October 2011: Rachmaninov & Scriabin at the Atlanta Symphony Orchestra

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

October

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contents October 2011

46

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20

features

the music

20 “Nyx”

25 This week’s concert and program notes

Esa-Pekka Salonen and Robert Spano are of one mind on a conductor’s role.

46 Community Corner: Meet Sheehan Hanrahan

In the community, making a difference.

50 ASO Media: Three for Three

Garrick Ohlsson performs Rachmaninov’s Piano Concerto No. 3 on new CD.

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departments 12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

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Kristi Casey Sanders kristi@encoreatlanta.com creative director

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Anna Harrell anna.harrell@encoreatlanta.com contributing editor

Kathy Janich editorial assistants

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atlanta symphony orchestra Rob Phipps Karl Schnittke program annotator Ken Meltzer

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Welcome Con-cert (kan-surt) n. [from Latin com-, with + certare, to strive] 1) mutual agreement, concord; 2) a performance of music — in concert, in unison.

Welcome to the Atlanta Symphony Orchestra’s 2011-2012 Delta Classical Concert Season, our 68th! This season has been years in the making. We deliberated and planned and developed and tested idea after idea, all in an effort to fulfill the hopes, to meet the needs and expectations of our audiences. I am confident that we’ve created a season that will delight you, move you, and inspire you.

Over the coming weeks you will see and hear us: In Concert with Great Music: Beethoven’s immortal Ninth Symphony, Tchaikovsky’s beloved Violin Concert, Brahms’ dramatic Symphony 4, Rachmaninov’s The Bells, music of our own day from renowned composers Osvaldo Golijov, Michael Abels, and Esa-Pekka Salonen — and much, much more.

In Concert with Great Artists: Music Director Robert Spano, soprano Christine Brewer, our own Atlanta Symphony Orchestra Chorus, legendary violinist Joshua Bell, pianists Terrence Wilson and Horacio Gutierrez and many, many more.

In Concert With This Community: Through our nationally recognized education programs — Sound Learning, the Talent Development Program, the Atlanta Symphony Youth Orchestra and Symphony Street Concerts — we are nurturing the musical gifts of Atlanta’s children and shaping both the present and the future of our city.

We are able to be in concert with great music, with great artists, and with this community thanks to your support. Bravo — and thank you!

Wishing you all the best,

Stanley E. Romanstein, Ph.D. President

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leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson D. Kirk Jamieson Joni Winston † Chair Vice Chair Secretary Karole F. Lloyd Meghan H. Magruder Clayton F. Jackson Chair-Elect Vice Chair Treasurer Directors Jim Abrahamson Pinney L. Allen Joseph R. Bankoff * Paul Blackney Janine Brown C. Merrell Calhoun Donald P. Carson Ann W. Cramer † Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert M. Franklin, Jr. Paul R. Garcia Carol Green Gellerstedt

Thomas Hooten Tad Hutcheson † Mrs. Roya Irvani † Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson III Mark Kistulinec Steve Koonin Carrie Kurlander Michael Lang Donna Lee Lucy Lee Karole F. Lloyd Meghan H. Magruder Belinda Massafra * Penny McPhee

Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser John D. Rogers Stanley E. Romanstein, Ph.D. * Martin Richenhagen † Dennis Sadlowski Lynn Schinazi William Schultz John Sibley H. Hamilton Smith Lucinda B. Smith

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

Board of counselors Mrs. Helen Aderhold Robert M. Balentine Elinor Breman 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 Herb Karp Jim Kelley George Lanier

Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Joyce Schwob Mrs. Charles A. Smithgall, Jr.

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

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

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Arthur L. Montgomery * ex officio † 2011-2012 sabbatical

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His mother said, “If you are a soldier, you will become a general.

If you are a priest, you will be the pope.”

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This exhibition is part of the MoMA Series, a collaboration between The Museum of Modern Art, New York, and the High Museum of Art, Atlanta.

Pablo Picasso (Spanish, 1881–1973), Girl before a Mirror, 1932, oil on canvas, 64 x 51 1/4 inches. The Museum of Modern Art. Gift of Mrs. Simon Guggenheim. © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

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Robert Spano music Director

M

usic Director Robert Spano, currently in his 11th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001, he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have together explored a creative mix of programming, including Theater of a Concert performances, which explore different formats, settings, and enhancements for the musical performance experience, such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008 and the production of Puccini’s Madama Butterfly in June 2011. The Atlanta School of Composers reflects Mr. Spano’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, Michael Gandolfi, and Adam Schoenberg. Since the beginning of his tenure (to date), Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works (composed since 1950).

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Mr. Spano has a discography with the Atlanta Symphony Orchestra of 19 recordings, six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall, Lincoln Center, as well as the Ravinia, Ojai, and Savannah Music Festivals. Mr. Spano has led 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. In addition, 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. Mr. Spano was Musical America’s 2008 Conductor of the Year.

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In March 2010, Mr. Spano began a three-year tenure as Emory University’s distinguished artist-in-residence, in which he leads intensive seminars, lectures, and presents programs on science, math, philosophy, literature, and musicology.

In March 2011, Mr. Spano was announced as the incoming music director of the Aspen Music Festival. He was in residence in Aspen for the 2011 summer season as music director-designate and will assume the full role of music director in 2012.

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Robert Spano

Donald Runnicles

Michael Krajewski

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

Principal Pops Conductor

FIRST VIOLIN

SECOND VIOLIN

VIOLA

CELLO

David Coucheron Concertmaster William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Alice Anderson Oglesby Lorentz Ottzen 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

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 Ardath Weck

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

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

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BASS

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

Jere Flint

Norman Mackenzie

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

Director of Choruses The Frannie and Bill Graves Chair

FLUTE

BASS CLARINET

TROMBONE

HARP

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

Alcides Rodriguez

Colin Williams Principal Stephen Wilson Associate Principal George Curran

Elisabeth RemyJohnson Principal The Delta Air Lines Chair

PICCOLO

Carl David Hall OBOE

Elizabeth Koch Principal The George M. and Corrie Hoyt Brown Chair * Yvonne Powers Peterson Associate Principal Ann Lillya † CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez E-FLAT CLARINET

Ted Gurch

BASSOON

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

BASS TROMBONE

George Curran TUBA

Juan de Gomar

Michael Moore Principal

HORN

TIMPANI

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane Bruce Kenney

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

TRUMPET

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

CONTRA-BASSOON

Thomas Hooten Principal The Madeline and Howell Adams Chair* The Mabel Dorn Reeder Honorary Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

PERCUSSION

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 Players in string sections are listed alphabetically

Atlanta’s Performing Arts Publication 19

“Nyx,” Esa-Pekka Salonen, and Robert Spano who conducts the U.S. premiere of Salonen’s “Nyx” October 27/29, are of one mind on a conductor’s role

By Karl Schnittke

a 17-minute work by the Finnish conductor and composer Esa-Pekka Salonen, arrives with its own mystique. Did Salonen title his composition after the ethereal figure Nyx, the goddess of the night in Greek mythology and a figure previously best captured on canvas by painters in search of a muse? Salonen himself isn’t saying, but Anna Frankenberg, a representative for the composer, says “he is hard at work completing his description of the piece.”

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“ The most important function … is developing local musical life.”

All shall be revealed Thursday and Saturday evenings, Oct. 27 and 29, when Robert Spano and the Atlanta Symphony Orchestra give the U.S. premiere of “Nyx” — plus Scriabin’s Poem of Ecstasy and Rachmaninov’s The Bells.

Then it’s on to Carnegie Hall for the New York premiere of “Nyx,” and the Orchestra’s first performance at Carnegie without the Chorus since 1997, on Nov. 5. Instead of The Bells, pianist Garrick Ohlsson will perform the Rachmaninov Third Piano Concerto. (He plays the work on the new ASO Media recording, also featuring the composer’s Symphonic Dances, to be released in early November.

A related article appears on page 48.)

The piece, a co-commission by Radio France, Carnegie Hall, the Atlanta Symphony Orchestra, the Barbican Centre and the Finnish Radio Symphony Orchestra, had its world premiere Feb. 19, 2011, during the final concert of Festival Présences Paris. “Nyx” affords audiences here and at Carnegie a glimpse of kindred sprits at work: Spano and Salonen, luminaries of contemporary music who believe making new music begins at home.

One of the hallmarks of Spano’s career has been an unwavering advocacy of modern composers. Prior to his appointment as the Orchestra’s music director in 2001, Spano was at the Brooklyn Philharmonic 22 EncoreAtlanta.com

where he brought a vital edge to the orchestra’s repertoire and an enthusiastic audience that came from every borough in New York City to hear what some called “classical music’s new era.”

Spano redoubled his commitment when he moved to Atlanta — where he now lives year-round — and founded the justly acclaimed Atlanta School of Composers. Members include Jennifer Higdon, Christopher Theofanidis, Osvaldo Golijov, Michael Gandolfi and Adam Schoenberg, with more composers on the horizon. Their orchestral and choral works are an essential part of the Orchestra’s recorded oeuvre.

“Spano has found that audiences react to these composers with pleasure,” wrote Los Angeles Times critic Mark Swed in 2008. “The Orchestra takes pride in sending its listeners home happy, having been given a big sonic hug.”

Spano and Salonen are not the first conductors, of course, to try and solve the ultimate mystery of the orchestra business, which is how to attract new listeners without alienating established ones. Their reputations for bold choices, however, draw music lovers, and the kind of media swirl that Salonen for one can live without.

Continued on page 42

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

Delta Classical Series Concerts Thursday and Saturday, October 27 and 29, 2011, at 8 p.m..

Robert Spano, Conductor Tatiana Monogarova, Soprano Sergey Romanovsky, Tenor Denis Sedov, Bass Atlanta Symphony Orchestra, Norman Mackenzie, Director of Choruses Esa-Pekka Salonen (b. 1958)

Nyx (2011)

Atlanta Symphony Orchestra Premiere, Co-Commissioned by Radio France, Carnegie Hall, Atlanta Symphony Orchestra,

Barbican Centre and Finnish Radio Symphony Orchestra Alexander Scriabin (1872-1915)

Le Poème de l’extase (The Poem of Ecstasy, Symphony No. 4), Opus 54 (1908) INTERMISSION Sergei Rachmaninov (1873-1943)

The Bells, for Chorus, Orchestra and Solo, Opus 35 (1913) I. The Silver Sleigh Bells (Tenor solo and chorus);

Allegro, ma non tanto

Sergey Romanovsky, Tenor

II. The Mellow Wedding Bells (Soprano solo and chorus); Lento

Tatiana Monogarova, Soprano

III. The Loud Alarum Bells (Chorus); Presto

IV. The Mournful Iron Bells (Baritone and Chorus); Lento lugubre

Denis Sedov, Bass

Atlanta Symphony Orchestra Chorus

“Inside the Music” preview of the concert, Thursday at 7 p.m., presented

by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator.

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

Atlanta’s Performing Arts Publication 25

sponsors

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

Delta is proud to be celebrating our 70th anniversary 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 November 5, 2011 at Carnegie Hall is 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.

26 EncoreAtlanta.com

program Notes on the Program

By Ken Meltzer Nyx (2011) Esa-Pekka Salonen was born in Helsinki, Finland, on June 30, 1958. The premiere of Nyx took place at the Théâtre du Châtelet, in Paris France, on February 19, 2011, with the composer conducting the Orchestre Philharmonique de Radio France. Nyx is scored for two piccolos, three flutes, three oboes, English horn, E-flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, piano, celeste, vibraphone, orchestra bells, tam-tam, tom-toms, bass drum, conga drum, wood block, tubular bells, sizzle cymbal, low tuned gongs and strings. Approximate performance time is seventeen minutes.

These are the first ASO Classical Subscription Performances.

These concerts mark the Atlanta Symphony Orchestra premiere of Nyx, by composer and conductor, Esa-Pekka Salonen. Nyx is a co-commission by Radio France, Carnegie Hall, the Atlanta Symphony Orchestra, the Barbican Centre and the Finnish Radio Symphony Orchestra.

The composer provided the following commentary: Nyx is my return to the genre of pure orchestral music since Helix (2005). It employs a large orchestra, and has exposed concertante parts for solo clarinet and the horn section.

Rather than utilizing the principle of continuous variation of material, as is the case mostly in my recent music, Nyx behaves rather differently.

Its themes and ideas essentially keep their properties throughout the piece while the environment surrounding them keeps changing constantly. Mere whispers grow into roar; an intimate line of the solo clarinet becomes a slowly breathing broad melody of tutti strings at the end of the 18-minute arch of Nyx. I set myself a particular challenge when starting the composition process, something I hadn’t done earlier: to write complex counterpoint for almost one hundred musicians playing tutti at full throttle without losing clarity of the different layers and lines; something that Strauss and Mahler so perfectly mastered. Not an easy task, but a fascinating one. I leave it to the listener to judge how well I succeeded.

Nyx is a shadowy figure in Greek mythology. At the very beginning of everything there’s a big mass of dark stuff called Chaos, out of which comes Gaia or Ge, the Earth, who gives birth (spontaneously!) to Atlanta’s Performing Arts Publication 27

Uranus, the starry heaven, and Pontus, the sea. Nyx (also sometimes known as Nox) is supposed to have been another child of Gaia, along with Erebus. The union of Nyx and Erebus produces Day. Another version says that Cronos (as Time) was there from the beginning. Chaos came from Time. Nyx was present as a sort of membrane surrounding Chaos, which had Phanes (Light) at its centre.

The union of Nyx with Phanes produced Heaven & Earth.

She is an extremely nebulous figure altogether; we have no sense of her character or personality. It is this very quality that has long fascinated me and made me decide to name my new orchestral piece after her.

I’m not trying to describe this mythical goddess in any precise way musically. However, the almost constant flickering and rapid changing of textures and moods as well as a certain elusive character of many musical gestures may well be related to the subject.

I have always enjoyed the unrivalled dynamic range of a large symphony orchestra, but Nyx seems to take a somewhat new direction from my earlier orchestral music: there are many very delicate and light textures, chiaroscuro instead of details bathing in clear direct sunlight. I guess this is symptomatic of growing older as we realize there are no simple truths, no pure blacks and whites but an endless variety of half shades.

Nyx was commissioned by Radio France, the Barbican Centre, Atlanta Symphony, Carnegie Hall and the Finnish Broadcasting Company YLE. It had its first performance in Théâtre du Châtelet, Paris, in February 2011 in the final concert of the Festival Présences. The Orchestre Philharmonique de Radio France was conducted by the composer.

Esa-Pekka Salonen 1 October 2011

Le Poème de l’extase (The Poem of Ecstasy, Symphony No. 4), Opus 54 (1908) Alexander Scriabin was born in Moscow, Russia, on January 6, 1872, and died there on April 27, 1915. The premiere of Le Poème de l’extase took place in New York on December 10, 1908, with Modest Altschuler conducting the Russian Symphony Society. Le Poème de l’extase is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tuba, timpani, celeste, organ, two harps, triangle, cymbal, bass drum, tam-tam, keyboard glockenspiel, bell in C and strings. Approximate performance time is twenty minutes.

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program First ASO Classical Subscription Performances: January 22, 23 and 24, 1970, Gunther Schuller, Conductor.

Most Recent ASO Classical Subscription Performances: March 5, 6 and 7, 2009, Robert Spano, Conductor.

ASO Recording: Robert Spano, Conductor (Telarc CD-32630).

1

903 marked a dramatic turning point in the life of pianist and composer Alexander Scriabin. A classmate of Sergei Rachmaninov at the Moscow Conservatory, Scriabin became a professor of piano at that institution, commencing in 1898. However, in 1903 Scriabin left the Conservatory to focus on his musical compositions and a series of concert tours. That same year, Scriabin abandoned his wife and family to live in Western Europe with a young admirer named Tatyana Schloezer. Schloezer, a devotee of cult philosophy, encouraged Scriabin in his messianic sense of creative omnipotence, based first upon his interpretations of the writings of Friedrich Nietzsche and later, the theosophy of Helena Blavatsky.

The Poem of Ecstasy is the second work of a projected orchestral tetralogy depicting Scriabin’s mystical philosophy. Scriabin described the first composition in the series, The Divine Poem (1904), as portraying: the struggle between Man enslaved to a personal God and Man, who is himself God but lacking the will to proclaim his divinity. Thus frustrated, he immerses himself in the pleasures of sense, depicted in the second section of the work. But internal divine powers assist him toward liberation, and in the third and last section of the tone poem he gives himself up to the joys of “untrammeled existence.”

Scriabin intended the final two portions of the tetralogy, Prometheus, The Poem of Fire (1910) and The Mystery to offer an unprecedented fusion of the arts and senses.

Prometheus is scored for a large orchestra, piano, organ, wordless chorus and a keyboard that projects colors onto a screen.Scriabin envisioned the even more ambitious The Mystery as the tetralogy’s apocalyptic culmination: a grand religious event to be held in India, with both the chorus and audience clothed in white. Scriabin was unable to complete The Mystery before his death in 1915.

In June of 1905, while living with Schloezer in Bogliasco, near Genoa, Scriabin began work on an intended multi-movement symphony entitled Poème Orgiaque. However, Scriabin encountered great difficulty with this original conception. In the spring of 1907, Scriabin announced he had completed his “finest composition,” the single-movement The Poem of Ecstasy. In the summer of 1907, conductor Modest Altschuler, a champion of contemporary Russian music, assisted Scriabin with revisions to the orchestration. Altschuler observed: Scriabin is neither an atheist nor a theosophist, yet his creed includes ideas somewhat related to each of these schools of thought. There are Atlanta’s Performing Arts Publication 29

three divisions in his poem: (1) His soul in the orgy of love; (2) The realization of a fantastical dream; (3) The glory of his own art.

Scriabin himself authored an accompanying and lengthy explanatory poem, the opening lines of which read: The spirit, Pinioned on its thirst for life, Soars in flight To heights of negation.

There in the rays of its fantasy Is born a magic world Of wondrous images and feelings The playing spirit, The suffering spirit, The spirit that creates sorrow in doubt, Gives itself to the torment of love.

The premiere, originally scheduled for February 16, 1908, in St. Petersburg, was delayed due to lack of sufficient rehearsal time. The first performance of Scriabin’s The Poem of Ecstasy finally took place in New York on December 10, 1908, with Altschuler conducting the Russian Symphony Society.

Musical Analysis Scriabin’s The Poem of Ecstasy is set in a single uninterrupted movement comprising numerous diverse episodes. During the slow opening section (Andante. Languido), the flute introduces a wide-ranging motif based upon triplets. A solo clarinet plays a melody over undulating string accompaniment. During a more agitated passage (Allegro non troppo), trumpets play the work’s central theme, a rising fanfare juxtaposed with a chromatic descending passage. The themes appear in various forms, couched in a wide variety of orchestral textures and colors. The presentation of conflicting moods throughout The Poem of Ecstasy finally resolves to a glorious C-Major apotheosis.

The Bells, for Chorus, Orchestra and Solo, Opus 35 (1913) Sergei Rachmaninov was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The premiere of The Bells took place in St. Petersburg, Russia, on December 13, 1913, conducted by the composer. The Bells are scored for soprano, tenor and baritone soloists, mixed chorus, piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, three trumpets, three trombones, tuba, timpani, harp, piano, celeste, organ, orchestra bells, chimes, tam-tam, side drum, tambourine, cymbals, suspended cymbal, bass drum, triangle and strings. Approximate performance time is thirty-seven minutes.

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program First ASO Classical Subscription Performances: February 24, 25 and 26, 1983, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor.

Most Recent ASO Classical Subscription Performances: November 2, 3 and 4, 1995, Atlanta Symphony Orchestra, Robert Shaw, Conductor.

ASO Recording: Atlanta Symphony Chorus, Robert Shaw, Conductor (CD-80365).

“From childhood to the grave” In his memoirs, Sergei Rachmaninov acknowledged: The sound of church bells dominated all the cities of Russia I used to know — Novgorod, Kiev, Moscow. They accompanied every Russian from childhood to the grave, and no composer could escape their influence…

All my life I have taken pleasure in the differing moods and music of gladly chiming and mournfully tolling bells. This love for bells is inherent in every Russian. One of my fondest childhood recollections is associated with the four notes of the great bells in the St. Sophia Cathedral of Novgorod, which I often heard when my grandmother took me to town on church festival days. The bellringers were artists.

The four notes were the theme that recurred again and again, four silvery weeping notes, veiled in an everchanging accompaniment woven around them…

If I have been at all successful in making bells vibrate with human emotion in my works, it is largely due to the fact that most of my life was lived amid vibrations of the bells of Moscow…

In the summer of 1912, the composer received a letter from an anonymous source, urging Rachmaninov to read Konstantin Balmont’s Russian translation of Edgar Allan Poe’s The Bells, published after the American poet’s death in 1849. Rachmaninov complied, “and decided to use it for a Choral Symphony in four movements.”

Rome, Tchaikovsky and The Bells The following year, Rachmaninov and his family traveled to Rome. As Rachmaninov informed Oskar von Riesemann: I was able to take the same flat on the Piazza di Spagna that Modeste Tchaikovsky had used for a long time and which had served his brother as a temporary retreat from his numerous friends. It consisted of a few quiet, shady rooms belonging to an honest tailor. I lived, with my wife and children, at a pension, and went to the flat every morning to compose, remaining at work there till evening.

Atlanta’s Performing Arts Publication 31

Nothing helps me so much as solitude. For me, it is possible to compose only when I am alone and nothing from the outside hinders the flow of ideas. These conditions were ideal in the flat on the Piazza di Spagna.

All day long I spent at the piano or the writing desk, and not until the pines on the Monte Pincio were gilded by the setting sun did I put away my pen.

While in Rome, Rachmaninov focused upon two compositions — the Second Piano Sonata, and The Bells. In his memoirs, Rachmaninov recalled: In the drowsy quiet of a Roman afternoon, with Poe’s verses before me, I heard the bell voices, and tried to set down on paper their lovely tones that seemed to express the varying shades of human experience.

And there was the added stimulus of working in the room where (Peter Ilyich) Tchaikovsky had worked, of writing on the table on which he had written.

Here, Tchaikovsky’s influence in a portion of The Bells should be noted. Rachmaninov observed that the work’s haunting, slow-tempo finale “had the precedent of Tchaikovsky” — in particular, the Adagio lamentoso of his 1893 Symphony No. 6, the “Pathétique.”

Progress on the Piano Sonata and The Bells was interrupted when two of Rachmaninov’s daughters contracted typhoid fever. The family traveled to Berlin to seek medical treatment.

After the daughters recovered, the Rachmaninovs returned to Russia. There, Rachmaninov put the finishing touches on The Bells.

Rachmaninov dedicated the score to conductor Willem Mengelberg and the Concertgebouw Orchestra of Amsterdam, who, some years earlier, had brilliantly accompanied Rachmaninov in a performance of his Second Piano Concerto. Rachmaninov himself conducted the successful premiere of The Bells in St. Petersburg, on December 13, 1913.

“Miss Danilova” One reader took particular interest in newspaper reports that were published during the period of rehearsals for the premiere of The Bells. She was “Miss Danilova,” a cello pupil of one of Rachmaninov’s friends, Mikhail Bukik. One day, Miss Danilova arrived for her lesson with Bukik: in great agitation; while she played, she seemed very excited and eager to tell me something. She finally revealed that Balmont’s translation of Poe’s poem, The Bells, had once made a great impression on her — she could think of it only as music — and who could write the music but her adored Rachmaninov! That she must do this became her idée fixe, and she wrote anonymously to her idol, suggesting that he read the poem and compose it as music.

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program When Danilova read that Rachmaninov had, in fact, composed a work based upon The Bells, and that the piece was scheduled for its premiere, she, according to Bukik: was mad with joy. But someone had to be told her secret — and that’s how all her emotions were unloaded during my lesson. She told me the whole story. I was astounded to think our reserved and quite unsentimental Rachmaninov could have been capable of being inspired by someone else’s advice — to create so important a work! I kept my pupil’s secret until Rachmaninov’s death.

And so, Rachmaninov never learned the identity of the person who provided the impetus for The Bells, a piece he composed “with feverish ardor…” Rachmaninov further commented, “it remains, of all my works, the one I like best…”

Kolokola

The Bells

I. The Silver Sleigh Bells (Tenor solo and chorus); Allegro, ma non tanto Slyšiš’, sani mcˇatsja v rjad, Mcˇatsja v rjad!

Kolokol’cˇiki zvenjat, Serebristym lëgkim zvonom slux naš sladostno tomjat, Etim pen’em i guden’em o zabven’i govorjat.

O, kak zvonko, zvonko, zvonko, Tocˇno zvucˇnyj smex rebënka, V jasnom vozduxe nocˇnom Govorjat oni o tom, Cˇto za dnjami zablužden’ja Nastupaet vozrožden’e, Cˇto volšebno naslažden’e — naslažden’e nežnym snom.

Sani mcˇatsja, mcˇatsja v rjad, Kolokol’cˇiki zvenjat, Zvëzdy slušajut, kak sani, ubegaja, govorjat, I, vnimaja im, gorjat, I mecˇtaja, i blistaja, v nebe duxami parjat; I izmencˇivym sijan’em, Molcˇalivym obajan’em Vmeste s zvonom, vmeste s pen’em, o zabven’i govorjat.

Hear the sleighs rush along in line, They rush along in line!

The little bells tinkle, With their light, silvery ringing they sweetly tire our hearing, With their singing and jingling they tell of oblivion.

Oh, how clearly, clearly, clearly, Like the ringing laughter of a child, In the clear night air They tell the tale of how, After days of delusion, Rebirth will follow, Magical delight, The delight of tender sleep.

The sleighs rush along in line, The little bells tinkle, The stars listen as the sleighs, fleeing, speak, And heeding them, they shine, And dreaming, and twinkling, they hover in the sky like spirits; And with their flickering radiance, With their silent enchantment, Together with the ringing, together with the singing, they tell of oblivion.

Atlanta’s Performing Arts Publication 33

II. The Mellow Wedding Bells (Soprano solo and chorus); Lento Slyšiš’ k svad’be zov svjatoj, zolotoj!

Skol’ko nežnogo blazhenstva v etoj pesne molodoj!

Skvoz’ spokojnyj vozdux nocˇi Slovno smotrjat cˇ’i-to ocˇi, I blestjat, Iz volny pevucˇix zvukov na lunu oni gljadjat.

Iz prizyvnyx divnyx kelij, Polny skazocˇnyx veselij, Narastaja, upadaja, bryzgi svetlye letjat.

Vnov’ potuxnut, vnov’ blestjat, I ronjajut svetlyj vzgljad Na grjadušcˇee, gde dremlet bezmjatežnost’ nežnyx snov, Vozvešcˇaemyx soglas’em zolotyx kolokolov!

Hear the holy golden call to the wedding!

How much tender bliss there is in this youthful song!

Through the calm night air, It’s as if someone’s eyes are watching And shining, Out of the wave of melodious sounds they gaze at the moon.

Out of their inviting, wondrous cells, Full of fairytale delights, Rising, falling, the bright sparks fly.

They go out again, they shine again, And they cast their bright gaze On the future, where slumbers the serenity of sweet dreams, Proclaimed by the harmony of the golden bells!

III. The Loud Alarum Bells (Chorus); Presto Slyšiš’, vojušcˇij nabat, Tocˇno stonet mednyj ad!

Eti zvuki, v dikoj muke, skazku užasov tverdjat.

Tocˇno moljat im pomocˇ’, Krik kidajut prjamo v nocˇ’, Prjamo v uši tëmnoj nocˇi.

Každyj zvuk, To dlinnee, to korocˇe, Vyklikaet svoj ispug — I ispug ix tak velik, Tak bezumen každyj krik, Cˇto razorvannye zvony, nesposobnye zvucˇat’, Mogut tol’ko bit’sja, vit’sa, i kricˇat’, kricˇat’, kricˇat’!

Tol’ko plakat’ o pošcˇade, I k pylajušcˇej gromade Vopli skorbi obrašcˇat’!

A mež tem ogon’ bezumnyj, I gluxoj i mnogošumnyj, Vsë gorit,

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Hear the howling alarm bell, Like the groaning of a brazen hell!

These sounds in their savage torment repeat a tale of horror.

As though begging for help, They hurl their cry into the night, Straight into the ears of the dark night.

Each sound, Now longer, now shorter, Calls out its fright — And their fright is so great, So mad is each shout, That the tormented bells, unable to sound, Can only batter, writhe, and shout, shout, shout!

They can only weep for mercy, And to the mass of flames Address their wails of grief!

And meanwhile the frantic fire, Both deaf and full of noises, Keeps burning,

program To iz okon, to po kryše, Mcˇitsja vyše, vyše, vyše, I kak budto govorit: Ja xocˇu Vyše mcˇat’sja, razgorat’sja, vstrecˇu lunnomy lucˇu, Il’ umru, il’ totcˇas-totcˇas vplot’ do mesjaca vzlecˇu!

O, nabat, nabat, nabat, Esli b ty vernul nazad Etot užas, eto plamja, etu iskru, etot vzgljad, Etot pervyj vzgljad ognja, O kotorom ty vešcˇaeš’, s placˇem, s voplem, i zvenja!

A teper’ nam net spasen’ja, Vsjudu plamja i kipen’e, Vsjudu strax i vozmušcˇen’e!

Tvoj prizyv, Dikix zvukov nesoglasnost’ Vozvešcˇaet nam opasnost’, To rastët beda gluxaja, to spadaet, kak priliv.

Slux naš cˇutko lovit volny v peremene zvukovoj, Vnov’ spadaet, vnov’ rydaet medno-stonušcˇij priboj!

Now from the windows, now along the roof, It rushes higher, higher, higher, And seems to say: I want To rush higher, to flare up towards the moonbeam, I’ll either die out or immediately fly right up to the moon!

Oh, alarm bell, alarm bell, alarm bell, If you had only turned away This horror, this flame, this spark, this glance, This first glance of the fire, About which you prophesy, with weeping, with wailing, and ringing!

And now there is no salvation for us, The flames seethe everywhere, Everywhere is fear and turmoil!

Your call, The discord of wild sounds Proclaims to us the danger, The hollow sound of misfortune rises and falls like the tide.

Our hearing distinctly catches the waves of changing sounds, It falls again, it sobs again, the brazen, groaning surf.

IV. The Mournful Iron Bells (Baritone and Chorus); Lento lugubre Poxoronnyj slyšen zvon, Dolgij zvon!

Gor’koj skorbi slyšny zvuki, gor’koj žizni koncˇen son.

Zvuk železnyj vozvešcˇaet o pecˇali poxoron!

I nevol’no my drožim, Ot zabav svoix spešim, I rydaem, vspominaem, cˇto i my glaza smežim.

Neizmenno-monotonnyj, Etot vozglas otdalënnyj, Poxoronnyj tjažkij zvon,

The funeral knell can be heard, The long knell!

The sounds of bitter grief can be heard, the dream of bitter life has ended.

The iron sound proclaims the sorrow of the funeral!

And we involuntarily shudder, We hurry away from our pastimes, And we sob, and recall that we too shall close our eyes.

Invariably monotonous, This distant cry, The heavy funeral knell, Atlanta’s Performing Arts Publication 34B

Tocˇno ston, Skorbnyj, gnevnyj, I placˇevnyj, Vyrastaet v dolgij gul, Vozvešcˇaet, cˇto stradalec neprobudnym snom usnul.

V kolokol’nyx kel’jax ržavyx, On dlja pravyx i nepravyx Grozno vtorit ob odnom: cˇto na serdce budet kamen’, cˇto glaza somknutsja snom.

Fakel traurnyj gorit, S kolokol’ni kto-to kriknul, kto-to gromko govorit, Kto-to cˇërnyj tam stoit, I xoxocˇet i gremit, I gudit, gudit, gudit, K kolokol’ne pripadaet, Gulkij kolokol kacˇaet, Gulkij kolokol rydaet, Stonet v vozduxe nemom I protjažno vozvešcˇaet o pokoe grobovom.

Like a groan, Doleful, wrathful, And mournful, It grows into a long rumbling, It proclaims that the sufferer has fallen into eternal sleep.

In the belfry’s rusty cells, For the righteous and unrighteous It menacingly repeats a single thing: That there will be a stone on your heart, that your eyes will close in sleep.

The funeral torch burns, From the belfry someone has shouted, someone is speaking loudly, A dark figure stands there, He laughs and tolls, And roars, roars, roars, He presses against the belfry, And swings the booming bell, The booming bell sobs, It groans in the mute air, And proclaims at length the peace of the grave.

Transliteration of the Russian and English translation by Keith Langston.

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program tatiana monogarova, Soprano

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atiana Monogarova began the 2011-12 season with revival performances of her highly successful appearance as Rusalka at the Semperoper Dresden. She returned to the Bolshoi Theater for her signature role of Tatyana (Eugene Onegin) in a production by Dimitri Tcherniakov that was broadcast, cinecast, released on DVD, and toured Europe.

She joins the Atlanta Symphony Orchestra for The Bells under the baton of Robert Spano, and sings Janácˇek’s Glagolitic Mass Tatiana Monogarova with Bavarian Radio Symphony Orchestra under the baton of Mariss Jansons. And she will return to Ljubljana State Opera for another production of Rusalka.

Last season Miss Monogarova made her role debut as Cio-Cio San (Madama Butterfly) at Opera de Dijon, and made another debut in the title role of Rusalka in a highly acclaimed appearance at the Semperoper Dresden. She sang Donna Anna (Don Giovanni) at Oper Koeln, and appeared as Tatyana at the Staatsoper Hamburg at Cincinnnati Opera and at Teatro Real in Madrid. She appeared at the BBC Proms for Les Noces under the baton of Ed Gardner.

Miss Monogarova was born in Moscow and studied voice at the Russian Academy of Arts.

She made her international debut in Sergei Slonimsky’s opera The Master and Margarita with the Forum Theatre, Moscow, on tour in Germany under Mikhail Jurowski, and then as Xenia in Boris Godunov at La Fenice, Venice, in 1995.

Engagements as Desdemona (Otello), Pamina (Die Zauberflöte), Tatiana (Evgeny Onegin) and Mimì (La bohème) followed in Riga. She appeared as Tatyana and the Countess (Le nozze di Figaro) in Vienna, and in 2000 sang Pamina for the Opéra de Nantes. The next season she returned to Nantes to sing Lisa (Pique Dame), and in 2001 sang Julie (The Jacobin) in Wexford. She sang Lisa in her debut performance at the Bayerische Staatsoper in Munich, Oper Graz, Teatro Comunale in Bologna and in Modena and Ferrara.

The artist scored a considerable success in her Glyndebourne Festival debut in 2002 as Donna Anna (Don Giovanni). She repeated the role the following season at the Stadttheater, Bern, and returned to the Wexford Festival in 2003-04 to sing Dorota in Schwanda the Bagpiper and a performance of Dvorˇák’s Stabat Mater. She also sang Tamara (The Demon) in Riga, the title role in Janácˇek’s The Cunning Little Vixen in Seville and took part in a performance of Les Noces for Kultur Ruhr in Essen under Hans Zender.

Her career to date includes appearances with such eminent conductors as Vladimir Spivakov, Vladimir Fedoseev, Vladimir and Mikhail Jurowski, Mikhail Pletnev, Alexander Vedernikov, Daniele Callegari, Andreas Spering, Louis Langree, Julian Reynolds, Normunds Vaicis, Tomas Netopil, Edo de Waart, Hans Zender and Kent Nagano. She sang Symphony No. 14 with the Iceland Symphony Orchestra, The Bells at Hong Kong Arts Festival, Strauss’ Four Last Songs with the Hong Kong Philharmonic, Tchaikovsky’s Hamlet with the Orchestra of Age of Enlightenment under Vladimir Jurowski, and Martynov’s Vita Nova in London and New York.

Atlanta’s Performing Arts Publication 34D

Sergey Romanovsky, Tenor

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he tenor Sergey Romanovsky was born in Mineralny Vody, Russia. He graduated from the Music School as a violinist and studied singing at the College of Music. In 2004 he entered the Moscow Tchaikovsky State Conservatory. He has now entered into the Moscow Academy of Choral Art, where he works with Professor Dmitry Vdovin.

He also took part in the International School of Vocal Art in Moscow in 2006 and 2007, where he worked with George Sergey Romanovsky Darden of the Metropolitan Opera, Caroline Dumas of the Ecole Normale in Paris, Stephen King, Diane Zola, Richard Bado of the Houston Grand Opera and Rudolf Piernay from London.

Mr. Romanovsky is already a prize-winner in several major competitions, including second prize at the International Bella Voice Vocal Competition in Moscow in 2005 and third prize at the Opened National Vocal Competition “St.Petersburg” in 2007.

Past appearances include Young Gipsy in the concert performance of Aleko by Rachmaninov in San Sebastian, Spain, with the Russian National Orchestra under the baton of Mikhail Pletnev in August 2007. He recently sung Conte Libenskoff in Il Viaggio A Reims in concert at the International School of Vocal Art, and Alfredo in La Traviata at the Teatro Comunale Chiabrera (Savona).

He received high acclaim for his debut performance as Tebaldo in I Capuleti e Montecchi at the opening night of the 2008-09 season of the Moscow State Philharmonic Society opposite Patrizia Ciofi and Anna Bonitatibus, and made his debut at La Scala in Milan with Libenskoff in Il Viaggio a Reims. He recently sang Ernesto in Don Pasquale at the Norske Opera in Oslo; Lensky in Eugene Onegin in Lille, Amiens and Caen; and the Bolshoi Theatre Moscow; Rachmaninov’s The Bells with the Royal Scottish National Orchestra; and a recital at the Musashino Civic Cultural Hall in Japan.

Future engagements will include Il Barbiere di Sivigalia at the Opera Royal de Wallonie, Ferrando in Cosi fan tutte with Opera de Dijon, La Traviata in Novara, Il Barbiere di Siviglia and L’elisir d’amore with the Mikhailovsky Theatre in Moscow, Rossini’s Petite Messe Solennelle with the Moscow State Philharmonic Society and Rossini’s Stabat Mater at the Teatro Verdi (Firenze).

He makes his U.S. debut singing The Bells with the Atlanta Symphony Orchestra, and will sing the Verdi Requiem in Rome in the Chiesa Santa Maria Maggiore.

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program denis sedov, Bass

O

pera News has priased Denis Sedov for being “tall and commanding, gifted with a splendid physique and a bass to match” and for his ability to “seduce with his voice as well as with his presence.” He begins the 2011-12 season with performances of Rachmaninov’s The Bells with Robert Spano conducting the Atlanta Symphony Orchestra and Mozart’s Requiem with the Orquestra Sinfônica Brasileira.

Last season he sang Raimondo in Lucia di Lammermoor with Denis Sedov Pittsburgh Opera, Frere Laurent in Roméo et Juliette at the Teatro Municipale Giuseppe Verdi di Salerno and Gremin in Eugene Onegin in a return to Cincinnati Opera. He also sang the Seder Leader in Dessau’s Hagadah Shel Pessach with the American Symphony Orchestra at Carnegie Hall, Rachmaninov’s The Bells with the Orquesta del Palau de la Musica in Valencia, and Prokofiev’s Ivan the Terrible with the Orquesta Filarmónica de Málaga.

Further performances included Il Re di Scozia in Ariodante at the Gran Teatre del Liceu in Barcelona, Don Profondo in Il viaggio a Reims with La Monnaie, Timur in Turandot at Opéra de Montréal, King Henry VIII in Anna Bolena in Torino, Selim in Il turco in Italia in Marseille, Mustafa in L’italiana in Algeri with Opéra du Rhin, Walter in Luisa Miller in Bordeaux, the tutor in Le Comte Ory in Toulouse, Oroveso in Norma and Colline in La bohème at the Teatro Colón, Don Giovanni at the Teatro Municipal de Santiago, Rossini’s Maometto Secondo in Strasbourg, Colline in La bohème, more performances of Ariodante with Les Musiciens du Louvre, Sarastro in Die Zauberflöte with Opéra de Lyon, Frere Laurent in Roméo et Juliette with L’Opéra de Montreal, and Escamillo in Carmen with the Asociacion Gayarre Amigos de la Opera in Pamplona. He has sung Sarastro in Die Zauberflöte and Seneca in Monteverdi’s L’incoronazione di Poppea at Aix-en-Provence in a production that he repeated in Vienna and Paris as well as Somnus in Semele at the Aspen Music Festival.

He made his Metropolitan Opera debut as Colline in La bohème after having been one of very few non-American singers ever invited to join the company’s prestigious Lindemann Young Artist Development program. He has since joined the company as Orlick in Mazeppa and toured Japan for its production of Don Giovanni. Other American engagements include Nourabad in Les pêcheurs de perles with Washington National Opera; Giorgio in I puritani with Seattle Opera; Escamillo in Carmen and Achilla in Giulio Cesare with San Francisco Opera; Sarastro in Die Zauberflöte with Atlanta Opera; Assur in Semiramide with Minnesota Opera; Leporello in Don Giovanni with Palm Beach Opera; Méphistophélès in Faust, Colline in La bohème, and Lodovico in Otello with Cincinnati Opera; and Il Re in Aida at the Aspen Music Festival.

He recorded Handel’s Ariodante with Marc Minkowski conducting Les Musiciens du Louvre (Deutsche Grammophon). He also recorded the role of Soliony in the world premiere of Trois Soeurs by Peter Eötvös (Deutsche Grammophon), having originally performed the role at Opéra de Lyon and the Chatelet. He also joined the Cleveland Orchestra conducted by Pierre Boulez for Berlioz’s Roméo et Juliette (also on Deutsche Grammophon) and the Atlanta Symphony Orchestra for Colline in La bohème conducted by Robert Spano (Telarc).

Atlanta’s Performing Arts Publication 34F

atlanta symphony orchestra chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist

D

uring the 2011–12 season, the Atlanta Symphony Orchestra Choruses will be featured in nine concert programs including Beethoven’s Ninth Symphony, Bach’s St. Matthew Passion, Mahler’s Symphony No. 2, Rachmaninov’s The Bells and Theater of a Concert performances of the John Adams opera A Flowering Tree.

Atlanta Symphony Orchestra Chorus

Acclaimed for the beauty, precision and expressive qualities of its singing, the ASO Chorus has been an important part of the Orchestra’s programming since its founding by Robert Shaw on Sept. 24, 1970. It is composed entirely of volunteers who meet weekly for rehearsals and perform with the Orchestra several times each season. The 200-voice Chorus and 60-voice Chamber Chorus are featured on most ASO recordings, having earned 14 Grammy Awards (nine for Best Choral Performance, four for Best Classical Recording and one for Best Opera Recording).

The Choruses made their Carnegie Hall debut in 1976 and have returned to perform there on several subsequent occasions, most recently in October 2010 with the ASO and Robert Spano for a performance of Janácˇek’s Glagolitic Mass.

The Atlanta Symphony Orchestra Chorus performed at the Kennedy Center for Presidentelect Jimmy Carter’s Inaugural Concert in 1977. In 1988, it accompanied the orchestra on its first European tour. It has appeared with the Orchestra for several televised concerts, including the 1996 Opening Ceremonies of the Olympic Games. Under the leadership of music directors Robert Shaw and Robert Spano, the Chorus has been involved in the creation and shaping of 11 world premiere commissioned choral works, eight of which have been recorded.

The Choruses have twice been a special guest at the Ravinia Festival in Chicago. They opened the festival in June 2003 with Robert Spano and the Atlanta Symphony Orchestra, with a critically acclaimed performance of John Adams’ El Niño, followed in 2006 by a Chamber Chorus visit for Golijov’s opera Ainadamar. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic at its home, the Berlin Philharmonie. In December 2003, the Chorus did three triumphant performances of Britten’s War Requiem. In May 2008, it performed three Berlioz Requiem concerts, and in December 2009, three Brahms Ein deutsches Requiem performances — all trips with Donald Runnicles, Atlanta Symphony Orchestra Principal Guest Conductor.

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program Soprano 1 JoAnn Alexander Kelly Eggers Amber Greer Kristen Gwaltney Erin Jones Arietha Lockhart * Patricia Nealon Blair Oakley Catherine Steen Rachel Stewart ** Elizabeth Stuk Brianne Turgeon Allegra Whitney Lori Beth Wiseman Kara Mia Wray Wanda Yang Temko Natalie York Soprano 2 June Abbott ** Sloan Atwood Pamela Barnette ** Barbara Brown Suzannah Carrington Claudia Corriere Martha Craft Ellen Dukes ** Mary Goodwin Abigail Halon Kathleen Kelly-George Natalie Lee Marie Little Eda Mathews * Rachel O’Dell Vickie Orme Lindsay Patten Chantae Pittman Linda Searles Sydney Smith-Rikard Paula Snelling Camilla Springfield * Tommie Storer Cheryl Thrash * Donna Weeks *

alto 1 Ana Baida Deborah Boland * Donna Carter-Wood * Laurie Cronin Patricia DinkinsMatthews Pamela Drummond Beth Freeman Pamela Griffin Beverly Hueter Shani Jefferson Janet Johnson * Virginia Little Staria Lovelady Allison Lowe Frances McDowell * Linda Morgan ** Dominique PetiteChabukswar Norma Raybon * Andrea Seeney Cheri Snyder Anne Stillwagon Diana Reed Strommen Sharon Vrieland * Nancy York alto 2 Nancy Adams Sally Rose Bates Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold * Sally Kann Nicole Khoury Nancy Llamazales ** Katherine Johnson MacKenzie Lynda Martin Brenda Pruitt * Kristen Reisig Andrea Schmidt Sharon Simons Virginia Thompson Sarah Ward Alexandra Willingham Kiki Wilson ** Diane Woodard *

* 20+ years of service

tenor 1 Jeffrey Baxter * Daniel Bentley Christian Bigliani David Blalock ** John Brandt * Daniel Cameron Clifford Edge * Steven Farrow ** Wayne Gammon Leif Hansen James Jarrell Thomas LaBarge Keith Langston Clinton Miller Christopher Patton Stephen Reed ‡ Timothy Swaim Carson Zajdel tenor 2 Randy Barker Curtis Bisges Justin Cornelius Charles Cottingham Phillip Crumbly Jeffrey Daniel Joseph Few * Hamilton Fong Earl Goodrich * John Goodson Keith Jeffords Steven Johnstone John Kenemer Nathan Osborne Michael Parker Marshall Peterson * Richard Prouty Brent Runnels Clifton Russell Jeremy Simmons Wesley Stoner Caleb Waters Robert Wilkinson

** 30+ years of service

bass 1 Dock Anderson Mark Blankenship Robert Bolyard Richard Brock * Russell Cason * Trey Clegg Steven Darst * Leroy Fetters David Forbes Jon Gunnemann * Jonathan Havel Nick Jones ‡ Adam Kissel Peter MacKenzie Jason Maynard Charles McClellan * John Newsome Mark Russell Kendric Smith ‡ John Stallings Ike Van Meter Edgie Wallace Edward Watkins ** ‡

bass 2 Shaun Amos Charles Boone Brian Brown Joseph Champion John Cooledge ‡ Joel Craft ** Paul Fletcher Andrew Gee Ben Howell Philip Jones Eric Litsey ** Sam Marley Evan Mauk Eckhart Richter * John Ruff John Smith Jonathan Smith Timothy Solomon * Benjamin Temko David Webster ** Keith Wyatt

‡

Charter member (1970)

Atlanta’s Performing Arts Publication 34H

norman mackenzie, Director of Choruses

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orman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the ASO he prepares the Choruses for all concerts Norman Mackenzie and recordings, conducts holiday concerts annually and works closely with ASO Music Director Robert Spano and commissioned-composers in the creation and premiere of new works. His leadership was rewarded in 2003 with Grammy awards for Best Classical Album and Best Choral Performance for the ASO and Chorus recording of A Sea Symphony by Vaughan Williams, in 2005 with another Best Choral Performance Grammy for the Berlioz Requiem and in 2007 for Best Opera Recording with Golijov’s Ainadamar. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.

Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Shaw (1985-1999), he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. In 1996 Mr. Mackenzie made his New York conducting debut in a concert sponsored by Carnegie Hall, leading the Robert Shaw Chamber Singers in a critically acclaimed performance at the Cathedral of St. John the Divine, substituting for Shaw on short notice. In 1999 he was chosen by Shaw to prepare the Carnegie Hall Festival Chorus for Charles Dutoit, and he was choral clinician for the first three annual workshops after Shaw’s passing. In 2011 he partnered with Robert Spano for the workshop featuring the Berlioz Requiem.

A native of suburban Philadelphia, Mr. Mackenzie made his debut as a pianist with the Philadelphia Orchestra at age 12, and as an organist at age 20. He made his New York recital debut at the Fifth Avenue Presbyterian Church. He holds degrees from the University of the Arts in Philadelphia and Westminster Choir College. He has prepared choruses for performance under Robert Spano, Donald Runnicles, John Adams, Roberto Abbado, Charles Dutoit, Bernard Labadie, Nicholas McGegan, John Nelson, Alan Gilbert, Yoel Levi, Robert King, James Conlon and Sir Neville Marriner. Mackenzie’s acclaimed Telarc recording of a cappella sacred music (featuring the Vaughan Williams Mass in G-Minor) represents the ASO Chamber Chorus’ first recording apart from the orchestra. Mackenzie also prepared the ASO Chorus for its acclaimed 2003 debut and successive 2008 and 2009 performances in Berlin with the Berlin Philharmonic (in Britten’s War Requiem, Berlioz’s Grande Messe des Morts and Brahms’ Ein deutsches Requiem, respectively), conducted by ASO Principal Guest Conductor Donald Runnicles.

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support 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 the fiscal year 2011: June 1, 2010 through May 31, 2011.

(Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+

Mrs. Thalia N. Carlos** Delta Air Lines

The Mabel Dorn Reeder Foundation The Zeist Foundation, Inc.

$250,000+

Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers

The Coca-Cola Company Mrs. William A. Schwartz

$100,000+

GE Asset Management Abraham J. & Phyllis Katz Foundation Mr. & Mrs. Charles H. McTier

Turner Broadcasting System The Vasser Woolley Foundation, Inc. Woodruff Arts Center

$75,000+

Fulton County Arts Council

National Endowment for the Arts

UPS

$50,000+

Anonymous AT&T Real Yellow Pages Marcia & John Donnell GE Energy The Graves Foundation InterContinental Hotels Group

The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall Robert Spano Susan & Thomas Wardell

SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation – Walter H. and Marjory M. Rich Memorial Fund

$35,000+

Massey Charitable Trust Porsche Cars North America

Publix Super Markets Charities Patty & Doug Reid

Sutherland Asbill & Brennan LLP

Lucy R. & Gary Lee, Jr. MetLife Foundation The Sara Giles Moore Foundation Nalley Automotive Group Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Mr. & Mrs. Solon P. Patterson* Printpack Inc. & The Gay & Erskine Love Foundation

Ryder System, Inc. Mrs. Charles A. Smithgall, Jr. Mr. & Mrs. K. Morgan Varner, III Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams

$25,000+

Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Georgia Council for the Arts Georgia Natural Gas Ann & Gordon Getty Foundation John H. & Wilhelmina D. Harland Charitable Foundation, Inc.

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

Atlanta’s Performing Arts Publication 35

$17,500+

Anonymous (2) Jim and Adele Abrahamson The Arnold Foundation, Inc.

Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. City of Atlanta Office of Cultural Affairs

Gary & Nancy Fayard Mr. & Mrs. Paul R. Garcia Jane & Clay Jackson Karole & John Lloyd

Mr. Kenneth & Dr. Carolyn Meltzer Loren & Gail Starr Alison M. & Joseph M. Thompson Camille Yow

Mr. Donald F. Fox Mr. & Mrs. Lawrence L. Gellerstedt III Charles & Mary Ginden Ann A. & Ben F. Johnson III* Sarah & Jim Kennedy Steve & Eydie Koonin Carrie & Brian Kurlander

Michael & Cindi Lang Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Jeff Mango Verizon Wireless Mr. & Mrs. William T. Plybon*

Dr. Stanley & Shannon Romanstein Lynn Schinazi Irene & Howard Stein Mary Rose Taylor Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.

The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Dr. John W. Cooledge Trisha & Doug Craft Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould The Robert Hall Gunn, Jr. Fund

Joe Guthridge & David Ritter* Jan & Tom Hough Mr. Tad Hutcheson Roya & Bahman Irvani Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough Mr. & Mrs. John M. Law The Livingston Foundation, Inc. Mike’s Hard Lemonade Morgens West Foundation Lynn & Galen Oelkers Primerica

Margaret & Bob Reiser Bill & Rachel Schultz* Joyce & Henry Schwob Mr. John A. Sibley III John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Mike & Liz Troy Turner Foundation, Inc. Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner

Breman Foundation Jeff & Ann Cramer*

Mr. & Mrs. Jesse Hill, Jr. C. Tycho & Marie Howle Foundation

JBS Foundation The Hellen Plummer Charitable Foundation, Inc.

Dr. & Mrs. Carl D. Fackler David L. Forbes James F. Fraser The Fraser-Parker Foundation, Inc. Betty Sands Fuller Sally & Carl Gable Dick & Anne Goodsell The Jamieson Family Philip I. Kent James H. Landon George H. Lanier

The Sartain Lanier Family Foundation, Inc. Pat & Nolan Leake Links Inc., Azalea City Chapter Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee* Dr. & Mrs. Mark P. Pentecost, Jr.

Margaret H. Petersen John & Kyle Rogers Hamilton & Mason Smith* Sandy & Paul Smith Peter James Stelling Mrs. C. Preston Stephens Triska Drake & G. Kimbrough Taylor, Jr. Charlie Wade & M.J. Conboy Russell Williamson & Shawn Pagliarini

Ellen & Howard Feinsand Four Seasons Hotel Atlanta Herbert & Marian Haley Foundation Steven & Caroline Harless

Mr. & Mrs. John E. Hellriegel Mr. & Mrs. Daniel H. Hollums JoAnn Hall Hunsinger

Paul & Rosthema Kastin Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester*

$15,000+

Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff Mary Helen & Jim Dalton Mr. & Mrs. David Edmiston In memory of Polly Ellis

by Admiral James O. Ellis, Jr. $10,000+ Anonymous The Aaron Copland Fund for Music, Inc. AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Kelley O. & Neil H. Berman Mr. David Boatwright Mrs. Suzanne Dansby Bollman & Mr. Brooks Bollman The Boston Consulting Group $7,500+ Atlanta Federation of Musicians Edith H. & James E. Bostic, Jr. Family Foundation

$5,000+ Anonymous (3) John** & Helen Aderhold* Aadu & Kristi Allpere* Ms. Julie M. Altenbach The ASCAP Foundation Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell Richard A. & Lynne N. Dorfman Christopher & Sonnet Edmonds

$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock* Jere & Patsy Drummond

36 EncoreAtlanta.com

support

$3,500+ continued Deborah & William Liss Dr. & Mrs. James T. Lowman Ruth & Paul Marston Mr. & Mrs. Harmon B. Miller III

Walter W. Mitchell Leslie & Skip Petter Mr. & Mrs. Rezin Pidgeon, Jr. Mr. & Mrs. Joel F. Reeves S.A. Robinson

Nancy & Henry Shuford In memory of Willard Shull Elliott Sopkin Ms. Kimberly Tribble & Mr. Mark S. Lange

Burton Trimble Drs. Julius & Nanette Wenger H. & T. Yamashita*

Gregory & Debra Durden Ms. Diane Durgin Cree & Frazer Durrett The Robert S. Elster Foundation George T. & Alecia H. Ethridge John & Michelle Fuller Mr. & Mrs. Edward T. Garland Dr. Mary G. George & Mr. Kenneth Molinelli Ben & Lynda Greer Dr. & Mrs. Alexander Gross Paul B., Paul H., & M. Harrison Hackett Sally W. Hawkins Darlene K. Henson Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Dorothy Jackson Ms. Cynthia Jeness Mr. & Mrs. Robert A. Johnson Mr. W. F. & Dr. Janice Johnston Dr. Maurice J. Jurkiewicz**

Hazel & Herb Karp Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball* Mr. & Mrs. Daniel J. King Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. J. David Lifsey Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie The Devereaux F. & Dorothy McClatchey Foundation, Inc. Mr. & Mrs. Albert S. McGhee Birgit & David McQueen Gregory & Judy Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Mr. & Mrs. Robert Olive Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Dr. & Mrs. W. Harrison Reeves, Sr.

Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue Dr. Paul J. Seguin Elizabeth S. Sharp Angela & Morton Sherzer Kay R. Shirley Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Lynne & Steven Steindel* John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie York-Trujillo & Raul F. Trujillo Mr. William C. Voss Dr. & Mrs. James O. Wells, Jr. David & Martha West Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

Elizabeth & John Donnelly Xavier Duralde & Mary Barrett Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay Mary Frances Early Ree & Ralph Edwards George T. & Alecia H. Ethridge Bill & Susan Gibson Carol & Henry Grady Mr. Lewis H. Hamner III Thomas High In memory of Carolyn B. Hochman Stephanie & Henry Howell Mary B. & Wayne James Aaron & Joyce Johnson Veronique & Baxter Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer

Thomas C. Lawson Mr. & Mrs. Craig P. MacKenzie Kay & John Marshall Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Virginia K. McTague Angela & Jimmy Mitchell Mrs. Gene Morse** Barbara & Sanford Orkin Dr. & Mrs. Keith D. Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Elise T. Phillips Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology, Inc.

Ms. Susan Robinson & Ms. Mary Roemer The Gary Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral Alida & Stuart Silverman Sydney Simons Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Kay & Alex Summers Elvira Tate Mr. & Mrs. William M. Tipping Drs. Jonne & Paul Walter Alan & Marcia Watt Mr. & Mrs. William White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Charlie & Dorothy Yates Family Fund Herbert & Grace Zwerner

$2,250+ Anonymous (3) Mrs. Kay Adams* & Mr. Ralph Paulk Mr. & Mrs. Phillip E. Alvelda* Paul & Marian Anderson Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Ms. Marnite B. Calder Mr. & Mrs. Beauchamp C. Carr Chip & Darlene Conrad Mr. & Mrs. Thomas G. Cousins Mr. Robert Cronin & Ms. Christina Smith Sally & Larry Davis Elizabeth & John Donnelly

$1,750+ Anonymous Mr. & Mrs. Stephen D. Ambo Dr. David & Julie Bakken Mr. & Mrs. Ron Bell Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Ralph & Rita Connell Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Brant Davis* Mrs. H. Frances Davis Mr. & Mrs. Peter T. de Kok Drs. Carlos Del Rio & Jeannette Guarner

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

Atlanta’s Performing Arts Publication 37

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Appassionato

William Randolph Hearst Endowed Fund

Meghan Magruder, 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.

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.

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 Fred & Bettye Betts Mr.* & Mrs.* Karl A. Bevins Mr.* & Mrs. Sol Blaine Frances Cheney Boggs* W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. 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. Miriam & John A. Conant* Dr. John W. Cooledge Mr.* & Mrs.* William R. Cummickel John R. Donnell Dixon W. Driggs* Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Elizabeth Etoll

John F. Evans Doyle Faler* Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Kay Gardner* Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Mrs. Irma G. Goldwasser* Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G. & Joseph* F. Haas James & Virginia Hale Miss Alice Ann Hamilton* John & Martha Head Ms. Jeannie Hearn Mr. Walter T. Heist* Jill* & Jennings Hertz Albert L. Hibbard, Jr.* Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.* & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James Calvert Johnson deForest F. Jurkiewicz* Herb & Hazel Karp Anne Morgan & Jim Kelley

38 EncoreAtlanta.com

Bob Kinsey James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier 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 Ann Bernard Martin* Mr. Michael McDowell* Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis Vera A. Milner* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram The Reiman Foundation Carl J. Reith* Edith Goodman Rhodes* Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr. & Mrs. Martin H. Sauser

Mr. Paul S. Scharff & Ms. Polly G. Fraser Edward G. Scruggs* Dr. & Mrs. George P. Sessions W. Griggs Shaefer, Jr.* Mr.* & Mrs.* Robert Shaw Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Margo Sommers* Elliott Sopkin Elizabeth Morgan Spiegel Daniel D. Stanley* Peter James Stelling Barbara Dunbar Stewart* C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Adair & Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Elin M. Winn* Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12) *Deceased

corporate & government support

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

Holiday Title Sponsor Muhtar Kent President and Chief Operating Officer

Richard Anderson Chief Executive Officer

Darryl Harmon Southeast Regional President

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

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chief Executive Officer

Jerry Karr 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

Atlanta Symphony Orchestra programs are 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.

Atlanta’s Performing Arts Publication 39

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2011-2012 board Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Ruth & Paul Marston Decorator’s Show House & Gardens Advisors Elba McCue Secretary

Sabine Sugarman Treasurer Camille Kesler VP Administration Dawn Mullican VP Public Relations Paula Ercolini VP Youth Education Ruth & Paul Marston VP Membership Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians Judy Schmidt Nominating Committee Chair Amy Mussara, Chair, Decorators’ Show House & Gardens Natalie Polk & Hillary Inglis Co-Chairs, Decorators’ Show House & Gardens

Janis Eckert & Gail Spurlock Chairs, ASA Fall Meeting Poppy Tanner Chair, ASA Night at the ASO Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon Pat King ASA Notes Newsletter Editor Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk Helen Marie Rutter Bravo Chair Elba McCue Concerto Chair Joan Abernathy Encore Chair Liz Cohn & Betty Jeter Ensemble Chairs Karen Bunn Intermezzo Chair

BRAVO! ON THE “BEACH” Members of Bravo!, the young professional volunteer group of the Orchestra, took in former Beach Boy Brian Wilson’s August show at Delta Classic Chastain. Shannon Smith, Helen Marie Rutter (Bravo! Unit Chair), and Wadette Bradford (left to right) soak up the “Good Vibrations.”

40 EncoreAtlanta.com

Patron Circle of Stars By investing $15,000 or more in the Woodruff Arts Center and its divisions – the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences – these outstanding Annual Corporate Campaign donors helped us exceed our $8.8 million fundraising goal for 2010–11. Thank you!

Chairman’s Council ★★★★★★★★★★★★★ $500,000+

★★★★★★★ $100,000+

AirTran Airways Bank of America Delta Air Lines, Inc. Kaiser Permanente King & Spalding LLP ★★★★★★★★★★★ $450,000+ KPMG LLP, Partners & Employees Cox Interests Atlanta Journal-Constitution, The Marcus Foundation, Inc. WSB-TV, Cox Radio Group The Sara Giles Moore Atlanta, James M. Cox Foundation Foundation Novelis, Inc. Hon. Anne Cox Chambers Regions Financial Corporation Wal-Mart Stores, Inc. ★★★★★★★★★ $200,000+ The David, Helen & Marian Woodward Fund AT&T The Community Foundation for ★★★★★★ Greater Atlanta, Inc. $75,000+ Deloitte LLP, its Partners & Employees Holder Construction Company Ernst & Young, Partners & The Sartain Lanier Family Employees Foundation, Inc. The Home Depot Foundation Patty & Doug Reid Family Foundation Jones Day Foundation & Employees ★★★★★ The Klaus Family Foundation $50,000+ PricewaterhouseCoopers Partners AGL Resources Inc. & Employees Mabel Dorn Reeder Foundation Lisa & Joe Bankoff Cisco Turner Broadcasting System, Inc. Coca-Cola Enterprises Ann & Jay Davis ★★★★★★★★ Doosan Infracore International $150,000+ Frank Jackson Sandy Springs Alston & Bird LLP Toyota and Scion Equifax Inc. & Employees GMT Capital Corporation The Rich Foundation, Inc. Beth & Tommy Holder SunTrust Bank Employees & ING Trusteed Foundations Mr. & Mrs. M. Douglas Ivester Harriet McDaniel Kilpatrick Townsend & Marshall Trust Stockton LLP Walter H. & Marjory M. Newell Rubbermaid Rich Memorial Fund Primerica Thomas Guy Woolford Darrick Stephens Charitable Trust Sutherland Asbill & Greene-Sawtell Foundation Brennan LLP Wells Fargo The Zeist Foundation, Inc. The Coca-Cola Company Georgia Power Foundation, Inc. UPS

42 EncoreAtlanta.COM

★★★★ $35,000+ Accenture & Accenture Employees Katharine & Russell Bellman Foundation Mr. & Mrs. Bradley Currey, Jr. GE Energy The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation SCANA Energy Siemens Industry, Inc. Harris A. Smith Troutman Sanders LLP Frances Wood Wilson Foundation, Inc. ★★★ $25,000+ Air Serv Corporation Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property Atlanta Foundation Julie & Jim Balloun BB&T Corporation BDO USA, LLP Laura & Stan Blackburn Brysan Utility Contractors, Inc. Chartis CIGNA Foundation Cousins Properties Incorporated Crawford & Company Drummond Company, Inc. Eisner Family Foundation First Data Corporation Ford & Harrison LLP Genuine Parts Company Georgia-Pacific Jack & Anne Glenn Foundation, Inc. IBM Corporation Infor Global Solutions Sarah & Jim Kennedy Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. LexisNexis Risk Solutions

The Blanche Lipscomb Foundation Livingston Foundation, Inc. Macy’s Foundation McKinsey & Company, Inc. Katherine John Murphy Foundation Piedmont Charitable Foundation, Inc. J. Marshall & Lucile G. Powell Charitable Trust Mary & Craig Ramsey Rock-Tenn Company Richard D. Shirk Southwire Company Spectrum Brands Towers Watson Waffle House, Inc. Gertrude & William C. Wardlaw Fund Waste Management Charitable Foundation Yancey Bros. Co. ★★ $15,000+ 22squared, inc.

A. E. M. Family Foundation ACE Charitable Foundation Acuity Brands, Inc. AGCO Corporation Alix Partners Alvarez & Marsal Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch George M. Brown Trust Fund of Atlanta, Georgia Bryan Cave LLP Buck Consultants

The Capital Group Companies Charitable Foundation Talela & Beauchamp Carr Roxanne & Jeffrey Cashdan CB Richard Ellis Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. Chick-fil-A, Inc. CornerCap Investment Counsel Ann & Jeff Cramer DLA Piper Duke Realty Corporation Egon Zehnder International Exide Technologies Feinberg Charitable Trust Mr. & Mrs. Frank L. Fernandez Fifth Third Bank Robert Fornaro John & Mary Franklin Foundation, Inc. Gas South, LLC Georgia Natural Gas Dolores & Javier C. Goizueta Grant Thornton LLP Harland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC Jamestown Jenny & Phil Jacobs Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones David & Jennifer Kahn Family Foundation Mr. & Mrs. Muhtar Kent Kurt Kuehn & Cheryl Davis Lanier Parking Solutions The Latham Foundation Barbara W. & Bertram L. Levy Fund

Karole & John Lloyd Lockheed Martin Aeronautics Company Marsh-Mercer McKenna Long & Aldridge LLP Mohawk Industries, Inc. Mueller Water Products, Inc. Noonan Family Foundation Gail & Bob O’Leary Vicki R. Palmer The Sally & Peter Parsonson Foundation, Inc. Paul, Hastings, Janofsky & Walker LLP Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe J. Mack Robinson Interests Frances & Jesse A. Sasser, Jr. Emily Winship Scott Foundation Selig Enterprises, Inc./ The Selig Foundation Skanska USA Building Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. Sysco Atlanta TriMont Real Estate Advisors, Inc. United Distributors, Inc. WATL/WXIA/Gannett Foundation John F. Wieland Mr. & Mrs. James B. Williams Sue & Neil Williams Womble Carlyle Sandridge & Rice, PLLC Carla & Leonard Wood The Xerox Foundation Mr. & Mrs. Robert A. Yellowlees

*As of May 31, 2011

Atlanta’s Performing Arts Publication 43

Continued from page 20

“Being a conductor myself, I do have some knowledge of the ‘empty hype’ that goes with this profession,” he said in an interview several years ago with Alex Ross of The New Yorker. “Conductors should be what they used to be — spokespeople for music in their hometown. But [as a composer] only I can write my own music.

There’s no one else who can do it for me.”

Having studied horn, composing and conducting at the Sibelius Academy in Helsinki during the 1970s, Salonen initially considered himself to be a conducting composer, until 1983, when he pinchhit on short notice for a performance of Mahler’s Third Symphony with the Philharmonia Orchestra in London and became a composing conductor virtually overnight. His orchestral works are regularly performed and broadcast around the world.

“ Conductors should be spokespeople for music in their hometown.”

44 EncoreAtlanta.COM

The Salonen-Spano pairing has prompted a palpable buzz in Atlanta music circles.

After all, Spano and the ASO have performed nearly 100 contemporary pieces (works composed since 1950), since 2001, including seven ASO-commissioned world premieres, two additional world premieres, and two U.S. premieres as of the 2011-12 season. The Orchestra has received a total of eight Grammy awards for five recordings of contemporary works and, in 2007, was awarded ASCAP’s most prestigious honor, the John S. Edwards Award for Strongest Commitment to New American Music.

Next up, “Nyx.” Tickets and more information on the performance and the complete 2011-12 season are available at aso.org, at the Woodruff Arts Center box office or by calling 404.733.5000.

community corner

In the Community, Making a Difference Meet Sheehan Hanrahan, a member of the Atlanta Symphony Youth Orchestra and a student at Alpharetta High School. A Youth Orchestra student council leader and sole student member of the Atlanta Symphony Orchestra’s Education Committee, Sheehan also develops community service projects for his school orchestra and now is developing a Youth Orchestra community service plan.

Share a little about the community service plan you’re developing for the Youth Orchestra.

I envision every member participating in at least one community service project this season, which is a challenge because we do a lot more than practice and perform music.

We’re involved in sports, school clubs, organizations and many other activities, but I am confident we can do it — from volunteering at instrument petting zoos and a Youth Orchestra fundraiser to working in the community. Student musicians are the Youth Orchestra’s greatest resource, and following the lead of the Atlanta Symphony, we have the potential to take our music and talents throughout Atlanta and Georgia. There are many of us and taking part in one service project will have a lot of impact in the community.

What started you on the path to community service?

I started early, joining clubs and activities in my elementary, middle and high schools, and a community organization with my family. In middle school, I was a member of the chamber music program, Beta Club, Junior Honor Society and a member of the Atlanta Indian Catholic Association.

All these organizations arranged for community opportunities which I took part in; all of them exposed me to community service and giving.

Tell us about your work with the ASYO Student Council.

I’ve been a member for two years. The student council is comprised of members from each [instrumental] section, and we meet throughout the year to discuss the non-music and social aspect of being in the orchestra and bring up any questions or concerns. We also plan events throughout the year that give students an opportunity to socialize and get to know one another.

In the past we have held secret Santa gift exchanges and kickball games and will add community service as a priority.

46 EncoreAtlanta.COM

Our Professional Ensemble Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner

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community corner continued

What are the challenges you face as the “student voice” on the Orchestra’s Education Committee?

One of the biggest challenges is finding ways to make music more interesting and to incorporate it into students’ lives in the community and in their schools. Many students who would have been exposed to music at an early age are now missing out due to budget cuts, and this is devastating.

We are all aware of the numerous studies that repeatedly show the positive effects of music on children, yet many families are not inclined towards music or are unable to afford private music tuition. My peers in the Youth Orchestra and I are a testament to the positive impact that music can have on students. I started playing the violin in fourth grade, and since then I have realized how much it has benefitted and helped me in various aspects of my life. There are many ideas as to how to solve this problem and efforts are underway to improve the situation.

How does the ASO impact your life and lives in your high school and community?

It’s my favorite thing about this city and has provided me with so many wonderful experiences and opportunities, both musical and non-musical. To me, there is nothing that can compare to a night at the symphony.

Watching our outstanding orchestra perform music with unsurpassed skill and musicality offers me something that no movie or theater can. My visits to Atlanta Symphony Hall are always the highlight of my week and always create fantastic memories.

The Orchestra also allows us to grow and develop by providing us mentoring from by its musicians. Participating in master classes is a privilege that very few students

48 EncoreAtlanta.COM

elsewhere receive. Musicians volunteer their time to travel to schools throughout the city to work with students and teachers, and perform at Verizon Wireless Amphitheatre at Encore Park and Chastain Park Amphitheater, Family concerts and Symphony Street concerts. These provide wonderful music experiences for the general public and serve to make the Symphony an ever bigger part of the Atlanta community.

On a more personal level, our parent orchestra has helped me develop my leadership, social, academic and organizational skills to a great extent. These skills have helped me start a chamber music group in my school that performs throughout the community, and represent the Atlanta Symphony Youth Orchestra at local music camps. I am grateful.

Edited and condensed by Karl Schnittke

“ The Orchestra also plays a large role in the community.”

Sheehan Hanrahan

Lovett

At Lovett, we’ve set the stage— and the standard—for creative excellence.

Open House Sunday, November 13, 2011 K–Grade 5, 1:00 pm Grades 6–12, 3:30 pm We offer more than 50 classes in the visual and performing arts, as well as private lessons, all taught by professional artists.

Come to our Open House and explore the arts at Lovett— just one component of our whole education for the whole child.

The Lovett School practices a nondiscriminatory admission policy.

Financial aid is available.

Learn more at www.lovett.org The Lovett School Encore Atl ad 4.625” x 3.625” (1/2 page horiz.)

FINAL

Schwartz Center for Performing Arts

Hilary Hahn, violin with Valentina Lisitsa, piano Thursday, October 27, 8 p.m.

TICKETS ON SALE NOW! arts.emory.edu 404.727.5050

Photo by Gary Heery

© Opus 3 Artists

Peter Miller

Schola Cantorum de Venezuela Friday, November 11, 8 p.m.

Rachmaninov TM

Piano ConCerto no. 3 Symphonic DanceS

Garrick Ohlsson, piano Robert Spano Atlanta Symphony Orchestra

three for three

The Atlanta Symphony Orchestra Rachs ’n’ rolls into November with the release of an all-Rachmaninov recording on its own ASO Media label.

Music Director Robert

By Karl Schnittke Spano leads the Orchestra in the composer’s Symphonic Dances and Garrick Ohlsson, a frequent guest at Atlanta Symphony Hall, performs the mighty Third Concerto, a touchstone of the piano repertoire.

The album is the third release this year

by ASO Media. The Orchestra created the label in late 2010, and “It was an exciting and vital step forward for us,” recalled John Sparrow, who guides the label as vice president of orchestra initiatives and general manager. “We were thrilled to build on our longstanding tradition of excellence with our partners at Telarc, which had brought us national and international recognition.”

The Orchestra-Telarc partnership spanned four decades and produced 27 Grammy awards, and ended only when Concord Records purchased Telarc. Telarc producer 50 EncoreAtlanta.com

Elaine Martone and recording engineer Michael Bishop, both of whom received Grammys for their work with the Orchestra, are part of the ASO Media team as well, a fact applauded by Spano.

“We have a great recording history together,” he said, “and working with Elaine and Michael provided the opportunity to perpetuate this legacy and ensure our recording history remains a vital and integral part of our future.”

ASO Media’s first recording came out Feb. 22, 2011. Music Director Robert Spano conducted the Orchestra in works by two members of his Atlanta School of Composers: On A Wire, a concerto by Pulitzer Prize-winner Jennifer Higdon, an Atlanta native, with the chamber ensemble eighth blackbird; and Michael Gandolfi’s choral work, QED: Engaging Richard Feynman (“The most exciting choral work I’ve heard in a while” — America Record Guide), with the Orchestra Chorus.

On June 28, ASO Media released the world-premiere recording of Atlanta School member Christopher Theofanidis’s Symphony No. 1 (“fresh and provocative” wrote the San Francisco Chronicle), and Peter Lieberson’s Neruda Songs, inspired by the poetry of Pablo Neruda, sung by mezzo-soprano Kelley O’Connor.

A few years back, critic Susan Elliott remarked that “no other orchestra in this country has commissioned and performed as much new work in a similar time frame as have Robert Spano and his players.” With the launch of ASO Media and three records in less than a year, it’s safe to say the ASO is still on track.

ASO Media recordings are available at the Symphony Store.

calendar

October 27/29 Thu/Sat: 8pm Delta Classical Esa-PEkka salOnEn: Nyx scriabin: Poem of Ecstasy rachmaninOv: The Bells Robert Spano, conductor Tatiana Monogarova, soprano Sergey Romanovsky, tenor Denis Sedov, bass Atlanta Symphony Orchestra Chorus

november 17/19 Thu/Sat: 8pm Delta Classical rugglEs: Angels sEEgEr: Andante for strings mOzart: Flute concerto no. 1 sibElius: symphony no. 2 Ilan Volkov, conductor Christina Smith, flute

October 30 Sun: 1:30 & 3:30pm Family a stOrybOOk hallOwEEn Jere Flint, conductor Lee Harper Dancers Wendy Bennett, vocalist

JamEs bEckEl: Celebrations liaDOv: From the Apocalypse gabriEla lEna Frank: La Llorona

november 10/12/13 Thu/Sat: 8pm/Sun: 3pmDelta Classical

brittEn: The Building of the House Overture brahms: Double concerto OlivEr knussEn: symphony in One movement brittEn: Young Person’s Guide to the Orchestra Oliver Knussen, conductor David Coucheron, violin Christopher Rex, cello

november 20 Sun: 3pm

Overture

stravinsky: The Firebird Jere Flint, conductor Jennifer Stumm, viola Atlanta Symphony Youth Orchestra november 25/26 Fri/Sat: 8pm

SuperPOPS!

symPhOnic sPEctacular – See the Music!

Michael Krajewski, conductor

Dazzling imagery on giant screens accompany the world’s best loved music in a breathtaking SuperPOPS! first!

aso.org | 404.733.5000 woodruff arts center box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:

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staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Aysha H. Siddique Manager of Board & Community Relations Brien Faucett Administrative Assistant to the President’s Office Evans Mirageas Director of Artistic Planning

Education & Community Engagement (cont.)

Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate

DEVELOPMENT Sandy Smith Vice President for Development Rebecca Abernathy Development Services Coordinator Zachary Brown Director of Volunteer Services Corey Cowart Director of ADMINISTRATION Corporate Relations FINANCE & John Sparrow ADMINISTRATION Melissa Donalson Vice President Development Coordinator Donald F. Fox for Orchestra Initiatives Executive Vice President Janina Edwards & General Manager for Business Operations Grants Consultant Mala Sharma & Chief Financial Officer Ashley Krausen Assistant to the Shannon McCown Special Events Coordinator Vice President Assistant to the Jessica Langlois for Orchestra Initiatives Executive Vice President Director of Leadership Gifts & General Manager for Business Operations & Planned Giving Julianne Fish & Chief Financial Officer Sarah Levin Orchestra Manager Susan Ambo Volunteer Project Manager Nancy Crowder Vice President of Finance Stephanie Malhotra Operations/Rental Kim Hielsberg Director of Development Events Coordinator Director of Financial & Education Services Kelly O’Donnell Planning & Analysis Toni Paz Artist Assistant April Satterfield Director of Individual Giving Carol Wyatt Senior Accountant Barbara Saunders Executive Assistant Peter Dickson Director of to the Music Director Staff Accountant Foundation Relations & Principal Guest Michael Richardson Meredith Schnepp Conductor Venues Analyst Prospect Research Officer Jeffrey Baxter Stephen Jones Tammie Taylor Choral Administrator Symphony Store Manager Assistant to the Ken Meltzer ASO Presents VP for Development ASO Insider Clay Schell Andrea Welna & Program Annotator Vice President, Programming Major Gifts Office Russell Williamson Sarah Zabinski Orchestra Personnel Manager Trevor Ralph General Manager and Senior Individual Giving Manager Susanne Watts Director of Operations Assistant Orchestra Holly Clausen Personnel Manager Director of Marketing Paul Barrett Keri Musgraves Senior Production Promotions Manager Stage Manager Lisa Eng Richard Carvlin Graphic Artist Stage Manager Lela Huff Chastain Park Amphitheater Assistant Stage Manager Tanner Smith Program Director Education & Community Engagement Verizon Wireless Mark B. Kent Amphitheatre at Senior Director of Education Encore Park & Community Engagement Katie Daniel Melanie Darby VIP Sales Manager Director of Education Jenny Pollock Programming Operations Manager Ahmad Mayes Rebecca Simmons Community Programs Box Office Manager Coordinator

54 EncoreAtlanta.com

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Symphony Pops Alesia Banks Director of Customer Service & Season Tickets Ted Caldwell Group & Corporate Sales Assistant Meko Hector Marketing Production Manager Jennifer Jefferson Director of e-Business & Interactive Media Melanie Kite Subscription Office Manager Shelby Moody Group & Corporate Sales Manager Seth Newcom Database Administrator Kimberly Nogi Publicist Robert Phipps Publications Director Melissa A. E. Sanders Senior Director, Communications Christine Saunders Group & Corporate Sales Associate Karl Schnittke Publications Editor Robin Smith Subscription & Education Sales Rachel Trignano Manager of Broad Based Giving Russell Wheeler Director of Group & Corporate Sales Christina Wood Director of Marketing

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Atlanta’s Performing Arts Publication

More than a program, it’s your ticket to the arts.

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$10 Off

any purchase

of $20 or more!

Dine in only. Not valid with any other promotion or discount. Limit 1 coupon per table per visit.

Expires: 12/18/11. Valid at Gordon Biersch Brewery Restaurant Atlanta locations only.

Bring in this coupon and receive:

general info 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.

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.

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.

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.

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

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ticket info 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. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two

Offer ex

pires 10

/31/11.

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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gallery

symphonic summer 1 SPANO AT ASPEN Robert Spano, the music director-designate of the Aspen Music Festival, led Rachmaninov’s 2nd Piano Concerto, with Vladimir Feltsman at the keyboard.

2 INTO THE WOODS WE GO! The Orchestra’s student musicians play a vital role in the Alliance Theatre’s opening production of Stephen Sondheim’s Into The Woods.

3 BRAVO, BRAVES! Members of the Youth Orchestra, under Jere Flint, performed the National Anthem at the Atlanta Braves’ inaugural Music Appreciation Night.

4 VWA WOW! The Orchestra’s fourth summer at Verizon Wireless Amphitheatre hit all the right notes, including a concert with Cirque de la Symphonie.

1

2

Erik Dixon

3

60 EncoreAtlanta.com

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