Atlanta Symphony Orchestra: February 2022

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

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Music Director..

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ASO Leadership. ASO Musicians.





Written by Noel Morris

FEB 3, 5.

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FEB 24, 26. . FEB 27.


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FEB 10,12,13. .

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

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ASO Staff. .


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Ticket Info/General Info.

age 14 P A New Legacy for Composer Florence Price By Douglas Shadle | @AtlantaSymphony |

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4 | encore ASO | IN TUNE Dear Friends, There is nothing quite like enjoying the Atlanta Symphony Orchestra with a friend— or like meeting new like-minded friends at the Symphony. At the ASO, we are passionate about creating new ways to bring people together to experience the joy of music. I wanted to share some creative ways we are expanding our audience, putting the “fun” in Symphony, and making concertgoing social. BRAVO is the Atlanta Symphony Orchestra’s exciting group for young professionals who share an interest in music, culture and making new connections. Each of BRAVO’s four yearly events pairs a creatively themed social event with one of our Delta Classical Series performances. Members also have opportunities to mix and mingle with performers, receive discounts for concert tickets, and get free access to the ASO’s virtual Behind the Curtain Series, perfect for those nights when you want to invite a few friends over to enjoy the ASO from the comfort of your own living room. Visit This year, the ASO introduced a new LGBTQ+ group called In Unison. Guests enjoy premium seating and an exclusive meet-the-musicians post-concert cocktail receptions. These events are great opportunities to meet concert-goers with similar interests and celebrate pride at the ASO, while enjoying a drink and meeting ASO musicians. Visit We are also bringing back our popular teen nights, now called UpTempo. Middle and high school students are invited to come and enjoy the ASO together. Pizza will be served pre-concert along with a chat hosted by one of the coolest classical musicians we know: cellist and social media influencer Okorie Johnson, a.k.a OkCello. Visit The ASO’s reach in the community is growing stronger every year. Thanks to the generous support of The Home Depot Foundation, the ASO offers special programming and no-cost access for veterans, active duty and military families through our Veterans Program. In addition to free tickets to select performances, veterans also receive complimentary access to all virtual Behind the Curtain performances. Visit Next season, we will launch All Access, a new program which will provide free concert access to underserved populations, thanks to support from the Lettie Pate Evans Foundation. Thank you for your continued support of the Atlanta Symphony Orchestra. Enjoy! With gratitude,

Jennifer Barlament Executive Director | @AtlantaSymphony |




t’s a creative partnership like no other, forged over two decades. Since 2001, Robert Spano and Sir Donald Runnicles have collaborated on each of the Atlanta Symphony Orchestra’s seasons, curating a collection of works chosen for this time and this place. Together, our two maestros have led the Atlanta Symphony Orchestra into a new era. Robert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. After 20 seasons as Music Director, he will continue his association with the Atlanta Symphony Orchestra as Co-Artistic Advisor for the 2021/22 season. An avid mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors, and performers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and young performers. Principal Guest Conductor of the Fort Worth Symphony Orchestra since 2019, Spano became Music Director Designate on April 1, 2021, and begins an initial three-year term as Music Director in August 2022. He will be the tenth Music Director in the orchestra’s history, which was founded in 1912. Sir Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019 Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016. Runnicles enjoys close and enduring relationships with many of the leading opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic repertoire, which are core to his musical identity. Sir Donald Runnicles is born and raised in Edinburgh. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

Sir Donald Runnicles

Robert Spano

6 | encore | @AtlantaSymphony |


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

Howard Palefsky

Lynn Eden

James Rubright


immediate past chair

vice chair

vice chair

Patrick Viguerie

Susan Antinori

Bert Mills

chair elect



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

Randolph J. Koporc

James Rubright

Keith Adams

Carrie Kurlander

William Schultz

Juliet M. Allan

Carlos del Rio, M.D. FIDSA

James H. Landon

Charles Sharbaugh

Susan Antinori

Sloane Drake

Donna Lee

Fahim Siddiqui

Jennifer Barlament*

Lynn Eden

Sukai Liu

W. Ross Singletary, II

Paul Blackney

Angela Evans

Kevin Lyman

John Sparrow

Rita Bloom

Craig Frankel

Deborah Marlowe

Elliott Tapp

Janine Brown

Sally Bogle Gable

Bert Mills

Brett Tarver

Justin Bruns*

Rodrigo GarciaEscudero

Molly Minnear

S. Patrick Viguerie

Hala Moddelmog*

Kathy Waller

Terence L. Neal

Mark D. Wasserman

Galen Lee Oelkers

Chris Webber

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

Anne Game Bonnie B. Harris Charles Harrison

Susan Clare

Caroline Hofland

Lisa Chang

Tad Hutcheson, Jr.

Russell Currey

Roya Irvani Nancy Janet*

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

Richard S. White, Jr.

Cathleen Quigley

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

Doug Reid


John T. Glover

Meghan H. Magruder

Michael W. Trapp

John W. Cooledge, M.D. Dona Humphreys

Penelope McPhee

Ray Uttenhove

John R. Donnell, Jr.

Aaron J. Johnson, Jr.

Patricia H. Reid

Chilton Varner

Jere A. Drummond

Ben F. Johnson, III

Joyce Schwob

Adair M. White

Carla Fackler

James F. Kelley

John A. Sibley, III

Sue Sigmon Williams

Charles B. Ginden

Patricia Leake

H. Hamilton Smith

Karole F. Lloyd

G. Kimbrough Taylor, Jr.

LIFE DIRECTORS Howell E. Adams, Jr.

Betty Sands Fuller

Azira G. Hill

*Ex-Officio Board Member | @AtlantaSymphony |

8 | encore ASO | 2021/22 Musician Roster




David Coucheron


Rainer Eudeikis




The Mr. and Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam and John Conant Chair

Justin Bruns

associate principal

associate concertmaster

Sou-Chun Su acting / associate

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair


Jay Christy


assistant concertmaster

acting associate / assistant

Jun-Ching Lin


Daniel Laufer The Livingston Foundation Chair

Karen Freer assistant principal

Dona Vellek assistant principal emeritus

assistant concertmaster

Dae Hee Ahn

Anastasia Agapova

Robert Anemone

Kevin Chen

Sharon Berenson

Carolyn Toll Hancock

Noriko Konno Clift

Brad Ritchie

The Wells Fargo Chair

David Dillard


John Meisner Christopher Pulgram Juan R. Ramírez Hernández Olga Shpitko Kenn Wagner Lisa Wiedman Yancich Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair

Sanford Salzinger

Sheela Iyengar** Eleanor Kosek Ruth Ann Little

Thomas Carpenter Joel Dallow The UPS Foundation Chair

Joseph McFadden principal

The Marcia and John Donnell Chair

Rachel Ostler

Gloria Jones Allgood


The Lucy R. & Gary Lee Jr. Chair

Zhenwei Shi

Brittany Conrad**


Karl Fenner

The Edus H. and Harriet H. Warren Chair

Paul Murphy associate principal

The Mary and Lawrence Gellerstedt Chair

Catherine Lynn

associate principal

Michael Kenady The Jane Little Chair

Michael Kurth Daniel Tosky FLUTE

assistant principal

Christina Smith

Marian Kent

The Jill Hertz Chair

Yang-Yoon Kim Yiyin Li


Robert Cronin associate principal

Lachlan McBane

C. Todd Skitch

Jessica Oudin

Gina Hughes

Madeline Sharp

Players in string sections are listed alphabetically | @AtlantaSymphony |

Robert Spano

co-artistic advisor

The Robert Reid Topping Chair

Sir Donald Runnicles principal guest conductor co-artistic advisor

The Neil & Sue Williams Chair

Jerry Hou

Norman Mackenzie

associate conductor;

director of choruses

music director of the atlanta symphony youth orchestra

The Frannie & Bill Graves Chair

The Zeist Foundation Chair




Gina Hughes

Juan de Gomar

Mark Yancich



Elizabeth Koch Tiscione

Jaclyn Rainey



The George M. and Corrie Hoyt Brown Chair

The Betty Sands Fuller Chair

Zachary Boeding

associate principal

Joseph Petrasek

Kimberly Gilman


associate principal

The Kendeda Fund Chair

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

The Robert Shaw Chair The Mabel Dorn Reeder Honorary Chair

Ted Gurch associate principal

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


The Walter H. Bunzl Chair

Michael Stubbart

Susan Welty

assistant principal


Chelsea McFarland**

The Julie and Arthur Montgomery Chair

Bruce Kenney

William Wilder


assistant principal

Stuart Stephenson principal

The Madeline and Howell Adams Chair

The William A. Schwartz Chair

Michael Stubbart The Connie and Merrell Calhoun Chair

Michael Tiscione


associate principal

Elisabeth Remy Johnson

Anthony Limoncelli Mark Maliniak

The Sally and Carl Gable Chair



The Hugh and Jessie Hodgson Memorial Chair

Vacant principal

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

Nathan Zgonc acting / associate



Jeremy Buckler**

Peter Marshall † Sharon Berenson LIBRARY Katie Klich principal

Brian Hecht*

The Marianna & Solon Patterson Chair

Luke Sieve•**

Holly Matthews



assistant principal librarian

The Abraham J. & Phyllis Katz Foundation Chair

Brian Hecht*

Anthony Georgeson

Luke Sieve•**

Andrew Brady

associate principal

Laura Najarian Juan de Gomar

The Home Depot Veterans Chair

TUBA Michael Moore principal

The Delta Air Lines Chair

Hannah Davis asyo / assistant


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

Members of the Atlanta Symphony Orchestra

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

Frances Root patron experience task force chair

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

MEMBERS Krystal Ahn Paul Aldo Keith Barnett Meredith Bell Jane Blount Tracey Chu Donald & Barbara Defoe Paul & Susan Dimmick Bernadette Drankoski Burt Fealing Bruce Flower John Fuller Sally George Tucker Green Nancy Harrison Sally Hawkins

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

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

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

Michelle Cann piano

PRICE: Piano Concerto in One Movement

MAR 3/5

MOZART: Requiem Nathalie Stutzmann conductor

MAR 17/18/20

Jonathon Heyward conductor

Xavier Foley

MAR 24/26

double bass

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

On Sale Now


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A New Legacy for Composer

Florence Price By Douglas Shadle

“She draws from all these musical languages— the Romanticism of Tchaikovsky and Brahms, the spirituals and the Juba dance. She’s inspired by the different styles but then how she expands upon them, makes them her own, and then weaves them together into a cohesive piece is extraordinary.” That’s what Michelle Cann, the Eleanor Sokoloff Chair in Piano Studies at Philadelphia’s Curtis Institute of Music, says she enjoys the most about Florence Price’s Piano Concerto. With such an enthusiastic endorsement, it’s easy to understand why Price’s music is experiencing a global renaissance. But classical music, even the best music, never speaks for itself. To be heard, it requires dedicated champions—and lots of them. Florence B. Price (1887–1953), a Little Rock, Arkansas native, was the first African American woman to gain international acclaim for her compositions. After earning two diplomas at the New England Conservatory in 1906, she returned home to Arkansas to start a career as a piano teacher. (For a brief period, she was also the head of music at Clark University in Atlanta.) Escalating racial violence eventually led the Price family—Florence, her husband Thomas (whom she | @AtlantaSymphony |

eventually divorced), and her two young daughters—to leave Little Rock for Chicago in 1927, and she remained there until her death in 1953. The vibrant cultural richness of the Bronzeville district proved to be a constant source of musical inspiration and artistic sustenance. Just before moving to Chicago, Price turned from writing short teaching pieces for her students and began exploring compositions in larger forms. She entered several of these pieces into competitions designed to support Black composers and won a string of prizes, bringing her talent into broad public view. She ultimately created a catalog numbering nearly 300 works in all. In turn, a vast array of performers programmed her music during her lifetime, from the world-renowned contralto Marian Anderson and the Chicago Symphony Orchestra to local women’s music clubs and aspiring young pianists across the country. Although a handful of pieces remained accessible to new generations of musicians, most of her compositions were not published during her lifetime, leaving her daughters

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MAR 3/5 PRICE: Piano Concerto in One Movement MAHLER: Symphony No. 1 Sir Donald Runnicles conductor Michelle Cann piano

16 | encore to advocate on her behalf in an industry marked by deep prejudices against women and musicians of color. Beginning in the 1970s, when Price’s older daughter’s health had begun to decline, a number of invested scholars and performers—Barbara Garvey Jackson, Helen WalkerHill, Mildred Denby Green, Althea Waites, Rae Linda Brown, Karen Walwyn, Linda Holzer, Louise Toppin, Trevor Weston, and others—worked for several decades to restore Price’s legacy by creating an impressive body of scores, recordings and scholarly publications. One of the crowning achievements of this enormous effort is Dr. Brown’s vivid biography of Price, The Heart of a Woman, published posthumously in 2020 by the University of Illinois Press. But these dedicated advocates continually faced an unusual hurdle to widespread public appreciation: most of Price’s music was missing. Then lightning struck. In 2009, an Illinois couple stumbled on a treasure trove of Price’s handwritten scores—dozens upon dozens of them—in a dilapidated house near the town of St. Anne, once a summer getaway for middle-class African American Chicagoans. A few photos found in the house show Price and her daughters once enjoying the garden outside. The University of Arkansas, where Barbara Garvey Jackson served on the music history faculty, purchased these materials and made them available for public use in 2015, enabling musicians to encounter Price’s full catalog for the first time. Intrepid performers, such as violinist Er-Gene Kahng and the Houston-based Apollo Chamber Players, found musical rewards among the new materials and made worldpremiere recordings of Price’s two violin concertos and a string quartet. Meanwhile, the Arkansas-based composer and filmmaker James Greeson used the newly discovered materials as the basis of a stunning documentary, and musicologists Samantha Ege and Marquese Carter (both of whom are accomplished performers themselves) began building on Rae Linda Brown’s scholarly foundation with new critical insights into Price’s life, work, and style. Cann herself became one of the many musicians who took an immediate interest, choosing to perform the Piano | @AtlantaSymphony |

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Described only briefly here, this collective grassroots effort attracted the attention of major media outlets and eventually prompted G. Schirmer, one of the world’s largest publishing firms, to acquire the rights to Price’s catalog late in 2018. The firm’s staff set about creating fresh performing editions from the new manuscript collection so that organizations could finally bring Price’s music to their audiences more easily. With international distribution in place, Price’s moment finally seemed to have arrived only for the pandemic to shutter the classical music industry altogether, cutting off many scheduled performances of her music. But, Cann said, George Floyd’s murder “placed a new lens on everything in America,” including classical music, that demanded a drastic reorientation toward racial justice. Leading organizations heeded the call by featuring Price and other composers of color on their digital streams, reaching countless listeners around the world who never would have heard this music otherwise. And a new chain reaction fired. “What’s different now is the numbers,” Cann said. “Pianists are starting to learn this concerto and play it everywhere.” Her implication is that each soloist or conductor can move beyond simply introducing a work to audiences; they can embrace its expressive potential more fully and demonstrate that the music can be enjoyed in new ways time and again. Rae Linda Brown, whose extensive notes on Price are now available for further research at Emory University, believed this type of social moment would mark a new beginning: “It is for the next generation of music scholars to delve through the music, to study it, to perform it, to record it, and to tell the rest of the story.” Cann sees this story unfolding in her students. “I’ve been inspired by learning the music and then sharing it,” she said, “and in a way you’re teaching on stage. People have the access and the interest, and younger students will continue to promote. The future is bright if it keeps going this way.” Indeed, perhaps we all have something to learn from Florence Price.


Concerto with New York-based activist orchestra The Dream Unfinished in 2016.

Douglas Shadle is an Associate Professor of Musicology and Area Coordinator of Musicology and Ethnomusicology at the Vanderbilt University Blair School of Music. An award-winning historian of American orchestral music, he is currently co-authoring, with Dr. Samantha Ege (University of Oxford), a biography of Florence Price for Oxford University Press' Master Musicians Series.

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

A Friend of the Symphony | @AtlantaSymphony |

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

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

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

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

20 | feb3/5 Concerts of Thursday, February 3, 2022, 8:00 p.m. Saturday, February 5, 2022, 8:00 p.m. CARLOS KALMAR, conductor KSENIJA SIDOROVA, accordion

JESSIE MONTGOMERY (b. 1981) Records from a Vanishing City (2016) ASTOR PIAZZOLLA (1921–1992) Concerto for Bandoneon (“Aconcagua”) (1979) I. Allegro marcato II. Moderato III. Presto Ksenjia Sidorova, accordion





FRANZ SCHUBERT (1797–1828) Symphony No. 8 in B Minor, D. 759 (“Unfinished”) (1822) I. Allegro moderato II. Andante con moto


JOSEF STRAUSS (1827–1870) Sphärenklänge (Music of the Spheres), Op. 235 (1868)

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


notesontheprogram by Noel Morris Program Annotator

Records from a Vanishing City

These are the first

Records from a Vanishing City is scored for one flute, two oboes, two clarinets (one doubling bass clarinet), two bassoons, two horns, two trumpets, timpani and strings.

ASO performances


essie Montgomery is an acclaimed composer, violinist and educator. She is the recipient of the Leonard Berstein Award from the ASCAP Foundation, the Sphinx Medal of Excellence, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, poetry and social consciousness, making her an acute interpreter of 21st century American sound and experience. Montgomery was born and raised in Manhattan’s Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history. Artists gravitated to the hotbed of artistic experimentation and community development. Her parents—her father a musician, her mother a theater artist and storyteller—were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances and parties where neighbors, activists and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Jessie has created a life that merges composing, performance, education and advocacy. Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African American and Latinx string players and has served as composer-inresidence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She was a twotime laureate of the annual Sphinx Competition and was awarded their highest honor, the Sphinx Medal of Excellence. She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation and the Sorel Organization. Jessie began her violin studies at the Third Street Music School Settlement, one of the oldest community organizations in the country. A founding member of PUBLIQuartet and a former member of the Catalyst Quartet, she continues

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22 | encore to maintain an active performance career as a violinist appearing regularly with her own ensembles, as well as with the Silkroad Ensemble and Sphinx Virtuosi. From the composer:


Records from a Vanishing City is a tone poem based on my recollections of the music that surrounded me as I grew up on Manhattan’s Lower East Side in the 1980s and 1990s. Artists, truth seekers and cultures of all kinds defined our vibrant community. The embracing diversity burst out with an effortless everydayness in block parties, festivals and shindigs of every sort. Partly because my parents were artists— but also because I just couldn’t help it—I soaked up all that surrounded me: Latin jazz, alternative rock, Western classical, avant-garde jazz, poetry, and Caribbean dance music, to name a few. A year before completing this work, a very dear family friend passed away and it was decided that I would be the one to inherit a large portion of his eclectic record collection. James Rose was one of the many suns in the Lower East Side cosmos who often hosted parties and generous gatherings for our extended artist family. His record collection was a treasure trove of the great jazz recordings of the 1950s, 1960s and beyond—he was mad for John Coltrane, but also Miles Davis and Thelonious Monk and Ornette Coleman, as well as traditional folk artists from Africa, Asia and South America. In the process of imagining this piece, a particular track on a record of music from Angola caught my ear: a traditional lullaby which is sung in call and response by a women’s chorus. This lullaby rang with an uncanny familiarity in me. An adaptation of this lullaby and the rhythmic chant that follows it appears in each of the three main sections of Records. This piece is dedicated to the memory of James Rose. Records from a Vanishing City was commissioned by the Orpheus Chamber Orchestra. Orpheus’ world premiere performance of the work at Carnegie Hall was supported in part by a Project Grant from New Music USA. | @AtlantaSymphony |

Concerto for Bandoneon (“Aconcagua”)

First and most recent

In addition to the solo accordion, this concerto is scored for timpani, percussion, harp, piano and strings.

ASO performances:


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March 15–18, 2018 Miguel Harth-Bedoya,

n 1954, Astor Piazzolla tried to bury his past. A star of conductor the Argentine tango, he aspired to reinvent himself as Ksenjia Sidorova, a composer of “serious” music. Winning a grant to study accordian composition in Paris, he presented “kilos of symphonies and sonatas” to the famed teacher Nadia Boulanger. Quickly, things got uncomfortable. “I can’t find Piazzolla in this,” she told him. “You say that you are not a pianist. What instrument do you play, then?” “I didn't want to tell her that I was a bandoneon player,” he recalled. “I thought, ‘Then she will throw me from the fourth floor.’ Finally, I confessed, and she asked me to play some bars of a tango of my own. She suddenly opened her eyes, took my hand, and told me: “You idiot, that’s Piazzolla!” Growing up in Buenos Aires and New York City, Piazzolla knew all too well: The tango is not a product of polite society. Originating in the slums around the Río de la Plata basin, its beginnings are murky (history often forgets the urban poor).

The famed British naturalist Charles Darwin encountered these “compraditos” in the 1830s, noting that, although knife fighters often died, killing was considered bad form. “Each party tries to mark the face of his adversary by slashing his nose or eyes,” he wrote, “as is often attested by deep and horrid-looking scars.” These were the progenitors of the tango—hardened, virile and saddled with hopelessness. Likely, the waltz and the polka fed into the evolution of the tango. Further evidence


Within seaside shantytowns lived former African slaves, gauchos (farmhands), and hundreds of thousands of European immigrants who boarded ships expecting to find good jobs where there were none—and they became stranded. Few experiences bound these slum-dwellers together, but those included poverty, prostitution, the Church, and, curiously, knife fighting.

24 | encore suggests that the characteristic “chan-chan,” a tango term for the snappy two-note stinger at the end, came from the music of African immigrants, as did another tango predecessor, the habanera. The tango remained the art form of society’s untouchables until it leaped to Paris. Once this steamy dance became an international sensation, the Argentines embraced it as a national symbol. Piazzolla himself suffered a similar stigma. Because his music is influenced by classical music and jazz, he initially endured ridicule and rejection among the Argentines until he went international. Eventually, his fellow countrymen embraced him as the pioneer of “nuevo tango.” Piazzolla composed his Concerto for Bandoneon in 1979. Declaring the piece to be the peak of Piazzolla’s career, his publisher offered up the subtitle “Aconcagua” after the highest mountain peak in South America. The Bandoneon The bandoneon is essential to the sound of this music. Throughout the golden age of the Argentine tango, the instrument was manufactured almost exclusively in Germany. Originally intended as a low-budget substitute for the church organ, it found its way to Argentina through a wave of German immigration. A type of concertina, the bandoneon has different sets of buttons for each hand. Each button produces two different pitches depending on whether the bellows are expanding or contracting. First ASO performance: February 4, 1945 Henry Sopkin, conductor Most recent ASO performance:

Symphony No. 8 in B Minor, D. 759 (“Unfinished”) Symphony No. 8 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings.


n 1839, the composer and music journalist Robert Schumann knocked on the door of Ferdinand Schubert, Roberto Abbado, conductor brother of the late composer Franz Schubert. Ferdinand welcomed him into his home, and they fell into an easy conversation. Together, the two men thumbed through a dusty pile of Franz Schubert manuscripts, including a C-major symphony which Schumann took with him and delivered into the hands of Felix Mendelssohn. Thrilled at Schumann’s discovery, Mendelssohn conducted the February 15–17, 2018 | @AtlantaSymphony |

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symphony’s first performance. That concert led to a renewed interest in the work of Franz Schubert and kicked off a hunt for his music—much of which had never been published.

Without missing a beat, the teenage Schubert fell into society with his old classmates: poets, writers, musicians and intellectuals. His friends kept him afloat, sustaining his short life by lending a piano and a quiet room to work. They hosted musical gatherings, provided staff paper and places to sleep. By night, Schubert haunted the cafes of Vienna. By day he wrote music—masses, symphonies, chamber works, choral works, songs, piano pieces and many attempts at opera. Posterity would remember his friends as the repository for his work. The Bohemian life turned tragic in the summer of 1822 when Schubert and his pal Franz von Schober paid a visit to sex workers. In the coming months, the composer wrote two full movements of a Symphony in B minor. Dating the movements “Vienna, 30 October 1822,” he then started work on a scherzo on the back page, leaving off after nine bars. His first bout with illness followed in December. Sometime after September of 1823, Schubert handed the two completed movements of the B minor Symphony to his friend Josef Hüttenbrenner, who passed them to his brother Anselm. Anselm held onto the manuscript until the 1860s when the Viennese conductor Johann Herbeck knocked on his door. Herbeck agreed to conduct one of Anselm’s pieces in exchange for Schubert’s “Unfinished” Symphony. One hundred years later, a second page of the scherzo was discovered (a scherzo was a typical third movement of a


The key to uncovering the life’s work of this (mostly) unsung genius lay with his friends. As a youth, Schubert had enjoyed a career as a chorister with the famed Vienna Boys’ Choir, receiving schooling, music lessons, meals, and a roof over his head. At the school, he formed lifelong bonds with boys who had come from prominent families. After his voice changed, he moved back home and worked for a time at the school where his father taught. Against his father’s wishes, Schubert quit that job to become a fulltime composer. His father booted him out.

26 | encore symphony). From this page, we can see that he stopped orchestrating mid-thought. A piano sketch exists with more of the scherzo’s music, but we have no trace of a finale. The composer had depression and periods of illness until he succumbed to syphilis on November 19, 1828, at the age of 31. At the time of his death, Franz Schubert was known around Vienna for his songs and dances; a few decades later, he ascended the ranks of the major composers. Sphärenklänge (Music of the Spheres), Op. 235 These are the first ASO performances


Sphärenklänge is scored for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, percussion, harp and strings.


t is an “indecent foreign dance,” declared The Times of London in 1816. Vilifying the “voluptuous intertwining of the limbs and close compressure of the bodies,” The Times critic attempted to turn back a popular dance craze— the waltz—hoping to preserve what he called “the modest reserve which has hitherto been considered distinctive of English females.” When young Queen Victoria, a waltz enthusiast, ascended the throne in 1838, the battle was lost. Johann Strauss himself headlined a command performance at the state ball. During the middle of the 19th century, Strauss led a touring dance orchestra which helped to spread the popularity of the waltz. By many accounts, his years on the road caused family discord; so much so, he commanded his sons to choose other professions. All three defied him. His oldest son, Johann Strauss Jr., went on to even greater fame than his father. He came to be known as “The Waltz King,” although he always deferred to his brother Josef. “Josef is the more gifted, and I am simply more popular,” said Johann Jr. Josef was preordained to be a military man, but he soon defied his father, studying technical drawing and mathematics instead. Taking courses at the Academy of Fine Arts, Josef studied landscaping and embarked upon a career with the city of Vienna as an engineer and architect. When his brother Johann took ill in 1852, Josef stepped | @AtlantaSymphony |

in, covering the family business (leading the Strauss Orchestra). The critics were ecstatic. After his brother’s recovery, Josef agreed to stay on with the orchestra, contributing hundreds of compositions. He wrote the waltz Music of the Spheres for the medical association ball in 1868, giving it a title that points toward the movement of celestial bodies. This prompted a guffaw from the local newspaper. “The melodies of this waltz were better than their title,” the paper read, “since it gave the odd impression of being reminded of the hereafter at the medical society ball, of all places.”

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28 | meettheartists CARLOS KALMAR, CONDUCTOR



arlos Kalmar was named in May, 2021 as Director of Orchestral and Conducting Programs and Principal Conductor of the Cleveland Institute of Music. Mr. Kalmar is also the Artistic Director and Principal Conductor of the Grant Park Music Festival in Chicago. In April, 2021, Kalmar stepped down from leading the Oregon Symphony after nearly 20 years as its Music Director. A regular guest conductor with major orchestras in America, Europe and Asia, Kalmar recently made subscription series debuts with the orchestras of Boston, Chicago and San Francisco. Past engagements have included the Philadelphia Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, Queensland, New Zealand, and the New World Symphony, as well as the orchestras of Baltimore, Cincinnati, Dallas, Houston, Milwaukee, Nashville, Seattle and St. Louis, He returns to the Dallas Symphony, the Atlanta Symphony and the Indianapolis Symphony in 21/22, as well as engagements in Singapore, Ulster, Wroclaw, and Helsingborg. Carlos Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of six. By the time he was 15 his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the Chief Conductor and Artistic Director of the Spanish Radio/ Television Orchestra and Choir in Madrid as well as the Music Director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. | @AtlantaSymphony |

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KSENIJA SIDOROVA, ACCORDION senija Sidorova is the leading ambassador for the classical accordion. Encouraged to take up the instrument by her grandmother steeped in the folk tradition of accordion playing, Sidorova started to play the instrument at age six under the guidance of Marija Gasele in her hometown of Riga, Latvia. Her quest for more exposure to both classical and contemporary repertoire took her to London where she became a prize-winning undergraduate and postgraduate at the Royal Academy of Music studying under Owen Murray. In May 2012 she became the first International Award winner of the Bryn Terfel Foundation, and in October 2015 she appeared at the Royal Albert Hall as part of Terfel's 50th birthday celebrations alongside Sting. She is a recipient of both the Philharmonia Orchestra’s Martin Musical Scholarship and Friends of the Philharmonia Award, as well as the Worshipful Company of Musicians Silver Medal. Since 2016, Sidorova has been an Associate of the Royal Academy of Music. Sidorova recently performed with the Deutsche Kammerphilharmonie Bremen, National Orchestra of Belgium, on tour in France with Orchestre National d’Ile de France, and on a European tour with Münchener Kammerorchester and Miloš in celebration of Piazzolla’s centenary.



30 | feb10/12/13 Concerts of Thursday, February 10, 2022 8:00 p.m. Saturday, February 12, 2022 8:00 p.m. Sunday, February 13, 2022 3:00 p.m. DMITRY SINKOVSKY, conductor, violin & countertenor GEORGIA JARMAN, soprano

Thursday’s concert is dedicated to Patty & Doug Reid in honor of their support of the 2020/21 Annual Fund.

Saturday’s Atlanta Symphony

ANTONIO VIVALDI (1678–1741) Concerto in E Minor for Violin and Orchestra, RV 277 (“Il favorito”) (1729) 17 MINS I. Allegro II. Andante III. Allegro Dmitry Sinkovsky, violin GEORGE FRIDERIC HANDEL (1685–1759) “Io t’abbraccio” from Rodelinda (1725) “Caro! Bella!” from Giulio Cesare (1724) Dmitry Sinkovsky, countertenor Georgia Jarman, soprano Wolfgang Amadeus Mozart (1756–1791) “Come scoglio” from Così fan tutte, K. 588 (1790) Georgia Jarman, soprano INTERMISSION Wolfgang Amadeus Mozart (1756–1791) Symphony No. 41 in C Major, K. 551 (“Jupiter”) (1788) I. Allegro II. Andante cantabile III. Menuetto: Allegretto IV. Finale: Molto allegro

Orchestra concert honors John W. Cooledge for his very generous and deeply appreciated support of the Orchestra’s 2020/21 Annual Fund campaign.

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





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by Noel Morris

Concerto in E Minor for Violin and Orchestra, RV 277

These are the first

In addition to the solo violin, Concerto in E Minor is scored for strings and continuo.

ASO performances.


ntonio Vivaldi came of age during a sweet spot in history. About a hundred miles away, the violin maker Antonio Stradivari was turning out his now priceless instruments (today, one of his violins—the “Messiah Strad”—is valued at $20 million). In the history of the world, the overall quality of fiddles available to a poor instrumentalist had never been higher. The stage was set for someone to take violin playing to the next level. And in walked Antonio Vivaldi. One witness said he was “terrified” by Vivaldi’s playing. Vivaldi brought fiery virtuosity to the instrument. At the same time, his growing success as an opera composer fed into a soulful lyricism that inhabited his playing in slower music. Vivaldi was the son of a violinist at Saint Mark’s Basilica in the heart of Venice. He learned music from his father before going to school to become a priest, which was about the only way people of modest income could go to school. Ordained in 1703, Vivaldi soon was given a pass on having to say mass due to “tightness in the chest.” This enabled him to focus on music. He took a job teaching music to “orphan” girls at the convent Ospedale della Pietà—a number of them were not orphans at all, but illegitimate daughters of the nobility. Nevertheless, this state-funded school supported a music program with an international reputation. For an orchestra of some 40 girls, Vivaldi composed dozens of works while enjoying a career as an opera composer on the side. Even with his position at the convent, Vivaldi hustled for work—commissions, productions, and patronage. In 1728, he presented a set of six concertos to Charles VI, the Holy Roman Emperor. Within that set was the violin concerto later nicknamed “Il favorito.” Later in life, as his popularity waned, Vivaldi turned his attention increasingly to Charles VI. Moving to Vienna in 1740, he expected to revive his career and possibly win a royal appointment. Sadly, Charles VI died shortly after Vivaldi’s arrival. Stuck in a foreign city without work and without royal protection, the composer sank into poverty


Program Annotator

32 | encore and died in 1741. His music remained utterly forgotten until 1926 when a crate of manuscripts was discovered at a boarding school in Piedmont. There began an effort to recover, reconstruct, perform and publish Vivaldi’s music. Most recently, an entire opera was discovered at an Italian library in 2012. “Io t’abbraccio” from Rodelinda “Caro! Bella!” from Giulio Cesare These are the first ASO performances.


“Io t’abbraccio” is scored for strings and continuo. “Caro! Bella!” is scored for two oboes, one bassoon, strings and continuo.


n 1705, a 19-year-old boy carried the manuscript of his first opera, Almira, into a theater in Hamburg. He presented it to his colleagues in the orchestra where he had been working as a violinist and harpsichordist. Soon, that orchestra played the first performance of Almira, and it was a hit. Young Handel followed Almira immediately with a second hit opera and soon had the financial wherewithal to choose his next move—a trip to Italy, which was, in his mind, the center of the opera universe. Handel stayed in Italy for more than three years, learning the language, meeting other composers, and soaking up Italian opera. He rubbed elbows with members of the high nobility, including Prince Ernst August, brother of the Elector of Hanover, who invited him to come for a visit. In 1710, Handel, now 25, crossed the Alps and made his way to Hanover where he took the top job as Kapellmeister. He was in Hanover for less than a year when the Elector granted him leave to go to England. There, the composer presented his “Italian opera” Rinaldo, and the Londoners received him like a rock star. Never mind the irony of a German composer writing Italian opera in London, people clamored to see his shows, and Handel postponed his return to Hanover. Soon Queen Anne granted him an annual allowance of £200, putting him in an awkward position with his employer across the Channel—it didn’t matter. Queen Anne died the following year, and the Elector of Hanover became King George I of England. Handel’s life in England was different from what it might | @AtlantaSymphony |

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have been in Hanover. Instead of serving at the pleasure of a prince, working as a church musician and entertainer at court, he was a freelancer. He depended on commissions and ticket sales, which he managed out of his house on Brook Street. In the year 1720, a group of nobles pooled resources to establish the Royal Academy of Music, a permanent home for Italian opera in London. They hired Handel to serve as music director and dispatched him across Europe to recruit the best singers. Among the most famous of these was the castrato Senesino, a singer who inspired Handel to create the male leads in Giulio Cesare and Rodelinda (today sung by countertenor). Handel composed the two shows, along with a third opera, Tamerlano, over twelve months starting in 1724. In each case, he based his plot on historical events. An 8thcentury history of the Lombards by Paul the Deacon served as the primary source for Rodelinda. “Io t’abbraccio” is a love duet between husband and wife before they are put to death (or so they think). Giulio Cesare’s “Caro! Bella!” is a love duet between Caesar and Cleopatra. “Come scoglio” from Così fan tutte, K. 588 “Come scoglio” is scored for two oboes, two clarinets, two bassoons, two trumpets and strings. About the composer


olfgang Amadeus Mozart spent his final decade as a freelancer in Vienna where he enjoyed life as a local celebrity. He and his wife, Constanza, threw glittering parties. He was popular with members of the nobility and wrote a mind-boggling amount of music. But it wasn’t all sunshine. In 1788, Austria went to war with the Turks, which led to heavy taxes and soaring food prices. Mozart worried about conscription. The Vienna premiere of his opera Don Giovanni was underwhelming. He and Constanze lost a child, and she suffered complications from pregnancy. Beyond that, they had money problems. “I am at the moment so destitute that I must beg you… to assist me with whatever you can spare,” Mozart wrote to a friend. In fact, there are more than 20 such

First and most recent ASO performances: October 28–30, 1993 Yakov Kreizberg, conductor Roberta Alexander, soprano

34 | encore letters that paint such a bleak picture, you might think he was a has-been. But the facts tell a different story. In December of 1787, the Emperor appointed him imperial chamber composer. In the coming years, Mozart sent Constanze to Baden for extended spa treatments. Their son attended boarding school, and the family kept domestic servants. In September of 1791—weeks before his death— Mozart premiered two operas, one to honor the emperor’s coronation in Prague, and one which became an overnight sensation in Vienna (The Magic Flute). This is to say, this is not a story of decline. It is the story of a freelance musician who weathered ups and downs. He was reckless with money and died suddenly at the age of 35. Così fan tutte Apart from being an 18th-century opera, Mozart’s Così fan tutte feels like one of those edgy offerings on HBO. In it, two friends boast of having the most devoted fiancées. A third man wagers that the women are cheaters at heart and conspires with his friends to lead them astray (according to the terms of the wager). Sure enough, within a day, the two friends successfully seduce one another’s girlfriend. A cynical, if sober, picture of human nature, the title translates to something like “They all do it.” In the end, the original couples reconcile—but the rose-colored glasses come off. The aria “Come scoglio” (Like a Rock), happens early in the opera when the girl Fiordiligi sings about her devotion to her boyfriend. Mozart composed Così in 1789 and conducted the premiere in January of 1790. The Librettist Lorenzo Da Ponte was a poet and linguist who lived a life worthy of any opera character: Born in a Jewish ghetto in Venice, he was ordained as a priest, banished, left a trail of gambling debts and illegitimate children, and eventually taught at Columbia University. Da Ponte became a U.S. citizen at 79 and is buried in Queens, but he hit his highwater mark with Mozart, writing the librettos to three singular masterpieces—The Marriage of Figaro, Don Giovanni, and Così fan tutte. Symphony No. 41 in C Major, K. 551 (“Jupiter”) | @AtlantaSymphony |

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Symphony No. 41 is scored for one flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings.

First ASO performance:

he “Jupiter” Symphony is a marvel; an expansive and majestic rock of perfection that seems to occupy a realm beyond the messy and tormented mass of humanity. Putting this symphony side-byside with portraits of Mozart in his powdered wigs, one wonders if his feet ever touched the ground.

Henry Sopkin, conductor


January 26, 1947 Most recent ASO performances: September 19–25, 2020 Robert Spano, conductor

In reality, Mozart had a potty mouth. He loved cards, billiards, wine, and women. He spent too much money yet remained devoted to God and family. And this is partly what makes the music so imponderable; the “Jupiter” Symphony, a paragon of balance, beauty, and order came from a thoroughly disordered and earthy existence.

There is one clue to the “Jupiter” Symphony: It opens with music that exudes power and majesty. This is followed by a jocular, more pedestrian tune that he borrowed from one of his songs, “A kiss on her hand.” The text taunts someone: “You are a little dull, my dear Pompeo. Go study the ways of the world.” With the two themes—the regal and the pedestrian— it is as if Mozart contrasts two opera characters (perhaps a royal and a vulgarian). And this is an important feature of his music: he covered the full range of the human experience. With the finale of “Jupiter,” Mozart threw down the gauntlet for all future composers: think of the popular Broadway trick of having two different characters singing simultaneously, each with his own melody. Mozart builds the finale using five different melodies and piles them on top of one another in a wondrous, rotating heap of counterpoint. The nickname “Jupiter” was not Mozart’s choice. According to the diary of the British publisher Vincent Novello, Mozart’s son Franz Xaver had credited the London promoter Peter Salomon with linking this piece to the king of the gods. And it surely fits.


Little is known about Mozart’s final three symphonies. Written in just over two months, they are dated June 26, July 25, and August 10th, 1788. “Jupiter” was his last.

36 | encore TEXTS AND TRANSLATIONS “Caro! Bella!” from Giulio Cesare CLEOPATRA: Caro!


CESARE: Bella! My beauty!

CESARE: My beauty!

CLEOPATRA and CESARE: Più amabile beltà mai non si troverà del tuo bel volto. In me/te non splenderà né amor né fedeltà da te/me disciolto.

CLEOPATRA and CESARE: Beauty more worthy of love will never be found than your beautiful face. In me/you there will not shine either love or constancy separate from you/me.

“Io t’abbraccio” from Rodelinda RODELINDA: Io t’abbraccio

RODELINDA: I embrace you

BERTARIDO: Io t’abbraccio.

BERTARIDO: I embrace you.

RODELINDA and BERTARIDO: E più che morte, aspro e forte, è pel cor mio questo addio, che il tuo sen dal mio divide. Ah mia vita! Ah mio tesoro! se non moro, è più tiranno quell’affanno, che dà morte, e non uccide.

RODELINDA and BERTARIDO: And more bitter and harsh than death to my heart is this farewell which tears us apart. Ah, my life! Ah, my treasure! If I do not die, then how cruel is that distress, which brings death, but does not kill. | @AtlantaSymphony |

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“Come scoglio” from Così fan tutte FIORDILIGI: Temerari, sortite fuori di questo loco, e non profani l’alito infausto degli infami detti Nostro cor, nostro orecchio e nostri affetti! Invan per voi, per gli altri invan si cerca le nostr’alme sedur. L’intatta fede Che per noi già si diede ai cari amanti, Saprem loro serbar infino a morte, A dispetto del mondo e della sorte.

FIORDILIGI: Bold ones, get out of here at once, and with unwelcome breath of base words do not profane our hearts, our ears, and our affections! In vain for you, for the others in vain, one seeks to seduce our souls. The steadfast faith which we have already given to our dear lovers, we will know how to maintain until death, despite the world and destiny.

Come scoglio immoto resta Contra i venti, e la tempesta, Così ognor quest’alma è forte Nella fede, e nell’amor. Con noi nacque quella face Che ci piace, e ci consola, E potrà la morte sola Far che cangi affetto il cor.

Like a rock, we stand immobile against the winds and storm, and are always strong in trust and love. From us is born the light that gives us pleasure and comfort, the power of death alone can change the affections of our hearts.

Rispettate, anime ingrate, Questo esempio di constanza, E una barbara speranza Non vi renda audaci ancor.

Respect, ungrateful spirits. We are examples of loyalty against your primitive hopes, and do not make you bold.




mitry Sinkovsky possesses a rare combination of Russian virtuosity and Italian cantabilità. A conductor, violinist and countertenor, he weaves these three disciplines together with a profound musical awareness, boundless energy and astonishing technique, resulting in electrifying performances that captivate audiences across the globe. Sinkovsky’s international conducting career was launched in the 2012/13 season, when he was featured as a guest on Joyce DiDonato’s acclaimed Drama Queens tour. Today, he remains in high demand, performing extensively across Europe, Russia, Asia, Australia and North America. In 2018, he served as resident conductor of the Seattle Symphony Orchestra, where he has been a regular guest since the 2015/16 season. Having already embarked on an impressive career as a violinist, in 2007 Sinkovsky decided to pursue his talent as a countertenor, under the guidance of Michael Chance, Jana Ivanilova and Marie Daveluy. Performances as countertenor have included Pergolesi’s Stabat Mater at the Lucerne Festival; the title role of Handel’s Lucio Silla at the Internationale Händel-Festspiele Göttingen and at the Ludwigsburger Schlossfestspiele; and the role of Ruggero in Vivaldi’s Orlando furioso with the Klaipėda Chamber Orchestra, which he also conducted. He is an invited artist of the Bolshoi Theatre in Moscow. Sinkovsky is a professor at the Moscow State Conservatory, and Artistic Director of the Orlando Furioso Festival in Dubrovnik. He studied violin at the Moscow Conservatory under Alexander Kirov, and choral conducting at the Zagreb Music Academy under Tomislav Fačini. Additional studies include operatic and orchestral conducting under the guidance of Sabrie Bekirova in Toulouse. He plays a violin by Francesco Rugeri (1675) loaned by the Jumpstart Jr. Foundation. | @AtlantaSymphony |

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Of those which hold special significance are the landmark compositions of George Benjamin—Written on Skin and Lessons in Love and Violence which Jarman has debuted at Venice Biennale Musica—under the composer’s baton— Staatsoper Hamburg, Gran Teatre del Liceu, Opera National de Lyon and at the Beijing Music Festival with the Mahler Chamber Orchestra under Lawrence Renes. Her breakthrough performance and debut at The Royal Opera House, Covent Garden, came as Roxana in Kasper Holten’s spectacular production of Krol Roger—seen in cinemas and subsequently released on DVD—and further debuts include Musetta (La bohème) for Opernhaus Zurich; Helena (A Midsummer Night’s Dream) for Opera Philadelphia, Lucia (Lucia di Lammermoor) for Opéra National de Bordeaux, Gilda (Rigoletto) for her Santa Fe Festival debut, all four heroines in Richard Jones’ production of The Tales of Hoffmann for English National Opera, Maria Stuarda for Washington Concert Opera and Manon at Malmö Opera. Exploring neglected bel canto repertoire, she has made numerous critically acclaimed appearances at the former Caramoor Summer Music Festival with the Orchestra of St. Luke’s including, most recently, Zenobia in Rossini’s rarely performed Aureliano in Palmira, alongside Norina (Don Pasquale) and Amina (La sonnambula).


ocal dexterity aligned with a strong theatrical instinct have been key to Georgia Jarman’s numerous successes, in roles spanning lyric and bel canto repertoire alongside a growing reputation in new commissions.

40 | feb 24/26 Concerts of Thursday, February 24, 2022 8:00 p.m. Saturday, February 26, 2022 8:00 p.m. SIR DONALD RUNNICLES, conductor ZHENWEI SHI, viola

Thursday’s concert is dedicated to

JAMES B. WILSON (B. 1990) The Green Fuse (2017) William Walton (1902–1983) Concerto for Viola and Orchestra (1929) I. Andante comodo II. Vivo, con molto preciso III. Allegro moderato Zhenwei Shi, viola INTERMISSION



Felix Mendelssohn (1809–1847) Symphony No. 3 in A Minor, Op. 56 (“Scottish”) (1842) 40 MINS I. Andante con moto — Allegro un poco agitato II. Scherzo: Vivace non troppo III. Adagio cantabile IV. Allegro vivacissimo — Allegro maestoso assai

June & John Scott in honor of their extraordinary support of the 2020/21 Annual Fund.

Saturday’s concert is dedicated to Sally & Carl Gable in honor of their 57-year enthusiastic support of the Atlanta Symphony Orchestra.

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

notesontheprogram by Noel Morris Program Annotator

The Green Fuse is scored for strings.


These are the first ames B. Wilson is an award-winning composer ASO performances. of contemporary classical music based in Bedfordshire, England. He studied, with a scholarship, at Royal Academy of Music under Gary Carpenter and David Sawer and also took frequent lessons with Sir Peter Maxwell Davies.

Wilson’s music explores the rich textural, timbral and harmonic possibilities of acoustic instruments and the voice. His output is influenced by stories of our time and the work and ideas of many composers and artists, ranging from Benjamin Britten to Horatiu Rădulescu, the poetry of Dylan Thomas to the films of David Lynch. For instance, a recent piece (Free-man) saw Wilson explore the events of the Bristol Bus Boycott and is dedicated to activist Dr. Paul Stephenson OBE. His multifaceted compositions range from intimate music for soloists and duets, to immersive electronic pieces, ensemble music, and works for orchestra. His passion for working with the voice is also apparent in his output, with numerous choral pieces alongside concert works with a theatrical influence or vocal quality. He has won a number of awards including the Royal Philharmonic Society Composer Award, Evan Senior Scholarship, Peter Lamborne Youth Bursary, Lena Pritchard Green Award, Charles Black Fellowship, and worked with many leading musicians including Benjamin Grosvenor, members of the London Symphony Orchestra, Genesis 16 and Note Inegales. Wilson is an NMC Recording Artist and his music is broadcast internationally. He was the first ever composer commissioned by the Chineke! Orchestra. Green Fuse was commissioned by the Chineke! Orchestra for the world premiere at the Cheltenham Festival in 2017. From the composer: This work takes as its inspiration a Dylan Thomas poem. In The force that through the green fuse drives the flower (1934), Thomas contemplates the nature of the force which drives all things. The poem evokes the strength of this force,

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42 | encore but also confronts its uneasy duality, which both move a plant to flower and puts a man in his grave. What is this energy that makes creativity and joy possible, yet becomes life’s destroyer? Thomas conjures many striking images to convey the majesty of nature and the bloom of youth; the incandescent power of our world. They are colored, however, by a pervasive melancholy and inevitability. “The poem leaves the question ‘Why?’ unanswered, like a brooding cloud. However, I find a faint hint of consolation, a feeling not of hope but of comfort through discourse: a warmth. ‘Love drips and gathers, but the fallen blood/Shall calm her sores.’ The music opens with a burst of color. The green fuse is lit. Concerto for Viola and Orchestra In addition to the solo viola, this concerto is scored for two flutes (one doubling piccolo), oboe, English November 4, 1950 horn, two clarinets (one doubling bass clarinet), two Henry Sopkin, conductor bassoons, four horns, two trumpets, three trombones, Hans-Karl Piltz, viola timpani, harp and strings. First ASO performance:

Most recent


n June of 1923, Londoners filed into Aeolian Hall to hear a new “entertainment” by the 21-year-old William November 5–7, 1992 Walton. Onstage, there was a large curtain with a Yoel Levi, conductor surrealistic picture of flying insects, a castle, and a face Reid Harris, viola with a hole where the mouth should be. Perching behind the curtain was the poet Edith Sitwell, reciting her poems through a megaphone while the composer conducted his music.


ASO performances:

Walton’s Façade startled and outraged members of the London establishment. Nevertheless, it was his breakout moment. He went on to write music for film and the coronations of both George VI and Elizabeth II. The Viola Concerto represents young Walton in a more sober and more poetic mood. It is among the most successful works ever written for viola, yet, ironically, was snubbed by one of the all-time great players (at least at first). Like many violists, Lionel Tertis started his string-playing career on the violin. Studying at the Royal Academy of Music, he took up the viola to play in a student string | @AtlantaSymphony |

quartet and fell in love. It was clear to his teachers he had the chops to become a great soloist. There was only one problem: there weren’t many pieces for solo viola. A darker, mellower instrument than its smaller cousin, the violin, the viola is more easily masked by thicker orchestral textures, which poses a challenge for composers. Early on, Tertis made a splash playing a transcription of the Mendelssohn Violin Concerto, but he knew he needed music tailored for the unique qualities of his instrument. After taking a faculty position at the Academy in 1900, he made it his lifelong crusade to needle other faculty members into writing viola music. It hadn’t occurred to him to ask an outsider like Walton. It was the famed conductor Sir Thomas Beecham who suggested to the 26-year-old that he write something for Tertis—the one player who was always looking for new music. Walton wrote the concerto in 1929 and promptly mailed it to the violist. Tertis gave the piece a once-over and sent it back. It was a stunning slap in the face, one that arguably worked to Walton’s advantage. When word of his predicament got around, the composer Paul Hindemith, also an accomplished violist, stepped to the fore. With Walton on the podium, Hindemith played the first performance of the Viola Concerto at a Proms concert on October 3, 1929. That night, Lionel Tertis sat amid an enthusiastic audience and realized he’d made a mistake. “With shame and contrition I admit that when the composer offered me the first performance I declined it,” Tertis later wrote. “I was unwell at the time; but what is also true is that I had not learnt to appreciate Walton’s style. The innovations in his musical language, which now seem so logical and so truly in the mainstream of music, then struck me as far-fetched.” For the rest of his career, Tertis championed Walton’s Viola Concerto.

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44 | encore First ASO performance: December 16, 1950 Henry Sopkin, conductor Most recent ASO performances:

Symphony No. 3 in A Minor, Op. 56 (“Scottish”) Symphony No. 3 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings.


he expression “Grand Tour” has been applied to many things, from diplomatic missions to a TV Kazushi Ono, conductor show for car enthusiasts. Originally, it referred to an extended journey through Europe which exposed a young gentleman to classical antiquities and Renaissance art. A rite of passage for Europe’s elite, the Grand Tour followed a course through France, down into Italy, and then eventually circling back through Germany. Typically, the young traveler visited a prescribed list of must-see sites and works of art. But young Felix Mendelssohn was not the typical traveler. January 24–26, 2013

“The boy was born on a lucky day,” said the famous poet Johann Wolfgang von Goethe. Mendelssohn was just 16 when he composed his first masterpiece. The son of a banker, Mendelssohn received the best instruction available, excelling in literature, languages, geography, math and drawing. His parents cultivated a home-life that was the envy of Europe, a gathering place for famous poets, scientists, writers, musicians, artists and thinkers in Berlin—a host of celebrities who came and marveled at the Mendelssohn prodigies (Felix and his sister Fanny). These musical siblings could dazzle the room with their performances. On quieter evenings, they joined their family reading literature aloud, sometimes acting out favorite adventures by Sir Walter Scott. When the 21-year-old Felix embarked upon his Grand Tour, he was already an authority on many of Europe’s treasures and customized his trip accordingly. “Next August I am going to Scotland, with a rake for folksongs, an ear for lovely fragrant countryside, and a heart for the bare legs of the natives,” he wrote to a friend in March of 1829. “Klingemann, you must join me, we may lead a merry life!” And they did—mostly. Before taking a walking tour of the Scottish Highlands, Mendelssohn and Klingemann traveled to Abbotsford where they knocked on the door of Sir Walter Scott. In a journal, the young composer wrote: “We … stared at him | @AtlantaSymphony |

| 45

As he traveled, Mendelssohn wrote music, but focused mainly on visual art, drawing the places he saw. You might say Mendelssohn created a multi-media record of his trip: he wrote numerous letters, jotted down music that he heard, sketched landscapes, and added his own musical ideas, all energized by the atmosphere of each place. “In the evening twilight we went today to the palace [Holyrood] where Queen Mary lived and loved,” he wrote. “A little room is shown there with a winding staircase leading up to the door: up this way they came and found Rizzio [her private secretary] in that dark corner, where they pulled him out, and three rooms off there is a dark corner, where they murdered him. The chapel close to it is now roofless, grass and ivy grow there, and at that broken altar Mary was crowned Queen of Scotland. Everything round is broken and moldering and the bright sky shines in. I believe I have found today in that old chapel the beginning of my Scotch Symphony.” He then jotted down the opening theme. Young Mendelssohn lived life fast and furious; he was a pianist, conductor, scholar, editor, impresario and founder of the Leipzig Conservatory. He barely reserved time to write music. His “Scotch” Symphony rattled around in his head for nearly 13 years before he completed the piece in January of 1842. By then he had less than five years to live. Although it is numbered Symphony No. 3, it is the last of his five symphonies.


like fools, drove 80 miles and lost a day for the sake of at best one half-hour of superficial conversation.…It was a bad day.”

46 | meettheartists SIR DONALD RUNNICLES, CONDUCTOR Please see biography on page 7 ZHENWEI SHI, VIOLA


henwei Shi was appointed Principal violist of the Atlanta Symphony Orchestra in 2019 at age of

23. He received the first prize of the 2010 International String Players Competition in Hong Kong and third prize in the 2014 Johansen International Young String Players Competition in the U.S.A. He was also awarded the Special Jury Prize from the 2016 XII Lionel Tertis


Viola International Competition and the Regent’s Award from Duchess of Gloucester of British Royalty and Royal Academy of Music. In 2022, Shi was elected Associate of the Royal Academy of Music by the RAM Honours Committee. Shi has performed as a solo violist and chamber musician at prestigious venues such as Buckingham Palace, Wigmore Hall, Royal Festival Hall, Shanghai Concert Hall and on the BBC’s in tune broadcast. He is also a frequent guest player with the San Francisco Symphony and Chicago Symphony Orchestra since 2018. Shi has performed with the Georgian Chamber Players since 2019 and was invited to be an artist-faculty member of the Aspen Music Festival and School in 2020. | @AtlantaSymphony |

48 | feb 27 ATLANTA SYMPHONY YOUTH ORCHESTRA Concert of Sunday February 27, 2022 3:00pm JERRY HOU, conductor

MAURICE RAVEL (1875–1937) Pavane pour une infante défunte (Pavane for a Dead Princess) (1910) HUANG RUO (b. 1976) Folk Songs for Orchestra (2012) I. Flower Drum Song from Feng Yang II. Love Song from Kang Ding III. Little Blue Flower IV. Girl from the Da Ban City INTERMISSION ANTONÍN DVOŘÁK (1841–1904) Symphony No. 8 in G Major, Op. 88, B. 163 (1890) I. Allegro con brio II. Adagio III. Allegretto grazioso — Molto vivace IV. Allegro ma non troppo

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




| 49 | @AtlantaSymphony |

50 | meettheartists JERRY HOU, CONDUCTOR


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

ATLANTA SYMPHONY YOUTH ORCHESTRA FIRST VIOLIN Tobias Liu concertmaster Ajay Balasubramanian Solomon Cho Katherine Chong Jeremiah Jung Amartya Kallingal Suann Kim Brandon Lee Michelle Lee Angela Li Hyunbin Moon Danielle Najarian Roland Saavedra Lela Stair Didi Stone Brayden Wilson Cairo Wren YouYou Zhu SECOND VIOLIN Sam Vaillancourt principal

Luca Davidson Samay Desai Abigail Kim Kate Kim Anand Krishnan Eugenie Lim Isabella Lin Angelina Lu Faith Meshida Edric Nduwimana Lucas Nyman Amy Mo

Ellie Park Sanjna Prakash Lucas Stancil Chloe Sun VIOLA Claire Hong principal

Daniel Boscan Cion Kim Kyle Lynch Richard Rowe III Zoë Schwartz Jason Seo Jihwan Shin Hannah Smallwood Jodie Stone Anastasia Waid Stanley Yeboah George Young CELLO Jonathan Fuller principal

Jaia Alli Brandon Leonard Juwon Lim Jiayi (Joyce) Lu Jihoon Kim Ian Koontz Joshua Nguyen Cal Walrath Richard Wang BASS Dennis Smallwood principal

Jack Bolte Liam Cozonac Lindsey Ferguson Andrew Lakly Hazel Patty Bria Rives Jonathan Sandberg Evan Smallwood FLUTE Ryan Clever Ivy Lee Alexandra (Sasha) Tarassenko Franklin Zhao OBOE Xander Herman Calvin Hur Benjamin Lee Christopher Lee Ashley Na CLARINET Daniel Kim Stan Lee Garrison Rider Nicholas Wandrick BASSOON Dillon Causby Declan Johnston Andrew Tang Clark Walker HORN Adam Boswell Aidan Christensen Lyle Foley

Hector Montalvo Sophia Phillips Nicholas Reed Michael Sersaw Irene Tang TRUMPET Brandon Hall Toby Johnson Joshua Puente Nathalie Park Jack Ramu TROMBONE Remzi Abaci Joshua Antony Thomas Cook Misha Gupta Ben Novo Vera Volin, Bass TUBA Cameron Hall Tyler Johnson PERCUSSION Harrison Buck Anh Ho Isaac Jung Jordan Katz Colin Magill Evan Magill Alonzo Marshall HARP Sage Harrison Tej Panchal PIANO Grace Peng

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

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

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

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

| 51

52 | encore ASO | SUPPORT


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


A Friend of the Symphony ∞


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

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


Arthur M. Blank Family Foundation

Alston & Bird LLP


Chick-fil-A Foundation | Rhonda & Dan Cathy Ms. Lynn Eden Graphic Packaging The Graves Foundation

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


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

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


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

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

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

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

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

| 53

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


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

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

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

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

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

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

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

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

Malcolm & Ann Cole Mr. & Mrs. R. Barksdale Collins° Mr. Thomas J. Collins & Mr. Jeff Holmes Ned Cone & Nadeen Green Jean & Jerry Cooper R. Carter & Marjorie A. Crittenden Foundation The Dancu Foundation, Inc. Mr. Jeffrey M. Daniel & Mr. Michael M. Arens Dr. & Mrs. F. Thomas Daly, Jr. Greg & Debra Durden Mr. & Mrs. Robert G. Edge Mr. Ramsey Fahs Ken Felts & A. Richard Bunn Mr. & Mrs. William A. Flinn Dr. Karen A. Foster Mr. Nathan Gaby Mr. & Mrs. Sebastien Galtier Raj & Jyoti Gandhi Family Foundation Mr. & Mrs. Edward T.M. Garland Marty & John Gillin° Mrs. Janet D. Goldstein Mary C. Gramling Richard & Debbie Griffiths Mr. & Mrs. George Gunderson Phil & Lisa Hartley Mr. & Mrs. Marc S. Heilweil Mr. & Mrs. John Hellriegel Liz Hendrick Mr. Kenneth & Ms. Colleen Hey

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

Albert S. McGhee* Dr. Larry V. McIntire Birgit & David McQueen Anna & Hays Mershon Mr. & Mrs. Thomas B. Mimms, Jr. Berthe & Shapour Mobasser Laura & Craig Mullins Janice & Tom Munsterman∞ Melanie & Allan Nelkin John C. & Agnes V. Nelson Mr. & Mrs. Edmund F. Pearce , Jr.° Mrs. Susanne Pinkerton In Memory of Dr. Frank S. Pittman III Mary Kay & Gene Poland° John H. Rains Dr. Susan Reef Dr. & Mrs. Rein Saral Mrs. Susan H. Reinach Sharon & David Schachter° Dr. Bess T. Schoen Drs. Lawrence & Rachel Schonberger Mr. Jim Schroder Ms. Donna Schwartz Sam Schwartz & Dr. Lynn Goldowski Mr. & Mrs. S. Albert Sherrod° Nick & Annie Shreiber

| 55

Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Johannah Smith Mr. & Mrs. Raymond F. Stainback, Jr. Dr. & Mrs. Gerald M. Stapleton Richard M. Stormont Dr. & Mrs. John P. Straetmans Beth & Edward Sugarman Kay & Alex* Summers Lara C. Tumeh° Carolyn C. Thorsen ∞ Wayne & Lee Harper Vason Ms. Juliana T. Vincenzino Vogel Family Foundation Mr. & Mrs. Robert L. Welch Ron & Susan Whitaker Thomas E. Whitesides, Jr. M.D. Russell F. Winch Mrs. Lynne M. Winship Ms. Sonia Witkowski Mr. & Mrs. M. Beattie Wood Zaban Foundation, Inc. Herbert* & Grace Zwerner

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

Kristi Allpere Helga Beam Bill Buss Pat Buss

Deedee Hamburger Judy Hellriegel Kristen Fowks Nancy Janet Belinda Massafra Sally Parsonson

June Scott Milt Shlapak Sheila Tschinkel Jonne Walter Marcia Watt

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

56 | encore H E N RY S O P K I N CIRCLE

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

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

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

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

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

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

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


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

Atlanta Symphony Associates (Volunteers) 404.733.4485

THE ROBERT SHAW ROOM ASO donors who give $2,500 or more annually gain special access to this private dining room. For more information, please call 404.733.4683.

The Woodruff Arts Center Box Office 404.733.5000 Ticket Donations/ Exchanges


Subscription Information/ Sales 404.733.4800 Group Sales


Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Donations & Development 404.733.5079 | @AtlantaSymphony |


Elizabeth Graiser

Jennifer Barlament

manager of

executive director

Alvinetta Cooksey executive & finance assistant

Elise Kolle​ executive assistant to senior management

ARTISTIC Evans Mirageas artistic advisor

Jeffrey Baxter choral administrator

Katie Lehman interim artistic manager

RaSheed Lemon artist liaison



Hsing-I Ho

Russell Wheeler vice president, sales &

Susan Ambo

assistant orchestra

revenue management

& vice president,

personnel manager

Kenedi Deal

business operations


& asyo

Victoria Moore director of orchestra personnel

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

Leah Branstetter director of digital

Carol Wyatt


executive assistant to the

Caitlin Buckers

co-artistic advisors

marketing manager, live


Elizabeth Daniell

Sarah Grant

Lisa Eng

director of education

associate director of communications

multimedia creative

Elena Gagon

manager, live

education coordinator

Adam Fenton

Ryan Walks

director of multimedia

talent development


program manager

Mia Jones-Walker


marketing manager

Sameed Afghani vice president &

Rob Phipps

general manager

Bob Scarr archivist & research

Paul Barrett senior production

director of publications


stage manager

Will Strawn

Tyler Benware

associate director of

director of orchestra operations

& asyo

Richard Carvlin stage manager

marketing, live

Madisyn Willis marketing manager

chief financial officer

guest services associate

Kimberly Hielsberg

Erin Jones

senior director of

director of sales

Ronald MacDuff front of house & guest services supervisor

guest services associate

Bennett Morgan guest services associate

manager of patron

& season


Dennis Quinlan data analyst

patron services

April Satterfield controller

Grace Sipusic vice president, development

Renee Contreras

Jesse Pace

Robin Smith




Milo McGhee


financial planning

associate director of development communications

William Keene director of annual giving

Catherine MacGregor & season

ticket associate

Jake Van Valkenburg sales coordinator

ATLANTA SYMPHONY HALL LIVE Nicole Panunti vice president, atlanta symphony hall live

Christine Lawrence associate director of guest services

Dan Nesspor ticketing manager

Joshua Reynolds event manager

Michael Tamucci event coordinator

Scott Secore associate director

assistant manager of donor engagement

Dana Parness individual giving coordinator

James Paulk annual giving officer

Cheri Snyder senior director of development

Sarah Wilson development operations associate


Mayor’s Office of Cultural Affairs

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

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

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

62 | encore


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


A Friend of the Atlanta Symphony Orchestra

$500,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the Woodruff Arts Center Bank of America The John W. and Rosemary K. Brown Family Foundation Chick-fil-A Foundation | Rhonda & Dan Cathy The Community Foundation for Greater Atlanta Georgia Power Foundation, Inc. The Douglas J. Hertz Family The Home Depot Foundation Sarah and Jim Kennedy SunTrust Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust

$250,000+ A Friend of the Woodruff Arts Center Farideh & Al Azadi Foundation The Molly Blank Fund Helen Gurley Brown Foundation Cathy Cousins Foundation The Estate of Catherine Warren Dukehart The Estate of Dr. John W. Gamwell The Goizueta Foundation Estate of Burton M. Gold Mr. and Mrs. James S. Grien Invesco The Marcus Foundation, Inc. The Andrew W. Mellon Foundation PNC The Rich Foundation, Inc. UPS WarnerMedia and AT&T Foundation The Zeist Foundation, Inc. | @AtlantaSymphony |

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

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

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

| C3 | @AtlantaSymphony |

C4 | encore | @AtlantaSymphony |