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

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Umberto Boccioni (Italian, 1882–1916), Unique Forms of Continuity in Space, 1913, cast 1931, bronze, The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest.

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contents November 2012


Jeff Roffman



the music

16 “leading ourselves out of what we know…”

19 This week’s concert and program notes

Madeline Rogers chats with Robert Spano about exploring the new

46 Community Corner Meet William Ford: psychologist

by day, Orchestra usher by night

Unleash the Magic This issue is augmented. Turn to


page 3 to learn how to unleash the magic.

Atlanta Symphony Orchestra/

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


Second Childhoods

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ow does one get to New York City’s famed Carnegie Hall? If you’re Robert Spano, the Atlanta Symphony Orchestra, and the Atlanta Symphony Orchestra Chorus you get invited to perform as part of Carnegie Hall’s “Great American Orchestras” series — one of the benefits of being known nationwide for bold programming and exceptional artistry. Appearing at Carnegie Hall in a series that showcases only America’s finest orchestras —Boston, Cleveland, Los Angeles, Minnesota, Philadelphia— is an honor, a mark of distinction. At Carnegie we stand on a national stage, under the penetrating glare of incredibly bright lights, and say proudly, “Take a look, give us a listen. We represent the people, the businesses and the values of Atlanta. Our artistry and our programming reflect the vibrant spirit of our city.” Year after year, the New York critics affirm a comforting truth: “To judge from the large turnout and big ovations,” wrote Anthony Tomassini following our 2011 performance, “[Spano] and the Atlanta players are always welcome at Carnegie Hall.” This year was no exception: on Saturday, October 27, Robert Spano led your Orchestra and Chorus, with soloists John Holliday and Brett Polegato, in a superb performance of music by Copland, Bernstein, and William Walton. The applause was thunderous — and it should continue to be here in Symphony Hall as we welcome our musicians, Atlanta’s ambassadors, home. Thank you for supporting your Atlanta Symphony Orchestra. We’re proud to represent you and our community on the world’s finest stages! Wishing you all the best,

Stanley E. Romanstein, Ph.D. President & CEO


Atlanta Symphony Orchestra/

L E XU S .CO M Atlanta




Union City






5955 Peachtree 3383 Satellite Blvd. 980 Mansell Rd. 2750 Cobb Parkway SE Industrial Blvd. (770) 680-1000 (678) 461-0800 (770) 428-9600 (770) 457-6800 Options shown. ©2012 Lexus.

4025 Jonesboro Rd. (770) 969-0204

leadership Atlanta Symphony Orchestra League 2011-2012 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* Thomas Hooten** 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 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 Frances B. Graves 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


Atlanta Symphony Orchestra/

MusicDirector Robert Spano, Music Director


ecognized as one of the brightest and most imaginative conductors of his generation, Robert Spano is currently 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 utilize 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 multi-year 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, as well as Orchestra Filarmonica della Scala, BBC Symphony, and Amsterdam’s Royal Concertgebouw Orchestra. He has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles


Atlanta Symphony Orchestra/

Jennifer Taylor

Musical America’s 2008 “Conductor of the Year,” Mr. Spano is on 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.

Madeline Rogers chats with Robert Spano about exploring the new.

“leading ourselves out of what we know…” Robert Spano is as passionate about teaching and learning as he is about conducting.



Angela Morris

n another life, Atlanta Symphony Orchestra Music Director Robert Spano might have been a teacher. You know — the kind of teacher who comes into the classroom on fire with a discovery he can’t wait to share, and gets the kids equally fired up. But guess what? Robert Spano already is a committed educator… and proud of it. I spoke to him by phone, in August, when he was wrapping up his first season as Music Director of the Aspen Festival and School. He described the work he’s doing at Aspen — primarily training young conductors — as “the heart of what I do here.”

Atlanta Symphony Orchestra/

HOLIDAY NIGHTS Atlanta’s favorite holiday tradition returns bigger and brighter! This year there are more lights and new enchanting characters to dazzle your imagination. Sing with holiday carolers, roast s’mores over a fire and connect with your inner kid at the model trains mountain. Have a cocktail at the Glow Bar or a cozy dinner at MetroFresh in the Garden. For tickets, visit or call 855-GLHN-TIX.

WANDER A WINTER WONDERLAND OF MORE THAN A MILLION LIGHTS Open Nightly from November 17, 2012 – January 5, 2013 |


AtlantaSymphonyOrchestra Robert Spano

Donald Runnicles

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *




David Coucheron Concertmaster 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




Judith Cox Raymond Leung Sanford Salzinger


Atlanta Symphony Orchestra/

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

Norman Mackenzie

Principal Pops Conductor

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

Director of Choruses The Frannie and Bill Graves Chair





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

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

Colin Williams Principal Nathan Zgonc George Curran ◊

Elisabeth RemyJohnson Principal The Delta Air Lines Chair


George Curran ◊ CONTRA-BASSOON


Juan de Gomar



Michael Moore Principal

Carl David Hall OBOE

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

Emily Brebach • CLARINET

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

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


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



Alcides Rodriguez’s Performing Arts Publication



Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concerts Thursday, November 1, Friday, November 2, and Saturday, November 3, 2012, at 8:00 p.m.

Asher Fisch, Conductor Stewart Goodyear, Piano Wolfgang Amadeus Mozart (1756-1791) Rondo in D Major for Piano and Orchestra, K. 382 (1782) Concerto No. 24 in C Minor for Piano and Orchestra, K. 491 (1786) I. Allegro II. Larghetto

III. Allegretto Stewart Goodyear, Piano INTERMISSION Richard Strauss (1864-1949) Tod und Verklärung (Death and Transfiguration), Opus 24 (1889) Richard Wagner (1813-1883) Excerpts from Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) (1868) Prelude to Act III “Dance of the Apprentices” Prelude to Act I

The use of cameras or recording devices during the concert is strictly prohibited.’s Performing Arts Publication



is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra. Delta is proud to celebrate over 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 utilize many aspects of Delta’s currency — our employees time and talent, our free and discounted air travel, as well as 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 Delta Air Lines and Thurmond Smithgall. 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.


Atlanta Symphony Orchestra/

program Notes on the Program By Ken Meltzer Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. Rondo in D Major for Piano and Orchestra, K. 382 (1782)

In addition to the solo piano, the Rondo in D Major is scored for flute, two horns, two horns, two trumpets, timpani and strings. Approximate performance time is 10 minutes. These are the first ASO classical subscription performances. In the spring of 1781, Mozart resigned from his service to the Archbishop of Salzburg, and began a career as a freelance musician in Vienna. Within in a few years, Mozart achieved extraordinary popularity and financial reward in Vienna as a composer, performer and teacher (see, Piano Concerto No. 24, below). But at first, success was hardly guaranteed. And after Mozart wed his beloved Constanze Weber on August 4, 1782, the need for economic stability became ever more pressing. On August 17, Mozart wrote to his father: The Viennese gentry, and in particular the Emperor, must not imagine that I am on this earth solely for the sake of Vienna. There is no monarch in the world whom I should be more glad to serve than the Emperor, but I refuse to beg for any post. I believe that I am capable of doing credit to any court. If Germany, my beloved fatherland, of which, as you know, I am proud, will not accept me, than in God’s name let France or England become the richer by another talented German, to the disgrace of the German nation. Still, the early years in Vienna offered promising signs. On March 11 and 23, 1783, Mozart performed in concerts at the Vienna Burgtheater. At each concert, played before a capacity audience, Mozart was the soloist in his Piano Concerto No. 5, K. 175 (1773). For these performances, Mozart substituted a recently composed Rondo in D Major, K. 382, for the Concerto’s original finale. In a letter of March 12, 1783, Mozart wrote to his father, Leopold, that after performing the Concerto “I had already left the platform, but the audience would not stop clapping, and so I had to repeat the rondo, upon which there was a regular torrent of applause.” Mozart sent Leopold the score of the Rondo, K. 382, “which is making such a furore in Vienna. But I beg you to guard it like a jewel and not give it to a soul to play…. I composed it specially for myself and no one else but my dear sister must play it.”’s Performing Arts Publication


Allegretto grazioso — Mozart referred to his Rondo, K. 382, as a “rondo with variations.” A typical rondo features a recurring central theme, alternating with contrasting, independent episodes (the Larghetto of the Piano Concerto No. 24, below, is an example). In the Rondo, K. 382, the contrasting episodes are variations on the original theme (introduced at the outset of the work by the ensemble). In addition, the repetitions of the rondo theme are varied as well. Mozart was one of the greatest pianists of his day. It’s no wonder that he dazzled the Vienna audiences with this sparkling, virtuoso work. Concerto No. 24 in C minor for Piano and Orchestra, K. 491 (1786)

The first performance of the Piano Concerto No. 24 took place at the Burgtheater in Vienna on April 7, 1786, with the composer as soloist. In addition to the solo piano, the Concerto No. 24 is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is 31 minutes. First ASO Classical Subscription Performance: February 22, 1948, Eugenia Snow, Piano, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: January 26, 27 and 28, 2006, Stephen Kovacevich, Piano, Laura Jackson, Conductor. “Vienna Triumph”

During the early to mid-1780s, Mozart enjoyed the apex of his popularity in the great city of Vienna. Mozart found himself in constant demand as a teacher, composer, and piano soloist. In a February, 1784 letter to his father, Leopold, Mozart wrote: “The whole morning is given over to my pupils, and nearly every evening I have to play.... Have I not enough to do? I do not think I shall get out of practice in these circumstances ...” In 1785, Leopold Mozart traveled to Vienna to visit Wolfgang and his family. There, Leopold wrote to Mozart’s sister, Nannerl, and described the constant activity surrounding Wolfgang’s remarkable popularity: We never go to bed before one o’clock, we never get up before nine o’clock, and go to lunch at two or half past. ...Every day a concert, always studying, music, writing, et cetera...If only all the concerts were over! It is impossible to describe all the rumpus and confusion: your brother’s grand piano has been moved, in the time I have been here, at least twelve times from the house to the theater or to other houses. The Piano Concerto No. 24

One of Mozart’s most lucrative activities during his Vienna heyday was a series of Lenten subscription concerts, also known as “academies.” These concerts, sponsored


Atlanta Symphony Orchestra/

Imagine ... yourself here!


Alan Gilbert conducts the Juilliard Orchestra at Avery Fisher Hall.

Photo: Peter Schaaf

program by Mozart, featured the composer performing his own music. Often, the highlight of the academy was the premiere of a new Mozart concerto for piano and orchestra, with the composer as soloist. From 1784-1786, Mozart composed twelve Piano Concertos, three of which were completed between December of 1785 and March of 1786. Mozart finished the last of this trio — No. 24 in C minor, K. 491 — on March 24, 1786. The composer was the soloist in the Concerto’s April 7 premiere, which took place at the Vienna Burgtheater. Mozart once stated that “(p)assions, whether violent or not, must never be expressed to the point of exciting disgust, and … must never offend the ear.” And while Mozart certainly adheres to this approach in his Concerto No. 24, there is also no question that this magnificent work is often one of profound darkness, and even of despair. It is one of only two Mozart Piano Concertos in the minor key, the other being No. 20 in D minor, K. 466 (1785). Mozart also employs the largest orchestra he had used to that date for a Piano Concerto. The C-minor Concerto both epitomizes the grace and elegance of the late 18th century, and foreshadows the torrid Romantic expression that was soon to follow. Musical Analysis

I. Allegro — The Concerto opens with the strings and bassoons quietly intoning the ominous principal theme. Soon, however, the orchestra presents the theme in a far more aggressive guise. The winds introduce a plaintive, descending theme. After a varied repetition of the thematic material, the orchestral exposition concludes with a vigorous tutti. The soloist enters — not with the opening theme, but with the descending motif. It is not long, however, before the initial theme makes its haunting presence felt. The themes serve as the basis for extended, florid excursions by the soloist. A recapitulation of the principal themes, capped by the ensemble’s forte statement of the opening melody, leads to a solo cadenza. The closing measures begin forcefully, but finally resolve to a pianissimo whisper. II. Larghetto — The slow-tempo second movement, in E-flat Major, and featuring reduced orchestration (no trumpets or drums) and restrained dynamics, is far more introspective than its predecessor. The pianist sings the lovely principal theme that returns throughout, alternating with contrasting episodes, the first of which is inaugurated by the winds. After a brief repeat of the central melody, the winds usher in another sequence. The soloist reprises the principal melody for the final time, and the movement concludes with an elegant coda. III. Allegretto — The finale returns to the home key of C minor. The ensemble introduces the central theme, cast in two sections, each repeated. The remainder of the movement is a series of variations on this theme. Some of the variations (notably, a lovely C-Major episode) offer moments of sunshine. The final portion, with its combination of C minor and a skipping 6/8 meter, provides an intriguing and perhaps rather unsettling conclusion to this superb work.


Atlanta Symphony Orchestra/

program Tod und Verklärung (Death and Transfiguration), Opus 24 (1889) Richard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. The first performance of Tod und Verklärung took place in Eisenach, Germany, on June 21, 1890, with the composer conducting. Tod und Verklärung is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, tam-tam, two harps and strings. Approximate performance time is 25 minutes.

First ASO Classical Subscription Performances: January 25 and 26, 1962, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: March 30 and 31, April 1, 2006, Donald Runnicles, Conductor. ASO Recording: Telarc CD-80661, Donald Runnicles, Conductor In an 1894 letter to a friend, Richard Strauss explained the genesis of his orchestral tone poem, Death and Transfiguration: six years ago that it occurred to me to present in the form Itofwas a tone poem the dying hours of a man who had striven toward the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy, irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever — as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s path, the conception, the ideal that he has sought to realize, to present artistically, but that he has not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things that could not be fulfilled here below. After completing the score of Death and Transfiguration in November of 1889, Strauss requested that his friend and fellow musician, Alexander von Ritter, create verses based upon the above scenario. Ritter fashioned a brief poem that was included in the program for the June 21, 1890, Eisenach Festival premiere. Ritter later greatly expanded his poem to 62 lines, and that final version is included in the published score. Some biographers have suggested that Death and Transfiguration is autobiographical, depicting the youthful composer’s own encounter with a life-threatening illness.’s Performing Arts Publication




Strauss did suffer from severe respiratory problems in May of 1891, but by that time, the composer had already completed and premiered Death and Transfiguration. As Strauss himself insisted: “Tod is purely a product of the imagination; it is not based on any event. My illness did not come until two years later. It was just an inspiration like any other. In the last analysis, the musical urge.” While Strauss’s own disclaimer removes some of the drama and mystique surrounding his creation of Death and Transfiguration, it perhaps heightens the 25-year-old composer’s impressive achievement in so vividly depicting life’s culmination. Even if Strauss did not base Death and Transfiguration upon personal experience, he maintained a lifelong identification with this early work. Strauss later quoted the ascending motif associated with the transfiguration of Tod’s protagonist in his autobiographical tone poem Ein heldenleben (1898), and again, a half century later, at the conclusion of the valedictory Four Last Songs. There the transfiguration motif complements the words, “ist dies etwa der Tod?” (“is this perchance death?”). The following September, Richard Strauss lay on his deathbed at his Garmisch home. He turned to his daughter-in-law and exclaimed: “It’s a funny thing, Alice, dying is just as I composed it in Tod und Verklärung.” Musical Analysis

Death and Transfiguration opens with an extended episode in broad tempo (Largo). Muted violins and violas, followed by the timpani, play a rhythmic figure portraying the dying man’s faint heartbeat and breathing. Lyrical passages for the harp, winds and muted solo violin evoke his “friendly dreams,” soon shattered by a violent outburst (Allegro, molto agitato). The tempestuous music that follows reflects the protagonist’s feverish agony. Toward the close of this section the orchestra briefly introduces the ascending “transfiguration” motif. The mood finally calms, leading to an extended passage (meno mosso, ma sempre alla breve) in which the protagonist recalls the happiness of his childhood and his youthful “strivings and passions.” The music is by turns tranquil and heroic, although echoes of the previous episode remind us of the man’s dire physical state. The return of the transfiguration motif portrays his lifelong search for “the ideal.” A reprise of music from the two opening sections indicates that death is imminent. Finally, the tam-tam’s sepulchral tones seal his fate. The concluding section (Moderato) features a resplendent presentation of the transfiguration motif, as the protagonist’s “soul leaves the body in order to find gloriously achieved in everlasting space those things that could not be fulfilled here below.” Excerpts from Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) (1868)

Richard Wagner was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of The Mastersingers of


Atlanta Symphony Orchestra/

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

Columbus State University

College of the Arts: Schwob School of Music Department of Theatre Department of Art Department of Communication

Nuremberg took place at the Hoftheater in Munich, Germany, on June 21, 1868, with Hans von Bülow conducting. The excerpts from Die Meistersinger are scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, triangle, cymbals, harp and strings. Approximate performance time is 20 minutes. First ASO Classical Subscription Performance (Prelude to Act I): November 4, 1950, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances (Prelude to Act I): February 16, 17 and 19, 2012, Roberto Minczuk, Conductor. As with any revolutionary composer, Richard Wagner encountered formidable critical resistance. In Wagner’s only successful comedy, Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), the composer lampoons his critics, but also acknowledges that youthful inspiration must be tempered by the wisdom of tradition. As was his usual practice, Wagner authored both the text and music for Die Meistersinger. Wagner drew upon tales of the Mastersingers, an actual guild that existed in Nuremberg in the 16th century. Indeed, many of the opera’s characters, including the beloved German writer and composer Hans Sachs (1494-1576), were members of the Nuremberg Mastersingers. Likewise, the opera’s villain, Sixtus Beckmesser, was a Mastersinger. There is no indication that the actual Beckmesser displayed the objectionable traits found in his operatic counterpart. In Die Meistersinger, Beckmesser represents the critics who railed against Wagner’s musical expression. In fact, Wagner contemplated naming Beckmesser “Hanslich,” a clear reference to his nemesis, the eminent Viennese critic Eduard Hanslick. Wagner wisely decided to forgo such heavyhanded tactics, hardly necessary to make his point. Wagner completed Die Meistersinger in October of 1867. The opera received its premiere in Munich on June 21, 1868, under the direction of Hans von Bülow. Hanslick, who was present for the first performance, characterized Die Meistersinger as “the conscious dissolution of all fixed forms in a formless, intoxicating sea of sound, the replacement of self-sufficient, articulated melodies by shapelessly vague melodizing.” Posterity has disagreed, according Die Meistersinger the status of one of the greatest of all comic operas. Die Meistersinger takes place in Nuremberg toward the middle of the 16th century. The young knight Walther von Stolzing is in love with Eva, daughter of Veit Pogner, a member of the Nuremberg Mastersingers’ guild. Walther attempts to join the Mastersingers in order to win Eva as his bride. But the guild members, led by the pedantic town clerk Sixtus Beckmesser (also a rival for Eva’s hand), reject the


Atlanta Symphony Orchestra/

program knight’s inspired, but undisciplined, song. Even the support of the cobbler Hans Sachs, the most respected Mastersinger, fails to aid Walther. The next day, Sachs assists Walther to craft a song that combines the knight’s youthful eloquence with accepted musical structures and discipline. At the contest, Beckmesser attempts to present the song as his own, but so mangles the piece that he is humiliated. Walther’s presentation wins the admiration of the Mastersingers. With the urging of Sachs, Walther accepts membership in the Mastersingers guild and marries Eva. The assembled join in praising Nuremberg’s beloved Sachs. This concert features three excerpts from the opera. The first, the Prelude to Act III (Etwas gedehnt), depicts Hans Sachs in his shop, contemplating a fracas that took place the previous night in the Nuremberg streets. The sprightly “Dance of the Apprentices” (Mässiges Walzer-Zeitmass) (Tempo moderato di Valse) takes place as people gather for the song contest. Trumpets herald the arrival of the Mastersingers, whose noble theme opens the grand Prelude to Act I (Sehr gehalten) (Molto tenuto). The Prelude features a brilliant presentation and synthesis of various melodies from the opera, including themes associated with the Mastersingers, Walther’s love for Eva, and the knight’s conflict with Beckmesser. The Prelude to Act I concludes in the same fashion as the entire opera, with a triumphant presentation of the Mastersingers’ theme.

ASHER FISCH, Conductor


sraeli-born conductor Asher Fisch appears with many of the world’s most renowned opera companies and symphony orchestras. With a vast repertoire that spans three centuries stylistically from Gluck to Adams, Mr. Fisch is particularly known and appreciated for his interpretive command of core German Romantic and postRomantic repertoire, from Beethoven through Berg, including virtually the entire canon of Wagner and Strauss.

Asher Fisch

Asher Fisch is currently the Principal Guest Conductor of the Seattle Opera and formerly served as Music Director of the New Israeli Opera (1998-2008) and the Wiener Volksoper (1995-2000). In September 2013, he will take up the baton as Principal Conductor and Artistic Advisor of the West Australian Symphony Orchestra. In the 2012-13 season, Mr. Fisch returns to New York’s Metropolitan Opera for Parsifal, to Seattle for Fidelio, and has a variety of titles in German opera houses (Hamburg and Munich) including Die Zauberflöte, Der fliegende Holländer, Manon Lescaut, and symphonic programs with the Atlanta Symphony and Kansas City Symphony before returning to Seattle in summer 2013 for its quadrennial complete Wagner Der Ring des Nibelungen.’s Performing Arts Publication


guest artists STEWART GOODYEAR, Piano


nown for imagination, a graceful, elegant style and exquisite technique, Stewart Goodyear is an accomplished young artist whose career spans many genres — concerto soloist, chamber musician, recitalist and composer. Mr. Goodyear has performed with many of the major orchestras of the world—including ten separate appearances to date with the Philadelphia Orchestra, in addition to Stewart Goodyear performances with the New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Academy of St. Martin-in-the-Fields, Bournemouth Symphony, and the Royal Liverpool Philharmonic, among others. Conductors with whom Mr. Goodyear has collaborated with include Christoph Eschenbach, Daniel Barenboim, Michael Tilson Thomas, Sir Andrew Davis, Jukka-Pekka Saraste, Andrew Litton, Yakov Kreizberg, Emmanuel Krivine, Charles Dutoit, Pinchas Zukerman, and Jun Markl, among others. He has appeared in recitals in New York, Chicago, San Francisco, Philadelphia, Atlanta, Toronto, Bad Kissingen, and at the Kennedy Center in Washington, DC; and he has performed with the Festivals of Lanaudière, Caramoor, Santa Fe, and Ravinia. In addition to his talents as a pianist, Stewart is a composer and frequently performs his own works, including his solo piano work, “Variations on ‘Eleanor Rigby’,” which premiered at Lincoln Center in New York in August 2000, and his Piano Sonata, both of which have received continual acclaim by critics and audiences alike. Other compositions include “Count Up,” “Eclipse,” and other commissions. Mr. Goodyear’s recording of the complete Beethoven piano sonatas was released September 25, 2012 worldwide on the Marquis Classics label. A native of Toronto, Stewart holds a Masters Degree from the Juilliard School of Music, where he studied with Oxana Yablonskaya. He previously studied at the Curtis Institute of Music with Leon Fleisher, Gary Graffman and Claude Frank. Stewart Goodyear appears by arrangement with: COLUMBIA ARTISTS MANAGEMENT, LLC Personal Direction: MARK Z. ALPERT, Vice President 1790 Broadway, New York, NY, 10019


Atlanta Symphony Orchestra/

on the big screen with soundtrack played LIVE by the Atlanta Symphony Orchestra November 23/24 Fri/Sat: 8pm | Atlanta Symphony Hall | SuperPOPS! Richard Kaufman, conductor

The exciting, quicksilver score, played live before you, provides bigger thrills, bolder adventure, and badder buccaneers! Make Your Thanksgiving plans now! Woodruff Arts Center Box Office | | 404.733.5000

sponsored by:

Make it a group! 404.733.4848 Presentation licensed by Disney Music Publishing and Walt Disney Studios Motion Pictures, Non-Theatrical Š Disney’s Performing Arts Publication


The Atlanta Symphony Orchestra gratefully acknowledges the generous gifts of individuals, corporations, foundations, government and other entities whose contributions help the Orchestra fulfill its mission to be a vigorous part of the cultural fabric of our community. The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives from 2012. (Please note that donor benefits are based solely on contributions to the annual fund.)


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 ambitionous aritistic and education initiatives. $500,000+

Madeline & Howell E. Adams, Jr. The Mabel Dorn Reeder Foundation Delta Air Lines Wells Fargo The Andrew W. Mellon Foundation The Zeist Foundation, Inc. $250,000+

The Coca-Cola Company

Mrs. William A. Schwartz


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

Mrs. Anne Cox Chambers The Community Foundation for Greater Atlanta Ms. Lynn Eden GE Asset Management $75,000+

Thalia & Michael C. Carlos Foundation

Fulton County Arts & Culture


The Graves Foundation Invesco The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall

Robert Spano SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation Walter H. & Marjory M. Rich Memorial Fund

Sutherland Asbill & Brennan LLP UPS Susan & Thomas Wardell William Randolph Hearst Foundation


Georgia Natural Gas Ann & Gordon Getty Foundation

Massey Charitable Trust Victoria & Howard Palefsky

Porsche Cars North America Publix Super Markets Charities

* As of Oct. 18, 2012.We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.


Atlanta Symphony Orchestra/

program support $25,000+

Jim & Adele Abrahamson 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 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. Ann Marie & John B. White, Jr.* Adair & Dick White Sue & Neil** Williams


Pinney L. Allen & Charles C. Miller III Alston & Bird LLP Susan & Richard Anderson The Arnold Foundation, Inc. Kelley & Neil H. Berman

Mr. & Mrs. Paul J. Blackney City of Atlanta Office of Cultural Affairs The Jim Cox, Jr. Foundation Gary & Nancy Fayard The Home Depot Foundation

Jane & Clay Jackson Amy & Mark Kistulinec Kelly Loeffler & Jeffrey C. Sprecher Mr. Ken & Dr. Carolyn Meltzer Merlin Wealth Management Group at MorganStanley SmithBarney

Metropolitan Life Foundation Suzanne & Bill Plybon* Dr. Stanley & Shannon Romanstein Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow

Admiral James O. Ellis, Jr. in memory of Polly Ellis Mr. Donald F. Fox Mr. & Mrs. Lawrence L. Gellerstedt III Charles & Mary Ginden 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 National Endowment for the Arts

Nordstrom, Inc. Joyce & Henry Schwob Janine Brown & Alex J. Simmons, Jr. Loren & Gail Starr Mary Rose Taylor Alison M. & Joseph M. Thompson Mike & Liz Troy Ray & John Uttenhove

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 Ms. Nancy Field & Mr. Michael Schulder Mary D. Gellerstedt Nancy D. Gould John H. & Wilhelmina D. Harland Charitable Foundation, Inc.

Hennessy Lexus Jan & Tom Hough Mr. & Mrs. Tad Hutcheson Roya & Bahman Irvani Robert J. Jones* 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* Primerica Margaret & Bob Reiser Bill & Rachel Schultz* Mr. John A. Sibley III Siemens Industry, Inc. John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Charlie Wade & M.J. Conboy Neal & Virginia Williams

Caroline di Donato & Joseph M. O’Donnell

CNN- Turner Broadcasting System, Inc. Jere & Patsy Drummond*

GMT Capital Corporation JBS Foundation


The Antinori Foundation The Boston Consulting Group Mary Rockett Brock Mr. & Mrs. Ronald M. Cofield Trisha & Doug Croft Mr. & Mrs. Edward S. Croft III Mr. & Mrs. David Edmiston $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 Cynthia & Donald Carson Dr. & Mrs. S. Wright Caughman $7,500+ The Aaron Copland Fund for Music, Inc.

* As of Oct. 18, 2012.We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.’s Performing Arts Publication


Man took to flight when we believed. Women won the vote when we believed. Children will stop dying from preventable causes when you believe. Every day, 19,000 children die of causes we can prevent. We believe that number should be ZERO.


corporate & government 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. $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 Lisa & Joe Bankoff Ms. Suzanne Dansby Bollman Bubba Brands, Inc. Patricia & William Buss Jeff & Ann Cramer* Mary Helen & Jim Dalton Christopher & Sonnet Edmonds

Dr. & Mrs. Carl D. Fackler Deirdre & Irial Finan David L. Forbes James F. Fraser Betty Sands Fuller Sally & Carl Gable Mr. & Mrs. Paul R. Garcia Mr. & Mrs. Richard B. Goodsell Mr. & Mrs. David Gould The Robert Hall Gunn, Jr. Fund The Jamieson Family Philip I. Kent Lanier Parking Solutions George H. Lanier

Links, Inc., Azalea City Chapter William C. & Anne A. Lester Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Walter W. Mitchell Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen Mr. & Mrs. Joel F. Reeves 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 H. & T. Yamashita* YP

Ellen & Howard Feinsand 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

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 In memory of Willard Shull Amy & Paul Snyder Mrs. C. Preston Stephens Burton Trimble Alan & Marcia Watt

Mr. & Mrs. Marc Hamburger* Virginia Hepner & Malcolm Barnes HG Robinson Silver Mr. Thomas Hooten & Ms. Jennifer Marotta Mr. & Mrs. Harry C. 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 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 Mr. & Mrs. John L. Latham 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 The Devereaux F. & Dorothy McClatchey Foundation, Inc. Sylvia Debenport & Shelley McGehee Birgit & David McQueen Mrs. Virginia K. McTague Angela & Jimmy Mitchell* Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Dr. Margaret Offermann & Dr. Russell Medford Robert & Mary Ann Olive Ms. Rebecca Oppenheimer Barbara & Sanford Orkin David Paule & Gary Mann Mr. & Mrs. Andreas Penninger Susan Perdew Mr. Robert Peterson Leslie & Skip Petter Elise T. Phillips Mr. & Mrs. Rezin E. Pidgeon, Jr. Provaré Technology, Inc. Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Lee & Betsy Robinson Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue John & Kyle Rogers The Gary W. & Ruth M.

Rollins Foundation 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 Mrs. J. Lucian Smith Mr. & Mrs. Gabriel Steagall Dr. Steven & Lynne Steindel* John & Yee-Wan Stevens 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 Dr. & Mrs. James O. Wells, Jr. David & Martha West Mr. & Mrs. Peter L. Whitcup Hubert H. Whitlow, Jr. Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

$3,500+ Mrs. Kay Adams* & Mr. Ralph Paulk Dr. & Mrs. Anton J. Bueschen Mr. & Mrs. Dennis Chorba Carol Comstock & Jim Davis* The Robert S. Elster Foundation Four Seasons Hotel Atlanta

$2,250+ Anonymous (2) John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo Paul & Marian Anderson Jack & Helga Beam Rita & Herschel Bloom Edith H. & James E. Bostic, Jr. Family Foundation Jacqueline A. & Joseph E. Brown, Jr. Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush Ralph & Rita Connell Mr. & Mrs. Thomas G. Cousins Sally & Larry Davis Peter & Vivian de Kok Ms. Diane Durgin Dr. Francine D. Dykes & Mr. Richard Delay George T. & Alecia H. Ethridge John & Michelle Fuller Judy & Ed Garland Dr. Mary G. George & Mr. Kenneth Molinelli Carol & Henry Grady Ben & Lynda Greer Dr. & Mrs. Alexander Gross Paul B., Paul H., & M. Harrison Hackett Rand & Seth Hagen’s Performing Arts Publication


$1,750+ Anonymous Mrs. Jean Allen Dr. David & Julie Bakken Dr. & Mrs. Joel E. Berenson Natalie & Matthew Bernstein Leon & Linda Borchers Mr. & Mrs. Russell E. Butner Ms. Marnite B. Calder Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Chuck Carlin Dr. Michele R. Chartier & Lt. Col. Kirk Chartier Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Jean & Jerry Cooper Corey & Jennifer Cowart Mr. & Mrs. Brant Davis* 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 Peg Simms Gary Bill & Susan Gibson Mary C. Gramling Mr. Charles E. Griffin Thomas High In memory of Carolyn B. Hochman The Hyman Foundation Mary B. & Wayne James Baxter P. Jones Lana M. Jordan Mr. Thomas J. Jung

JWG Retirement Plan Services, Inc. Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Dr. J. Bancroft Lesesne Mrs. Joan Lipson Mr. Carlos E. Lopez Kay & John Marshall Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Keith & Dana Osborn Mr. & Mrs. Emory H. Palmer Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Ms. Susan Robinson & Ms. Mary Roemer John T. Ruff Dr. & Mrs. Rein Saral

W. Henry Shuford & Nancy Shuford Mr. & Mrs. Raymond F. Stainback, Jr. Dr. Elizabeth Glenn Stow Mr. & Mrs. Alex Summers Poppy Tanner Mr. & Mrs. William M. Tipping Sheila L. Tschinkel Turner Foundation, Inc. Drs. Jonne & Paul Walter Drs. Julius & Nanette Wenger William & Rebecca White* Mrs. Frank L. Wilson, Jr. The Zaban Foundation, Inc. Herbert & Grace Zwerner

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Henry Sopkin Circle Recognizing planned gifts that benefit 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 Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves 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

Atlanta Symphony Orchestra/

Paul Kniepkamp, Jr. Miss Florence Kopleff* Ouida Hayes Lanier Ione & John Lee Lucy Russell Lee & Gary Lee, Jr. Mr. & Mrs. William Lester Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III 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 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 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 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

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

Richard H. Anderson Chief Executive Officer

Paul R. Garcia 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.


Darryl Harmon Southeast Regional President

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chairman and Chief Executive Officer

Jerry Karr Senior Managing Director

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.’s Performing Arts Publication


support Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2012-2013 board Sylvia Davidson President Belinda Massafra Advisor Camille Yow Advisor Gayle Lindsay Secretary Camille Kesler Treasurer Judy Schmidt Nominating Chair Dawn Mullican Vice President of Communication and Public Relations Pat King Newsletter Editor

Hillary Linthicum Social Media Chair Mollie Palmer Vice President of Education and Community Engagement Beth Sullivan Children’s concerts Natalie Miller Community Initiatives Nancy Levitt Ambassador Program

Joan Abernathy Vice President of Membership Judy Feldstein Directory Editor Wadette Bradford Julie Barringer Susan Levy Membership Committee Glee Lamb Vice President of Social Events Beryl Pleasants Fall Membership Party chair



Atlanta Symphony Orchestra/

Poppy Tanner ASA Night at the Symphony Chair Amy Musarra Spring Luncheon Chair Natalie Miller Decorators’ Show House & Gardens Chair Bill Wilson Lisa Bankoff Liz Troy Leslie McLeod Fundraising Strategic Planning Committee

ASA Unit Chairs Daron Tarlton Bravo! Chair Mary Frances Early Concerto Co-Chair Joanne Lincoln Concerto Co-Chair Joan Abernathy Encore Chair Liz Cohn Ensemble Co-Chair Betty Jeter Ensemble Co-Chair Karen Bunn Intermezzo Chair Whitley Green Vivace Chair

Reece Tents Supports the Atlanta Symphony Associates.

Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions – Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences – these outstanding Annual Corporate Campaign donors helped us raise $9 million last year. Thank you! Chairman’s Council ★★★★★★★★★★★★★ $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. UPS ★★★★★★★★★★ $300,000+ Cox Interests Atlanta Journal-Constitution, James M. Cox Foundation, Cox Radio Group Atlanta, WSB-TV Hon. Anne Cox Chambers Deloitte LLP, its Partners & Employees Ernst & Young, Partners & Employees ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Equifax Inc. & Employees The Home Depot Foundation PwC, Partners & Employees SunTrust Bank Employees & Trusteed Foundations Florence C. & Harry L. English Memorial Fund Greene-Sawtell Foundation SunTrust Foundation


★★★★★★★★ $150,000+

★★★★★ $50,000+

Jones Day Foundation & Employees KPMG LLP, Partners & Employees The Sara Giles Moore Foundation The Rich Foundation, Inc. The David, Helen & Marian Woodward Fund

AGL Resources Inc. Balch & Bingham Lisa & Joe Bankoff Crawford & Company GE Energy Frank Jackson Sandy Springs Toyota and Scion IntercontinentalExchange PNC Primerica Troutman Sanders LLP

★★★★★★★ $100,000+ Alston & Bird LLP Bank of America Delta Air Lines, Inc. Kaiser Permanente King & Spalding Partners & Employees The Klaus Family Foundation The Marcus Foundation, Inc. Novelis Inc. Southwest Airlines Turner Broadcasting System, Inc. Wells Fargo

★★★★★★ $75,000+ Goodwin Group Kilpatrick Townsend Norfolk Southern The Sartain Lanier Family Foundation, Inc. Mabel Dorn Reeder Foundation Regions Financial Corporation RockTenn Siemens Industry, Inc.

Atlanta Symphony Orchestra/

★★★★ $35,000+ Accenture & Accenture Employees Atlanta Foundation Mr. & Mrs. Lawrence L. Gellerstedt III Invesco PLC Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Lockheed Martin Aeronautics Company Hellen Ingram Plummer Foundation, Inc. Printpack Inc./The Gay & Erskine Love Foundation Patty & Doug Reid Family Foundation Alex and Betty Smith DonorAdvised Fund at the Catholic Foundation of North Georgia Harris A. Smith Devyne Stephens Sutherland Asbill & Brennan LLP United Distributors, Inc. Frances Wood Wilson Foundation, Inc.

★★★ $25,000+ Julie & Jim Balloun BB&T Corporation Cousins Properties Foundation Mr. & Mrs. Bradley Currey, Jr. DLA Piper Mike Donnelly Doosan Infracore International Georgia-Pacific Price Gilbert, Jr. Charitable Fund GMT Capital Corporation Grant Thornton LLP Harland Clarke Beth & Tommy Holder The Imlay Foundation, Inc. Infor Global Solutions Sarah & Jim Kennedy Macy’s Foundation Mueller Water Products, Inc. Mr. & Mrs. David M. Ratcliffe SCANA Energy Selig Enterprises, Inc./ The Selig Foundation Southwire Company Towers Watson Waffle House, Inc. Wal-Mart Stores, Inc. Gertrude & William C. Wardlaw Fund Womble Carlyle Sandridge & Rice, PLLC Carla & Leonard Wood Yancey Bros. Co. ★★ $15,000+ ACE Charitable Foundation Acuity Alvarez & Marsal Arnall Golden Gregory LLP Assurant

The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Susan R. Bell & Patrick M. Morris Bessemer Trust Laura & Stan Blackburn The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch The Brand Banking Company Bryan Cave LLP George M. Brown Trust Fund of Atlanta Camp-Younts Foundation Mary Cahill & Rory Murphy Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. Cornerstone Investment Partners Dewberry Foundation Duke Realty Corporation The Deborah Elkins Foundation Fifth Third Bank First Data Corporation Ford & Harrison LLP Robert L. Fornaro Gas South, LLC Genuine Parts Company Georgia Natural Gas Virginia Hepner & Malcolm Barnes The Howell Fund, Inc. ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester Jamestown Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation

Ingrid Saunders Jones JWT The Abraham J. and Phyllis Katz Foundation Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions Thomas H. Lanier Family Foundation The Blanche Lipscomb Foundation Livingston Foundation, Inc. Karole & John Lloyd Mohawk Industries, Inc. & Frank H. Boykin Katherine John Murphy Foundation Newell Rubbermaid Gail & Bob O’Leary Vicki & John Palmer The Sally & Peter Parsonson Foundation, Inc. Piedmont Charitable Foundation, Inc. Post Properties, Inc. Mary & Craig Ramsey Smith Gambrell and Russell, LLP Spencer Stuart Karen & John Spiegel Sprint Foundation State Bank & Trust Company Staples Foundation Superior Essex Inc. Mr. & Mrs. Gregory Thompson Verizon Sue & John Wieland Mr. & Mrs. James B. Williams Sue & Neil Williams The Xerox Foundation

Donations for the Annual Campaign from June 1, 2011 – May 31, 2012’s Performing Arts Publication


Continued from page 16

the first on November 11, plus a series of holiday concerts in December — and the Talent Development Program (TDP), the first intensive training program by a major American orchestra to support talented, young African-American and Latino instrumentalists who wish to pursue a career in classical music. The TDP will present its annual Fall Musicale next month, as well as a Spring Recital in 2013. The ASYO, which was founded in 1974 and has been directed by Jere Flint since 1979, holds a special place in the hearts of both Mr. Spano and Principal Guest Conductor Donald Runnicles. Mr. Runnicles, who is now in his 12th season as Principal Guest Conductor,

“…in any orchestra it’s quality of listening to each other that determines the quality of performance. ” — Donald Runnicles

Donald Runnicles (left) and Jere Flint work with the ASYO in rehearsal last January.

takes particular joy in mentoring the aspiring musicians such as those in the of the ASYO. He sees it both as a way of giving back and a practical necessity: “As I look back on my mentors and teachers, on schools I attended, and on some of the fine youth orchestras I took part in, I think it’s quite alarming that young people today — who are no less talented — don’t have the same opportunities. I think that the artistic institutions not only here, but all over world, are making up for the inadequacies of today’s schools. One of the things I find most appealing about the Atlanta Symphony Orchestra is its commitment to the future. We know that this great orchestra will only be as good in 10, 15, 25 years as the young musicians that come after it. We should all take it very seriously.

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“…regular music. Because you realize “Whenever I find a spot in that old music was new my schedule to work with engagement with music at some point.” The the Atlanta Symphony Youth living composers audience, he added, “has Orchestra, I am thrilled to and new music been as much a part of do so,” he continued. “It’s has informed the the creation of the Atlanta extremely diverse and full of School as we have been, all that raw energy that you way we approach because we didn’t do this in associate with any youth older music.” a vacuum: the composers orchestra. Part of my job — Robert Spano we work with have been in is to channel that energy. touch with our audiences. I spend a lot of my time They go to various encouraging them to listen organizations and into the schools. They to each other. It’s something of a cliché, but are part of the community.” in any orchestra it’s quality of listening to each other that determines the quality of “Working with living composers,” he performance. It’s not the individual that’s continued, “means we’re constantly paramount. It’s the alchemy of musicians called upon to explore. When you deal listening to each other.” with composers you find out how much they are striving for something, searching Listening, self-discovery, self-examination: for something, figuring it out. That’s very Clearly, “education” at the Atlanta different from the notion of stone tablets Symphony Orchestra is as much a state being delivered from the mountaintop of mind as it is a set of specific activities. that you then obey; rather, it’s using Perhaps nothing exemplifies Mr. Spano’s the information that’s on the page as broad definition of education as an a starting point, and then engaging in “exploration of the new” better than the collaboration with the composer to find Atlanta School of Composers, which the the possibility that is a piece of music.” Music Director initiated when he came to the Orchestra in 2001. This season, In other words, this give and take he conducts three world premieres: an between audience, performers, and ASO commission by Atlanta School of composers goes to the very heart of Composers member Michael Gandolfi and Spano’s definition of education as “the works by Atlantan Marcus Roberts and capacity to discover something that isn’t Atlanta Symphony bassist Michael Kurth. known to us initially. To me that’s the “The Atlanta School of Composers,” most beautiful thing in the world.” Mr. Spano said from Aspen, “is a mutual educational process. What I found for Madeline Rogers, a freelance writer myself — and I think the musicians find and editor, is the former Director this too — is that our regular engagement of Publications at the New York with living composers and new music Philharmonic. has informed the way we approach older


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community corner Seen But Rarely Heard Meet William Ford: psychologist by day, Orchestra usher by night By Ansley Gogol How did you first become involved with the Atlanta Symphony Orchestra?

I’ve enjoyed classical music since I was fairly young. When I moved to Atlanta about five years ago, I looked forward to attending Atlanta Symphony Orchestra concerts because there are few cities in the U.S. that have a world-class orchestra. After attending several performances, I wanted to become more involved and volunteered as an usher. I take pride in knowing that I’m doing my small part to support the Orchestra and also get to enjoy great music. I may be a volunteer, but I get paid handsomely! How long have you ushered?

This is my second season. I’m a newbie in comparison to some of my colleagues and admire their commitment, because ushering involves four to five hours a concert. I usher nearly every week during the season and help out with other events — about 125 hours of volunteering per year. Walk us through a typical night on the job.

We sign in a few hours before the concert and then receive a briefing about the program and timings, ticket sales, any special groups that will be attending, program preparation, and performance-specific issues. Then, we get our assignments for the evening. I


Atlanta Symphony Orchestra/

like working in the same area in order to become familiar with subscribers. Next, we divide into teams of two or three in order to “stuff” any special inserts into the programs. When the doors open, we begin our formal duties involving direct patron services. At intermission, we monitor the doors to ensure that any patron concerns are addressed. Is there a particular concert or event you’re looking forward to this season?

I love anything Brahms and the Orchestra plays his glorious Second Symphony next February. Maestro Spano is a major supporter of new music and the premiere of Michael Gandolfi’s Concerto for Clarinet and Strings, with the ASO Principal Laura Ardan, should be special. I think she’s incredibly talented. Finally, anything with Concertmaster David Coucheron is a standout. So it’s safe to assume you’ll continue to be an ASO usher?

I am a psychologist and have a consulting practice the enables me to work out of my home. My schedule is such that it rarely conflicts with Atlanta Symphony concerts. Such a great deal! Ansley Gogol is a student at the University of Georgia and interned at the Orchestra over the summer.

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Andreas Scholl, counter-tenor Tamar Halperin, piano

Sunday, Dec. 2, 2012 3PM • $50 Pre-concert Talk 2PM

A Grammy Award-nominated Metropolitan Opera star possessed of “splendid lyrical gifts” (The New York Times), Andreas Scholl is “a story teller supreme, daring his audience to stay engaged for every compelling second. . . Scholl’s voice rushes through the bloodstream, so tender and gravely beautiful that time seems to stand still” (The Times, London). PROGRAM: Songs by Joseph HAYDN, Wolfgang Amadeus MOZART, Franz SCHUBERT, and Johannes BRAHMS

M O R R O W, G E O R G I A


Venice Baroque Orchestra Andrea Marcon, conductor/harpsichord Saturday, Jan. 26, 2013 8:15PM • $65

“A suberbly polished period-instrument group known for its fresh, zesty Vivaldi recordings” (The New York Times), the Venice Baroque Orchestra makes a welcome return to Spivey Hall with lively Italian concertos for single and multiple intruments by Vivaldi, Albinoni, Geminiani, and Veracini, featuring harpsichord, string, and wind soloists. Venice Baroque Orchestra Pre-concert Dinner Continuing Education Center 6:30PM • $40 per person

TICKETS: (678) 466-4200 For the complete 2012-2013 season schedule, visit

holiday concerts

December 6/7/8

Thu/Fri: 8pm/ Sat: 2 & 8pm Christmas with the aso Norman Mackenzie, conductor Gwinnett Young Singers Morehouse College Glee Club Atlanta Symphony Orchestra Chorus


Sun: 1:30 & 3:30pm ASO Kid’s christmas Second Chance Christmas by Ric Reitz Jere Flint, conductor Lee Harper and Dancers Alliance Theatre Company North Cobb Singers Kennesaw Mountain High Chamber Singers Atlanta Symphony Youth Orchestra



Fri: 8pm/Sat: 2pm ASO Gospel Christmas Kirk Smith, conductor ASO Gospel Chorus


Thu: 8pm Celtic Woman A Christmas Celebration – The Symphony Tour


Fri: 8pm/Sat: 2 & 8pm A Very Merry Holiday Pops Michael Krajewski, conductor Jodi Benson, vocalist Grady High School Chorus


Thu/Sat: 8pm Handel: Messiah, Part I Bach: Gloria from Mass in B minor Norman Mackenzie, conductor Atlanta Symphony Orchestra Chamber Chorus

Mon: 8pm ASO New Year’s Eve Michael Krajewski, conductor Tony DeSare & Trio | 404.733.5000

Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:

Holiday concerts are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.






3 hour complimentary valet parking


Bachelor of Music

Composition Guitar Keyboard Instruments Orchestral Instruments Voice Office of Admission 800.899.SFCM |

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Where it all begins.

10/4/12 3:52 PM

staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President & Chief Executive Officer Brien Faucett Assistant to the President & Chief Executive Officer ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator 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 David Zaksheske Artist Assistant


EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Vice President of Education & Community Engagement Ahmad Mayes Manager of Community Programs Niki Baker Manager of Ensembles & Instruction Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate Kaitlin Gress ArtsVibe Teen Program Coordinator

ASO Presents (cont.)

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President Verizon Wireless for Marketing Amphitheatre at & Symphony Pops Encore Park Alesia Banks Katie Daniel Director of Customer VIP Sales Manager Service & Season Tickets Jenny Pollock Meko Hector Operations Manager Marketing Production Manager Rebecca Simmons Box Office Manager Jennifer Jefferson Director of eBusiness Deborah Honan & Interactive Media Customer Service Manager & Venue Rental Coordinator Melanie Kite Subscription Office Manager DEVELOPMENT Kimberly Nogi Sandy Smith Publicist Vice President Robert Phipps for Development FINANCE & Publications Director ADMINISTRATION Rebecca Abernathy Melissa A. E. Sanders Development Services Donald F. Fox Senior Director, Manager Executive Vice President Communications for Business Operations Zachary Brown & Chief Financial Officer Christine Saunders Director of Group & Corporate Volunteer Services Shannon McCown Sales Associate Assistant to the Corey Cowart Executive Vice President Karl Schnittke Senior Director for Business Operations Publications Editor for Development & Chief Financial Officer David Sluder Erin Daugherty Susan Ambo Development Manager Database & Vice President of Finance Janina Edwards eMarketing Manager Kim Hielsberg Grants Consultant Robin Smith Senior Director of Financial Tegan Ketchie Subscription Planning & Analysis Development Coordinator & Education Sales April Satterfield Ashley Krausen Bill Tarulli Controller Special Events Coordinator Marketing Manager Peter C. Dickson Sarah Levin Rachel Trignano Senior Accountant Volunteer Project Manager Manager of Michael Richardson Broad Based Giving Melissa Muntz Venues Analyst Development Manager Russell Wheeler Stephen Jones Director of Group Johnnie Oliver Symphony Store Manager & Corporate Sales Research Coordinator Christina Wood David M. Paule Director of Marketing Senior Director ASO PRESENTS for Development Clay Schell Vice President, Programming Meredith Schnepp Development Manager Trevor Ralph Tammie Taylor Vice President, Operations Assistant to the Holly Clausen VP for Development Director of Marketing Lauren Turner Keri Musgraves Development Coordinator Promotions Manager Sarah Zabinski Lisa Eng Assistant Director Graphic Artist for Development

Atlanta Symphony Orchestra/

Chastain Park Amphitheater Tanner Smith Program Director



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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 Mon.—Fri., 10 a.m.– 8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis. Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks prior to the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Mon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon–8 p.m. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs 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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5 1 Opening Night: Robert Spano led Tchaikovsky’s Symphony No. 4 and the luminous violinist Midori performed Beethoven’s Violin Concerto to open the Orchestra’s 68th season on October 4. 2 Defiant Voices: Last month at Symphony Hall the Atlanta chapter of the Anti-Defamation League presented “Verdi at Terezin,” the story of Jewish


prisoners at Theresienstadt concentration camp who learned and performed Verdi’s Requiem 16 times as a statement of defiance and resistance. Murray Sidlin led the Orchestra and Chorus. 3 Harmonic Convergence: As part of the Smithsonian Institute’s New Harmonies education initiative, ASO players and the renowned Geechee-Gullah Ring Shouters performed “Slave

Atlanta Symphony Orchestra/

Songs of the Georgia Sea Islands” in Darien, GA. 4 Feeling The Vibe: The Orchestra and Youth Orchestra are involved in the Woodruff Arts Center’s Wells Fargo ArtsVibe Teen Program — a new initiative to actively engage metro Atlanta teens in the arts. 5 Fame: Robert Spano was inducted into the Georgia Music Hall of Fame, October 14.

Jeff Roffman Susan Demler

Jeff Roffman


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November 2012: Mozart and Strauss  

Encore Atlanta is the official show program for the Fox Theatre, Atlanta Symphony Orchestra, Alliance Theatre and the Atlanta Opera

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