Atlanta Symphony Orchestra, April, 2023

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ATLANTA SYMPHONY ORCHESTRA APRIL 2023 79th Season Announced PAGE 12 | 1 | @AtlantaSymphony | APRIL 2023 INTRODUCTIONS In Tune 2 Music Director 5 ASO Leadership ................... 6 ASO Musicians .................... 8 NOTES ON THE PROGRAM Written by Noel Morris MARCH 31, APRIL 1, 2 20 APRIL 13, 15 ...................... 34 APRIL 20, 21 ..................... 42 APRIL 27, 29 50 DEPARTMENTS ASO Support 64 Henry Sopkin Circle 68 ASO Staff 69 Woodruff Circle .................. 71 Benefactor Circle 72 Page 12 2023-24 Season Preview
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The 2022/23 season marks an exciting new era for the ASO as Maestro Nathalie Stutzmann takes her role as our fifth Music Director, making her the only woman leading a major American orchestra. She has also served as the Principal Guest Conductor of The Philadelphia Orchestra since 2021 and Chief Conductor of the Kristiansand Symphony Orchestra in Norway since 2018.

Nathalie Stutzmann is considered one of the most outstanding musical personalities of our time. Charismatic musicianship combined with unique rigour, energy and fantasy characterize her style. A rich variety of strands form the core of her repertoire: Central European and Russian romanticism is a strong focus—ranging from Beethoven, Schumann, Brahms and Dvořák through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss—as well as French 19thcentury repertoire and impressionism.

Highlights as guest conductor in the next seasons include debut performances with the Munich, New York and Helsinki Philharmonics. She will also return to the London Symphony Orchestra and Orchestre de Paris.

Having also established a strong reputation as an opera conductor, Nathalie has led celebrated productions of Wagner’s Tannhäuser in Monte Carlo and Boito’s Mefistofele at the Orange festival. She began the 2022/23 season with a new production of Tchaikovsky’s Pikovaya Dama in The Royal Theater of La Monnaie in Brussels and will make her debut at the Metropolitan Opera this season with two productions of Mozart’s Die Zauberflöte reunite with Wagner’s Tannhäuser for a production at the Bayreuth in 2023.

As one of today’s most esteemed contraltos, she has done more than 80 recordings and received the most prestigious awards. Her newest album released in January 2021, Contralto, was awarded the Scherzo’s “Exceptional” seal, Opera Magazine’s Diamant d’Or and radio RTL’s Classique d’Or. She is an exclusive recording artist of Warner Classics/Erato.

Nathalie was named “Chevalier de la Légion d’Honneur,” France’s highest honor, and “Commandeur dans l’Ordre des Arts et des Lettres” by the French government. | 5

ASO | LEADERSHIP | 2022/23 Board of Directors


Patrick Viguerie chair

Janine Brown immediate past chair

Bert Mills treasurer

Angela Evans secretary


Phyllis Abramson

Keith Adams

Juliet M. Allan

Susan Antinori

Andrew Bailey

Jennifer Barlament*

Paul Blackney

Rita Bloom

Zachary Boeding*

Janine Brown

Benjamin Q. Brunt

Betsy Camp

S. Wright Caughman, M.D.

Lisa Chang

Susan Clare

Russell Currey

Sheila Lee Davies

Erroll Brown Davis, Jr.

Carlos del Rio, M.D. FIDSA

Lisa DiFrancesco, M.D.

Sloane Drake

Lynn Eden

Angela Evans

Craig Frankel

Sally Bogle Gable

Anne Game

Rod Garcia-Escudero

Sally Frost George

Robert Glustrom

Bonnie B. Harris

Charles Harrison

Tad Hutcheson, Jr.

Roya Irvani

Joia Johnson

Susan Antinori vice chair

Lynn Eden vice chair

James Rubright vice chair

Chris Kopecky

Randolph J. Koporc

Carrie Kurlander

James H. Landon

Donna Lee

Sukai Liu

Kevin Lyman

Deborah Marlowe

Shelley McGehee

Arthur Mills IV

Bert Mills

Molly Minnear

Hala Moddelmog*

Terence L. Neal

Galen Lee Oelkers

Dr. John Paddock

Howard D. Palefsky

Cathleen Quigley


Doug Reid

James Rubright

William Schultz

Charles Sharbaugh

Fahim Siddiqui

W. Ross Singletary, II

John Sparrow

Elliott Tapp

Brett Tarver

S. Patrick Viguerie

Kathy Waller

Mark D. Wasserman

Chris Webber

John B. White, Jr.

Richard S. White, Jr.

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

Neil Berman

John W. Cooledge, M.D.

John R. Donnell, Jr.

Jere A. Drummond

Carla Fackler

Charles B. Ginden

John T. Glover

Dona Humphreys

Aaron J. Johnson, Jr.

Ben F. Johnson, III

James F. Kelley

Patricia Leake

Karole F. Lloyd


Howell E. Adams, Jr.

*Ex-Officio Board Member

Connie Calhoun

Meghan H. Magruder

Penelope McPhee

Patricia H. Reid

Joyce Schwob

John A Sibley, III

H. Hamilton Smith

G. Kimbrough Taylor, Jr.

Michael W. Trapp

Ray Uttenhove

Chilton Varner

Adair M. White

Sue Sigmon Williams

C. Merrell Calhoun

Azira G. Hill

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ASO | 2022/23 Musician Roster

Nathalie Stutzmann music director

The Robert Reid Topping Chair


David Coucheron concertmaster

The Mr. and Mrs. Howard R. Peevy Chair

Justin Bruns associate concertmaster

The Charles McKenzie Taylor Chair

Vacant assistant concertmaster

Jun-Ching Lin assistant concertmaster

Anastasia Agapova acting assistant concertmaster

Kevin Chen

Carolyn Toll Hancock

The Wells Fargo Chair

John Meisner

Christopher Pulgram

Juan R. Ramírez Hernández

Olga Shpitko

Kenn Wagner

Lisa Wiedman Yancich

Sissi Yuqing Zhang


Judith Cox

Raymond Leung

The Carolyn McClatchey Chair

Sanford Salzinger


Vacant principal

The Atlanta Symphony Associates Chair

Sou-Chun Su acting / associate principal

The Frances Cheney Boggs Chair

Jay Christy acting associate / assistantprincipal

Dae Hee Ahn

Robert Anemone

Noriko Konno Clift

David Dillard

Sheela Iyengar**

Eun Young Jung•

Eleanor Kosek

Yaxin Tan•

Rachel Ostler


Zhenwei Shi 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

Madeline Sharp


Rainer Eudeikis* principal

The Miriam and John Conant Chair

Daniel Laufer acting / associate principal

The Livingston Foundation Chair

Karen Freer acting associate / assistant principal

Thomas Carpenter

Joel Dallow

The UPS Foundation Chair

Peter Garrett•**

Brad Ritchie

Denielle Wilson•**


Joseph McFadden principal

The Marcia and John Donnell Chair

Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair

Karl Fenner

Michael Kenady

The Jane Little Chair

Michael Kurth

Nicholas Scholefield•

Daniel Tosky


Christina Smith principal

The Jill Hertz Chair

Robert Cronin associate principal

C. Todd Skitch

Gina Hughes


Gina Hughes

Players in string sections are listed alphabetically | ‡ Rotates between sections | * Leave of absence |

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@AtlantaSymphony |

Sir Donald Runnicles

principal guest conductor; The Neil & Sue Williams Chair


Elizabeth Koch Tiscione principal

The George M. and Corrie Hoyt Brown Chair

Zachary Boeding associate principal

The Kendeda Fund Chair

Samuel Nemec

Emily Brebach


Emily Brebach


Vacant principal

The Robert Shaw Chair

The Mabel Dorn Reeder Honorary Chair

Ted Gurch acting / associate principal

Marci Gurnow

Alcides Rodriguez


Ted Gurch


Alcides Rodriguez


Andrew Brady* principal

The Abraham J. & Phyllis Katz Foundation Chair

Anthony Georgeson acting / associate principal

Laura Najarian

Juan de Gomar

Jerry Hou resident conductor; music director of the atlanta symphony youth orchestra

The Zeist Foundation Chair


Juan de Gomar


Vacant principal

The Betty Sands Fuller Chair

Susan Welty acting / associate principal

Kimberly Gilman

Bruce Kenney


Stuart Stephenson* principal

The Madeline and Howell Adams Chair

Michael Tiscione acting / associate principal

Anthony Limoncelli

Mark Maliniak

William Cooper•**


Vacant principal

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

Nathan Zgonc acting / associate principal

Jason Patrick Robins



The Home Depot Veterans Chair


Michael Moore principal

The Delta Air Lines Chair

Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair


Mark Yancich principal

The Walter H. Bunzl Chair

Michael Stubbart assistant principal


Joseph Petrasek principal

The Julie and Arthur Montgomery Chair

Vacant assistant principal

The William A. Schwartz Chair

Michael Stubbart

The Connie and Merrell Calhoun Chair


Elisabeth Remy Johnson principal

The Sally and Carl Gable Chair


The Hugh and Jessie Hodgson Memorial Chair

Peter Marshall †

Sharon Berenson †


Vacant principal

The Marianna & Solon Patterson Chair

Hannah Davis asyo / assistant librarian

| • New
| **
Regularly engaged musician
this season
One-year appointment

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a group of passionate and engaged individuals who act as both ambassadors and resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page.

2022/23 CHAIRS

Arthur Mills, IV advisory council chair

Justin Im internal connections task force co-chair

Robert Lewis, Jr. internal connections task force co-chair

Frances Root patron experience task force chair

Jane Morrison

diversity & community connection task force co-chair

Eleina Raines

diversity & community connection task force


Cindy Smith

diversity & community connection task force co-chair

Otis Threatt

diversity & community connection task force



Dr. Marshall & Stephanie Abes

Krystal Ahn

Paul Aldo

Kristi & Aadu Allpere

Evelyn Babey

Keith Barnett

Asad & Sakina Bashey

Meredith W. Bell

Jane Blount

Carol Brantley & David Webster

Cristina Briboneria

Tracey Chu

Donald & Barbara Defoe

Paul & Susan Dimmick

Bernadette Drankoski

Diana Einterz

Bruce Flower

John Fuller

Tucker Green

Caroline Hofland

Justin Im

Baxter Jones & Jiong Yan

Brian & Ann Kimsey

Jason & Michelle Kroh

Scott Lampert

Dr. Fulton Lewis III & Mr. Neal Rhoney

Robert Lewis, Jr.

Eunice Luke

Pam Martin

Belinda Massafra

Erica McVicker

Arthur Mills IV

Berthe & Shapour


Bert Mobley

Caroline & Phil Moïse

Anne Morgan

Sue Morgan

Jane Morrison

Tatiana Nemo

Gary Noble

Bethani Oppenheimer

Chris Owes

Margie Painter

Ralph Paulk

Regina Olchowski

Eliza Quigley

Eleina Raines

Vicki Riedel

Felicia Rives

Frances A. Root

Thomas & Lynne


Jim Schroder

Suzanne Shull

Baker Smith

Cindy Smith

Peter & Kristi Stathopoulos

Tom & Ani Steele

Kimberly Strong

Stephen & Sonia Swartz

George & Amy Taylor

Bob & Dede Thompson

Otis Threatt Jr.

Cathy Toren

Sheila Tschinkel

Roxanne Varzi

Robert & Amy Vassey

Juliana Vincenzino

Robert Walt

Nanette Wenger

Kiki Wilson

Taylor Winn

Camille Yow

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

KAPRÁLOVÁ: Military Sinfonietta

MARTINŮ: Concerto for Two Pianos

DVOŘÁK: Symphony No. 8

Petr Popelka, conductor Christina & Michelle Naughton, piano JUN 8/10

BERG: Three Excerpts from Wozzeck

MAHLER: Symphony No. 5

Sir Donald Runnicles, conductor

Irene Roberts, mezzo-soprano

MUSSORGSKY: Night on Bald Mountain

HELEN GRIME: Violin Concerto

RACHMANINOV: Symphony No. 3

Andrew Manze, conductor

Season presented by Programs, dates and artists are subject to change.


The just-announced 79th season for the Grammy® Award-winning Atlanta Symphony Orchestra promises to be full of thrills with dynamic debut performances and blockbuster return engagements, including world-renowned soprano Renée Fleming and violinist Joshua Bell.

Music Director Nathalie Stutzmann and Vice President of Artistic Programming Gaetan Le Divelec, the architects behind the season, have created programming that plays to the Orchestra’s strengths, including several weekends of masterworks featuring the ASO Chorus, and introduces Atlanta audiences to composers and artists with a diverse story to tell through their music.

“This is one of our most diverse and exciting seasons to date, with artists of great range and gravitas side by side with fresh voices, and tremendous variety,” says Executive Director Jennifer Barlament.

The Delta Classical season opens in October with Maestro Stutzmann conducting an evening of Tchaikovsky, including his Symphony No. 4. Joining the opening weekend program is harpist Xavier de Maistre, considered one of the foremost harpists in the world, making his ASO debut. Gramophone called de Maistre “a virtuoso of the highest order, profoundly musical and capable of realizing a remarkable range of nuance.”

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Later that same month, the ASO welcomes Russian conductor Lidiya Yankovskaya, who brings with her long-time musical collaborator Amjad Ali Khan, Master of the Sarod, who with his talented sons Ayaan and Amaan Ali Bangash, performs his original concerto for orchestra and sarod, Samaagam

In January of 2024, the ASO celebrates the 200th birthday of Anton Bruckner with two performance weekends dedicated to the celebrated composer called “Architect of the Spirit: Bruckner at 200.” The first weekend, January 18 and 20, Stutzmann will conduct Bruckner’s brilliant but unfinished Symphony No. 9, with the often-used Te Deum to close the performance, featuring the ASO Chorus. The following weekend, Stutzmann conducts Bruckner’s Symphony No. 7.

In February, Grammy®-nominated composer Carlos Simon curates a program conducted by Jonathan Taylor Rush. The Orchestra, along with vocalists Kearstin Piper Brown, soprano and Brian K. Majors, baritone,


will be joined by the outstanding Glee Clubs of HBCUs Morehouse College and Spelman College, as well as poet and spoken-word performer Marc Bamuthi Joseph. On the program, Simon’s brea(d)th and Motherboxx Connection, which explore contemporary life in Black America, as well as Morehouse College professor Uzee Brown’s We Shall Overcome.

The Atlanta Symphony Orchestra Chorus features heavily in the next season, making appearances with Music Director Nathalie Stutzmann, herself a highly regarded contralto and a proponent of the great choral works. In the 2023/24 season, Stutzmann conducts the ASO Chorus in an evening of Brahms rarities and Rachmaninov’s The Isle of the Dead in November, and Verdi’s Requiem in February of 2024.

The Chorus, under the baton of Krzysztof Urbański and prepared as always by Director of Choruses Norman Mackenzie, brings to life the spellbinding Carmina Burana for four performances in March of 2024. They’ll be joined by an all-star cast of soloists including Janai Brugger, soprano; Miles Mykkanen, tenor; and Anthony Clark Evans, baritone; and the Georgia Boy Choir, under the direction of David White.

In keeping with a long-running tradition of bringing new music into the world, the ASO will present three world premieres, including a new work from composer Chanda Dancy, an accomplished film and television composer who has been creating orchestral works since age 12. In May, the Orchestra will premiere a new work for orchestra and chorus called Sacrifice of Isaac, from composer Jonathan Leshnoff, as well as the world-premiere of a new concerto for orchestra from Adam Schoenberg.

Both the Leshnoff and Schoenberg pieces will be conducted by Music Director Laureate Robert Spano, who will also be joined by Garrick Ohlsson playing Rachmaninov’s Piano Concerto No. 3.

The Orchestra’s own musicians will take center stage in Symphony Hall multiple times next season. Concertmaster David Coucheron directs the orchestra and plays a special concert featuring Vivaldi’s The Four Seasons in January of 2024. In April of that same year, Coucheron is joined by Principal Viola Zhenwei Shi to play Mozart’s brilliant Sinfonia concertante, and Principal Percussionist Joseph Petrasek plays Adam Schoenberg’s Losing Earth in February of 2024.

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Six guest conductors are taking the podium in Symphony Hall, including the legendary Osmo Vänskä, who conducts a program that includes Sibelius’ Third Symphony in February of 2024, with pianist Alexander Melnikov playing Prokofiev’s Piano Concerto No. 2. In spite of a long and storied career in conducting, Vänskä has never led the Atlanta Symphony Orchestra, and this concert weekend will be both his and Melnikov’s debut appearances in Atlanta.

Another classical music legend making their debut in Atlanta is pianist Maria João Pires. Widely considered to be one of the greatest pianists of our time, Pires is also a renowned interpreter of Beethoven and will present the composer’s Piano Concerto No. 4 with Stutzmann in April of 2024.

That same month, Stutzmann conducts an evening of Strauss songs with Fleming, who has not performed in Symphony Hall since 1995, when she sang with the ASO under the baton of Robert Shaw. And in October, Bell returns for a special performance, not in the subscription series, that includes the Bruch Violin Concerto and excerpts from The Elements, a suite for violin commissioned by the artist, conducted by Peter Oundjian.

The season announcement is always an exciting time for the Orchestra and audience and comes as the ASO is seeing concert attendance rebound to near pre-pandemic levels, with an average 80 percent of the hall full for each classical concert in the 2022/23 season. In addition, the ASO has a record number of new ticket buyers in the current season.

Subscriptions are on sale now, and details are available at

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We are deeply grateful to the following leadership donors whose generous support has made the Atlanta Symphony Orchestra's season possible.

The Atlanta Symphony Orchestra gives special thanks to the following donors for their extraordinary support of the Orchestra’s Stability Fund.

Created at the onset of the COVID-19 pandemic, the Stability Fund helps mitigate the enormous challenges of the pandemic and allows the Orchestra to continue performing and sharing music with our community.

A Friend of the Symphony (4)

Mr. Thomas Mark


Mr. Alvaro Alonso & Ms. Cari Clark

Mr. Peter Bancheri & Ms. Maureen


Dr. Anne Bartolucci & Mr. Jason Graham

Drs. Jay & Martin


Alex Bolton

Ms. Jadonna Brewton

Dr. Rhonda L. Briscoe

Ms. Barbara L. Brown

Shannon Caldwell

Ms. Sophie Chan

Jenene Cherney

Mr. & Mrs. Briston


Tammy Clark

Paul Colangelo

Mr. Carl Colucci

Dr. Janie I. Cowan

Ms. Amy Cronin

Gray & Marge Crouse

Alexander Crozier

Mr. & Mrs. Deryck


Mr. & Mrs. Michael Faber

Mr. Brandon Goldberg

Mr. & Mrs. Richard Greensted

Ms. Joy Hambrick

Ms. Denise Hanusek & Ms. Ann-Marie Breaux

Ms. Linda L. Hare & Mr. Gerald A. Barth

Ms. Tamara L. Harper

Ms. Cheryl Heenan & Mr. Thomas Mullally

Ms. Patricia Herndon

Daniel E. Holloway

Ms. Jackie G. Howard

Ms. Joy Huddlestun

Ms. Margaret B.


Mr. Christopher Hurst

Mr. Brian C. Ingram

Mr. & Mrs. David L.


Mr. & Mrs. Larry Kistner

Mr. Steven Lindsey

Mr. George Macon

Ms. Janell Martin

Jennifer Mathews

Ms. Elizabeth M.


Mr. & Mrs. Eric Norman

Lynn & Galen Oelkers

Mr. & Mrs. Paul J.

Owen, Jr.

Dr. William & Reverend

Katherine Pasch

Mrs. Gretchen


Mr. & Mrs. Rich Piombino

Ms. Graciela Pregnolato

Katie Rattray

Jonathan Seletyn

Mr. Warren Shaw

Mr. Tom Slovak & Mr. Jeffery Jones

Mr. & Mrs. Bruce Strahan

Ms. Candice Thompson

Mr. & Mrs. Jonathan


Mr. & Mrs. William H. Townsend

Melanie Upshaw

Janice Wolf

Mr. & Mrs. Tom


Samantha Young & Michael Pietrobon

Katelyn Zeeveld

Concerts of Thursday, March 30, 2023 8:00pm

Saturday, April 1, 2023 8:00pm

Sunday, April 2, 2023 3:00pm


Matthäus-Passion (St. Matthew Passion), BWV 244 (1727)

Part I


Part II

Approximate performance time is three hours.


ROBIN TRITSCHLER, tenor (Evangelist)

NMON FORD, baritone (Jesus)


LUCIA BRADFORD, mezzo-soprano

Presented with support from

Performances of this concert were made possible by a grant from the BARNEY M. FRANKLIN & HUGH W. BURKE CHARITABLE FUND.


LEON KOŠAVIĆ, baritone

Michael Devine, baritone: Pilate *

William Borland, baritone: Peter *

Jameson Linville, baritone: Judas *

Trey Clegg, bass: High Priest *

Wanda Yang Temko, soprano: Maidservant *

Anne-Marie Spalinger, soprano: Pilate’s Wife *

Katherine Murray, alto: False Witness *

LaRue Bowman, tenor: False Witness *


Norman Mackenzie, Director of Choruses


Martha Shaw, Director

Annalisa Pappano, viola da gamba

Alice Coquart, continuo cello

Chloé Sévère, continuo keyboard

Peter Marshall, continuo keyboard

Jonas Nordberg, theorbo

Joseph McFadden, ASO Principal Bass

Anthony Georgeson, ASO Principal Bassoon

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.

*Assisting Artists from the Atlanta Symphony Orchestra Chorus

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The St. Matthew Passion is scored for soprano, alto, tenor, baritone and bass solos, double mixed chorus, children’s chorus, and double orchestra. Each orchestra comprises two flutes, two oboes (oboes da caccia and oboes d’amore), strings, organ and basso continuo.

First ASO performances: April 1–4, 1971

Robert Shaw, conductor

Most recent ASO performances: March 8–10, 2012

Robert Spano, conductor

"The St. Matthew Passion is a life-changing journey for any human, religious or not. It tells the story of humanity.”

Johann Sebastian Bach’s St. Matthew Passion is at once monumental and intimate, breathtaking and gut-wrenching. Running anywhere between two-and-a-half to three hours, this musical behemoth was originally integrated into a marathon church service—the Good Friday vespers. At its premiere in 1727, Part I portrayed the anointing in Bethany and ran through the Last Supper and Jesus’s arrest. At this point (more than an hour into Bach’s score), the pastor preached a robust sermon. Once the preacher stepped back from the pulpit, Bach conducted Part II, which covered Christ’s trial, crucifixion, and burial.

The Composer

By the time Johann Sebastian was born, central Germany was dotted with church musicians named Bach. A marvel of genetics, the Bach family trained male children for the trade from an early age, typically with older brothers, uncles, fathers, and cousins serving as instructors. Johann Sebastian trained six future musicians named Bach, in addition to his numerous children. In that family, “Sebastian” was a fifth-generation church musician. In preparation, he studied the Bible in German and Latin. At 10, he was orphaned and went to live with his older brother Johann Christoph—already a successful organist. Sebastian thrived in his brother’s care and won his first church job in Arnstadt at the age of 18.

J.S. Bach in Leipzig

In his capacity as Thomaskantor (Cantor of Thomaskirche), Bach had been the third-choice candidate for the job. Although he was a Bible whiz and superlative musician, his lack of university education diminished his standing. The cantor’s responsibilities were vast and varied: he served as organist, choirmaster and resident composer to four Leipzig churches. He taught private music lessons and was responsible for the schooling of his choir, which was made up of

notesontheprogram |
—Nathalie Stutzmann

students from the St. Thomas School. To compensate for his lack of academic credentials, Bach agreed to pay an instructor from his own salary. This is not to say he was unlearned.

When Bach moved his family to Leipzig in 1723, he made up his mind to provide a new cantata every Sunday, thus creating a musical sermon for each week of the lectionary. (The lectionary is a schedule of Bible readings that corresponds with the church calendar.) This was a near-superhuman undertaking, setting the stage for his musical essays on the longest and most dramatic reading—the Passion of Christ. According to his obituary, Bach wrote five Passions; only two survived, plus the libretto of a third. Within the Bach family, the St. Matthew Passion was known as “the Great Passion,” as it was his grandest and most ambitious. Toward the end of his life, as his eyesight dimmed, Bach carefully recopied the piece, no doubt with his legacy in mind.


The Passion of our Lord Jesus Christ According to the Evangelist Matthew contains a complete reading of the Passion of Christ, as told in chapters 26 and 27. In addition to the Gospel reading, there are meditations, mostly poems written by librettist Christian Friedrich Henrici (a.k.a. Picander). The work is based on Martin Luther’s German-language translation of Matthew’s Gospel. It’s scored for a group of soloists and two choirs, each with its own orchestra. A third choir provides commentary and is sometimes called the “boys’ choir” because it was written for treble voices only. This is a reference to the fact that in Leipzig, Bach’s soprano section was made up of schoolboys.

In the  St. Matthew Passion, the Bible readings are written as recitatives, a pared-down musical style that follows the rhythm of human speech. Typical to operas and oratorios, “recits” convey information and advance the plot, while arias and choruses express feelings. In this case, the arias and choruses offer meditations, preaching and commentary.

In the Matthew Passion recits, the tenor or “Evangelist” serves as the narrator. The bass sings the role of Jesus. Notice when Jesus sings, Bach bathes his voice in a shimmering “halo” produced by sustained chords in the violins and violas. (In a masterstroke of symbolism, the halo ceases at the moment Jesus cries out: “Eli, Eli, lama asabthani?” (My God, my God, why hast thou forsaken me?). Other roles include the voices of Peter, Pilate, Pilate’s wife, two women and High Priests. The

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two choirs fill in the rest, serving as various participants in the drama. The opening chorus, for example, summarizes the entire Passion.  Notice the antiphonal effect between the two choirs, who represent Christ’s contemporaries and the Faithful (ourselves). Choir I sings “Behold!” Choir II answers, “Whom?” Choir I replies: “The Bridegroom. See him!” From the outset, we encounter humanity in its fallen state, with the choruses tossing back and forth their expressions of guilt, confusion and despair. At the same time, Choir III soars above them in a slow chorale tune: “O innocent Lamb of God, slaughtered upon the tree of the cross, at all times found patient . . . Thou hast borne all sin . . . Have mercy on us, O Jesus!”


One of the most stunning aspects of Bach’s St. Matthew Passion grows out of the composer’s deep and abiding faith. Many consider J. S. Bach to be among the greatest musical minds of western music; putting that brainpower behind his mastery of the Bible gives voice to some of the most enduring mysteries of the Judeo-Christian tradition. During the Last Supper, for example, Jesus tells his twelve disciples, “One of you shall betray me,” setting off a panicked flurry of voices who cry out, “Lord, is it I?”

Though this moment lasts only five bars, it is designated as a separate chorus. It passes in the blink of an eye, rendering it practically impossible to count the number of voices that cry out, “Lord, is it I?” But the answer is eleven. The twelfth disciple—Judas, the betrayer—remains silent.

In another example, the apostle Peter lingers outside the palace after Jesus’ trial. When bystanders question him, he denies knowing Jesus three times. Immediately, a cock crows—just as the Lord has prophesied. Peter begins to weep, setting up one of Bach’s most exquisite arias, “Erbarme dich.” The alto sings of Peter’s tears over pulsing eighth notes in the continuo—an effect evoking the falling of teardrops.

In the end, Jesus breathes his last; the veil of the temple splits in two, and the stage is set for transformation—the Resurrection. Bach hints at the miracle to come when the bass strikes a more hopeful tone, singing, “For he shall henceforth evermore . . . sweetly take his rest in me. World, go hence [from my heart], let Jesus in!”

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wedish-native Camilla Tilling has been performing on the world’s leading opera, concert and recital stages for over two decades. In the 2022/23 season, Tilling has a varied schedule across Europe and North America including the premiere of Daniel Nelson’s Chaplin Songs with the Swedish Radio Symphony Orchestra and Andrew Manze, Bill Barclay’s semi-staging of Grieg’s Peer Gynt with Cincinnati Symphony under Louis Langrée and a program featuring Irgen-Jensens’ Japanischer Frühling alongside Mahler’s Symphony No.4 with Christian Blex and the Karajan-Akademie of Berliner Philharmoniker.

She joins Gianandrea Noseda and Washington’s National Symphony Orchestra at the Kennedy Centre for Beethoven Symphony No. 9 and David Danzmayr and Oregon Symphony Orchestra for Osvaldo Golijov’s Three Songs

Highlights of recent seasons include Mahler Symphony No.4 under Gustavo Dudamel with both Het Concertgebouw Orkest and Los Angeles Philharmonic.


Mezzo-soprano Lucia Bradford has performed a number of operatic roles including Carmen in Bizet’s Carmen, Zita in Puccini’s Gianni Schicchi, La Principessa in Puccini’s Suor Angelica, The Mother in Ravel’s L’Enfant des Sortileges, Mrs. Quickly in Verdi’s Falstaff, Hippolyta in Britten’s A Midsummer Night’s Dream, Mary Watkins’ Emmett Till as Mamie Till and Maria in Gershwin’s Porgy and Bess, among many others.

Bradford’s concert repertory includes Mozart’s Vesperae solennes de Confessore, Hadyn’s Lord Nelson Mass, De Falla’s El amor Brujo, William Grant Still’s And they lynched him, Nathanial Dett’s The Ordering of Moses, Julia Perry’s Stabat Mater, Handel’s Messiah, Mozart Requiem, Bach B minor Mass and St. John Passion

Upcoming events include Handel’s Messiah with National Symphony, Bach Magnificat with the Oratorio Society of New York, Porgy and Bess at Opera Carolina, and Bach’s B minor Mass at Carnegie Hall with Oratorio Society of New York, and a debut with the Atlanta Symphony with Bach’s Saint Matthew Passion.

26 | meettheartists | @AtlantaSymphony |


Kenneth Tarver has appeared at the most prestigious opera houses and concert halls around the world, performing both well-known and seldom-performed works with conductors such as René Jacobs, Riccardo Chailly, Pierre Boulez, and Claudio Abbado. Recent performances include Berlioz’s Requiem and Beethoven’s Symphony No. 9 with the Seattle Symphony and Ludovic Morlot, Donizetti’s Don Pasquale at the Bolshoi in Moscow, Aufidio in Mozart’s Lucio Silla at Teatro Real Madrid with Ivor Bolton, Rossini’s Eduardo e Cristina, L’Occasione fa il ladro and Sigismondo at Rossini in Wildbad conducted by Antonino Fogliani, Mozart’s Die Zauberflöte at Opera Vlaanderen.

Tarver is a past winner of the Metropolitan Opera National Council Auditions and was a member of the Metropolitan Opera’s Young Artist Development Program and the Staatsoper Stuttgart. A graduate of Interlochen Arts Academy, The Oberlin College Conservatory of Music, Kenneth holds a Masters of Music Performance from Yale University School of Music, where he received the Dean’s Award for the Most Outstanding Student in the graduating class.


Croatian baritone Leon Košavić began his vocal training at the age of 12. He completed his master’s degree at the Music Academy in Zagreb in the singing class of Giorgio Surian. He is a member of the Queen Elisabeth Music Chapel program under the direction of José van Dam.

In 2011 he began his musical career as Papageno at the Croatian National Opera. He made his debut at the Finnish National Opera as Malatesta (Don Pasquale) in 2015, and also won the Croatian Theatre Prize for “Outstanding performances by young artists under 30” for his sensational performance of Don Giovanni Since then he has appeared at numerous European opera houses such as the Royal Opera House London (Ping in Turandot), Stuttgart State Opera (Don Giovanni), Liège (Figaro in Le Nozze di Figaro), Antwerp (La Juive), Lausanne (Masetto in Don Giovanni) and Strasbourg (Figaro in Barbiere di Siviglia). | 27


anamanian-American baritone Nmon Ford’s recent highlights include his exceptionally reviewed performances as Don Giovanni at Dorset Festival Opera in the UK, and as Crown in the new Metropolitan Opera production of Porgy and Bess in which he appeared at London’s English National Opera and at Dutch National Opera in The Netherlands. In Denver, he joined Opera Colorado’s Carmen as Escamillo, a role he also sang at Calgary Opera in Canada and in London at ENO. Recent career highlights include Jochanaan in Salome with Patricia Racette at Pittsburgh Opera, Don Pizzaro in Fidelio with Christine Goerke at Cincinnati Opera, and in concert with Atlanta Symphony Iago in Otello with Russell Thomas in the title role. Earlier in his career Mr Ford sang often at Hamburg State Opera in Germany and appeared as Scarpia in Tosca, Luna in Il Trovatore, title role in Billy Budd, The Traveler in Death in Venice, and Thoas in Iphigenie et Tauride under the baton of Simone Young; future engagements include Sharpless in Madama Butterfly at Detroit Opera.


Irish tenor Robin Tritschler graduated from the Royal Academy of Music and was a BBC New Generation Artist.

Highlights for 22/23 see Robin join Nathalie Stutzmann and the Atlanta Symphony Orchestra to open their season with performances of Beethoven’s Symphony No. 9. He returns later in the season as the Evangelist in performances of Bach’s St Matthew Passion. He will also sing Ferrando in the Irish National Opera’s production of Così fan tutte

In concert, Robin has appeared with many leading orchestras including the London Philharmonic Orchestra (Yannick NézetSéguin, Nathalie Stutzmann and Vladimir Jurowski), L’Orchestre National de Lyon (Yutaka Sado), Gulbenkian Foundation Lisbon, the Hong Kong Philharmonic Orchestra (Edo de Waart), and the BBC Philharmonic (Juanjo Mena). With the RTE Concert Orchestra, Robin performed the Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State and gave the UK premiere of CPE Bach’s St John Passion with the Bournemouth Symphony Orchestra under Kirill Karabits.

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Annalisa Pappano is the founder and artistic director of the early music ensemble Catacoustic Consort, and led the group to win the grand prize in the Naxos/Early Music America Live Recording Competition. Her wide range of instruments includes the viola da gamba (treble, tenor, bass), pardessus de viole, and lirone.

She was on faculty at the University of Cincinnati CollegeConservatory of Music—teaching viola da gamba and historically informed performance practice —until moving to Germany in 2019, where she is expanding her performance career while continuing appearances in the USA. She was a featured soloist on Austrian State Television ORF3 in the J.S. Bach St. Matthew Passion (Thomas Guggeis, conductor).

Pappano has performed throughout Belgium, England, Ireland, Colombia, Canada, Germany, Austria, Switzerland, and the U.S. She is a member of Wildcat Viols, Trio Pardessus, and Atalante, and with Atalante won a Diapason d’Or and Gramophone Award.


Jonas Nordberg is a lutenist mastering a wide range of plucked instruments from the 16th to 19th centuries. A graduate of the Mozarteum University Salzburg and the Royal College of Music Stockholm, he has an active schedule in more than 25 countries, performing solo concerts, chamber music, staged performances and large ensemble work.

He performs with ensembles such as Concerto Köln, Orchestra of the Age of Enlightenment, Concerto Copenhagen, Orfeo 55, Drottningholm Baroque Ensemble, London Handel Orchestra, Akademie für Alte Musik Berlin, Insula Orchestra, Aurora Orchestra, Camerata Øresund, Mozarteum Orchester Salzburg, Gothenburg Symphony Orchestra, and Gävle Symphony Orchestra amongst several other period instrument chamber groups.

He works extensively with Swedish chamber ensemble Operabyrån, co-creating chamber operas and semi-staged performances featuring forgotten female composers. | 29


Chloé Sévère is the co-founder and director of Ensemble El Sol and has cultivated that group’s unusual specialty of Spanish and South American Baroque music. She has also been active as an educator, harpsichordist, and keyboard accompanist.

Sévère began studying the harpsichord at the Conservatoire à rayonnement départemental de la Vallée de Chevreuse with Michèle Dévérité. She graduated with honors and went on to the Amsterdam Conservatory for a harpsichord bachelor’s degree studying with Bob van Asperen, and returned to France for a master’s degree at the Paris Conservatory, working with Olivier Baumont. Sévère took lessons in chamber music with Kenneth Weiss and continuo playing with Blandine Rannou.

Sévère emerged as the winner of the Young Talent prize at a competition sponsored by Zonta International, after which she gained prestigious new collaborators: Nathalie Stutzmann, Les Arts Florissants, and Versailles Baroque Music Center, where she has made recurring appearances.


Alice Coquart studied cello at the Conservatoire à Rayonnement Régional (CRR) in Reims under Marc-Didier Thirault, where she obtained in 2005 the DEM in modern cello, then at the CRR in Paris in the class of Dominique de Williencourt. She holds the State Diploma of Teaching, modern cello discipline. She began playing baroque cello with Pauline Warnier and also obtained the DEM in baroque cello. She then studied with David Simpson at the CRR in Paris, then entered the Conservatoire National Supérieur de Musique (CNSM) in Paris under Christophe Coin and Bruno Cocset.

Coquart was selected to participate in the sessions of the French Youth Baroque Orchestra in 2006 and 2008, under the direction of Christophe Rousset and Paul Agnew. She also participated in Mozart’s Don Giovanni and Handel’s Jephtha productions with the Fuoco Opera Orchestra in 2008 and 2009, conducted by David Stern, as well as Handel’s Messiah with the Mattheus Ensemble in March 2009, conducted by Jean-Christophe Spinosi. In the fall of 2009, she played Handel’s Susanna in the Orchestre des Arts Florissants, conducted by William Christie. She played in Orlando Furioso in 2011, under the direction of Jean-Christophe Spinosi at the Théâtre des Champs Elysées.

| encore 30 | @AtlantaSymphony |


The Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director, Robert Shaw, is an all-volunteer, auditioned ensemble that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have garnered 14 Grammy® Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). The Chorus performs large symphonic choral works, under the direction of Co-Artistic Advisors Maestro Robert Spano and Principal Guest Conductor Sir Donald Runnicles, and Music Director Designate Nathalie Stutzmann. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works.


Norman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Chorus for the Atlanta Symphony Orchestra (ASO) since 2000, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw.

During his tenure, the Chorus has made numerous tours and garnered several Grammy® awards, including Best Classical Album and Best Choral Performance.

At the ASO, he prepares the Choruses for all concerts and recordings, works closely with Nathalie Stutzmann on the commissioning and realization of new choral-orchestral works and conducts holiday concerts. In his 14-year association with Mr. Shaw, he was keyboardist for the ASO, principal accompanist for the ASO Choruses and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States and the famed Shaw/ Carnegie Hall Choral Workshops.

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

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Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair


Khadijah Davis

Liz Dean*

Laura Foster

Michelle Griffin*

Erin Jones*

Arietha Lockhart**

Alexis Lundy

Mindy Margolis*

Joneen Padgett*

Susan Ray

Lydia Sharp

Susie Shepardson

Chelsea Toledo

Brianne Turgeon**

Deanna Walton

Erika Wuerzner

Wanda Yang Temko**


Sloan Atwood*

Jessica Barber

Tierney Breedlove

Barbara Brown

Mary Goodwin

Amanda Hoffman

Heidi Padovano

Marianna Schuck

Anne-Marie Spalinger*

Cheryl Thrash**

Jeffrey Baxter choral administrator The Florence Kopleff Chair


Pamela Amy-Cupp

Emily Campbell

Donna Carter-Wood**

Patricia DinkinsMatthews*

Unita Harris

Janet Johnson**

Kathleen KellyGeorge*

Virginia Little*

Alina Luke

Linda Morgan**

Katherine Murray**

Natalie Pierce

Kathleen Poe Ross

Camilla Springfield**

Rachel Stewart**


Angelica BlackmanKeim

Elizabeth Borland

Emily Boyer

Marcia Chandler*

Carol Comstock

Meaghan Curry

Alyssa Harris

Joia Johnson

Katherine MacKenzie

Laura Rappold*

Sharon Simons*

Virginia Thompson*

Kiki Wilson**

Diane Woodard**


Jeffrey Baxter**

Christian Bigliani

David Blalock**

LaRue Bowman

Jack Caldwell**

Daniel Compton

Justin Cornelius

Clifford Edge**

Steven Farrow**

Peter Marshall accompanist


Dock Anderson

William Borland*

Russell Cason**

Jeremy Christensen

Trey Clegg*

Rick Cobb

Michael Cranford

Michael Devine

Jon Gunnemann**

Leif Gilbert-Hansen*

Keith Langston*

Christopher Patton*

Mark Warden*


Matthew Borkowski

Steve Brailsford

Phillip Crumbly*

Steven Dykes

Joseph Few**

John Harr

David Kinrade

Michael Parker

Timothy Parrott

Brent Runnels

Scott Stephens**

Wesley Stoner

Jason Hamlet

Alp Koksal

Jameson Linville

Peter MacKenzie

Jason Maynard

Jackson McCarthy

John Newsome

John Terry

Edgie Wallace*


Philip Barreca

Marcel Benoit

Joel Craft**

Timothy Gunter*

Philip Jones

George Sustman

Benjamin Temko*

* 20+ years of service

** 30+ years of service

# Charter member (1970) | 33

Concerts of Thursday, April 13, 2023

8:00 PM

Saturday, April 15, 2023

8:00 PM



CARLOS SIMON (b. 1986)

Fate Now Conquers (2020) 5 MINS


Violin Concerto, Op. 15 (1939) 33 MINS

I. Moderato con moto (attacca)

II. Vivace (attacca)

III. Passacaglia: Andante lento — Con moto

Augustin Hadelich, violin


HECTOR BERLIOZ (1803–1869)

Symphonie fantastique, Op. 14 (1830) 52 MINS

I. Rêveries — Passions

II. Un bal (A Ball)

III. Scène aux champs (In the Meadows)

IV. Marche au supplice (March to the Scaffold) [attacca]

V. Songe d’une Nuit du Sabbat (Sabbath Night’s Dream)

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.

34 | apr13/15

Fate Now Conquers

Fate Now Conquers is scored for piccolo, flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

Carlos Simon is a native of Atlanta, Georgia, whose music ranges from concert music for large and small ensembles to film scores with influences of jazz, gospel and neo-romanticism. Simon is the Composer-in-Residence for the John F. Kennedy Center for the Performing Arts and was nominated for a 2023 Grammy® award for his latest album, Requiem for the Enslaved.   Simon earned his doctorate degree at the University of Michigan, where he studied with Michael Daugherty and Evan Chambers. He has also received degrees from Georgia State University and Morehouse College. He is an honorary member of Phi Mu Alpha Music Sinfonia Fraternity and a member of the National Association of Negro Musicians, Society of Composers International, and Pi Kappa Lambda Music Honor Society. He has served as a member of the music faculty at Spelman College and Morehouse College in Atlanta, Georgia, and now serves as Assistant Professor at Georgetown University. Simon was also a recipient of the 2021 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization to recognize extraordinary classical Black and Latinx musicians, and was named a Sundance/Time Warner Composer Fellow for his work for film and moving image.

From the composer:

Using the beautifully fluid harmonic structure of the 2nd movement of Beethoven’s 7th Symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of free-flowing running passages depict the uncertainty of life that hovers over us.

We know that Beethoven strived to overcome many obstacles in his life and documented his aspirations to prevail, despite his ailments. Whatever the specific reason for including this particularly profound passage from the Iliad, in the end, it seems that Beethoven relinquished to fate. Fate now conquers.

Violin Concerto, Op. 15

In addition to the solo violin, this concerto is scored for three flutes (two doubling piccolo), two oboes (one doubling English horn), two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.

These are the first ASO performances.

notesontheprogram |

First and most recent ASO performances:

January 19–22, 2012

Donald Runnicles, conductor

James Ehnes, violin

Leonard Bernstein described Benjamin Britten as “a man at odds with the world.”

“It’s strange,” said Bernstein, “because on the surface his music is decorative, positive, charming, [but] it’s so much more than that. When you hear his music, really hear it, not just listen to it, you become aware of something very dark, gears that are grinding and not quite meshing. And they make a great pain. His was a lonely time.”

As a lifelong pacifist, Benjamin Britten faced enormous friction— especially during the years around World War II. His response was to write some of music’s most affecting and potent prayers for peace, including the Sinfonia da Requiem (1940) and the War Requiem (1962). In 1936, as a twenty-something, he traveled to Barcelona to attend the International Society of Contemporary Music Festival, where he sat at the piano and performed his Op. 6 with violinist Antonio Brosa. While he was there, he heard the premiere of a violin concerto by Alban Berg, who had just died from a bee sting. Ironically, Berg’s Concerto was a piece inspired by the tragic death of a young woman. Now there was a double tragedy, and the elegiac nature of the Berg Violin Concerto lingered over that first audience like a dark cloud.

“It certainly is a very great work,” wrote Britten. “. . . At the end I feel pretty wet with anger about losing a genius like this.” The experience— this idea of a concerto as a lament—stuck with the 22-year-old Britten and percolated in his mind. In November of 1938, he began work on an elegiac violin concerto of his own.

By then, conditions in Europe were grave: the Spanish Civil War was a bloodbath; fascism was entering the mainstream, and Adolph Hitler had annexed Austria. Privately, Britten’s own entanglements were causing some grief. When tenor Peter Pears planned a North American tour, Britten decided to tag along. Together they sailed to Quebec in April of 1939. Spending three weeks in a cabin in the Laurentian Mountains, Britten worked on his Violin Concerto. Next, they visited a friend in Grand Rapids, Michigan, where Britten finished the Concerto. (He and Pears also became lovers there and would remain lifelong partners.)

Clearly, the 26-year-old Britten had star power in the U.S.; Sir John Barbirolli conducted the world premiere with the New York Philharmonic and Spanish violinist Antonio Brosa, the same friend who had shared the stage with the composer in Barcelona.

By that time, World War II had come to England. Britten could not

| encore 36 | @AtlantaSymphony |

shake the feeling that his place was with his country. In March of 1942, he and Peter Pears boarded a Swedish cargo ship and crossed the Atlantic to face the prospect of conscription or imprisonment. Back in the U.K., both men were granted status as conscientious objectors.

The Britten Violin Concerto is among the most difficult in the repertoire. According to soloist Augustin Hadelich, who spoke with the New World Symphony’s Katherine Kobylarz, young Britten was perhaps “over-enthusiastic about using every possible extended violin technique.” The work includes double-stop runs, wide intervals, double-stop artificial harmonics, plucking the strings with the left hand—while holding a note—and more.

“It’s the level of difficulty that can otherwise be found only in some works of Paganini and is a bit daunting at first,” Hadelich said. “I feel though that the technical difficulty is always in the service of the music, not for its own sake—sometimes the strain of the performer is actually the point; if the piece was too easy, it would not communicate the struggle and anguish that Britten was going for.”

The Britten Violin Concerto is a heavy piece intended as a lament for the Spanish Civil War.

Britten the Pacifist

When Benjamin Britten was just three months old, he contracted pneumonia and nearly died. Upon recovery, he was left forever in a weakened state and struggled with health issues his entire life. Likely, he would have been deemed medically unfit for active duty during the fighting in WWII. But he felt so strongly about his pacifism, he registered as a conscientious objector and faced a tribunal in May of 1942.

“Since I believe that there is in every man the spirit of God,” he said, “I cannot destroy, and feel it my duty to avoid helping to destroy as far as I am able, human life, however strongly I may disapprove of the individual’s actions or thoughts.” Although he faced fierce criticism as a “cad and a coward,” he was granted dispensation on the basis that his work as a composer was itself a valuable and unique contribution to his country.

In October of 1965, the United Nations Secretary-General invited Britten to compose a work celebrating the 20th anniversary of U.N. Day. The work Voices for Today received its world premiere in the U.N. General Assembly Hall in New York and was simultaneously given performances in Paris and London. | 37

First ASO performance: February 12–13, 1958

Henry Sopkin, conductor

Most recent ASO performances: January 24–26, 2019

Robert Spano, conductor

Symphonie fantastique, Op. 14

Symphonie fantastique is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarients (one doubling e-flat clarinet), four bassoons, four horns, two trumpets, two coronets, three trombones, two tubas, timpani, percussion, two harps and strings.

Obsessive love. It’s an appealing topic for romance novels and twisted TV shows. It’s unsettling when it happens in real life.

Hector Berlioz had seen an actress on stage and fallen head over heels. He pursued her. And out of that episode came the most unlikely series of events—and one of the greatest first symphonies ever written.

Young Berlioz played flute and guitar and dabbled in composition. In 1821, at 17, he arrived in Paris to study medicine but promptly found his way into the library of the Paris Conservatoire. That became his hangout, where he pored over books and scores and, one can imagine, stole envious glances at the music students. He attended concerts and operas but kept up the medical-student façade for his parents’ benefit until 1824. In 1826, he formally enrolled at the Conservatoire. A year later, he fell in love.

“I come now to the supreme drama of my life,” he wrote. “An English company had come over to Paris to give a season of Shakespeare at the Odeon. I was at the first night of  Hamlet. In the role of Ophelia I saw Harriet Smithson. The impression made on my heart and mind by her extraordinary talent, nay, her dramatic genius, was equaled only by the havoc wrought in me by the poet she so nobly interpreted. That is all I can say.” In fact, it wasn’t all he could say. Over the coming months, he wrote her letters. He sent flowers. He even rented an apartment close to hers in order to orchestrate chance encounters. Harriet Smithson ignored him. After she left Paris, he remained under her spell.

“I am indeed wretched — inexpressibly!,” he wrote to a friend. “Today it is a year since I saw HER for the last time… Unhappy woman, how I loved you! I shudder as I write it – how I love you!”

Only later would we learn that his thoughts of Harriet Smithson became mingled with a melody. In Symphonie fantastique, that melody, called an idée fixe, follows his various moods and experiences associated with this obsessive love. In the  Symphonie, it first appears in the flute and violins after a weeping introduction. Pairs of eighth notes in the lower strings convey his agitation.

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In the composer’s words:

Part one: Daydreams, passions

The author imagines that a young musician… sees for the first time a woman… and falls desperately in love with her. By a strange anomaly, the beloved image never presents itself to the artist’s mind without being associated with a musical idea, in which he recognizes a certain quality of passion, but endowed with the nobility and shyness which he credits to the object of his love.

This melodic image and its model keep haunting him ceaselessly… This explains the constant recurrence in all the movements of the symphony of the melody… The transitions from this state of dreamy melancholy, interrupted by occasional upsurges of aimless joy, to delirious passion, with its outbursts of fury and jealousy, its returns of tenderness, its tears, its religious consolations — all this forms the subject of the first movement.

Part two: A ball

The artist finds himself in the most diverse situations in life… everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion.

Part three: Scene in the countryside

One evening in the countryside he hears two shepherds in the distance dialoguing with their ‘ranz des vaches’; this pastoral duet, the setting, the gentle rustling of the trees in the wind, some causes for hope… all conspire to restore to his heart… But what if she betrayed him!… This mingled hope and fear… form the subject of the adagio. Distant sound of thunder… solitude… silence…

Part four: March to the scaffold

Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep… He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing  his own execution. The procession advances to the sound of a march… in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the  idée fixe reappear like a final thought of love interrupted by the fatal blow.  [It’s worth noting that  Symphonie fantastique  was written thirty-six years after Robespierre’s Reign of Terror. Notice the celebratory mood; this coincides with the spirit of the crowd (not the condemned). Knowing that the Reign lived in the memory of his audience, Berlioz | 39 PIERRE

conjures the crash of the guillotine, the head plopping into the basket, and a hearty cheer from the blood-thirsty onlookers.]

Part five: Dream of a witches’ sabbath

He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae…

[Dies irae, Day of Wrath, is a plainchant from the Roman Catholic Mass for the Dead.]


In 1830, Berlioz won the Prix de Rome, a prestigious composition award. Months later, he successfully presented his  Symphonie fantastique, establishing himself as a major talent. He revised the Symphonie and reissued it in 1832 with the beau monde of Paris in attendance, including Victor Hugo, Frédéric Chopin, Franz Liszt, Georges Sand and Niccolò Paganini. The object of his affection, Harriet Smithson, also attended. By many accounts, she appeared oblivious to her part in the affair, at least initially. By that time, Berlioz was an important public figure and not so easily ignored. They married the following year. It was an unhappy marriage that ended in 1843.


Stéphane Denève is Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and will also be Principal Guest Conductor of the Netherlands Radio Philharmonic from 2023. He recently concluded terms as Principal Guest Conductor of The Philadelphia Orchestra and Chief Conductor of the Brussels Philharmonic, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra.

Denève’s recent and upcoming engagements include appearances with the Royal Concertgebouw Orchestra, NHK Symphony Orchestra, Orchestra Sinfonica dell’Accademia

Nazionale di Santa Cecilia, Bavarian Radio Symphony Orchestra, Royal Stockholm Philharmonic Orchestra (with whom he conducted

40 | meettheartists | @AtlantaSymphony |

the 2020 Nobel Prize concert), Orchestre National de France, among others.

In North America, Stéphane Denève made his Carnegie Hall debut with the Boston Symphony Orchestra, and he regularly conducts the New York Philharmonic, The Philadelphia Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, New World Symphony, and Toronto Symphony. In 2022, Denève was the conductor for John Williams’ official 90th Birthday Gala with NSO Washington.

A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa.


Augustin Hadelich has performed with all the major American orchestras as well as many major international orchestras. His engagements in the 2022/23 season include concerts with the Boston Symphony Orchestra, The Philadelphia Orchestra, and the symphony orchestras of Atlanta, Baltimore, Cincinnati, Detroit, Houston, Pittsburgh, Seattle and Toronto. He performs with the Symphonieorchester des Bayerischen Rundfunks, RundfunkSinfonieorchester Berlin, Wiener Symphoniker, London Philharmonic Orchestra, among others.

Hadelich is the winner of a 2016 Grammy® Award for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony and Ludovic Morlot (Seattle Symphony MEDIA).

Now an American and German citizen, Hadelich was born in Italy, to German parents. He studied with Joel Smirnoff at New York’s Juilliard School, and in 2006 won the International Violin Competition in Indianapolis. Other distinctions include an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship in the UK (2011); an honorary doctorate from the University of Exeter in the UK (2017); and being voted “Instrumentalist of the Year” by the influential magazine “Musical America” (2018).

Augustin Hadelich is on the violin faculty of the Yale School of Music at Yale University. He plays a violin from 1744 by Giuseppe Guarneri del Gesù, known as “Leduc, ex Szeryng”, on loan from the Tarisio Trust. | 41 SUXIAO LANG

Concerts of Thursday, April 20, 2023

8:00 PM

Friday, April 21, 2023

8:00 PM




Overture to Die Zauberflöte (The Magic Flute),

K. 620 (1791) 7 MINS


Violin Concerto in E Minor, Op. 64 (1845) 28 MINS

I. Allegro molto appassionato

II. Andante

III. Allegretto non troppo — Allegro molto vivace

Daniel Lozakovich, violin



Symphony No. 6 in F Major, Op. 68 “Pastorale” (1808) 43 MINS

I. Awakening of cheerful feelings upon arriving in the country. Allegro non troppo

Presented with support from

Thursday's concert is dedicated to THE SLUMGULLION CHARITABLE FUND in honor of its extraordinary support of the 2021/22 Annual Fund.

II. Scene by the brook. Andante molto moto

III. Merry gathering of country-folk. Allegro

IV. Thunderstorm. Tempest. Allegro

V. Shepherd’s song. Happy, thankful feelings after the storm. Allegretto

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

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Overture to Die Zauberflöte

This overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings.

First ASO performance:

February 3, 1951

Henry Sopkin, conductor

Most recent ASO performances:

In  The Magic Flute, secret societies meet the fairytale. And at least some part of it reflects Mozart’s life experience. He was admitted to a Masonic Lodge on December 14, 1784, and quickly rose to the rank of Master Mason. He cheerfully provided music for various occasions, including an opera on a libretto by his Masonic brother Emanuel Schikaneder.

May 30–June 2, 2013

Robert Spano, conductor

Schikaneder was a bigger-than-life figure—a composer, singer, Shakespearean actor, and author of dozens of plays and librettos. In 1791, he was running a theater at a real estate development in the suburb of Wieden (now a hip neighborhood in the heart of Vienna), where he delighted onlookers with stagecraft built around trapdoors and flying machines.  The Magic Flute  was part of a series of fairytale singspiels (German operas with spoken dialogue), which drew a mixed audience of working people and members of the nobility.

Following  The Magic Flute through its plot twists becomes a slippery proposition for scholars because, on the one hand, it’s a fanciful fairytale. On the other hand, it’s filled with Masonic imagery—there are many allusions to things understood only by members of that secret society. Fans have identified the Freemason’s secret knock embedded in Mozart’s score. Groupings of three, popular in the Masonic realm, are echoed throughout—three opening chords, three ladies, three child spirits, three temples, three virtues (Nature, Reason and Wisdom); three flats in the key of E-flat major. Other masonic themes include Egyptian lore, the padlock, the serpent, the ordeal and silence.

The characters offer a cross-section of society, and Mozart represents them accordingly. Music for the lowborn bird-catcher, Papageno, is folk-like; music for the prince is noble. For Sarastro, the high priest, it’s churchy. Princess Pamina adds pathos, courage, faith, and reconciliation.

Mozart wrote a mind-boggling amount of music in 1791. Between April and September, he composed and premiered two operas, La clemenza di Tito, for the emperor’s coronation in Prague and  The Magic Flute He wrote the overture to The Magic Flute after returning from Prague in September. An instant success, the opera opened on September 30 and ran for more than 100 performances. Schikaneder debuted the

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role of Papageno. Mozart, sadly, was out of time. After conducting the first performances, he started writing a Mass for the Dead and died on December 5, leaving it unfinished.

First ASO performance: Feb 27, 1949

Henry Sopkin, conductor

James de la Fuente, violin

Most recent ASO performances:

March 7–10, 2013

Roberto Abbado, conductor

David Coucheron, violin

Violin Concerto in E Minor, Op. 64

In addition to the solo violin, this concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

By a strange coincidence, the story of the Mendelssohn Violin Concerto began in a townhouse on Michaelisstrasse in Hamburg. The composer was born there in 1809; a year later, Ferdinand David, the original violinist, was born in the very same house. But the Mendelssohns didn’t stay long. One night in 1811, during the tumult of the Napoleonic wars, Abraham Mendelssohn pulled his family from their beds and fled to Berlin.

Felix Mendelssohn was a man with more than one brilliant career. He wrote his first masterpiece at 16. He founded the Leipzig Conservatory and was a major conductor. He’d had a charmed upbringing. His father, Abraham, became a prominent banker. His mother championed the arts and brought a steady stream of famous people to the family home. Not only was young Felix a celebrated child prodigy (along with his sister), he excelled at sports, writing poetry, painting, and foreign languages.

Ferdinand David also proved to be a gifted child. At 13, he went to live in Kassel to study with the prominent violinist Louis Spohr. At 15, he and his pianist-sister went on tour. Along the way, they stopped in Berlin, where they reconnected with the Mendelssohn family, and the two boys became fast friends.

At that time, Mendelssohn’s violin teacher wrote Johann Wolfgang von Goethe about his impressions of the boy composer: “My Felix has entered upon his fifteenth year. He grows under my very eyes. His wonderful pianoforte playing I may consider as quite exceptional. He might also become a great violin player.”

As youths, David and Mendelssohn whiled away the hours playing music together. In 1829, the violinist moved to Estonia. Mendelssohn went to University. At age 21, he was offered the chairmanship of the music department (he declined). By that time, he was composing some of his most famous works.

When 26-year-old Mendelssohn took the reins of the Gewandhaus

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Orchestra in Leipzig, he hired his old friend as his concertmaster. In July of 1838, he wrote to him, “I should also like to compose for you a violin concerto for the winter; one in E minor sticks in my head, the beginning of it leaves me no peace.”

Soon, Mendelssohn began to buckle under the strain of his hectic existence. Work on the concerto went slowly. Although he could play the violin, he often conferred with his friend on technical matters. (In fact, David is credited with having written the first-movement cadenza.) Mendelssohn completed the piece in 1845 but was too frail to conduct its premiere. David played the first performance in Leipzig with Niels Gade on the podium.

Symphony No. 6 in F Major, Op. 68 “Pastorale”

Symphony No. 6 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, and strings.

First ASO performance: December 7, 1950

Henry Sopkin, conductor

Most recent

ASO performances: May 30–June 2, 2019

Charles Neate, a founder of London’s Philharmonic Society, spent considerable time with Ludwig van Beethoven in Vienna in 1815. Neate remarked that he had “never met anyone who so delighted in Nature, or so thoroughly enjoyed flowers or clouds or other natural objects. Nature was almost meat and drink to him; he seemed positively to exist upon it.”

Donald Runnicles, conductor

One of Beethoven’s favorite sayings was: “The morning air has gold to spare.” Beethoven often received musical inspiration during his long walks in the countryside. Regardless of the weather, Beethoven rose early each morning and, with music sketchbook in hand, spent several hours outdoors. Beethoven composed his Sixth Symphony during a period that spanned the summers of 1807 and 1808. The work Beethoven subtitled “Pastorale Symphony, or a recollection of country life,” is a symphonic ode to the wonders of the outdoors. By this stage of his life, Beethoven was increasingly unable to enjoy the sounds of nature he so touchingly and vividly portrays in the “Pastorale.” The continued decline of his hearing prompted this revelation in the October 1802 letter to his brothers, known as the Heiligenstadt Testament: But how humiliated I have felt if somebody standing beside me heard the sound of a flute in the distance and I heard nothing, or if somebody heard a shepherd sing and again I heard nothing— Such experiences almost made me despair, and I was on the point of putting an end to my life—The only thing that held me back was my art. For indeed it seemed to me impossible to leave this world before I had produced all the works I felt the urge to | 45

compose; and thus I have dragged on this miserable existence—a truly miserable existence....

But there is no sense of despair in Beethoven’s “Pastorale,” the most lyrical of his Nine Symphonies. There are several other factors that set the “Pastorale” Symphony apart from the other eight. It is the only Beethoven Symphony cast in five movements, as opposed to the traditional four. And while several of Beethoven’s Symphonies (notably the Third, Fifth and Ninth) have extramusical associations, the “Pastorale” is by far the most overtly programmatic.

Beethoven himself cautioned listeners that the “Pastorale” Symphony was “More an expression of feeling than a painting.” In his sketchbooks, Beethoven observed: “All painting in instrumental music, if pushed too far, is a failure.” And to be sure, Beethoven’s vivid depictions of a murmuring brook, birdcalls, peasant dances, a violent thunderstorm, and a shepherd’s piping are but part of a moving and dramatic symphonic experience.

The “Pastorale” Symphony is in five movements, each with a descriptive title. The first, “Awakening of cheerful feelings upon arriving in the country” (Allegro non troppo) opens with the first violins’ presentation of a cheerful melody that forms the basis for virtually the entire movement. Beethoven’s genius in thematic manipulation is perhaps never more apparent than in the development section, based in great part only upon a descending phrase derived from the second measure of the opening theme. The slow-tempo second movement, “Scene by the brook” (Andante con moto) is Beethoven’s magical evocation of the flowing waters, as well as the songs of the nearby birds. The final three movements are played without pause. The “Merry gathering of country-folk” (Allegro) yields to a fierce “Thunderstorm and Tempest” (Allegro). After the storm abates, the finale opens with a brief passage for the clarinets and horns suggesting a  ranz des vaches, the traditional herdsman’s call. Out of this passage emerges the principal melody, initially played by the first violins (“Shepherd’s song. Happy, thankful feelings after the storm”). The final measures feature a brief (muted) horn reprise of the ranz des vaches, capped by two fortissimo orchestral chords.

–Notes on Symphony No. 6 by Ken Meltzer

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Violinist Daniel Lozakovich was born in Stockholm in 2001 and began playing the violin when he was almost seven. He made his solo debut two years later with the Moscow Virtuosi Chamber Orchestra and Vladimir Spivakov in Moscow. Since the first performance Daniel has a major influence by Vladimir Spivakov and collaborates with some of the world’s eminent conductors, including Ádám Fischer, Semyon Bychkov, Neeme Järvi, Esa Pekka Salonen, Nathalie Stutzmann, Leonard Slatkin and Lorenzo Viotti, among others.

He performs with such orchestras as the Boston Symphony Orchestra, the Orchestre National de France, Orchestre National du Capitole de Toulouse, the Orchestre Philharmonique de Radio France, the Royal Stockholm Philharmonic, Royal Liverpool Philharmonic, the Konzerthausorchester Berlin and many more.

Lozakovich studies at the Karlsruhe University of Music with Professor Josef Rissin since 2012, and from 2015 has been mentored by Eduard Wulfson in Geneva, and has also studied with Mikhail Kazinik, Natalja Beshulya and Gerhard Schulz.

He plays the “ex-Baron Rothschild” Stradivari on generous loan on behalf of the owner by Reuning & Son, Boston, and Eduard Wulfson, and the Stradivarius “Le Reynier” (1727), generously loaned by LVMH.

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Concerts of Thursday, April 27, 2023

8:00 PM

Saturday, April 29, 2023

8:00 PM





Norman Mackenzie, Director of Choruses


Icarus (2006, revised 2011)

RICHARD WAGNER (1813–1883)

“Dawn and Siegfried’s Rhine Journey” from Götterdämmerung (1876)




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.



A Sea Symphony (Symphony No. 1) (1909) 63 MINS

I. A Song for All Seas, All Ships

II. On the Beach at Night Alone

III. Scherzo: The Waves

IV. The Explorers

Nicole Cabell, soprano

Lucas Meachem, baritone

The Atlanta Symphony Orchestra Chorus

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Icarus is scored for three flutes (one doubling piccolo and one doubling alto flute), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, piano, celeste, theremin and strings.

These are the first ASO performances.

Arenaissance artist for modern times, Lera Auerbach is a widely recognized conductor, pianist, and composer. She is also an award-winning poet and an exhibited visual artist. All of her work is interconnected as part of a cohesive and comprehensive artistic worldview.

Auerbach’s exquisitely crafted, emotional, and boldly imaginative music reached to global audiences. Orchestral collaborations include the New York Philharmonic, Philadelphia Orchestra, National Symphony, Oslo Philharmonic, Munich’s Bayerisches Staatsorchester, Staatskapelle Dresden, and Vienna’s ORF RadioSymphonieorchester, among many others. Auerbach’s works for orchestra are performed by the world’s leading conductors, including Christoph Eschenbach, Alan Gilbert, Vladimir Fedoseyev, Neeme Järvi, Vladimir Jurowski, Charles Dutoit, Andris Nelsons, Osmo Vänskä, Hannu Lintu, and Marin Alsop, to mention only a few.

Lera Auerbach holds multiple degrees from the Juilliard School in New York and the Hannover University of Music, Drama, and Media in Germany. Her teachers include Milton Babbitt, Rosalyn Tureck, Joseph Kalichstein, and Einar Steen-Nøkleberg.  The World Economic Forum in Davos, Switzerland, selected her in 2007 as a Young Global Leader, and since 2014, she has served as a Cultural Leader.  Boosey and Hawkes / Sikorski publish her music, and recordings are available on ECM, Deutsche Grammophon, Nonesuch, Alpha Classics, BIS, Cedille, and many other labels.

From the composer: Light blinds.

To see—we turn away. Our eyes hold all images inverted. Every day a new Icarus kills himself.

I have been fascinated by the myth of Icarus. As a child, I lived in ancient Greece. The book of myths was my favorite and the world of jealous gods and god-like humans was more real to me than the world outside of my windows, full of bloody red flags (the red of the Soviet flag symbolized the blood of the heroes

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of the Revolution) and the Soviet-trinity portraits of Lenin-MarxEngels with the occasional bushy eyebrows of Brezhnev looking at me from the walls of the buildings. In some ways the two worlds blurred. The world outside made much more sense through the perspective of the ancient Greek myths, where it was quite common for a power-protective god to devour all his children.

Icarus was one of my heroes (or antiheroes, depending on the interpretation)—the winged boy who dared to fly too close to the sun. The wings were made by his father, Daedalus, a skilled craftsman, who earlier in his life designed the famous labyrinth in Crete that held the Minotaur. Daedalus was held prisoner in Crete and the wings were his only way to escape.

Daedalus warned Icarus not to fly too close to the sun or too close to the ocean, but what teenager listens to his father? Exhilarated by freedom, by his own youth, by the feeling of light, Icarus soared higher and higher until the wax on his wings melted and he fell into the ocean. Oh, gravity! Sometimes I think it is the law of gravity that truly defines our existence.

What makes this myth so touching is Icarus’s impatience of the heart, his wish to reach the unreachable, the intensity of the ecstatic brevity of his flight and inevitability of his fall. If Icarus were to fly safely—there would be no myth. His tragic death is beautiful. It also poses a question—from Daedalus’ point of view—how can one distinguish success from failure? His greatest invention, the wings which allowed a man to fly, was also his greatest failure as they caused the death of his son. Daedalus was brilliant, his wings were perfect, but he was also a blind father who did not truly understand his child. If he did, he would realize that the road to freedom leads to its ultimate form—death, which Icarus, with the uncompromising daring of youth, achieves. The desire for freedom, taken to its extreme, receives its absolute form—a closed circle in which success means failure and freedom means death.

The desire to go beyond the boundaries into the ecstatic visionary realm of soaring flight is essentially human. In some ways this desire to transcend the everyday-ness is what it means to be human. That is why this myth has resonated for centuries. Icarus knows the danger of flying too high, but the risk is justified in his eyes. He needs to fly as high as he can, beyond what is possible—it is his nature.

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The title Icarus was given to this work after it was written. All my music is abstract, but by giving evocative titles I invite the listener to feel free to imagine, to access his own memories, associations. Icarus is what came to my mind, listening to this work at that time. Each time I hear the piece—it is different. What is important to me is that it connects to you, the listener, in the most individual and direct way, that this music disturbs you, moves you, soars with you, stays with you. You don’t need to understand how or why—just allow the music to take you wherever it takes you. It is permissible to daydream while listening or to remember your own past. It is fine not to have any images at all, but simply experience the sound. These program notes are a door to your imagination. The music is your guide. But it is up to you to take the step and cross the threshold.

“Dawn” and “Siegfried’s Rhine Journey” from Götterdämmerung

First ASO performances: November 3–4, 1971

Michael Palmer, conductor

Götterdämmerung is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, eight horns (two Wagner tubas), three trumpets, bass trumpet, 3 trombones, bass trombone, tuba, timpani, percussion, four harps and strings. “Dawn” and “Siegfried’s Rhine Journey” offer a bite-size sample of Wagner’s 15-hour epic, The Ring of the Nibelung.

Most recent ASO performances: January 19–21, 2006

Donald Runnicles, conductor

“So what is the Ring?” asks the Metropolitan Opera’s Will Berger, with his tongue lodged in his cheek. “In one sentence,” he wrote, “it is a German Romantic view of Norse and Teutonic myth influenced by Greek tragedy and a Buddhistic sense of destiny told with a sociopolitical deconstruction of contemporary society, a psychological study of motivation and action, and a blueprint for a new approach to music and theater.”

Thankfully, Berger included a quote from George Bernard Shaw, who encouraged “modest citizens” to take the plunge and see The Ring. “Not a note of it,” he wrote, “has any other point than . . . giving musical expression to the drama.” And that Wagner does brilliantly. Think of John Williams’ Jaws theme or the blaring trombones that follow Darth Vader across the galaxy. This is the essence of Wagner’s Ring. It is a fantasy world on the level of Star Wars. And like those films, the tunes and the lore live in our hearts and our imaginations—even if we wince at some of its cheesiness. Yes, Wagner’s Ring is flawed. But what a masterpiece of entertainment it is. | 53

Richard Wagner spent 26 years (1848–1874) of his life crafting this mythical world, writing his own librettos and all this marvelous music. Curiously, it all started with a fantasy about a funeral, one that honors a great hero. The rest of The Ring serves as its backstory.

The hero’s name is Siegfried, and we meet him in the third of the four operas. He is a wildling, a man raised in the wilderness by a malevolent mythical creature named Mime. Without any human contact, Siegfried grows into a naïve and thick-headed youth who’s also the world’s most powerful warrior. Battling bears and a dragon, he wins the gold (including the ring).

Siegfried realizes he’s never known fear until he first encounters Woman, which happens at the end of the third opera. By the start of the fourth,  Götterdämmerung  (Twilight of the Gods), Siegfried and Brünnhilde are lovers. She has imparted him with wisdom and knowledge. Now that he is a changed man, he heads out into the world to do heroic deeds. His day begins with the instrumental music “Dawn” and follows into “Siegfried’s Rhine Journey.”

As the hero sets out, the horns sound Siegfried’s theme, or “leitmotif,” followed by the clarinets who sound Brünnhilde’s theme. The strings pick up her music, sending Siegfried on his way. The orchestra builds into a climax with the Rhine motive—this is glorious, major-key music. And then, at the very end, the Ring motive sounds, adding a hint of foreboding. The ring is cursed. Its music foreshadows the funeral to come.

First ASO performances:

November 8–10, 2001

Robert Spano, conductor

Most recent ASO performances:

November 3–5, 2016

Robert Spano, conductor

A Sea Symphony (Symphony No. 1)

A Sea Symphony is scored for is scored for soprano and baritone solo, mixed chorus, three flutes (one doubling piccolo), two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, organ, two harps and strings.

The town of Lichfield in Staffordshire sports a plaque boasting its status as England’s farthest point from the sea—at just 84 miles.

Derbyshire’s Coton in Elms makes a rival claim at 70 miles from the sea, specifying that it is the farthest point from coastal waters (tidal waters come much closer to Lichfield via the River Trent).

As an island nation, the watery expanse permeates the English identity. The earliest extant ocean-going ships date from the Bronze Age (around 1600 BC). The sea brought the Romans in 43 AD, the Normans in 1066, and Viking incursions through the Middle Ages.

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Then came the rise of the British Empire, thanks to the might of the Royal Navy, which was established almost 500 years ago. Behind all these milestones are countless souls who sailed those ships, either by choice or by conscription, venturing into the great unknown. A few found glory and riches. Many more found a watery grave, leaving holes in the hearts of those left behind.

Ralph Vaughan Williams studied at the Royal College of Music and at Trinity College, Cambridge, and wasn’t exactly in a hurry to finish. In 1901, he was nearly 30 when he earned a doctorate and published his first song. That’s not to say those years weren’t formative. He soon developed an interest in English folk song and started traveling the countryside to meet folk musicians and catalog their tunes. (He was one of the original ethnomusicologists.) And the earthy, modal sounds associated with English folk song soon inhabited his own works, giving him a distinctly English voice.

In 1903, Vaughan Williams began to write original music on verses by the American poet Walt Whitman, which would eventually become A Sea Symphony. At the same time, he leaped into a project to edit and standardize the English hymnal—a huge undertaking by a composer who had yet to issue a major work of his own. Now in his mid-thirties, he journeyed to the continent to take lessons from Max Bruch and Maurice Ravel. In 1909, after a gestation of nearly six years, he issued his first symphony. And it is a whopper.

A Sea Symphony  is a massive choral work, with over an hour’s worth of music based on poems from Whitman’s “Leaves of Grass”. The first—and longest—of his nine symphonies, A Sea Symphony debuted at the Leeds Festival on the composer’s 38th birthday. With that, Vaughan Williams secured his position as one of Britain’s most important musical figures.

Native New Yorker Walt Whitman (1819-1892) has been the muse of a surprising number of composers, including Kurt Weill, Leonard Bernstein, Marc Blitzstein and Bernard Hermann. Across the Atlantic, he inspired works from Gustav Holst, Frederick Delius, Benjamin Britten and many more.

Curiously, the energy goes two ways: Whitman was nearing his 30th birthday when he caught the opera bug. He fell hard for the pyrotechnic virtuosity of Donizetti, Rossini, and Bellini operas and idolized the great Italian contralto Marietta Alboni. He credited opera as an influence on his landmark poetry collection, “Leaves of Grass.” | 55

When Whitman first published “Leaves of Grass” in 1855, he included 12 poems. By the end of his life, the collection had grown to more than 400, including searing reflections on the American Civil War. By the time Ralph Vaughan Williams was at Cambridge, the poems were popular currency among the students and faculty. Today’s composers continue to mine this literary treasury, including John Adams, Jennifer Higdon and Matthew Aucoin.


“Song of the Exposition” and “Song for all Seas, all Ships"

Behold, the sea itself, And on its limitless, heaving breast, the ships; See, where their white sails, bellying in the wind, speckle the green and blue, See, the steamers coming and going, steaming in or out of port, See, dusky and undulating, the long pennants of smoke.

1 To-day a rude brief recitative, Of ships sailing the seas, each with its special flag or ship-signal, Of unnamed heroes in the ships—of waves spreading and spreading far as the eye can reach, Of dashing spray, and the winds piping and blowing, And out of these a chant for the sailors of all nations, Fitful, like a surge.

Of sea-captains young or old, and the mates, and of all intrepid sailors, Of the few, very choice, taciturn, whom fate can never surprise nor death dismay. Pick'd sparingly without noise by thee old ocean, chosen by thee, Thou sea that pickest and cullest the race in time, and unitest nations, Suckled by thee, old husky nurse, embodying thee, Indomitable, untamed as thee. ...

2 Flaunt out O sea your separate flags of nations! Flaunt out visible as ever the various ship-signals! But do you reserve especially for yourself and for the soul of man one flag above all the rest, A spiritual woven signal for all nations, emblem of man elate above death, Token of all brave captains and all intrepid sailors and mates, And all that went down doing their duty, Reminiscent of them, twined from all intrepid captains young or old, A pennant universal, subtly waving all time, o'er all brave sailors, All seas, all ships.

"On the Beach at Night Alone"

On the beach at night alone,

As the old mother sways her to and fro singing her husky song, As I watch the bright stars shining, I think a thought of the clef of the universes and of the future.

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A vast similitude interlocks all, ...

All distances of place however wide, All distances of time, ...

All souls, all living bodies though they be ever so different, ... All nations, ...

All identities that have existed or may exist ..., All lives and deaths, all of the past, present, future, This vast similitude spans them, and always has spann'd, And shall forever span them and compactly hold and enclose them.

"After the Sea-ship"

After the sea-ship, after the whistling winds, After the white-gray sails taut to their spars and ropes, Below, a myriad myriad waves hastening, lifting up their necks, Tending in ceaseless flow toward the track of the ship, Waves of the ocean bubbling and gurgling, blithely prying, Waves, undulating waves, liquid, uneven, emulous waves, Toward that whirling current, laughing and buoyant, with curves, Where the great vessel sailing and tacking displaced the surface, Larger and smaller waves in the spread of the ocean yearnfully flowing, The wake of the sea-ship after she passes, flashing and frolicsome under the sun, A motley procession with many a fleck of foam and many fragments, Following the stately and rapid ship, in the wake following.

"Passage to India"

5 O vast Rondure, swimming in space, Cover'd all over with visible power and beauty, Alternate light and day and the teeming spiritual darkness, Unspeakable high processions of sun and moon and countless stars above, Below, the manifold grass and waters, animals, mountains, trees, With inscrutable purpose, some hidden prophetic intention, Now first it seems my thought begins to span thee.

Down from the gardens of Asia descending ..., Adam and Eve appear, then their myriad progeny after them, Wandering, yearning, ..., with restless explorations, With questionings, baffled, formless, feverish, with never-happy hearts, With that sad incessant refrain, Wherefore unsatisfied soul? ... Whither O mocking life?

Ah who shall soothe these feverish children?

Who Justify these restless explorations? Who speak the secret of impassive earth? ...

Yet soul be sure the first intent remains, and shall be carried out, Perhaps even now the time has arrived. | 57

After the seas are all crossed, (...) After the great captains and engineers have accomplished their work, After the noble inventors, ... Finally shall come the poet worthy that name, The true son of God shall come singing his songs.

8 O we can wait no longer, We too take ship O soul, Joyous we too launch out on trackless seas, Fearless for unknown shores on waves of ecstasy to sail, Amid the wafting winds, (thou pressing me to thee, I thee to me, O soul,) Caroling free, singing our song of God, Chanting our chant of pleasant exploration.

O soul thou pleasest me, I thee, Sailing these seas or on the hills, or waking in the night, Thoughts, silent thoughts, of Time and Space and Death, like waters flowing, Bear me indeed as through the regions infinite, Whose air I breathe, whose ripples hear, lave me all over, Bathe me O God in thee, mounting to thee, I and my soul to range in range of thee.

O Thou transcendent, Nameless, the fibre and the breath, Light of the light, shedding forth universes, thou centre of them, ... Swiftly I shrivel at the thought of God, At Nature and its wonders, Time and Space and Death, But that I, turning, call to thee O soul, thou actual Me, And lo, thou gently masterest the orbs, Thou matest Time, smilest content at Death, And fillest, swellest full the vastnesses of Space. Greater than stars or suns, Bounding O soul thou journeyest forth; ...

9 Away O soul! hoist instantly the anchor! Cut the hawsers—haul out—shake out every sail! ... Sail forth—steer for the deep waters only, Reckless O soul, exploring, I with thee, and thou with me, For we are bound where mariner has not yet dared to go, ...

O my brave soul!

O farther farther sail!

O daring joy, but safe! are they not all the seas of God?

O farther, farther, farther sail!

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The 2022/23 seasons marks Nicholas Carter’s second as Chief Conductor and Co-Operndirektor of Oper Bern. This season he leads main stage productions of Die Walkure, L’enfant et les , and Iolanta and appears in the Berner Symphonieorchester subscription season. This season will see debut appearances for Nicholas with Opernhaus Zurich (Pearl Fishers), Atlanta Symphony Orchestra and Dresden Semperoper (Die Zauberflöte).

From 2018-2021, Nicholas was Chefdirigent of Stadttheater Klagenfurt and the Kärntnersinfonieorchester, where he led many new productions and appeared regularly in the orchestra’s concert series. His repertoire there included widely celebrated productions of Tannhäuser, Pelleas et Melisande, Simon Boccanegra, Rusalka, Elektra, Cendrillon and La Clemenza di Tito. For his Santa Fe Opera debut, he conducted Die Fledermaus, returning to much praise in 2021 for Eugene Onegin.

Born in Melbourne, Nicholas enjoys an ongoing relationship with all the major Australian orchestras, particularly with the Adelaide Symphony, where he served as Principal Conductor 2016-2019. After serving as Kapellmeister and musical assistant to Simone Young at the Staatsoper Hamburg, Nicholas was invited in 2014 to take up a Kapellmeister position at the Deutsche Oper Berlin where he worked closely with GMD Donald Runnicles.


Nicole Cabell’s notable debuts have included her first staged Bess in James Robinson’s acclaimed production of Porgy and Bess for English National Opera, conducted by John Wilson; alongside appearances in full lyric roles, such as Violetta (La traviata) at the Royal Opera House, Covent Garden, and for her debut at Opéra national de Paris.

On the concert platform last season she joined the London Symphony Orchestra and Sir Simon Rattle for performances of George Walker’s Lilacs in London and Standford, California and subsequently performed the piece as part of BBC Proms 2022 with Chineke! Orchestra alongside Beethoven Symphony No. 9. In the US, in the current season she joins NDR Elbphilharmonie Orchester in Hamburg as Clara in concert performances of Porgy and Bess; Seattle Symphony for Handel’s Messiah; and Atlanta Symphony for Vaughan Williams’ Sea Symphony

| meettheartists | @AtlantaSymphony |

Nicole Cabell was the winner of the 2005 BBC Singer of the World Competition. Her solo debut album, Soprano, was named ‘Editor’s Choice’ by Gramophone and received the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique.


Grammy® Award-winning baritone Lucas Meachem, begins his 2022/23 season with performances as the title role in Don Giovanni at Ravinia Festival, Escamillo in Carmen with Canadian Opera Company and Opéra national de Paris, De Siriex in Fedora with The Metropolitan Opera, and Count Almaviva in Nozze di Figaro with Los Angeles Opera. Other highlights include guest soloist appearances with Atlanta Symphony Orchestra, Classical Tahoe, and San Francisco Opera.

Named the winner of San Francisco Opera’s inaugural “Emerging Star of the Year” Award in 2016, other notable performances include Il barbiere di Siviglia at Los Angeles Opera, where he also gave his Grammy® Award-winning performance of Figaro in The Ghosts of Versailles.

Meachem’s first solo album, Shall We Gather, was released in September 2021 under Rubicon Records and featuring his wife, Irina Meachem, at the piano.

Born in North Carolina, Lucas Meachem studied music at Appalachian State University, the Eastman School of Music, and Yale University before becoming an Adler Fellow with the San Francisco Opera.


(SEE BIO PAGE 34) | 61



Khadijah Davis

Liz Dean*

Laura Foster

Michelle Griffin*

Erin Jones*

Arietha Lockhart**

Mindy Margolis*

Joneen Padgett*

Rachel Paul

Susan Ray

Samaria Rodriguez

Emily Salmond

Lydia Sharp

Susie Shepardson

Stacey Tanner

Chelsea Toledo

Brianne Turgeon**

Deanna Walton

Erika Wuerzner

Michelle Yancich

Wanda Yang Temko**


Debbie Ashton

Sloan Atwood*

Jessica Barber

Tierney Breedlove

Barbara Brown

Maggie Carpenter

Martha Craft

Gina Deaton

Erika Elliott

Mary Goodwin

Amanda Hoffman

Melissa Mack

Heidi Padovano

Lindsay Patten Murray

Chantae Pittman

Tramaine Quarterman

Marianna Schuck

Paula Snelling**

Anne-Marie Spalinger*

Emily Tallant

Cheryl Thrash**

Donna Weeks**


June Abbott**

Pamela Amy-Cupp

Deborah Boland**

Emily Campbell

Patricia DinkinsMatthews*

Beth Freeman*

Cynthia Harris

Unita Harris

Beverly Hueter*

Janet Johnson**

Susan Jones

Kathleen Kelly-


Virginia Little*

Staria Lovelady*

Alina Luke

Frances McDowell-


Sara McKlin

Linda Morgan**

Natalie Pierce

Noelle Ross

Camilla Springfield**

Rachel Stewart**

Nancy York*


Nancy Adams*

Ana Baida

Angelica Blackman-


Elizabeth Borland

Emily Boyer

Marcia Chandler*

Carol Comstock

Meaghan Curry

Cynthia Goeltz


Michèle Diament*

Alyssa Harris

Joia Johnson

Nicole Khoury*

Katherine MacKenzie

Lynda Martin

Lalla McGee

Sun Min

Laura Rappold*

Sharon Simons*

Virginia Thompson*

Cheryl Vanture

Kiki Wilson**

Diane Woodard**


Jeffrey Baxter**

David Blalock**

LaRue Bowman

Jack Caldwell**

Daniel Cameron*

Daniel Compton

Justin Cornelius

Clifford Edge**

Steven Farrow**

Leif Gilbert-Hansen*

James Jarrell*

Keith Langston*

Christopher Patton*

Stephen Reed #

Mark Warden*


Sutton Bacon

Matthew Borkowski

Steve Brailsford

Charles Cottingham #

Phillip Crumbly*

Steven Dykes

Sean Fletcher

John Harr

Keith Jeffords**

David Kinrade

Michael Parker

Timothy Parrott

Marshall Peterson*

Brent Runnels

Matthew Sellers

Thomas Slusher

Scott Stephens**


Dock Anderson

William Borland*

Russell Cason**

Jeremy Christensen

Joshua Clark

Trey Clegg*

Rick Cobb

Michael Cranford

Thomas Elston

Jon Gunnemann**

Jason Hamlet

Noah Horton

Nick Jones #

Frank Kingsley

Alp Koksal

Jameson Linville

Jackson McCarthy

John Newsome

Hal Richards

Peter Shirts

John Terry


Philip Barreca

Marcel Benoit

Jacob Blevins

John Carter

Joel Craft**

Timothy Gunter*

Thomas Hanrahan

David Hansen**

Philip Jones

Tamir Mickens

Michael Nedvidek

Joel Rose

John Ruff*

Jonathan Smith*

George Sustman

Benjamin Temko*

David Webster**

Gregory Whitmire**

Keith Wyatt*

* 20+ years of service

** 30+ years of service

# Charter member (1970)

| encore 62
Norman Mackenzie director of choruses The Frannie & Bill Graves Chair Jeffrey Baxter choral administrator The Florence Kopleff Chair Peter Marshall accompanist | @AtlantaSymphony |


TheAtlanta Symphony Orchestra continues to prosper thanks to the support of our generous patrons. The list below recognizes the donors who have made contributions since June 1, 2021. Their extraordinary generosity provides the foundation for this world-class institution.

$1,000,000+ A Friend of the Symphony∞


1180 Peachtree

The Antinori Foundation

The Molly Blank Fund of The Arthur M. Blank Family Foundation∞

The Coca-Cola Company

Sheila L. & Jonathan J. Davies

Delta Air Lines

Lettie Pate Evans Foundation

Barney M. Franklin & Hugh W. Burke Charitable Fund

Georgia Power Company

The Home Depot Foundation

Invesco QQQ

Abraham J. & Phyllis Katz Foundation∞

Charles Loridans Foundation, Inc.

Amy W. Norman Charitable Foundation

Ann Marie & John B. White, Jr.°∞

The Zeist Foundation, Inc.

Alston & Bird LLP


$75,000+ Accenture LLP

The John & Rosemary Brown Family Foundation

Cadence Bank

Thalia & Michael C. Carlos Advised Fund


Sally & Larry Davis

The Roy & Janet Dorsey Foundation

EY, Partners & Employees

John D. Fuller∞


Aadu & Kristi Allpere°

Jennifer Barlament & Kenneth Potsic

Paul & Linnea Bert

Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr.

Connie & Merrell Calhoun


John W. Cooledge

The Jim Cox, Jr. Foundation

Mr. Richard H. Delay & Dr. Francine D. Dykes∞

Marina Fahim°

Arthur M. Blank Family Foundation PNC Slumgullion Charitable Fund

Thalia & Michael C. Carlos Foundation

City of Atlanta

Mayor’s Office of Cultural Affairs

Ms. Lynn Eden

Emerald Gate Charitable Trust

Ms. Angela L. Evans∞

The Gable Foundation

Fulton County Arts & Culture


Donna Lee & Howard Ehni

National Endowment for the Arts

John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D.

Betty Sands Fuller*

Dick & Anne Game°

Sally & Walter George

Jeannette Guarner, MD & Carlos del Rio, MD

The Halle Foundation

Bonnie & Jay Harris

League of American Orchestras

The Marcus Foundation, Inc.∞

Massey Charitable Trust

John & Linda Matthews∞

Moore Colson, CPAs & Bert & Carmen Mills

Anne Morgan & Jim Kelley

Georgia Council for the Arts

Graphic Packaging International, Inc.

The Graves Foundation

Gary Lee, Jr.

Morris, Manning & Martin, LLP


David, Helen & Marian Woodward Fund, Atlanta

Sally & Pete Parsonson∞

Patty & Doug Reid

Mary & Jim Rubright

Patrick & Susie Viguerie

Mr.* & Mrs. Edus H. Warren, Jr.

Northside Hospital


Victoria & Howard Palefsky

Mr. Tyler Perry

Publix Super Markets Charities, Inc.

Bill & Rachel Schultz°

June & John Scott∞

Ross & Sally Singletary

Mr. G. Kimbrough Taylor & Ms. Triska Drake

Troutman Pepper


Kathy Waller & Kenneth Goggins

Mrs. Sue S. Williams

64 | encore | @AtlantaSymphony |


A Friend of the Symphony

Mr. Keith Adams & Ms. Kerry Heyward°

John & Juliet Allan

Mr. & Mrs. Andrew Bailey

Benjamin Q. Brunt

Wright & Alison Caughman

Choate Bridges Foundation

Russell Currey & Amy Durrell

Mr. & Mrs. Erroll B. Davis, Jr.∞

Cari K. Dawson & John M. Sparrow

Maria & Rodrigo Garcia-Escudero

Mr. Max M. Gilstrap∞

Mr. & Mrs. Charles B. Harrison

The Estate of John H. Head

The Hertz Family Foundation, Inc.

Azira G. Hill

James H. Landon

The Ray M. & Mary Elizabeth Lee

Foundation, Inc.

Mr. Kevin Lyman & Dr. Jennifer Lyman

Ms. Deborah A. Marlowe & Dr. Clint Lawrence

Terence L. & Jeanne Perrine Neal°

Lynn & Galen Oelkers

Ms. Margaret Painter∞

Martha M. Pentecost

The Hellen Ingram Plummer

Charitable Foundation, Inc.

Ms. Cathleen Quigley


Joyce & Henry Schwob

Mr. Fahim Siddiqui & Ms. Shazia Fahim

Dr. Steven & Lynne Steindel°

Ms. Brett A. Tarver

Carolyn C. Thorsen∞

The Mark & Evelyn Trammell


John & Ray Uttenhove


Phyllis Abramson, Ph. D.

Madeline* & Howell E. Adams, Jr.

Mr. David Boatwright

Ms. Elizabeth W. Camp

Ms. Lisa V. Chang

Mr. & Mrs. Benjamin Clare°

Lisa DiFrancesco, MD & Darlene Nicosia

Eleanor & Charles Edmondson

Fifth Third Bank

Craig Frankel & Jana Eplan


Pam & Robert Glustrom

Roya & Bahman Irvani

Mr. Sukai Liu & Dr. Ginger J. Chen

John F. & Marilyn M. McMullan

Ms. Molly Minnear

New Music, USA

North Highland Company

Mr. Edward Potter & Ms. Regina Olchowski°

Charlie & Donna Sharbaugh

Beverly & Milton Shlapak

Mr. John A. Sibley, III

Elliott & Elaine Tapp

Adair & Dick White

Drs. Kevin & Kalinda Woods


A Friend of the Symphony (2)

Paul & Melody Aldo∞

Mr. & Mrs. Calvin R. Allen

Paul & Marian Anderson*

Farideh & Al Azadi Foundation∞

Julie & Jim* Balloun

Keith Barnett

Bell Family Foundation for Hope Inc

Mr. & Mrs. Gerald R. Benjamin

Kelley O. & Neil H. Berman

Bloomberg Philanthropies

The Boston Consulting Group

The Breman Foundation, Inc.

Lisa & Russ Butner∞


Colliers International

Donald & Barbara Defoe°

Peter & Vivian de Kok

Marcia & John Donnell

Ms. Diane Durgin

Eversheds Sutherland

Dr. & Mrs. Leroy Fass

The Robert Hall Gunn, Jr., Fund

Deedee & Marc Hamburger*°

JBS Foundation

Ann A. & Ben F. Johnson III

James Kieffer

Stephen & Carolyn Knight

The Sartain Lanier Family Foundation

Pat & Nolan Leake

Meghan & Clarke Magruder

Mr. Nicholas Marrone

Belinda & Gino Massafra

Merrill Lynch

The Monasse Family Foundation∞

Moore, Colson & Company, P.C.

Mr. & Mrs. James F. Nellis , Jr.

Ms. Gail O'Neill & Mr. Paul Viera

Kathryn Petralia & Diane Bartlett

Leonard Reed°

David F. & Maxine A.* Rock

Thomas & Lynne Saylor

Peter James Stelling*

John & Yee-Wan Stevens

George & Amy Taylor

Judith & Mark K. Taylor

Dr. & Mrs. James O. Wells, Jr.

Clay & Jane Jackson

°We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased | 65
For information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@ atlantasymphony. org. ∞ Leadership Council We salute these extraordinary donors who have signed pledge commitments to continue their support for three years or more.

ASO | SUPPORT (cont.)

Dr. & Mrs. Jerome B. Blumenthal


Jack & Helga Beam∞

Karen & Rod Bunn

Patricia & William Buss∞

Mark Coan & Family

Sally W. Hawkins

Grace Ihrig*

Ann & Brian Kimsey

Jason & Michelle Kroh

Dr. Fulton D. Lewis III & S. Neal Rhoney

Mr. Robert M. Lewis, Jr.

Mr. & Mrs. Arthur Mills IV

Mr. Bert Mobley

Hala & Steve Moddelmog

Caroline & Phil Moïse

Berthe & Shapour Mobasser

Judge Jane Morrison∞

Gretchen Nagy & Allan Sandlin

Margaret H. Petersen

Ms. Felicia Rives

Hamilton & Mason Smith

Mr. & Mrs. Edward W. Stroetz, Jr.

Stephen & Sonia Swartz

Drs. Jonne & Paul Walter

Kiki Wilson

Mr. David J. Worley & Ms. Bernadette Drankoski


A Friend of the Symphony

Dr. Marshall & Stephanie Abes

Mrs. Kay Adams* & Mr. Ralph Paulk

Judy & Dick Allison

Dr. Evelyn R. Babey

Lisa & Joe Bankoff

Juanita & Gregory Baranco

Asad Bashey

Mr. Herschel V. Beazley

Meredith Bell

Bennett Thrasher LLP

Natalie & Matthew Bernstein

Rita & Herschel Bloom

Jane & Gregory Blount

Mrs. Sidney W. Boozer

Carol Brantley & David Webster

Mrs. Cristina Briboneria

Margo Brinton & Eldon Park

Jacqueline A. & Joseph E. Brown, Jr.

Judith D. Bullock

CBH International, Inc

John Champion & Penelope Malone

Ms. Tena Clark & Ms. Michelle LeClair

Dr. & Mrs. Richard W. Compans

Carol Comstock & Jim Davis

Ralph & Rita Connell

William & Patricia Cook

Janet & John Costello

Mr. & Mrs. Paul H. Dimmick

Dorsey Alston Realtors

Xavier Duralde & Mary Barrett

Mr. & Mrs. John Dyer

Paulette Eastman & Becky Pryor Anderson∞

Diana Einterz

Dieter Elsner & Othene Munson

Robert S. Elster


Ellen & Howard Feinsand

Bruce W. & Avery C.


David L. Forbes

Mary* & Charles Ginden

Mr. & Mrs. Richard Goodsell∞

Melanie & Tucker Green

William Randolph Hearst


Tad & Janin Hutcheson

Mr. Justin Im & Dr. Nakyoung Nam

Mr. & Mrs. Baxter Jones

Paul* & Rosthema Kastin

Ms. Carrie L. Kirk

Mr. Charles R. Kowal

Mrs. Heidi LaMarca

Dr. & Mrs. Scott I. Lampert

Peg & Jim Lowman

Ms. Eunice Luke

Dr. & Mrs. Ellis L. Malone

Elvira & Jay Mannelly

Mr. & Mrs. Christopher D. Martin

Mr. Robert S. Mathews

Mary Ruth McDonald

The Fred & Sue McGehee

Family Charitable Fund

Ed & Linda McGinn°

Ms. Erica McVicker

Berthe & Shapour


Ms. Sue L. Morgan∞

Gary R. Noble, MD

Ms. Bethani Oppenheimer

Ms. Eliza Quigley

Mr. & Mrs. Joel F. Reeves

Margaret & Bob Reiser

Cammie & John Rice

Vicki & Joe Riedel

Betsy & Lee Robinson

Mrs. Nita Robinson

Ms. Frances A. Root

Mr. Joseph A. Roseborough

John T. Ruff

Katherine Scott

Suzanne Shull

Gerald & Nancy Silverboard

Baker & Debby Smith

Ms. Cynthia Smith

Dr. K. Douglas Smith

Tom & Ani Steele

In memory of Elizabeth

B. Stephens by Powell, Preston & Sally∞

Richard M. Stormont & Sally C. Jobe

Ms. Kimberly Strong

Dr. Nossi Taheri & Ms. Hope Vaziri

Dede & Bob Thompson

Mr. & Mrs. Peter Toren

Trapp Family

Burton Trimble

Chilton & Morgan* Varner

Mr. & Mrs. Benny Varzi

Amy & Robert Vassey

Ms. Juliana T. Vincenzino

Mr. Robert Walt & Mr. Daniel J. Hess

Alan & Marcia Watt

Ruthie Watts

Dr. Nanette K. Wenger

Suzanne B. Wilner

Camille W. Yow


Mr. John Blatz

Mr. & Mrs. Dennis M. Chorba

Jean & Jerry Cooper

The Aaron Copland Fund for Music, Inc.

Nadeen Green & Ned Cone

Phil & Lisa Hartley

Martha Reaves Head

Barbara M. Hund

Cameron H. Jackson°

Fara & Ari Levine°

Deborah & William Liss°

Martha & Reynolds McClatchey

Judy Zaban-Miller & Lester Miller

Donald S. Orr & Marcia K. Knight

Mr. & Mrs. Edmund F. Pearce, Jr.°

In Memory of Dr. Frank S. Pittman III

Dr. & Mrs. John P. Pooler

Ms. Kathy Powell

Mrs. Susan H. Reinach

S.A. Robinson

Dr. & Mrs. Rein Saral

Donna Schwartz

Ms. Martha Solano

Angela Spivey

Beth & Edward Sugarman

Mrs. Dale L. Thompson

Mr. & Mrs. Robert L. Welch

David & Martha West

Mr. & Mrs. M. Beattie Wood

| encore 66 | @AtlantaSymphony | | 67


Named for the Atlanta Symphony Orchestra’s founding Music Director, the HENRY SOPKIN CIRCLE celebrates cherished individuals and families who have made a planned gift to the Atlanta Symphony Orchestra. These special donors preserve the Orchestra’s foundation and ensure success for future generations.

A Friend of the Symphony (22)

Madeline* & Howell E. Adams, Jr.

Mr.* & Mrs.* John E. Aderhold

Mr. & Mrs. Paul Aldo

Mr. & Mrs. Ronald R. Antinori

Dr. & Mrs. William Bauer

Helga Beam

Mr. Charles D. Belcher *

Neil H. Berman

Susan & Jack Bertram

Mr.* & Mrs.* Karl A. Bevins

The Estate of Donald S. & Joyce Bickers

Ms. Page Bishop*

Mr.* & Mrs. Sol Blaine

John Blatz

Rita & Herschel Bloom

The Estate of Mrs.

Gilbert H. Boggs, Jr.

W. Moses Bond

Mr.* & Mrs. Robert C. Boozer

Elinor A. Breman*

Carol J. Brown

James C. Buggs*

Mr. & Mrs.* Richard H. Burgin

Hugh W. Burke*

Mr. & Mrs. William Buss

Wilber W. Caldwell

Mr. & Mrs. C. Merrell Calhoun

Cynthia & Donald Carson

Mrs. Jane Celler*

Lenore Cicchese*

Margie & Pierce Cline

Dr. & Mrs. Grady S. Clinkscales, Jr.

Suzanne W. Cole Sullivan

Robert Boston Colgin

Mrs. Mary Frances

Evans Comstock*

Miriam* & John A.* Conant

Dr. John W. Cooledge

Mr. & Mrs. William R. Cummickel

Bob* & Verdery* Cunningham

Mr. Richard H. Delay & Dr. Francine D. Dykes

John R. Donnell

Dixon W. Driggs*

Pamela Johnson Drummond

Mrs. Kathryn E. Duggleby

Catherine Warren Dukehart*

Ms. Diane Durgin

Arnold & Sylvia Eaves

Mr. & Mrs. Robert G. Edge

Geoffrey G. Eichholz*

Elizabeth Etoll

Mr. Doyle Faler

Brien P. Faucett

Dr. Emile T. Fisher*

Moniqua N Fladger

Mr. & Mrs. Bruce W. Flower

A. D. Frazier, Jr.

Nola Frink*

Betty & Drew* Fuller

Sally & Carl Gable

William & Carolyn Gaik

Dr. John W. Gamwell*

Mr.* & Mrs.* L.L. Gellerstedt, Jr.

Ruth Gershon & Sandy Cohn

Micheline & Bob Gerson

Max Gilstrap

Mr. & Mrs. John T. Glover

Mrs. David Goldwasser

Robert Hall Gunn, Jr. Fund

Billie & Sig Guthman

Betty G.* & Joseph* F. Haas

James & Virginia Hale

Ms. Alice Ann Hamilton

Dr. Charles H. Hamilton*

Sally & Paul* Hawkins

John* & Martha Head

Ms. Jeannie Hearn*

Barbara & John Henigbaum

Jill* & Jennings* Hertz

Mr. Albert L. Hibbard

Richard E. Hodges

Mr.* & Mrs. Charles K.

Holmes, Jr.

Mr.* & Mrs.* Fred A. Hoyt, Jr.

Jim* & Barbara Hund

Clayton F. Jackson

Mary B. James

Mr. Calvert Johnson & Mr. Kenneth Dutter

deForest F. Jurkiewicz*

Herb* & Hazel Karp

Anne Morgan & Jim Kelley

Bob Kinsey

James W.* & Mary Ellen*


Paul Kniepkamp, Jr.

Vivian & Peter de Kok

Miss Florence Kopleff*

Mr. Robert Lamy

James H. Landon

Ouida Hayes Lanier

Lucy Russell Lee* & Gary Lee, Jr.

Ione & John Lee

Mr. Larry M. LeMaster

Mr.* & Mrs.* William C. Lester

Liz & Jay* Levine

Robert M. Lewis, Jr.

Carroll & Ruth Liller

Ms. Joanne Lincoln*

Jane Little*

Mrs. J. Erskine Love, Jr.*

Nell Galt & Will D. Magruder

K Maier

John W. Markham*

Mrs. Ann B. Martin

Linda & John Matthews

Mr. Michael A. McDowell, Jr.

Dr. Michael S. McGarry

Richard & Shirley McGinnis

John & Clodagh Miller

Ms. Vera Milner

Mrs. Gene Morse*

Ms. Janice Murphy*

Mr. & Mrs. Bertil D. Nordin

Mrs. Amy W. Norman*

Galen Oelkers

Roger B. Orloff

Barbara D. Orloff

Dr. Bernard* & Sandra Palay

Sally & Pete Parsonson

James L. Paulk

Ralph & Kay* Paulk

Dan R. Payne

Bill Perkins

Mrs. Lela May Perry*

Mr.* & Mrs. Rezin E. Pidgeon, Jr.

Janet M. Pierce*

Reverend Neal P. Ponder, Jr.

William L.* & Lucia Fairlie*


Ms. Judy L. Reed*

Carl J. Reith*

Mr. Philip A. Rhodes

Vicki J. & Joe A. Riedel

Helen & John Rieser

Dr. Shirley E. Rivers*

David F. & Maxine A.* Rock

Glen Rogerson*

Tiffany & Richard Rosetti

Mr.* & Mrs.* Martin H. Sauser

Bob & Mary Martha Scarr

Mr. Paul S. Scharff & Ms. Polly G. Fraser

Dr. Barbara S. Schlefman

Bill & Rachel Schultz

Mrs. Joan C. Schweitzer

June & John Scott

Edward G. Scruggs*

Dr. & Mrs. George P. Sessions

Mr. W. G. Shaefer, Jr.

Charles H. Siegel*

Mr. & Mrs. H. Hamilton Smith

Mrs. Lessie B. Smithgall*

Ms. Margo Sommers

Elliott Sopkin

Elizabeth Morgan Spiegel

Mr. Daniel D. Stanley

Gail & Loren Starr

Peter James Stelling*

Ms. Barbara Stewart

Beth & Edward Sugarman

C. Mack* & Mary Rose* Taylor

Isabel Thomson*

Jennings Thompson IV

Margaret* & Randolph* Thrower

Kenneth & Kathleen Tice

Mr. H. Burton Trimble, Jr.

Mr. Steven R. Tunnell

Mr. & Mrs. John B. Uttenhove

Mary E. Van Valkenburgh

Mrs. Anise C. Wallace

Mr. Robert Wardle, Jr.

Mr. & Mrs. John B. White, Jr.

Adair & Dick White

Mr. Hubert H. Whitlow, Jr.*

Sue & Neil* Williams

Mrs. Frank L. Wilson, Jr.

Mrs. Elin M. Winn

Ms. Joni Winston

George & Camille Wright

Mr.* & Mrs.* Charles R. Yates

*Deceased | @AtlantaSymphony | | encore 68



Jennifer Barlament executive director

Alvinetta Cooksey executive & finance assistant

Emily Fritz-Endres executive management fellow

Dautri Erwin executive assistant


Gaetan Le Divelec vice president, artistic planning

Jeffrey Baxter choral administrator

RaSheed Lemon aso artist liaison

Ebner Sobalvarro

artistic administrator


Sarah Grant director of education

Ryan Walks

talent development program manager

Elena Gagon

coordinator of education & community engagement


Paul Barrett

senior production stage manager

Richard Carvlin

stage manager

Hannah Davis, assistant librarian

Elizabeth Graiser

manager of operations & asyo

Renee Hagelberg

manager of orchestra personnel

Victoria Moore

director of orchestra personnel


Ashley Mirakian

vice president, marketing & communications

Delle Beganie content & production manager

Leah Branstetter director of digital content

Meredith Chapple marketing coordinator

Adam Fenton director of multimedia technology

Will Strawn

associate director of marketing, live

Caitlin Buckers marketing manager, live

Lisa Eng multimedia creative manager, live

Mia Jones-Walker marketing manager

Rob Phipps director of creative services

Bob Scarr

archivist & research coordinator

Madisyn Willis marketing manager




Russell Wheeler

vice president, sales & revenue management

Nancy James front of house supervisor

Erin Jones director of sales

Jesse Pace

senior manager of ticketing & patron experience

Dennis Quinlan

data analyst

Robin Smith

patron services & season ticket associate

Jake Van Valkenburg sales coordinator

Milo McGehee guest services coordinator

Anna Caldwell guest services associate


Nicole Panunti vice president, atlanta symphony hall live

Christine Lawrence associate director of guest services

Michael Tamucci

associate director of performance management, atlanta symphony hall live

Dan Nesspor

ticketing manager, atlanta symphony hall live


Susan Ambo

chief financial officer & vice president, business operations

Kimberly Hielsberg vice president of finance

Brandi Hoyos

director of diversity, equity & inclusion

April Satterfield controller

Brandi Reed staff accountant


Grace Sipusic vice president of development

Cheri Snyder

senior director of development

Julia Filson

director of corporate relations

William Keene

director of annual giving

James Paulk

senior annual giving officer

Renee Contreras associate director, development communications

Dana Parness

manager of individual giving and prospect research

Catherine MacGregor manager of donor engagement

Sharveace Cameron senior development associate

Robert Cushing development associate, major gifts

Sarah Wilson development operations associate | 69


| encore 70
program is supported in part by an award from the National Endowment for the Arts.
funding is provided by the Fulton County Board of
support is provided by the Mayor’s Office of Cultural Affairs. | @AtlantaSymphony |
Commissioners. Major


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


A Friend of the Atlanta Symphony Orchestra


The Antinori Foundation

Bank of America

A Friend of the Atlanta Symphony Orchestra



AT&T Foundation

Farideh & Al Azadi Foundation

The Molly Blank Fund

Helen Gurley Brown Foundation

Chick-fil-A Foundation | Rhonda & Dan Cathy

The Goizueta Foundation

Invesco QQQ



Mr. & Mrs. Shouky Shaheen

The Home Depot Foundation

Sarah and Jim Kennedy

The Rich Foundation, Inc.

Alfred A. Thornton Venable Trust

Truist Trusteed Foundations:

Florence C. and Harry L. English Memorial Fund

Thomas Guy Woolford Charitable Trust



The Zeist Foundation, Inc.


Leadership Circle corporations have committed to a contribution of $1,000,000 over one or more years to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art.


The Coca-Cola Company


Delta Air Lines

Georgia Power

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



Alston & Bird

Atlantic Station

John Auerbach

Sandra & Dan Baldwin


The Arthur M. Blank Family Foundation

City of Atlanta Mayor’s Office of Cultural Affairs

The Community Foundation for Greater Atlanta

Melinda & Brian Corbett

Sheila L. & Jonathan J. Davies

Barney M. Franklin & Hugh W. Burke Charitable Fund



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Mr. and Mrs. James S. Grien

Louise S. Sams and Jerome Grilhot

The John H. & Wilhelmina D. Harland Charitable Foundation

The Hertz Family Foundation, Inc.

Mr. & Mrs. Hilton H. Howell, Jr.

The Imlay Foundation Institute of Museum & Library Services

Jones Day Foundation & Employees

Kaiser Permanente

Abraham J. and Phyllis Katz Foundation

King & Spalding, Partners & Employees

The Sartain Lanier Family Foundation

Charles Loridans Foundation, Inc.

The Henry Luce Foundation, Inc.

The Marcus Foundation, Inc.

John W. Markham III*

Andrew W. Mellon Foundation

Morris Manning & Martin LLP

National Endowment for the Arts

Newell Brands

Norfolk Southern Foundation

Amy W. Norman Charitable Foundation

Northside Hospital

Victoria & Howard Palefsky

Patty and Doug Reid

The Shubert Foundation

Carol & Ramon Tomé Family Fund

Dr. Joan H. Weens

Kelly and Rod Westmoreland

Ann Marie and John B. White, Jr.

wish Foundation

The David, Helen & Marian Woodward Fund | @AtlantaSymphony |
Peachtree ACT Foundation, Inc. *notates deceased
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