May 2013: ASO Show 1: Ades, Beethoven & Schumann

Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor

May Donald Runnicles

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contents May 2013

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Pablo Castagnola

Melissa Sanders

16

features

the music

16 Honored Guest

21 This week’s concert and program notes

Donald Runnicles is back!

Unleash the Magic This issue is augmented. Turn to

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Page 4 to learn how to unleash the magic.

Atlanta Symphony Orchestra/aso.org

departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 18 Musicians 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

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O

n April 16th, we achieved something which we have been working on diligently for two years: we announced the return of free concerts in Atlanta’s Piedmont Park. This month, the Orchestra will perform two concerts: one on May 17th, conducted

by Donald Runnicles, and the other on May 23rd, conducted by our own Robert Spano.

Both Donald and Robert felt it was important that they be there to lead our return to the Park, the emotional heart of Atlanta.

This past winter, we dedicated ourselves to relearning who Atlanta audiences are.

Atlantans love to be outside, and the opportunity to hear great live music outside is one of the great joys of living here. The ASO takes seriously its mission to make live music experiences accessible to all Atlantans, and taking the orchestra back to the Park is one of the best ways to reach the community at large.

That love of the outdoors is also why we take special pride in our other venues, Verizon Wireless Amphitheatre and Delta Classic Chastain Amphitheater. As the 2012-13 Classical season winds down, we hope you will join us in Piedmont Park and in our other venues over the summer.

E

l 16 de abril logramos el objetivo por el cual habíamos estado trabajando con mucha diligencia durante dos años: anunciamos el retorno de los conciertos gratuitos en Piedmont Park, Atlanta. Este mes, la Orquesta dará dos conciertos; uno el 17 de mayo, dirigido por Donald Runnicles, y el otro el 23 de mayo, dirigido por nuestro Robert Spano. Donald y Robert consideraron que era importante que ellos estuvieran ahí para dirigir nuestro retorno a Piedmont Park, el corazón de las emociones de Atlanta.

En el último invierno, nos dedicamos a conocer nuevamente quiénes son el público de Atlanta. Los ciudadanos de Atlanta adoran estar al aire libre, y la oportunidad de escuchar buena música en vivo es una de las grandes alegrías de vivir aquí.

La Orquesta Sinfónica de Atlanta toma seriamente su misión de hacer que las experiencias de escuchar música en vivo estén al alcance de todos los ciudadanos de Atlanta, y llevar nuevamente la orquesta a Piedmont Park es una de las mejores maneras de llegar a toda la comunidad en general.

Ese amor por los exteriores es también la razón por la cual sentimos un orgullo especial por los otros escenarios como Verizon Wireless Amphitheatre y Delta Classic Chastain Amphitheater. Ya que la temporada de música clásica 2012 – 2013 está llegando a su fin, esperamos verlo nuevamente con nosotros en Piedmont Park y en nuestros demás escenarios durante el verano.

Wishing you all the best, Con todos mis mejores deseos,

Stanley E. Romanstein, Ph.D. President & CEO/Presidente y Director Ejecutivo

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leadership Atlanta Symphony Orchestra League 2012-2013 Board of Directors Officers Jim Abrahamson D. Kirk Jamieson Chair Vice Chair Karole F. Lloyd Meghan H. Magruder Chair-Elect Vice Chair

Joni Winston Secretary Mark D. Wasserman Treasurer

Directors Pinney L. Allen Neil H. Berman Paul Blackney Mary Rockett Brock Janine Brown C. Merrell Calhoun S. Wright Caughman, M.D. Ronald M. Cofield Sylvia Davidson* Carlos del Rio, M.D. Lynn Eden David Edmiston Gary P. Fayard† Dr. Robert M. Franklin, Jr.

Paul R. Garcia Carol Green Gellerstedt Virginia A. Hepner* Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Mark Kistulinec Steve Koonin Carrie Kurlander James H. Landon Michael Lang Donna Lee Kelly L. Loeffler Penny McPhee

Howard D. Palefsky Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Ronda Respess* Martin Richenhagen Stanley E. Romanstein, Ph.D.* Dennis Sadlowski William Schultz† John Sibley H. Hamilton Smith Lucinda B. Smith Thurmond Smithgall†

Paul Snyder Gail Ravin Starr Mary Rose Taylor Joseph M. Thompson Liz Troy† Ray Uttenhove Chilton Davis Varner S. Patrick Viguerie Rick Walker† Thomas Wardell John B. White, Jr. Richard S. White, Jr. Patrice Wright-Lewis Camille Yow

Board of counselors Mrs. Helen Aderhold Elinor Breman Donald P. Carson Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler

Arnoldo Fiedotin Charles Ginden John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Herb Karp

Jim Kelley George Lanier Patricia Leake Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey

Joyce Schwob W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White

Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Mrs. Charles A. Smithgall, Jr.

* ex officio † 2012-2013 sabbatical

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Atlanta Symphony Orchestra/aso.org

AMERICA INVENTED AVIATION. WE’RE GOING TO KEEP REINVENTING IT.

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MusicDirector Robert Spano, Music Director

R

ecognized as one of the brightest and most imaginative conductors of his generation, Robert Spano is in his 12th season as Music Director of the Atlanta Symphony Orchestra and has elevated the ensemble to new levels of international prominence.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have explored a creative mix of programming, including Theater of a Concert performances, which use different formats, settings, and enhancements for the musical performance experience.

The Atlanta School of Composers reflects Mr. Spano’s and the Orchestra’s commitment to nurturing and championing music through multiyear partnerships defining a new generation of American composers. Since 2001 Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works and, by the end of the 2012-13 season, will have performed 16 ASO-commissioned world premieres.

Mr. Spano has a discography with the Orchestra of 19 recordings, six of which have won Grammy awards. He has led the Orchestra in performances at Carnegie Hall, Lincoln Center, and at the Ravinia, Ojai, and Savannah Music Festivals.

As Music Director of the Aspen Music Festival and School, Mr. Spano oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting. Dedicated to pedagogy and multidisciplinary studies, he has lectured on “Community” for TEDx and recently completed a three-year residency at Emory University. In its 165-year history, Emory University has honored only seven other individuals with such expansive residencies, including the Dalai Lama, President Jimmy Carter, and author Salman Rushdie.

Mr. Spano’s 2012-13 guest engagements include the New York and Los Angeles philharmonics; San Francisco, Boston, Cleveland, Chicago, and Philadelphia symphony orchestras; and Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted at Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring Cycles.

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Jennifer Taylor

Musical America’s 2008 “Conductor of the Year,” Mr. Spano is on the faculty of Oberlin Conservatory, and received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin, as well as Columbia University’s Ditson Conductor’s Award for the advancement of American music.

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Donald Runnicles is back and being greeted with open arms

T

here’s a love affair going on at the Atlanta Symphony Orchestra, and there’s nothing furtive about it. All parties involved are proud to proclaim their deep respect and affection for one another. It will be in full flower on stage on May 9–11 when Principal Guest Conductor Donald Runnicles conducts the first of his three Spring programs with the Orchestra. This one centers on the Beethoven Triple Concerto in C Major with soloists David Coucheron, violin; Christopher Rex, cello; and none other than Music Director Robert Spano on the piano. Let’s listen in: Pablo Castagnola

Rex: “It’s really going to be exciting for all four of us to be on stage together. We’ve been looking forward to this for over a year now.” Coucheron: “Donald’s

By Madeline Rogers weeks with the Orchestra are something we really look forward to.” Spano: “If there’s one thing I want on the record, it’s how much we love Donald and treasure his association with the Orchestra.

It’s a real gift.”

Honored “Guest”

(Story continues on page 44)

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Atlanta Symphony Orchestra/aso.org

Music Director

Robert Spano

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AtlantaSymphonyOrchestra Robert Spano

Donald Runnicles

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

FIRST VIOLIN

SECOND VIOLIN

CELLO

David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair* The Mabel Dorn Reeder Honorary Chair* William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith ◊ Kenn Wagner Lisa Wiedman Yancich

David Arenz Principal The Atlanta Symphony Associates Chair* Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair* Jay Christy Assistant Principal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

Christopher Rex Principal The Miriam and John Conant Chair* Daniel Laufer Associate Principal The Livingston Foundation Chair* Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner

VIOLA

BASS

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

18 Atlanta Symphony Orchestra/aso.org

Reid Harris Principal The Edus H. and Harriet H. Warren Chair* Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair * Catherine Lynn Assistant Principal Wesley Collins ◊ Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin

Ralph Jones Principal The Marcia and John Donnell Chair* Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer Thomas Thoreson

Michael Krajewski

Jere Flint

Principal Pops Conductor

Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

FLUTE

BASS CLARINET

TROMBONE

HARP

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Carl David Hall

Alcides Rodriguez

Colin Williams Principal Nathan Zgonc George Curran ◊

Elisabeth Remy Johnson Principal The Delta Air Lines Chair

BASSOON

Carl David Hall

Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

OBOE

CONTRA-BASSOON

Elizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown Chair * Yvonne Powers Peterson Associate Principal Samuel Nemec • Emily Brebach •

Juan de Gomar

PICCOLO

ENGLISH HORN

Emily Brebach • CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez

BASS TROMBONE

George Curran ◊ TUBA

Michael Moore Principal TIMPANI

HORN

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane ◊ Anna Spina • Bruce Kenney TRUMPET

Thomas Hooten ◊ David Vonderheide • Principal The Madeline and Howell Adams Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

Mark Yancich Principal The Walter H. Bunzl Chair* William Wilder Assistant Principal PERCUSSION

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian John Wildermuth Assistant Librarian ‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician • New this season ◊ Leave of absence Players in string sections are listed alphabetically

E-FLAT CLARINET

Ted Gurch

encoreatlanta.com/Atlanta’s Performing Arts Publication

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program AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concert Concerts of Thursday, May 2, and Saturday, May 4, at 8:00p, and Sunday, May 5, 2013, at 3:00p.

Hugh Wolff, Conductor Marc-André Hamelin, Piano Thomas Adès (b. 1971) Dances from Powder Her Face (1995/2007) I. Overture II. Waltz III. Finale Ludwig van Beethoven (1770-1827) Concerto No. 4 in G Major for Piano and Orchestra, Opus 58 (1806) I. Allegro moderato II. Andante con moto III. Rondo. Vivace Marc-André Hamelin, Piano Intermission Robert Schumann (1810-1856) Symphony No. 1 in B-flat Major, Opus 38, “Spring” (1841) I. Andante un poco maestoso; Allegro molto vivace II. Larghetto III. Scherzo. Molto vivace IV. Allegro animato e grazioso

The use of cameras or recording devices during the concert is strictly prohibited.

Please be kind to those around you and silence your cell phone.

program

program

sponsors

is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra.

Delta is proud to celebrate more than 70 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work.

It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

Delta is an active, giving corporate citizen in the communities it serves. Delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to use many aspects of Delta’s currency — our employees’ time and talent, our free and discounted air travel, and our surplus donations. Together, we believe we can take our worldwide communities to new heights!

The Atlanta Symphony Orchestra’s concert on October 27, 2012 at Carnegie Hall was made possible through the generous support of The Community Foundation for Greater Atlanta, Thurmond Smithgall, Victoria and Howard Palefsky, and Delta Air Lines.

Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin.

The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation.

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

The Atlanta Symphony records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels.

Media sponsors: WABE, WSB-AM, and AJC. Trucks provided by Ryder Truck Rental Inc.

22 Atlanta Symphony Orchestra/aso.org

program

Notes on the Program

by Ken Meltzer

Dances from Powder Her Face (1995/2007) Thomas Adès was born in London, England, on March 1, 1971. The first performance

of Dances from Powder Her Face took place at the Snape Maltings, Suffolk, England, as part of the Aldeburgh Festival, on June 17, 2007, with the composer conducting the Philharmonia Orchestra. Dances from Powder Her Face are scored for piccolo, three flutes, three oboes, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, xylophone, two suspended cymbals, hi-hat cymbal, side drum, two kit bass drum, ordinary bass drum, roto-tom, three brake drums, tam-tam, triangle, three temple blocks, vibraslap, guiro, high bongos, washboard, tambourine, popgun, harp, piano and strings. Approximate performance time is eleven minutes.

These are the first ASO Classical Subscription Performances.

P

owder Her Face, by the contemporary British composer, Thomas Adès, was commissioned and premiered by the Almedia Opera, an organization devoted to introducing new works for the lyric theater. The first performance of Powder Her Face took place at the Everyman Theater in Cheltenham, England on July 1, 1995, part of the Cheltenham Festival.

Powder Her Face, with a libretto by Philip Hensher, and music by Mr. Adès, is based upon the life of Margaret Campbell, Duchess of Argyll (1912-1993). A British socialite, Margaret Campbell (born, Ethel Margaret Whigham) married Ian Douglas Campbell, 11th Duke of Argyll, in 1951.

The marriage culminated in a scandalous divorce case, in which the Duke alleged the Duchess had relations with 88 different men, including celebrities, royals and members of government. The presiding Judge, Lord Wheatley, in ruling for the Duke, delivered a 65,000-word opinion, in which he described the Duchess as “a highly sexed woman who had ceased to be satisfied with normal sexual relations and had started to indulge in disgusting sexual activities to gratify a debased sexual appetite.”

After the divorce in 1963, the Duchess of Argyll continued to be a prominent and visible member of society. But by 1990, the Duchess, owing £33,000 in rent, was evicted from her lavish penthouse at the Dorchester Hotel. The Duchess of Argyll died in a nursing home in 1993.

Mr. Adès and Mr. Hensher envisioned the Duchess of Argyll as “all cladding—powder, scent, painting, furs—nothing inside.” Powder Her Face opens and concludes in 1990, with the Duchess’s eviction from her penthouse. Flashbacks present various episodes in

encoreatlanta.com/Atlanta’s Performing Arts Publication

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program

program

the Duchess’s life, including her first meeting with the Duke, and the subsequent divorce proceedings.

Powder Her Face was an immediate—and shocking—sensation. Part of the furor was caused by the opera’s graphic visual and musical portrayal of a sexual act. But Mr. Adès’s brilliant score, both remarkably original, and a tribute to great operas of the past, also galvanized audiences.

The Aldeburgh Festival, the Philharmonia Orchestra, and the Cleveland Orchestra cocommissioned Dances from Powder Her Face. The composer, then Artistic Director of the Aldeburgh Festival, led the Philharmonia in the June 17, 2007 world premiere at Snape Maltings, Suffolk. The instrumental ensemble for Powder Her Face consists of fifteen musicians. For the Dances, Mr. Adès arranged music from the opera for full orchestra.

I. Overture II. Waltz (attacca) III. Finale

Concerto No. 4 in G Major for Piano and Orchestra, Opus 58 (1806) Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and

died in Vienna, Austria, on March 26, 1827. The first public performance of the Piano Concerto No. 4 took place in Vienna at the Theater-an-der-Wien on December 22, 1808, with the composer as soloist. In addition to the solo piano, the Concerto No. 4 is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is thirty-four minutes.

First ASO Classical Subscription Performance: March 21, 1951, Claudio Arrau, Piano, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: September 30, October 1 and 2, 2010, Emanuel Ax, Piano, Robert Spano, Conductor.

“Too much of a good thing”

B

eethoven completed the score of his G-Major Concerto in 1806, and first performed the work during a March 1807 private concert at the palace of his patron, Prince Joseph Lobkowitz. The first public performance of the Fourth Piano Concerto took place at the Vienna Theater-an-der-Wien on December 22, 1808. In addition to the Fourth Piano Concerto, the concert, sponsored by Beethoven, included the world premieres of the composer’s Fifth and Sixth Symphonies and Choral Fantasy, as well as four movements from his Mass in C and the soprano aria, Ah! Perfido. In a single evening, Beethoven lavished upon the Viennese public several hours of some of his most inspired compositions.

Still, the benefit concert (known as an “Akademie”) was far from a resounding success.

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Atlanta Symphony Orchestra/aso.org

Imagine ... yourself here!

Juilliard

Alan Gilbert conducts the Juilliard Orchestra at Avery Fisher Hall.

Photo: Peter Schaaf

juilliard.edu/apply

program

program

The meager rehearsal time was insufficient for a program of such length and difficulty.

During the premiere of the Choral Fantasy, the orchestra was forced to stop in the middle of the work and begin a section over again. Further, the audience endured this taxing winter program in an unheated theater.

The German musician Johann Reichardt was in attendance: I accepted with hearty thanks the kind offer of Prince Lobkowitz to let me sit in his box. There we continued, in the bitterest cold, too, from half past six to half past ten, and experienced the truth that one can easily have too much of a good thing—and still more of the loud. Nevertheless, I could no more leave the box before the end than could the exceedingly good-natured and delicate Prince, for the box was in the first balcony near the stage, so that the orchestra with Beethoven in the middle conducting it was below us and near at hand; thus many a failure in the performance vexed our patience in the highest degree.

Poor Beethoven, who from this, his own concert, was having the first and only scant profit that he could find in a whole year, had found in the rehearsals and performance a lot of opposition and almost no support.

The Fourth Piano Concerto may have fared as well as any piece on the December 22, 1808 program. Beethoven was the soloist, and, according to Reichardt: “He played...with astounding cleverness and in the fastest possible tempi. The Adagio (i.e., second movement), a masterly movement of beautifully developed song, he sang on this instrument with a profound melancholy that moved me.”

“Heights undreamt of in earlier music” The Fourth Piano Concerto proved to be the last such work Beethoven composed for his own performance. Increasing deafness finally made public appearances all but impossible for one of the greatest piano virtuosos of his time.

Beethoven completed his magnificent Fifth Piano Concerto (“Emperor”) in 1809. The “Emperor,” Beethoven’s final Concerto for Piano and Orchestra, is certainly a fitting culmination of the composer’s efforts in this genre. Still, there are many advocates for the G-Major Concerto as the composer’s finest. It is a miraculous blend of haunting lyricism, expressive virtuosity and formal innovation. As British musicologist Sir Donald Francis Tovey observed: “Beethoven has now well and truly laid the foundations of his concerto form and is free to raise the edifice to heights undreamt of in earlier music.”

Musical Analysis I. Allegro moderato — In Beethoven’s first three Piano Concertos, the composer follows traditional concerto sonata form, opening with a purely orchestral exposition. In the G-Major Concerto, it is the pianist who first softly intones the principal theme before it is repeated by the strings. After a majestic orchestral statement, the first violins introduce a lyrical but melancholy second theme that is soon transformed into a radiant orchestral

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Atlanta Symphony Orchestra/aso.org

program tutti. The soloist returns with his own improvisational restatement of the principal thematic material. The soloist’s music is notable throughout for its remarkable combination of technical challenges and lyrical restraint. After the development, the soloist ushers in the recapitulation with a heroic restatement of his initial entrance. A lengthy cadenza and brief, dramatic coda round out the opening movement.

II. Andante con moto — The brief slow movement is a dialogue between the strings and piano. The strings announce a forte, syncopated figure, to which the soloist responds with a tender phrase, marked molto cantabile. The confrontation proceeds until finally, the strings yield to the soloist. Franz Liszt compared this brief movement to “Orpheus taming the wild beasts with his music.” The finale ensues without pause.

III. Rondo. Vivace — The dialogue between the strings and piano briefly continues with a furtive, pianissimo introduction of the principal Rondo theme. Soon, the orchestra proclaims a joyous, fortissimo restatement of the theme. Beethoven presents a remarkable variety of moods and instrumental colors throughout the finale. After a cadenza and series of trills, a moment of repose precedes the soloist and orchestra’s Presto dash to the finish.

Symphony No. 1 in B-flat Major, Opus 38, “Spring” (1841) Robert Schumann was born in Zwickau, Germany, on June 8, 1810, and died in Endenich, Germany, on July 29, 1856. The first performance of the Symphony No. 1 took place at the Gewandhaus in Leipzig, Germany, on March 31, 1841, with Felix Mendelssohn conducting. The Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle and strings. Approximate performance time is thirty-one minutes.

First ASO Classical Subscription Performance: January 25, 1948, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: February 28, March 1 and 2, 2002, Alan Gilbert, Conductor.

Robert and Clara

T

he early 1840s were glorious years for Robert Schumann. On September 12, 1840, the German composer wed his beloved Carla Wieck (1819-1896). The courtship had been a long and stressful one, as Clara’s father, Friedrich Wieck, vehemently opposed any union between his daughter and Robert. But, the day after the wedding (which was also Clara’s birthday), Robert was able to write the following in the couple’s joint diary: My most beloved young wife! Let me greet you with a tender kiss on this special day, the first of your womanhood, the first of your twenty-first year. The little book which I open herewith has a very particular, intimate meaning; it is to record everything that affects us together in our household and married life, our wishes, our hopes…your fair hopes and mine—may heaven bless them; your encoreatlanta.com/Atlanta’s Performing Arts Publication

27

program

programSouth City Kitchen

anxieties and mine…in short, all our hopes and sorrows…

Robert’s union with Clara—a gifted pianist and composer—seemed to inspire the young composer’s creative powers. In the year of their marriage, Robert Schumann composed some 150 songs, including the glorious cycles Frauenliebe und -leben (A Woman’s Love and Life) and Dichterliebe (A Poet’s Love).

In 1841, Robert Schumann focused his energies upon orchestral music. In the early portion of that year, Schumann completed his joyous “Spring” Symphony (No. 1 in B-flat Major, Opus 38). Schumann then composed his Overture, Scherzo and Finale, Opus 52. In May, Schumann penned a single-movement Fantasy in A Minor for piano and orchestra (four years later, Schumann added an Intermezzo and Allegro vivace, transforming the Fantasy into the great Piano Concerto in A minor, Opus 54). In that same productive year of 1841, Schumann composed the original version of his Symphony No. 4 in D minor, Opus 120.

“Under the urge of spring” Clara Schumann was a constant source of comfort and inspiration for her husband. But another source of inspiration contributed to the Symphony No. 1. On November 23, 1842, Schumann wrote to his friend, composer Ludwig Spohr: “I composed the symphony, so to speak, under the urge of spring which every year comes over men anew, even in full maturity.”

On January 25, 1841, Clara wrote in the joint diary: “Today, Monday, Robert has nearly finished his Symphony. It was composed chiefly at night—for some nights my poor Robert has not slept on account of it. He calls it ‘Spring Symphony.’ A poem about Spring…was the first inspiration for this composition.”

The poem in question, written by Adolf Böttger, concludes with the following lines: “O wende, wende deinen Lauf, —Im Tale blühet Frühling auf!”

“O turn, turn aside your course, —Spring is blossoming in the vale!”

Schumann sketched his “Spring” Symphony in the span of just four days, from January 23 to January 26, 1841. According to Schumann, he wrote the Symphony with a steel pen he found near Beethoven’s Vienna grave. Schumann completed the orchestration on February 20. Originally, the composer provided titles for each of the Symphony’s four movements: “(1) Spring’s Awakening,” “(2) Evening,” “(3) Happy Playfellows” and “(4) Spring’s Farewell.” Schumann later discarded those titles.

The premiere of the “Spring” Symphony took place at the Leipzig Gewandhaus on March 31, 1841. Schumann’s friend, the great composer and conductor, Felix Mendelssohn, led the performance (Clara also performed on the concert as a pianist). It was a fine success, with the Symphony receiving a glowing reception from the audience.

28

Atlanta Symphony Orchestra/aso.org

Columbus State University

College of the Arts Schwob School of Music

• Over $500,000 in music scholarships annually

• CSU Honors Scholarships; priority application deadline January 15 • Woodruff Award Competition for entering undergraduate students; winners receive full tuition, room and board, plus a $5,000 stipend • Video applications due March 1

www.ColumbusState.edu/Music

Columbus State University

College of the Arts: Schwob School of Music Department of Theatre Department of Art Department of Communication www.ColumbusState.edu/COA

program

program

The “Spring” Symphony, with music as enticing and life-affirming as its subject, remains one of Robert Schumann’s most beloved compositions.

Musical Analysis I. Andante un poco maestoso; Allegro molto vivace — The Symphony opens with a fanfare for trumpets and horns. Schumann directed: “I should like the very first trumpet call to sound as though it came up from on high, like a call to wake up.” The eight-note fanfare is based upon the final line of Böttger’s poem, reproduced below. The added bold type corresponds to the accents Schumann provides in the musical score: “Im Ta-le blü-het Früh-ling auf!”

The orchestra repeats the fanfare motif. The slow introduction (Andante un poco maestoso) gathers momentum, leading to the principal Allegro molto vivace. Its opening theme is a lively figure, again based upon the fanfare. A more restrained, dolce motif, introduced by the clarinets and bassoons, serves as the second principal theme. The spirited development section concludes with a reprise of the opening fanfare. After a varied recapitulation, there is an extended coda, whose moments of repose are finally dispelled by a blazing dash to the finish.

II. Larghetto — Divided first violins sing the radiant, central melody of this slow movement. The melody returns in various guises, alternating with more agitated episodes. A brief coda, featuring a trombone chorale, serves as the transition to the ensuing Scherzo, which follows without pause.

III. Scherzo. Molto vivace — The Scherzo is based upon a brusque melody, introduced by the strings. There are two intervening Trio sections. The first (Molto più vivace) features a dialogue between strings and winds. The second Trio is a sort of perpetuum mobile in triple time. After a final reprise of the Scherzo, there is a mysterious coda, leading directly to the final movement.

IV. Allegro animato e grazioso — The finale opens with a grand ascending unison passage that recalls the Symphony’s opening fanfare. After a dramatic pause, the violins offer the Finale’s impish first theme. The broad second theme is based upon an eight-note figure that, again, bears a kinship to the opening fanfare. The development section concludes with a sentinel passage for horns, followed by a cheerful cadenza for solo flute, which also inaugurates the ensuing recapitulation. A stirring coda brings the “Spring” Symphony to a bracing conclusion.

30 Atlanta Symphony Orchestra/aso.org

program bios hugh wolFf, conductor

H

ugh Wolff has appeared with all the major North American orchestras including those of Chicago, New York, Boston, Philadelphia, Los Angeles, San Francisco, Cleveland, Toronto and Montréal, and currently holds a teaching and conducting position at the New England Conservatory of Music in Boston.

In Europe, Mr. Wolff has led orchestras such as the London Hugh Wolff Symphony, City of Birmingham Symphony, Orchestre National de France, Leipzig Gewandhaus, Munich Philharmonic, Czech Philharmonic, Israel Philharmonic and the Bavarian and Berlin Radio Orchestras. He is a regular guest conductor with orchestras in Japan, Scandinavia and Australia and a frequent conductor at summer music festivals including Aspen, Tanglewood and Ravinia.

Mr. Wolff began his professional career in 1979 as Associate Conductor of the National Symphony Orchestra under Mstislav Rostropovich, and went on to become Music Director of the New Jersey Symphony Orchestra (1986-1993) and Music Director of Chicago’s Grant Park Music Festival (1994-1997).

In addition, Mr. Wolff was Principal Conductor and then Music Director of the Saint Paul Chamber Orchestra (1988-2000), with whom he recorded twenty discs and toured the United States, Europe and Japan.

He was later Principal Conductor of the Frankfurt Radio Orchestra (1997-2006), with whom he maintains a close relationship. Together they have toured Europe, Japan and China, and appeared at the Salzburg, Rheingau, and Mozart Würzburg Festivals.

Born in Paris to American parents, Mr. Wolff spent his early years in London and Washington DC. After graduating from Harvard, Wolff returned on a fellowship to Paris, where he studied conducting with Charles Bruck and composition with Olivier Messiaen.

He then continued his studies in Baltimore with Leon Fleisher.

encoreatlanta.com/Atlanta’s Performing Arts Publication 31

bios

program

Marc-André Hamelin, Piano

G

rammy nominated pianist Marc-André Hamelin make his debut with the Atlanta Symphoy Orchestra in these performances. During the 2012/2013 season he performed Haydn piano concerti with Les Violons du Roy and Bernard Labadie that were just released in April on Hyperion Records.

Marc-André Hamelin

He performed Beethoven Piano Concerto No. 4 with the Tonhalle-Orchester Zürich and David Zinman, joined the National Philharmonic of Russia for concerti by Rubinstein and Medtner, and with Michael Tilson Thomas and the New World Symphony, he was the featured artist in their John Cage Festival in February.

Mr. Hamelin performed solo recitals in New York, Detroit, Baltimore, Toronto, Vancouver as well as Berlin, Libson, London, Munich, Stuttgart, Moscow, Antwerp and completed an extensive US tour with the Takacs Quartet.

Upcoming Mr. Hamelin repeats Beethoven Piano Concerto No. 4 with the National Arts Centre in Ottawa, performs in recital for the Chicago Symphony Presents and returns to the San Francisco Symphony led by David Robertson in the Ravel Left Hand Piano Concerto and Gershwin’s Rhapsody in Blue before summer festival appearances in North America and Europe.

32 Atlanta Symphony Orchestra/aso.org

fran kaufman

Mr. Hamelin records exclusively for Hyperion Records, with over 45 discs of both rare and core repertoire and a disc of his own works, Hamelin: Ètudes. A resident of Boston, Mr. Hamelin is the recipient of a lifetime achievement prize by the German Record Critics’ Association, and is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

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Supported by:

Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. | This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts | This program is supported in part by an award from the National Endowment for the Arts. | Major support is provided by the City of Atlanta Office of Cultural Affairs.

support The Atlanta Symphony Orchestra thanks individuals, corporations, foundations, and government agencies whose contributions help the Orchestra make a difference in our community. The following list represents the cumulative total of philanthropy of $1,750 and above.

(Please note that donor benefits are based solely on contributions to the annual fund.)

Appassionato Carrie Kurlander, Appassionato Chair The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our ambitious aritistic and education initiatives. $500,000+

Madeline & Howell E. Adams, Jr. Mrs. Anne Cox Chambers Delta Air Lines

The Andrew W. Mellon Foundation The Mabel Dorn Reeder Foundation Wells Fargo

$250,000+

The Coca-Cola Company

Mrs. William A. Schwartz

$100,000+

GE Asset Management Global Payments Inc. Abraham J. & Phyllis Katz Foundation Turner Broadcasting System Woodruff Arts Center

Anonymous The Community Foundation for Greater Atlanta Ms. Lynn Eden First Data Corporation $75,000+

Susan & Richard Anderson Thalia & Michael C. Carlos Foundation Fulton County Arts & Culture

The Charles Loridans Foundation, Inc. Tull Charitable Foundation, Inc.

$50,000+

Bank of America The Graves Foundation William Randolph Hearst Foundation Invesco The Reiman Foundation

National Endowment for the Arts Mr. Thurmond Smithgall SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation Walter H. & Marjory M. Rich Memorial Fund

Sutherland Asbill & Brennan LLP UPS Susan & Thomas Wardell The Zeist Foundation, Inc.

$35,000+

In honor of Donald Carson Georgia Natural Gas Ann & Gordon Getty Foundation

Massey Charitable Trust Victoria & Howard Palefsky Porsche Cars North America

Publix Super Markets Charities

* As of April 15, 2013.We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

36 Atlanta Symphony Orchestra/aso.org

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support $25,000+

Jim & Adele Abrahamson Acuity Brands, Inc. Kelley & Neil H. Berman Mr. Arthur Blank Ms. Stephanie Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart Georgia Council for the Arts

Georgia-Pacific Foundation King & Spalding Lockheed Martin Lucy R. & Gary Lee, Jr. Karole & John Lloyd Terence L. & Jeanne P. Neal* Printpack Inc. & The Gay & Erskine Love Foundation Patty & Doug Reid Ryder Systems, Inc.

Mrs. Charles A. Smithgall, Jr. Kelly Loeffler & Jeffrey C. Sprecher Mark & Evelyn Trammell Foundation Vasser Woolley Foundation, Inc. Ann Marie & John B. White, Jr.* Adair & Dick White Sue & Neil** Williams

$17,500+

Pinney L. Allen & Charles C. Miller III Alston & Bird LLP The Arnold Foundation, Inc. Mr. & Mrs. Paul J. Blackney City of Atlanta Office of Cultural Affairs

The Jim Cox, Jr. Foundation Admiral James O. Ellis, Jr. in memory of Polly Ellis Gary & Nancy Fayard The Home Depot Foundation Jane & Clay Jackson Amy & Mark Kistulinec

Mr. Ken & Dr. Carolyn Meltzer Metropolitan Life Foundation Suzanne & Bill Plybon* Dr. Stanley & Shannon Romanstein Robert Spano Ray & John Uttenhove

Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow

Mr. & Mrs. David Edmiston Ms. Nancy Field & Mr. Michael Schulder Mr. & Mrs. Lawrence L. Gellerstedt III Charles & Mary Ginden Mr. & Mrs. Tad Hutcheson InterContinental Hotels Group

D. Kirk Jamieson, Verizon Wireless Ann A. & Ben F. Johnson III* Mr. & Mrs. James C. Kennedy Steve & Eydie Koonin Southern Company Donna Lee & Howard C. Ehni Meghan & Clarke Magruder

Nordstrom, Inc. Joyce & Henry Schwob Janine Brown & Alex J. Simmons, Jr. Loren & Gail Starr Alison M. & Joseph M. Thompson Mike & Liz Troy Mr. & Mrs. Edus H. Warren, Jr.

Dr. John W. Cooledge Cari Katrice Dawson Drs. Carlos del Rio & Jeannette Guarner The Max & Victoria Dreyfus Foundation, Inc. Eleanor & Charles Edmondson E&J Gallo Winery Mr. & Mrs. Paul Garcia Mary D. Gellerstedt Nancy D. Gould John H. & Wilhelmina D. Harland Charitable Foundation, Inc. Hennessy Lexus

Jan & Tom Hough Roya & Bahman Irvani Anne Morgan & Jim Kelley Philip Kent, in honor of Neil Williams Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law Pat & Nolan Leake The Livingston Foundation, Inc. Morgens West Foundation Mr. & Mrs. Solon P. Patterson*

Mr. and Mrs. Rezin E. Pidgeon, Jr. PricewaterhouseCoopers LLP Margaret & Bob Reiser Bill & Rachel Schultz* Mr. John A. Sibley III Siemens Industry, Inc. Mary Rose Taylor Carol & Ramon Tome Family Fund* Trapp Family Ms. Kathy Waller & Mr. Kenny Goggins Neal & Virginia Williams

$15,000+

The Antinori Foundation The Boston Consulting Group Mary Rockett Brock Wright & Allison Caughman Mr. & Mrs. Ronald M. Cofield Trisha & Doug Craft Mr. & Mrs. Edward S. Croft III $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith The Balloun Family Mr. & Mrs. Francis S. Blake Mr. David Boatwright Boxwoods Gardens & Gifts, Inc. The Breman Foundation, Inc. John W. & Rosemary K. Brown The Walter & Frances Bunzl Foundation Mr. & Mrs. Marquette Chester

* As of April 15, 2013.We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

38 Atlanta Symphony Orchestra/aso.org

corporate & government

support

Patron Partnership Thomas J. Jung, Chair The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support. $7,500+ Lisa & Joe Bankoff The Aaron Copland Fund for Music, Inc. Sally & Carl Gable

Caroline di Donato & Joseph M. O’Donnell CNN- Turner Broadcasting System, Inc.

Jere & Patsy Drummond* GMT Capital Corporation JBS Foundation

Ann E. Pasky John & Kyle Rogers

David L. Forbes Betty Sands Fuller Mr. & Mrs. Richard B. Goodsell Mr. & Mrs. David Gould The Jamieson Family Robert J. Jones* Lanier Parking Solutions George H. Lanier Links, Inc., Azalea City Chapter William C. & Anne A. Lester Linda & John Matthews The Devereaux F. & Dorothy McClatchey Foundation, Inc. John F. & Marilyn M. McMullan

The Fred & Sue McGehee Family Charitable Fund.

Penelope & Raymond McPhee* Walter W. Mitchell Donald S. Orr & Marcia K. Knight Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen Mr. & Mrs. Joel F. Reeves AGCO Corporation, Martin Richenhagen Vicki & Joe Riedel The Sartain Lanier Family Foundation Sea Island Co.

Hamilton & Mason Smith Sandy & Paul Smith Peter James Stelling Triska Drake & G. Kimbrough Taylor, Jr. Kimberly S. Tribble & Mark S. Lange Joan N. Whitcomb Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner YP

James F. Fraser Deedee & Marc Hamburger Steven & Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel Mr.** & Mrs. Jesse Hill, Jr. Mr. & Mrs. Daniel H. Hollums JoAnn Hall Hunsinger Mr. & Mrs. Robert A. Johnson Dick & Georgia Kimball*

Dr. & Mrs. James T. Laney* Deborah & William Liss* Linder Security Systems, Inc. Dr. & Mrs. James T. Lowman Mr. & Mrs. Albert S. McGhee Sandy & Harriet Miller Gregory & Judy Moore Margo Brinton & Eldon Park The Hellen Plummer Charitable Foundation, Inc. S.A. Robinson

Mr. and Mrs. George P. Rodrigue In memory of Willard Shull Amy & Paul Snyder Mrs. C. Preston Stephens Geraldine Dillard Stutz Burton Trimble Alan & Marcia Watt Dr. & Mrs. James O. Wells, Jr. H. & T. Yamashita*

Brant & Kathy Davis* Sally & Larry Davis Peter & Vivian de Kok Dr. Francine D. Dykes & Mr. Richard Delay Ms. Diane Durgin David & Patty Emerson George T. & Alecia H. Ethridge John & Michelle Fuller Judy & Ed Garland Dr. Mary G. George & Mr. Kenneth Molinelli Mr. & Mrs. Henry W. Grady Mary C. Gramling Ben & Lynda Greer Dr. & Mrs. Alexander Gross The Robert Hall Gunn, Jr. Fund Rand & Seth Hagen Harald R. Hansen* Virginia Hepner & Malcolm Barnes Mr. Harvey Hill

& Dr. Sarah Hill* HG Robinson Silver Harry & Tatty Howard Richard & Linda Hubert Dr. W. Manchester Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Ms. Cynthia Jeness Aaron & Joyce Johnson Mr. W. F. & Dr. Janice Johnston Baxter P. Jones Mr. & Mrs. Gert Kampfer Hazel & Herb Karp Paul & Rosthema Kastin John Kauffman, Kauffman Tire, Inc. Mr. & Mrs. L. Michael Kelly Mark B. Kent & Kevin A. Daft Mr. & Mrs. Daniel J. King Dr. & Mrs. Scott I. Lampert Thomas C. Lawson Dr. Fulton D. Lewis III

& Mr. Stephen Neal Rhoney Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Ruth & Paul Marston Belinda & Gino Massafra Mr. & Mrs. Joseph D. McDonald* Ms. Shelley S. McGehee Birgit & David McQueen Virginia K. McTague Angela & Jimmy Mitchell* Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Mrs. Rebecca Nathan Dr. Margaret Offermann & Dr. Russell Medford Robert & Mary Ann Olive Barbara & Sanford Orkin Mr. & Mrs. Peter Parsonson David Paule & Gary Mann

$5,000+ Anonymous (2) Aadu & Kristi Allpere* Ms. Julie M. Altenbach Americasmart Atlanta In honor of Dominick Argento Arnall Golden Gregory LLP Private Wealth Group Patricia & William Buss Jeff & Ann Cramer* Mary Helen & Jim Dalton Ms. Suzanne E. Mott Dansby Christopher & Sonnet Edmonds The Elster Foundation Dr. & Mrs. Carl D. Fackler Deirdre & Irial Finan

$3,500+ Mrs. Kay Adams* & Mr. Ralph Paulk Rita & Herschel Bloom Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* Jean & Jerry Cooper Four Seasons Hotel Atlanta Ellen & Howard Feinsand

$2,250+

Anonymous (2) John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo Paul & Marian Anderson Jack & Helga Beam Mr. Justin Blalock Leon & Linda Borchers Edith H. & James E. Bostic, Jr. Family Foundation Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Mr. & Mrs. Russell E. Butner Cynthia & Donald Carson Ralph & Rita Connell Mr. & Mrs. Thomas G. Cousins Jennifer & Corey Cowart

encoreatlanta.com/Atlanta’s Performing Arts Publication 39

support $2,250+ (continued) Mr. & Mrs. Andreas Penninger Susan Perdew Mr. & Mrs. Jerry Perullo Leslie & Skip Petter Elise T. Phillips Provaré Technology, Inc. Mr. and Mrs. David M. Ratcliffe Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Lee & Betsy Robinson

Mr. & Mrs. Richard L. Rodgers June & John Scott Elizabeth S. Sharp Angela & Morton Sherzer Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Ms. Christina Smith Johannah Smith Mrs. J. Lucian Smith*

Mr. & Mrs. Gabriel Steagall Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens Mr. and Mrs. Edward W. Stroetz, Jr. Reverend Karl F. Suhr Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie-York Trujillo & Raul F. Trujillo

Bill & Judy Vogel Mr. & Mrs. William C. Voss Mr. & Mrs. Randolph O. Watson Dr. & Mrs. Roger P. Webb In honor of Ardath Weck David & Martha West Mr. & Mrs. Peter L. Whitcup Hubert H. Whitlow, Jr. Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates Allen W. Yee*

$1,750+ Anonymous Dr. David & Julie Bakken Dr. & Mrs. Joel E. Berenson Natalie & Matthew Bernstein Ms. Marnite B. Calder Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Chuck Carlin Dr. Michele R. Chartier & Lt. Col. Kirk Chartier Dr. & Mrs. William Clarkson IV Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Dr. & Mrs. William T. Cook Philip & Jack Delanty Deloitte Elizabeth & John Donnelly Dr. Xavier Duralde & Dr. Mary Barrett Gregory & Debra Durden Cree & Frazer Durrett Mary Frances Early Dr. & Mrs. Boyd Eaton, Jr. Ree & Ralph Edwards Billy Eiselstein & Andy Greene

Heike & Dieter Elsner Mach Flinn Peg Simms Gary Bill & Susan Gibson Caroline & Harry Gilham Alexander Gluzman & Mariya Fishman Mr. Charles E. Griffin Kenneth R. Hey Thomas High In memory of Carolyn B. Hochman Mentewab Ayalew & Peter Höyng in honor of Christopher Pulgram The Hyman Foundation Mary B. & Wayne James Lana M. Jordan Mr. Thomas J. Jung JWG Retirement Plan Services, Inc. Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Ms. Isabel L. Lee J. Bancroft Lesesne & Randolph Henning Mrs. Joan Lipson Mr. Carlos E. Lopez Kay & John T. Marshall

Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Mr. Larry McIntyre Lebby Neal Allan & Melanie Nelkin Dr. & Mrs. Keith D. Osborn Mr. & Mrs. Emory H. Palmer Dr.** & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Mr. & Mrs. Thomas Ragland Mr. Leonard B. Reed & Ms. Lisa N. Davis Mr. Tom B. Reynolds Ms. Susan Robinson & Ms. Mary Roemer The Gary W. Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral W. Henry Shuford & Nancy Shuford Mr. & Mrs. Phillip Shou Barry & Gail Spurlock

Mr. & Mrs. Raymond F. Stainback, Jr. Dr. Elizabeth Glenn Stow Reverend Karl F. Suhr Mr. & Mrs. Alex Summers Mrs. Marianne E. Tanner David & Kelly Taylor Mr. & Mrs. William M. Tipping Sheila L. Tschinkel Turner Foundation, Inc. Drs. Jonne & Paul Walter Drs. Julius & Nanette Wenger Sally Stephens Westmoreland William & Rebecca White* Mrs. Frank L. Wilson, Jr. The Zaban Foundation, Inc. Herbert & Grace Zwerner

additional support Blonder Family Foundation

40

Atlanta Symphony Orchestra/aso.org

William McDaniel Charitable Foundation

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support Henry Sopkin Circle Recognizing planned gifts to the Atlanta Symphony Orchestra Madeline & Howell E. Adams, Jr. Mr.* & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.* & Mrs. Sol Blaine W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman Mr. & Mrs.* Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Robert Boston Colgin Mrs. Mary Frances Evans Comstock* Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth Etoll Dr. Emile T. Fisher A. D. Frazier, Jr. Nola Frink Betty & Drew* Fuller Carl & Sally Gable

William H. Gaik Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Fund Billie & Sig* Guthman James & Virginia Hale John & Martha Head Ms. Jeannie Hearn Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.* & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff* James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr. & Mrs. William Lester Liz & Jay* Levine

42 Atlanta Symphony Orchestra/aso.org

Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Mr. and Mrs. John & Linda Matthews Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mrs. Gene Morse* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay 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 The Reiman Foundation Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr.* & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. & Mrs. George P. Sessions Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith

Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12) *Deceased

support

corporate & government

Classical Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor

Holiday Title Sponsor Muhtar A. Kent Chairman of the Board and Chief Executive Officer

Darryl Harmon Southeast Regional President

Richard H. Anderson Chief Executive Officer

Ed Labry Paul R. Garcia Chairman and Chief Executive Officer

Atlanta School of Composers Presenting Sponsor

Chief Executive Officer

Philip I. Kent Chairman and Chief Executive Officer

Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

Supporter of the Atlanta Symphony Orchestra Chorus Jerry Karr Senior Managing Director

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

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

encoreatlanta.com/Atlanta’s Performing Arts Publication 43

support the music director gets to pick the areas he’s interested in and leaves the rest to Runnicles: “After 12 years of working the Principal Guest Conductor. We were together with Robert, I still enjoy a very eager not to follow that pattern.” fantastic working relationship. We’re Over their 12-year collaboration, they extremely deferential to each other have succeeded. Spano sums it up in because we love each other.” one sentence: “It’s always felt like our orchestra.” The Music Director In addition to that program, which also elaborates: “The programming has been includes Beethoven’s rousing Egmont one of the fun things. We do have some Overture and Walton’s Symphony No. 1, shared passions — John Runnicles is on tap to helm Adams, Benjamin Britten, an all-French concert on “ Every instrument Mozart — and then we May 16 and 18, featuring on some level have things we do on our the Duruflé Requiem with own, like his performances the ASO Chorus; followed sings. It’s the of Bruckner.” Paying the by an all-Brahms program heartbeat, on June 20, 21, and 22 with the pulse, the ultimate compliment, pianist Lars Vogt playing breathing in and Spano admits: “At the risk the composer’s Piano out — it informs of embarrassing myself, I Concerto No. 1. am not a great Bruckner the way you play.” fan, except when Donald – Donald Runnicles If the Orchestra looks does it and then I’m forward to Runnicles visits, completely sold. If anyone can make me he returns their enthusiasm: “Atlanta is like Bruckner, he must be good.” one of the most important relationships to me, both personally and professionally.”

What makes Runnicles so good? “There That’s an impressive statement coming is something in his music-making that from a jet-setting maestro who also serves has to do with line and a real singing as Chief Conductor of the BBC Scottish quality,” Spano says, “a sense of timing Orchestra in Glasgow, General Music and drama that may come from all his Director of the Deutsche Oper Berlin, opera experience.” and Music Director of the Grand Teton That singing quality is no abstraction to Festival in Jackson, WY. Runnicles: “Singing for me is the sine qua When I caught up with him by phone at non of music. It is the key to making good his home in Berlin, he reflected on the music. Every instrument on some level uniqueness of his Atlanta experience. sings. It’s the heartbeat, the pulse, the “When I came on board more than 10 breathing in and out — it informs the way years ago, we set out to establish what you play. I encourage any instrumentalist we called a creative partnership. Under to emulate the voice; to think about how Robert’s musical leadership, we worked a great singer would perform a work.” very hard to create the feeling that Audiences will have a chance to hear a there’s no hierarchy. In many orchestras, bunch of great singers when the Atlanta

(Continued from page 16)

44 Atlanta Symphony Orchestra/aso.org

(please continue reading on page 48)

Photo: Marjolijn De Groot

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47

support

Our discussion then returned to the Beethoven and his collaboration with Spano as pianist. “Conducting Robert is very special. I think the first time we worked together was a Mozart concerto.

He looked up at me and said ‘tell me what’s wrong.’ And I looked back and him and said ‘Tell me what’s wrong.’ It was ‘you

48 Atlanta Symphony Orchestra/aso.org

lead, no you lead.’” Spano remembers it a little differently: “I don’t play concertos very often, so for me it was harrowing, but very exciting. Doing it with him made it all better. I knew I was in good hands.”

If this all sounds like a bunch of folks having far too much fun, you’re right.

And from the sound of it, no one wants the party to stop, including the “guest” of honor: “Time certainly flies when you’re enjoying yourself,” says Runnicles.

“Twelve years is a wonderful span. After 12 years one should take a long hard look and ask, ‘Is there more to accomplish?’

Reflecting on the extraordinary and unique relationship I enjoy with Robert, I think there is a great deal more. We have more projects than years left in our contract, and our relationship continues to deepen.

And isn’t that what we’re all seeking in music, in art, and in our personal lives — deepening relationships?”

Madeline Rogers is former Director of Publications at the New York Philharmonic and a freelance creative consultant and writer based in New York City.

Jeff Roffman

Symphony Orchestra Chorus takes the stage to perform the Duruflé Requiem with Runnicles (May 16 and 18). The conductor can’t wait to make music with a group he calls “arguably the finest chorus in the world.” His admiration is such that he once brought the ASO Chorus to perform in Berlin, which he says was memorable: “When the Chorus opened its collective mouth it was nothing short of stunning to behold — not just the reaction of the audience, but of the Berlin Philharmonic itself. And this is an orchestra that works with many fine choruses.” Performing the Duruflé with this group, he says, will be a special thrill because “it is a work I have adored all my life, and I actually heard it first on recording with Robert Shaw and this Chorus.”

celebrating music Chamber music America’s

By Sean Ward

National Chamber Music Month

M

ay 2013 will mark Chamber Music America’s (CMA) National Chamber Music Month. Throughout the entire month, chamber ensembles from across the country will be able to have their events promoted on a national scale by CMA free of charge.

What many may not know, though, is Georgia is a hub for some of the best chamber groups around. Even more interesting, the players who comprise these groups are the same ones that perform every weekend with the Atlanta Symphony Orchestra (ASO).

Catherine Lynn, Assistant Principal Viola of the Atlanta Symphony, has been a member of the Atlanta Chamber Players for more than 10 years. For Lynn, performing in a chamber ensemble has given her the skills she needs to perform at a higher level within the ASO. “From chamber music, I have learned much of the idea of accountability. When there is only one viola instead of 10, a slip in concentration means that someone else must eat my mistake, or worse, I cause a breakdown in their concentration,” explains Lynn. “By bringing this acute chamber music accountability attitude to the Orchestra, I am able to have a more positive influence in my section.”

But it is not just the technical mastery of the music that scales down a musician’s orchestral playing to fit the chamber setting.

For musicians like Kenn Wagner, a first violinist with the Atlanta Symphony, and member of the local Riverside Chamber Players, it is about the emotion channeled through a more intimate setting.

50

Atlanta Symphony Orchestra/aso.org

“I love the connection with the audience that comes from performing in smaller groups,” says Wagner. “It pushes expression and the emotional aspects of music to its absolute pinnacle, and audiences really get to know our musical personalities better.”

Chamber ensembles are not only important for performers. Many composers’ works are first heard in small chamber groups long before they hit the orchestral stage.

“Chamber groups are important on a larger scale because of the fact that many of the works eventually get commissioned for a symphony,” said Wagner. “So they are really vitally important compositionally.”

Local chamber ensembles are often extremely appealing to universities and other venues that may not have the funds to support larger groups.

“The smaller ensemble is portable, less expensive to operate, and flexible. These qualities make it ideal for many performance venues,” said Lynn. “For instance, a small university may not have funds to bring an entire symphony orchestra in for a performance for its students, but it may well be able to afford a string quartet.”

“With our younger generation, there has been a big interest in folk music, opera, and eclectic groups,” says Wagner. “But chamber ensembles are also about the growth. Music never stops growing because artists are never satisfied with just maintaining. There always has to be growth artistically and technically, and chamber music is the perfect outlet for continuing that growth.”

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Thu/Fri/Sat: 8pm | Delta Classical BRAHMS: Tragic Overture BRAHMS: Piano Concerto No. 1 BRAHMS: Symphony No. 1 Donald Runnicles, conductor Lars Vogt, piano

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Close Encounters Presented Presented by: by:

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The ASO. Go! Media Media Sponsors: Sponsors:

staff Orchestra Operations Executive Stanley E. Romanstein, Ph.D. President & Chief Executive Officer Dionndra Prescott Assistant to the President & Chief Executive Officer ADMINISTRATION Julianne Fish Vice President & General Manager, ASO Nancy Crowder Director of Orchestra Operations Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Artistic Evans Mirageas Vice President for Artistic Planning Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator Christopher McLaughlin Artist Assistant EDUCATION & COMMUNITY ENGAGEMENT Mark Kent Vice President, Education & Community Engagement Ahmad Mayes Manager of Community Programs Niki Baker Manager of Ensembles & Instruction Janice Crews Professional Learning Teaching Artist

54

Education & Community Engagement (cont.)

Tiffany I.M. Jones Education Sales Associate Kaitlin Gress ArtsVibe Teen Program Coordinator

DEVELOPMENT Sandy Smith Vice President & Chief Development Officer Tammie Taylor Assistant to the Vice President & Chief Development Officer/ Office Manager FINANCE & Rebecca Abernathy ADMINISTRATION Development Services Susan Ambo Manager Vice President of Finance David Adan Shannon McCown Director of Assistant to the Corporate Relations Vice President of Finance Zachary Brown Kim Hielsberg Director of Senior Director of Financial Volunteer Services Planning & Analysis Corey Cowart April Satterfield Senior Director Controller for Development Peter C. Dickson Erin Daugherty Senior Accountant Development Manager Michael Richardson Janina Edwards Venues Analyst Grants Consultant Stephen Jones Brien Faucett Symphony Store Manager Development Coordinator ASO PRESENTS Tegan Ketchie Development Trevor Ralph Coordinator Vice President, Chief Operating Officer Ashley Krausen Special Events Coordinator Clay Schell Vice President, Programming Melissa Muntz Development Manager Holly Clausen Director of Marketing Johnnie Oliver Research Coordinator Lisa Eng Graphic Artist Lucio Petroccione, Jr. Senior Director Keri Musgraves for Development Promotions Manager Chastain Park Amphitheater Lauren Turner Development Tanner Smith Director of Programming & Coordinator Sarah Zabinski Production, Assistant Director ASO Presents for Development Verizon Wireless David Zaksheske Amphitheatre at Development Encore Park Coordinator Katie Daniel VIP Sales Manager Deborah Honan Customer Service Manager & Venue Rental Coordinator Jenny Pollock Operations Manager Rebecca Simmons Box Office Manager

Atlanta Symphony Orchestra/aso.org

MARKETING & CONCERT PROMOTIONS David M. Paule Vice President & Chief Marketing Officer Alesia Banks Director of Customer Service & Season Tickets Meko Hector Marketing Production Manager Jennifer Jefferson Director of eBusiness & Interactive Media Melanie Kite Subscription Office Manager Pam Kruseck Manager of Group Sales and Tourism Jan Lochmann Director of Revenue Management Kimberly Nogi Publicist Jesse Pace Group & Corporate Sales Associate Robert Phipps Publications Director Thomas Pinckney Group & Corporate Sales Manager Melissa A. E. Sanders Senior Director, Communications Karl Schnittke Publications Editor David Sluder Database & eMarketing Manager Robin Smith Subscription & Education Sales Bill Tarulli Marketing Manager Rachel Trignano Manager of Broad Based Giving Russell Wheeler Director of Group & Corporate Sales

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generalinfo LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available.

Call 404.733.4860.

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

IMPORTANT PHONE NUMBERS Concert Hotline 404.733.4949 (Recorded information) Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345

SYMPHONY STORE The ASO’s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to T-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.

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ticketinfo CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins.

A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m.

Monday-Friday; noon-8 p.m. SaturdaySunday. Service charge applies. Phone orders are filled on a best-available basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Open 10 a.m. - 6 p.m. Monday; 10 a.m.

- 8 p.m. Tuesday – Friday; and noon – 8 p.m. Saturday – Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.

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

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

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4 Honoring MLK Thru Music Marcus Roberts and his trio gave the world premiere of Spirit of the Blues with the ASO as part of the Orchestra’s “A King Remembrance” concert.

Jeff Roffman

2 Compelling Composers Student composer Commodore Primous and ASO bassist and composer Michael Kurth with Music Director Robert Spano after the world premieres of their compositions on April 4.

3 A Well-Spent Spring Break An ASO string quartet performed lullaby music at Children’s Jeff Roffman

1 Performances at Piedmont Stanley Romanstein (ASO), Yvette Bowden (Piedmont Park Conservancy), and John Tyers (Bank of America) announced the ASO will perform two free concerts at Piedmont Park in May.

Jeff Roffman

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