ASO ENCORE - November 2016

NOV 2016

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November 2016 | Content departments 8 Welcome 10 Robert Spano 12 Orchestra Leadership 14 Musicians 25 Concert Program & Notes 35 ASO Chorus 76 ASO Support 88 ASO Staff 90 Ticket Info /General Info

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92 ASO Calendar

feature

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16 Ringing in the Holidays

The Atlanta Symphony Orchestra and Chorus has a concert for every taste this time of year.

By Mark Gresham

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6 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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ASO | Welcome Dear Friends,

N

early a quarter of a century ago, a group of community members came together to wrestle with the question of how to attract talented young musicians of color into careers in classical music. Led by community volunteer Azira Hill, the group created what is now known as the Talent Development Program at the Atlanta Symphony Orchestra, one of the longest-running year-round diversity training program in a U.S. orchestra. Since its inception, the TDP has served these talented and motivated young people, and the entire field of classical music, by providing rigorous musical training at the highest level of excellence to hundreds of young African-American and Latino students, starting in fifth grade all the way up through high school. More than 80 students have gone all the way through the program to graduate and attend a music school or conservatory. Many of these musicians have gone onto careers in orchestras, teaching and performance. One, Stanford Thompson, founded an after-school orchestra training program for at-risk youth in Philadelphia. Several have been finalists in the Sphinx Competition. One has played for the president of the United States. The music schools they have attended include all the best schools in the field — Juilliard, Curtis, the Manhattan School of Music, the Peabody Institute — as well as such fine academic universities as Harvard and Rice. The Atlanta Symphony Orchestra is proud of what we have paid forward, and proud to have been part of these young people’s careers.

In this issue of Encore Atlanta, you’ll meet Atlanta Symphony Youth Orchestra and TDP member Mekhi Gladden. This month you also have two opportunities to enjoy the next generation of classical musicians — at the Atlanta Symphony Youth Orchestra Overture Concert on Nov. 6 and at the 2016 Talent Development Program Musicale and Aspire Awards on Nov. 13.

My deepest appreciation to the board members, musicians, volunteers and staff who dedicate their time and talents to helping these incredible young musicians.

Sincerely,

Roger Mastroianni

Jennifer Barlament

8 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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Robert Spano

C

onductor, pianist, composer and pedagogue Robert Spano is known worldwide for the intensity of his artistry and his distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. Beginning his 16th season as Music Director of the Atlanta Symphony Orchestra, this imaginative conductor has been responsible for nurturing the careers of numerous celebrated composers, conductors and performers, and enjoys collaborations with composers and musicians of all ages, backgrounds and abilities. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including the Aspen Conducting Academy.

DEREK BLANKS

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led Atlanta Symphony Orchestra performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements have included such orchestras as the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia Symphony Orchestras, along with Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. 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 cycles.

Mr. Spano began the 2016-17 season with cloth field: an art place of life, a conceptual collaboration with choreographer Lauri Stallings, involving dancers and sculptural elements with an original score composed by Mr. Spano in 2014 for the Atlanta-based dance troupe glo. In addition to his leadership of the Orchestra, Mr. Spano has recently returned to his early love of composing. His most recent works include Sonata: Four Elements for piano, which he premiered at the Aspen Music Festival, as well as a new song cycle, both to be recorded for release on the Atlanta Symphony Orchestra’s ASO Media label. An avid interpreter of opera and oratorio, Mr. Spano conducts John Adams’ Nixon in China at Houston Grand Opera, Christopher Theofanidis’ Creation/Creator at the Kennedy Center’s 2017 Shift Festival, and conducts and records Orfeo ed Euridice with the ASO and ASO Chamber Chorus.

With a discography of critically acclaimed recordings for Telarc, Deutsche Grammophon and ASO Media, Mr. Spano has won six Grammy awards with the Atlanta Symphony. Mr. 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 to the Georgia Music Hall of Fame.

He lives in Atlanta.

ASO | leadership 2016-17 Board of Directors Officers D. Kirk Jamieson Chair

Meghan H. Magruder John B. White, Jr. Vice Chair Secretary Thomas Wardell Suzanne Tucker Plybon Vice Chair Treasurer

Directors Keith Adams Jennifer Barlament* Neil H. Berman Paul Blackney Brett M. Blumencranz Frank H. Boykin Mary Rockett Brock Janine Brown Karen Bunn* C. Merrell Calhoun S. Wright Caughman, M.D.

Bill Carey Russell Currey Carlos del Rio, M.D. Lynn Eden Shirley C. Franklin Jason Guggenheim Virginia A. Hepner* Caroline Hofland Douglas R. Hooker Tad Hutcheson Mrs. Roya Irvani Carrie Kurlander† James H. Landon

Donna Lee Hank Linginfelter Karole Lloyd Kelly L. Loeffler Brian F. McCarthy Penelope McPhee† Molly Minnear Terence L. Neal Joseph M. O’Donnell Howard D. Palefsky Sunny K. Park E. Fay Pearce, Jr. Ronda Respess*

James Rubright William Schultz John Sibley Paul Snyder John Sparrow Gail Ravin Starr Joseph M. Thompson† Ray Uttenhove S. Patrick Viguerie Mark D. Wasserman Richard S. White, Jr. Camille Yow

John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III James Kelley George Lanier Patricia Leake

Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner

G. Kimbrough Taylor Michael W. Trapp Chilton Varner Edus H. Warren, Jr. Adair R. White Sue Sigmon Williams

Mrs. Drew Fuller Mary D. Gellerstedt

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

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

Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.

* Ex-officio † 2016-2017 Sabbatical

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2016/17

Robert Spano musiC DireCtor The Robert Reid Topping Chair

Donald Runnicles PrinCiPal guest ConDuCtor The Neil and Sue Williams Chair

VIOLA Reid Harris PrinCiPal The Edus H. and Harriet H. Warren Chair Paul Murphy assoCiate PrinCiPal The Mary and Lawrence Gellerstedt Chair Catherine Lynn assistant PrinCiPal Marian Kent Yang-Yoon Kim* Yiyin Li Lachlan McBane Jessica Oudin Sarah Park Chastain†

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

MUSICIAN ROSTER FIRST VIOLIN David Coucheron ConCertmaster The Mr. and Mrs. Howard R. Peevy Chair The Mabel Dorn Reeder Honorary Chair Vacant assoCiate ConCertmaster The Charles McKenzie Taylor Chair Justin Bruns assistant ConCertmaster Jun-Ching Lin assistant ConCertmaster Anastasia Agapova The Wells Fargo Chair Carolyn Toll Hancock John Meisner Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Kenn Wagner Lisa Wiedman Yancich

SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair Sanford Salzinger SECOND VIOLIN Vacant PrinCiPal The Atlanta Symphony Associates Chair Sou-Chun Su assoCiate/aCting PrinCiPal The Frances Cheney Boggs Chair Jay Christy assistant/aCting assoCiate PrinCiPal Noriko Konno Clift aCting assistant PrinCiPal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

CELLO Christopher Rex PrinCiPal The Miriam and John Conant Chair Daniel Laufer assoCiate PrinCiPal The Livingston Foundation Chair Karen Freer assistant PrinCiPal Dona Vellek assistant PrinCiPal emeritus

Players in string sections are listed alphabetically

14 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

BASS Colin Corner PrinCiPal The Marcia and John Donnell Chair Gloria Jones assoCiate PrinCiPal Lucy R. & Gary Lee Jr. Chair Karl Fenner Michael Kenady The Jane Little Chair Michael Kurth Joseph McFadden Daniel Tosky FLUTE Christina Smith PrinCiPal The Jill Hertz Chair Robert Cronin assoCiate PrinCiPal Gina Hughes C. Todd Skitch PICCOLO Gina Hughes

Michael Krajewski PrinCiPal PoPs ConDuCtor

Joseph Young assistant ConDuCtor; musiC DireCtor of the atlanta symPhony youth orChestra The Zeist Foundation Chair

OBOE Elizabeth Koch Tiscione PrinCiPal The George M. and Corrie Hoyt Brown Chair Yvonne Powers Peterson assoCiate PrinCiPal The Kendeda Fund Chair Samuel Nemec Emily Brebach

BASSOON Andrew Brady PrinCiPal The Abraham J. & Phyllis Katz Foundation Chair Vacant assoCiate PrinCiPal Laura Najarian Juan de Gomar

ENGLISH HORN Emily Brebach

HORN Brice Andrus PrinCiPal The Betty Sands Fuller Chair Susan Welty assoCiate PrinCiPal Ernesto Tovar Torres Jaclyn Rainey Bruce Kenney

CLARINET Laura Ardan PrinCiPal The Robert Shaw Chair Ted Gurch assoCiate PrinCiPal Marci Gurnow• Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez

CONTRABASSOON Juan de Gomar

TRUMPET Stuart Stephenson PrinCiPal The Madeline and Howell Adams Chair Michael Tiscione aCting assoCiate PrinCiPal/seConD Michael Myers

Norman Mackenzie DireCtor of Choruses The Frannie and Bill Graves Chair

TROMBONE Vacant PrinCiPal The Terence L. Neal Chair,

Honoring his dedication and service to the Atlanta Symphony Orchestra

Nathan Zgonc aCting PrinCiPal Brian Hecht Luis Fred † BASS TROMBONE Brian Hecht The Home Depot Veterans Chair TUBA Michael Moore PrinCiPal TIMPANI Mark Yancich PrinCiPal The Walter H. Bunzl Chair William Wilder assistant PrinCiPal PERCUSSION Vacant PrinCiPal The Julie and Arthur Montgomery Chair

Charles Settle aCting PrinCiPal The Connie and Merrell Calhoun Chair William Wilder assistant PrinCiPal The William A. Schwartz Chair HARP Elisabeth Remy Johnson PrinCiPal The Sally and Carl Gable Chair KEYBOARD The Hugh and Jessie Hodgson Memorial Chair Peter Marshall † Sharon Berenson LIBRARY Nicole Jordan PrinCiPal The Marianna and Solon Patterson Chair Hannah Davis assistant librarian ‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season

encoreatlanta.com | Atlanta’s Performing Arts Publication 15

Ringing in Holidays with the Atlanta Symphony

JEFF ROFFMAN

by Mark Gresham

16 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

the s Orchestra

T

hat most wonderful time of the year is soon approaching, when the Atlanta Symphony Orchestra unwraps its holiday season with a panoply of musical gifts that promise something for everyone, from jazz and pops to classics, from heart-warming familiar seasonal tunes to audience sing-alongs.

This season of family-friendly concerts begins Thanksgiving weekend with an evening with Atlanta native and virtuoso jazz trumpeter Byron Stripling, featuring the music of Louis Armstrong along with holiday favorites. ASO Principal Pops Conductor Michael Krajewski will lead the Orchestra in two performances with Stripling.

The weekend concludes Sunday afternoon with A Family Holiday Special led by ASO Assistant Conductor Joseph Young, attuned to bringing the whole family together with seasonal selections ranging from The Nutcracker to sing-along favorites. And if you’re very, very good: a special appearance

by Santa Claus himself.

Christmas With the Atlanta Symphony Orchestra, an enduring tradition created by the legendary Robert Shaw, features the ASO and Chorus led by ASO Director of Choruses Norman Mackenzie, sharing the stage with the Morehouse College Glee Club and the Gwinnett Young Singers. There are three performances this year, on Dec. 9-10,

encoreatlanta.com | Atlanta’s Performing Arts Publication 17

including a Saturday afternoon matinee, all featuring more than 400 musicians.

“Christmas With the ASO is a present which we are privileged to give to the Atlanta community each year,” says Mackenzie.

“Many in our audience have told us that it doesn’t feel like Christmas until they participate in this beloved tradition, which began in 1967.

“Robert Shaw used to say that designing this program was similar to decorating a Christmas tree. We all want our favorite ornaments to make an appearance every year (and they will), but it’s also a chance to display newly acquired treasures. This December, come help us unwrap your musical Christmas gift, and see what seasonal delights await you.”

Also that weekend, on Dec. 11, Symphony Hall will welcome the return of Irish singing sensation Celtic Woman. The Sunday evening concert will feature music from the group’s second Christmas album, Home for Christmas, including such favorites as

“I’ll Be Home for Christmas” and “Silent Night.” It promises to be an enchanting, festive evening of magical holiday cheer.

Mackenzie and the ASO Chorus will bring back another favorite tradition, one that was absent last December: performances of the Christmas portion of Handel’s Messiah. The first performance takes place Dec. 15 at Symphony Hall, with a second performance the afternoon of Sunday, Dec. 18, at Hodgson Hall on the University of Georgia campus in Athens.

One of the most anticipated concerts of the holiday season, A Very Merry Holiday POPS!, returns for three concerts Dec. 16-17. The concerts will be led by conductor David Charles Abell, with such guest performers as Broadway vocalists Hugh Panaro and Nikki Renée Daniels and the All-City High School Chorus. Once again, a special appearance from Santa Claus is anticipated at each of the three performances.

Then amid the last-minute rush before Christmas Day, on Dec. 20-21, the ASO presents Cirque de la Symphonie’s Holiday Spectacular, replete with jugglers, clowns, high-flying acrobats and a Betty Cantrell, Miss American 2016 as guest vocalist.

Maestro Joseph Young will lead the ASO with selections from light classical and holiday favorites.

There will be opportunities to enjoy holiday concerts with the Atlanta Symphony Orchestra at other venues throughout December, including Dec. 7 at the MadisonMorgan Cultural Center in Madison; Dec. 13 at North Avenue Presbyterian Church in Midtown; and Dec. 15 at Kennesaw State University’s Bailey Performance Center.

DEC 16/17

Finally, the ASO will return to UGA’s Hodgson Hall in Athens on Dec. 31, for New Year’s Eve With the Atlanta Symphony

18 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Orchestra, conducted by Mr. Young.

Whatever rings your holiday chimes, this year’s sleigh full of colorful seasonal concerts by the Atlanta Symphony Orchestra and friends will prove a perfect way to celebrate. ’Tis the season!

Messiah DEC 15

DEC 20/21

la

y most memorable ASO holiday experience

happened in 1994, my first season with the orchestra. It was my first Christmas With Robert Shaw concert, the cherished Atlanta tradition led by the venerable former music director, and which continues as Christmas With the ASO. The stage was jampacked with the full orchestra and three choruses, and was festively decorated with giant evergreen wreaths and floor-to-ceiling strands of white lights. My seat in the bass section was tight against the shell wall.

The performance was spectacular, filled with all the joy and mystery of the season, as the genius Mr. Shaw had designed it. I was deeply immersed in the music, focused on my small role in the production, and was completely unprepared when a 40 foot strand of Christmas lights became detached from the top of the shell wall, presumably a victim of its own weight, which plummeted rapidly onto my head and the scroll of my bass.

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Sy m p honie

As I untangled myself and my instrument from the strand, Mr. Shaw looked over at my section and silently mouthed, “Is he OK?” I saw my section mate Gloria Jones glance back at my situation, then turn back to the Maestro and nod. Unwilling to let such a small mishap disrupt the performance, the unflappable Mr. Shaw quickly returned his attention to the performance. I followed as soon as my decorative extrication allowed.

— Michael Kurth, bassist

encoreatlanta.com | Atlanta’s Performing Arts Publication 19

ASO | community The Atlanta Symphony Orchestra musicians dedicate a great deal of time teaching and mentoring Talent Development Program (TDP) students, creating a unique mentorship and bond that stays with the students throughout their education and careers. We sat down with Mekhi Gladden and Emily Brebach to talk about their partnership and Mekhi’s plans for the future.

Mekhi Gladden, Senior, North Springs Charter School of Arts and Sciences How long have you been in the TDP and studying with Emily?

Emily Brebach, English Horn and Oboe How long have you been an instructor for the TDP? I have been teaching with the TDP since 2013.

This is my third year in the Talent Development Program, studying with Emily Brebach.

What has been the most rewarding part of working with Mekhi?

Have you decided where you will be attending college?

Mekhi is a rare talent. It’s been a true privilege to be a part of his musical development. I think one of the most rewarding parts has to be how quickly he started understanding the language. A teacher of mine, Robert Walters (English horn in The Cleveland Orchestra) always talks about sounding “musically literate” -- being able to play music in a way that is natural and makes you sound like a “native speaker” of the language.

Mekhi has that understanding, he’s musically very mature.

I have not made my final decision yet, but I have narrowed my choices to Curtis, the Cleveland Institute of Music and the Eastman School of Music.

What is the most important thing you have learned from Emily?

The most important thing I have learned is that music is a way of life and not just an art form and that a career as a classical musician is achievable through hard work.

What have you enjoyed most during your time in the Talent Development Program?

My favorite part of the TDP is the community and connections that I have made and will have the opportunity to make in the future with musicians across the country. These connections have opened my eyes to an endless number of opportunities I might not have been exposed to otherwise.

20 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Enjoy a beautiful program performed by Mekhi Gladden and Talent Development Program students: NOV 13, 2016 Sun: 7pm Atlanta Symphony Hall

Musicale & Aspire Awards What has been his biggest accomplishment under your tutelage?

Helping Mekhi develop a compelling, honest, heartfelt, musical voice has been pretty incredible. Yes, over the past three years he has developed a killer technique, and has mastered the art of practicing, hard work, and learning music quickly, but the musical voice he has grown into is really what will serve him best for the rest of his career.

Featuring Aspire Award Winner, Trombonist Weston Sprott, Metropolitan Opera Orchestra and TDP Alumna, Harpist Angelica Hairston Support for the Talent Development Program generously provided by:

Talk about the importance of upgrading Mekhi’s instrument and your role in that process.

When I met Mekhi, he was playing a plastic student oboe with a bar code taped to the back of it. It belonged to Westlake High School’s band program, where Mekhi’s mother teaches math. It was a good instrument for him to start on, but as he improved, he started to find the outer limits of what that plastic instrument

could do for him. He couldn’t play with the depth of sound or dynamic range that he wanted to, and was starting to develop bad habits to over compensate. As you might imagine, plastic doesn’t resonate as well as wood does. So, we started looking for a professional level wooden instrument for him to purchase. We tried instruments from a number of instrument dealers around the country and ended up finding a great Loree oboe. The TDP instrument fund purchased the instrument on Mekhi’s behalf, but Mekhi would have to pay the balance before he graduated to own it outright. Mekhi started a GoFundMe page to raise money, and it took off thanks to the power of Facebook. I am especially grateful to the dozen or so ASO musicians and staff who donated generously to Mekhi’s fund, as well as the countless colleagues, friends, family members, former students, and TDP supporters who gave as well. It was so heartwarming to see such an outpouring of support for Mekhi and his future.

encoreatlanta.com | Atlanta’s Performing Arts Publication 21

ASO | sponsors AtlantaSymphonyOrchestra

The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Delta is proud to celebrate more than 75 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a global airline, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. This includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin.

The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation.

The Atlanta Symphony Orchestra records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels.

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

22 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

PRESENTING SPONSOR OF THE ATLANTA SYMPHONY ORCHESTRA

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24 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

D

water, fire, earth & air… all the elements of great music!

uring the month of November, the Atlanta Symphony Orchestra performs masterworks that celebrate nature’s infinite beauty and mystery. Edward Elgar composed Sea Pictures following the triumphant premiere of his Enigma Variations. Sea Pictures, Elgar’s setting of five poems for solo alto and orchestra, is a masterful evocation of the sea, the composer’s finest accomplishment in the realm of song. A Sea Symphony,

by Ralph Vaughan Williams, is an epic work for solo soprano and baritone, chorus and orchestra. The texts, by Walt Whitman, one of Vaughan Williams’ favorite poets, find their ideal setting in this majestic composition.

We move from sea to fire and a concert that opens with Oliver Knussen’s brief work Flourish With Fireworks. Igor Stravinsky’s early composition, Fireworks provided an inspiration for this brilliant orchestral piece. Alexander Scriabin’s path-breaking Prometheus, Poem of Fire depicts a fierce battle between soul and matter. These concerts feature the world premiere of an orchestration of Prometheus by Michael Kurth, an Atlanta composer, and member of the Orchestra’s bass section. Mr. Kurth’s colleague, concertmaster David Coucheron, is the soloist in Sergei Prokofiev’s lyrical First Violin Concerto. The program concludes with the work that propelled Stravinsky to international prominence, his fairy tale ballet The Firebird.

Toru Takemitsu’s mystical A flock descends into the pentagonal garden was initially inspired by a Man Ray photograph of the artist Marcel Duchamp. This photo, in turn, led to a dream in which the great Japanese composer watched a flock of white birds, led by a single black bird, descend to Earth, and a garden. Gustav Mahler composed Das Lied von der Erde (The Song of the Earth) following the death of his young daughter and the diagnosis of the heart condition that would kill the great composer in just a few year’s time. In The Song of the Earth, a setting of eighth-century Chinese poetry for solo alto and tenor and orchestra, Mahler celebrates life’s joys and struggles. In the expansive final movement, The Farewell, Mahler expresses the acceptance of his impending mortality in some of the most hauntingly beautiful music he ever composed. ­— Ken Meltzer

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NOV 3/5 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Delta Classical Concert The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Concerts of Thursday, Nov. 3, and Saturday, Nov. 5, 2016, at 8pm.

ROBERT SPANO, Conductor JAMIE BARTON, mezzo-soprano TAMARA WILSON, soprano BRIAN MULLIGAN, baritone

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.

ATLANTA SYMPHONY ORCHESTRA CHORUS, NORMAN MACKENZIE, Director of Choruses EDWARD ELGAR (1857-1934) Sea Pictures, Opus 37 (1899) 23 MIN

I. Sea Slumber-Song. Andantino

II. In Haven (Capri). Allegretto

III. Sabbath Morning at Sea. Moderato

IV. Where Corals Lie. Allegretto ma non troppo

V. The Swimmer. Allegro di molto

Jamie Barton, soprano INTERMISSION

20 MIN

RALPH VAUGHAN WILLIAMS (1872-1958) A Sea Symphony (Symphony No. 1) (1909) 63 MIN

I. A Song for all Seas, all Ships. Moderato maestoso

II. On the Beach at Night alone. Largo sostenuto

III. Scherzo. The Waves. Allegro brillante

IV. The Explorers. Grave e molto adagio — Andante con moto

Tamara Wilson, soprano

Brian Mulligan, baritone

Atlanta Symphony Orchestra Chorus

MORE opportunities to hear the Atlanta Symphony Orchestra Chorus and Chamber Chorus this season: (JAN 19/21) BRUCKNER: Te Deum (MAR 23/25) THEOFANIDIS: Creation/Creator (MAY 11/13) GLUCK: Orfeo ed Euridice (MAY 25/27) DEBUSSY: Nocturnes FAURÉ: Requiem 26 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Notes on the Program Ken Meltzer, Program Annotator Sea Pictures, Opus 37 (1899)

First Classical Subscription Performance: Jan. 9, 1956, Evelyn McGarrity, alto; Henry Sopkin, conductor.

EDWARD ELGAR was born in Broadheath, near Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. The premiere of Sea Pictures took place in Norwich, England, on October 5, 1899, with Dame Clara Butt as soloist, and the composer conducting.

Sea Pictures is scored for alto solo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, cymbals, tam-tam, bass drum, organ (optional), and strings.

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n the span of little over a year, Edward Elgar experienced both unalloyed triumph and crushing disaster. On June 19, 1899, at St. James’s Hall in London, Hans Richter conducted the premiere of Elgar’s “Enigma” Variations. The brilliant orchestral work, a series of musical portraits of Elgar, his wife, and their friends, immediately captivated the London audience. After the final notes sounded, Richter called Elgar to the stage to acknowledge the resounding cheers. Four days later, Elgar’s mother wrote to the composer’s wife, Caroline Alice: “What can I say to him, the dear one, I feel that he is some great historic person—I cannot claim a little bit of him now he belongs to the big world.”

The following year, however, the “big world” became a far crueler place. The Birmingham Festival had invited Elgar to compose a sacred choral work for its 1900 season. Elgar finally decided upon a project he had been contemplating for some time, a setting for vocal soloists, chorus, and orchestra of Cardinal John Henry Newman’s poem, The Dream of Gerontius. Elgar poured his entire being into the new work. As Elgar confided to a friend: “I’ve seen in thought the Soul go up & have written my own heart’s blood onto the score.”

The premiere of Elgar’s The Dream of Gerontius, which took place at the Birmingham Festival on October 3, 1900, was a disaster. The lackluster performance led critic Herman Klein to write for the Sunday Times: “A more perfunctory rendering of a new work it has never been my lot to listen to at a big festival.” Six days after the premiere, Elgar wrote to his dear friend, August Jaeger (the inspiration for “Nimrod” in the Enigma Variations): “As far as I’m concerned music in England is dead.” A few weeks later, Elgar confided to Jaeger: “I really wish I were dead over & over again but I dare not, for the sake of my relatives, do the job myself.” In time, however, Gerontius received its due, and Elgar’s spirits revived.

The creation of Elgar’s Sea Pictures, a song cycle for alto solo and orchestra, occurred between the success of the “Enigma” Variations and the crisis engendered by The Dream of Gerontius. In the fall of 1898, the Norwich Festival requested Elgar to compose a choral piece for its 1899 season. But Elgar’s progress on the “Enigma” Variations superseded that proposal. In January of 1899, the Festival approached Elgar once again, this time seeking a composition that would include a vocal soloist. To that end, the Festival had already retained the services of the great British alto, Clara Butt (later, Dame Clara) (1872-1936).

Elgar decided upon a setting for voice and orchestra (or piano) of five poems, each concerning the infinite power, wonders, and mysteries of the sea, including verse by his wife.

The premiere of Elgar’s Sea Pictures took place in Norwich on October 5, 1899, with the composer conducting. Elgar wrote to Jaeger: “Clara Butt sang Sea Pictures well (according to the composer, she was “dressed like a mermaid).” Two days later at St. James’s Hall, encoreatlanta.com | Atlanta’s Performing Arts Publication 27

NOV 3/5 | program Clara Butt, with Elgar at the keyboard, performed four of the Sea Pictures songs. Elgar’s masterful evocation of the sea in both the vocal and orchestral writing has assured the status of Sea Pictures as the composer’s most accomplished work in the song repertoire.

In November, 1901, Elgar and Butt attended a concert that included the composer’s beloved Pomp and Circumstance March No. 1. As the stirring Trio melody played, Butt whispered to Elgar: “write something like it for me.” Elgar responded: “You shall have that one, my dear.” And so, on June 21, 1902, at London’s Royal Albert Hall, Clara Butt sang the world premiere of Elgar’s setting for voice and orchestra of that melody, the anthem “Land of Hope and Glory.”

I. II. III. IV. V.

Sea Slumber-Song (Roden Noel) In Haven (Capri) (Caroline Alice Elgar) Sabbath Morning at Sea (Elizabeth Barrett Browning) Where Corals Lie (Richard Garnett) The Swimmer (Adam Lindsey Gordon)

A Sea Symphony (Symphony No. 1) (1909) RALPH VAUGHAN WILLIAMS was born in Down Ampney, England, on October 12, 1872, and died in London, England, on August 26, 1958. The first performance of A Sea Symphony took place in Leeds, England, on October 12, 1910, with Cicely Gleeson-White, soprano, Campbell McInnes, baritone, and the Leeds Festival Chorus and Orchestra, conducted by the composer. A Sea Symphony is scored for soprano and baritone solo, mixed chorus, piccolo, three flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, side drum, bass drum, cymbals, organ, two harps, and strings.

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First Classical Subscription Performances: November 8, 9 and 10, 2001, Christine Goerke, soprano, Brett Polegato, baritone, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

Most Recent Classical Subscription Performances: April 22, 23 and 24, 2004, Christine Brewer, soprano, Brett Polegato, baritone, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

Recording: Telarc CD-80588, Christine Goerke, soprano, Brett Polegato, baritone, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

oward the end of his life, Vaughan Williams said of the great American poet, Walt Whitman (1819-1892): “I’ve never got over him, I’m glad to say.” In R.V.W. A Biography of Ralph Vaughan Williams (Oxford University Press, Oxford, England, 1964), the composer’s widow, Ursula, described Vaughan Williams’s initial encounters in the early 1900s with Whitman’s poetry: Barnes, Tennyson, both Rossettis, and Stevenson were the poets Ralph had found most apt for tunes…but another, and very different, kind of writer was beginning to fill his mind. Walt Whitman’s Leaves of Grass, in several editions, from a large volume to a selection small enough for a pocket, was his constant companion. It was full of fresh thoughts, and the idea of a big choral work about the sea—the sea itself and the sea of time, infinity, and mankind, was beginning to take shape in many small notebooks.

It was an ambitious and terrifying project, for the scope was to be unlike that of any choral work he had yet attempted.

28 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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NOV 3/5 | program In 1903, Vaughan Williams began a large-scale composition for chorus and orchestra he entitled The Ocean. Over the next seven years, the work developed into a symphony for solo soprano and baritone, chorus, and orchestra, renamed A Sea Symphony. During that period, Vaughan Williams enjoyed considerable success with another work for chorus and orchestra based upon Whitman poetry, Toward the Unknown Region (1906).

Vaughan Williams’s teacher, English composer Charles Villiers Stanford, convinced the Leeds Festival to present the world premiere of A Sea Symphony. Vaughan Williams conducted the October 12, 1910 premiere.

The early success of such works as A Sea Symphony and Fantasia on a Theme of Thomas Tallis (1910) quickly established Ralph Vaughan Williams as a new and shining light among British composers. Vaughan Williams was celebrated as someone who magically synthesized musical tradition with vibrant, contemporary expression.

More than a century after its premiere, A Sea Symphony continues to thrill and move audiences. As Vaughan Williams biographer Michael Kennedy observes: “it passes the test of all great music: one finds more in it, not less, as the years go by.” The Works of Ralph Vaughan Williams, 2nd Edition (Clarendon Press, Oxford, England, 1964, 1980) The following are from the composer’s program notes for the February 4, 1913 performance of A Sea Symphony at Queen’s Hall, London.

There are two main musical themes which run through the four movements: I. The harmonic progression to which the opening words for the chorus are sung.

II. A melodic phrase first heard at the words ‘and on its limitless heaving breast, the ships’.

The plan of the work is symphonic rather than narrative or dramatic, and this may be held to justify the frequent repetition of important words and phrases which occur in the poem. The words as well as the music are thus treated symphonically. It is also noticeable that the orchestra has an equal share with the chorus and soloists in carrying out the musical ideas.

The Symphony is written for soprano and baritone soli, chorus and orchestra. The two soloists sing in the first and last movements. The slow movement contains a solo for baritone (and also a long refrain for orchestra alone) while the Scherzo is for chorus and orchestra only. The words are selected from various poems of Walt Whitman to be found in Leaves of Grass, namely ‘Sea Drift’, ‘Song of the Exposition’, and ‘Passage to India’.

I. II. III. IV.

A Song for all Seas, all Ships On the Beach at Night alone Scherzo. The Waves The Explorers

30 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

NOV 3/5 | artists TAMARA WILSON, soprano

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amara Wilson is recognized as an exciting soprano on the rise. She was most recently named winner of the 2016 Richard Tucker Award, an annual prize conferred by the Richard Tucker Music Foundation and given to a rising American opera singer on the “threshold of a major international career.” Other recent honors include a 2016 Olivier Award nomination and receipt of the Revelation Prize by the Argentine Musical Critics Association. Ms. Wilson is also a grand-prize winner of the annual Francisco Viñas Competition at the Gran Teatre del Liceu in Barcelona, Spain.

AARON GANG

In the 2016/17 season Ms. Wilson debuts at the Bayerische Staatsoper and Deutsche Oper Berlin, and return to Gran Teatre del Liceu and Théâtre du Capitole, all in leading Verdi roles. She also will appear in concert at the BBC Proms, Amsterdam’s Het Concertgebouw with the Radio Filharmonisch Orkest, and with the Orchestre National de Lyon, the American Symphony Orchestra at Carnegie Hall, the Atlanta Symphony Orchestra, the Milwaukee Symphony, the North Carolina Symphony and the Oregon Symphony.

An alumna of the Houston Grand Opera Studio, Ms. Wilson’s awards include the George London Award from the George London Foundation, for which she was described as having a “striking timbre all her own” (Opera News). She received a career grant in 2011 and a study grant in 2008 from the Richard Tucker Music Foundation. Other notable awards include first place in the 2005 Eleanor McCollum Competition for Young Singers in Houston and being named a finalist in the 2004 Metropolitan Opera National Council Auditions, among others. In addition to her operatic and orchestral performances, Ms. Wilson is an avid lecturer of vocal technique. She has been a guest master class lecturer for the National Pastoral Musicians in the Chicago area. She received her degree at the University of Cincinnati-College Conservatory of Music.

JAMIE BARTON, mezzo-soprano

FAY FOX

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he winner of the 2015 Richard Tucker Award, the winner of both the Main and the Song Prizes at the 2013 BBC Cardiff Singer of the World Competition, a winner of the 2007 Metropolitan Opera National Council Auditions and a Grammy nominee, American mezzo-soprano Jamie Barton has been described by The Guardian as “a great artist, no question, with an imperturbable steadiness of tone, and a nobility of utterance that invites comparison not so much with her contemporaries as with mid-20th century greats such as Kirsten Flagstad.” Ms. Barton’s 2016/17 season offers many chances for fans to hear her sing the lush melodies of Wagner, Verdi, Mahler and Dvořák. This winter, she returns to the Metropolitan Opera in New York for her role debut as Jezibaba opposite Kristine Opolais as the titular Rusalka. The new production will be simulcast in cinemas worldwide via the Met’s Live in HD series, as will Ms. Barton’s house role debut as Fenena in Nabucco.

She sings her first Princess Eboli in Don Carlo in her Deutsche Oper Berlin debut, makes her New York Philharmonic debut as Fricka in Das Rheingold and returns to Houston Grand Opera as Waltraute/2nd Norn in Götterdämmerung. On Nov. 11, Delos Music releases Ms. Barton’s first solo album, All Who Wander, featuring songs by Mahler, Dvořák, 32 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

and Sibelius, accompanied by pianist Brian Zeger. Ms. Barton is a graduate of the Houston Grand Opera Studio and attended Indiana University in Bloomington, where she performed such roles as Tisbe in La Cenerentola, Buttercup in HMS Pinafore, and Mrs. Soames in the 2006 world premiere of Ned Rorem’s Our Town.

BRIAN MULLIGAN, tenor n the 2016/17 season, Brian Mulligan makes his debut at the Wiener Staatsoper as Captain Balstrode in Peter Grimes, and returns to Opernhaus Zürich for his signature role of Valentin in Faust and Oper Frankfurt for his role debut of Golaud in Pelléas et Mélisande. On the symphonic front, Mr. Mulligan returns to the San Francisco Symphony for Mahler’s Das klagende Lied led by Michael Tilson Thomas, as well as the Los Angeles Chamber Orchestra for John Adams’ The Wound Dresser. This season will also see the release of his recording The Argento Project, featuring the songs of Dominick Argento, on the Naxos label.Operatic highlights of Mr. Mulligan’s career include his debut at the Metropolitan Opera, while still a student at The Juilliard School, in Die Frau ohne Schatten.

Since then he has made many celebrated debuts at the world’s leading opera houses, including San Francisco Opera (Marcello), Opernhaus Zürich (Yeletsky), Lyric Opera of Chicago (Enrico in Lucia di Lammermoor), Oper Frankfurt (Prospero in Adès’ The Tempest), Canadian Opera Company (Enrico), Houston Grand Opera (Marcello) and English National Opera (Sharpless in Madama Butterfly). Mr. Mulligan has earned much critical acclaim for his performances of Richard Nixon in Nixon in China with the San Francisco Opera, the title role in Hamlet with the Minnesota Opera, Valentin at the Metropolitan Opera and San Francisco Opera, and Enrico in the David Alden production of Lucia di Lammermoor at the Canadian Opera Company, English National Opera and Washington National Opera.

DARIO ACOSTA

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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 chosen to help carry the creative vision of legendary founding conductor Robert Shaw forward to a new generation of music lovers. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Music Director 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 calls Mr. Mackenzie Robert Shaw’s “designated successor.” In his 14-year association with Shaw, Mr. Mackenzie 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 Mr. Shaw’s passing and partnered with Mr. Spano encoreatlanta.com | Atlanta’s Performing Arts Publication 33

JD SCOTT

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for the 20th anniversary workshop featuring the Berlioz Requiem.

ATLANTA SYMPHONY ORCHESTRA CHORUS

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he Atlanta Symphony Orchestra Chorus was founded in 1970 by former Music Director Robert Shaw and comprises 200 auditioned voices. The Chorus is an all-volunteer 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. The Chorus also has been involved in the creation and shaping of numerous world premiere commissioned works.

The Chorus made its debut at Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9 with the Atlanta Symphony Orchestra, led by Robert Shaw. The Chorus performed in Washington, D.C., for President-elect Jimmy Carter’s Inaugural Concert in 1977 and accompanied Mr. Shaw and the Orchestra on their European debut tour in 1988. 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 Mr. Runnicles conducting.

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.

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Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 Ellen Abney Ariel Barnes Kathryn Bishop Hanan Davis Khadijah Davis Sakinah Davis Liz Dean Amy Dowis Virginia Elizondo Laura Foster Meg Granum Michelle Griffin Jacquelyn Holloway Victoria Latimer Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Brianna Riley Natalie Rogers Stacey Tanner Brianne Turgeon* Allegra Whitney

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

Tommie Storer Emily Tallant Cheryl Thrash Brenda Turner Donna Weeks*

ALTO 1 Erin Axson Shana Bassett Deborah Boland** Rachel Bowman Donna Carter-Wood* Laurie Cronin Patricia DinkinsMatthews* Beth Freeman Noelle Hooge Beverly Hueter Janet Johnson** Lauren Johnson Virginia Little* Staria Lovelady Paige Mathis* Frances McDowell** Mary Elizabeth SOPRANO 2 Mendenhall June Abbott** Linda Morgan** Sloan Atwood* Katherine Murray* Jessica Barber Kathleen Poe Ross Anne Beloncik Schantz Laura Soltis Jasmine Blue Meesook Sonu Barbara Brown Rachel Stewart** Kelly Campobasso Diana Strommen Martha Craft Grace Thompson Ellen Dukes** Nancy York* Kimberly Duncan ALTO 2 Mary Goodwin Nancy Adams* Amanda Hoffman Michelle Austin Kathleen Kelly-George Marcia Chandler Eda Mathews** Meaghan Curry Shannon Nesbit PeggyDee Fleck Rachel O’Dell Sally Kann Vickie Orme Nicole Khoury* Lindsay Patten Katherine MacKenzie Chantae Pittman Lynda Martin Chelsea Rhoades Laura Rappold Donna Ross* Campbell Rogers Sydney Sewell Andrea Schmidt Paula Snelling* Sharon Simons Anne-Marie Spalinger* Alexandra Tanico

Peter Marshall, Accompanist

Virginia Thompson* Sarah Ward Ryan Whicker Alexandra Willingham Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Jordan Bell Christian Bigliani David Blalock** John Brandt* Jack Caldwell* Daniel Cameron* Jared Campbell Justin Cornelius Joseph Cortes Ryan Dikdan Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Keith Langston Clinton Miller Christopher Patton Stephen Reed # Mark Warden* TENOR 2 Randall Barker** Mark Barnes Charles Cottingham # Phillip Crumbly* Joseph Few* Hamilton Fong Keith Jeffords** Steven Johnstone* Jonathan Marvel Michael Parker Marshall Peterson* Clifton Russell Wesley Shearer Thomas Slusher Scott Stephens* Wesley Stoner Caleb Waters Robert Wilkinson

BASS 1 Dock Anderson Richard Brock* Russell Cason** Trey Clegg Michael Cranford Steven Darst** Michael Dennison Jon Gunnemann* David Hansen** Nick Jones # Jameson Linville Peter MacKenzie Jason Maynard Mark Mendenhall John Newsome Andrew Riechel Kendric Smith # Owen Talley John Terry Ike Van Meter Aaron Villalobos Edgie Wallace* Edward Watkins** BASS 2 Joshua Alexander Philip Barreca Charles Boone Brian Brown* Joseph Champion Joel Craft** Paul Fletcher Andrew Gee* Eric Litsey** Eckhart Richter* John Ruff* Jonathan Smith Timothy Solomon** David Webster** Seth Whitecotton Gregory Whitmire* Keith Wyatt* *2 0+ years of service ** 30+ years of service # Charter member (1970)

encoreatlanta.com | Atlanta’s Performing Arts Publication 35

NOV 6 | program AtlantaSymphonyYouthOrchestra Support generously provided by Wells Fargo

Joseph Young, Assistant Conductor and Music Director of the Atlanta Symphony Youth Orchestra Concert of Sunday, Nov. 6, 2016, at 3pm.

Overture Concert JOSEPH YOUNG, Conductor JEAN SIBELIUS (1865-1957) Pohjola’s Daughter, Symphonic Fantasy, Opus 49 (1906) LEONARD BERNSTEIN (1918-1990) West Side Story, Selections for Orchestra (1957) (arr. Mason)

17 MIN

8 MIN

INTERMISSION

20 MIN

EDWARD ELGAR (1857-1934) Variations on an Original Theme, Opus 36, Enigma (1899)

29 MIN

Andante

I. (C.A.E.) L’istesso tempo

II. (H.D.S-P.) Allegro

III. (R.B.T.) Allegretto

IV. (W.M.B.) Allegro di molto

V. (R.P.A.) Moderato

VI. (Ysobel) Andantino

VII. (Troyte) Presto

VIII. (W.N.) Allegretto

IX. (Nimrod) Adagio

X. (Dorabella) Intermezzo. Allegretto

XI. (G.R.S.) Allegro di molto

XII. (B.G.N.) Andante

XIII. (***) Romanza. Moderato

XIV. (E.D.U.) Finale. Allegro

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

36 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Notes on the Program Ken Meltzer, Program Annotator Pohjola’s Daughter, Symphonic Fantasy, Opus 49 (1906) JEAN SIBELIUS was born in Tavastehus, Finland, on December 8, 1865, and died in Järvenpää, Finland, on September 20, 1957. The first performance of Pohjola’s Daughter took place at in St. Petersburg, Russia, on December 29, 1906, with the composer conducting the Maryinsky Theater Orchestra. Pohjola’s Daughter is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, harp, and strings.

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he Kalevala was the labor of love of Elias Lönnrot (1802-84), a Finnish country doctor who meticulously compiled the work from oral myths and legends that had been in existence for some 2,500 years. The first edition of the Kalevala was published in 1835. An expanded, definitive edition, consisting of more than 22,000 verses and 50 songs (runes) was published in 1849.

Sibelius made his initial acquaintance with the Kalevala during his childhood years. In the fall of 1890, Sibelius wrote to his future wife, Aino: “I am reading the Kalevala a lot…The Kalevala strikes me as extraordinarily modern and to my ears is pure music, themes and variations; its story is far less important than the moods and atmosphere conveyed: the gods are human beings, Väinämöinen is a musician, and so on.” The Kalevala served as the inspiration for several compositions by Sibelius, including Kullervo (1892), the Four Legends (1895), Pohjola’s Daughter (1906), Luonnatar (1913), and Tapiola (1926).

The orchestral composition that finally materialized as Pohjola’s Daughter was the culmination of several years of work on various musical projects by Sibelius. The Symphonic Fantasy is based upon the Rune VIII of the Kalevala. While on a journey, the ancient traveler Väinämöinen spies the beautiful Maiden of the North (Pohjola’s Daughter) perched upon a rainbow. Väinämöinen implores the maiden to become his wife. Pohjola’s Daughter responds by challenging Väinämöinen to accomplish a series of extraordinary feats. Väinämöinen invokes his magical powers to achieve each one. Finally, Pohjola’s daughter requests Väinämöinen to use the splinters of her spindle to construct a boat. While attempting to build the vessel, Väinämöinen strikes his axe upon a rock, causing a severe injury to his knee.

Realizing that his cause is in vain, Väinämöinen leaves Pohjola’s Daughter, and resumes his journey.

Pohjola’s Daughter opens with a slow-tempo episode (Largo). A solo cello depicts, perhaps, the arrival of the aged Väinämöinen. Subsequent episodes portray exchanges between Väinämöinen and Pohjola’s Daughter (and at times, her mocking laughter), his attempts to fulfill her challenges, and finally, Väinämöinen’s despair and abandonment of his quest.

The dramatic narrative is couched in Sibelius’s unique sound world, masterful thematic development, and orchestration.

West Side Story, Selections for Orchestra (1957) (arr. Mason) LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on August 25, 1918, and died in New York on October 14, 1990. The first performance of West Side Story took place at the National Theater in Washington, D.C., on August 19, 1957. Selections for Orchestra from West Side Story are scored for piccolo, two flutes, two oboes, English horn, two clarinets (optional two alto saxophones, tenor saxophone, baritone saxophone), two bassoons, four horns, three trumpets, three trombones, tuba, timpani, encoreatlanta.com | Atlanta’s Performing Arts Publication 37

NOV 6 | program bass drum, bongos, castanets, chimes, glockenspiel, claves, cymbals, hi-hat, maracas, snare drum, tambourine, vibraphone, xylophone, and strings.

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est Side Story, one of the miracles of American musical theater, was the product of an extraordinary team— book by Arthur Laurents, lyrics by Stephen Sondheim, music by Leonard Bernstein, and the entire production directed and choreographed by Jerome Robbins. West Side Story is a remarkable fusion of drama, music and dance, all placed at the service of a powerful and timeless story. It also represents an amazing synthesis of popular and classical elements, a sublime marriage of the Broadway stage with the opera and ballet houses. As Bernstein wrote after the premiere: I am now convinced that what we dreamed all these years is possible; because there stands that tragic story, with a theme as profound as love versus hate, with all the theatrical risks of death and racial issues and young performers and “serious” music and complicated balletics—and it all added up for the audiences and critics.

In West Side Story, the setting of Shakespeare’s Romeo and Juliet shifts from Renaissance Verona to New York City in the 1950s. The Capulets are now the Puerto Rican gang, the Sharks. The Montagues become the Jets, the gang of “self-styled ‘Americans’”. Tony, a member of the Jets and Maria, the sister of the leader of the Sharks, are the modern-day “star-crossed lovers.”

This concert features an arrangement for orchestra by Jack Mason of songs from West Side Story, including “I Feel Pretty,” “Maria,” “Something’s Coming,” “Tonight,” “One Hand, One Heart,” “Cool,” and “America.”

Variations on an Original Theme, Opus 36, “Enigma” (1899) EDWARD ELGAR was born in Broadheath, England, on June 2, 1857, and died in Worcester, England, on February 23, 1934. The first performance of the “Enigma” Variations took place at St. James’s Hall in London, England, on June 19, 1899, with Hans Richter conducting. The “Enigma” variations are scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbal, snare drum, triangle, organ, and strings.

I

n the “Enigma” Variations, Edward Elgar introduces a theme that serves as the basis for a series of variations, each a musical depiction of a person in the composer’s life. As Elgar commented: “This work, commenced in a spirit of humour and continued in deep seriousness, contains sketches of the composer’s friends. It may be understood that these personages comment or reflect upon the original theme and each one attempts a solution of the Enigma, for so the theme is called.”

Andante—In the seventeen-bar introduction, the strings, followed by the winds, present the various elements of the haunting principal theme.

I. (C.A.E.) L’istesso tempo—The composer’s loving tribute to his wife, Caroline Alice Elgar.

The oboes and bassoons play a four-note motif Elgar always whistled upon returning home.

II. (H.D.S-P.) Allegro—H. D. Steuart-Powell was an amateur pianist who, according to Elgar, would begin each session with “a characteristic diatonic run over the keys.”

III. (R.B.T.) Allegretto—Richard Baxter Townshend was an author and amateur actor who regaled audiences with his ability to instantly shift his vocal range from the deepest basso profondo to the highest soprano.

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A Christmas Carol Nov. 25–Dec. 24

One of Atlanta’s most treasured holiday traditions.

Courtenay’s Cabaret: Home for the Holidays December 2–24, 2016

A delightful evening of holiday music, drinks, stories, and laughter.

Troubadour Jan. 18–Feb. 12, 2017

A feel-good romantic comedy by Janece Shaffer with new music by Sugarland’s Kristian Bush.

Get Tickets 404.733.4600 // alliancetheatre.org/seasontickets 1280 Peachtree Street NE // Atlanta, GA 30309

NOV 6 | program IV. (W.M.B.) Allegro di molto—The shortest of the Variations depicts William Meath Baker, lord of Hatsfield Court and R.B.T.’s brother-in-law, informing his guests of arrangements he made for their transportation and then quickly leaving the room, “with a bang on the door.”

V. (R.P.A.) Moderato—Richard Penrose Arnold was the son of poet Matthew Arnold. Elgar delighted in the fact that Arnold’s “serious conversation was continually broken up by whimsical and witty remarks.”

VI. (Ysobel) Andantino—Isabel Fitton studied viola with Elgar. That instrument is prominently featured in this variation.

VII. (Troyte) Presto—Arthur Troyte Griffith was an architect and amateur painter. It seems that this stormy variation, with its thundering timpani, represents only one aspect of his character.

VIII. (W.N.) Allegretto—Winifred Norbury served with Elgar as joint secretary of the Worcestershire Philharmonic Society. Elgar claimed that this genial variation was a portrait of Winifred’s country home, but the playful wind interjections offer “a little suggestion of a characteristic laugh.”

IX. (Nimrod) Adagio—“Nimrod” is Elgar’s depiction of his friend, August Jaeger (“jaeger” in German means “hunter,” thus the reference to Nimrod, the biblical hunter). This glorious Adagio is the composer’s fond recollection of “a long summer evening talk, when my friend grew nobly eloquent (as only he could) on the grandeur of Beethoven, and especially his slow movements.”

X. (Dorabella) Intermezzo. Allegretto—Dora Penny was W.M.B.’s step-niece whom Elgar nicknamed “Dorabella,” after a character in Mozart’s opera, Così fan tutte. Both Dora Penny’s love of dance and her slight stammer are depicted in this fetching Intermezzo.

XI. (G.R.S.) Allegro di molto—George Robertson Sinclair was the organist at Hereford Cathedral. According to Elgar, this section is a portrait not of Sinclair. Rather, the music depicts Sinclair’s bulldog, Dan, falling into the river, vigorously swimming to shore and finally landing with a “rejoicing bark.”

XII. (B.G.N.) Andante—Basil Nevinson was an amateur cellist who often played chamber music with Elgar. The Variation begins and ends with a plaintive cello solo.

XIII. (***) Romanza. Moderato—The penultimate Variation is inspired by Lady Mary Lygon. During composition of the “Enigma” Variations, Elgar learned his friend would soon embark upon a voyage to Australia. Over undulating strings, a solo clarinet plays a descending phrase—a quote from Mendelssohn’s Calm Sea and Prosperous Voyage Overture.

XIV. (E.D.U.) Finale. Allegro—Finally, the composer himself appears (“E.D.U.” is derived from “Edoo,” Lady Elgar’s nickname for her husband). Elgar recalled he created this section “at a time when friends were dubious and generally discouraging about the composer’s musical future.” However, there is no lack of self-confidence in the heroic Finale.

Echoes of previous variations return—notably “C.A.E.” and “Nimrod”—leading to the grand final measures.

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Midtown and Northside.

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NOV 6 | artists JOSEPH YOUNG, conductor

JEFF ROFFMAN

I

ncreasingly recognized as one of the most gifted conductors of his generation, Joseph Young is the Assistant Conductor of the Atlanta Symphony Orchestra. In his role, Mr. Young conducts more than 50 concerts per season with the Orchestra, including programs on the Delta Classical Series, Concerts for Young People, Family Series and other concerts geared toward specific audiences.

Mr. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011/12 season, and the League of American Orchestras Conducting Fellow with the Buffalo Philharmonic and Baltimore Symphony.

Me. Young made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid) and Chicago Sinfonietta, among others. In the 2015/16 season he made his subscription debut with the Atlanta Symphony Orchestra. The 2016/17 season includes debuts with the Guanajuato Symphony Orchestra (Mexico), New World Symphony Orchestra and the Fayetteville Symphony. He is returning to the Orquesta Sinfonica y Coro de RTVE (Madrid), Little Orchestra Society and the Atlanta Symphony Orchestra in subscription performances.

Mr. Young received the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008 and 2014. In 2013, he was a semifinalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one out of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic.

Mr. Young earned his bachelor’s degree in music education at the University of South Carolina and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by such world-renowned conductors as Jorma Panula, Robert Spano and Marin Alsop, with whom he continues to maintain a close relationship.

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NOV 6 | artists Atlanta Symphony Youth Orchestra Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair FIRST VIOLINS Phoebe Liu, Concertmaster Sarah Chen Yueci Chen Kylie Dickinson Whit FitzGerald Serena Gao Paloma Herrera Brianna Hou JooYoung Kang Ruby Lee Christine Liu Scott Lozier Julia Lu Julia Su David Wen Nina Youn SECOND VIOLINS Passacaglia Mason, Principal Melody Bearden Sophie Chan Monica Chang Angela Cheng Erin Cho Eunice Choi Jennifer Deng Naomi Fan Hyejun Kang Ava Posner Arvind Ramaswami Samuel Surbrook Sylvia Tang Mashu Takeda Yuji Yamada

VIOLA Joy Hsieh, Principal Ashley Ahn Doyoung Jeong Kelsey Johnson Jun Kang Andres Malave Nivedita Minjur Clara Smallwood Annabelle Spoto Chris Wang Raymond Zhu Amy Liu CELLO Aria Posner, Principal Joe Billips Brandon Chung Clarisa Colton Tannessa Dang Lexine Feng John Kang Phillip Kim Claire Lee Harrison Marable Alicia Shin Leonardo Tang BASS Blake Hilley, Principal The Douglas K. Sommer Memorial Chair Daniel Barket Elliott Elder Hollie Greenwood Zoe Hood Corban Johnson Matthew Jung Angela Leeper Alex Pu Jenny Yi

FLUTE/PICCOLO Amy Jiang Jenn Kim Yuka Shinagawa Renee Wang OBOE Mekhi Gladden Hannah Lee Alexa Levy Nathaniel Wolff CLARINET Vincent Fang Caleb Rucker Eric Wang Alisha Zamore BASSOON Allie Byrd Christopher Chung Ethan Clark Aaron Lanning HORN Charles Dunn Nick Fratto Spencer Hodge Caroline Johnston Tyler Lane Molly Shannon Sean Turner Joshua Vollbracht TRUMPET Michael Barbour Thomas Berar Steven Lukehart Lizbeth Yanez

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TROMBONE Hans Kang Katie Kearney Evan Roussey BASS TROMBONE William Clark TUBA Kolyo Vanchev Joshua Williams PERCUSSION Daniel Chapadeau Michael Dehan Kyle Favors Jim Graber Parker Olson Dylan So HARP Madeline Chen Kimberly Walker PIANO Joshua Li

Ins I st on makI ng a t o a s t.

Enjo y l I f E t o t hE f ul l E s t thEr E arE no drE ss rE h Ea r s a l s . hav E y our st E ak and E at I t, t o o .

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ASO | Memorial Chair

T

he Atlanta Symphony Orchestra is proud to announce the first endowed chair designated for the Atlanta Symphony Youth Orchestra (ASYO). The ASYO Principal Bass Chair will be named the Douglas K. Sommer Memorial Chair, in memory of ASO bassist Douglas K. Sommer, who passed away Feb. 27, 2014, from cancer. Funding for this chair will cover the annual tuition for the ASYO’s principal bassist.

Doug dedicated 25 years (1989-2014) to the Atlanta Symphony Orchestra, and while he left us far too early, at age 54, his artistic and educational impact was tremendous.

“Doug was a true friend, a talented artist and an inspiring teacher, and we could not think of a more fitting tribute than endowing the first ASYO Chair,” said ASO cellist Joel Dallow. “Phyllis, Doug’s wife, is a music educator, The first Atlanta their son, Andrew, held the principal bass position while Symphony Youth serving as a member of the ASYO, and their daughter, Orchestra Chair is Grace, served as ASYO Principal Cello, as did several of Doug’s other ASYO and TDP students, so we felt this was named in memory of the perfect way to honor the gifts and talents he gave to ASO bassist the Orchestra.”

Douglas K. Sommer.

Doug enjoyed playing all styles of music and was active as a chamber musician and commercial studio work. He had the opportunity to play with such artists as George Benson, Michael Feinstein and Mercedes Ellington.

As a recording musician, he performed on albums with R.E.M., Shawn Mullins, Kelly Price and recorded commercials for Delta, Hallmark and the Cartoon Network, among others.

Doug had an inspiring commitment to education, serving as a longtime faculty member in the ASO Talent Development Program. He coached students in the ASYO, was a mentor for the annual Side-by-Side program, and performed in schools and communities across Atlanta.

Doug’s wife, Phyllis, and their children, Grace and Andrew, continue to attend ASO concerts whenever possible. In fact, both Grace and Andrew have subbed with the Atlanta Symphony. The Sommers family is honored that Doug’s memory will live on with the Atlanta Symphony Youth Orchestra.

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NOV 10/12 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Delta Classical Concert Concerts of Thursday, Nov. 10, and Saturday, Nov. 12, 2016, at 8pm.

ROBERT SPANO, Conductor ELIZABETH PRIDGEN, piano

Enjoy other works by 19th and 20th-century Russian masters: (DEC 1/3) TCHAIKOVSKY: Symphony No. 6, Pathétique (JAN 5/7) RIMSKY-KORSAKOV: Capriccio espagnol (JAN 12/14) TCHAIKOVSKY: Piano Concerto No. 1 SHOSTAKOVICH: Symphony No. 10 (FEB 2/4) TCHAIKOVSKY: Rococo Variations for Cello and Orchestra (MAR 9/10/11) SHOSTAKOVICH: Festive Overture TCHAIKOVSKY: Symphony No. 4 (MAR 9/11) MEDTNER: Piano Concerto No. 2 (APR 6/7) RACHMANINOV: Vocalise Piano Concerto No. 1 Symphonic Dances

DAVID COUCHERON, violin OLIVER KNUSSEN (b. 1952) Flourish With Fireworks, Opus 22 (1988) ALEXANDER SCRIABIN (1872-1915) Prometheus, Poem of Fire (Symphony No. 5), Opus 60 (1910) (orch. Michael Kurth)

5 MIN

23 MIN

Elizabeth Pridgen, piano INTERMISSION

20 MIN

SERGEI PROKOFIEV (1891-1953) Violin Concerto No. 1 in D Major, Opus 19 (1917) 22 MIN

I. Andantino

II. Scherzo. Vivacissimo

III. Moderato

David Coucheron, violin IGOR STRAVINSKY (1882-1971) Suite from The Firebird (1910, 1919 Revision) 23 MIN

I. Introduction: The Firebird and Her Dance; Variation of the Firebird

II. The Princesses’ Round: Khorovode

III. Infernal Dance of King Kastcheï

IV. Berceuse

V. Finale

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

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Notes on the Program Ken Meltzer, Program Annotator Flourish with Fireworks, Opus 22 (1988)

First Classical Subscription

Performances OLIVER KNUSSEN was born in Glasgow, Scotland, on June 12, 1952. The first performance of Flourish with Fireworks took place at the Barbican Hall in London, England, on September 15, 1988, with Michael Tilson Thomas conducting the London Symphony Orchestra. Flourish with Fireworks is scored for piccolo, four flutes, two oboes, English horn, four clarinets, two bassoons, contrabassoon, four horns, three trumpets, two tenor trombones, bass trombone, tuba, timpani, percussion I: vibraphone, suspended cymbal, spring coil, whip: percussion II: orchestra bells, tam-tam, wood block, snare drum; percussion III: suspended cymbal, wood block, bass drum; percussion IV: triangle, wood block, tenor drum; harp, celesta, and strings.

T

he London Symphony Orchestra commissioned Oliver Knussen’s Flourish with Fireworks for Michael Tilson Thomas’s first concert as the LSO’s Principal Conductor, which took place in London’s Barbican Hall on September 15, 1988. In liner notes for the DGG recording with the London Sinfonietta (449 572-2), the composer describes Flourish with Fireworks as a “four-minute celebratory ‘opener’.” Mr. Knussen acknowledges the occasional presence of a composition much admired by Michael Tilson Thomas—Igor Stravinsky’s Fireworks, Opus 4 (1908), “which can be heard peeking through the textures of Flourish from time to time.” There is also a tribute to the dedicatees of this brief, vivacious work, through the use of a motif based upon musical pitches corresponding to the initials “LSO—MTT” (La, eS, sOl; Mi, Ti, Ti). This motif is, according to the composer, “subjected to constant variation, sometimes of a kind not unknown to the Stravinsky who composed the Variations more than half a century after Fireworks.”

Prometheus, Poem of Fire (Symphony No. 5), Opus 60 (1910) (orch. Kurth) ALEXANDER SCRIABIN was born in Moscow, First Classical Subscription Russia, on January 6, 1872, and died there Performances: Dec. 13-15, 1973, on April 27, 1915. The first performance of Robert Shaw, Conductor Prometheus took place in Moscow on March These are the first Classical 2, 1911, with Serge Koussevitsky, conducting.

Subscription Performances of the The Kurth orchestration of Prometheus Kurth orchestration. is scored for piccolo, three flutes, two oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, cymbals a2, bass drum, tam-tam, chimes, orchestra bells, triangle, piano, harp, celesta/organ (1 player; organ pedals optional), and strings.

P

rometheus, Poem of Fire is the third work in a projected orchestral tetralogy that expressed the Russian composer/pianist’s embrace of theosophy (Prometheus was preceded by the 1904 Divine Poem and 1908 Poem of Ecstasy. The final work in the tetralogy, Mysterium, remained incomplete at Scriabin’s death.). The original version of Prometheus is scored for large orchestra, piano, organ, wordless chorus, and a keyboard that projects colors onto a screen.

The premiere of Prometheus took place in Moscow on March 2, 1911. Serge Koussevitsky conducted, and Scriabin performed the central piano part. The color keyboard did not function properly during the premiere, and Scriabin never witnessed a performance that included this revolutionary element. For the premiere, Scriabin authorized the following encoreatlanta.com | Atlanta’s Performing Arts Publication 49

NOV 10/12 | program explanatory program note, by Leonid Sabaniev: Prometheus, Satan and Lucifer all meet in ancient myth. They represent the active energy of the universe, its creative principle. The fire is light, life, struggle, increase, abundance and thought. At first this powerful force manifests itself wearily, as languid thirsting for life. Within this lassitude, then, appears the primordial polarity between soul and matter. The creative upsurge or gust of feeling registers against this torpor. Later it does battle and conquers matter—of which it itself is a mere atom—and returns to the quiet and tranquility…thus completing the cycle.

These performances of Scriabin’s Prometheus feature the premiere of an orchestration

by Michael Kurth, composer and a member of the Atlanta Symphony Orchestra’s doublebass section.

In early 2016, Robert Spano asked if I’d be willing to re-orchestrate Scriabin’s Poem of Fire. The original orchestration involves a massive ensemble, larger than our own Orchestra, and prohibitively expensive to program (much like Stravinsky’s original score to The Firebird, which he himself called “wastefully large.”). But Robert believes that Atlanta audiences deserve the chance to hear the work, so I agreed to the project.

As I immersed myself in the score, I realized that a few of the parts were practically superfluous, and could be subsumed by other instruments, without noticeable sonic sacrifice. Perhaps Scriabin purists will disagree and even take offense at my efforts; hopefully they will accept my apologies and console themselves with the knowledge that their hero’s music is reaching new audiences.

Additional, more tangible solace is offered: Scriabin believed in a bizarre theosophy in which fully-realized performances of his works would bring about the end of humanity.

I cherish my role in helping humanity to avoid cataclysm by denying theosophists this Pyrrhic victory.

—Michael Kurth Violin Concerto No. 1 in D Major, Opus 19 (1917) SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the Violin Concerto No. 1 took place at the Opéra in Paris, France, on October 18, 1923. Marcel Darrieux was the soloist, with Serge Koussevitsky conducting. In addition to the solo violin, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, tuba, timpani, snare drum, tambourine, harp, and strings.

P

rokofiev composed his First Violin Concerto First Classical Subscription in 1917, while Russia was in the grips of Performance: Feb. 27-28 and March the Revolution. In 1918, Prokofiev left his native 2, 1969, Edith Peinemann, Violin, land for the United States. He later relocated to Michael Zearott, Conductor.

Paris, where on October 18, 1923, the First Violin Most recent Classical Subscription Concerto premiered as part of the Concerts Performance: Feb. 18-20, 2010, Leila Koussevitsky. Serge Koussevitsky led the Josefowicz, Violin, Roberto Abbado, performance, with his concertmaster, Marcel Conductor.

Darrieux, appearing as violin soloist. The Paris critics, anticipating a more avant-garde form of expression, were disappointed by the rather conservative nature of Prokofiev’s Violin Concerto. One critic both noted and decried the influence of Felix Mendelssohn (as if that were somehow a bad thing). In time,

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emoryhealthcare.org/voicecenter 288

encoreatlanta.com | Atlanta’s Performing Arts Publication 51

NOV 10/12 | program however, the considerable charms of Prokofiev’s First Violin Concerto have earned the respect, admiration, and affection of violinists and their audiences.

The Concerto is in three movements. The first (Andantino) opens with divided violas offering a quiet tremolo figure. This serves as the accompaniment for the soloist’s introduction of the lovely principal theme, which the composer directs be played sognando (in a “dream-like” fashion). A vibrant episode leads to the soloist’s presentation of the more angular second theme. The second-movement Scherzo (Vivacissimo) is based upon a scurrying theme, first stated by the soloist after a brief introduction by the flute, harp, and pizzicato strings. This principal theme alternates with contrasting episodes.

The final movement (Moderato) opens with a repeated staccato “tick-tock” rhythm in the clarinet and strings that serves as the basis for a series of varied episodes by the soloist. The hushed final section (Più tranquillo) offers ethereal trills by the soloist and a pianissimo resolution.

Suite from The Firebird (1910, 1919 Revision) IGOR STRAVINSKY was born in Lomonosov, Russia, on June 17, 1882, and died in New York on April 7, 1971. The first performance of The Firebird took place at the Paris Opéra on June 25, 1910, with Gabriel Pierné conducting. The 1919 Suite from The Firebird is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, xylophone, tambourine, triangle, cymbals, bass drum, piano/(optional) celesta, harp, and strings.

I

gor Stravinsky composed his ballet, The Firebird, at the invitation of Sergei Diaghilev, impresario of the Ballets Russes. The triumphant premiere took place in Paris on June 25, 1910. The Firebird’s winning synthesis of lyric and dramatic elements, couched in dazzling orchestration, captured the imagination of the Paris audiences and catapulted the young Russian composer to national and international prominence.

The Story of The Firebird I. Introduction: The Firebird and Her Dance; Variation of the Firebird—The Firebird is based upon Russian folk legend. While wandering in the forest at night, the Prince Ivan encounters a magic Firebird. The Prince is entranced by the Firebird’s beauty and captures her. However, the Prince takes pity on the Firebird and sets her free. In gratitude, the Firebird gives the Prince one of her feathers, and promises to aid him in his hour of need.

II. The Princesses’ Round: Khorovode—The Prince comes to the courtyard of an enchanted castle, where he finds thirteen beautiful Princesses, captives of the evil magician Kastcheï.

The Princesses warn Prince Ivan not to enter the castle, for Kastcheï has the power to turn intruders to stone. The Prince boldly ignores their warnings.

III. Infernal Dance of King Kastcheï—The Prince suddenly encounters Kastcheï’s horrible servants, and ultimately, the magician himself. Kastcheï tries to turn the Prince into stone, but the hero produces the Firebird’s magic feather. The Firebird appears and forces Kastcheï and his followers into a frenetic dance.

IV. Berceuse—When Kastcheï and his followers are exhausted, the Firebird lulls them to sleep.

V. Finale—Kastcheï and his retinue are destroyed. All of the prisoners are set free, including the Thirteenth Princess, whom the Prince weds.

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NOV 10/12 | artists ELIZABETH PRIDGEN, piano

P

ianist Elizabeth Pridgen enjoys a distinguished career as a soloist and chamber musician. In 2014 she was appointed Artistic Director of the 40-year-old Atlanta Chamber Players, one of the leading chamber ensembles in the United States.

Ms. Pridgen has appeared in concerts at Carnegie’s Zankel Hall and Weill Recital Hall, Spivey Hall in Atlanta and the “Rising Stars Series” at the Ravinia Festival in Chicago. She has given recitals in London; Amsterdam; Rotterdam, Netherlands; Washington, D.C.; Miami; San Francisco; and throughout the Southeast. She performs regularly at such festivals as the Rome Chamber Music Festival in Italy; the KonTiki Chamber Music Festival in Oslo, Norway; the Aspen Music Festival; the Amelia Island Chamber Music Festival; the Madison Chamber Music Festival; and the Highlands-Cashiers Chamber Music Festival.

Ms. Pridgen has collaborated with such artists as Elmar Oliveira, Robert McDuffie, Anne Akiko Meyers, Nadja Salerno-Sonnenberg, Lynn Harrell, the Diaz String Trio, Cuarteto Latinoamericano and the American String Quartet. She is part of the Cortona Trio with violinist Amy Schwartz Moretti and cellist Julie Albers as well as the Georgian Chamber Players.

Ms. Pridgen is a Distinguished Artist and Piano Chair at the McDuffie Center for Strings and holds the G. Leslie Fabian Piano Chair at the Townsend School of Music at Mercer University. Her recordings include the Liszt transcription of Berlioz’s Harold in Italy, released in 2014 on Orchid Classics. Soon to be released by Artek is Chausson’s Concert for Violin and Piano with violinist Andrés Cárdenes.

Ms. Pridgen began her piano studies at age 5. Her first concert appearances were with her grandfather, violinist Martin Sauser, a former concertmaster of the Atlanta Symphony Orchestra. She received her Master of Music degree from the Juilliard School, where she studied with Joseph Kalichstein, and her bachelor’s degree from the Peabody Conservatory of Music as a student of Ann Schein.

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DAVID COUCHERON, violin

D

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

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

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

An active recording artist. Recordings with his sister, pianist Julie Coucheron, include David and Julie (Naxos/Mudi) and Debut (Naxos). He is the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan Williams’ The Lark Ascending, which was released on ASO Media in fall 2014.

DEREK BLANKS

Mr. Coucheron began playing the violin at age 3. He earned his Bachelor of Music degree from the Curtis Institute of Music, his Master of Music from the Juilliard School and his Master of Musical Performance from the Guildhall School of Music and Drama, studying with such teachers as Igor Ozim, Aaron Rosand, Lewis Kaplan and David Takeno. Mr. Coucheron plays a 1725 Stradivarius.

encoreatlanta.com | Atlanta’s Performing Arts Publication 55

NOV 17/19 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Delta Classical Concert Concerts of Thursday, Nov. 17, 2016, and Saturday, Nov. 19, 2016, at 8pm.

DONALD RUNNICLES, Conductor KELLEY O’CONNOR, mezzo-soprano RUSSELL THOMAS, tenor

More superb works by lateRomantic Austrian/ German composers: (Jan 19/21) BRUCKNER: Symphony No. 9 BRUCKNER: Te Deum (FEB 2/4) STRAUSS: Le Bourgeois Gentilhomme (FEB 9/11) MAHLER: Symphony No. 1, Titan (APR 27/29) STRAUSS: Don Juan (JUN 1/3) WAGNER: Die Walküre, Act I

TORU TAKEMITSU (1930-1996) A flock descends into the pentagonal garden (1977)

13 MIN

INTERMISSION

20 MIN

GUSTAV MAHLER (1860-1911) Das Lied von der Erde (1909) 63 MIN

I. Das Trinkleid vom Jammer der Erde (Drinking Song of Earth’s Sorrow). Allegro pesante

II. Der Einsame im Herbst (The Lonely One in Autumn). Etwas schleichend.

Ermüdet

III. Von der Jugend (Of Youth). Behaglich heiter

IV. Von der Schönheit (Of Beauty). Comodo.

Dolcissimo

V. Der Trunkene im Frühling (The Drunkard in Spring). Allegro

VI. Der Abschied (The Farewell). Schwer

Kelley O’Connor, mezzo-soprano

Russell Thomas, tenor

English surtitles by Ken Meltzer

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

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A flock descends into the pentagonal garden (1977)

First Classical Subscription Performances: Jan. 24-26, 1980, Hiroyuki Iwaki, Conductor.

TORU TAKEMISTU was born in Tokyo, Japan, on October 8, 1930, and died there on February 20, 1996. The first performance of A flock descends into the pentagonal garden took place in San Francisco, California, on November 30, 1977, with Edo de Waart conducting the San Francisco Symphony Orchestra. A flock descends into the pentagonal garden is scored for three piccolos, three flutes, alto flute, three oboes, English horn, E-flat Clarinet, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, vibraphone, marimba, tubular bells, two tam-tams (medium, large), two gongs (small, medium), three suspended cymbals (small, medium, and large), two frog-mouthed bells (Almglocken) (medium and very low), two harps, celesta, and strings.

A

flock descends into the pentagonal garden is one of the most performed works by the celebrated Japanese composer, Toru Takemitsu. The piece was commissioned by Dr. and Mrs. Ralph I. Dorman for the San Francisco Symphony Orchestra, who performed the world premiere on November 30, 1977, led by Music Director Edo de Waart. The inspiration for A flock descends into the pentagonal garden initially came from a photograph. Taken in 1921 by Man Ray, the photograph captures an image of the artist Marcel Duchamp, sporting a haircut that includes a five-point star shaved in the back of his head. After viewing the photo, Takemitsu had a dream in which a flock of white birds, led by a single black bird, circled around, and finally descended, into a pentagonal-shaped garden.

Throughout his life, Takemitsu derived great pleasure from gardens: “I love gardens, they do not reject people. There one can walk freely, pause to view the entire garden, or gaze at a single tree, plant, rock and sand snow: changes, constant changes.” And indeed, Takemitsu envisioned a clear connection between those beautiful gardens and his own creations: “My music is like a garden, and I am the gardener. Listening to my music can be compared with walking through a garden and experiencing the changes in light, pattern and texture.”

Toru Takemitsu described A flock descending into a pentagonal garden as: a “shifting panorama of scenes in which the main motif—introduced by the oboe and representing the so-called ‘Flock’—descends into the harmonious tone-field called the ‘Pentagonal Garden’, created mainly on the strings.” Pentatonic scales (five notes to the octave) are a foundational element. The various episodes, transparently scored (some allowing the performers individual freedom of approach), alternate with several moments of silence.

All of these elements combine to produce Takemitsu’s unique, dreamlike sound world.

encoreatlanta.com | Atlanta’s Performing Arts Publication 57

NOV 17/19 | program Das Lied von der Erde (1909)

First Classical Subscription

Performance: Jan. 22, 1955, Henry GUSTAV MAHLER was born in Kaliště, Bohemia, Sopkin, Conductor; Beverly Wolff, on July 7, 1860 and died in Vienna, Austria, mezzo-soprano; David Lloyd, tenor. on May 18, 1911. The first performance of Das Lied von der Erde took place at the Tonhalle in Most recent Classical Subscription Munich, Germany, on November 20, 1911, with Performances: March 10-12, 2005, Sara Jane Cahier, alto, William Miller, tenor, and Robert Spano, Conductor; Nancy Bruno Walter conducting. Das Lied von der Erde Maultsby, mezzo-soprano; Anthony is scored for alto (or baritone) and tenor solos, Dean Griffey, tenor. two piccolos, three flutes, three oboes, English horn, E-flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, tam-tam, triangle, tambourine, suspended cymbal, bass drum with attached cymbal, two harps, celesta, and strings.

I

n the summer of 1907, Gustav and Alma Mahler and their two young daughters made the annual trip to Maiernigg, a small village located on the banks of the Wörthersee in Southern Austria. On July 12, the older daughter, Maria Anna (“Putzi”), died, four months shy of her fifth birthday, from scarlet fever. Shortly afterward, Gustav Mahler received the initial diagnosis of the heart disease that would claim him in four years’ time.

Gustav Mahler soon became a shadow of his former, vibrant, self. According to Alma, her husband repeatedly stopped during walks to monitor his pulse. Alma recalled: I had often implored him to give up his long bicycle rides, his climbing and also swimming under water, to which he was so passionately attached. There was nothing of that sort now. On the contrary, he had a pedometer in his pocket. His steps and pulsebeats were numbered and his life a torment.

This summer was the saddest we had ever spent or were to spend together. Every excursion, every attempt at distraction was a failure. Grief and anxiety pursued us wherever we went. Work was his one resource. He slaved at Das Lied von der Erde and the first drafts of the Ninth (Symphony).

Die chinesiche Flöte (The Chinese Flute), Hans Bethge’s German-language collection of 8th-century Chinese poetry, was published in 1907. A friend shared The Chinese Flute with Mahler, who was immediately entranced. Mahler selected several poems as the basis for a six-movement cycle, scored for two solo voices and large orchestra. Mahler made some modifications to the lyrics, as well as adding verses of his own creation. And in setting the ancient Chinese poems, Mahler created a magical synthesis of Asian elements with his own Austro-German Romantic voice.

In early September of 1908, Mahler informed his friend and disciple, conductor Bruno Walter: I have been hard at work (from which you can tell that I am more or less “acclimatized”). I myself do not know what the whole thing could be called. I have been granted a time that was good, and I think it is the most personal thing I have done so far. Perhaps more about that when I see you.

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encoreatlanta.com | Atlanta’s Performing Arts Publication 59

NOV 17/19 | program Mahler was all too aware that several composers (Beethoven, Schubert, and Bruckner, included) were never able to advance beyond their Ninth Symphonies. Mahler described his new work as “a symphony for tenor and alto (or baritone) voice and Orchestra.” By the time Mahler completed the piece in 1909, he had composed eight Symphonies, four of which (2, 3, 4, and 8) included solo voices. Nevertheless, Mahler chose to title his new work Das Lied von der Erde, rather than “Symphony No. 9.”

While composing his next Symphony (which he did call the Ninth), Mahler confided to Alma: “Actually, of course, it’s the Tenth, because Das Lied von der Erde was really the Ninth.” In the summer of 1910, when Mahler began work on his Tenth Symphony, he announced to Alma, “Now the danger is past.”

Despite the physicians’ warnings following the diagnosis of his heart condition, Mahler continued an exhausting work schedule. After resigning his position as Kappellmeister in Vienna, Mahler traveled to New York, where, beginning in 1908, he served as conductor of the Metropolitan Opera. The following year, he assumed the additional post of conductor of the New York Philharmonic. The strain was too much. In February of 1911, Mahler conducted his final concerts in New York. He then returned to Vienna, where he died on May 18, 1911, at the age of 50. Despite Mahler’s proclamation that, “the danger is past,” the composer died before he could complete his Tenth Symphony.

Both Das Lied von Der Erde and the Ninth Symphonies received their premieres after Mahler’s passing. The first performance of The Song of the Earth took place in Munich on November 20, 1911. The Mahler Ninth premiered in Vienna on June 26, 1912. Bruno Walter conducted both performances.

Composer Alban Berg offered an appreciation of the Mahler Ninth Symphony: It is the expression of the remarkable love for this earth, the longing to live upon it in peace, to enjoy nature to the greatest depths before death enters. Because death does come, inexorably…for the last time, Mahler turns toward Earth—not to battles and deeds, which he brushes off…but rather totally and only to nature. He wants to enjoy whatever treasures earth still offers him for as long as he can. He wants to create for himself a home, far away from all troubles, in the free and thin air of the Semmering Mountain, to drink this air, this purest earthly air with deeper and deeper breaths— deeper and deeper breaths, so that the heart, this most wonderful heart ever to have beaten among men, widens—widens more and more—before it must stop beating.

Berg’s eloquent description of the Mahler Ninth applies with equal force to The Song of the Earth. Both works conclude with epic slow-tempo movements that portray the composer’s acceptance of mortality as the inevitable culmination of man’s relationship with nature.

The duration of Der Abschied (The Farewell), the final movement of Das Lied von der Erde, approximates the previous five combined. When Mahler first played Der Abschied for Bruno Walter, he inquired: “What do you think of it? Will people not do away with themselves when they hear it?” In The Farewell, Mahler called upon his unique genius and lifetime of experience to create music of profound expression and transcendent beauty. Those who love Mahler’s unique artistic voice have long embraced The Song of the Earth, and in particular, The Farewell, as perhaps his most “personal” statement.

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NOV 17/19 | artists DONALD RUNNICLES, Principal Guest Conductor

PABLO CASTOGNOLA

C

onductor Donald Runnicles is concurrently the General Music Director of the Deutsche Oper Berlin, Chief Conductor the BBC Scottish Symphony Orchestra and Music Director of the Grand Teton Music Festival (Jackson, Wyo.). He is also Principal Guest Conductor of the Atlanta Symphony Orchestra. Mr. Runnicles enjoys close and enduring relationships with several of the most significant opera companies and symphony orchestras; he is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire, which are core to his musical identity.

His previous posts include Music Director of the San Francisco Opera (1992-2008), during which he led world premieres of John Adams’ Doctor Atomic, Conrad Susa’s Les Liaisons Dangereuses and the U.S. premiere of Messiaen’s Saint François d’Assise; Principal Conductor of the Orchestra of St. Luke’s in New York City (2001-2007); and General Music Director of the Theater Freiburg and Orchestra (1989-1993).

Recent and upcoming highlights include guest-conducting engagements with the Chicago Symphony Orchestra, Dallas Symphony Orchestra, Philadelphia Orchestra, National Symphony Orchestra (Washington, D.C.), Tonhalle-Orchester Zürich and Staatskapelle Dresden. In the 2016-17 season, he leads two new productions at the Deutsche Oper (Britten’s Death in Venice and Mozart’s Così fan tutte) and Wagner’s complete Ring cycle, in addition to seven revival titles.

Mr. 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 Jenu°fa with the Orchestra and Chorus of the Deutsche Oper Berlin was nominated for a 2015 Grammy Award for best opera recording.

Maestro Runnicles was appointed OBE in 2004 and holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

KELLEY O’CONNOR, mezzo-soprano

P KRISTINA CHOE JACINTH

ossessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, Kelley O’Connor has emerged as one of the most compelling mezzo-sopranos of her generation.

Past appearances include Anna Bolena and A Midsummer Night’s Dream at the Lyric Opera of Chicago, Debussy’s La Damoiselle élue and Duruflé’s Requiem with the Berliner Philharmoniker, Ravel’s Shéhérazade with the Philharmonia Orchestra at the Edinburgh Festival, and Elgar’s Sea Pictures with the City of Birmingham Symphony Orchestra. John Adams wrote the title role of The Gospel According to the Other Mary for Ms. O’Connor, and she has performed the work in

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NOV 17/19 | artists concert and in the Peter Sellars production under the batons of Gustavo Dudamel, Grant Gershon and Markus Stenz.

A prominent fixture on international concert stages, Ms. O’Connor is sought by the most esteemed conductors of the day including Dudamel, Iván Fischer, Bernard Haitink, Louis Langrée, Sir Simon Rattle, David Robertson, Donald Runnicles, Esa-Pekka Salonen, Robert Spano, Michael Tilson Thomas, Franz Welser-Most and David Zinman. Hers is a voice chosen by many leading composers to bring their music to life. She is frequently heard singing the works of John Adams, David Bruce, Bryce Dessner, Gabriela Lena Frank, Osvaldo Golijov, Peter Lieberson and Christopher Theofanidis.

Ms. O’Connor’s prolific discography began with a Grammy Award-winning Deutsche Grammophon recording of Golijov’s Ainadamar, with Robert Spano and the Atlanta Symphony Orchestra. Other highlights include Lieberson’s Neruda Songs with Spano and Atlanta, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra, the latter two for Deutsche Grammophon.

RUSSELL THOMAS, tenor

T

DARIO ACOSTA

enor Russell Thomas, the Atlanta Symphony Orchestra’s 2014/15 Artist in Residence, is quickly establishing himself as one of the most exciting vocal and dramatic talents on the international opera and concert scene.

This season includes several important role debuts, including Turiddu in Cavalleria rusticana with the Deutsche Oper, Berlin; the title role of a new production of Stiffelio with Oper Frankfurt; Don José in Carmen with the Canadian Opera Company; and Florestan in Fidelio with the Cincinnati Opera. He makes his Los Angeles Opera debut as Pollione in Norma, appears in his celebrated portrayal of Lazarus in Adams’ The Gospel According to the Other Mary in Strasbourg, and is heard in concert with the New York Philharmonic and in recital at Wigmore Hall. Other engagements include debuts with the Washington National Opera, the Lyric Opera of Chicago, the Salzburg Festival and the Netherlands Opera, and returns to the Metropolitan Opera, Canadian Opera Company and New York Philharmonic.

Mr. Thomas’ last season included performances of Pollione in Norma with the San Francisco Opera and in Valencia, Spain, and several role debuts, including Ismaele in Nabucco with the Seattle Opera, the title role in Faust with Michigan Opera Theatre and Manrico in Il trovatore with the Cincinnati Opera. He also took part in the English National Opera’s Peter Sellars production of The Gospel According to the Other Mary and was heard in Christmas concerts and recitals as part of his residency with the Atlanta Symphony Orchestra.

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NOV 25/26 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Michael Krajewski, Principal Pops Conductor Delta POPS! Concert Concerts of Friday, Nov. 25 and Saturday, Nov. 26, 2016 at 8pm

A Tribute to Louis Armstrong featuring The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Byron Stripling MICHAEL KRAJEWSKI, Conductor BYRON STRIPLING, trumpet South Rampart Street Parade arr. Greg Prechel Tiger Rag arr. William Grimes

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.

St. James Infirmary arr. Jeff Tyzik Minnie the Moocher arr. Jeff Tyzik What Child Is This arr. Marty Robinson Blue Christmas arr. Larry Christmas Sweet Georgia Brown arr. Dennis Mackrel INTERMISSION The Skater’s Overture arr. Jeff Tyzik Black Bottom Stomp arr. Jeff Tyzik Santa Claus Is Comin’ to Town arr. Jeff Tyzik What a Wonderful World arr. Manny Albam/Jeff Tyzik 12 Gates to the City arr. Stripling Medley He’s Got the Whole World/Just a Closer Walk arr. Marty Robinson Saints Go Marchin’ In arr. Larry Cook

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NOV 25/26 | artists MICHAEL KRAJEWSKI, conductor

K

TYE CARSON

nown for his entertaining programs and clever humor, Michael Krajewski is a muchsought-after conductor of symphonic pops. He is Music Director of the Philly Pops and Principal Pops Conductor of the Houston, Atlanta and Jacksonville Symphonies.

As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National Symphonies, and numerous other American orchestras. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and Kitchener-Waterloo Symphonies.

Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra, and performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra.

Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. He has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. In 2016, Michael is conducting his original Carole King Songbook all over North America, featuring Broadway vocalists Liz Callaway, Allison Blackwell and Bryce Ryness. Michael’s other collaborative programs included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha and guitarist Angel Romero, and such pop, jazz and cabaret artists as Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, the Preservation Hall Jazz Band, the Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, Big Bad Voodoo Daddy, and the Midtown Men. Michael has degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, and furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and, for 11 years, served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando with his wife, Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.

BYRON STRIPLING, trumpet and vocals

W

ith a contagious smile and captivating charm, trumpet virtuoso Byron Stripling has ignited audiences worldwide. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart and has been a featured soloist on the PBS broadcast “Evening at Pops,” with conductors John Williams and Mr. Lockhart.

Stripling is Artistic Director and Conductor of the acclaimed Columbus Jazz Orchestra.

Stripling has been a pops favorite since his Carnegie Hall debut with Skitch Henderson and the New York Pops. He has been a soloist with the Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Dallas

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Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world.

An actor and singer, Stripling was chosen from a worldwide search to play Louis Armstrong in the 2011 stage musical Satchmo. Many will remember his featured cameo performance in the TV movie “The Young Indiana Jones Chronicles” and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of From Second Avenue to Broadway.

TV viewers have seen his solo work on the international telecast of the Grammy awards; and millions have heard his trumpet and vocals in TV commercials and TV theme songs, including “20/20” and CNN, as well as movie soundtracks.

Stripling lives in the countryside of Ohio with his wife, the former dancer, writer and poet Alexis, and their beautiful daughters.

Byron Stripling: A Holiday Homecoming

F

or virtuoso jazz trumpeter Byron Stripling, his Thanksgiving weekend concerts with the Atlanta Symphony Orchestra mark not only his debut with the Orchestra but also a kind of holiday homecoming.

The Atlanta native was born in 1961 at the historic McLendon Hospital, and lived the first five years of his life in Decatur. His father, Luther Stripling, was a classically trained singer who earned his bachelor’s degree from Clark College in 1957, graduating cum laude. At home, he exposed Byron and his brother to classical music, jazz, blues and gospel.

“My father was a professor and my mother was a public school teacher, so we’d always have a long Christmas break and the summers off,” Stripling says. From his youthful trips back to Georgia, he remembers well the music at church, the loving relatives and the extended family meals, especially the desserts: the delicious pound cakes, peach cobblers and pecan pies.

“It was important for my parents to have me keep in touch with all my relatives. I still consider Georgia my roots, my foundation, and it’s a place I feel grounded because of the strong family bond I have here.” encoreatlanta.com | Atlanta’s Performing Arts Publication 69

PAT JOHNSON

When Byron was 5, his father won a graduate assistantship at the University of Kentucky, so the family packed and moved to Lexington. It wasn’t their last move, but the family often returned to Atlanta to visit relatives, especially during the holidays. For the Stripling family, Atlanta and Decatur would always be “home.”

NOV 27 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Coca-Cola Holiday Concerts Concert of Sunday, Nov. 27 at 3:30pm

Family Holiday Special JOSEPH YOUNG, conductor The Atlanta Symphony Orchestra Holiday concerts are presented by Coca-Cola.

Holiday concerts are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.

JOHN LEMLEY, narrator FEATURING DANCERS FROM THE GEORGIA BALLET Elizabeth Chapman, Alexa Goldberg, Haley Ivy, Marah King, Katie Owerbach, Josiah Savage, Kelsey Stanhope JAMES M. STEPHENSON Holiday Fanfare Medley No. 2 GEORGES BIZET “Farandole” from L’Arlésienne SERGEI PROKOFIEV “Troïka” from Lt. Kijé, Opus 60 FAITH arr. Lloyd Conley Brazilian Sleigh Bells LEROY ANDERSON Sleigh Ride

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.

PIOTR ILYICH TCHAIKOVSKY “Overture Miniature” from Nutcracker, Opus 71 “Danse Chinoise” (Tea) from Nutcracker, Opus 71 (Act II) III. “Valse des Fleurs” from Nutcracker, Opus 71 (Act II) BILL HOLCOMBE ‘Twas the Night Before Christmas BRUCE CHASE arr. Bruce Chase Christmas Memories ROBERT LOPEZ, KRISTIN LOPEZ, ANDERSON-LOPEZ arr. Bob Krogstad Music from Frozen

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NOV 27 | artists JOSEPH YOUNG, conductor

JEFF ROFFMAN

I

ncreasingly recognized as “one of the most gifted conductors of his generation,” Joseph Young is currently the Assistant Conductor of the Atlanta Symphony Orchestra. In his role, Young conducts more than 50 concerts per season with the Orchestra, which include programs on the Delta Classical Series, Concerts for Young People and Family Series and various other concerts geared towards specific audiences in the community. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011/12 season, and the League of American Orchestras Conducting Fellow with the Buffalo Philharmonic and Baltimore Symphony.

Young made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), and Chicago Sinfonietta, among others. In the 2015/16 season he made his subscription debut with the Atlanta Symphony Orchestra. The 2016/17 season includes debuts with the Guanajuato Symphony Orchestra (Mexico), New World Symphony Orchestra, and Fayetteville Symphony; he will also return to the Orquesta Sinfonica y Coro de RTVE (Madrid), Little Orchestra Society and the Atlanta Symphony Orchestra in subscription performances.

Young is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008, and 2014. In 2013, Joseph was a Semi-finalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one out of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic.

Young earned his bachelor’s degree in music education at the University of South Carolina, and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert Spano, and Marin Alsop, with whom he continues to maintain a close relationship.

JOHN LEMLEY, narrator

J

ohn Lemley is the host and producer of “John Lemley’s City Café” on AM 1690 WMLB, the Voice of the Arts. The three-hour program of classical music airs at 3 p.m. Sunday. “High Tea,” another of Mr. Lemley’s AM 1690 shows, features two hours of adult standards on weekdays beginning at 4 p.m. Mr. Lemley is also an anchor on News Radio 106.7 (WYAY-FM Atlanta).

From 1997-2015, he was an on-air host, producer and assistant program director at 90.1 FM WABE, Atlanta’s NPR station. He created and 72 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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Love. Challenge. Lead. Change.

1424 WEST PACES FERRY ROAD, NW | ATLANTA, GEORGIA, 30327 WESTMINSTER.NET

encoreatlanta.com | Atlanta’s Arts Publication 1424 WEST PACES FERRY ROAD, NW | ATLANTA, GEORGIA,Performing 30327 | WESTMINSTER.NET

73

NOV 27 | artists hosted numerous news and music programs, including “The Stargazer’s Journal,” “Bach’s Lunch” and “All Things Considered.”

In 2008, Mr. Lemley was named best drive-time DJ by the staff of The Atlanta JournalConstitution for his hosting work on All Things Considered. In 2010, Atlanta Magazine named Mr. Lemley and “City Café” as the best of the dial. In 2012, Mr. Lemley received a GLAAD media award.

He has become a fixture in the Atlanta arts community, working as a narrator and emcee for performances and fundraisers.

John lives in Decatur with his husband, Mike Selk.

GEORGIA BALLET

F

ounded in 1960 by Marietta native Iris Hensley, the Georgia Ballet is a nonprofit organization committed to inspiring the public through professional ballet performance, unparalleled dance training and meaningful community outreach. It is continuously growing to meet the needs of the community while fulfilling our reputation as an outstanding arts organization.

The Georgia Ballet resident professional company offers diverse performances for audiences of all ages and exceptionally high-quality professional dance experiences. The company’s ever-growing repertoire of classical and contemporary works includes ballets from such masters as George Balanchine and Marius Petipa as well as new choreography.

It strives to bring out the best in its artists and to incorporate all of their talents so they can entertain, elevate and stimulate audiences. The company’s exceptional classical ballet base helps dancers navigate various styles of choreography and express a wide range of emotions through multiple mediums.

74 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

It’s Time.

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One of the

wonders

of Walker.

Metro Atlanta’s college-prep community for Early Learners through 12th grade To register for our upcoming open houses, please visit thewalkerschool.org/openhouse!

The Walker School practices a nondiscriminatory policy of admission.

THE WALKER SCHOOL

where wonders await.

encoreatlanta.com | Atlanta’s Performing Arts Publication 75

ASO | support

T

he Orchestra donor list includes all donations made since June 1, 2015.

This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime.

Those among us who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world.

On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share.

Bravo!

$500,000+

Delta Air Lines, Inc. The Kendeda Fund

$250,000+

Mrs. Anne Cox Chambers

$100,000+

Lettie Pate Evans Foundation, Inc. The Andrew W. Mellon Foundation

1180 Peachtree Bank of America The Coca-Cola Company Estate of Polly and Roger Hallock The Home Depot Foundation

Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation Estate Dr. Shirley E. Rivers Wells Fargo

Susan & Richard Anderson

Susan & Thomas Wardell

$50,000+

The Graves Foundation

The Zeist Foundation

$35,000+

Ann and Gordon Getty Foundation Kaiser Permanente National Endowment for the Arts Victoria & Howard Palefsky

Ann Marie & John B White, Jr.* Charlie and Dorothy Yates Family Fund

$75,000

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

76 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

ASO | support Appassionato Donors who give at the Appassionato level ($10,000 - $24,999) enjoy the benefits of the Patron Partnership, while also having opportunities to attend the annual Appassionato Soiree, receive VIP personal ticketing and reservation concierge, exclusive access to artists’ events, and recognition as a concert sponsor.

$25,000+ Madeline & Howell E. Adams, Jr. The Antinori Foundation The Arthur M. Blank Family Foundation Mary & John Brock Connie & Merrell Calhoun City of Atlanta Office of Cultural Affairs Mr. & Mrs. Bradley Currey, Jr. Catherine Warren Dukehart Ms. Lynn Eden Four Seasons Hotel Atlanta Betty Sands Fuller Fulton County Arts Council Mr. Judah S. Gudelsky Lucy R. & Gary Lee, Jr. Harris Miller & Deborah Kahn The Charles Loridans Foundation, Inc. Massey Charitable Trust Terence L. & Jeanne P. Neal* One Museum Place Porsche Cars North America, Inc. Publix Super Market Charities Ryder Truck Rental, Inc. Bill & Rachel Schultz* Mrs. William A. Schwartz Southern Company Gas Mrs. Charles A. Smithgall, Jr. Surdna Foundation The Mark & Evelyn Trammell Foundation The UPS Foundation Mr. & Mrs. Edus H. Warren, Jr. WestRock Mrs. Sue S. Williams

$17,500+ A Friend of the Symphony CBH International, Inc. The Jim Cox, Jr. Foundation The Roy & Janet Dorsey Foundation Caroline & Joe O’Donnell Sunny Park

The Sally & Peter Parsonson Foundation Patrick & Susie Viguerie Mark & Rebekah Wasserman Adair & Dick White

$15,000+ Mr. & Mrs. Frank H. Boykin The John & Rosemary Brown Family Foundation The Capital Group Companies Charitable Foundation Wright & Alison Caughman Cari Dawson & John Sparrow Russell Currey & Amy Durrell Keith Adams & Kerry Heyward Kelley O. & Neil H. Berman Harry & Wendy Cynkus William M. Graves Jason & Carey Guggenheim/ Boston Consulting Group Clay & Jane Jackson Ann A. & Ben F. Johnson III* James H. Landon Donna Lee & Howard Ehni Karole & John Lloyd Meghan & Clarke Magruder Ken & Carolyn Meltzer Mr. & Mrs. Solon P. Patterson* Mr. & Mrs. E. Fay Pearce, Jr.* Dr.** & Mrs. Mark P. Pentecost, Jr. Patty & Doug Reid Betsy & Lee Robinson Mr. & Mrs. James A. Rubright Janine Brown & Alex J. Simmons, Jr. Jeffrey Sprecher & Kelly Loeffler Loren & Gail Starr Triska Drake & G. Kimbrough Taylor, Jr. Alison & Joe Thompson Trapp Family John & Ray Uttenhove Kathy N. Waller

$10,000+ A Friend of the Symphony

Allstate Alston & Bird Julie & Jim Balloun Jennifer Barlament & Kenneth Potsic Mr. & Mrs. Paul J. Blackney Alexandra & Brett Blumencranz Mr. David Boatwright The Breman Foundation, Inc. The Walter & Frances Bunzl Foundation City of Atlanta Office of Cultural Affairs John W. Cooledge In honor of Norman Mackenzie

by Janet Davenport Drs. Jeannette Guarner & Carlos del Rio Marcia & John Donnell Eleanor & Charles Edmondson Georgia-Pacific Foundation Georgia Power Foundation The Robert Hall Gunn, Jr. Fund Ms. Jeannie Hearn Mr. & Mrs. Douglas J. Hertz Roya & Bahman Irvani Kirk & Kim Jamieson Sarah & Jim Kennedy Mr.** & Mrs.** Donald Keough Kimberly-Clark Corporation King & Spalding Mr. Louis G. Lane Pat & Nolan Leake Lenox Square a Simon Mall John F. & Marilyn M. McMullan Suzanne & Bill Plybon* Ms. Nancy Field & Mr. Michael Schulder Joyce & Henry Schwob Mr. John A. Sibley III Slumgullion Charitable Fund Dr. Steven & Lynne Steindel* Ticketmaster Turner Foundation, Inc. Chilton & Morgan Varner Mrs. Virginia S. Williams

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

encoreatlanta.com | Atlanta’s Performing Arts Publication 77

ASO | support the patron partnership Members of the Patron Partnership ($2,000-$9,999) enjoy a host of benefits that include event invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal.Â

2016-17 committee Belinda Massafra Chair Kristi Allpere Vice-Chair, Programs Helga Beam Vice-Chair, Annual Fund

June Scott Vice-Chair, Communications & Newsletter Editor Deedee Hamburger Programs Committee Member Judy Hellriegel Annual Fund Committee Member

Cindy Jeness Communications Committee Member Milt Shlapak Member-at-Large Sally Parsonson Communications Committee Member

Peter Stelling Programs Committee Member Jonne Walter Annual Fund Committee Member Marcia Watt Communications Committee Member

$7,500+

Ruth & Mark Coan William & Patricia Cook Thomas G. Cousins Peter & Vivian de Kok Ms. Diane Durgin Betty W. Dykes Mr. Richard H. Delay & Dr. Francine D. Dykes Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand Mr. & Mrs. Richard Goodsell Deedee & Marc Hamburger* Sally W. Hawkins James & Bridget Horgan Mr. Roger Hudguns Mrs. James M. Hund Tad & Janin Hutcheson Baxter Jones & Jiong Yan Cecile M. Jones Paul & Rosthema Kastin George H. Lanier Mr. & Mrs. J. Hicks Lanier/The Sartain Lanier Family Foundation, Inc. Joanne Lincoln Isabel Lamy Lee Peg & Jim Lowman Loews Atlanta Hotel Lubo Fund

Belinda & Gino Massafra Mr. & Mrs. Brian F. McCarthy Mary Ruth McDonald* Walter W. Mitchell Morgens West Foundation Ms. Suzanne E. Mott Dansby Franca G. Oreffice Donald S. Orr & Marcia K. Knight Margaret H. Petersen In Memory of Dr. Frank S. Pittman III The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel S.A. Robinson Ms. Susan Robinson & Ms. Mary Roemer John T. Ruff Shipt Beverly & Milton Shlapak Gerald & Nancy Silverboard Hamilton & Mason Smith Amy & Paul Snyder Peter James Stelling

Mrs. C. Preston Stephens John & Yee-Wan Stevens Lou & Dick Stormont Edward & Jean Stroetz Burton Trimble Drs. Jonne & Paul Walter Robert Wenger & Susan Carney Joan N. Whitcomb Thomas E. Whitesides, Jr. M.D. Suzanne Bunzl Wilner

Aadu & Kristi Allpere* Cobb EMC Community Foundation Mr. & Mrs. Ronald M. Cofield Sally & Carl Gable Robert & Sherry Johnson Dr. & Mrs. James O. Wells, Jr. Russell Williamson & Shawn Pagliarini

$5,000+ A Friend of the Symphony - 5 Mr. & Mrs. John Allan Asad Bashey Jack & Helga Beam Bell Family Foundation for Hope, Inc. Natalie & Matthew Bernstein Rita & Herschel Bloom Jacqueline A. & Joseph E. Brown, Jr. Patricia & William Buss Mr. & Mrs. Russell E. Butner Mr. & Mrs. Dennis M. Chorba

$2,000+ A Friend of the Symphony - 4 Mrs. Kay Adams* & Mr. Ralph Paulk Ms. Mary Allen William Allgood & Gloria Jones The Hisham & Nawal Araim Foundation Rod & Leslie Aycox Dr. Evelyn R. Babey Dr. & Mrs. David Bakken Dr. & Mrs. Joel E. Berenson Shirley Blaine Leon Borchers Martha S. Brewer

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

78 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Harriett Brock & Erich Ledermann Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Karen & Rod Bunn Drs. Aubrey & Carol Bush Mr. & Mrs. Walter K. Canipe Alison & Chuck Carlin Ms. Julie Chautin Ruth & Mark Coan Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins Carol Comstock & Jim Davis* Ralph & Rita Connell Jean & Jerry Cooper Mr. & Mrs. Jonathan J. Davies Mr. Philip A. Delanty Xavier Duralde & Mary Barrett Greg & Debra Durden Dieter Elsner The Elster Foundation Rosi Fiedotin Dr. & Mrs. Richard D. Franco John & Michelle Fuller Representative Pat Gardner & Mr. Jerry Gardner Mary D. Gellerstedt Sally & Walter George Caroline Gilham Mrs. Janet D. Goldstein Carl & Anne Grafton Mrs. Louise Grant Joanne & Alex Gross

Mr. & Mrs. George Gunderson* Mr. Gary Guy Harald R. Hansen* John & Martha Head Mr. & Mrs. John E. Hellriegel Kenneth R. Hey Mr.** & Mrs. Jesse Hill, Jr. Sarah & Harvey Hill James & Bridget Horgan Mrs. Sally Horntvedt Harry & Tatty Howard Henry Howell Dona & Bill Humphreys JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Mr. W. F. & Dr. Janice Johnston Ann Rollins & James Jose James Kelly Allyson M. Kirkpatrick Mr. & Mrs. Alan M. Knieter Mrs. Jo W. Koch Dr. & Mrs. James T. Laney* Lillian Balentine Law Wolfgang & Mariana Laufer Olivia A. M. Leon Mr. & Mrs. J. David Lifsey Hank Linginfelter Mr. & Mrs. Frederick C. Mabry

Barbara & Jim MacGinnitie Elvira & Jay Mannelly Ms. Erin M. Marshall Kay & John T. Marshall Martha & Reynolds McClatchey Al & Betsy McGhee Kathryn McGrew Dr. Larry V. McIntire Mr. Justin R. McLain Birgit & David McQueen Virginia K. McTague Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Rebecca P. Moon Gregory Moore Lilot S. Moorman & Jeffrey B. Bradley Janice & Tom Munsterman Ann A. Nable Melanie & Allan Nelkin Gary & Peggy Noble Charles & Dona O’Brien Mr. & Mrs. Charles O’Brien III Robert & Mary Ann Olive Barbara & Sanford Orkin Susan Perdew Elise T. Phillips Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. The Reverend Neal P. Ponder, Jr. Tom and Mary Quigley Mrs. Susan H. Reinach Peach State Truck Centers

Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue The Gary W. Rollins Foundation Jane & Rein Saral June and John Scott Nancy & Henry Shuford Helga Hazelrig Siegel Baker & Debby Smith Johannah Smith Barry & Gail Spurlock Mr. & Mrs. Raymond F. Stainback, Jr. Mr. & Mrs. Stephen B. Swartz Kay & Alex Summers Elliott & Elaine Tapp George & Amy Taylor Judith & Mark K. Taylor Mrs. William J. Thompson Carol & Ramon Tomé Family Fund Sheila L. Tschinkel Wayne & Lee Harper Vason Frank Vinicor, M.D. Vogel Family Foundation Alan & Marcia Watt* Dr. Nanette K. Wenger David & Martha West Mr. & Mrs. Peter L. Whitcup Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Mary Lou Wolff Mr. & Mrs. M. Beattie Wood Mr. & Mrs. John C. Yates Camille Yow

atlanta symphony associates The volunteer organization of the Atlanta Symphony Orchestra

2016-17 ASA Board of Directors Karen Bunn President Belinda Massafra Advisor Bunny Davidson Secretary

Jonathan Brown Treasurer Sylvia Davidson Nominating Chair Ann Levin Membership VP

Nancy Janet Communication & Marketing VP Josh Cochran & Emily Hampton Bravo! Unit Chairs

Martha & John Head Concerto Unit Chairs Joan Abernathy Encore Unit Chair Alison Mimms & JoAnn Rieger Ensemble Unit Chairs

encoreatlanta.com | Atlanta’s Performing Arts Publication 79

ASO | support henry sopkin circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Named for the Orchestra’s founding Music Director, the Henry Sopkin Circle recognizes individuals who have included the Atlanta Symphony Orchestra in their will or estate plans.

Members enjoy special events and benefits throughout the season, including the Annual Henry Sopkin Circle Luncheon.

Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia & William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese* Margie & Pierce** Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela Johnson Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth R. Etoll Brien P. Faucett Dr. Emile T. Fisher A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable

William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Mary Virginia Hearn** Barbara & John** Henigbaum Richard E. Hodges, Jr. Pat & Chuck Holmes Mr.** & Mrs. Fred A. Hoyt, Jr. Jim** & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb** & Hazel Karp Anne Morgan & Jim Kelley Robert Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little** Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder

K Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Amy W. Norman Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonson Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram 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 June and John Scott Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower

80 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.** & Mrs.** Charles R. Yates **Deceased

You can leave a legacy of music.

For more information call 404.733.4839 or visit aso.org/giving

Enjoy the magic of the Fox this holiday with your family

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NOVEMBER 29-DECEMBER 4

FoxTheatre.org/Christmas • 855-285-8499

encoreatlanta.com | Atlanta’s Performing Arts Publication 81

Study with a faculty that includes 30 members of the San Francisco Symphony

800.899.SFCM | sfcm.edu 161007 ATLANTA-4c-AD.indd 1

Alumnus Tian Yang Liu ’14, bass First Prize, 2013 International Society of Bassists Competition

ENCOREATLANTA.COM

10/5/16 3:49 PM

Discover the best Atlanta has to offer.

82 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

3-SHOW MINI PACKAGES ON SALE NOW! FAMILY SERIES

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GAC practices a non-discriminatory policy of admissions.

BroadwayInAtlanta.com Develop your gifts. Expand your faith.

Uncover your purpose.

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Join us for an Open House January 24 or February 28.

Register online at greateratlantachristian.org or call 770-243-2273 for more information. encoreatlanta.com | Atlanta’s Performing Arts Publication 83

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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 38 partners who lead our efforts to ensure the arts thrive in our community.

$1 MILLION+

$500,000+ A Friend of the Atlanta Symphony Orchestra (2) The Andrew W. Mellon Foundation Bank of America Chick-fil-A Foundation / Rhonda and Dan Cathy Georgia Power Foundation, Inc. The Home Depot Foundation The Marcus Foundation, Inc.

Spray Foundation, Inc. SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Thomas Guy Woolford Charitable Trust

Terra Foundation for American Art Wells Fargo

$400,000+ Abraham J. & Phyllis Katz Foundation The Douglas J. Hertz Family PwC, Partners & Employees

Patty and Doug Reid The Rich Foundation The Sara Giles Moore Foundation

$300,000+ Mr. and Mrs. C. Merrell Calhoun The Community Foundation for Greater Atlanta, Inc. Deloitte, its Partners & Employees Forward Arts Foundation

Mr. and Mrs. Donald R. Keough King & Spalding, Partners & Employees UPS Mr. and Mrs. Edus H. Warren, Jr. Mr. and Mrs. Leonard Wood

$250,000+ EY, Partners & Employees Invesco Ltd.

KPMG LLP, Partners & Employees wish Foundation

Woodruff Circle & Patron Circle donations made: June 1, 2015 – May 31, 2016 Beauchamp C. Carr Challenge Fund Donors

encoreatlanta.com | Atlanta’s Performing Arts Publication 85

THE PATRON CIRCLE $200,000+

A Friend of the Atlanta Symphony Orchestra AT&T Georgia-Pacific Corporation Estate of Jeannie Hearn Beth and Tommy Holder Jane and Clayton Jackson Jones Day Foundation & Employees Sarah and Jim Kennedy Lucy R. and Gary Lee, Jr. Estate of Amy Norman Louise S. Sams and Jerome Grilhot Margaret and Terry Stent Tull Charitable Foundation Turner

$150,000+

1180 Peachtree A Friend of the Woodruff Arts Center Alston & Bird LLP The Antinori Foundation / Ron and Susan Antinori BB&T Joe and Alexis Best III The David, Helen & Marian Woodward Fund-Atlanta Equifax, Inc. Fulton County Arts Council The Howell Fund, Inc. Victoria and Howard Palefsky PNC Estate of Shirley Rivers The Sartain Lanier Family Foundation The Shubert Foundation Mrs. Sue Williams

$100,000+

A Friend of the Alliance Theatre HerbertAllen / Allen & Company AmericasMart Atlanta The Arthur M. Blank Family Foundation Atlanta Foundation Sandra and Dan Baldwin Lucinda W. Bunnen Barbara and Steve Chaddick City of Atlanta Office of Cultural Affairs Ann and Jeff Cramer Dan and Merrie Boone Foundation / Dan W. Boone III First Data Corporation Sally and Carl Gable Carol and Paul Garcia Helen C. Griffith Kaiser Permanente Kilpatrick Townsend & Stockton LLP Emily and Carl Knobloch Morgens West Foundation National Endowment for the Arts Northern Trust Company The Pittulloch Foundation Margaret and Bob Reiser The Richman Family Foundation

Southern Company Gas Carol and Ramon Tomé Family Fund WestRock Company Woodruff Arts Center Employees

$75,000+

Alexander Babbage, Inc. Atlanta Homes & Lifestyles Kathy and Ken Bernhardt Frances B. Bunzl Cisco Edgerton Foundation New American Plays The Henry Luce Foundation, Inc. Intercontinental Exchange, Inc. Starr Moore and the James Starr Moore Memorial Foundation North Highland Publix Super Market Charities Mrs. Ruth Magness Rollins Triad Foundation, Inc.

$50,000+

Akris ALPLA Susan and Richard Anderson Assurant Atlanta Braves Birch Communications Kenny and Nancy Blank Bloomberg The Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Crawford & Company Katie and Reade Fahs Ellen and Howard Feinsand The Frances and Beverly DuBose Foundation, Inc. Paul and Kate Gaffney Mr. and Mrs. Lawrence L. Gellerstedt III General Electric Company Genuine Parts Company The Graves Foundation The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. and Mrs. Hilton H. Howell, Jr. Karen and Jeb Hughes Isdell Family Foundation Mr. Michael Kaufmann John C. Keller The Mark & Evelyn Trammell Foundation Massey Charitable Trust NCR Foundation Norfolk Southern Corporation One Museum Place Primerica, Inc. R. Howard Dobbs, Jr. Foundation Razorfish Regions Bank Mr. and Mrs. Fred Richman Mr. Ferdinand C. Seefried Chip and Sharon Shirley

The Patron Circle includes donors who generously made contributions to our FY16 annual funds and/or long-term special projects and endowment funds.

The Shops Buckhead Atlanta Mr. and Mrs. H. Bronson Smith Sara and Paul Steinfeld Sutherland Asbill & Brennan LLP Target Stores United Distributors, Inc. voestalpine Waffle House Susan and Tom Wardell Elizabeth and Chris Willett Joni Winston

$25,000+

A Friend of the High Museum of Art Kristie and Charles Abney Accenture LLP Ms. Kristin Adams Madeline and Howell Adams, Jr. Allstate Ann and Gordon Getty Foundation Arby’s Foundation, Inc. Arnall Golden Gregory LLP Spring and Tom Asher Atlanta Marriott Marquis AVYVE Axiall Corporation The Balloun Family Juanita and Gregory Baranco Anna and Ed Bastian Mr. and Mrs. Paul J. Blackney BNY Mellon Wealth Management Mr. Charles Brady John and Mary Brock John and Rosemary Brown Camp-Younts Foundation The Charles Loridans Foundation, Inc. Bert and Cathy Clark Cobb EMC Community Foundation Cousins Properties Inc. Sherri and Jesse Crawford Creative Industries Mr. and Mrs. Bradley Currey, Jr. Elaine and Erroll Davis Marcia and John Donnell Catherine Warren Dukehart Lynn Eden Brooke and Rod Edmond Emory University Peggy Foreman Four Seasons Hotel Atlanta Charlotte R. Garson Georgia Natural Gas Gertrude and William C. Wardlaw Fund GMT Capital Corporation David and Carolyn Gould Grant Thornton LLP Nancy and Holcombe Green Joy and Tony Greene Judah S. Gudelsky Robert Hall Gunn, Jr. James B. Hannan The Harold & Mimi Steinberg Charitable Trust Heineken USA

86 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Virginia Hepner and Malcolm Barnes Allison and Ben Hill Holder Construction Infor Global Solutions Jim Cox, Jr. Fund JLL Katie and West Johnson Lori and Bill Johnson Andrea and Boland Jones Mr. and Mrs. Michael L. Keough The Klaus Family Foundation Malinda and David Krantz Lisa & Ron Brill Charitable Trust Karole and John Lloyd Lockheed Martin Aeronautics Company Mr. and Mrs. Forrest McClain Sally and Allen McDaniel Mr. Harris N. Miller and Ms. Deborah A. Kahn Mueller Water Products, Inc. Terence L. and Jeanne P. Neal Nelson Mullins Riley & Scarborough LLP Newell Brands Novelis, Inc. Barbara and Sanford Orkin Oscar G. and Elsa S. Mayer Family Foundation Oxford Industries, Inc. John R. Paddock, PhD and Karen M. Schwartz, PhD Vicki and John Palmer Beth and David Park Sally and Pete Parsonson Mrs. Martha Pentecost Mr. and Mrs. Michael Plant Porsche Cars North America Inc. Price Gilbert, Jr. Charitable Fund Printpack PulteGroup, Inc. Quikrete Mr. and Mrs. Peter Quinones Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Dan and Garnet Reardon Richard Gray Gallery, LLC Rocket Camp Phyllis and Sidney Rodbell Alyson and Greg Rogers Ryder Truck Rental, Inc. Phil Sadler Sam’s Club and Wal-Mart Stores, Inc. SCANA Energy Bill and Rachel Schultz Mrs. William A. Schwartz Joyce and Henry Schwob The Selig Foundation: Linda & Steve Selig and Cathy & Steve Kuranoff ServiceNow Siemens Smith & Howard, P.C. Mrs. Lessie Smithgall

$25,000+ Continued

Southwest Airlines Southwire Company Karen and John Spiegel Jeffrey Sprecher and Kelly Loeffler State Bank & Trust Company Mr. David Stockert and Ms. Cameron Ives Swarovski Greer and Alex Taylor Sally G. Tomlinson Total Wine & More Transwestern TriMont Real Estate Advisors Troutman Sanders LLP The Vasser Woolley Foundation, Inc. Vontobel Swiss Wealth Advisors AG Walter Clay Hill and Family Foundation Rebekah and Mark Wasserman Rod Westmoreland Joan N. Whitcomb Ann Marie and John B. White, Jr. Susan and John Wieland Loraine P. Williams Wilmington Trust Frances Wood Wilson Foundation, Inc. Diane Wisebram and Edward D. Jewell Estate of Dorothy M. Yates Ellen and John Yates Amy and Todd Zeldin

$15,000+

A Friend of the Alliance Theatre A Friend of the High Museum of Art (3) A Friend of the Woodruff Arts Center ABM Acuity Brands, Inc. Keith Adams and Kerry Heyward Alice S. Powers Irrevocable Trust Alvarez & Marsal Amec Foster Wheeler Yum and Ross Arnold Neal K. Aronson Atlantic American Corporation/Delta Life Insurance Company/ Gray Television Atlantic Capital Bank Atlantic Trust Company Barbara and Ron Balser Bank of North Georgia/ Synovus Financial Corp Lisa and Joe Bankoff Susan R. Bell and Patrick M. Morris Kelly O. and Neil H. Berman Nancy and Phil Binkow Stan and Laura Blackburn The Blanche Lipscomb Foundation Stephanie Blank BlueCross BlueShield of Georgia Missy and Roland Boney

Susan V. Booth and Max Leventhal The Boston Consulting Group Jim and Lisa Boswell Mr. and Mrs. Frank H. Boykin Breman Foundation, Inc. Brown & Brown Insurance, Inc. Janine Brown and Alex J. Simmons, Jr. Bryan Cave Burr & Forman LLP Ms. Mary Cahill and Mr. Rory Murphy The Capital Group Companies Charitable Foundation The Casey-Slade Group, Merrill Lynch Mr. and Mrs. Jefrrey S. Cashdan Wright and Alison Caughman CBH International, Inc. Center Family Foundation The Chatham Valley Foundation, Inc. Children’s Healthcare of Atlanta Chubb Susan and Carl Cofer Brian and Melinda Corbett Barbara and Lee Coulter Ann and Tom Cousins W. Scott Creasman Marjorie and Carter Crittenden Michelle and David Crosland Charlene Crusoe-Ingram and Earnest Ingram Russell Currey and Amy Durrell Cushman & Wakefield, Inc. Harry and Wendy Cynkus Mr. and Mrs. James C. Davis Mr. and Mrs. Jay M. Davis Cari Katrice Dawson and John Martin Sparrow Mr. and Mrs. Richard A. Denny, Jr. Mr. and Mrs. William W. Dixon Margaret and Scott Dozier Mr. W. Daniel Ebersole and Mrs. Sarah A. Eby-Ebersole L. Franklyn Elliott, M.D. Nick Franz The Fred and Sue McGehee Family Charitable Fund Betty Sands Fuller Gas South, LLC Doris and Matthew Geller Georgia Council for the Arts Georgia Crown Distributing Company Greg and Lillian Giornelli Mr. and Mrs. Richard G. Goerss Mr. and Mrs. Richard Goodsell Sara Goza Graphic Packaging International, Inc. Jason and Carey Guggenheim/Boston Consulting Group

Mr. Patrick J. Gunning Mr. Kenneth Haines Harry Norman Realtors Sara and Jeff Hehir Mr. and Mrs. Christopher D. Hohlstein Mr. and Mrs. Jack K. Holland Catherine and Rob Hutchinson Ida Alice Ryan Charitable Trust Roya and Bahman Irvani Mrs. Maribeth M. Jameson and Mr. L. Norwood Jameson Liza and Brad Jancik Lou Brown Jewell John & Mary Franklin Foundation, Inc. John H. and Wilhelmina D. Harland Foundation Mary and Neil Johnson Robert and Sherry Johnson Mr. Baxter P. Jones and Dr. Jiong Yan James F. Kelly Charitable Trust Mr. and Mrs. David E. Kiefer James and Lori Kilberg Kimberly-Clark Corporation Joel Knox and Joan Marmo Wendy and Scott Kopp Kurt P. Kuehn and Cheryl Davis L & C Wood Family Foundation James H. Landon Donna Lee and Howard Ehni Elaine L. Levin Mr. and Mrs. Bertram L. Levy Livingston Foundation, Inc. Macy’s Meghan and Clarke Magruder Chip Mann and Bill Gilmore Larry and Lisa Mark Mr. and Mrs. John S. Markwalter, Jr. Mr. and Mrs. Mike McCarthy Margot and Danny McCaul Ken and Carolyn Meltzer Merrill Lynch—Buckhead Anna and Hays Mershon MGM Resorts International Hala and Steve Moddelmog Phil and Caroline Moïse Morgan Stanley-Atlanta Private Wealth Management Northwestern Mutual/ Northwestern Benefit Caroline and Joe O’Donnell Lynn and Galen Oelkers Stephen and Marjorie Osheroff Sunny Park Karen and Richard Parker Mr. and Mrs. Solon P. Patterson Perkins & Will, Inc. Susan and David Peterson Piedmont Charitable Foundation, Inc. Piedmont National Family Foundation Post Properties Inc. PRGX

Mr. and Mrs. William C. Rawson Raymond James Financial, Inc. Travis Reed and Michael Kriethe of Harry Norman Realtors Mr. and Mrs. Robert Reeves Regal Entertainment Group Betsy and Lee Robinson Mr. and Mrs. William H. Rogers, Jr. Rooms To Go Foundation Dr. and Mrs. Arnold B. Rubenstein Jack Sawyer and Dr. Bill Torres Mark and Linda Silberman Skanska USA Inc. The Slumgullion Charitable Fund Dr. and Mrs. Dennis Lee Spangler Elise and Nick Spina Staging Directions Loren and Gail Starr Charlita Stephens-Walker, Charles and Delores Stephens Les Stumpff and Sandy Moon Michelle and Stephen Sullivan Surya Hugh M. Tarbutton, Jr. G. Kimbrough Taylor and Triska Drake Judith and Mark Taylor Lisa Cannon Taylor and Chuck Taylor Thomas H. Lanier Foundation Lizanne Thomas and David Black Alison and Joe Thompson Rosemarie and David Thurston Trapp Family The Trillist Companies, Inc./ YOO on the Park Mr. and Mrs. Rhett L. Turner US Bank John and Ray Uttenhove Veritiv Verizon Wireless Paul E. Viera and Gail O’Neill Patrick and Susie Viguerie Reggie and Kim Walker Kathy N. Waller Leigh and Tim Walsh Weldon H. Johnson Family Foundation Adair and Dick White Mr. and Mrs. Douglas L. Williams James B. and Betty A. Williams Richard Williams and Janet Lavine Willis Towers Watson The Winstead Group Dina Woodruff Mike Wright - Harry Norman, Realtors Yancey Bros. Co Mary and Bob Yellowlees

encoreatlanta.com | Atlanta’s Performing Arts Publication 87

ASO | staff EXECUTIVE Jennifer Barlament Executive Director Alvinetta CookseyWyche Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning & Operations Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer Insider & Program Annotator Scott O’Toole Artistic Assistant Bob Scarr Archives Program Manager DEVELOPMENT Toni Paz Director of Development Jessica Langlois Director of Major Gifts and Special Projects Shawn Gardner Senior Development Coordinator Ashley Nixon Special Events Coordinator Brenda Turner Manager of Individual Support

MARKETING & COMMUNICATIONS KC Commander Marketing Coordinator Elizabeth Daniell Communications Coordinator Adam Fenton Director of Multimedia Technology Holly Hanchey Director of Marketing & Patron Experience Tammy Hawk Director of Communications Robert Phipps Publications Director SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management Melanie Kite Director of Subscriptions & Patron Services Pamela Kruseck Manager of Group Sales & Tourism Jesse Pace Patron Services Manager Gokul Parasuram Group & Corporate Sales Assistant Robin Smith Subscription & Education Sales Christopher Stephens Corporate Sales Manager

EDUCATION & COMMUNITY ENGAGEMENT Kaitlin Gress Manager of Community Programs Holly Hudak Senior Director of Education and Community Engagement Tiffany I. M. Jones Managing Producer of Educational Concerts Ruthie Miltenberger Manager of Family Programs Adrienne Thompson Manager, Talent Development Program OPERATIONS Russell Williamson Senior Orchestra Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Christopher McLaughlin Orchestra Operations Manager Kourtnea Stevenson Assistant Orchestra Personnel Manager Susanne Watts Orchestra Personnel Manager

88 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

FINANCE & ADMINISTRATION Susan Ambo Chief Financial Officer Peter Dickson Senior Accountant Kimberly Hielsberg Senior Director of Financial Planning & Analysis Stephen Jones Symphony Store Shannon McCown Office Manager April Satterfield Controller ASO PRESENTS Nicole Epstein Managing Producer of ASO Presents Lisa Eng Multimedia Creative Manager Christine Lawrence Box Office Manager Clay Schell Consultant Will Strawn Marketing Coordinator

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.

encoreatlanta.com | Atlanta’s Performing Arts Publication 89

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

SINGLE TICKETS Call 404.733.5000 Tuesday - Saturday noon to 6 p.m. and Sunday noon to 5 p.m. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final.

www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery.

For orders received less than two weeks before the concert, tickets will be held at the box office.

WOODRUFF ARTS CENTER BOX OFFICE Open Tuesday - Saturday noon to 6 p.m. and Sunday noon to 5 p.m. Please note: No refunds or exchanges. All artists and programs are subject to change.

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

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

DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.

ASO | general info LATE SEATING

THE ROBERT SHAW ROOM

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.

The ASO invites donors who contribute at least $2,500 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

SPECIAL ASSISTANCE

Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345 Donations & Development 404.733.4262

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

SYMPHONY STORE The Symphony Store is now open directly adjacent to the Robert Shaw Room and Delta SKY360º Club. The store is open before, during and after most concerts.

90 Atlanta Symphony Orchestra | aso.org

IMPORTANT PHONE NUMBERS

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Lovett www.lovett.org

Offering the best in academics–enriched with more than 80 classes in the Fine Arts, all taught by professional artists.

OPEN HOUSE Saturday, Nov. 12 Kindergarten, 1:00 pm Sunday, Nov. 13 Grades 1–5, 1:00 pm Grades 6–8, 3:30 pm Wednesday, Jan. 25 Grades 9–12, 6:30 pm The Lovett School practices a nondiscriminatory admission policy. Financial aid is available.

Cinderella, 2016

encoreatlanta.com | Atlanta’s Performing Arts Publication 91

ASO | calendar DEC 1/3 | Thu/Sat: 8pm Laura Jackson, conductor Avi Avital, mandolin RESPIGHI: Ancient Airs and Dances Suite 1 VIVALDI: Concerto in C major AVNER DORMAN: Concerto for Mandolin and Strings TCHAIKOVSKY: Symphony No. 6, “Pathétique”

“PAT HÉTIQ UE”

Atlanta’s Musical Holiday Tradition

DEC 1/3

Christmas with the ASO

DEC 9/10 | Fri: 8pm/ Sat: 2pm & 8pm CHRISTMAS WITH THE ASO Norman Mackenzie, conductor Morehouse College Glee Club Gwinnett Young Singers ASO Chorus

Norman Mackenzie, conductor Morehouse College Glee Club Gwinnett Young Singers ASO Chorus

DEC 15 | Thu: 8pm HANDEL’S MESSIAH, Part I Norman Mackenzie, conductor ASO Chamber Chorus

DEC 9/10

DEC 16/17 | Fri: 8pm/ Sat: 2pm & 8pm A VERY MERRY HOLIDAY POPS! David Charles Abell, conductor Hugh Panaro and Nikki Renée Daniels, vocals

HANDEL’S

DEC 15

Messiah

DEC 20/21 | Tues: 8pm/ Wed: 2pm & 8pm CIRQUE DE LA SYMPHONIE Joseph Young, conductor de

DEC 16/17

Buy Tickets Here!

Woodruff Arts Center Box Office

404.733.5000

DEC 20/21

la

Sy m p honie

MICHAEL C. CARLOS MUSEUM OF EMORY UNIVERSITY carlos.emory.edu

November 5 –December 11, 2016

A Christ-centered college preparatory school for grades PreK4 through 12 Located in Smyrna, Whitefield Academy provides students with a well-rounded school experience including over 50 athletic teams and an awardwinning arts program.

678.305.3027 whitefieldacademy.com encoreatlanta.com | Atlanta’s Performing Arts Publication 93

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

To learn more and register for an admissions tour, visit

GALLOWAYSCHOOL.ORG/ADMISSIONS

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

94 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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