Atlanta Symphony Orchestra: March 2015

70th

ANNIVERSARY SEASON

LYNN HARREL DVOŘÁK: Cello Concerto MAR 26/27

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content March 2015

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16

features

By Kourtnea Stevenson

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56 ASO Support

12 Orchestra Leadership

70 ASO Staff

14 Musicians

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16 Making Connections with Atlanta ...

One Group at a Time

75 Concentrics

72 Ticket Info /

General Info

22 Concert Program

and Notes

contests Don’t forget, on EncoreAtlanta.com/contests, you can win additional prizes, like show tickets to the Fox, ASO, Alliance Theatre and more!

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6 Atlanta Symphony Orchestra | aso.org

Rarely seen works by one of Surrealism’s most influential artists More than 40 works by internationally renowned Cuban-born artist Wifredo Lam together for for the the first firsttime. time.Opens Through February May 24.

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Imagining New Worlds: José Parlá and Fahamu Pecou is organized by the High Museum of Art. Additional support provided by Sandra and Dan Baldwin, Jiong Yan and Baxter Jones, Elizabeth and Chris Willett, and Morgens West Foundation. Images: Wifredo Lam, Le Sombre Malembo, Dieu du carrefour, 1943, collection of Isaac and Betty Rudman. © 2014 Artists Rights Society (ARS), NY/ADAGP, Paris. Photo by Rey Parlá. 2014 © Parlá Studios, LLC. Wifredo Lam photograph by Man Ray. © 2014 Man Ray Trust/Artists Rights Society (ARS), NY/ADAGP, Paris

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8 Atlanta Symphony Orchestra | aso.org

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ASO | music director Robert Spano

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onductor, pianist, composer and pedagogue Robert Spano is known for his unique communicative abilities. Beginning his 14th season as Music Director of the Atlanta Symphony Orchestra, this imaginative conductor has quietly been responsible for nurturing the careers of numerous classically-trained composers and conductors. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs for 630 students, including Aspen’s American Academy of Conducting.

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall (2014-2015 marks Spano’s ninth consecutive season as a guest of that prestigious venue), Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements include the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.

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Following Britten’s War Requiem in Carnegie Hall and Verdi’s Aida in Atlanta, Spano conducted the world premiere of Steven Stucky’s The Classical Style in Ojai and will reprise the opera at Carnegie Hall in December. In addition to his hands-on leadership and eight Festival concerts at The Aspen Music Festival and School, Spano’s Hölderlin Songs premiere in August with soprano Susanna Phillips.

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Recordings for Telarc, Deutsche Grammophon and ASO Media, have received six Grammy™ Awards with an allVaughan Williams disc released in September. 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 was inducted into the Georgia Music Hall of Fame in 2012 and is proud to live in Atlanta.

10 Atlanta Symphony Orchestra | aso.org

Derek Blanks

Maestro Spano conducts three world premieres with the Atlanta Symphony Orchestra and joins both the Houston Grand Opera and Houston Symphony. Guest conducting in Milwaukee, Philadelphia, Helsinki, Copenhagen, Kuala Lumpur and Hong Kong is woven with Spano’s passion for education with the Curtis Institute of Music’s Orchestra on tour, and the New England Conservatory Philharmonic.

ASO | leadership 2014-2015 Board of Directors Officers Karole F. Lloyd Chair

D. Kirk Jamieson Vice Chair

Howard D. Palefsky Treasurer

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

Xia Liu Kelly L. Loeffler Meghan H. Magruder Brian F. McCarthy Penny McPhee† Michael J. Merlin Terence L. Neal E. Fay Pearce, Jr. Suzanne Tucker Plybon Patricia H. Reid† Ronda Respess* William Schultz John Sibley† H. Hamilton Smith†

Directors Jim Abrahamson† Neil H. Berman Paul Blackney Brett M. Blumencranz Frank H. Boykin Mary Rockett Brock Janine Brown C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Ronald M. Cofield Russell Currey Carlos del Rio, M.D. Lynn Eden

Paul Snyder Gail Ravin Starr Joseph M. Thompson Ray Uttenhove S. Patrick Viguerie Detlev von Platen Kathy N. Waller Thomas Wardell Mark D. Wasserman John B. White, Jr. Richard S. White, Jr. Patrice WrightLewis† Camille Yow

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

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

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

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

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

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

* Ex-officio † 2014-2015 Sabbatical 12 Atlanta Symphony Orchestra | aso.org

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AtlantaSymphonyOrchestra

ROBERT SPANO

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

DONALD RUNNICLES

Michael Krajewski Principal Pops Conductor Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair

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

JOSEPH YOUNG

FIRST VIOLIN

SECOND VIOLIN

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

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

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

NORMAN MACKENZIE

VIOLA

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

CELLO

PICCOLO

HORN

PERCUSSION

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

Carl David Hall

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane* Jaclyn Rainey• Bruce Kenney

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

BASS

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

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

OBOE

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

Emily Brebach CLARINET

Laura Ardan Principal The Robert Shaw Chair Ted Gurch Associate Principal William Rappaport Alcides Rodriguez* E-FLAT CLARINET

TRUMPET

Stuart Stephenson Principal The Madeline and Howell Adams Chair Michael Tiscione Acting Associate Principal/Second Michael Myers TROMBONE

Colin Williams* Principal Nathan Zgonc Acting Principal Brian Hecht BASS TROMBONE

Ted Gurch

Brian Hecht

BASS CLARINET

TUBA

Alcides Rodriguez* BASSOON

Principal - TBD Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar CONTRABASSOON

Michael Moore Principal

HARP

Elisabeth Remy Johnson Principal The Sally and Carl Gable Chair KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian

TIMPANI

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

‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season Players in string sections are listed alphabetically

Juan de Gomar

encoreatlanta.com | Atlanta’s Performing Arts Publication 15

Making connections with Atlantaâ&#x20AC;Ś

JEFF ROFFMAN

One group at 16 Atlanta Symphony Orchestra | aso.org

B

etween Buckhead, Downtown and Midtown Atlanta, the entertainment possibilities are virtually endless.

With a plethora of venues and countless festivals taking place every year, the live music fan can experience almost any genre imaginable. In a city that has hosted visits from the likes of The Killers, Maxwell and Keith Urban, it is important to continually keep the music of Rachmaninov and Wagner top of mind for both old and new audiences alike. So the question is how do we keep classical music relevant in a city so rich in culture and musical experiences?

a time

by Kourtnea Stevenson

Creating strong connections in the community is paramount to engaging classical music fans, and that is precisely what the Atlanta Symphony Orchestra’s Group and Corporate Sales department does every day.

Contemporary notions can pose a challenge when it comes to making a full classical concert appealing to the masses, so the sales department is continuously developing new relationships and connecting key audiences to the music and events that are most relevant. Whether it’s providing a group of young music students the opportunity to ask questions and gain insights from the Atlanta Symphony Orchestra’s (ASO) Concertmaster David Coucheron, or creating a unique experience to help a Scandinavian group celebrate the legacy of Sibelius, there are endless opportunities to connect the community to classical music and the ASO.

encoreatlanta.com | Atlanta’s Performing Arts Publication 17

“ …a great chance to meet and talk with some of the orchestra members”

JEFF ROFFMAN

— John Klum, ASO patron

A recent student group enjoys a Q&A session with ASO musicians.

18 Atlanta Symphony Orchestra | aso.org

Music and education go hand-in-hand. All music professionals not only learn the fundamentals of their chosen instrument, but throughout their careers they continue to grow, develop and create – the learning process never stops. Practice is a constant, even once proficiency is achieved. Of course there are child prodigies, like David Coucheron and violinist Midori, who start working toward musical mastery soon after learning to walk. However, it is more common for a love and interest in music to develop during elementary and middle school, and it is often left up to the school systems to introduce experiences and opportunities that spark musical interests. As with any pursuit, young people need the opportunity to try new things and to tap into potential passions. They also need an understanding of what is involved to achieve success and a vision of what that success might look like.

That is why youth groups are a priority for the Group and Corporate Sales department.

The team eases the financial burden by offering student groups the chance to enjoy the ASO at a special rate for the majority of classical concerts. This benefit is extended to all grade levels, including college. Sometimes student groups can even meet the

musicians after the concert. Elkins Pointe Middle School music teacher, Seth Gamba, has been bringing his students to see ASO concerts for more than a decade with the help of the sales team. He is committed to keeping his tradition going. “The sales team is always great to work with and makes each visit easy and fabulous,” said Gamba.

Mr. Gamba’s students had the opportunity to meet violinist Hilary Hahn when she performed with the ASO during the 2013-14 season. He brought his students back in February of this year for another performance and Q&A session with David Coucheron.

Both visits offered the students the opportunity to connect with established musicians, and possibly inspire future musicians.

Some of the most dedicated patrons have been attending ASO concerts for more than 50 years. The sales team makes sure that regular visits to the Symphony are among a wide range of activities which retirement community residents can take advantage.

Over the 11 years that she has been coordinating trips to the Symphony for her residents, Jennifer Durham of Park Springs Retirement Community has built a “fantastic relationship” with the ASO sales de-

David Coucheron, center, with Seth Gamba, back row left and students from Elkins Pointe Middle School

encoreatlanta.com | Atlanta’s Performing Arts Publication 19

received complimentary makeovers before the concert and during intermission, and enjoyed a beautiful performance of R. Strauss’ Oboe Concerto. Most recently, members of Atlanta’s LGBT community had the opportunity to meet organist Cameron Carpenter and Symphony musicians after enjoying an unforgettable performance of Poulenc’s Organ Concerto and Saint-Saëns’s Symphony No. 3, “Organ.” John Klum, a regular SymThe group and corporate sales department phony patron, described the event as, “a works to keep music lovers of all ages con- great chance to meet and talk with some of nected to the Atlanta Symphony Orchestra, the orchestra members.” With three months but they don’t stop there. They also work to in the season remaining, look for more inbring affinity groups together. For example, teractive and engaging events. a “Ladies Night” was created in 2014, in conjunction with Laura Mercier Cosmet- Corporate partnerships are also fostered ics, for a concert featuring principal oboist through the group and corporate sales departElizabeth Koch Tiscione. Female patrons ment. Through partnerships with some of the largest employers in the state, thousands of Georgians are connected to the Symphony. Employees and affiliates enjoy special pricing for classical concerts and rock, jazz and R&B concerts through ASO Presents.

JEFF ROFFMAN

partment. “I’ve been working with the sales team for more than a decade and it’s like talking to an old friend, and then getting down to business,” said Durham. By providing schedules of upcoming concerts for residents at Park Springs Retirement Community and many others across Atlanta, the sales team helps keep active seniors connected with their Symphony.

An ASO patron enjoys a “Ladies Night” pre-concert makeover.

While live music fans will find time for The Killers and Keith Urban, they will also have new opportunities to experience the beautiful sounds of the Grammy Award-winning Atlanta Symphony Orchestra performing Rachmaninov and Wagner. Whether it’s a performance at Atlanta Symphony Hall, Delta Classic Chastain Park Ampitheater or Verizon Wireless Ampitheatre, the Group and Corporate Sales department will help make the planning process simple and the event truly memorable.

Kourtnea Stevenson works in the ASO Group and Corporate Sales department as a sales associate.

20 Atlanta Symphony Orchestra | aso.org

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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 over 70 years as Atlantaâ&#x20AC;&#x2122;s hometown airline.

Deltaâ&#x20AC;&#x2122;s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

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

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

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 Atlanta Symphony Orchestra | aso.org

LA BOHÈME PUCCINI October 3, 6, 9, 11, 2015

THE

PIRA TESOFPENZANCE GILBERT & SULLIVAN March 5, 8, 11, 13, 2016

AND JULIET ROMEO GOUNOD May 7, 10, 13, 15, 2016

SOLDIER SONGS DAVID T. LITTLE Coming Next Season

WINTERREISE SCHUBERT Coming Next Season

JOIN THE

ADVENTURE

2015-2016 SEASON

encoreatlanta.com | Atlanta’s Performing Arts Publication 23

ASO | 3.5/6 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert ASO | 3.5/6 | program

Concerts of Thursday, March 5, at 8:00pm, and Friday, March 6, 2015, at 6:30pm.

Donald Runnicles, Conductor Kelley O’Connor, mezzo-soprano GUSTAV MAHLER (1860-1911) Rückert-Lieder (1901-2) 21 MIN “Liebst du um Schönheit” (“If you love for beauty”) “Blicke mir nicht in die Lieder!” (“Do not look into my songs!”)

“Ich atmet’ einen linden Duft!” (“I breathed a gentle fragrance!”)

“Ich bin der Welt abhanden gekommen” (“I am lost to the world”) “Um Mitternacht” (“At midnight”) INTERMISSION

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

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.

20 MIN

Symphony No. 5 in C-sharp minor (1902) 72 MIN ERSTER TEIL (PART ONE)

I. Trauermarsch. In gemessenem Schritt.

Streng. Wie ein Kondukt (Funeral March. With measured pace. Strict.

Like a cortège)

II. S türmisch bewegt. Mit grösster Vehemenz (Violently agitated. With the greatest vehemence) ZWEITER TEIL (PART TWO)

III. Scherzo. Kräftig, nicht zu schnell (Vigorously, not too fast) DRITTER TEIL (PART THREE)

IV. A dagietto. Sehr langsam (Very slow)

V. R ondo-Finale. Allegro English surtitles by Ken Meltzer The March 6 First Friday concert featuring the Mahler Fifth Symphony only, will be performed without intermission.

24 Atlanta Symphony Orchestra | aso.org

GUSTAV MAHLER was born in Kaliště, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911.

“Last night I nearly passed away”

O

n the afternoon of February 24, 1901, Gustav Mahler conducted the Vienna Philharmonic in a demanding program that featured the monumental Symphony No. 5 of Anton Bruckner. That evening, Mahler was back on the podium at the Court Opera to conduct yet another lengthy work— Mozart’s The Magic Flute. In the audience for both performances was a young Viennese woman by the name of Alma Schindler (1879-1964). She later recalled that at the concerts, Mahler “looked like Lucifer: a face as white as chalk, eyes like burning coals. I felt sorry for him and said to the people I was with: ‘It’s more than he can stand.’”

Mahler did indeed recover, and in June of 1901, the composer journeyed to his newly-constructed vacation home in Maiernigg on Lake Wörth in southern Austria.

During his three-month stay in Maiernigg, Mahler began his Fifth Symphony, completing the first two movements. Mahler also composed eight songs for voice and piano/orchestra—Der Tambourg’sell (The Drummer Boy), and seven based upon poems by Friedrich Rückert (1788-1866).

The latter were the start of works that would become the Rückert-Lieder (1901-2) and Kindertotenlieder (Songs on the Death of Children) (1904).

Rückert-Lieder (1901-2) The Rückert-Lieder are scored for solo voice, two flutes, two oboes, oboe d’amore, English horn, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, harp, piano/celeste and strings.

That night, Mahler suffered a massive hemorrhage. Quick action by Mahler’s sister, Justine, in summoning a physician saved his These are the first ASO Classical life. The next day, Mahler confided to his Subscription Performances. friend, Natalie Bauer-Lechner: n November of 1901, at the home of You know, last night I nearly passed a mutual friend, Mahler and Alma away. When I saw the faces of the two Schindler met for the first time. Mahler doctors, I thought my last hour had immediately fell in love with the beautiful come...While I was hovering on the young woman, and the two were engaged border between life and death, I wonafter a brief courtship. Gustav and Alma dered whether it would not be better Mahler wed in March 1902—he was forto have done with it all at once, since ty-one, and she, twenty-two. everyone must come to that in the end. That summer, the Mahlers, expecting their Besides the prospect of dying did not first child, traveled to Maiernigg. There, frighten me in the least, provided my Mahler added a fifth Rückert song, Liebst affairs are in order, and to return to life du um Schönheit, which he scored for seemed almost a nuisance. voice and piano. On January 29, 1905, in

I

Mahler told his brother-in-law, Arnold Rosé: “I lost a third of my blood that night.

I shall certainly recover, but the illness will still have cost ten years of my life.”

Vienna, Mahler conducted the premieres of the Kindertotenlieder and the four RückertLieder composed in the summer of 1901.

Later, Max Puttmann, an employee of Mahler’s publisher, created an orchestration

encoreatlanta.com | Atlanta’s Performing Arts Publication 25

ASO | 3.5/6 | program

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

To contact Ken, please email Ken.Meltzer@woodruffcenter.org.

ASO | 3.5/6 | program

ASO | 3.5/6 | program

of Liebst du um Schönheit. It is customary snare drum, triangle, suspended cymbal, to perform all five orchestrated Rückert- cymbals, bass drum, whip, harp, bass drum and strings.

Lieder as a group.

Mahler adored Rückert’s verse, which he described as “lyric poetry from the source, all else is lyric poetry of a derivative sort.”

In a July 1907 letter to Alma, Gustav Mahler, anxiously awaiting his wife’s arrival in Vienna, implored her to “Bring Rückert.” Alma characterized “Liebst du um Schönheit” (“If you love for beauty”) as the only love song Mahler ever wrote for her. And Gustav delighted in Alma Mahler’s characterization of the song “Ich bin der Welt abhanden gekommen” (“I am lost to the world”) as her husband’s self-portrait. It’s not surprising that Rückert’s verse inspired some of Mahler’s most inspired and moving lyrical creations.

“Liebst du um Schönheit” (“If you love for beauty”) “Blicke mir nicht in die Lieder!” (“Do not look into my songs!”)

“Ich atmet’ einen linden Duft!” (“I breathed a gentle fragrance!”)

“Ich bin der Welt abhanden gekommen” (“I am lost to the world”) “Um Mitternacht” (“At midnight”) Symphony No. 5 in C-sharp minor (1902) The first performance of the Fifth Symphony took place in Cologne, Germany, on October 18, 1904, with the composer conducting the Gürzenich Orchestra. The Fifth Symphony is scored for two piccolos, four flutes, three oboes, English horn, E-flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, tam-tam, orchestra bells, 26 Atlanta Symphony Orchestra | aso.org

First ASO Classical Subscription Performances: January 17, 18 and 19, 1974, Michael Palmer, Conductor.

Most Recent ASO Classical Subscription Performances: September 18, 19 and 20, 2003, Robert Spano, Conductor.

ASO Recording: Telarc CD-80394, Yoel Levi, Conductor.

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ustav Mahler finished the short score of his Fifth Symphony during the summer of 1902, while in Maiernigg. Mahler completed the orchestration in 1903. He conducted the work’s premiere in Cologne at an October 18, 1904 concert.

The Fifth marks a turning point in Mahler’s symphonic output. The initial four Symphonies are all closely related to the composer’s musical settings of texts from a collection of folk-poems known as Des Knaben Wunderhorn (The Youth’s Magic Horn). In fact, Symphony numbers Two, Three and Four contain movements for vocalists based upon Wunderhorn texts. By contrast, Symphonies Five, Six and Seven are all purely orchestral.

As with many of Mahler’s works, the Fifth was slow to gain acceptance. One critic scoffed: “Mahler had not much to say in his Fifth Symphony and occupied a wondrous time saying it.” A year after the premiere, Mahler lamented, “The Fifth is an accursed work. No one understands it.” That was, of course, not entirely true.

The Fifth Symphony did have its early advocates, including Ida Dehmel, wife of poet Richard Dehmel. She offered the following eloquent appreciation of the Mahler Fifth, reprinted in Alma’s Memoirs:

ZWEITER TEIL (PART TWO)

III. Scherzo. Kräftig, nicht zu schnell (Vigorously, not too fast)—In contrast to the opening two movements, the Scherzo— which stands on its own as the Symphony’s second part—radiates optimism. As Mahler commented to Natalie Bauer-Lechner, the Scherzo “is mankind in the full brightness of day, at the zenith of life.”

DRITTER TEIL (PART THREE)

IV. Adagietto. Sehr langsam (Very slow)— Scored only for strings and harp, the medToday, the Mahler Fifth rightfully enjoys its itative Adagietto is a reflective intermezzo status as one of the towering achievements between the exuberant Scherzo and conof a unique genius. cluding Rondo. According to the composERSTER TEIL (PART ONE) er’s friend, conductor Willem Mengelberg: I. Trauermarsch. In gemessenem Schritt. “This Adagietto was Gustav Mahler’s decStreng. Wie ein Kondukt (Funeral March. laration of love for Alma! Instead of a letter, With measured pace. Strict. Like a he sent her this manuscript without further cortège)—The opening movement is an explanation. She understood and wrote expansive Funeral March, launched by a back that he should come!!! Both have told solo trumpet. The March is at one point me this!” interrupted by an extended passage of The concluding Rondo follows without extraordinary violence and despair. The pause. mysterious final statement of the fanfare V. Rondo-Finale. Allegro—A brief introis capped by an emphatic, pizzicato chord. duction provides a glimpse of the Finale’s II. Stürmisch bewegt. Mit grösster Vehemenz central themes, the first of which is ulti(Violently agitated. With the greatest vehe- mately presented in a more fully-developed mence)—According the Mahler, this is the form by the horns. The strings launch a vigtrue opening movement of the Symphony, orous contrapuntal episode. After a repeat with the preceding Funeral March serving of the initial melody and contrapuntal as an introduction (echoes of the Funeral passage, the strings offer yet another central March do indeed return throughout). The theme, based upon the preceding Adagietto. movement opens with tremendous fury. Throughout the Finale, the themes are Suddenly, the measured tread of the Funeral repeated and manipulated with stunning March reappears. The lengthy development virtuosity. Toward the Rondo’s conclusion, features a stunning contrast of moods, con- the second-movement chorale returns in cluding with the hint of a chorale that will its most triumphant form, as the Fifth return toward the end of the Symphony. Symphony proceeds to a joyous conclusion.

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ASO | 3.5/6 | program

This Fifth Symphony of his carried me through every world of feeling. I heard in it the relation of adult man to everything that lives, heard him cry to mankind out of his loneliness, cry to man, to home, to God, saw him lying prostrate, heard him laugh his defiance and felt his calm triumph. For the first time in my life a work of art made me weep, a strange sense of contrition came over me which almost brought me to my knees.

ASO | 3.5/6 | artists DONALD RUNNICLES, Conductor

PABLO CASTAGNOLA

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onald Runnicles is the Principal Guest Conductor of the Atlanta Symphony Orchestra. He 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 in Jackson, Wyoming. Mr. Runnicles enjoys close and enduring relationships with several of the most significant opera companies and orchestras and is especially celebrated for his interpretations of Romantic and post-Romantic symphonic and opera repertoire which are core to his musical identity.

2014-15 season highlights include a new production of Berlioz’s Les Troyens at San Francisco Opera; new productions at the DOB of Shostakovich’s Lady Macbeth of Mtsensk and Berlioz’s Roméo et Juliette, along with eight revival titles and guest conducting engagements with the Berlin Philharmonic, London Symphony Orchestra, Tonhalle-Orchestre Zürich and Sydney Symphony Orchestra.

Prior posts include San Francisco Opera, where he was Music Director from 19922008 and during his tenure led world premieres of John Adams’s Doctor Atomic, Conrad Susa’s Les Liaisons Dangereuses and the U.S. premiere of Messiaen’s Saint François d’Assise; Chief Conductor of New York’s Orchestra of St. Luke’s; and General Music Director of the Freiburg theater and orchestra from 1989-1993.

DOB orchestra won the 2013 Gramophone prize for best vocal recording, and his extensive discography contains 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.

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

KELLEY O’CONNOR, mezzo-soprano

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ossessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy® Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2014-15 season, the California native’s impressive calendar includes, amongst many others, Mozart’s Requiem with Louis Langrée and the Mostly Mozart Festival Orchestra at Lincoln Center, Leoš Janáček’s Glagolitic Mass with the Philadelphia Orchestra conducted by Alan Gilbert and Debussy’s La Damoiselle élue and Duruflé’s Requiem with Donald Runnicles conducting the Berliner Philharmoniker.

Recent concert seasons include performances of Beethoven’s Mass in C during an international tour with Franz Welser-Möst and the Cleveland Orchestra, John Adams’ El Niño under the baton of Vladimir Jurowski with the London Philharmonic Orchestra, a US recital tour with soprano Jessica Rivera and pianist Robert Spano, including a performance at Carnegie Hall, Ravel’s Scheherazade with Esa-Pekka Salonen Mr. Runnicles’ most recent recording of and the Philharmonia Orchestra at the Wagner arias with Jonas Kaufmann and the Edinburgh Festival, Bach’s St. Matthew 28 Atlanta Symphony Orchestra | aso.org

Ms. O’Connor has sung Janáček’s The Cunning Little Vixen with Alan Gilbert and the New York Philharmonic, numerous performances with Gustavo Dudamel, including Bernstein’s “Jeremiah” Symphony on an international tour with the Los Angeles Philharmonic and Mahler’s “Resurrection” Symphony with the Simón Bolívar Orchestra, excerpts from Roussel’s Padmâvatî and the world premiere of a vocal work written for Ms. O’Connor by the legendary Indian musician, Zakir Hussain, in addition to multiple other roles.

KRISTINA CHOE JACINTH

Ms. O’Connor has received unanimous international, critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar. Ms.

O’Connor created the role for the world premiere at Tanglewood, under the baton of Robert Spano, and subsequently joined Miguel Harth-Bedoya for performances of Golijov’s piece with the Los Angeles Philharmonic at the Walt Disney Concert Hall. For her debut with the Atlanta Symphony in Ainadamar, she joined Robert Spano for performances and a Grammy® Award-winning Orchestra Deutsche Grammophon recording. Her discography also includes Lieberson’s Neruda Songs with Robert Spano and the Atlanta Symphony, as well as Adams’ The Gospel According to the Other Mary with Gustavo Dudamel Orchestra and the Los Angeles Philharmonic and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra.

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Passion with Robert Spano and the Atlanta Symphony and many others.

ASO | 3.12/14 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, March 12, at 8:00pm, and Saturday, March 14, 2015, at 7:30pm.

ASO | 3.12/14| program

John Storgårds, Conductor Ingrid Fliter, piano CARL NIELSEN (1865-1931) Rhapsodic Overture: A Fantasy Journey to the Faroe Islands, FS 123 (1927) 10 MIN FRÉDÉRIC CHOPIN (1810-1849) Concerto No. 2 for Piano and Orchestra in F minor, Opus 21 (1829-30) 33 MIN I. Maestoso II. Larghetto III. Allegro vivace

Ingrid Fliter, piano

INTERMISSION

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

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.

30 Atlanta Symphony Orchestra | aso.org

SERGEI RACHMANINOV (1873-1943) Symphony No. 2 in E minor, Opus 27 (1907) I. Largo; Allegro molto II. Allegro molto III. Adagio IV. Allegro vivace

20 MIN

60 MIN

Rhapsodic Overture: A Fantasy Journey to the Faroe Islands, FS 123 (1927) CARL NIELSEN was born in Sortelung, Denmark, on June 9, 1865, and died in Copenhagen, Denmark, on October 3, 1931. The first performance of the Rhapsodic Overture: A Fantasy Journey to the Faroe Islands, took place in Denmark at the Royal Theater, on November 27, 1927, with the composer conducting. The Rhapsodic Overture is scored for piccolo, three flutes, two oboes, E-flat clarinet, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, tambourine, cymbal, bass drum and strings.

These are the first ASO Classical Subscription Performances.

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sensed during the voyage up there—the monotonous mighty sea. It is quiet, but I think that it is precisely on the calm sea that one most strongly senses its terrible depth...its depth and endlessness at the same time. During the voyage we suddenly hear a bird cry that makes us think that we are near land... some people on board now seem to see land, they get enthusiastic, a fanfare tells you that, but the mist obscures the view, and it falls calm again. Then new bird cries rise up, and the land looms ahead. The music grows in volume and seriousness and breaks into a Faroese melody; on land many people are standing to welcome us, and we hear their shouting and stamping. With no explanatory transition I now place the traveler in the midst of a feast, with singing and dancing. I depict this feast in strong music where the ballad motifs play a role—and the depiction of the feast is interrupted by a Faroese folk tune. It calms down the music for a moment, creates a mood of gentleness amidst the dancing.

arl Nielsen’s Rhapsodic Overture: A Fantasy Journey to the Faroe Islands, was commissioned by the Royal Theater in Copenhagen. The Theater commissioned the work as part of a gala concert celebrating a visit from the Faroe Islands (an archipelago located between Iceland and Norway). The concert, originally scheduled for mid-January, 1927, included perforBut again the feast livens up to dancing mances of Faroese national dances. A flu and merriment, until the end—then it epidemic, and a resulting ban on dancing all subsides in one long note, a very low in public venues postponed the concert clarinet note that quietly fades out... until November 27. Nielsen then led the Rhapsodic Overture’s premiere at the Royal Three days after the premiere, Nielsen again conducted the Rhapsody Overture, Theater. with the Copenhagen Philharmonic at City A few days before the premiere, Nielsen Hall. The printed program delineated the gave a newspaper interview, during which following sections of the work: “The Calm he provided an invaluable description of Sea—The Land on Arrival—Dancing and his Rhapsody Overture. That interview is Singing—Farewell—Calm at Sea”. reprinted in Carl Nielsen, Orchestral Works 2, Niels Bo Foltmann, Peter Hauge, editors Concerto No. 2 for Piano and Orchestra (Copenhagen: Edition Wilhelm Hansen, in F minor, Opus 21 (1829-30) 2004): FRÉDÉRIC CHOPIN was born in Żelazowa I begin by describing the sea, as it is

Wola, Poland, on March 1, 1810, and died

encoreatlanta.com | Atlanta’s Performing Arts Publication 31

ASO | 3.12/14| program

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

To contact Ken, please email Ken.Meltzer@woodruffcenter.org.

ASO | 3.12/14 | program

ASO | 3.12/14| program

in Paris, France, on October 17, 1849. The first performance of the F-Minor Piano Concerto took place at the National Theater in Warsaw, Poland, on March 17, 1830, with the composer as soloist. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani and strings.

The world premiere of Chopin’s Piano Concerto in F minor took place at the National Theater in Warsaw on March 17, 1830. Chopin, making his Warsaw concert debut, was the soloist. The concert was a critical success. One writer, referring to the great Italian violinist, dubbed Chopin “the (Nicolò) Paganini of the piano.”

The F-minor Concerto is in three movements. The opening movement (Maestoso) is based upon two principal themes, first introduced by the orchestra, and later repeated in far more elaborate fashion by the soloist. The central slow movement Most Recent ASO Classical Subscription (Larghetto) was inspired by Chopin’s youthPerformances: October 4, 5 and 6, 2007, ful infatuation for Constantia Gladkowska.

Garrick Ohlsson, Piano, Robert Spano, The finale (Allegro vivace) evokes the spirit Conductor. of the Polish mazurka, a lively dance in triuring the period that Frédéric Chopin ple time, serving as the basis for the numercomposed his F-minor Concerto, he ous, engaging flights by the soloist. was in the midst of an infatuation. The young pianist and composer had fallen Symphony No. 2 in E minor, Opus 27 hopelessly in love with a fellow student (1907) at the Warsaw Conservatory, a soprano SERGEI RACHMANINOV was born in by the name of Constantia Gladkowska. Semyonovo, Russia, on April 1, 1873, For whatever reason, Chopin chose not and died in Beverly Hills, California, on to reveal his feelings to the young woman. March 28, 1943. The first performance Instead, Chopin poured his heart out to his of the Second Symphony took place in dearest friend, Tytus Woyciechowski.

St. Petersburg, Russia, on January 26, First ASO Classical Subscription Performances: October 23, 24 and 25, 1969, Eugene Istomin, Piano, Robert Shaw, Conductor.

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In an October 3, 1829 letter to 1908, with the composer conducting.

Woyciechowski, dated October 3, 1829, The Second Symphony is scored for piccolo, three flutes, three oboes, English Chopin confessed: Perhaps to my misfortune, I have met my ideal and have served her faithfully for six months, without speaking to her about my feelings. I dream about it: under her inspiration, the adagio (i.e., the slow movement, actually marked Larghetto) of my Concerto in F Minor and, this morning, the little waltz (Opus 70, No. 3 in D-flat) that I’m sending you, have been born. No one will know about it, except you.

32 Atlanta Symphony Orchestra | aso.org

horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, snare drum, cymbals, bass drum and strings.

First ASO Classical Subscription Performance: November 24, 1953, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: May 17, 19 and 20, 2012, Vasily Petrenko, Conductor.

fter the disastrous March 15, 1897 premiere in St. Petersburg of his First Symphony, Sergei Rachmaninov lapsed into a profound depression, and lost all confidence in his abilities as a composer. In 1900, Princess Alexandra Liven attempted to lift Rachmaninov’s spirits by arranging for him to visit Leo Tolstoy. But the encounters with Tolstoy did little to buoy Rachmaninov’s confidence. In fact, they only served to heighten his feelings of inadequacy. After Rachmaninov gathered the nerve to play one of his compositions for Tolstoy, the author responded by inquiring: “Tell me, does anybody need music like this?”

However, a breakthrough for Rachmaninov occurred that same year. On the advice of relatives, Rachmaninov consulted Dr. Nikolai Dahl, a psychiatrist who used hypnosis in the treatment of his patients.

The consultations with Dr. Dahl were an extraordinary success. Rachmaninov experienced a tremendous resurgence of confidence and immediately began to compose his Second Piano Concerto (1901), a work he dedicated to Dr. Dahl.

premiere of his First Symphony. The Second Symphony proved to be immensely popular throughout Rachmaninov’s life, and remains one of his most beloved orchestral works. The rich orchestration and passionate melodies make it one of the finest Russian symphonies of the late Romantic era.

The Second Symphony is in four movements. The first begins with an extended slow introduction (Largo), opening with a motif that will appear in various guises throughout the work. The principal quick-tempo section (Allegro moderato) follows. The second movement is a vibrant scherzo (Allegro molto), culminating with the brass’s chorale transformation of the Symphony’s opening measures. The beautiful slow movement (Adagio) is based upon two melodies, presented at the outset. The finale (Allegro vivace), recalling music from previous movements, propels to an exuberant close.

Rachmaninov even summoned the courage to attempt another Symphony. In the fall of 1906, Rachmaninov and his family moved from their native Russia to Dresden. The relocation offered Rachmaninov the solitude he needed to devote himself entirely to composition. In October, Rachmaninov began his Second Symphony, and finished the first draft of the score on New Year’s Day, 1907.

Rachmaninov later refined the score of his Second Symphony and conducted its premiere in St. Petersburg on January 26, 1908. The work’s favorable reception by the audience and critics did much to vindicate Rachmaninov after the humiliating encoreatlanta.com | Atlanta’s Performing Arts Publication 33

ASO | 3.12/14| program

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ASO | 3.12/14 | artists JOHN STORGÅRDS, Conductor

MARCO BORGGREVE

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hief Conductor of the Helsinki Philharmonic Orchestra and Principal Guest Conductor of BBC Philharmonic Orchestra, John Storgårds is one of Finland’s exceptional artists who has taken the classical music world by storm.

He has a dual career as a conductor and violin virtuoso and is widely recognized for his creative flair for programming and his commitment to contemporary music.

He additionally holds the title of Artistic Director of the Chamber Orchestra of Lapland.

John Storgårds was concertmaster of the Swedish Radio Symphony Orchestra during Esa-Pekka Salonen’s tenure and subsequently studied conducting with Jorma Panula and Eri Klas. He received the Finnish State Prize for Music in 2002 and the Pro Finlandia Prize 2012.

INGRID FLITER, piano

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rgentine pianist Ingrid Fliter has won the admiration and hearts of audiences around the world for her passionate yet thoughtful and sensitive music-making.

Winner of the 2006 Gilmore Artist Award, one of only a handful of pianists and the Storgårds appears with such orchestras as only woman to have received this honor, NDR Hamburg, Bamberger Symphoniker, Ms. Fliter divides her time between North Orchestre Philharmonique de Radio America and Europe.

France, Netherlands Radio, Orchestra Ingrid Fliter made her American orchestral Sinfonica Nazionale della RAI Torino and debut with the Atlanta Symphony, just days many others. Further afield, he has con- after the announcement of her Gilmore ducted the Sydney, Melbourne and New award. Since then she has appeared with Zealand Symphonies, as well as the Boston the Cleveland and Minnesota Orchestras, Symphony Orchestra at Tanglewood Los Angeles Philharmonic and many othand the Cleveland Orchestra at Blossom. ers. In Europe and Asia, Ms. Fliter has Storgårds also performs several times this performed with orchestras and in recital season in North America, making his debut in Amsterdam, London, Berlin, Frankfurt, with the Montreal Symphony and returning Salzburg, Cologne, and Tokyo and parto the St. Paul Chamber ticipated in festivals such as La Roque Orchestra, the National D’Antheron, Prague Autumn and The Arts Centre Orchestra World Pianist Series in Tokyo. and the St. Louis and Born in Buenos Aires in 1973, Ingrid Fliter Detroit symphonies. began her piano studies in Argentina with Recent notable record- Elizabeth Westerkamp. In 1992 she moved ings in Storgårds’ to Europe where she continued her studies discography include in Freiburg with Vitaly Margulis, in Rome the complete Sibelius with Carlos Bruno, and with Franco Scala Symphonies with the BBC Philharmonic and Boris Petrushansky at the Academy and discs of works by Korngold and “Incontrui col Maestro” in Imola, Italy.

Rautavaara, the latter receiving a 2012 Ms. Fliter began playing public recitals Gramophone Award and a Grammy nom- at the age of eleven and made her profesination. This season he embarks with the sional orchestra debut at the Teatro Colon BBC Philharmonic on a project to perform in Buenos Aires at the age of 16. Already and record all Nielsen symphonies. the winner of several Argentine compe34 Atlanta Symphony Orchestra | aso.org

SUSSIE AHLBURG

In June 2013, Ms. Fliter recorded both Chopin concertos with the Scottish Chamber Orchestra/Jun Maerkl for Linn Records and in June 2014 recorded the complete Chopin Preludes for the same label. Her two all-Chopin recordings for EMI earned her the reputation as one of the pre-eminent interpreters of that composer while her most recent EMI recording is an all-Beethoven CD featuring the “Pathetique” and “Appassionata” sonatas.

ASO | 3.12/14| artists

titions, she went on to win prizes at the Cantu International Competition and the Ferruccio Busoni Competition in Italy and in 2000 was awarded the silver medal at the Frederic Chopin Competition in Warsaw.

ASO | 3.19/21 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday March 19 at 8:00pm, and Saturday, March 21, 2015, at 7:30pm.

Jacomo Bairos, Conductor Miloš Karadagli´ c, guitar ASO | 3.19/21| program

MANUEL DE FALLA (1876-1946) Three Dances from The Three-Cornered Hat (El sombrero de tres picos) (Suite No. 2) (1919) 22 MIN I. The Neighbors Dance (Seguidillas) II. The Miller’s Dance (Farruca) III. Final Dance (Jota) JOAQUÍN RODRIGO (1901-1999) Fantasia para un gentilhombre (1954) 22 MIN I. Villano y Ricercare II. E spañoleta y Fanfare de la Cabellería de Nápoles III. Danza de las Hachas IV. Canario INTERMISSION The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

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.

20 MIN

MODEST MUSSORGSKY (1839-1881) (Orchestrated by Maurice Ravel—1923) Pictures at an Exhibition (1874) 34 MIN Promenade I. Gnomus Promenade II. Il vecchio castello Promenade III. Tuileries IV. Bydlo Promenade V. Ballet of Little Chicks in their Shells VI. Samuel Goldenberg and Schmuyle VII. The Market Place in Limoges VIII. Catacombae—Cum mortuis in lingua mortua IX. The Hut on Hen’s Legs (Baba-Yaga) X. The Great Gate of Kiev

36 Atlanta Symphony Orchestra | aso.org

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

To contact Ken, please email Ken.Meltzer@woodruffcenter.org.

II. The Miller’s Dance (Farruca)—The Miller’s Wife thanks her friends and then asks her husband to dance. He responds MANUEL DE FALLA was born in Cádiz, with a Farruca that builds in intensity.

Spain, on November 23, 1876, and died III. Final Dance (Jota)—The ballet’s conin Alta Gracia, Argentina, on November cluding scene is a whirlwind of activity and 14, 1946. The first performance of The mistaken identities. The confusion builds as Three-Cornered Hat took place at the the people of the village gather to celebrate Alhambra Theater in London, England, on St. John’s Night. The Corregidor is defeatJuly 22, 1919, Ernest Ansermet conduct- ed, and the people use a blanket to toss the ing. The Suite No. 2 from The Three-Cor- humiliated man in the air.

Three Dances from The Three-Cornered Hat (El sombrero de tres picos) (Suite No. 2) (1919)

First ASO Classical Subscription Performances: January 16 and 17, 1958, Alberto Bolet, Conductor.

Most Recent ASO Classical Subscription Performances: October 7, 8 and 9, 1999, Alan Gilbert, Conductor.

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anuel de Falla’s ballet, The ThreeCornered Hat, is based upon the popular novel by Pedro de Alarcón, El Sombrero de Tres Picos, in turn based upon a beloved folk-tale. The story concerns a Miller, the Miller’s Wife, and the Corregidor (the governor, whose hat provides the source of the ballet’s title). The Corregidor has designs on the beautiful young woman.

Fantasia para un gentilhombre (1954) JOAQUÍN RODRIGO was born in Sagunto, Spain, on November 22, 1901, and died in Madrid, Spain, on July 6, 1999. The first performance of the Fantasia para un gentilhombre took place in San Francisco, California, on March 5, 1958, with Andrés Segovia, soloist, and the San Francisco Symphony, Enrique Jordá conducting. In addition to the solo guitar, the Fantasia para un gentilhombre is scored for piccolo, flute, oboe, bassoon, trumpet and strings.

First ASO Classical Subscription Performances: April 9, 10 and 11, 1981, Angel Romero, Guitar, Hiroyuki Iwaki, Conductor.

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oaquín Rodrigo composed his work for solo guitar and orchestra, Fantasia para un gentilhombre (Fantasia for a Gentleman) at the request of the legendary Spanish guitarist, Andrés Segovia (1893-1987). Segovia was the soloist in the Fantasia’s world premiere, which took place in San Francisco on March 5, 1958. Enrique Jordá conducted This concert features the Second Suite from the San Francisco Symphony.

The Three-Cornered Hat, comprising three The “Gentleman” reference in the work’s dances from the ballet’s Second Act. title is two-fold. First is the Spanish Baroque I. The Neighbors Dance (Seguidillas)—The opening of the ballet’s Second Part takes place at evening. It is St. John’s Night, and the Miller and his Wife join their neighbors, who celebrate with a leisurely dance.

guitarist, Gaspar Sanz (1640-1710), whose music provides the thematic basis for the Fantasia. The composer also dubs Segovia “the ‘gentilhombre’ of the Spanish guitar, a noblemen in his own right among Spanish

encoreatlanta.com | Atlanta’s Performing Arts Publication 37

ASO | 3.19/21| program

nered Hat is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, castanets, xylophone, tam-tam, snare drum, triangle, cymbals, suspended cymbal, bass drum, piano/celeste and strings.

ASO | 3.19/21 | program guitarists and musicians.”

The quoted descriptions below of the various movements are by the composer.

ASO | 3.19/21| program

I. Villano y Ricercare—“The Villano which opens the work is developed monothematically within a melodic framework appropriate to the period. Following this…is a Ricercare in which I have worked out the fugue which Gaspar Sanz had only sketched.”

II. Españoleta y Fanfare de la Cabellería de Nápoles—“La Españoleta is interrupted by a curious episode which serves as a trio, or middle part…(Bugle Calls of the Naples Cavalry) obviously makes reference to the time when that kingdom was in close contact with Spain (Because of this contact, the Siciliana of Italy and the Españoletta are first cousins.)”

tuba, timpani, xylophone, orchestra bells, triangle, snare drum, whip, chime in E-flat, ratchet, tam-tam, cymbals, suspended cymbal, bass drum, two harps, celeste and strings.

First ASO Classical Subscription Performance: March 10, 1953, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: October 20, 21 and 22, 2011, Miguel Harth-Bedoya, Conductor.

ASO Recording: Yoel Levi, Conductor (Telarc CD-80296)

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n 1873, the Russian artist Viktor Hartmann died at the age of 39. After Hartmann’s death, the St. Petersburg Society of Architects presented an exhibition of Hartmann’s works. Among the attendees was Hartmann’s dear friend, the III. Danza de las Hachas—“The Danza de Russian composer Modest Mussorgsky. las Hachas (Hatchet Dance), with its great Mussorgsky was as profoundly impressed rhythmic animation, is like a duel between with the quality of Hartmann’s works as he the guitar and orchestra.” was saddened by the sudden loss of a dear IV. Canario—“The work ends with a friend. Mussorgsky decided to offer a tribCanario, a popular folk dance full of tense ute to Hartmann in the form of a musical representation of several of the pieces of gayety.” art featured at the St. Petersburg exhibit.

Pictures at an Exhibition (1874) In 1874, Modest Mussorgsky completed (Orchestrated by Maurice Ravel—1923) his work for solo piano, Pictures at an MODEST MUSSORGSKY was born in KareExhibition, published after the composer’s vo, district of Pskov, Russia, on March 21, death in 1881.

1839, and died in St. Petersburg, Russia, on March 28, 1881. The first performance of the Maurice Ravel orchestration of Mussorgsky’s Pictures at an Exhibition (originally composed for piano solo) took place in Paris, France, on May 3, 1923, Serge Koussevitsky conducting. The Ravel orchestration is scored for two piccolos, three flutes, three oboes, English horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, 38 Atlanta Symphony Orchestra | aso.org

Conductor Serge Koussevitsky commissioned Maurice Ravel’s orchestration of the Mussorgsky piano composition for the annual Paris Concerts Koussevitsky, where it premiered, to great acclaim, on May 3, 1923. Since that time, the Mussorgsky/ Ravel Pictures at an Exhibition has been celebrated as a quintessential showpiece for orchestras and conductors alike. It is one of the most performed and recorded works in the concert repertoire.

Musical Analysis

I. Gnomus. Vivo—Many of Hartmann’s works disappeared during the period between the 1874 St. Petersburg exhibition and Ravel’s 1923 orchestration of Mussorgsky’s composition. And so, there is disagreement as to the exact nature of the picture that inspired this music. In the original piano edition, Stassov describes Hartmann’s work: “A dwarf walks about awkwardly on crooked little legs.”

However, Alfred Frankenstein, longtime Music and Art Editor of the San Francisco Chronicle, engaged in a detailed search and study of the original Hartmann pictures.

Frankenstein stated: “(t)he picture was a design for a nutcracker in the form of a gnome with huge jaws.”

sonating chicks newly emerging from their shells.

VI. Samuel Goldenberg and Schmuyle.

Andante—The title of this section is the creation of Stassov—Mussorgsky’s original reads: “Two Polish Jews; one rich, the other poor.” This episode appears to be based upon a Hartmann drawing of the Sandomir ghetto.

Here, Ravel omits Mussorgsky’s repetition of the Promenade and proceeds to:

VII. The Market Place in Limoges.

Allegretto vivo, sempre scherzando— Hartmann’s watercolor portrays the façade of the Limoges Cathedral. Mussorgsky focused on a small portion of the watercolor that shows market women engaged in Promenade—A more introspective statelively conversation. The quicksilver musical ment of the Promenade theme serves as a portrayal of their gossip is interrupted by: bridge to the following picture.

VIII. Catacombae, Sepulchrum Romanum.

II. Il vecchio castello. Andante—The paintLargo—The painting depicts Hartmann ing depicts an old Italian castle, before and a friend standing in a Paris catacomb, which a lute-bearing troubadour stands. observing a pile of skulls illuminated by Promenade. Moderato non tanto, pesa- a guide’s lantern. Brass pronouncements mente—A brief, weighty restatement of the alternating loud and soft dynamics lead Promenade leads to: directly to: III. Tuileries. Allegretto non troppo, capric- Cum mortuis in lingua mortua. Andante cioso—Mussorgsky’s own subtitle for this non troppo, con lamento—Mussorgsky’s section is “Children Quarreling After Play.” own footnote to this section’s title reads: The painting depicts the Parisian Tuileries “A Latin text: ‘With the Dead in a Dead gardens, where children play under the Language.’ Well may it be in Latin! watchful eye of their nurses. encoreatlanta.com | Atlanta’s Performing Arts Publication 39

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IV. Bydlo. Sempre moderato pesante—“Bydlo” is the Polish word for “cattle.”

Promenade. Allegro giusto, nel modo rusHartmann’s watercolor depicts an ox-drawn sico; senza allegrezza, ma poco sostenucart with massive wooden wheels. to—The Promenade serves as a connecting motif between musical portrayals of Promenade. Tranquillo—A short reprise of the various pictures. Russian music critic the Promenade serves as a bridge to: Vladimir Stassov described the Promenade V. Ballet of the Chicks in Their Shells. as depicting the composer “moving now to Scherzino. Vivo leggiero—The sketch that the left, now to the right, now wandering inspired this delightful miniature scherzo about aimlessly, now eagerly making for was made by Hartmann for the ballet, one of the pictures...”

Trilby. It features costumed children imper-

ASO | 3.19/21 | program The creative spirit of the departed Hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within.”

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A moment of silence is shattered by: IX. The Hut on Hen’s Legs (Baba-Yaga).

Allegro con brio, féroce—Andante mosso— Allegro molto—Baba-Yaga is a mythical Russian witch who lured victims into her hut. There, Baba-Yaga ground her prey’s bones with a giant mortar that she also used to transport herself through the air.

Hartmann’s drawing is a representation of a huge clock in the shape of the witch’s hut that, according to legend, stood on four chicken feet, thereby allowing the quick capture of each new victim. Mussorgsky’s musical portrayal of the witch’s grotesque hut and her flight leads without pause to: X. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza—The final picture represented Hartmann’s entry in a competition to erect a gateway in Kiev.

The gateway was intended to serve as a memorial to Tsar Alexander II’s escape from assassination. Hartmann envisioned a massive and ornate structure, featuring a cupola in the form of a Slavonic war helmet. Mussorgsky’s music, enhanced by Ravel’s orchestration, evokes the epic grandeur of Hartmann’s design, as well as images of ceremonial processions through the extraordinary gate.

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See the

Fu t u r e

Juilliard Nan Melville

juilliard.edu/music

Conductor Alan Gilbert leads the Juilliard Orchestra in its annual Carnegie Hall appearance. encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 41

ASO | 3.19/21 | artists JACOMO BAIROS, Conductor

D

ASO | 3.19/21| artists

escribed as “expressive and passionate” (Malaysian Straits Times) and lauded by the Leipziger Volkszeitung as an “impressive conductor… who is elegantly demanding,” Portuguese-American Jacomo Rafael Bairos enjoys an emerging career as an imaginative and inclusive conductor, ardent champion of living American composers, and dedicated collaborator and educator.

Some of Bairos’s diverse and eclectic artist collaborations include appearances with famed American pianist Garrick Ohlsson, violin virtuoso Shlomo Mintz, acclaimed guitarist Miloš Karadaglič, Grammynominated Tiempo Libre, and the eclectic crossover group ProjectTrio.

His conducting mentors include esteemed teacher of conductors Gustav Meier, as well as Robert Spano and Kurt Masur.

After participating in the 2012 Kurt In 2013, Mr. Bairos became the Amarillo Masur Conductors Seminar in New York Symphony’s 17th Music Director and City—where he shared the podium with Conductor. He has garnered quick praise Maestro Masur in concert—Bairos was for his fresh and inventive programming, awarded the prestigious and highly selective community-driven initiatives and commis- Mendelssohn-Bartholdy Scholarship by the sioning and performance of works by living U.S. Mendelssohn Foundation and Maestro composers. His adventurous collaborations Masur. ´ guitar with actors and graphic artists—as well as MILOŠ KARADAGLIC, his use of technology to enhance and bring he last six years have been dizzymore excitement to the concert experiing times for Miloš Karadaglič, the ence—have helped transform the Amarillo young classical guitarist from Montenegro Symphony into a vehicle for community launched by Deutsche Gramophone in partnerships.

2011 with his first commercial solo album”

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Mr. Bairos is also in high demand as a guest conductor across the United States and abroad, annually working with some of America’s finest ensembles including the Florida Orchestra and the Atlanta, Charlotte, and Charleston Symphony Orchestras, among others. As Associate Conductor for the Charlotte Symphony Orchestra, Mr. Bairos reached thousands of enthusiastic listeners through the broad spectrum of concerts he programmed and conducted, including the innovative KnightSounds and heralded Pops series.

42 Atlanta Symphony Orchestra | aso.org

wrote the Sunday Times in February 2014.

“It topped the UK classical charts and won awards, making Karadaglič, at 30, probably the biggest classical-guitar phenomenon since John Williams in the 1960s and Julian Bream a decade below.”

Whilst 2011 was the breakthrough recording year which brought Mr. Karadaglič immediate international recognition, it was the 2012 – 13 season that earned him acclaim as a live performing artist with tours which took him across Europe, North America, Asia and Australia. “Part of the reason Karadaglič has such a large following” commented the Western Australian “is his ability to straddle both hardcore classical and pop classical camps.”

Mr. Karadaglič’s passion for the guitar is matched with an intuitive sense of how to bring the instrument across to his public – whether it be for an audience of thousands in the Royal Albert Hall or an intimate chamber music performance for 100 people. He enjoys performing in the major concert halls as much as in non-traditional venues such as New York’s Le Poisson Rouge, London’s Camden Roundhouse (iTunes Festival) and Deutsche Gramophone’s Yellow Lounge club nights in London, Berlin, Amsterdam, Madrid, New York, LA, Miami and Seoul.

Born in Montenegro in 1983, Mr. Karadaglič first started playing the guitar at the age of eight. When he was 16 he successfully applied for a scholarship to study at the Royal Academy of Music and moved to London, where he continues to live while keeping close ties with his family and homeland. He plays a 2007 Greg Smallman guitar, kindly lent to him by Paul and Jenny Gillham.

TODOROVIC AND KARWINSKA

In addition to his charitable work, Mr. Karadaglič is a passionate supporter of music education and acts as a Patron of the Mayor of London Fund for Young Musicians and Awards for Young Musicians. He recently recorded the soundtrack for the latest animated movie released by the world-famous Ghibli studio in Japan and co-presented the television broadcasts for the 2014 BBC Young Musician competition.

ASO | 3.21 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Atlanta Symphony Youth Orchestra CRESCENDO CONCERT Concert of March 21, 2015, at 1:30pm.

Joseph Young, Conductor GEORGE WALKER (b. 1922) Lyric for Strings (1941)

8 MIN

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GUSTAV MAHLER (1860-1911) Totenfeier, Symphonic Poem for Large 30 MIN Orchestra (1888) INTERMISSION TAN DUN (b. 1957) Internet Symphony: Eroica (2009) I. Allegretto II. Dolce Molto III. Allegro IV. Allegro Vivace

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

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.

44 Atlanta Symphony Orchestra | aso.org

20 MIN 6 MIN

MANUEL DE FALLA (1876-1946) Three Dances from The Three-Cornered Hat (El sombrero de tres picos) (Suite No. 2) (1919) 12 MIN I. The Neighbors Dance (Seguidillas) II. The Millerâ&#x20AC;&#x2122;s Dance (Farruca) III. Final Dance (Jota)

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

To contact Ken, please email Ken.Meltzer@woodruffcenter.org.

GEORGE WALKER was born in Washington, DC, on June 27, 1922. The first performance of the Lyric for Strings took place in 1947 at the National Gallery of Art in Washington, DC, with the National Gallery Orchestra conducted by Richard Bales.

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eorge Walker, the distinguished American composer, pianist and educator, wrote his Lyric for Strings in 1941, as a memorial to his grandmother. The original title for the work, Lament, was modified at the request of the composer’s publisher. This brief and haunting work, scored for string orchestra, has earned a prominent place in orchestral concerts and on recordings.

Totenfeier, Symphonic Poem for Large Orchestra (1888) GUSTAV MAHLER was born in Kalište, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. Totenfeier is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, triangle, suspended cymbals, tam-tam, cymbals, bass drum, harp and strings.

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n January of 1888, Gustav Mahler began to sketch an orchestral movement he entitled Totenfeier (Funeral Rites). Mahler had just conducted the successful Leipzig premiere of Carl Maria von Weber’s opera, Die drei Pintos. Flowers from various well-wishers bedecked Mahler’s room. His friend, Natalie Bauer-Lechner, recalled that while composing Totenfeier, Mahler (who always harbored a morbid preoccupation with mortality) had a vision in which he was “dead, laid out in state, beneath wreaths and flowers.”

It appears that the composer intended from the outset that Totenfeier would be the opening movement of a symphony (Mahler completed his Symphony No. 1, “Titan,” in March of 1888). The original score bears the work’s title, as well as the designations “Symphony in C Minor” (crossed out) and “Movement I” (not crossed out).

In March of 1891, Mahler was appointed conductor of the State Theater in Hamburg. That September, Mahler approached the eminent conductor and leader of the Hamburg Orchestra, Hans von Bülow. Mahler asked the maestro to hear Totenfeier, which had still not been performed.

The meeting was a disaster. Bülow had the utmost respect for Mahler as a conductor, but did not care for the young man’s compositions. Mahler played a piano reduction of the score for Bülow. Although Bülow repeatedly covered his ears, he still urged the increasingly agitated composer to continue. Finally, as Mahler related to his friend, composer Josef Förster: When I had finished I awaited the verdict silently. But my only listener remained at the table silent and motionless. Suddenly, he made an energetic gesture of rejection and said: “If that is still music then I do not understand a single thing about music.”

We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer.

Mahler seemed to abandon the idea of making Totenfeier part of a multi-movement symphony. A month after the unhappy meeting with Bülow, Mahler sent a letter Mahler completed Totenfeier that August. to his publisher, referring to Totenfeier encoreatlanta.com | Atlanta’s Performing Arts Publication 45

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Lyric for Strings (1941)

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ASO | 3.21 | program as a “symphonic poem.” It was not until almost three years later, in June of 1894, that Mahler completed the work known as his “Resurrection” Symphony. During the process of completing the work, Mahler made numerous revisions to Totenfeier, most notably in the orchestration, but also to some degree in the structure and flow of the music.

The following is a description Mahler provided of Totenfeier for a 1901 Dresden performance of the “Resurrection” Symphony: I. Maestoso— We are standing beside the coffin of a man beloved. (Note: In a letter of March 26, 1896, Mahler informed Max Marschalk: “I have called the first movement Totenfeier, and if you would like to know, I am interring the hero of my D Major Symphony [No. 1, “Titan”], whose life I capture in a pure reflection from a higher vantage point.”) For the last time, his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this solemn and deeply stirring moment, when we are released from the paltry distractions of everyday life, our hearts are gripped by a voice of awe-inspiring solemnity, that we seldom or never hear above the deafening traffic of mundane affairs. What next? it says. What is life—and what is death?

Have we any continuing existence?

Is it all an empty dream, or has this life of ours, and our death, a meaning?

If we are to go on living, we must answer this question.

In the 1896 letter to Marschalk, Mahler concludes: “this answer I give in the last movement” (of the “Resurrection” Symphony).

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Internet Symphony: Eroica (2009) TAN DUN was born in Si Mao, Hunan Province, China, on August 15, 1957. The first performance of Internet Symphony took place at Carnegie Hall in New York on April 15, 2009, with the composer conducting the YouTube Symphony Orchestra. Internet Symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, harp and strings.

I

n 2008, Google and YouTube commissioned Tan Dun to write Internet Symphony ‘Eroica’ as a part of the YouTube Symphony Orchestra project.

Musicians from around the world were invited to audition by submitting videos of their interpretations of Internet Symphony to be judged by members of leading international orchestras. There were more than 3,000 auditions from more than 70 countries. The project culminated in a performance at Carnegie Hall on April 15, 2009. The performance was webcast and is available on YouTube. More than 22 million people from 200 countries on six continents have experienced Tan Dun’s feeling of a global music community, encapsulated in Internet Symphony.

“The Internet is an invisible Silk Road, joining different cultures from around the world - East or West, North or South. And this project has created a classical music phenomenon, bringing together musical heroes from all corners of the globe.”

—Tan Dun http://www.musicsalesclassical.com/ composer/work/37066

MANUEL DE FALLA was born in Cádiz, Spain, on November 23, 1876, and died in Alta Gracia, Argentina, on November 14, 1946. The first performance of The ThreeCornered Hat took place at the Alhambra Theater in London, England, on July 22, 1919, Ernest Ansermet conducting. The Suite No. 2 from The Three-Cornered Hat is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, castanets, xylophone, tam-tam, snare drum, triangle, cymbals, suspended cymbal, bass drum, piano/celeste and strings.

III. Final Dance (Jota)—The ballet’s concluding scene is a whirlwind of activity and mistaken identities. The confusion builds as the people of the village gather to celebrate St. John’s Night. The Corregidor is defeated, and the people use a blanket to toss the humiliated man in the air.

M

anuel de Falla’s ballet, The ThreeCornered Hat, is based upon the popular novel by Pedro de Alarcón, El Sombrero de Tres Picos, in turn based upon a beloved folk-tale. The story concerns a Miller, the Miller’s Wife, and the Corregidor (the governor, whose hat provides the source of the ballet’s title). The Corregidor has designs on the beautiful young woman.

This concert features the Second Suite from The Three-Cornered Hat, comprising three dances from the ballet’s Second Act. I. The Neighbors Dance (Seguidillas)—The opening of the ballet’s Second Part takes place at evening. It is St. John’s Night, and the Miller and his Wife join their neighbors, who celebrate with a leisurely dance.

II. The Miller’s Dance (Farruca)—The Miller’s Wife thanks her friends and then asks her husband to dance. He responds with a Farruca that builds in intensity.

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ASO | 3.21| program

Three Dances from The Three-Cornered Hat (El sombrero de tres picos) (Suite No. 2) (1919)

ASO | 3.21 | artists JOSEPH YOUNG, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director

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Prior to joining the ASO, Mr. Young was Resident Conductor of the Phoenix Symphony. He also spent a season as Assistant Conductor and a League of American Orchestras Conducting Fellow with the Buffalo Philharmonic.

In 2007, Mr. Young made his professional debut as the first recipient of the Baltimore Symphony Orchestra (BSO)Peabody Institute Conducting Fellowship, and he worked with the BSO through 2009. His recent conducting engagements include the Colorado Symphony Orchestra, Tucson Symphony, Charleston Symphony Orchestra, Delaware Symphony Orchestra and Orquestra Sinfónica do Porto Casa da Música.

Mr. Young’s other professional accolades include being named a semi-finalist in the 2013 Gustav Mahler International Conducting Competition and being featured in the League of American Orchestras prestigious Bruno Walter National Conductor Preview. Additionally he was the first recipient of the Sir Georg Solti Foundation Career Grant for young conductors. He has furthered his conducting studies at the Cabrillo Contemporary Music Festival, the 2010 Jorma Panula International Master class in Porto, Portugal, and at the Tanglewood Music Center.

48 Atlanta Symphony Orchestra | aso.org

JEFF ROFFMAN

ASO | 3.21| artists

oseph Young became Assistant Conductor of the Atlanta Symphony Orchestra (ASO) and Music Director of the Atlanta Symphony Youth Orchestra in June 2014. Mr. Young assists with the artistic leadership of the Orchestra and serves as the primary conductor for the ASO’s education and community concerts.

Mr. Young received a bachelor’s degree in music education from the University of South Carolina in 2004 and completed his graduate studies in conducting with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009.

AtlantaSymphonyYouthOrchestra Joseph Young, Music Director The Zeist Foundation Youth Orchestra Conductor Chair Violin I Lean Bonas Vivian Cheng Aomeng Cui Helena DeGrazia Andrew Fu Maalik Glover Briana Hou Maya Kang Andrew Koonce Connie Li Emma Lin Jasmine Liu Grace Oberst Joseph Pang Violin II Lesley Chang Monica Chang Sarah Chen Steven Chiou Naomi Fan Serena Gao Julia Koh Sarah Li Andrew Lim Christina Liu Julia Liu Phoebe Liu Zoe Lo Passacaglia Mason Kyle Qian Annie Su Alex Yang

Viola Wilfred Farquharson Joy Hsieh Nathan Hung* Kelsey Johnson James Kang* Jun Kang Anderson Leggett Nick Pelletier Matthew Pinder Nikko White Irene Zhou Andres Malave Cello Rae Baker Zachary Barnes Laurent Boudard Woojae Chung Thomas Evans Justin Hedderman Olivia Hunt Mason Johnston Aria Posner Lindsey Sharpe Leonardo Tang Rita Young Christopher Yu Bass Bailey Bennett Gabriel English Matthew Henson Blake Hilley Matthew Jung Logan Lysaght Maxwell Morgan Robert Morgan Jan Denel Sabacan Daniel Tancredi**

Flute Kaegan Gregory Haiwen Gui Claire Mahon Nina Qin Oboe Elise Conti Sydney Hancock Hannah Lee Alexa Levy Clarinet Barret Ham Saheon (Eric) Kim Eric Wang Alisha Zamore Bassoon Kalli Edwards Emily Schuler Austin Summy John You Horn Jonathon Chiou Hannah Culbreth Emma Dickinson Nicholas Fratto Nicole Perez Molly Shannon Akhil Vaidya Elyza Wylder

Trumpet Imani Duhé Tyler Jesko Steven Lukehart Reid Waters Lizbeth Yanez Trombone Jonathon Craig Wesley Shores Robyn Smith Bass Trombone Samuel Boeger Tuba Jovany Dorsainvil Joshua Williams Percussion Michael Dehan Kyle Favors Drew Hooper Parker Olson Adam Voss Christina Voss Harp Donevon Howard Katie O’Shaughnessy Piano Nathan Wu All sections are listed alphabetically * Ardath W. Weck Chair ** Douglas Sommer Chair

encoreatlanta.com | Atlanta’s Performing Arts Publication 49

ASO | 3.26/27 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Concert Concerts of Thursday, March 26, at 8:00p, and Friday, March 27, 2015, at 7:30p.

Robert Spano, Conductor Lynn Harrell, cello

ASO | 3.26/27| program

ANTONÍN DVOŘÁK (1841-1904) Concerto for Cello and Orchestra in B minor, Opus 104 (1895) 44 MIN I. Allegro II. Adagio ma non troppo III. Finale. Allegro moderato

Lynn Harrell, cello INTERMISSION

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

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.

50 Atlanta Symphony Orchestra | aso.org

20 MIN

PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony No. 4 in F minor, Opus 36 (1878) 46 MIN

I. Andante sostenuto—Moderato con anima— Moderato assai, quasi Andante—Allegro vivo II. Andantino in modo di canzona III. Scherzo. Pizzicato ostinato—Allegro IV. Finale. Allegro con fuoco

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

To contact Ken, please email Ken.Meltzer@woodruffcenter.org.

including yet another reference to the song quoted in the Adagio. He completed the ANTONÍN DVOŘÁK was born in final score on June 11, 1895.

Mühlhausen, Bohemia (now Nelahozeves, Since the Concerto’s premiere in 1896, it the Czech Republic), on September 8, 1841, has been recognized as one of the glories and died in Prague on May 1, 1904. The of the repertoire for cello and orchestra. first performance of the Cello Concerto After reviewing the score, one of Dvořák took place at Queen’s Hall in London friends—a man by the name of Johannes on March 19, 1896, with Leo Stern as Brahms—exclaimed: “Why on earth didn’t soloist and the composer conducting the I know one could write a violoncello conLondon Philharmonic Society. In addition certo like this? If I had only known, I would to the solo cello, the Concerto is scored have written one long ago!” for piccolo, two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, two trombones, bass trombone, tuba, timpani, triangle and strings.

First ASO Classical Subscription Performances: November 21 and 22, 1957, Donovan Schumacher, Cello, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: February 9, 10 and 11, 2006, Christopher Rex, Cello, Michael Christie, Conductor.

A

ntonín Dvořák composed his Cello Concerto between November, 1894, and February, 1895. At the time, the Czech composer was serving as Director of the National Conservatory of Music in America, in New York City.

During the composition of the Concerto’s second movement, Dvořák learned of the grave illness of his sister-in-law, Josefina Kaunitzová. As a young man, Dvořák had been in love with Josefina. Even though she rejected his marriage proposal, the two remained dear friends. Dvořák included a quotation of one of Josefina’s favorite songs in the Concerto’s second-movement Adagio. Josefina died on May 27, 1895.

Following that tragedy, Dvořák extensively revised the final movement’s coda,

The Dvořák Cello Concerto is in three movements. The first (Allegro) opens with the traditional orchestral exposition of the principal thematic material. The soloist enters with his own presentation of the themes, beginning with an emphatic, and far more elaborate version, of the opening motif. After a development and recapitulation of the principal themes, the opening movement concludes with dazzling passagework for the soloist and a martial setting of the opening motif.

The slow second movement (Adagio, ma non troppo) is in A—B—A form. The central “B” section opens with a savage outburst, followed by the soloist’s introduction of a beautiful melody, based upon Dvořák’s song, “Leave me alone,” Opus 82, No. 1 (1887-8)—a favorite of his lamented sisterin-law, Josefina Kaunitzová.

The principal theme of the Concerto’s Finale (Allegro moderato) is an energetic, rustic melody, first introduced in full by the soloist. The theme alternates with affecting lyrical interludes, one including an unforgettable soaring melody, introduced by the cellist, and later played by a solo violin.

The tranquil coda features reminiscences of the opening movement’s principal theme, as well as Josefina’s beloved song, first quoted in the Adagio. Suddenly, a final crescendo

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ASO | 3.26/27| program

Concerto for Cello and Orchestra in B minor, Opus 104 (1895)

ASO | 3.26/27 | program leads to the brilliant, Allegro vivo dash to doctor’s orders, journeyed to Switzerland for recuperation. the finish.

Symphony No. 4 in F minor, Opus 36 (1878)

ASO | 3.26/27| program

PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Symphony No. 4 took place in Moscow on February 22, 1878, with Nikolai Rubinstein conducting. The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, bass drum, cymbals and strings.

First ASO Classical Subscription Performances: January 30, 1949, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: October 4, 6 and 7, 2012, Robert Spano, Conductor.

“T

T chaikovsky completed his Fourth Symphony on January 7, 1878. The premiere took place in Moscow on February 22, 1878, under Nikolai Rubinstein’s direction. Tchaikovsky dedicated the Symphony to his patroness, Nadezhda von Meck, whom the composer described as “my best friend.” And, in a letter to von Meck, Tchaikovsky divulged the meaning of his Fourth Symphony (all of Tchaikovsky’s comments are indented, below): I. Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante— Allegro vivo— The introduction is the germ of the whole symphony, unarguably the main idea. This is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal, that jealously ensures our well-being and peace are not unclouded, that hangs over our heads like the sword of Damocles, that with steadfast persistence poisons our souls. It is invincible, you will never master it. One can only resign oneself to fruitless sorrow.

his is Fate, that inexorable force that prevents our aspirations to happiness from reaching their goal…” That is how Peter Ilyich Tchaikovsky described the implacable opening bars of his Fourth Symphony. Tchaikovsky composed this great work during one of the most turbulent periods in his life, a time when the power of Tchaikovsky depicts the inexorable power Fate must have been paramount in his mind. of Fate with stunning fanfares by the brass and winds. It is one of the most arresting On July 18, 1877, Tchaikovsky wed and dramatic openings in all of symphonic Antonina Milyukova. Tchaikovsky realized literature. from the outset that the marriage was a The joyless, hopeless feeling becomes mistake. He lapsed into a profound depresmore powerful and fierce. Would it not sion, and later attempted suicide. Finally, on be better to turn away from reality and October 6—less than three months after the submerge oneself in dreams? wedding—Tchaikovsky left his wife forever, Oh joy! There is at least a sweet rushing to St. Petersburg to meet his brothand tender dream appearing! A er, Anatoly. Tchaikovsky suffered a nerbright and gracious human form vous breakdown, and doctors stated that a flits by and lures us on somewhere. resumption of the marital relationship was out of the question. Tchaikovsky, under 52 Atlanta Symphony Orchestra | aso.org

How lovely! And how remote the obsessive first allegro theme now sounds! The dreams have gradually taken full possession of the soul. All that was gloomy and joyless is forgotten. Here it is, here is happiness! No! They were dreams and Fate rouses us from them.

one gives free reign to one’s imagination that, for some reason, sets about painting strange pictures. Amongst them one recalls a picture of some roistering peasants and a street song. Then somewhere in the distance a military parade goes by. There is no connection between these images that are like those which flash through your mind as you are going to sleep. They have nothing to do with reality: they are strange, wild, and incoherent.

II. Andantino in modo di canzona— The second movement of the symphony expresses another phase of depression: that melancholy feeling that comes on in the evening, when you are sitting on your own, tired with work, and you take up a book but it falls out of your hands.

Memories come flooding in. It is sad that so much has been and gone; it is pleasant to recollect one’s youth. One regrets the passing of time yet there is no wish to begin life anew. Life wears one out. It is pleasant to rest and reflect. There are so many memories! There have been happy moments when young blood coursed through the veins and life was good.

There have also been difficult times, irreplaceable losses. But now that is all somewhere in the past. There is a sweet sadness in burying oneself in the past.

III. Scherzo. Pizzicato ostinato—Allegro— The third movement does not express any precise feelings. These are whimsical arabesques, the elusive images that flash across one’s imagination when one has had a little wine to drink and is in the first stage of intoxication. One’s spirits are not happy, but neither are they sad.

One does not think about anything:

The fourth movement. If you find no cause for joy in yourself, look to others.

Go amongst the common people and see now they know how to enjoy themselves, abandoning themselves completely to feelings of joy. Picture of a peasant celebration on a holiday. But scarcely have you managed to forget yourself and be distracted by the sight of other people’s pleasures than inexorable Fate appears once more and reminds you of its existence.

Tchaikovsky portrays the “peasant celebration” by quoting a popular Russian folk song, “The Little Birch Tree,” sung by the winds after the Finale’s brief, raucous introduction. Later, the celebration is interrupted by the return of the “Fate” motif that launched the Symphony’s first movement.

Tchaikovsky continues: But you are no concern of anyone else.

They do not even turn round, they do not glance at you, and they have not noticed that you are lonely and sad. Oh! What fun it is for them! They are so lucky that all their feelings are simple and direct.

Blame yourself and do not say that all the world is sad. There are simple but potent pleasures. Enjoy other people’s happiness. One can live despite everything.

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ASO | 3.26/27| program

So life is a constant alternation between grim reality and evanescent visions and dreams of happiness...There is no haven.

Sail upon that ocean until it seizes you and engulfs you in its depths. That is roughly the program of the first movement.

IV. Finale. Allegro con fuoco—

ASO | 3.26/27 | artists

L

ASO | 3.26/27 | artists

ynn Harrell is a frequent guest of many leading orchestras including Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony. In Europe he partners with the orchestras of London, Munich, Berlin, Dresden, Leipzig, Tonhalle, and Israel. He has also toured extensively to Australia and New Zealand, Japan, Korea, Malaysia, Taiwan and Hong Kong. He regularly collaborates with such noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, André Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.

Recent highlights include the premiere of Augusta Reed Thomas’ cello concerto with the Boston Symphony and Christoph Eschenbach, closing the Carnegie Hall and Metropolitan Opera Orchestra’s 2013-2014 season alongside James Levine, appearing with the Los Angeles Philharmonic and the late Rafael Frühbeck de Burgos, a European tour with the Gewandhaus Leipzig and Riccardo Chailly, concerts with the China Philharmonic with Jiří Bělohlávek, and Sydney Symphony.

A summer festival veteran, Harrell has appeared at Verbier, Grand Teton, Tanglewood—and Aspen. The latter relationship spanning over 60 years, and where his 2014 performance reprised the Read Thomas Concerto.

Upcoming highlights include performances with the Detroit and Atlanta Symphony Orchestras and the Seoul Philharmonic.

In addition, he’ll tour in trio with AnneSophie Mutter and Yefim Bronfman in both North America and Europe, and a chair on the cello panel of Moscow’s International Tchaikovsky Competition, with connecting 54 Atlanta Symphony Orchestra | aso.org

engagements with the Mariinsky Theatre Orchestra in Moscow and St. Petersburg.

A majorly accomplished recording artist, Mr. Harrell’s extensive discography of more than 30 recordings include the complete Bach Cello Suites (London/Decca), and two Grammy wins with Itzhak Perlman and Vladimir Ashkenazy – in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven Piano Trios (both Angel/EMI).

Mr. Harrell plays a 2008 Dungey cello. He makes his home in Santa Monica, CA. Mr. Harrell is represented by: COLUMBIA ARTISTS MANAGEMENT LLC; Personal Direction: R. Douglas Sheldon/Gabriella Campos. 5 Columbus Circle at 1790 Broadway, 16th Floor, New York, NY 10019. www.cami.com

CHAD BATKA

LYNN HARRELL, cello

ASO | support

T

he Orchestra’s donor list includes 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+

Friends of the Orchestra (2) Mrs. Anne Cox Chambers Delta Air Lines The Andrew W. Mellon Foundation The Woodruff Arts Center

$250,000+

A Friend of the Orchestra The Coca-Cola Company Invesco Mrs. Charles A. Smithgall Jr. Ticketmaster UPS

$100,000+

A Friend of the Orchestra Madeline & Howell E. Adams Jr. Bank of America Carl Black Buick GMC Ms. Lynn Eden First Data Corporation GE Asset Management Global Payments Inc. Abraham J. & Phyllis Katz Foundation Turner Broadcasting System Inc. Wells Fargo

$75,000+

Accenture LLP Anheuser-Busch Companies Inc. The Livingston Foundation Inc. Susan & Thomas Wardell

$50,000+

A Friend of the Orchestra Susan & Richard Anderson The Arthur M. Blank Family Foundation Celebrity Cruises Marcia & John Donnell Equifax Inc. Georgia Power Company William Randolph Hearst Foundations Victoria & Howard Palefsky Philips The Reiman Foundation Superior Plumbing Services Inc. Mr. & Mrs. John B. White Jr.* The Zeist Foundation Inc.

$35,000+

AGL Resources Inc. Mary Rockett Brock Georgia Natural Gas Karole & John Lloyd National Endowment for the Arts Porsche Cars North America Sutherland Asbill & Brennan LLP

$25,000+

Alston & Bird LLP Atlanta Homes & Lifestyles Mercedes T. Bass Charitable Corporation Mr. & Mrs. Paul J. Blackney Brown-Forman Beverages Worldwide Connie & Merrell Calhoun Mr. & Mrs. Bradley Currey Jr. Catherine Warren Dukehart

Roger F. Kahn Betty Sands Fuller Fulton County Arts Council Paul & Carol Garcia Ann & Gordon Getty Foundation The Home Depot Inc. D. Kirk Jamieson, Verizon Wireless Jones Lang LaSalle Inc. The J. W. Fund Kimberly-Clark Corporation Lucy R. & Gary Lee Jr. Lockheed Martin Aeronautics Company The Charles Loridans Foundation Inc. Massey Charitable Trust Mueller Water Products Inc. Terence L. & Jeanne P. Neal* Newell Rubbermaid PricewaterhouseCoopers LLP Publix Super Markets and Publix Super Markets Charities Inc. Patty & Doug Reid Rock-Tenn Company Ryder Systems Inc. Mr. & Mrs. Robert K. Steel Steinway Piano Galleries SunTrust Bank Trusteed Foundation — Walter H. & Marjory M. Rich Memorial Fund The Mark & Evelyn Trammell Foundation Vineyard Brands Inc. Adair & Dick White Mrs. Sue S. Williams The Vasser Woolley Foundation Inc.

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

56 Atlanta Symphony Orchestra | aso.org

ASO | support $17,500+

The Antinori Foundation Kelley O. & Neil H. Berman Wright & Alison Caughman Chick-fil-A Foundation City of Atlanta Office of Cultural Affairs Dr. John W. Cooledge The Jim Cox Jr. Foundation The Estate of Roy A. Dorsey E. & J. Gallo Winery Carol G. & Larry L. Gellerstedt III Georgia Council for the Arts Jane & Clay Jackson Edward A. Labry Suzanne & Bill Plybon* Printpack Inc. and The Gay & Erskine Love Foundation RaceTrac Petroleum Inc. Stanley & Shannon Romanstein Triska Drake & G. Kimbrough Taylor Jr. Mark & Rebekah Wasserman

$15,000+

Mr. & Mrs. Frank H. Boykin Janine Brown & Alex J. Simmons Jr. John W. & Rosemary K. Brown The Capital Group Companies Charitable Foundation Gary & Nancy Fayard Genuine Parts Company Georgia Humanities Council Charles & Mary Ginden The Graves Foundation James H. Landon Donna Lee & Howard Ehni Ken & Carolyn Meltzer Mr. & Mrs. Michael J. Merlin Nordstrom Inc. Mr. & Mrs. E. Fay Pearce Jr.* Mr. Thurmond Smithgall Jeffrey C. Sprecher & Kelly Loeffler Alison M. & Joseph M. Thompson The Trapp Family John & Ray Uttenhove Patrick & Susie Viguerie Mr. & Mrs. Edus H. Warren Jr. Camille Yow

$10,000+

A Friend of the Orchestra AGCO Corporation Alpharetta Convention & Visitors’ Bureau ARSC Bacardi USA Julie & Jim Balloun Ms. Juanita Baranco Bell Family Foundation Liz & Frank Blake Alexandra & Brett Blumencranz Mr. David Boatwright The Breman Foundation Inc. The Walter & Frances Bunzl Foundation Camarena Tequila Mr. & Mrs. Michael H. Campbell Janet Davenport in honor of Norman Mackenzie Cari K. Dawson & John M. Sparrow EY Ms. Nancy Field & Mr. Michael Schulder Mary D. Gellerstedt Georgia Lottery GMT Capital Corporation Nancy D. Gould Drs. Jeannette Guarner & Carlos del Rio Jan & Tom Hough Roger & Lynn Hudgins JBS Foundation Ann A. & Ben F. Johnson III* The Philip I. Kent Foundation Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec Pat & Nolan Leake John & Linda Matthews Anne Morgan & Jim Kelley Morgens West Foundation Caroline & Joe di Donato O’Donnell Franca G. Oreffice The Sally & Peter Parsonson Foundation Mr. & Mrs. Solon P. Patterson* Dr. & Mrs. Mark P. Pentecost Jr. Priority Payment Systems Margaret & Bob Reiser Pierrette Scanavino Bill & Rachel Schultz*

Joyce & Henry Schwob Mr. John A. Sibley III Staging Directions Inc. Mary Rose Taylor Carol & Ramon Tomé Family Fund* Traditional Home Turner Foundation Inc. United Distributors Inc. Chilton & Morgan Varner Neal & Virginia Williams YP

$7,500+

Friends of the Orchestra (2) Peggy Abbott ADAC Boxwoods Gardens & Gifts Inc. Mr. & Mrs. Ronald M. Cofield Sally & Carl Gable The Fred & Sue McGehee Family Charitable Fund Piedmont National Corporation Tito’s Handmade Vodka Pamela Weck Cohen Ms. Sarah Weck Mr. Thomas Weck

$5,000+

Friends of the Orchestra (4) Ms. Kay Adams* & Mr. Ralph Paulk Aadu & Kristi Allpere* Ms. Julie M. Altenbach Lisa & Joe Bankoff Blackwell Rum Patricia & William Buss Coca-Cola Enterprises Inc. Susan & Carl Cofer The Community Foundation for Greater Atlanta David Coucheron Ms. Diane Durgin David L. Forbes Charitable Fund Shirley C. Franklin Georgia-Pacific Foundation Mr. & Mrs. Richard Goodsell Dominic Guercio & Robert Rigsby The Robert Hall Gunn Jr. Fund Gene Haywood Mr. & Mrs. Douglas J. Hertz Tad & Janin Hutcheson Roya & Bahman Irvani

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

58 Atlanta Symphony Orchestra | aso.org

SCHOLARSHIP OPPORTUNITIES at the

SCHWOB SCHOOL OF MUSIC COLUMBUS STATE UNIVERSITY

Over $800,000 in music scholarships annually CSU Honors Scholarships; priority application deadline January 15 Woodruff Award Competition for entering undergraduate students; winners receive full tuition, room and board, plus a $5,000 stipend. Video applications due March 1 Graduate Assistantships available for Masterâ&#x20AC;&#x2122;s degree and Artist Diploma students

www.ColumbusState.edu/Music 4225 University Avenue, Columbus, GA 31907 | 706-649-7225 | schwobmusic@ColumbusState.edu

ASO | support Mr. & Mrs. Baxter Jones Paul & Rosthema Kastin Donald S. Orr & Marcia K. Knight Lance Toland Associates George H. Lanier The Sartain Lanier Family Foundation Lillian Balentine Law The Links Inc. — Azalea City Chapter Dr. & Mrs. John E. Maupin Mr. & Mrs. Brian F. McCarthy Mr. Justin R. McLain Miller’s Ale House John F. & Marilyn M. McMullan Walter W. Mitchell Moe’s Southwest Grill Ms. Suzanne E. Mott Dansby Margaret H. Petersen In memory of Dr. Frank S. Pittman III Mr. & Mrs. Joel F. Reeves Vicki & Joe Riedel Betsy & Lee Robinson Donald Runnicles Beverly & Milton Shlapak Amy & Paul Snyder Peter James Stelling Geraldine Dillard Stutz Sherry P. Taylor, MD Verifone Village Tavern Joan N. Whitcomb Dr. Thomas E. Whitesides Jr. Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner Zeliff & Wallace Advisory Company Inc.

$3,500+

A Friend of the Orchestra ACI Worldwide Mr. & Mrs. Stephen D. Ambo Atlanta Falcons Youth Foundation Inc. Bahama Breeze Jack & Helga Beam Rita & Herschel Bloom Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown Jr. Capgemini Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* Mr. & Mrs. Brant Davis* Sally & Larry Davis Mr. & Mrs. Andrew J. Delany Deloitte & Touche LLP Mr. & Mrs. Bruce Dragt The Elster Foundation David & Patty Emerson Dr. & Mrs. Carl D. Fackler Caroline Gilham Deedee & Marc Hamburger* Sally W. Hawkins Mr. Sean Heckert The Hellen Ingram Plummer Charitable Foundation Inc. Robert & Sherry Johnson Dick & Georgia Kimball* Dr. & Mrs. James T. Laney* Deborah & William Liss* Dr. & Mrs. James T. Lowman Belinda & Gino Massafra Mr. & Mrs. Albert S. McGhee Gregory & Judy Moore Morris, Manning & Martin

Mr. & Mrs. Scott Nathan Robert & Mary Ann Olive David Paule & Gary Mann Provaré Technology Inc. S. A. Robinson Mr. & Mrs. George P. Rodrigue Russell Reynolds Associates In memory of Willard Shull Hamilton & Mason Smith Barry & Gail Spurlock Mrs. C. Preston Stephens Stephen & Sonia Swartz The Elster Foundation Lizanne Thomas & David Black Burton Trimble TSYS UNISYS Alan & Marcia Watt* Dr. & Mrs. James O. Wells Jr. Patrice M. WrightLewis H. & T. Yamashita*

$2,000+

Friends of the Orchestra (7) Phyllis Abramson Dr. Evelyn R. Babey Dr. & Mrs. David Bakken Asad Bashey Mr. & Mrs. R. Edwin Bennett B. Sandford Birdsey III Ms. Laura J. Bjorkholm & Mr. John C. Reece II Leon & Linda Borchers Edith H. & James E. Bostic, Jr., Family Foundation Dr. & Mrs. Anton J. Bueschen Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Russell E. Butner

Charles Campbell & Ann GrovensteinCampbell Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Chuck Carlin Susan & Carl Cofer Ralph & Rita Connell Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Thomas G. Cousins Peter & Vivian de Kok Mr. Philip A. Delanty Xavier Duralde & Mary Barrett Greg & Debra Durden Cree & Frazer Durrett Ms. Betty W. Dykes & Mr. Lars Steib Dr. Francine D. Dykes & Mr. Richard H. Delay Mary Frances Early Christopher & Sonnet Edmonds George T. & Alecia H. Ethridge Ellen & Howard Feinsand Mach Flinn John & Michelle Fuller Ed & Judy Garland Peg Simms Gary Drs. John & Gloria S. Gaston Dr. Mary G. George & Mr. Kenneth Molinelli Michael Gillen Marty & John Gillin Mary C. Gramling Dr. & Mrs. Alexander Gross Rand & Seth Hagen Betty L. Hammack & Charles Meredith M.D. Dr. Lewis H. Hamner III Hansberger & Merlin Harald R. Hansen* John & Martha Head Mr. & Mrs. John E. Hellriegel Virginia Hepner & Malcolm Barnes

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

60 Atlanta Symphony Orchestra | aso.org

ROB PHIPPS

RIMSKYKORSAKOV

SIBELIUS: The Bard BEETHOVEN: Piano Concerto No. 4

ROBERT SPANO YEFIM BRONFMAN conductor

piano

MAY 28/30 Presented by:

Supported by:

on sale here!

Woodruff Arts Center Box Office

404.733.5000

aso.org

encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 61

ASO | support Kenneth R. Hey Mr. Harvey & Dr. Sarah Hill* Alan & Lucy Hinman Harry & Tatty Howard Stephanie & Henry Howell In memory of Byron P. Harris Richard & Linda Hubert Dr. & Mrs. James M. Hund JoAnn Hall Hunsinger Mr. John Hunter The Hyman Foundation Ms. Bettina A. Jackson Cantador Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Mr. W. F. & Dr. Janice Johnston Mr. & Mrs. William K. Kapp Jr. Mr. & Mrs. L. Michael Kelly Mark B. Kent & Kevin A. Daft Paul & Camille Kesler Kinetix LLC Ms. Allyson Kirkpatrick Mr. & Mrs. Alan M. Knieter Mr. & Mrs. John E. Kranjc Dr. & Mrs. Scott I. Lampert Isabel Lamy Lee Olivia A. M. Leon J. Bancroft Lesesne & Randolph Henning Mrs. William C. Lester* Dr. Fulton D. Lewis III & Mr. Neal Rhoney Mr. & Mrs. J. David Lifsey Lime Media Group Inc. Joanne Lincoln

Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Kay & John Marshall Martha & Reynolds McClatchey Mrs. Mary Ruth McDonald* Mr. Mark F. McElreath Ms. Shelley S. McGehee Dr. Larry McIntire Birgit & David McQueen Virginia K. McTague Tom & Jennifer Merkling Angela & Jimmy Mitchell Lilot S. Moorman & Jeffrey B. Bradley The Mortimer Family* Janice & Tom Munsterman Mr. & Mrs. Michael J. Murphy Dr. & Mrs. R. Daniel Nable Lebby Neal Melanie & Allan Nelkin Peggy & Gary Noble Barbara & Sanford Orkin Peach State Freightliner Trucks Mr. & Mrs. Andreas Penninger Susan Perdew Leslie & Skip Petter Elise T. Phillips Doris D. Pidgeon in memory of Rezin E. Pidgeon Jr. Mary Kay & Gene Poland

The Reverend Neal P. Ponder Jr. Mr. & Mrs. Thomas J. Quigley Mr. Leonard B. Reed Dr. & Mrs. W. Harrison Reeves Sr. Ricoh Roger & Lynn Lieberman Ritvo Betsy & Lee Robinson Mr. & Mrs. Richard L. Rodgers The Gary W. Rollins Foundation John T. Ruff Jane & Rein Saral Dr. & Mrs. Robert M. Schultz June & John Scott Patrick & Donna Scullin Mr. & Mrs. Samuel R. Shapiro Angela & Morton Sherzer W. Henry Shuford & Nancy Shuford Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Mrs. J. Lucian Smith* Johannah Smith Mr. & Mrs. Raymond F. Stainback, Jr. Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Lou & Dick Stormont Mr. & Mrs. Edward W. Stroetz Jr. The Reverend Karl F. Suhr Mr. & Mrs. Alex Summers David & Kelly Taylor Mr. & Mrs. George B. Taylor Jr.

Mr. & Mrs. Mark Taylor Kimberly S. Tribble & Mark S. Lange Mr. Wit Truitt Annie-York Trujillo & Raul Trujillo Sheila L. Tschinkel Bill & Judy Vogel Mr. & Mrs. William C. Voss Drs. Jonne & Paul Walter The Reverend & Mrs. Donald Welles Jr. David & Martha West Sally Stephens Westmoreland Hubert H. Whitlow Jr. Mrs. Frank L. Wilson, Jr. Mary Lou Wolff Jan & Beattie Wood in memory of Bill Lester and in honor of Rhonda Respess Dr. & Mrs. William Yang Mr. & Mrs. John C. Yates

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

62 Atlanta Symphony Orchestra | aso.org

Come experience the uniqueness of historic downtown Braselton where guests and locals enjoy some of the best shopping in Northeast Georgia. Whether you are perusing one of our many outstanding antique stores, enjoying an afternoon at the day spa, visiting our local artist gallery, or dining at a local restaurant, downtown Braselton has something for everyone.

ASO | support Henry Sopkin Circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Anonymous (20) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese** Margie & Pierce Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela J. Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth Etoll Brien P. Faucett

Dr. Emile T. Fischer A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr., Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Ms. Jeannie Hearn Barbara & John Henigbaum Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.** & Mrs. Fred A. Hoyt, Jr. Jim & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. James H. Landon Ouida Hayes Lanier

Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard** & Sandra Palay Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. The 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

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

You can leave a legacy of music.

Call Jessica Langlois, Director of Development for more information.

404.733.2864 **Deceased

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2014-2015 ASA Board of Directors Camille Kesler President Sylvia Davidson Immediate Past President Leslie Petter Advisor Belinda Massafra Secretary & Nominating Chair

Marie Hannon Treasurer Bunny Davidson Membership VP Pat King Education VP Glee Lamb Fundraising VP

64 Atlanta Symphony Orchestra | aso.org

Celeste Pendarvis Marketing VP Wadette Bradford & Jonathan Brown Bravo Unit Chairs Martha Head & John Head Concerto Unit Chairs

Joan Abernathy Encore Unit Chair Corrie Johnson & Joanne Chesler Gross Ensemble Unit Chairs Nancy Cox & Nancy Chunka Intermezzo Unit Chairs

CENTER FOR

PERFORMING ARTS

SCHWARTZ

FLORA GLENN

CANDLER CONCERT SERIES 2014 – 2015 SEASON

MAR 20, 2015 DANIEL ROUMAIN, composer Emory Special Commission APR 4, 2015 SHARON ISBIN, guitar ISABEL LEONARD, mezzo-soprano APR 19, 2015 THE TALLIS SCHOLARS

TICKETS ON SALE NOW! Box Office 404.727.5050 1690-Ad-halfpage-Lemley.qxp arts.emory.edu/concerts 1/15/2015

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corporate & government | support

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

Holiday Title Sponsor

Atlanta School of Composers Presenting Sponsor

Free Park Concert Series Title Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Mayorâ&#x20AC;&#x2122;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 the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

66 Atlanta Symphony Orchestra | aso.org

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

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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, the Alliance Theatre, Arts for Learning, Atlanta Symphony Orchestra, and the High Museum of Art. We are deeply grateful for these 32 partners who help ensure the arts thrive in our community.

$1+ MILLION

$500,000-$999,999

A Friend of the Woodruff Arts Center Georgia Power Foundation, Inc. The Goizueta Foundation Hagedorn Family SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English

Memorial Fund Walter H. and Marjory M. Rich Memorial Fund Turner Broadcasting System, Inc. Wells Fargo

$250,000-$499,999 AT&T Bank of America Lucinda Bunnen The Community Foundation for Greater Atlanta, Inc. Deloitte, its Partners & Employees Fulton County Arts Council Nancy & Holcombe T. Green, Jr. The Home Depot Fay & W. Barrett Howell The Kendeda Fund Sarah & Jim Kennedy Marilyn & Donald Keough The Estate of Florence Kopleff The Sara Giles Moore Foundation PNC PwC, Partners & Employees The Rich Foundation, Inc. Louise Sams Mrs. Charles A. Smithgall, Jr. Ticketmaster UPS

THE PATRON CIRCLE The Woodruff Arts Centerâ&#x20AC;&#x2122;s Annual Campaign set an all-time record, raising more than $9.6 million, thanks to the generosity of Patron Circle donors and their contributors.

Campaign gifts support our shared services model, which funds campus-wide operations. $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Walter H. and Marjory M. Rich Memorial Fund $300,000+ Cox Interests: Anne Cox Chambers* Atlanta Journal Constitution James M. Cox Foundation Cox Radio Group Atlanta WSB-TV Deloitte, its Partners & Employees The Home Depot PwC, Partners & Employees UPS

$200,000+ Bank of America The Community Foundation for Greater Atlanta, Inc. Delta Air Lines, Inc. EY, Partners & Employees Turner Broadcasting System, Inc. $150,000+ Alston & Bird LLP Cushman & Wakefield of Georgia King & Spalding Partners & Employees KPMG LLP, Partners & Employees The Sara Giles Moore Foundation The Rich Foundation, Inc.

68 Atlanta Symphony Orchestra | aso.org

$100,000+ AT&T Equifax Inc. & Employees Invesco Ltd. Kay and Doug Ivester * Jones Day Foundation and Employees Kaiser Permanente The Marcus Foundation, Inc. Wells Fargo The David, Helen & Marian Woodward Fund $75,000+ AGL Resources Inc. Chick-fil-A Foundation Kilpatrick Townsend LLP The Sartain Lanier Family Foundation * Mr. and Mrs. David M. Ratcliffe Regions Financial Corporation RockTenn

$50,000+ Susan & Richard Anderson Neal K. Aronson & Wendy L. Conrad Birch Communications Camp-Younts Foundation Crawford & Company Frank Jackson Sandy Springs Toyota and Scion Jones Lang LaSalle NCR Foundation Novelis PNC Primerica Sutherland Asbill and Brennan LLP The Zeist Foundation, Inc. $25,000+ Arby’s Foundation Atlanta Foundation Lisa & Joe Bankoff * BB&T Corporation Arthur M. Blank Family Foundation Cousins Properties Foundation John & Mary Franklin Foundation Mr. & Mrs. Lawrence L. Gellerstedt III * Georgia Natural Gas Georgia-Pacific GMT Capital Corporation Greenberg Traurig, LLP Holder Construction Company The Imlay Foundation, Inc. Lou Brown Jewell The Joe E. Johnston Foundation Sarah & Jim Kennedy The Klaus Family Foundation * The Ray M. & Mary Elizabeth Lee Foundation, Inc. Livingston Foundation, Inc. Lockheed Martin Aeronautics Company Nelson Mullins Riley & Scarborough LLP Newell Rubbermaid Norfolk Southern Foundation Printpack, Inc. & The Gay and Erskine Love Foundation Patty and Doug Reid Family Foundation Rollins, Inc. Rooms to Go Children’s Fund Sam’s Club and Wal-Mart Stores, Inc. SCANA Energy Southwest Airlines Southwire Company

Carol & Ramon Tomé Family Fund Troutman Sanders LLP United Distributors, Inc. Verizon Waffle House, Inc. Gertrude & Williams C. Wardlaw Fund Frances Wood Wilson Foundation, Inc. Woodruff Arts Center Employees Yancey Bros. Co. $15,000+ A Friend of the Woodruff Arts Center Aaron’s Inc. ABM Onsite Services ACE Charitable Foundation Acuity Brands A.E.M. Family Foundation Mr. Peter Aman * Arnall Golden Gregory LLP Assurant Specialty Property Atlanta Marriott Marquis Atlantic American Corporation Atlantic Trust Anna & Ed Bastian* Susan R. Bell & Patrick M. Morris * Laura & Stan Blackburn * Bluetube Interactive Ms. Lisa Borders * The Boston Consulting Group The Brand Banking Company The George M. Brown Trust Fund of Atlanta, Georgia Bryan Cave LLP Capital Guardian Trust Company Casey-Slade Group, Merrill Lynch Center Family Foundation The Chatham Valley Foundation, Inc. Mr. Thomas C. Chubb * Ann & Jeff Cramer * CSX Mr. & Mrs. Bradley Currey, Jr. * Michael S. Donnelly * Fifth Third Bank First Data Corporation Mr. and Mrs. Martin L. Flanagan * Gas South, LLC Genuine Parts Company Price Gilbert, Jr. Charitable Fund Grant Thornton LLP Harland Clarke Mr. Phil Harrison * HD Supply Virginia A. Hepner & Malcolm Barnes *

The Howell Fund, Inc. * Isdell Family Foundation Weldon H. Johnson Family Foundation J.P. Morgan Chase Foundation The Thomas M. & Irene B. Kirbo Charitable Foundation Thomas H. Lanier Family Foundation Lanier Parking Solutions The Barbara W. & Bertram L. Levy Fund * The Blanche Lipscomb Foundation, Inc. Karole & John Lloyd * Kurt P. Kuehn & Cheryl Davis * Macy’s Foundation Majestic Realty Mohawk Industries, Inc. & Mr. and Mrs. Frank H. Boykin Vicki & John Palmer The Sally & Peter Parsonson Foundation, Inc. Piedmont Charitable Foundation, Inc. Post Properties, Inc. Jane and Joe Prendergast Quikrete Mary & Craig Ramsey Regal Entertainment Group, Inc. Mr. & Mrs. William H. Rogers, Jr. * Louise Sams & Jerome Grilhot * Selig Enterprises, Inc./ The Selig Foundation * Smith & Howard Karen & John Spiegel State Bank & Trust Company Claire E. Sterk and Kirk Elifson * Tishman Speyer Properties Mark and Evelyn Trammell Foundation Trimont Real Estate Advisors, Inc. Mr. Paul E. Viera * Sue & John Wieland Mr. & Mrs. James B. Williams Mrs. Sue S. Williams Womble Carlyle Sandridge & Rice, LLP Wood Partners Mr. and Mrs. Robert A. Yellowlees * 2014/2015 Board Members Beauchamp C. Carr Challenge Fund Donors

Donations for Woodruff Arts Center Annual Campaign June 1, 2013 – May 31, 2014

encoreatlanta.com | Atlanta’s Performing Arts Publication 69

ASO | staff MARKETING & COMMUNICATIONS Lucio Petroccione Vice President for Stategic Business Development Dallas Greene Season Tickets Assistant OPERATIONS Holly Hanchey Paul Barrett Director of Marketing & Senior Production Patron Experience Stage Manager Tegan Ketchie Richard Carvlin Manager of Broad Stage Manager Based Giving Alex Malone Melanie Kite Managing Producer Subscriptions Office Symphony POPS! Manager Jesse Pace Pamela Kruseck Orchestra Operations & Manager of Group Hall Rental Coordinator Sales & Tourism Russell Williamson Alesia Mack ASO PRESENTS Orchestra Manager Director of Season Tickets Trevor Ralph & Customer Service Susanne Watts Vice President, Chief Orchestra Personnel Robert Phipps Operating Officer Manager Publications Director Clay Schell Thomas Pinckney Vice President, ARTISTIC Group & Corporate Programming Evans Mirageas Sales Manager Vice President for Holly Clausen Brandon Sheats Artistic & Operations Director of Marketing Database Manager Carol Wyatt Lisa Eng Robin Smith Executive Assistant to Graphic Artist Subscription & the Music Director & Natacha McLeod Education Sales Principal Guest Conductor Marketing Manager Kourtnea Stevenson Jeffrey Baxter Verizon Wireless Group & Corporate Choral Administrator Amphitheater at Sales Associate Encore Park Ken Meltzer Karen Tucker ASO Insider & Katie Daniel Season Tickets Associate Program Annotator Director of Sales Russell Wheeler Christopher McLaughlin Deborah Honan Director of Group & Artist Assistant Office & Customer Service Corporate Sales Manager & Venue Rental Coordinator Brandon Schleicher Facility Manager Rebecca Simmons Director of Ticketing at ASO Presents Jack Stiegler Director of Operations EXECUTIVE Terry Neal Interim President & Chief Executive Officer Bob Scarr Archives Program Manager

EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Vice President, Education & Community Engagement Katherine Algarra Program Assistant for Student Music Programs Kaitlin Gress Arts Vibe Teen Program Coordinator Tiffany I. M. Jones Education Associate for Audience Development Ahmad Mayes Manager of Community Programs

70 Atlanta Symphony Orchestra | aso.org

FINANCE & ADMINISTRATION Susan Ambo Vice President of Finance Shannon McCown Assistant to the Vice President of Finance Peter Dickson Senior Accountant Nicole Epstein Venues Accountant Kimberly Hielsberg Senior Director of Financial Planning & Analysis Stephen Jones Symphony Store April Satterfield Controller DEVELOPMENT Jessica Langlois Development Director, Annual Giving Elizbeth Bixby Individual Giving Manager Melissa Muntz Grants Manager, Advancement Services

CLAYTON STATE UNIVERSITY / MORROW, GEORGIA

Stephen Hough, piano

SUNDAY, MARCH 29 / 3:00 PM / $60 PROGRAM: Claude DEBUSSY La plus que lente; Estampes; Children’s Corner; L’isle joyeuse Frédéric CHOPIN Ballades Nos. 1 – 4

“Arguably the finest, certainly the most intelligent and technically impressive British pianist on the circuit” (The New York Times).

Stephen Hough

With “the energy and vibe of a rock band with the ability of a crack classical chamber group” (The Washington Post), the Australian Chamber Orchestra brings music vividly, irresistibly, to life.

Australian Chamber Orchestra

Australian Chamber Orchestra Richard Tognetti, artistic director/violin Martin Fröst, clarinet SUNDAY, APRIL 12 / 3:00 PM / $62

Richard Tognetti

Martin Fröst

PRE-CONCERT TALK 2:00 PM

PROGRAM: Sergei PROKOFIEV (arr. Barshai/Tognetti) Visions fugitives Wolfgang Amadeus MOZART Concerto for Clarinet and Orchestra in A major, K.622 Jonny GREENWOOD Water Wolfgang Amadeus MOZART Symphony No. 40 in G minor, K.550

TICKETS:

(678) 466-4200

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2 Atlanta locations 3242 Peachtree Road NE · Buckhead · 404-264-0253 848 Peachtree Street NE · Midtown · 404-870-0805

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encoreatlanta.com | Atlanta’s Performing Arts Publication 71

ASO | ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

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

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

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

Service charge applies. Phone orders are filled on a best-available basis.

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

www.atlantasymphony.org Order 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.

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 Patrons arriving later are seated at the discretion of house management.

Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons.

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

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

72 Atlanta Symphony Orchestra | aso.org

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

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

Help end childhood hunger at the 27th annual

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

Together, we will end childhood hunger in America.

Thursday, May 7, 2015 | Georgia Aquarium VIP $350 – 6:30 to 10 pm | General Admission $250 - 7:30 to 10 pm * Black tie optional * Purchase tickets at atlantataste.org | 100 % of proceeds benefit Atlanta’s Taste of the Nation for No Kid Hungry® campaign to end childhood hunger in America. national presenting sponsors

media sponsor

national sponsors

Thank you to our Local sponsors.

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APR 9/11/12 | Delta Classical WEBER: Overture to Der Freischütz SCHUMANN: Symphony No. 4 Lionel Bringuier, conductor Emanuel Ax, piano

APR 17/18 | POPS! CLASSIC SOUL Michael Krajewski, conductor Capathia Jenkins, vocalist Darius de Haas, vocalist APR 18 | Family

CHRISTOPHER THEOFANIDIS

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An American in Paris

SYMPHONY SAFARI Joseph Young, conductor

WORLD PREMIERE

APR 23/25 | Delta Classical THEATER OF A CONCERT Robert Spano, conductor James Alexander, stage director Jessica Rivera, soprano Kelley O’Connor, mezzo-soprano Thomas Cooley, tenor Nmon Ford, baritone Evan Boyer, bass ASO Chorus

APR 30/MAY 2 | Delta Classical MICHAEL GANDOLFI: Sinfonia Concertante World Premiere STRAVINSKY: Suite from The Firebird RAVEL: Piano Concerto Robert Spano, conductor Jean-Yves Thibaudet, piano Elizabeth Koch Tiscione, oboe Laura Ardan, clarinet Brice Andrus, horn

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aso.org 74 Atlanta Symphony Orchestra | aso.org

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encoreatlanta.com | Atlanta’s Performing Arts Publication 75

JEFF ROFFMAN

ASO | gallery

The ASO’s Artist in Residence, tenor Russell Thomas, performed in a recital/chamber concert at Ebenezer Baptist Church with members of the ASO – Justin Bruns, Sou-Chun Su, Reid Harris, Christopher Rex and pianist Elizabeth Pridgen.

76 Atlanta Symphony Orchestra | aso.org

In January, ASO audiences enjoyed a unique experience as organist, Cameron Carpenter and his International Touring Organ made a three-concert, one-recital stop in Atlanta. The digital organ, specifically designed to Mr. Carpenter’s specifications, brought the authentic, reverberating sound of giant cathedral organs to Atlanta Symphony Hall.

Dive in.

Just blocks from WooDruff Arts center At 1106 crescent Avenue 404.817.3650 | lure-atlanta.com | @lureAtl | facebook.com/lureatlanta

PRESENT YOUR TICKET STUB FOR 10% OFF YOUR MEAL!

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800.899.SFCM | admit@sfcm.edu | www.sfcm.edu

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regencysuites.com encoreatlanta.com | Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 77

Year round training for pre-college and college string players. faculty members from the ATLANTA SYMPHONY ORCHESTRA - Collaborate with faculty and peers - Improve technique, musicianship, discipline, and leadership - Enjoy performing with friends

Franklin Pond Chamber Music enriches the personal, cultural, and social lives of all people, especially young musicians, through chamber music.

www.franklinpond.org

78 Atlanta Symphony Orchestra | aso.org

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STEAL THE SHOW.

2015 LEXUS GS 350 F SPORT The 2015 Lexus GS truly deserves the spotlight. And even the toughest critics agree. When AMCI tested the Lexus GS 350 F SPORT, they concluded that it has “better overall handling performance than the BMW 535i M Sport.” 1 With performance this sensational, it’s only natural to take the lead.

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LEXUS OF SOUTH ATLANTA Union City 4025 Jonesboro Road (770) 969-0204 Options shown. 1. AMCI Testing Certified handling performance: 2014 Lexus GS 350 F SPORT versus the 2014 BMW 535i M Sport with rear-steer performance options. 2. Ratings achieved using the required premium unleaded gasoline with an octane rating of 91 or higher. If premium fuel is not used, performance will decrease. ©2015 Lexus.