Atlanta Symphony Orchestra: October, 2022

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DEAR FRIENDS,

Welcome to the Atlanta Symphony Orchestra’s 78th season—a time of new beginnings. This fall marks the beginning of Nathalie Stutzmann's tenure as Music Director. Nathalie is only the fifth Music Director in the ASO’s history and only the second woman to lead a major American orchestra. I know you will be inspired by Nathalie’s incredible talent and musicality, and I hope you’ll join me in giving her a warm Atlanta welcome. Follow along with #ATLwelcomesNathalie.

The Atlanta Symphony Orchestra is also happy to welcome six new musicians to the stage, including three with very special ASO connections. Please join me in welcoming ASO Talent Development Program alumna, cellist Denielle Wilson, and two former members of the Atlanta Symphony Youth Orchestra, William Cooper, trumpet, and Michael Scholefield, bass, to the ASO.

One of the great privileges of my role at the ASO is the opportunity to work with our extraordinarily committed and hard-working Board of Directors. This July we welcomed Patrick Viguerie as Board Chair, succeeding Janine Brown. Having served on the Board for over a decade, Patrick knows the organization well. Most recently he chaired the search committee that led to the selection of Nathalie Stutzmann. A senior partner at strategy consulting firm Innosight, Patrick brings his keen insight to the ASO; and as a talented musician himself and parent of a star ASYO alum, he brings a true passion for the ASO’s programs and impact. Thank you, Patrick, for your leadership.

Speaking of new beginnings, we are happy to bring back our field trip concert series for Atlanta-area students this season. Students at the Symphony, formerly known as Concerts for Young People, is a wonderful way to introduce young people to the beauty of classical music, and we’re thrilled to bring back this long-standing and impactful education program.

To learn more about the ASO’s education programs, visit aso.org/education.

Finally, we hope you’re enjoying our newly renovated Galleria space, complete with new bars and expanded seating areas, all in a warm and inviting setting. Special thanks to our friends at Studiobdesigns. com for creating this beautiful new space to enjoy.

| NATHALIE STUTZMANN

The 2022/23 season marks an exciting new era for the ASO as Maestro Nathalie Stutzmann takes her role as our fifth Music Director, making her the only woman leading a major American orchestra. She has also served as the Principal Guest Conductor of The Philadelphia Orchestra since 2021 and Chief Conductor of the Kristiansand Symphony Orchestra in Norway since 2018.

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

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

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

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

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

ASO | LEADERSHIP | 2022/23 Board of Directors

OFFICERS

Patrick Viguerie chair

Janine Brown immediate past chair

Bert Mills treasurer Angela Evans secretary Lynn Eden vice chair James Rubright vice chair

DIRECTORS

Phyllis Abramson

Keith Adams

Juliet M. Allan Susan Antinori

Andrew Bailey

Jennifer Barlament*

Paul Blackney

Rita Bloom

Zachary Boeding*

Janine Brown

Benjamin Q. Brunt

Betsy Camp Susan Clare Russell Currey

Sheila Lee Davies

Erroll Brown Davis, Jr. Carlos del Rio,

M.D. FIDSA

Sloane Drake

S. Wright Caughman, M.D.

Lisa Chang

Lynn Eden Rod Garcia-Escudero

Angela Evans

Craig Frankel

Sally Bogle Gable Anne Game

Sally Frost George Robert Glustrom Bonnie B. Harris Charles Harrison Tad Hutcheson, Jr. Roya Irvani

Randolph J. Koporc Carrie Kurlander

James H. Landon Donna Lee Sukai Liu Kevin Lyman Deborah Marlowe Shelley McGehee Bert Mills Molly Minnear Hala Moddelmog* Terence L. Neal Galen Lee Oelkers

Dr. John Paddock Howard D. Palefsky Cathleen Quigley Doug Reid

BOARD OF COUNSELORS

Neil Berman

John W. Cooledge, M.D.

John R. Donnell, Jr.

Jere A. Drummond

Carla Fackler

Charles B. Ginden

John T. Glover

Dona Humphreys

Aaron J. Johnson, Jr.

Ben F. Johnson, III

James F. Kelley

Patricia Leake

Karole F. Lloyd

LIFE DIRECTORS

Meghan H. Magruder Penelope McPhee

Patricia H. Reid

Joyce Schwob

John A Sibley, III H. Hamilton Smith

James Rubright

William Schultz

Charles Sharbaugh

Fahim Siddiqui W. Ross Singletary, II John Sparrow

Elliott Tapp

Brett Tarver S. Patrick Viguerie Kathy Waller Mark D. Wasserman Chris Webber

John B. White, Jr. Richard S. White, Jr. Kevin E. Woods, M.D., M.P.H.

G. Kimbrough Taylor, Jr. Michael W. Trapp

Ray Uttenhove

Chilton Varner

Adair M. White

Sue Sigmon Williams

Howell E. Adams, Jr. Connie Calhoun C. Merrell Calhoun Betty Sands Fuller Azira G. Hill

ASO

2022/23 Musician Roster

FIRST VIOLIN

David Coucheron

concertmaster

The Mr. and Mrs. Howard R. Peevy Chair

Justin Bruns associate concertmaster

The Charles McKenzie Taylor Chair

Vacant assistant concertmaster

Jun-Ching Lin assistant concertmaster

Anastasia Agapova

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

Sanford Salzinger

SECOND VIOLIN

Vacant principal

The Atlanta Symphony Associates Chair

Sou-Chun Su

acting / associate principal

The Frances Cheney Boggs Chair

Jay Christy

acting associate / assistant principal

Dae Hee Ahn

Robert Anemone Noriko Konno Clift

David Dillard Sheela Iyengar** Eun Young Jung• Eleanor Kosek Yaxin Tan• Rachel Ostler

VIOLA

Zhenwei Shi principal

The Edus H. and Harriet H. Warren Chair

Paul Murphy associate principal

The Mary and Lawrence Gellerstedt Chair

Catherine Lynn assistant principal Marian Kent Yang-Yoon Kim

Yiyin Li Lachlan McBane

Jessica Oudin Madeline Sharp

CELLO

Rainer Eudeikis* principal

The Miriam and John Conant Chair

Daniel Laufer acting / associate principal

The Livingston Foundation Chair

Nathalie Stutzmann music director

The Robert Reid Topping Chair

Karen Freer

acting associate / assistant principal

Thomas Carpenter

Joel Dallow

The UPS Foundation Chair

Peter Garrett•**

Brad Ritchie

Denielle Wilson•**

BASS

Joseph McFadden principal

The Marcia and John Donnell Chair

Gloria Jones Allgood associate principal

The Lucy R. & Gary Lee Jr. Chair

Karl Fenner

Michael Kenady

The Jane Little Chair

Michael Kurth

Nicholas Scholefield•

Daniel Tosky

FLUTE

Christina Smith principal

The Jill Hertz Chair

Robert Cronin associate principal

C. Todd Skitch

Gina Hughes

PICCOLO

Gina Hughes

Sir Donald Runnicles

principal guest conductor; The Neil & Sue Williams Chair

Jerry Hou

associate conductor; music director of the atlanta symphony youth orchestra

The Zeist Foundation Chair

OBOE

Elizabeth Koch Tiscione

principal

The George M. and Corrie Hoyt

Brown Chair

Zachary Boeding associate principal

The Kendeda Fund Chair

Samuel Nemec

Emily Brebach

ENGLISH HORN

Emily Brebach

CLARINET

Vacant principal

The Robert Shaw Chair

The Mabel Dorn Reeder

Honorary Chair

Ted Gurch

acting / associate principal

Marci Gurnow

Alcides Rodriguez

E-FLAT CLARINET

Ted Gurch

BASS CLARINET

Alcides Rodriguez

BASSOON

Andrew Brady* principal

The Abraham J. & Phyllis Katz Foundation Chair

Anthony Georgeson

acting / associate principal

Laura Najarian Juan de Gomar

CONTRA-BASSOON

Juan de Gomar

HORN

Vacant principal

The Betty Sands Fuller Chair

Susan Welty acting / associate principal Kimberly Gilman

Bruce Kenney

TRUMPET

Stuart Stephenson* principal

The Madeline and Howell Adams Chair

Michael Tiscione acting / associate principal

Anthony Limoncelli

Mark Maliniak

William Cooper•**

TROMBONE

Vacant principal

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

Nathan Zgonc acting / associate principal

BASS TROMBONE

Vacant

The Home Depot Veterans Chair TUBA Michael Moore principal

The Delta Air Lines Chair

Norman Mackenzie

director of choruses

The Frannie & Bill Graves Chair

TIMPANI

Mark Yancich principal

The Walter H. Bunzl Chair

Michael Stubbart assistant principal

PERCUSSION

Joseph Petrasek principal

The Julie and Arthur Montgomery Chair

Vacant

assistant principal

The William A. Schwartz Chair

Michael Stubbart

The Connie and Merrell Calhoun Chair

HARP

Elisabeth Remy Johnson principal

The Sally and Carl Gable Chair

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair

Peter Marshall †

Sharon Berenson

LIBRARY

Vacant principal

The Marianna & Solon Patterson Chair

Holly Matthews assistant principal librarian

Hannah Davis asyo / assistant librarian

Members of the Atlanta Symphony Orchestra

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

2021/22 CHAIRS

Arthur Mills, IV advisory council chair

Justin Im internal connections task force

Frances Root patron experience task force chair

Jane Morrison diversity & community connection task force co chair

Eleina Raines diversity & community connection task force co chair

Cindy Smith diversity & community connections task force co chair

Otis Threatt diversity & community connection task force co chair

MEMBERS

Dr. Marshall & Stephanie Abes

Krystal Ahn Keith Barnett Asad & Sakina Bashey Meredith W. Bell

Jane Blount

Ronald Breakstone Cristina Briboneria Tracey Chu Donald & Barbara Defoe

Paul & Susan Dimmick Bernadette Drankoski Diana Einterz

Bruce Flower

John Fuller Tucker Green Caroline Hofland

Justin Im Baxter Jones Brian & Ann Kimsey Jason & Michelle Kroh

Scott Lampert

Dr. Fulton Lewis III & Mr. Neal Rhoney Robert Lewis, Jr. Eunice Luke Belinda Massafra Arthur Mills IV Berthe & Shapour Mobasser Bert Mobley Caroline & Phil Moïse Sue Morgan Anne Morgan Jane Morrison Tatiana Nemo Gary Noble Bethani Oppenheimer Chris Owes Margie Painter Ralph Paulk Regina Olchowski Eliza Quigley

Eleina Raines Felicia Rives

Frances A. Root Thomas & Lynne Saylor Jim Schroder Baker Smith Cindy Smith Peter & Kristi Stathopoulos Kimberly Strong Stephen & Sonia Swartz

George & Amy Taylor Otis Threatt Jr. Cathy Toren Sheila Tschinkel Roxanne Varzi Robert & Amy Vassey

Juliana Vincenzino Robert Walt Nanette Wenger Kiki Wilson Taylor Winn Camille Yow

For more information about becoming an Advisory Council member, please contact Cheri Snyder at cheri.snyder@atlantasymphony.org or 404.733.4904.

Introducing Nathalie Stutzmann: Atlanta Symphony Orchestra's Fifth Music Director

by Noel Morris

STEPHENIE SLAMA

For Atlanta Symphony Orchestra Music Director Designate Nathalie Stutzmann, music is more than an occupation; it’s a way of being. Both her parents were opera singers. At seven months pregnant, her mother sang the lead in Verdi’s  Otello. Baby Nathalie came along two months later.

“If you love music as I do, it’s fantastic luck to start before you’re born,” laughs the 56-year-old conductor.

Living among people who practiced, rehearsed and performed every day, Nathalie experienced music as a natural part of family life. She recalls other kids not understanding her intense work ethic. That changed when she enrolled in an immersive music school at age 11.

“At that time, it was paradise because I was surrounded by people who had the same passion.” With a longer school day, she split her time between academics and piano, bassoon, viola and cello. As a teen, she started conducting.

“I wanted to take some [conducting] lessons. And the teacher was a great musician, but I quickly understood that [the 1970s] was no time for a woman on the podium,” she said. That would have to wait a few more decades.

Soon, nature stepped in. Nathalie developed an extraordinary contralto voice—a rarity among singers. At 16, she started studying with her mother. By 18, she was rejecting performance offers in

“She is a consummate rock star on the podium”

— ArtsATL

in order to focus on her studies at the Paris Opera. The youngest student in the Opera’s history, Nathalie spent four years there before stepping into the international spotlight. Quickly, she transitioned to life on the road, moving between airports, concert halls and opera houses.

“The contralto is not heading the way of the California condor just yet,” wrote The New York Times in 1995.

Nathalie Stutzmann with Seiji Ozawa

“Hope is arriving in the form of Nathalie Stutzmann, a lanky young Parisian with eyes as deep and dusky as her voice.” Nathalie proceeded to hit all the milestones of a glorious career, working with legendary conductors, singing in the most storied halls, and recording all the great works for the contralto voice (more than 80 recordings). At the same time, she quietly held onto her dream of becoming a conductor.

“As a singer, you have one melody to sing,” she said. “As a conductor, you have a hundred voices.” It was personal: “the only way to express all the music that’s in me is as a conductor.” Finally, after a 20-year career, she made her move—and flew into some mighty headwinds.

“People were suspicious; a singer,  plus  a woman… [there were] a lot of elements against me,” she told Interlude. “But I believed in it, and when I believe in something it’s hard to stop me.” Far from an industry outsider, she quickly found encouragement from Seiji Ozawa and Sir Simon Rattle, two eminent conductors who served

“Nathalie is the real thing. So much love, intensity and sheer technique. We need more conductors like her,” said Rattle.

He advised her to go to the legendary conducting teacher Jorma Panula in Finland [Panula has produced six major maestros to date]. Add to that, Nathalie brought with her some unique perspective.

“I kept the dream of conducting all my life. [Nurturing that] passion, I observed the great conductors I was singing with,” she said. “As a conducting student, it’s probably the best school you could ever have.”

“Nathalie is the real thing…We need more conductors like her”

— Sir Simon Rattle

After honing her skills with Panula, Nathalie founded her own ensemble, the critically acclaimed Baroque orchestra Orfeo 55. With them, she hit her stride on the podium. Fastforward to 2022, Nathalie Stutzmann is now the only woman to head a top-25 American orchestra and is in demand around the world.

She holds positions as Chief Conductor of the Kristiansand Symphony Orchestra in Norway and Principal Guest Conductor of The Philadelphia Orchestra, in addition to taking the reins of the Atlanta Symphony Orchestra. As busy as she is, taking the job in Atlanta was a no-brainer.

“It’s so funny,” she grinned. “To be a musician is a paradox because you can be happy with a concert, but you’re already looking forward to the next concert—because you think you can be better.” In Atlanta, she has found a group of musicians who share that work ethic. “They want to serve the music first. And to serve the music, you have to be a perfectionist. They are starving to make music, and that is what attracts me so much.” And the feeling is mutual.

“Even before she came to Atlanta,” said ASO Executive Director Jennifer Barlament, “some of our musicians saw her working with other orchestras and were blown away, not only by her artistry but her deep connection with the players.”

“It’s very obvious that she comes from a vocal background by the way she thinks of phrasing. It’s so musical,” said ASO Concertmaster David Coucheron.

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

“The most elegant and articulate words fail to do justice to Stutzmann’s performance,” wrote ArtsATL. “She is a consummate rock star on the podium. With her precise, yet large and wild articulations, she doesn’t ‘conduct’ so much as she seizes the full potential of every note and wrenches it loose from the silence that preceded it.”

This bodes well for Atlanta. With years of great performances on the horizon, the Stutzmann era promises rocket fuel for the city’s culture scene. And it all comes down to something people often associate with the dynamic maestro: magic.

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

— David Coucheron

“Magic happens when absolutely everyone in the orchestra is connected,” she said. “Of course, you can play together (it’s easy for any professional orchestra). But to feel together, to breathe together, to take risks together . . . It’s this exchange of energy between me, the orchestra, and the audience. That’s what makes those moments special.”

SPECIAL THANKS:

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

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

A Friend of the Symphony (4)

The Antinori Foundation

The Arthur M. Blank Family Foundation

The Atlanta Symphony Orchestra Players’ Association

Jennifer Barlament & Kenneth Potsic

Janine Brown & Alex J. Simmons, Jr.

The John and Rosemary Brown Family Foundation

Thalia & Michael C. Carlos Advised Fund

Marcia & John Donnell

In loving memory of Catherine W. Dukehart

The Estate of Geoffrey G. Eichholz

Angela Evans

James H. Landon Bert & Carmen Mills Lynn & Galen Oelkers

Sally & Pete Parsonson Patty & Doug Reid

Mr. John A. Sibley, III Ross & Sally Singletary Slumgullion Charitable Fund Kathy Waller & Kenneth Goggins

Adair & Dick White

The Estate of Hubert H. Whitlow, Jr. Kiki Wilson

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

ASO | SEASON SPONSORS

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

Concerts of Thursday, October 6, 2022, 8:00pm Saturday, October 8, 2022, 8:00pm Sunday, October 9, 2022, 3:00pm

NATHALIE STUTZMANN, conductor

TALISE TREVIGNE, soprano

JENNIFER JOHNSON CANO, mezzo-soprano

ROBIN TRITSCHLER, tenor

LEON KOŠAVIĆ, baritone

ATLANTA SYMPHONY ORCHESTRA CHORUS

NORMAN MACKENZIE, Director of Choruses

LUDWIG VAN BEETHOVEN (1770–1827)

Ah! perfido, Op. 65 (1796) 13 MINS Talise Trevigne, soprano

HILARY PURRINGTON (b. 1990)

Words for Departure (2020) 15 MINS

I. Nothing was remembered, nothing forgotten II. I have remembered you III. You have learned the beginning Atlanta Symphony Orchestra Chorus

INTERMISSION

LUDWIG VAN BEETHOVEN

20 MINS

Symphony No. 9 in D Minor, Op. 125 (“Choral”) (1824) 68 MINS

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Finale: Presto. Allegro assai Talise Trevigne, soprano Jennifer Johnson Cano, mezzo-soprano Robin Tritschler, tenor Leon Košavic, baritone Atlanta Symphony Orchestra Chorus

Words for Departure was commissioned by the League of American Orchestras with the generous support of the Virginia B. Toulmin Foundation.

This weekend’s concerts are dedicated to SHEILA L. & JONATHAN J. DAVIES in honor of their extraordinary support of the 2021/22 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

by Noel Morris Program Annotator

Ah! perfido, Op. 65

In addition to the soprano solo, Ah! perfido is scored for flute, two clarinets, two bassoons, two horns and strings.

First and most recent ASO performances: October 20, 1955

Henry Sopkin, conductor Zinka Milanov, soprano

About half a mile from the Prague Castle stands a terracotta-colored Baroque building with a terracotta roof. A plaque by the door sports a stern-looking bronze of Beethoven scowling down at anyone who pauses to read its inscription: “Here at the Inn of the Golden Unicorn lived the famous music composer Ludwig van Beethoven in February 1796.” In fact, Beethoven is not the only famous composer to have stayed there.

When he moved to Vienna as a 21-year-old pianist, Beethoven fell into the orbit of a classical music superfan, Prince Karl Lichnowsky, a friend of Mozart and Haydn. (Famously, Lichnowsky worked through C.P.E. Bach, son of Johann Sebastian, to amass a collection of the elder Bach’s manuscripts and write the first biography of the composer.) When Beethoven landed in Vienna in November of 1792, Lichnowsky offered him an attic apartment and took him under his wing. Showing off his young protégé, Lichnowsky took Beethoven on a trip to Prague, a city where Mozart had made a tremendous splash.

In fact, it had only been seven years since Lichnowsky had traveled there with Mozart, Beethoven’s musical hero. Returning with Beethoven in 1796, the prince guided the younger composer to the Golden Unicorn, staying in the very same room where Mozart had slept.

With Mozart on the brain, Beethoven secured a piano and wrote the concert scene Ah! perfido for soprano and orchestra, mirroring a work that Mozart had written for a local musician.

Back in 1787, Mozart had been in Prague for the premiere of Don Giovanni and stayed at the country house of his friends Franz and Josefa Duschek. Josefa was a formidable soprano, inspiring Mozart to write Bella mia fiamma. When Beethoven traveled to the Czech capital in 1796, he wrote Ah! perfido for the same singer. Infused with fiery melodrama, rapid mood shifts and virtuosic flourishes, Ah! perfido takes us into the emotional torrent of a woman spurned, vacillating between rage, vengeance, devotion, grief and indignation. Josefa Duschek sang the premiere in Leipzig later that year.

Words for Departure

These are world premiere performances.

Words for Departure is scored for mixed chorus, two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets (one doubling bass clarinet), two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano and strings.

Hilary Purrington is a living composer of chamber, vocal and orchestral music. Her work has received recognition from the American Academy of Arts and Letters; the American Society of Composers, Authors and Publishers (ASCAP); the International Alliance for Women in Music; and the National Federation of Music Clubs (NFMC), among others.   Purrington’s orchestral and chamber works have been performed by many distinguished ensembles, including the Peabody Modern Orchestra, the American Modern Ensemble, Voices of Change and the Chicago Harp Quartet. Recent commissions include new works for the New York Youth Symphony, American Composers Orchestra, the Philadelphia Orchestra and the River Oaks Chamber Orchestra.

For the 2018/19 season, Purrington was named the Sioux City Symphony Orchestra's Composer of the Year and served as composer-in-residence for the Musical Chairs Chamber Ensemble. She is a 2020 recipient of an orchestral commission from the League of American Orchestras' Women Composers Readings and Commissions program, supported by the Virginia B. Toulmin Foundation.

Also an accomplished vocalist, Purrington has developed a reputation as a skilled composer of solo and choral music. Her song  For your judicious and pious consideration was premiered by mezzo-soprano Adele Grabowsky on the 2016 NY Phil Biennial’s New Music New Haven concert. In 2015, the Eric Stokes Fund commissioned Purrington to compose a new song cycle about the devastating effects of climate change. The resulting work, A Clarion Call, was premiered at the 2017 Conference for Ecology and Religion hosted by the Yale Divinity School. Recent vocal commissions include new works for the Melodia Women’s Choir of NYC, Yale Glee Club, inFLUX, and the Bowers/Fader Duo. In April 2019, C4: The Choral Composer/Conductor Collective premiered John Eason Stops Preaching, a new work with words by contemporary poet Julia Bouwsma. She recently completed a new opera for New Camerata Opera, created in collaboration with librettist Hannah

NARA GAISINA

McDermott and animation studio Catarata.

Originally from western Massachusetts, Purrington lives and works in Durham, North Carolina. She holds degrees from the Yale School of Music, The Juilliard School and the Shepherd School of Music at Rice University.

From the composer:

Words for Departure (2020) is a three-movement choral symphony featuring poetry by 20th century writer Louise Bogan. Over the course of three poems, Bogan describes and reflects on the end of a romantic relationship.

I began writing Words for Departure in January 2020 and completed it during the initial months of the COVID-19 pandemic. As a society, we were reaching out to friends near and far and finding new ways to support and connect with one another. Words for Departure, which began as an analysis of an imagined relationship, became a meditation on the importance of investing in others and examining how we treat one another.

During an initial reading of Bogan’s “Words for departure,” I was captivated by the three poems’ visceral imagery and Bogan’s ability to create a complete narrative through just a few impactful lines. At first, I overlooked the set because the topic seemed too “small” to explore in the context of a choral symphony; however, the first few months of the pandemic dramatically changed my perspective. We had collectively come to the realization that relationships are actually the most significant and essential areas of our lives—certainly worth the scale and drama of a symphony.

Symphony No. 9 in D Minor, Op. 125 (“Choral”)

Symphony No. 9 is scored for soprano, alto, tenor, and bass soloists, mixed chorus, piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, percussion and strings.

What can one say about Beethoven’s Ninth Symphony? Epic, magnificent, monumental, revolutionary—the 19th-century German philosopher Friedrich Nietzsche suggested this:

First ASO performance: October 19, 1967

Robert Shaw, conductor

Most recent

ASO performances: April 11–14, 2019

Thomas Søndergård, conductor

“At a certain place in Beethoven’s Ninth Symphony,” he wrote, “[one] might feel that he is floating above the earth in a starry dome, with

the dream of immortality in his heart; all the stars seem to glimmer around him, and the earth seems to sink ever deeper downwards.”  The Ninth Symphony does feel otherworldly. It occupies a space beyond our everyday experience. Indeed, it was written by a deaf man. Through more than an hour’s worth of music, Beethoven had no auditory point of reference. It all billowed from a singular imagination. And so the Ninth Symphony stood alone, becoming a piece that people perform at moments of great significance. Leonard Bernstein, for example, conducted Beethoven’s Ninth to mark the fall of the Berlin Wall in 1989. And, closer to home, the Atlanta Symphony Orchestra and Chorus present it here at the start of a new era for the ensemble (and for women aspiring to top conducting jobs)—the tenure of Nathalie Stutzmann.

Often, we skip to the end of the Beethoven story: a composer loses his hearing but writes one masterpiece after another. We spend less time thinking about a man—a musician—coping with an especially cruel disability.

Beethoven had moved to Vienna in 1792, ostensibly to study composition with Franz Josef Haydn. The two did not exactly click. The Viennese nobility latched onto the younger composer. With Europe’s “who’s who” looking on, Beethoven dazzled the Viennese from the piano and came to see Haydn as a distraction. Beethoven’s improvisations were legendary and served as a wellspring for his ideas. By the end of the decade, he was aware of a problem in the left ear.

For all the astonishing architecture associated with his music— massive works that grow from tiny bits of material—composition was a scattered enterprise. Beethoven’s sketchbooks contain ideas for many different works, side-by-side, that would sometimes take years to germinate. During his first two decades in Vienna, he cranked out reams of music, often centering around his piano playing. He presented his first four piano concertos featuring himself as soloist. By the time he presented the Fifth in 1811, his hearing was too far gone to play in public. The Seventh and Eighth Symphonies followed in 1812, and then Beethoven hit a dry spell.

Over the next few years, he acquired various ear trumpets while pressuring instrument builders to design a louder piano. He even devised a contraption to amplify the instrument, but his connection to the piano—to the instrument that had been an extension of his soul—was falling away.

Probably Beethoven had always been a difficult person, but hearing loss exacerbated his personality quirks. He had a hot temper. He was a horrible boss and tended to hurl insults at people. But he did have friends and was frequently seen dining with them in restaurants and sharing laughs about things jotted down on pieces of paper. From his conversation books, we know a lot about his daily life. He chronically suffered from gastrointestinal problems and various infections. For years, he fought to gain custody of his nephew, Carl. Medical bills, various therapies, and Carl’s tuition all led to financial distress. In response, Beethoven wrote what he called trifles, little compositions, in an attempt to make some money, but years passed before he hit his stride again as a composer. Twelve years separate the Eighth and Ninth Symphonies.

Born in 1770, Beethoven was a child of the Enlightenment. Through all his misery, he held fast to Enlightenment principles celebrating what he believed to be a God-given capacity for reason, science, progress, liberty, and equality. These values, he thought, were the key to happiness, not just for himself but for all humanity. Enter Friedrich Schiller.

Schiller published a poem in 1786 called “An die Freude,” Ode to Joy, that spread like wildfire among those who had a taste for revolution. According to Beethoven-biographer Jan Swafford, “The poem’s essence was the Enlightenment cult of happiness as the goal of life, the conviction that the triumph of freedom and joy will bring humanity to an epoch of peace and universal brotherhood, the utopia he called Elysium.” The poem is written in the style of the geselliges Lied—a song that might be sung with beer steins hoisted in the air.

Three years after the poem’s publication, French subjects stormed the Bastille. In 1792, officials named Schiller an honorary citizen of the newly constituted French Republic. However, it must be said that Schiller was horrified by the ensuing bloodbath and soon revised and distanced himself from his poem. Beethoven, on the other hand, never forgot it; throughout his adult life, he talked about setting it to music.

Beethoven found his footing around 1819 when he began work on his  Diabelli Variations and his  Solemn Mass. He completed the first movement of his Ninth Symphony in early 1823 and finished the piece in 1824. The Ninth Symphony is a journey. It begins in a fury and makes its way toward the celestial light of the finale, proclaiming Schiller’s poem with four vocal soloists and a full chorus.

Beethoven conducted the premiere of the Ninth Symphony on May 7, 1894 (sort of). In truth, he followed the score and indicated tempos in front of conductor Michael Umlauf who had instructed the performers not to look at the composer.

Beethoven “flailed about with his hands and feet as though he wanted to play all the instruments and sing all the chorus parts,” recalled one witness. When it was over, contralto Caroline Unger reportedly approached the composer and turned him to face the cheering crowd.

TEXT AND TRANSLATION

Ah! perfido

Ah! perfido, spergiuro, Barbaro traditor, tu parti?

E son questi gl’ultimi tuoi congedi?

Ove s’intese tirannia più crudel?

Va, scellerato! va, pur fuggi da me, L’ira de’ numi non fuggirai.

Se v’è giustizia in ciel, se v’è pietà, Congiureranno a gara tutti a punirti!

Ombra seguace, presente, ovunque vai, Vedrò le mie vendette,

Io già le godo immaginando.

I fulmini ti veggo già balenar d’intorno.

Ah no! Fermate, vindici Dei!

Risparmiate quel cor, ferite il mio!

S’ei non è più qual era, son io qual fui,

Per lui vivea, voglio morir per lui!

Per pietà, non dirmi addio!

Di te priva che farò?

Tu lo sai, bell’idol mio!

Io d’affanno morirò.

Ah crudel! Tu vuoi ch’io mora!

Tu non hai pietà di me?

Perchè rendi a chi t’adora Così barbara mercè?

Dite voi se in tanto affanno

Non son degna di pietà?

Ah! You treacherous

Ah! You treacherous, faithless, barbaric traitor, you leave?

And is this your last farewell?

Where did one hear of a crueller tyranny? Go, despicable man! Go, flee from me! You won’t flee from the wrath of the gods. If there is justice in heaven, if there is pity, all will join forces in a contest to punish you.

I follow your trail! I am wherever you go, I will live to see my revenge, I already take my delight in it in my imagination.

I already see you surrounded by flashes of lightning. Alas! Pause, avenging gods! Spare that heart, wound mine! If he is not what he was, I am still what I was. For him I lived, for him I want to die!

Have mercy, don’t bid me farewell, what shall I do without you? You know it, my beloved idol! I will die of grief.

Ah, cruel man! You want me to die! Don’t you have pity on me? Why do you reward the one who adores you in such a barbaric way? Tell me, if in such a grief I do not deserve pity?

Translation by Bertram Kottmann

Words for Departure by Louise Bogan

1

Nothing was remembered, nothing forgotten.

When we awoke, wagons were passing on the warm summer pavements, The window-sills were wet from rain in the night, Birds scattered and settled over chimneypots

As among grotesque trees.

Nothing was accepted, nothing looked beyond. Slight-voiced bells separated hour from hour, The afternoon sifted coolness And people drew together in streets becoming deserted. There was a moon, and light in a shop-front, And dusk falling like precipitous water.

Hand clasped hand Forehead still bowed to forehead— Nothing was lost, nothing possessed There was no gift nor denial.

TEXT AND TRANSLATION

2

I have remembered you. You were not the town visited once, Nor the road falling behind running feet.

You were as awkward as flesh And lighter than frost or ashes.

You were the rind, And the white-juiced apple, The song, and the words waiting for music.

3

You have learned the beginning; Go from mine to the other.

Be together; eat, dance, despair, Sleep, be threatened, endure. You will know the way of that.

But at the end, be insolent; Be absurd—strike the thing short off; Be mad—only do not let talk Wear the bloom from silence.

And go away without fire or lantern Let there be some uncertainty about your departure.

Symphony No. 9 in D Minor, Op. 125 (“Choral”)

Baritone Solo, Soloists and Chorus

O Freunde, nicht diese Töne!

Sondern lasst uns angenehmere anstimmen und freudenvollere!

Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Baritone Solo, Soloists and Chorus

Oh friends, no more these sounds!

Let us sing songs that are more cheerful and full of joy!

Joy, lovely divine spark, Daughter of Elysium, With fiery rapture, We approach your sanctuary!

Your magic reunites, What stern custom separated; All men shall be brothers, Under your gentle wings.

Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein!

Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund. Freude trinken alle Wesen

An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!

Whoever has enjoyed the great fortune Of being a friend to a friend, Whoever has won a dear wife, Join in our chorus of jubilation! Yes, even if he has but one soul On this earth to call his own! And whoever has not, let him steal away Tearfully and alone.

Every creature drinks joy At nature’s breast. Everyone, good and bad Follows in her rosy path. She gave us kisses and the fruit of the vine, And a friend, faithful until death; Even the worm can feel contentment, And the cherub stands before God!

Tenor Solo and Chorus

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen. (The first stanza is repeated)

Chorus and Soloists

Seid umschlungen, Millionen!

Diesen Kuss der ganzen Welt! Brüder! Über’m Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt? Such’ ihn überm Sternenzelt! Über Sternen muss er wohnen.

Tenor Solo and Chorus

Gladly, as His suns fly Through the mighty path of heaven, So, brothers, run your course, Joyfully, like a hero on his conquest. (The first stanza is repeated)

Chorus and Soloists

Be embraced, you millions! This kiss is for all the world! Brother! Above this tent of stars There must dwell a loving Father. Do you kneel, you millions? Do you sense your Creator, world? Seek Him above in the tent of stars! Above the stars He must dwell.

Translation by Ken Meltzer

artists

TALISE TREVIGNE, SOPRANO

Career highlights for American soprano Talise Trevigne include her celebrated portrayal in the title role Porgy and Bess at The Atlanta Opera; she returned as a TAO Company Principal Artist in Season 2020-21 as Nedda I Pagliacci. Miss Trevigne played the role of Sunny desert in for Boston Lyric Opera in their exciting new episodic opera drama devised for the small screen, curated and directed by James Darrah. Previous highlights include her return appearance with CBSO for Tippett’s A Child of our Time in performances in the UK and Germany, conducted by Mirga Gražinytė-Tyla. Future engagements include Violetta La Traviata at Calgary Opera, and La bohème at Cincinnati Opera, alongside the title role in Gregory Spears’ new work, Castor and Patience

JENNIFER JOHNSON CANO, MEZZO-SOPRANO

Anaturally gifted singer known for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim for committed performances of both new and standard repertoire. With more than 100 performances on the stage at The Metropolitan Opera, her most recent roles have included Nicklausse, Emilia, Hansel and Meg Page. Cano undertakes a balance of orchestral, opera and chamber music performances each season. She appears with major orchestras and conductors, and has collaborated on numerous projects with the Cleveland Orchestra and Franz Welser-Möst as well as the Los Angeles Philharmonic and Gustavo Dudamel in both the US and Europe. She has performed with the New York Philharmonic in both New York and Vail, as well as the Pittsburgh Symphony and Manfred Honeck. A native of St. Louis, she earned degrees from Rice University and from Webster University, where she was honored as a distinguished alumna and commencement speaker in May 2017.

ROBIN TRITSCHLER, TENOR

Irish tenor Robin Tritschler has garnered praise from critics and audiences for his performances. He graduated from the Royal Academy of Music and was a BBC New Generation Artist. In concert, Tritschler has appeared with many leading orchestras including the London Philharmonic Orchestra (Yannick NézetSéguin, Nathalie Stutzmann and Vladimir Jurowski), L’Orchestre

National de Lyon (Yutaka Sado), Gulbenkian Foundation Lisbon, the Hong Kong Philharmonic Orchestra (Edo de Waart), the Rotterdam Philharmonic Orchestra (Philippe Herreweghe), the Moscow Virtuosi (Vladimir Spivakov), and the BBC Philharmonic (Juanjo Mena). With the RTE Concert Orchestra, Tritschler performed Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State and gave the UK premiere of CPE Bach’s St. John Passion with the Bournemouth Symphony Orchestra under Kirill Karabits.

LEON KOŠAVIĆ, BARITONE

The young Croatian baritone Leon Košavić began his vocal training at the age of 12. He completed his master’s degree at the Music Academy in Zagreb in the singing class of Giorgio Surian. In 2011 he began his musical career as Papageno at the Croatian National Opera, where he sang Masetto and Moralès and Malatesta in the following years. In 2015 he made his debut at the Finnish National Opera as Malatesta (Don Pasquale). In the same year, Kosavic won the Croatian Theatre Prize for “outstanding performances by young artists under 30” for his sensational performance of Don Giovanni. Since then, he has appeared at numerous European opera houses such as the Royal Opera House London (Ping in Turandot), Stuttgart State Opera (Don Giovanni), Liège (Figaro in Nozze di Figaro), Antwerp ( Juive), Lausanne (Masetto in Don Giovanni) and Strasbourg (Figaro in Barbiere di Siviglia).

ATLANTA SYMPHONY ORCHESTRA CHORUS

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

GARRETH WONG WEB

NORMAN MACKENZIE, DIRECTOR OF CHORUSES

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

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

ATLANTA SYMPHONY ORCHESTRA CHORUS

SOPRANO 1

Ellen Abney Khadijah Davis Liz Dean*

Laura Foster Michelle Griffin* Erin Jones* Arietha Lockhart** Alexis Lundy Mindy Margolis* Joneen Padgett* Mary Martha Penner Susan Ray

Samaria Rodriguez Emily Salmond

Lydia Sharp Susie Shepardson Chelsea Toledo Brianne Turgeon** Deanna Walton Erika Wuerzner 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 Amanda Hoffman Melissa Mack Mary Mulvey Heidi Padovano

Lindsay Patten Murray Chantae Pittman

Tramaine Quarterman Marianna Schuck Anne-Marie Spalinger

Emily Tallant

Cheryl Thrash**

Donna Weeks**

ALTO 1

Pamela Amy-Cupp Deborah Boland** Emily Campbell Donna Carter-Wood** Patricia DinkinsMatthews* Angel Dotson-Hall Katherine Fisher Beth Freeman* Cynthia Harris Unita Harris Beverly Hueter* Janet Johnson** Susan Jones Kathleen KellyGeorge* Virginia Little* Staria Lovelady* Alina Luke Frances McDowellBeadle** Sara McKlin Linda Morgan** Natalie Pierce Kathleen Poe Ross Noelle Ross Camilla Springfield** Nancy York*

ALTO 2

Nancy Adams* Angelica BlackmanKeim Elizabeth Borland Emily Boyer Marcia Chandler* Carol Comstock Meaghan Curry Cynthia Goeltz DeBold** Michèle Diament* Alyssa Harris Joia Johnson Nicole Khoury* Lynda Martin

Lalla McGee Sharon Simons* Virginia Thompson* Cheryl Vanture Kiki Wilson** Diane Woodard** TENOR 1 Jeffrey Baxter** Christian Bigliani David Blalock** LaRue Bowman John Brandt** Daniel Cameron* Daniel Compton Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell* Keith Langston* Christopher Patton* Stephen Reed # Jeremiah Robinson TENOR 2 Matthew Borkowski Steve Brailsford Charles Cottingham # Phillip Crumbly* Steven Dykes Joseph Few** Sean Fletcher John Harr Keith Jeffords** David Kinrade Michael Parker Timothy Parrott Marshall Peterson* Thomas Slusher Scott Stephens** BASS 1 Dock Anderson William Borland Russell Cason** Jeremy Christensen

Joshua Clark

Trey Clegg* Rick Cobb Michael Cranford Thomas Elston Jon Gunnemann* Jason Hamlet Noah Horton Nick Jones # Frank Kingsley Jameson Linville Peter MacKenzie Jason Maynard Jackson McCarthy John Newsome Hal Richards Peter Shirts John Terry Marshall Todd Edgie Wallace* BASS 2 Philip Barreca Marcel Benoit Jacob Blevins John Carter Joel Craft** Paul Fletcher Timothy Gunter* Thomas Hanrahan Philip Jones Tamir Mickens Michael Nedvidek Joel Rose John Ruff* Jonathan Smith* George Sustman Benjamin Temko* David Webster** Gregory Whitmire** Keith Wyatt*

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

Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair

Jeffrey Baxter choral administrator The Florence Kopleff Chair

Peter Marshall accompanist

Concerts of Friday, October 14, 2022, 8:00pm Saturday, October 15, 2022, 8:00pm

NATHALIE STUTZMANN, conductor

NETIA JONES, video artist

JOHANNES BRAHMS (1833–1897)

Symphony No. 3 in F Major, Op. 90 (1883) 35 MINS

I. Allegro con brio II. Andante

III. Poco allegretto

IV. Finale: Allegro

CÉSAR FRANCK (1822–1890)

Le chasseur maudit (The Accursed Huntsman) (1882) 15 MINS

INTERMISSION 20 MINS

ARNOLD SCHOENBERG (1874–1951)

Verklärte Nacht (Transfigured Night), Op. 4 (1943 revision) 30 MINS

Film by Netia Jones / Lightmap

Friday’s concert is dedicated to RON & SUSAN ANTINORI in honor of their extraordinary support of the 2021/22 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.

Symphony No. 3

Symphony No. 3 is scored for two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, percussion and strings.

by Noel Morris Program Annotator

First ASO performance: March 31, 1951

Henry Sopkin, conductor

Most recent ASO performances: January 7–9, 2016

Afriend of Brahms described the composer as “equally lovable, cheerful, and deep.” But Brahms biographer Jan Swafford added, “with women, Brahms had a habit of straight-faced teasing that was often misinterpreted— especially by Clara, who generally missed the joke and waxed indignant.”

Ludovic Morlot, conductor

By “Clara,” Swafford meant Clara Schumann.

Brahms and Clara had shared a special bond since September of 1853 when he turned up on her doorstep. At the time, she was married to the famous composer and music critic Robert Schumann. Brahms was but a wide-eyed 20-yearold, but it was a three-way love fest. Robert became Brahms’s champion. Brahms became Robert’s disciple. And Clara, one of the greatest pianists alive, completed the circle. It was a synergy that burned with great energy until Robert suffered a breakdown the following February. After an attempted suicide, he was committed to an asylum, where he died two years later.

In the wake of these tragic events, Brahms became devoted to Clara and her seven children. There’s no evidence that they were lovers, but they did remain best friends for the rest of their lives. Clara became Brahms’s confidante and, in many cases, was the first person to see his compositions. Often, they played them together at the piano, which might explain the fact that he published two-piano versions of so many of his works, including the symphonies.

Brahms had had a fraught relationship with the symphony. Not long after he met the Schumanns, Robert published an editorial shouting to the world that Brahms would be the next great composer. He urged the younger composer to get to work on a symphony—comparable to writing a first novel—and Brahms froze. He made many aborted attempts over the years but did not issue his First Symphony until age forty-three—years after having established himself as a composer.

Fast forward to May of 1883. Brahms celebrated his fiftieth birthday with a couple of friends, some cigars and plenty of wine. Soon after, he took his typical summer holiday away from Vienna. This time, he followed contralto Hermine Spies (a woman who inspired him to write numerous works) to the resort town of Wiesbaden, famous for its hot springs. Renting a cottage with a view of the Rhine River, the composer took brisk day hikes and enjoyed the local food. (Today, tourists can take a 3.5hour “Brahms Hike” through the forests and meadows around Wiesbaden.) Seated in an airy studio overlooking the river, Brahms wrote his Third Symphony.

From this point on, there is much conjecture about what happened that summer. We don’t know what transpired between the composer and his muse, Hermine, but we do know he remained a bachelor. As for the symphony, he was tight-lipped about it, leaving it to others to discover the personal and cultural references within.

The Third Symphony opens with three bold chords outlining the tones F, A-flat, F. This is a recurring figure in the piece. Scholars believe these notes to be an acronym for Brahms’s motto as a happy bachelor: Frei aber froh—free but happy. The motto is a nod to his old friend Joseph Joachim, who used to say Frei aber einsam—free but lonely. (Years before, Brahms and Schumann co-wrote a piece for Joachim called the F-A-E Sonata, along with Albert Dietrich.)

Making a connection to the Rhineland, Brahms pays homage to Robert Schumann, following those opening chords with a tune from Schumann’s Rhine Symphony (Rhenish). Brahms also honors Richard Wagner, who had died earlier that year. There are certain harmonies that bear a striking resemblance to the “Siren’s Chorus” from Wagner’s  Tannhäuser. This doubles as a Rhine reference—one of the river’s most popular attractions is a 433-foot cliff known as the Lorelei. According to legend, a siren perches atop the Lorelei and lures sailors to their deaths.

Brahms’s Third Symphony was premiered in Vienna in December of 1883. The critics raved, and orchestras around Europe clamored to play it. The American premiere followed in October of 1884.

Le chasseur maudit (The Accursed Huntsman)

Le chasseur maudit is scored for piccolo, two flutes, two clarinets, four bassoons, four horns, four trumpets, three

trombones, tuba, timpani, percussion and strings.

The German army humiliated the French in 1871. Yet, in the face of crippling war reparations and loss of territory, French culture blossomed. Just one month after the fall of Paris, composer Camille SaintSaëns and a singer named Romain Bussine laid plans for an historic concert series celebrating French music. In 1874, a legendary group of artists (Monet, Degas, Pissarro, Renoir, Sisley, and Berthe Morisot) launched the first Impressionist art exhibition. And in the 1880s, French culture produced some unforgettable works, including the Statue of Liberty, the Eiffel Tower, the Moulin Rouge, and the present piece by César Franck.

First ASO performance: December 15, 1966

José Iturbi, conductor

Most recent ASO performances: October 4–6, 2007

Robert Spano, conductor

The Belgian-born organist César Franck was one of the charter members of Saint-Saëns’ composer collective, the nationale de musique. Franck is remembered as a titanic figure in a glorious tradition of church music in Paris, yet most of his work is lost to the ether. In general, the music which roared from those gargantuan pipe organs was improvised. Thus, when writers comment on the fact that Franck was most active as a composer later in life, what they really mean is that this was the period when he wrote things down.

Franck based his symphonic poem  The Accursed Huntsman on the then popular ballad “The Wild Huntsman” by Gottfried August Bürger. The piece was first performed in an 1883 concert of the Société nationale de musique. In Bürger’s poem, a member of the German nobility skips church to go hunting (“Sacrilège!”). In summary: The Wildgrave blows his horn. “To horse, to horse,” he cries. As he gallops ahead of his hunting party, exploding through bush and brier, a yonder steeple glows in the early morning light. It is Sunday, “God’s own hallowed day.” In the distance, a bell tolls, summoning “the sinful man to pray” as two horsemen join the chase—one urging the Wildgrave onward, the other pleading with him to abort the hunt and remove himself to church. “While joying o’er the wasted corn,” the huntsman rides roughshod, savaging herds, crops, and peasants, alike. Crashing through a hermit’s chapel,

the huntsman proclaims, “Not God himself shall make me turn!” Suddenly, the huntsman’s hounds vanish; the wood goes dark. His horn refuses to sound, and demons rise up.

First ASO performances:

September 30–

October 2, 1993

Yoel Levi, conductor

Most recent ASO performances:

March 23–27, 2004

Roberto Abbado, conductor

High above, an awful voice hisses at him: “Be chased forever through the wood.” In an instant, the hunter becomes the hunted.

Verklärte Nacht (Transfigured Night), Op. 4

Verklärte Nacht is scored for strings.

In 1913, a Hamburg newspaper published a cartoon of a riot inside a concert hall—people ducking for cover, arms and legs flailing, fingers smashed into other people’s faces, and musicians wielding instruments as if they were Billy clubs. At the center of the mayhem stood Arnold Schoenberg conducting his own music.

Five years before, Schoenberg had broken from away from tonal conventions in music (a move that revolutionized the way composers thought about melody and harmony). Verklärte Nacht comes from a period just prior to that break. One might call it a farewell to Romanticism or perhaps the apotheosis of it.

Schoenberg grew up in a lower-middle-class Jewish neighborhood in Vienna. His parents were not musical, but he picked up the violin at age 8 and began a journey into music marked by scarcity and sheer invention.

He couldn’t afford to attend concerts but often heard military bands playing in the park. He couldn’t afford sheet music but managed to acquire a book of violin duets based on opera arias. With this music in his head, young Schoenberg started to compose. Later, he taught himself cello and joined an orchestra. There, he made friends with Alexander Zemlinsky. Just two years his senior, Zemlinsky gave Schoenberg counterpoint lessons and later arranged a performance of Schoenberg’s String Quartet in D.

In September of 1899, the composer took a vacation with the Zemlinskys (Alexander and his sister, Mathilde, who was an accomplished artist and future wife of the composer). They settled into the picturesque Alpine village of Payerbach at Semmering. There, over a three-week period, Schoenberg wrote a sextet inspired by a poem by Richard Dehmel. Following the

basic plot points of Dehmel’s verses, the composer created a tone poem in which a young couple walks together in the woods on a cold winter’s night. They are deeply in love. Standing under the trees, the woman works up the courage to make a confession: she carries another man’s baby. Terrified of losing the love of her life, she braces for his response. Tenderly, he takes her in his arms and tells her he will love the child as his own, transforming (transfiguring) this moonlit encounter into an ecstatic union of souls.

Schoenberg expanded his tone poem into a work for string orchestra in 1917 and made another revision in 1943 (heard in this concert). In 1912, the poet Richard Dehmel heard the piece in its original form and wrote to the composer: “Yesterday evening I heard your ‘Transfigured Night’, and I should consider it a sin of omission if I failed to say a word of thanks to you for your wonderful sextet. I had intended to follow the motives of my text in your composition, but I soon forgot to do so, I was so enthralled by the music.”

NETIA JONES, VIDEO ARTIST

Netia Jones is a British director/designer and video artist working internationally in opera, staged concerts, performance and installation, using video, film and projected media in all of her work. She is director of LIGHTMAP, a mixed media partnership with whom she has created video, film, installation and interactive media projects in the UK, US and Europe, from large-scale external projection mapping to multi-projector integrated film in opera performances.

Concert of Sunday, October 16, 2022, 3:00pm

JERRY HOU, conductor DREAMBOX THEATRE

JESSICA ROSE ESPINOSA, Founder & Director

CITY SPRINGS THEATRE PRE-PRO COMPANY

JENNA GAMERL, Director of Education

COBB COUNTY SCHOOLS

TANYA TURNER, Visual Arts Teacher

MODEST MUSSORGSKY (1839–1881) (arr. Nikolai Rimsky-Korsakov)

Excerpt from Night on Bald Mountain EDVARD GRIEG (1843–1907)

“In the Hall of the Mountain King” from Peer Gynt  JOHN WILLIAMS (b. 1932)

Harry Potter and the Sorcerer’s Stone: Children’s Suite for Orchestra

I. Hedwig’s Flight

IV. Nimbus 2000

VI. Quidditch

IX. Harry’s Wondrous World

IGOR STRAVINSKY (1882–1971)

Firebird Suite (1919)

III. Infernal Dance

IV. Berceuse

V. Finale

This performance is made possible through a generous grant from the Lettie Pate Evans Foundation, which is part of the family of foundations that also includes the Robert W. Woodruff Foundation.

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.

Performance time is approximately 45 minutes, and there is no intermission.

JERRY HOU, CONDUCTOR

ecognized for his dynamic presence, insightful interpretations, versatility and commanding technique, Taiwanese-American conductor Jerry Hou serves as the Associate Conductor of the Atlanta Symphony Orchestra and Music Director of the Atlanta Symphony Youth Orchestra. He has conducted the Dallas Symphony, Houston Symphony, St. Louis Symphony, Grand Teton Music Festival Orchestra, Orchestra of St. Luke’s, BBC Scottish Symphony Orchestra, National Arts Centre Orchestra, Teatro Colon, Rochester Philharmonic and San Antonio Symphony, among others.

DREAMBOX THEATRE

DreamBox is an educational theatre company that works with school communities to provide quality theatre integrated programming both in-school and after-school. DreamBox aims to invite creative expression for students and educators alike to dream, learn, and grow.

DreamBox Theatre’s comprehensive programs range from exploring musical theatre, to puppetry, to playwriting. We work within the common core curricular framework to use drama to promote literacy, interpersonal skills, team-building and selfefficacy in students.

DreamBox’s Education programs model educational theatre techniques and make them accessible in a practical manner that helps educators to grow in their practice. The residencies are uniquely crafted after meeting with administrators and teachers and targeting specific areas that students need extra support in.

JESSICA ROSE ESPINOSA, Founder & Director

Jessica Rosa Espinoza is an arts integration specialist and author/playwright. With experience teaching K-12 in both the general classroom and the fine arts, Espinoza partners with both national and international organizations facilitating arts integration and STEAM learning. She has led and designed professional learning for school districts and arts organizations, including various programs at the Woodruff Art Center. She is the Fine Arts Professional Learning Specialist for Cobb County schools and is an Ed.D candidate researching curriculum and instruction in arts integration. Espinoza intersects her creative energy as an artist with her classroom experiences and loves illuminating this for fellow educators and school communities

CITY SPRINGS THEATRE PRE-PRO COMPANY

City Springs Theatre Pre-Pro Company provides students with rigorous, weekly training to prepare them for a career in the arts and beyond. She loves helping students discover their artistic passions and dreams as they find their voice in life.

JENNA GAMERL, Director of Education

Originally from Pennsylvania, Jenna Gamerl, received her BFA in dance education and musical theatre from The University of the Arts in Philadelphia. Gamerl joined the national tour of Sesame Street Live, performing the role of Ernie and Live Dancer for two seasons. She then became the performance director for two domestic and international tours of Sesame Street/USO Experience for military families. Jenna served as the assistant stage manager for City Springs Theatre Company as well as a performer for various companies throughout Atlanta. She is also the Director of Education for The City Springs Theatre Pre-Pro Company.

COBB COUNTY SCHOOLS

TANYA TURNER, Visual Arts Teacher

Tanya Turner has taught Visual Art at Harrison High School since 2018 and has taught in Cobb County for nearly 10 years. Turner is an oil painter and enjoys making artwork with a nostalgic twist. She earned her Bachelor of Science in Art Education from the University of North Georgia in Dahlonega in 2012 and has enjoyed supporting artistic students ever since. This program features artwork from the following Cobb County students:

Denver Johnson

Avery Strum

Lily Gersch

Ava Langelotti

Jordan Childers

Cindy Chen

Nicole Vickery

Leonardo Bogazzi Luisa Longo Alaina Huber

Dani Durio

Kathleen Lankford Taylor Hart

Alicia Regier Thomas Harper Isabel Norris Zaynah Little Krystian Jensen Jackson Fotopoulos Mia López

Kayla Boazman

Finn Callahan Ella Andrade Venus Kirkland Anneliese Hildoer Aidan Irick

ASO | SUPPORT

The 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, 2021. Their extraordinary generosity provides the foundation for this world-class institution.

$1,000,000+

$100,000+

1180 Peachtree

The Antinori Foundation

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

Barney M. Franklin & Hugh W. Burke Charitable Fund

$75,000+

Alston & Bird LLP

$50,000+

Accenture LLP

The John & Rosemary Brown Family Foundation

Thalia & Michael C. Carlos Advised Fund

$35,000+

BlackRock, Inc.

City of Atlanta

Mayor’s Office of Cultural Affairs

Sally & Larry Davis

The Roy & Janet Dorsey Foundation

$25,000+

Aadu & Kristi Allpere°

Jennifer Barlament & Kenneth Potsic

Paul & Linnea Bert

Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr. Connie & Merrell Calhoun

Chick-fil-A

John W. Cooledge

Sally & Larry Davis

Mr. Richard H. Delay &

A Friend of the Symphony∞

The Coca-Cola Company

Sheila L. & Jonathan J. Davies Delta Air Lines

Lettie Pate Evans Foundation Georgia Power Company

The Home Depot Foundation Invesco QQQ

Arthur M. Blank Family Foundation PNC

Thalia & Michael C. Carlos Foundation

Ms. Lynn Eden

Ms. Angela L. Evans∞

The Gable Foundation

Georgia Council for the Arts

EY, Partners & Employees

Fulton County Arts & Culture

Donna Lee & Howard Ehni National Endowment for the Arts

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

Dr. Francine D. Dykes∞

Betty Sands Fuller

John D. Fuller∞

Dick & Anne Game° Jeannette Guarner, MD & Carlos del Rio, MD

Bonnie & Jay Harris

League of American Orchestras The Marcus Foundation, Inc.∞ Massey Charitable Trust John & Linda Matthews Moore Colson, CPAs & Bert & Carmen Mills

Abraham J. & Phyllis Katz Foundation∞

Charles Loridans Foundation, Inc. Amy W. Norman Charitable Foundation

Ann Marie & John B. White, Jr.°∞

The Zeist Foundation, Inc.

Slumgullion Charitable Fund Kathy Waller & Kenneth Goggins

Graphic Packaging International, Inc.

The Graves Foundation Gary Lee, Jr.

David, Helen & Marian Woodward Fund, Atlanta

Sally & Pete Parsonson∞

Patty & Doug Reid

Mary & Jim Rubright

Patrick & Susie Viguerie

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

Northside Hospital Novelis

Victoria & Howard Palefsky

Mr. Tyler Perry

Publix Super Markets Charities, Inc. Bill & Rachel Schultz° June & John Scott∞ Ross & Sally Singletary

Mr. G. Kimbrough Taylor & Ms. Triska Drake WarnerMedia Mrs. Sue S. Williams

$17,500+

Mr. Keith Adams & Ms. Kerry Heyward° John & Juliet Allan

Mr. & Mrs. Andrew Bailey

Benjamin Q. Brunt Wright & Alison Caughman

Russell Currey & Amy Durrell

Mr. & Mrs. Erroll B. Davis, Jr. Cari K. Dawson & John M. Sparrow

Mr. Max M. Gilstrap∞

Mr. & Mrs. Charles B. Harrison

The Hertz Family Foundation, Inc. Azira G. Hill

James H. Landon

The Ray M. & Mary Elizabeth Lee Foundation, Inc.

Mr. & Dr. Kevin Lyman

Ms. Deborah A. Marlowe & Dr. Clint Lawrence

Anne Morgan & Jim Kelley

Morris, Manning & Martin, LLP Terence L. & Jeanne Perrine Neal° Lynn & Galen Oelkers

Ms. Margaret Painter∞ Martha M. Pentecost

The Hellen Ingram Plummer Charitable Foundation, Inc. Ms. Cathleen Quigley

Regions

Joyce & Henry Schwob

Mr. Fahim Siddiqui & Ms. Shazia Fahim

Dr. Steven & Lynne Steindel°

Ms. Brett A. Tarver

The Mark & Evelyn Trammell Foundation

Ms. Sheila Tschinkel

$15,000+

Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr.

Mr. David Boatwright

Ms. Liza V. Chang

Mr. & Mrs. Benjamin Clare° The Jim Cox, Jr. Foundation Eleanor & Charles Edmondson

Fifth Third Bank

Mr. Craig M. Frankel & Mrs. Jana A. Eplan Florencia y Rodrigo Garcia-Escudero

Sally & Walter George Georgia-Pacific Pam & Robert Glustrom Roya & Bahman Irvani

Mr. Sukai Liu & Dr. Ginger J. Chen

John F. & Marilyn M. McMullan Ms. Molly Minnear New Music, USA North Highland Company

Mr. Edward Potter & Ms. Regina Olchowski° Charlie & Donna Sharbaugh Beverly & Milton Shlapak

Mr. John A. Sibley, III Elliott & Elaine Tapp John & Ray Uttenhove Adair & Dick White Drs. Kevin & Kalinda Woods

$10,000+

A Friend of the Symphony (2) Paul & Melody Aldo∞

Mr. & Mrs. Calvin R. Allen

Paul & Marian Anderson* Farideh & Al Azadi Foundation∞ Julie & Jim Balloun Keith Barnett

Bell Family Foundation for Hope Inc

Mr. & Mrs. Gerald R. Benjamin Kelley O. & Neil H. Berman

Bloomberg Philanthropies

The Boston Consulting Group

The Breman Foundation, Inc. CBF Foundation

CBRE

Colliers International Peter & Vivian de Kok Donald & Barbara Defoe° Marcia & John Donnell Ms. Diane Durgin Eversheds Sutherland

Dr. & Mrs. Leroy Fass

The Robert Hall Gunn, Jr., Fund

Deedee & Marc Hamburger° Clay & Jane Jackson

JBS Foundation

Ann A. & Ben F. Johnson III James Kieffer

Mr. & Mrs. Stephen Knight

The Sartain Lanier Family Foundation

Pat & Nolan Leake

Meghan & Clarke Magruder Mr. Nicholas Marrone Belinda & Gino Massafra

The Monasse Family Foundation∞

Moore, Colson & Company, P.C. Mr. & Mrs. James F. Nellis , Jr.

Kathryn Petralia & Diane Bartlett Leonard Reed°

David F. & Maxine A.* Rock Thomas & Lynne Saylor

Peter James Stelling* John & Yee-Wan Stevens George & Amy Taylor

Judith & Mark K. Taylor

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

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

*Deceased

ASO | SUPPORT (cont.)

$7,500+

Jack & Helga Beam∞

Karen & Rod Bunn

Patricia & William Buss∞

Lisa & Russ Butner Mark Coan & Family Sally W. Hawkins Grace Ihrig*

Ann & Brian Kimsey

Jason & Michelle Kroh Dr. Fulton D. Lewis III & S. Neal Rhoney

Mr. Robert M. Lewis, Jr.

Mr. & Mrs. Arthur Mills IV Mr. Bert Mobley

Hala & Steve Moddelmog Caroline & Phil Moïse

Judge Jane Morrison∞ Gretchen Nagy & Allan Sandlin

Margaret H. Petersen

Ms. Felicia Rives

Hamilton & Mason Smith

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

Stephen & Sonia Swartz Drs. Jonne & Paul Walter Mrs. Frank L. Wilson, Jr.

Mr. David J. Worley & Ms. Bernadette Drankoski

$5,000+

A Friend of the Symphony Mrs. Kay Adams* & Mr. Ralph Paulk

Judy & Dick Allison Dr. Evelyn R. Babey

Lisa & Joe Bankoff

Juanita & Gregory Baranco

Asad Bashey

Mr. Herschel V. Beazley

Meredith Bell

Bennett Thrasher LLP

Natalie & Matthew Bernstein

Jane & Gregory Blount

Dr. & Mrs. Jerome B. Blumenthal

Mrs. Sidney W. Boozer Mrs. Cristina Briboneria Margo Brinton & Eldon Park

Jacqueline A. & Joseph E. Brown, Jr.

Mrs. Judith D. Bullock CBH International, Inc John Champion & Penelope Malone

Ms. Tena Clark & Ms. Michelle LeClair Dr. & Mrs. Richard W. Compans

Carol Comstock & Jim Davis

Ralph & Rita Connell William & Patricia Cook Janet & John Costello Mr. & Mrs. Paul H. Dimmick Dorsey Alston Realtors Xavier Duralde & Mary Barrett

Mr. & Mrs. John Dyer Paulette Eastman & Becky Pryor Anderson∞ Diana Einterz Dieter Elsner & Othene Munson Robert S. Elster Foundation Ellen & Howard Feinsand Bruce W. & Avery C. Flower Mary* & Charles Ginden Mr. & Mrs. Richard Goodsell∞

Melanie & Tucker Green William Randolph Hearst Foundations

Mr. Justin Im & Dr. Nakyoung Nam Mr. & Mrs. Baxter Jones Paul* & Rosthema Kastin Ms. Carrie L. Kirk

Mr. Charles R. Kowal Mrs. Heidi LaMarca Dr. & Mrs. Scott I. Lampert Peg & Jim Lowman Ms. Eunice Luke

Dr. & Mrs. Ellis L. Malone Elvira & Jay Mannelly Mr. Robert S. Mathews Mary Ruth McDonald

The Fred & Sue McGehee Family Charitable Fund Ed & Linda McGinn° Ms. Erica McVicker Berthe & Shapour Mobasser

Ms. Sue L. Morgan∞ Gary R. Noble, MD Ms. Bethani Oppenheimer Ms. Eliza Quigley

Mr. & Mrs. Joel F. Reeves

Margaret & Bob Reiser Cammie & John Rice Vicki & Joe Riedel

Betsy & Lee Robinson Mrs. Nita Robinson

Ms. Frances A. Root Mr. Joseph A. Roseborough John T. Ruff Katherine Scott Suzanne Shull Gerald & Nancy Silverboard Baker & Debby Smith Ms. Cynthia Smith Dr. K. Douglas Smith Tom & Ani Steele

In memory of Elizabeth B. Stephens by Powell, Preston & Sally∞ Richard M. Stormont & Sally C. Jobe

Ms. Kimberly Strong Dr. Nossi Taheri & Ms. Hope Vaziri Dede & Bob Thompson Carolyn C. Thorsen∞

Mr. & Mrs. Peter Toren

Trapp Family

Burton Trimble Chilton & Morgan* Varner Mr. & Mrs. Benny Varzi Amy & Robert Vassey

Ms. Juliana T. Vincenzino

Mr. Robert Walt & Mr. Daniel J. Hess Alan & Marcia Watt Ruthie Watts

Dr. Nanette K. Wenger Suzanne B. Wilner Camille W. Yow

$3,500+ Mr. John Blatz

Carol Brantley & David Webster

Mr. & Mrs. Dennis M. Chorba

Jean & Jerry Cooper

The Aaron Copland Fund for Music, Inc. Phil & Lisa Hartley

John* & Martha Head Deborah & William Liss° Martha & Reynolds McClatchey

Judy Zaban-Miller & Lester Miller

Donald S. Orr & Marcia K. Knight

Mr. & Mrs. Edmund F. Pearce, Jr.°

In Memory of Dr. Frank S. Pittman III Dr. & Mrs. John P. Pooler Ms. Kathy Powell S.A. Robinson

Dr. & Mrs. Rein Saral Donna Schwartz

Ms. Martha Solano

Angela Spivey Beth & Edward Sugarman Mrs. Dale L. Thompson

Mr. & Mrs. Robert L. Welch David & Martha West

Mr. & Mrs. M. Beattie Wood

$2,000+

A Friend of the Symphony (3) 2492 Fund

Dr. Marshall & Stephanie Abes

Dr. & Mrs. Joel M. Adler, D.D.S. Kent & Diane Alexander

Mr. & Mrs. Ivan Allen IV Mr. & Mrs. Walker Anderson

The Hisham & Nawal Araim Family Foundation

Anthony Barbagallo & Kristen Fowks

Mr. Jay & Dr. Martin Beard-Coles

Susan & Jack Bertram Shirley Blaine

Leon & Joy Borchers

Mr. & Mrs. Andrew J. Bower° Martha S. Brewer

Harriet Evans Brock Dr. Aubrey Bush & Dr. Carol Bush

Ms. Elizabeth W. Camp

Mr. & Mrs. Walter K. Canipe Mrs. Betty Case

Julie & Jerry Chautin

Mr. James Cobb Susan S. Cofer

Malcolm & Ann Cole

Mr. & Mrs. R. Barksdale Collins°

Ned Cone & Nadeen Green Mrs. Nancy Cooke R. Carter & Marjorie A. Crittenden Foundation

Dr. & Mrs. F. Thomas Daly, Jr.

Mr. & Mrs. John C. Dancu Mary & Mahlon Delong

Mr. & Mrs. Graham Dorian Gregory & Debra Durden

Mr. & Mrs. Robert G. Edge

Dr. & Mrs. Carl D. Fackler

Mr. Ramsey Fahs°

Mr. & Mrs. Paul G. Farnham Ken Felts & A. Richard Bunn

Mr. & Mrs. William A. Flinn

Dr. Karen A. Foster

Mr. Nathan Gaby

Mr. & Mrs. Sebastien Galtier

°We are grateful to

Raj & Jyoti Gandhi Family Foundation

Marty & John Gillin° Sandra & John Glover Mrs. Janet D. Goldstein Mary C. Gramling Richard & Debbie Griffiths

Mr. & Mrs. George Gunderson

Linda & Hank Harris

Mr. & Mrs. Steve Hauser Mr. & Mrs. John Hellriegel Ms. Elizabeth Hendrick

Mr. Kenneth & Ms. Colleen Hey Sarah & Harvey Hill, Jr.° Laurie House Hopkins & John D. Hopkins James & Bridget Horgan Mrs. Sally Horntvedt Ms. & Mr. Carli Huband Dona & Bill Humphreys Barbara M. Hund Mary & Wayne James Nancy & John Janet Ms. Rebecca Jarvis Mrs. Gail Johnson

Mr. W. F. & Dr. Janice Johnston Cecile M. Jones

Mr. & Mrs. David T. Jones Lana M. Jordan

William L. & Sally S. Jorden Teresa M. Joyce, Ph.D Mr. & Ms. Josh Kamin

Mr. & Mrs. Todd E. Kessler

Wolfgang* & Mariana Laufer

Mr. & Mrs. Theodore J. Lavallee, Sr. Lillian Balentine Law

Mr. & Mrs. Chris Le Grace & Josh Lembeck

Mr. & Mrs. Ari Levine° Elizabeth J. Levine

Mr. & Mrs. J. David Lifsey Dr. & Mrs. David H. Mason In Memory of Pam McAllister

Mr. & Mrs. James McClatchey Birgit & David McQueen

Dr. & Mrs. John D. Merlino Anna & Hays Mershon

Mr. & Mrs. Thomas B. Mimms, Jr. Laura & Craig Mullins Janice & Tom Munsterman∞ Michael & Carol Murphy Melanie & Allan Nelkin Dr. & Mrs. John Nelson

The Piedmont National Family Foundation John H. Rains Mrs. Susan H. Reinach Sharon & David Schachter° Mrs. Dianna A. Scherer Drs. Bess Schoen & Andrew Muir Nick & Annie Shreiber Helga Hazelrig Siegel

Diana Silverman

Mr. Matthew Sitler

The Alex & Betty Smith Donor-Advised Endowment Fund

Dr. & Mrs. Gerald M. Stapleton Candace Steele

James & Shari Steinberg

Dr. & Mrs. John P. Straetmans

Kay R Summers

Ms. Linda F. Terry

Ms. Lara C. Tumeh° Dr. Brenda G. Turner Wayne & Lee Harper Vason

Vogel Family Foundation Ron & Susan Whitaker

Russell F. Winch & Mark B. Elberfeld

Mrs. Lynne M. Winship

Ms. Sonia Witkowski Zaban Foundation, Inc. Herbert* & Grace Zwerner

Patron Partnership and Appassionato Leadership Committee

We give special thanks to this dedicated group of Atlanta Symphony Orchestra donor-volunteers for their commitment to each year’s annual support initiatives:

Linda Matthews chair

Kristi Allpere

Helga Beam

Bill Buss

Pat Buss

Deedee Hamburger

Judy Hellriegel

Kristen Fowks

Nancy Janet

Belinda Massafra

Sally Parsonson

June Scott

Milt Shlapak

Sheila Tschinkel

Jonne Walter

Marcia Watt

for taking the extra time to acquire matching gifts from their employers. *Deceased

HENRY SOPKIN CIRCLE

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

A Friend of the Symphony (22)

Madeline* & Howell E. Adams, Jr.

Mr.* & Mrs.* John E. Aderhold

Mr. & Mrs. Paul Aldo

Mr. & Mrs. Ronald R. Antinori Dr. & Mrs. William Bauer Helga Beam

Mr. Charles D. Belcher * Neil H. Berman Susan & Jack Bertram

Mr.* & Mrs.* Karl A. Bevins

The Estate of Donald S. & Joyce Bickers

Ms. Page Bishop

Mr.* & Mrs. Sol Blaine Rita & Herschel Bloom

The Estate of Mrs. Gilbert H. Boggs, Jr. W. Moses Bond

Mr.* & Mrs. Robert C. Boozer Elinor A. Breman* James C. Buggs*

Mr. & Mrs.* Richard H. Burgin Hugh W. Burke*

Mr. & Mrs. William Buss Wilber W. Caldwell

Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Mrs. Jane Celler* Lenore Cicchese* Margie & Pierce Cline

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

Robert Boston Colgin

Mrs. Mary Frances Evans Comstock*

Miriam* & John A.* Conant

Dr. John W. Cooledge

Mr. & Mrs. William R. Cummickel

Bob* & Verdery* Cunningham

John R. Donnell Dixon W. Driggs* Pamela Johnson Drummond

Mrs. Kathryn E. Duggleby Catherine Warren Dukehart* Ms. Diane Durgin

Mr. Richard H. Delay & Dr. Francine D. Dykes Arnold & Sylvia Eaves

Mr. & Mrs. Robert G. Edge Geoffrey G. Eichholz* Elizabeth Etoll

Mr. Doyle Faler Brien P. Faucett

Dr. Emile T. Fisher* Moniqua N Fladger

Mr. & Mrs. Bruce W. Flower A. D. Frazier, Jr. Nola Frink Betty & Drew* Fuller Sally & Carl Gable

William & Carolyn Gaik Dr. John W. Gamwell*

Mr.* & Mrs.* L.L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Max Gilstrap

Mr. & Mrs. John T. Glover Mrs. David Goldwasser

Robert Hall Gunn, Jr. Fund Billie & Sig Guthman

Betty G.* & Joseph* F. Haas

James & Virginia Hale

Ms. Alice Ann Hamilton

Dr. Charles H. Hamilton* Sally & Paul* Hawkins John & Martha Head

Ms. Jeannie Hearn* Barbara & John Henigbaum Jill* & Jennings* Hertz

Mr. Albert L. Hibbard

Richard E. Hodges

Mr.* & Mrs. Charles K. Holmes, Jr.

Mr.* & Mrs.* Fred A. Hoyt, Jr. Jim* & Barbara Hund Clayton F. Jackson Mary B. James

Mr. Calvert Johnson & Mr. Kenneth Dutter deForest F. Jurkiewicz* Herb* & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey

James W.* & Mary Ellen* Kitchell

Paul Kniepkamp, Jr. Miss Florence Kopleff* Mr. Robert Lamy James H. Landon

Ouida Hayes Lanier

Lucy Russell Lee* & Gary Lee, Jr. Ione & John Lee

Mr. Larry M. LeMaster

Mr.* & Mrs.* William C. Lester Liz & Jay* Levine

Robert M. Lewis, Jr. Carroll & Ruth Liller

Ms. Joanne Lincoln*

Jane Little*

Mrs. J. Erskine Love, Jr.* Nell Galt & Will D. Magruder

K Maier

John W. Markham*

Mrs. Ann B. Martin

Linda & John Matthews

Mr. Michael A. McDowell, Jr. Dr. Michael S. McGarry

Richard & Shirley McGinnis John & Clodagh Miller

Ms. Vera Milner

Mrs. Gene Morse* Ms. Janice Murphy*

Mr. & Mrs. Stephen L. Naman

Mr. & Mrs. Bertil D. Nordin

Mrs. Amy W. Norman* Galen Oelkers

Roger B. Orloff

Barbara D. Orloff

Dr. Bernard* & Sandra Palay

Sally & Pete Parsonson

James L. Paulk

Ralph & Kay* Paulk

Dan R. Payne

Bill Perkins

Mrs. Lela May Perry*

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

Janet M. Pierce*

Reverend Neal P. Ponder, Jr. William L.* & Lucia Fairlie* 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

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

Dr. Barbara S. Schlefman

Bill & Rachel Schultz

Mrs. Joan C. Schweitzer

June & John Scott

Edward G. Scruggs*

Dr. & Mrs. George P. Sessions

Mr. W. G. Shaefer, Jr. Charles H. Siegel*

Mr. & Mrs. H. Hamilton Smith

Mrs. Lessie B. Smithgall* Ms. Margo Sommers

Elliott Sopkin

Elizabeth Morgan Spiegel

Mr. Daniel D. Stanley

Gail & Loren Starr

Peter James Stelling*

Ms. Barbara Stewart

C. Mack* & Mary Rose* Taylor

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

CONCERTS

OUTI TARKIAINEN: Midnight Sun Variations RACHMANINOV: Rhapsody on a Theme by Paganini CHOPIN/Stravinsky: Nocturne and Grand Waltz

SIBELIUS: Symphony No. 5 John Storgårds, conductor Inon Barnatan, piano

Programs and artists are subject to change. Season presented by

SIBELIUS: The Oceanides KORNGOLD: Violin Concerto JENNIFER HIGDON: Concerto for Orchestra Hannu Lintu, conductor Gil Shaham, violin

EXECUTIVE

Jennifer Barlament executive director

Alvinetta Cooksey executive & finance assistant

Elise Kolle executive assistant to senior management

ARTISTIC

Gaetan Le Divelec vice president, artistic planning

Jeffrey Baxter choral administrator

Bob Scarr archivist & special projects coordinator

RaSheed Lemon aso artist liaison

EDUCATION & COMMUNITY ENGAGEMENT

Sarah Grant director of education

Ryan Walks talent development program manager

Elena Gagon coordinator of education & community engagement

OPERATIONS

Sameed Afghani vice president & general manager

Tyler Benware director of orchestra operations & asyo

Elizabeth Graiser manager of operations & asyo Victoria Moore director of orchestra personnel

Hsing-I Ho, manager of orchestra personnel

Paul Barrett

senior production stage manager

Richard Carvlin stage manager

Holly Matthews, assistant principal librarian

Hannah Davis, assistant librarian

MARKETING & COMMUNICATIONS

Tammy Hawk vice president, marketing & communications

Delle Beganie content & production manager

Leah Branstetter director of digital content Adam Fenton director of multimedia technology Will Strawn associate director of marketing, live Caitlin Buckers marketing manager, live Lisa Eng multimedia creative manager, live

Mia Jones-Walker marketing manager

Rob Phipps director of publications

Bob Scarr archivist & research coordinator Madisyn Willis marketing manager

SALES & REVENUE MANAGEMENT

Russell Wheeler vice president, sales & revenue management

Nancy James front of house supervisor

Erin Jones director of sales Jesse Pace senior manager of ticketing & patron experience

Dennis Quinlan data analyst

Robin Smith patron services & season ticket associate

Jake Van Valkenburg sales coordinator

Milo McGehee guest services coordinator Anna Caldwell guest services associate

ATLANTA SYMPHONY HALL LIVE

Nicole Panunti vice president, atlanta symphony hall live

Christine Lawrence associate director of guest services

Michael Tamucci associate director of performance management, atlanta symphony hall live

Joshua Reynolds event manager, atlanta symphony hall live

Dan Nesspor ticketing manager, atlanta symphony hall live

FINANCE & ADMINISTRATION

Susan Ambo chief financial officer & vice president, business operations

Kimberly Hielsberg senior director of financial planning & analysis

Brandi Hoyos director of diversity, equity & inclusion

April Satterfield controller Brandi Reed staff accountant

DEVELOPMENT

Grace Sipusic vice president of development

Cheri Snyder senior director of development

William Keene director of annual giving

James Paulk annual giving officer

Renee Contreras associate director, development communications

Dana Parness manager of individual giving and prospect research

Catherine MacGregor assistant manager of donor engagement

Robert Cushing development associate, major gifts

Sarah Wilson development operations associate

ASO

& GOVERNMENT SUPPORT

Major support is provided by the 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.

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

ACT Foundation, Inc.

Alston & Bird

The Antinori Foundation

Atlantic Station

John Auerbach Sandra & Dan Baldwin BlackRock

The Arthur M. Blank Family Foundation

The Estate of Mr. Hugh W. Burke

Charles Loridans Foundation, Inc.

City of Atlanta Mayor’s Office of Cultural Affairs Melinda & Brian Corbett

Georgia-Pacific

Google

Graphic Packaging

The Henry Luce Foundation, Inc.

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

The Estate of Sara & Fred A. Hoyt, Jr.

Mr. and Mrs. James S. Grien

Louise S. Sams and Jerome Grilhot

The Imlay Foundation, Inc.

Institute of Museum & Library Services

Jones Day Foundation & Employees

Kaiser Permanente King & Spalding , Partners & Employees

The Marcus Foundation, Inc. John W. Markham III* Morris Manning & Martin LLP National Endowment for the Arts Newell Brands

Norfolk Southern Foundation

Amy W. Norman Charitable Foundation Northside Hospital Victoria & Howard Palefsky

Patty and Doug Reid

The Sartain Lanier Family Foundation Sheila L. and Jonathan J. Davies

The Shubert Foundation Carol & Ramon Tomé Family Fund

The Estate of Mrs. Mary F Trembath

Mr.* & Mrs. Edith H. Warren, Jr. Dr. Joan H. Weens

Rod Westmoreland

Anne Marie & John B. White, Jr. wish Foundation

The David, Helen & Marian Woodward Fund

*notates deceased