Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
welcome to the new season!
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September/October 2011 44
23 This week’s concert and program notes
Esa-Pekka Salonen and Robert Spano are of one mind on a conductor’s role.
44 Community Corner: Meet Sheehan Hanrahan
In the community, making a difference.
48 ASO Media: Three for Three
Garrick Ohlsson performs Rachmaninov’s Piano Concerto No. 3 on new CD.
departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 16 Musicians 33 Contributors 50 Calendar 52 Administration 54 General Info 56 Ticket Info 58 Gallery ASO
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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
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 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 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. John 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
Robert Spano music Director
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).
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.
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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Music Director The Robert Reid Topping Chair *
Principal Guest Conductor The Neil and Sue Williams Chair *
Principal Pops Conductor
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
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
Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*
Director of Choruses The Frannie and Bill Graves Chair
Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Paul Brittan Carl David Hall
Colin Williams Principal Stephen Wilson Associate Principal George Curran
Elisabeth RemyJohnson Principal The Delta Air Lines Chair
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
Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar
George Curran TUBA
Juan de Gomar
Michael Moore Principal
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
Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle
Thomas Hooten Principal The Madeline and Howell Adams Chair* The Mabel Dorn Reeder Honorary Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall
The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY
Rebecca Beavers Principal 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 17
“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.”
“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 20 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 Friday, September 22 and 23, 2011, at 8 p.m. and Sunday, September 25, 2011, at 3 p.m.
Robert Spano, Conductor Christine Brewer, soprano Nancy Maultsby, mezzo-soprano Vinson Cole, tenor Nathan Berg, baritone Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses John Stafford Smith (1750-1836) (arr. Walter Damrosch) The Star-Spangled Banner Richard Wagner (1813-1883) Excerpts from Der Ring des Nibelungen (The Ring of the Nibelung) (1876)
“The Ride of the Valkyries” from Die Walküre (The Valkyrie) (1870)
“Siegfried’s Death and Funeral March” from Götterdämmerung (Twilight of the Gods) (1876)
“Immolation Scene” from Götterdämmerung Christine Brewer, soprano
INTERMISSION Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Opus 125, “Choral” (1824) (retuschen Gustav Mahler) I. Allegro ma non troppo, un poco maestoso
II. Molto vivace; Presto; Molto vivace III. Adagio molto e cantabile IV. Presto Christine Brewer, soprano
Nancy Maultsby, mezzo-soprano Vinson Cole, tenor Nathan Berg, baritone Atlanta Symphony Orchestra Chorus English Surtitles by Ken Meltzer “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 23
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.
program Notes on the Program By Ken Meltzer Excerpts from Der Ring des Nibelungen (The Ring of the Nibelung) (1876) Richard Wagner was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of the complete Der Ring des Nibelungen took place in Bayreuth, Germany, August 13 to 17, 1876, with Hans Richter conducting.
ichard Wagner’s creation of his epic The Ring of the Nibelung, “A stage-festival play for three days and a preliminary evening,” spanned twenty-eight years of the German composer’s life. In 1848, Wagner began the prose sketch of what ultimately became the Ring’s final opera, Götterdämmerung (Twilight of the Gods). In August of 1876, the premiere of the complete 18-hour Ring cycle took place at Bayreuth, in the theater Wagner specially constructed for festival performances of his masterwork. The two principal sources for the story of Wagner’s Ring Cycle are The Poetic Edda, a collection of ancient Norse poems first transcribed in the twelfth century, and the thirteenth-century Nibelungenlied. Wagner employed these ancient tales as a forum for his own philosophical views. In an 1854 letter to his friend August Röckel, Wagner described the meaning of his Ring: We must learn to die, in fact to die in the most absolute sense of the word. Fear of the end is the source of all lovelessness, and it arises only where love itself has already faded. How did it come about that mankind so lost touch with this bringer of the highest happiness to everything living that in the end everything they did, everything they undertook and established, was done solely out of fear of the end? My poem shows how....The course of the drama thus shows the necessity of accepting and giving way to the changeability, the diversity, the multiplicity, the eternal newness of reality and of life. The Ring is one of the most significant works in the history of lyric theater. In the Ring, Wagner attempted to move away from what he viewed as the singer-oriented excesses of French and Italian grand opera to create a Gesamtkunstwerk (“total art work”), a fusion of text, music and stage drama. One of the most revolutionary aspects of the Ring is Wagner’s elevation of the orchestra from its traditional role as accompanist to that of another protagonist in the drama. This, Wagner achieved not only by the deployment of an ensemble of impressive size and color, but also by the ingenious use of the leitmotif (“leading motif”), symbolic musical phrases. The power, beauty and eloquence of several episodes in Wagner’s Ring have assured their status as favorites, not just within the context of the original operas, but as independent concert works. Atlanta’s Performing Arts Publication 25
“The Ride of the Valkyries” from The Valkyrie (1870) “The Ride of the Valkyries” is scored for two piccolos, two flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, eight horns, three trumpets, four trombones, tuba, timpani, cymbals, snare drum, triangle and strings. Approximate performance time is six minutes. First ASO Classical Subscription Performance: April 6, 1950, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: January 6, 7 and 8, 2005, Robert Spano, Conductor. The most famous excerpt from Wagner’s Ring is the opening of the final act of the second opera, Die Walküre (The Valkyrie). The scene takes place on the summit of a rocky mountain. The warrior maiden Valkyries, daughters of Wotan, King of the gods, return on horseback from battle. The stirring music depicts their magical flight through a fearsome storm. In the opera, The Ride of the Valkyries is scored for several female voices and orchestra. Here, the music is heard in its familiar orchestral setting.
“Siegfried’s Death and Funeral March” from Götterdämmerung (Twilight of the Gods) (1876) “Siegfried’s Death and Funeral March” is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, eight horns (5-8 play Wagner tubas), three trumpets, three trombones, contrabass trombone, bass trumpet, tuba, timpani, cymbals, triangle, tenor drum, two harps and strings. Approximate performance time is nine minutes. First ASO Classical Subscription Performances: November 3 and 4, 1971, Michael Palmer, Conductor. Most Recent ASO Classical Subscription Performances: May 16, 17 and 18, 1985, Louis Lane, Conductor. Music from the final act of the Ring’s concluding opera accompanies the funeral procession of the hero Siegfried, who has been murdered by the villainous Hagen. The Funeral Music includes several Ring leitmotifs associated with Siegfried’s life, notably the theme of the hero’s sword, introduced here by the solo trumpet. The “sword” motif leads to a resplendent climax. After this brief moment of triumph, the music concludes in the same despairing mood with which it began.
“Immolation Scene” from Götterdämmerung (Twilight of the Gods) The “Immolation Scene” is scored for solo soprano, piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, eight horns (5-8 play Wagner tubas), three trumpets, three trombones, contrabass trombone, bass trumpet, tuba, timpani, cymbals, triangle, tam-tam, two harps and strings. Approximate performance time is eighteen minutes. First ASO Classical Subscription Performance: January 31, 1954, Eileen Farrell, soprano, Henry Sopkin, Conductor.
program Most Recent ASO Classical Subscription Performances: January 6, 7 and 8, 2005, Jane Eaglen, soprano, Robert Spano, Conductor. In the final scene of the Ring, the Valkyrie Brünnhilde orders that a funeral pyre be built for her beloved Siegfried. Brünnhilde rides her horse, Grane, into the flames to join Siegfried. As she does, Brünnhilde returns the ring (the source of turmoil throughout the entire Ring cycle) to the Rhine and the Rhinemaidens. Brünnhilde’s act of self-sacrifice removes the curse of the ring, and redeems the world.
Brünnhilde Starke Scheite schichtet mir dort am Rande des Rheins zuhauf! Hoch und hell lodre die Glut, die den edlen Leib des hehresten Helden verzehrt. Sein Ross führet daher, dass mit mir dem Recken es folge; denn des Helden heiligste Ehre zu teilen, verlangt mein eigener Leib. Vollbringt Brünnhildes Wort!
Stack a pile of stout logs for me on the shores of the Rhine! Let the fire blaze high and bright, and consume the body of this noble hero. Lead his horse here, to follow the warrior with me; for my own body desires to share the hero’s most sacred honor. Do as Brünnhilde commands!
Wie Sonne lauter strahlt mir sein Licht: der Reinste war er, der mich verriet! Die Gattin trügend, treu dem Freunde, von der eignen Trauten, einzig ihm teuer, schied er sich durch sein Schwert. Echter als er schwur keiner Eide; treuer als Er hielt keiner Verträge; lautrer als Er liebte kein andrer: und doch, alle Eide, alle Verträge: die treueste Liebe trog keiner wie er! Wisst ihr, wie das ward?
His radiance shines like pure sunlight upon me: He was the purest, he betrayed me! He betrayed his wife, but was loyal to his friend, With his sword, he kept himself apart from his own true love, dear to him. A more honest man never swore an oath; none more true ever made a treaty; a more honest man never loved: and yet, for all his oaths, all his treaties: he betrayed his truest love like no other! Do you know how that happened?
Oh, ihr, der Eide ewige Hüter! Lenkt euren Blick auf mein blühendes Leid, erschaut eure ewige Schuld! Meine Klage hör, du hehrster Gott! Durch seine tapferste Tat, dir so tauglich erwünscht, weihtest du den, der sie gewirkt, dem Fluche, dem du verfielest: mich musste der Reinste verraten, dass wissend würde ein Weib! Weiss ich nun, was dir frommt?
Oh you, the eternal guardian of oaths! Turn your gaze to my growing sorrow, behold your eternal guilt! Hear my lament, supreme god! By his courageous deed, that you so desired, you sacrificed him who performed it, to the curse that had fallen upon you: this innocent had to betray me, so that I would become a woman of wisdom! Do I now know what is your will? Atlanta’s Performing Arts Publication 27
Alles, alles, alles weiss ich, Alles ward mir nun frei! Auch deine Raben hör ich rauschen; mit bang ersehnter Botschaft send’ ich die beiden nun heim. Ruhe, ruhe, du Gott!
Everything, I know everything, everything is now clear to me! I hear your ravens stirring, too; with news both feared and desired I now send them both home. Rest, rest, you god!
Mein Erbe nun nehm’ ich zu eigen. Verfluchter Reif! Furchtbarer Ring! Dein Gold fass’ ich, und geb’ es nun fort. Der Wassertiefe weise Schwestern, des Rheines schwimmende Töchter, euch dank’ ich redlichen Rat. Was ihr begehrt, ich geb es euch: aus meiner Asche nehmt es zu eigen! Das Feuer, das mich verbrennt, rein’ge vom Fluch den Ring! Ihr in der Flut löset ihn auf, und lauter bewahrt das lichte Gold, das euch zum Unheil geraubt.
I now take my inheritance as my own. Accursed, terrible ring! I seize your gold, and I give it away. Wise sisters of the watery depths, swimming daughters of the Rhine, I thank you for your honest counsel. What you desire, I give to you: take it from my ashes! The fire that consumes me, shall remove the curse from the ring! You in the water, wash it away, and guard the gleaming gold, that was disastrously stolen from you.
Fliegt heim, ihr Raben! Raunt es eurem Herren, was hier am Rhein ihr gehört! An Brünnhildes Felsen fahrt vorbei! Der dort noch lodert, weiset Loge nach Walhall! Denn der Götter Ende dämmert nun auf. So werf’ ich den Brand in Walhalls prangende Burg.
Ravens, fly home! Tell your master, what you have heard here by the Rhine! Pass by Brünnhilde’s rock! The fire still blazes there, send Loge to Valhalla! For the end of the gods is near. So do I throw this torch into Valhalla’s proud castle.
Grane, mein Ross, sei mir gegrüsst! Weisst du auch, mein Freund, wohin ich dich führe? Im Feuer leuchtend, liegt dort dein Herr, Siegfried, mein seliger Held. Dem Freunde zu folgen, wieherst du freudig? Lockt dich zu ihm die lachende Lohe?
Grane, my horse, I greet you! My friend, do you know where I am leading you? There is your master, shining in the fire, Siegfried, my glorious hero. Are you neighing with joy to follow your friend? Do the laughing flames draw you to him?
Fühl meine Brust auch, wie sie entbrennt; helles Feuer das Herz mir erfasst, ihn zu umschlingen, umschlossen von ihm, in mächtigster Minne vermählt ihm zu sein! Heiajaho! Grane!
Feel my breast, how it burns; a bright fire has captured my heart, to embrace him, wrapped in his arms, to be united with him in the most powerful love! Heiajaho! Grane!
program Grüss deinen Herren! Siegfried! Siegfried! Sieh! Selig grüsst dich dein Weib!
Greet your master! Siegfried! Look! Your wife joyfully greets you!
Symphony No. 9 in D minor, Opus 125, “Choral” (1824) (retuschen Gustav Mahler) Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 16, 1827. The first performance of the Ninth Symphony took place at the Kärnthnerthor Theater in Vienna on May 7, 1824, with Ignaz Umlauf conducting. The Gustav Mahler version of the Ninth Symphony is scored for soprano, alto, tenor and bass soloists, mixed chorus, two piccolos, four flutes, four oboes, four clarinets, four bassoons, contrabassoon, eight horns, four trumpets, three trombones, tuba, timpani (two pairs, second player in first movement, only), triangle, cymbals, bass drum, sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double-basses. Approximate performance time is 70 minutes. These are the first ASO classical subscription performances of the Mahler version of the Beethoven Ninth. First ASO Classical Subscription Performance of the Beethoven Ninth: October 19, 1967, Robert Shaw, Conductor. Most Recent ASO Classical Subscription Performances: September 21, 23 and 24, 2006, Robert Spano, Conductor. ASO Recording: (Telarc CD-80603) Soloists and Atlanta Symphony Orchestra Chorus, Donald Runnicles, Conductor
The Journey to the Ninth Symphony
eethoven’s Ninth and final Symphony (“Choral”) represents, on a number of levels, a summit of the immortal composer’s artistic life. The Ninth is by far the most epic of Beethoven’s Symphonies, both in terms of length and performing forces. The revolutionary introduction of vocal soloists and chorus in the finale was a bold masterstroke that forever expanded the potential of symphonic expression. Richard Wagner hailed the Beethoven Ninth as: the redemption of Music from out her own peculiar element into the realm of universal art. It is the human evangel of the art of the future. Beyond it no forward step is possible; for upon it the perfect artwork of the future alone can follow, the universal drama to which Beethoven has forged for us the key. The text of the Symphony’s finale, based upon the 1785 Ode “To Joy” by the great German writer, Friedrich Schiller (1759-1805), held a lifelong attraction for the composer. Beethoven first became acquainted with Schiller’s Ode “To Joy” (“An die Freude”) when the composer Atlanta’s Performing Arts Publication 29
was a student in his native Bonn. In his 1790 Cantata on the Accession of Emperor Leopold II, Beethoven briefly quotes Schiller’s Ode. In 1793, Bartholomäus Ludwig Fischenich wrote from Bonn to Schiller’s sister, Charlotte: I have preserved a setting of (Sophie Mereau’s poem) Feuerfarbe for you on which I would like your opinion. It is by a young man of this place, whose musical talent is becoming known, and whom the Elector has just sent to Haydn in Vienna. He intends to compose Schiller’s Freude verse by verse. Evidence suggests that the young Beethoven may well have composed a song to the text of Schiller’s “An die Freude.” However, if the song did exist at one time, it has been forever lost. The beloved melodic setting of Schiller’s Ode in the Finale of Beethoven’s Ninth was also the product of an extended genesis. A version of the melody first appears in a song Beethoven composed in the mid-1790s, entitled “Gegenliebe” (“Mutual Love”), based upon a poem by Gottfried August Bürger. An even more startling premonition of the Ninth Symphony may be found in Beethoven’s 1808 Fantasia in C minor for Piano, Chorus, and Orchestra, Opus 80. In that work, the melody — in this case, a setting of words by Christian Kuffner — receives a treatment quite similar in many ways to that found in the “Choral” Symphony. Although the notion of presenting Schiller’s Ode “To Joy” in a symphonic context seems to have been on the composer’s mind for several years, it was not until the spring of 1823 that Beethoven was finally able to focus his attention upon this landmark work. Beethoven completed his Ninth Symphony the following January. It is not surprising that Beethoven struggled with the revolutionary finale of his Ninth Symphony. Indeed, as late as the summer of 1823, Beethoven considered ending his Symphony in traditional fashion with a purely instrumental fourth movement. Even after Beethoven made the final decision to employ Schiller’s text, the question remained of how to effect the appropriate transition to this new and daring path.
“I’ve got it.” And then one day (according to the composer’s friend and biographer, Anton Schindler), Beethoven exclaimed: “I’ve got it, I’ve got it.” Beethoven had sketched the following words: “Let us sing the song of the immortal Schiller.” This text was to be performed by the basses of the chorus, with the soprano then presenting Schiller’s Ode. Beethoven ultimately modified the above text to read: “O friends, no more these sounds! Let us sing songs that are more cheerful and full of joy!” Both these lines, and the beginning of Schiller’s Ode, are given to the solo bass vocalist. The premiere of Beethoven’s Ninth Symphony took place at the Vienna Kärnthnerthor Theater on May 7, 1824. By this stage of Beethoven’s life, the composer’s hearing had deteriorated to such an extent that conducting the performance was out of the question. Instead, Ignaz Umlauf led the premiere. But all the while, Beethoven was at Umlauf’s side, attempting to direct the tempos for the various movements.
program At the conclusion of the performance, the audience erupted with a spirited ovation. Karoline Unger was the contralto soloist at the premiere of the Beethoven Ninth. More than four decades later, she met with the British music writer, Sir George Grove. During that meeting, Unger described what happened at the May 7, 1824 concert: The master, though placed in the midst of this confluence of music, heard nothing of it at all and was not even sensible of the applause of the audience at the end of his great work, but continued standing with his back to the audience, and beating the time, till Fräulein Unger, who had sung the contralto part, turned him, or induced him to turn round and face the people, who were still clapping their hands, and giving way to the greatest demonstrations of pleasure. His turning round, and the sudden conviction thereby forced upon everybody that he had not done so before, because he could not hear what was going on, acted like an electric shock on all present, and a volcanic explosion of sympathy and admiration followed, which was repeated again and again, and seemed as if it would never end.
Gustav Mahler and the Beethoven Ninth Like Richard Wagner, composer Gustav Mahler both revered Beethoven’s Ninth, and conducted the work on numerous occasions. But also like Wagner, Mahler perceived difficulties inherent in Beethoven’s original orchestration. Both Wagner and Mahler believed that the limitations of the instruments of Beethoven’s time compromised their ability to do justice to the composer’s melodic intentions. Again according to Wagner and Mahler, the onset of the Beethoven’s deafness only served to exacerbate this dilemma. In his essay, The Rendering of Beethoven’s Ninth Symphony (1873), Wagner discussed at great length his proposed solutions to these challenges. In an explanatory pamphlet distributed before a February, 1900, concert with the Vienna Philharmonic, Mahler cited Wagner’s essay, and insisted: “the conductor of today’s concert has followed precisely the same course, without, as far as the essential is concerned, trespassing beyond the limits set by Wagner.” Mahler’s “retouches” of Beethoven’s instrumentation involved the doubling of the piccolos, flutes, oboes, clarinets, bassoons, horns and trumpets, and (in the first movement only) timpani. Mahler added a tuba as reinforcement to the lower-voiced instruments. Mahler also expanded the number of strings typical in Beethoven’s time. It seems almost nothing Gustav Mahler did was free of controversy. Mahler insisted he “was consistently and solely concerned with carrying out Beethoven’s wishes even in seemingly insignificant details, and with ensuring that nothing the master intended should be sacrificed or drowned in a general confusion of sound.” Nevertheless, many critics were scandalized by what they viewed as a heretical approach to a towering masterwork. With these performances, we are in the fortunate position of being able to judge for ourselves. Atlanta’s Performing Arts Publication 31
Musical Analysis I. Allegro ma non troppo, un poco maestoso — The Beethoven Ninth opens with one of the most atmospheric and mysterious episodes in concert music. Over the hushed, repeated tread of open fifths in the second violins and cellos, the first violins, violas and basses utter a descending, two-note figure that serves as the basis for much of the Symphony’s thematic material. The motif grows inexorably, until it finally emerges as the initial principal theme, thundered by the orchestra in a fortissimo outburst. The winds introduce the dolce ascending and descending second theme, foreshadowing Beethoven’s immortal setting of Schiller’s Ode in the final movement. Beethoven introduces several more themes during the course of the exposition, which builds to a climax. As the momentum subsides, a reprise of the opening introduces the development section. This culminates in a furious passage that resolves to a massive restatement of the opening theme. Likewise, the coda proceeds to a fierce resolution, capped by a final statement of the opening theme. II. Molto vivace; Presto; Molto vivace — In the Ninth, the Scherzo appears as the Symphony’s second (rather than the traditional third) movement. The Scherzo begins with a brusque, descending figure in the strings, first echoed by timpani, then by the ensemble. This figure emerges as the movement’s agile principal theme, introduced by the second violins. Beethoven presents the theme in a variety of orchestral colors and moods — what remains consistent is its inexorable momentum. In the central Trio, the winds introduce a flowing theme that is another precursor to the immortal Ode “To Joy” melody. The return of the Scherzo (when conducting the work, Mahler often omitted the opening eight measures here, and proceeded directly to the second violin melody) leads to the briefest of repetitions of the Trio, quickly silenced by the orchestra. III. Adagio molto e cantabile — A brief introduction by the bassoons and clarinets serves as prelude to the sublime opening theme, played by the first violins and echoed by the winds. The key changes from B-flat Major to D Major (and from 4/4 to 3/4 time) as the second violins and violas play the equally lovely second theme (Andante moderato). The two themes return in sequence and in varied form, leading to a grand double climax. The coda proceeds to a pianissimo close, a stark contrast to what immediately follows. IV. Presto — A brief outburst by the winds, brass and timpani launches the final movement. The tempest alternates with a recitative-like passage in the lower strings. In an extraordinary sequence, the principal themes from the first three movements now return in order, each cut off by the lower-string recitative. Finally, the winds suggest a new melody, welcomed by an orchestral cadence. The melody is now presented in its entirety by the cellos and basses. A series of variations ensues, culminating in a majestic statement of the immortal theme. A bridge passage leads to a return of the storm with which the movement began. This time, however, the bass soloist calls for an end to the conflict. He introduces Schiller’s Ode, set to the melody. Variations of the melody, featuring the soloists and chorus, proceed to a resplendent climax, followed by a dramatic pause.
program What follows is a masterstroke of the highest order. The next variation is a jaunty march in the Turkish style, highlighting the winds, percussion and solo tenor. The contrasting playfulness of this section allows the lofty, ensuing variations to glow in their fullest splendor. A final, Maestoso choral statement of Schiller’s Ode and the orchestra’s Prestissimo race to the finish conclude Beethoven’s Ninth Symphony.
Texts and Translations Baritone Solo, Soloists and Chorus O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen und freudenvollere!
Oh friends, no more these sounds! Let us sing songs that are more cheerful and full of joy!
Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.
Joy, lovely divine spark, Daughter of Elysium, With fiery rapture, We approach your sanctuary! Your magic reunites, What stern custom separated; All men shall be brothers, Under your gentle wings.
Wem der grosse Wurf gelungen, Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.
Whoever has enjoyed the great fortune Of being a friend to a friend, Whoever has won a dear wife, Join in our chorus of jubilation! Yes, even if he has but one soul On this earth to call his own! And whoever has not, let him steal away Tearfully and alone.
Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!
Every creature drinks joy At nature’s breast. Everyone, good and bad Follows in her rosy path. She gave us kisses and the fruit of the vine, And a friend, faithful until death; Even the worm can feel contentment, And the cherub stands before God!
Tenor Solo and Chorus Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.
Gladly, as His suns fly Through the mighty path of heaven, So, brothers, run your course, Joyfully, like a hero on his conquest.
Atlanta’s Performing Arts Publication 32B
(The first stanza is repeated) Chorus and Soloists Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder! Über’m Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn überm Sternenzelt! Über Sternen muss er wohnen.
Be embraced, you millions! This kiss is for all the world! Brother! Above this tent of stars There must dwell a loving Father. Do you kneel, you millions? Do you sense your Creator, world? Seek Him above in the tent of stars! Above the stars He must dwell.
program christine brewer, Soprano
rammy Award-winning American soprano Christine Brewer’s appearances in opera, concert and recital are marked with her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Her range, golden tone, boundless power and control make her a favorite of the stage as well as a sought-after recording artist. Christine Brewer Highlights of Brewer’s 2011-12 season are numerous and include opening the Atlanta Symphony Orchestra’s 67th season with a program featuring Beethoven’s Ninth Symphony and the Immolation scene from Wagner’s Götterdämmerung. A “superlative Strauss singer” (The New York Times), she also looks forward to singing the German composer’s Four Last Songs with the St. Louis Symphony under David Robertson, besides featuring his music alongside that of Marx, Thomson, Ives and Smith in recital with pianist and frequent collaborator Craig Rutenberg at New York’s Alice Tully Hall. Brewer returns to the London Symphony Orchestra under the direction of Sir Colin Davis for concert performances of Carl Maria von Weber’s Der Freischütz; she will bring her acclaimed portrayal of Lady Billows in Britten’s Albert Herring to the Los Angeles Opera. An avid recitalist, Brewer has graced such prestigious venues as Carnegie’s Zankel Hall, London’s Wigmore Hall, Oberlin Conservatory, the Friends of Chamber Music, Washington DC’s Vocal Arts Society, and many others. She has appeared in Lincoln Center’s “Art of the Song” series at Alice Tully Hall, the Boston Celebrity Series, and at the Kennedy Center in Washington DC, Atlanta’s Spivey Hall, California’s Mondavi Center, and Amsterdam’s Concertgebouw. Her unique voice has been featured at the Gilmore, Ravinia and Cleveland Art Song festivals. On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’s Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Théatre du Chatelet, Santa Fe Opera, English National Opera, and Opera Theater of St. Louis. The soprano, attracting glowing reviews with each role, has performed Wagner’s Tristan und Isolde at San Francisco Opera, Gluck’s Alceste with Santa Fe Opera, the Dyer’s Wife in Strauss’ Die Frau ohne Schatten at Lyric Opera of Chicago and Paris Opera, and Lady Billows in Britten’s Albert Herring at Santa Fe Opera. She is also celebrated for her work in lesser-known operas including the title roles in Gluck’s Iphigénie en Tauride with the Edinburgh Festival, the Rio de Janeiro Opera and Madrid Opera, and Strauss’ Die ägyptische Helena with the Santa Fe Opera. Brewer can be heard on the Hyperion, Naxos, Chandos and Telarc labels in repertoire that ranges from Mozart, Schubert and Strauss to Barber, Britten and Wagner, with the finest orchestras and notable conductors. Many have been nominated, won prestigious awards and garnered great critical acclaim. Comprehensive performance and career information can be found at christinebrewer.com. Atlanta’s Performing Arts Publication 32D
nancy Maultsby, Mezzo-Soprano
merican mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras worldwide. Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire that extends from the operas of Monteverdi and Handel to recent works by John Adams. She regularly performs the major heroines of 19th-century French, Italian and German opera and the great symphonic works.
Maultsby’s operatic career has included a wide range of roles in some of the world’s most prestigious houses. In the United States, she has performed principal roles at the Lyric Opera of Chicago (Das Rheingold, Siegfried, Götterdammerung, La Gioconda, Pique Dame), San Francisco Opera (Carmen), Seattle Opera (Das Rheingold, Siegfried, Götterdämmerung, Werther, Carmen, Die Fledermaus), Washington National Opera (Falstaff, Siegfried), Boston Lyric Opera (Rusalka, Un Ballo in Maschera), Florida Grand Opera (Giulio Cesare), Santa Fe Opera (Falstaff, Tea: A Mirror of Soul), Minnesota Opera (Aida), Opera Colorado (Un Ballo in Maschera, Giulio Cesare), Opera Company of Philadelphia (Tea: A Mirror of Soul), Opera Theatre of St. Louis (The Death of Klinghoffer), Pittsburgh Opera (Carmen), Palm Beach Opera (Aida) and Michigan Opera Theater (Aida). Internationally, her extensive career has taken her to the Royal Opera, Covent Garden (Die Ägyptische Helena), Teatro dell’Opera in Rome (Oedipus Rex), Teatro Colón in Buenos Aires (Carmen), Teatro Carlo Felice in Genoa (Norma), Opéra de Montréal (Bluebeard’s Castle), Staatsoper Stuttgart (Die Walküre), Teatro San Carlo in Naples, Italy (Oedipus Rex), Semperoper Dresden (Oedipus Rex), De Nederlandse Opera (Rigoletto) and the Greek National Opera in Athens (Aida, Oedipus Rex, L’incoronazione di Poppea). She adds Il Trovatore to her repertoire in this season with a return to Opera Colorado as Azucena. Maultsby’s orchestral repertoire extends from the Baroque to the most important works of the 20th century. Throughout her career, she has enjoyed frequent engagements with many leading conductors. Her collaborations include performances under Zubin Mehta, Alan Gilbert, Gerard Schwarz, Pierre Boulez, Christoph von Dohnányi, Kurt Masur, Edo de Waart, James Conlon, Yuri Temirkanov, Sir Andrew Davis, Lorin Maazel, Sir Colin Davis, Riccardo Chailly, Patrick Summers, David Zinman, Peter Oundjian, Jeffrey Kahane, David Robertson, Stephen Lord, Esa-Pekka Salonen, Bruno Bartoletti, Robert Abbado, Patrick Summers, Michael Christie, Robert Spano, Christian Thielemann, Sebastian Lang Lessing, Franz Welser-Möst, Neeme Järvi, Tan Dun, the late Hans Vonk, Wolfgang Sawallisch, Leonard Slatkin and the late Robert Shaw.
program vinson cole, Tenor
merican tenor Vinson Cole is internationally recognized as one of the leading artists of his generation. His career has taken him to all of the world’s major opera houses including the Metropolitan Opera, Opera National de Paris Bastille, Teatro alla Scala Milan, Theatre Royale de la Monnaie in Brussels, Berlin State Opera and the Deutsche Oper Berlin, Munich State Opera, San Francisco Opera, Hamburg State Opera, Opera Australia, the Royal Vinson Cole Opera House Covent Garden, Seattle Opera and many more. Equally celebrated for his concert appearances, Cole has been a frequent guest of the most prestigious orchestras in the world and has collaborated with such great conductors as Christoph Eschenbach, Claudio Abbado, Carlo Maria Giulini, James Levine, Lorin Maazel, James Conlon, Kurt Masur, Zubin Mehta, Riccardo Muti, Seiji Ozawa and Gerard Schwarz as well as Sir Georg Solti and Giuseppe Sinopoli. Cole had an especially close working relationship with the late Herbert von Karajan, who brought the artist to the Salzburg Festival to sing the Italian tenor in Der Rosenkavalier — the first of many performances there together. Their collaboration went on to include works such as Verdi’s Requiem, Beethoven’s Missa Solemnis, Mozart’s Requiem and Bruckner’s Te Deum. Cole starred in the new production of Berlioz’s Damnation de Faust at the Semper Opera in Dresden in April 2007. Future engagements include appearances with the Philadelphia Orchestra in Mahler’s Symphony Number 8 under Christoph Eschenbach, the same work under James Conlon with the Chicago Symphony at the Ravinia Festival and Verdi’s Requiem at the Concertgebeouw in Amsterdam. Highlights of past seasons included Boheme at the San Francisco Opera, Edgardo in Lucia di Lammermoor with the Houston Grand Opera, Les Contes D’ Hofmann with the Seattle Opera, Pinkerton in Madame Butterfly with the New Japan Philharmonic under the baton of Seiji Ozawa, concerts of Mahler’s Symphony No. 8 at the Ravinia Festival, and also with the BSO at Carnegie Hall under James Levine, Liszt’s Faust Symphony with the Seattle Symphony under Gerard Schwarz, L’Enfance du Christ with the Los Angeles Philharmonic and Esa-Pekka Salonen, Berlioz’s Romeo et Juliette with the Orchestre de Paris with Eschenbach conducting, and a return to the Boston Symphony Orchestra in Stravinsky’s Persephone. Born in Kansas City, Mo., Vinson Cole completed his vocal studies at the Curtis Institute of Music under the tutelage of legendary singer and teacher Margaret Harshaw.
Atlanta’s Performing Arts Publication 32F
nathan berg, Baritone
orn in Saskatchewan, Canada, Nathan Berg’s vocal studies have taken him through Canada, to America, Paris and the Guildhall School of Music (where he won the Gold Medal for Singers). He has given recitals in London, Paris, Detroit, at the Harrogate and Three Choirs Festivals and for the CBC Montreal. In concert, he has worked with such distinguished conductors as Masur, Salonen, Christie, Herreweghe, Tortelier, Norrington, Leppard, Rilling, Haenchen and Tilson Thomas throughout Europe, the United States and Japan.
Highlights of this season includes Huascar/Ali in Les Indes Galantes with Théâtre Capitole; Valens in Handel’s Théodora with Le Concert Spirituel; and debut performances of Mahler’s Kindertotenlieder with Seattle Symphony, Handel’s L’Allegro with Music of the Baroque Orchestra and Chorus under Jane Glover, and Missa Solemnis with the Richard Eaton Singers. On the operatic stage he has appeared as Figaro in Nice, Masetto (Don Giovanni) and Mercurio (The Coronation of Poppea) in Amsterdam, Leporello in Tourcoing and America, Guglielmo for Welsh National Opera, Thesée in Rameau’s Hippolyte with Les Arts Florissants in New York, and Alidoro (La Cenerentola) and Achilla (Giulio Cesare) at Glyndebourne. His recordings include Messiah and the Mozart Requiem with Christie, songs by Othmar Schoeck with Julius Drake, and Mendelssohn songs and duets with Sophie Daneman and Eugene Asti.
norman mackenzie, Director of Choruses
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. During his tenure, the chorus has made numerous tours Norman Mackenzie and garnered several Grammy Awards for Best Classical Album and Best Choral Performance. For the Atlanta Symphony Orchestra, Mackenzie prepares the choruses for all concerts and recordings, works closely with Music Director Robert Spano on the commissioning and realization of new choral-orchestral works, and conducts holiday concerts. 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.
program Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the choruses and, ultimately, assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing, and partnered with Spano for the 2011 workshop featuring the Berlioz Requiem.
atlanta symphony orchestra chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist
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 on Sept. 24, 1970, by Robert Shaw. 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 the majority of the ASO’s 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 Atlanta’s Performing Arts Publication 32H
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 a series of three triumphant performances of Britten’s War Requiem. In May 2008, it performed a series of three Berlioz Requiem concerts, and in December 2009, a series of three Brahms Ein deutsches Requiem performances — all trips with Donald Runnicles, Atlanta Symphony Orchestra Principal Guest Conductor. Soprano 1 JoAnn Alexander Liz Dean Kelly Eggers Amber Greer Kristen Gwaltney Erin Jones Arietha Lockhart * Patricia Nealon Blair Oakley Lisa Rader Olivia Rutkowski Catherine Steen Elizabeth Stuk Brianne Turgeon Allegra Whitney Lori Beth Wiseman Natalie York Soprano 2 June Abbott ** Sloan Atwood Pamela Barnette ** Barbara Brown Suzannah Carrington Claudia Corriere Martha Craft Ellen Dukes ** Mary Goodwin Abigail Halon Deana Joseph 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 * Cheryl Thrash * Donna Weeks *
alto 1 Ana Baida Deborah Boland * Donna Carter-Wood * Christa Joy Chase Laurie Cronin Patricia Dinkins-Matthews Pamela Drummond Beth Freeman Pamela Griffin Beverly Hueter Shani Jefferson Janet Johnson * Virginia Little Staria Lovelady Allison Lowe Paige Mathis * Holly McCarren Frances McDowell * Linda Morgan ** Dominique PetiteChabukswar Kathleen Poe Ross Norma Raybon * Andrea Seeney Anne Stillwagon Diana Reed Strommen Sharon Vrieland * Nancy York
Cheryl Vanture Sarah Ward Alexandra Willingham Kiki Wilson ** Diane Woodard * tenor 1 Jeffrey Baxter * Daniel Bentley Christian Bigliani David Blalock ** John Brandt * Jack Caldwell * Richard Clement Clifford Edge * Steven Farrow ** Wayne Gammon Leif Hansen James Jarrell Thomas LaBarge Keith Langston Clinton Miller Christopher Patton Stephen Reed ‡ Timothy Swaim Carson Zajdel
Caleb Waters Robert Wilkinson bass 1 Dock Anderson Mark Blankenship Richard Brock * Russell Cason * Trey Clegg Steven Darst * Leroy Fetters David Forbes Jon Gunnemann * David Hansen * 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 **
alto 2 Nancy Adams Sally Rose Bates Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold * Michèle Diament Sally Kann Nicole Khoury Nancy Llamazales ** Katherine Johnson MacKenzie Lynda Martin Brenda Pruitt * Kristen Reisig Andrea Schmidt Sharon Simons Virginia Thompson
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 Jeremy Simmons Wesley Stoner
bass 2 Shaun Amos Charles Boone Brian Brown John Cooledge ‡ Joel Craft ** Paul Fletcher Andrew Gee Ben Howell Philip Jones Eric Litsey ** Sam Marley Evan Mauk Eckhart Richter * John Ruff Jonathan Smith Timothy Solomon * Benjamin Temko David Webster ** Keith Wyatt
* 20+ years of service
** 30+ years of service
Charter member (1970)
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.
Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers
The Coca-Cola Company Mrs. William A. Schwartz
GE Asset Management Abraham J. & Phyllis Katz Foundation Mr. & Mrs. Charles H. McTier
Turner Broadcasting System The Vasser Woolley Foundation, Inc. Woodruff Arts Center
Fulton County Arts Council
National Endowment for the Arts
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
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
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 33
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. Mikeâ€™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*
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
$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 35
additional support Blonder Family Foundation
William McDaniel Charitable Foundation
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.
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
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.
Atlantaâ€™s Performing Arts Publication 37
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.”
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+
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
★★★★ $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 41
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.”
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.
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
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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.
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
Certified Public Accountants and Consultants For over 25 years, the FIRM of CHOICE in Atlanta
NO rehearsals ONLY performances 1040 Crown Pointe Parkway, NE • Suite 400 • Atlanta, Georgia 30338 Phone: 770.512.0500 • www.wblcpa.com • Fax: 770.512.0200 Member of American Institute of Certified Public Accountants and Russell Bedford International
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
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.”
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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 48 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.
October 6/8 Thu/Sat: 8pm Delta Classical Michael Abels: Global Warming Ravel: Piano Concerto in G Franck: Symphony in D minor Mei-Ann Chen, conductor Terrence Wilson, piano October 14/15 Fri/Sat: 8pm SuperPOPS! Rockapella Michael Krajewski, conductor October 20/21/22 Thu/Fri/Sat: 8pm Delta Classical Rimsky-Korsakov: Capriccio espagnol Rachmaninov: Piano Concerto No. 2 Mussorgsky/Ravel: Pictures at an Exhibition Miguel Harth-Bedoya, conductor Horacio GutiĂŠrrez, piano
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 October 30 Sun: 1:30 & 3:30pm Family A Storybook Halloween Jere Flint, conductor Lee Harper Dancers Wendy Bennett, vocalist November 10/12/13 Thu/Sat: 8pm/Sun: 3pm Delta Classical
Britten: The Building of the House Overture Brahms: Double Concerto Oliver Knussen: Symphony in One Movement Britten: Young Personâ€™s Guide to the Orchestra Oliver Knussen, conductor David Coucheron, violin Christopher Rex, cello
aso.org | 404.733.5000 Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:
staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Aysha H. Siddique Manager of Board & Community Relations Brien Faucett Administrative Assistant to the Presidentâ€™s Office Evans Mirageas Director of Artistic Planning
Education & Community Engagement (cont.) Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist
DEVELOPMENT Sandy Smith Vice President for Development Rebecca Abernathy Development Services Coordinator Zachary Brown Director of Volunteer Services FINANCE & Corey Cowart ADMINISTRATION Director of ADMINISTRATION Corporate Relations Donald F. Fox John Sparrow Executive Vice President Melissa Donalson Vice President for Business Operations Development Coordinator for Orchestra Initiatives & Chief Financial Officer Janina Edwards & General Manager Shannon McCown Grants Consultant Mala Sharma Assistant to the Ashley Krausen Assistant to the Executive Vice President Special Events Coordinator Vice President for Business Operations Jessica Langlois for Orchestra Initiatives & Chief Financial Officer Director of Leadership Gifts & General Manager Susan Ambo & Planned Giving Julianne Fish Vice President of Finance Sarah Levin Orchestra Manager Kim Hielsberg Volunteer Project Manager Nancy Crowder Director of Financial Stephanie Malhotra Operations/Rental Planning & Analysis Director of Development Events Coordinator April Satterfield & Education Services Kelly Oâ€™Donnell Senior Accountant Toni Paz Artist Assistant Peter Dickson Director of Individual Giving Carol Wyatt Staff Accountant Barbara Saunders Executive Assistant Michael Richardson Director of to the Music Director Venues Analyst Foundation Relations & Principal Guest Stephen Jones Meredith Schnepp Conductor Symphony Store Manager Prospect Research Officer Jeffrey Baxter ASO Presents Tammie Taylor Choral Administrator Assistant to the Clay Schell Ken Meltzer Vice President, Programming VP for Development ASO Insider Trevor Ralph Andrea Welna & Program Annotator General Manager and Senior Major Gifts Office Russell Williamson Sarah Zabinski Orchestra Personnel Manager Director of Operations Holly Clausen Individual Giving Manager Susanne Watts Director of Marketing Assistant Orchestra Keri Musgraves Personnel Manager Promotions Manager Paul Barrett Lisa Eng Senior Production Graphic Artist Stage Manager Richard Carvlin Chastain Park Amphitheater Stage Manager Tanner Smith Lela Huff Program Director Assistant Stage Manager Verizon Wireless Education & Amphitheatre at Community Engagement Encore Park Mark B. Kent Katie Daniel Senior Director of Education VIP Sales Manager & Community Engagement Jenny Pollock Melanie Darby Operations Manager Director of Education Rebecca Simmons Programming Box Office Manager Ahmad Mayes Community Programs Coordinator
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
After the show, Enjoy some of our award winning... Southern Hospitality
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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 ASOâ€™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 â€” 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 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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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.
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Encore Atlanta is the official show program for The Fox Theatre, Atlanta Symphony Orchestra (at Woodruff Arts Center and Verizon Wireless Am...