Atlanta Symphony Orchestra - December 2021

AT L A N TA SY M P H O N Y O R C H E S T R A

DECEMBER 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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Written by Noel Morris

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D E PA R T M E N T S ASO Support..

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Ticket Info/General Info. .

ASO Staff..

62 age 14 P For the Love of Music

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4 | encore ASO | IN TUNE Dear Friends, Season's Greetings! Thank you for making the Atlanta Symphony Orchestra part of your family’s holiday celebration this year. It is our mission, and our greatest pleasure, to share memorable musical experiences like today’s with you. Thanks to the generosity of supporters like you, we can share our music with hundreds of thousands of people each year through performances and educational offerings.

Ticket sales alone only cover half of our operating expenses, so the generosity of our audience and donors is critical to helping us fulfill our mission. Last year, we reached more than 160,000 students, educators and their families through the following education and community engagement programs.

• The Talent Development Program is a rigorous training program preparing talented young African American and Latinx students for conservatory.

• The Atlanta Symphony Youth Orchestra features more than 100 of Metro Atlanta's most talented music students.

• A new partnership with Georgia Music Educators Association, Level Up with the ASO, provides tutorials for young instrumentalists and their teachers.

• Concerts for Young People are musical programs designed to educate and entertain young learners.

• Music for the Very Young introduces music and instruments to our youngest music lovers.

In addition to supporting these programs, your gift will allow us to reach new audiences of every age through our free community concerts. Now is the perfect time to make your Annual Fund gift thanks to a special contribution from an anonymous donor who will match all new and increased gifts to the Atlanta Symphony Orchestra one-to-one. Visit aso.org/donate to learn how you can support the Atlanta Symphony Orchestra.

Thank you for giving the gift of music this holiday season.

With gratitude,

Jennifer Barlament Executive Director

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

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ASO | CO-ARTISTIC ADVISORS

I

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 S y m p h o n y 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 postRomantic 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

chair

immediate past chair

vice chair

Patrick Viguerie

Susan Antinori

Bert Mills

chair elect

secretary

treasurer

James Rubright vice chair

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

Randolph J. Koporc

James Rubright

Keith Adams

Carrie Kurlander

William Schultz

Juliet M. Allan

Carlos del Rio, M.D. FIDSA

James H. Landon

Charles Sharbaugh

Susan Antinori

Sloane Drake

Donna Lee

Fahim Siddiqui

Jennifer Barlament*

Lynn Eden

Sukai Liu

W. Ross Singletary, II

Paul Blackney

Angela Evans

Kevin Lyman

John Sparrow

Rita Bloom

Craig Frankel

Deborah Marlowe

Elliott Tapp

Janine Brown

Sally Bogle Gable

Bert Mills

Brett Tarver

Justin Bruns*

Rodrigo GarciaEscudero

Molly Minnear

S. Patrick Viguerie

Hala Moddelmog*

Kathy Waller

Terence L. Neal

Mark D. Wasserman

Galen Lee Oelkers

Chris Webber

Benjamin Q. Brunt C. Merrell Calhoun S. Wright Caughman, M.D.

Anne Game Bonnie B. Harris Charles Harrison

Susan Clare

Caroline Hofland

Lisa Chang

Tad Hutcheson, Jr.

Russell Currey

Roya Irvani Nancy Janet*

John R. Paddock, Ph.D. John B. White, Jr. Howard D. Palefsky

Richard S. White, Jr.

Cathleen Quigley

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

Doug Reid

BOARD OF COUNSELORS Neil Berman

John T. Glover

Meghan H. Magruder

Michael W. Trapp

John W. Cooledge, M.D. Dona Humphreys

Penelope McPhee

Ray Uttenhove

John R. Donnell, Jr.

Aaron J. Johnson, Jr.

Patricia H. Reid

Chilton Varner

Jere A. Drummond

Ben F. Johnson, III

Joyce Schwob

Adair M. White

Carla Fackler

James F. Kelley

John A. Sibley, III

Sue Sigmon Williams

Charles B. Ginden

Patricia Leake

H. Hamilton Smith

Karole F. Lloyd

G. Kimbrough Taylor, Jr.

LIFE DIRECTORS Howell E. Adams, Jr.

Bradley Currey, Jr.

Betty Sands Fuller

*Ex-Officio Board Member

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

Azira G. Hill

10 | encore ASO | 2021/22 Musician Roster

FIRST VIOLIN

SECOND VIOLIN

CELLO

David Coucheron

Vacant

Rainer Eudeikis

concertmaster

principal

principal

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

Vacant

Jay Christy

assistant principal

principal

Daniel Laufer The Livingston Foundation Chair

assistant concertmaster

acting associate / assistant

Jun-Ching Lin

principal

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

BASS

Sheela Iyengar**

Christopher Pulgram

Joseph McFadden

Eleanor Kosek

principal

Juan R. Ramírez Hernández

Ruth Ann Little

The Marcia and John Donnell Chair

Olga Shpitko

Rachel Ostler

Gloria Jones Allgood

VIOLA

The Lucy R. & Gary Lee Jr. Chair

Zhenwei Shi

Brittany Conrad**

principal

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

aso.org | @AtlantaSymphony | facebook.com/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

PICCOLO

CONTRA-BASSOON

TIMPANI

Gina Hughes

Juan de Gomar

Mark Yancich

OBOE

HORN

Elizabeth Koch Tiscione

Jaclyn Rainey

principal

principal

The George M. and Corrie Hoyt Brown Chair

The Betty Sands Fuller Chair

Zachary Boeding

associate principal

Joseph Petrasek

associate principal

Kimberly Gilman

principal

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

principal

The Walter H. Bunzl Chair

Michael Stubbart assistant principal

PERCUSSION

Susan Welty

Chelsea McFarland**

The Julie and Arthur Montgomery Chair

Bruce Kenney

William Wilder

TRUMPET

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

HARP

associate principal

Elisabeth Remy Johnson

Anthony Limoncelli

principal

Mark Maliniak

KEYBOARD

TROMBONE

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

principal

Jeremy Buckler**

Katie Klich principal

Brian Hecht*

The Marianna & Solon Patterson Chair

Luke Sieve•**

Holly Matthews

principal

BASS TROMBONE

assistant principal librarian

The Abraham J. & Phyllis Katz Foundation Chair

Brian Hecht*

Anthony Georgeson

Luke Sieve•**

BASSOON Andrew Brady

associate principal

The Home Depot Veterans Chair

Laura Najarian

TUBA

Juan de Gomar

Michael Moore principal

The Delta Air Lines Chair

Hannah Davis asyo / assistant

librarian

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

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a newly-formed 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 Paul Aldo 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 cheri.snyder@atlantasymphony.org or 404.733.4904.

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Artist: George Rose

14 | encore

for the love of music

By Phil Kloer

T

he arts play a key role in building vibrant, healthy communities.

But arts institutions can only play that role if they have the means.

Enter the donors. Big ones and small ones, whales and minnows, oneand-dones and monthly contributors. More than half of the Atlanta Symphony Orchestra’s annual budget comes from its donors.

“Gifts from our community of supporters are the foundation for all that the Atlanta Symphony Orchestra is able to do each year,” said Grace Sipusic, Vice President of Development. “From concerts by our world-class orchestra, to our impactful educational programs, to our amazing and world-renowned chorus, we depend on the generosity of our community to bring these programs to life.”

Here are four members of the ASO donor family who help keep the doors open and the music playing at Symphony Hall.

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Arthur and Carla Mills Arthur and Carla Mills are the kind of folks who dive right in.

Not long after Sipusic met Arthur for coffee at a Buckhead Starbucks to get to know him, he agreed to be the founding chair of the ASO’s Advisory Council, a group of significant donors who are advocates in the community and advise the ASO’s leadership team on diversity and inclusion.

“Some may think the symphony is for a more experienced or affluent crowd,” said Carla. “But we’ve had several friends and associates who have joined us at events and said, ‘This is incredible; I’ve never thought about this before.’ We’d love to look back at some point and see this has led the ASO to be a more inclusive institution.”

Music was part of both their lives growing up. Arthur played trumpet in his high school orchestra and marching band, and in a small jazz combo in college.

Carla played piano and sang in the school choir. The couple married in 2010, eventually settled in Atlanta, and have been connecting with the city ever since in a variety of ways.

The ASO Advisory Council is “about broadening the appeal of the symphony to make all the elements more diverse and inclusive,” said Arthur, who is Chief Operating Officer of the New Teacher Center, a national not-for-profit organization. “We have close to 60 families engaged that are helping us create new pipelines into new communities where we have not been able to sustain relationships previously.”

Carla is Senior HR Director for Stanley Black & Decker, the tool manufacturer. “We love the arts,” she said, “and we want to make sure we can make them accessible and enjoyable for all communities who may not have historically even thought about the ASO as a great place to experience Atlanta.”

Carla (left) and Arthur Mills at the October performance of Marvel's Black Panther in Concert.

16 | encore Kristina “Kiki” Wilson “Music has been at the core of my life from the get-go,” said Kiki Wilson.

A veteran member of the ASO Chorus and Executive Producer of the PBS documentary “Robert Shaw: Man of Many Voices,” Wilson has been an important member of the ASO family for decades.

And she is also a donor.

“Executive Director Jennifer Barlament has shown tremendous leadership, and naming Nathalie Stutzmann as the new Music Director is such a fabulous decision. As a duo they won’t just bring Atlanta to the symphony, but bring the symphony to Atlanta.”

“When I was in high school, I had a recording of Wagner’s Tristan und Isolde, the Prelude and Liebestod,” she recalled. “I had one of those little kids’ turntables, and would play it over and over. I can’t believe I didn’t wear a hole in that album. My poor mother.”

Kiki Wilson (left) with Atlanta Symphony Orchestra Director of Choruses Norman Mackenzie at a recent ASO Chorus rehearsal.

Wilson studied voice, conducting, piano and flute, earned her undergraduate degree in music performance from Washington University and her Master’s in Choral Conducting from Northwestern University. But she realized she probably did not have what it takes to be a professional musician, so she worked at Delta Technology when she moved to Atlanta in 1981 with her husband, the late Dr. Frank Wilson Jr., who was Chief of Emergency Services at Piedmont Hospital and a clinical professor at Emory University.

She has also been a member of the ASO Chorus for years and reveres Shaw to this day.

“I grew up making music in very professional situations, so there was a standard,” she said. “But he had a standard that was that much higher. He prepared us so meticulously that when it came time to make music, you could make music effortlessly because all of these disciplines were underneath it.”

Wilson is looking forward to singing Mozart’s Requiem with Stutzmann later this season. She is an alto, one of the

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lowest altos in the chorus. “Altos think they’re pretty hot stuff,” she said with a laugh. “And they are.”

John B. John B. is an anonymous donor in the ASO’s Symphony Sustainers program, where he makes automatic monthly payments. In 2022, he plans to increase his support to the Leadership level ($2,000+ annually), and he has also recently included the ASO in his estate plans.

“My father passed away in May and left me a trust which has allowed me to think about the future,” he explained.

“Before that I was on a fixed income and could not give very much money away. This is a new experience for me.”

“I’ve always had an appreciation for classical music and I thought that especially now with the hardships of the last two years, the ASO was the perfect group to receive that,” he continued.

“I wanted to do something that would last beyond my own life.”

John claims no musical ability at all—not even, he joked, any sense of rhythm—but music has been important to him his entire life. He first fell in love with classical music as a boy listening to his father’s records of Tchaikovsky’s The Nutcracker and Prokofiev’s Peter and the Wolf. Later, when his family lived in England, he attended the BBC Proms in London in the late ’50s.

Jazz and Broadway show tunes were also popular at home, but John started listening to rock as a teenager. Even then, he was drawn to groups like Yes and Emerson, Lake and Palmer that played rock versions of classical music.

After a four-year tour in the Air Force that included a year in Vietnam, John attended college at Miami Dade Community College and Florida International University. He moved to Atlanta in 1980 and worked for several office equipment companies.

“My love of music right now is not only classical and opera but also jazz, especially the ’50s and ’60s: Miles Davis, John Coltrane,” he said. “I also like blues. I love music but I couldn’t play anything to save my life. I just like to listen to it.”

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18 | 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

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

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SPECIAL THANKS:

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 to the ASO Stability Fund since March 2020.

encore 20 | dec2/4

Concerts of Thursday, December 2, 2021 8:00pm Saturday, December 4, 2021 8:00pm SIR DONALD RUNNICLES, conductor JACQUELYN STUCKER, soprano

This weekend’s concerts are

MELODY EÖTVÖS (b. 1984) The Deciding Machine (2020)

12 MINS

RICHARD STRAUSS (1864–1949) Vier Letzte Lieder (“Four Last Songs”), TrV 296 (1948) 24 MINS I. Frühling II. September III. Beim Schlafengehen IV. Im Abendrot Jacquelyn Stucker, soprano INTERMISSION

20 MINS

JOHANNES BRAHMS (1833–1897) Symphony No. 1 in C minor, Opus 68 (1876) 46 MINS I. Un poco sostenuto. Allegro II. Andante sostenuto III. Un poco Allegretto e grazioso IV. Adagio. Più andante.

Allegro non troppo, ma con brio

dedicated to The Antinori Foundation in honor of its extraordinary support of the 2020/21 Annual Fund.

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

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

notesontheprogram encoreatlanta.com

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by Noel Morris Program Annotator

The Deciding Machine

These are ASO

The Deciding Machine is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets (one doubling bass clarinet), two bassoons (one doubling contrabassoon), four horns, two trumpets, two trombones, timpani, percussion, harp and strings.

premiere performances

M

elody Eötvös (b. 1984) was born in the Southern Highlands, NSW, Australia. Her work draws on both multi-media and traditional instrumental contexts, as well substantial extra-musical references to a broad range of philosophical, biological, and ancient topics as well as a sustained interest in late 19th century life and literature.

Eötvös has studied with a variety of composers across the globe including Gerardo Dirié (Australia), Simon Bainbridge (UK), and, most recently with Claude Baker, David Dzubay, P.Q. Phan and Aaron Travers (USA). She has also studied electronic music with Jeffrey Hass, John Gibson and Alicyn Warren.

Accolades include the APRA Professional Development Classical Award (2009), the 3MBS National Composers Award (2009), Soundstream National Composer Award (2012), the Gallipoli Songs composition competition (2014), the Virginia B. Toulmin Foundation Orchestral Commission administered by the League of American Orchestras & the EarShot Foundation (world premiere: Carnegie Hall October 23, 2015), the Seattle Metropolitan Chamber Orchestra International Composition Competition (2016), the orchestral prize for the Red Note Music Festival (2017, USA) and was a finalist in the Orchestra Music category of the 2019 Art Music Awards (Australia).

Eötvös has had her music performed by ensembles and orchestras such as the London Sinfonietta, BBC Singers, The Australian String Quartet, the Tasmanian Symphony Orchestra, the American Composers Orchestra and the Philadelphia Orchestra, and has participated in several electronic music festivals including SEAMUS 2011 (US), ACMC 2012 (Australia) and ICMC 2011 (New Zealand). She has also participated in numerous festivals and workshops internationally, most recently as a composer in residence

22 | encore with the Cabrillo Festival of Contemporary Music in Santa Cruz (2019).

Commissions in 2020 include The Philadelphia Orchestra (USA), The Australian Chamber Orchestra, and the Grand Teton Music Festival Orchestra (USA). Eötvös is a Lecturer in Composition and Aural Studies at the Melbourne Conservatorium of Music, University of Melbourne, Australia.

Eötvös holds a Doctor of Music (2014) from Indiana University Jacobs School of Music USA, and a Master of Music (2008) from the Royal Academy of Music, London UK. FROM THE COMPOSER

ANSWER PHOTOGRAPHY

This work was commissioned by the Grand Teton Music Festival in Jackson Hole, Wyoming, as part of dual celebrations marking Beethoven’s 250th birthday and the 100th anniversary of women’s suffrage. Known as “The Equality State,” Wyoming granted women the right to vote in 1869, more than 50 years before suffrage and the first in the Union to do so. It was also—in 1925—the first to elect a female governor. And in 1920, Jackson Hole became the first town in the country to be governed by an all-female Town Council.

This orchestral work explores the fascinating circumstances behind the life of Ada Lovelace (1815–1852), known as the bride of science. As the only legitimate child of the poet Lord Byron, Ada became a mathematician and writer and is chiefly known as one of the first computer programmers and published the first algorithm intended to be used on the first computer, the “Analytical Engine.”

First ASO Performances: January 30–31, 1958 Henry Sopkin, conductor Lisa Della Casa, soprano Most Recent ASO Performances: March 30–April 1, 2006

Donald Runnicles, conductor Christine Brewer, soprano

Vier Letzte Lieder (“Four Last Songs”), TrV 296 In addition to the solo soprano, Vier Letzte Lieder are scored for two piccolos, three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, celeste, harp and strings.

H

e was an exceptional child. Composing his first song at the age of six, little Richard Strauss couldn’t yet command his fingers to print letters small enough to fit

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between the staves, so he asked for his mother’s help.

The son of a musician at the Munich Court Theater, Strauss was permitted to follow his dad into rehearsals—the perfect incubator for a future opera composer. Year after year, he heard the greatest singers of his day, witnessed landmark productions, and developed a keen sense of storytelling through music. He also learned his way around an orchestra. Winning his first conducting job at twenty-one, he took over his father’s opera company at twenty-two.

Over the coming decades, Strauss became one of the most successful composers alive. His symphonic poems instantly entered the repertoire. So popular was his opera Der Rosenkavalier, additional trains were scheduled to ferry audiences into Dresden. When Kaiser Wilhelm II suggested that Strauss’s opera Salome—based on a controversial play by Oscar Wilde—had damaged his reputation, Strauss laughed: “that damage paid for my villa in Garmisch.”

Strauss was lucky in life and lucky in love. In 1894, he was in the throes of a tough rehearsal when his star soprano Pauline de Ahne hurled her score at him and stormed offstage. The maestro followed her, leaving the musicians and singers in a state of confusion. After a while, Strauss returned to the podium and announced that he and Pauline had gotten engaged. From that point on, hers was the sound that filled his head when he wrote for the human voice.

Over his lifetime, Strauss wrote sixteen operas and more than 200 songs. Incredibly, he wrote songs in every decade of his life.

The Nazi era clouded his later years. In 1933, he was seventy years old when Hitler came to power. Always an apolitical man, Strauss defied the Third Reich and continued to work with his Jewish librettist, Stefan Zweig. At the same time, he complied with party officials, conducting concerts and writing music. Soon he ran afoul of both Zweig and the Nazis. The latter took dramatic steps to isolate him and nearly robbed him of his family (his daughter-in-law and grandchildren were Jewish). As it happened, Strauss retained just enough influence to save them. By war’s end, the touchstones of his career—

| 23

24 | encore the bejeweled opera houses of Berlin, Vienna, Dresden, and Munich—had fallen to allied bombs. And Strauss was a broken man.

Now in his eighties, post-war Strauss became a different composer. His bold and experimental writing style had grown wistful, reflective, and autumnal. In the spring of 1848, he wrote a song on a poem by Joseph von Eichendorff about a couple in the twilight of life, “Im Abendrot.” In it, he makes a passing reference to his 1890 tone poem Death and Transfiguration. Over the summer, he composed another three songs based on poems by Hermann Hesse. A year later, Strauss died. Pauline passed eight months after that.

Soon after the composer’s death, Ernst Roth, chief editor at the publisher Boosey & Hawkes, bundled the songs into a cycle called Four Last Songs.

First ASO Performance: April 30, 1949 Henry Sopkin, conductor Most Recent ASO Performances: October 1–5, 2019 Robert Spano, conductor

Symphony No. 1 in C minor, Opus 68 Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings.

P

icture a seedy hole in the wall in Hamburg, 1848.

Sailors, Hungarian immigrants and prostitutes huddle around the bar. At a nearby piano, a blonde-headed boy with dreamy blue eyes plays dance tunes and drinking songs on demand—Johannes Brahms had been working there since the age of twelve.

WIKIPEDIA COMMONS

Although formal education ended for him at the age of fourteen, he was an avid reader and was said to keep his nose in a book as his fingers plinked at that piano. The son of a seamstress and a musician, little “Hannes” showed an early affinity for music. To pay for lessons, his parents made sacrifices and became the first in a series of people who went out of their way to open doors for him.

Joachim

Sensing the boy was more talented than himself, his first music teacher petitioned a better teacher. That person taught him at no charge. Others provided places for Brahms to practice. And in 1853, one Hungarian violinist introduced him to the violin virtuoso Joseph Joachim.

“Never in the course of my artist’s life have I been so

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Brahms wrote a lot of piano music in those days but was eager to please.

Seeing greater potential in his sonata for two pianos in D minor, he attempted R. Schumann to refashion it as a symphony. After laboring through the summer of 1854, he showed his work to Joachim, who was impressed. Brahms scolded him.

“As usual you have regarded the movement of my symphony through a rose-colored glass,” the composer moaned. “I must alter and improve it all through.” That D minor symphony never materialized. We know its music today as the Piano Concerto No. 1.

There would be other false starts. In 1854, Brahms took a position as the director of the Court Concerts and Choral Society in Lippe-Detmold. A cushy job for a twenty-oneyear-old, it provided him free access to a fine orchestra.

For them, he wrote two serenades, each approaching a symphony in scale. For a while, he made noise about expanding these works into symphonies but later abandoned the idea.

On July 1, 1862, eight years later, Clara wrote to Joachim: “Johannes sent me the other day—imagine my surprise!— the first movement of a symphony.” She went on to say it is “full of wonderful beauties” and copied down some of the music in the letter. From her sketch, we can recognize the first movement of Brahms’s First Symphony. But it would continue to percolate for another fourteen years.

The next whiff of the First Symphony came in 1868. While

Brahms

WIKIPEDIA COMMONS

completely overwhelmed,” recalled Joachim. He saw in the shy, twenty-year-old Brahms something “noble and inspired.” He introduced him to Robert and Clara Schumann (Robert was a respected composer and critic; Clara was a famous pianist). Playing for them his C major Piano Sonata, Brahms hit the Schumanns like a thunderbolt. Things unfolded rapidly after that; people declared him the heir to Beethoven.

His new friends urged him to write a symphony (just as Beethoven had done).

He wasn’t ready.

| 25

C. Schumann

26 | encore vacationing in Switzerland with his father, the composer wrote a melody over the following words: “High on the mountain, deep in the valley, I greet you a thousandfold,” and sent it to Clara. Eight years later, that melody became a horn call in the finale.

Although writing symphonies eluded Brahms for years, he was far from unproductive. Becoming one of Europe’s most famous composers, he wrote songs, choral works, chamber works, his German Requiem and the Haydn Variations.

The final symphonic push came in the summer of 1876 between swims off the Isle of Rügen, Brahms committed much of his Symphony No. 1 to paper there. He added the finishing touches in Lichtental. At the premiere in November, conductor Hans von Bülow noted echoes of Beethoven’s Ninth, to which Brahms snapped “Any jackass can see that!”

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SIR DONALD RUNNICLES, CONDUCTOR Please see biography on page 7 JACQUELYN STUCKER, SOPRANO

A

hugely versatile artist, American soprano Jacquelyn Stucker is a graduate of the New England Conservatory with a Doctorate in Musical Arts, and an alumna of the Jette Parker Young Artist Programme at The Royal Opera House, Covent Garden.

The 2020/21 season saw her debut as Freia in Stefan Herheim’s production of Das Rheingold at Deutsche Oper Berlin as well as several live-streamed appearances including her first Strauss Vier letzte Lieder with the Detroit Symphony Orchestra and Sir Donald Runnicles.

She also had invitations from Bayerische Staatsoper for Die Zauberflöte; Boston Lyric Opera for Cleopatra Giulio Cesare; and Deutsche Oper Berlin for Donna Elvira Don Giovanni, Corinna Il Viaggio a Reims and Pamina Die Zauberflöte.

Other recent highlights include exciting house and role debuts as Armida Rinaldo at Glyndebourne; and Tytania A Midsummer Night’s Dream and Gretel Hänsel und Gretel, both at Deutsche Oper Berlin; and Azema in David Alden’s new production of Semiramide at Bayerische Staatsoper and Royal Opera House, Covent Garden. As a Jette Parker Young Artist, highlights at the Royal Opera House included Aphrodite in Henze’s Phaedra, Frasquita in Barrie Kosky’s production of Carmen—broadcast worldwide in March 2018 as part of the ROH Live Cinema Season, Alessandro in Handel’s Berenice, Susanna (Cover) in Le Nozze di Figaro with John Eliot Gardiner conducting, and Prilepa in The Queen of Spades under the baton of Antonio Pappano.

JONATHAN NESTERUK

In the 2021/22 season, Stucker returns to her alma mater, the Royal Opera House as Karolka Jenůfa and makes her house debut with Festival d’Aix-en-Provence as the title role in L’incoronazione di Poppea. Engagements on the concert platform include Hanns Eisler’s Deutsche Sinfonie with NDR Elbphilharmonie Orchester and Eurydice Orfeo et Eurydice with Washington Concert Opera.

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28 | dec5/8 Concerts of Sunday, December 5, 2021 3:00pm Wednesday, December 8, 2021 8:00pm SIR DONALD RUNNICLES, conductor

ENGELBERT HUMPERDINCK (1854–1921) Hansel and Gretel, A Fairytale Opera in Three Acts (1893)

Overture

Act I: At Home

Act II: In the Forest

8 MINS 31 MINS 25 MINS

INTERMISSION

20 MINS

40 MINS

Act III: The Gingerbread House

Hansel: KELLEY O’CONNOR, mezzo-soprano Gretel: JACQUELYN STUCKER, soprano Witch: ELIZABETH BISHOP, mezzo-soprano Father: STEPHEN POWELL, baritone Mother: MICHAELA MARTENS, mezzo-soprano Sandman and Dew Fairy: MEECHOT MARRERO, soprano MIDTOWN HIGH SCHOOL TREBLE CHORUS KEVIN HILL, Director

Performances of Hansel and Gretel were made possible by a grant from the Barney M. Franklin and Hugh W. Burke

The use of cameras or recording

Charitable Fund.

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

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notesontheprogram

| 29

by Noel Morris Program Annotator

Hansel and Gretel

First and Most Recent

Hansel and Gretel is scored for piccolo, two flutes, two oboes (one doubling English horn), two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings.

ASO Performance:

Engelbert Humperdinck

A

December 15, 1962 Robert Mann, conductor Peggy Conner, mezzo-soprano Lowell Lehman, baritone

t age twenty-five, Engelbert Humperdinck won the Inge Manski Lundeen, Mendelssohn Award and a trip to Italy where he met mezzo-soprano the famous composer Richard Wagner. So impressed Irene Callaway, soprano was the older composer, he invited Humperdinck to Janice Hanson, serve as his assistant at the Bayreuth Festival. Soon the mezzo-soprano. young assistant was tutoring Wagner’s son, Siegfried, and copying parts for the 1882 world premiere of Parsifal. In fact, when producers complained about an unusually long set change, Humperdinck came to the rescue, padding the Parsifal score with a few extra bars of music. Likely, it was at Bayreuth that Humperdinck first met the young conductor Richard Strauss, who served as an assistant there in 1889.

In 1890, Humperdinck was working as an editor at Schott publishing house in Mainz when he received a letter from his sister, Adelheid Wette, requesting four songs for her children’s play Hansel and Gretel. Big brother was all too happy to indulge and wrote the songs as requested.

A hit at the next family gathering, Adelheid’s play soon expanded into a sixteen-song singspiel, which they debuted at the Wette family home later that year. From there, Humperdinck and his sister-librettist expanded the show into a full-fledged opera.

In keeping with the show’s subject matter, Humperdinck used German folksong and folk-like music throughout but blended those themes with a sophisticated harmonic and orchestral language that hints at the influence of Wagner.

Richard Strauss conducted the world premiere of Humperdinck’s Hansel and Gretel on December 23, 1893.

On January 6, 1923, the opera became the first to be broadcast using new technology—radio. On Christmas Day, 1931, the Metropolitan Opera broadcast Hansel and Gretel, launching the radio series that continues to this day.

30 | encore The Women Behind Hansel and Gretel Henriette Dorothea “Dortchen” Wild was the girl next door, growing up beside two of the most famous names in children’s literature—Jacob and Wilhelm Grimm. Meeting them at the age of twelve in 1805, she developed feelings for Wilhelm but was prevented from seeing him, or any boy, by her cruel father (he had married off her sisters but designated Dortchen as his caretaker).

When Napoleon marched into town in 1807, he installed his brother Jérôme as King of Westphalia. The brothers Grimm responded with a massive project to preserve their cultural identity—their stories. They began interviewing the town’s women to collect the folktales that so often animated their spinning circles. One of their great resources for the project was the girl next door, Dortchen. Sneaking past her father, she contributed some of the anthology’s most enduring tales, including The Elves and the Shoemaker, Rumplestiltskin, and likely Hansel and Gretel.

The first edition of the Grimm Fairytales was not a success; wracked by poverty, the brothers had to ration their food, but they did not give up on their main project.

Over the years, Dortchen worked alongside them, massaging the tales to be more family-friendly. Eventually, Dortchen’s parents passed; the fairytales became a commercial success, and she married Wilhelm Grimm.

Sharing a home with him and his brother, Jacob, they all lived happily ever after.

The younger sister of Engelbert Humperdinck, Adelheid Catharina Maria Humperdinck Wette, also wrote music, as well as stories and poetry. A passionate folklorist, Adelheid adapted folktales into plays for her children to perform.

For her husband’s 34th birthday, she wrote one based on Hansel und Gretel.

Enlisting Engelbert as the composer, she requested a “very pretty folkloric” dance song based on a melody that she provided. She also requested a forest song or echo song, a lullaby, and a cock-a-doodle-doo song. Her brother obliged.

After a successful birthday party, Adelheid and Engelbert agreed their production had greater potential. Over the

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next several years, they worked together to create the “fairytale opera” Hansel and Gretel.

An Acorn of Truth: The Origin of Hansel and Gretel In the year 1315, New Zealand’s Mt. Tarawera began to erupt. Belching fire and ash into the sky, the eruption lasted several years, and likely caused a great famine half a world away.

That same summer, cold air and rain settled over Europe, unleashing a horrific chain of events: Crops rotted in the fields. Salt, the go-to food preservative, became scarce (it was too wet to render via evaporation). People resorted to eating rats, horses, and dogs. During the Great Famine of 1315–17, human beings committed desperate acts to stay alive, including child abandonment and cannibalism.

The folktale Hansel and Gretel, believed to have originated in the Baltic region, presents a scenario in which people push out children they cannot feed—a plausible one for the tale’s progenitors.

The Other Engelbert Humperdinck When the 1960s British pop singer Arnold George Dorsey signed with the manager Gordon Mills, he was encouraged to change his name. Dorsey chose “Engelbert Humperdinck” and went on to create such hit singles as “Release Me” and “The Last Waltz.”

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32 | encore KELLEY O'CONNOR, HANSEL/MEZZO-SOPRANO

P

BEN DASHWOOD

ossessing a voice of uncommon allure, the Grammy® Award-winning mezzo-soprano Kelley O’Connor is one of the most compelling performers of her generation. She is internationally acclaimed equally in the pillars of the classical music canon—from Beethoven and Mahler to Brahms and Ravel—as she is in new works of modern masters—from Adams and Dessner to Lieberson and Talbot.

In the 2021/22 season Kelley O’Connor returns to the Concertgebouworkest for performances of Peter Lieberson’s Neruda Songs led by Stéphane Denève and a robust North American concert calendar includes performances of Mozart Requiem with Fabio Luisi conducting the Dallas Symphony Orchestra, Mahler Das Lied von der Erde with Thomas Dausgaard and the Seattle Symphony, Mendelssohn Elijah with Jun Markl and the Indianapolis Symphony Orchestra, and Beethoven’s Ninth Symphony with Juraj Valčuha and the Minnesota Orchestra and with Michael Stern and the Kansas City Symphony. Additional performances bring her together with Ken-David Masur and the Milwaukee Symphony Orchestra for a program of Canteloube and Duruflé, with Andrés Orozco-Estrada and the Houston Symphony for Mahler’s Second Symphony, and with Robert Spano and the Atlanta Symphony Orchestra for Mahler’s Third Symphony.

For her debut with the Atlanta Symphony in Ainadamar, Kelley O’Connor joined Robert Spano for performances and a Grammy® Award-winning Deutsche Grammophon recording. Her discography also includes Mahler’s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson’s Neruda Songs and Michael Kurth’s Everything Lasts Forever with Robert Spano and the ASO, Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and The Cleveland Orchestra.

JACQUELYN STUCKER, GRETEL/SOPRANO Please see biography on page 27 ELIZABETH BISHOP, WITCH/SOPRANO

R

ecent highlights for American mezzo Elizabeth (Betsy) Bishop include her return to The Metropolitan Opera in

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their celebrated new production of Le Nozze di Figaro as Marcellina; she travelled to Texas to sing Herodias Salome with Dallas Symphony Orchestra, and at Lyric Opera Chicago she stole the show as Madame de la Haltière Cendrillon.

Further Metropolitan Opera engagements include Second Norn/Fricka (c)/Waltraute (c) Der Ring des Nibelungen.

Past successes include her debut at Florida Grand Opera as Herodias, Mary Der fliegende Holländer at Cincinnati Opera, at Portland Symphony the role of Judith Bluebeard’s Castle, Mere Marie Dialogues of the Carmelites, Fricka Das Rheingold and Die Walküre all at Washington National Opera; Beethoven’s Ninth Symphony with BBC Scottish Symphony Orchestra under Sir Donald Runnicles and at the Grand Teton Music Festival, Verdi’s Requiem with the Baltimore Symphony Orchestra, and Brangäne Tristan und Isolde in concert at North Carolina Opera.

At home in Washington DC, Bishop has many appearances to her credit, both with Washington Concert Opera, where she sang Principessa Adriana Lecouvreur, Santuzza Cavalleria Rusticana and Sara Roberto Devereux, and at Washington National Opera where she has a regular presence and appeared as Sieglinde Die Walküre, Brangäne Tristan und Isolde, Second Norn Götterdämmerung, Meg Page Falstaff, Gertrude Hamlet, Eboli Don Carlo, the leading role of the Marquise de Merteuil in Conrad Susa’s The Dangerous Liaisons, Suzuki Madama Butterfly, and Emilia Otello, among other roles. Betsy looks forward to inhabiting the Witch Hansel und Gretel at Atlanta Symphony Orchestra with Maestro Runnicles.

STEPHEN POWELL, FATHER/BARITONE

S

tephen Powell enters his fourth decade as a leading baritone in opera companies and orchestras around the globe. With USA performances in San Diego, Detroit, New York, Boston, Los Angeles, Houston, Chicago, St. Louis, Seattle, Cleveland, Nashville, Dallas, Kansas City, Atlanta, Philadelphia, San Francisco, Baltimore, Washington DC, Minneapolis, Miami, as well as international credits in Sao Paulo, Rio de Janeiro and Belo Horizonte, Brazil; Wexford, Ireland; Amsterdam, Paris, Singapore, Zurich, London, Hong Kong, Montreal, Toronto, Rome, and Leipzig, Mr. Powell maintains a busy performance schedule.

| 33

34 | encore He has been a member of the voice faculty at Mannes School of Music in The New School in New York City for the past six years, teaches privately out of his home outside of Philadelphia, and is a recurring guest instructor at the Potomac Vocal Institute in Washington, DC. He is also in demand for Master Classes on college campuses and young artist programs around the country. In addition to Jonathan Leshnoff’s T ​ hird Symphony, he will appear on two other new releases in 2020; his first solo CD, American Composers At Play (Acis), and Odyssey Opera’s world premiere recording of Norman Dello Joio’s The Trial at Rouen (BMOPsound).

Powell earned his Bachelor of Music degree in Theory and Composition (piano emphasis) from Northwestern University, his Master of Music and Certificate in Performance from DePaul University in Vocal Performance, and spent two years as a young artist in the Lyric Opera of Chicago’s apprentice program. He is a member of NATS, AFTRA, AGMA and NARAS. MICHAELA MARTENS, MOTHER/MEZZO-SOPRANO

M

EDWIN DAVID CORDERO

ichaela Martens has fast become known for her portrayals of some of the most difficult dramatic mezzo-soprano roles in the repertoire, beginning with a triumphant last-minute debut at the Lyric Opera of Chicago as die Amme in Die Frau ohne Schatten, a role she repeated for the Oper Graz in a new production by the critically acclaimed director Marco Marelli.

A regular at the Metropolitan Opera, highlights of recent seasons include Kundry in Parsifal, the 2nd Norn in Götterdämmerung, the Contessa in Andrea Chénier, Alisa in Lucia di Lammermoor, along with productions of Capriccio, Die Walküre, La damnation de Faust, The First Emperor, Il trittico, and Jenůfa. In previous seasons with English National Opera, she was heard as Gertrude in Hänsel und Gretel, Marilyn Klinghoffer in Adams’ The Death of Klinghoffer, Judith in Bluebeard’s Castle, and Kostelnicka in David Alden’s critically acclaimed production of Jenůfa.

Martens made her Carnegie Hall debut with the American Symphony Orchestra singing the difficult title role in Albéric Magnard’s Berenice. Opera Today said, “...she can indeed sing softly, though clearly, when required...but it is

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| 35

the fierce and tireless, unwavering solidity of Martens’ voice that Wagnerians will find exciting.” Additional concert engagements include Beethoven’s Symphony No. 9 with the Cleveland Orchestra and the Indianapolis Symphony, and Verdi’s Requiem for the Grant Park Music Festival and Spoleto Festival U.S.A. MEECHOT MARRERO, SANDMAN/DEW FAIRY/SOPRANO Puerto Rican soprano Meechot Marrero is a member of the Deutsche Oper Berlin ensemble.

In the 2019/20 season, Marrero appeared at the Deutsche Oper Berlin, performing Liù in Turandot, Oscar in Un ballo in maschera, a role debut, Micäela in Carmen, Adele in Die Fledermaus, Papagena in Die Zauberflöte and Jano in Jenůfa. Outside of the Deutsche Oper, Marrero reprised Cunegonde in Candide at the Komische Oper Berlin, Heitor Villa-Lobos’ Bachianas Brasileiras No. 5 with the San Antonio Symphony, and Carmina Burana with Sir Donald Runnicles and the Atlanta Symphony and Grand Tetons Music Festival.

A native of Corozal, Puerto Rico, Meechot Marrero is the recipient of the Career Bridges grant from the Schuyler Foundation, and the Phyllis Curtin Career Entry Prize from the Yale School of Music. Marrero began her musical studies with the San Juan Children’s Choir, and, after studying molecular biology at the University of Puerto Rico, completed a Bachelor of Music from the Puerto Rico Music Conservatory (where she graduated as the Valedictorian of her class) and a Master of Music from Yale Opera at the Yale School of Music.

EDWIN DAVID CORDERO

Marrero’s 2020/2021 season included several role debuts as Nannetta in Falstaff, Biancofiore in a new production of Francesca da Rimini by Christof Loy, Musetta in La Bohème, Tebaldo in Don Carlo, and Cherubino in Le nozze di Figaro, as well as a return to Papagena in Die Zauberflöte, Frasquita in Carmen, Bianca in La Rondine, and Liù in Turandot.

36 | encore MIDTOWN HIGH SCHOOL TREBLE CHORUS

T

hough in its inaugural year as Midtown High School, the beloved Atlanta institution next to Piedmont Park has a long tradition of excellence in its music programs. Directed

by Kevin Hill, the Midtown Chorus Program consists of six ensembles that perform numerous concerts throughout the year both on campus and in the Atlanta community. The Midtown Treble Chorus is made up of students in grades 9-12 who are in Advanced or Mastery level ensembles.

Midtown choirs have consistently scored superior ratings in performance evaluations and have traveled to France and England performing in Bath Abbey, Gloucester Cathedral, and the American Church in Paris. Domestically, choirs have performed throughout the Metro-Atlanta area as well as at the Cathedral of St. John the Divine in New York City.

Midtown Choirs have also been featured in ASO concerts with The Chieftains, in ASO Holiday Pops Concerts, and in the Home Alone and Harry Potter movie concerts.

Midtown’s Chorus Director, Kevin Hill, has spent more than two decades as a music educator and choral conductor in the state of Georgia. He began his teaching career as Choral Director at Rome High School and Rome Middle School.

He is currently in his twentieth year as Choral Director at Midtown High School. He lives in Grant Park with his wife, Elizabeth Hill and their twin sons, Emerson and Carter.

MIDTOWN HIGH SCHOOL TREBLE CHORUS Nalani Adams Che Aycox Laine Berg Yuna Bergstrom Samantha Beyer Ivey Bowens Trudy Buck Callamei Chan Caroline Connors Ashton Crawford Armanda Cuyler

Sari D’Agostino Anna DiCarlo Lauren Dunn Graeham Frizzell Zoe Frizzell Hannah Gaston Marin Henley Albey Herrin Maddie Hoffman Audrey Isakov Avery Jenkins

Isabelle Kamel Miniya Kote’ Sadie Kyle Elizabeth, Martin Lillian Morris Aidan Murray Isabel Neuman Mia Otoski Anika Palep Sierra Pape Kyla Pate

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Cora Pruitt Chloe Revis Ezra Roberts Eden Sharp Amelia Smith Zoe Steib Malaya Tapp Rachel Taylor Gryffin Thomas Aiden Westdahl

Kazuki Yamada conductor STEPHEN HOUGH piano

SAINT-SAËNS: Piano Concerto No. 4 MOZART: Overture to Idomeneo TAKEMITSU: Requiem SCHUBERT: Symphony No. 5

JAN 13/15

SARAH GIBSON: warp & weft RACHMANINOV: Vocalise SIBELIUS: Symphony No. 5

Concert Calendar

JOBY TALBOT: Ink Dark Moon Gemma New conductor

MILOŠ KARADAGLIĆ guitar

JAN 20/22 BOULANGER: Of a Spring Morning TCHAIKOVSKY: Symphony No. 6, “Pathétique”

GRIEG: Piano Concerto Nikolaj Szeps-Znaider conductor SALEEM ASHKAR piano

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encore 40 | dec9/11

Concerts of Thursday, December 9, 2021 8:00pm Saturday, December 11, 2021 3:00pm & 8:00pm NORMAN MACKENZIE, conductor ATLANTA SYMPHONY ORCHESTRA ATLANTA SYMPHONY ORCHESTRA CHORUS NORMAN MACKENZIE, Director of Choruses

MOREHOUSE COLLEGE GLEE CLUB DAVID MORROW, Director

GWINNETT YOUNG SINGERS & GUEST CHOIRS LYNN URDA, Director

Christmas with the ASO PART ONE—PROPHECY AND ADVENT “O Come, Emmanuel” (arr. Alice Parker) “And the Glory of the Lord” from Messiah (George Frideric Handel) Praeludium, Sostenuto ma non troppo from Missa Solemnis (Ludwig van Beethoven) “Break Forth” from Christmas Oratorio (Johann Sebastian Bach) “Heavenly Light” (Alexander Kopylov) “The First Nowell”* (arr. David Willcocks) PART TWO—THE STABLE “Hodie Christus natus est” from A Ceremony of Carols (Benjamin Britten) Elisabeth Remy-Johnson, harp “Wolcum Yole!” from A Ceremony of Carols (Britten) Allegro non troppo from “Winter” of The Four Seasons (Antonio Vivaldi) David Coucheron, violin “Lo, How a Rose E’er Blooming” (Michael Praetorius) “There Is a Rose in Flower” (Johannes Brahms/Erich Leinsdorf) “Go Where I Send Thee” (arr. Paul Caldwell/Sean Ivory) Peter Marshall, piano “Masters in this Hall” (arr. Parker) “Oh, Po’ Little Jesus” (arr. Leonard dePaur) “The Angel Choir and the Trumpeter” (Chris Dedrick) “March of the Kings” (arr. Robert Shaw/Parker) “Farandole” from L’Arlésienne (Georges Bizet)

devices during the concert is

“Bogoroditse Devo” (Virgin Mother of God) from Vespers (Sergei Rachmaninoff)

strictly prohibited. Please be

“Betelehemu” (Via Olatunji/Wendell Whalum)

kind to those around you and

“Hallelujah!” from Messiah (Handel)

The use of cameras or recording

silence your mobile phone and other hand-held devices.

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notesontheprogram encoreatlanta.com

by Noel Morris Program Annotator

PART THREE—AROUND THE CHRISTMAS TREE “March” from Nutcracker (Pyotr Ilyich Tchaikovsky) “Dance of the Sugar Plum Fairy” from Nutcracker (Tchaikovsky) Peter Marshall, celeste “Trepak” from Nutcracker (Tchaikovsky) “The Boar’s Head” (arr. Shaw/Parker) “Bring a Torch, Jeanette Isabella” and “Angels We Have Heard on High” from Suite No. 3 The Many Moods of Christmas (arr. Robert Russell Bennett) PART FOUR—ADORATION “El Cant des Ocells” (“The Song of the Birds”) (arr. Pablo Casals) Ranier Eudeikis, cello “Coventry Carol” (arr. Shaw) “The Shepherds’ Farewell to the Holy Family” (Hector Berlioz) from L’Enfance du Christ “Adeste, fideles”* (arr. Parker) THIS CONCERT IS PERFORMED WITHOUT INTERMISSION. Translations of the Vocal Selections, and Sing-Along Carols The audience is invited to join in singing the familiar carols marked with

*

*

“The First Nowell” The first Nowell the angels did say Was to certain poor shepherds in fields as they lay; In fields where they lay, keeping their sheep, On a cold winter’s night that was so deep.

Nowell, Nowell, born is the King of Israel!

They looked up and saw a star, Shining in the east, beyond them far; And to the earth it gave great light, And so it continued both day and night.

Nowell, Nowell, born is the King of Israel!

Then let us all with one accord Sing praises to our heav’nly Lord, That hath made heav’n and earth of naught, And with His blood mankind hath bought.

Nowell, Nowell, born is the King of Israel!

*

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42 | encore “Hodie Christus natus est” from A Ceremony of Carols Today Christ is born. Today the Savior appears.

Today on earth angels are singing, archangels rejoicing.

Today they proudly proclaim, saying: Glory to God in the highest. Alleluia!

“Wolcom Yole!” from A Ceremony of Carols Welcome, Welcome, Welcome be thou heavenly King.

Welcome, Yule!

Welcome, born in one morning Welcome for whom we shall sing!

Welcome be ye, Stephen and John; Welcome, Innocents every one; Welcome Thomas, martyred one; Welcome be ye, good New Year; Welcome Twelfth Day, both in fear; Welcome, Saints both loved and dear.

Welcome, Yule, welcome!

Candlemas, Queen of bliss, Welcome both to more and less.

Welcome be ye that are here.

Welcome, Yule!

Welcome all and make good cheer.

Welcome all another year.

Welcome, Yule, welcome!

“March of the Kings” This morning I met the procession Of three great kings who were on a journey, This morning I met the procession Of three great kings on the highway.

All laden with gold there followed behind Great warriors who guarded the treasure.

All laden with gold there followed behind Great warriors with their shields.

“Bogoroditse Devo” from All-Night Vigil Rejoice, O Virgin, God-bearer!

Mary full of grace, the Lord is with Thee.

Blessed art Thou among women,

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and blessed is the fruit of Thy womb, for Thou hast borne the Savior of our souls.

“Betelehemu” (“Bethlehem”) We are glad that we have a Father to trust, We are glad that we have a Father to rely upon.

Where was Jesus born? Bethlehem!

That’s where the Father was born, for sure!

Praise Him, praise be to Him. We thank thee for this day, gracious Father.

Praise to the Father, merciful Father

*“Adeste, Fideles”*

1. Audience (Translation is verse 4) Adeste, fideles, laeti triumphantes; venite, venite in Bethlehem; natum videte, regem angelorum.

Venite adoremus, Venite adoremus, Venite adoremus, Dominum!

2. Sung by the Choruses, Translation: God of gods, Light of lights, Carried in a maiden’s womb.

True God: begotten, not made.

O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord!

3. Sung by the Choruses, Translation: “Hallelujah!” now sings the angelic chorus; The heavenly host now sings, “Glory to the highest!”

O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord!

4. Audience: O come, all ye faithful, joyful and triumphant; O come ye, o come ye to Bethlehem; Come and behold Him, born the king of angels: O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord!

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44 | encore ATLANTA SYMPHONY ORCHESTRA CHORUS

T

he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director, Robert Shaw, is an allvolunteer, auditioned ensemble that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have garnered 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording).

The Chorus performs large symphonic choral works, under the direction of Co-Artistic Advisors Maestro Robert Spano and Principal Guest Conductor Sir Donald Runnicles, and Music Director Designate Nathalie Stutzmann. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works.

NORMAN MACKENZIE, DIRECTOR OF CHORUSES

A

s Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately Assistant Choral Conductor.

Mackenzie prepares the Atlanta Symphony Orchestra Chorus and Chamber Chorus for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy® Awards.

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.

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ATLANTA SYMPHONY ORCHESTRA CHORUS Jeffrey Baxter

Norman Mackenzie

Peter Marshall

director of choruses

choral administrator

The Frannie & Bill Graves Chair

The Florence Kopleff Chair

SOPRANO 1 Ellen Abney Hanan Davis Khadijah Davis Liz Dean * Laura Foster Michelle Griffin * Kathryn Jennison Erin Jones Alexis Lundy Mindy Margolis * Joneen Padgett * Mary Martha Penner Callaway Powlus Susan Ray Samaria Rodriguez Lydia Sharp Brianne Turgeon * Deanna Walton Erika Wuerzner Michelle Yancich Wanda Yang Temko * SOPRANO 2 Sloan Atwood * Jessica Barber Barbara Brown Maggie Carpenter Martha Craft Erika Elliott Mary Goodwin Amanda Hoffman Rachel Hughes Kathleen KellyGeorge * Shannon Nesbit Rachel O’Dell Heidi Padovano Chantae Pittman Tramaine Quarterman Paula Snelling * Emily Tallant Chery Thrash ** Donna Weeks **

ALTO 1 June Abbott ** Pamela Amy-Cupp Deborah Boland ** Marlysa Brooks-Alt Patricia DinkinsMatthews * Angel Dotson-Hall Katherine Fisher Beth Freeman Cynthis Harris Unita Harris Beverly Hueter * Janet Johnson ** Susan Jones Virginia Little * Staria Lovelady * Frances McDowellBeadle ** Sara McKlin Linda Morgan ** Katherine Murray * Kathleen Poe Ross Noelle Ross Marianna Schuck Camilla Springfield ** Rachel Stewart ** Diana Strommen * Nancy York * ALTO 2 Nancy Adams * Angelica BlackmanKeim Emily Boyer Marcia Chandler * Carol Comstock Meaghan Curry Cynthia Goeltz DeBold ** Michèle Diament Sally Kann * Lynda Martin Chandler Scott Sharon Simons * Kiki Wilson ** Diane Woodard ** Carol Wyatt *

accompanist

TENOR 1 Jeffrey Baxter ** Jordan Bell Daniel Cameron * Daniel Compton Joseph Cortes Clifford Edge ** Steven Farrow ** Leif Gilbert-Hansen * James Jarrell Keith Langston * Christopher Patton * Stephen Reed # TENOR 2 Matthew Borkowski LaRue Bowman Charles Cottingham # Phillip Crumbly * Sean Fletcher John Harr Keith Jeffords * Michael Parker Timothy Parrott Marshall Peterson * Matthew Sellers Thomas Slusher Scott Stephens **

BASS 1 Dock Anderson Russell Cason ** Jeremy Christensen Trey Clegg Jon Gunnemann ** Jason Hamlet Nick Jones # Frank Kingsley Jameson Linville Jason Maynard John Newsome Hal Richards Peter Shirts Kendric Smith # John Terry Marshall Todd BASS 2 Michael Arens ** Clarence Bell Brian Brown * John Carter Terrence Connors Rick Copeland ** Joel Craft ** Paul Fletcher Thomas Hanrahan Tamir Mickens Michael Nedvidek Joel Rose John Ruff * Jonathan Smith * Benjamin Temko * David Webster ** Gregory Whitmire ** Keith Wyatt * *20+ years of service ** 30+ years of service # Charter member (1970)

46 | encore GWINNETT YOUNG SINGERS

N

ow in its 31st season, the Gwinnett Young Singers are frequent guests of the ASO. The choir has performed in twenty-one season performances of Christmas with the ASO. Under the direction of Founder and Music Director Lynn Urda and Associate Director Carol Wyatt, the choir is a nationally recognized children’s chorus, best noted for its mastery of challenging repertoire and exceptionally high musical standards. The faculty and staff are dedicated to professionalism in music education and strive to share the power and beauty of a wide variety of choral music.

Among the hundreds of concerts in which the choir has performed with the ASO, GYS was featured on the Grammy® Award winning CD recording of John Adams’ On The Transmigration Of Souls with the ASO & Chorus. In 2004 they performed in the Grammy® nominated CD recording of Carl Orff’s Carmina Burana with the ASO and Chorus.

Gwinnett Young Singers offers a program of beginning through advanced choirs for children in second through twelfth grades, including the Treble Choir, Concert Choir, and advanced Chamber Choir. For more information, call 770-935-6657 or visit www.gwinnettyoungsingers.com

GWINNETT YOUNG SINGERS + GUEST CHOIRS Lynn Urda conductor

&

music director

Sarah Alvis Millie Baker Julia Brosas Brook Caspers Madi Caspers Sadie Coleman Savannah Greene Amelia Gustafson Meghan Gulley Lydia Hamilton Sophie Hancock Kathryn Helton Annabella Holley Marisa Joyner Shelby Joyner Lyndi Kemp Leia Kolodzey Adathel Lenzer

Carol Wyatt associate music

Adrienne Gustafson assistant director

Gwyn Bacon accompanist

director

Brooklyn Manson Taylor Newsome Lydia O’Dell Alissa Perry Emily Pilarte Grace Rivord Elise Simon Ashlyn Wright Eden Upshaw GEORGIA STATE UNIVERSITY SINGERS Deanna Joseph director

Emily Adams Naya Johnson Madison Tiegreen

KENNESAW STATE UNIVERSITY TREBLE CHOIR Alison Mann director

Jaden Akins Destiny Avery Charlotte Baskin Leah Bryan Camille Core Mary Catherine Davis Bailee Day Allie Eller Hope Englert Emily France Sydnee Goode Emily Graffius Alaina Hoofnagle Miah Jordan Katie Kosowski

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Rebekah Lecesne Kandra Lopes Amanda Minardi Kate Newman Emily Patterson Morgan Potts Brianna Powers Chloe Roney Lindsey Sanders Kenzie Scott Jordan Shaffer Angela Smith Rebecca Smith Abby Snyder Sarah Stevens Emily Tilman Jenna Wagner Nicole Walker Camden Wing

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LYNN URDA, CONDUCTOR & GYS MUSIC DIRECTOR

L

ynn Urda maintains an active schedule as a guest clinician, conductor and adjudicator for All-State Choruses & Honors Choirs, choral festivals, and workshops for youth and their conductors. She has distinguished herself for her unique ways of achieving excellence in choral blend, intonation and sensitive singing. Mrs. Urda holds a degree in Music Education and Voice from Florida State University School of Music. She has spent the majority of her professional life serving as a church musician, directing children’s, youth and adult choirs. She holds membership in Chorister’s Guild and the American Choral Directors Association (ACDA), for which she has previously served as Repertoire and Standards Chair for Children’s Choirs for the Georgia division of ACDA. She also serves as the Director of Youth Choirs at Tucker First United Methodist Church.

MOREHOUSE COLLEGE GLEE CLUB

T

he Morehouse College Glee Club is the premier singing organization of Morehouse College. Throughout its tradition the Glee Club has an impressive history and seeks to secure its future through even greater accomplishments, continuing in this tradition through the dedication and commitment of its members and the leadership that its directors have provided throughout the years. It is the mission of the Morehouse College Glee Club to maintain a high standard of musical excellence.

Led by Director Dr. David Morrow, the Glee Club has gained world recognition through national and international tours. Since the Glee Club’s origin, excellence through brotherhood, dedication and commitment and unselfish labors of love has continued in musical performance and in whatever the organization does. The current members come from all over the United States and even from other countries around the world. The Glee Club members all have different interests, which adds to the diversity of the organization. While some are music majors, members are in all academic divisions at the college. Even though some members take Glee Club as a course for credit, all members still sing as a labor of love and enjoy being ambassadors for Morehouse College.

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48 | encore DAVID MORROW, DIRECTOR

D

avid Morrow is a native of Rochester, New York. He earned a Bachelor of Arts degree from Morehouse College in 1980 and Doctor of Musical Arts from the University of Cincinnati College Conservatory of Music in 1995.

Dr. Morrow has been a member of the Music faculty at Morehouse College since 1981 and succeeded Dr. Wendell P. Whalum as Director of the Glee Club in 1987.

Dr. Morrow’s conducting honors include: 1991 Kennedy Center Honors as part of the tribute to Atlanta Symphony Orchestra Conductor Laureate, Robert Shaw with the Morehouse College Glee Club; celebrating the 1994 Martin Luther King, Jr. Holiday at Atlanta Symphony Hall with soprano Jessye Norman and the Spelman-Morehouse Choruses; the National Anthem for Super Bowl XXVIII with Natalie Cole and the combined choruses of the Atlanta University Center; the Opening and Closing Ceremonies of the 1996 Atlanta Centennial Olympic Games with the Morehouse College Glee Club, and many more.

Dr. Morrow is a member of Metropolitan Atlanta Musicians Association, past president of The National Association of Negro Musicians, and is a member of the Georgia Council for the Arts. He serves on the Board of Directors of the Intercollegiate Men’s Choruses, Inc. and Chorus America, Inc. He is a member of the American Choral Directors Association, Chorus America, the Georgia Music Educators Association, Phi Mu Alpha Sinfonia, is a “Friend of the Arts” member of Sigma Alpha Iota.

MOREHOUSE COLLEGE GLEE CLUB Paul Abeyga Nathan Amuh Londarius Anderson Calvin Bell III Coby Bennett Gregory Brown Myles Chandler Hasani Comer Juquwayne Crockett D’Angelo Crosby Jaiden Cunningham Lesh’In Edwards Je’Vion Fluellen

Langston GainesSmith Elijah Gilchrist Schneider Grandpierre Tyler Harris Walker Hill Dalon Iyen Que’Jari Jones Richard Journet Jr. Siva Kone Joshua Layton Torry Marshall Chandler McMahan

Dante McNeal Daniel Mintz Jacobi Mitchell Jasper Mitchell Javien Moore Torrien Nelson Jalen Norton B’Nathaniel Orlu George Pratt Andarious Porter Aiden Pullian Enrique Pyfrom II Pierre Rice Ian Shepherd Daniel Shegog

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Robert Smith Jr. Jordan Stewart Lionel Stevens Khairi Tahir David Totty Jimmie Terrell Antonio Thompson Desmond Thompson Elijah Turner M. Washington Alphounce Williams Tyonté Williams Isaiah Wilson Dejaun Wright

50 | dec17/18 Concerts of Friday, December 17, 2021 8:00pm Saturday, December 18, 2021 8:00pm NORMAN MACKENZIE, conductor JESSICA RIVERA, soprano KELLEY O’CONNOR, mezzo-soprano SEAN PANIKKAR, tenor LAWSON ANDERSON, bass-baritone

Handel’s Messiah JOHANN SEBASTIAN BACH (1685–1750) Cantata No. 1, “Jauchzet, frohlocket,” from Weihnachtsoratorium, BWV 248 (1734) 30 MINS 1. Jauchzet, frohlocket! (Chorus) 2. Es begab sich aber zu der Zeit (Recitative: Evangelist) 3. Nun wird mein liebster Bräutigam (Recitative: Contralto) 4. Bereite dich Zion (Aria: Contralto) 5. Wie soll ich dich empfangen (Chorale) 6. U nd sie gebar ihren ersten Sohn (Recitative: Evangelist) 7. Er ist auf Erden kommen arm (Chorale, Recitative: Chorus, Soprano, Bass) 8. Grosser Herr und starker König (Aria: Bass) 9. Ach, mein herzliebes Jesulein! (Chorale) INTERMISSION

ASO CHAMBER CHORUS

The December 17 concert is dedicated to Bonnie & Jay Harris in honor of their extraordinary support of the 2020/21 Annual Fund.

The December 18 concert is dedicated to Sally & Pete Parsonson in honor of their extraordinary support of the 2020/21 Annual Fund.

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

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20 MINS

notesontheprogram

by Noel Morris Program Annotator

GEORGE FRIDERIC HANDEL (1685–1759) Part the First (Christmas Portion) and Hallelujah from Messiah, HWV 56 (1741) 58 MINS 1. Overture 2. Recit: Comfort ye, my people (Tenor) 3. Air: Ev’ry valley shall be exalted (Tenor) 4. Chorus: And the glory of the Lord 5. Recit: Thus saith the Lord, the Lord of Hosts (Bass) 6. Air: But who may abide the day of His coming? (Alto) 7. Chorus: And He shall purify 8. Recit: Behold! A virgin shall conceive (Alto) 9. Air and Chorus: O thou that tellest good tidings to Zion (Alto) 10. Recit: For behold, darkness shall cover the earth (Bass) 11. Air: The people that walked in darkness (Bass) 12. Chorus: For unto us a Child is born 13. Pastoral Symphony 14a. Recit: There were shepherds abiding in the field (Soprano) 14b. Recit: And lo, the angel of the Lord came upon them (Soprano) 15. Recit: And the angel said unto them (Soprano) 16. Recit: And suddenly there was with the angel (Soprano) 17. Chorus: Glory to God in the highest 18. Air: Rejoice greatly, O daughter of Zion (Soprano) 19. Recit: Then shall the eyes of the blind be open’d (Alto) 20. Air: He shall feed his flock like a shepherd (Alto, Soprano) 21. Chorus: His yoke is easy and His burthen is light 44. Chorus: Hallelujah

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52 | encore J.S. BACH: Cantata for the First Day of Christmas (Weihnachtsoratorium I, BWV 248) 1. Chor Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan!

Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an!

Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren!

1. Chorus Celebrate, rejoice, rise up and praise these days, glorify what the Highest has done today!

Abandon despair, banish laments, sound forth full of delight and happiness!

S erve the Highest with glorious choruses, l et us honor the name of the Lord!

2. Rezitativ, Tenor (Evangelist) Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte.

[Luke 2:1, 3-6]

2. Recitative, Tenor (Evangelist) It came to pass at that time, however, that a decree went out from Caesar Augustus that the whole world should be appraised. And everyone went to be appraised, each to his own city. So, Joseph also went out of Galilee, out of the city of Nazareth, into the Jewish territory to the city of David, which was called Bethlehem; since he was of the house and race of David; so that he might be appraised with Mary, his betrothed wife, who was pregnant. And while they were there, the time came for her to deliver.

[Luke 2:1, 3-6]

3. Rezitativ, Alt Nun wird mein liebster Bräutigam, Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden.

Nun wird der Stern aus Jakob scheinen, Sein Strahl bricht schon hervor.

Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor!

3. Recitative Alto Now my dearest Bridegroom, now the hero from David’s branch, for the comfort, for the salvation of the earth, will be born at last.

Now the Star out of Jacob will shine, its light already breaks forth.

Arise, Zion, and give up your weeping now, your happiness rises high above you!

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54 | encore 4. Arie, Alt Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn!

Deine Wangen Müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!

4. Aria, Alto Prepare yourself, Zion, with tender efforts, to behold your lovely one, your beloved, near you soon!

Y our cheeks m ust now glow much more radiantly, h urry to love the Bridegroom with passion!

5. Choral Wie soll ich dich empfangen Und wie begegn’ ich dir?

O aller Welt Verlangen, O meiner Seelen Zier!

O Jesu, Jesu, setze Mir selbst die Fackel bei, Damit, was dich ergötze, Mir kund und wissend sei!

[Paul Gerhardt, 1653]

5. Chorale How shall I embrace You, and how encounter You? O desire of the whole world, O adornment of my soul!

O Jesus, Jesus, place the torch near me Yourself, so that what gives You pleasure be known and familiar to me! [ Paul Gerhardt, 1653]

6. Rezitativ, Tenor (Evangelist) Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

[Luke 2:7]

6. Recitative, Tenor (Evangelist) And she bore her first son and wrapped Him in swaddling clothes and laid Him in a manger, since there was no other room in the inn.

[Luke 2:7]

7. Choral, Sopran mit Rezitativ, Bass Er ist auf Erden kommen arm, Wer will die Liebe recht erhöhn, Die unser Heiland vor uns hegt?

Daß er unser sich erbarm, Ja, wer vermag es einzusehen, Wie ihn der Menschen Leid bewegt?

Und in dem Himmel mache reich, Des Höchsten Sohn kömmt in die Welt, Weil ihm ihr Heil so wohl gefällt, Und seinen lieben Engeln gleich.

So will er selbst als Mensch geboren werden.

Kyrieleis!

[Choral, Martin Luther, 1524]

7. Chorale, Soprano with Recitative, Bass He came to earth poor, W ho can rightly exalt this love, t hat our Savior harbors for us?

So that He might have sympathy for us, I ndeed, who could possibly have predicted how the sorrow of humanity moved Him? And make us rich in heaven, T he Son of the Highest came into the world, since its salvation pleased Him so much, and like His dear angels. t hus He Himself will be born a human.

Kyrie eleison!

[Chorale text, Martin Luther, 1524]

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8. Arie, Bass Großer Herr, o starker König, Liebster Heiland, o wie wenig Achtest du der Erden Pracht!

Der die ganze Welt erhält, Ihre Pracht und Zier erschaffen, Muß in harten Krippen schlafen.

8. Aria, Bass Great Lord, o powerful King, dearest Savior, o how little you care about the glories of the earth!

He who sustains the entire world, who created its magnificence and beauty, must sleep in a harsh manger.

9. Choral Ach mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Daß ich nimmer vergesse dein!

[Choral, Martin Luther, 1535]

9. Chorale Ah, my heart’s beloved little Jesus, make Yourself a pure, soft little bed within my heart’s chamber in which to rest, so that I never forget You! [Chorale text, Martin Luther, 1535] -English Translations, Pamela Dellal

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, 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,

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

[Isaiah 7:14; Matthew 1:23] ALTO & 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]

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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 & 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]

58 | encore JESSICA RIVERA, SOPRANO

ASHLEY LUTHMAN

G

rammy Award-winning soprano Jessica Rivera is one of the most creatively inspired vocal artists performing before the public today. The intelligence, dimension and spirituality with which she infuses her performances on great international concert and opera stages has garnered Rivera unique artistic collaborations with many of today’s most celebrated composers, including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff, Nico Muhly and Paola Prestini, and has brought her together with such esteemed conductors as Gustavo Dudamel, Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Markus Stenz, Bernard Haitink and Michael Tilson Thomas.

During the 2021/22 season, Rivera tours to Athens, GA, Lawrence, KS, and Houston & San Antonio, TX, with guitarist Sharon Isbin in a program of Spanish art songs, a project the duo debuted during the 2019 Aspen Music Festival. She returns to the Grand Rapids Symphony for Mahler’s Symphony No. 2, “Resurrection” under the baton of Marcelo Lehninger, Reno Philharmonic with Strauss’s Four Last Songs, and sings Handel’s Messiah with the Atlanta Symphony led by Norman Mackenzie.

As a recording artist, Rivera’s extensive discography includes releases on the Deutsche Grammophon, Nonesuch, Naxos, Telarc, Urtext, VIA Records, Opus Arte, CSO Resound, and ASO Media labels. Her third release for Urtext, an Homage to Victoria de los Angeles, is due for release in 2021.

Rivera serves on the vocal faculty at Miami University in Oxford, OH. For additional information about Ms. Rivera, please visit www.jessicarivera.com.

KELLEY O'CONNOR, MEZZO-SOPRANO Please see biography on page 32 SEAN PANIKKAR, TENOR

T

he American tenor of Sri Lankan heritage, Sean Panikkar, achieved a break-out success in his 2018 Salzburger Festspiele debut as Dionysus in a new production of Henze’s The Bassarids directed by Krzysztof Warlikowski under the baton of Kent Nagano and he was no less critically acclaimed that year in his Los Angeles Opera debut as Gandhi in the

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Highlights of the 2021/22 season include the principal role in a new production by Jan Lauwers of Nono’s Intolleranza 1960 at the Salzburger Festspiele conducted

by Ingo Metzmacher, Philip Glass’ Satyagraha at English National Opera directed by Phelim McDermott, a Wiener Staatsoper debut as Tambourmajor in a new production of Wozzeck directed by Simon Stone and conducted by Philippe Jordan, and the title role of Œdipus Rex at the San Francisco Symphony in a production by Peter Sellars conducted by Esa-Pekka Salonen. Concert appearances include Beethoven’s Ninth Symphony with Juraj Valčuha and the Minnesota Orchestra and with Christopher WarrenGreen and the Charlotte Symphony Orchestra.

CHRISTINA SHERK

company’s new production of Philip Glass’ Satyagraha directed by Phelim McDermott led by Grant Gershon.

An alumnus of San Francisco Opera’s Adler Fellowship, Sean Panikkar holds Master’s and Bachelor’s degrees in Voice Performance from the University of Michigan.

LAWSON ANDERSON, BASS-BARITONE awson Anderson is quickly establishing himself as one of the leading bass-baritones of his generation. A former management consultant with an MBA from Columbia Business School, Anderson has made waves in the opera world coming off of his Top Prize finish at the 2018 George London Foundation Competition; First Prize award from the Gerda Lissner Foundation’s 2017 International Vocal Competition; 2017 Opera Index Top Prize Arthur E. Walters Memorial Award; representing the USA as a Finalist of the 2017 Hans Gabor Belvedere finals in Moscow and the 2018 Viñas Contest in Barcelona; Grand Finalist of the 2017 Anita Cerquetti Voice Competition; 2017 Grant Winner from the Giulio Gari Foundation; Grant recipient of the Olga Forrai Foundation for Dramatic Voices, and 2017 Eastern Region Finalist in the Metropolitan Opera National Council Auditions.

In 2019, Anderson joined the principal roster of the Semperoper Dresden, taking on the roles of Figaro (Le nozze di Figaro), Guglielmo (Cosi fan Tutte), Schaunard (La bohème), Angelotti (Tosca), Marcel (Les Huguenots), Sprecher (Die Zauberflöte), Barone Douphol (La Traviata), and more. Recent highlights also include a lauded interpretation of Nick Bottom in Britten’s A Midsummer

FRAY FOX

L

60 | encore Night’s Dream at Nevill Holt; his debut as Méphistophélès in Gounod’s Faust and Colline in La Boheme; and on the concert stage as bass soloist in Handel’s Messiah and Verdi’s Requiem and more. Anderson is the student of Valentin Peytchinov.

ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS

A

cclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Orchestra Chamber Chorus has been an important part of 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, the Matthew and John Passions of Bach, the Rachmaninoff Vespers, Stravinsky’s Nightingale and the Mozart/Levin Requiem.

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ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS Norman Mackenzie

Jeffrey Baxter

Peter Marshall

director of choruses

choral administrator

The Frannie & Bill Graves Chair

The Florence Kopleff Chair

SOPRANO Hanan Davis Khadijah Davis Michelle Griffin* Amanda Hoffman Kathryn Jennison Mindy Margolis* Joneen Padgett* Mary Martha Penner Rachel O’Dell Anne-Marie Spalinger* Brianne Turgeon* Erika Wuerzner Wanda Yang Temko* Katie Woolf

ALTO Ana Baida Angelica Blackman-Keim Donna Carter-Wood** Marcia Chandler* Katherine Fisher Unita Harris Kathleen Kelly-George* Virginia Little* Katherine MacKenzie Linda Morgan** Katherine Murray* Kathleen Poe Ross Laura Rappold* Carol Wyatt*

accompanist

TENOR Jeffrey Baxter** David Blalock** LaRue Bowman John Brandt* Jack Caldwell** Daniel Compton Justin Cornelius Phillip Crumbly* Leif Gilbert-Hansen* Keith Langston* Michael Parker Christopher Patton* Mark Warden*

BASS Michael Arens** Dock Anderson Philip Barreca Russell Cason** Trey Clegg Michael Devine Timothy Gunter* Jameson Linville Peter MacKenzie Jason Maynard John Newsome Kendric Smith** Edgie Wallace* *20+ years of service **30+ years of service

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 !

62 | encore ASO | SUPPORT

T

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.

$1,000,000+

A Friend of the Symphony ∞

$100,000+

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

$75,000+

Arthur M. Blank Family Foundation

$50,000+

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.°∞

$35,000+

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

$25,000+

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 Livingston Foundation, Inc.∞

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 Marcus Foundation, Inc.∞ Slumgullion Charitable Fund National Endowment for the Arts Sally & Pete Parsonson∞ John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D. 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.

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$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 &

Dr. Ginger J. Chen Ms. Deborah A. Marlowe & Dr. Clint Lawrence John F. & Marilyn M. McMullan Ms. Molly Minnear Terence L. & Jeanne Perrine Neal Lynn & Galen Oelkers Ms. Margaret Painter∞ Victoria & Howard Palefsky The Piedmont National Family Foundation Charlie & Donna Sharbaugh Mr. John A. Sibley, III Ross & Sally Singletary Elliott & Elaine Tapp Ms. Brett A. Tarver Carol & Ramon Tomé Family Fund Adair & Dick White Kiki Wilson

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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.

$7,500+

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 Paul & Melody Aldo Dr. & Mrs. Scott I. Lampert Farideh & Al Azadi Foundation∞ Thomas & Lynne Saylor 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 Leadership Council ∞ Peter & Vivian de Kok We salute those extraordinary Marcia & John Donnell donors who have signed Eversheds Sutherland pledge commitments to Georgia-Pacific continue their annual giving The Robert Hall Gunn, Jr., for three years or more.

Fund The Hertz Family Foundation, Inc. Roya & Bahman Irvani For Clay & Jane Jackson more information about giving to the Atlanta Ann A. & Ben F. Johnson III° Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@ atlantasymphony.org.

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

64 | 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

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. Julian Bene & Dr. Amy Lederberg Susan & Jack Bertram Shirley Blaine Leon & Joy Borchers Mr. & Mrs. $3,500+ Andrew J. Bower° A Friend of the Carol Brantley & Symphony David Webster Mr. Herschel V. Beazley Martha S. Brewer Jacqueline A. & Dr. & Mrs. Joseph E. Brown, Jr. Anton J. Bueschen Mr. & Mrs. Dr. Aubrey Bush & Dennis M. Chorba Dr. Carol Bush Dieter Elsner & Mr. & Mrs. Othene Munson Walter K. Canipe John & Martha Head Mr. & Mrs. Charles Cape Sarah & Harvey Hill° Julie & Jerry Chautin Donald S. Orr & Susan S. Cofer Marcia K. Knight Malcolm & Ann Cole Mr. Charles R. Kowal Mr. & Mrs. R. Isabel Lamy Lee Barksdale Collins° Deborah & William Liss° Mr. Thomas J. Collins & Belinda & Gino Massafra Mr. Jeff Holmes Martha & Reynolds Ned Cone & McClatchey Nadeen Green

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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 James & Bridget Horgan°

Mrs. Sally Horntvedt Dr. Michael D. Horowitz° Dona & Bill Humphreys Barbara M. Hund The Hyman Foundation Mary & Wayne James Ms. Rebecca Jarvis Aaron & Joyce Johnson Mrs. Gail Johnson Mr. W. F. & Dr. Janice Johnston Cecile M. Jones Mr. & Mrs. David T. Jones Lana M. Jordan William L. & Sally S. Jorden Mr. & Ms. James Kieffer David & Jill Krischer Wolfgang* & Mariana Laufer Mr. & Mrs. Theodore J. Lavallee, Sr. Lillian Balentine Law Olivia A. M. Leon Elizabeth J. Levine Mr. & Mrs. J. David Lifsey Eunice Luke In Memory of Pam McAllister Mr. & Mrs. James McClatchey

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 Mrs. Susan H. Reinach Sharon & David Schachter° Dr. Bess T. Schoen Drs. Lawrence & Rachel Schonberger Mr. Jim Schroder Ms. Donna Schwartz Sam Schwartz & Dr. Lynn Goldowski

| 65

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 Ms. Sonia Witkowski 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 Kristen Fowks 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

66 | 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

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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

68 | 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 404.733.4800.

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.

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 404.733.4800.

M – F: 9am-5pm Visit aso.org 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 404.733.4800.

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.org/give.

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.

IMPORTANT PHONE NUMBERS

SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office to make advance arrangements: 404.733.4800.

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 404.733.4683.

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

404.733.5169

Educational Programs

404.733.4633

Atlanta Symphony Youth Orchestra

404.733.5096

Lost and Found

404.733.5239

Donations & Development 404.733.5079

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ASO | STAFF EXECUTIVE

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

RaSheed Lemon artist liaison

SALES & REVENUE MANAGEMENT

FINANCE & ADMINISTRATION

Hsing-I Ho

Russell Wheeler vice president, sales &

Susan Ambo

assistant orchestra

revenue management

& vice president,

personnel manager

Erin Jones

business operations

operations

& asyo

Victoria Moore director of orchestra personnel

chief financial officer

director of sales

Kimberly Hielsberg

Ronald MacDuff front of house & guest

senior director of

MARKETING & COMMUNICATIONS

services supervisor

Tammy Hawk vice president, marketing & communications

manager of patron

& season

tickets

controller

DEVELOPMENT

Delle Beganie content & production

Dennis Quinlan

Grace Sipusic vice president,

data analyst

development

manager

Robin Smith

Leah Branstetter

patron services

&

analysis

April Satterfield

Jesse Pace experience

financial planning

& season

William Keene director of annual giving

director of digital

ticket associate

Carol Wyatt

content

Catherine MacGregor

executive assistant to the

assistant manager of

Caitlin Buckers

ATLANTA SYMPHONY HALL LIVE

EDUCATION & COMMUNITY ENGAGEMENT

Elizabeth Daniell

Nicole Panunti vice president, atlanta

Dana Parness

associate director of

symphony hall live

coordinator

communications

Sarah Grant

Lisa Eng

Christine Lawrence

James Paulk

associate director of

annual giving officer

guest services

Cheri Snyder

co-artistic advisors

director of education

marketing manager, live

multimedia creative

Elena Gagon

manager, live

education coordinator

Adam Fenton

Ryan Walks

Joanne Lerner

donor engagement

individual giving

senior director of

atlanta symphony hall

development

director of multimedia

event manager

talent development

technology

Mia Jones-Walker

Michael Tamucci

Sarah Wilson

program manager

OPERATIONS

marketing manager

Sameed Afghani vice president &

Rob Phipps

general manager

Bob Scarr archivist & research

Paul Barrett senior production

director of publications

coordinator

stage manager

Will Strawn

Tyler Benware

associate director of

director of orchestra operations

& asyo

Richard Carvlin stage manager

marketing, live

Madisyn Willis marketing manager

event coordinator

development operations associate

70 | encore ASO | CORPORATE & GOVERNMENT SUPPORT

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.

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

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.

$1MILLION+

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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