Atlanta Symphony Orchestra; March, 2024

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

MARCH 2024

M A R C H

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I N T R O D U C T I O N S In Tune. . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Music Director.. . . . . . . . . . . . . . . . . . . . . 7 ASO Leadership. . . . . . . . . . . . . . . . . . . . 8 ASO Musicians. . . . . . . . . . . . . . . . . . . . 10 Renée Fleming: Music and Mind. . . . . 14 Multi-Year Donor Recognition. . . . . . . 18 Donor Profile.. . . . . . . . . . . . . . . . . . . . . 19 N OT E S

O N

T H E

P R O G R A M

Written by Noel Morris

February 29, March 2.. . . . . . . . . . . . . . 22 March 14, 16. . . . . . . . . . . . . . . . . . . . . . . 32 March 21, 22, 23, 24. . . . . . . . . . . . . . . . 40 D E PA R T M E N T S ASO Support. . . . . . . . . . . . . . . . . . . . . . 52

age 14 P Renée Fleming Sings the Benefits of Music and Mind

By Holly Hanchey

Henry Sopkin Circle. . . . . . . . . . . . . . . . 56 ASO Staff. . . . . . . . . . . . . . . . . . . . . . . . . 58 Woodruff Circle. . . . . . . . . . . . . . . . . . . 60 Benefactor Circle. . . . . . . . . . . . . . . . . . 61

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2 | encore Our audience is your audience.

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4 | encore ASO | IN TUNE DEAR FRIENDS:

W

elcome to March at the Atlanta Symphony Orchestra!

TODD HALL

As we enter Women’s History Month, we pay tribute to the phenomenal leader and artist in our midst who is making history as we speak—our own Music Director, Maestro Nathalie Stutzmann. This year she has made big waves on the international scene, including the prestigious “Best Conductor of the Year” Oper Award for her debut in Wagner’s Tannhäuser at the Bayreuth Festival. Only the second woman to conduct a production there, her interpretation was met with enthusiastic acclaim.

In 2023, she was the first conductor (of any gender) since 1973 to conduct two productions at the Metropolitan Opera in a debut season. The Süddeutsche Zeitung has proclaimed her “probably the most important conductor of our time.”

In February, a group of ASO donors traveled to see Nathalie conduct at the Philharmonie in Paris and the London Symphony Orchestra. Experiencing Nathalie’s work with venerable European orchestras in lauded venues brought home to us what an international phenomenon she is, and how fortunate we are to benefit from her inspiring leadership. In a review of the London Symphony performances, Peter Quantrill described Nathalie as having “intuitive gifts as a Brucknerian” and referred to her interpretations as “illuminating." Her artistry and dedication continue to captivate audiences worldwide, making her a force to be reckoned with in the world of classical music and opera. We’re thrilled that she’s our Music Director!

Nathalie and the ASO kick off the month of March on the road in Southern California for a one-week tour. This is a great opportunity to let SoCal audiences experience the magic of Nathalie+ASO, acting as ambassadors for our great city.

Here at home, we’ll open this month with performances led by Maestro Osmo Vänskä who joins forces with fiery pianist Alexander Melnikov. Tchaikovsky’s beautiful Sleeping Beauty ballet music graces a program led by debut conductor Alpesh Chauhan. We’ll end the month with the massive hit Carmina Burana, featuring our brilliant Orchestra and world’s-best Chorus in full voice.

We may be making waves around the country and around the world, but we are your orchestra, Atlanta! Thank you for being part of this exciting musical journey.

With gratitude,

Jennifer Barlament, Executive Director

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

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

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ASO | NATHALIE STUTZMANN

N

athalie Stutzmann is the Music Director of the Atlanta Symphony Orchestra and the second woman in history to lead a major American orchestra. She is also the Principal Guest Conductor of The Philadelphia Orchestra.

When Nathalie made her spectacular debut at the 2023 Bayreuth Festival leading Wagner’s Tannhäuser, BR Klassik observed having “never experienced such a standing ovation at a pit debut in Bayreuth.” Last season also saw her acclaimed debut at the Metropolitan Opera with productions of both Die Zauberflöte and Don Giovanni that The New York Times declared “the coup of the year.”

During the 23-24 season, she leads the Atlanta Symphony in a West Coast tour and twelve programs spanning some of her favorite core repertoire from Beethoven, Schumann, Brahms and Ravel through to the large symphonic forces of Mahler, Strauss and Tchaikovsky, along with a Bruckner festival marking the composer’s 200th anniversary. With The Philadelphia Orchestra, she returns to New York for her much-anticipated Carnegie Hall debut.

AUDRA MELTON

She was awarded the 2023 Opus Klassik “Concerto Recording of the Year” for her recording of Glière and Mosolov Harp concertos with Xavier de Maistre and WDR Sinfonieorchester.

Gramophone praised her 2022 recording of the complete Beethoven Piano Concertos as “a brilliant collaboration that I urge you to not miss.” Nathalie Stutzmann is an exclusive recording artist for Warner Classics/Erato.

As one of today’s most esteemed contraltos, she has made more than 80 recordings and received the most prestigious awards. Recognized for her significant contribution to the arts, Nathalie was named “Chevalier de la Légion d’Honneur,” France’s highest honor; and “Commandeur dans l’Ordre des Arts et des Lettres” by the French government.

Congratulations to Nathalie Stutzmann on winning Germany's OPER! AWARDS "Best Conductor 2023"!

8 | encore ASO | LEADERSHIP | 2023/24 Board of Directors OFFICERS Patrick Viguerie

Bert Mills

Susan Antinori

James Rubright

chair

treasurer

vice chair

vice chair

Janine Brown

Angela Evans

Lynn Eden

immediate past chair

secretary

vice chair

DIRECTORS Phyllis Abramson

Carlos del Rio, M.D. FIDSA

Randolph J. Koporc

Barbara N. Paul

Keith Adams

Carrie Kurlander

Doug Reid

Juliet M. Allan

Lisa DiFrancesco, M.D.

Scott Lampert

James Rubright

Susan Antinori

Sloane Drake

James H. Landon

William Schultz

Andrew Bailey

Lynn Eden

Donna Lee

Charles Sharbaugh

Jennifer Barlament*

Yelena Epova

Sukai Liu

Fahim Siddiqui

Keith Barnett

Angela Evans

Kevin Lyman

W. Ross Singletary, II

Paul Blackney

Craig Frankel

Deborah Marlowe

John Sparrow

Zachary Boeding*

Sally Bogle Gable

Shelley McGehee

Elliott Tapp

Janine Brown

Anne Game

Arthur Mills IV

Brett Tarver

Benjamin Q. Brunt

Rod Garcia-Escudero

Bert Mills

Valerie Thadhani

Betsy Camp

Sally Frost George

Molly Minnear

Maria Todorova

S. Wright Caughman, M.D.

Robert Glustrom

Hala Moddelmog*

S. Patrick Viguerie

Bonnie B. Harris

Anne Morgan

Kathy Waller

Lisa Chang

Charles Harrison

Terence L. Neal

Chris Webber

Susan Clare

Tad Hutcheson, Jr.

Galen Lee Oelkers

Richard S. White, Jr.

Russell Currey

Roya Irvani

Dr. John Paddock

Mack Wilbourn

Sheila Lee Davies

Joia M. Johnson

Margie Painter

Erroll Brown Davis, Jr.

Chris Kopecky

Howard D. Palefsky

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

BOARD OF COUNSELORS Neil Berman

John T. Glover

Penelope McPhee

Ray Uttenhove

Rita Bloom

Dona Humphreys

Patricia H. Reid

Chilton Varner

John W. Cooledge, M.D. Aaron J. Johnson, Jr.

Joyce Schwob

Adair M. White

John R. Donnell, Jr.

James F. Kelley

John A Sibley, III

Sue Sigmon Williams

Jere A. Drummond

Patricia Leake

H. Hamilton Smith

Carla Fackler

Karole F. Lloyd

G. Kimbrough Taylor, Jr.

Charles B. Ginden

Meghan H. Magruder

Michael W. Trapp

LIFE DIRECTORS Howell E. Adams, Jr.

C. Merrell Calhoun

Ben F. Johnson, III

Connie Calhoun

Azira G. Hill

John B. White, Jr.

*Ex-Officio Board Member

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

10 | encore ASO | 2023/24 Musician Roster Nathalie Stutzmann music director

The Robert Reid Topping Chair

FIRST VIOLIN David Coucheron concertmaster

Jay Christy

acting associate / assistant principal

The Mr. & Mrs. Howard R. Peevy Chair

Dae Hee Ahn

Justin Bruns

Noriko Konno Clift

associate concertmaster

Robert Anemone

The Charles McKenzie Taylor Chair

David Dillard

Vacant

Eun Young Jung

assistant concertmaster

Eleanor Kosek

Jun-Ching Lin

Yaxin Tan

assistant concertmaster

Rachel Ostler

Anastasia Agapova acting assistant

VIOLA

concertmaster

Zhenwei Shi

Kevin Chen Carolyn Toll Hancock The Wells Fargo Chair

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

principal

The Frances Cheney Boggs Chair

Isabel Kwon Nathan Mo Brad Ritchie Denielle Wilson BASS Joseph McFadden principal

The Marcia & John Donnell Chair

Gloria Jones Allgood associate principal

Michael Kenady

associate principal

The Jane Little Chair

The Mary & Lawrence Gellerstedt Chair

Michael Kurth

Catherine Lynn

Karl Fenner

Nicholas Scholefield

assistant principal

Daniel Tosky

Marian Kent

FLUTE

Yang-Yoon Kim

Christina Smith

Yiyin Li

principal

Jessica Oudin

The Jill Hertz Chair The Mabel Dorn Reeder Honorary Chair

Madeline Sharp

Robert Cronin

Lachlan McBane

principal

Sou-Chun Su acting / associate principal

Ray Kim

Paul Murphy

SECOND VIOLIN

The Atlanta Symphony Associates Chair

The UPS Foundation Chair

The Lucy R. & Gary Lee Jr. Chair

CELLO

principal

Joel Dallow

The Edus H. & Harriet H. Warren Chair

Sanford Salzinger Vacant

Thomas Carpenter

Vacant The Miriam & John Conant Chair

Daniel Laufer acting / associate principal

associate principal

C. Todd Skitch Gina Hughes PICCOLO Gina Hughes

The Livingston Foundation Chair

OBOE

Karen Freer

Elizabeth Koch Tiscione

acting associate / assistant principal

principal

The George M. & Corrie Hoyt Brown Chair

Players in string sections are listed alphabetically

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William R. Langley associate conductor &

atlanta symphony youth

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Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair

orchestra music director

The Zeist Foundation Chair

Zachary Boeding

HORN

TIMPANI

associate principal

Ryan Little

Mark Yancich

principal

principal

The Betty Sands Fuller Chair

The Walter H. Bunzl Chair

Jonathan Gentry

Kimberly Gilman

Michael Stubbart

Emily Brebach

Jack Bryant

assistant principal

ENGLISH HORN

Bruce Kenney

PERCUSSION

Emily Brebach

TRUMPET

Joseph Petrasek

CLARINET

Vacant

The Kendeda Fund Chair

Samuel Nemec*

Jesse McCandless principal

The Robert Shaw Chair

Ted Gurch* associate principal

Marci Gurnow acting associate principal

Julianna Darby Alcides Rodriguez E-FLAT CLARINET Ted Gurch* BASS CLARINET Alcides Rodriguez BASSOON Vacant principal

The Abraham J. & Phyllis Katz Foundation Chair

Anthony Georgeson acting / associate principal Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar

principal

The Madeline & Howell Adams Chair

Michael Tiscione acting / associate principal Mark Maliniak acting / associate principal Anthony Limoncelli* William Cooper TROMBONE Vacant principal

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

Nathan Zgonc acting / associate principal The Home Depot Veterans Chair

Jason Patrick Robins BASS TROMBONE

principal

The Julie & Arthur Montgomery Chair

Michael Jarrett assistant principal

The William A. Schwartz Chair

Michael Stubbart The Connie & Merrell Calhoun Chair

HARP Elisabeth Remy Johnson principal

The Sally & Carl Gable Chair

KEYBOARD The Hugh & Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson † LIBRARY Joshua Luty principal

Chance Gompert

The Marianna & Solon Patterson Chair

Jordan Milek Johnson

Sara Baguyos

Fellow

TUBA Michael Moore principal

associate principal librarian

GUEST CONDUCTOR Neil and Sue Williams Chair

The Delta Air Lines Chair

Joshua Williams fellow

Zeist Foundation ASO Fellowship Chair ‡ Rotates between sections | * Leave of absence | † Regularly engaged musician

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a group of passionate & engaged individuals who act as both ambassadors & resources for the ASO Board & staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members 2023/24 CHAIRS

Eunice Luke John Blatz Erin Marshall Carol Brantley & advisory council chair David Webster Belinda Massafra Tracey Chu Justin Im Doug and Kathrin internal connections Mattox Donald & Barbara task force co-chair Defoe Ed and Linda McGinn Robert Lewis, Jr. Paul & Susan Dimmick Erica McVicker internal connections Bernadette Drankoski Berthe & Shapour task force co-chair John & Catherine Dyer Mobasser Frances Root Bert Mobley Mary Ann Flinn patron experience task force chair Caroline & Phil Moïse Bruce Flower Eleina Raines Sue Morgan John Fuller diversity & community Jane Morrison Alex Garcias connections task force Gary Noble Dr. Paul Gilreath co-chair Regina Olchowski Tucker Green Otis Threatt Mary Elizabeth Gump Bethani Oppenheimer diversity & community connections task force Chris Owes Elizabeth Hendrick co-chair Ralph Paulk Caroline Hofland MEMBERS Fay & Ann Pearce Justin Im Dr. Marshall & Eliza Quigley Baxter Jones & Stephanie Abes Jiong Yan Eleina Raines Krystal Ahn Jon Kamenear Leonard Reed Paul & Melody Aldo Brian & Ann Kimsey Vicki Riedel Kristi & Aadu Allpere Jason & Michelle Kroh Felicia Rives Evelyn Babey Dr. Fulton Lewis III & David Rock Asad & Sakina Bashey Mr. Neal Rhoney Frances A. Root Herschel Beazley Robert Lewis, Jr. Tiffany & Rich Rosetti Meredith W. Bell Jane Morrison

Thomas & Lynne Saylor Beverly & Milton Shlapak Suzanne Shull Baker Smith Cindy Smith Peter & Kristi Stathopoulos Tom & Ani Steele Kimberly Strong Beth and Edward Sugarman Stephen & Sonia Swartz George & Amy Taylor Bob & Dede Thompson Otis Threatt Jr. Cathy Toren Roxanne Varzi Robert & Amy Vassey Juliana Vincenzino Nanette Wenger Christopher Wilbanks Kiki Wilson Taylor Winn Camille Yow

For more information about becoming an Advisory Council member, please contact Cheri Snyder at cheri.snyder@atlantasymphony.org or 404.733.4904. aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Renée Fleming Sings the Benefits of Music and Mind

ANDREW ECCLES

By Holly Hanchey

encoreatlanta.com

M

y father wasn’t a musician, but he did love singing. When he was just 65 years old, he was diagnosed with Mild Cognitive Impairment. It started with forgetting or mixing up words and progressed rapidly over the next five years until he could no longer speak.

As was our tradition, we went to Christmas Eve services together one year in the middle of his disease progression and he wasn’t talking very much. That night, however, as the organ began playing “Silent Night,” my father, who had not spoken without difficulty in some years, sang every word of every verse to the hymn. It remains to this day the most beautiful music I’ve ever heard.

How is it that someone in the middle of Early-onset Alzheimer’s was able to sing a favorite hymn, but not remember my childhood nickname? That’s what researchers at the National Institute of Health (NIH), among other organizations, are trying to figure out.

Increasing amounts of studies and research are proving music and art therapies to be instrumental tools in addressing multiple mental health issues such as depression and anxiety, as well as complex neurological disorders such as Parkinson’s and Alzheimer’s diseases.

One of the leading advocates for this research is world-renowned soprano Renée Fleming, a five-time Grammy® Award-winning singer who takes the stage in Symphony Hall on April 11 and 13 with Music Director Nathalie Stutzmann and the ASO. In addition to two performances of Richard Strauss songs, Fleming will host a “Music and Mind” event at the Woodruff Arts Center on Friday, April 12, at 6:30 p.m. The panel discussion, moderated by CNN’s Dr. Sanjay Gupta, will explore how music can be used to understand and treat complex brain disorders and mental health issues, like Alzheimer’s and PTSD. In 2016, Fleming became an essential part of the Sound Health Initiative, a partnership with NIH and the Kennedy Center to study how listening, performing or creating music works in the brain, which in turn could lead to more therapy and treatment for patients with neurological disorders. Through the Sound Health Initiative, the NIH has awarded $20 million in funding for music and neuroscience research over the next five years.

Her work with Sound Health led Fleming to create her “Music and Mind” presentation, which further explores the impact of music on

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16 | encore the brain in areas like child development, depression, loneliness, and social issues. During the COVID-19 pandemic, when the live “Music and Mind” events were shuttered, she turned the presentations into a live-streamed series on YouTube, reaching more than 665,00 viewers in 70 countries.

According to Fleming, her reasons for supporting the research into music and mental health are personal. She told the Washington Post in an interview last year that she has, for years, suffered from somatic pain before performances. “It’s pain that your brain and body are making up so that you can be distracted from what’s distressing you, which in my case was performance pressure.”

Brain pathways, like our muscles, are strengthened when exercised or used. When they aren’t used, the brain shuts them down or finds another use for those pathways. Music, however, uses so many of those pathways, that it keeps them all strong and in use which can keep things like cognitive function from declining. Musicians, in particular, use more of their brain pathways than non-musicians, and are more likely to use both halves of the brain when playing music or performing exercises like detecting pitch.

But it’s not just physical health that is impacted by music — mental health is also improved and strengthened with music therapy.

Listening to music activates and synchronizes the emotional regions in the brain, releases dopamine, and lowers stress. This is why we often get emotional listening to music associated with a strong memory, and why music therapy is becoming more popular in treating issues like PTSD. Music can also help with pain management. Music-based therapies have been shown to improve chronic pain, which as many of 55% of the population worldwide reports experiencing. Because music therapy is non-pharmaceutical pain management, it’s less expensive than some forms of treatment and has no risk of addiction or other major side effects.

Music relaxes us, inspires us, and heals us on many levels. Most music lovers know that on an instinctive level, but with new research and studies, there’s scientific data to back it up.

“I believe the arts should be embedded in health care, across the board,” Fleming told the Washington Post. “Doctors need it, healthcare providers need it. When you bring in people who are doing this work, everybody gets lifted.”

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

18 | encore

The Atlanta Symphony Orchestra is grateful to the following donors who have pledged to continue their Annual Fund support for three years or more. These generous multi-year commitments provide valuable support and stability that allows the ASO to continue

A Friend of the Symphony Paul & Melody Aldo The Paul M. Angell Family Foundation Farideh & Al Azadi Foundation Anthony Barbagallo & Kristen Fowks Jack & Helga Beam The Molly Blank Fund of The Arthur M. Blank Family Foundation Patricia & William Buss Lisa and Russ Butner Ms. Lisa V. Chang Mr. & Mrs. Erroll B. Davis, Jr. Mr. Richard H. Delay & Dr. Francine D. Dykes Paulette Eastman & Becky Pryor Anderson* Ms. Angela L. Evans Lettie Pate Evans Foundation Bruce W. & Avery C. Flower

Mr. & Mrs. Richard Goodsell Mr. & Mrs. John Hellriegel Abraham J. & Phyllis Katz Foundation Brian & Carrie Kurlander The Marcus Foundation, Inc. John & Linda Matthews Sue Morgan Jane Morrison Janice & Tom Munsterman Ms. Margaret Painter Sally & Pete Parsonson Tiffany & Rich Rosetti June & John Scott In memory of Elizabeth B. Stephens by Powell, Preston & Sally George & Amy Taylor Carolyn C. Thorsen Ann Marie & John B. White, Jr.°

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

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DONOR PROFILE

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BRUCE AND AVERY FLOWER:

Continuing the Legacy of the ASO

B

ruce and Avery Flower moved to Acworth, GA, from central Florida in 2007, and immediately became part of the ASO family, regularly attending concerts and supporting the Orchestra financially. Bruce is a judge with a private practice in Marietta, and Avery now works with the state in the administration of Medicare.

I’ve had a love of classical music my whole life,” said Bruce, who has a background as a singer in music theater, opera, and church music. Avery’s avocation is working with women’s ministries at their church, but both are fans of the Orchestra.

“Clearly, the symphony is an important part of our lives and enhances them,” explained Bruce. Four years ago, the Flowers joined the ASO Advisory Council and are active members, part of a growing community of dedicated fans who serve as thought partners for ASO management and help to promote the Orchestra in the community.

As members of the Sopkin Circle, Bruce and Avery have arranged to support the Orchestra via a planned gift. “That goes into continuing the legacy of the performing arts and the enrichment of lives here,” Bruce added. “It’s a privilege to be able, in some small way, to help that continuity.”

Become a member of the Henry Sopkin Circle by making a planned gift to the Orchestra.

Contact: JIMMY PAULK SENIOR ANNUAL GIVING OFFICER James.Paulk@ atlantasymphony.org 404.733.4485

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

22 | feb29/mar2 Concerts of Thursday, February 29, 2024, at 8:00 PM Saturday, March 2, 2024, at 8:00 PM OSMO VÄNSKÄ, conductor ALEXANDER MELNIKOV, piano

HENRY DORN (b. 1988) Transitions for Orchestra (2019) SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G Minor, Op. 16 (1913, rev. 1923) I. Andantino—Allegretto II. Scherzo: Vivace III. Intermezzo: Allegro moderato IV. Finale: Allegro tempestoso Alexander Melnikov, piano INTERMISSION JEAN SIBELIUS (1865–1957) Symphony No. 3 in C major, Op. 52 (1907) I. Allegro moderato II. Andantino con moto, quasi allegretto III. Moderato — Allegro, ma non tanto

10 MIN

31 MIN

20 MIN 29 MIN

Saturday's concert is dedicated to JOHN W. COOLEDGE, M.D. in honor of his generous support of the 2022/23 Annual Fund.

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

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

notesontheprogram

by Noel Morris Program Annotator

Transitions for Orchestra

These are the first ASO performances.

Transitions is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion piano and strings.

H

enry Dorn (b. Little Rock, AR). Each of his compositions builds distinct narratives based on lived experiences of being a musician and African American, taking ideas and putting them in places where they do not seem to belong.

Dorn has enjoyed performances by noteworthy ensembles across the country, including the Minnesota Orchestra, the Grammy-winning Harlem Quartet, Aizuri Quartet, Argento Ensemble and the Dallas Wind Symphony.

Beginning August 2023, Dorn will be Assistant Professor of Music, Conductor of the St. Olaf Band at St. Olaf College in Northfield, MN. He is the former assistant director to the Memphis Area Youth Wind Ensemble, and former director to the Memphis-based Nu Chamber Collective. Dorn has also worked with musicians of the United States Army Field Band, the United States Air Force Band, and has guest conducted the United States Army Band “Pershing’s Own.” He’s proud to have received multiple awards for his unique style, including an Inaugural Future of Music Faculty Fellowship from the Cleveland Institute of Music and an ASCAP Foundation’s Morton Gould Young Composer Award.

Dorn holds two Doctor of Musical Arts degrees—one in wind conducting and another in composition—from Michigan State University and has completed studies at The University of Memphis and at Peabody Institute of The Johns Hopkins University. He has studied conducting with Kevin L. Sedatole, Harlan D. Parker, and Kraig Alan Williams, and composition with David Biedenbender, Ricardo Lorenz, Alexis Bacon, Oscar Bettison, Kamran Ince and Jack Cooper. www.henryldorn.com From the composer:

M

y mother passed in July 2017 from cancer. Her entire life could be summarized as endeavoring against opposition. This was true even right up to the end as she battled the suffocating effects of lung cancer. As I sat in wait with her in the hospital during her final days, I became an active participant in her transition from

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24 | encore this life to whatever comes next. It was there that I started to the write notes and ideas I felt about the experience, her journey, her unspoken strength, and her quiet inner beauty. These sketches, which were too difficult to encompass at the time, were put to the side until I was able to set to paper my thoughts about her final days. This work is for her.

Cancer sucks. There’s no nice way to say that. It comes like a thief in the night and enters like a pest, and then it proliferates. Before you know — it’s everywhere! I spent a month with my mother in a hospital. She had lost a considerable amount of weight.

Someone who always hummed and had melody in heart and could absolutely talk for hours was reduced to a silence, as if held captive as a gagged prisoner. In this work, I try to capture not the beauty we often try to find in the passing of a loved one, but the tumultuous, ravenous nature of this illness. There are moments that are dense and complex, dark and sometimes ugly. A menacing fugal idea that continues to proliferate—much in the way that cancer does. A rising melody like the sound of a ventilator helping to breathe when the body no longer has the capacity to do it on its own. The mechanical sounds of keys clicking and descending and ascending scales like rumbling of hospital equipment. Hint of the Dies Irae plainchant pointing to impending demise.

And yet—in all of this—I imagine my mother’s gentle spirit. The middle of the piece paints a picture of a still, suspended state.

It harkens to my experience in the hospital at night, after all others are gone and all is quiet. The silence disrupted only by the occasional beeps of machinery. I tried to imagine my mother’s thoughts and envisioned this state of serenity led by a melody I could see her humming. This was her unspoken strength, still present in the face of death. This piece again gives way to the chaos of cancer, returning more ruthless than before. The turmoil starts to totally boil over, with all the components of the work bearing down one final time. As a final call of strength, the horns raise their bells to sound my mother’s melody (she was, herself, a hornist in school). The eminent end draws near, but not before a final nod to her and her life.

Transitions was premiered by the Minnesota Orchestra (Osmo Vänskä, Music Director), on May 6, 2022, as a part of the Minnesota Orchestra Composer Institute.

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26 | encore First ASO performances: November 29-December 1, 1974 Robert Shaw, conductor Garrick Ohlsson, piano Most recent ASO performances: January 31-February 2, 2008 Robert Spano, conductor Yefim Bronfman, piano

Piano Concerto No. 2 in G Minor, Op. 16 In addition to the solo piano, this concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings.

Y

oung Sergei Prokofiev was as cocky as he was gifted. Over the 10 years he spent at the St. Petersburg Conservatory, people knew him as the “enfant terrible.” And he continually rankled his piano and composition professors.

“I cannot understand why you bother to study with me,” said Anatol Liadov, according to Prokofiev. “Go to Richard Strauss, go to Debussy.” No doubt, some of the old stalwarts fumed as their student went off to Moscow to premiere his First Piano Concerto. He wasn’t even due to graduate for another two years.

“There were many curtain calls and three encores,” Prokofiev chirped. But reviews were mixed.

The following winter, tragedy struck. Prokofiev launched into his Second Piano Concerto and shared little bits of it with his best friend and classmate, Maximilian Schmidthof. Soon after that happy time, Schmidthof boarded a train to Finland and shot himself, likely over a mounting debt. Prokofiev was devastated.

“I feel completely alone,” he sobbed. Over the coming months, he channeled his grief into music, and Schmidthof’s loss loomed over the completion of the Second Piano Concerto.

With the new work in the offing, the 22-year-old had no trouble lining up performances. Over summer break, he spent at least four hours a day learning the piano part. That’s when the first rumblings began. “[It’s] incredibly difficult and mercilessly tiring,” he admitted.

Prokofiev played the first performance in August of 1913. Again, he received a mixed response. The many traditionalists booed while the progressives cheered. Today, we don’t know what they heard; Russia was headed for upheaval.

The 1917 October Revolution disrupted every level of Russian society.

Prokofiev slipped away to America. In the coming years, his bright and shiny future frayed. The Americans offered only a lukewarm reception, and he was forced to support himself as a pianist. Failing to gain a foothold in the U.S., he settled in Paris in 1923.

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Back in Russia, the manuscript of his Piano Concerto No. 2 disappeared—ostensibly burned as fuel. And so, Prokofiev reconstructed the piece from memory in 1923 and played the second premiere the following year.

By his recollection, much had changed in the second version of the concerto, though it continues to be “mercilessly tiring.” Today, pianists consider it to be one of the most difficult in the repertoire.

The first movement ends in a brutal five-minute cadenza, followed by a scherzo in which the soloist fires off more than 3,700 notes in just over two minutes. The music is edgy and tumultuous.

Nevertheless, fans of Prokofiev will recognize the composer of Peter and the Wolf and Romeo and Juliet. Shortly after its Paris premiere, Prokofiev published the piece and dedicated it to his boyhood friend Max Schmidthof.

Symphony No. 3 in C major, Op. 52 This symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

I

n his youth, Jean Sibelius was slender and handsome. He had deep blue eyes and skittered from one romance to the next. “We were all in love with him,” wrote Alma Söderhjelm. When the Järnefelt brothers brought him home for dinner one night, he fell in love with their sister.

First ASO performance: March 5-6, 1959 Henry Sopkin, conductor Most recent ASO performance: September 22-24, 2005 Robert Spano, conductor

Aino Järnefelt was a 17-year-old beauty and a gifted writer, artist, linguist and amateur musician—a product of her parents. Her mom, Elizabeth, was known as the “mother of Finnish art and culture.” Her father, Alexander, was an army general and the governor of Vaasa Province. Through him, the Järnefelt kids became fiercely patriotic, taking pride in the Finnish language at a time when it was considered second-class to Russian or Swedish. Sometime over the next two years, Jean and Aino began a secret courtship and decided to marry.

Through the General’s family, Jean Sibelius came into the upper echelon of Finnish society. He became a patriot and started exploring Finnish folklore in his compositions. This proved to be a historically important development.

In 1899, Tsar Nicholas II reversed decades of policies granting Finnish autonomy within the Russian Empire. In a process

28 | encore called Russification, he attempted to quash Finnish identity by seizing control over many aspects of public life. Sibelius ramped up his patriotic compositions, helping to rally his people. He became a national hero.

While his celebrity grew, married life left something to be desired.

He deeply loved his wife but had a habit of going on alcoholic benders, disappearing into barrooms for days on end. His dining and drinking drained family finances.

At the end of 1903, Jean and Aino decided to leave Helsinki (and its temptation) and build a home in the woods along Lake Tuusula.

There, Aino was their rock: she homeschooled their five daughters and kept a vegetable garden to help feed the family.

“I was constantly hoeing and shoveling. Sometimes I cried, and then I started hoeing again,” she said. Sibelius named the home “Ainola,” Aino’s Place. He would write many of his most famous pieces there.

In 1906, he worked on several projects at once: a sacred oratorio called Marjatta (unfinished) and the tone poems Luonnotar and Pohjola’s Daughter. He also started the Third Symphony, repurposing material from the other projects.

“A new classicism enters his style; it’s not like the Romantic urgency in the first two symphonies,” said conductor Osmo Vänska. “I would not call it ‘chaste,’ but it fits in with the Neo-Classical temperament of the times in which it appeared.” Vänska emphasizes the need for the musicians to listen to each “member of the respective ensembles as they play, making the ‘chamber music’ experience of the music more palpable.”

Sibelius finished the Third Symphony in 1907. That same year, Aino collapsed from exhaustion and received treatment at a sanatorium.

In the end, they shared a 65-year marriage and lived into their 90s.

“I am happy that I have been able to live by his side,” she wrote. “To me, my husband’s music is the word of God—its source is noble, and it is wonderful to live close to such a source.”

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30 | meettheartists OSMO VÄNSKÄ, CONDUCTOR

C

onductor Laureate of Minnesota Orchestra, where he held the Music Directorship for 19 years, and Music Director of Seoul Philharmonic Orchestra from 2020 – 2023, Osmo Vänskä is recognized for his compelling interpretations of repertoire of all ages and an energetic presence on the podium. His democratic and inclusive style of work has been key in forging long-standing relationships with many orchestras worldwide.

Performances of Mahler’s Symphony No.8 with the Minnesota Orchestra in June 2022 provided a fitting culmination for Vänskä’s tenure as Music Director. Together they undertook five major European tours, as well as a historic trip to Cuba in 2015 — the first visit by an American orchestra since the two countries reestablished diplomatic relations. They also made a ground-breaking tour to South Africa in 2018 as part of worldwide celebrations of Nelson Mandela’s Centenary — furthermore the first visit by an American orchestra — drawing together South African and American performers in musical expressions of peace, freedom, and reconciliation on a five-city tour. Vänskä and Minnesota Orchestra also made an acclaimed return to the BBC Proms in the Summer of 2018.

This season he will conduct the orchestras of Atlanta, Bergen, Detroit, Netherlands Radio, Antwerp, Pittsburgh, Seattle, Tokyo Metropolitan, Sydney, Adelaide and Toronto amongst others. Recent guest conducting invitations include renowned international ensembles such as The Cleveland, Chicago, Los Angeles, Philadelphia, Orchestre Symphonique de Montréal and San Francisco symphony orchestras in North America; Orchestre de Paris, Iceland Symphony, Bamberger Symphoniker, Berlin’s Deutsches Symphonie-Orchester and Rundfunk-Sinfonieorchester as well as Philharmonia and London Philharmonic orchestras. He is regularly invited to guest conduct in Asia including with Shanghai Symphony Orchestra and China, Hangzhou, Hong Kong and Taiwan philharmonic orchestras.

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ALEXANDER MELNIKOV, PIANO

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nown for his often unusual musical and programmatic decisions, Alexander Melnikov developed his career-long interest in historically informed performance practice early on.

Alexander Melnikov was awarded important prizes at eminent competitions such as the International Robert Schumann Competition and the Concours Musical Reine Elisabeth. Melnikov performs regularly with distinguished period ensembles including the Freiburger Barockorchester, Musica Aeterna and Akademie für Alte Musik Berlin.

As a soloist, Alexander Melnikov has performed with orchestras including the Koninklijk Concertgebouw Orkest Amsterdam, Gewandhausorchester Leipzig, Philadelphia Orchestra, NDR Elbphilharmonie Orchester, HR-Sinfonieorchester, Munich Philharmonic, Rotterdam Philharmonic and BBC Philharmonic Orchestra, under conductors such as Mikhail Pletnev, Teodor Currentzis, Charles Dutoit, Paavo Järvi, Thomas Dausgaard, Maxim Emelyanychev and Vladimir Jurowski. Together with Andreas Staier, Alexander Melnikov recorded a unique all-Schubert program of four-hand pieces, which they have also performed in concert.

An essential part of Melnikov’s work is intensive chamber music collaboration with partners including cellist JeanGuihen Queyras. Melnikov and violinist Isabelle Faust won a Gramophone Award for their complete recording of the Beethoven sonatas for violin and piano and was also nominated for a Grammy. Their most recent releases feature Brahms and Mozart sonatas for violin and piano. Melnikov’s recording of the Preludes and Fugues by Shostakovich was awarded the BBC Music Magazine Award.

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32 | mar14/16 Concerts of Thursday, March 14, 2024, at 8:00 PM Saturday, March 16, 2024, at 8:00 PM ALPESH CHAUHAN, conductor JOHANNES MOSER, cello

HENRI DUTILLEUX (1916–2013) Tout un monde lointain… (A Whole Distant World…) (1970) 29 MINS I. Énigme II. Regard III. Houles IV. Miroirs V. Hymne Johannes Moser, cello INTERMISSION 20 MINS PYOTR ILYICH TCHAIKOVSKY (1840–1893) Selections from The Sleeping Beauty, Op. 66 (1889) 63 MINS Prologue Introduction Finale Act I Scene Waltz Pas d'action Finale Act II Symphonic Entr'acte Finale Act III March Pas de quatre Finale and Apotheosis

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

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by Noel Morris Program Annotator

Tout un monde lointain…

In addition to the solo cello, Tout un monde lointain… is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, three horns, two trumpets, two trombones, tuba, timpani, percussion, harp, celeste and strings.

These are the first ASO performances.

H

enri Dutilleux was and is a mystery. Scholars, musicians and critics widely regard him as one of the most brilliant composers of the 20th century. Yet, in the concert hall, he’s eclipsed by the likes of Stravinsky, Prokofiev and Shostakovich.

While major artists and institutions practically begged him to write music, they learned he didn’t do deadlines. The Cleveland Orchestra once commissioned a piece to celebrate their 40th anniversary in 1958; he finished it in 1964.

Dutilleux went beyond the self-critical. He pursued his musical vision with religious fervor, working with meticulous discipline to balance every sonority, sculpt every line, and manifest its form as if he were designing a Greek temple. Living to 97, he enjoyed a remarkably long creative life but published only around 30 mature compositions. He resisted 20th-century trends and listened to his inner voice, which was, in essence, French.

Oddly, his profile fits well with the cellist who commissioned Tout un monde lointain…. Mstislav Rostropovich was a force of nature. As a student, he befriended Prokofiev and Shostakovich. He openly defied Soviet decrees. He married a star opera singer and clawed his way to the top of Soviet society. And then he defected. As a cellist, “Slava” lamented that so few great composers had written cello concertos.

(Regarding Mozart, he said, “If I had lived at that time, I would plant myself on the steps leading up to his house. I would sit there with the cello and a bottle of vodka, hoping that he would open the door for me. Then I would try to play something to please him.”)

Rostropovich brought that level of tenacity to Dutilleux’s doorstep and persuaded him to write his only cello concerto, Tout un monde lointain…. It took Dutilleux 10 years to write it.

The resulting work is like a dreamscape with a debt to the French poet Charles Baudelaire. In an interview on French radio, Dutilleux explained, “The lines by Baudelaire which appear as an epigraph at the beginning of each movement were added afterwards. I didn’t have any specific lines of Baudelaire in mind when I started composing, although it’s true I was already immersed in Baudelaire’s world. Then I

34 | encore said to myself, ‘I’m full of this atmosphere, so be it!’ And later on, when I was nearly at the end, I sought out these correspondences. I may have thought about them a little as I composed, but at all events I was determined to avoid illustrating them.”

The poetry comes from the landmark book Les Fleurs du mal (Flowers of Evil), published in 1857. At the time, the poems caused a great scandal. Two months after their publication, a French court banned six of the most erotic of the poems. The court hearing made headlines, and French authorities fined Baudelaire 300 francs.

A hundred years later, the ballet impresario Roland Petit suggested creating a dance piece based on the poems, but Dutilleux backed away from the project because he felt that dance was too literal for Baudelaire. Yet the imagery stayed with him and found its way into the concerto.

Rostropovich gave the world premiere of the piece tailored to his brand of artistry on July 25, 1970. Of the dozens of works he commissioned over his lifetime, Tout un monde lointain… ranked among his favorites.

In 2005, he told French radio, “Henri Dutilleux, a genius, in my opinion, wrote a remarkable piece … for cello and orchestra.”

Movements with poetry by Charles Baudelaire (played without pause) I. Enigma: Very free and flexible “... And in this strange and symbolic nature” (Poème XXVII) II. Gaze: Extremely calm “... the poison that flows from your eyes, from your green eyes, lakes in which my soul trembles and sees itself upside down” (Le poison) III. Surges: Wide and ample “... You contain, sea of ebony, a dazzling dream of sails, of rowers, of flames and of masts...” (La chevelure) IV. Mirrors: Slow and ecstatic “... Our two hearts will be two large torches that will reflect their double lights in our two spirits, those twin mirrors...” (La mort des amants) V. Hymn: Allegro “Keep your dreams: wise men do not have as beautiful ones as fools!” (La voix) aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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Selections from The Sleeping Beauty, Op. 66 The Sleeping Beauty is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, percussion, harp, piano and strings.

I

n September of 1878, Tchaikovsky was guilty of quiet quitting.

He wrote, “I am senselessly bored … Moscow is absolutely disgusting to me … I leave right out of the classroom and try not to talk to anyone or meet anyone.” Weeks later, he left his teaching job at the Moscow Conservatory and gave up his apartment. For the next seven years, he was a nomad.

Tchaikovsky had an international career and settled into life on the road. Free time, for him, meant staying in resort towns or with family. He didn’t keep a home and wrote music in all manner of places. By 1885, he longed to have a house with a garden and rented a place outside Moscow, though the touring continued.

1888 was a busy year. Tchaikovsky was up against deadlines for the Fifth Symphony and other works when Ivan Vsevolozhsky, the theater director in St. Petersburg, asked him to write the music to a ballet on the subject of Charles Perrault’s The Sleeping Beauty in the Wood.

Vsevolozhsky worked up a libretto and sent it to the composer.

Tchaikovsky wrote that he could already hear the music he would compose (ultimately three hours’ worth). His one caveat was that he wanted to meet with choreographer Marius Petipa, which would have to wait until his travel schedule brought him to St. Petersburg.

It was worth the wait.

Petipa got very specific, asking for eight bars for this action and 12 bars for that, and the music flowed.

Tchaikovsky started work on the ballet in the fall at his country house.

He kept working as he traveled to St. Petersburg, Prague, Moscow, Hanover and Tiflis (Tbilisi). He wrote the Act III Polonaise aboard a steamship between Marseille and Constantinople (Istanbul).

Vsevolozhsky’s scenario draws on the classic fairytale while taking artistic liberties (in fact, there are many versions of the old folk tale Sleeping Beauty, including Brünnhilde of the Völsung saga).

Vsevolozhsky added characters from other Perrault fairytales, including Red Riding Hood, Puss in Boots, Tom Thumb and Cinderella.

Petipa, who was French, chose to set the ballet in the court of Louis XIV, a golden age in dance. The Prologue introduces baby Aurora

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36 | encore (the princess) and a cast of fairy well-wishers. The powerful evil fairy Carabosse places a curse on the girl, condemning her to death on her 16th birthday, but the Lilac Fairy thwarts the brunt of the curse.

In Act I, the young princess turns 16 and dances with four suitors (one of the most challenging dances in classical ballet). As prophesied, Aurora pricks her finger but falls into a deep sleep (instead of dying). In this version, the whole kingdom goes to sleep, keeping her loved ones together for an eventual reunion. In Act II, 100 years have passed when Prince Desiré revives Aurora and company. In Act III, they celebrate a royal wedding attended by an entourage of fairytale characters.

The first performance of The Sleeping Beauty took place in the Mariinsky Theatre in 1890. The audience reacted favorably, but success was a slow burn. It took a few years before performances popped up around Europe. Soon, The Sleeping Beauty was a whopping hit.

Tchaikovsky and Petipa went on to collaborate on The Nutcracker.

Sadly, Tchaikovsky wouldn’t live to enjoy the success of either ballet; he died of cholera in 1893. His collaboration with Petipa became the lodestar of classical ballet and helped cement the art form as we know it today.

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38 | meettheartists ALPESH CHAUHAN, CONDUCTOR

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lpesh Chauhan OBE is Principal Guest Conductor of the Düsseldorfer Symphoniker and Music Director of Birmingham Opera Company. His debut album featuring orchestral works by Tchaikovsky, released with the BBC Scottish Symphony Orchestra on Chandos Records in June 2023, was received to great critical acclaim and named BBC Music Magazine’s Orchestral Choice of the Month.

​ecent and forthcoming highlights include performances R with the Los Angeles Philharmonic, Seattle and Houston Symphonies, National Symphony Orchestra Washington, Deutsches Symphonie-Orchester Berlin, Oslo Philharmonic, the Hallé, the Toronto, Atlanta, Melbourne and Antwerp Symphony Orchestras, Symphony Orchestra of India, the London Philharmonic and Philharmonia Orchestras, Accademia di Santa Cecilia, Orchestra Sinfonica Nazionale della RAI, the BBC Symphony Orchestra, and the BBC Scottish Symphony Orchestra, of whom he was Associate Conductor. ​ ollowing his outstanding debut in 2015, he was appointed Principal F Conductor of the Filarmonica Arturo Toscanini in Parma where he performed complete cycles of the symphonies by Beethoven and Brahms. Alongside the recently critically acclaimed Rheingold, other notable opera titles include Shostakovich’s Lady Macbeth of Mtsensk, West Side Story and productions of Turandot. ​ keen advocate of music education for young people, Alpesh is A a patron of Awards for Young Musicians, a UK charity supporting talented young people from disadvantaged backgrounds on their musical journeys. He was the conductor of the 2015 BBC Ten Pieces film which brought the world of classical music into secondary schools across the UK and received a distinguished BAFTA award. ​ orn in Birmingham, Alpesh studied cello with Eduardo Vassallo at B the Royal Northern College of Music in Manchester before continuing at the RNCM to pursue the prestigious Master’s Conducting Course.

Alpesh was named ‘Newcomer of the Year’ in the 2021 International Opera Awards.

Alpesh was honored to receive an OBE in HRH The Queen's New Year’s Honours in January 2022 for Services to the Arts.

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JOHANNES MOSER, CELLO

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erman-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony, BBC Philharmonic at the BBC Proms, London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Koninklijk Concertgebouworkest, Tonhalle Orchestra Zurich, Tokyo NHK Symphony, Philadelphia and Cleveland Orchestras with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Christian Thielemann, Pierre Boulez, Paavo Jarvi, and Gustavo Dudamel.

His recordings include the concertos by Dvořák, Lalo, Elgar, Lutosławski, Dutilleux and Tchaikovsky, which have gained him the prestigious Preis der Deutschen Schallplattenkritik and the Diapason d'Or. A dedicated chamber musician, Johannes has performed with Emanuel Ax, Joshua Bell, Jonathan Biss, James Ehnes, Vadim Gluzman, Leonidas Kavakos, Midori, and Menahem Pressler.

Johannes is also a regular at festivals including the Verbier, Schleswig-Holstein, Gstaad and Kissinger festivals, the Mehta Chamber Music Festival, and the Colorado, Seattle and Brevard music festivals.

Renowned for his efforts to expand the reach of the classical genre, as well as his passionate focus on new music, Johannes has recently been heavily involved in commissioning works by Julia Wolfe, Ellen Reid, Thomas Agerfeld Olesen, Johannes Kalitzke, Jelena Firsowa and Andrew Norman. In 2011 he premiered Magnetar for electric cello by Enrico Chapela with the Los Angeles Philharmonic conducted by Gustavo Dudamel, and in the following season he continued this relationship with the orchestra by performing Michel van der Aa's cello concerto Up-close.

Moser holds a professorship at the prestigious Cologne Hochschule fuer Musik und Tanz.

He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations. In 2014 he was awarded the prestigious Brahms Prize.

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40 | mar21/22/23/24 Concerts of Thursday, March 21, 2024, at 8:00 PM Friday, March 22, 2024, at 8:00 PM Saturday, March 23, 2024, at 8:00 PM

WITOLD LUTOSŁAWSKI (1913–1994) Concerto for Orchestra (1950–1954) I. Intrada II. Capriccio, notturno e arioso III. Passacaglia, toccata e corale INTERMISSION

29 MINS

20 MINS

CARL ORFF (1895–1982) Carmina Burana (1936) 65 MINS Fortuna imperatrix mundi (Fortune, Empress of the World) KRZYSZTOF URBAŃSKI, I. Primo vere (Spring) conductor Uf dem Anger (On the Green) JANAI BRUGGER, II. In taberna (In the Tavern) soprano III. Cour d’amours (The Court of Love) MILES MYKKANEN, Blanziflor et Helena (Blanchefleur and Helen) Fortuna imperatrix mundi tenor ANTHONY CLARK EVANS, Janai Brugger, soprano Miles Mykkanen, tenor baritone Anthony Clark Evans, baritone GEORGIA BOY CHOIR Georgia Boy Choir DAVID R. WHITE, The Atlanta Symphony Orchestra Chorus Director Sunday, March 24, 2024, at 3:00 PM

THE ATLANTA SYMPHONY ORCHESTRA CHORUS NORMAN MACKENZIE, Director of Choruses

Thursday’s concert is dedicated to MR. RICHARD H. DELAY & DR. FRANCINE D. DYKES in honor of their extraordinary support of the 2022/23 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.

notesontheprogram

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by Noel Morris Program Annotator

CONCERTO FOR ORCHESTRA

First ASO performance:

This concerto is scored for three flutes (two doubling piccolo), 3 oboes (one doubling English horn), three clarinets (one doubling bass clarinet), three bassoons (one doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, percussion, two harps, celeste, piano and strings.

October 30–November 1, 1986, Robert Shaw, conductor Most recent ASO performance: January 16-19, 2020, Robert Spano, conductor

W

itold Lutosławski grew up in a tumultuous age— shocking, terrifying, and violent. He experienced unimaginable things, yet he’s remembered as “a very cheerful man … a companion who beamed with buoyancy and balance.”

He was born in Warsaw in 1913 near the Philharmonic Hall— the place that would offer his greatest inspiration growing up.

When he was a toddler, the German army invaded Poland; his family fled to Moscow. There, his father and uncle worked for Polish independence, but the sanctuary wouldn’t last. In 1918, the Bolsheviks arrested them both. Five-year-old Witold said goodbye to his dad in prison shortly before the Soviets executed him without a trial.

The Lutosławski family moved back to Warsaw, where playing music was central to their family life. Young Witold loved going to concerts at Philharmonic Hall and grew into an excellent musician. He was still a student when he entered the professional arena. In 1933, the Warsaw Philharmonic gave the world premiere of his piece Harun Al-Rashid.

In 1939, Lutosławski was making arrangements to study in Paris when Hitler invaded Poland. Polish authorities drafted him into the army.

Soon, Warsaw fell, and the Germans trucked him off to an internment camp. He escaped and walked 250 miles back to Warsaw.

“The period of German occupation, in the years 1939–1945, was a very painful experience,” he wrote. “Besides the numerous forms of persecution, more or less well known, such as the concentration camps, street executions and arrests, Polish culture suffered terrible losses. For the Germans, the Polish nation was destined for complete annihilation. Consequently, all cultural activity was banned. The universities, libraries, theatres and institutions of concert life ceased to function. The composer Andrzej Panufnik and I performed in a piano duet, playing every day in the cafes.”

42 | encore By the end of World War II, whole swaths of Warsaw were gone, including the Philharmonic Hall. The surviving musicians of the Warsaw Philharmonic (about half) reconstituted the ensemble in 1947. In 1950, conductor Witold Rowicki commemorated the orchestra’s rebirth with a commission: Lutosławski’s Concerto for Orchestra.

Now working under the specter of Stalin’s censors—the same regime that had robbed him of his father—Lutosławski turned to an anthology of Polish folk songs for his source material.

The anthology had been the pet project of a man named Oskar Kolberg. In 1839, Kolberg ventured into the Masovia region to meet rural musicians and learn their songs. He wrote them down and devised a way to notate performance practices. By the end of his life, he published 33 volumes of Polish folk songs.

In Lutosławski’s hands, the folk songs blow up like the Hulk. He masterfully expands, distorts, and alters the folk material to produce a musical thrill ride that showcases a high-caliber modern ensemble.

The first movement is heavy and dramatic, the second light and playful, and the third serves as ballast to the first two and is longer than both of them combined. It opens with a passacaglia, a Baroque form built on a repeating bass line. In this case, the repeated music starts with the lowest notes in the harp. By the end of the movement, the violins stretch to their highest notes with rapid-fire runs.

Lutosławski worked on the Concerto for Orchestra for four years.

Rowicki conducted the premiere on November 26, 1954. The following year, the orchestra changed its name to the National Philharmonic of Poland and moved into a brand-new concert hall.

Today, the Philharmonic performs regular concerts and enjoys a lucrative side business recording anime soundtracks.

Most recent ASO performances: November 14–16, 2013; Robert Spano, conductor; Kiera Duffy, soprano; Marco Panuccio, lyric tenor; Nmon Ford, baritone; ASO Chorus; Gwinnett Young Singers

Carmina Burana Carmina Burana is scored for soprano, tenor, and baritone solos, mixed chorus, children’s chorus, three flutes (two doubling piccolo), three oboes (one doubling English horn), three clarinets (one doubling bass clarinet and E-flat clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two pianos, celeste and strings.

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C

arl Orff was a soft-spoken man. Although he worked in the theater and as a conductor, his passions were music education, languages and antiquities.

“Why do I love the ancient world?” he asked. “[It’s] because we are so close to the ancient world intellectually and spiritually.… There’s a spiritual energy behind it, a binding energy.”

Well into middle age, Orff was not noted as a composer, though he’d been writing music since childhood. In 1934, he discovered a book of poems in an antiquarian bookshop in Würzburg. It had a curious title: Carmina Burana, Latin for “Songs of Beuern,” which was a monastery outside Munich. On the first page, he admired the illuminated manuscript featuring a wheel of fortune. (Not to be confused with TV game shows, a wheel of fortune is a common theme in medieval art; constantly rotating, the wheel elevates one man to prosperity as another man topples).

Orff delighted at what he’d found: “Fortune meant well with me,” he mused, “when she guided the catalog … into my hands.”

Indeed. His encounter with the book lit a fire. Sixty years later, the New York Times wrote that Carmina Burana “defines the sound of the pop Gothic.”

Not quite ancient but primal and far away, Orff’s 1936 Carmina Burana captures an ethos similar to Westeros or Middle Earth. Its chant-like melodies and bare-bones harmonies conjure the Gothic, while the rhythms and opulent percussion section drive the soul of this work.

Pulsing with supernatural rage, the wheel of fortune comes to life in the opening music of Carmina Burana. “O, Fortuna, you are changeable like the moon,” proclaims the chorus (notice the wheel’s trundling in the two pianos). Essentially, its message is this: “You are dust, and to dust you shall return.” While much of Orff’s Carmina Burana is a lusty celebration of earthly delights, “O, Fortuna” casts a pall of frantic despair. (Consider that the average life expectancy of a 13th-century landowner, to say nothing of a woman or peasant, was 31.3 years).

While Orff channeled his passion for ancient music into his vocal writing, the vocal lines are deceptively difficult. For example, “Olim lacus coluerum” pushes the tenor to the top of his range. It’s an effective device used to depict a swan roasting on a spit—from the swan’s perspective. “O Fortuna” bookends the piece, as the turning

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44 | encore of the wheel reminds us that everyone—great or ordinary—eventually comes to ruin.

Carmina’s lyrics likely came from sources across Europe. Long associated with the 13th-century monks who copied them, the poems remained at the abbey Benediktbeuern, a Benedictine order founded around 742. With the suppression of religious houses in 1803, a librarian transferred the manuscripts to the State Library in Munich. In 1847, the scholar Johann Andreas Schmeller compiled and published the poems. Schmeller chose the name Carmina Burana in honor of the monks. With some 250 works, the book Carmina Burana is the most significant anthology of medieval Latin poems. In addition to Latin, some verses are in Middle-High German and Old French. Orff selected 24 for his oratorio. Originally intending the music to be performed with dance, he included the subtitle: “Profane songs to be sung by soloists and chorus with an accompaniment of instruments and magic tableaux.”

46 | meettheartists KRZYSZTOF URBAŃSKI, CONDUCTOR

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ighlights of Krzysztof Urbański’s 23/24 season include debuts with the Symphonieorchester des Bayerischen Rundfunks, Orchestre de la Suisse Romande, and the Orchestra Sinfonica Nazionale della Rai. Autumn 2023 saw his concerts with the Dresdner Philharmonie (at the Kulturpalast and on a tour in Europe) and with the Orchestra della Svizzera italiana. He also returns to the Münchner Philharmoniker, hr-Sinfonieorchester, Wiener Symphoniker, Philharmonia Zürich and the Dallas Symphony Orchestra.

Urbański appeared as a guest conductor with the Berliner Philharmoniker, Staatskapelle Dresden, Gewandhausorchester Leipzig, London Symphony Orchestra, Philharmonia Orchestra, Tonhalle-Orchester Zürich, Orchestre de Paris, Hong Kong Philharmonic Orchestra, Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic and the San Francisco Symphony among others.

Krzysztof Urbański served as Music Director of the Indianapolis Symphony Orchestra from 2011 to 2021 and as Chief Conductor and Artistic Leader of the Trondheim Symphony (2010-2017). In 2017 he was appointed Honorary Guest Conductor of the Trondheim Symphony and Opera. He was Principal Guest Conductor of the Tokyo Symphony (2012-2016) and Principal Guest Conductor of the NDR Elbphilharmonie Orchester (2015-2021). In November 2022 he was appointed Principal Guest Conductor of the Orchestra della Svizzera italiana. He is Chief Conductor Designate of the Berner Symphonieorchester (starting from the 24/25 season).

With the NDR Elbphilharmonie Orchester he recorded albums of Lutosławski’s works, Dvořák’s Symphony No. 9, Stravinsky’s Rite of Spring, Shostakovich’s Symphony No. 5 and Strauss’ works; all on Alpha Classics. His discography also includes Chopin’s small pieces for piano and orchestra with Jan Lisiecki and the NDR Elbphilharmonie Orchestra for Deutsche Grammophon which received an ECHO Klassik Award and Martinů’s Cello Concerto No. 1 with Sol Gabetta and the Berliner Philharmoniker recorded for Sony.

JANAI BRUGGER, SOPRANO

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merican soprano, Janai Brugger, the 2012 winner of Operalia and of the Metropolitan Opera National Council Auditions, made her television debut last season when she sang a specially-

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written requiem composed by Laura Karpman for an episode of HBO’s renowned ‘Lovecraft Country.’ She returned to Mahler’s Fourth Symphony with Yannick Nézet-Séguin and The Philadelphia Orchestra, and revived a favorite role, Pamina Die Zauberflote for performances at Palm Beach Opera’s first Outdoor Opera Festival. More recently she appeared as Michaela Carmen at Cincinnati Opera and returned to Dutch National Opera for their acclaimed Missa in tempore Belli (Haydn) conducted by Lorenzo Viotti and directed by Barbora Horáková.

In a recent season, the artist appeared at the Metropolitan Opera in the role of Clara in their celebrated new production of Porgy and Bess in which she’d previously appeared at Dutch National Opera. At Lyric Opera of Chicago she sang the role of Ilia in Idomeneo and at Cincinnati Opera she appeared as Susanna in Le nozze di Figaro. In her artistic home at Los Angeles Opera, she sang the role of Servilia in La Clemenza di Tito, a role she previously sang at Dutch National Opera. Miss Brugger travelled to the Royal Opera House Covent Garden for revival performances as Pamina in Die Zauberflöte and sang the role of Liù in Turandot at Lyric Opera of Chicago.

MILES MYKKANEN, TENOR

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winner of the 2019 Metropolitan Opera National Council Auditions, Miles Mykkanen garners recognition and praise on the world's concert and operatic stages.

Last season's operatic engagements included the tenor’s return to the Metropolitan Opera in Die Zauberflöte and the title role of Candide in performances with the Opéra de Lausanne. Concert engagements were anchored by multiple performances of Handel’s Messiah at University Musical Society, Ann Arbor and with the Atlanta and New Jersey Symphonies.

Highlights of recent seasons include Metropolitan Opera productions of Boris Godunov, Ariadne auf Naxos, and Wozzeck with Music Director Yannick Nézet-Séguin.

The tenor’s vibrant concert schedule has included performances

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48 | meettheartists of Bruckner’s Te Deum with the Pittsburgh Symphony, the world premiere of Mohammed Fairouz’ Another Time with Leonard Slatkin and the Detroit Symphony Orchestra, Mozart Requiem with David Danzmayr and the San Antonio Symphony, a New York Philharmonic debut with excerpts from West Side Story conducted

by Leonard Slatkin, and Handel’s Messiah with the symphonies of Atlanta, Indianapolis, and New Jersey, and with the National Symphony Orchestra at The Kennedy Center.

Mykkanen is a graduate of the Interlochen Arts Academy and earned his Artist Diploma in Opera Studies, along with his Bachelor’s and Master’s degrees, from The Juilliard School.

ANTHONY CLARK EVANS, BARITONE

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aritone Anthony Clark Evans is quickly gaining recognition as one of the most promising Verdi baritones of his generation.

The 2023—2024 season includes his debut with the Dresdener Philharmonie in I Puritani, Austin Opera in Pagliacci, and his debut with the Irish National Opera in La Traviata.

Evans returns to Opera Philadelphia to sing in Madama Butterfly, and will also cover Sharpless at the Metropolitan Opera. Concert engagements include Cavalleria Rusticana with the Saint Louis Symphony Orchestra.

Mr. Evans made his house debut during the 2022—2023 season at Houston Grand Opera in La Traviata, and his debut in Lucia di Lammermoor with Cincinnati Opera. Mr. Evans returned to the Metropolitan Opera to sing Third Noble and cover the Herald in a new production of Lohengrin, conducted by music director Yannick Nezet-Seguin.

Concert work includes Verdi’s Requiem with the Washington National Cathedral, William Walton’s Belshazzar’s Feast with the Royal Scottish National Orchestra, an appearance at the Richard Tucker Gala at Carnegie Hall, and Beethoven’s Symphony Number 9 with both the Phoenix Symphony and Bozeman Symphony.

A native of Owensboro, Kentucky, Mr. Evans studied voice at Murray State, and was a member of the Ryan Opera Center at Lyric Opera of Chicago.

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GEORGIA BOY CHOIR

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he purpose of the Georgia Boy Choir is to achieve the highest possible standard of musical excellence while instilling in its members a life-long appreciation of music; an abiding love of beauty; a keen sense of respect for themselves and others; and the self-discipline necessary to become effective leaders.

Established in 2009 under the baton of Artistic Director and Conductor, David R. White, the Georgia Boy Choir has quickly gained a reputation as one of the finest Choirs of its kind. Known for the transcendent beauty of their singing and powerful, nuanced musical interpretation, the Choir has garnered an impressive international fan base through touring and its many performance videos on YouTube with millions of views from over 100 countries. Operating on a five-tier music education system, the Choir serves over 85 boys and young men from all around the metropolitan Atlanta region.

Recognizing that a musician must care for his instrument, the Georgia Boy Choir invests a great deal of time, energy, and focus on the care and development of its instrument — the boys themselves.

At every rehearsal, each boy is encouraged to “Be the Best Boy You Can Be.” DAVID R. WHITE, ARTISTIC DIRECTOR AND CONDUCTOR

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avid R. White been training boys and young men to sing for more than two decades. In 1994, he founded the Boy Choir of the Carolinas in Greenville, South Carolina. In 1998 he became the Music Director of Florida’s Singing Sons Boychoir in Fort Lauderdale, Florida. From 2001 to 2009, Mr. White was the Artistic Director and Conductor of the Atlanta Boy Choir in Atlanta, Georgia. He has also served as conductor of the Greenville Symphony Orchestra Chorus and Director of Music at the Second Presbyterian Church of Greenville. There, he founded an annual Summer Music Camp for children and adults. Under his direction, choirs have participated in numerous festivals throughout the world including the Prague International Choral Festival, the Pacific International Children’s Choir Festival, the Anchorage Choral Festival, the Cultural Olympiad in Greece, the Baltimore Boychoir Festival, the Southeast Festival of Song, and the Choral Olympics in Linz, Austria. His choirs have toured extensively around the world. He has been a conductor on the faculty at the Interlochen Center for the Arts in Interlochen, Michigan as well as the Csehy Summer School of Music in Philadelphia.

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50 | meettheartists ATLANTA SYMPHONY ORCHESTRA CHORUS

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

NORMAN MACKENZIE, DIRECTOR OF CHORUSES

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

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

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

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

by ASO Principal Guest Conductor Donald Runnicles.

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ATLANTA SYMPHONY ORCHESTRA CHORUS Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair

Peter Marshall accompanist

SOPRANO 1 Ellen Abney Khadijah Davis Liz Dean* Laura Foster Michelle Griffin* Erin Harris Erin Jones* Arietha Lockhart** Mindy Margolis* Joneen Padgett* Rachel Paul Mary Martha Penner Susan Ray Samaria Rodriguez Emily Salmond Kristian Samuel Lydia Sharp Susie Shepardson Stacey Tanner Chelsea Toledo Brianne Turgeon** Deanna Walton Michelle Yancich Wanda Yang Temko** SOPRANO 2 Debbie Ashton Sloan Atwood** Jessica Barber Tierney Breedlove Barbara Brown Maggie Carpenter Martha Craft Gina Deaton Erika Elliott Mary Goodwin Heidi Hayward Amanda Hoffman Megan Littlepage Melissa Mack Lindsay Patten Murray Chantae Pittman Tramaine Quarterman Kate Roberts Marianna Schuck

Anne-Marie Spalinger** Emily Tallant Cheryl Thrash** Donna Weeks** ALTO 1 June Abbott** Pamela Amy-Cupp Deborah Boland** Emily Campbell Patricia DinkinsMatthews** Angel Dotson-Hall Katherine Fisher Beth Freeman* Savanna Hagerty Unita Harris Beverly Hueter* Janet Johnson Susan Jones Kathleen KellyGeorge* Virginia Little** Staria Lovelady* Alina Luke Frances McDowellBeadle** Sara McKlin Linda Morgan** Katherine Murray** Natalie Pierce Kathleen Poe Ross Noelle Ross Rachel Schiffer Camilla Springfield** Rachel Stewart** Nancy York* ALTO 2 Nancy Adams** Ana Baida Angelica BlackmanKeim Elizabeth Borland Emily Boyer Marcia Chandler* Carol Comstock Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament* Joia Johnson Sally Kann*

Nicole Khoury Katherine MacKenzie Lynda Martin Lalla McGee Tiffany Peoples Laura Rappold* Duhi Schnieder Sharon Simons* Virginia Thompson** Cheryl Vanture* Kiki Wilson** Diane Woodard** TENOR 1 Christian Bigliani David Blalock** LaRue Bowman John Brandt** Jack Caldwell** Daniel Cameron** Daniel Compton Justin Cornelius Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell* Keith Langston* Joseph Henry Monti David Moore Christopher Patton* Mark Warden** TENOR 2 Sutton Bacon* Matthew Borkowski Steve Brailsford Charles Cottingham# Phillip Crumbly** Steven Dykes David Ellis Joseph Few** Sean Fletcher Thomas Foust John Harr David Ingham Keith Jeffords** David Kinrade Tyler Lane Michael Parker Timothy Parrott Marshall Peterson** Matthew Sellers Thomas Slusher Scott Stephens**

BASS 1 Dock Anderson Noah Boonin Sean Butler Russell Cason** Jeremy Christensen Joshua Clark Trey Clegg* Rick Cobb Michael Cranford Michael Devine Thomas Elston Jon Gunnemann** Noah Horton Nick Jones# Alp Koksal Sims Kuester Jacob Lay Jameson Linville Peter MacKenzie Jason Maynard Jackson McCarthy Joss Nichols Hal Richards Peter Shirts Thomas Stow John Terry Edgie Wallace* BASS 2 Philip Barreca Marcel Benoit Jacob Blevins William Borland John Carter Terrence Connors Joel Craft** Paul Fletcher Timothy Gunter** Brooks Hanrahan David Hansen** Philip Jones Daniel Lane Jason Manley Michael Nedvidek John Newsome Joel Rose John Ruff** Jonathan Smith* George Sustman Benjamin Temko** David Webster** Gregory Whitmire** Keith Wyatt**

* 20+ years of service | ** 30+ years of service | # Founding member (1970)

52 | encore ASO | SUPPORT

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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, 2022. Their extraordinary generosity provides the foundation for this worldclass institution. $1,000,000+

A Friend of the Symphony∞

$100,000+ A Friend of the Symphony 1180 Peachtree The Molly Blank Fund of The Arthur M. Blank Family Foundation∞ The Coca-Cola Company Sheila Lee Davies & Jon Davies

Emerald Gate Charitable Trust Lettie Pate Evans Foundation∞ Barney M. Franklin & Hugh W. Burke Charitable Fund Georgia Power Company The Halle Foundation The Home Depot Foundation Invesco QQQ

Abraham J. & Phyllis Katz Foundation∞ Charles Loridans Foundation, Inc. Amy W. Norman Charitable Foundation The Zeist Foundation, Inc.

$75,000+ Alston & Bird LLP The Paul M. Angell Family Foundation∞

The Antinori Foundation The Arthur M. Blank Family Foundation Cadence Bank Foundation

Chick-fil-A Norfolk Southern PNC

$50,000+ Accenture LLP BlackRock City of Atlanta Mayor’s Office of Cultural Affairs Ms. Lynn Eden

Emory Woodruff Health Sciences Center Ms. Angela L. Evans∞ Four Seasons John D. Fuller The Gable Foundation Georgia Council for the Arts

Graphic Packaging KPMG Morris, Manning & Martin, LLP Slumgullion Charitable Fund Truist Ann Marie & John B. White, Jr.°∞

$35,000+ Mr. & Mrs. Paul J. Blackney Cox Enterprises, Inc. Sally* & Larry Davis

The Roy & Janet Dorsey Sally & Pete Parsonson∞ Foundation Patty & Doug Reid Fulton County Arts & Culture Mary & Jim Rubright Anne Morgan & Jim Kelley Patrick & Susie Viguerie National Endowment for the Arts

$25,000+ Paulette Eastman & Farideh & Al Azadi Foundation∞ Becky Pryor Anderson*∞ Eversheds Sutherland Mr. & Mrs. Andrew Bailey Marina Fahim° Jennifer Barlament & Kenneth Potsic Dick & Anne Game° Janine Brown & Jeannette Guarner, MD & Alex J. Simmons, Jr. Carlos del Rio, MD Connie & Merrell Calhoun Sally & Walter George John W. Cooledge The Graves Foundation The Jim Cox, Jr. Foundation Bonnie & Jay Harris Mr. & Mrs. Erroll B. Davis, Jr.∞ League of American Orchestras Cari K. Dawson & John M. Sparrow Donna Lee & Howard Ehni Mr. Richard H. Delay & The Livingston Foundation, Inc. Dr. Francine D. Dykes∞ The Marcus Foundation, Inc.∞

Delta Air Lines

John & Linda Matthews∞ Northside Hospital John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D. Victoria & Howard Palefsky Porsche Cars North America, Inc. Publix Super Markets Charities, Inc. PwC Bill & Rachel Schultz° June & John Scott∞ Troutman Pepper Kathy Waller & Kenneth Goggins Mr.* & Mrs. Edus H. Warren, Jr.

Massey Charitable Trust

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$17,500+ Mr. Keith Adams & Ms. Kerry Heyward° Affairs to Remember John & Juliet Allan Aspire Media Benjamin Q. Brunt Ms. Elizabeth W. Camp Wright & Alison Caughman Ms. Lisa V. Chang∞ Choate Bridges Foundation Florencia & Rodrigo Garcia Escudero Mr. & Mrs. Charles B. Harrison Ms. Joia M. Johnson Mr. & Mrs. Randolph J. Koporc The Ray M. & Mary Elizabeth Lee Foundation, Inc. Dr. Jennifer Lyman & Mr. Kevin Lyman Mr. & Mrs. Arthur Mills IV Moore Colson, CPAs & Bert & Carmen Mills Terence L. & Jeanne Perrine Neal° Lynn & Galen Oelkers Ms. Margaret Painter∞ Martha M. Pentecost Joyce & Henry Schwob Mr. Fahim Siddiqui & Ms. Shazia Fahim Ross & Sally Singletary Carolyn C. Thorsen∞ The Mark & Evelyn Trammell Foundation Universal Music Group-Task Force for Meaningful Change John & Ray Uttenhove Mrs. Sue S. Williams $15,000+ Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr. Aadu & Kristi Allpere° Aprio Mr. Keith Barnett Mr. David Boatwright Mr. & Mrs. Benjamin Clare° Russell Currey & Amy Durrell Lisa DiFrancesco, MD & Darlene Nicosia

Eleanor & Charles Edmondson Ms. Yelena Epova Fifth Third Bank Craig Frankel & Jana Eplan Georgia-Pacific Mr. Max M. Gilstrap Pam & Robert Glustrom The Scott Hudgens Family Foundation Roya & Bahman Irvani Jamestown Properties Brian & Carrie Kurlander∞ 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 New Music, USA Barbara & Andrew Paul Mr. Edward Potter & Ms. Regina Olchowski° Ms. Cathleen Quigley Charlie & Donna Sharbaugh Beverly & Milton Shlapak Mr. John A. Sibley, III Dr. Steven & Lynne Steindel° Elliott & Elaine Tapp° Ms. Brett A. Tarver Judith & Mark K. Taylor Dr. & Dr. Ravi Thadhani Carol & Ramon Tomé Family Fund Mr. & Mrs. Benny Varzi Adair & Dick White Drs. Kevin & Kalinda Woods $10,000+ A Friend of the Symphony (2) AAA Parking Paul & Melody Aldo∞ Mr. & Mrs. Calvin R. Allen Julie & Jim* Balloun Jack & Helga Beam∞ Mr. & Mrs. Gerald R. Benjamin Kelley O. & Neil H. Berman Rita & Herschel Bloom Bloomberg Philanthropies The Boston Consulting Group The Breman Foundation, Inc. Lisa & Russ Butner∞

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Mr. & Mrs. Thomas C. Chubb III Mr. & Mrs. Chris Collier Colliers International Costco Wholesale Corporation Peter & Vivian de Kok Donald & Barbara Defoe° Marcia & John Donnell Mr. & Mrs. John C. Dyer Eversheds Sutherland Dr. & Mrs. Leroy Fass In Memory of Betty Sands Fuller The Robert Hall Gunn, Jr., Fund Google Hamilton Capital Partners, LLC The Hertz Family Foundation, Inc. Clay & Jane Jackson Ann A. & Ben F. Johnson III° James Kieffer Stephen & Carolyn Knight La Fête du Rosé Dr. & Mrs. Scott I. Lampert The Sartain Lanier Family Foundation Pat & Nolan Leake Dr. Fulton D. Lewis III & S. Neal Rhoney Meghan & Clarke Magruder Merrill Lynch Capital Markets Caroline & Phil Moïse Moore, Colson & Company, P.C. Gretchen Nagy & Allan Sandlin ∞ Leadership Council We salute these extraordinary donors who have signed pledge commitments to continue their support for three years or more.

For information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@ atlantasymphony.org.

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

54 | encore ASO | SUPPORT (cont.)

Mr. Kenneth M. Neighbors Asad & Sakina Bashey Ms. Eunice Luke Dede & Bob Thompson & Ms. Valdoreas May Mr. & Mrs. Peter Toren Dr. & Mrs. Ellis L. Malone Herschel Beazley Margaret H. Petersen Trapp Family Ms. Erin M. Marshall Meredith Bell David F. & Maxine A.* Rock Mr. John Blatz Mr. & Mrs. Burton Trimble Christopher D. Martin Thomas & Lynne Saylor Chilton & Morgan* Varner Dr. & Mrs. Jerome B. Blumenthal Belinda & Gino Massafra The Simmons Foundation Amy & Robert Vassey Mrs. Sidney W. Boozer Dr. & Mrs. Douglas Mattox Alan & Marcia Watt Tom & Ani Steele Carol Brantley & The Fred & Sue McGehee Mr. Nathan Watt John & Yee-Wan Stevens David Webster Family Charitable Fund Mr. & Mrs. Ruthie Watts Edward W. Stroetz, Jr. Margo Brinton & Ed & Linda McGinn° Mr. & Mrs. Robert L. Welch Eldon Park Stephen & Sonia Swartz Ms. Erica McVicker Dr. Nanette K. Wenger Mr. G. Kimbrough Taylor & Jacqueline A. & Mr. Bert Mobley WhoBody Inc. Joseph E. Brown, Jr. Ms. Triska Drake Mr. Cesar Moreno & Suzanne B. Wilner ∞ CBH International, Inc Mr. Greg Heathcock George & Amy Taylor Mr. & Mrs. M. Beattie Wood John Champion & Mr. Paul E. Viera & Sue Morgan∞ ∞ Penelope Malone Ms. Gail O’Neill* Jane Morrison $3,500+ Dr. & Mrs. James O. Wells, Jr. Mr. & Mrs. Miles R. Cook Music Matters A Friend of the Symphony(2) William & Patricia Cook Kiki Wilson Mr. Thomas Nightingale Paul & Marian Anderson Carol Comstock & Ms. Bethani Oppenheimer Fund Jim Davis $7,500+ Ms. Amy H. Page Drs. Jay & Martin Janet & John Costello Judith D. Bullock Beard-Coles Mr. & Mrs. Dillon Production Services, Edmund F. Pearce, Jr.° Karen & Rod Bunn Ms. Johanna Brookner Inc. Patricia & William Buss∞ The Hellen Plummer Mr. & Mrs. Dennis M. Chorba Mr. & Mrs. Paul H. Dimmick Charitable Foundation, Inc. Mark Coan & Family Liz & Charlie Cohn° Xavier Duralde & Davis Broadcasting Inc. Dr. & Mrs. John P. Pooler Malcolm & Ann Cole Mary Barrett Ms. Diane Durgin John H. Rains Ned Cone & Nadeen Green Dieter Elsner & Sally W. Hawkins Leonard Reed Jean & Jerry Cooper Othene Munson Grace Taylor Ihrig° Mr. & Mrs. Joel F. Reeves Mr. Ramsey Fahs Robert S. Elster Foundation Ann & Brian Kimsey Cammie & John Rice Mr. & Mrs. Louis Gump Dr. & Mrs. Carl D. Fackler Jason & Michelle Kroh Vicki & Joe Riedel Deedee & Marc* Hamburger Ellen & Howard Feinsand Mr. Robert M. Lewis, Jr. Ms. Felicia Rives Barbara M. Hund Mr. & Mrs. William A. Flinn Elvira & Jay Mannelly Betsy & Lee Robinson Cameron H. Jackson° ∞ Bruce W. & Avery C. Flower Berthe & Shapour Ms. Frances A. Root Mr. W. F. & Mr. David L. Forbes Mobasser Mr. & Ms. Joseph A. Dr. Janice Johnston Marty & John Gillin° Mrs. Kay Adams* & Roseborough Wolfgang* & Mariana Laufer Dr. Paul Gilreath Mr. Ralph Paulk° Tiffany & Rich Rosetti∞ Ari & Fara Levine° Mary* & Charles Ginden Perkins & Will John T. Ruff Deborah & William Liss° ∞ Mr. & Mrs. Richard Goodsell Hamilton & Mason Smith Dr. & Mrs. Rein Saral Martha & Reynolds Melanie & Tucker Green Ms. Juliana T. Vincenzino Katherine Scott McClatchey Martha Reaves Head Drs. Jonne & Paul Walter Mallie Sharafat In Memory of Azira G. Hill Mr. David J. Worley & Dr. Frank S. Pittman III Suzanne Shull Ms. Bernadette Drankoski Richard & Linda Hubert Gerald & Nancy Silverboard Ms. Kathy Powell Tad & Janin Hutcheson Camille W. Yow Mrs. Susan H. Reinach Baker & Debby Smith Mr. Justin Im & S.A. Robinson Ms. Cynthia Smith Dr. Nakyoung Nam $5,000+ Mr. David Roemer Dr. K. Douglas Smith A Friend of the Symphony (3) Aaron & Joyce Johnson Donna Schwartz Mr. & Mrs. Mr. & Mrs. Baxter Jones Dr. Marshall & Stephanie Peter Stathopoulos Ms. Martha Solano Abes Mr. Jonathan Kamenear In memory of Mrs. Dale L. Thompson Azalea City Chapter of Links Paul* & Rosthema Kastin Elizabeth B. Stephens by Mr. & Mrs. Art Waldrop Mona & Gilbert Kelly° Dr. Evelyn R. Babey Powell, Preston & Sally∞ Mr. & Mrs. Rhys T. Wilson Mr. Charles R. Kowal Lisa & Joe Bankoff Beth & Edward Sugarman Ms. Sonia Witkowski

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Diana Einterz Erica Endicott & Chris Heisel Mr. & Mrs. Taylor Fairman Mr. & Mrs. Paul G. Farnham Mr. & Mrs. Massoud Fatemi Dr. Karen A. Foster Annie Frazer & Jen Horvath Dr. Elizabeth C. French Gaby Family Foundation Mr. & Mrs. Sebastien Galtier Ms. Susan Bass & Raj & Jyoti Gandhi Mr. Tom Bradford Family Foundation Dr. Laura Beaty Mr. & Mrs. C. Ben Garren Bell Family Foundation Sandra & John Glover for Hope Inc Mrs. Janet D. Goldstein Dr. & Mrs. Joel E. Berenson Mr. Robert Golomb Susan & Jack Bertram Connie & Danny Griffin Catherine Binns & Richard & Debbie Griffiths Jim Honkisz* Mr. & Mrs. Leon & Joy Borchers George Gunderson Andrew & Elissa Bower° Phil & Lisa Hartley Ms. Jane F. Boynton Mr. & Mrs. Steve Hauser° Martha S. Brewer Mr. & Mrs. Charles Hawk Harriet Evans Brock Mr. & Mrs. John Hellriegel∞ Dr. Aubrey Bush & Ms. Elizabeth Hendrick Dr. Carol Bush Ms. Ann Herrera & Mr. & Mrs. Walter K. Canipe Ms. Mary M. Goodwin Betty Fuller Case Mr. Kenneth & Julie & Jerry Chautin Ms. Colleen Hey Mr. James Cobb Sarah & Harvey Hill, Jr.° Coenen-Johnson Laurie House Hopkins & Foundation John D. Hopkins Susan S. Cofer James & Bridget Horgan° Ralph & Rita Connell Ms. & Mr. Carli Huband Matt & Kate Cook Dona & Bill Humphreys Mrs. Nancy Cooke International Women’s Forum Mary Carole Cooney & Henry R. Bauer, Jr. Mr. and Dr. Joey Ivansco Ms. Elizabeth Wiggs Cooper Nancy & John Janet & Mr. Larry Cooper Ms. Rebecca Jarvis R. Carter & Marjorie A. Mrs. Gail Johnson Crittenden Foundation Cecile M. Jones Mr. & Mrs. Paul M. Cushing Lana M. Jordan Dr. & Mrs. F. Thomas Daly, Jr. William L. & Sally S. Jorden Mr. & Mrs. Kyle Dasher Teresa M. Joyce, Ph.D Priscilla Davis Mr. Lewis King Delta Community Mr. & Mrs. Theodore J. Credit Union Lavallee, Sr. Mr. David S. Dimling Lillian Balentine Law Mr. & Mrs. Graham Dorian Mr. & Mrs. Chris Le Gregory & Debra Durden Van & Elizabeth Lear Mr. & Mrs. Robert G. Edge

$2,000+ A Friend of the Symphony(2) 2492 Fund Mr. & Dr. Paul Akbar Mr. & Mrs. Louis Alrutz Mr. James L. Anderson Ms. Debra Atkins & Ms. Mary Ann Wayne The Atlanta Music Club Anthony Barbagallo & Kristen Fowks∞

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Mr. & Mrs. J. David Lifsey The Alex & Betty Smith Donor-Advised Jun-Ching Lin & Endowment Fund Helen Porter Ms. Lara Smith-Sitton Azy Lotfi & Max Lotfi Anne-Marie Sparrow Dr. Marcus Marr Peggy & Jerry Stapleton Mrs. Sam Massell James & Shari Steinberg In Memory of Richard M. Stormont* Pam McAllister Mr. & Mrs. James McClatchey Dr. & Mrs. John P. Straetmans Birgit & David McQueen Kay R Summers Anna & Hays Mershon TEGNA Foundation Mr. & Mrs. Ms. Linda F. Terry Thomas B. Mimms, Jr. Dr. Brenda G. Turner Mrs. Pat Mitchell & Mr. Scott Seydel Wayne & Lee Harper Vason Hala and Steve Moddelmog Vogel Family Foundation Mr. Charles Morn Dr. James L. Waits Ms. Helen Motamen and Mr. Mr. Charles D. Wattles & Ms. Deepak Shenoy Rosemary C. Willey Janice & Tom Munsterman∞ David & Martha West Melanie & Allan Nelkin Russell F. Winch & Agnes V. Nelson Mark B. Elberfeld Mr. Denis Ng & Ms. Mary Mrs. Lynne M. Winship Jane Panzeri Zaban Foundation, Inc. Gary R. Noble, MD & Herbert* & Grace Zwerner Joanne Heckman Donald S. Orr & Patron Leadership Marcia K. Knight (PAL) Committee Mr. & Mrs. We give special Solon P. Patterson thanks to this Mr. & Mrs. dedicated group of Jonathan K. Peterson Atlanta Symphony The Piedmont National Orchestra donorFamily Foundation volunteers for their Ponce de Leon Music Store commitment to each Mr. & Ms. Douglas R. Powell year’s annual support Ms. Patricia U. Rich initiatives: Mr. and Mrs. Douglas G. Linda Matthews Riffey, Jr. Sharon & David Schachter° Drs. Bess Schoen & Andrew Muir Drs. Lawrence & Rachel Schonberger Dick Schweitzer Mr. David C. Shih Nick & Annie Shreiber Helga Hazelrig Siegel Diana Silverman Silvey James and Rev. Jeanne Simpson The Society, Inc

chair

Kristi Allpere Helga Beam Bill Buss Pat Buss Kristen Fowks Deedee Hamburger Judy Hellriegel Nancy Janet Belinda Massafra Sally Parsonson June Scott Milt Shlapak Jonne Walter Marcia Watt

56 | encore Barbara & John Henigbaum Jill* & Jennings* Hertz Mr. Albert L. Hibbard Richard E. Hodges H E N RY S O P K I N C I R C L E Mr.* & Mrs. Charles K. Holmes, Jr. Named for the Atlanta Symphony Orchestra’s Mr.* & Mrs.* Fred A. Hoyt, Jr. founding Music Director, the HENRY SOPKIN Jim* & Barbara Hund CIRCLE celebrates cherished individuals and Clayton F. Jackson families who have made a planned gift to the Mary B. James Nancy Janet Atlanta Symphony Orchestra. These special Mr. Calvert Johnson & donors preserve the Orchestra’s foundation Mr. Kenneth Dutter and ensure success for future generations.

Joia M. Johnson Deforest F. Jurkiewicz* Herb* & Hazel Karp Anne Morgan & Jim Kelley A Friend of the Bob Kinsey Symphony (22) Janie Cowan James W.* & Mary Ellen* Madeline* & Howell E. Mr. & Mrs. William R. Cummickel Kitchell Adams, Jr. Bob* & Verdery* Cunningham Paul Kniepkamp, Jr. Mr.* & Mrs.* John E. Aderhold Vivian & Peter de Kok Mr. Richard H. Delay & Paul & Melody Aldo Dr. Francine D. Dykes Miss Florence Kopleff* Mr. & Mrs. Ronald R. Antinori John R. Donnell Mr. Robert Lamy Dr. & Mrs. William Bauer Dixon W. Driggs* James H. Landon Helga Beam Pamela Johnson Drummond Ouida Hayes Lanier Mr. Charles D. Belcher* Mrs. Kathryn E. Duggleby Lucy Russell Lee* & Neil H. Berman Gary Lee, Jr. Catherine Warren Dukehart* Susan & Jack Bertram Ione & John Lee Ms. Diane Durgin Mr.* & Mrs.* Karl A. Bevins Mr. Larry M. LeMaster Arnold & Sylvia Eaves The Estate of Donald S. & Mr.* & Mrs.* William C. Lester Mr. & Mrs. Robert G. Edge Joyce Bickers Liz & Jay* Levine Geoffrey G. Eichholz* Ms. Page Bishop* Robert M. Lewis, Jr. Elizabeth Etoll Mr.* & Mrs.* Sol Blaine Carroll & Ruth Liller Mr. Doyle Faler John Blatz Ms. Joanne Lincoln* Brien P. Faucett Rita & Herschel Bloom Jane Little* Dr. Emile T. Fisher* The Estate of Mrs. Mrs. J. Erskine Love, Jr.* Moniqua N Fladger Gilbert H. Boggs, Jr. Nell Galt & Will D. Magruder Mr. & Mrs. Bruce W. Flower W. Moses Bond K Maier A. D. Frazier, Jr. Mr.* & Mrs. Robert C. Boozer John W. Markham* Nola Frink* Elinor A. Breman* Mrs. Ann B. Martin Betty* & Drew* Fuller Carol J. Brown Linda & John Matthews Sally & Carl Gable James C. Buggs* Mr. Michael A. McDowell, Jr. William & Carolyn Gaik Mr. & Mrs.* Richard H. Burgin Dr. Michael S. McGarry Dr. John W. Gamwell* Hugh W. Burke* Mr.* & Mrs.* L.L. Gellerstedt, Jr. Richard & Shirley McGinnis Mr. & Mrs. William Buss John & Clodagh Miller Ruth Gershon & Sandy Cohn Wilber W. Caldwell Ms. Vera Milner Micheline & Bob Gerson Mr. & Mrs. C. Merrell Calhoun Mrs. Gene Morse* Max Gilstrap Cynthia & Donald Carson Ms. Janice Murphy* Mr. & Mrs. John T. Glover Mrs. Jane Celler* Mr. & Mrs. Bertil D. Nordin Mrs. David Goldwasser Lenore Cicchese* Mrs. Amy W. Norman* Robert Hall Gunn, Jr. Fund Margie & Pierce Cline Galen Oelkers Billie & Sig Guthman Dr. & Mrs. Grady S. Roger B. Orloff Betty G.* & Joseph* F. Haas Clinkscales, Jr. Barbara D. Orloff James & Virginia Hale Suzanne W. Cole Sullivan Dr. Bernard* & Sandra Palay Ms. Alice Ann Hamilton Robert Boston Colgin Sally & Pete Parsonson Dr. Charles H. Hamilton* Mrs. Mary Frances James L. Paulk Sally & Paul* Hawkins Evans Comstock* Ralph & Kay* Paulk John* & Martha Head Miriam* & John A.* Conant Dan R. Payne Ms. Jeannie Hearn* Dr. John W. Cooledge

Bill Perkins Mrs. Lela May Perry* Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce* Reverend Neal P. Ponder, Jr. Dr. John B. Pugh 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 Glen Rogerson* Tiffany & Richard Rosetti Mr.* & Mrs.* Martin H. Sauser Bob & Mary Martha Scarr Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. Barbara S. Schlefman Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall* Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling* Ms. Barbara Stewart Beth & Edward Sugarman C. Mack* & Mary Rose* Taylor Isabel Thomson* Jennings Thompson IV Margaret* & Randolph* Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.* & Mrs.* Charles R. Yates

*Deceased

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

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| 57

ASO | STAFF EXECUTIVE

Kelly Edwards

Jennifer Barlament

director of operations

SALES & REVENUE MANAGEMENT

FINANCE & ADMINISTRATION Susan Ambo

executive director

Carrie Marcantonio

Alvinetta Cooksey executive &

director of orchestra

Russell Wheeler vice president, sales &

personnel

revenue management

& cfo

finance assistant

Renee Hagelberg

Nancy James

Kimberly Hielsberg

Dautri Erwin

manager of orchestra

front of house supervisor

vice president of finance

personnel

Erin Jones

Brandi Hoyos

principal librarian

audience development

equity & inclusion

MARKETING & COMMUNICATIONS

Jesse Pace

April Satterfield

senior manager of

controller

executive assistant

Emily Fritz-Endres executive management fellow

ARTISTIC Gaetan Le Divelec vice president, artistic planning

Hannah Davis choral and artistic manager

RaSheed Lemon aso artist liaison

Ebner Sobalvarro artistic administrator

EDUCATION & COMMUNITY ENGAGEMENT Sarah Grant senior director of education

Ryan Walks talent development

Joshua Luty

Ashley Mirakian vice president, marketing & communications Delle Beganie content & production manager

Leah Branstetter director of

director of sales &

ticketing & patron experience

Robin Smith

patron services & season ticket associate

Jake Van Valkenburg

Meredith Chapple

sales coordinator

marketing coordinator

Milo McGehee

Adam Fenton

guest services coordinator

multimedia technology

Anna Caldwell

Will Strawn

guest services associate

director of marketing, live

Caitlin Buckers

marketing manager, live

program manager

Lisa Eng

Elena Gagon

creative services

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

manager, live

Michelle Hannaford

& community engagement

Mia Jones-Walker

associate director of

Elizabeth Graiser

marketing manager

coordinator of education

manager of operations & asyo

OPERATIONS Emily Liao Master vice president & general manager

Paul Barrett senior production stage manager

Sara Baguyos associate principal librarian

Richard Carvlin stage manager

Camille McClain director of marketing

& communications Whitney Hendrix creative services

events & hospitality

Christine Lawrence associate director of guest services

Brandi Reed staff accountant

vice president of development

Cheri Snyder senior director of development

William Keene director of annual giving

James Paulk senior annual giving officer

Renee Contreras director of foundation and corporate relations

Esther Kim

development associate, major gifts

Dana Parness manager of individual giving & prospect research

Sharveace Cameron senior development

Jessi Lestelle

associate

event manager

Sarah Wilson

manager, aso

Dan Nesspor

Bob Scarr archivist & research

symphony hall live

manager of development

ticketing manager, atlanta operations

coordinator

Liza Palmer

Madisyn Willis

event manager

marketing manager

director of diversity,

Dennis Quinlan DEVELOPMENT manager, business insights Grace Sipusic & analytics

digital content

director of

executive vice president

Renee Corriveau

donor stewardship & events coordinator

58 | encore ASO | CORPORATE & GOVERNMENT SUPPORT

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

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

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

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| 59

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

$1,000,000+

THE

* *

IMLAY *

F O U N D A T I O N

*

*

A Friend of the Atlanta Symphony Orchestra Anonymous* Elizabeth Armstrong* Around the Table Foundation* Douglas J. Hertz Family Foundation* Patty & Doug Reid*

* *

$500,000+ A Friend of the Atlanta Symphony Orchestra The Antinori Foundation Bank of America* Chick-fil-A Foundation | Rhonda & Dan Cathy

Emerald Gate Charitable Trust* The Home Depot Foundation Sarah & Jim Kennedy Suzy Wilner*

$250,000+ Accenture AT&T Foundation Farideh & Al Azadi Foundation The Molly Blank Fund The Halle Foundation Invesco QQQ Novelis, Inc. The Rich’s Foundation

The Shubert Foundation Truist Trusteed Foundations: Walter H. and Marjory M. Rich Memorial Fund and Truist Trusteed Foundations: The Greene-Sawtell Foundation UPS WestRock

60 | 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 A Friend of the Atlanta Symphony Orchestra ACT Foundation Alston & Bird Anonymous* Atlantic Station The Helen Gurley Brown Foundation Cadence Bank City of Atlanta Mayor’s Office of Cultural Affairs The Community Foundation for Greater Atlanta Cousins Foundation Ann & Jeff Cramer* Sheila Lee Davies & Jon Davies Reade & Katie Fahs* Barney M. Franklin & Hugh W. Burke Charitable Fund Fulton County Board of Commissioners Georgia Council for the Arts Georgia-Pacific Estate of Burton M. Gold Google Graphic Packaging International, Inc.

John H. & Wilhelmina D. Harland Charitable Foundation Mr. & Mrs. Hilton H. Howell, Jr. Jocelyn J. Hunter* Jones Day Foundation & Employees Kaiser Permanente Abraham J. & Phyllis Katz Foundation King & Spalding, Partners & Employees The Sartain Lanier Family Foundation* Charles Loridans Foundation, Inc. Lululemon The Marcus Foundation, Inc. The Sara Giles Moore Foundation National Endowment for the Arts Amy W. Norman Charitable Foundation Northside Hospital Bob & Margaret Reiser* Southern Company Gas Carol & Ramon Tomé Family Fund Warner Bros. Discovery Kelly & Rod Westmoreland Ann Marie & John B. White, Jr. wish Foundation

*A portion or entirety designated to Capital and/or Endowment commitments

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