimar conducted by Franz Liszt. However, Benvenuto Cellini has for the most part remained on the fringes of the operatic repertoire. In 1850, Berlioz commented: “I have just re-read my score carefully and with the strictest impartiality, and I cannot help recognizing that it contains a variety of ideas, an energy and exuberance and a brilliance of colour such as I may perhaps never find again, and which deserved a better fate.” The brilliant Overture to Benvenuto Cellini, incorporating melodies from the opera, contains in abundance the positive qualities Berlioz found in his complete score. And indeed, the Overture has enjoyed “the better fate” the composer wished for his Opera, and remains a staple of the concert repertoire.
Concerto for Violin and Orchestra No. 5 in A minor, Opus 37 (1861) HENRI VIEUXTEMPS was born in Verviers, Belgium, on February 17, 1820, and died in Mustapha, Algiers, Algeria, on June 6, 1881. In addition to the solo violin, the Concerto in A minor is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
First Classical Subscription Performances: April 4-6, 1974, Kyung-Wha Chung, Violin, Michael Palmer, Conductor.
Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 43
enri Vieuxtemps, one of the finest violinists of the 19th century, was noted for his pristine technique, beautiful tone, and exemplary musicianship. The eminent Viennese critic, Eduard Hanslick, once wrote: “Listening to Vieuxtemps is one of the greatest, most unqualified pleasures music has to offer. His playing is as technically infallible and masterly as it is musically noble, inspired, and compelling. I consider him the first among contemporary violinists.” During his career, Vieuxtemps concertized to great acclaim throughout Europe, Russia, and the United States.
Henri Vieuxtemps composed his Concerto No. 5 for Violin and Orchestra in 1861. He originally intended the work to serve as a competition piece for the Brussels Conservatory. However, the Concerto became a favorite of such notable virtuosos as Henryk Wieniawski and Jascha Heifetz. The marvelous synthesis of virtuoso display, elegance, and melodic charm continues to make the Vieuxtemps Fifth Violin Concerto a welcome part of any concert program. The Concerto is in three movements, played without pause. The first (Allegro non troppo) begins with a stormy orchestral introduction, presenting the first of two central themes. The fury subsides, leading to the soloist’s elaborate entrance, which incorporates the opening theme. The movement’s second theme, introduced by the soloist, is a lovely, flowing melody that Vieuxtemps directs be played in an unaffected manner (semplice). The repetition of the melody by various wind instruments serves as counterpoint to the soloist’s brilliant display. The opening theme dominates the ensuing orchestral tutti, as well as the return of the soloist. The movement ends with an extended solo cadenza, capped by a fortissimo orchestral proclamation. Two brief movements conclude the work. The first is a heartfelt Adagio, based upon the opening movement’s second theme. The Adagio proceeds to a grand crescendo, leading directly to the concluding Allegro con fuoco, a breathtaking showpiece for the soloist.
Daphnis et Chloé (1912) MAURICE RAVEL was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The first performance of Daphnis et Chloé took place at the Théâtre du Châtelet in Paris on June 8, 1912, with Pierre Monteux conducting the Ballets Russes. Daphnis et Chloé is scored for two piccolos, three flutes, alto flute, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four First Classical Subscription trumpets, three trombones, tuba, timpani, bass drum, cymbals, Performances (complete snare drum, military drum, tambourine, tam-tam, xylophone, ballet): September 20, 21 crotales, castanets, wind machine, jeux de timbres à clavier, two and 22, 1973, harps, celesta, and strings. Robert Shaw, Conductor. n the summer of 1909, Sergey Diaghilev’s spectacular Ballets Most Recent Classical Subscription Performances: March 27, 28 and 29, 2008, Robert Spano Conductor. Recording: Telarc CD-80352, Yoel Levi, Conductor.
Russes burst upon the Paris artistic scene. Diaghilev’s brilliant and controversial productions inspired audience and critical reactions that ranged from adulation to violent rebellion. During his early years in Paris, Diaghilev made the acquaintance of several young composers with whom he would collaborate on some of his company’s greatest triumphs. For example, a meeting with the
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Sep 21 & 22, 2018 Monteverdi – Songs of Love & War (Atlanta Baroque Orchestra & Jesse Blumberg, baritone) Nov 12, 2018 VOCES8 – the sensational English vocal ensemble & YouTube phenoms Nov 30, 2018 Atlanta Symphony Brass Holiday Concert Jan 11 & 12, 2019 Bach & Mozart – Eine kleine Nachtmusik (Atlanta Baroque Orchestra & Jaap ter Linden) Mar 15 & 16, 2019 Vivaldi – Gloria! (Atlanta Baroque Orchestra, Cathedral Schola & Nathan Medley, countertenor ) June 19, 2019 Christa Rakich, organ
THE CATHEDRAL OF ST. PHILIP, ATLANTA Information and tickets at www.cathedralATL.org/concerts
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young Igor Stravinsky led to premieres by the Ballets Russes of such works as The Firebird (1910), Pétrouchka (1911), and The Rite of Spring (1913). Around that same time, Diaghilev met French composer Maurice Ravel. It was not long before Diaghilev, greatly impressed by Ravel’s talent and affinity for the theater, commissioned a ballet based upon the story of Daphnis and Chloe, a pastoral romance attributed to the Greek writer, Longus (approx. 2nd /3rd Century AD). Choreographer Michel Fokine adapted the story for Ravel’s composition. Ravel began work on Daphnis in 1910 and finished the piano score that year. However, the composer, dissatisfied with the finale, continued to make revisions. Ravel finally completed the fully-orchestrated score on April 5, 1912, just two months before the work’s premiere. The preparations and rehearsals for the Daphnis premiere were fraught with tension. Ravel conceived of his score as “a large fresco painting, less in keeping with antiquity than with the Greece of my dreams, which was more closely related to a Greece such as French artists had portrayed at the end of the eighteenth century.” Choreographer Michel Fokine and Léon Bakst (who designed the staging and costumes) shared a more revolutionary view that contemplated modern dance movements and garish color schemes. There were also arguments between Fokine and the legendary Vaslav Nijinsky, who danced the role of Daphnis at the premiere. The first performance of Daphnis et Chloé took place in Paris at the Théâtre du Châtelet on June 8, 1912. Despite the incredible assemblage of talent (including Nijinsky and Tamara Karsavina in the title roles, conductor Pierre Monteux, choreographer Fokine and designer Bakst), the lack both of sufficient rehearsal time and unanimity of artistic vision produced a rather lackluster premiere.
In truth, full productions of Daphnis on the ballet stage have been rare. On the other hand, the score Ravel termed “a choreographic symphony in three movements” has enjoyed tremendous success in the concert hall. The Orchestral Suites Ravel fashioned from the complete work are staples of the concert repertoire— particularly the Second Suite, containing the majestic Sunrise and thrilling Danse générale from the ballet’s Third Part. Still, it is the complete score of Daphnis et Chloé that reveals the full genius of Ravel’s ability to grip his audience with an unerring sense of color, drama, and atmosphere. L
The shepherd, Daphnis, and Chloe are in love. In the ballet’s First Part, an Introduction and Religious Dance precede the couple’s arrival. A series of games ensues, including a contest between Daphnis and the bumbling cowherd Dorcon, with the reward being a kiss from Chloe. Later, Chloe is captured by pirates. Daphnis discovers Chloe’s disappearance and collapses in despair. Daphnis has a dream in which he encounters the god Pan (Nocturne). Second Part. (Interlude) The scene changes to the pirate camp (Dance of the Warriors). Chloe, now a prisoner, is forced to dance for her captors. Suddenly, Pan appears as a fearsome image, causing everyone to flee. Third Part. After the majestic Lever du jour (Sunrise) Daphnis and Chloe are reunited. The two mime the tale of Pan and Syrinx (Pantomime). Daphnis pledges himself to Chloe, and the ballet concludes with a thrilling, joyous dance (Danse générale). 46 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
MEET THE ARTISTS JUN MÄRKL, CONDUCTOR
From 2014-17 seasons, he was Principal Conductor to the Basque National Orchestra. He guests with the World’s leading Orchestra, including the Cleveland Orchestra, Philadelphia Orchstra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic and Tonhalle Orchester Zürich. Märkl works regularly with many North American Orchestras — St. Louis, Atlanta , Baltimore, Cincinnati, Minnesota, Detroit, Houston and Vancouver, among others. Märkl has been a regular guest at the State Opera of Vienna, Munich and Semper Oper Dresden, and was until 2005 Permanent Conductor of the Bavarian State Opera in Munich.
un Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic explorations of the French Impressionists. His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012).
C H RIS T
In 2014 Naxos released two Hosokawa discs recorded by Jun Märkl with Royal Scottish National Orchestra. He has also recorded the complete Schumann Symphonies live with the NHL Symphony, Dvořák on Telarc, Mendelssohn and d’Albert with MDR, and Ravel, Messaien and a highly acclaimed nine-disc Debussy set with the Orchestre National de Lyon on Naxos. Presently, he is recording a cycle of works of Saint Saëns and Hosokawa for Naxos. In recognition of his achievements in Lyon, he was honored by the French Ministry of Culture in 2012 with the Chevalier de l’Ordre des Arts et des Lettres. GIORA SCHMIDT, VIOLIN
iolinist Giora Schmidt has appeared with many prominent symphony orchestras around the globe including Chicago, Cleveland, Philadelphia, Canada’s National Arts Centre, Toronto, Vancouver and the Israel Philharmonic. He made his Carnegie Hall debut performing the Barber Violin Concerto with the New York Youth Symphony.
Born in Philadelphia in 1983 to professional musicians from Israel, Giora began playing the violin at the age of four. He has studied with Patinka Kopec and Pinchas Zukerman at the Manhattan School of Music, and Dorothy DeLay and Itzhak Perlman at The Juilliard School. Committed to education and sharing his passion for music, Giora was on the faculty of The Juilliard School and the Perlman Music Program from 2005-
In recital and chamber music, Giora (pronounced ghee-OH-rah) has performed at Carnegie Hall, The Kennedy Center, The Metropolitan Museum of Art in New York, San Francisco Performances, the Louvre Museum in Paris and Tokyo’s Musashino Cultural Hall. Festival appearances include the Ravinia Festival, the Santa Fe and Montreal Chamber Music Festivals, Bard Music Festival, Scotia Festival of Music and Music Academy of the West. He has collaborated with eminent musicians including Yefim Bronfman, Itzhak Perlman, Pinchas Zukerman, Lynn Harrell, Ralph Kirshbaum and Michael Tree.
D AV E
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2009. He was appointed Associate Visiting Professor of Violin at the University of Cincinnati-College Conservatory of Music in August 2017. Through technology and social media he continues to find new ways of reaching young violinists and music lovers around the world. His Facebook page (facebook.com/gioraschmidt) has over 70,000 global followers. Giora was the First Prize winner of the Philadelphia Orchestraâ€™s Greenfield Competition in 2000, the recipient of a 2003 Avery Fisher Career Grant, and in 2005 won the Classical Recording Foundationâ€™s Samuel Sanders Award. From 2004-2006 he was selected to be a Starling Fellow at The Juilliard School.
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Concerts of Thursday, Oct. 25, 2018 8:00pm Saturday, Oct. 27, 2018 8:00pm DONALD RUNNICLES, Conductor
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
EVELINA DOBRAČEVA, soprano
Words from the Missa pro defunctis and the poems of Wilfred Owen
THOMAS COOLEY, tenor
This concert will be performed without intermission.
RUSSELL BRAUN, baritone ATLANTA SYMPHONY ORCHESTRA CHORUS, NORMAN MACKENZIE, Director of Choruses GWINNETT YOUNG SINGERS, LYNN URDA, Director The Atlanta Symphony Orchestra Classical Series is presented by
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
DID YOU KNOW? The Atlanta Symphony Orchestra and Chorus received their 12th and 13th Grammy® Awards for the Best Choral Performance and Best Engineered Recording, Classical (Jack Renner, Engineer) for the 1990 Britten: War Requiem (Telarc) CD-80157. The work was particularly significant to Robert Shaw, who was the ASO Music Director Emeritus at the time. Upon learning of the award Shaw said, “That’s really great. This piece means as much to me as any I’ve ever faced – morally, ethically and philosophically, as well as musically. During my early years, I was a pacifist and registered as a conscientious objector. When the stories came out about Hitler’s concentration camps, I changed to 1-A and registered in the Navy in 1944.” Shaw also expressed pride in sharing the honor with the ASO Chorus and the Atlanta Boy Choir saying, “It was accomplished by volunteer, unpaid singers who sing for the love of singing – true amateurs,” he said. “This gives hope that the American culture is not only in the hands of profit seekers, but also in the hands of people who are socially and ethically motivated.”
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NOTES ON THE PROGRAM
Ken Meltzer Program Annotator
War Requiem, Opus 66 (1961) 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.
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.”
First 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 Classical Subscription Performances: April 24 and 26, 2016, Evelina Dobračeva, soprano, Anthony Dean Griffey, tenor, Stephen Powell, baritone, Atlanta Symphony Orchestra Chorus, Gwinnett Young Singers, Robert Spano, Conductor. Recording: Telarc CD80157 (2 discs) Lorna Haywood, soprano, Anthony Rolfe Johnson, tenor, Benjamin Luxon, baritone, Atlanta Symphony Orchestra Chorus, Atlanta Boy Choir, Robert Shaw, Conductor.
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 FischerDieskau (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. 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
Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 51
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. Britten’s plan for two vocal soloists in the 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, Fischer-Dieskau; 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 Cathedral, Coventry, on May 30, 1962 (that performance has been issued on the Testament label: SBT 1490). On that occasion, Vishnevskaya was not the soprano soloist. The Soviet government, displeased with the symbolism of a reconciliation between Germany and England, prohibited her from traveling. English soprano Heather Harper (b. 1930) was pressed 1 Peter Pears (1910-1986) was Britten’s partner, and the creator of most of the composer’s music for lead tenor.
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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. 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 with such comments, “Bülow has made a fool of himself for all time.” Some observers leveled similar accusations toward the Britten War Requiem. In a 1969 interview, Britten responded: …I think I would be a fool if I didn’t take notice of how Mozart, Verdi, Dvořák—whoever you like to name—had written their Masses. I mean, many people have pointed out to me the similarities between the Verdi Requiem and bits of 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, 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. Britten told his sister that he hoped his War Requiem would “make people think abit.” And it is a work that never fails to make a profound impact, both upon the audience, and the performers. Dietrich Fischer-Dieskau, a prisoner of war during WWII, recalled in his autobiography: “The first performance created an atmosphere of such intensity that by the end I was completely undone; I did not know where to hide my face. Dead friends and past suffering arose in my mind.” Peter Pears had to assist the grief-stricken Fischer-Dieskau to his feet.
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MEET THE ARTISTS DONALD RUNNICLES, CONDUCTOR
onductor Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as the Principal Guest Conductor of the Atlanta Symphony Orchestra. He was recently named Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as its Chief Conductor from 2009-2016. Maestro Runnicles enjoys close and enduring relationships with several of the most significant opera companies and orchestras, and is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity.
Runnicles’ extensive discography includes complete recordings of Wagner’s Tristan and Isolde, Mozart’s Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, and Bellini’s I Capuleti e i Montecchi. His recording of Wagner arias with tenor Jonas Kaufmann and the Orchestra of the Deutsche Oper Berlin won the 2013 Gramophone prize for Best Vocal Recording, and his recording of Janáček’s Jenůfa with the Orchestra and Chorus of the Deutsche Oper Berlin was nominated for a 2015 Grammy® award for Best Opera Recording.
Donald Runnicles is a recipient of the Order of the British Empire (OBE) and holds honorary degrees from the University of Edinburgh, Royal Scottish Academy of Music and Drama, and San Francisco Conservatory of Music. EVELINA DOBRAČEVA, SOPRANO
Recent highlights include a return to the Cincinnati Opera for Puccini’s Tosca, Schoenberg’s Erwartung with Capella Cracoviensis, Shostakovich’s Symphony No. 14 at the Maggio Musicale Fiorentino under Michail Jurowski and Rachmaninov’s The Bells with Accademia Santa Cecilia Orchestra. Upcoming engagements include performances of Britten’s War Requiem with the BBC Philharmonic and the Atlanta Symphony Orchestra, with which Evalina continues her great relationship.
velina Dobračeva began her career under the tuition of Professor Norma Sharp, Snezana Brzakovic and Professor Julia Varady at the Hanns Eisler Music College in Berlin.
A DI M A T
Evelina’s discography includes Dargomyzhki’s Rusalka recorded with the WDR in Cologne, conducted by Mikhail Jurowski and Britten’s War Requiem recorded with the Nederlands Radio PO. She also features on the Rachmaninov Songs disc recorded with the pianist Iain Burnside, released on Delphian. THOMAS COOLEY, TENOR
innesota-born tenor Thomas Cooley has established a reputation on both sides of the Atlantic — and beyond — as a singer of great versatility, expressiveness, and virtuosity. Recent and upcoming appearances of note include Beethoven’s Ninth Symphony with the Baltimore Symphony Orchestra and the Milwaukee Symphony; Britten’s Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 55
PA U L FO ST
War Requiem with the Indianapolis, Atlanta and Oregon Symphonies; Handel’s Messiah with the Oregon, Houston and Charlotte Symphonies as well as the Calgary Philharmonic and National Symphony Orchestra; Peter Quint in Britten’s The Turn of the Screw with the St. Paul Chamber Orchestra; Bob Boles in Britten’s Peter Grimes with the St. Louis Symphony in Carnegie Hall; the title role in Handel’s Samson with the American Classical Orchestra at Alice Tully Hall (Nicholas McGegan conducting); the world premiere of Christopher Theofanidis’ Creation/Creator Oratorio with Atlanta Symphony; Tristan in Frank Martin’s Le vin herbé with Bergen National Opera; Crown Prince in Kevin Puts’ Silent Night with Cincinnati Opera; Acis in a new production of Handel’s Acis and Galatea and L’Allegro with the Mark Morris Dance Group; Bach’s St. Matthew Passion with Seattle Symphony and the St. John Passion with Pacific Musicworks and the Pittsburgh Symphony; and performances at the Oregon and Carmel Bach Festivals. As Artist in Residence with Chicago’s Music of the Baroque, Cooley performs Monteverdi’s Vespers, Handel’s Judas Maccabaeus and a program of Bach Cantatas this season. RUSSELL BRAUN, BARITONE
enowned for his luminous voice, baritone Russell Braun rightfully claims his place on the concert, opera and recital stages of the world. His intelligent and thoughtful portrayals of Chou En-lai, Billy Budd, Prince Andrei, Figaro, Papageno, Count Almaviva, Don Giovanni, Pelléas, Eugene Onegin, and The Traveller have captivated audiences at the Metropolitan Opera in New York, l’Oéra de Paris, the State Opera in Vienna, the Royal Opera, Covent Garden, the Los Angeles Opera, La Scala in Milan, and at the Salzburg and Glyndebourne festivals.
This season will feature two important role debuts for Braun: first as Don Alfonso in Mozart’s Così fan tutte at the Canadian Opera Company, then as Peter in Hänsel und Gretel with Michigan Opera Theatre. In concert Braun will return to the Proms in London with the baritone solo in Britten’s War Requiem, a piece he will reprise with the Atlanta Symphony and the Toronto Symphony. Other concert engagements will include Messiah with the Montreal Symphony. Another exciting project this season is the baritone’s collaboration with director Tim Albery on Hanns Eisler’s Hollywood Songbook, Hell’s Fury, which will be seen at the Luminato Festival. Future projects include a return to the Canadian Opera Company. Last season included a return to the Salzburg Festival as Pentheus in Henze’s The Bassarids, to the Theater an der Wien for Alfred Ill in Der Besuch der alten Dame and to the Calgary Opera as Figaro in Il Barbiere di Siviglia. In concert, Braun performed Mahler’s Symphony No. 8 with the Danish National Symphony Orchestra and the Montreal Symphony, Brahms’ Ein deutsches Requiem with the Houston Symphony, Messiah with the Grand Philharmonic Choir as well as in recital at Toronto’s Royal Conservatory of Music. NORMAN MACKENZIE, DIRECTOR OF CHORUSES
s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was
56 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts annually. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy® awards. Mr. Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule. The New York Times describes Mr. Mackenzie as Robert Shaw’s “designated successor.” In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the 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 Shaw’s passing, and partnered with Robert Spano for the 20th anniversary Workshop featuring the Berlioz Requiem. ATLANTA SYMPHONY ORCHESTRA CHORUS
he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director Robert Shaw, remains an important part of the Orchestra’s programming. The Chorus is an all-volunteer, auditioned organization that performs on a regular basis with the Orchestra and is featured on many of its recordings.
Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have won 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). Those include Vaughan Williams’ A Sea Symphony and the Berlioz Requiem. The Chorus performs large choral-symphonic works under the direction of Music Director, Robert Spano and Principal Guest Conductor, Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous worldpremiere commissioned works. The Chorus made its debut at NY’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Shaw. In addition, the Chorus performed in Washington, DC, for President-elect Jimmy Carter’s Inaugural Concert in 1977, and returned there with Robert Spano in 2017 as part of the SHIFT Festival. In 1988, it accompanied Shaw and the Orchestra on their European debut tour. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic – in December 2003 for three performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in December 2009 for a week of Brahms Requiem performances – all with Atlanta Symphony Orchestra Principal Guest Conductor, Donald Runnicles. Within the Chorus, there is an auditioned group of 60 singers called the Atlanta Symphony Orchestra Chamber Chorus. The Chamber Chorus, which formed before the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters. Encore Atlanta | Atlanta’s encoreatlanta.com Performing |Arts Atlanta’s Publication Performing | encoreatlanta.com Arts Publication 59 57
LYNN URDA, DIRECTOR chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music At theYoung Orchestra, he maintains prepares ynn Urda, Conductor & Music Director of lovers. the Gwinnett Singers the an Choruses for all concerts and recordings, works closely with Robert Spano on active schedule as a guest clinician, conductor and adjudicator for All-State the commissioning and realization of new choral-orchestral works and conducts Choruses & Honors Choirs, choral festivals, and workshops for youth and their holiday concerts annually. During herself his tenure, theunique Chorusways hasof made numerous tours conductors. She has distinguished for her achieving excellence ® awards. Mr. Mackenzie also serves as and garnered its most recent four Grammy in choral blend, intonation and sensitive singing. Mrs. Urda holds a degree in Music Organist Director of Music andState Fine Arts for Atlanta’s Presbyterian Educationand and Voice from Florida University SchoolTrinity of Music. She is aChurch, former and pursues activeSpecialist recital andand guest public schoolanMusic hasconducting spent the schedule. majority of her professional life
serving as aYork church musician, directing and adult choirs. She holds The New Times describes Mr. children’s, Mackenzieyouth as Robert Shaw’s “designated membershipIninhisChorister’s Guild andwith theShaw, American Choral Directors successor.” 14-year association he was keyboardist for Association the Atlanta (ACDA), forOrchestra, which sheprincipal has previously servedforasthe Repertoire for Symphony accompanist Choruses,and andStandards ultimately Chair assistant Children’s Choirs In foraddition, the Georgia division of assistant ACDA. and She accompanist also serves asforthe choral conductor. he was musical theDirector Robert of Youth and Children’s at Tucker United Methodist Church. Shaw Chamber Singers, Choirs the Robert ShawFirst Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He GWINNETT YOUNG SINGERS was choral clinician for the first three workshops after Shaw’s passing, and partnered ow in its 29th season, the Gwinnett Young Singers are frequent guests of the with Robert Spano for the 20th anniversary Workshop featuring the Berlioz Requiem. ASO. The choir has performed in twenty-one season performances of Christmas ATLANTA SYMPHONY ORCHESTRA With The ASO. Under the direction ofCHORUS Founder and Music Director Lynn Urda and Associate Director Carol Wyatt, the choir is a nationally children’s he Atlanta Symphony Orchestra Chorus, foundedrecognized in 1970 by formerchorus, Music bestDirector noted for its mastery of challenging repertoire high musical Robert Shaw, remains an important part ofand theexceptionally Orchestra’s programming. standards. faculty and staff are dedicated to professionalism in music The ChorusThe is an all-volunteer, auditioned organization that performs on education a regular and strive to share the power beautyonofmany a wide of choral music. basis with the Orchestra and isand featured of variety its recordings.
Among the hundreds of concerts theMackenzie, choir has performed the ASO, GYS was Led by Director of Choruses, Norman the chorus with is known for its precision ® Award featured on thesinging Grammy winning CD recording of John® Adams’ On The and expressive quality. Its recordings have won 14 Grammy Awards (nine for Transmigration Of Souls withfour the for ASO & Chorus. In 2004 they performed Grammy Best Choral Performance; Best Classical Recording and one in forthe Best Opera® nominated Those CD recording of Carl Orff’s Carmina Burana with the andRequiem. Chorus. Recording). include Vaughan Williams’ A Sea Symphony and theASO Berlioz Gwinnett Young Singers offers a program of beginning through for The Chorus performs large choral-symphonic works under theadvanced direction choirs of Music children in second through the TrebleRunnicles. Choir, Concert Choir, Director, Robert Spano and twelfth Principalgrades, Guest including Conductor, Donald In addition, Chamber Choir theinvolved Georgia in Young Ensemble. the Chorus hasand been the Men’s creation and shaping of numerous worldpremiere works. For more commissioned information, call 770-935-6657 or visit www.gwinnettyoungsingers.com The Chorus made its debut at NY’s Carnegie Hall in 1976 in a performance of GWINNETT YOUNG SINGERS CONCERT CHOIR Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Lynn Carol Adriennein Washington, Amanda DC, Dodd Bacon Shaw.Urda In addition, the Wyatt Chorus performed for Gwyn President-elect Gustafson conductor & associate music assistant accompanist Jimmy Carter’s Inaugural Concert in 1977, and returned there with Robert Spano in music director director assistant director 2017 as part of the SHIFT Festival. director In 1988, it accompanied Shaw and the Orchestra on their Agustin European debut tour. The Chorus has traveled three times as a Sarah Parasca Marisa Joynerto Germany Segovia Camden special guest of the Berlin – inShelby December three Patil performances Joyner2003 for Anika CesarPhilharmonic Gimenez Linus Agustin Keszler Requiem,Alyssa Segovia Gabrielle Beard of Britten’s War Requiem, in May 2008 forAddy the Berlioz and Perry in December Emily Pilarte Adathel Lenzer Savannah Greene Tess Brons 2009 for a week of Brahms Requiem performances – all with Atlanta Symphony Aziza Russell Dorothy McBane Amelia Gustafson Fiona Burnett Naomi Stepanskiy Anna McCallum LydiaConductor, Hamilton Donald Addie Carpenter Orchestra Principal Guest Runnicles. Brooke Caspers
Within the Chorus, there is Hancock an auditionedNaomi groupMitrofan of 60 singersSydney calledWong the Atlanta Sophie Madi Caspers Ashlynformed Wright before Mittal Chorus, which Hardy Chorus. TheAnna Sadie Coleman Symphony Orchestra Erin Chamber Chamber Taylor Newsome Emma Harman Cecilia Fewell the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well Abigail Parasca Kathryn Helton Adelmo Gimenez as works by modern masters. 60 58 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
ATLANTA SYMPHONY LYNN URDA, DIRECTORORCHESTRA CHORUS
Jeffrey Baxterof the Gwinnett Peter Marshall Norman Mackenzie ynn Urda, Conductor & Music Director Young Singers maintains director of choruses choral administrator accompanist an active schedule as a guest clinician, conductor and adjudicator for All-State The Frannie and Bill The Florence Kopleff Chair Choruses & Honors Choirs, choral festivals, and workshops for youth and their Graves Chair conductors. She has distinguished her unique excellence Thomas Slusher Nicole Khoury*ways of achieving Donna Ross* herself for SOPRANO 1 in choral and sensitive singing. Mrs. Urda holds a degree in Music Scott Stephens** Lynda Martin Paula Snelling Amy Bakerblend, intonation Alexander Wilson CampbellSchool Rogers of Music. Storer State University Mary Marthaand Clark Education Voice Tommie from Florida She is a former Sharon Simons* Emily Tallant Hanan Davis 1 public Specialist and has spent theThompson* majority of BASS her professional life Virginia Thrash** Khadijahschool Davis Music Cheryl Dock Anderson Kiki Wilson** serving as a church musician, directing children’s, youth and adult choirs. She holds Anna Ulrich Sakinah Davis Russell Cason** Woodard** Donna Weeks Liz Dean Trey CleggAssociation membership in Chorister’s Guild and theDiane American Choral Directors Katie Woolf Virginia Elizondo Steven Darst** TENOR 1 (ACDA), for which she has previously served as Repertoire and Standards Chair for Laura Foster Michael Dennison Jeffrey Baxter** ALTO 1 Erin Jones Choirs for the Children’s Georgia division of ACDA. asElston the Director Thomas Jordan Bell She also serves Akosua Adwini-Poku Victoria Michael Ervin Christian Pamela Amy-Cupp of YouthLatimer and Children’s Choirs at Tucker First UnitedBigliani Methodist Church. Arietha Lockhart**
Jon Gunnemann* David Blalock** Deborah Boland** David Hansen** John Brandt* Joneen Padgett* Lee Johnson Jack Caldwell** Laurie Cronin in its 29th season, the Gwinnett Young Singers are frequent guests of the Rachelow Paul Nick Jones # Daniel Cameron* Angel Dotson-Hall Callaway Powlus ASO. The choir has performed season performances of Christmas Frank Kingsley Daniel Compton Katherine Fisher in twenty-one Lisa Rader* Jameson Linville Justin Cornelius Beth With The ASO. Under theFreeman direction of Founder and Music Director Lynn Urda and Susan Ray Mark Mendenhall Joseph Cortes Noelle Hooge Associate Director Carol Wyatt, the choir is a nationally recognized children’s chorus, Joanna Reesman Peter Shirts Clifford Edge** Beverly Hueter Brianna Riley for its mastery best noted of challenging repertoire and exceptionally high musical Kendric Smith # Steven Farrow** Janet Johnson Samaria Rodriguez John Terry education Nicholas Flott Little* standards. The facultyVirginia and staff are dedicated to professionalism in music Natalie Rogers Leif Gilbert-Hansen* Ike Van Meter Staria Lovelady and strive to share theFrances powerMcDowelland beauty of a wide variety of choral music. Natalie Spruell Edgie Wallace* James Jarrell Stacey Tanner Edward Watkins** Keith Langston* Beadle** Among the hundreds of concerts the choir has performed with the ASO, GYS was Brianne Turgeon* Sean Mayer* Mary®Elizabeth BASS 2 featured on the Grammy Award winningClinton CD recording of John Adams’ On The Allegra Whitney Miller Mendenhall Philip Barreca Erika Wuerzner Of Souls Christopher Patton Linda Transmigration withMorgan** the ASO & Chorus. In 2004 they performed in the Grammy® Clarence Bell Wanda Yang Temko* Katherine Murray* StephenBurana Reed # with the Charles nominated CD recording of Carl Orff’s Carmina ASO Boone and Chorus. Nathaniel Sundholm Brian Brown Rachel Stewart** SOPRANO 2 Mark Warden* throughJohn Diana Strommen June Abbott** Gwinnett Young Singers offers a program of beginning advanced Carter choirs for Nancy twelfth York* grades, TENOR Sloan Atwood* Rick Copeland** 2 the Treble Choir, children in second through including Concert Choir, Jessica Barber Joel Craft** Randall Barker* ALTO 2 Chamber Choir and the Georgia Young Men’s Ensemble. Barbara Brown Paul Fletcher Mark Barnes Nancy Adams* Martha Craft Andrew Gee* Blackman- orSteve For more information,Angelica call 770-935-6657 visit Brailsford www.gwinnettyoungsingers.com Ellen Dukes** Charles Cottingham # Timothy Gunter* Keim Mary Goodwin Eric Litsey** Crumbly* Chandler* GWINNETT YOUNGMarcia SINGERS CONCERTPhillip CHOIR Amanda Hoffman Kevin Newman Joseph Few* Christa Joy Chase* Kathleen KellyLynn Urda Carol Wyatt CurryAdrienne Amanda Dodd John Gwyn Ruff* Bacon Sean Fletcher Meaghan George* Jonathan Smith* Hamilton Fong conductor & associate music assistant accompanist Cynthia GoeltzGustafson Eda Mathews** Benjamin Temko* DeBold** music director director assistant John Harr director Mary Mulvey David Webster** Michèle Diament director Keith Jeffords* Shannon Nesbit Gregory Whitmire** Steven Olson Andrea Gassmann SarahWyatt* Parasca Marisa Joyner Heidi Padovano Segovia Camden Agustin Keith Michael Parker Afton Herring Anika Patil Shelby Joyner Chantae Pittman CesarJenkins Gimenez Linus Agustin Timothy Parrott Emily Alyssa Perry Addy Keszler Chelsea Segovia GabrielleRhoades Beard Matthew Sellers Sally Kann Emily Pilarte Adathel Lenzer Savannah Greene Tess Brons Aziza Russell Dorothy McBane Amelia Gustafson Fiona Burnett Naomi Stepanskiy Anna McCallum Lydia Hamilton Addie Carpenter Suzanna Stepanskyi Ansley Melton Charlotte Hancock Brooke Caspers Sydney Wong Naomi Mitrofan Sophie Hancock Madi Caspers Ashlyn Wright Anna Mittal Erin Hardy Sadie Coleman Taylor Newsome Emma Harman Cecilia Fewell Abigail Parasca Kathryn Helton Adelmo Gimenez
Mindy Margolis* GWINNETT YOUNGRachel SINGERS Bowman
* 20+ years of service ** 30+ years of service # Charter member (1970)
encoreatlanta.com Atlanta’s Performing Arts Publication 61 Encore Atlanta | Atlanta’s Performing |Arts Publication | encoreatlanta.com 59
Concerts of Sunday, Oct. 28, 2018 1:30pm and 3:00pm STEPHEN MULLIGAN, Conductor KELSEY STANHOPE, Ballerina (Cinderella) Georgia Ballet The Atlanta Symphony Orchestra Family Series is presented by
HALLOWEEN AT HOGWARTS SERGEI PROKOFIEV (1891-1953) Cinderella Suite No. 1 Introduction Pas de chat Mazurka Cinderella Goes to the Ball Cinderella’s Waltz Midnight JOHN WILLIAMS (b.1932) Harry Potter: Children’s Suite For Orchestra I. Hedwig’s Flight II. Hogwarts Forever III. Voldemort IV. Nimbus 2000 V. Fluffy and His Harp VI. Quidditch VII. Family Portrait VIII. Diagon Alley IX. Harry’s Wondrous World NO INTERMISSION
Accessibility for the Deaf and Hard of Hearing: This performance is Sign Language Interpreted. The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
60 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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MEET THE ARTISTS STEPHEN MULLIGAN, CONDUCTOR
onductor Stephen Mulligan began his term as the Assistant Conductor of the Atlanta Symphony Orchestra and the Music Director of the Atlanta Symphony Youth Orchestra in August 2017. From 2014-16, he served as Assistant Conductor of the Winston-Salem Symphony and the Music Director of the Winston-Salem Symphony Youth Orchestras Program.
Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams’s Nixon in China at Walt Disney Concert Hall. Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar and Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s assistant conductor, traveled to Helsinki to study Sibelius’s late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony. KELSEY STANHOPE
elsey Stanhope received her training from The British Academy of Performing Arts and The Georgia Ballet School. She attended summer intensives at Carolina Ballet, The Georgia Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, and Atlanta Ballet. Kelsey is entering her sixth season with The Georgia Ballet’s professional company. Kelsey has enjoyed performing principal and soloist roles. Some favorite recent roles include Carmen, Bluebird from Sleeping Beauty, and Lise from La fille mal gardee.
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ASO | SUPPORT
he Orchestra donor list includes Annual Fund donations made June 1, 2017 – May 31, 2018. This distinguished roster represents those among the Atlanta Symphony Orchestra family who wish to honor the transformative power of music—whether experienced during a one-time performance or over the course of a lifetime. Their collective generosity sustains the Orchestra’s ability to present musically-infused educational experiences for local schools, build community both on stage and across audiences, and remain a beacon of Atlanta’s cultural legacy and future innovation. On behalf of your Atlanta Symphony Orchestra—musicians, volunteers, and staff—we thank each of you for dedicating these vital contributions to the music and programming we work so passionately to create and share. $1,000,000
Delta Air Lines, Inc.
Mrs. Anne Cox Chambers
1180 Peachtree Bank of America George M. Brown Trust Fund The Coca-Cola Company The Home Depot Foundation
Susan & Richard Anderson
AT&T Bank of America Arthur M. Blank Family Foundation Thalia & Michael C. Carlos Advised Fund
Victoria & Howard Palefsky The Antinori Foundation National Endowment for the Arts
64 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Invesco Ltd. Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation
Mr. & Mrs.** Bradley Currey, Jr. Ms. Lynn Eden Four Seasons Hotel Atlanta The Graves Foundation Susan & Thomas Wardell
APPASSIONATO We are extremely grateful for donors who give to the Annual Fund and Gala at the Appassionato level ($10,000+). These notable supporters are granted all the benefits of Patron Partnership, as well as advance notification of concerts and exclusive ticket offers through the season, VIP parking in the Woodruff Arts Center garage ($15,000+), concert dedication opportunities ($25,000+), and more. For further information about Appassionato, contact the Development Office at 404.733.5102. $25,000+
A Friend of the Symphony (2) Alston & Bird Paul & Linnea Bert Connie & Merrell Calhoun City of Atlanta Office of Cultural Affairs Jim Cox, Jr. Foundation The Roy & Janet Dorsey Foundation Betty Sands Fuller Fulton County Arts & Culture Mr. & Mrs. Gary Lee, Jr. Hank Linginfelter Charles H. Loridans Foundation The Marcus Foundation, Inc. Massey Charitable Trust Janice Murphy** Terence L. & Jeanne Perrine Neal* Porsche Cars North America, Inc. Publix Super Markets Charities Patty & Doug Reid Ryder Truck Rental, Inc. Mary & Jim Rubright Bill & Rachel Schultz* Mrs. Charles A. Smithgall, Jr. Mr. G. Kimbrough Taylor & Ms. Triska Drake Turner The UPS Foundation Patrick & Susie Viguerie Ann Marie & John B. White, Jr.*
Kero-Jet Ken & Carolyn Meltzer Ms. Molly Minnear Moore Colson, CPAs & Bert & Carmen Mills Caroline & Joe O’Donnell The Sally & Peter Parsonson Foundation Mr. & Mrs. W. Ross Singletary, II Adair & Dick White Mrs. Sue S. Williams
Madeline & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward Juliet & John Allan Rita & Herschel Bloom Mr. David Boatwright The Breman Foundation, Inc. Janine Brown & Alex J. Simmons, Jr. The John W. & Rosemary K. Brown Family Foundation The Capital Group Companies Charitable Foundation Wright & Alison Caughman Cari K. Dawson & John M. Sparrow Russell Currey & Amy Durrell Donna Lee & Howard Ehni Ms. Angela L. Evans Fifth Third Bank Georgia Power Foundation, Inc. Jeannette Guarner, MD & $17,500+ Carlos del Rio, MD Mr. & Mrs. Paul J. Blackney Jason & Carey CBH International, Inc Guggenheim/Boston Georgia Council for the Arts Consulting Group
Joe Hamilton Bonnie & Jay Harris Kimberly-Clark Foundation D. Kirk & Kimberlee Jamieson Brian & Carrie Kurlander James H. Landon Dr. Ginger Chen & Mr. Sukai Liu Meghan & Clarke Magruder John & Linda Matthews Lynn & Galen Oelkers The Piedmont National Family Foundation Martha M. Pentecost The Piedmont National Family Foundation Jennifer Barlament & Kenneth Potsic Joyce & Henry Schwob June & John Scott Charlie & Donna Sharbaugh Slumgullion Charitable Fund Amy & Paul Snyder Carol & Ramon Tomé Family Fund John & Ray Uttenhove Mr. James Wells & Mrs. Susan Kengeter Wells
A Friend of the Symphony (2) Aadu & Kristi Allpere* Farideh & Ali Azadi Foundation, Inc. Julie & Jim Balloun Bell Family Foundation Walter & Frances Bunzl Foundation John W. Cooledge Janet Davenport, in honor of Norman Mackenzie Marcia & John Donnell
Mr. Richard H. Delay & Dr. Francine D. Dykes Eleanor & Charles Edmondson Eversheds Sutherland (US) LLP The Robert Hall Gunn, Jr., Fund Georgia-Pacific Georgia Natural Gas Hertz Family Foundation Roya & Bahman Irvani Clay & Jane Jackson Ann A. & Ben F. Johnson, III Anne Morgan & Jim Kelley King & Spalding Pat & Nolan Leake John F. & Marilyn M. McMullan Walter W. Mitchell Monasse Foundation Dr. & Mrs. Ebbie & Ayana Parsons Suzanne & Bill Plybon Ms. Joni Winston The Monasse Family Foundation Mr. John A. Sibley III Dr. Steven & Lynne Steindel* Peter James Stelling Alison & Joe Thompson The Trapp Family Turner Foundation, Inc. Chilton & Morgan Varner Kathy Waller & Kenneth Goggins Mark & Rebekah Wasserman Mrs. Virginia S. Williams Joni Winston
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers.
Encore Atlanta | Atlanta’s Performing Arts Publication | encoreatlanta.com 65
ASO | SUPPORT 2018/19 PATRON PARTNERSHIP AND APPASSIONATO LEADERSHIP COMMITTEE Kristi Allpere chair
Helga Beam vice chair , solicitation Deedee Hamburger vice chair , programs Belinda Massafra vice chair , cultivation
June Scott Milt Shlapak vice chair , communications member - at - large Bill Buss Peter Stelling
Judy Hellriegel solicitation committee
THE PATRON PARTNERSHIP We extend deep gratitude to all members who give to the Annual Fund at the Patron Partnership level ($2,000 - $9,999). These sustaining supporters enjoy exclusive invitations to post-concert Symphony Nightcaps, complimentary access to private dining in the Robert Shaw Room ($2,500+), and invitations to A Seat with the Symphony On-Stage Rehearsals ($5,000+). For more information about Patron Partnership, contact the Development Office at 404.733.5102. $7,500+
Tad & Janin Hutcheson Robert & Sherry Johnson Paul & Rosthema Kastin Peter & Vivian de Kok Mr. & Mrs. J. Hicks Lanier Mr. & Mrs. Theodore J. Lavallee, Sr. Isabel Lamy Lee Peg & Jim Lowman $5,000+ Mary Ruth McDonald A Friend of Franca G. Oreffice the Symphony (3) William & Gloria Allgood Ms. Margaret Painter Margaret H. Petersen Jack & Helga Beam The Hellen Ingram Patricia & William Buss Plummer Charitable Cadillac Foundation, Inc. Robert Wenger & Mr. Leonard B. Reed* Susan Carney Mr. & Mrs. Joel F. Reeves Ruth & Mark Coan Mrs. Vicki J. Riedel William & Patricia Cook Mrs. Robin Rodbell Mr. & Mrs. Jonathan J. Mr. Joseph A. Davies Roseborough Carol Comstock & John T. Ruff Jim Davis* Hamilton & Mason Smith Ms. Diane Durgin Ellen & Howard Feinsand Mrs. C. Preston Stephens Mr. & Mrs. William A. Flinn John & Yee-Wan Stevens Mrs. Sheila Tschinkel Mary & Charles Ginden Alan & Marcia Watt Mr. & Mrs. Richard Dr. & Mrs. James O. Goodsell Mr. & Mrs. Joshua Harbour Wells, Jr. Thomas E. Whitesides, Mr. & Mrs. Charles B. Jr. M.D. Harrison Hubert H. Whitlow, Jr. Sally W. Hawkins Suzanne B. Wilner Gene Haywood Mr. Baxter P. Jones & Azira G. Hill Dr. Jiong Yan Lisa & Russ Butner Sally & Carl Gable Deedee & Marc Hamburger* Mr. Randolph J. Koporc Betsy & Lee Robinson Beverly & Milton Shlapak
Dr. Evelyn R. Babey Mr. & Mrs. Dennis M. Chorba Mr. Richard Dowdeswell Greg & Debra Durden Dr. & Mrs. Carl D. Fackler James & Bridget Horgan Donald S. Orr & Marcia K. Knight Lillian Balentine Law Deborah & William Liss Belinda & Gino Massafra Mr. Bert Mobley Michael & Carol Murphy Margo Brinton & Eldon Park Mrs. Kay Adams* & Mr. Ralph Paulk S.A. Robinson Suzanne Shull Mr. & Mrs. Edward W. Stroetz, Jr. Stephen & Sonia Swartz George & Amy Taylor Dale L. Thompson Burton Trimble Drs. Jonne & Paul Walter Mr. & Mrs. M. Beattie Wood Camille W. Yow
A Friend of the Symphony (5) Ms. Amy Gerome-Acuff & Mr. Daniel Acuff
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Kent & Diane Alexander Mr. & Mrs. Stephen D. Ambo The Hisham & Nawal Araim Foundation Ms. Susan Ascheuer-Funke Lisa & Joe Bankoff Xavier Duralde & Mary Barrett Dr. & Mrs. Joel E. Berenson Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower Martha S. Brewer Ms. Harriet Evans Brock Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Karen & Rod Bunn Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Ralph & Rita Connell Jean & Jerry Cooper Jonathan & Rebekah Cramer Susan & Ed Croft Mr. & Mrs. Erik Curns Sally & Larry Davis Mr. & Mrs. Donald Defoe Mr. Philip A. Delanty Mary & Mahlon Delong
Mr. & Mrs. James Durgin Mr. & Mrs. Robert G. Edge Dieter Elsner George T. & Alecia H. Ethridge Anthony Barbagallo & Kristen Fowks Raj & Jyoti Gandhi Family Foundation Representative Pat Gardner & Mr. Jerry Gardner Mr. & Mrs. Edward T.M. Garland Drs. John & Gloria Gaston Mary D. Gellerstedt Sally & Walter George Caroline M Gilham Marty & John Gillin* Spencer Godfrey Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mrs. Louise Grant Mr. & Mrs. George Gunderson Phil & Lisa Hartley John & Martha Head Mr. & Mrs. John Hellriegel Kenneth R. Hey Thomas High Sarah & Harvey Hill Mr. Ron Hilley & Mrs. Mia Frieder Hilley
Laurie House Hopkins & John D. Hopkins Mrs. Sally Horntvedt Dr. Michael D. Horowitz Drs. Patricia & Roger J. Hudgins Dona & Bill Humphreys JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Bucky & Janet Johnson Robert N. Johnson, Esq. - Shareholder, Baker Donelson Law Firm Mr. W. F. & Dr. Janice Johnston William L. & Sally S. Jorden Ann T. Kimsey Mrs. Jo W. Koch David & Jill Krischer Wolfgang & Mariana Laufer Mr. & Mrs. Van R. Lear Olivia A. M. Leon Mr. & Mrs. Bertram L. Levy Mr. & Mrs. J. David Lifsey Joanne Lincoln** Mr. & Mrs. Frederick C. Mabry Kay & John T. Marshall
Charles Bjorklund & Sted Mays Martha & Reynolds McClatchey Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague Mr. & Mrs. Tom Merkling* Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Dr. Mary G. George & Mr. Kenneth Molinelli Ms. Susan R. Bell & Mr. Patrick M. Morris Judge Jane Morrison Janice & Tom Munsterman Ann A. Nable Melanie & Allan Nelkin Gary R. Noble Barbara & Sanford Orkin Mr. & Mrs. E. Fay Pearce, Jr.* Ms. Susan Perdew Elise T. Phillips Ms. Kathy Powell Mr. Walter Pryor Ms. Cathleen Quigley Ms. Eliza Quigley Mrs. Susan H. Reinach Dr. Fulton D. Lewis III & S. Neal Rhoney
Mr. & Mrs. Richard L. Rodgers Jane & Rein Saral Dr. Andrew Muir & Dr. Bess Schoen Mr. & Mrs. Martin Shapiro Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Mr. K. Douglas Smith Baker & Debby Smith Johannah Smith Ms. Martha Solano Dr. Daniel Blumenthal & Dr. Marjorie Speers Dr. Odessa K. Spraggins Mr. & Mrs. Raymond F. Stainback, Jr. Lou & Dick Stormont Kay & Alex Summers Judith & Mark K. Taylor Vogel Family Foundation Carol Brantley & David Webster Dr. Nanette K. Wenger David & Martha West Sally Stephens Westmoreland Ron & Susan Whitaker Russell F. Winch Herbert & Grace Zwerner Mrs. Frank L. Wilson, Jr.
HENRY SOPKIN CIRCLE The Henry Sopkin Circle celebrates cherished individuals and families who have made a legacy gift to the Atlanta Symphony Orchestra. Whether through a bequest, beneficiary designation or trust distributions, planned gifts ensure the ASO’s success for future generations. Like the ASO’s first Music Director, Henry Sopkin, our planned giving donors preserve the Orchestra’s foundation, while simultaneously shaping its future. To learn more about the Henry Sopkin Circle, please contact the Development Office at 404.733.5044. Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. Ronald R. Antinori Dr. & Mrs. William Bauer
Mr. Charles D. Belcher** Neil H. Berman Susan & Jack Bertram Mr.** & Mrs.** Karl A. Bevins The Estate of Donald S. & Joyce Bickers Mr.** & Mrs. Sol Blaine
Rita & Herschel Bloom The Estate of Mrs. Gilbert H. Boggs, Jr. W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman** James C. Buggs**
Mr. & Mrs.* Richard H. Burgin Hugh W. Burke Mr. & Mrs. William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased
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ASO | SUPPORT
HENRY SOPKIN CIRCLE Mrs. Jane Celler** Lenore Cicchese** Margie & Pierce Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Mrs. Mary Frances Evans Comstock** Miriam** & John A.** Conant Mr. & Mrs. William R. Cummickel John R. Donnell Dixon W. Driggs** Pamela Johnson Drummond Mrs. Kathryn E. Duggleby Catherine Warren Dukehart Ms. Diane Durgin Mr. Richard H. Delay & Dr. Francine D. Dykes Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth Etoll Mr. Doyle Faler Brien P. Faucett Dr. Emile T. Fisher Moniqua N Fladger Mr. & Mrs. Bruce W. Flower A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L.L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Mrs. David Goldwasser Robert Hall Gunn, Jr., Fund
Billie & Sig Guthman Betty G. ** & Joseph** F. Haas James & Virginia Hale Ms. Alice Ann Hamilton Dr. Charles H. Hamilton Sally & Paul** Hawkins John & Martha Head Ms. Jeannie Hearn** Barbara & John Henigbaum Jill** & Jennings** Hertz Mr. Albert L. Hibbard Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.** & Mrs. Fred A. Hoyt, Jr. Jim** & Barbara Hund Clayton F. Jackson Mary B. James Mr. Calvert Johnson & Mr. Kenneth Dutter deForest F. Jurkiewicz** Herb** & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** Mr. Robert Lamy James H. Landon Ouida Hayes Lanier Lucy Russell Lee & Gary Lee, Jr. Ione & John Lee Mr. Larry M. LeMaster Mr.** & Mrs.** William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Carroll & Ruth Liller Ms. Joanne Lincoln**
(continued) Jane Little** Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Mrs. Ann B. Martin Linda & John Matthews Mr. Michael A. McDowell, Jr. Dr. Michael S. McGarry Richard & Shirley McGinnis John & Clodagh Miller Ms. Vera Milner Mrs. Gene Morse** Ms. Janice Murphy** Mr. & Mrs. Stephen L. Naman Mr. & Mrs. Bertil D. Nordin Mrs. Amy W. Norman** Galen Oelkers Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonsons Dan R. Payne Bill Perkins Mrs. Lela May Perry** Mr.** & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Ms. Judy L. Reed** Carl J. Reith** Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser
Mr. Paul S. Scharff & Ms. Polly G. Fraser Bill & Rachel Schultz* Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs** Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel** Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling Ms. Barbara Stewart C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Joni Winston George & Camille Wright Mr.** & Mrs.** Charles R. Yates
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased
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THE WOODRUFF CIRCLE
Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to ensure the arts thrive in our community.
JOY AND TONY* GREENE
$500,000+ A Friend of the Atlanta Symphony Orchestra (2) Bank of America Chick-fil-A Foundation | Rhonda and Dan Cathy The Community Foundation for Greater Atlanta Mr. and Mrs.* Bradley Currey, Jr. Douglas J. Hertz Family Foundation Ms. Lynn Eden Forward Arts Foundation Georgia Power Foundation, Inc. The Home Depot Foundation
The Marcus Foundation, Inc. Sarah and Jim Kennedy SunTrust Teammates SunTrust Foundation SunTrust Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust The Zeist Foundation
$400,000+ Abraham J. & Phyllis Katz Foundation
PwC, Partners & Employees
$300,000+ EY, Partners & Employees King & Spalding, Partners & Employees KPMG LLP, Partners & Employees Lucy R. and Gary Lee, Jr. The Rich Foundation
The Sara Giles Moore Foundation Spray Foundation, Inc. UPS Mr. and Mrs. Leonard Wood
$250,000+ Invesco Ltd. Victoria and Howard Palefsky Pussycat Foundation
Louise S. Sams and Jerome Grilhot Turner
Contributions Made: June 1, 2017 – May 31, 2018 Beauchamp C. Carr Challenge Fund Donors *Deceased
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THE PATRON CIRCLE $200,000+ The Andrew W. Mellon Foundation Deloitte, its Partners & Employees Beth and Tommy Holder Mr. and Mrs. Solon P. Patterson Patty and Doug Reid The Sartain Lanier Family Foundation The Shubert Foundation
Equifax Inc. Fulton County Board of Commissioners Google Mr. Kenneth Haines The Imlay Foundation Legendary Events Mr. and Mrs. Al Longman Massey Charitable Trust Merry McCleary and Ann Pasky Novelis, Inc. Publix Super Markets Charities
Madeline and Howell E. Adams, Jr. Alston & Bird Amy W. Norman Charitable Foundation Sandra and Dan Baldwin Dan and Merrie Boone Foundation / Dan W. Boone III The David, Helen & Marian Woodward Fund George M. Brown Trust Fund Georgia Natural Gas PNC Garnet and Dan Reardon Mr. and Mrs. Fred Richman Susan and Tom Wardell Wells Fargo
$100,000+ 1180 Peachtree Lauren Amos The Antinori Foundation / Ron and Susan Antinori Atlanta Homes & Lifestyles Atlantic Station Kathy and Ken Bernhardt Carol and Ramon Tomé Family Fund Barbara and Steve Chaddick Ann and Tom Cousins Crawford & Company First Data Corporation Sally and Carl Gable Georgia-Pacific Nena C. Griffith John H. & Wilhelmina D. Harland Foundation Jones Day Foundation & Employees Kaiser Permanente Kilpatrick Townsend Merrill Lynch National Endowment for the Arts Neiman Marcus Beth and David Park Revlon, Inc. Mr. Jim Richman Judith and Mark Taylor WestRock Company The Woodruff Arts Center Employees
$75,000+ Susan and Richard Anderson Arnall Golden Gregory LLP The Arthur M. Blank Family Foundation City of Atlanta Mayor’s Office of Cultural Affairs Melinda and Brian Corbett
A Friend of the High Museum of Art A Friend of The Woodruff Arts Center Mr. and Mrs. Henry Aaron Aarati and Peter Alexander AT&T Bloomberg Philanthropies Mr. and Mrs. James A. Carlos Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Sherri and Jesse Crawford DS Services Ed and Claude Fortson Charitable Trust Eversheds, Partners & Employees Katie and Reade Fahs Four Seasons Hotel Atlanta The Fraser-Parker Foundation Mr. Martin Gatins General Electric Company Sara Goza Genuine Parts Company The Graves Foundation The Partners & Employees of GreenSky, LLC/David Zalik, CEO & Chairman/Gerry Benjamin, Vice Chairman Allison and Ben Hill Holder Construction Company The Howell Fund, Inc. Mr. and Mrs. Hilton H. Howell, Jr. Karen and Jeb Hughes Intercontinental Exchange, Inc. JLL Mr. and Mrs. Michael L. Keough Mr. Joel S. Knox and Ms. Joan Marmo Ms. Nina Lesavoy The MAGNUM Companies Morris Manning & Martin LLP The Naserian Foundation Norfolk Southern Foundation Northwestern Mutual Goodwin, Wright/ Northwestern Benefit/ Bert and Cathy Clark Mr. and Mrs. Michael Plant The Primerica Foundation R. Howard Dobbs, Jr. Foundation Regions Bank Margaret and Bob Reiser The Selig Foundation: Linda & Steve Selig and Cathy & Steve Kuranoff Mr. and Mrs. Marc Skalla Sara and Paul Steinfeld
The Patron Circle includes donors who generously made contributions to our FY18 annual funds and/or long-term special projects and endowment funds. Margaret and Terry Stent Mr. Les Stumpff and Ms. Sandy Moon Mr.* and Mrs. Edus H. Warren, Jr. Dr. Stephen Wells and Mr. Wil Hackman Rod Westmoreland
$25,000+ A Friend of the Alliance Theatre & Woodruff Arts Center ABM The Allstate Foundation Arby’s Foundation Spring and Tom Asher Assurant Atlanta Beverage Company Atlanta Marriott Marquis Farideh and Al Azadi The Balloun Family Barbara and Ron Balser Lisa and Joe Bankoff Anna and Ed Bastian BB&T Mr. and Mrs. Paul Bert Jane and Dameron Black Mr. and Mrs. Paul J. Blackney Nancy and Kenny Blank Stephanie Blank-Jomaky BlueCross BlueShield of Georgia BNY Mellon Wealth Management The Boston Consulting Group Lee Ann and Terry Broscher Janine Brown and Alex J. Simmons, Jr. Lucinda W. Bunnen Frances B. Bunzl/The Walter & Frances Bunzl Foundation Mr. and Mrs. C. Merrell Calhoun Mr. and Mrs. Anthony Catalfano The Charles Loridans Foundation, Inc. Colliers International Cousins Properties Ann and Jeff Cramer Erica and David Cummings Mr. and Mrs. Tye G. Darland Marcia and John Donnell Mrs. Sarah A. Eby-Ebersole and Mr. W. Daniel Ebersole Abby and Matt Echols Mr. and Mrs. Mark A. Eden Ms. Angela L. Evans Ellen and Howard Feinsand Flavors Magazine Betty Sands Fuller Peggy Foreman Frances Wood Wilson Foundation Doris and Matthew Geller Mr. and Mrs. Lawrence L. Gellerstedt III Geographics, Inc. Georgia Council for the Arts Shearon and Taylor Glover GMT Capital Corporation Goldman Sachs Carolyn and David Gould Nancy and Holcombe Green Susan and James B. Hannan
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The Harold and Mimi Steinberg Charitable Trust Nancy and Charles Harrison Virginia Hepner and Malcolm Barnes Mr. Wayne S. Hyatt IHG Jane and Clayton Jackson The Jim Cox, Jr. Foundation The John W. and Rosemary K. Brown Family Foundation Andrea and Boland Jones Anne and Mark Kaiser John C. Keller Mr. and Mrs. Michael A. Klump Hank Linginfelter Livingston Foundation, Inc. Lockheed Martin Kelly Loeffler and Jeffrey Sprecher MAP Fund The Mark and Evelyn Trammell Foundation MaxMedia Margot and Danny McCaul Mr. and Mrs. Forrest McClain Sally and Allen McDaniel McKenney’s Inc. Mr. and Mrs. John F. McMullan MetLife The Michael and Andrea Leven Family Foundation Judy Zaban Miller and Lester Miller Mrs. Nancy Montgomery Starr Moore and the James Starr Moore Memorial Foundation Moore Stephens Tiller Mr. and Mrs. James H. Morgens Moxie Ms. Janice Murphy* NCR Foundation Nelson Mullins Northern Trust Northside Hospital O. Wayne Rollins Foundation Lynn and Galen Oelkers Oxford Industries Martha M. Pentecost Susan and David Peterson Porsche Cars North America Alessandra and Elton Potts Printpack Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Mr. and Mrs. Robert Reeves Mr. and Mrs. Gregory K. Rogers The Roy and Janet Dorsey Foundation Mary and Jim Rubright Ryder Truck Rental, Inc. Saks Fifth Avenue The Sally & Peter Parsonson Foundation SCANA Energy Rachel and Bill Schultz Joyce and Henry Schwob Bijal Shah and Doug Shipman Mr. and Mrs. Ross Singletary II Skanska
$25,000 + CONTINUED Smith & Howard, PC Mrs. Lessie B. Smithgall Southwire Company Mr. G. Kimbrough Taylor and Ms. Triska Drake Lisa Cannon Taylor and Chuck Taylor Tents Unlimited Troutman Sanders U.S. Trust United Distributors, Inc. Mr. Brandon Verner Susie and Patrick Viguerie Kathy N. Waller Rebekah and Mark Wasserman Mr. and Mrs. Brad L. Watkins Ann Marie and John B. White, Jr. Elizabeth and Chris Willett Mrs. Sue S. Williams Wilmington Trust Suzanne B. Wilner Jan and Greg Winchester Ellen and John Yates
$15,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the High Museum of Art A Friend of The Woodruff Arts Center (2) AAA Parking Kristie and Charles Abney Acuity Brands, Inc. Keith Adams and Kerry Heyward Robin Aiken and Bill Bolen Akris Mr. and Mrs. John M. Allan Allied Universal Altria Client Services, Inc. American Express Mr. James L. Anderson Yum and Ross Arnold Wendy and Neal Aronson Ms. Evelyn Ashley and Mr. Alan McKeon Juanita and Gregory Baranco Jennifer Barlament and Kenneth Potsic Mr. and Mrs. Joseph F. Best III Nancy and Phil Binkow Laura and Stan Blackburn The Blanche Lipscomb Foundation Mrs. Stephanie Blomeyer Rita and Herschel Bloom Mr. David Boatwright Susan V. Booth and Max Leventhal Lisa and Jim Boswell The Breman Foundation, Inc. Ron and Lisa Brill Brown & Brown Insurance, Inc. Bryan Cave Leighton Paisner Ms. Mary Cahill and Mr. Rory Murphy Camp-Younts Foundation The Capital Charities Group Companies Charitable Foundation Mr. and Mrs. Jeffrey S. Cashdan Wright and Alison Caughman
CBH International, Inc. Center Family Foundation The Chatham Valley Foundation, Inc. Children’s Healthcare of Atlanta Choate Construction Chubb CIBC Private Wealth Management Susan and Carl Cofer Ann and Steve Collins Costco Wholesale Charlene Crusoe-Ingram and Earnest Ingram Rebecca and Chris Cummiskey Russell Currey and Amy Durrell Cheryl Davis and Kurt Kuehn Cari Dawson and John Sparrow Mr. and Mrs. Jeffrey A. DeHart Dennis Dean Catering Mr. and Mrs. Richard A. Denny, Jr. Dewberry Capital Mr. and Mrs. William W. Dixon Suzanne and Randal Donaldson Margaret and Scott Dozier DPR Construction Diane Durgin Eagle Rock Distributing Company Mr. and Mrs. Roderick Edmond Mr. Fredric M. Ehlers and Mr. David Lile Virginia and Brent Eiland Mr. and Mrs. Gordon Ely-Kelso Fifth Third Bank Jennifer and Marty Flanagan Gertrude and William C. Wardlaw Fund Marsha and Richard Goerss Mr. and Mrs. Richard Goodsell Graphic Packaging International, Inc. Jeannette Guarner, MD and Carlos del Rio, MD Jason and Carey Guggenheim/ Boston Consulting Group Gulfstream Aerospace Corporation Mr. Patrick J. Gunning Joe Hamilton Mr. and Mrs. Tom Harbin Bonnie and Jay Harris Mr. and Mrs. Greg Henry Mr. and Mrs. Jack K. Holland Jocelyn J. Hunter Mr. and Mrs. Bahman M. Irvani Mr. and Mrs. E. Neville Isdell Phil and Jenny Jacobs D. Kirk and Kimberlee Jamieson Liza and Brad Jancik Lou Brown Jewell John and Mary Franklin Foundation Ann A. and Ben F. Johnson III Mary and Neil Johnson Sam Johnson Mr. Baxter P. Jones and Dr. Jiong Yan JP Morgan Private Bank
Mr. James F. Kelley and Ms. Anne H. Morgan Philip I. Kent Kero-Jet Kimberly-Clark Malinda and David Krantz Carrie and Brian Kurlander Louise and E.T. Laird Dr. and Mrs. Scott I. Lampert James H. Landon Donna Lee and Howard Ehni Renee and Alan D. Levow Mr. Sukai Liu and Dr. Ginger J. Chen Ms. Jackie Lunan Lyft Macy’s Meghan and Clarke Magruder Dr. and Mrs. Steven Marcet Larry and Lisa Mark Ms. Barbara L. Matlock Mr. Kenneth H. and Dr. Carolyn C. Meltzer Anna and Hays Mershon Ms. Molly Minnear Hala and Steve Moddelmog Phil and Caroline Moïse Moore Colson, CPAs & Bert & Carmen Mills Morgan Stanley - Private Wealth Management Terence L. and Jeanne P. Neal Ms. Maripat Newington Noble Investment Group North Highland Caroline and Joe O’Donnell Gail O’Neill and Paul E. Viera Barbara and Sanford Orkin Vicki and John Palmer Karen and Richard Parker Perkins+Will Piedmont Charitable Foundation, Inc. The Piedmont National Family Foundation Suzanne and Bill Plybon Mr. Marc Pollack and Mrs. Robin Pollack Ponce City Market Porter Novelli Public Relations Portman Holdings Sandra and Larry Prince PulteGroup, Inc. Mr. and Mrs. Peter Quinones Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. William C. Rawson Redline Property Partners, LP Mr. and Mrs. Jonas Reisinger The Robert Hall Gunn, Jr. Fund Mr. and Mrs. Sidney Rodbell Mr. and Mrs. William H. Rogers, Jr. Patricia and Maurice Rosenbaum Dr. and Mrs. Arnold B. Rubenstein Jack Sawyer and Dr. Bill Torres Mr. and Mrs. Derek Schiller Marci Schmerler and Walter W. Mitchell June and John Scott Seefried Industrial Properties ServiceNow Dr. and Mrs. Jeffrey Shapiro Mr. and Mrs. Charles Sharbaugh
Dean DuBose and Bronson Smith Mr. and Mrs. E. Kendrick Smith Dr. and Mrs. Dennis Lee Spangler Karen and John Spiegel Gail and Loren Starr Dr. Steven and Lynne Steindel Charlita Stephens-Walker and Delores Stephens Edward Stephenson and Mo Akbar Michelle and Stephen Sullivan Surya Synovus Mr. Hugh M. Tarbutton , Jr. Thalia & Michael C. Carlos Foundation Thomas H. Lanier Family Foundation Lizanne Thomas and David Black Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Total Wine & More The Trillist Companies, Inc. & Yoo on the Park UBS Financial Services Inc. John and Ray Uttenhove Mr. and Mrs. K. Morgan Varner III Vine Vault Mr. and Mrs. William F. Voyles Kim and Reggie Walker Weber Shandwick Dr. James Wells and Mrs. Susan Kengeter Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Sue and John Wieland James B. and Betty A. Williams Richard Williams and Janet Lavine Willis Towers Watson Ms. Joni Winston Diane Wisebram and Edward D. Jewell Adair and Dick White Worldpay US, Inc. Paul Wrights WXIA-TV, 11Alive J. Comer Yates Mary and Bob Yellowlees Amy and Todd Zeldin
Contributions Made: June 1, 2017 – May 31, 2018 Beauchamp C. Carr Challenge Fund Donors * Deceased
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ASO | TICKET INFO CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.
WOODRUFF ARTS CENTER BOX OFFICE Open Tue - Sat: noon – 6pm; Sun: noon – 5pm. Please note: No refunds or exchanges. All artists and programs are subject to change.
SINGLE TICKETS Call 404.733.5000. Tue - Sat: noon – 6pm; Sun: noon – 5pm. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final.
GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.
WWW.ATLANTASYMPHONY.ORG Order anytime, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.
GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000. DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.5263 or visit aso.org.
ASO | GENERAL INFO LATE SEATING Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office to make advance arrangements: 404.733.5000. SYMPHONY STORE The Symphony Store is open before, during and after most concerts. THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,500 annually to become members of this private dining room to enjoy cocktails and dinner on concert evenings — private rentals are also available. Call 404.733.4839.
IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info)
Symphony Hall Box Office
Subscription Information/ Sales
Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs
Atlanta Symphony Youth Orchestra
Lost and Found
Donations & Development
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2018/19 DELTA CLASSICAL SEASON
ALL ON SALE
VIOLIN CONCERTO ROBERTO ABBADO, conductor VERONIKA EBERLE, violin
SYMPHONY NO. 10 DONALD RUNNICLES, conductor
ROBERT SPANO, conductor LOUIS LORTIE, piano
PIANO CONCERTO NO. 1
ky vs ko
Classical season presented by
All NOV29/ DEC1
ISLE OF THE DEAD PIANO CONCERTO NO. 4 SYMPHONIC DANCES
EDWARD GARDNER, conductor SIMON TRPČESKI, piano
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ASO | STAFF EXECUTIVE Jennifer Barlament executive director
Stephanie Smith executive assistant
Alvinetta CookseyWyche executive services
chief financial officer
Kim Hielsberg financial planning
marketing coordinator senior director of
director of marketing
FINANCE & ADMINISTRATION Susan Ambo
box office manager
Joanne Lerner event coordinator
DEVELOPMENT Grace Sipusic vice president of development
vice president for artistic planning
Jeffrey Baxter choral administrator
Christopher McLaughlin manager of artistic administration
Ken Meltzer program annotator
Carol Wyatt executive assistant to the music director
William Strawn associate marketing
Gillian Kramer initiatives
senior director of sales
Pam Kruseck director of patron
Brenda Turner associate director of individual giving
MARKETING & COMMUNICATIONS Tammy Hawk senior director
Kaitlin Gress manager, atlanta symphony youth orchestra
Tiffany I. M. Jones managing producer of education concerts
Ruthie Miltenberger manager of family programs
Kendall Roney family programs assistant
Adrienne Thompson manager, talent development program
Tyrone Webb manager of education
Robin Smith patron services
& community Ryan Walks
SALES & REVENUE MANAGEMENT Russell Wheeler
manager of special
ARTISTIC Evans Mirageas
- aso & live Robert Phipps
EDUCATION & COMMUNITY ENGAGEMENT Holly Hudak
senior director of
ATLANTA SYMPHONY Adam Fenton HALL LIVE director of multimedia technology Nicole Epstein senior director of Caitlin Hutchinson
OPERATIONS Sameed Afghani general manager
Paul Barrett senior production stage manager
Tyler Benware Christopher Stephens operations manager group & corporate Megan Brook associate
KC Commander digital marketing specialist
Elizabeth Daniell communications manager
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Richard Carvlin stage manager
John Clapp personnel manager
Bob Scarr archives program manager
ASO | CORPORATE & GOVERNMENT SUPPORT
Mayor’s Office of Cultural Affairs
Major support is provided by the City of Atlanta Office of Cultural Affairs.
Major funding is provided by the Fulton County Board of Commissioners.
This program is supported in part by an award from the National Endowment for the Arts.
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Packages Available for Tuesdayâ€“Sunday (Matinees on Tuesday, Saturday, and Sunday)
Prices starting as low as $60! 678.226.6222
WELLSTAR & MAYO CLINIC
WORKING TOGETHER. WORKING FOR YOU. At WellStar Health System, we want every patient to receive the care they need right here in Georgia. As a member of the Mayo Clinic Care Network, our doctors have special access to Mayo Clinic knowledge, expertise and resources. And you get the peace of mind that comes with knowing weâ€™re here for you.
ASK YOUR WELLSTAR PHYSICIAN ABOUT THE MAYO CLINIC CARE NETWORK. WellStar is the first health system in Georgia to become a member of the Mayo Clinic Care Network.
wellstar.org/mayo 770-956-STAR (7827)
Encore Atlanta is the official show program for the Fox Theatre, the Atlanta Symphony Orchestra, Alliance Theatre, The Atlanta Opera, the Ri...
Published on Sep 13, 2018
Encore Atlanta is the official show program for the Fox Theatre, the Atlanta Symphony Orchestra, Alliance Theatre, The Atlanta Opera, the Ri...