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content March 2016
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The Future of Classical Music Gaining a taste for excellence with the Atlanta Symphony Orchestra’s student musicians. By Andrew Alexander
68 Visit Braselton 69 Elements Massage 71 Circus Camp 77 Emory Voice Center 79 Ruth’s Chris Steak House
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ASO | Welcome Dear Friends,
A
s we welcome March, I want to take a moment to celebrate Music in Our Schools Month and the Atlanta Symphony Orchestra’s education initiatives. During its 71-year history, the Atlanta Symphony Orchestra has been committed to inspiring young minds and nurturing the next generation of musicians and music lovers. Speaking of the next generation of musicians, the innovative Atlanta Symphony Youth Orchestra (ASYO) and the nationally acclaimed Talent Development Program (TDP) are featured in this issue of Encore.
In addition to these cornerstone programs, the Orchestra offers a plethora of other ways young people can connect with great music, including Concerts for Young People, which provide a gateway to orchestral music for students from public, private and parochial schools. All in all, the Atlanta Symphony Orchestra’s education programs reach more than 100,000 young people each year. Why is this so important? First, studies show that studying music is vital for student success. Second, the time to develop future audiences is now. Research shows that most people who enjoy orchestral music today had their first experience before age 14. It is essential for the future of the art form, and it is the right thing to do for our young people. I want to personally thank our musicians and staff for connecting with this very important audience. To our donors: Thanks to your generous support, we are able to provide high-quality experiences at a very low cost, ensuring that generations of young Georgians experience the thrill of live orchestral music. And from all of us: THANK YOU to the music educators, who ignite that spark through inspiring instruction. Bravo! Sincerely,
Jennifer Barlament
Roger Mastroianni
Executive Director
10 Atlanta Symphony Orchestra | aso.org
Robert Spano
C
onductor, pianist, composer and pedagogue Robert Spano is known for his unique communicative abilities. In 14 seasons as music director of the Atlanta Symphony Orchestra, this imaginative conductor has quietly been responsible for nurturing the careers of numerous classically trained composers and conductors. As music director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting. The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements have included such orchestras as the New York and Los Angeles philharmonics and San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, along with Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle.
Spano has a discography of critically acclaimed recordings for Telarc, Deutsche Grammophon and ASO Media, which were recorded in a nine-year span. He has won six Grammy awards with the Atlanta Symphony and is on the faculty at Oberlin Conservatory. He has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and is proud to live in Atlanta.
Derek Blanks
Maestro Spano began the 2015-16 season conducting the Saito Kinen Orchestra in Japan as part of a gala performance celebrating Seiji Ozawa’s 80th birthday. With the Atlanta Symphony Orchestra he leads four world premieres, seven Atlanta premieres and celebrates the centennial of the legendary Robert Shaw’s birth with Brahms’ A German Requiem and Leshnoff’s Zohar in Atlanta and at Carnegie Hall. Additional guestconducting engagements include the Minnesota Orchestra; the Oregon, Utah and Kansas City symphonies; Orquestra Sinfonica Brasileira; Orquestra Sinfonica Estado Sao Paulo; and Australia’s Melbourne Symphony. Maestro Spano holds a conductor residency with the Colburn School Orchestra in Los Angeles. As a pianist, he joins Wu Han and Alessio Bax for a program of piano masterworks as part of the Chamber Music Society of Lincoln Center’s residency at the University of Georgia in Athens.
ASO | leadership 2015-2016 Board of Directors Officers D. Kirk Jamieson Chair
Meghan H. Magruder Vice Chair
Thomas Wardell Vice Chair
John B. White Jr. Secretary
Suzanne Tucker Plybon Treasurer
Directors Keith Adams Neil H. Berman Paul Blackney Brett M. Blumencranz Frank H. Boykin Mary Rockett Brock Janine Brown† C. Merrell Calhoun Bill Carey S. Wright Caughman, M.D. Russell Currey Harry Cynkus
Carlos del Rio, M.D. Lynn Eden Shirley C. Franklin Paul R. Garcia Jason Guggenheim Virginia A. Hepner* Caroline Hofland Douglas R. Hooker Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Camille Kesler* Carrie Kurlander James H. Landon
Board of Counselors
Mrs. Helen Aderhold Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden
John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Herb Karp Jim Kelley George Lanier
Life Directors
Howell E. Adams Jr. Mrs. Drew Fuller Bradley Currey Jr. Mary D. Gellerstedt
Donna Lee Hank Linginfelter Karole Lloyd Kelly L. Loeffler Belinda Massafra* Brian F. McCarthy Penny McPhee† Terence L. Neal Joseph M. O’Donnell Howard D. Palefsky Sunny K. Park E. Fay Pearce Jr. Ronda Respess* William Schultz Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith
John Sibley Paul Snyder John Sparrow Gail Ravin Starr Joseph M. Thompson Ray Uttenhove S. Patrick Viguerie Kathy N. Waller Mark D. Wasserman Richard S. White Jr. Camille Yow
W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Chilton Varner Edus Warren Adair R. White Sue S. Williams
Azira G. Hill Mrs. Charles A. Smithgall Jr.
* Ex-officio † 2015-2016 Sabbatical
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AtlantaSymphonyOrchestra Robert Spano Music Director The Robert Reid ROBERT Topping Chair
FIRST VIOLIN
David Coucheron Concertmaster The Mr. and Mrs. SPANO Howard R. Peevy Chair Donald Runnicles Principal Guest The Mabel Dorn Conductor Reeder Honorary Chair The Neil and Sue Williams Chair Associate Concertmaster Vacant Michael Krajewski The Charles Principal Pops McKenzie Taylor Conductor Chair DONALD Joseph Young Justin Bruns RUNNICLES Assistant Conductor; Assistant/ Acting Associate Music Director Concertmaster of the Atlanta Symphony Youth Jun-Ching Lin Orchestra Assistant Concertmaster The Zeist Foundation Chair Anastasia Agapova Carolyn Toll Norman Mackenzie Hancock Director of Choruses John Meisner The Frannie and Christopher Pulgram MICHAEL KRAJEWSKI Bill Graves Chair Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich SECTION VIOLIN ‡
JOSEPH YOUNG
NORMAN MACKENZIE
Judith Cox Raymond Leung Sanford Salzinger
SECOND VIOLIN
Principal - Vacant The Atlanta Symphony Associates Chair Sou-Chun Su Associate/Acting Principal The Frances Cheney Boggs Chair Jay Christy Assistant/Acting Associate Principal Noriko Konno Clift Acting Assistant Principal Sharon Berenson David Braitberg David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton VIOLA
Reid Harris Principal The Edus H. and Harriet H. Warren Chair Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair Catherine Lynn Assistant Principal Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Sarah Park Chastain†
Players in string sections are listed alphabetically
CELLO
PICCOLO
HORN
TIMPANI
Christopher Rex Principal The Miriam and John Conant Chair Daniel Laufer Associate Principal The Livingston Foundation Chair Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Larry LeMaster Brad Ritchie Paul Warner
Carl David Hall
Brice Andrus Principal The Betty Sands Fuller Chair Susan Welty Associate Principal Ernesto Tovar Torres • Jaclyn Rainey • Bruce Kenney
Mark Yancich Principal The Walter H. Bunzl Chair William Wilder Assistant Principal
BASS
Colin Corner • Principal The Marcia and John Donnell Chair Gloria Jones Associate Principal Lucy R. & Gary Lee Jr. Chair Jane Little Assistant Principal Emeritus Karl Fenner • Michael Kenady Michael Kurth Joseph McFadden Daniel Tosky • FLUTE
Christina Smith Principal The Jill Hertz Chair Robert Cronin Associate Principal C. Todd Skitch Carl David Hall
OBOE
Elizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown Chair Yvonne Powers Peterson Associate Principal The Kendeda Fund Chair Samuel Nemec Emily Brebach ENGLISH HORN
Emily Brebach CLARINET
Laura Ardan Principal The Robert Shaw Chair Ted Gurch Associate Principal 2nd Clarinet Vacant Alcides Rodriguez E-FLAT CLARINET
Ted Gurch BASS CLARINET
Alcides Rodriguez BASSOON
Andrew Brady • Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar CONTRABASSOON
Juan de Gomar
PERCUSSION
Stuart Stephenson Principal The Madeline and Howell Adams Chair Associate Principal Vacant Michael Tiscione Acting Associate Principal/Second Michael Myers
Thomas Sherwood** Principal The Julie and Arthur Montgomery Chair Charles Settle Acting Principal The Connie and Merrell Calhoun Chair William Wilder Assistant Principal The William A. Schwartz Chair
TROMBONE
HARP
Principal - Vacant The Terence L. Neal Chair, Honoring his Dedication and Service to the Atlanta Symphony Orchestra Nathan Zgonc Acting Principal Joshua Bynum † Brian Hecht
KEYBOARD
TRUMPET
BASS TROMBONE
Brian Hecht The Home Depot Veterans Chair TUBA
Michael Moore Principal ‡ rotate between sections ** Leave of absence
Elisabeth Remy Johnson Principal The Sally and Carl Gable Chair The Hugh and Jessie Hodgson Memorial Chair Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY
Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian † Regularly engaged musician • New this season
the
PHOTOS BY: JEFF ROFFMAN
FUTURE of classical music Gaining a taste for excellence with the Atlanta Symphony Orchestra’s student musicians by Andrew Alexander
18 Atlanta Symphony Orchestra | aso.org
F
or 41 years, the Atlanta Symphony Youth Orchestra (ASYO) has given Atlanta’s most dedicated young musicians the opportunity to taste what it’s like to perform in a professional ensemble. Before each season begins, more than 300 students from eighth to 12th grade audition for one of 120 coveted seats in the youth orchestra.
The talented few who make it take part in presenting a three-concert series, participating in rehearsals, sectionals and master classes with professional musicians. The upcoming Crescendo Concert on March 13 will feature John Adams’ Chairman Dances and excerpts from Puccini’s La bohème; the Finale Concert on May 8 features Tchaikovsky’s Romeo and Juliet and Britten’s Young Person’s Guide to the Orchestra. The ASYO concerts will take place in Symphony Hall. “They do a really good job of making the ASYO as similar to a professional orchestra as possible,” says Chamblee High School senior and ASYO Concertmaster Malhar Kute. “Playing in a group is always going to be beneficial because there are always things you can learn from being around other talented musicians and other people who are as dedicated as you are.” Kute auditioned for the ASYO when he was in ninth grade and describes his success at that first audition as “a long shot,” considering the level he played at then. “I encoreatlanta.com | Atlanta’s Performing Arts Publication 19
was really surprised, but I’m glad I made it, because I’ve learned a lot,” he says. “I was in the back of the section at first, but I was around these other great musicians who I got to see every week. It really had an impact on my playing. I got to learn what was required of musicians in order to get better.” ASYO players typically meet Saturday mornings to rehearse at the Woodruff Arts Center. The sessions are intense, involving group rehearsals as a full ensemble under Joseph Young, ASYO music director and Atlanta Symphony Orchestra assistant conductor, as well as sectionals with ASO members. Young typically leads 10 rehearsals before each ASYO concert, and the concerts are comprised of major symphonic repertoire. “How many students can say they’ve played the whole Tchaikovsky Fourth Symphony in high school?” asks Young, who says he chooses music that he knows will
JOSEPH YOUNG 20 Atlanta Symphony Orchestra | aso.org
challenge the students to become better players. He points out that one of his primary tasks as a conductor of young people is to teach the students to listen to each other and to begin playing as a unified group. “These players meet each other at the beginning of the year, and they have to form this ensemble. They have to get to know each other. They have to learn how to listen to each other. Every year it’s a different orchestra, and every year we have to figure out how to play together.” For more than 20 years, the Atlanta Symphony Orchestra’s Talent Development program has identified and supported talented, young and gifted African-American and Latino students of every orchestral instrument to prepare them for acceptance into top music programs and possible careers as professional musicians. “What I’ve learned is how to make music at a higher level, how to play as part of a section and the techniques that professional musicians use,” says Gabriel English, an Allatoona High School senior and ASYO and TDP double bass. TDP participants typically take part in one-on-one lessons with Orchestra members as part of the program, and some are ASYO members, as well. “Compared to my previous experiences, this is just a much higher standard.” English says his favorite composer is Stravinsky and that he especially loves 20th-century music. As a high school senior, he’s auditioning for music schools and says his top choice is the Curtis Institute of Music in Philadelphia, where he hopes to study both performance and composition and eventually join a professional orchestra. He credits his experience with the ASYO and TDP as central to his improvement as a musician.
The inspiration for the Talent Development Program came from Azira G. Hill, who remains active in the program today. To honor her contributions, the Azira G. Hill Scholarship was established to provide financial assistance to TDP students to attend intensive summer music programs. English has spent two summers at Interlochen Center for the Arts in Michigan. “A lot of my improvement has come from my summer camp experience,” he says. Daniel Tancredit, a Pope High School senior and ASYO and TDP double bass, says he’s already been accepted to his music school of choice, the Royal College of Music in London. He’s waiting to hear about scholarships before making his final decision. He says that the ASYO and TDP gave him experiences and insights he wouldn’t have had otherwise.
“It really taught me to discipline myself and pay attention to all the little details. That’s how you become the best: working hard and being very picky about your practice and your sound.”
“It really taught me to discipline myself and pay attention to all the little details,” he says. “That’s how you become the best: working hard and being very picky about your practice and your sound. It’s about everything you do, not just in music, but in being a person, too. I might be cranky driving up to ASYO in the morning, but the minute I start playing I change completely. I just feel very happy.” Young says that whatever path young musicians of the ASYO choose, he’s proud to help them on their way. “Working with these students has been an incredible experience,” says Young. “They are not only talented, but they are willing to open their minds to new music and new experiences. The memory of the Youth Orchestra will always be with them, and I’m proud to be a part of that memory and that legacy.”
DANIEL TANCREDI
encoreatlanta.com | Atlanta’s Performing Arts Publication 21
ASO | sponsors AtlantaSymphonyOrchestra
The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Delta is proud to celebrate over 71 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships. Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin. The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation. The Atlanta Symphony Orchestra records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels. Media sponsors: WABE, WSB AM, and AJC. Trucks provided by Ryder Truck Rental Inc.
22 Atlanta Symphony Orchestra | aso.org
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ASO | 3.3/5 | program AtlantaSymphonyOrchestra
ASO | 3.3/5| program
The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Concert Concerts of Thursday, March 3, and Saturday, March 5, 2016, at 8pm.
Marc Piollet, Conductor Augustin Hadelich, Violin This weekend’s performances are dedicated in loving memory of Dr. James Hund, Atlanta Symphony Orchestra Lifetime Director, and a great champion of classical music.
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.
KEN MELTZER, Atlanta Symphony Orchestra Program Annotator
BORIS BLACHER (1903-1975) Orchestra Variations on a Theme by Paganini, Opus 26 (1947) 15MIN JEAN SIBELIUS (1865-1957) Concerto in D minor for Violin and Orchestra, Opus 47 (1903/4, rev. 1905) 33MIN I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Augustin Hadelich, violin INTERMISSION 20MIN JOHANNES BRAHMS (1833-1897) Symphony No. 4 in E minor, Opus 98 (1885) I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato
Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org. 24 Atlanta Symphony Orchestra | aso.org
42MIN
Notes on the Program by Ken Meltzer Orchestra Variations on a Theme by Paganini, Opus 26 (1947)
and Witold Lutosławski’s Variations (1978).
BORIS BLACHER was born in Niu-chang, China, on Jan. 19, 1903, and died in Berlin on Jan. 30, 1975. The first performance of Orchestra Variations took place in Leipzig, Germany, on Nov. 27, 1947, with Herbert Albert conducting the Leipzig Gewandhaus Orchestra. Orchestra Variations is scored for piccolo, three flutes, two oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and strings.
Another work based upon the Caprice No. 24 is German composer Boris Blacher’s Orchestral Variations on a Theme of Paganini. Blacher completed his Orchestral Variations in 1947. The work premiered in Leipzig on Nov. 27, 1947. Herbert Albert conducted the Leipzig Gewandhaus Orchestra.
Most Recent Classical Subscription Performances: Feb. 15, 16, and 17, 2001, William Eddins, Conductor.
T
he Italian violinist Nicolò Paganini (1782-1840) was one of the greatest and most charismatic virtuosos in the history of music. Paganini’s riveting stage presence, coupled with the violinist’s spellbinding technique, repeatedly drove audiences into a frenzy.
It’s not suprising that Paganini’s violin compositions showcased his unique talents. While commentators have differed on the musical value of these works, there is no question they exerted a profound influence on subsequent artists. One composition in particular, the last of Paganini’s 24 Caprices for Solo Violin, Opus 1 (ca. 1805), has served as the inspiration for such pieces as Johannes Brahms’ Paganini Variations, Opus 35 (1863) for solo piano; Nathan Milstein’s Paganiniana (1954) for solo violin; and two pieces for solo piano and orchestra, Sergei Rachmaninov’s Rhapsody on a Theme of Paganini, Opus 43 (1934)
As in the case of Paganini’s original Caprice, Blacher’s orchestral work is in theme and variations form. The Orchestral Variations opens with the Paganini theme, in its original version for solo violin. A series of 16 brilliant and diverse orchestra variations (many jazz-influenced) on the Paganini theme follows, culminating with the grand final bars. Concerto in D minor for Violin and Orchestra, Opus 47 (1903/4, rev. 1905) JEAN SIBELIUS was born in Tavastehus, Finland, on Dec. 8, 1865, and died in Järvenpää, Finland, on Sept. 20, 1957. The first performance of the Violin Concerto took place in Helsinki, Finland, on Feb. 8, 1904, with Viktor Novᡠcek as soloist and the composer conducting. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. First Classical Subscription Performance: Nov. 18, 1952, Tossy Spivakovsky, Violin, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: May 31 and June 1-2, 2012, David Coucheron, Violin, Robert Spano, Conductor. Robert Shaw Performances: (Classical Subscription, unless otherwise noted) Nov. 6, 7 and 9, 1969, Erick Friedman, Violin; Nov. 11, 12, 13 and 14, 1969, Erick
encoreatlanta.com | Atlanta’s Performing Arts Publication 25
ASO | 3.3/5| program
First Classical Subscription Performances: Jan. 13, 14, and 15, 1983, Hiroyuki Iwaki, Conductor.
Paganini
ASO | 3.3/5 | program The Concerto has three movements. The first (Allegro moderato) is based on two themes. Muted strings accompany the soloist’s extended introduction of the haunting opening theme. After a short cadenza, a brooding orchestral passage develops into the second principal theme, first intoned by the bassoons and cellos, and later played with searing passion by the soloist. An expansive solo cadenza replaces the traditional development section. The slow second movement (Adagio di molto) opens with a brief, evocative introduction by the winds. The soloist enters with the Adagio’s throbbing principal melody. The boisterous third movement (Allegro, ma non tanto) has inspired some picturesque characterizaSibelius then offered the premiere to Victor tions. The composer once referred to it as Nováˇcek, a teacher in Helsinki and, by a danse macabre, while the eminent British all accounts, a violinist of decidedly lesser musician Sir Donald Francis Tovey dubbed ability than Burmester. Sibelius hoped for the finale “a polonaise for polar bears(!)” a premiere in November, but delays in completing the final score postponed the Symphony No. 4 in E minor, Opus 98 (1885) first performance until Feb. 8, 1904, just JOHANNES BRAHMS was born in a month before Burmester would have Hamburg, Germany, on May 7, 1833, and been available. At the premiere, Nováˇcek died in Vienna on April 3, 1897. The first struggled with the considerable technical performance of the Symphony No. 4 took challenges of the work. In the summer of place in Meiningen, Germany, on Oct. 1905, Sibelius made substantial changes to 25, 1885, with the composer conducting the Concerto, tightening its structure and the Meiningen Orchestra. The Symphony altering or removing many passages. No. 4 is scored for piccolo, two flutes, Friedman, Violin (Tour).
ASO | 3.3/5| program
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ean Sibelius began work on his Violin Concerto in 1902. A driving force behind the work was Willy Burmester, an acclaimed virtuoso and former leader of the Helsinki Philharmonic. Burmester, a great admirer of Sibelius, encouraged the composer to finish the Concerto, and even offered to play the first performance. Sibelius was enthusiastic about the prospect, and offered Burmester a November 1903, premiere. However, Burmester’s schedule precluded any performances until March of 1904. Sibelius was in dire financial straits, and needed to present the work as soon as possible.
Sibelius’ publisher scheduled the premiere of the revised Concerto to take place in Berlin on Oct. 19, 1905, with Richard Strauss conducting and Karl Halir, leader of the Berlin Orchestra, as soloist. Sibelius rather meekly noted that he had promised the next performance to Burmester, but the publisher insisted that the concert take place with the scheduled artists. Burmester, who offered so much support and encouragement in the creation of the Sibelius Violin Concerto, never played this magnificent work. 26 Atlanta Symphony Orchestra | aso.org
two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle and strings. First Classical Subscription Performance: March 10, 1952, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: April 4, 5 and 6, 2014, Donald Runnicles, Conductor. Robert Shaw Performances: (Classical Subscription, unless otherwise noted) Feb. 8, 1968; Sept. 29, 30, and Oct. 1,
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ohannes Brahms composed his Fourth (and final) Symphony during the summers of 1884 and 1885, while vacationing in the Alpine village of Mürzzuschlag. The eminent German pianist and conductor Hans von Bülow was thrilled by the score, and invited Brahms to conduct his Meiningen Orchestra in the Oct. 25, 1885, premiere. The favorable response prompted that Orchestra to perform the Symphony during its autumn tour of Germany and Holland. On March 7, 1897, in Vienna, the mortally-ill Brahms attended his final orchestral concert, in which Hans Richter conducted the E-minor Symphony. The audience became aware of Brahms’ presence, and applauded after each movement. At the conclusion of the Symphony, the audience leapt to its feet and offered a massive ovation in tribute to Brahms. The frail composer summoned his remaining energy to rise and acknowledge the cheers. As biographer Florence May described: Tears ran down his cheeks as he stood there, shrunken in form with lined countenance, strained expression, white hair hanging lank, and through the audience there was a feeling as of a stifled sob, for each knew that he was
saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master, and Brahms and his Vienna had parted forever. It is entirely appropriate that the Fourth Symphony served to mark the farewell of Brahms to his beloved Viennese public. The work represents the summit of the composer’s extraordinary symphonic output. While each of the Four Symphonies is an undisputed masterpiece, the E-minor is the perfect synthesis of Classical (and even pre-Classical) form with searing Romantic passion and lyricism. The Fourth Symphony’s dramatic power — couched in a miraculous economy of utterance — continues to move and amaze audiences. The Symphony is in four movements. The first (Allegro non troppo) begins with the violins’ immediate presentation of the principal theme, based upon alternating pairs of descending and ascending notes. The second movement (Andante moderato) is a series of variations on a theme, introduced at the outset by the horns and woodwinds. Brahms once described the stirring third-movement scherzo (Allegro giocoso) as “Alexander the Great’s march to India.” In the finale (Allegro energico e passionate), Brahms uses his version of music from J.S. Bach’s Cantata No. 150 as the underlying structure for a series of 30 variations. The movement is also cast in a general A-BA form, with two fiery outer sections and a central, lyrical episode. The concluding “A” section gathers intensity to the shattering final bars.
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1971; Oct. 5, 1971 (Special); Oct. 25, 26, 27, 28, 29, 1971 (Tour); Nov. 22, 1971 (Runout); Feb. 21, 26, April 16, 17, 18, 19, 20, 21 and 22, 1972 (Tour); Jan. 23, 1975 (Tour); Feb. 23, 24, 25, 1978; Sept. 14, 15, 16, 1978; Oct. 6, 12, 13, 14, 1978 (Tour); Nov. 12, 1978 (Runout); Jan. 26, 1979 (Runout); Oct. 14, 15, 16, 1982; Oct. 22, 23, 24, 25, 1982 (Tour); Jan. 19, 24, 25, 26, 27, 29, March 23, 1983 (Tour); June 12, 1983 (Atlanta Parks); April 24, 25, 26, 1986; Oct. 6, 1987 (Runout).
ASO | 3.3/5 | artists MARC PIOLLET, Conductor
ter Frankfurt, Dresdner Philharmonie, MDR onductor Marc Piollet was general Sinfonieorchester Leipzig, Staatsphilharmonie music director at the Hessisches Rheinland-Pfalz, Salzburg Mozarteum Staatstheater Wiesbaden, where Orchestra, Tivoli Symphony and Tokyo performances included Wagner’s complete Symphony Orchestra, among others. Ring and new productions of Don Carlos, In his native France, he conducted the Elektra, Falstaff, Faust, Freischütz, Orchestre National de Lyon, Orchestre Idomeneo, La bohème, Lulu, Rigoletto, National de Lille, Orchestre National des Rosenkavalier, Salome, Tristan und Isolde Pays de la Loire, Orchestre National de and Tosca, among others. He concluded Bordeaux, Philharmonie de Lorraine Metz his tenure in Wiesbaden with premieres of and, in Belgium, the Royal Philharmonic Fidelio, Simon Boccanegra and Lohengrin, Orchestra Antwerp. the latter at the International May Festival. AUGUSTIN HADELICH, violin
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Major operatic guest engagements of the past include Staatsoper Hamburg with La traviata, Vlaamse Opera in Antwerp, Belgium, with Il trovatore and Opera Cologne (La bohème) and Carmen at the Théâtre Graslin in Nantes, France. His debut at the Opéra National de Paris was so successful that he was invited for two other productions, Les contes d’Hoffmann (with Rolando Villazon singing the title role) and Il barbiere di Siviglia. Likewise, the Vienna State Opera, where he made his debut also with Barbiere, invited him for further performances. Mr. Piollet studied conducting and choir directing at the Hochschule der Künste in Berlin and took master classes with John Eliot Gardiner, Michael Gielen and Kurt Masur. In 1995, he was the only prize-winner at the Dirigenten-Forum of the Deutscher Musikrat. Mr. Piollet’s concert engagements include such renowned orchestras as Bamberger Symphoniker, Münchner Philharmoniker, Konzerthausorchester Berlin, hr-Sinfonieorches28 Atlanta Symphony Orchestra | aso.org
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onsistently cited in the press for his “gorgeous tone,” “poetic communication” and “fast-fingered brilliance,” Augustin Hadelich has confirmed his place in the top echelon of young violinists. Recent debuts include the Chicago Symphony, Pittsburgh Symphony, the Orpheus Chamber Orchestra in Carnegie Hall and the Finnish Radio Orchestra, as well as return performances with the London Philharmonic, the Philadelphia Orchestra, and the symphonies of Atlanta, Cincinnati, Detroit, Louisville, Milwaukee, New Jersey, Oregon, Seattle, Utah and Vancouver. Other projects include a return to the Wigmore Hall in London, a recording with the London Philharmonic, a residency with the Bournemouth Symphony and numerous recital appearances in Germany. An unusually gifted recitalist, Mr. Hadelich has appeared at Carnegie Hall, the Frick Collection (New York), Kennedy Center, Philadelphia Chamber Music Society, Vancouver Recital Society, the Louvre and Kioi Hall in Tokyo. A recent recording of the Mendelssohn Violin Concerto and Bartók’s Concerto No. 2 with the Norwegian Radio Orchestra under Miguel Harth-Bedoya was released
Mr. Hadelich plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society.
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The 2006 Gold Medalist of the International Violin Competition of Indianapolis, Mr. Hadelich is the recipient of an Avery Fisher Career Grant (2009), a Borletti-Buitoni Trust Fellowship in the United Kingdom (2011) and Lincoln Center’s Martin E. Segal Award (2012). Most recently, he won othe first Warner Music Prize (2015).
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on AVIE in the spring of 2015. For the Seattle Symphony with Ludovic Morlot, Mr. Hadelich has recorded Dutilleux’s violin concerto, L’arbre des songes, (Seattle Symphony MEDIA), which just won a 2016 Grammy Award for best classical instrumental solo.
ASO | 3.10/12 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Concert
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Concerts of Thursday, March 10, and Saturday, March 12, 2016, at 8pm. Additional support is generously provided by
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.
KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.
Norman Mackenzie, Conductor and Director of Choruses Jeanine De Bique, soprano Magdalena Wór, mezzo-soprano Richard Clement, tenor Tom McNichols, bass Atlanta Symphony Orchestra Chamber Chorus Atlanta Symphony Orchestra Chorus WOLFGANG AMADEUS MOZART (1756-1791) Mass in C Major, K. 317 (“Coronation”) (1779) 27MIN I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Angus Dei Jeanine De Bique, soprano Magdalena Wór, mezzo-soprano Richard Clement, tenor Tom McNichols, bass INTERMISSION
Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org. 32 Atlanta Symphony Orchestra | aso.org
20MIN
Notes on the Program by Ken Meltzer
FELIX MENDELSSOHN (1809-1847) Heilig, WoO 27 (1846) 2MIN GIUSEPPE VERDI (1813-1901) Stabat mater (No. 2) from Quattro pezzi sacri (1898)
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FRANCIS POULENC (1899-1963) Gloria (1959) I. Gloria in excelsis Deo
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MAURICE DURUFLÉ (1902-1986) Requiem, Opus 9 (1947) IV. Sanctus
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JOHANN SEBASTIAN BACH (1685-1750) Mass in B minor, BWV 232 (1749) 3MIN VII. Gratias agimus tibi FELIX MENDELSSOHN (1809-1847) Elijah, Opus 70 (1846) 4MIN No. 42, Chorus: “And then shall your light break forth”/“Lord our Creator” Surtitles by Ken Meltzer Mass in C Major, K. 317 (Coronation) (1779) WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on Jan. 27, 1756, and died in Vienna on Dec. 5, 1791.
it be in a Catholic country.” The composer’s mother, Anna Maria, accompanied Mozart on this trip. On July 3, 1778, while in Paris, she died, at the age of 57. In a letter to his friend Abbé Bullinger Mozart revealed: Her life flickered out like a candle. Three days before her death she made her confession, partook of the Sacrament and received Extreme Unction. During the last three days, however, she was constantly delirious, and today at twenty-one minutes past five o’clock the death agony began and she at once lost all sensation and consciousness. I pressed her hand and spoke to her — but she did not see me, she did not hear me, and all feeling was gone. She lay thus until she expired five hours later at twenty-one minutes past ten. When Mozart returned to Salzburg in January 1779, he had failed to secure the appointment he so desired. And so, he accepted the position of court organist to the Archbishop of Salzburg. Mozart’s duties required him “to serve the Court and the Church with new compositions made by him.” Mozart remained in Salzburg for two more years before finally staking his independence in Vienna in the spring of 1781.
On March 23, 1779, two months after his return to Salzburg, Mozart completed his n September of 1777, Mozart left his Mass in C Major, K. 317. The work, scored native Salzburg and began an 18-month for a quartet of vocal soloists, chorus and journey to Munich, Augsburg, Mannheim orchestra, is known as the Coronation and Paris. He felt his talents were not Mass. It was long believed that the nickappreciated in Salzburg, and hoped his name derived from a performance of the travels would lead to new employment work, held in celebration of a miraculous opportunities. As Mozart wrote to his crowning of a statue of the Virgin Mary at father Leopold from Paris: “You know Plain, near Salzburg. In fact, the nickname there is nothing I desire more than a good refers to a 1791 performance of the Mass appointment, good in its standing and good in Prague for the coronation of Emperor in money — no matter where — provided Leopold II, conducted by Antonio Salieri.
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JOHANNES BRAHMS (1833-1897) Nänie (Threnody), Opus 82 (1880-81) 13MIN
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ASO | 3.10/12 | program The Coronation Mass is a brilliant, joyous and inspirational synthesis of vocal and orchestral forces. Also of interest are the premonitions in the Coronation Mass of future Mozart operatic compositions. Perhaps the most obvious example is the similarity of the soprano’s solo in the Agnus Dei to the aria “Dove sono” in Mozart’s The Marriage of Figaro, where the Countess laments the loss of her husband’s love. Like many great composers, Mozart believed that fervent, heartfelt expression had its place in both secular and sacred works.
incident. When he was about 7, he served as an altar boy. During Mass, the young Verdi failed to respond promptly to the priest’s request for water and wine. The priest shoved Verdi, and the child fell from the altar. The humiliated boy responded with the peasant curse, “Dio t’ manda ’na sajetta!” (“May God strike you with lightning!”). In a surreal turn of events, the priest was indeed struck by lightning and killed eight years later.
In such operas as Don Carlos and Aida, Verdi chillingly portrayed hypocrisy within the religious hierarchy. But Verdi was also Nänie (Threnody), Opus 82 (1880-81) capable of writing music of extraordinary JOHANNES BRAHMS was born in beauty that portrayed sincere religious ferHamburg, Germany, on May 7, 1833, and vor. One need only hear the supplications of died in Vienna on April 3, 1897. Amelia in Un ballo in maschera, Leonora in rahms’ choral works often explored the La forza del destino, Aida, or Desdemona subjects of mortality and fate. Brahms in Otello to realize that Verdi’s operatic composed Nänie in memory of his friend, characters could pray with as much sincerthe painter Anselm Feuerbach, who died in ity and devotion as anyone. And in such January 1880. works as the Manzoni Requiem (1874) and Heilig, WoO 27 (1846) his final compositions, the Quattro pezzi sacri (Four Sacred Pieces) (1898), Verdi FELIX MENDELSSOHN was born in proved himself a master of sacred music. Hamburg, Germany, on Feb. 3, 1809, and
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died in Leipzig, Germany, on Nov. 4, 1847.
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endelssohn’s Heilig is part of a larger composition, Die Deutsche Liturgie, MWV B 57. The brief a cappella choral work is a setting of Isaiah 6:3, and Matthew 21:9.
The second of the Four Sacred Pieces, Stabat mater, depicts the pain of the grieving Mary, standing at the foot of Jesus’ cross. “Gloria in excelsis Deo” from Gloria (1959)
Stabat mater (No. 2) from Quattro pezzi sacri (1898)
FRANCIS POULENC was born in Paris on Jan. 7, 1899, and died there Jan. 30, 1963.
GIUSEPPE VERDI was born in Roncole, Italy, on Oct. 9 or 10, 1813, and died in Milan on Jan. 27, 1901.
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rancis Poulenc composed his Gloria, scored for soprano solo, mixed chorus and orchestra, in response to a commission iuseppe Verdi harbored a lifelong from the Koussevitsky Foundation. distrust for organized religion. “Sta Poulenc dedicated the Gloria “to the lontan dai pret” (“Stay away from priests”), memory of Serge and (his wife) Nathalie he once cautioned a family member. Verdi’s Koussevitsky.” The premiere took place in negative feelings toward organized religion Boston’s Symphony Hall on Jan. 20, 1961. may have originated with a childhood Adele Addison was the soprano soloist, and
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ohann Sebastian Bach’s creation of his Mass in B minor — one of the greatest Typical of Poulenc’s works, the Gloria fea- sacred choral works — spans several years. tures an intriguing and effective synthesis In 1733, he composed a setting for vocal of styles — classical and popular, sacred soloists, chorus and orchestra of the Kyrie and secular. Poulenc commented: “When and Gloria portions of the Catholic Mass. I wrote this piece, I had in mind those Toward the close of his life, he returned to frescoes by Gozzoli where the angels stick the composition, adding the Credo, Sanctus out their tongues. And also some serious and Agnus Dei to form the complete work. Benedictine monks I had once seen reveling It is a testament to Bach’s genius that, despite the circumstances surrounding the in a game of football.” “Sanctus” from Requiem, Opus 9 (1947) creation of the Mass in B minor, it emerges as a unified, glorious masterpiece. German MAURICE DURUFLÉ was born in Louviers, composer Karl Friedrich Zelter (1758France, on Jan. 11, 1902, and died in Paris 1832) praised Bach’s Mass in B minor as on June 16, 1986. “probably the greatest musical work of art rench composer and organist Maurice that the world has ever seen.” His words Duruflé offered this description of his were echoed by Swiss composer Hans Georg Requiem. Nägeli (1773-1836), who acclaimed Bach’s creation as the “greatest work of music of My Requiem … is entirely composed all ages and of all peoples.” Bach’s Mass in on Gregorian themes from the Mass B minor continues to inspire awe among of the Dead … As a general rule, I all who are fortunate enough to make its have above all tried to feel deeply sublime acquaintance. the particular style of the Gregorian themes: and I have done my best “And then shall your light break to reconcile as far as possible the forth”/“Lord our Creator” from Elijah, Gregorian rhythmic patterns, as fixed Opus 70 (1846) by the Benedictines of Solesmes, FELIX MENDELSSOHN was born in with the demands of the modern bar Hamburg, Germany, on Feb. 3, 1809, and structure. As for the musical form of died in Leipzig, Germany, on Nov. 4, 1847. each of these pieces, it is generally endelssohn created his biblical inspired by the relevant liturgical form. oratorio Elijah as a commission from Duruflé’s synthesis of the ancient and the England’s Birmingham Festival. He first modern resulted in a unique and hauntingly composed the music to a German libretto beautiful work, one of the great settings of he prepared with friend Julius Schubring. the Requiem. After completing the work in early 1846, “Gratias agimus tibi” from Mass in B Mendelssohn collaborated with William minor, BWV 232 (1749) Bartholomew to fashion an EnglishJOHANN SEBASTIAN BACH was born in language version. It was that version that Eisenach, Germany, on March 21, 1685, and Mendelssohn conducted on Aug. 26, died in Leipzig, Germany, on July 28, 1750. 1846, when Elijah received its triumphant premiere at Birmingham Town Hall.
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Charles Munch conducted the Chorus Pro Musica and Boston Symphony Orchestra.
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This concert concludes with Elijah’s final chorus. NORMAN MACKENZIE, Director of Choruses
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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. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and annually conducts holiday concerts. During his tenure, the chorus has taken numerous tours, earned several Grammy awards for best classical album and best choral performance and made an acclaimed debut with the Berlin Philharmonic. Mr. Mackenzie also serves as organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church and pursues an active recital and guest conducting schedule.
assistant choral conductor. He also was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing and partnered with Robert Spano for the 20th anniversary workshop featuring the Berlioz Requiem. JEANINE DE BIQUE, soprano
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ecognized as an artist of “dramatic presence and versatility” (The Washington Post), Trinidadian soprano Jeanine De Bique’s luscious tone and compelling stage presence have led to accolades around the world.
Her 2015-16 season engagements include debuts with Boston Baroque (Messiah), Grand Rapids Symphony (Ein Deutsches Requiem), and the Jacksonville Symphony Orchestra (Mozart’s Mass in C minor), as well as debuts with Opera di Roma as Consuelo in Adams’ I Was Looking at the Ceiling and Then I Saw the Sky, and with Fresno Grand Opera as Sister Rose in Dead The New York Times calls him Robert Man Walking. Shaw’s “designated Last season, Ms. De Bique appeared with successor.” In his 14-year Theater Heidelberg as Climene in Jommelli’s association with Mr. Fetonte, debuted with Cincinnati Opera as Shaw, Mr. Mackenzie Pearl in Ricky Ian Gordon’s Morning Star was keyboardist for and appeared in recital in the United States the Atlanta Symphony and Canada. Orchestra, principal Ms. De Bique’s recent engagements include accompanist for the ASO Central City Opera (Sister Rose in Dead Choruses and, ultimately, Man Walking), St. Petersburg Opera (Juliette 36 Atlanta Symphony Orchestra | aso.org
MARCO BORGGREVE
Mendelssohn adored the oratorios of Handel as well as Bach’s St. Matthew Passion (a work Mendelssohn revived in Leipzig in 1841). In Elijah, Mendelssohn combined the influence of those Baroque masterpieces with his own cultivated form of Romantic expression.
Memphis Symphony Orchestra, Richmond Symphony Orchestra, Alabama Symphony Orchestra and the New Trinity Baroque. Music critics and fans alike praise the rich color of her voice and flexibility — which allow her to sing low and high mezzo repertoire spanning Baroque through the 21st century — and for her devotion to both the music and the text. RICHARD CLEMENT, tenor
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rammy-winning American tenor Richard Clement has performed with most of America’s major orchestras and music directors, bringing tonal beauty and superb musicality to repertoire from the Baroque to the contemporary. He recently earned acclaim for the title role of Elgar’s MAGDALENA WÓR, mezzo-soprano The Dream of Gerontius with the North olish born mezzo-soprano Magdalena Carolina Symphony and Sacramento Choral Wór is a winner, finalist and recipient of Arts Society and Orchestra. In addition, he many prestigious national and international premiered — and recorded — Theofanidis’ competitions and awards, including The Here and Now with Robert Spano and the Marcello Giordani and Moniuszko the Atlanta Symphony, International vocal competitions, including performances Metropolitan Opera National Council in Atlanta and at New Auditions and Marcella Kochanska York’s Carnegie Hall. Sembrich Vocal Competition. He’s among the most She is an alumna of the Washington in-demand tenors for National Opera’s Domingo-Cafritz and Beethoven’s Ninth San Francisco Opera’s Merola Opera Symphony, receiving programs. In the past invitations from the several seasons Ms. Wór Brooklyn Philharmonic; has worked with The Saint Paul Chamber Orchestra; and the New Metropolitan Opera, Jersey, Milwaukee, San Antonio, Oregon, the National Symphony Memphis, San Diego, Baltimore, Nashville, Orchestra and the Phoenix, Colorado and Toledo symphonies, National Philharmonic among others. He sang Elijah with the in Washington, D.C., Memphis and Charlotte symphonies; the the Washington Verdi Requiem with the Santa Rosa and National Opera, Atlanta New Jersey symphonies and Chautauqua Symphony Orchestra, Baltic Opera, Music Festival Orchestra; Beethoven’s Missa Washington Concert Opera, Atlanta solemnis with the New Mexico Symphony Opera, Virginia Opera, Palm Beach Opera,
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in Roméo et Juliette), Atlanta Symphony Orchestra (Messiah and Bach’s Christmas Oratorio), Royal Danish Opera (Clara in Porgy and Bess), Sinfonia Rotterdam at the Concertgebouw (Mozart’s Exultate, jubilate), roles with Wiener Staatsoper and Theater Basel, Rochester Philharmonic Orchestra (Danielpour’s A Woman’s Life), recitals in New York (Merkin Concert Hall) and Washington, D.C. (National Museum for Women in the Arts), Ein Deutsche Requiem (Müncher Philharmoniker) and Mahler’s Symphony No. 8 (New York Philharmonic), both with Lorin Maazel. She received the 2008-09 Young Concert Artists International Auditions prize and the Paul A. Fish Memorial first prize.
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ASO | 3.10/12 | artists and National Arts Centre orchestras; and Haydn’s Die Schöpfung with the Colorado and Puerto Rico symphonies. In addition, Mr. Clement has performed Belmonte in Mozart’s Die Entführung aus dem Serail with Leonard Slatkin and the National Symphony; Rachmaninoff’s The Bells with Jeffrey Kahane and the Colorado Symphony; Orff’s Carmina burana with Neeme Järvi and the Detroit Symphony; and two Mozart programs with Boston’s Händel & Haydn Society under Grant Llewellyn. He also sang Mendelssohn’s Die erste Walpurgisnacht and Second Symphony with Kurt Masur and the Israel Philharmonic; Toch’s Cantata of the Bitter Herbs with the Czech Philharmonic; the Mozart Requiem with the Saint Louis and Delaware symphonies; Stravinsky’s Oedipus Rex with Charles Dutoit and the Montreal Symphony; Kernis’ Millennium Symphony with the Minnesota Orchestra; Tippett’s A Child of Our Time with Jeffrey Kahane and the Santa Rosa Symphony; The Bells with Leon Botstein and the American Symphony in Lincoln Center’s Avery Fisher Hall; and Haydn’s Seven Last Words of Christ and Beethoven’s Missa solemnis with the Saint Paul Chamber Orchestra.
Sarastro in The Magic Flute. In concert he debuts with the Atlanta Symphony in Mozart’s Coronation Mass. This past season he performed Mozart’s Requiem with maestro Manfred Honneck at Carnegie Melon University Philharmonic. In late 2014 he completed Colline in The Bohemians, a modern-day HD film adaptation of La bohème set in Williamsburg, Brooklyn. In 2012 he sang his first Sarastro with Opera Grand Rapids, a role he reprised in the Jun Kaneko production with Opera Carolina and Opera Omaha in 2013. In late 2012, Tom premiered the role of God in the chamber opera The Mark of Cain with Chelsea Opera in NYC as well as Banquo in Macbeth with the Baltimore Concert Opera. Additional roles in 2013 included Acciano and Pirro in I lombardi — Opera Orchestra of New York and the workshop premiere of La Reina with the American Lyric Theater. ATLANTA SYMPHONY ORCHESTRA CHORUS
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he Atlanta Symphony Orchestra Chorus was founded in 1970 by former music director Robert Shaw. The Chorus, an all-volunteer organization, features 200 auditioned voices. It performs on a regular TOM MCNICHOLS, bass basis with the Orchestra and is featured on n 2013-14 bass Tom McNichols many of its recordings. performed Death and the Powers at the The Chorus, led by Director of Choruses Dallas Opera, Ferrando in Il Norman Mackenzie, is known for its trovatore with Opera Sacramento and precision and expressive singing. Its Colline with the South recordings with the Atlanta Symphony have Texas Lyric Opera. In won multiple Grammy awards, including 2015-16 he returns best choral performance, best classical to Dallas Opera for recording and best opera recording. This list Becoming Santa Claus includes Vaughan Williams’ A Sea Symphand the King in Aida ony and the Berlioz Requiem. with Austin Lyric Opera, The Chorus performs large choralthen makes his debut symphonic works with the full Orchestra with Portland Opera as
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The Chorus made its debut at New York’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9 with the ASO, led by Mr. Shaw. The Chorus also performed in Washington, D.C., for President-elect Jimmy Carter’s 1977 inaugural concert. The singers traveled to Germany three times to be a special guests of the Berlin Philharmonic: in December 2003 for Britten’s War Requiem, in May 2008 for the Berlioz Requiem and in December 2009 for a week of Brahms’ Requiem performances — all with ASO Principal Guest Conductor Donald Runnicles. The Chorus includes an auditioned group of 60 musicians known as the ASO Chamber Chorus. The Chamber Chorus, which was formed in 1967 before the larger Chorus, performs music of the Baroque and Classical eras as well as works by modern masters.
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under the batons of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned choral works.
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Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 Ariel Barnes Kathryn Bishop Hanan Davis Sakinah Davis Laura Foster Natalie Gough Meg Granum +Michelle Griffin Jayme HoganYarbro Jacquelyn Holloway Erin Jones +Victoria Kolterman +Arietha Lockhart** +Mindy Margolis* +Erin McPherson Patricia Nealon* +Joneen Padgett* +Callaway Powlus +Lisa Rader* Catherine Steen Lykins Stacey Tanner +Brianne Turgeon* +Allegra Whitney +Wanda Yang Temko*
Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair
Lindsay Patten Chantae Pittman Donna Ross* Sydney Sewell Sydney SmithRikard Paula Snelling* +Anne-Marie Spalinger* Camilla Springfield** Tommie Storer Emily Tallant Cheryl Thrash** Donna Weeks* +Katie Woolf
ALTO 2 Nancy Adams* +Michelle Austin +Ana Baida Stephanie Bizardi +Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament PeggyDee Fleck Sally Kann Nicole Khoury* Katherine MacKenzie Lynda Martin ALTO 1 +Brenda Pruitt* Deborah Boland** +Laura Rappold Rachel Bowman Andrea Schmidt Meagan Bradford Sharon Simons +Donna Carter+Alexandra Tanico Wood* Virginia +Amy Chastain Thompson* Laurie Cronin Cheryl Vanture Patricia Dinkins+Sarah Ward Matthews* June Webb Beth Freeman Ryan Whicker Pamela Griffin* Alexandra Noelle Hooge Willingham Beverly Hueter Diane Woodard** Janet Johnson* +Carol Wyatt* SOPRANO 2 Susan Jones June Abbott** Virginia Little* TENOR 1 Sloan Atwood* Staria Lovelady +Jeffrey Baxter** Anne Beloncik Paige Mathis* +David Blalock** Schantz +Holly McCarren* +John Brandt* Kelly Campobasso Frances +Jack Caldwell* Martha Craft McDowell** Daniel Cameron* Ellen Dukes** +Anna Miller +Justin Cornelius Mary Goodwin +Linda Morgan** Clifford Edge** Amanda Hoffman +Katherine Steven Farrow** Murray* +Kathleen Kelly+Leif GilbertGeorge +Laura Soltis Hansen Eda Mathews** Meesook Sonu James Jarrell Shannon Nesbit Rachel Stewart** +Keith Langston +Rachel O’Dell +Diana Strommen Jeffrey LeCraw Vickie Orme Nancy York* +Clinton Miller 40 Atlanta Symphony Orchestra | aso.org
Peter Marshall, Accompanist
Matthew Neylon +Christopher Patton Stephen Reed # +Nathan Schreer +Mark Warden* TENOR 2 +Randall Barker** Mark Barnes Curtis Bisges Charles Cottingham # Evan Crowther +Phillip Crumbly* Joseph Few* Hamilton Fong Keith Jeffords* Steven Johnstone* David Lamb Jonathan Marvel Michael Parker Marshall Peterson* +Brent Runnels Clifton Russell Wesley Shearer Scott Stephens* +Caleb Waters Robert Wilkinson BASS 1 Dock Anderson Richard Brock* +Russell Cason* +Trey Clegg +Steven Darst* Michael Dennison Jon Gunnemann* David Hansen** Nick Jones # +Jameson Linville Peter MacKenzie +Jason Maynard Monte Nichols Andrew Riechel Mark Russell +Kendric Smith # Owen Talley
Ike Van Meter Aaron Villalobos +Edgie Wallace* +Edward Watkins** BASS 2 +Philip Barreca Clarence Bell +Charles Boone Brian Brown* +Joseph Champion John Cooledge # +Rick Copeland* Joel Craft** Paul Fletcher Andrew Gee* +Timothy Gunter* Philip Jones Eric Litsey** Evan Mauk +Stephen Ozcomert* Eckhart Richter* John Ruff* Jonathan Smith Timothy Solomon** Benjamin Temko David Webster** Seth Whitecotton Gregory Whitmire* Keith Wyatt* * 20+ years of service ** 30+ years of service # Charter member (1970) + Chamber Chorus member
Lovett_ENC1602 hp.indd 1
1/20/16 4:33 PM
Sat, April 23 • 8:00 PM
CéCile MClorin SAlvAnt Jazz Songstress
“She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace.” – Wynton Marsalis
*Free Parking for Rialto Series shows in the 100 Peachtree Deck (formerly Equitable Deck) on Fairlie St. encoreatlanta.com | Atlanta’s Performing Arts Publication 41
ASO | 3.13 | program AtlantaSymphonyOrchestra The Atlanta Symphony Youth Orchestra is sponsored in part by Wells Fargo.
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Concert of Sunday, March 13, 2016, at 3pm.
Atlanta Symphony Youth Orchestra
ASO | 3.13 | program
Joseph Young, Conductor Amy Little, soprano Wesley Morgan, tenor JOHN ADAMS (b. 1947) The Chairman Dances (Foxtrot for Orchestra) (1985)
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.
KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.
GIACOMO PUCCINI (1858-1924) Excerpts from Act 1 of La bohème (1896) “Che gelida manina” “Sì. Mi chiamano Mimì” “O soave fanciulla” Amy Little, soprano Wesley Morgan, tenor INTERMISSION GIUSEPPE VERDI (1813-1901) Prelude to Aida (1871) Ballet Music From Act 3 of Otello (1887) Prelude to Act 1 of La traviata (1853) Ballet, “La Peregrina,” from Act 3 of Don Carlos (1867)
English surtitles by Ken Meltzer Program notes by Ken Meltzer
Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com. To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.
42 Atlanta Symphony Orchestra | aso.org
Notes on the Program by Ken Meltzer
JOHN ADAMS was born in Worcester, Mass., on Feb. 15, 1947. The first performance of The Chairman Dances took place in Milwaukee on Jan. 31, 1986, with Lukas Foss conducting the Milwaukee Symphony Orchestra.
J
ohn Adams’ opera, Nixon in China, is based on the American president’s historic 1972 trip and meeting with Chairman Mao Tse-Tung. During the composition of Nixon in China, Adams composed an orchestral work, based on the following potential scenario for the opera: Chiang Ch’ing, a.k.a. Madame Mao, has gate-crashed the Presidential Banquet. She is first seen standing where she is most in the way of the waiters. After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle and slit up the hip. She signals the orchestra to play and begins dancing by herself. Mao is becoming excited. He steps down from his portrait on the wall, and they begin to foxtrot together. They are back in Yenan, dancing to the gramophone … This scenario provided the basis for Adams’ “Foxtrot for Orchestra,” The Chairman Dances. Commissioned by the National Endowment for the Arts for the Milwaukee Symphony Orchestra, the work received its premiere Jan. 31, 1986. Lukas Foss conducted the Milwaukee Symphony Orchestra. Excerpts from Act 1 of La bohème (1896) GIACOMO PUCCINI was born in Lucca, Italy, on Dec. 22, 1858, and died in Brussels on Nov. 29, 1924. The first
performances of La bohème took place at the Teatro Regio in Turin, Italy, on Feb. 1, 1896.
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iacomo Puccini’s beloved La bohème is the Italian opera composer’s setting of Henri Murger’s novel, Scenes of Bohemian Life (1848). Puccini composed La bohème during the height of Italian verismo — an artistic movement that attempted to inject a greater sense of realism and everyday life into opera. La bohème’s principal characters, artists struggling to survive in Paris’s Latin Quarter, have affairs, falling in and out of love. They live in abject poverty, a state that hastens the illness of the opera’s heroine, Mimì, leading to her tragic death. Puccini’s glorious, heartfelt score is one of opera’s great treasures. The first Act of La bohème is set in Paris on Christmas Eve, around 1830. The poet Rodolfo sits in his apartment, attempting to write. There is a knock at the door. It is Mimì, a neighbor who is seeking to light her candle.
As she enters the apartment, she has a coughing fit and faints. Rodolfo splashes water on her face and she revives. During the fainting spell, Mimì lost her key. Once again, the wind extinguishes her candle. In order to prolong her stay, Rodolfo extinguishes his own candle. He finds the key, and quickly pockets it. As the two continue to search in darkness on the floor of the apartment, Rodolfo takes Mimì’s hand and, in the aria “Che gelida manina,” describes his life as a poet. In turn, Mimì tells the entranced Rodolfo about herself (“Sì. Mi chiamano Mimì”). Their conversation is interrupted by the voices of the poet’s bohemian friends. Rodolfo announces the two will meet them at the Café Momus. In the duet “O soave
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ASO | 3.13 | program
The Chairman Dances (Foxtrot for Orchestra, 1985)
ASO | 3.13 | program
ASO | 3.13 | program
fanciulla,” Rodolfo urges Mimì to stay with him in the apartment. Mimì convinces Rodolfo that they should join the others at the café. Mimì and Rodolfo declare their love, and walk out into the snowy, moonlit night.
Ballet Music from Act 3 of Otello (1887) The first performance of Otello took place at the La Scala Opera House in Milan on Feb. 5, 1887.
V
erdi maintained a lifelong adoration for the works of William Shakespeare. Giuseppe Verdi was born Roncole, Italy, He composed three operas based on on Oct. 9 or 10, 1813, and died in Milan on Shakespeare plays — Macbeth (1847), Jan. 27, 1901. Otello (1887) and Falstaff (1893). Verdi’s librettist for Otello and Falstaff was Arrigo Prelude to Aida (1871) Boito, an accomplished opera composer The first performance of Aida took place in his own right. The two seemed to bring at the Opera House in Cairo, Egypt, on out the best in each other. The VerdiDecember 24, 1871. Boito Shakespeare operas rank among the ida is the first in the trilogy of operas greatest masterpieces of the lyric theater. that, along with Otello (1887) and Falstaff (1893), constitute Giuseppe Verdi’s Otello’s triumphant premiere took place “late period” — the masterful culmination at the La Scala Opera House in Milan on of the composer’s lifelong quest to achieve Feb. 5, 1887. In 1894, the Paris Opéra an organic synthesis of vocal, orchestral and staged a production of Otello. In accordramatic elements. Aida’s plot is based on a dance with French grand opera tradition, fragment by the renowned Egyptologist Verdi composed an atmospheric ballet François Auguste Mariette, expanded by sequence for inclusion in Act 3, immediCamille du Locle. Verdi was intrigued, ately before the arrival in Cyprus of the and the story ultimately formed the basis Venetian ambassador, Lodovico. for Aida’s libretto, written by Antonio Prelude to Act 1 of La traviata (1853) Ghislanzoni. The first performance of La traviata took
A
Aida is best known for the grandeur and pageantry of such moments as the Act 2 Triumphal Scene. But at the core is a far more intimate tale — a love triangle involving an Egyptian warrior, an Ethiopian slave and the daughter of the King of Egypt. The resulting conflict between private desires and public duty fascinated Verdi throughout his life and inspired his greatest works, Aida included. The orchestral Prelude that opens the work features the beautiful leitmotif associated with Aida, as well as premonitions of the conflict soon to follow.
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place at the Teatro la Fenice in Venice on March 6, 1853.
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iuseppe Verdi’s opera La traviata is based on a work by Alexandre Dumas, the younger, which in turn was based on his real-life affair with the Parisian courtesan Alphonsine Duplessis. Dumas’ novel The Lady of the Camellias became a play in 1849, but problems with censorship delayed its production until 1852. Verdi’s La traviata premiered at the Venice Teatro la Fenice one year later, on March 6, 1853. The premiere of La traviata was far from successful. In a famous letter, Verdi confessed: “La traviata was a fiasco; my fault or the singers? Time alone will tell.”
Ballet, “La Peregrina,” from Act 3 of Don Carlos (1867) The first performance of Don Carlos took place at the Opéra in Paris on March 11, 1867.
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erdi’s grand opera Don Carlos is based on Friedrich Schiller’s historical dramatic poem, set in during the Spanish Inquisition. He originally conceived the work as a five-act grand opera, sung in French. He later created a four-act version in Italian. For the original French version, Verdi composed an elaborate ballet, titled La Peregrina. The ballet’s scenario relates the tale of the most beautiful and precious ocean gem, a pearl named La Peregrina. Today, the ballet is usually omitted from performances of Don Carlos. But La Peregrina stands on its own as a brilliant orchestral showpiece. JOSEPH YOUNG, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director
J
oseph Young became Assistant Conductor of the Atlanta Symphony Orchestra (ASO) and Music Director of the Atlanta Symphony Youth Orchestra in June 2014. He assists with the artistic leadership of the Orchestra and serves as the primary conductor for the ASO’s education and
In 2007, he made his professional debut as the first recipient of the Baltimore Symphony Orchestra (BSO)-Peabody Institute Conducting Fellowship, working with the BSO through 2009. Recent conducting engagements include the Colorado Symphony Orchestra, Tucson Symphony, Charleston Symphony Orchestra, Delaware Symphony Orchestra and Orquestra Sinfónica do Porto Casa da Música. Mr. Young’s other professional accolades include being named a semifinalist in the 2013 Gustav Mahler International Conducting Competition and being featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview. He was the first recipient of the Sir Georg Solti Foundation Career Grant for young conductors and has furthered his conducting studies at the Cabrillo Contemporary Music Festival, the 2010 Jorma Panula International Master class in Porto, Portugal, and at the Tanglewood Music Center. Mr. Young received a bachelor’s degree in music education from the University of South Carolina in 2004, and completed his graduate studies in conducting with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009.
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ASO | 3.13 | program
The orchestral Prelude to Act 1 foreshadows Violetta’s romance with the young Alfredo, as well as her tragic death.
community concerts. Before joining the ASO, Mr. Young was resident conductor of the Phoenix Symphony and spent a season as assistant conductor and a League of American Orchestras conducting fellow with the Buffalo Philharmonic.
JEFF ROFFMAN
Perhaps there was fault on both sides. By all accounts, the singers at the premiere did not do justice to Verdi’s music. However, the composer made extensive revisions for a second run of performances in May 1854. That final version became one of Verdi’s most beloved masterpieces, and the opera’s heroine, Violetta, one of his greatest creations.
ASO | 3.13 | artists AMY LITTLE, soprano
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artist roster of Wade Artist Management in New York.
my Little is a frequently engaged, versatile artist whose repertoire WESLEY MORGAN, tenor encompasses operatic and orchestral resh-voiced young tenor” (parterre. literature as well as contemporary art com) Wesley Morgan has been music, popular music, musical theater and praised by conductors, stage directors and cabaret. audiences for his “ringing tenor” and “gift Her 2015-16 concert season features multi- for suave phrasing”(Greenville News). Of ple appearances with the Atlanta Symphony his Opera in the Heights debut as Edgardo in Orchestra, including a holiday concert, a Lucia di Lammermoor, BroadwayWorld. performance of highlights from Puccini’s La com said, “Wesley Morgan’s polished tenor bohème and a performance with the Atlanta instrument is put to great use with this Symphony Youth Orchestra. She also will score.” Mr. Morgan reprised the role of be performing with the Huxford Symphony Edgardo at the Belleayre Music Festival in Orchestra at the University of Alabama in the Catskills. After a New York City debut a spring concert of Mendelssohn’s Elijah, with Teatro Grattacielo on a gala concert as guest soloist with the Johns Creek featuring Aprile Milo, he returned this Symphony’s final concert of seasonand with season as Alexis in Siberia. the West Virginia Symphony Orchestra in He made his international debut as the Brahms’ Ein Deutsches Requiem. tenor soloist in Messiah for the Windsor Ms. Little has performed numerous roles Symphony Orchestra in Ontario and with the Atlanta Opera, including the returned to Atlanta Opera as Gastone in La First Lady in Mozart’s Die Zauberflöte, traviata (Opera News described him as “a the Priestess in Verdi’s Aida, Inez in natural comedian”). As an Atlanta Opera Verdi’s Il trovatore and Lula in Carlisle Studio Artist, he starred Floyd’s Cold Sassy Tree. Touring with the in the company’s touring Atlanta Opera Studio, she performed the shows as Frederic in The role of Mimì in Puccini’s La bohème and Pirates of Penzance and Love Simpson in Cold Sassy Tree. She appeared on the mainperformed the role of Countess in the Peach stage as Mayor in Cold State Opera’s production of Mozart’s Le Sassy Tree and 1st Priest nozze di Figaro and has been engaged as a in Die Zauberflöte. He soprano soloist with the Atlanta Symphony is an alumni of SPO’s Orchestra Pops concert series, the Helena Emerging Artist program, wherein he sang Symphony’s performance Count Almaviva in Il barbiere di Siviglia of Mozart’s Requiem and Nemorino in L’elisir d’amore. He’s and the Atlanta Baroque also done Tamino in Die Zauberflöte (Ash Orchestra’s performance Lawn Opera, family matinee), Rinuccio of Vivaldi’s Gloria. in Gianni Schicchi (Capitol City Opera), Ms. Little, a native of Nanki Poo in The Mikado (Atlanta Lyric Augusta, Ga, now lives Theatre, Greenville Light Opera Works), in Atlanta. She is on the among others.
CINDY HARTER
ASO | 3.13 | artists
“F
46 Atlanta Symphony Orchestra | aso.org
Recent and upcoming concert engagements include the Albany Symphony Orchestra, New Jersey Choral Society (Schubert Mass in E-flat), Savannah Philharmonic, the
Helena Symphony Orchestra (St. Matthew Passion), the Tulsa Symphony Orchestra (Mozart Requiem) and the Atlanta Symphony Youth Orchestra.
Atlanta Symphony Youth Orchestra Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair All sections listed in alphabetical order. VIOLA
Lesley Chang Yueci Chen Eunice Choi Aomeng Cui Jennifer Deng Whit FitzGerald Nam Kim Malhar Kute Sarah Li Jasmine Liu Phoebe Liu Passacaglia Mason George Pan Kyle Qian Alex Yang
William Church Emma DeJarenette* Wilfred Farquharson Joy Hsieh Kelsey Johnson James Kang* Jun Kang Amy Liu Richard Pei Matthew Pinder Ive Xue Grace Zhou Raymond Zhu
VIOLIN II
Will Bontempo*** Sarah Chen Vivian Cheng Naomi Fan Andrew Fu Brianna Hou Serena Gao MK Guthrie Maya Kang Julia Koh Christine Liu Zoe Lo Julia Lu Annie Su Julia Su Samuel Surbrook
CELLO
Joe Billips Joseph Brown Brandon Chung Clarisa Colton Tannessa Dang Jefferson Downs Lexine Feng Olivia Hunt Rayen Kang Kevin Li Aria Posner Leonardo Tang BASS
Daniel Barket Bailey Bennett Malcolm Crowder Gabriel English Matthew Henson Blake Hilley
Matthew Jung Travis Lorenz Nicole Mann Daniel Tancredi** FLUTE
Rachel Anders Haiwen Gui Jack Kang Nina Qin OBOE
Mekhi Gladden*** Sydney Hancock Hannah Lee Alexa Levy
TRUMPET
Michael Barbour Imani Duhe Steven Lukehart Richard Stinson Lizbeth Yanez TROMBONE
Lovrick Gary Hans Kang*** Andrew Taylor Evan Roussey TUBA
Errol Rhoden III Joshua Williams
CLARINET
PERCUSSION
Caleb Rucker Michael Tang Eric Wang Alisha Zamore
Michael Dehan Jim Graber Drew Hooper Parker Olson Dylan So
BASSOON
Allie Byrd Christopher Chung Kalli Edwards Austin Summy
HARP
Kimberly Walker KEYBOARD
Ethan Shen
HORN
Jonathon Chiou Hannah Culbreth Nick Fratto Tyler Lane Molly Shannon Sean Turner Akhil Vaidya Elyza Wylder
*Ardath W. Weck Chair **Douglas Sommer Chair ***Elinor Rosenberg Breman ASYO Fellowship
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ASO | 3.13 | artists
VIOLIN I
ASO | 3.18/19 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Michael Krajewski, Principal Pops Conductor
Delta POPS! Concert Friday, March 18 and Saturday, March 19, 2016 at 8pm.
Michael Krajewski, Conductor Liz Callaway, Allison Blackwell, Bryce Ryness, vocalists Tapestry (medley) — arr. Holmes
ASO | 3.18/19| program
Stevie Wonder medley — arr. Holmes I Say a Little Prayer — Bacharach, arr. Berens My Love — McCartney, arr. Nelson Paul Simon in Concert — arr. Gregory Prechel THERE WILL BE A 20-MINUTE INTERMISSION Beautiful — arr. Harrison, orch. Prechel It’s Too Late — arr. Shoup Up on the Roof — arr. Rassen, orch. Shoup The Locomotion — arr. Davis One Fine Day — arr. Harrison, orch. Berens Will You Still Love Me Tomorrow — arr. Rassen It’s Going to Take Some Time This Time — arr. Wills Another Pleasant Valley Sunday — arr. Davis Carole King medley — arr. Snapp Go Away Little Girl, Take Good Care of My Baby, Hi-De-Ho, I’m Into Something Good, Chains Carole King Trio — arr. Loud, orch. Shoup Home Again, Been to Canaan, So Far Away Natural Woman — arr. Shoup You’ve Got a Friend — arr. Loud, orch. Prechel 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.
The Atlanta Symphony Orchestra POPS! Series is presented by Delta Air Lines. 48 Atlanta Symphony Orchestra | aso.org
THE CAROLE KING SONGBOOK
featuring LIZ CALLAWAY
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ASO | 3.18/19| program
TAPESTRY
ASO | 3.18/19 | artists MICHAEL KRAJEWSKI, Principal Pops Conductor
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TYE CARSON
ASO | 3.18/19| artists
nown for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is music cirector of ghe Philly Pops and principal pops conductor of the Houston, Atlanta and Jacksonville symphonies.
As a guest conductor, Michael has performed with the Cleveland and Philadelphia orchestras; the Boston and Cincinnati pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National symphonies; and numerous other orchestras across the United States. In Canada, he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic and the Edmonton, Winnipeg and KitchenerWaterloo symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra, and performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and this season’s debut with Spain’s Bilbao Symphony Orchestra. Michael is the conductor of the video “Silver Screen Serenade” with violinist Jenny Oaks Baker, which aired worldwide on BYU Broadcasting. He has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. In 2014-15, he conducted his original Sounds of Simon & Garfunkel program throughout North America featuring national touring artists AJ Swearingen and Jonathan Beedle. 50 Atlanta Symphony Orchestra | aso.org
Michael’s collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero and such pop, jazz, theater and cabaret artists as Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, the Preservation Hall Jazz Band, the Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, Big Bad Voodoo Daddy and the Midtown Men. Michael has degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory and has furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony, and, for 11 years, served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando with his wife, Darcy. When not conducting, he enjoys travel, photography and solving crossword puzzles. “… his wry wit, as spontaneous as a stand-up comedian’s, emerged to amuse the audience. Krajewski turned to the orchestra to lead a bright, sassy account. It showed that he is as effective and entertaining a communicator in music as he is in words.” — Charles Ward, Houston Chronicle
T
ony nominee and Emmy winner Liz Callaway made her Broadway debut in Stephen Sondheim’s Merrily We Roll Along. She has gone on to leading roles in Baby, Miss Saigon, The Look of Love, The Three Musketeers and, for five years, appeared as Grizabella in Cats. Her off-Broadway credits include The Spitfire Grill (Drama Desk nomination), Merry Me a Little and Brownstone. Liz recently played Norma Desmond in Pittsburgh CLO’s production of Sunset Boulevard. Her extensive concert and symphony career has included appearances in London, Paris, Barcelona, China, South Korea and Iceland, and nearly every major U.S. city. She has toured Australia with composer Stephen Schwartz, and recently made her solo debut in Sydney and New Zealand. Liz sang the Academy Aw a r d - n o m i n a t e d song “Journey to the Past” in the animated feature Anastasia. Other film work includes Jasmine in the two Aladdin sequels, The Swan Princess and Beauty and the Beast. TV appearances include “Ready to Go” (Emmy Award), “In Performance at the White House” and “Inside the Actor’s Studio: Stephen Sondheim.”
Liz has four solo recordings: Passage of Time, The Beat Goes On, The Story Goes On: Liz Callaway On and Off- Broadway and Anywhere I Wander, as well as two CDs with her sister, Ann Hampton Callaway: Sibling Revelry and Boom! Live at Birdland.
ALLISON BLACKWELL, vocalist
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llison Blackwell earned her master’s in music at the Boston Conservatory. A singer with a versatile range from opera to gospel, she has been seen in such Broadway shows as The Lion King, The Gershwins’ Porgy and Bess and A Night With Janis Joplin. She has performed with the New York Philharmonic, St. Luke’s Orchestra, Atlanta Symphony Orchestra, Houston Symphony Orchestra and Philly Pops. Allison has been seen nationwide as Fantine in Les Miserables, Dotty Moffett/ Washing Machine in Caroline, or Change (San Francisco Bay Critics Circle Awardbest supporting actress), Sister Mary Hubert in Nunsense, Mrs. Segstrom in A Little Night Music, Sarah’s Friend in Ragtime and Sister Sophia in The Sound of Music. She’s a proud winner of a 2015 Emmy Award for Sweeney Todd, featuring Emma Thompson and Bryn Terfel at Avery Fisher Hall. Love to my agents, Mom, Dad and family.
BRYCE RYNESS, vocalist
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riginally from California, Bryce traded coasts in 2006 to pursue his Broadway dreams. Since making the move, he’s appeared on the Great White Way in First Date, Leap of Faith, the 2009 Tony Awardwinning revival of Hair at the Hirschfeld Theater (he received a Drama Desk nomination for best featured actor/musical) and Legally Blonde at the Palace. Most recently, he’s been touring as Miss Trunchbull in the first national tour of Matilda the Musical, earning critical praise for his interpretation of an extraordinary character.
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ASO | 3.18/19| artists
LIZ CALLAWAY, vocalist
ASO | 3.18/19 | artists
With his band, Ryness, he’s written and recorded two albums, available on iTunes. On film: Tangled. On TV: “Law & Order: SVU,” “Peter Pan Live!,” “It Could Be Worse,” “Political Animals,” “Just for Kicks,” “Late Show” and “The Tonight Show.” Bryce has sung backup for such recording artists as Josh Groban, Roger Daltrey and Sarah Brightman. He supports World Vision, Invisible Children and Trinity Grace Church. Bryce and his wife, Meredith, have three terrific children and live in Washington Heights. Thank you for supporting the arts!
MELODY MOORE
ASO | 3.18/19| artists
Off-Broadway, he’s premiered/originated roles in Milburn/Vigoda’s Long Story Short with Prospect Theater Company, Fly By Night, See Rock City & Other Destinations, Around the World in 80 Days and Crossing Brooklyn. Outside NYC, he’s originated roles in Sleeping Beauty Wakes (McCarter Theater and La Jolla Playhouse), Floyd Collins (Los Angeles premiere) and Cabaret (Reprise Theater Company, L.A.). He played Roger in the national touring company of Rent in 2006.
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Connecting learning to life at every level.
WE THINK BIG www.paceacademy.org
Photo by Warren Sams
Julian Lage Trio Saturday April 23, 2016 7:30 PM
www.SpiveyHall.org Clayton State University
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ASO | 3.20 | program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
FAMILY Concert Sunday, March 20, 2016 at 3pm.
Joseph Young, Conductor Mama Koku, Narrator Ballet Dancers: Kelsey Stanhope, Jayme Leach, Courtney Dressner, Alexa Goldberg GIOACCHINO ROSSINI “Galop” from William Tell Overture NIKOLAI RIMSKY-KORSAKOV “Flight of the Bumblebee” from Tale of the Tsar Saltan
ASO | 3.20| program
PYOTR ILYICH TCHAIKOVSKY “Dance of the Little Swans” from Swan Lake Suite FERDE GROFÉ from Mississippi Suite “Huckleberry Finn” EDVARD GRIEG from Peer Gynt, Suite No. 1, Opus 46 “In the Hall of the Mountain King” JOHN WILLIAMS “The Flight to Neverland” from Hook ALAN MENKEN (arr. Danny Troob) Beauty and the Beast Orchestral Suite Belle, Beauty and the Beast, Be Our Guest MAURICE RAVEL from Ma mère l’oye “Laideronnette, Empress of the Pagodas” JONATHAN BAILEY HOLLAND Anansi and the Moss-Covered Rock IGOR STRAVINSKY “Berceuse and Finale” from the The Firebird: Suite (1919) THERE IS NO INTERMISSION 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.
The Atlanta Symphony Orchestra Family Series is presented by Delta Air Lines.
44 Atlanta Symphony Orchestra | aso.org
Additional support is generously provided by
with the ASO
encoreatlanta.com | Atlanta’s Performing Arts Publication 45
ASO | 3.20| program
Musical StoryTime
ASO | 3.31/4. 2 | program AtlantaSymphonyOrchestra The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Concert Concerts of Thursday, March 31, and Saturday, April 2, 2016, at 8pm.
Thomas Søndergård, Conductor Alexandre Tharaud, piano HECTOR BERLIOZ (1803-1869) Le corsaire Overture, Opus 21 (1844) 9MIN
ASO | 3.31/4. 2 | program
MAURICE RAVEL (1875-1937) Concerto for the Left Hand for Piano and Orchestra in D Major (1930) 19MIN Alexandre Tharaud, piano INTERMISSION 20MIN
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.
KEN MELTZER, Atlanta Symphony Orchestra Program Annotator Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore.
MAURICE RAVEL (1875-1937) Rapsodie espagnole (1908) 16MIN I. Prélude à la nuit. Très modéré II. Malagueña. Assez vif III. Habanera. Assez lent et d’un rythme las IV. Feria. Assez animé CLAUDE DEBUSSY (1862-1918) La mer (The Sea), Three Symphonic Sketches (1905) 24MIN I. De l’aube à midi sur la mer (From Dawn Until Noon on the Sea) II. Jeux de vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)
Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org. 56 Atlanta Symphony Orchestra | aso.org
Notes on the Program by Ken Meltzer Hector Berlioz was born in La Côte-SaintAndré, Isère, France, on Dec. 11, 1803, and died in Paris on March 8, 1869. The first performance of Le corsaire took place at the Cirque Olympique in Paris on Jan. 19, 1845, with the composer conducting. Le corsaire is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani and strings.
First Classical Subscription Performances: Nov. 20, 21 and 22, 1969, James Levine, Conductor. Most Recent Classical Subscription Performances: Feb. 2, 3 and 4, 2006, Emmanuel Krivine, Conductor.
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n 1844, while visiting Nice, Hector Berlioz completed an orchestral overture. The premiere of the work initially titled Le tour de Nice took place in Paris on Jan. 19, 1845, with Berlioz conducting. Berlioz revised the overture while in London in 1851-52. He called the new version Le corsaire rouge, a reference to James Fenimore Cooper’s The Red Rover, another work Berlioz greatly admired. Finally, Berlioz shortened the title to its familiar title Le corsaire (The Corsair), a reference to Lord Byron’s verse tale. The great 19 -century conductor Hans von Bülow compared the overture’s bracing opening to “a shot from a pistol.” Berlioz launches his Corsaire Overture with two sharp chords, followed by scurrying violins and chirping winds. A lyrical interlude (Adagio sostenuto) leads to the principal Allegro assai, featuring a reprise of the opening violin and woodwind figures, followed by the introduction of the bold descending and ascending main theme. The violins present a contrasting lyrical theme, derived from material first presented in th
the Adagio episode. But for the most part, the Corsaire Overture proceeds in heroic fashion right to the fanfares and C-major chords that cap the work. Concerto for the Left Hand for Piano and Orchestra in D Major (1930) MAURICE RAVEL was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris on Dec. 28, 1937. The first performance of the D-Major Concerto took place in Vienna on Nov. 27, 1931, with Paul Wittgenstein as soloist. In addition to the solo piano, the concerto is scored for piccolo, three flutes, two oboes, English horn, E-flat clarinet, two clarinets in A and B-flat, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, triangle, cymbals, suspended cymbal, bass drum, wood block, tam-tam, harp and strings. First Classical Subscription Performance: March 4, 1952, Robert Casadesus, Piano, Henry Sopkin, Conductor. Most Recent Classical Subscription Performance: Jan. 10, 11 and 12, 2008, Adam Golka, Piano, Donald Runnicles, Conductor. Robert Shaw Performances: April 12, 13 and 14, 1972, Grant Johnnesen, Piano.
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aul Wittgenstein (1887-1961), brother of philosopher Ludwig Wittgenstein, was a member of an affluent Viennese family. Paul made his professional debut as a concert pianist in December 1913. A promising career was interrupted by World War I and seemed to come to an early and tragic end when Wittgenstein lost his right arm while serving as a soldier on the Russian front. After this horrific turn of events, Wittgenstein arranged several solo pieces
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ASO | 3.31/4. 2 | program
Le corsaire Overture, Opus 21 (1844)
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for left hand that he played in concerts throughout Europe, the United States and the Near East. He also commissioned piano concertos from such prominent composers as Richard Strauss, Paul Hindemith, Sergei Prokofiev, Benjamin Britten and Maurice Ravel. Wittgenstein was the soloist in the premiere of the Concerto for the Left Hand, which took place in Vienna on Nov. 27, 1931. From its first performance, critics have marveled at how the concerto sounds as if it is, indeed, written for performance by two hands. At the Paris premiere, critic Henry Prunières marveled that at times, the concerto seemed to be a work scored for piano duet! Of course, the illusion is due in great part to Ravel’s mastery of instrumental colors. But it must also be acknowledged that a piano virtuoso of the highest order is required for the concerto to weave its magical spell. For in truth, Ravel often requires the left hand to perform the work of two (if not four). Ravel’s Piano Concerto for the Left Hand is in a single movement, featuring various contrasting sections. The opening section (Lento) includes the first of two lengthy solo cadenzas, during which the concerto’s principal theme is introduced. Another slow-tempo section (Andante) gathers momentum and leads headlong into the central jazz-oriented portion (Allegro). The last section (Tempo 1o) includes the second extended solo cadenza, which, in turn, leads to a final outburst by the soloist and orchestra.
Théâtre du Châtelet on March 15, 1908, with Edouard Colonne conducting the Colonne Orchestra. The Rapsodie espagnole is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, sarrusophone (a contrabassoon may substitute), four horns, three trumpets, three trombones, tuba, timpani, xylophone, triangle, tam-tam, military drum, tambourine, castanets, cymbals, suspended cymbals, bass drum, two harps, celeste and strings. First Classical Subscription Performances: March 29 and 30, 1962, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: Nov. 8, 9 and 10, 2012, Matthias Pintscher, Conductor.
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n an autobiographical sketch, Maurice Ravel noted: “I was born in Ciboure, a township in the Lower Pyrenees next to Saint-Jean-de-Luz, on March 7, 1875. My father, originally from Versoix, on the shore of Lake Geneva, was a civil engineer. My mother belonged to an old Basque family.” It was from Marie Delouart Ravel that the young Maurice learned about Basque history and culture. Among his earliest memories were the Spanish folk songs that his beloved mother sang to him. It’s not surprising that several compositions by this French composer reflect a marked Spanish influence.
Ravel composed his Spanish Rhapsody during 30 days in the summer of 1907. He originally composed the piece as a work for piano duet, and completed the orchestraRapsodie espagnole (1908) tion shortly before the Rhapsody’s March MAURICE RAVEL was born in Ciboure, 15, 1908, premiere at the Paris Théâtre du Basses-Pyrénées, France, on March 7, Châtelet. The Rapsodie espagnole’s vibrant 1875, and died in Paris on Dec. 28, 1937. rhythms, enticing melodies and brilliant The first performance of the Rapsodie orchestrations continue to weave their espagnole took place in Paris at the magic spell. 58 Atlanta Symphony Orchestra | aso.org
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rench composer Claude Debussy once confided to fellow composer André I. Prélude à la nuit. Très modéré (Prelude to Messager: “You perhaps do not know that I was destined for the fine life of a sailor the Night. Very moderate) and that it was only by chance that I was II. Malagueña. Assez vif (Relatively lively. A led away from it. But I still have a great Malagueña is a dance in the fandango tradipassion for the sea.” This passion may be tion that originated in Málaga and Murcia.) traced as far back as Debussy’s childhood III. Habanera. Assez lent et d’un rythme las visits to Cannes; the composer’s fascination (Relatively slow and in a weary rhythm. with the sea continued throughout his life. The Habanera is a Cuban dance and song It is perhaps ironic that most of the compofrom Havana.) sition of La mer took place when Debussy IV. Feria. Assez animé (Relatively lively. was at inland locations. He did not view “Feria” is the Spanish word for fair or this as a handicap, however. As he told carnival.) Messager: La mer (The Sea), Three Symphonic Sketches (1905) CLAUDE DEBUSSY was born in St. Germaine-en-Laye, France, on Aug. 22, 1862, and died in Paris on March 25, 1918. The first performance of La mer took place in Paris on Oct. 15, 1905, at the Concerts Lamoureux, with Camille Chevillard conducting. La mer is scored for piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, contrabassoon, four horns, three trumpets, two cornets, three trombones, tuba, timpani, orchestra bells, tam-tam, cymbals, suspended cymbal, triangle, bass drum, two harps and strings. First Classical Subscription Performances: Dec. 1-2, 1961, Henry Sopkin, Conductor. Most Recent Classical Subscription Performances: Feb. 23 and 25, 2012, James Gaffigan, Conductor. Robert Shaw Performances: (Classical Subscription, unless otherwise noted) Nov. 21, 22 and 24, 1968; Nov. 25 and 26, 1968 (Tour); Sept. 24, 25 and 26, 1981; Nov. 29, 1981 (Runout-Thomasville)
you’ll reply that the Atlantic doesn’t wash the foothills of Burgundy...! And that the result could be one of those hack landscapes done in the studio! But I have innumerable memories, and those, in my view, are worth more than a reality which, charming as it may be, tends to weigh too heavily on the imagination. In fact, Debussy once admitted to a friend that he found it difficult to compose while near the sea he loved so much. The premiere of La mer took place in Paris on Oct. 15, 1905, at the Concerts Lamoureux, with Camille Chevillard conducting. Critical reaction varied but most recognized the importance of La mer in the development of French musical expression. Debussy’s La mer is a magical product of the composer’s lifelong fascination with the sea and its infinite mysteries. Debussy’s La mer, like its subject, continues to elude description, all the while exerting a powerful attraction. La mer is in three movements, each with a descriptive title: I. De l’aube à midi sur la mer (From Dawn Until Noon on the Sea)
ASO | 3.31/4. 2 | program
The Spanish Rhapsody is in four brief movements:
ASO | 3.31/4. 2 | artists II. Jeux de vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)
Aspen Festival, Danish National Symphony, CBSO and Bamberg Symphony.
Mr. Søndergård is an acclaimed opera conductor and in the 2012-13 season appeared THOMAS SØNDERGÅRD, conductor at both the Royal Danish and Royal Swedanish conductor Thomas Søndergård ish Operas. In 2008 he made his highly-sucis principal conductor of the BBC cessful Stuttgart Staatsoper début (Tosca), National Orchestra of Wales (BBCNOW) returning in 2010 for Luisa Miller. and principal guest conductor of the Royal Scottish National Orchestra (RSNO). In Spring 2015 Søndergård and BBCNOW He was principal conductor and musical released their first commercial recording adviser of the Norwegian Radio Orchestra of Sibelius Symphonies 2 and 7 (LINN (2009-2012), and his opening concert with records). In 2011 Mr. Søndergård was BBCNOW was hailed as a triumph by U.K. awarded the prestigious Foundation Prize audiences and press alike, marking a new by Queen Ingrid for services to Music in Denmark. era for the orchestra.
BJARKE JOHANSON
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Mr. Søndergård’s 2015-16 season includes debuts with the Leipzig Gewandhaus, Toronto Symphony, Norske Opera, Oslo (a new production of Magic Flute), Netherlands Philharmonic and Mahler Chamber Orchestra at the Philharmonie in Berlin in celebration of Carl Nielsen’s 150th anniversary. He returns to DSO Berlin, Houston, Atlanta and Danish National symphony orchestras. Future plans include returns to many of his regular guest orchestras and debuts with Deutsche Oper Berlin, London Philharmonic Orchestra and U.K. and international tours with BBC National Orchestra of Wales. Highlights of recent seasons include four programs at BBC Proms and successful debuts with the Philharmonia Orchestra and the Gothenburg, Atlanta, Brussels, Oslo, Luxembourg, Seattle, Sydney, Vancouver, Houston and BBC symphonies. In Europe he tours with Junge Deutsche Philharmonie and EUYO, and visits Rotterdam Philharmonic 60 Atlanta Symphony Orchestra | aso.org
ALEXANDRE THARAUD, piano
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lexandre Tharaud has distinguished himself as one of France’s leading pianists. Recognized internationally as an artist of unique vision and originality, Alexandre is heralded for his brilliantly programs and best-selling recordings, which range from Bach, Chopin, Rameau and Ravel, to music inspired by Parisian cabaret of the 1920s.
This season, he makes his debuts with the Philadelphia Orchestra and the Atlanta Symphony and returns to the Toronto Symphony. He also appears with the Boston Symphony Hall and at Walt Disney Concert Hall, and performs on tour throughout North America with Les Violons du Roy — with whom he has recorded Bach and Mozart for Warner Classics. Last season, he appeared in recital in Boston, New York, Chicago and Washington, among other U.S. cities, including a return to Carnegie Hall and his debut at Chicago Symphony Hall. Alexandre has enjoyed working with such conductors as Peter Oundjian, Bernard Labadie, Daniele Gatti, Lionel Bringuier, Stéphane Denève, Vladimir Jurowski,
Rafael Frühbeck de Burgos and Yannick Nézet-Séguin, among others.
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MARCO BORGGREVE
Later this season, Alexandre will present the world premiere of Hans Abrahamsen’s concerto for the left hand together with the WDR Sinfoniorchester Köln, directed by Ilan Volkov. Subsequent performances include national premieres with the CBSO in Birmingham, the Rotterdam Philharmonic (directed by Yannick NézetSéguin), the Danish Radio Orchestra in Copenhagen and the Göteborgs Symfoniker, Sweden. Other recent highlights include Alexandre’s debut with the Royal Concertgebouw Orchestra; appearances with the London Philharmonic and Yannick Nézet-Séguin; and a European tour with Orchestre National De France and Daniele Gatti.
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In fall 2015, Warner released Alexandre’s recording of the Bach Goldberg Variations to great critical acclaim. He will perform the piece on tour in North America in 201617, and this season launches the CD with performances at the Philharmonie in Paris, St. John Smith’s Square in London, the Cologne Philarmonie and the BOZAR in Brussels.
ASO | support
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he Orchestra donor list includes all donations made since June 1, 2014. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime. Those among us who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world. On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share. Bravo!
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*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
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*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
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patron partnership
Members of the Patron Partnership ($2,000-$9,999) enjoy a host of benefits that include event invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839. Mary & Mahlon Delong Xavier Duralde & Mary Barrett Ms. Diane Durgin Dr. Francine D. Dykes & Mr. Richard H. Delay Mary Frances Early Ellen & Howard Feinsand Phyllis & Dr. Richard D. Franco John & Michelle Fuller Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline Gilham Mrs. Janet D. Goldstein Mrs. Louise Grant Joanne & Alex Gross Mr. & Mrs. Gary Guy Harald R. Hansen Virginia Hepner & Malcolm Barnes John & Martha Head Mr. & Mrs. John E. Hellriegel Kenneth R. Hey Thomas High Sarah & Harvey Hill Mrs. Sally Horntvedt Harry & Tatty Howard Richard & Linda Hubert Dr. W. Manchester Hudson JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Mr. W.F. & Dr. Janice Johnston Allyson M. Kirkpatrick
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*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
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Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr. The Reverend Neal P. Ponder, Jr. Tom & Mary Quigley Dr. & Mrs. W. Harrison Reeves, Sr. Mrs. Susan H. Reinach Margaret & Bob Reiser Roger & Lynn Lieberman Ritvo Ms. Susan Robinson & Ms. Mary Roemer
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patron partnership 2015-16 committee Belinda Massafra Chair Kristi Allpere Vice-Chair, Programs Helga Beam Vice-Chair, Annual Fund
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The ROBERT SHAW ROOM, the VIP Donor Lounge and Dining Room, is open for cocktails and dinner prior to Atlanta Symphony Orchestra performances in Atlanta Symphony Hall, as well as for cocktails and complimentary coffee during intermission. For more information, visit atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.
Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra
2015-16 ASA Board of Directors Camille Kesler President Belinda Massafra Advisor Leslie Petter Advisor
Sabine Sugarman Secretary Glee Lamb Treasurer Sylvia Davidson Nominating Chair
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Martha & John Head Concerto Unit Chairs Joan Abernathy Encore Unit Chair Corrie Johnson & Joanne Chesler Gross Ensemble Unit Chair
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
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ASO | support Henry Sopkin Circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra
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amed for the Orchestra’s founding Music Director, the Henry Sopkin Circle recognizes individuals who have included the Atlanta Symphony Orchestra in their will or estate plans. Members enjoy special events and benefits throughout the season, including the Annual Henry Sopkin Circle Luncheon. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.
Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia & William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese* Margie & Pierce** Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela Johnson Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth R. Etoll Brien P. Faucett Dr. Emile T. Fisher
A. D. Frazier, Jr. Nola Frink Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr., Fund Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Mary Virginia Hearn** Barbara & John** Henigbaum Richard E. Hodges, Jr. Pat & Chuck Holmes Mr.** & Mrs. Fred A. Hoyt, Jr. Jim & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Robert Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr.
66 Atlanta Symphony Orchestra | aso.org
Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard** & Sandra Palay Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith
Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.** & Mrs. Charles R. Yates
You can leave a legacy of music. Call Jessica Langlois, Director of Development for more information. 404.733.4864
**Deceased
Year round training for pre-college and college string players faculty members from the ATLANTA SYMPHONY ORCHESTRA - Collaborate with faculty and peers - Improve technique, musicianship, discipline, and leadership - Enjoy performing with friends Franklin Pond Chamber Music enriches the personal, cultural, and social lives of all people, especially young musicians, through chamber music. Accepting applications for Summer, Fall Into Spring, and College programs.
www.franklinpond.org Inspiring students from 1 8 months to 8th grade
quench
my thirst for answers. An extraordinary, curious, open mind. A sense of wonder nurtured and inspired. Lessons experienced, not just taught. Collective engagement and personal success.
Welcome to Springmont. springmont.com • 404.252.3910 encoreatlanta.com | Atlanta’s Performing Arts Publication 67
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BEFORE YOU HEAD OUT, HEAD OVER TO
ENCOREATLANTA.COM Read about the artists onstage, see what’s happening around town and discover the best Atlanta has to offer. We’re more than just a show program. We’re your ticket to the arts.
encoreatlanta.com | Atlanta’s Performing Arts Publication 69
BEYOND THE PERFORMANCE
At Galloway, students (age 3-grade 12) are inspired to be fearless learners, to embrace challenges, and to
To learn more visit gallowayschool.org
discover more about themselves and the world around them.
corporate & government | support
Mayor’s Office of Cultural Affairs
Major support is provided by the City of Atlanta Office of Cultural Affairs.
Major funding is provided by the Fulton County Board of Commissioners.
72 Atlanta Symphony Orchestra | aso.org
This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts
This program is supported in part by an award from the National Endowment for the Arts.
THE WOODRUFF CIRCLE Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of the Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these 36 partners who lead our efforts to ensure the arts thrive in our community.
$1 MILLION+
A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA
$500,000+ A Friend of the Atlanta Symphony Orchestra Chick-fil-A Foundation / Rhonda and Dan Cathy Sally and Carl Gable Georgia Power Foundation, Inc. The Home Depot
JOY & TONY GREENE
SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Walter H. and Marjory M. Rich Memorial Fund
Wells Fargo wish Foundation, Inc.
$400,000+ The Community Foundation for Greater Atlanta, Inc. Sarah and Jim Kennedy Mr. and Mrs. Donald Keough
PwC, Partners & Employees Louise Sams & Jerome Grilhot UPS
$300,000+ AT&T The Goizueta Foundation Invesco Ltd.
Margaret and Terry Stent Turner Broadcasting System, Inc. Mr. and Mrs. Edus H. Warren, Jr.
$250,000+ Bank of America Deloitte, its Partners & Employees Equifax Inc. & Employees EY, Partners & Employees King & Spalding LLP, Partners & Employees
PNC Patty and Doug Reid Mrs. Charles A. Smithgall Jr. Woodruff Circle & Patron Circle donations made: June 1, 2014 – May 31, 2015 Beauchamp C. Carr Challenge Fund Donors
encoreatlanta.com | Atlanta’s Performing Arts Publication 73
THE PATRON CIRCLE The Patron Circle includes donors who generously made contributions to our FY15 annual funds and/or long-term special projects and endowment funds.
CORPORATE PARTNERS $200,000+ KPMG LLP, Partners & Employees $150,000+ Alston & Bird LLP Jones Day Foundation & Employees Porsche Cars North America $100,000+ AGL Resources Inc. First Data Corporation GE Asset Management Genuine Parts Company Intercontinental Exchange, Inc. Kaiser Permanente Kilpatrick Townsend LLP Northern Trust Company Target Stores $75,000+ General Electric Company Georgia-Pacific Corporation Newbridge Management WestRock Company $50,000+ BB&T Corporation Birch Communications Carter’s Charitable Foundation Crawford & Company GMT Capital Corporation Norfolk Southern Corporation North Highland Company Primerica, Inc. Printpack, Inc. Publix Super Market Charities, Inc. Regions Financial Corporation Sutherland Asbill & Brennan LLP U.S. Trust $25,000+ ACE Charitable Foundation AGSI Business Techology Americas Mart Real Estate, LLC
AT&T Mobility Atlanta Homes & Lifestyles BlueCross BlueShield of Georgia BNY Mellon Wealth Management The Boston Consulting Group Cousins Properties Foundation Disney Publishing Worldwide Georgia Natural Gas Global Payments, Inc. Holder Construction Company JLL JP Morgan Private Bank Kia Motors America, Inc. Lanier Parking Solutions Lockheed Martin Aeronautics Company Nelson Mullins Riley & Scarborough, LLP Novelis, Inc. Post Properties, Inc. Quikrete Ryder Truck Rental, Inc. Sam’s Club & Wal-Mart Stores, Inc. SCANA Energy The Selig Foundation Southwest Airlines State Bank & Trust Company Steinway Piano Galleries Traditional Home United Distributors, Inc. Verizon Wireless Waffle House Wilmington Trust Woodruff Arts Center Employees Yancey Bros. Co. $15,000+ ABM Acuity Brands, Inc. Alvarez & Marsal Antique Piano Shop
Arby’s Foundation, Inc. Arnall Golden Gregory LLP Assurant Specialty Property Atlanta Tech Village Atlantic Trust Company AVYVE Bank of North Georgia/ Synovus Financial Corp Benjamin Moore Bluetube Interactive Bryan Cave Building Materials Holding Corporation Calico The Casey-Slade Group, Merrill Lynch Wealth Management Christie’s Cushman & Wakefield, Inc. Fifth Third Bank Gas South, LLC Graphic Packaging International, Inc. Humphries and Company LLC Kimberly-Clark Corporation Macy’s NGI Investments Northside Hospital Performex Company Perkins & Will, Inc. Piedmont National Corporation PulteGroup, Inc. Recall Corporation Ricoh USA, Inc. Rooms to Go Children’s Fund Smith & Howard, PC Southwire Company Stonegate Designs Vertical Systems Womble Carlyle Sandridge & Rice, PLLC
FOUNDATION SUPPORTERS $150,000+
A Friend of the High Museum of Art Abraham J. & Phyllis Katz Foundation The Henry Luce Foundation, Inc. National Endowment for the Arts The Rich Foundation, Inc. The Sara Giles Moore Foundation The Shubert Foundation, Inc. $100,000+ The Andrew W. Mellon Foundation City of Atlanta Office of Cultural Affairs
The Frances and Beverly DuBose Foundation, Inc. The Marcus Foundation, Inc. Morgens West Foundation The Sartain Lanier Family Foundation, Inc. $75,000+ Fulton County Arts Council Triad Foundation, Inc. $50,000+ The Arthur M. Blank Family Foundation
74 Atlanta Symphony Orchestra | aso.org
The Charles Loridans Foundation, Inc. Frances Wood Wilson Foundation, Inc. The Fraser-Parker Foundation Georgia Council for the Arts The Graves Foundation Livingston Foundation, Inc. The Mark and Evelyn Trammell Foundation Massey Charitable Trust Samuel H. Kress Foundation Spray Foundation, Inc.
$25,000+ Ann and Gordon Getty Foundation Atlanta Foundation Gertrude and William C. Wardlaw Fund The Harold and Mimi Steinberg Charitable Trust The Howell Fund, Inc. Ida Alice Ryan Charitable Trust James Starr Moore Memorial Foundation Jane Smith Turner Foundation John & Mary Franklin Foundation, Inc. Margaret Gill Clements Napier Foundation
The Oscar G. and Elsa S. Mayer Family Foundation Piedmont Charitable Foundation, Inc. Price Gilbert, Jr. Charitable Fund The Ray M. and Mary Elizabeth Lee Foundation, Inc. The Vasser Woolley Foundation, Inc. Walter Clay Hill & Family Foundation $15,000+ The Blanche Lipscomb Foundation Camp-Younts Foundation Center Family Foundation
The Chatham Valley Foundation, Inc. Covenant Foundation, Inc. JBS Foundation Jim Cox, Jr. Fund John H. and Wilhelmina D. Harland Charitable Foundation The L&C Wood Family Foundation, Inc. Roderick S., Flossie R., and Helen M. Galloway Foundation Thalis & Michael C. Carlos Foundation Thomas H. Lanier Foundation Tull Charitable Foundation Weldon H. Johnson Family Foundation
INDIVIDUAL PHILANTHROPISTS $200,000+ A Friend of the High Museum of Art Ms. Jeannie Hearn $150,000+ Victoria and Howard Palefsky $100,000+ Susan and Richard Anderson Mr. Joseph F. Best, III Thalia & Michael Carlos Fund Mr. and Mrs. Bradley Currey, Jr. Marcia and John Donnell The Douglas J. Hertz Family Mr. and Mrs. Charles K. Holmes, Jr. Mr. Jimmy Liautaud Carol and Ramon Tomé Family Fund Mrs. Sue Williams $75,000+ A Friend of the High Museum of Art Sandra and Dan Baldwin Mrs. Frances B. Bunzl Karole and John Lloyd Carla and Graham Roberts Susan and Thomas Wardell Ms. Joni Winston $50,000+ Nancy and Kenny Blank Barbara and Steve Chaddick Peggy and Rawson Foreman Sonya and Rick Garber Mrs. Charlotte Garson Robin and Hilton Howell Karen and Jeb Hughes Jane and Clay Jackson Lori and Bill Johnson Mr. Baxter P. Jones & Dr. Jiong Yan Terence L. and Jeanne P. Neal Beth and David Park Alyson and Gregory Rogers Ruthie Magness Rollins Linda and Steve Selig
Robert Spano Sara and Paul Steinfeld Joan N. Whitcomb Adair and Dick White Elizabeth and Chris Willett $25,000+ A Friend of the High Museum of Art Aarati and Peter Alexander Susan and Ron Antinori Spring and Tom Asher Julie and Jim Balloun Mr. and Mrs. Joseph R. Bankoff Paul and Linnea Bert Mr. and Mrs. Paul J. Blackney John and Mary Brock John W. and Rosemary K. Brown Lucinda W. Bunnen Ms. Mary Cahill Connie and Merrell Calhoun Wright and Alison Caughman Susan and Carl Cofer Ann and Tom Cousins Ann and Jeff Cramer Mr. Larry Darrow Elaine and Erroll Davis Catherine Warren Dukehart Ms. Lynn Eden Mr. and Mrs. Joseph W. Evans Feinberg Charitable Trust Mr. and Mrs. Howard Feinsand Mr. John Foy Betty Sands Fuller Carol and Paul Garcia Mr. and Mrs. Lawrence L. Gellerestedt III Mr. and Mrs. Holcombe T. Green, Jr. Margaret and Scotty Greene Nena Griffith Ms. Maria Guarisco Newell and Tom Harbin Virginia A. Hepner and Malcolm Barnes Mr. Andrew Heyman
Allison and Ben Hill Jocelyn J. Hunter Mr. and Mrs. Bahman M. Irvani Katie and West Johnson Mary and Neil Johnson Jinny and Michael Keough The Klaus Family Foundation James H. Landon Mr. and Mrs. J. Hicks Lanier Mr. and Mrs. Gary Lee, Jr. John Paddock and Karen Schwartz Merry McCleary & Ann Pasky Sally and Allen McDaniel Mr. Alan B. McKeon & Ms. Evelyn Ashley The Deborah A. Kahn & Harris N. Miller Charitable Fund Jennifer and Brand Morgan Mr. and Mrs. C.V. Nalley, III Mr. and Mrs. William A. Parker, Jr. Sally & Pete Parsonson Foundation Mrs. Martha Pentecost Christina and Jim Price Laurie and Roland Pritchett Mr. and Mrs. Gordon P. Ramsey Mr. and Mrs. David M. Ratcliffe Mr. and Mrs. William C. Rawson Dan and Garnet Reardon Bill and Rachel Schultz Jeffrey C. Sprecher and Kelly Loeffler Les Stumpff and Sandy Moon Mary and Greg Thompson Rebekah and Mark Wasserman Ada and William Weiller Mr. and Mrs. John B. White, Jr. Ramona and Ben White Susan and John Wieland Ms. Regina Williamson Dina E. Woodruff Mr. and Mrs. John C. Yates Mary and Bob Yellowlees The Zaban Foundation
encoreatlanta.com | Atlanta’s Performing Arts Publication 75
ASO | staff EXECUTIVE Jennifer Barlament Executive Director Alesia Mack Director of Executive Services Alvinetta CookseyWyche, Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning & Operations Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Alex Malone Managing Producer Symphony POPS! Ken Meltzer ASO Insider & Program Annotator Scott O’Toole Artistic Assistant Bob Scarr Archives Program Manager DEVELOPMENT Jessica Langlois Director of Major Gifts and Special Projects Elizabeth Bixby Manager of Individual Support Shawn Gardner Senior Development Coordinator Ashley Nixon Special Events Coordinator
MARKETING & COMMUNICATIONS Kristen Delaney Vice President of Marketing & Communications KC Commander Marketing Coordinator Elizabeth Daniell Communications Coordinator Adam Fenton Director of Multimedia Technology Holly Hanchey Director of Marketing & Patron Experience Tammy Hawk Director of Communications Robert Phipps Publications Director SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management Dallas Greene Season Tickets Assistant Melanie Kite Director of Subscriptions & Patron Services Pamela Kruseck Manager of Group Sales & Tourism Gokul Parasuram Group & Corporate Sales Assistant Robin Smith Subscription & Education Sales Christopher Stephens Corporate Sales Manager Karen Tucker Season Tickets Associate
76 Atlanta Symphony Orchestra | aso.org
EDUCATION & COMMUNITY ENGAGEMENT Katherine Algarra Manager of the Atlanta Symphony Youth Orchestra & Community Music School Kaitlin Gress Manager of Community Programs Tiffany I. M. Jones Education Associate for Audience Development Ruthie Miltenberger Manager of Family Programs Adrienne Thompson Manager, Talent Development Program OPERATIONS Russell Williamson Senior Orchestra Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Christopher McLaughlin Orchestra Operations Manager Jesse Pace Front of House Manager Kourtnea Stevenson Assistant Orchestra Personnel Manager Susanne Watts Orchestra Personnel Manager
FINANCE & ADMINISTRATION Susan Ambo Chief Financial Officer Peter Dickson Senior Accountant Nicole Epstein Venues Accountant Kimberly Hielsberg Senior Director of Financial Planning & Analysis Stephen Jones Symphony Store Shannon McCown Office Manager April Satterfield Controller
GAC practices a non-discriminatory policy of admissions.
the
obvious choice for unlimited creativity
2015 One Act Play cast won top award at the Georgia Theatre Competition for “John Lennon & Me”
Take the next step. Join us for an Open House on March 8 for students in grades 6-12.
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emoryhealthcare.org/voicecenter 288
encoreatlanta.com | Atlanta’s Performing Arts Publication 77
ASO | ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.
WOODRUFF ARTS CENTER BOX OFFICE Open 10 a.m. - 6 p.m. Monday; 10 a.m. - 8 p.m. Tuesday – Friday; and noon – 8 p.m. Saturday; noon - 5 p.m. Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.
SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m. MondayFriday; noon-8 p.m. Saturday-Sunday. Service charge applies. Phone orders are filled on a best-available basis.
GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.
www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.
GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000. DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.
ASO | general info LATE SEATING Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements. SYMPHONY STORE The Symphony Store is now open in its new location directly adjacent to the Robert Shaw Room and Delta SKY360º Club. The store is open before, during and after most concerts.
78 Atlanta Symphony Orchestra | aso.org
THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,000 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860. IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345 Donations & Development 404.733.4262
Ins I st on makI ng a t o a s t. Enjo y l I f E t o t hE f ul l E s t thEr E arE no drE ss rE h Ea r s a l s . hav E y our st E ak and E at I t, t o o .
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ASO | calendar APR 7/8 | DELTA CLASSICAL Thu/Fri: 8pm ALVIN SINGLETON: Different River GRIEG: Piano Concerto SIBELIUS: Symphony No. 2 Robert Spano, conductor Louis Lortie, piano
APR 21/23 | DELTA CLASSICAL Thu/Sat: 8pm MAHLER: Symphony No. 9 Donald Runnicles, conductor MAY 5/6/7 | DELTA CLASSICAL Thu/Sat: 8pm/ Fri: 6:30 MENDELSSOHN: Calm Sea and Prosperous Voyage Overture SCHUMANN: Piano Concerto BRAHMS: Symphony No. 1 Lothar Zagrosek, conductor Javier Perianes, piano
APR 14/16 | DELTA CLASSICAL Thu/Sat: 8pm JONATHAN LESHNOFF: Zohar WORLD PREMIERE BRAHMS: A German Requiem Robert Spano, conductor Jessica Rivera, soprano Nmon Ford, baritone ASO Chorus
MAHLER: SYMPHONY NO.
GRIEG:
9
LUCIO PETROCCIONE
PianCoonc erto Blessed are they that mourn; for they shall be comforted. They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him
APR
21 SCHUMANN: For all flesh is as grass, ALVIN SINGLETON: and all the glory of man 23 Different River
BRAHMS:
APR
7 8
THU: 8PM
FRI: 8PM
SAT: 8PM
SIBELIUS: Symphony No. 2 Robert Spano, conductor Louis Lortie, piano
A German Requiem
Presented by:
Buy Tickets Here! Woodruff Arts Center Box Office
JONATHAN LESHNOFF: Zohar WORLD PREMIERE
14 16 THU: 8PM
Presented by:
as the flower of grass. The grass withereth, and the flower there of falleth away. Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.
APR
Donald Runnicles, conductor
Piano Concerto THU: 8PM
Robert Spano, conductor Jessica Rivera, soprano Presented by: Nmon Ford, baritone Atlanta Symphony Orchestra Chorus
SAT: 8PM
80 Atlanta Symphony Orchestra | aso.org
Presented by:
MAY
5 7
THU: 8PM
SAT: 8PM
404.733.5000
MENDELSSOHN: Calm Sea and Prosperous Voyage Overture BRAHMS: Symphony No. 1 Lothar Zagrosek, conductor Javier Perianes, piano Presented by:
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ASO | community Meet Brian Hecht Bass Trombone | Interviewed by Chris Flowers Brian Hecht joined the Atlanta Symphony Orchestra in September 2013 as Bass Trombone. The native of Dallas, Texas, received his bachelor of music degree from the University of Texas at Austin and a master of music degree from Northwestern University. He’s played with such major ensembles as the New York Philharmonic, the Chicago Symphony Orchestra, the United States Navy Band and more. What does it take to do this, to live this life?
Attention to detail. Patience. Diligence. Hard work. I feel like that’s what any job takes but specifically, for this, it requires a much higher attention to detail. It’s not just about playing the phrase and playing the notes, it’s matching as perfectly as possible to the other players in the orchestra.
if I can even define my success any better. The Atlanta Symphony Orchestra defines it. My entire professional life has been leading up to being accepted by a group like this. What would you like to accomplish next?
I want to continue learning from my peers. Be a better team player. Be a better team musician and a better orchestral trombonist. Being a perfectionist is huge in this world. What keeps you motivated and why are Everyone that I work with is a perfectionist. you so passionate? They wouldn’t have this job if they weren’t. I think what keeps me motivated is that I’ve Not just playing the notes, but playing them been given an opportunity that very few at the highest level. people get. I know how badly I wanted this, and how badly other music majors wanted this, and I was given a once-in-a-lifetime opportunity to live out my dream. I realize what I have and how hard you have to work to keep it. That motivates me. I want this life so badly, to be able to play and perform with the best musicians in the world. And that requires a lot of work and attention to detail. If I don’t keep it up I know I don’t get to keep it at all. I think the huge milestone in my life was winning a job with a major symphony orchestra. There’s only about 45 orchestral bass trombone positions in the whole country that pay a living wage. I don’t know 82 Atlanta Symphony Orchestra | aso.org
CHRIS FLOWERS
How do you define your success?
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