Atlanta Symphony Orchestra: March 2022

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MARCH 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. N OT E S

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Written by Noel Morris

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MAR 17, 18, 20. . MAR 24, 26.

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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 Introducing Nathalie Stutzmann: Atlanta Symphony Orchestra's Fifth Music Director by Noel Morris | @AtlantaSymphony |

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Dear Friends,


arch is always an exciting month at the Atlanta Symphony Orchestra as we unveil programming for our upcoming season. This year, you can feel the energy in the air as we anticipate the announcement of our 2022/23 season on March 23—our first season with new Music Director, Nathalie Stutzmann. I hope you enjoy the profile on Maestro Stutzmann in this month’s issue on page 14, as well as her first concert with the Atlanta Symphony Orchestra Chorus, performing Mozart’s Requiem on March 17, 18 and 20. This month we celebrate Women’s History Month, beginning with the virtuoso Michelle Cann performing the Piano Concerto in One Movement by Florence Price, the first Black woman to gain international acclaim for her compositions. We will enjoy music from one of the most celebrated and frequently performed living composers, Jennifer Higdon, with Avi Avital performing her Mandolin Concerto. March is also Music in our Schools Month and that means the ASO is currently accepting applications for both the Atlanta Symphony Youth Orchestra (ASYO) and the Talent Development Program (TDP). The ASYO recruits advanced student musicians to study alongside their most talented peers to tackle standard orchestral repertoire and contemporary works. Open to students in the 8th to 12th grade. For more information visit One of the first and longest-running programs of its kind, the TDP provides Black and Latinx music students the opportunity to pursue professional careers in classical music. Open to students in the 5th to 10th grade. Visit for more information. On March 24 and 26, Talent Development Program alumnus Xavier Foley will play the world premiere of his own concerto with the Orchestra. Winner of the Avery Fischer Career Grant in 2018, Xavier is a delight to watch, and we’re thrilled to welcome him back to Symphony Hall. 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. | @AtlantaSymphony |

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 |

Concert Calendar BEETHOVEN: Symphony No. 3, “Eroica” DAVID COUCHERON APR 21/23



DURUFLÉ: Requiem Donald Runnicles conductor ASO Chorus

APR 28/30

Rainer Eudeikis Principal Cello

SHOSTAKOVICH: Cello Concerto No. 1

MAY 12/14

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

On Sale Now

14 | encore


Nathalie Stutzmann: Atlanta Symphony Orchestra's Fifth Music Director


by Noel Morris | @AtlantaSymphony |

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or Atlanta Symphony Orchestra Music Director Designate Nathalie Stutzmann, music is more than an occupation; it’s a way of being. Both her parents were opera singers. At seven months pregnant, her mother sang the lead in Verdi’s Otello. Baby Nathalie came along two months later. “If you love music as I do, it’s fantastic luck to start before you’re born,” laughs the 56-year-old conductor. Living among people who practiced, rehearsed and performed every day, Nathalie experienced music as a natural part of family life. She recalls other kids not understanding her intense work ethic. That changed when she enrolled in an immersive music school at age 11. “At that time, it was paradise because I was surrounded by people who had the same passion.” With a longer school day, she split her time between academics and piano, bassoon, viola and cello. As a teen, she started conducting. “I wanted to take some [conducting] lessons. And the teacher was a great musician, but I quickly understood that [the 1970s] was no time for a woman on the podium,” she said. That would have to wait a few more decades. Soon, nature stepped in. Nathalie developed an extraordinary contralto voice—a rarity among singers. At 16, she started studying with her mother. By 18, she was rejecting performance offers in order to focus on her studies at the Paris Opera. The youngest student in the Opera’s history, Nathalie spent four years there before stepping into the international spotlight. Quickly, she transitioned to life on the road, moving between airports, concert halls and opera houses. “The contralto is not heading the way of the California condor just yet,” wrote The New York Times in 1995. “Hope is arriving in the form of Nathalie Stutzmann, a lanky young Parisian with eyes as deep and dusky as her voice.”

She is a

consummate rock star on the podium — ArtsATL

16 | encore Nathalie proceeded to hit all the milestones of a glorious career, working with legendary conductors, singing in the most storied halls, and recording all the great works for the contralto voice (more than 80 recordings). At the same time, she quietly held onto her dream of becoming a conductor. “As a singer, you have one melody to sing,” she said. “As a conductor, you have a hundred voices.” It was personal: “the only way to express all the music that’s in me is as a conductor.” Finally, after a 20-year career, she made her move—and flew into some mighty headwinds.

Nathalie Stutzmann

with Seiji Ozawa

“People were suspicious; a singer, plus a woman… [there were] a lot of elements against me,” she told Interlude. “But I believed in it, and when I believe in something it’s hard to stop me.” Far from an industry outsider, she quickly found encouragement from Seiji Ozawa and Sir Simon Rattle, two eminent conductors who served as mentors. “Nathalie is the real thing. So much love, intensity and sheer technique. We need more conductors like her,” said Rattle. He advised her to go to the legendary conducting teacher Jorma Panula in Finland [Panula has produced six major maestros to date]. Add to that, Nathalie brought with her some unique perspective. “I kept the dream of conducting all my life. [Nurturing that] passion, I observed the great conductors I was singing with,” she said. “As a conducting student, it’s probably the best school you could ever have.”

Nathalie is the real

thing …We need more conductors like her — Sir Simon Rattle

After honing her skills with Panula, Nathalie founded her own ensemble, the critically acclaimed Baroque orchestra Orfeo 55. With them, she hit her stride on the podium. Fast-forward to 2022, Nathalie Stutzmann will soon be the only woman to head a top-25 American orchestra and is in demand around the world. She holds positions as Chief Conductor of the Kristiansand Symphony Orchestra in Norway and Principal Guest Conductor of The Philadelphia Orchestra, in addition to taking the reins of the Atlanta Symphony Orchestra in the fall. As busy as she is, taking the job in Atlanta was a no-brainer. “It’s so funny,” she grinned. “To be a musician is a paradox because you can be happy with a concert, but you’re | @AtlantaSymphony |

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already looking forward to the next concert—because you think you can be better.” In Atlanta, she has found a group of musicians who share that work ethic. “They want to serve the music first. And to serve the music, you have to be a perfectionist. They are starving to make music, and that is what attracts me so much.” And the feeling is mutual. “Even before she came to Atlanta,” said ASO Executive Director Jennifer Barlament, “some of our musicians saw her working with other orchestras and were blown away, not only by her artistry but her deep connection with the players.” “It’s very obvious that she comes from a vocal background by the way she thinks of phrasing. It’s so musical,” said ASO Concertmaster David Coucheron. “And in rehearsal (sometimes it’s hard for conductors to put an idea into words). She’ll just sing it. And then we know exactly what she wants.” The results speak for themselves. “The most elegant and articulate words fail to do justice to Stutzmann’s performance,” wrote ArtsATL in the fall. “She is a consummate rock star on the podium. With her precise, yet large and wild articulations, she doesn’t “conduct” so much as she seizes the full potential of every note and wrenches it loose from the silence that preceded it.” This bodes well for Atlanta. With years of great performances on the horizon, the Stutzmann era promises rocket fuel for the city’s culture scene. And it all comes down to something people often associate with the dynamic maestro: magic. “Magic happens when absolutely everyone in the orchestra is connected,” she said. “Of course, you can play together (it’s easy for any professional orchestra). But to feel together, to breathe together, to take risks together . . . It’s this exchange of energy between me, the orchestra, and the audience. That’s what makes those moments special.”

…in rehearsal (sometimes it’s hard for conductors to put an idea into words). She’ll just sing it. And then we know exactly what she wants.

— David Coucheron

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 | mar3/5 Concerts of Thursday, March 3, 2022, 8:00pm

FLORENCE PRICE (1887–1953) Piano Concerto in One Movement (1934) Michelle Cann, piano

Saturday, March 5, 2022, 8:00pm

GUSTAV MAHLER (1860–1911) Symphony No. 1 in D Major (1888, rev. through 1906) 56 MINS I. Langsam. Schleppend. Wie ein Naturlaut — Immer sehr gemächlich II. Kräftig bewegt, doch nicht zu schnell — Trio: Recht gemächlich III. Feierlich und gemessen, ohne zu schleppen IV. Stürmisch bewegt — Energisch



This weekend’s concerts are dedicated to Ann Marie and John B. White, Jr., in honor of their extraordinary support of the 2020/21 Annual Fund.

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



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by Noel Morris Program Annotator

Piano Concerto in One Movement

These are the first

In addition to the solo piano, this concerto is scored for flute, oboe, two clarinets, bassoon, two horns, two trumpets, two trombones, timpani, percussion and strings.

ASO performances


Florence Price grew up in a middle-class family in Little Rock. Her mother was a musician and teacher; her father was one of 12 Black dentists working in the United States. Price excelled in music and academics. Graduating early, she became valedictorian of her high school class at 14. Price went on to study piano, organ and composition at the New England Conservatory. She returned to the South to teach music, married a lawyer, and had two daughters. After a series of lynchings, she and her family joined the Great Migration and landed in Chicago. When her husband, Thomas Price, became abusive, Florence divorced him and supported her daughters as an organist and composer of jingles for radio. As a composer, Price had a number of successes. In 1932, her Symphony in E Minor won Chicago’s Wanamaker Music Contest, which led to a performance with Frederick Stock and the Chicago Symphony Orchestra. It was the first time a major American orchestra had played a symphony by a Black woman. In 1934, Stock and the CSO performed her Piano Concerto in One Movement with the composer as soloist. Famously, Marian Anderson included a Price song on her historic concert on the steps of the Lincoln Memorial. Price died in 1953 and was all but forgotten until the turn of the 21st century when musicians began to rediscover her music. This effort was aided by the 2009 recovery of hundreds of unpublished manuscripts in an abandoned home near St. Anne, Illinois (it had been Price’s vacation home). The Piano Concerto in One Movement languished for decades until the Center for Black Music Research in

UNIVERSITY OF ARKANSAS Libraries Special Collections

have two handicaps,” wrote Florence Price, “those of sex and race. I am a woman, and I have some Negro blood in my veins.” In fact, Price was mixed race—at least two of her great-grandmothers had borne children by white slave owners.

22 | encore Chicago commissioned composer Trevor Weston to reconstruct the piece using an incomplete set of orchestral parts, a two-piano reduction, and a piano rehearsal score. The refurbished concerto started to make its rounds with orchestras when the original manuscript turned up at an auction in St. Anne. Orchestras now perform the concerto as written by the composer. Musically, the Concerto in One Movement reveals a classically trained composer who felt a deep connection to the spiritual, a genre that had been integral to Black music in the southern United States. In the concerto’s finale, Price uses a Juba dance (also called pattin’ Juba or hambone), a highly rhythmic plantation dance. Because slaves were not permitted to own percussion instruments, the Juba is traditionally sung with foot stomps and body slaps. Symphony No. 1 in D Major First ASO performance: Jan 5-6, 1972 Julius Rudel, conductor Most recent ASO performances: Feb 9–11, 2017 Robert Spano, conductor

Symphony No. 1 is scored for four flutes (three doubling piccolo), four oboes (one doubling English horn), four clarinets (one doubling bass clarinet, two doubling E-flat clarinet), three bassoons (one doubling contrabassoon), seven horns, four trumpets, three trombones, tuba, timpani (two players), percussion, harp and strings.


assel, Germany, 1885. At the age of 25, Gustav Mahler’s star was on the rise. He was a gifted, strong-headed conductor working as an assistant in an opera house— which is where he had fallen for a soprano. She broke his heart, and he dedicated a major composition to her (Songs of a Wayfarer). For the songs, he used his own poems about a jilted lover who finds solace in nature. “I walked across the fields this morning,” sings the Wayfarer. “And then, in the sunshine, the world suddenly began to glitter.” A few years later, two of those song melodies found their way into Mahler’s First Symphony. “A symphony must be like the world,” he wrote. In fact, the First Symphony is like his world, laced with echoes of Vienna, nature, and with Jewish, Bohemian and Austrian folk music. Conceived largely in 1888 and then hammered into shape over more than a decade, we see a composer who is not just revising his work, but also evolving, | @AtlantaSymphony |

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struggling to find exactly the right form for his ideas. In 1889, at the first performance of the symphony’s earliest incarnation, he called it a “Symphonic Poem in Two Parts.” An 1893 version came with titles that suggested narratives (he called the first movement “Spring without End”), but he abandoned these by the time he published the piece in 1899.

The second movement opens with a robust ländler, a popular Austrian dance. For the third movement, he drew inspiration from a strange scene in children’s literature: a hunter’s funeral procession in which the mourners are replaced by the animals of the forest. Seizing upon this sardonic imagery, Mahler used a minor-key version of “Frère Jacques,” given initially to the solo double bass in an impossibly high register to produce a strained, offkilter effect. When Mahler’s funeral procession takes a left turn into klezmer, he lays before us the essence of the natural sound world—sounds continually collide with one another. A tempest kicks off the finale but soon gives way to triumph and radiance.


Nevertheless, it’s hard to escape the laughing, springlike atmosphere of the opening (remember the line, “the world suddenly began to glitter”). Using harmonics in the strings spaced seven octaves apart, Mahler creates a startling effect like the “shimmering and glimmering of the air,” as he called it. Peals of clarinets and trumpets suggest a distant military garrison like the one in his hometown of Jihlava, while the solo clarinet sounds the call of the cuckoo.

24 | meettheartists SIR DONALD RUNNICLES, CONDUCTOR See biography on page 5.



ianist Michelle Cann made her orchestral debut at age fourteen and has since performed as a soloist with numerous orchestras including The Philadelphia Orchestra, The Cleveland Orchestra, the Cincinnati Symphony Orchestra and the New Jersey Symphony Orchestra.


A champion of the music of Florence Price, Cann performed the New York City premiere of the composer’s Piano Concerto in One Movement with The Dream Unfinished Orchestra in July 2016 and the Philadelphia premiere with The Philadelphia Orchestra in February 2021. Highlights of her 2021/22 season include debut performances with the Atlanta, Detroit and St. Louis symphony orchestras, as well as her Canadian concert debut with the National Arts Centre Orchestra in Ottawa. She also received the 2022 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization, and the 2022 Andrew Wolf Chamber Music Award. Embracing a dual role as both performer and pedagogue, her season includes teaching residencies at the Gilmore International Keyboard Festival and the National Conference of the Music Teachers National Association. An award winner at top international competitions, in 2019 she served as the Cincinnati Symphony Orchestra’s MAC Music Innovator in recognition of her role as an African American classical musician who embodies artistry, innovation, and a commitment to education and community engagement. Cann studied at the Cleveland Institute of Music and the Curtis Institute of Music, where she holds the inaugural Eleanor Sokoloff Chair in Piano Studies. | @AtlantaSymphony |

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26 | mar17/18/20 Concerts of Thursday, March 17, 2022, 8:00pm

RICHARD STRAUSS (1864–1949) Tod und Verklärung, Op. 24 (Death and Transfiguration) (1889)




Friday, March 18, 2022, 8:00pm

WOLFGANG AMADEUS MOZART (1756–1791) Requiem, K.626 (1791; completed by Franz Xaver Süssmayr) 52 MINS I. Introitus: Requiem II. Kyrie III. Sequenz No. 1 Dies irae No. 2 Tuba mirum No. 3 Rex tremendae No. 4 Recordare No. 5 Confutatis No. 6 Lacrimosa IV. Offertorium No. 1 Domine Jesu No. 2 Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux aeterna Martina Janková, soprano Sara Mingardo, mezzo-soprano Kenneth Tarver, tenor Burak Bilgili, bass Atlanta Symphony Orchestra Chorus


These performances are generously sponsored by The Slumgullion Charitable Fund in celebration of Nathalie Stutzmann’s appointment as Music Director 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 |


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by Noel Morris Program Annotator

Tod und Verklärung

First ASO performances:

Tod und Verklärung is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps and strings.

January 25–26, 1962 Henry Sopkin, conductor Most recent ASO performances: November 1–3, 2012


Asher Fisch, conductor ichard Strauss was raised in a strict home. His father was a famous horn player and about as nasty as he was talented. Franz Strauss hated modernism in music and filled his son’s head with the sounds of Mozart, Haydn, and Beethoven—all of whom were long dead. He earnestly groomed his son as a pianist and composer rooted in classical forms. Of course, as many parents discover, there’s nothing like a little prohibition to fuel a kid’s curiosity.

Strauss was a natural. At the age of 20, he stepped onto the podium and within six months was Bülow’s assistant. Within a year, he had replaced him in Meiningen, and within another year had taken over his father’s orchestra, the Munich Court Opera. By this time, young Strauss had written dozens of works— symphonies, sonatas, a concerto, a mass—all works that adhere to classical forms. And then an 1886 trip to Italy inspired something different: he wrote a symphonic poem. Painting vivid pictures of Italian landscapes, Strauss began to stretch his legs as a modernist. Immediately, he set to work on a second tone poem, Macbeth, and then followed that with Don Juan. In 1889, Strauss was reaching the end of his tenure in Munich when he chose an unlikely subject for a 25-year-old: death. “It occurred to me to present the dying hours of a man who had striven towards the highest idealistic aims, maybe


Young Strauss had just turned 17 when he wrote a wind serenade, still using the classical models taught by his father. The serenade found its way to the desk of Hans von Bülow, the conductor of the famed Meiningen Orchestra. The maestro was so impressed, he decided to perform the piece and followed it with a commission for something new. Strauss obliged, and this time was invited to come and conduct—never mind the fact that he had never before conducted an orchestra in public.

28 | encore indeed those of an artist,” he wrote. “Friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies . . . as the pain leaves off, his childhood passes before him, the time of his youth with its strivings and passions. . . . The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below.” That same year, Strauss left his father’s orchestra to become Kapellmeister in Weimar. He had all but finished Death and Transfiguration when he rocketed to stardom after the premiere of Don Juan. Seven months later, he conducted the premiere of Death and Transfiguration. Strauss went on to become one of the most celebrated opera composers of the 20th century. He won fame and fortune, had a loving wife and son and a beautiful country home. The year before he died, he wrote an autobiographical song, “Im Abendrot,” about a couple in the twilight of their lives. In it, he makes a passing reference to the music of Death and Transfiguration. And then, in 1949, Strauss suffered a series of heart attacks. As he lay on his deathbed, witnesses reported him saying: “Dying is just like I composed it.” First ASO performance: January 19, 1965 The Choral Guild of Atlanta Robert Shaw, conductor Most recent ASO performances:

Requiem, K.626 Requiem is scored for is scored for soprano, alto, tenor, and bass solos, mixed chorus, two basset horns (clarinets may replace basset horns), two bassoons, two trumpets, three trombones, timpani, organ and strings.


wo generations ago, the film Amadeus swept the Oscars. People clamored for Mozart recordings, Atlanta Symphony and classical musicians enjoyed a newfound audience. Orchestra Chorus Based on a play by Peter Shaffer, the film recreates Roberto Abbado, conductor Mozart’s demise and places his life among the great tragedies. In it, director Miloš Forman artfully plays the puppet master, stoking suspense as the dying man labors to finish his requiem mass. By the end, Mozart’s Requiem lies unfinished, and one is left with an aching heart over music that will never be heard. February 8–11, 2018

The film Amadeus gets many things wrong about those days. It clouds the origin of the Requiem. It unfairly maligns | @AtlantaSymphony |

Antonio Salieri, but it also imparts great truths about Mozart: his humanity, his unrivaled genius and the tragic loss of what might have been. Even in his day, Mozart was a cultural phenomenon—his father saw to that, showing off the mind-blowing abilities of the child Mozart in cities across Europe. In time, this wondrous prodigy grew into a major public figure who enjoyed a lavish lifestyle (one that exceeded his income). Slipping away at the age 35, the great Mozart spent his final hours composing a mass for the dead—an irony that was lost on no one. To this day, Mozart’s Requiem is shrouded in mystery. And this was partly by design. On February 14, 1791, Anna von Walsegg, wife of Count Franz von Walsegg, died at the age of 20. So distraught was the count, he commissioned two monuments to his fallen bride: one to hold her remains and one to be performed on the anniversary of her death—a requiem mass. A serious music lover and amateur flutist and cellist, Count Walsegg kept musicians on staff at his estate and performed alongside them, often presenting his own compositions— or so he said. In that society, it was an open secret that the boss hired ghostwriters. A rather pathetic business, Count Walsegg commissioned works from prominent composers, insisting on secrecy, and exclusivity and then recopied the music in his own hand. When Anna died, only the best would do. He hired Mozart. The business was handled by an intermediary who was authorized to pay a substantial sum, half of it upfront. With bills piling up, Mozart accepted the commission, even though he didn’t quite have the time to work on it. Mozart wrote a staggering amount of music in 1791. Between April and September, he composed two operas: La clemenza di Tito for the emperor’s coronation in Prague, and The Magic Flute. Within three weeks, Mozart himself conducted their premieres, one in Prague and one in Vienna. After the triumphant premiere of The Magic Flute on September 30, he continued to conduct the opera at night and started in on a new masterpiece, his Clarinet Concerto during the day. Finishing that in November, he then wrote a cantata to mark the opening of a new Masonic

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30 | encore lodge. With the Requiem due by the anniversary of Anna von Walsegg’s death, he had started serious work on it in September. Through the autumn of 1791, Mozart grew increasingly distressed. He drank too much, suffered from exhaustion, and struggled with depression. People close to him insisted that the Requiem—a Roman Catholic mass for the dead— had gotten to his head. He became preoccupied with death, they said, and mused that “he was writing the Requiem for himself.” To his wife, Constanza, he even wondered if he’d been poisoned. On November 20, Mozart developed a fever. His hands and feet began to swell. Unable to keep food down, he grew sicker until he succumbed on December 5, 1791. The official cause of death was listed as rheumatic fever, a conclusion supported by a 2009 epidemiological analysis published in The Annals of Internal Medicine.


Almost immediately, the rumors began to smolder. Within a week, a Berlin newspaper stated that Mozart had been poisoned. In 1830, the great Russian poet Alexander Pushkin added a dash of kerosene with his drama Mozart and Salieri. The forerunner to Peter Shaffer’s Amadeus, the Pushkin play pins the murder on Antonio Salieri. Scholars have never been able to substantiate this theory. As for the Requiem, only the opening movement was completed and fully orchestrated at the time of his death. He had partially composed subsequent movements, the Kyrie through the Hostias. As for the exquisite Lacrymosa, only the first eight bars are written in his hand. After her husband’s death, Constanza pushed the project along to collect the second half of the Count’s payment. There are varying and unverified accounts suggesting that Mozart talked people through the work’s completion, including his assistant Franz Xaver Süssmayr, the man who ultimately accepted the job. Mozart’s funeral took place at St. Stephen’s Cathedral in the heart of Vienna. In accordance with local regulation, his body was wrapped in linen and transported from the city center to St. Marx Cemetery and placed in an unmarked | @AtlantaSymphony |

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plot with several other bodies. A standard Viennese burial at the time, Mozart’s grave likely received fresh corpses within a decade. No one knows exactly where in St. Marx he was buried. On December 10, five days after his death, friends gathered in his memory and performed completed portions of the Requiem.


teste David cum Sibylla. as witness David and the Sibyl.


Quantus tremor est futurus, What trembling there will be,

Requiem aeternam dona eis, Domine, Grant them rest eternal, Lord, et lux perpetua luceat eis. and may perpetual light shine on them. Te decet hymnus, Deus, in Sion, To you hymns are offered, Lord, in Zion, et tibi reddetur votum in Jerusalem. and to you vows are made in Jerusalem. Exaudi orationem meam! Listen to my prayer! Ad te omnis caro veniet. Unto you all flesh shall come.

quando judex est venturus when the judge shall come, cuncta stricte discussurus. all will thoroughly be shattered. 2. Tuba mirum Tuba mirum spargens sonum The wondrous trumpet, spreading its sound per sepulchra regionum, throughout the tombs of all regions, coget omnes ante thronum. will gather all before the throne.


Mors stupebit et natura Death will be stupefied, also nature,

Kyrie eleison, Christe eleison, Lord, have mercy. Christ, have mercy.

cum resurget creatura when all creation arises

Kyrie eleison. Lord, have mercy.

judicanti responsura. to answer to the judge.


Liber scriptus proferetur A written book will be brought forth

1. Dies irae Dies irae, dies illa Day of wrath, that day solvet saeclum in favilla, will dissolve the world in ashes,

in quo totum continetur, in which everything is contained unde mundus judicetur. by which the world will be judged.

32 | encore Judex ergo, cum sedebit When the judge is seated,

donum fac remissionis make the gift of remission

quidquid latet, apparebit; whatever is hidden will be exposed;

ante diem rationis. before the day of accounting.

nil inultum remanebit. nothing will remain unavenged.

Ingemisco, tanquam reus. I sigh as one accused;

Quid sum, miser! tunc dicturus? What am I, miserable one! then to say?

culpa rubet vultus meus. Shame reddens my face.

quem patronum rogaturus, What patron shall I request,

supplicanti parce, Deus! Spare the supplicant, God!

cum vix justus sit securus? When the righteous are scarcely secure?

Qui Mariam absolvisti, You who absolved Mary [Magdalene]

3. Rex tremendae

et latronem exaudisti, and listened to the thief

Rex tremendae majestatis! King of dreadful majesty,

mihi quoque spem didisti. have given me hope also.

qui salvandos salvas gratis, who freely saves the redeemed,

Preces meae non sunt dignae, My prayers are not worthy,

salva me, fons pietatis. save me, fount of mercy.

sed tu bonus fac benigne, but you, good one, be merciful,

4. Recordare

ne perenni cremer igne! lest I remain in burning flames!

Recordare Jesu pie, Remember, merciful Jesus, quod sum causa tuae viae; that I am the cause of your journey; ne me perdas illa die. do not lose me on that day. Quaerens me, sedisti lassus; Seeking me, you remained exhausted; redemisti crucem passus. you redeemed me by suffering the cross. Tantus labor non sit cassus. Such great labor should not be in vain. Juste judex ultionis Just judge of vengeance,

Inter oves locum praesta, Among the sheep grant me a place, et ab haedis me sequestra, and from the goats separate me, statuens in parte dextra. setting me in the portion on the right. 5. Confutatis Confutatis maledictis, Silencing the accused, flammis acribus addictis, to acrid flames consigning them, voca me cum benedictis. Call me with those blessed. Oro supplex et acclinis, I pray, bowed and kneeling, | @AtlantaSymphony |

cor contritum quasi cinis: my heart contrite as ashes:

repraesentet eas in lucem sanctam, present them in holy light,

gere curam mei finis. take care of me at the last.

quam olim Abrahae promisisti, as once you promised Abraham

6. Lacrymosa

et semini ejus. and his seed.

Lacrymosa dies illa, That tearful day,

2. Hostias

qua resurget ex favilla when from the embers rises

Hostias et preces tibi, Sacrifices and prayers to you,

judicandus homo reus. guilty man, to be judged.

Domine, laudis offerimus. Lord, we offer with praise.

Huic ergo parce Deus, Oh, therefore spare him, God,

Tu suscipe pro animabus illis, Receive them for the souls of those

pie Jesu Domine! merciful Lord Jesus!

quarum hodie memoriam facimus; whom today we commemorate.

Dona eis requiem. Amen. Grant them rest. Amen.

Fac eas, Domine, Make them, Lord,


de morte transire ad vitam, to pass from death to life,

1. Domine Jesu Domine Jesu Christe, Rex gloriae! Lord Jesus Christ, glorious King! Libera animas omnium fidelium Free the souls of all the faithful dead defunctorum de poenis inferni, from punishment in the inferno, et de profundo lacu! and from the deep lake! Libera eas de ore leonis! Deliver them from the lion’s mouth! ne absorbeat eas tartarus, lest the abyss swallow them up. ne cadant in obscurum. lest they fall into darkness. Sed signifer sanctus Michael But may the standardbearer St. Michael

Quam olim Abrahae promisisti, As once you promised to Abraham et semini ejus. and his seed. V. SANCTUS Sanctus, sanctus, sanctus Holy, holy, holy Dominus Deus Sabaoth, Lord God of Hosts, pleni sunt coeli et terra heaven and earth are filled gloria tua. with your glory. Osanna in excelsis! Hosanna in the highest!

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34 | encore VI. BENEDICTUS

VIII. COMMUNIO: Lux aeterna

Benedictus qui venit Blessed are they who come

Lux aeterna luceat eis, Domine, May eternal light shine on them, Lord,

in nomine Domini. in the name of the Lord.

cum sanctis tuis in aeternum, with thy saints everlasting,

Osanna in excelsis! Hosanna in the highest!

quia pius es. because you are merciful.


Requiem aeternam Rest eternal

Agnus Dei, Lamb of God, qui tollis peccata mundi, who removes the sins of the world, dona eis requiem. grant them rest. Dona eis requiem sempiternam. Grant them rest everlasting.

dona eis, Domine, grant them, Lord, et lux perpetua luceat eis. and may perpetual light shine on them. Cum sanctis tuis in aeternam, With thy saints everlasting, quia pius es. because you are merciful. – English translation by Nick Jones | @AtlantaSymphony |

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athalie Stutzmann was named as the Atlanta Symphony Orchestra's fifth Music Director in October of 2021, and will begin her tenure in the fall of 2022. Nathalie joined The Philadelphia Orchestra as Principal Guest Conductor beginning in the 2021/22 season, and has a regular presence in the orchestra’s subscription series in Philadelphia and at its summer festivals in Vail and Saratoga. Stutzmann is also entering the third season of a highly successful tenure as Chief Conductor of the Kristiansand Symphony Orchestra, a tenure which has just been extended by a further two seasons, to the end of 22/23. Stutzmann is considered one of the most outstanding musical personalities of our time. Charismatic musicianship, combined with unique rigour, energy and fantasy, characterize her style. A rich variety of strands form the core of her repertoire: Central European and Russian romanticism is a strong focus — ranging from Beethoven, Schumann, Brahms and Dvořák through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss — as well as French 19th century repertoire and impressionism. Highlights from her partnership with the Kristiansand Symphony Orchestra include acclaimed performances of Bruckner’s Symphony No. 7, Tchaikovsky’s Symphony No. 6 and a complete cycle of Beethoven’s symphonies. Stutzmann started her studies at a very young age in piano, bassoon, cello and studied conducting with the legendary Finnish teacher Jorma Panula. She was mentored by Seiji Ozawa and Sir Simon Rattle. Stuzmann continues to keep a few projects as a singer each season, primarily recitals and performances with her own ensemble. In January 2019, she was elected a Chevalier in the ‘Ordre National de la Légion d’Honneur’, France’s highest honor. France had previously honored her unique contribution to the country’s cultural life by electing her ‘Commandeur des Arts et Lettres’ and ‘Chevalier de l’Ordre National du Mérite’. Stutzmann is an exclusive recording artist of Warner Classics/Erato. Her most recent album, Contralto, was released in January 2021. | @AtlantaSymphony |

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wiss soprano Martina Janková, born in Czech Republic, has been a member of the Zurich Opera House since 1998 and is one of the leading Mozart performers of today. Recent highlights include a tour with Rossini´s La Cenerentola/Clorinda with the Musiciens du Prince and Gianluca Capuano in Switzerland, Spain and Italy, Handel´s Messiah in Barcelona and Vic with the Zurich Chamber Orchestra and Daniel Hope, King Arthur by Henry Purcell at the Theater an der Wien with Concentus Musicus Wien and Stefan Gottfried, and Schubert´s Mass in E-flat major in Cleveland with Franz Welser-Möst.

Her CD releases include several solo recitals, the most recent ones being a solo album with songs by Bohuslav Martinů (rewarded with a Diapason d’Ort) and the album Prague-Vienna: A journey in songs with songs by Tomášek, Koželuh, Mozart, Haydn and others. Further records of the label Supraphon include the album Recollection featuring songs by Joseph Haydn, a solo CD with songs from Mussorgsky, Dvorák, Richard Strauss and Schoeck as well as Moravian Folk Songs by Janácek and Bach Cantatas with Collegium 1704 under Václav Luks. Martina Janková can be seen on DVD as Tilly (Simplicius) by Johann Strauss, Zerlina (Don Giovanni), Susanna (Le nozze di Figaro), Despina (Così fan tutte), and Angelica (Orlando) by Handel, as well as Angelo in Händel’s Oratorio La Resurrezione. In summer 2016, the DVD of the Salzburg Festival´s production of Le nozze di Figaro was released, with a brilliant Martina Janková in the role of Susanna. SARA MINGARDO, MEZZO-SOPRANO


ara Mingardo is a regular guest of some of the most prestigious theatrical institutions, enjoying successful collaborations with such conductors as Claudio Abbado, Rinaldo Alessandrini, Ivor Bolton, Riccardo Chailly, Myung Whun-Chung, Paul Daniel, Colin Davis, Sir John Eliot Gardiner, Emmanuelle Häim, Marc Minkowski, Riccardo Muti, Roger Norrington, Trevor Pinnock, Maurizio Pollini, Christophe Rousset, Jordi Savall, Peter Schreier and Jeffrey Tate and prestigious international orchestras: Berliner Philharmoniker, London Symphony Orchestra, Boston Symphony Orchestra, Orchestre National de France,



38 | encore Les Musiciens du Louvre, Monteverdi Choir e Orchestra, Concerto Italiano, Les Talens Lyriques and Academia Montis Regalis. Her operatic repertory includes works by Gluck, Monteverdi, Handel, Vivaldi, Rossini, Verdi, Cavalli, Mozart, Donizetti, Schumann and Berlioz. In concert, she also performs Bach, Beethoven, Brahms, Dvořák, Mahler, Pergolesi and Respighi. Mingardo studied with Franco Ghitti at the Benedetto Marcello Conservatory in Venice, her native town, and completed her studies with a scholarship at the Accademia Chigiana in Siena. Winner of several national and international vocal competitions, she made her debut in Il Matrimonio Segreto (Fidalma) and La Cenerentola (title role). In 2009, the Association of Italy’s Music Critics awarded her with the prestigious “Premio Abbiati”. Recent and future engagements include: Il ritorno d’Ulisse in patria (Penelope) at the Hamburg Staatsoper; Mozart Requiem with the Chicago Symphony Orchestra and in Aix-en-provence; Mahler’s Second Symphony at Teatro La Fenice; Giulio Cesare (Cornelia), Roméo et Juliette (Gertrude) and Semele (Juno) at Teatro La Scala. KENNETH TARVER, TENOR


enneth Tarver is considered to be one of the outstanding bel canto tenors of his generation, acknowledged for his beauty of tone, virtuosic technique, extensive and even vocal range, coupled with an attractive and elegant stage presence. A specialist in Mozart and demanding virtuosic operatic repertoire, he has appeared at the most prestigious opera houses and concert halls around the world, performing both well-known and seldom-performed works with conductors such as René Jacobs, Riccardo Chailly, Pierre Boulez, and Claudio Abbado. Recent performances include Berlioz’s Requiem and Beethoven’s Symphony No. 9 with the Seattle Symphony and Ludovic Morlot, Donizetti’s Don Pasquale at the Bolshoi in Moscow, Aufidio in Mozart’s Lucio Silla at Teatro Real Madrid with Ivor Bolton, Rossini’s Eduardo e Cristina, L’Occasione fa il ladro and Sigismondo at Rossini in Wildbad conducted by Antonino Fogliani, Mozart’s Die Zauberflöte at Opera Vlaanderen, as well as Rossini’s | @AtlantaSymphony |

Petite Messe Solennelle at the Wiener Konzerthaus and at the Philharmonie Luxembourg under its Music Director Gustavo Gimeno. Kenneth Tarver is a past winner of the Metropolitan Opera National Council Auditions and was a member of the Metropolitan Opera’s Young Artist Development Program and the Staatsoper Stuttgart. A graduate of Interlochen Arts Academy, The Oberlin College Conservatory of Music, Kenneth holds a Master of Music Performance degree from Yale University School of Music, where he received the Dean’s Award for the Most Outstanding Student in the graduating class. BURAK BILGILI, BASS-BARITONE


urak Bilgili is a Turkish operatic bass-baritone who was born in Akşehir, a town in the Konya Province of Turkey. Since his professional operatic debut at the Teatro alla Scala in 2002 as Don Alfonso in Lucrezia Borgia, he has sung in leading opera houses all around the world and has enjoyed a busy international career. Bilgili made his Metropolitan Opera debut in 2004, when he sang Leporello without a full-stage or orchestra rehearsal in the final performance of Don Giovanni that season. He returned to the Metropolitan Opera in 2009 as Ferrando in Il Trovatore. Bilgili is still the only Turkish artist in history to perform a major role in Metropolitan Opera in New York City. A recipient of numerous awards, the Turkish bass garnered First Prizes in the International Hans Gabor Belvedere Singing Competition 2002 in Vienna, the International Alfredo Kraus Competition 2002 in Las Palmas, the Neue Stimmen International Opera Competition in 2001, the Mario Lanza Opera Competition and the J. Parkinson Italian Opera Competition. In 2003, Bilgili became Turkey’s first ever representative at the BBC Cardi Singer of the World competition. Bilgili initially studied at Mimar Sinan University in Istanbul as a student of Prof. Guzin Gurel. After his graduation, he studied at the prestigious Academy of Vocal Arts in Philadelphia with the support of Sedat Gurel – Guzin Gurel Arts and Science Foundation. With Zehra Yildiz Culture and Arts Foundation’s support he had the chance to study with Katia Ricciarelli in Italy.

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40 | encore


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


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

Mackenzie prepares the Atlanta Symphony Orchestra Chorus and Chamber Chorus for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy® Awards. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule. | @AtlantaSymphony |

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Jeffrey Baxter

Peter Marshall

director of choruses

choral administrator

The Frannie & Bill Graves Chair

The Florence Kopleff Chair

SOPRANO 1 Ellen Abney Laura Foster Michelle Griffin* Kathryn Jennison Erin Jones Alexis Lundy Mindy Margolis* Joneen Padgett* Mary Martha Penner Susan Ray Samaria Rodriguez Natalie Rogers Lydia Sharp Stacey Tanner Brianne Turgeon* Deanna Walton Michelle Yancich Wanda Yang Temko*

ALTO 1 June Abbott** Pamela Amy-Cupp Deborah Boland** Marlysa Brooks-Alt Donna Carter-Wood** Patricia DinkinsMatthews* Angel Dotson-Hall Katherine Fisher Beth Freeman Cynthis Harris Unita Harris Beverly Hueter* Janet Johnson** Susan Jones Virginia Little* Staria Lovelady* Frances McDowellBeadle** SOPRANO 2 Sara McKlin Sloan Atwood* Linda Morgan** Jessica Barber Jasmine Blue-Williams Katherine Murray* Kathleen Poe Ross Barbara Brown Noelle Ross Maggie Carpenter Marianna Schuck Martha Craft Laura Emiko Soltis Erika Elliott Camilla Springfield** Mary Goodwin Rachel Stewart** Amanda Hoffman Nancy York* Rachel Hughes Kathleen KellyALTO 2 George* Nancy Adams* Mary Mulvey Angelica BlackmanShannon Nesbit Keim Rachel O’Dell Emily Boyer Heidi Padovano Marcia Chandler* Chantae Pittman Carol Comstock Tramaine Quarterman Meaghan Curry Paula Snelling* Cynthia Goeltz Anne-Marie Spalinger* DeBold** Emily Tallant Michèle Diament Cheryl Thrash** Sally Kann* Donna Weeks** Nicole Khoury*


Katherine MacKenzie Lynda Martin Laura Rappold* Chandler Scott Sharon Simons* Virginia Thompson* Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Jordan Bell David Blalock** Jack Caldwell** Daniel Cameron* Daniel Compton Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Keith Langston* Christopher Patton* Stephen Reed# Mark Warden* TENOR 2 Sutton Bacon Matthew Borkowski LaRue Bowman Charles Cottingham# Phillip Crumbly* Joseph Few Sean Fletcher John Harr Keith Jeffords* Michael Parker Timothy Parrott Brent Runnels Matthew Sellers Thomas Slusher Scott Stephens**

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

42 | mar24/26 Concerts of Thursday, March 24, 2022, 8:00pm Saturday, March 26, 2022, 8:00pm JONATHON HEYWARD, conductor XAVIER FOLEY, double bass

LUDWIG VAN BEETHOVEN (1770–1827) Leonore Overture No. 3, Op. 72b (1806) XAVIER DUBOIS FOLEY (B. 1994) Double Bass Concerto (2022) Xavier Foley, double bass INTERMISSION DMITRY SHOSTAKOVICH (1906–1975) Symphony No. 9 in E-flat Major, Op. 70 (1945) I. Allegro II. Moderato III. Presto IV. Largo V. Allegretto

Sponsored by

Thursday’s concert is dedicated to the extraordinary musicians and staff of the ASO by Bill & Rachel Schultz.

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 Program Annotator

Leonore Overture No. 3

First ASO performance:

Leonore Overture No. 3 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

March 16, 1950


Henry Sopkin, conductor Most recent

ASO performances: n the winter of 1805, Beethoven was in love. He was January 29–February 1, 2020 a celebrity musician. She was young, beautiful and an Karina Canellakis, conductor excellent pianist. Her affections and intense admiration proved irresistible to the 34-year-old composer— never mind that she was a widowed noblewoman with four children. As the composer’s visits became a daily occurrence, her family demurred.

Beethoven should have known better. Had Countess Josephine von Deym married him—a commoner—she would have lost her title, privileges, and possibly the custody of her children. Also, his attachment was one-sided. “The pleasure of your acquaintance would have been the finest jewel of my life,” she wrote, “if you could have loved me less sensually.” Ouch. Beethoven had showered Josephine with cringe-worthy love letters, making their friendship untenable. Soon, there was a void in his life, and he channeled his passions into another young woman, one whose love was heroic and unrestrained. Léonore was a melodrama by Jean-Nicolas Bouilly based on a real-life woman who contrived to rescue her husband, a political prisoner. Disguising herself as a boy, Leonore gained access to his prison and freed him. Beethoven was well aware that writing an opera—a big, public spectacle—was the pinnacle for a composer. After having spent most of his adult life performing in the homes of the nobility, he made a career move, pouring his broken heart into an opera about Leonore. As it happened, Beethoven was writing during the Napoleonic Wars. Nevertheless, the Austrian emperor worried as much about insurrection as any outside threat and employed a posse of spies and censors. Trying to avoid politics, Beethoven moved the action of Leonore to 17th-century Spain. Scheduling the premiere in October of 1805, he soon ran into trouble with the censors. They postponed the opening and insisted on

44 | encore alterations, including changing the opera’s name to Fidelio. Poor Beethoven. By the time he had complied with the censor’s demands, Napoleon invaded Vienna. With much of his opera audience in exile, the premiere of Fidelio was a flop. He then took the opportunity to make revisions and composed a new overture. In fact, he wrote a total of four overtures before finally settling on the piece we know as the Overture to Fidelio. As a concert piece, his third prelude, Leonore Overture No. 3, is his most popular. Double Bass Concerto These are the first ASO performances.

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


avier Foley, bassist, was First Prize winner of the 2014 Sphinx Competition, the Young Concert Artists Auditions 2016, and a winner of the Astral Artists National Auditions 2014. As such, he has appeared as soloist with the Sphinx and Atlanta Symphony Orchestras, Philadelphia Orchestra, and the Nashville Symphony. He made his Carnegie Hall solo debut with the Sphinx Virtuosi, with which he was also soloist on East and West coast tours. This season he appears in several concerts with the Jupiter Symphony Chamber Players, the Impromptu concert series, and the St. Vincent College concert series. The First Prize winner of the 2009 (Junior Division) and 2011 (Senior Division) International Society Bassist Competition, he performed in Carnegie Hall as Principal Bass of the New York String Seminar Orchestra. Also a composer, he is a 2016 graduate of the Curtis Institute of Music, where he studied both composition and performance with Edgar Meyer and Hal Robinson. Xavier Foley strives to become a world artist on the double bass as he continues to incorporate all styles of music, whether it be cultural, national or folk music. Symphony No. 9

Symphony No. 9 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. | @AtlantaSymphony |


hanks to COVID, we all know something about before-times and after-times. It illustrates the moment when disaster strikes, and a door closes on the way things were. For Dmitry Shostakovich, that day was January 28, 1936, when Soviet authorities officially denounced him. In a heartbeat, he went from rock-star status to outcast. Across the Soviet Union, conductors canceled performances of his music; friends stopped speaking to him. His income dropped 75 percent, and everything he wrote going forward (at least until 1953) happened under the specter of Joseph Stalin. Fearing for his life, this shy, slight, bespectacled composer, found himself operating inside a very small box—yet his music continues to astonish us with its audacity. Shostakovich had a knee-slapping sense of humor. He was a master of parody and could elicit peals of laughter with a simple musical gesture. After having been censured in 1936, he outwardly conformed to Soviet dictates. But below the surface, there is a persistent sense of irony which many musicians believe to be defiance. The Soviet people suffered immeasurably during those years. First, they endured the tumult of collectivization and murderous rampages of the tyrant Stalin; then they faced famine and relentless military incursions at the hands of Adolph Hitler. In 1945, as Soviet forces pushed their way toward victory in Germany, Shostakovich toed the Party line, declaring he would write “a symphony of victory with a song of praise.” He teased the idea of including soloists and a chorus in line with Beethoven’s Ninth Symphony. And people understood his intentions as a progression from his heavy wartime symphonies (the Seventh and Eighth) to a celebration of Soviet heroism in the Ninth. But the resulting piece was nothing of the kind. For the Ninth Symphony, Shostakovich tried his hand at neo-classicism, right down to the use of a sonata form in the first movement, complete with a repeat. There’s no chorus, there are no soloists, and he used a leaner orchestra. Instead of creating a monument to the glory of Joseph Stalin, he produced a short, puckish sort of piece prompting one Russian critic to wonder: “Is it the right time for a great artist to go on vacation?”

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First ASO performances: September 26–29, 1974 Michi Inoue, conductor Most recent ASO performances: October 16–18, 2003 Ilan Volkov, conductor

46 | meettheartists Initially, opinions of the Ninth were mixed. There’s nothing outwardly offensive about it; in fact, Shostakovich could argue that his use of a classical model fell solidly within Party guidelines. And then in 1948, the Ninth Symphony, among other works, was banned. Again, Soviet authorities denounced him. Joseph Stalin died in March of 1953; Shostakovich waited until December of that year to introduce his next symphony—the Tenth. JONATHON HEYWARD, CONDUCTOR


onathon Heyward is forging a career as one of the most exciting conductors on the international scene. Currently in his first year as a Chief Conductor of the Nordwestdeutsche Philharmonie, in summer 2021, Heyward took part in an intense, two-week residency with the National Youth Orchestra of Great Britain which led to a highly acclaimed BBC Proms debut.

XAVIER FOLEY, DOUBLE BASS See biography on pg 44.

Originally trained as a cellist and chamber musician, Heyward went on to take up the position of Assistant Conductor for both their opera department and the Boston Opera Collaborative. In 2013, Heyward became the youngest ever semi-finalist at the Blue Danube International Opera Conducting Competition at the age of 21, and soon after, was appointed Associate Director of the Hampstead Garden Opera Company in London. Winner of the 2015 Besançon International Conducting Competition, in 2016, he completed his postgraduate studies in conducting with Sian Edwards at the Royal Academy of Music. In the 2017/18 season, Heyward was selected as a Los Angeles Philharmonic Dudamel Conducting Fellow, later stepping in to make his subscription debut with Hilary Hahn as part of the orchestra’s Bernstein @ 100 Celebration at Walt Disney Concert Hall. Heyward recently completed three years as Assistant Conductor of the Hallé Orchestra under mentorship of Sir Mark Elder. In recognition of his extensive community outreach work and commitment to music education as Music Director of the Hallé Youth Orchestra Heyward received a finalist nomination for Young Creative of the Year at the Manchester Culture Awards 2018. | @AtlantaSymphony |

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48 | mar31/apr2 Concerts of Thursday, March 31, 2022, 8:00pm Saturday, April 2, 2022, 8:00pm

MARK BULLER (b. 1986) The Parallatic Transits (2022) JENNIFER HIGDON (b. 1962) Mandolin Concerto (2021) I. First II. Last Avi Avital, mandolin INTERMISSION

ROBERT SPANO, conductor AVI AVITAL, mandolin

Thursday's concert is dedicated to Jeannette Guarner, MD &



NIKOLAI RIMSKY-KORSAKOV (1844–1908) Scheherazade, Op. 35 (1888) 48 MINS I. The Sea and Sinbad’s Ship II. The Story of the Kalendar Prince III. The Young Prince and the Young Princess IV. The Festival of Baghdad — The Sea — The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior

Carlos del Rio, MD in honor of their extraordinary support of the Talent Development Program and for helping the ASO during COVID-19.

Saturday’s concert is dedicated to Angela Evans in honor of her extraordinary support of the 2020/21 Annual Fund.

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


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by Noel Morris Program Annotator

The Parallatic Transits

These are the first

The Parallatic Transits is scored two flutes, two oboes, two clarinets, bassoon, contrabassoon, four horns, two trumpets in C, two trombones, bass trombone, tuba, timpani, percussion, harp and strings.

ASO performances.

ark Buller, a composer based in Houston, writes music which blends rich lyricism with bold gestures and striking rhythms. A specialist in vocal and choral music, he has also written a large body of instrumental works, from tiny miniatures for solo instruments to works for large orchestra. He has been privileged to write for a number of world-class ensembles and organizations, including the Atlanta Symphony Orchestra, Houston Grand Opera, Houston Chamber Choir, ROCO (River Oaks Chamber Orchestra) and Apollo Chamber Players. His flexibility as a composer has led to some unique commissions: three operas for Houston Grand Opera—including a pastiche opera—all with libretti by Charles Anthony Silvestri; a series of searingly poignant art songs and a major choral work also for HGO, setting words by veterans and by Leah Lax; and several dozen very short pieces for various forces, entitled Quarantine Miniatures, which celebrate the community of musicians whose resilience in the face of COVID-19 uncertainty is worth admiration. Originally from Maryland, Mark studied as a pianist before earning his Doctor of Musical Arts degree from the University of Houston, where he studied with Marcus Maroney and Rob Smith. He currently teaches at Lone Star College and is Director of Education and Chair of Composition Studies at AFA. From the composer: “The Parallactic Transits was written for the Atlanta Symphony Orchestra in celebration of conductor Robert Spano’s tenure. The title seeks to evoke the movement of celestial bodies through the heavens: parallax describes the apparent movement of an object when the observer changes position, or when that object itself changes relative to a further object. Thus, astronomers are able to plot the transits of distant stars and exoplanets by measuring these discrete movements. | @AtlantaSymphony |



50 | encore The analogue here, then, is a person who “orders the stars,” as it were, in a community: after some time, we find ourselves measuring whole stylistic movements or cultural identities through the lens of a single, influential person or group of people. The emergence of the Atlanta School as a pervasive force in the newmusic world, and by extension the ASO itself as a lodestar, speaks to the power of this phenomenon, to the potential impact of a person with a powerful vision. Thus, The Parallactic Transits plots various musical ideas as they combine and play off each other. Sometimes they intertwine or overlap; other times they interrupt impetuously. Only finally come into alignment.” Mandolin Concerto These are the first ASO performances.

In addition to the solo mandolin, this concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, percussion, harp and strings.


ennifer Higdon is one of America’s most acclaimed and most frequently performed living composers. She is a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 2010 Grammy® for her Percussion Concerto, a 2018 Grammy® for her Viola Concerto and a 2020 Grammy® for her Harp Concerto. In 2018, Higdon received the Nemmers Prize from Northwestern University which is given to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Most recently, the recording of Higdon’s Percussion Concerto was inducted into the Library of Congress National Recording Registry. Higdon enjoys several hundred performances a year of her works, and blue cathedral is today’s most performed contemporary orchestral work, with more than 600 performances worldwide. Her works have been recorded on more than seventy CDs. Higdon’s first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere and the opera recording was nominated for two Grammy® awards. Her music is published exclusively by Lawdon Press. | @AtlantaSymphony |

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From the composer: “Nothing is more inspiring to a composer than hearing and seeing a truly gifted musician perform. So when Avi Avital approached me about writing a concerto, I enthusiastically accepted. His extraordinary skill level, innate musical sense, and passion for the mandolin, inspired me to create a concerto with the poetic lyricism and joy that he brings to playing this wonderful instrument. In this two-movement work, I wanted to give room for the soloist to have melodic dialogues between himself and the orchestra. Because the mandolin is one of the quietest of traditional classical instruments, I felt it would be important to also have the orchestra’s musicians to sometimes play as a chamber group when musically interacting with Avi. This makes for a more colorful conversation between the grace of the mandolin and the full power of a symphony orchestra.” Commissioned by The Munich Philharmonic, The Mobile Symphony, The Chicago Philharmonic Society and The Atlanta Symphony Orchestra, with additional funding from The Adele and John Gray Endowment Fund, and from Avi Avital Scheherazade, Op. 35 Scheherazade is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings.

First ASO performance:

The Arabian Nights

ASO performances:


November 23, 1949 Henry Sopkin, conductor Most recent

June 7–9, 2018 t starts with a serial killer. Convinced that all women Robert Spano, conductor are adulterous, King Shahryar executes his bride after their first night together. Marrying and murdering, he repeats this cycle over and over again until one girl inspires a change of heart.

On her wedding night, the maiden Scheherazade entertains the sultan with a tale. Spinning a thread, she keeps him spellbound until dawn—without finishing the story. Eager to hear the conclusion, the king spares her life for a day. That night she finishes the story but starts another. Again,

52 | encore she ends with a cliffhanger and lives another day. For nearly three years, Scheherazade mollifies the king with her stories. After 1,001 nights, he lifts the death sentence—and thus begins one of the oldest, most famous collections of fairy tales. Reaching back to the Middle Ages, The Arabian Nights pulls stories from across the Middle East and southern Asia. Part of an oral tradition, these yarns continued to evolve and were eventually folded into a tale-within-a-tale. Traditionally, each story begins with Scheherazade and her artful act of defiance. Nikolai Rimsky-Korsakov follows this formula in his popular symphonic tribute to the girl, giving her voice to the solo violin. At the start of each episode, she returns to begin a new tale: “The Sea and Sinbad’s Ship,” “The Kalendar Prince,” “The Young Prince and the Young Princess,” and “Festival of Baghdad.” Like the girl it represents, Scheherazade’s music is perfumed, curvy and seductive. Orientalism With the rise of colonialism came a steady flow of goods from the East along with anecdotes about distant civilizations. Europeans began commissioning portraits of themselves wearing traditional Turkish clothing; they decorated their homes with Persian rugs and served tea in fine china. Western authors penned novels about the exploits of exotic people spawning clichés about cultures they’d never experienced, and an artistic movement was born. Orientalism is as much about the cultures of faraway places as it is about the European imaginings of them. Born out of a fascination for things exotic, Orientalism in music hit the mainstream through the likes of Mozart, Rameau, Puccini, Saint-Saëns, Tchaikovsky, Verdi, Stravinsky, Bartòk, Ravel and more. In music, Orientalism finds expression through the Arabic and pentatonic scales, imported percussion instruments, as well as story ideas based on non-western civilizations. This was the spirit in which Rimsky-Korsakov wrote Scheherazade. About the Composer For a man of the 19th century, Nikolai Rimsky-Korsakov | @AtlantaSymphony |

When Russia’s first conservatory opened its doors in 1862, it appeared Nikolai would be a career navy man and an amateur musician. Upon graduation from the naval college, he embarked upon a 32-month voyage that took him to ports around the world, including the United States (part of a Civil Warera alliance between the tsar and President Lincoln). A few years after his return to Russia, he took a left turn, accepting a teaching position at the St. Petersburg Conservatory. Privately, he felt inadequate to the task. Given his lack of formal education in music, he began a series of self-studies with some encouragement from Tchaikovsky, an alumnus of the conservatory. Rimsky-Korsakov went on to write an influential book on orchestration. Today, the St. Petersburg Conservatory bears his name.

All I had desired was that the hearer . . . should carry away the impression that this is beyond doubt an Oriental narrative.” —Rimsky-Korsakov on Scheherezade


had powerful associations with distant lands. His brother, Voin, was a career navy man. Eventually becoming a rear admiral, Voin seldom saw his family but maintained a lively correspondence with them through various ports of call. Back home in the landlocked village of Tikhvin, little Nika hung on every word of those letters. Dreaming of a life at sea, he built model ships and proudly recited nautical terms. At the same time, he studied piano and began composing at age 10. At 12, he enrolled in the naval college in St. Petersburg. While in school, Nikolai began to associate with local composers.

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54 | meettheartists


ROBERT SPANO, CONDUCTOR See biography on page 5.



he first mandolin soloist to be nominated for a classical Grammy®, Avi Avital has been compared to Andres Segovia for his championship of his instrument and to Jascha Heifitz for his incredible virtuosity. Passionate in live performance, he is a driving force behind the reinvigoration of the mandolin repertory. More than 100 contemporary compositions have been written for him, 15 of them concertos including by Anna Clyne, Avner Dorman and Giovanni Sollima. An exclusive Deutsche Grammophon artist, he has made five recordings for the label mostly recently solo Bach (2019). Earlier releases include Avital meets Avital (2017) with oud/ bassist, Omer Avital, which explores their shared cultural heritage and brings their differing classical and jazz musical backgrounds into dialogue. Vivaldi (2015) followed his own Bach concerto transcriptions (2012) and Between Worlds (2014), a cross-generic chamber collection exploring the nexus between classical and traditional music. He has also recorded for Naxos and SONY Classical. Born in Be’er Sheva in southern Israel, Avital began learning the mandolin at the age of eight and soon joined the flourishing mandolin youth orchestra founded and directed by his charismatic teacher, Russian-born violinist Simcha Nathanson. He studied at the Jerusalem Music Academy and the Conservatorio Cesare Pollini in Padua with Ugo Orlandi. Winner of Israel’s prestigious Aviv Competition in 2007, Avital is the first mandolinist in the history of the competition to be so honoured. He plays on a mandolin made by Israeli luthier Arik Kerman. | @AtlantaSymphony |

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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.

56 | encore ASO | SUPPORT (cont.) $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 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

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

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

$5,000+ A Friend of the Symphony Mr. & Mrs. Calvin R. Allen Judy & Dick Allison 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 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

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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

58 | encore 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 Nancy & John Janet 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.° The Piedmont National Family Foundation 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 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 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*

| 59

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

60 | 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 |

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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

RaSheed Lemon artist liaison

Carol Wyatt executive assistant to the co-artistic advisors

EDUCATION & COMMUNITY ENGAGEMENT Sarah Grant director of education

Elena Gagon education coordinator



Hsing-I Ho

Russell Wheeler vice president, sales &

Susan Ambo

assistant orchestra

revenue management

& vice president,

personnel manager

Matthew Brooker

business operations


& asyo

Victoria Moore director of orchestra personnel

Ronald MacDuff front of house & guest

Delle Beganie content & production

Milo McGhee

Leah Branstetter director of digital content

Caitlin Buckers

marketing manager, live

Elizabeth Daniell associate director of communications

Lisa Eng multimedia creative

talent development

Adam Fenton director of multimedia



Sameed Afghani vice president &

Mia Jones-Walker

general manager

Rob Phipps

Paul Barrett senior production

director of publications

marketing manager

Bob Scarr archivist & research

Tyler Benware


director of orchestra

Will Strawn


& asyo

senior director of

guest services associate

Tammy Hawk vice president, marketing & communications

manager, live

stage manager

Kimberly Hielsberg

Kenedi Deal Erin Jones

Ryan Walks program manager

guest services associate



associate director of

Richard Carvlin

marketing, live

stage manager

Madisyn Willis marketing manager

chief financial officer

director of sales

services supervisor

guest services associate

Bennett Morgan guest services associate

Jesse Pace manager of patron experience

& season


Dennis Quinlan data analyst

Robin Smith patron services

financial planning



Brandi Hoyos

director of diversity, equity

& inclusion

April Satterfield controller

DEVELOPMENT Grace Sipusic vice president, development

Renee Contreras associate director of development communications

William Keene director of annual giving

& 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

Catherine MacGregor 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. | @AtlantaSymphony |

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


| 63

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.

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

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