Atlanta Symphony Orchestra: November 2021

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I N T R O D U C T I O N S In Tune. .

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Music Director.

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ASO Leadership. . ASO Musicians. N OT E S

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age 16 P Introducing The Spano Fund for New Music | @AtlantaSymphony |

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4 | encore ASO | IN TUNE Dear Friends, This month we celebrate Robert Spano’s 20-year tenure as Music Director of the Atlanta Symphony Orchestra, which concluded at the end of the 2020-21 season. We are fortunate that he has agreed to serve an additional year as Co-Artistic Advisor for the 2021-22 season along with Sir Donald Runnicles, providing essential continuity and leadership in the season between his remarkable tenure and the arrival of Nathalie Stutzmann as our new Music Director. One of the most significant voices on the American orchestral scene, Robert’s impact on this institution cannot be overstated and his legacy as a champion of American composers will continue for generations to come. We are grateful to The Antinori Foundation for their generous support in celebrating Robert’s extraordinary tenure as Music Director by providing the lead gift to establish The Spano Fund for New Music, ensuring the ASO has the necessary resources to continue Robert’s commitment to new music and the continuation of the Atlanta School of Composers. To celebrate, we offer two programs featuring composers he has championed this month. On November 18 and 20, the ASO will premiere Michael Gandolfi’s new piano concerto. Bookending the new concerto are Aaron Copland’s Fanfare for the Common Man and Symphony No. 3. On November 19, the Atlanta Symphony Orchestra will host a special one-night-only fundraiser performance for The Spano Fund for New Music, celebrating the Atlanta School of Composers, with works by Brian Nabors, ASO bassist Michael Kurth, Michael Gandolfi, Emmy Award-winning and Grammy® nominated Adam Schoenberg and Krists Auznieks. The celebration of Robert’s accomplishments continued with the presentation of the Georgia Intellectual Property Legends Award. This award is presented annually to Atlantans who have made a significant impact on the field of intellectual property, including educators, business owners, inventors and entrepreneurs, while serving as a role model in their community. Congratulations to Robert for this well-deserved honor. As the holidays approach, we all have cause for celebration as the world-renowned Atlanta Symphony Orchestra Chorus returns to the stage. Join us for these popular and especially meaningful family holiday traditions. With gratitude,

Jennifer Barlament Executive Director | @AtlantaSymphony |

Surround yourself with art as eclectic as our neighborhoods. Breathtaking murals. World-renowned art museums. America’s Best Beaches. And quaint streets full of unique eateries and boutiques. It’s all waiting for you in St. Pete/Clearwater.

Artist: George Rose




t’s a creative partnership like no other, forged over two decades. Since 2001, Robert Spano and Sir Donald Runnicles have collaborated on each of the Atlanta Symphony Orchestra’s seasons, curating a collection of works chosen for this time and this place. Together, our two maestros have led the Atlanta Symphony Orchestra into a new era. Robert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. After twenty seasons as Music Director, he will continue his association with the Atlanta Symphony Orchestra as Co-Artistic Advisor for the 2021/22 season. An avid mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors, and performers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and young performers. Principal Guest Conductor of the Fort Worth Symphony Orchestra since 2019, Spano became Music Director Designate on April 1, 2021, and begins an initial three-year term as Music Director in August 2022. He will be the tenth Music Director in the orchestra’s history, which was founded in 1912. Sir Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019 Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016. Runnicles enjoys close and enduring relationships with many of the leading opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic repertoire, which are core to his musical identity. Sir Donald Runnicles is born and raised in Edinburgh. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

Sir Donald Runnicles

Robert Spano

8 | encore ASO | LEADERSHIP | 2021/22 Board of Directors OFFICERS Janine Brown

Howard Palefsky

Lynn Eden


immediate past chair

vice chair

Patrick Viguerie

Susan Antinori

Bert Mills

chair elect



James Rubright vice chair

DIRECTORS Phyllis Abramson, PhD. Erroll Brown Davis, Jr.

Carrie Kurlander

William Schultz

Keith Adams

James H. Landon

Charles Sharbaugh

Juliet M. Allan

Carlos del Rio, M.D. FIDSA

Donna Lee

Fahim Siddiqui

Susan Antinori

Sloane Drake

Sukai Liu

W. Ross Singletary, II

Jennifer Barlament*

Lynn Eden

Kevin Lyman

John Sparrow

Paul Blackney

Angela Evans

Deborah Marlowe

Elliott Tapp

Rita Bloom

Craig Frankel

Penelope McPhee†

Brett Tarver

Janine Brown

Sally Bogle Gable

Bert Mills

S. Patrick Viguerie

Justin Bruns*

Anne Game

Molly Minnear

Kathy Waller

Benjamin Q. Brunt

Bonnie B. Harris

Hala Moddelmog*

Mark D. Wasserman

C. Merrell Calhoun

Charles Harrison

Terence L. Neal

Chris Webber

S. Wright Caughman, M.D.

Caroline Hofland

Galen Lee Oelkers

John B. White, Jr.

Tad Hutcheson, Jr.

Howard D. Palefsky

Richard S. White, Jr.

Susan Clare

Roya Irvani

Cathleen Quigley

Lisa Chang

Nancy Janet*

Doug Reid

Kevin E. Woods, M.D., M.P.H.

Russell Currey

Randolph J. Koporc

James Rubright


Dona Humphreys

Patricia H. Reid

Chilton Varner

John W. Cooledge, M.D. Aaron J. Johnson, Jr.

Joyce Schwob

Adair M. White

John R. Donnell, Jr.

Ben F. Johnson, III

John A. Sibley, III

Sue Sigmon Williams

Jere A. Drummond

James F. Kelley

H. Hamilton Smith

Carla Fackler

Patricia Leake

G. Kimbrough Taylor, Jr.

Charles B. Ginden

Karole F. Lloyd

Michael W. Trapp

John T. Glover

Meghan H. Magruder

Ray Uttenhove

LIFE DIRECTORS Howell E. Adams, Jr.

Bradley Currey, Jr.

Betty Sands Fuller

*Ex-Officio Board Member †Sabbatical for the 2021/22 Season | @AtlantaSymphony |

Azira G. Hill

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10 | encore ASO | 2021/22 Musician Roster




David Coucheron


Rainer Eudeikis




The Mr. and Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam and John Conant Chair

Justin Bruns

associate principal

associate concertmaster

Sou-Chun Su acting / associate

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair

Karen Freer


Jay Christy

assistant principal


Daniel Laufer The Livingston Foundation Chair

assistant concertmaster

acting associate / assistant

Jun-Ching Lin


assistant concertmaster

Dae Hee Ahn

Thomas Carpenter

Anastasia Agapova

Robert Anemone

Joel Dallow

Kevin Chen

Sharon Berenson

The UPS Foundation Chair

Carolyn Toll Hancock

Noriko Konno Clift

Brad Ritchie

The Wells Fargo Chair

David Dillard

John Meisner


Sheela Iyengar**

Christopher Pulgram

Joseph McFadden

Eleanor Kosek


Juan R. Ramírez Hernández

Ruth Ann Little

The Marcia and John Donnell Chair

Olga Shpitko

Rachel Ostler

Gloria Jones Allgood


The Lucy R. & Gary Lee Jr. Chair

Zhenwei Shi

Brittany Conrad**


Karl Fenner

Kenn Wagner Lisa Wiedman Yancich Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair

Sanford Salzinger

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

Dona Vellek assistant principal emeritus

associate principal

Michael Kenady The Jane Little Chair

Michael Kurth Daniel Tosky FLUTE Christina Smith principal

The Jill Hertz Chair

Robert Cronin

Yiyin Li

associate principal

Lachlan McBane

C. Todd Skitch

Jessica Oudin

Gina Hughes

Madeline Sharp

Players in string sections are listed alphabetically | @AtlantaSymphony |

Robert Spano

Sir Donald Runnicles

Jerry Hou

Norman Mackenzie

co-artistic advisor

principal guest conductor

associate conductor;

director of choruses

music director of the atlanta

The Frannie & Bill Graves Chair

The Robert Reid Topping Chair

co-artistic advisor

The Neil & Sue Williams Chair

symphony youth orchestra

The Zeist Foundation Chair




Gina Hughes

Juan de Gomar

Mark Yancich



Elizabeth Koch Tiscione

Jaclyn Rainey



The George M. and Corrie Hoyt Brown Chair

The Betty Sands Fuller Chair

Zachary Boeding

associate principal

Joseph Petrasek

associate principal

Kimberly Gilman


The Kendeda Fund Chair

Samuel Nemec Emily Brebach ENGLISH HORN Emily Brebach CLARINET Laura Ardan principal

The Robert Shaw Chair The Mabel Dorn Reeder Honorary Chair

Ted Gurch associate principal

Marci Gurnow Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez BASSOON


The Walter H. Bunzl Chair

Michael Stubbart assistant principal


Susan Welty

Chelsea McFarland**

The Julie and Arthur Montgomery Chair

Bruce Kenney

William Wilder


assistant principal

Stuart Stephenson principal

The Madeline and Howell Adams Chair

The William A. Schwartz Chair

Michael Stubbart The Connie and Merrell Calhoun Chair

Michael Tiscione


associate principal

Elisabeth Remy Johnson

Anthony Limoncelli


Mark Maliniak



The Hugh and Jessie Hodgson Memorial Chair

Vacant principal

The Terence L. Neal Chair, Honoring his dedication and service to the Atlanta Symphony Orchestra

Nathan Zgonc acting / associate

The Sally and Carl Gable Chair

Peter Marshall † Sharon Berenson LIBRARY


Jeremy Buckler**

Katie Klich principal

Brian Hecht*

The Marianna & Solon Patterson Chair

Luke Sieve•**

Holly Matthews



assistant principal librarian

The Abraham J. & Phyllis Katz Foundation Chair

Brian Hecht*

Anthony Georgeson

Luke Sieve•**

Andrew Brady

associate principal

The Home Depot Veterans Chair

Laura Najarian


Juan de Gomar

Michael Moore principal

The Delta Air Lines Chair

Hannah Davis asyo / assistant


‡ Rotates between sections * Leave of absence † Regularly engaged musician • New this season ** One-year appointment


LET THE SEASON BEGIN! Enjoy Big Band Holidays with

The Jazz at Lincoln Center Orchestra with

Wynton Marsalis and special guest vocalist Ashley Pezzotti

December 3rd at 7:30pm Wynton Marsalis

Renée Fleming in Concert January 14th at 7:30pm The American superstar soprano is recognized worldwide for her performances in opera, theater, film, and more. She is a four-time Grammy winner and a recipient of the National Medal of Arts. Renée Fleming


Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a newlyformed group of passionate and engaged individuals who act as both ambassadors and resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page. 2021/22 CHAIRS Arthur Mills, IV advisory council chair

Frances Root patron experience task force chair

Jane Morrison diversity & community connection task force co-chair Eleina Raines diversity & community connection task force co-chair Otis Threatt diversity & community Connection task force co-chair

MEMBERS Keith Barnett Meredith Bell Jane Blount Tracey Chu Donald & Barbara Defoe Paul & Susan Dimmick Bernadette Drankoski Burt Fealing Bruce Flower John Fuller Sally George Nancy Harrison Sally Hawkins Mia Hilley Justin Im

Brian & Ann Kimsey Jason & Michelle Kroh Scott Lampert Dr. Fulton D. Lewis, III Jason Liebzeit Belinda Massafra Bert Mobley Anne Morgan Tatiana Nemo Regina Olchowski Swathi Padmanabhan Margaret Painter Eliza Quigley David Quinn S. Neal Rhoney Felicia Rives

Jim Schroder Baker Smith Cindy Smith Kimberly Strong Stephen & Sonia Swartz George & Amy Taylor Cathy Toren Sheila Tschinkel Robert & Amy Vassey Robert Walt Nanette Wenger Kiki Wilson Taylor Winn David Worley Camille Yow

For more information about becoming an Advisory Council member, please contact Cheri Snyder at or 404.733.4904.

Holiday Concerts DEC 5/8 | Sun: 3pm/Wed: 8pm HUMPERDINCK:

Hansel & Gretel Donald Runnicles, conductor Kelley O’Connor, Hansel Jacquelyn Stucker, Gretel Elizabeth Bishop, Witch Stephen Powell, Father Michaela Martens, Mother Meechot Marrero, Dew Fairy

DEC 9/11 | Thu: 8pm/Sat: 3 & 8pm

© 1990 Tw entieth Century Fox

NOV 26/27/28

NOV 26/27/28 | Fri/Sat: 7:30pm/Sun: 3pm HOME ALONE in concert

Christmas with the ASO

Norman Mackenzie, conductor ASO Chorus Enjoy Atlanta’s Favorite Holiday Tradition. DEC 17/18 | Fri/Sat: 8pm

Handel’s Messiah

HANDEL: Part I and “Hallelujah!” Chorus from Messiah Norman Mackenzie, conductor ASO Chamber Chorus Handel’s masterpiece tells the Christmas story like no other. The Coca-Cola Holiday Concerts are presented by

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

On Sale Now

16 | encore

Introducing The Spano Fund for New Music

Michael Kurth

Michael Gandolfi

Krists Auznieks

Brian Nabors Adam Schoenberg | @AtlantaSymphony |

By Phil Kloer


hen Robert Spano was preparing to leave New York City to become Music Director of the Atlanta Symphony Orchestra in 2001, he was reading Tom Wolfe’s sometimes snippy novel set in this fair city, “A Man in Full.” “He described Atlanta as a place where the orchestra has to play ‘Bolero’ every night to satisfy the audience,” Spano recalls with a chuckle. In other words, good luck getting these rubes to sit still for new, unfamiliar music—which happened to be one of Spano’s passions. “People said, ‘You can’t do new music in Atlanta. It’s not gonna work.’ I chose to smugly smile to myself and say: ‘We’ll see.’” Twenty years later, as he prepares to depart as ASO Music Director, Spano looks back on a legacy of successfully connecting Atlanta audiences with new music by living composers. “There are people who will say, ‘I don’t want living composers, I want Beethoven and Tchaikovsky.’ And we have people in Atlanta who say, ‘There’s too much Beethoven; we want more living composers,’” he says. “We don’t have AN audience. We have multiple audiences. And that’s thrilling.” When Spano announced his retirement, Ron and Susan Antinori wanted to make sure the ASO’s commitment to new music continued into the future. They established The Spano Fund for New Music with a grant from their private family foundation, The Antinori Foundation. “The arts create a world in which I want to live,” says Ron Antinori. “Especially music. I’m not overly religious, but I believe that art is God’s doorway into my psyche. If I fund in a direction, it’s because that’s the world I want to live in.”

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18 | encore The foundation primarily supports Atlanta arts organizations. Ron Antinori founded two companies that developed operational software for banks, and Susan is on the ASO Board. To celebrate and raise more money for the new fund, the ASO will have a concert of new music on Nov. 19, 2021. The special event features works by five members of the Atlanta School of Composers: Brian Nabors, Krists Auznieks, Michael Gandolfi, Adam Schoenberg and Michael Kurth. The fund will pay for commissions for composers, travel expenses, guest artists, and recording and disseminating the new works. The ASO hopes to expand it into an endowment for commissioning new symphonic works in perpetuity. “This fund is a guarantee that the orchestra is going to keep prioritizing new music,” says Kurth, who plays bass in the ASO and is also a composer. “I appreciate Ron and Susan so much for their support. “Robert has a great metaphor,” Kurth continues. “The orchestra needs to be a gallery and a museum at the same time. A museum to present the classics of the past, the canon of celebrated and established works, but also a gallery to keep things fresh.” Sometime back in the mid-aughts, it was Spano who christened a group of composers he worked with as the Atlanta School of Composers, a name which he acknowledges has caused some confusion.

Miloš Karadaglić

“It’s a school more akin to fishes than academia: Those who swim together,” he explains. “When I was hired, we made some decisions how we were going to handle new music. I wanted to focus on American composers of my generation and cultivate real relationships with a few of them. Let’s make them part of our family, make them integral to the ASO. “About five years in,” he continues, “I realized these composers we’ve cultivated share an aesthetic profile. We talk about the Big Five in Russia or Le Six in Paris, when you hear a shift in the compositional aesthetic at a particular time. I realized that’s happening right here. “Even though they don’t sound the same, they share an | @AtlantaSymphony |

interest in melody, an interest in tonality and an interest in world music or pop music or both. “We were paying for it, so we had the hubris to say let’s just call it the Atlanta School,” he concludes. “I love Robert Spano to death,” says Antinori. “When we became aware that Robert was leaving, and there was this Atlanta School of Composers, it could just evaporate. Previous ASO music directors left legacies, and I thought the Atlanta School of Composers would be Robert’s legacy.” Most of the composers in the Atlanta School are not from Atlanta, although some are. “The important thing is it came out of our soil,” Spano says. “It’s impossible to overestimate how important that is. That’s the most beautiful thing any of us can do, is work from our own soil.” As Spano prepares to pass his baton to new music director Nathalie Stutzmann at the end of this season, The Spano Fund for New Music is a major indication that his legacy will be lasting. His role in the fund after he departs is not yet crystal clear, and he is fine with that. “I think Ron and Susan would like me to be involved and I would like to be involved,” says Spano. “But I want to be careful that I don’t over-insert myself. It’s very important to me as the outgoing Music Director to get out of the way to allow my successor to do her work. “I’m more than happy to play whatever role I can,” he adds. “The beautiful part is the institutional commitment. I could think of no greater gift from a patron of the ASO.”

S usan and Ron Antinori of The Antinori Foundation

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20 | encore ASO | SEASON SPONSORS We are deeply grateful to the following leadership donors whose generous support has made the Atlanta Symphony Orchestra's season possible.

A Friend of the Symphony | @AtlantaSymphony |

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The Atlanta Symphony Orchestra gives special thanks to the following donors for their extraordinary support of the Orchestra’s Stability Fund. Created at the onset of the COVID-19 pandemic, the Stability Fund helps mitigate the enormous challenges of the pandemic and allows the Orchestra to continue performing and sharing music with our community. A Friend of the Symphony (4) The Antinori Foundation The Arthur M. Blank Family Foundation The Atlanta Symphony Orchestra Players’ Association Jennifer Barlament & Kenneth Potsic Janine Brown & Alex J. Simmons, Jr. The John and Rosemary Brown Family Foundation

Thalia & Michael C. Carlos Advised Fund Marcia & John Donnell In loving memory of Catherine W. Dukehart The Estate of Geoffrey G. Eichholz Angela Evans James H. Landon Bert & Carmen Mills Lynn & Galen Oelkers

Sally & Pete Parsonson Patty & Doug Reid Mr. John A. Sibley, III Ross & Sally Singletary Slumgullion Charitable Fund Kathy Waller & Kenneth Goggins Adair & Dick White The Estate of Hubert H. Whitlow, Jr. Kiki Wilson

This list recognizes donors who have made contributions the ASO Stability Fund since March 2020.

22 | nov4/6 Concerts of Thursday, November 4, 2021 8:00pm Saturday, November 6, 2021 8:00pm JAMES GAFFIGAN, conductor ALISA WEILERSTEIN, cello

JEAN-PHILIPPE RAMEAU (1683–1764) Selections from Les Indes galantes (1735) I. Air des Sauvages II. Ouverture III. Entrée des quatre Nations IV. Menuets V. Tambourins I. Air des Sauvages OSVALDO GOLIJOV (b. 1960) Azul, for cello and orchestra (2006) I. Paz Sulfúrica II. Silencio III. Transit IV. Yrushalem CODA I: Pulsar CODA II: Shooting Stars Alisa Weilerstein, cello INTERMISSION JOHN ADAMS (b. 1947) The Chairman Dances, Foxtrot for Orchestra (1985)





MAURICE RAVEL (1875 – 1937) Ma mère l’oye Ballet (Mother Goose) (1911) 29 MINS Prélude I. Danse du Rouet et Scène II. Pavane de la Belle au bois dormant III. Les entretiens de la Belle et de la Bête IV. Petit Poucet V. Laideronnette, Impératrice des Pagodes VI. Le jardin féerique

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. | @AtlantaSymphony |


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by Noel Morris Program Annotator

Selections from Les Indes galantes

First and most recent

These selections from Les Indes galantes are scored for two oboes, four bassoons, one flute, percussion, harpsichord, and strings.

ASO Performance:


n 1725, five Native American chiefs sailed to France for a meeting at Fountainbleau with the 15-year-old King Louis XV. Flattering the youth, Chigagou, leader of the Mitchigamea, said to him, “You are like a beautiful rising star that sparkles in a lovely sky where there are no clouds.” A first-hand description of the American Natives caused a sensation in the December 1725 edition of the Mercure de France:

May 4 & 6, 2017, Nicholas McGegan, conductor

FRENCH BALLET The oldest national ballet company in the world, the Paris Opera

They were in the ceremonial dress of the land, that is to say utterly nude but with all of their body daubed with different colors and with a feather head-piece and, to cover their nakedness, a red loin cloth attached to a belt.

Ballet traces its origin

For their part, the Natives described their French counterparts as “men who were half women, with curled hair, earrings, and corsages on their chest,” and “smelled like alligators.”

Opera gained artistic

The five chiefs were taken on a sight-seeing tour of Paris and delivered to the Theatre Italien, where the composer Jean-Philippe witnessed their performance of Peace, War and Victory dances. A riveting experience, Rameau first wrote a harpsichord piece called Les Sauvages (the name ascribed to the chiefs by the Paris press). At this point, one could take a deep dive into the clash of cultures; the French delegation fully expected to overwhelm their guests with their own power and magnificence (the goal being to win greater influence along the Mississippi River). But it must be said, the encounter elicited a more measured response from Rameau. He saw before him a group of people utterly foreign to his experience and seized upon something they all understood—the capacity for love. The opéra-ballet Les Indes galantes, “The Amorous Indies” followed in 1735.

to the 1660s in the era of Louis XIV. From its inception, the ballet company at the Paris merit by its association with the King and by its founding director Jean-Baptiste Lully, France’s most important composer of the day. Over time, because there was a stable of trained ballerinas at the ready, Parisians came to expect a ballet interlude during every opera performance. As a result many composers added dance sequences to their operas—just for the privilege of seeing their shows onstage at

To put Les Indes galantes into context, Rameau was writing the Paris Opera. This in the age of colonialism, when trappings from various included Verdi, Rossini, voyages east and west were beginning to pour lighter fluid Donizetti and Wagner.

24 | encore on the European imagination. The resulting craze crept into everything from French art to fashion, literature, home décor and more. And so, as the market for things Turkish, Persian, Peruvian and American boomed, Rameau saw fit to bundle them all under the banner of love.


Les Indes galantes opens with a prologue praising the power of love. The first act, Les turc généreux, takes place on an island in the Indian Ocean, and involves a love triangle between a benevolent Ottoman official, a French slave girl and her shipwrecked lover. The second act, Les Incas du Pérou, presents a love story between a Spaniard and an Incan princess. The third act, Les fleurs, visits two couples in Persia, and the last, Les sauvages, tells the tale of a wise Native American girl who rejects advances from a pair of oily Europeans. In the end, she marries an honorable young brave. Azul First and most recent ASO performances: May 28 & 29, 2009, Miguel Harth-Bedoya, conductor

In addition to the solo cello, Azul is scored for three flutes (all doubling piccolo), English horn, clarinet, basset horn, bassoon, four horns, three trumpets, three trombones, timpani, percussion, celeste, harp, hyperaccordion, and strings.


remiered in August of 2006, Osvaldo Golijov’s cello concerto Azul grows out of the composer’s unique cultural profile: he was born in La Plata, Argentina (birthplace of the Argentine tango) to an Eastern European Jewish family. As the son of a piano teacher, he grew up in a rich musical environment, a colorful blend of European classical music, Yiddish Klezmer, Jewish liturgical music, pop music and nuevo tango. In 1983, he moved to Israel to continue his music education, and eventually emigrated to the United States. The inspiration for Azul comes from different impressions from the composer’s life. One of these recalls his 1990 fellowship at Tanglewood, where he relished gazing up into the blue dome of a cloudless sky. Another of these involved a trip to the Middle East in the year 2000 when violence erupted between Jews and Arabs; a week later, Golijov was back in New York taking his 5-year-old son to the Hayden Planetarium. | @AtlantaSymphony |

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“I saw one of those incredible space shows,” he said, “where you see views of the earth from above the International Space Station, and just was struck by this incredible planet that we live on and how beautiful it is from above and how in a way the topographical view, you don’t get that sense of all the struggles of life on the surface of our planet.” In both instances, “azul,” the Spanish word for blue, considers a person’s relationship to Nature and to the cosmos. From one angle, people look up at the sky; from the other, they look down from space to see a luminous blue ball.


After the 2006 premiere of Azul, Golijov went about reworking the piece. Leaning into the poetry of Pablo Neruda, he used verses from The Heights of Macchu Picchu as his guide. Probing the human connection to Nature, the opening undulates like the sea, and takes its title, “Paz Sulfúrica,” (sulfuric peace) from the Neruda poem: “I leaned my head into the deepest waves, I sank through the sulfuric peace.” An expanded percussion section echoes the wildness of planet Earth, while an accordion, a prominent tango instrument, forges a connection to Golijov’s roots in Argentina. (In this case, Golijov uses a “hyper-accordion,” an electronically enhanced instrument invented by Michael Ward-Bergeman.) The second section, titled “Silencio,” offers a set of Baroque-inspired variations on a repeated bass line (a chaconne). The third section, “Transit,” continues to spin Baroque-like sounds, perhaps recalling the cello suites of J.S. Bach. In the last section, titled “Yrushalem” (Jerusalem), Golijov develops concepts from an earlier work called Tenebrae. Recalling his impressions from the planetarium, he uses electronica to conjure the effect of traveling off-world. In 2007, Alisa Weilerstein gave the premiere of the revised Azul at the Lincoln Center Mostly Mozart Festival. The Chairman Dances The Chairman Dances is scored for two flutes (both doubling piccolo), two oboes, two clarinets (one doubling bass clarinet), two bassoons, four horns, two trumpets, two trombones, tuba, timpani, percussion, harp, piano, and strings.

First ASO Performances: October 15 & 16, 1987, David Zinman, conductor Most Recent ASO Performances: October 6 & 8, 2016, Robert Spano, conductor.

26 | encore


he BBC referred to it as “The week that changed the world.” On February 21, 1972, China was in the throes of the Cultural Revolution—an era marked by chaos, famine and bloodshed—when Air Force One touched down in Peking (Beijing). Under the world’s spotlight, President Richard Nixon greeted Chairman Mao Zedong and began the process of re-establishing diplomatic relations between the two countries—this after China had spent more than 20 years in isolation.


Less than fifteen years later, while most of the primary players still walked the earth, composer John Adams chose these events as the topic of his first opera, Nixon in China. The world premiere followed in October of 1987. The Chairman Dances from 1985 is not part of the opera but represents a flight of fancy on the part of the composer. The following scenario prefaces his score: Madame Mao, alias Jiang Ching, aka The WhiteBoned Demon [and former movie star], has gatecrashed the Presidential banquet.... After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle, and slit up the hip. She signals the orchestra to play and begins to dance by herself. Mao is becoming excited. He steps down from his portrait on the wall and they begin to foxtrot together. They are back [in the early days] in Yenan, the night is warm, they are dancing to the gramophone…. Ma mère l’oye Ballet First ASO Performance: October 31, 2004, Jere Flint, conductor Most Recent ASO Performances:

Ma mère l’oye is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets, two bassoons (one doubling contrabassoon), two horns, timpani, percussion, harp, celeste, and strings.


aurice Ravel was said to have been an intensely private person. He would leave no remnants of Robert Spano, conductor his activities—no manuscripts on the piano, no notes on the desk—nothing that might shed light on his personal affairs. Around Paris, he was a dandy who moved March 2, 2019, | @AtlantaSymphony |

comfortably among the glitterati. Yet, if he had any romantic attachments at all, we don’t know about them today. He “generally arrived late for dinner, often long after we had finished and the servants had gone to bed,” recalled Mimie Godebski. Little Mimie and her brother Jean Godebski adored Ravel. In those years, their parents welcomed an endless stream of artists and luminaries into their home, but Ravel was the one guest who would take the kids upon his knee and tell them a story. It was for these two—both piano students—that he wrote Five Children’s Pieces for Piano Four Hands based on tales from Mother Goose. In the spring of 1910, the little Godebskis proved too shy to perform the duets written for them by their famous friend, so the world premiere fell to 11-year-old Jeanne Leleu and 14-year-old Geneviève Durony. The following year, Ravel orchestrated and expanded the music into the Mother Goose ballet with a scenario drawn from several sources. The Sleeping Beauty, taken from the Charles Perrault collection, serves as an overarching narrative for the ballet. In Ravel’s scenario, Princess Florine pricks her finger on a spinning wheel and falls under a spell. Sleeping for 100 years, she dreams of The Beauty and the Beast, Tom Thumb and Laideronette. In the final movement, The Fairy Garden, Prince Charming arrives to break the spell. Throughout his score, Ravel provides written cues outlining the action of each scene, sometimes copying directly from his fairy tale sources. I. Spinning Wheel Dance and Scene—“An enchanted garden. An old woman is seated at her spinning wheel. Princess Florine . . . is pricked by its spindle.” II. Pavane of the Sleeping Beauty—“Florine falls asleep. The old woman throws off her filthy cape and appears . . . [as the] Good Fairy. Two little servants appear. The fairy entrusts them with guarding Florine and granting her pleasant dreams.” III. Dialogues of the Beauty and the Beast—Based on the version by Jeanne-Marie Leprince de Beaumont, the Beauty and the Beast are represented by the clarinet and contrabassoon respectively. Ravel prefaces the movement with their conversation: “‘When I think of your good heart,

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28 | encore you do not seem to me so ugly.’ – ‘Oh! lady, yes! I have a good heart, but I am a monster.’ – ‘There are indeed men who are more monstrous than you.’ – ‘If I had the spirit I would pay you a great compliment to thank you, but I am only a beast.’ . . . ‘Lady, will you be my wife?’ – ‘No, Beast!’ . . . ‘I shall die content as I have the pleasure of seeing you once again.’ – ‘No, my dear Beast, you will not die: you will live to become my husband!’”


IV. Little Thumb (Tom Thumb)—Using the Charles Perrault version of the popular tale, Ravel includes the following quote at the top of the movement: “He thought he could easily find his way by means of his bread which he had sown wherever he had passed; but he was very surprised when he could not find a single crumb; the birds came and had eaten everything.” V. Laideronnette, Empress of the Pagodas—Based on The Green Serpent by Marie Catherine d’Aulnoy, Laideronnette is a French love story about two people who fall under spells by a wicked fairy and suffer disfigurement. Eventually, their love overcomes the fairy’s spells to restore them to their true forms. VI. The Enchanted Garden—“Dawn. Birds are singing. Prince Charming enters, led by a cupid. He sees the sleeping Princess. She awakens at the break of day. All gather around the Prince and the Princess, who are united by Cupid.” | @AtlantaSymphony |

30 | meettheartists JAMES GAFFIGAN, CONDUCTOR


ailed for his natural ease and compelling musicianship, James Gaffigan is considered one of the most outstanding American conductors working today. He has attracted international attention for his prowess both as a conductor of symphony orchestras and opera. James Gaffigan was recently appointed Music Director of Palau de les Arts Reina Sofía in Valencia, Principal Guest Conductor of the Trondheim Symphony Orchestra & Opera and Music Director of the Verbier Festival Junior Orchestra. He is also Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra. In June 2021, Gaffigan finished his tenure as Chief Conductor of the Luzerner Sinfonieorchester, a position he held for 10 years where he made a significant impact on the orchestra’s profile, both at home and abroad, with highly successful tours and recordings. Gaffigan is in high demand working with leading orchestras and opera companies throughout North America, Europe and Asia. For 2021/22, he had debuts scheduled with the Paris Opera, Valencia Opera and Philharmonia Orchestra plus returns to the New York Philharmonic, San Francisco Symphony, National Symphony Orchestra in D.C. and Czech Philharmonic Orchestra. Through COVID, he has been actively leading streamed performances with the Oslo Philharmonic, Bergen Philharmonic, Stavanger Symphony, Norwegian Opera, Trondheim Symphony Orchestra and Swedish Radio Symphony Orchestra. Forthcoming engagements include Bayerische Staatsoper, Komische Opera Berlin, Paris Opera, Orchestre National de France and Deutsches Symphonie-Orchester Berlin. | @AtlantaSymphony |

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ALISA WEILERSTEIN, CELLO lisa Weilerstein is one of the foremost cellists of our time. Since making her professional and Carnegie Hall debuts in her early teens, she has been in high demand as a solo recitalist, chamber musician and concerto soloist with leading orchestras worldwide. She was recognized with a MacArthur Fellowship in 2011. An authority on Bach’s music for unaccompanied cello, Weilerstein recently released a best-selling recording of his solo suites on the Pentatone label, streamed them in her innovative #36DaysOfBach project, and deconstructed his beloved G-major prelude in a video, viewed almost 1.5 million times. Her discography also includes chart-topping albums and the winner of BBC Music’s “Recording of the Year” award. As Artistic Partner of the Trondheim Soloists, she regularly tours and records with the Norwegian orchestra. She is an ardent champion of contemporary music, and has premiered and championed important new works by composers including Pascal Dusapin, Osvaldo Golijov and Matthias Pintscher. Other career milestones include a performance at the White House for President and Mrs. Obama. Diagnosed with type one diabetes at nine years old, Weilerstein is a staunch advocate for the T1D community. She lives with her husband, Venezuelan conductor Rafael Payare, and their young child.




MARK GRESHAM (b. 1956) The Embrace (1996)

Concert of Saturday, November 6, 2021 3:00pm

SERGEI PROKOFIEV (1891–1953) Suite No. 2 from Romeo and Juliet, Op. 64ter (1936) I. The Montagues and Capulets II. The Young Juliet III. Friar Laurence IV. Dance V. Romeo and Juliet before Parting VI. Dance of the Girls with Lillies VII. Romeo at Juliet’s Grave

JERRY HOU, conductor

CARLOS SIMON (b. 1986) AMEN! (2017, rev. 2019) OTTORINO RESPIGHI (1879–1936) Pini di Roma (“Pines of Rome”) (1924) I pini di Villa Borghese (The Pines of the Villa Borghese) Pini presso una catacomba (Pines Near a Catacomb) I pini del Gianicolo (The Pines of the Janiculum) I pini della Via Appia (The Pines of the Appian Way)

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. | @AtlantaSymphony |




notesontheprogram by Noel Morris Program Annotator

The Embrace


ark Gresham is an American composer whose music is rooted in Euro-American traditions, yet explores modern and eclectic influences with a passionate lyricism that is sensitive to word, history and cultural geography. His music has been performed by artists such as violinist Hilary Hahn, violinist Helen Hwaya Kim and clarinetist Ted Gurch, cello/piano duo Dorothy and Cary Lewis, cellist Karen Freer, cellist Sarah Kapps, cellist Charae Krueger and pianist Robert Henry, cellist Wouter Vercruysse and pianist Alexander Besant (as the Helix Duo), clarinetist Laura Ardan, percussionist Stuart Gerber, percussionist Peggy Benkeser and pianist Laura Gordy, violist Brett Deubner and mezzosoprano Maya Hoover. Gresham is a three-time recipient of individual artist grants from the Georgia Council for the Arts and was among the first round of composers selected for the “Faith Partners” composer-in-residence programs sponsored by the Rockefeller Brothers Fund under the auspices of the American Composers Forum. In June 2012, Gresham was awarded an Honorable Mention in the “In 27 Pieces: the Hilary Hahn Encores” composition contest for his Café Cortadito. Ms. Hahn has since recorded Café Cortadito as a bonus track to the Asian market edition of her 2-CD album In 27 Pieces: The Hilary Hahn Encores on Deutsche Grammophon/Universal-Japan (UCCG 1642/2). In addition to being a composer and conductor, Mark Gresham is a writer and music journalist. He co-founded the monthly publication Chorus! in 1989 and became its editor. His book of interviews from that publication, Choral Conversations, was published in 1997. He was a contributing writer for Creative Loafing-Atlanta from 2002 to 2011, winning an ASCAP-Deems Taylor Award in music journalism in 2003 for his article “Sound Like Home” about composer Jennifer Higdon. He was subsequently a writer for ArtsATL until February 15, 2019, when his EarRelevant occasional blog became a full-time online music journal, for which he is both publisher and principal writer.

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34 | encore FROM THE COMPOSER: This year, 2021, marks the 25th anniversary of the 1996 Summer Olympics. It also marks the 25th anniversary of the Atlanta Symphony Youth Orchestra’s premiere of The Embrace by Atlanta-based composer Mark Gresham (b. 1956). The ASYO gave The Embrace its world premiere on February 25, 1996, led by then ASYO music director and conductor Jere Flint. It was performed that same year again in Symphony Hall as part of the Cultural Olympiad of the 1996 Olympics held from July 19 to August 4, 1996, in Atlanta, Georgia. The Embrace was commissioned for the ASYO with support from an Individual Artist Grant from Georgia Council for the Arts. Gresham is reluctant to talk about the ideas and associations behind his music, preferring to let his pieces speak for themselves. He did note that the work’s title has no strong programmatic meaning, that it simply provided “a springboard for the piece.” The eight-minute work is in a single movement, which falls into three sections. The first features a gradual build-up of orchestral energy with an accelerating tempo. This leads to the most active section of the piece, which contains a duet passage for violin and cello. Its exuberance spent, the work ends quietly, with a final section marked “Drifting” in the score. Suite No. 2 from Romeo and Juliet


ergei Prokofiev was a difficult kid to teach. Imaginative, opinionated, and fiercely independent, he grated against the musical orthodoxy. Coming of age in the early years of the 20th century, he was destined to be a modernist, while his teachers were rooted in the 19th century. The friction didn’t seem to slow him down—by the time he graduated in 1914, he had successfully premiered his First Piano Concerto in Moscow. In 1918, at the dawn of the Soviet era, he traveled to America expecting to be welcomed as an important composer. Instead, success was fleeting. After two years of financial setbacks, he moved to Paris where he landed in the shadows of Igor Stravinsky (the other brilliant Russian modernist). Unable to support his family as a composer, Prokofiev kept an exhausting schedule as a pianist (a career he did not want). Then in 1924, he altered course: he became a | @AtlantaSymphony |

Christian Scientist, which prompted a shift toward the more tuneful style of Peter and the Wolf (1936) and Romeo and Juliet (1938)—a change which made him a more natural ally with the Soviets. Through the 1920s, the Soviets became invested in promoting art for the masses. While many émigrés declined their invitations, Prokofiev was ripe for the picking. Over ten years, Moscow courted him with concerts, a handsome apartment, and work as a composer. With more and more of his commissions coming from Russia, Prokofiev settled his family there and continued to move freely between the two spheres. In the summer of 1935, he wrote the bulk of the music to Romeo and Juliet using a scenario cobbled together by numerous writers, including officials from the Bolshoi Theater. Thinking it would be a good idea to align Shakespeare’s play with Soviet values, the collaborators landed upon a tale of two lovers who triumph over “feudal traditions”—and don’t actually die. When Prokofiev offered a preview of Romeo with its happy ending, Shakespeare purists howled. Under a cloud of scandal, he revised the score, restoring the tragic ending. By then, the Bolshoi had postponed the premiere indefinitely. In 1938, Prokofiev made a trip to Los Angeles where he visited Paramount Pictures and the media mogul Walt Disney and began negotiations to write film music. Anticipating a major career move, Soviet authorities seized his travel documents, closing his door to the West forever. The Provincial Theater in Brno, Czechoslovakia, presented the world premiere of Romeo and Juliet in December of that year. Prokofiev was unable to attend. AMEN!


arlos Simon is a native of Atlanta, Georgia, whose music ranges from concert music for large and small ensembles to film scores with influences of jazz, gospel, and neo-romanticism. Simon’s latest album, MY ANCESTOR’S GIFT, was released on the Navona Records label in April 2018. Described as an “overall driving force” (Review Graveyard) and featured on Apple Music’s “Albums to Watch,” MY ANCESTOR’S GIFT incorporates spoken word and historic recordings to craft a

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36 | encore multifaceted program of musical works that are inspired as much by the past as they are the present. As a part of the Sundance Institute, Simon was named as a Sundance Composer Fellow in 2018, which was held at the historic Skywalker Ranch. His string quartet, Elegy, honoring the lives of Trayvon Martin, Michael Brown and Eric Garner was recently performed at the Kennedy Center for the Mason Bates JFK Jukebox Series. With support from the US Embassy in Tokyo and US/Japan Foundation, Simon traveled with the Asia/America New Music Institute (AANMI) on a two-week tour of Japan in 2018 performing concerts in some of the most sacred temples and concert spaces in Japan including Suntory Hall in Tokyo, Japan. Simon earned his doctorate degree at the University of Michigan, where he studied with Michael Daugherty and Evan Chambers. He has also received degrees from Georgia State University and Morehouse College. Additionally, he studied in Baden, Austria at the Hollywood Music Workshop with Conrad Pope and at New York University’s Film Scoring Summer Workshop. FROM THE COMPOSER: The orchestral arrangement of AMEN! (2017) was commissioned by the Reno Philharmonic (Laura Jackson, conductor), Gateways Music Festival (Michael Morgan, conductor) and the American Composers Orchestra. The original commission was by the University of Michigan Symphony Band. This piece pays homage to my family’s four generational affiliation with the Pentecostal church. My intent is to re-create the musical experience of an African American Pentecostal church service that I enjoyed being a part of while growing up in this denomination. Pini di Roma ABOUT THE COMPOSER


ttorino Respighi studied music in his hometown of Bologna, Italy. In his early twenties, he moved to St. Petersburg to play viola in the Bolshoi Opera. There, he studied with Nikolai Rimsky-Korsakov, a composer who wrote one of the most influential books on the art of orchestration (notice the brilliant use of orchestral color in Respighi’s Pines of Rome). Moving to Rome in 1913, Respighi fell under the | @AtlantaSymphony |

city’s spell. In 1916, he wrote Fountains of Rome, the first piece in his Roman trilogy. He followed Fountains with Pines of Rome in 1924 and Roman Festivals in 1928. The Inspiration It looks like it grew out of a Dr. Seuss book: The umbrellashaped stone pine lines the streets of Rome, lending its elegant curves to countless postcards and travel videos. Its seed—the pine nut—is an essential ingredient in pesto sauce. Much-loved by the people of Rome, the trees, which number around 1,000,000, have long fueled the imagination of painters. In Pines of Rome, the composer aspires to “paint” four scenes using sound. “The centuries-old trees which so characteristically dominate the Roman landscape become witnesses to the principal events in Roman life,” he said. And by extension, Respighi makes the audience a witness, too—to everything from an underground cemetery to the rumble of a Roman legion on the march. The preface to the Respighi’s score offers the following program: “Pines of the Villa Borghese” (Allegretto vivace) Children are at play in the pine groves of the Villa Borghese, dancing the Italian equivalent of “Ring around a rosy.” They mimic marching soldiers and battles. They twitter and shriek like swallows at evening, coming and going in swarms. Suddenly the scene changes. “The Pines Near a Catacomb” (Lento) We see the shadows of the pines, which overhang the entrance of a catacomb. From the depths rises a chant, which echoes solemnly, like a hymn, and is then mysteriously silenced. “The Pines of the Janiculum” (Lento) There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings. “The Pines of the Appian Way” (Tempo di Marcia) Misty dawn on the Appian Way. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of unending steps. The poet has a fantastic vision of past glories. Trumpets blare, and the army of the Consul bursts forth in the grandeur of a newly risen sun toward the Sacred Way, mounting in triumph to the Capitoline Hill.

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ecognized for his dynamic presence, insightful interpretations, versatility and commanding technique, Taiwanese-American conductor Jerry Hou joined the Atlanta Symphony Orchestra as ASO Associate Conductor and Music Director of the Atlanta Symphony Youth Orchestra in September 2020. He has conducted the Dallas Symphony, Houston Symphony, St. Louis Symphony, Grand Teton Music Festival Orchestra, Orchestra of St. Luke’s, BBC Scottish Symphony Orchestra, National Arts Centre Orchestra, Teatro Colon, Rochester Philharmonic and San Antonio Symphony, among others. In the summer of 2018, Hou lead to much acclaim the opening concerts of the Grand Teton Music Festival, in a program of Copland, Aaron Jay Kernis, and Rachmaninoff’s First Piano Concerto with renowned soloist Daniil Trifonov. Known for his flexibility in many styles and genres, he has conducted a wide range of repertoire from classical to contemporary. Last spring, Hou led performances of a new collaboration between composer Steve Reich and artist Gerhart Richter to commemorate the opening of New York City’s new performing arts space and center for artistic invention, The Shed. A leading interpreter and conductor of contemporary music, he has collaborated with internationally acclaimed composers such as Steve Reich, John Adams, Steve Stucky, John Harbison, George Lewis, Bernard Rands, Gyorgy Kurtag, Helmut Lachenmann, Unsuk Chin, Brett Dean, Mark Anthony-Turnage and Peter Eötvös. In addition, he worked closely with the next generation of leading composers including Kate Soper, Anna Clyne and Andrew Norman. Hou has conducted leading contemporary music ensembles Ensemble Modern, Ensemble Signal, Remix Ensemble, Musiqa and Alarm Will Sound. He is on the faculty of Rice University’s Shepherd School of Music in Houston, Texas. | @AtlantaSymphony |

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Katherine Chong Samay Desai Amartya Kallingal Kate Kim Brandon Lee Eugenie Lim Isabella Lin Tobias Liu Hyunbin Moon Danielle Najarian Lucas Nyman Ellie Park Sanjna Prakash Roland Saavedra Didi Stone Sam Vaillancourt Brayden Wilson SECOND VIOLIN Suann Kim

Chloe Sun Cairo Wren Youyou Zhu VIOLA Jason Seo principal

Daniel Boscan Claire Hong Cion Kim Kyle Lynch Richard Rowe III Zoë Schwartz Jihwan Shin Hannah Smallwood Jodie Stone Anastasia Waid Stanley Yeboah George Young CELLO Brandon Leonard, principal

Jaia Alli principal Jonathan Fuller Ajay Balasubramanian Jihoon Kim Solomon Cho Ian Koontz Sage Codispoti Juwon Lim Luca Davidson Jiayi (Joyce) Lu Abigail Kim Joshua Nguyen Anand Krishnan Cal Walrath Michelle Lee Richard Wang Angela Li BASS Angelina Lu Bria Rives Faith Meshida principal Amy Mo Jack Bolte Edric Nduwimana Liam Cozonac Lela Stair Lindsey Ferguson Lucas Stancill

Andrew Lakly Hazel Patty Jonathan Sandberg Dennis Smallwood Evan Smallwood FLUTE Ryan Clever Ivy Lee Alexandra (Sasha) Tarassenko Franklin Zhao OBOE Xander Herman Calvin Hur Benjamin Lee Christopher Lee Ashley Na CLARINET Daniel Kim Stan Lee Garrison Rider Nicholas Wandrick BASSOON Dillon Causby Declan Johnston Andrew Tang Clark Walker HORN Adam Boswell Aidan Christensen Lyle Foley Hector Montalvo Sophia Phillips Nicholas Reed Michael Sersaw Irene Tang

TRUMPET Brandon Hall Toby Johnson Joshua Puente Nathalie Park Jack Ramu TROMBONE Remzi Abaci Joshua Antony Thomas Cook Misha Gupta Ben Novo Vera Volin, Bass TUBA Cameron Hall Tyler Johnson PERCUSSION Harrison Buck Anh Ho Isaac Jung Jordan Katz Colin Magill Evan Magill Alonzo Marshall HARP Sage Harrison Tej Panchal PIANO Grace Peng LIBRARY Hannah Davis asyo/assistant librarian

Students are listed in alphabetical order.

ATLANTA SYMPHONY ORCHESTRA ASYO COACHING STAFF VIOLIN Justin Bruns Jun-Ching Lin Juan R. Ramírez Hernández Sou-Chun Su VIOLA Catherine Lynn Lachlan McBane Paul Murphy Jessica Oudin CELLO Daniel Laufer Dona Vellek

BASS Brittany Conrad Karl Fenner Gloria Jones Allgood FLUTE C. Todd Skitch Christina Smith OBOE Emily Brebach Elizabeth Koch Tiscione CLARINET Ted Gurch Marci Gurnow

BASSOON Andrew Brady Laura Najarian HORN Jaclyn Rainey Susan Welty TRUMPET Anthony Limoncelli Stuart Stephenson Michael Tiscione TROMBONE Jeremy Buckler Nathan Zgonc

TUBA Michael Moore PERCUSSION Joe Petrasek HARP Elisabeth Remy Johnson Ellen Foster* KEYBOARD Sharon Berenson Peter Marshall* * regularly engaged musician

40 | nov18/20 Concerts of Thursday, November 18, 2021 8:00pm Saturday, November 20, 2021 8:00pm ROBERT SPANO, conductor MARC-ANDRÉ HAMELIN, piano

AARON COPLAND (1900–1990) Fanfare for the Common Man (1942) MICHAEL GANDOLFI (b.1956) Piano Concerto (2021) I. Introduction and Allegro II. Neo-chaconne III. Double Take Marc-André Hamelin, piano


World premiere. Commissioned by Paul and Linnea Bert in honor of Robert Spano and his 20 years as Music Director of the Atlanta Symphony Orchestra INTERMISSION


AARON COPLAND (1900–1990) 43 MINS Symphony No. 3 I. Molto Moderato - with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato - Allegro risoluto

Commissions and performances of new works are made possible in part by The Spano Fund for New Music, established with a lead gift from The Antinori Foundation to honor Maestro Spano’s extraordinary tenure as Music Director of the Atlanta Symphony Orchestra and his commitment to new music; and the founding and continuation of the Atlanta School of Composers.

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. | @AtlantaSymphony |


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by Noel Morris Program Annotator

Fanfare for the Common Man

First ASO Performance:

Fanfare for the Common Man is scored for four horns, three trumpets, three trombones, tuba, timpani and percussion.

October 24, 1976,


n 1942, America was at war, and President Franklin Delano Roosevelt was in the midst of a massive campaign to rally, not just the armed forces, but the civilian population. As millions deployed overseas, “the war effort” became the catchphrase for mobilization at home— paying higher taxes, buying war bonds, planting victory gardens, enlisting school kids to collect rubber and scrap metal, and the movement of women onto the assembly line. Part of his public relations blitz, Roosevelt seized upon a speech he had given in 1941 that came to be known as the “Four Freedoms” speech. This was his vision of the future in which all people enjoyed freedom of speech, freedom of belief, freedom from fear and freedom from want. Many creative people got behind the war effort. Norman Rockwell created illustrations of the Four Freedoms, and in 1942, conductor Eugene Goossens approached eighteen composers to write patriotic fanfares for brass and percussion. An impressive list that included Darius Milhaud, Walter Piston, William Grant Still, Howard Hanson, Morton Gould, Virgil Thomson and more, the fanfares came with titles such as “Fanfare for Airmen,” and “Fanfare for Paratroopers.” Only one of these remains popular today: Aaron Copland’s Fanfare for the Common Man.

Robert Shaw, conductor Most Recent ASO Performances: January 15, 16 & 17, 2014, Jere Flint, conductor

Since its world premiere on March 12, 1943, Copland’s Fanfare for the Common Man has been performed on many solemn occasions, including: The funeral of United States Congressman John Lewis July 30, 2020 The dedication of the National September 11 Memorial & Museum May 15, 2014 The landing of the

The six-time Grammy Award-winning trumpeter Terence Blanchard said of Copland’s Fanfare: “It's a piece that feels like it was written by God… Honestly, that could have been our national anthem.”

space shuttle Endeavor

After writing the piece, Copland toyed with several ideas for a title, including “Fanfare for the Spirit of Democracy” and “Fanfare for the Four Freedoms.” But then he turned on the radio to hear a speech by Vice President Henry Wallace, who declared: “Some have spoken of the ‘American Century.’ I saw that the century on which we are entering—the century which will come into being after this war—can be and must be the century of the common man.”

Inauguration of

Years later, Copland reasoned, “It was the common man,

upon completing its final flight September 21, 2012

Barack Obama January 20, 2009 Inauguration of Ronald Reagan January 20, 1981

42 | encore after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.” Copland missed his deadline; his fanfare wasn’t ready until a month after it had been scheduled for performance. As an alternative, he and Goossens chose tax season as the best time to pay tribute to the common man (at that time, people were feeling the squeeze of the Revenue Act of 1942). The first performance of Fanfare for the Common Man took place in Cincinnati on March 12, 1943. Piano Concerto (World Premiere) In addition to the solo piano, this concerto is scored for two flutes (doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. A musical omnivore, Michael Gandolfi combines his insatiable enthusiasm for rock, jazz, and blues into a unique voice in contemporary concert music. According to his biography, “the span of his musical investigation is paralleled by his cultural curiosity, resulting in many points of contact between the world of music and other disciplines, including science, film, and theater.” Gandolfi is an integral part of the Atlanta School of Composers, established by Robert Spano to cultivate a contemporary body of works in the orchestral arena while furthering the reputation of Atlanta as a cultural capital. An ASO recording on Telarc of Gandolfi’s The Garden of Cosmic Speculation earned a Grammy nomination for Best Contemporary Classical Composition in 2009. As an educator, Michael Gandolfi has taught at Harvard University, Boston University and Indiana University. Currently, he chairs the composition department at the New England Conservatory of Music. His music is among the most often performed of any contemporary American composer. FROM THE COMPOSER: Piano Concerto is dedicated to Paul and Linnea Bert in recognition of Robert Spano’s twenty years as Music Director of the Atlanta Symphony Orchestra. My goal was to allow the piano to achieve moments of great resonance, as found in most romantic-period piano concertos. To that | @AtlantaSymphony |

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end, the piano is almost always the leader in introducing new material in the discourse of the piece. The first movement, Introduction and Allegro, is a hybrid sonata form with an overall energetic profile, following a slow introduction. The first theme group is characterized by triadic/tonal harmonies. The second theme group is characterized by quartal/modal harmonies and a jazzinflected expressive quality. The two theme groups are merged in the extended piano cadenza. The second movement, Neo-Chaconne (a chaconne is a variation form, based on a repeating chord progression), begins with the principal chord progression, stated by the strings, and proceeds through several variations, adorned and enhanced by the piano, some of which extend the chord progression itself. The form is broken in the middle of the movement where new material, unrelated to the chaconne chord-progression, is heard. The chaconne then reappears by merging with this new material before breaking free and guiding the movement to its quiet conclusion. The brief finale, Double Take, is energetic, and built on figures, phrases, and larger formal divisions that repeat, but with slight variations or developments that expand upon the initial materials. The result is a large-scale form that resembles an expanding spiral, rather than a square or block-like repetitive formal design, which would have been the case if the repeated materials and formal divisions were not expanded upon. Symphony No. 3

First ASO Performance:

Symphony No. 3 is scored for piccolo and three flutes (one doubling piccolo), two oboes and English horn (doubling oboe), two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, percussion, two harps, celesta, piano, and strings.

January 25, 1968,


n the night of his 80th birthday, Aaron Copland entered the Kennedy Center where Leonard Bernstein led him onto the stage of a packed concert hall. With then President and Mrs. Carter seated in the Presidential Box, Bernstein read to Copland the following statement from

Aaron Copland, conductor Most Recent ASO Performances: October 13 & 15, 2016, Hugh Wolff, conductor

44 | encore the White House: “Wherever music is played and loved at home and abroad, among your fellow composers, among musicians, and among ordinary listeners, you are justly recognized as America’s foremost composer. . . . We are proud to join in this fanfare for a most uncommon man.” A toothy smile spread across the composer’s face. At that moment, National Symphony Orchestra Music Director Mstislav Rostropovich cued the orchestra in a performance of Fanfare for the Common Man. Copland’s was the quintessential American journey: the son of Russian Jewish immigrants, he spent his youth in the melting pot of Brooklyn, far from the prairies and cowboys that later inhabited his music. Through his twenties, he grew into a sophisticated composer and tireless champion of the avant-garde—that is until the stock market crashed in 1929. In a few years’ time, the national mood shifted; artists and composers began looking for ways to lift the human spirit. As thousands turned to soup kitchens, Copland turned to a style he called “imposed simplicity,” a more sentimental and nostalgic sound. To achieve this musical populism, he integrated folksongs into his works and, in the process, pioneered a music that is singularly American. Through the Great Depression and into World War II, Copland rolled out one hit after another, including Billy the Kid (1938), Fanfare for the Common Man (1942) and his Pulitzer Prize-winning ballet Appalachian Spring (1944). In 1944, he was searching for a way to apply this American sound to traditional forms when the conductor Serge Koussevitzky commissioned the Third Symphony. Drawing on past compositions and discarded sketches, Copland stitched together the themes of the new piece. The Third Symphony “contains no folk or popular material,” he wrote in 1946. “However, I do borrow from myself by using Fanfare for the Common Man in an expanded and reshaped form in the final movement. I used this opportunity to carry the Fanfare material further and to satisfy my desire to give the Third Symphony an affirmative tone. After all, it was a wartime piece—or more accurately, an end-of-war piece—intended to reflect the euphoric spirit of the country at the time.” | @AtlantaSymphony |

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performer of near-superhuman technical prowess” (The New York Times), pianist Marc-André Hamelin is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries – in concert and on disc – earning his place as a true icon of the piano. He regularly concertizes around the globe with the leadings orchestras and conductors of our time and performs recitals for the leading concert venues and festivals worldwide. An exclusive recording artist for Hyperion Records, his discography includes more than 60 albums, with notable recordings of a broad range of repertoire. In 2020, Hyperion released two acclaimed albums by Mr. Hamelin—one a solo disc of Liszt and Thalberg opera transcriptions, and the other piano sonatas of composer/pianist Samuil Feinberg with his next disc to be released is a two-disc set of CPE Bach Sonatas & Rondos in January 2022. Mr. Hamelin has composed music throughout his career, with nearly 30 compositions to his name. The majority of those works – including the Études and Toccata on L’Homme armé, commissioned by the Van Cliburn International Piano Competition – are published by Edition Peters. His other most recent work, Suite à l’ancienne (Suite in the old style), was premiered in February 2021 by pianist Rachel Naomi Kudo with funding from her Gilmore Young Artist Award. Mr. Hamelin makes his home in the Boston area with his wife, Cathy Fuller, a producer and host at Classical WCRB. Born in Montreal, he is the recipient of a lifetime achievement award from the German Record Critics’ Association and has received seven Juno Awards and eleven Grammy nominations, the 2018 Jean Gimbel Lane Prize in Piano Performance awarded by Northwestern University’s Bienen School of Music and in December 2020 was awarded the Paul de Hueck and Norman Walford Career Achievement Award for Keyboard Artistry from the Ontario Arts Foundation. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada. | @AtlantaSymphony |

48 | nov19 Concerts of Friday, November 19, 2021 8:00pm ROBERT SPANO, conductor MARC-ANDRÉ HAMELIN, piano

BRIAN RAPHAEL NABORS (b. 1991) Onward (2019)


KRISTS AUZNIEKS (b. 1992) Sub Rosa (2021)


ADAM SCHOENBERG (b. 1980) La Luna Azul (2018)


INTERMISSION MICHAEL GANDOLFI (b.1956) Piano Concerto (2021) I. Introduction and Allegro II. Neo-chaconne III. Double Take Marc-André Hamelin, piano


World premiere. Commissioned by Paul and Linnea Bert in honor of Robert Spano and his 20 years as Music Director of the Atlanta Symphony Orchestra MICHAEL KURTH (b. 1971) Everything Lasts Forever (2012) 1. Toes 2. Bird Sing Love 3. We Have All the Time in the World


This evening’s performance was made possible by The Spano Fund for New Music, established with a lead gift from The Antinori Foundation to honor Maestro Spano’s extraordinary tenure as Music Director of the Atlanta Symphony Orchestra and his commitment to new music; and the founding and continuation of the Atlanta School of Composers.

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. | @AtlantaSymphony |


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by Noel Morris Program Annotator

Onward Onward is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion, harp, piano, celeste and strings.


orn in Birmingham, Alabama, in 1991, Brian Raphael Nabors is active as a pianist and keyboard player, working as a church musician, a classical musician and as a member of an R&B/Neo Soul band. As a youth, he remembers listening to “southern rap and hip-hop.” And all these musical styles, as well as gospel, jazz and funk, inform the voice that inhabits his compositions. In 2019, Nabors was awarded the grand prize of the Rapido! National Composition Contest by a panel of judges consisting of then Atlanta Symphony Music Director Robert Spano, along with composers Jennifer Higdon and Michael Gandolfi. As a result, Nabors earned a commission to write Onward for the Atlanta Symphony Orchestra with support from the Antinori Foundation and the Atlanta Chamber Players. Onward requires some unusual instrumental techniques, including what Nabors calls “air beatboxing.” To achieve this effect, he provides the following notes to the flute players: “Essentially ‘talking’ into the flute, air beatboxing utilizes the use of talking syllables into the mouthpiece to produce a percussive, breathy series of sounds on the indicated pitches. There is usually expected to be more air than pitch.” FROM THE COMPOSER: Onward is an homage to the triumphs and growth we experience along the epic journey of life. The piece is a 10-minute soundscape to celebrate the dreams and aspirations that motivate us to become our best selves. The consistent use of perpetual motion throughout the texture of the orchestra is meant to capture the spirit of constantly traveling onward either philosophically or quite literally. I aspired to create a musical journey depicting the moments of discovery, innovation, and change that continually push us and our world into the future.

First and Most Recent ASO Performances: November 19, 20 & 21, 2019, Robert Spano, conductor

50 | encore Sub Rosa (World Premiere) Sub Rosa is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, percussion, harp, piano and strings.



orn in Latvia in 1992, Krists Auznieks is a doctoral student at Yale University. He lives in New York City where his quintet “Piano” was performed at the MATA Festival, winning praise from The New York Times and a slot in the Times’ “This Week’s 8 Best Classical Music Moments.” Auznieks is a recipient of Aspen Music Festival’s Jacob Druckman Prize and the youngest composer ever to receive the Latvian Grand Music Award for best composition of the year. Recent commissions include works for the Kremerata Baltica, Aspen Music Festival, Sinfonietta Riga, Cappella Amsterdam and Latvian Radio Choir. Auznieks’s music has been performed in concert halls around the world. Among many other honors and residencies, he has served on the faculty of Yale School of Music, Montclair State University and has taught for New York Philharmonic’s Very Young Composers Program. FROM THE COMPOSER: After Cupid gave a red rose to Harpocrates, the god of silence, to ensure secrecy over Venus’ dalliance, a rose became a symbol of secrecy and was later painted on ceilings of spaces to remind guests that whatever was discussed under these roofs was not to be repeated. But I repeat. T.S. Eliot teaches us that Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. Whitman shouts from the rooftops: | @AtlantaSymphony |

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Stop this day and night with me and you shall possess the origin of all poems! Goethe almost a century earlier warned us that the moment in which we want to stay forever is the moment of our perishing. And once again T.S. Eliot speaks of purgatorial fires of which the flame is roses, he also tells us that the moment of the rose and the moment of the yew tree are of equal duration, and at the end of his magnum opus concludes that all shall be well and All manner of thing shall be well. When the tongues of flames are in-folded Into the crowned knot of fire And the fire and the rose are one. Equipped with this knowledge I venture under the rose. Piano Concerto (World Premiere)


musical omnivore, Michael Gandolfi combines his insatiable enthusiasm for rock, jazz, and blues into a unique voice in contemporary concert music. According to his biography, “the span of his musical investigation is paralleled by his cultural curiosity, resulting in many points of contact between the world of music and other disciplines, including science, film, and theater.” Gandolfi is an integral part of the Atlanta School of Composers, established by Robert Spano to cultivate a contemporary body of works in the orchestral arena while furthering the reputation of Atlanta as a cultural capital. An ASO recording on Telarc of Gandolfi’s The Garden of Cosmic Speculation earned a Grammy nomination for Best Contemporary Classical Composition in 2009. As an educator, Michael Gandolfi has taught at Harvard University, Boston University and Indiana University. Currently, he chairs the composition department at the New England Conservatory of Music. His music is among the most often performed of any contemporary American composer.


In addition to the solo piano, this concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings.

52 | encore FROM THE COMPOSER: Piano Concerto is dedicated to Paul and Linnea Bert in recognition of Robert Spano’s twenty years as Music Director of the Atlanta Symphony Orchestra. My goal was to allow the piano to achieve moments of great resonance, as found in most romantic-period piano concertos. To that end, the piano is almost always the leader in introducing new material in the discourse of the piece. The first movement, “Introduction and Allegro,” is a hybrid sonata form with an overall energetic profile, following a slow introduction. The first theme group is characterized by triadic/tonal harmonies. The second theme group is characterized by quartal/modal harmonies and a jazzinflected expressive quality. The two theme groups are merged in the extended piano cadenza. The second movement, “Neo-Chaconne” (a chaconne is a variation form, based on a repeating chord progression), begins with the principal chord progression, stated by the strings, and proceeds through several variations, adorned and enhanced by the piano, some of which extend the chord progression itself. The form is broken in the middle of the movement where new material, unrelated to the chaconne chord-progression, is heard. The chaconne then reappears by merging with this new material before breaking free and guiding the movement to its quiet conclusion. The brief finale, “Double Take,” is energetic, and built on figures, phrases, and larger formal divisions that repeat, but with slight variations or developments that expand upon the initial materials. The result is a large-scale form that resembles an expanding spiral, rather than a square or block-like repetitive formal design, which would have been the case if the repeated materials and formal divisions were not expanded upon. La Luna Azul First and Most Recent ASO Performances: March 1, 2 & 4, 2012, Robert Spano, conductor

La Luna Azul is scored for piccolo, three flutes, three oboes, three clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings. | @AtlantaSymphony |

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or Adam Schoenberg, writing music for orchestra, film, television and the stage is a family business. His father Steven Schoenberg is well known for writing everything from orchestral music to musical theater to songs for Sesame Street. After studying at the Oberlin Conservatory and at Juilliard, the younger Schoenberg distinguished himself from his father by concentrating on orchestral music. Twice Adam Schoenberg has ranked among the top ten most performed living composers by American symphony orchestras. He co-wrote the score to Graceland, premiered at the Tribeca Film Festival, with his father in 2012. Adam Schoenberg’s score for the documentary series That Far Corner: Frank Lloyd Wright in Los Angeles won the 2019 Emmy Award for Best Musical Composition. La Luna Azul is an Atlanta Symphony Orchestra commission (2012). FROM THE COMPOSER: La Luna Azul (“The Blue Moon”) is about love, light, curiosity, innocence, and a glimpse into the unknown. The main material evolved from [my] piano trio Luna y Mar, which was inspired by my wife, Janine. We met in the woods of New Hampshire, at the MacDowell Colony where we both had residencies. The moon (luna) and the color blue (azul), which also represents the ocean, have been very influential in her work as a poet, playwright, and screenwriter. I wanted to take these two ideas and see how they could inspire my own music. The first half is very ethereal and reflects a ruminative journey. The second half of the piece is more rhythmic and playful. I’ve been interested in exploring grooveoriented music, especially rhythms that can potentially be heard in a club. The music and rhythm are consistently unpredictable, but the percussion adds a line that makes the section feel more secure. The end of this section takes us into the next which uses the initial chord progression heard in the first half. This time, however, the progression is transformed into an experience that incorporates elements from the different musical influences that resonate with me (e.g., electronica, jazz fusion, minimalism, Afro-Cuban and Latin music, etc.) as an artist.



54 | encore The final moment is about transcendence. In many ways, the idea of a groove is still present because of the two ostinati, but this time the groove sits in the background, while the oboe and cello solo play in the foreground. This, for me, represents the intimate connection between the ocean and the moon. A special thank you to Janine, my dear friends Sam Hyken and Sage Lewis, and my parents, Jane and Steven. This work is dedicated to Robert Spano with profound gratitude and admiration. First ASO Performances: April 4 & 5, 2013, Robert Spano, conductor Most Recent ASO Performances: January 27 & 28, 2018, Robert Spano, conductor

Everything Lasts Forever Everything Lasts Forever is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two B-flat clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celeste and strings.


omposer and performer Michael Kurth has been a member of the Atlanta Symphony bass section since 1994. He grew up near Baltimore and studied cello and viola at the Peabody Conservatory. He is a member of the strings faculty at Emory University. FROM THE COMPOSER:


The work was inspired by street art I see in Atlanta on my way to work. “Everything Lasts Forever” was a faded and peeling sign plastered above the Krog Street tunnel in Cabbagetown. As someone who composes and performs music, both the irony and truth of the statement appeal to me. When I perform a composition by, say, Bach or Beethoven, I play from a score that preserves forever (I hope!) the notes that the composer set down on paper centuries ago. But once that performance has ended, it lasts only in memory—both for the musician and listener. The music awaits its next unique, and likewise perishable, performance. And that is as it should be. The individual qualities of each performance are what make live concerts irreplaceable. Music’s delicate and never-ending balance between the ephemeral and the eternal is a source of its mystery and joy, and a temporal art form such as | @AtlantaSymphony |

Holiday Concert with members of the

Atlanta Symphony Brass Monday, December 6, 2021 7:30 p.m.


carol services: Advent Procession with Lessons & Carols Sunday, November 30 – 4 p.m. Christmas Festival of Lessons & Carols Sunday, December 19 – 4 p.m. All worship services are free of charge.

U S E P R O M O C O D E A M C e n c o r e for $ 5 O F F A T P U R C H A S E !

56 | encore music has the remarkable capacity to communicate to its audience with immediacy and insight. And its audience, in turn, is able to respond viscerally, at the moment of the art’s live creation. I hope audiences find my music appealing, that they leave the performance humming the tunes, and that the memory of the feelings they experienced stay with them for a long time—but above all, I hope they find the joy and exhilaration of live music irresistible and keep coming back for more. The work is in three movements: I. Toes “Toes” is the tag of street artist Harrison Keys, who passed away in 2016. His tag decorates many Atlanta buildings and bridges. The particular one that inspired me is on a building on Memorial Drive near Oakland Cemetery. Next to the tag are several cartoonishly menacing feet. The main rhythmic motive sounds like feet stomping impatiently and unifies the three distinct sections. The first section’s structure is based on a traditional 12-bar blues progression; the second section features a melody played in unison by principal oboe and second trumpet (a combination that has a certain significance in Atlanta); the third section depicts the dark and glorious victory of the cartoon feet. II. Bird Sing Love There is a painting of a bird on a boarded-up door, a simple outline in black on a white background. The bird appeared to be singing; someone later added a red heart floating near the bird’s open beak. To me, this expressed hope and perseverance in the middle of decay and deprivation. The song is sad, but at least the bird is singing. The painting is also on Memorial Drive near Oakland Cemetery. III. We Have All the Time in the World Spray-painted on the wall of a building in Cabbagetown by artist Dan Moore. Thinking about this familiar phrase, it struck me that “the world” is itself as much spatial as temporal. So what does it mean to have that much time? Does time fit inside space? Did the artist have Einsteinian relativity in mind? I quickly run out of brain contemplating | @AtlantaSymphony |

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this. To me, this phrase expresses our human hope that what we create can endure long enough to have an impact on the space we occupy, and that we have just enough time and space to allow for the possibility. The movement stretches a simple melody over an awkward 7/8 time signature and ends with the melody joyfully insisting itself despite a faltering rhythmic structure, like an uninhibited student in dance class who has to keep checking the “L” and “R” taped on the tops of their shoes, but loves dancing too much to stop.

Turn to page 46 for a biography of MARC-ANDRÉ HAMELIN





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


58 | encore ASO | SUPPORT


he Atlanta Symphony Orchestra continues to prosper thanks to the support of our generous patrons. The list below recognizes the donors who have made contributions since June 1, 2020. Their extraordinary generosity provides the foundation for this world-class institution.


A Friend of the Symphony ∞


1180 Peachtree The Antinori Foundation The Molly Blank Fund of the Arthur M. Blank Family Foundation∞ The John and Rosemary Brown Family Foundation The Coca-Cola Company Lettie Pate Evans Foundation, Inc.∞ Barney M. Franklin & Hugh W. Burke Charitable Fund


Arthur M. Blank Family Foundation


Alston & Bird LLP Chick-fil-A Foundation | Rhonda & Dan Cathy Ms. Lynn Eden The Graves Foundation

King & Spalding LLP Gary Lee, Jr. in memory of Lucy R. Lee Charles Loridans Foundation, Inc. Ann Marie & John B. White, Jr.°∞


BlackRock City of Atlanta Mayor’s Office of Cultural Affairs Mr. & Mrs.* Bradley Currey, Jr.

Ms. Angela L. Evans Patty & Doug Reid Bill & Rachel Schultz° Patrick & Susie Viguerie


Paul & Linnea Bert Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. Connie & Merrell Calhoun John W. Cooledge The Roy & Janet Dorsey Foundation Betty Sands Fuller John D. Fuller∞ The Gable Foundation Georgia Council for the Arts Jeannette Guarner, MD & Carlos del Rio, MD Bonnie & Jay Harris Donna Lee & Howard Ehni

The Goizueta Foundation The Halle Foundation The Home Depot Foundation Abraham J. & Phyllis Katz Foundation The Andrew W. Mellon Foundation∞ Amy W. Norman Charitable Foundation PNC The Zeist Foundation, Inc.

The Livingston Foundation, Inc.∞ The Marcus Foundation, Inc.∞ Slumgullion Charitable Fund National Endowment for the Arts Sally & Pete Parsonson∞ Mary & Jim Rubright Ryder Truck Rental, Inc. June & John Scott Mrs. Charles A. Smithgall, Jr.** Mr. G. Kimbrough Taylor & Ms. Triska Drake United Distributors, Inc. Kathy Waller & Kenneth Goggins Mr.** & Mrs. Edus H. Warren, Jr. | @AtlantaSymphony |

$17,500+ Aadu & Kristi Allpere° Jennifer Barlament & Kenneth Potsic Russell Currey & Amy Durrell Cari K. Dawson & John M. Sparrow Mr. Richard H. Delay & Dr. Francine D. Dykes Fulton County Arts & Culture Mr. & Mrs. Charles B. Harrison Mr. & Dr. Kevin Lyman Massey Charitable Trust John & Linda Matthews Moore Colson, CPAs & Bert & Carmen Mills Martha M. Pentecost Ms. Cathleen Quigley Joyce & Henry Schwob Mr. Fahim Siddiqui & Ms. Shazia Fahim John & Ray Uttenhove Mrs. Sue S. Williams

$15,000+ Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward° Mr. & Mrs. John Allan Mr. David Boatwright Benjamin Q. Brunt Wright & Alison Caughman Mr. & Mrs. Benjamin Clare° The Jim Cox, Jr. Foundation Mr. & Mrs. Erroll B. Davis, Jr. Georgia Power Eleanor & Charles Edmondson Fifth Third Bank Mr. Craig M. Frankel & Mrs. Jana A. Eplan Dick & Anne Game° Mr. Max M. Gilstrap∞ Anne Morgan & Jim Kelley James H. Landon Mr. Sukai Liu &

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The Sartain Lanier Family Foundation Pat & Nolan Leake The Monasse Family Foundation∞ North Highland Company Vicki & Joe Riedel Beverly & Milton Shlapak Dr. Steven & Lynne Steindel° Judith & Mark K. Taylor The Mark and Evelyn Trammell Foundation Ms. Sheila Tschinkel Turner Enterprises, Inc. Dr. & Mrs. James O. Wells, Jr.


A Friend of the Symphony Paul & Marian Anderson* Jack & Helga Beam∞ Lisa & Russ Butner Ms. Diane Durgin $10,000+ Deedee & Marc Hamburger° A Friend of the Symphony Sally W. Hawkins Farideh & Al Azadi Foundation∞ Dr. & Mrs. Scott I. Lampert Julie & Jim Balloun Peter James Stelling* Bell Family Foundation Stephen & Sonia Swartz for Hope Inc Dr. Meredith W. Bell The Breman Foundation, Inc. Mr. & Mrs. Jonathan J. Davies Sally & Larry Davis Peter & Vivian de Kok Leadership Council ∞ Marcia & John Donnell We salute those extraordinary Eversheds Sutherland donors who have signed Georgia-Pacific pledge commitments to The Robert Hall Gunn, Jr., continue their annual giving Fund for three years or more. The Hertz Family Foundation, Inc. Roya & Bahman Irvani Clay & Jane Jackson For Ann A. & Ben F. Johnson III° more information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@

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

60 | encore ASO | SUPPORT (cont.) $5,000+ A Friend of the Symphony Mr. & Mrs. Calvin R. Allen Dr. Evelyn R. Babey Lisa & Joe Bankoff Mr. Keith Barnett Asad Bashey Kelley O. & Neil H. Berman Natalie & Matthew Bernstein Jane & Gregory Blount Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Margo Brinton & Eldon Park Mrs. Judith D. Bullock Karen & Rod Bunn Patricia & William Buss Mr. John T. Champion & Ms. Penelope Malone Ms. Tracey Chu Mark Coan & Family Dr. & Mrs. Richard W. Compans Ralph & Rita Connell William & Patricia Cook Carol Comstock & Jim Davis Donald & Barbara Defoe° Mr. & Mrs. Paul H. Dimmick Drew Eckl & Farnham, LLP in memory of Clayton Farnham Xavier Duralde & Mary Barrett Paulette Eastman & Becky Pryor Anderson∞ Dr. & Mrs. Carl D. Fackler Dr. Leroy Fass Ellen & Howard Feinsand

Bruce W. & Avery C. Flower Sally & Walter George Mary & Charles Ginden Mr. & Mrs. Richard Goodsell∞ Azira G. Hill CBH International, Inc Mr. Justin Im & Dr. Nakyoung Nam Mr. Baxter P. Jones & Dr. Jiong Yan Paul* & Rosthema Kastin Ann T. Kimsey Ms. Carrie L. Kirk Mr. & Mrs. Jason M. Kroh Dr. Fulton D. Lewis III & S. Neal Rhoney Peg & Jim Lowman Lubo Fund Dr. & Mrs. Ellis L. Malone Elvira Mannelly Mary Ruth McDonald The Fred & Sue McGehee Family Charitable Fund Mr. & Mrs. Arthur Mills IV Mr. Bert Mobley Judge Jane Morrison Gretchen Nagy & Allan Sandlin Mr. Samir Nikocevic Mrs. Kay Adams* & Mr. Ralph Paulk° Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. Edward Potter & Ms. Regina Olchowski Ms. Eliza Quigley Leonard Reed° Mr. & Mrs. Joel F. Reeves Ms. Felicia Rives Betsy & Lee Robinson Ms. Frances A. Root John T. Ruff Ms. Katherine Scott

Suzanne Shull Baker & Debby Smith Ms. Cynthia Smith Hamilton & Mason Smith In memory of Elizabeth B. Stephens by Powell, Preston & Sally∞ John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. Ms. Kimberly Strong George & Amy Taylor∞ Ms. Cathy Toren Trapp Family Burton Trimble Chilton & Morgan Varner Amy & Robert Vassey Mr. Robert Walt & Mr. Daniel J. Hess Drs. Jonne & Paul Walter Ruthie Watts Dr. Nanette K. Wenger David & Martha West Suzanne B. Wilner Mr. & Ms. Taylor Winn Mr. David J. Worley & Ms. Bernadette Drankoski Camille W. Yow

$3,500+ A Friend of the Symphony Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis M. Chorba Dieter Elsner & Othene Munson John & Martha Head Sarah & Harvey Hill° Donald S. Orr & Marcia K. Knight Mr. Charles R. Kowal Isabel Lamy Lee | @AtlantaSymphony |

Deborah & William Liss° Belinda & Gino Massafra Martha & Reynolds McClatchey Ed & Linda McGinn° Michael & Carol Murphy Gary R. Noble, MD Dr. & Mrs. John P. Pooler Ms. Kathy Powell S.A. Robinson Ms. Martha Solano Tom & Ani Steele Dale L. Thompson Alan & Marcia Watt

$2,000+ A Friend of the Symphony 2492 Fund Dr. & Mrs. Marshall Abes Mr. & Mrs. Ivan Allen IV Mr. & Mrs. Walker Anderson The Hisham & Nawal Araim Family Foundation Mrs. Juanita Baranco Anthony Barbagallo & Kristen Fowks Mr. Herschel V. Beazley Mr. Julian Bene & Dr. Amy Lederberg Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower° Carol Brantley & David Webster Martha S. Brewer Dr. & Mrs. Anton J. Bueschen Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Charles Cape Julie & Jerry Chautin Susan S. Cofer Malcolm & Ann Cole

Mr. Thomas J. Collins & Mr. Jeff Holmes Ned Cone & Nadeen Green Jean & Jerry Cooper Mr. Jeffrey M. Daniel & Mr. Michael M. Arens Greg & Debra Durden Mr. & Mrs. Robert G. Edge Mr. & Mrs. William A. Flinn Mr. Nathan Gaby Mr. & Mrs. Sebastien Galtier Raj & Jyoti Gandhi Family Foundation Mr. & Mrs. Edward T.M. Garland Marty & John Gillin° Mrs. Janet D. Goldstein Mary C. Gramling Richard & Debbie Griffiths Mr. & Mrs. George Gunderson Phil & Lisa Hartley Mr. & Mrs. Marc S. Heilweil Mr. & Mrs. John Hellriegel Liz Hendrick Mr. Kenneth & Ms. Colleen Hey Laurie House Hopkins & John D. Hopkins

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Mr. & Mrs. Robert McDuffie Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Anna & Hays Mershon Mr. & Mrs. Thomas B. Mimms, Jr. Berthe & Shapour Mobasser Janice & Tom Munsterman∞ Melanie & Allan Nelkin John C. & Agnes V. Nelson Mr. & Mrs. Edmund F. Pearce , Jr.° Mrs. Susanne Pinkerton In Memory of Dr. Frank S. Pittman III Mary Kay & Gene Poland° Dr. Susan Reef Dr. & Mrs. Rein Saral Thomas & Lynne Saylor Sharon & David Schachter° Dr. Bess T. Schoen Drs. Lawrence & Rachel Schonberger Mr. Jim Schroder Ms. Donna Schwartz

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Sam Schwartz & Dr. Lynn Goldowski Mr. & Mrs. S. Albert Sherrod° Nick & Annie Shreiber Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Johannah Smith Mr. & Mrs. Raymond F. Stainback, Jr. Richard M. Stormont Dr. & Mrs. John P. Straetmans Beth & Edward Sugarman Kay & Alex* Summers Carolyn C. Thorsen ∞ Ms. Juliana T. Vincenzino Vogel Family Foundation Mr. & Mrs. Robert L. Welch Ron & Susan Whitaker Thomas E. Whitesides, Jr. M.D. Russell F. Winch Mrs. Lynne M. Winship Mr. & Mrs. M. Beattie Wood Zaban Foundation, Inc. Herbert* & Grace Zwerner

Patron Partnership and Appassionato Leadership Committee We give special thanks to this dedicated group of Atlanta Symphony Orchestra donor-volunteers for their commitment to each year’s annual support initiatives: Linda Matthews chair

Kristi Allpere Helga Beam Bill Buss

Pat Buss Deedee Hamburger Judy Hellriegel Belinda Massafra Sally Parsonson

June Scott Milt Shlapak Sheila Tschinkel Jonne Walter Marcia Watt

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

62 | encore Jill* & Jennings* Hertz Mr. Albert L. Hibbard Richard E. Hodges Named for the Atlanta Symphony Mr.* & Mrs. Charles K. Holmes, Jr. Orchestra’s founding Music Mr.* & Mrs. Director, the HENRY SOPKIN CIRCLE Fred A. Hoyt, Jr. Jim* & Barbara Hund celebrates cherished individuals and Clayton F. Jackson families who have made a planned gift Mary B. James to the Atlanta Symphony Orchestra. Mr. Calvert Johnson & Mr. Kenneth Dutter These special donors preserve deForest F. Jurkiewicz* the Orchestra’s foundation and Herb* & Hazel Karp ensure success for future Anne Morgan & generations. Jim Kelley Bob Kinsey James W.* & Mary Ellen* A Friend of the Bob & Verdery* Kitchell Symphony (22) Cunningham Paul Kniepkamp, Jr. Madeline* & Howell E. John R. Donnell Miss Florence Kopleff* Adams, Jr. Dixon W. Driggs* Mr. Robert Lamy Mr.* & Mrs.* Pamela Johnson Drummond James H. Landon John E. Aderhold Mrs. Kathryn E. Duggleby Ouida Hayes Lanier Mr. & Mrs. Catherine Warren Dukehart* Lucy Russell Lee* & Ronald R. Antinori Ms. Diane Durgin Gary Lee, Jr. Dr. & Mrs. William Bauer Mr. Richard H. Delay & Dr. Ione & John Lee Mr. Charles D. Belcher* Francine D. Dykes Mr. Larry M. LeMaster Neil H. Berman Arnold & Sylvia Eaves Mr.* & Mrs.* Susan & Jack Bertram Mr. & Mrs. William C. Lester Mr.* & Mrs.* Robert G. Edge Liz & Jay* Levine Karl A. Bevins Geoffrey G. Eichholz* Robert M. Lewis, Jr. The Estate of Donald S. & Elizabeth Etoll Carroll & Ruth Liller Joyce Bickers Mr. Doyle Faler Ms. Joanne Lincoln* Ms. Page Bishop Brien P. Faucett Jane Little* Mr.* & Mrs. Sol Blaine Dr. Emile T. Fisher* Mrs. J. Erskine Love, Jr.* Rita & Herschel Bloom Moniqua N Fladger Nell Galt & Will D. Magruder The Estate of Mrs. Mr. & Mrs. Bruce W. Flower Gilbert H. Boggs, Jr. K Maier A. D. Frazier, Jr. W. Moses Bond John W. Markham Nola Frink Mr.* & Mrs. Mrs. Ann B. Martin Betty & Drew* Fuller Robert C. Boozer Linda & John Matthews Sally & Carl Gable Elinor A. Breman* Mr. Michael A. William & Carolyn Gaik James C. Buggs* McDowell, Jr. Dr. John W. Gamwell* Mr. & Mrs.* Dr. Michael S. McGarry Mr.* & Mrs.* Richard H. Burgin Richard & Shirley McGinnis L.L. Gellerstedt, Jr. Hugh W. Burke* John & Clodagh Miller Ruth Gershon & Mr. & Mrs. William Buss Ms. Vera Milner Sandy Cohn Wilber W. Caldwell Mrs. Gene Morse* Micheline & Bob Gerson Mr. & Mrs. C. Merrell Calhoun Ms. Janice Murphy* Max Gilstrap Cynthia & Donald Carson Mr. & Mrs. Mr. & Mrs. John T. Glover Mrs. Jane Celler* Stephen L. Naman Mrs. David Goldwasser Lenore Cicchese* Mr. & Mrs. Bertil D. Nordin Robert Hall Gunn, Jr. Fund Margie & Pierce Cline Mrs. Amy W. Norman* Billie & Sig Guthman Dr. & Mrs. Grady S. Galen Oelkers Betty G.* & Clinkscales, Jr. Roger B. Orloff Joseph* F. Haas Robert Boston Colgin Dr. Bernard* & James & Virginia Hale Mrs. Mary Frances Sandra Palay Ms. Alice Ann Hamilton Evans Comstock* Sally & Pete Parsonson Dr. Charles H. Hamilton* Miriam* & John A.* Conant James L. Paulk Sally & Paul* Hawkins Dr. John W. Cooledge Ralph & Kay* Paulk John & Martha Head Mr. & Mrs. William R. Dan R. Payne Ms. Jeannie Hearn* Cummickel Bill Perkins Barbara & John Henigbaum Mrs. Lela May Perry*

H E N RY S O P K I N CIRCLE | @AtlantaSymphony |

Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce* Reverend Neal P. Ponder, Jr. William L.* & Lucia Fairlie* Pulgram Ms. Judy L. Reed* Carl J. Reith* Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers* David F. & Maxine A.* Rock Tiffany & Richard Rosetti Mr.* & Mrs.* Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. Barbara S. Schlefman Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall* Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling* Ms. Barbara Stewart C. Mack* & Mary Rose* Taylor Jennings Thompson IV Margaret* & Randolph* Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.* & Mrs.* Charles R. Yates *Deceased

5 40

64 | encore CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.

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

WOODRUFF ARTS CENTER BOX OFFICE The Atlanta Symphony Orchestra Box Office is open 3 hours prior to a performance time and closes at the end of intermission. If a performance has no intermission, the Box Office will close 30 minutes after the performance start time. Call 404.733.5000 ext. 3 M – F: 9am-5pm Visit to order anytime. Please note: All artists and programs are subject to change

GIFT CERTIFICATES Available in any amount for any concert, through the box office. Call 404.733.5000. DONATE Donations to the ASO allow us to broaden our audiences locally and globally, reach greater artistic heights, and transform lives through the power of our music. To make a gift, please call 404.733.5079 or visit

ASO | GENERAL INFO LATE SEATING Patrons arriving late will be seated at an appropriate interval in the concert program, determined by the House Manager. Reserved seats are not guaranteed after the performance starts. Late comers may be seated in the back, out of courtesy to the musicians and other patrons.


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

Atlanta Symphony Associates (Volunteers) 404.733.4485

THE ROBERT SHAW ROOM ASO donors who give $2,500 or more annually gain special access to this private dining room. For more information, please call 404.733.5079.

The Woodruff Arts Center 404.733.5000 Box Office Ticket Donations/ Exchanges 404.733.5000 Subscription Information/ Sales 404.733.4800 Group Sales


Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Donations & Development 404.733.5079 | @AtlantaSymphony |

| 65


Elizabeth Graiser

Jennifer Barlament

manager of

executive director

Alvinetta Cooksey executive & finance assistant

Elise Kolle​ executive assistant to senior management

ARTISTIC Evans Mirageas artistic advisor

Jeffrey Baxter choral administrator

Katie Lehman interim artistic manager

Ra Sheed Lemon artist liaison



Hsing-I Ho

Russell Wheeler vice president, sales &

Susan Ambo

assistant orchestra

revenue management

& vice president,

personnel manager

Megan Brook

business operations


& asyo

Victoria Moore director of orchestra personnel

MARKETING & COMMUNICATIONS Tammy Hawk vice president, marketing & communications Delle Beganie content & production manager

front of house manager

Kimberly Hielsberg

Erin Jones

senior director of financial planning

sales manager

Ronald MacDuff front of house & guest services supervisor

April Satterfield controller


Jack McCabe teleservices manager

Jesse Pace manager of patron experience

& season

Grace Sipusic vice president, development

Nancy Field


manager of grants

director of digital

Dennis Quinlan



executive assistant to the

Caitlin Buckers

marketing manager, live

data analyst

Robin Smith patron services



Leah Branstetter

Carol Wyatt co-artistic advisors

chief financial officer


William Keene director of annual giving

& season

Catherine MacGregor


Elizabeth Daniell

ticket associate

assistant manager of

associate director of

donor engagement

Sarah Grant


Lisa Eng

Nicole Panunti vice president, atlanta

individual giving

director of education


multimedia creative

Elena Gagon

manager, live

education coordinator

Adam Fenton

Ryan Walks

director of multimedia

talent development


program manager

Mia Jones-Walker


marketing manager

Sameed Afghani vice president & general manager

Bob Scarr archivist & research

Paul Barrett senior production

stage manager

Cheri Snyder

guest services

senior director of

Joanne Lerner


Sarah Wilson development operations

director of publications

Michael Tamucci



associate director of

Richard Carvlin

annual giving officer

associate director of

event manager

Will Strawn

& asyo

James Paulk

Christine Lawrence

Rob Phipps

Tyler Benware operations


symphony hall live

atlanta symphony hall

stage manager

director of orchestra

Dana Parness

marketing, live

Madisyn Willis marketing manager

event coordinator


Mayor’s Office of Cultural Affairs

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

Major funding is provided by the Fulton County Board of Commissioners.

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

THE WOODRUFF CIRCLE Woodruff Circle members have contributed more than $250,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.


A Friend of the Atlanta Symphony Orchestra

$500,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the Woodruff Arts Center Bank of America Chick-fil-A Foundation | Rhonda & Dan Cathy The Community Foundation for Greater Atlanta Georgia Power Foundation, Inc. The Douglas J. Hertz Family The Home Depot Foundation Sarah and Jim Kennedy SunTrust Trusteed Foundations

$250,000+ A Friend of the Woodruff Arts Center Farideh & Al Azadi Foundation The Molly Blank Fund Helen Gurley Brown Foundation Cathy Cousins Foundation In Loving Memory of Catherine W. Dukehart The Goizueta Foundation Estate of Burton M. Gold Invesco The Marcus Foundation, Inc. The Andrew W. Mellon Foundation PNC The Rich Foundation, Inc. UPS WarnerMedia and AT&T Foundation The Zeist Foundation, Inc.

THE BENEFACTOR CIRCLE Benefactor Circle members have contributed more than $100,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.

$100,000+ 1180 Peachtree Alston & Bird American Academy of Arts and Letters The Antinori Foundation Atlanta Homes & Lifestyles Atlantic Station The Arthur M. Blank Family Foundation The John and Rosemary Brown Family Foundation The Estate of Mr. Hugh W. Burke Thalia and Michael C. Carlos Advised Fund City of Atlanta Mayor’s Office of Cultural Affairs Eversheds Sutherland Forward Arts Foundation The Fraser-Parker Foundation Georgia Natural Gas Georgia-Pacific Louise S. Sams and Jerome Grilhot The Halle Foundation Mr. and Mrs. Hilton H. Howell, Jr. The Imlay Foundation, Inc. Institute of Museum & Library Services Jones Day Foundation & Employees

Kaiser Permanente King & Spalding , Partners & Employees Knobloch Family Foundation The Charles Loridans Foundation, Inc. The Henry Luce Foundation, Inc. Morris Manning & Martin LLP National Endowment for the Arts Amy W. Norman Charitable Foundation Northside Hospital Novelis Victoria & Howard Palefsky Patty and Doug Reid The Sartain Lanier Family Foundation The Shubert Foundation Carol & Ramon Tomé Family Fund Triad Foundation The Estate of Mrs. Mary F. Trembath Wells Fargo Rod Westmoreland WestRock Company wish Foundation The David, Helen & Marian Woodward Fund


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Suwanee Arts Center

There are a million things in Suwanee that you haven’t done. Just you wait.

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