December 2012: Atlanta Symphony Orchestra Handel: Messiah

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contents December 2012

encoreatlanta.com

60

Jeff Roffman

16

features

the music

16 Fasten your seat belts

19 This week’s concert and program notes

The Atlanta Symphony Orchestra’s Principal Clarinet Laura Ardan is unflappable. It’s a good thing.

48 Community Corner Meet Cecil Wilder: Executive

Director of the Georgia Music Educators Association

Unleash the Magic This issue is augmented. Turn to

6

page 3 to learn how to unleash the magic.

Atlanta Symphony Orchestra/aso.org

departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 18 Musicians 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

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welcome/bienvenido

E

ven as we’re ushering 2012 out with a month of great live music — Christmas With the ASO, ASO Kid’s Christmas, Handel’s Messiah, ASO Gospel Christmas, A Very Merry Holiday Pops, and ASO New Year’s Eve — we are peering intently into the future: We’re creating a roadmap that will take us to the ASO’s 70th anniversary (we gave our first concert on Feb. 4, 1945) and beyond. Among the principles that will guide our efforts are these: • We are here — musicians, staff, and • Our art will reflect the absolute best board — to meet the expressed of both the classical/traditional needs of this community. and the bold/innovative.

So, what do you want us to know? What role would you like to see the ASO play in this community over the next two to five years? We want to hear your voice as we chart a strategic course for the ASO’s future. Creating a new roadmap will rank among our highest priorities during calendar year 2013. I hope you’ll look for opportunities to participate. To get involved, go to www.aso.org/strategy.

As always, I’m grateful to you for supporting your Atlanta Symphony Orchestra!

A

pesar de que nos despedimos del año 2012 con un mes de excelente música en vivo – Navidad con la Orquesta Sinfónica de Atlanta (ASO), Navidad para Niños con la ASO, El Mesías de Handel, ASO Gospel Christmas (Navidad Gospel con la ASO), A Very Merry Holiday Pops (Unas Muy Felices Fiestas) y el Año Nuevo con la ASO – nos estamos centrando fijamente en el futuro: estamos creando un plan de trabajo que nos llevará a la celebración del 70.º aniversario de la ASO (dimos nuestro primer concierto el 4 de febrero de 1945) y más allá. Entre los principios que guiarán nuestros esfuerzos se encuentran: • Estamos aquí – los músicos, el • Nuestro arte reflejará absolutamente personal y la Junta Directiva – para lo mejor de ambos lados: lo clásico y satisfacer las necesidades expresadas tradicional y lo audaz e innovador. por esta comunidad.

Entonces, ¿qué le gustaría que sepamos? ¿Qué rol le gustaría que desempeñe la ASO en esta comunidad dentro de los próximos dos a cinco años? Queremos escuchar su opinión ya que estamos trazando un rumbo estratégico para el futuro de la ASO. La creación de un nuevo plan de trabajo estará dentro de nuestras principales prioridades durante el año calendario 2013. Espero que busque alguna oportunidad para participar. Para ser parte de esta estrategia, visite www.aso.org/strategy.

Como siempre, ¡le estoy inmensamente agradecido por apoyar a su Orquesta Sinfónica de Atlanta!

Con todos mis mejores deseos,

Stanley E. Romanstein, Ph.D. President & CEO/Presidente y Director Ejecutivo

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Atlanta Symphony Orchestra/aso.org

Simplify

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Duluth

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Š2012 Lexus.

leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson D. Kirk Jamieson Chair Vice Chair Karole F. Lloyd Meghan H. Magruder Chair-Elect Vice Chair

Joni Winston Secretary Mark D. Wasserman Treasurer

Directors Pinney L. Allen Neil H. Berman Paul Blackney Mary Rockett Brock Janine Brown C. Merrell Calhoun S. Wright Caughman, M.D. Ronald M. Cofield Sylvia Davidson* Carlos del Rio, M.D. Lynn Eden David Edmiston Gary P. Fayard** Dr. Robert M. Franklin, Jr.

Paul R. Garcia Carol Green Gellerstedt Virginia A. Hepner* Thomas Hooten** Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Mark Kistulinec Steve Koonin Carrie Kurlander James H. Landon Michael Lang Donna Lee Kelly L. Loeffler

Penny McPhee Howard D. Palefsky Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Martin Richenhagen Stanley E. Romanstein, Ph.D.* Dennis Sadlowski William Schultz** John Sibley H. Hamilton Smith Lucinda B. Smith Thurmond Smithgall**

Paul Snyder Gail Ravin Starr Mary Rose Taylor Joseph M. Thompson Liz Troy** Ray Uttenhove Chilton Davis Varner S. Patrick Viguerie Rick Walker** Thomas Wardell John B. White, Jr. Richard S. White, Jr. Patrice Wright-Lewis Camille Yow

Board of counselors Mrs. Helen Aderhold Elinor Breman Donald P. Carson Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler

Arnoldo Fiedotin Charles Ginden John T. Glover Frances B. Graves Dona Humphreys Aaron J. Johnson Ben F. Johnson III

Herb Karp Jim Kelley George Lanier Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love

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

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

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

* ex officio †2012-2013 sabbatical

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Atlanta Symphony Orchestra/aso.org

NORTHSIDE HOSPITAL CANCER INSTITUTE: ON THE CUTTING EDGE OF

“Mommy, your hair grew back.”

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MusicDirector Robert Spano, Music Director

R

ecognized as one of the brightest and most imaginative conductors of his generation, Robert Spano is currently in his 12th season as Music Director of the Atlanta Symphony Orchestra and has elevated the ensemble to new levels of international prominence.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have explored a creative mix of programming, including Theater of a Concert performances, which utilize different formats, settings, and enhancements for the musical performance experience.

The Atlanta School of Composers reflects Mr. Spano’s and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers. Since 2001 Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works and by the end of the 2012-13 season will have performed 16 ASO-commissioned world premieres.

Mr. Spano has a discography with the Orchestra of 19 recordings, six of which have won GRAMMY® awards. He has led the Orchestra in performances at Carnegie Hall, Lincoln Center, and at the Ravinia, Ojai, and Savannah Music Festivals.

As Music Director of the Aspen Music Festival and School, Mr. Spano oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting. Dedicated to pedagogy and multidisciplinary studies, he has lectured on “Community” for TEDx and recently completed a three-year residency at Emory University. In its 165-year history, Emory University has honored only seven other individuals with such expansive residencies, including the Dalai Lama, President Jimmy Carter, and author Salman Rushdie.

Mr. Spano’s 2012-13 guest engagements include the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago, and Philadelphia Symphony Orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles

14

Atlanta Symphony Orchestra/aso.org

Jennifer Taylor

Musical America’s 2008 “Conductor of the Year,” Mr. Spano is on faculty of Oberlin Conservatory, and received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin, as well as Columbia University’s Ditson Conductor’s Award for the advancement of American music.

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T

he Atlanta Symphony Orchestra’s Principal Clarinet Laura Ardan is unflappable. It’s a good thing.

fasten your seat belts

When reached by phone in late October, shortly after the Orchestra’s concert at Carnegie Hall, she reported that she’d had the presence of mind to leave New York a day earlier than planned, just hours before Hurricane Sandy crippled the city. Days later, back home in Atlanta, she was getting her first look at what promises to be an another challenge of a much more enjoyable kind: the world premiere of a new concerto, The Nature of Light, written for her

by Atlanta School of Composers member Michael Gandolfi, which she will perform with the Orchestra, Thursday through Saturday, January 10-12. (Music Director Robert Spano conducts the concert, which also features Prokofiev’s Piano Concerto No. 5, with the bright young Finnish pianist Juho Pohjonen, and

The Orchestra’s world premiere of Michael Gandolfi’s new concerto takes off January 10-12, and soloist Laura Ardan is ready for the ride

16

Jeff Roffman

By Madeline Rogers

Atlanta Symphony Orchestra/aso.org

AtlantaSymphonyOrchestra Robert Spano

Donald Runnicles

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

FIRST VIOLIN

SECOND VIOLIN

CELLO

David Coucheron Concertmaster The Mabel Dorn Reeder Honorary Chair* William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith ◊ Kenn Wagner Lisa Wiedman Yancich

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

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

VIOLA

BASS

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

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Atlanta Symphony Orchestra/aso.org

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

Ralph Jones Principal The Marcia and John Donnell Chair * Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer Thomas Thoreson

Michael Krajewski

Jere Flint

Norman Mackenzie

Principal Pops Conductor

Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

Director of Choruses The Frannie and Bill Graves Chair

FLUTE

BASSOON

TROMBONE

HARP

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Paul Brittan Carl David Hall

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

Colin Williams Principal Nathan Zgonc George Curran ◊

Elisabeth RemyJohnson Principal The Delta Air Lines Chair

BASS TROMBONE

George Curran ◊ CONTRA-BASSOON

PICCOLO

Juan de Gomar

TUBA

HORN

Michael Moore Principal

Carl David Hall OBOE

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

Emily Brebach • CLARINET

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

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane ◊ Anna Spina • Bruce Kenney TRUMPET

Thomas Hooten ◊ David Vonderheide • Principal The Madeline and Howell Adams Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

TIMPANI

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

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

KEYBOARD

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

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian John Wildermuth Assistant Librarian ‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician • New this season ◊ Leave of absence Players in string sections are listed alphabetically

E-FLAT CLARINET

Ted Gurch BASS CLARINET

Alcides Rodriguez

encoreatlanta.com/Atlanta’s Performing Arts Publication

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© 2012 The Coca-Cola Company.

‘Tis the season Proudly Supports

Atlanta’s Performing Arts Community

No artificial flavors, no added preservatives.

Since 1886.

program

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Coca-Cola Holiday Concert Handel: Messiah Thursday, December 13, 2012, and Saturday, December 15, 2012, at 8:00 p.m.

Norman Mackenzie, Conductor Atlanta Symphony Orchestra Jacqueline Echols, Soprano Kelley O’Connor, Mezzo-Soprano Richard Clement, Tenor Gerard Sundberg, Bass William Pu, Violin (Bach: Laudamus te) Christina Smith, Flute (Bach: Domine Deus) Elizabeth Koch Tiscione, Oboe d’amore (Bach: Qui sedes) Susan Welty, Horn (Bach: Quoniam tu solus sanctus) Atlanta Symphony Orchestra Chamber Chorus Norman Mackenzie, Director of Choruses JOHANN SEBASTIAN BACH (1685-1750) Gloria from Mass in B minor, BWV 232 (1749) INTERMISSION GEORGE FRIDERIC HANDEL (1685-1759) Christmas Portion and “Hallelujah!”

Chorus from Messiah (1742)

The use of cameras or recording devices during the concert is strictly prohibited

encoreatlanta.com/Atlanta’s Performing Arts Publication

21

sponsors

The Coca-Cola Company is the world’s largest beverage company, refreshing consumers at a rate of 1.5 billion servings a day with more than 450 sparkling and still brands in more than 200 countries. Along with Coca-Cola, recognized as the world’s most valuable brand, the Company’s portfolio includes 12 other major brands, including Diet Coke, Fanta, Sprite, Coca-Cola Zero, vitaminwater, Powerade, Minute Maid and Georgia Coffee. Globally, we are the No. 1 provider of sparkling beverages, juices and juice drinks and ready-to-drink teas and coffees. With an enduring commitment to building sustainable communities, our Company is focused on initiatives that protect the environment, conserve resources, and enhance the economic development and cultural experiences of the communities where we operate. For more information about our Company, please visit our website at www.thecoca-colacompany.com Holiday concerts in December are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.

The Atlanta Symphony Orchestra’s concert on October 27, 2012 at Carnegie Hall was made possible through the generous support of The Community Foundation for Greater Atlanta, Thurmond Smithgall, Victoria and Howard Palefsky, and Delta Air Lines.

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

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

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

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

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

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Atlanta Symphony Orchestra/aso.org

program Notes on the Program

By Ken Meltzer Gloria from Mass in B minor, BWV 232 (1749) Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. The Mass in B minor is scored for solo soprano, alto, tenor, and bass, mixed chorus, two flutes, three oboes, two oboe d’amore, two bassoons, horn, three trumpets, timpani, continuo and strings. Approximate performance time of the Gloria is thirty-six minutes.

Atlanta Symphony Orchestra and Chamber Chorus Recording: Robert Shaw, Conductor (Telarc CD-80233, 2 discs)

T

he history of Johann Sebastian Bach’s composition of his Mass in B minor — one of the greatest sacred choral works — spans several years, and is somewhat complex. On February 1, 1733, Friedrich Augustus I, the Elector of Saxony, died. A five-month period of mourning was declared in Saxony, during which time all musical performances were forbidden. Bach took advantage of this hiatus in his official musical duties to compose a setting for vocal soloists, chorus and orchestra of the Kyrie and Gloria portions of the Catholic Mass. On July 27, 1733, Bach presented the score of his new work to the successor to the Elector of Saxony, his son, Friedrich Augustus II. A letter by Bach, requesting a court appointment, accompanied the score.

Since 1723, Bach had served as Kantor (Music Director) of the St. Thomas’s Church and School in Leipzig. Bach remained in Leipzig for the remainder of his life. Nevertheless, Bach often found his dealings with the Leipzig authorities to be less than satisfactory. The composer felt that he was not always accorded sufficient resources to carry out his musical duties.

Further, Bach was frustrated by the menial tasks he was frequently obligated to perform at the Thomasschule. Bach hoped that his gift of the Kyrie and Gloria to Friedrich Augustus II would result in an improvement of his fortunes. However, it was not until 1736 that the new Elector of Saxony appointed Bach as Court Composer.

It is clear that Bach viewed the Kyrie and Gloria he submitted to Friedrich Augustus II as a self-contained work. Nevertheless, toward the end of his life, Bach returned to this composition, adding the Credo, Sanctus and Agnus Dei portions to form what is now known as the composer’s Mass in B minor, BWV 232. The motivation for Bach’s revisiting of this work is uncertain. It is highly unlikely that Bach envisioned that the Mass in B minor could be performed in its entirety — at least under the circumstances of the composer’s time.

Modifications to the prescribed Latin text made the work unacceptable for presentation in the Catholic Church. Further, the work’s epic length precluded its incorporation into any religious service. Many scholars therefore surmise that Bach — who viewed all of his compositions as offerings to his Lord — completed his Mass in B minor not for any practical purpose, but out of some profound inner need.

Mention should also be made of Bach’s employment of “parody.” A common practice in Bach’s time, “parody” involves the reworking of material from previous compositions. Numerous

encoreatlanta.com/Atlanta’s Performing Arts Publication

23

portions of the Mass in B minor are, in fact, based upon earlier Bach works. The Sanctus portion of the Mass, for example, is derived from music Bach composed for Christmas, 1724. Additionally, music from several of Bach’s cantatas forms the basis for sections of the Mass in B minor.

It is a testament to Bach’s genius that, despite the circumstances surrounding the composition of the Mass in B minor, it emerges as a glorious, unified masterpiece. German composer Carl Friedrich Zelter (1758-1832) praised Bach’s Mass in B minor as “probably the greatest musical work of art that the world has ever seen.” His reverential words were echoed by Swiss composer Hans Georg Nägeli (1773-1836), who acclaimed the Mass in B minor as the “greatest work of music of all ages and of all peoples.” To this day, the Mass in B minor continues to inspire awe in everyone fortunate to make its sublime acquaintance.

This concert includes the Gloria portion of the Bach Mass in B minor.

Texts and Translations I. Gloria in excelsis (Chorus) Gloria in excelsis Deo. Glory be to God in the highest.

II. Et in terra pax (Chorus) Et in terra pax hominibus bonae voluntatis.

And on earth peace to men of good will.

III. Laudamus te (Mezzo-soprano, Violin) Laudamus te; benedicimus te; adoramus te; glorificamus te.

We praise Thee; we bless Thee; we adore Thee, we glorify Thee.

IV. Gratias agimus tibi (Chorus) Gratias agimus tibi propter magnam gloriam tuam.

We give thanks to Thee for Thy great glory.

V. Domine Deus (Soprano and Tenor, Flute) Domine Deus, Rex coelestis, Deus Pater omnipotens.

Domine Fili unigenite Jesu Christe.

Domine Deus, Agnus Dei, Filius Patris, Lord God, heavenly King, God the Father almighty.

O Lord Jesus Christ, the only begotten Son. Lord God, Lamb of God, Son of the Father.

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Atlanta Symphony Orchestra/aso.org

VI. Qui tollis peccata mundi (Chorus) Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipe deprecationem nostram.

Thou who takest away the sins of the world, have mercy upon us.

Thou who takest away the sins of the world, receive our prayer.

VII. Qui sedes ad dextram Patris (MezzoSoprano, Oboe d’Amore) Qui sedes ad dextram Patris, miserere nobis.

Thou who sittest at the right hand of the Father, have mercy upon us.

VIII. Quoniam tu solus sanctus (Bass, Horn) Quoniam tu solus sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe, For thou alone art the Holy One, Thou alone art the Lord, Thou, Jesus Christ, art the Most High.

IX. Cum Sancto Spiritu (Chorus) Cum Sancto Spiritu, in gloria Dei Patris.

Amen.

With the Holy Ghost, In the glory of God the Father, Amen.

program Christmas Portion and “Hallelujah!” Chorus from Messiah (1742) George Frideric Handel was born in Halle, Germany, on February 23, 1685, and died in London, England, on April 14, 1759. The first performance of Messiah took place at the New Music Hall in Fishamble Street, Dublin, Ireland, on April 13, 1742. Messiah is scored for soprano, alto, tenor and bass solos, mixed chorus, two oboes, two bassoons, two trumpets, timpani, organ, continuo and strings. Approximate performance of the Christmas portion of Messiah is 1 hour.

Atlanta Symphony Orchestra and Chorus Recording: Robert Shaw, Conductor (Telarc CD-80093, 2 discs)

T

he creation of George Frideric Handel’s most beloved work, Messiah, took place during a challenging period in the composer’s life. The steady decline in London of the popularity of Italian opera had caused Handel tremendous financial hardship. In addition, Handel’s rigorous work schedule had taken a profound toll on the composer’s health. By the summer of 1741, a period of lethargy had set in.

It was at this point that Handel received a libretto for a new work, an oratorio based upon the birth, life, crucifixion and resurrection of Jesus Christ. The author of the libretto was Charles Jennens, who collaborated with Handel on several oratorios.

In July of 1741, Charles Jennens wrote to a friend: Handel says he will do nothing next Winter, but I hope I shall persuade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other subject. The Subject is Messiah.

Handel began composition of Messiah on August 22, 1741. There seems to be no question that the libretto, based upon the Old and New Testaments, proved to be a source of majestic inspiration. Handel, working at a lightning pace, completed Messiah in just 24 days.

Once Handel completed Messiah, he focused his attention upon Samson, another oratorio inspired by the Bible. It was during this period that Handel accepted an invitation to travel to Dublin for a series of concerts in aid of charity. In November, Handel set sail for Dublin, bringing with him several works for performance at the charity concerts. Among those works was Messiah.

The premiere of Messiah took place at Dublin’s New Music Hall in Fishamble Street on April 13, 1742. Three days prior to the performance, the Dublin Journal printed the following admonition: Many Ladies and Gentlemen who are well-wishers to this Noble and Grand Charity for which this Oratorio was composed, request it as a Favour, that the Ladies who honour this Performance with their Presence would be pleased to come without Hoops, as it will greatly increase the Charity, by making room for more company.

Gentlemen were also requested to refrain from bringing their swords to the performance, again for the purpose of increasing the audience capacity.

The performance was a tremendous success. As the Dublin Journal reported: (T)he best Judges allowed (Messiah) to be the most finished piece of music. Words are wanting to express the exquisite Delight it afforded to the admiring crowded audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear. It is but justice to Mr. Handel, that the World should know, he generously gave the Money arising from this Grand Performance, to be equally shared by the Society for relieving Prisoners, the Charitable Infirmary, the Mercer’s Hospital, for which they will ever gratefully remember his Name…

The London premiere of Messiah, which took place at Covent Garden on March 23, 1743, was more problematic. It appears that the London public accorded Handel’s Messiah a mixed reception. However, at least according to one observer, those in attendance—including a very prominent member of the audience—were particularly moved by a portion of the oratorio. This resulted in the birth of a tradition that continues to this day: “When the chorus struck up ‘for the Lord God Omnipotent’ (in the ‘Hallelujah’ Chorus), they were so transported that they all together, with the King (who happened to be present), started up and remained standing till the chorus ended.”

In May of 1750, Handel agreed to present Messiah as a benefit for London’s Foundling Hospital. The performance venue of the Hospital’s Chapel, coupled with the worthy cause, removed any possible objections. Charity concerts of Messiah became a yearly tradition at the Foundling Hospital.

On April 6, 1759, Handel made his final public appearance, conducting a London performance of Messiah. Eight days later, Handel was dead at the age of 74. The funeral, held in Westminster Abbey, attracted an estimated 3,000 mourners. Three years later, the great church unveiled a monument to Handel, created by the French sculptor, Louis François Roubiliac. The monument depicts Handel, holding the score of Messiah. Overhead, an angel plays a lyre. The score is opened to the soprano solo that serves to begin the oratorio’s Third Part: “I know that my redeemer liveth, and that He shall stand at the latter day upon the earth.”

This concert features Part I, the Christmas Portion, of Messiah, as well as the “Hallelujah!”

Chorus from Part II.

Messiah Music by George Frideric Handel (1685-1759) Texts selected from Holy Scripture by Charles Jennens (1700-1773) Part I Sinfonia Tenor Comfort ye my people, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished,

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program that her iniquity is pardoned.

The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God. Every valley shall be exalted, and every mountain and hill made low: the crooked straight and the rough places plain.

[Isaiah 40:1-4] Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.

[Isaiah 40:5] Bass Thus saith the Lord of Hosts: Yet once a little while, and I will shake the heavens, and the earth, and the sea and the dry land, and I will shake all nations, and the desire of nations shall come.

The Lord whom ye seek, shall suddenly come to His temple, even the messenger of the covenant, whom ye delight in, behold, He shall come, saith the Lord of Hosts.

[Haggai 2:6-7; Malachi 3:1] Alto But who may abide the day of His coming?

And who shall stand when He appeareth?

For He is like a refiner’s fire.

[Malachi 3:2] Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.

[Malachi 3:3]

Alto and Chorus O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.

[Isaiah 40:9; 60:1] Bass For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.

And the Gentiles shall come to thy light, and kings to the brightness of thy rising.

[Isaiah 60:2-3] Bass The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.

[Isaiah 9:2 (Matthew 3:16)] Chorus For unto us a Child is born, unto us a Son is given, and the government shall be upon His shoulder, and His name shall be called Wonderful, Counselor, the mighty God, the everlasting Father, the Prince of Peace.

[Isaiah 9:6]

Alto Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel, God with us.

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Pastoral Symphony Soprano There were shepherds abiding in the field, keeping watch over their flocks by night.

And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

And the angel said unto them: Fear not, for behold, I bring you good tidings of great joy, which shall be to all people: for unto you is born this day in the city of David a Saviour, which is Christ the Lord.

And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying: [Luke 2:8-11,13] Chorus Glory to God in the highest, and peace on earth, good will towards men.

[Luke 2:14] Soprano Rejoice greatly, O daughter of Zion, shout, O daughter of Jerusalem, behold, thy King cometh unto thee. He is the righteous Saviour, and He shall speak peace unto the heathen.

[Zechariah 9:9-10]

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Alto Then shall the eyes of the blind be opened, and the ears of the deaf unstopped; then shall the lame man leap as an hart, and the tongue of the dumb shall sing.

[Isaiah 35:5-6] Alto and Soprano He shall feed his flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.

Come unto Him, all ye that labour, and are heavy laden, and He will give you rest.

Take His yoke upon you, and learn of Him, for he is meek and lowly of heart, and ye shall find rest unto your souls.

[Isaiah 40:11; Matthew 11:28-29] Chorus His yoke is easy, and His burthen is light.

[Matthew 11:30] Chorus Hallelujah! for the Lord God omnipotent reigneth.

The kingdom of this world is become the kingdom of our Lord and of His Christ; and He shall reign for ever and ever.

King of Kings, and Lord of Lords.

[Revelation 19:6; 11:15; 19:16]

program norman mackenzie, Director of Choruses

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orman Mackenzie’s abilities as musical collaborator, conductor, and concert organist have brought him international recognition. As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the ASO he prepares the Choruses for all concerts Norman Mackenzie and recordings, conducts holiday concerts annually and works closely with ASO Music Director Robert Spano and commissioned-composers in the creation and premiere of new works. His leadership was rewarded in 2003 with Grammy awards for Best Classical Album and Best Choral Performance for the ASO and Chorus recording of A Sea Symphony by Vaughan Williams, in 2005 with another Best Choral Performance Grammy for the Berlioz Requiem and in 2007 for Best Opera Recording with Golijov’s Ainadamar. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Shaw (1985-1999), he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops.

A native of suburban Philadelphia, Mr. Mackenzie made his debut as a pianist with the Philadelphia Orchestra at age 12, and as an organist at age 20. He made his New York recital debut at the Fifth Avenue Presbyterian Church. He holds degrees from the University of the Arts in Philadelphia and Westminster Choir College.

He has prepared choruses for performance under Robert Spano, Donald Runnicles, John Adams, Roberto Abbado, Charles Dutoit, Bernard Labadie, Nicholas McGegan, John Nelson, Alan Gilbert, Yoel Levi, Robert King, James Conlon, and Sir Neville Marriner.

A frequent recitalist and clinician for conventions of the American Guild of Organists and the American Choral Directors Association, he has also been featured on National Public Radio’s “Performance Today” and Minnesota Public Radio’s “Pipedreams” broadcasts.

Mackenzie’s acclaimed Telarc recording of a cappella sacred music (featuring the Vaughan Williams Mass in G-Minor) represents the ASO Chamber Chorus’ first recording apart from the orchestra.

Mackenzie also prepared the ASO Chorus for its acclaimed 2003 debut and successive 2008 and 2009 performances in Berlin with the Berlin Philharmonic (in Britten’s War Requiem, Berlioz’s Grande Messe des Morts and Brahms’ Ein deutsches Requiem, respectively), conducted by ASO Principal Guest Conductor Donald Runnicles.

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guest artists atlanta symphony orchestra Chamber chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair Todd Skrabanek, Accompanist

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cclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Atlanta Symphony Orchestra Chamber Chorus has been an important part of Orchestra Chorus the orchestra’s programming since its founding by the late Robert Shaw. The Chamber Chorus, which debuted on December 14, 1967, is composed of 40-60 volunteers selected by audition from the ranks of the ASO Chorus, who meet for extra rehearsals and perform with the ASO each season. The Chamber Chorus performs music of the Baroque and Classical eras, as well as works by modern masters such as Golijov, Tavener, Pärt, Paulus, Theofanidis and Britten. Highlights of the ASO Chamber Chorus’s history include a residency with the ASO and Robert Spano for California’s Ojai Festival, participation with the ASO in recordings of masterworks by Bach, Golijov, Handel, Haydn, Mozart, Schubert, Vivaldi and a 2005 a cappella recording that features the Vaughan Williams Mass under Norman Mackenzie. Their Carnegie Hall appearances include performances of the B-Minor Mass, Magnificat, the Matthew and John Passions of Bach, the Rachmaninoff Vespers, Stravinsky’s Nightingale and the Mozart/Levin Requiem.

Soprano 1 June Abbott ** JoAnn Alexander Amber Greer Kristen Gwaltney Marie Little Arietha Lockhart * Alexis Lundy Joneen Padgett Lisa Rader Anne-Marie Spalinger Camilla Springfield * Catherine Steen Lykins Allegra Whitney Katie Woolf Kara Mia Wray

ALTO Michelle Austin Ana Baida Donna Carter-Wood * Marcia Chandler Laurie Cronin Janet Johnson * Holly McCarren Linda Morgan ** Dominique PetiteChabukswar Brenda Pruitt * Laura Rappold Kathleen Poe Ross Diana Strommen Sarah Ward Carol Wyatt

TENOR Jeffrey Baxter ** Christian Bigliani David Blalock ** Jack Caldwell * Phillip Crumbly Jeffrey Daniel Leif Gilbert-Hansen John-Alan Gourdine Grant Harville Thomas LaBarge Keith Langston Clinton Miller Christopher Patton Brent Runnels Wesley Stoner Timothy Swaim Mark Warden

BASS Phil Barreca Daniel Bastian Robert Bolyard Russell Cason * Trey Clegg John Cooledge ** Steven Darst * Timothy Gunter Philip Jones Sam Marley Jason Maynard Stephen Ozcomert * Kendric Smith ** Edgie Wallace Edward Watkins ** Kyle Wheatley

* 20+ years of service ** 30+ years of service

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‡

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Jacqueline Echols, Soprano

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oprano Jacqueline Echols, a Detroit native has appeared with the Cincinnati Opera as a young artist performing roles such as Countess Ceprano in Verdi’s Rigoletto and the First Lady in Mozart’s The Magic Flute. Jacqueline also appeared with the New York Harlem Productions featured in such roles as Clara and the lead role, Bess of the opera Porgy and Bess. She was also featured in a documentary, Porgy and Me, which was premiered in Germany Jacqueline Echols theatres in January 2010. During her Masters degree studies at CCM, she was featured as The Female Chorus in Brittan’s The Rape of Lucretia and as the Countess in Mozart’s The Marriage of Figaro for CCM’s main stage opera production and CCM Spoleto, Italy summer program. She will be performing again with the Cincinnati Opera as Clara in their first production of Gerswhin’s Porgy and Bess during their 2012 season.

Jacqueline is currently completing an Artist Diploma at CCM.

Kelley O’Connor, Mezzo-Soprano

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

During the 2012-13 season, the California native’s impressive calendar includes John Adams’s The Gospel According to the Other Mary in a world premiere staging by Peter Sellars performed Kelley O’Connor in America and Europe with the Los Angeles Philharmonic under Gustavo Dudamel’s baton, and a role debut as Suzuki in Madama Butterfly in a new production by Lillian Groag at Boston Lyric Opera.

Concert appearances of the season include Peter Lieberson’s Neruda Songs both with Christoph Eschenbach and the National Symphony Orchestra and with Robert Spano and the Toronto Symphony Orchestra, Debussy’s La Damoiselle élue and the Duruflé Requiem with Donald Runnicles and the Atlanta Symphony Orchestra, Beethoven’s Ninth Symphony with David Robertson and the Saint Louis Symphony, among others.

Internationally in recent seasons Ms. O’Connor made her Proms Festival debut with Jirí Belohlávek and the BBC Symphony Orchestra in Mahler’s Eighth Symphony, and an Edinburgh International Festival debut with James Conlon and the BBC Scottish Symphony Orchestra in John Adams’ El Niño. She has received unanimous international critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar. Ms. O’Connor created the role for the world premiere at Tanglewood under the baton of Robert Spano, and joined Mr. Spano for performances and a Grammy® Award-winning Deutsche Grammophon recording with the ASO. Her discography also includes Lieberson’s Neruda Songs with Robert Spano and the Atlanta Symphony and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra for Deutsche Grammophon.

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guest program artists Richard Clement, Tenor

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rammy-winning American tenor Richard Clement has performed with many of America’s major orchestras and music directors, bringing tonal beauty and superb musicality to repertoire from the baroque to the contemporary.

Mr. Clement recently earned particular acclaim for the title role of Elgar’s The Dream of Gerontius with the North Carolina Symphony and Sacramento Choral Arts Society and Richard Clement Orchestra. In addition he premiered and recorded Theofanidis’ The Here and Now with Robert Spano and the Atlanta Symphony Orchestra, including performances in Atlanta and at New York’s Carnegie Hall.

Among the most in-demand tenors for Beethoven’s Ninth Symphony, invitations include the Brooklyn Philharmonic, Saint Paul Chamber Orchestra; New Jersey, Milwaukee, San Antonio, Oregon, Memphis, San Diego, Baltimore, Nashville, Phoenix, Colorado and Toledo Symphonies.

Mr. Clement studied voice at Georgia State University and the Cincinnati Conservatory, where he received his Master of Music degree. He was a Tanglewood Music Festival Fellow, has been a member of the Houston Grand Opera Studio, and was a recipient of the Richard Tucker Music Foundation Jacobson Study Grant. Recordings include Britten’s War Requiem with the Washington Choral Society, Bartók’s Cantata Profana with the Atlanta Symphony and Tchaikovsky’s Pique Dame. Mr. Clement is currently on staff as a visiting lecturer at Georgia State University.

Gerard Sundberg, Bass

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erard Sundberg’s compelling baritone voice is celebrated internationally for its beauty and clarity, and he has distinguished himself as a concert artist with his mastery of bass/baritone repertoire. Recent performances include the Bach’s St. John Passion conducted by John Nelson in Paris at the Notre Dame Cathedral. Mr. Sundberg has appeared as soloist with the Robert Shaw Festival Singers and with the Atlanta Symphony Orchestra under the direction of Robert Shaw.

Gerard Sundberg He maintains an impressive presence in the Chicago area, frequently appearing as soloist with the West Suburban Choral Union. He also has sung extensively with the Oregon Bach Festival under the artistic leadership of Helmuth Rilling.

Dr. Sundberg is a graduate of Bethel College (St. Paul, MN), and holds both Master of Fine Arts and Doctor of Musical Arts degrees from the University of Minnesota, where he studied voice with Clifton Ware and Roy Schuessler. He is presently Professor of Voice at Wheaton Conservatory of Music (Wheaton, IL). His two recordings are “Singer on a Journey,” including four sacred song cycles by Brahms, Beethoven, Vaughan Williams, and Carlisle Floyd, and “Songs for the Journey,” which includes arrangements of 16 hymns and gospel songs by Edwin Childs.

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The Atlanta Symphony Orchestra thanks individuals, corporations, foundations, and government whose contributions help the Orchestra fulfill make a difference in our community.

The following list represents the cumulative total of philanthropy of $1,750 and above.

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

Appassionato

Carrie Kurlander, Appassionato Chair

The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our ambitious aritistic and education initiatives. $500,000+

Madeline & Howell E. Adams, Jr. The Mabel Dorn Reeder Foundation Delta Air Lines Wells Fargo The Andrew W. Mellon Foundation The Zeist Foundation, Inc. $250,000+

The Coca-Cola Company

Mrs. William A. Schwartz

$100,000+

Global Payments, Inc. Abraham J. & Phyllis Katz Foundation Turner Broadcasting System Woodruff Arts Center

Mrs. Anne Cox Chambers The Community Foundation for Greater Atlanta Ms. Lynn Eden GE Asset Management $75,000+

Thalia & Michael C. Carlos Foundation

Fulton County Arts & Culture

$50,000+

The Graves Foundation Invesco The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall

Robert Spano SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation Walter H. & Marjory M. Rich Memorial Fund

Sutherland Asbill & Brennan LLP UPS Susan & Thomas Wardell William Randolph Hearst Foundation

$35,000+

Georgia Natural Gas Ann & Gordon Getty Foundation

Massey Charitable Trust Victoria & Howard Palefsky

Porsche Cars North America Publix Super Markets Charities

* As of Nov. 26, 2012.We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

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program support $25,000+

Jim & Adele Abrahamson Mr. Arthur Blank Ms. Stephanie Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart

Georgia Council for the Arts Georgia-Pacific Foundation King & Spalding Lucy R. & Gary Lee, Jr. Karole & John Lloyd Terence L. & Jeanne P. Neal* Printpack Inc. & The Gay & Erskine Love Foundation

Patty & Doug Reid Ryder Systems, Inc. Mrs. Charles A. Smithgall, Jr. Ann Marie & John B. White, Jr.* Adair & Dick White Sue & Neil** Williams

$17,500+

Pinney L. Allen & Charles C. Miller III Alston & Bird LLP Susan & Richard Anderson The Arnold Foundation, Inc. Kelley & Neil H. Berman

Mr. & Mrs. Paul J. Blackney City of Atlanta Office of Cultural Affairs The Jim Cox, Jr. Foundation Gary & Nancy Fayard The Home Depot Foundation

Jane & Clay Jackson Amy & Mark Kistulinec Kelly Loeffler & Jeffrey C. Sprecher Mr. Ken & Dr. Carolyn Meltzer Merlin Wealth Management Group at MorganStanley SmithBarney

Metropolitan Life Foundation Suzanne & Bill Plybon* Dr. Stanley & Shannon Romanstein Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow

Admiral James O. Ellis, Jr. in memory of Polly Ellis Mr. Donald F. Fox Mr. & Mrs. Lawrence L. Gellerstedt III Charles & Mary Ginden InterContinental Hotels Group D. Kirk Jamieson, Verizon Wireless Ann A. & Ben F. Johnson III*

Mr. & Mrs. James C. Kennedy Steve & Eydie Koonin Southern Company Donna Lee & Howard C. Ehni Meghan & Clarke Magruder National Endowment for the Arts Nordstrom, Inc.

Joyce & Henry Schwob Janine Brown & Alex J. Simmons, Jr. Loren & Gail Starr Mary Rose Taylor Alison M. & Joseph M. Thompson Mike & Liz Troy Ray & John Uttenhove

Dr. John W. Cooledge Cari Katrice Dawson Drs. Carlos del Rio & Jeannette Guarner The Max & Victoria Dreyfus Foundation, Inc. Eleanor & Charles Edmondson E&J Gallo Winery Ms. Nancy Field & Mr. Michael Schulder Mary D. Gellerstedt Nancy D. Gould John H. & Wilhelmina D. Harland Charitable Foundation, Inc.

Hennessy Lexus Jan & Tom Hough Mr. & Mrs. Tad Hutcheson Roya & Bahman Irvani Robert J. Jones* Anne Morgan & Jim Kelley Philip Kent, in honor of Neil Williams Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law Pat & Nolan Leake The Livingston Foundation, Inc. Morgens West Foundation

Mr. & Mrs. Solon P. Patterson* Primerica Margaret & Bob Reiser Bill & Rachel Schultz* Mr. John A. Sibley III Siemens Industry, Inc. John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Charlie Wade & M.J. Conboy Mr. & Mrs. Edus H. Warren, Jr. Neal & Virginia Williams

$15,000+

The Antinori Foundation The Boston Consulting Group Mary Rockett Brock Mr. & Mrs. Ronald M. Cofield Trisha & Doug Croft Mr. & Mrs. Edward S. Croft III Mr. & Mrs. David Edmiston $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith The Balloun Family Mr. & Mrs. Francis S. Blake Mr. David Boatwright Boxwoods Gardens & Gifts, Inc. The Breman Foundation, Inc. John W. & Rosemary K. Brown The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Dr. & Mrs. S. Wright Caughman

* As of Nov. 26, 2012.We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

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corporate & government Patron Partnership

support

Thomas J. Jung, Chair

The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support. $7,500+ The Aaron Copland Fund for Music, Inc.

Caroline di Donato & Joseph M. O’Donnell

CNN- Turner Broadcasting System, Inc. Jere & Patsy Drummond*

GMT Capital Corporation JBS Foundation

Dr. & Mrs. Carl D. Fackler Deirdre & Irial Finan David L. Forbes James F. Fraser Betty Sands Fuller Sally & Carl Gable Mr. & Mrs. Paul R. Garcia Mr. & Mrs. Richard B. Goodsell Mr. & Mrs. David Gould The Robert Hall Gunn, Jr. Fund The Jamieson Family Philip I. Kent Lanier Parking Solutions George H. Lanier

Links, Inc., Azalea City Chapter William C. & Anne A. Lester Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Walter W. Mitchell Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen Mr. & Mrs. Joel F. Reeves The Sartain Lanier Family Foundation

Sea Island Co. Hamilton & Mason Smith Sandy & Paul Smith Peter James Stelling Triska Drake & G. Kimbrough Taylor, Jr. Kimberly S. Tribble & Mark S. Lange Joan N. Whitcomb Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner H. & T. Yamashita* YP

Ellen & Howard Feinsand Deedee & Marc Hamburger Steven & Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel Mr. & Mrs. Jesse Hill, Jr. Mr. & Mrs. Daniel H. Hollums JoAnn Hall Hunsinger Mr. & Mrs. Robert A. Johnson

Dr. & Mrs. James T. Laney* Deborah & William Liss* Linder Security Systems, Inc. Dr. & Mrs. James T. Lowman Mr. & Mrs. Albert S. McGhee Sandy & Harriet Miller Gregory & Judy Moore Margo Brinton & Eldon Park

The Hellen Plummer Charitable Foundation, Inc. S.A. Robinson In memory of Willard Shull Amy & Paul Snyder Mrs. C. Preston Stephens Burton Trimble Alan & Marcia Watt

Paul B., Paul H., & M. Harrison Hackett Rand & Seth Hagen Virginia Hepner & Malcolm Barnes HG Robinson Silver Mr. Thomas Hooten & Ms. Jennifer Marotta Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. W. Manchester Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Ms. Cynthia Jeness Aaron & Joyce Johnson Mr. W. F. & Dr. Janice Johnston Mr. & Mrs. Gert Kampfer Hazel & Herb Karp Paul & Rosthema Kastin John Kauffman, Kauffman Tire, Inc. Mr. & Mrs. L. Michael Kelly Mark B. Kent & Kevin A. Daft Mr. & Mrs. Daniel J. King Dr. & Mrs. Scott I. Lampert Mr. & Mrs. John L. Latham Thomas C. Lawson Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney

Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Ruth & Paul Marston The Devereaux F. & Dorothy McClatchey Foundation, Inc. Sylvia Debenport & Shelley McGehee Birgit & David McQueen Mrs. Virginia K. McTague Angela & Jimmy Mitchell* Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Dr. Margaret Offermann & Dr. Russell Medford Robert & Mary Ann Olive Ms. Rebecca Oppenheimer Barbara & Sanford Orkin David Paule & Gary Mann Mr. & Mrs. Andreas Penninger Susan Perdew Mr. Robert Peterson Leslie & Skip Petter Elise T. Phillips Mr. & Mrs. Rezin E. Pidgeon, Jr. Provaré Technology, Inc.

Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Lee & Betsy Robinson Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue John & Kyle Rogers The Gary W. & Ruth M. Rollins Foundation June & John Scott Elizabeth S. Sharp Angela & Morton Sherzer Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Ms. Christina Smith Mrs. J. Lucian Smith Mr. & Mrs. Gabriel Steagall Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo Bill & Judy Vogel Mr. & Mrs. William C. Voss

$5,000+ Anonymous (2) Aadu & Kristi Allpere* Ms. Julie M. Altenbach Americasmart Atlanta In honor of Dominick Argento Arnall Golden Gregory LLP Private Wealth Group Lisa & Joe Bankoff Bubba Brands, Inc. Patricia & William Buss Jeff & Ann Cramer* Mary Helen & Jim Dalton Ms. Suzanne E. Mott Dansby Christopher & Sonnet Edmonds

$3,500+ Mrs. Kay Adams* & Mr. Ralph Paulk Rita & Herschel Bloom Dr. & Mrs. Anton J. Bueschen Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* The Robert S. Elster Foundation Four Seasons Hotel Atlanta

$2,250+ Anonymous (2) John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo Paul & Marian Anderson Jack & Helga Beam Edith H. & James E. Bostic, Jr. Family Foundation Jacqueline A. & Joseph E. Brown, Jr. Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Ralph & Rita Connell Mr. & Mrs. Thomas G. Cousins Sally & Larry Davis Peter & Vivian de Kok Dr. Francine D. Dykes & Mr. Richard Delay David & Patty Emerson George T. & Alecia H. Ethridge John & Michelle Fuller Judy & Ed Garland Dr. Mary G. George & Mr. Kenneth Molinelli Carol & Henry Grady Ben & Lynda Greer Dr. & Mrs. Alexander Gross

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$2,250+ (continued) Mr. & Mrs. Randolph O. Watson Dr. & Mrs. Roger P. Webb

In honor of Ardath Weck Dr. & Mrs. James O. Wells, Jr.

David & Martha West Mr. & Mrs. Peter L. Whitcup Hubert H. Whitlow, Jr.

Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

Elizabeth & John Donnelly Dr. Xavier Duralde & Dr. Mary Barrett Gregory & Debra Durden Ms. Diane Durgin Cree & Frazer Durrett Mary Frances Early Dr. & Mrs. Boyd Eaton, Jr. Ree & Ralph Edwards Billy Eiselstein & Andy Greene Heike & Dieter Elsner Peg Simms Gary Bill & Susan Gibson Mary C. Gramling Mr. Charles E. Griffin Thomas High In memory of Carolyn B. Hochman The Hyman Foundation Mary B. & Wayne James Baxter P. Jones Lana M. Jordan

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$1,750+ Anonymous Mrs. Jean Allen Dr. David & Julie Bakken Dr. & Mrs. Joel E. Berenson Natalie & Matthew Bernstein Leon & Linda Borchers Mr. & Mrs. Russell E. Butner Ms. Marnite B. Calder Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Chuck Carlin Dr. Michele R. Chartier & Lt. Col. Kirk Chartier Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Jean & Jerry Cooper Corey & Jennifer Cowart Mr. & Mrs. Brant Davis* Deloitte

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Henry Sopkin Circle Recognizing planned gifts to the Atlanta Symphony Orchestra Madeline & Howell E. Adams, Jr. Mr.* & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.* & Mrs. Sol Blaine W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman Mr. & Mrs.* Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Elizabeth Etoll Dr. Emile T. Fisher A. D. Frazier, Jr.

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

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Paul Kniepkamp, Jr. Miss Florence Kopleff* Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr. & Mrs. William Lester Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mrs. Gene Morse* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Dan R. Payne Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram The Reiman Foundation Vicki J. & Joe A. Riedel

Dr. Shirley E. Rivers Mr.* & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12) *Deceased

corporate & government

Classical Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor

Holiday Title Sponsor Muhtar A. Kent Chairman of the Board and Chief Executive Officer

Richard H. Anderson Chief Executive Officer

Paul R. Garcia Chairman and Chief Executive Officer

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

support

Darryl Harmon Southeast Regional President

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chairman and Chief Executive Officer

Jerry Karr Senior Managing Director

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

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

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

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39

support Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2012-2013 board Sylvia Davidson President Belinda Massafra Advisor Camille Yow Advisor Gayle Lindsay Secretary Camille Kesler Treasurer Judy Schmidt Nominating Chair Dawn Mullican Vice President of Communication and Public Relations Pat King Newsletter Editor

Hillary Linthicum Social Media Chair Mollie Palmer Vice President of Education and Community Engagement Beth Sullivan Children’s concerts Natalie Miller Community Initiatives Nancy Levitt Ambassador Program

Joan Abernathy Vice President of Membership Judy Feldstein Directory Editor Wadette Bradford Julie Barringer Susan Levy Membership Committee Glee Lamb Vice President of Social Events Beryl Pleasants Fall Membership Party chair

Poppy Tanner ASA Night at the Symphony Chair Amy Musarra Spring Luncheon Chair Natalie Miller Decorators’ Show House & Gardens Chair Bill Wilson Lisa Bankoff Liz Troy Leslie McLeod Fundraising Strategic Planning Committee

ASA UNiT CHAirS Daron Tarlton Bravo! Chair Mary Frances Early Concerto Co-Chair Joanne Lincoln Concerto Co-Chair Joan Abernathy Encore Chair Liz Cohn Ensemble Co-Chair Betty Jeter Ensemble Co-Chair Karen Bunn Intermezzo Chair Whitley Green Vivace Chair

ASA members Natalie Ransom, Casino Night Event Chair, and Jared Sapp (inset photo) know all about the great events the Atlanta Symphony Associates create to assist the Orchestra. Interested in joining? Please give Sarah Levin a call at 404.733.4921 or email her at sarah.levin@woodruffcenter.org to find out how you can get involved!

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Chairman’s Council ★★★★★★★★★★★★★ $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. UPS ★★★★★★★★★★ $300,000+ Cox Interests Atlanta Journal-Constitution, James M. Cox Foundation, Cox Radio Group Atlanta, WSB-TV Hon. Anne Cox Chambers Deloitte LLP, its Partners & Employees Ernst & Young, Partners & Employees ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Equifax Inc. & Employees The Home Depot Foundation PwC, Partners & Employees SunTrust Bank Employees & Trusteed Foundations Florence C. & Harry L. English Memorial Fund Greene-Sawtell Foundation SunTrust Foundation

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Jones Day Foundation & Employees KPMG LLP, Partners & Employees The Sara Giles Moore Foundation The Rich Foundation, Inc. The David, Helen & Marian Woodward Fund

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★★★ $25,000+ Julie & Jim Balloun BB&T Corporation Cousins Properties Foundation Mr. & Mrs. Bradley Currey, Jr. DLA Piper Mike Donnelly Doosan Infracore International Georgia-Pacific Price Gilbert, Jr. Charitable Fund GMT Capital Corporation Grant Thornton LLP Harland Clarke Beth & Tommy Holder The Imlay Foundation, Inc. Infor Global Solutions Sarah & Jim Kennedy Macy’s Foundation Mueller Water Products, Inc. Mr. & Mrs. David M. Ratcliffe SCANA Energy Selig Enterprises, Inc./ The Selig Foundation Southwire Company Towers Watson Waffle House, Inc. Wal-Mart Stores, Inc. Gertrude & William C. Wardlaw Fund Womble Carlyle Sandridge & Rice, PLLC Carla & Leonard Wood Yancey Bros. Co. ★★ $15,000+ ACE Charitable Foundation Acuity Alvarez & Marsal Arnall Golden Gregory LLP Assurant

The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Susan R. Bell & Patrick M. Morris Bessemer Trust Laura & Stan Blackburn The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch The Brand Banking Company Bryan Cave LLP George M. Brown Trust Fund of Atlanta Camp-Younts Foundation Mary Cahill & Rory Murphy Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. Cornerstone Investment Partners Dewberry Foundation Duke Realty Corporation The Deborah Elkins Foundation Fifth Third Bank First Data Corporation Ford & Harrison LLP Robert L. Fornaro Gas South, LLC Genuine Parts Company Georgia Natural Gas Virginia Hepner & Malcolm Barnes The Howell Fund, Inc. ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester Jamestown Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation

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Donations for the Annual Campaign from June 1, 2011 – May 31, 2012

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43

Ardan had already seen the lyrical first movement of The Nature of Light; what she was hearing for the first time, in October, was the dramatic second movement. What were her first impressions? “It’s got lots of notes…lots of notes. “I may have to omit some bars just to get some blood flowing into my face,” she joked. Then getting serious, she added, “It’s so well written. It’s really accessible and very tuneful. This is going to be fun.”

they’re human, and chances are they will have similar tastes.” Of his pop-inflected scores he said: “I’ve been accused of selling out, but it’s just the opposite. I was selling out when I wrote stuff I didn’t believe in just to please my teachers; now I’m not writing for anyone but me.”

Writing for himself means dipping into a seemingly inexhaustible well of interests, among them, physics, science fiction, and his experiences in the world of blues, jazz and rock, which he played in his youth. The Nature of Light typifies Atlanta Symphony regulars won’t be his eclecticism. The first part of the surprised by that description. The two-movement work, entitled “Waves Orchestra under Robert Spano has (Anthem),” started life as a ten-minute earned a reputation for its commitment fragment plucked from a piece that to new music, particularly the kind of was premiered in Atlanta in 2010 — audience-friendly works penned by QED: Engaging Richard Feynman, a Gandolfi and fellow members of the tribute to the distinguished theoretical Atlanta School of Composers. “I don’t physicist. The second movement of the know another orchestra that’s so involved concerto — the one Laura Ardan had just with contemporary music,” said Ardan, received back in October “but the music we do here is — is called “Particles so accessible — not the super“ I remember vividly (Shape Shifter).” Written intellectual stuff that nobody two years after the first can get their heads around at …getting chills movement, “it owes its the first concert. To me that’s down my spine — driving quality to rock kind of refreshing. I really something that music,” according to like that about Spano and doesn’t always Gandolfi. The subtitle, his choices.” he said, was inspired by a happen” Michael Gandolfi, who science fiction film he was — Laura Ardan teaches at Boston’s watching during a break prestigious New England from composing.

Conservatory Music, is As for Ardan’s ability to tackle the anything but a remote academic penning emotional and technical challenges of the “super-intellectual” music. “I write music work, Gandolfi has no doubts. “She has I truly love,” he said. “It’s like if I were a a beautiful sound and is an extraordinary chef, I would make meals that taste good technician. I think the first movement to me. By extension those who eat these will show off her lyrical, meals would also enjoy them because

44

Atlanta Symphony Orchestra/aso.org

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Ardan is equally impressed with the composer: “Michael’s music is beautiful.

It’s like when you’re looking at a lake, and you have to keep looking to see the depths underneath, to find what’s behind the reflection. The more I hear the music and get to know the man, the truer all those impressions are for me.”

The “Waves” movement is based on a melody from QED, which deeply impressed Ardan: “I remember vividly sitting in the orchestra when we performed it, and getting chills down my spine — something that doesn’t always happen. So I’m getting more and more excited about the concerto.”

The premiere of a brand-new work is an intense and sometimes protracted collaboration between performer, conductor, and composer. “When I’m preparing the piece,” said Ardan, “I may have to something to say to the composer about what he did, but at the point of performance I want to represent the composition as much as I can. Hopefully there’s something I can bring out that he didn’t see. That, of course, is the great art.”

“Dealing with living composers you find out how much they are striving for something, searching for something, figuring it out,” said Robert Spano.

Unlike playing canonic repertoire — which he calls “stone tablets, delivered from the mountaintop, which you have to obey” — working with a living composer means “taking the information

46

Atlanta Symphony Orchestra/aso.org

that’s on the page as a starting point, but then engaging in collaboration to find the possibility that is a piece of music. It makes you realize that, in fact, there is no such thing as a ‘piece’ of music — just a process of discovery.”

“Robert is very composer-friendly,” Gandolfi added. “He has his ideas about what he wants to do with a piece, but he listens. If I have to make changes, even in rehearsal, he’s very positive and very reasonable. He’s shown me things about my pieces that I didn’t even know were there. I’ve seen him do things in concert that have blown me away. He’ll make things happen in the heat of moment, which is what great performers do.”

Madeline Rogers is former Director of Publications at the New York Philharmonic and a freelance creative consultant and writer based in New York.

“ …there is no such thing as a ‘piece’ of music — just a process of discovery.”

— Robert Spano

“ I write music I truly love,” — Michael Gandolfi

Jeff Roffman

sonic qualities, and then in the second movement there are plenty of figures for her to show off her chops.”

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community corner “Giving students the confidence to achieve their goals” Cecil Wilder, Executive Director of the Georgia Music Educators Association, discusses the value of partnering with the Orchestra Tell us a little about yourself.

I majored in music education at Auburn University and taught for 30 years — all but my first year in Georgia. I’ve been a member of the Georgia Music Educators Association (GMEA) since 1967. I served on the board of directors for the first time in 1973 and served as president from 1985-1987. I retired from teaching in 1996 to become the Executive Director.

What are your responsibilities as the GMEA Executive Director?

I am responsible for running our central office, and we’re responsible for planning and managing the annual teachers’ conference, which is attended by about 1,500 teachers and 400 collegiate members, and includes a trade show with 150 exhibitors and more than 30 bands, choruses, and orchestras that perform during the conference. We also manage the workshops for the annual All-State honor groups (band, orchestra, and chorus), GMEA’s website, various publications, proprietary registration, and membership software package. I also serve as a liaison and advisor to our state and district officers, including guiding our efforts to influence political decisions that can impact music education. This involves keeping current on political

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Atlanta Symphony Orchestra/aso.org

developments in Georgia and the nation, and developing and maintaining relationships with other educational and arts associations in Georgia.

The Orchestra annually partners with you to provide opportunities for GMEA district teachers and students, including strengthening their ties to ASO musicians. Describe the collaboration.

The Atlanta Symphony and GMEA have jointly sponsored the district middle school project for about 12 years. The project pairs middle school band and orchestra students with Orchestra musicians in a one-day event that includes a variety of master classes and workshops to help students prepare for their AllState Orchestra auditions and to work on the fundamentals and mechanics of playing the string instruments. We have served each of the GMEA districts in the Atlanta metropolitan area once and hope to begin the cycle again.

What are the most beneficial areas of the relationship?

Students have the opportunity to spend a day with some of the finest orchestral musicians in the world. The value of this is beyond description. The hope is that some of these students might someday become professional musicians

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these students are invited to attend a short concert at the end of the day involving the Orchestra musicians, student musicians, and their teachers.

In your mind, what one thing helps student musicians throughout the state?

What’s the most rewarding part of your job?

We literally provide hundreds of opportunities for student musicians each year — both individually and in groups. It is very gratifying to me to be a part of this and to contribute to the lives of young people in so many ways. As Garrison Keillor said, “Nothing you do for children is ever wasted.”

Interview conducted and edited by Ansley Gogol, a summer 2012 intern at the Orchestra.

Jeff Roffman

Many students believe they would like to become musicians or music teachers but lack the confidence that such a thing would be within their reach. Being able to interact with professional musicians and getting to know them as people can give some of the students the confidence they need to achieve their goals. All of the students come away from the experience

with a better concept of what performing quality music is all about.

ASO Principal Cellist Christopher Rex coaches student musicians at the ASO-GMEA middle school string project workshop at M.D. Roberts Middle School in 2010.

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Atlanta Symphony Orchestra/aso.org

January

10/11/12

concerts 31/Feb 2

Thu/Fri/Sat: 8pm | Delta Classical Michael Gandolfi: The Nature of Light World Premiere PROKOFIEV: Piano Concerto No. 5 Rimsky-Korsakov: Scheherazade Robert Spano, conductor Juho Pohjonen, piano Laura Ardan, clarinet

Principal Clarinet Laura Ardan worldpremieres Michael Gandolfi’s work written for her, and “exhilarating pianist” (NY Times) Juho Pohjonen performs Prokofiev’s final piano concerto.

Robert Spano rekindles the exotic sweep of Scheherazade.

24/26

Thu/Sat: 8pm | Delta Classical WEBER: Euryanthe Overture BRUCH: Violin Concerto MENDELSSOHN: Symphony No. 3, “Scottish” Kazushi Ono, conductor Vadim Gluzman, violin

Thu/Sat: 8pm | Delta Classical Grieg: Two Elegiac Melodies Korngold: Violin Concerto Schumann: Symphony No. 3, “Rhenish” Gilbert Varga, conductor Vilde Frang, violin Vilde Frang, a 25-year-old Norwegian violinist on the ascendant, makes her debut in a gleaming concerto by Denmark’s iconic composer, Nielsen.

The assured Gilbert Varga returns with Schumann’s renowned homage to a fabled cathedral and life along the Rhine.

aso.org | 404.733.5000 Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848

Pleasures abound: Weber’s sparkling overture; Vadim Gluzman’s rendering of the Bruch Violin Concerto that BBC Music hailed as comparable to Heifetz; and Mendelssohn’s famed “Scottish”.

Presented by:

Supported by:

Media Sponsors:

staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President & Chief Executive Officer Brien Faucett Assistant to the President & Chief Executive Officer ADMINISTRATION Julianne Fish Vice President for Orchestra Initiatives & General Manager Nancy Crowder Operations/Rental Events Coordinator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Artistic Evans Mirageas Vice President for Artistic Planning Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator

54

EDUCATION & COMMUNITY ENGAGEMENT Mark Kent Vice President & Community Engagement Ahmad Mayes Manager of Community Programs Niki Baker Manager of Ensembles & Instruction Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate Kaitlin Gress ArtsVibe Teen Program Coordinator

ASO Presents (cont.)

MARKETING & CONCERT PROMOTIONS David M. Paule VP for Marketing & Verizon Wireless Communications Amphitheatre at Alesia Banks Encore Park Director of Customer Katie Daniel Service & Season Tickets VIP Sales Manager Meko Hector Jenny Pollock Marketing Production Operations Manager Manager Rebecca Simmons Jennifer Jefferson Box Office Manager Director of eBusiness Deborah Honan & Interactive Media Customer Service Manager Melanie Kite & Venue Rental Coordinator Subscription Office Manager DEVELOPMENT Kimberly Nogi Publicist Sandy Smith Vice President Robert Phipps for Development FINANCE & Publications Director ADMINISTRATION Rebecca Abernathy Melissa A. E. Sanders Development Services Susan Ambo Senior Director, Manager VP of Finance Communications Zachary Brown Shannon McCown Christine Saunders Director of Assistant to the Group & Corporate Volunteer Services Executive Vice President Sales Associate Corey Cowart Kim Hielsberg Karl Schnittke Senior Director of Financial Senior Director Publications Editor for Development Planning & Analysis David Sluder Erin Daugherty April Satterfield Database & Development Manager Controller eMarketing Manager Janina Edwards Peter C. Dickson Robin Smith Grants Consultant Senior Accountant Subscription Tegan Ketchie Michael Richardson & Education Sales Development Coordinator Venues Analyst Bill Tarulli Ashley Krausen Stephen Jones Marketing Manager Special Events Coordinator Symphony Store Manager Rachel Trignano Sarah Levin Manager of Volunteer Project Manager Broad Based Giving ASO PRESENTS Melissa Muntz Russell Wheeler Clay Schell Development Manager Director of Group Vice President, Chief Johnnie Oliver & Corporate Sales Operating Officer Research Coordinator Christina Wood Trevor Ralph Director of Marketing Tammie Taylor Vice President, Operations Assistant to the Holly Clausen VP for Development Director of Marketing Lauren Turner Keri Musgraves Development Coordinator Promotions Manager Sarah Zabinski Lisa Eng Assistant Director Graphic Artist for Development David Zaksheske Development Coordinator

Atlanta Symphony Orchestra/aso.org

Chastain Park Amphitheater Tanner Smith Program Director

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generalinfo LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available.

Call 404.733.4860.

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

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

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

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

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

Service charge applies. Phone orders are filled on a best-available basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Open 10 a.m.-5 p.m. Monday-Friday; and noon-8 p.m. Saturday-Sunday. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change.

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

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

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bringing home raves & faves

1 Carnegie Shine: “Radiant performance…terrific concert” said The NY Times of the Spano-OrchestraChorus program at Carnegie Hall at the end of Oct. ASO patrons caught it first in an exclusive preview the previous week.

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2 Happy with Harry: Children dressed the part at “Halloween on Hogwarts”– the opening concert of the 2012-13 Family Concert series.

3 Big Stars, Big Cause: Composer-conductor John Williams (left) and filmmaker Steven Spielberg recently joined the Orchestra for a special

Atlanta Symphony Orchestra/aso.org

concert supporting music education.

4 Win-Win: Name your game and chances are the Atlanta Symphony Associates’ annual Bravo!

Casino Night has it, with proceeds benefiting the Orchestra’s community engagement and education programs.

Can we be friends?