Atlanta Symphony Orchestra: October 2021

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I N T R O D U C T I O N S In Tune.

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Music Director..

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ASO Leadership. ASO Musicians. N OT E S

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Written by Noel Morris

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D E PA R T M E N T S ASO Support. .

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Ticket Info/General Info.

age 14 From Intern to P Archivist: A conversation with ASO archivist Bob Scarr | @AtlantaSymphony |

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4 | encore ASO | IN TUNE Dear Friends, It has been a true joy to welcome you back to Symphony Hall to enjoy the sounds of the Atlanta Symphony Orchestra together again. In addition to our Delta Classical Series concerts, we are delighted to see you return for many of our other series as well. Delta Atlanta Symphony Hall LIVE has a full calendar this year, featuring the ASO on stage with Chris Botti, Gloria Gaynor, Ben Folds, Indigo Girls, in addition to concerts without orchestra including Celtic Thunder, Leslie Odom Jr., Jazz at Lincoln Center Orchestra with Wynton Marsalis and many more. The team has created a season filled with wonderful diversity and variety. View the full calendar of events at aso. org/LIVE. If you haven't checked it out yet, I highly recommend experiencing Movies in Concert with the ASO, featuring favorite movies displayed on a 40-ft screen in Symphony Hall while the Orchestra performs the film score live on stage. We welcome the series back to Symphony Hall this month with Marvel’s Black Panther and Tim Burton’s The Nightmare Before Christmas. See more favorites this season including Home Alone, Harry Potter and the Goblet of Fire™ and Star Wars: Return of the Jedi. Come see and hear these great movies bursting with lush sound on a huge screen! View the full calendar at As our Talent Development Program and Atlanta Symphony Youth Orchestra students return to regular, in-person instruction, we also look forward to seeing them perform live again. On November 20, the Talent Development Program Musicale returns to Symphony Hall. Atlanta Symphony Youth Orchestra Music Director Jerry Hou will lead the ensemble for its Overture Concert on November 6, Crescendo Concert on February 27 and Finale Concert on May 14. Stay tuned for additional programming for the whole family in 2022. More information at Lastly, we celebrate American Archives Month this October with a look back at the beginnings of the ASO archives, and the dedicated music lover that brought the project to life. Turn to page XX 14 to learn more about ASO Archivist Bob Scarr and the journey to preserve the ASO’s legacy. Thank you for your continued love and support of the Atlanta Symphony Orchestra. Warm gratitude,

Jennifer Barlament Executive Director | @AtlantaSymphony |

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Premier Exhibition Series Sponsor

Premier Exhibition Series Supporters Sarah and Jim Kennedy Louise Sams and Jerome Grilhot Dr. Joan H. Weens Estate

Benefactor Exhibition Series Supporters Anne Cox Chambers Foundation Robin and Hilton Howell

Ambassador Exhibition Series Supporters The Antinori Foundation Corporate Environments Elizabeth and Chris Willett

Contributing Exhibition Series Supporters: Farideh and Al Azadi, Sandra and Dan Baldwin, Lucinda W. Bunnen, Marcia and John Donnell, Helen C. Griffith, Mrs. Fay S. Howell/The Howell Fund, Mr. and Mrs. Baxter Jones, The Arthur R. and Ruth D. Lautz Charitable Foundation, Joel Knox and Joan Marmo, Dr. Joe B. Massey, Margot and Danny McCaul, The Ron and Lisa Brill Family Charitable Trust, Wade Rakes and Nicholas Miller, The Fred and Rita Richman Fund, In Memory of Elizabeth B. Stephens, USI Insurance Services, and Mrs. Harriet H. Warren




t’s a creative partnership like no other, forged over two decades. Since 2001, Robert Spano and Sir Donald Runnicles have collaborated on each of the Atlanta Symphony Orchestra’s seasons, curating a collection of works chosen for this time and this place. Together, our two maestros have led the Atlanta Symphony Orchestra into a new era. Robert Spano, conductor, pianist, composer and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. After twenty seasons as Music Director, he will continue his association with the Atlanta Symphony Orchestra as Co-Artistic Advisor for the 2021/22 season. An avid mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors, and performers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and young performers. Principal Guest Conductor of the Fort Worth Symphony Orchestra since 2019, Spano became Music Director Designate on April 1, 2021, and begins an initial three-year term as Music Director in August 2022. He will be the tenth Music Director in the orchestra’s history, which was founded in 1912. Sir Donald Runnicles is the General Music Director of the Deutsche Oper Berlin and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor of the Atlanta Symphony Orchestra. In 2019 Runnicles also took up post as the Sydney Symphony Orchestra’s first-ever Principal Guest Conductor. He additionally holds the title of Conductor Emeritus of the BBC Scottish Symphony Orchestra, having served as Chief Conductor from 2009-2016. Runnicles enjoys close and enduring relationships with many of the leading opera companies and symphony orchestras, and he is especially celebrated for his interpretations of Romantic and post-Romantic repertoire, which are core to his musical identity. Sir Donald Runnicles is born and raised in Edinburgh. He was appointed OBE in 2004, and was made a Knight Bachelor in 2020. He holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama, and the San Francisco Conservatory of Music.

Sir Donald Runnicles

Robert Spano

8 | encore ASO | LEADERSHIP | 2021/22 Board of Directors OFFICERS Janine Brown

Howard Palefsky

Lynn Eden


immediate past chair

vice chair

Patrick Viguerie

Susan Antinori

Bert Mills

chair elect



James Rubright vice chair

DIRECTORS Phyllis Abramson, PhD. Erroll Brown Davis, Jr.

Carrie Kurlander

William Schultz

Keith Adams

James H. Landon

Charles Sharbaugh

Juliet M. Allan

Carlos del Rio, M.D. FIDSA

Donna Lee

Fahim Siddiqui

Susan Antinori

Sloane Drake

Sukai Liu

W. Ross Singletary, II

Jennifer Barlament*

Lynn Eden

Kevin Lyman

John Sparrow

Paul Blackney

Angela Evans

Deborah Marlowe

Elliott Tapp

Rita Bloom

Craig Frankel

Penelope McPhee†

Brett Tarver

Janine Brown

Sally Bogle Gable

Bert Mills

S. Patrick Viguerie

Justin Bruns*

Anne Game

Molly Minnear

Kathy Waller

Benjamin Q. Brunt

Bonnie B. Harris

Hala Moddelmog*

Mark D. Wasserman

C. Merrell Calhoun

Charles Harrison

Terence L. Neal

Chris Webber

S. Wright Caughman, M.D.

Caroline Hofland

Galen Lee Oelkers

John B. White, Jr.

Tad Hutcheson, Jr.

Howard D. Palefsky

Richard S. White, Jr.

Susan Clare

Roya Irvani

Cathleen Quigley

Lisa Chang

Nancy Janet*

Doug Reid

Kevin E. Woods, M.D., M.P.H.

Russell Currey

Randolph J. Koporc

James Rubright


Dona Humphreys

Patricia H. Reid

Ray Uttenhove

John W. Cooledge, M.D. Aaron J. Johnson, Jr.

Joyce Schwob

Chilton Varner

John R. Donnell, Jr.

Ben F. Johnson, III

John A. Sibley, III

Adair M. White

Jere A. Drummond

James F. Kelley

H. Hamilton Smith

Sue Sigmon Williams

Carla Fackler

Patricia Leake

W. Rhett Tanner

Charles B. Ginden

Karole F. Lloyd

G. Kimbrough Taylor, Jr.

John T. Glover

Meghan H. Magruder

Michael W. Trapp

LIFE DIRECTORS Howell E. Adams, Jr.

Bradley Currey, Jr.

Betty Sands Fuller

*Ex-Officio Board Member †Sabbatical for the 2021/22 Season | @AtlantaSymphony |

Azira G. Hill



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10 | encore ASO | 2021/22 Musician Roster




David Coucheron


Rainer Eudeikis




The Mr. and Mrs. Howard R. Peevy Chair

The Atlanta Symphony Associates Chair

The Miriam and John Conant Chair

Justin Bruns

associate principal

associate concertmaster

Sou-Chun Su acting / associate

The Charles McKenzie Taylor Chair

The Frances Cheney Boggs Chair


Jay Christy


assistant concertmaster

acting associate / assistant

Jun-Ching Lin


Daniel Laufer The Livingston Foundation Chair

Karen Freer assistant principal

Dona Vellek assistant principal emeritus

assistant concertmaster

Dae Hee Ahn

Anastasia Agapova

Robert Anemone

Kevin Chen

Sharon Berenson

Carolyn Toll Hancock

Noriko Konno Clift

Brad Ritchie

The Wells Fargo Chair

David Dillard


John Meisner Christopher Pulgram Juan R. Ramírez Hernández Olga Shpitko Kenn Wagner Lisa Wiedman Yancich Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair

Sanford Salzinger

Sheela Iyengar** Eleanor Kosek Ruth Ann Little

Thomas Carpenter Joel Dallow The UPS Foundation Chair

Joseph McFadden principal

The Marcia and John Donnell Chair

Rachel Ostler

Gloria Jones Allgood


The Lucy R. & Gary Lee Jr. Chair

Zhenwei Shi

Brittany Conrad**


Karl Fenner

The Edus H. and Harriet H. Warren Chair

Paul Murphy associate principal

The Mary and Lawrence Gellerstedt Chair

Catherine Lynn

associate principal

Michael Kenady The Jane Little Chair

Michael Kurth Daniel Tosky FLUTE

assistant principal

Christina Smith

Marian Kent

The Jill Hertz Chair

Yang-Yoon Kim Yiyin Li


Robert Cronin associate principal

Lachlan McBane

C. Todd Skitch

Jessica Oudin

Gina Hughes

Madeline Sharp

PICCOLO Gina Hughes

Players in string sections are listed alphabetically | @AtlantaSymphony |

Robert Spano

co-artistic advisor

The Robert Reid Topping Chair

Sir Donald Runnicles principal guest conductor co-artistic advisor

The Neil & Sue Williams Chair

Jerry Hou

associate conductor; music director of the atlanta symphony youth orchestra

Norman Mackenzie director of choruses

The Frannie & Bill Graves Chair

The Zeist Foundation Chair




Elizabeth Koch Tiscione

Jaclyn Rainey

Mark Yancich




The George M. and Corrie Hoyt Brown Chair

The Betty Sands Fuller Chair

The Walter H. Bunzl Chair

Zachary Boeding

Susan Welty

Michael Stubbart

associate principal

assistant principal

associate principal

The Kendeda Fund Chair

Samuel Nemec Emily Brebach ENGLISH HORN Emily Brebach CLARINET Laura Ardan principal

The Robert Shaw Chair The Mabel Dorn Reeder Honorary Chair

Ted Gurch associate principal

Marci Gurnow Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez BASSOON Andrew Brady

Kimberly Gilman Chelsea McFarland** Bruce Kenney

PERCUSSION Joseph Petrasek principal


The Julie and Arthur Montgomery Chair

Stuart Stephenson

William Wilder


The Madeline and Howell Adams Chair

Michael Tiscione associate principal

Anthony Limoncelli Mark Maliniak

The William A. Schwartz Chair

Michael Stubbart The Connie and Merrell Calhoun Chair

HARP Elisabeth Remy Johnson



The Sally and Carl Gable Chair

Vacant principal

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

Nathan Zgonc acting / associate

assistant principal


Jeremy Buckler** Brian Hecht* Luke Sieve•**

KEYBOARD The Hugh and Jessie Hodgson Memorial Chair

Peter Marshall † Sharon Berenson LIBRARY Katie Klich principal



The Abraham J. & Phyllis Katz Foundation Chair

The Marianna & Solon Patterson Chair

Brian Hecht*

Holly Matthews

Anthony Georgeson

Luke Sieve•**

associate principal

Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar

The Home Depot Veterans Chair

TUBA Michael Moore principal

The Delta Air Lines Chair

assistant principal librarian

Hannah Davis asyo / assistant


‡ Rotates between sections * Leave of absence † Regularly engaged musician • New this season ** One-year appointment

Members of the Atlanta Symphony Orchestra

The Atlanta Symphony Orchestra Advisory Council is a newlyformed group of passionate and engaged individuals who act as both ambassadors and resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page. 2021/22 CHAIRS Arthur Mills, IV advisory council chair

Frances Root patron experience task force chair

Jane Morrison diversity & community connection task force co-chair Eleina Raines diversity & community connection task force co-chair Otis Threatt diversity & community Connection task force co-chair

MEMBERS Keith Barnett Meredith Bell Jane Blount Tracey Chu Donald & Barbara Defoe Paul & Susan Dimmick Bernadette Drankoski Burt Fealing Bruce Flower John Fuller Sally George Nancy Harrison Sally Hawkins Mia Hilley Justin Im

Brian & Ann Kimsey Jason & Michelle Kroh Scott Lampert Jason Liebzeit Belinda Massafra Bert Mobley Anne Morgan Tatiana Nemo Regina Olchowski Swathi Padmanabhan Margaret Painter Eliza Quigley David Quinn Felicia Rives Jim Schroder Baker Smith

Cindy Smith Kimberly Strong Stephen & Sonia Swartz George & Amy Taylor Cathy Toren Sheila Tschinkel Robert & Amy Vassey Robert Walt Nanette Wenger Kiki Wilson Taylor Winn David Worley Camille Yow

For more information about becoming an Advisory Council member, please contact Cheri Snyder at or 404.733.4904. | @AtlantaSymphony |

Coming Up RAMEAU: Suite from Les Indes galantes JOHN ADAMS: The Chairman Dances OSVALDO GOLIJOV: Azul

RAVEL: Mother Goose James Gaffigan, conductor ALISA WEILERSTEIN, cello

21/22 SEASON

COPLAND: Fanfare for the Common Man MICHAEL GANDOLFI: Concerto for Piano

COPLAND: Symphony No. 3 Robert Spano, conductor Marc-André Hamelin, piano

NOV 4/6

NOV 18/20 DEC 5/8

DEC 17/18

Hansel & Gretel





DEC 9/11

MELODY EÖTVÖS: The Deciding Machine R. STRAUSS: Four Last Songs

Christmas with the ASO

Brahms: Symphony No. 1 DONALD RUNNICLES conductor

DEC 2/4

The Coca-Cola Holiday Concerts are presented by Holiday concerts are made possible through an endowment from the Livingston Foundation in memory of Leslie Livingston Kellar.

Full Season On Sale Now Programs, artists and prices are subject to change. Season presented by


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From Intern to Archivist

A conversation with ASO Archivist Bob Scarr By Gail O’Neill

Bob Scarr | @AtlantaSymphony |

I have arrived! That was Bob Scarr’s first thought when Paul Hogle, thenDevelopment Director at the Atlanta Symphony Orchestra, cold-called him in January of 2010 and asked, “Bob, would you like to come down here and do a fellowship?” Scarr’s response to the offer was odd for a variety of reasons. For one thing, there was no job description. The position was unpaid. And Scarr, a classically trained musician, was already employed full-time as a flight supervisor at Delta Airlines, where he’s worked since 1978. Still, he remembers having a premonition that his life was about to change. “As Paul introduced me to my new colleagues [at the ASO] that first day, telling them I’d be here for six months, all I could think was ‘No . . . ,’” says Scarr. “‘I’m going to keep my mouth shut, absorb everything, do whatever is asked of me, figure out a way to make myself useful without being a pest and [hopefully, be invited to] stay.’” Eleven years later, Scarr is not only on the staff, he is indispensable. His role as manager of the Atlanta Symphony Orchestra Archives was formalized by the ASO’s Board of Directors in May of 2013 after Scarr volunteered to catalog and preserve the contents of one of three storage units in Brookhaven. The unit held 270 boxes of printed programs, scrapbooks and press clippings that dated back to the ASO’s founding in 1945. Photographs, administrative files and audio recordings chronicled the Symphony’s evolution under the musical direction of Henry Sopkin (1945–66), Robert Shaw (1967–88), Yoel Levi (1988–2000) and Robert Spano (2000-2021). “I started moving boxes out of that dark, dingy, non-air conditioned room in my blue 2009 Honda Civic,” says Scarr. “Every time I ascended the elevator at Woodruff with that precious cargo, I’d think to myself, ‘I found what I needed to do.’”

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16 | encore In the process, he unearthed 1,100 reel-to-reel concert recordings and audio files that would have been lost had they not been restored and digitized. Thanks to the patronage of Ann Marie and John B. White, Jr., and a matching contribution from Coca-Cola, the four-year project was completed. “Bob has come across some real gems including the live single concert recording of Beethoven’s 9th Symphony, with Mr. Shaw and the ASO and Chorus just prior to their triumphant 1988 tour to Europe,” says Jennifer Barlament, the ASO’s executive director. The concert, which marked Mr. Shaw’s final appearance in Atlanta as music director of the orchestra, was released on the ASO Media recording label in 2016. Barlament credits Scarr with helping to create a new partnership with the Georgia State University Library Special Collections and Archives, which recently acquired the ASO’s entire cache dating back to 1945. “Without Bob, there is no archive,” says Hogle, who is currently president of the Cleveland Institute of Music. “He was the guy who saw a pathway to help the ASO put those pieces of the puzzle together. I think it’s so appropriate, given his background at Delta of creating flight plans, solving problems, and getting people to and fro safely and on-schedule in spite of all those moving parts.” Bob discovered classical music when a high school teacher took him to hear Leopold Stokowski conduct Beethoven’s 5th Symphony and Alan Hovhaness’ Mysterious Mountain at the ASO. From then on, there was no turning back for the teenager, who could not name a single popular tune of his generation but owned a complete set of the Mahler Symphony as recorded by Leonard Bernstein. An accomplished musician, Scarr was a member of the Georgia All-State Band, played 2nd trombone with the Chattanooga Symphony & Orchestra and served on the boards of the Cobb Symphony Orchestra and Jazz Orchestra of Atlanta. Scarr is also a consummate student. He joined the Society of American Archivists and Performing Arts Roundtable to keep abreast of how other performance arts groups | @AtlantaSymphony |

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preserve their records. He benefits from the ongoing mentorships of giants in the field like Frank Villella, director at the Rosenthal Archives of the Chicago Symphony Orchestra, and Richard Pearce-Moses, founding director of the Master of Archival Studies program at Clayton State University in Morrow, and principal author of “A Glossary of Archival and Records Terminology.” Arguably, the only thing that rivals Scarr’s devotion to the preservation of orchestral music is his flat out glee as a fan. “Man, this is so frickin’ cool!” is how he sums up his realtime reaction to finding out that the big, black overcoat Thomas Shaw had draped over Scarr’s shoulders (to help ward off the cold as they rummaged through boxes of Robert Shaw’s possessions — including his 16 Grammy Awards — in a garage in Austin, Texas) had belonged to the maestro himself. And his voice breaks then turns reverential when he remembers attending Shaw’s Christmas concerts and collaborations with student choirs from Morehouse and Spelman Colleges shortly after his relocation to Atlanta in 1966, at the height of the Civil Rights movement. “Ah man...” Scarr practically whispers in gratitude, his eyes pooling with tears, “It was like going to church!” Scarr’s determination to recognize and document what he characterizes as “great contributions to mankind” is informed by his conviction that we must know our history if we want to move forward with any measure of intelligence and wisdom. All of which, says Hogle, makes him regard his former protégé in a whole new light. “One of Atlanta’s many great strengths is when individuals, some of whom never get any publicity or attention, see something that needs to happen and just get it done. Bob saw this need, believed it could be accomplished and got it done. He is a great role model.” This story was originally published by

Browse the Atlanta Symphony Orchestra’s archives currently housed at the Georgia State University Special Collections and Archives at

The collection of materials includes photographs, scrapbooks, administrative files, concert programs, press clippings, historical recordings and audio-visual materials.

18 | encore ASO | SEASON SPONSORS We are deeply grateful to the following leadership donors whose generous support has made the Atlanta Symphony Orchestra's season possible.

A Friend of the Symphony | @AtlantaSymphony |


The Atlanta Symphony Orchestra gives special thanks to the following donors for their extraordinary support of the Orchestra’s Stability Fund. Created at the onset of the COVID-19 pandemic, the Stability Fund helps mitigate the enormous challenges of the pandemic and allows the Orchestra to continue performing and sharing music with our community. A Friend of the Symphony (4) The Antinori Foundation The Arthur M. Blank Family Foundation The Atlanta Symphony Orchestra Players’ Association Jennifer Barlament & Kenneth Potsic Janine Brown & Alex J. Simmons, Jr. The John and Rosemary Brown Family Foundation

Thalia & Michael C. Carlos Advised Fund Marcia & John Donnell In loving memory of Catherine W. Dukehart The Estate of Geoffrey G. Eichholz Angela Evans James H. Landon Bert & Carmen Mills Lynn & Galen Oelkers

Sally & Pete Parsonson Patty & Doug Reid Mr. John A. Sibley, III Ross & Sally Singletary Slumgullion Charitable Fund Kathy Waller & Kenneth Goggins Adair & Dick White The Estate of Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr.

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

20 | oct13/14 GIUSEPPE VERDI (1813–1901) Overture to La forza del destino (rev. 1869)

Concerts of Wednesday, October 13, 2021 8:00pm

MISSY MAZZOLI (b. 1980) Dark with Excessive Bright (2018) Peter Herresthal, violin

Thursday, October 14, 2021 8:00pm




PYOTR ILYICH TCHAIKOVSKY (1840–1893) Symphony No. 5 in E Minor, Op. 64 (1888) 47 MINS I. Andante. Allegro con anima II. Andante cantabile con alcuna licenza III. Valse: Allegro moderato IV. Finale: Andante maestoso. Allegro vivace

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.



2021-2022 Season— 29 Years of Chamber Music at its Best Over 60 concerts, masterclasses and events including Mark O’Connor, The Juilliard and Vega Quartets, cellist Zuill Bailey, David & Julie Coucheron, the Joe Gransden Big Band, and more- all FREE! Visit for full information. | @AtlantaSymphony |


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by Noel Morris Program Annotator

Overture to La forza del destino

First ASO Performance:

Overture to La forza del destino is scored for flute, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, two harps and strings.

October 11, 1958,


Nicola Rescigno, conductor Most Recent ASO Performance:

The show opens with three elephantine chords—the hand of fate—followed by a stormy overture. When the curtain rises, Verdi weaves a tender love story that seems to chase the storm clouds away, only to be followed by a deal-breaker in the courtyard: the girl’s father startles her lover as he slips away from the house. Disarming himself, the young protagonist attempts to mollify the father, dropping his gun to the ground. It goes off and kills the old man. A grieving brother vows vengeance. There follows rip-roaring comedy and battlefield camaraderie, but always beneath the surface is a dance between feelings of hope and inevitability. By the mid 1850s, the composer Giuseppe Verdi was growing weary of the music business—the official censors, the critics and the gossips had all taken their pound of flesh—Verdi’s output slowed. Gravitating toward country life, he rejected offers from various opera houses in favor of tending to his crops and horses. But there were rumblings of something far more significant in the air: the drive toward Italian unification. Ramping up around 1848, the movement embraced Verdi (he was a proud Italian) as a symbol of national pride. Soon,


March 11, 2020, f La forza del destino were to be distilled into a Yoel Levi, conductor single line, it might go something like this: Two friends try to kill each other. It was the inspiration of the playwright Ángel de Saavedra, Duke of Rivas. He produced “Don Álvaro, or the Power of Fate” in 1835 after having lived abroad for ten years—in fact, the Spanish crown had sentenced him to death for his liberal views. After a reprieve from the crown, he returned to Spain where his play became a triumph of Spanish Romantic drama. In it, star-crossed lovers live separate lives as a pig-headed family member (one of the two friends) forces them into an impossible dilemma. It was the perfect tale for Giuseppe Verdi’s 24th opera.

22 | encore patriots adopted his name as a slogan for the Risorgimento: “Viva Verdi,” which was an acronym for Vittorio Emanuele Re D’Italia or Victor Emmanuel King of Italy. In 1859, the composer accepted a political appointment, mostly as a gesture of support for the cause (he wasn’t particularly interested in governing). In 1860, an offer of 60,000 francs from the Imperial Theater in Russia lured him back to his writer’s desk to compose La forza del destino. The opera premiered in St. Petersburg on November 10, 1862. Verdi revised the show for a second premiere in 1869. Dark with Excessive Bright These are ASO


premiere performances.

Dark with Excessive Bright is scored for solo violin and string orchestra.


issy Mazzoli has had her music performed by the Kronos Quartet, LA Opera, eighth blackbird, the BBC Symphony, Scottish Opera and many others. In 2018 she became one of the first two women, along with Jeanine Tesori, to receive a main stage commission from the Metropolitan Opera and was nominated for a Grammy award. She is Composer-in-Residence at the Chicago Symphony Orchestra, and from 2012–2015 was Composer-in-Residence with Opera Philadelphia. Upcoming commissions include works for Opera Philadelphia, the National Ballet of Canada, Chicago Lyric Opera and Norwegian National Opera. Her works are published by G. Schirmer. From the composer: Dark with Excessive Bright began its life as a concerto for double bass and string orchestra, commissioned by the Australian Chamber Orchestra and the Aurora Orchestra in London. In 2019, at the request of soloist Peter Herresthal, I transformed this piece into a concerto for violin and string orchestra, essentially flipping the original work upsidedown. In both versions I imagine that the solo instrument has collected the music of the passing centuries in the twists of its neck and the fibers of its wood, finally emerging into the light of the 21st century to sing it all into the world. While loosely based in Baroque idioms, this piece slips between string techniques from several centuries, all while twisting a | @AtlantaSymphony |

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pattern of repeated chords beyond recognition. “Dark with excessive bright,” a phrase from Milton’s Paradise Lost, is a surreal and evocative description of God, written by a blind man. I love the impossibility of this phrase and how perfectly it describes the dark but heartrending sound of strings. — Missy Mazzoli Symphony No. 5 in E Minor, Op. 64 Symphony No. 5 is scored for three flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings.


n the summer of 1888, Pyotr Ilyich Tchaikovsky expressed two ambitions: to plant a flower garden and to determine if his 48-year-old self could still write music. It had been eleven years since he’d completed his Fourth Symphony, and he blamed it on his endless conducting engagements. Longing for solitude and a bucolic space to plant that garden, he escaped the bustle of Moscow for a village called Frolovskoye.

First ASO Performance: December 7, 1949, Henry Sopkin, conductor Most Recent ASO Performance: May 30, 2021,

Nathalie Stutzmann, “In the last year, I composed absolutely nothing, only conductor wandered around Europe and Russia!” he wrote. “It seems to me that only at home, in Frolovskoye, will I again have the desire for work. I dream of a new symphony, a string sextet, a number of small piano pieces!”

Three weeks later, with the gears beginning to turn, he wrote: “I’m now gradually beginning, with difficulty, to squeeze a symphony out of my addled brain.” Alongside the earliest sketches he jotted down some thematic ideas: Programme: 1st movement of symph. Intr. Total submission before fate, or, what is the same thing, the inscrutable designs of Providence. Allegro. 1) Murmurs, doubts, laments, reproaches against... XXX II) Shall I cast myself into the embrace of faith??? A wonderful programme, if only it can be fulfilled. Always within Tchaikovsky there were two opposing forces at work: he had a powerful drive to express himself through music, and a near-paralyzing tendency to doubt himself. In fact, the summer of 1888 was a productive one, but not without its labor pains.

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“I can honestly say that the urge to create has deserted me,” he complained. “What does this mean? Am I really written out? I’ve no ideas or inspiration whatsoever! But I hope little by little to gather materials for the symphony.” And that he did. After four months of toil, he finished the Fifth Symphony, wrote his overture to Hamlet, and then went about the business of preparing his new works for performance. After the premiere, he reported to his brother: “The symphony has received unanimous approval from all of my friends: some even say it’s my best work.” But then, three months later, he declared the opposite: “I am convinced that this symphony is not a success. There is something so repellent about such excess, insincerity and artificiality.” This is not to say he declined to perform it. In January, Tchaikovsky embarked upon a European tour, conducting in Berlin, Cologne, Frankfurt, Dresden, Leipzig, Geneva, Hamburg, Paris and London. It was after the Hamburg performance that he reported coming to peace with his Fifth Symphony. “The musicians took to the music more and more each time the symphony was played. At rehearsals there was general enthusiasm, flourishes, etc. The concert also went excellently. As a result, I no longer have a bad opinion of the symphony, and like it once more.”




athalie Stutzmann serves as the Philadelphia Orchestra’s new Principal Guest Conductor. Beginning in the 2021/22 season, the three-year tenure involves a regular presence in the orchestra’s subscription series in Philadelphia and at its Summer festivals in Vail and Saratoga. Stutzmann is also entering the third season of a highly successful tenure as Chief Conductor of the Kristiansand Symphony Orchestra, a tenure which has just been extended by a further two seasons, to the end of 22/23. Stutzmann is considered one of the most outstanding musical personalities of our time. Charismatic musicianship, combined with unique rigour, energy and fantasy, characterize her style. A rich variety of strands form the core of her repertoire: Central European and Russian romanticism is a strong focus — ranging from Beethoven, Schumann, Brahms and Dvořák through to the larger symphonic forces of Tchaikovsky, Wagner, Mahler, Bruckner and Strauss — as well as French 19th century repertoire and impressionism. Highlights from her partnership with the Kristiansand Symphony Orchestra include acclaimed performances of Bruckner’s Symphony No. 7, Tchaikovsky’s Symphony No. 6 and a complete cycle of Beethoven’s symphonies. Stutzmann started her studies at a very young age in piano, bassoon, cello and studied conducting with the legendary Finnish teacher Jorma Panula. She was mentored by Seiji Ozawa and Sir Simon Rattle. Stuzmann continues to keep a few projects as a singer each season, primarily recitals and performances with her own ensemble. In January 2019, she was elected a Chevalier in the “Ordre National de la Légion d’Honneur,” France’s highest honor. France had previously honored her unique contribution to the country’s cultural life by electing her “Commandeur des Arts et Lettres” and “Chevalier de l’Ordre National du Mérite.” Stutzmann is an exclusive recording artist of Warner Classics/Erato. Her most recent album, Contralto, was released in January 2021. | @AtlantaSymphony |

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Herresthal has appeared with orchestras and ensembles including the Asko Schoenberg Ensemble, Vienna Radio Symphony, BBC Philharmonic, Melbourne Symphony, Oslo Philharmonic, Stockholm Philharmonic, Bergen Philharmonic, Danish Radio Symphony, Remix Ensemble, London Sinfonietta, Tapiola Chamber Orchestra, Stavanger Symphony, Orquesta Sinfonica de Navarra, Orquestra Sinfonica do Porto Casa da Musica, Orchestre National des Pays de la Loire, Helsingborg Symphony, Oslo Sinfonietta, Oulu Sinfonia, Norwegian Radio Orchestra, Kristiansand Symfoniorkester, Stavanger Symphony, Trondheim Symphony, Arctic Philharmonic Sinfonietta and Bit20, with conductors including Andrew Manze, Thomas Adès, Martyn Brabbins, Ludovic Morlot, Anu Tali and Sakari Oramo. He has recorded a number of CDs for BIS and Simax/ Aurora including prize-winning discs of Nordheim and Ness, and most recently the Buene and Walli concerti nominated for Norwegian Grammys. His Nørgård recording was nominated for a Gramophone Award and was Editors Choice in The Strad and International Record Review. His recording of the violin concerto by Thomas Adès was released by BIS in February 2014 and he gave the Adès new cadenza premiere for the Ligeti concerto with conductor Andrew Manze. Peter Herresthal is a Professor at the Oslo Academy and visiting Professor at the Royal College of Music, London. He performs on a GB Guadagnini from Milan 1753.


eter Herresthal is recognized as a brilliant and inspired interpreter of contemporary violin music, strongly associated both in concert and recordings with concertos by composers including Per Nørgård, Arne Nordheim, Ørjan Matre, Henri Dutilleux, Thomas Adès, Harrison Birtwistle, Olav Anton Thommessen, Henrik Hellstenius and Jon Øivind Ness.

28 | oct21/23/24 Concerts of Thursday, October 21, 2021 8:00pm Saturday, October 23, 2021 8:00pm Sunday, October 24, 2021 3:00pm JUANJO MENA, conductor MIDORI, violin

JAMES LEE III (b. 1975) Sukkot Through Orion’s Nebula (2011)


PYOTR ILYICH TCHAIKOVSKY (1840–1893) Concerto in D Major for Violin and Orchestra, Op. 35 (1881) 36 MINS I. Allegro moderato II. Canzonetta: Andante (attacca) III. Finale: Allegro vivacissimo Midori, violin INTERMISSION ROBERT SCHUMANN (1810–1856) Symphony No. 4 in D Minor, Op. 120 (rev. 1851) I. Ziemlich langsam. Lebhaft II. Romanze: Ziemlich langsam III. Scherzo: Lebhaft (attacca) IV. Langsam. Lebhaft

The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices. | @AtlantaSymphony |




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by Noel Morris Program Annotator

Sukkot Through Orion’s Nebula

First and Most Recent

Sukkot Through Orion’s Nebula is scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celeste and strings.

ASO Performances:


ames Lee III, born 1975 in St. Joseph, Michigan, cites as his major composition teachers Michael Daugherty, William Bolcom, Bright Sheng, Betsy Jolas, Susan Botti, Erik Santos and James Aikman. He graduated with a Doctor of Musical Arts degree from the University of Michigan in 2005. As a composition fellow at the Tanglewood Music Center in the summer of 2002, he added Osvaldo Golijov, Michael Gandolfi, Steven Mackey and Kaija Saariaho to his roster of teachers, and he studied conducting with Stefan Asbury. Lee’s orchestral works have been commissioned and premiered by the National Symphony Orchestra, Detroit Symphony Orchestra, Baltimore Symphony Orchestra, New World Symphony Orchestra, and the orchestras of Philadelphia, Indianapolis, Omaha, Pasadena, Memphis, Grand Rapids, Cincinnati, Atlanta and Akron, and have been conducted by such artists as Leonard Slatkin, Marin Alsop, Michael Tilson Thomas, Juanjo Mena, David Lockington, Thomas Wilkins and others. Chamber organizations such as the Montrose Trio, Ritz Chamber Players, and the Harlem Chamber Players have performed and premiered his music. Lee is also a winner of a Charles Ives Scholarship and the Wladimir Lakond Award from the American Academy of Arts and Letters, and he is Professor of Music at Morgan State University in Baltimore, MD. From the composer: Sukkot Through Orion’s Nebula is a festive work for orchestra. The word Sukkot is a Hebrew word for the “Feast of Tabernacles.” In the biblical days, this holiday was celebrated on the 15th day of the month of Tishrei (late September to late October). It was the most joyous month of the fall festivals that God mandated the Hebrews to observe. It was also a thanksgiving celebration for the

October 20 & 22, 2016, Joseph Young, conductor

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blessings of the fall harvest. Orion’s Nebula refers to the Orion constellation in space. The structure of this nebula forms a roughly spherical cloud that peaks in density near the core. The cloud displays a range of velocities and turbulence, particularly around the core region. This work is loosely constructed in a ternary form of seven small sections. It is a musical commentary on the eschatological application of the antitypical “day of atonement” (Yom Kippur) and the “feast of tabernacles” (Sukkot). The seven sections are briefly summarized below: Reminiscences of the Feast of Trumpets, (Rosh Hashanah), and the Day of Atonement (Yom Kippur) by percussive forceful sounds of the snare and bass drums open the work. This is further enhanced by the horns, which imitate the calls of the shofar (a horn used for Jewish religious purposes). The full orchestra continues to a cadence foreshadowing the grand advent of God. The woodwinds follow with joyful passages of flourishes and dancelike celebrations, which imitate the people’s reception of the Messiah. As this music continues, the motives pass on to the percussion section, piano, harp, and eventually the strings. Previous melodies and motives are developed and transformed among the tutti orchestra. This section is a musical commentary celebrating the Second Coming of God. The Orion constellation is the one constellation mentioned specifically in the Old Testament. Revelation 14 presents imagery of a harvest and later in the Book, the city of the New Jerusalem is presented as coming down from heaven. The muted brass, singing violins, percussion instruments, and woodwinds are employed which is intended to evoke celestial images of the Messiah coming down out of heaven through the Orion constellation first, the redeemed saints traveling through the constellation, and finally the New Jerusalem coming down out of heaven. At various points, violins soar in the higher registers that tend to have a quality of weightlessness. Trills among the strings cease as they continue to climb to heights of bliss in paradise. I have created a leitmotif for the name Michael that occurs in an earlier orchestral work of mine. This melody is heard in the

32 | encore horns as we move onto the next section. The bass and snare drums provide a reprise of the “shofar theme.” This continues with orchestral exclamations of joy. There are passages of “call-and-response” among the ensemble in the final celebration that continues until the work ends with an explosion of sound. —James Lee III Concerto in D Major for Violin and Orchestra, Op. 35

First ASO Performance:

In addition to the solo violin, Concerto in D major is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

January 25, 1948,

went one evening to my future wife and told her frankly that I could not love her, but that I would be a devoted and grateful friend.” Thus, Pyotr Ilyich Tchaikovsky got engaged. At the time, he believed his bride, Antonina Milyukova, could make his life “peaceful and happy.” She didn’t.

Most Recent


Robert Harrison, violin, Henry Sopkin, conductor ASO Performances: November 7, 8, & 9, 2019, James Ehnes, violin, Donald Runnicles, conductor

Just six months before, he had been in love with Josef Kotek, a violin student at the Moscow Conservatory. “My only need,” wrote Tchaikovsky, “is for him to know that I love him endlessly.” Although there has been enormous speculation about Tchaikovsky’s motives for marrying, the only thing we know for sure is that it was not for love. While Antonina claimed to have loved him from afar, they barely knew each other. They married on July 18, 1877, before a handful of witnesses that included his (likely) former lover Josef Kotek. By August 8, Tchaikovsky desperately needed to get away from her. “I leave in an hour’s time,” he wrote. “A few days longer, and I swear I should have gone mad.” And he wasn’t exaggerating. In less than three weeks he had descended into a deep depression and found himself utterly unable to work. After spending the rest of the summer with his sister, he returned to his bride for just two weeks in the fall before deciding the marriage was unworkable. At the same time, he developed an intense bond with another woman. Kotek had been working for a wealthy, rather reclusive widow named Nadezhda von Meck. She shared Kotek’s interest in Tchaikovsky’s music. Before long, she and the | @AtlantaSymphony |

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composer became pen pals. Taking special care never to meet face-to-face, the two of them developed a deeply personal and gratifying friendship. She became his muse and benefactress (and a great source of letters for future music historians). In 1878, still reeling from his failed marriage, Tchaikovsky took an extended trip with his brother to Europe. Gradually, he started writing music again and his mood brightened. In Clarens, Switzerland, they enjoyed the use of von Meck’s villa and called on Kotek to join them there. Perched on the shores of Lake Geneva, Kotek and Tchaikovsky shared musical evenings together. It was a reading of Eduard Lalo’s Symphonie espagnole, with Kotek on violin and Tchaikovsky at the piano, that lit the fire for a new violin concerto. Sketching the piece in just eleven days, Tchaikovsky worked through the solo passages with the help of Kotek and dedicated the concerto to the famous Hungarian violinist Leopold Auer. This proved to be a major disappointment for the composer; Auer took one look at the piece and refused to play it. Two years passed before the Russian violinist Adolph Brodsky took up the concerto in Vienna and gave its world premiere, which prompted a scathing review from the famous music critic Eduard Hanslick. “Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear,” he wrote. And the fragile Tchaikovsky hung on every word of it, committing the entire thing to memory. As the years went by, it seems that Auer grew to regret his early judgment of the Tchaikovsky Violin Concerto. Stumbling over various explanations, he claimed he had thought the piece needed work or that he had doubted its intrinsic worth before saying in 1912: “The concerto has made its way in the world. And that is the most important thing.” Indeed. Today, Auer is best remembered, not for his playing, but for the violinists he taught, including Nathan Milstein, Efrem Zimbalist, Mischa Ehlman and Jascha Heifetz—all major artists who helped propel the Tchaikovsky Violin Concerto into a concert-hall favorite.

34 | encore Symphony No. 4 in D minor, Op. 120

First ASO Performances:

Symphony No. 4 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

November 20, 21, & 22, 1969,


James Levine, conductor Most Recent

ASO Performances: n May of 1841, Robert Schumann was riding high. April 9, 11, & 12, 2015, He had recently married the love of his life, he had Lionel Bringuier, conductor a baby on the way, and his First Symphony was a resounding success. He could look back on a journey of self-discovery, which started with a pivot from studying law to studying piano at the age of 20.

As months turned into years, Clara grew on Robert. By the time she was 15, her father was running interference, trying to keep her away from the temperamental young man. Now a formidable virtuoso, she was dispatched on a series of concert tours, which practically drove her into Robert’s arms. They set up a secret system to exchange letters, and their love blossomed. In September of 1840, the day before her 21st birthday, Clara and Robert exchanged wedding vows. By then, Robert had shifted his focus toward composition and music journalism. That same year, with his head filled with love and romance, he wrote more than 150 songs. In January of 1841, Schumann turned his focus to the orchestra, completing a draft of his first symphony in just four days. Two months later, Felix Mendelssohn conducted the premiere of the symphony, which was then picked up by the publisher Breitkopf & Härtel. Continuing at a dizzying pace, Schumann wrote the Overture, Scherzo and Finale in E Major as well as the first movement of what became the Piano Concerto—all before the fall. For her part, Clara treated her husband’s composition career like a family business. “Robert’s mind is very creative now, and he began a symphony yesterday which is to consist of one movement, | @AtlantaSymphony |


Back in 1830, he had quit university and moved in with his piano teacher, Friedrich Wieck, where he became one of two star piano students—the other was Wieck’s nine-year-old daughter, Clara, a child prodigy.

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but with an Adagio and finale,” she wrote toward the end of May. “I have heard nothing of it as yet, but from seeing Robert’s doings, and from hearing D minor echoing wildly in the distance, I know in advance that this will be another work emerging from the depths of his soul.” This time, Robert aspired to create something different: instead of writing a symphony in which each movement is effectively a unique piece of music (which, for the most part, was the norm up until that point), he fashioned a far more integrated work, building each movement out of material from the symphony’s opening bars. The premiere took place on December 6, 1841. This time, Mendelssohn was not available to conduct, and so Clara stepped in as a headliner alongside the piano superstar Franz Liszt. Together they played a duet, and Schumann’s D minor symphony received its first performance. The piece elicited mixed reactions; Breitkopf & Härtel declined to published it, and Schumann set it aside. After taking a break from the symphonic form, Schumann wrote the piece now known as Symphony No. 2 in 1845 and followed it with the Symphony No. 3 in 1850. Around that time (1850), Schumann accepted a position as music director of the orchestra and choral society in Düsseldorf. It was for the Lower Rhenish Music Festival that he returned to his D minor symphony. Reworking whole sections, adding transitions and thickening the orchestration, he reissued the D minor Symphony at the festival in 1853. It was published as Symphony No. 4.




uanjo Mena began his conducting career in his native Spain as Artistic Director of the Bilbao Symphony Orchestra in 1999. His uncommon talent was soon recognized internationally with appointments as Principal Guest Conductor of the Bergen Philharmonic and Chief Guest Conductor of the Orchestra del Teatro Carlo Felice in Genoa. In 2011 he was named Chief Conductor of the BBC Philharmonic which he led for seven seasons, taking the orchestra on tours of Europe and Asia and conducting annual televised concerts at the Royal Albert Hall as part of the BBC Proms. His BBC tenure featured, notably, “thrilling” (The Guardian) performances of Bruckner Symphonies, a cycle of Schubert Symphonies and set new standards for the interpretation of Spanish and South American repertoire. He currently serves as Principal Conductor of the Cincinnati May Festival, the longest running choral festival in North America, where he has been expanding the scope of the legendary institution with new commissions and community engagement. In the 20/21 season, Juanjo Mena returns to conduct the Gewandhaus Orchestra Leipzig, Boston Symphony Orchestra, Oslo Philharmonic, Bergen Philharmonic, Danish National Symphony, Pittsburgh Symphony, Minnesota Orchestra, Hong Kong Philharmonic and the NHK Symphony as well as a number of orchestras across Spain. He debuts with the Czech Philharmonic and the Orchestre de la Suisse Romande.

Juanjo Mena studied conducting with Sergiu Celibidache following his musical education at the Madrid Royal Conservatory where he was mentored by Carmelo Bernaola and Enrique García Asensio. In 2017, he was awarded the Spanish National Music Award. He lives with his family in his native Basque Country. | @AtlantaSymphony |

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MIDORI, VIOLIN idori is a visionary artist, activist and educator who explores and builds connections between music and the human experience and breaks with traditional boundaries, which makes her one of the most outstanding violinists of our time. In concert around the world, she transfixes audiences, bringing together graceful precision and intimate expression. In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace. In recognition of her lifetime of contributions to American culture, Midori is the recipient of the Kennedy Center Honors and was celebrated by Yo-Yo Ma, Bette Midler and John Lithgow, among others, during the May 2021 Honors ceremonies in Washington, DC. Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-yearold Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert, where the foundation was laid for her following career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music in Philadelphia and is a Distinguished Visiting Artist at the Peabody Institute of the Johns Hopkins University. Midori plays the 1734 Guarnerius del Gesù “ex-Huberman.” She uses four bows—two by Dominique Peccatte, one by François Peccatte and one by Paul Siefried.



38 | encore ASO | SUPPORT


he Atlanta Symphony Orchestra continues to prosper thanks to the support of our generous patrons. The list below recognizes the donors who have made contributions since June 1, 2020. Their extraordinary generosity provides the foundation for this world-class institution.


A Friend of the Symphony ∞


1180 Peachtree The Antinori Foundation The Molly Blank Fund of the Arthur M. Blank Family Foundation∞ The John and Rosemary Brown Family Foundation The Coca-Cola Company Lettie Pate Evans Foundation, Inc.∞ Barney M. Franklin & Hugh W. Burke Charitable Fund


Arthur M. Blank Family Foundation


Alston & Bird LLP Chick-fil-A Foundation | Rhonda & Dan Cathy Ms. Lynn Eden The Graves Foundation

King & Spalding LLP Gary Lee, Jr. in memory of Lucy R. Lee Charles Loridans Foundation, Inc. Ann Marie & John B. White, Jr.°∞


BlackRock City of Atlanta Mayor’s Office of Cultural Affairs Mr. & Mrs.* Bradley Currey, Jr.

Ms. Angela L. Evans Bill & Rachel Schultz° Patrick & Susie Viguerie


Paul & Linnea Bert Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. Connie & Merrell Calhoun John W. Cooledge The Roy & Janet Dorsey Foundation Betty Sands Fuller John D. Fuller∞ The Gable Foundation Georgia Council for the Arts Jeannette Guarner, MD & Carlos del Rio, MD Bonnie & Jay Harris Donna Lee & Howard Ehni

The Goizueta Foundation The Halle Foundation The Home Depot Foundation Abraham J. & Phyllis Katz Foundation The Andrew W. Mellon Foundation∞ Amy W. Norman Charitable Foundation PNC The Zeist Foundation, Inc.

The Livingston Foundation, Inc.∞ The Marcus Foundation, Inc.∞ Slumgullion Charitable Fund National Endowment for the Arts Sally & Pete Parsonson∞ Mary & Jim Rubright Ryder Truck Rental, Inc. June & John Scott Mrs. Charles A. Smithgall, Jr.** Mr. G. Kimbrough Taylor & Ms. Triska Drake United Distributors, Inc. Kathy Waller & Kenneth Goggins Mr.** & Mrs. Edus H. Warren, Jr. | @AtlantaSymphony |

$17,500+ Aadu & Kristi Allpere° Jennifer Barlament & Kenneth Potsic Russell Currey & Amy Durrell Cari K. Dawson & John M. Sparrow Mr. Richard H. Delay & Dr. Francine D. Dykes Fulton County Arts & Culture Mr. & Mrs. Charles B. Harrison Mr. & Dr. Kevin Lyman Massey Charitable Trust John & Linda Matthews Moore Colson, CPAs & Bert & Carmen Mills Martha M. Pentecost Ms. Cathleen Quigley Patty & Doug Reid Joyce & Henry Schwob Mr. Fahim Siddiqui & Ms. Shazia Fahim John & Ray Uttenhove Mrs. Sue S. Williams

$15,000+ Phyllis Abramson, Ph. D. Madeline* & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward° Mr. & Mrs. John Allan Mr. David Boatwright Benjamin Q. Brunt Wright & Alison Caughman Mr. & Mrs. Benjamin Clare° The Jim Cox, Jr. Foundation Mr. & Mrs. Erroll B. Davis, Jr. Georgia Power Eleanor & Charles Edmondson Fifth Third Bank Mr. Craig M. Frankel & Mrs. Jana A. Eplan Dick & Anne Game° Mr. Max M. Gilstrap∞ Anne Morgan & Jim Kelley James H. Landon

Mr. Sukai Liu & Dr. Ginger J. Chen Ms. Deborah A. Marlowe & Dr. Clint Lawrence John F. & Marilyn M. McMullan Ms. Molly Minnear Terence L. & Jeanne Perrine Neal Lynn & Galen Oelkers Ms. Margaret Painter∞ Victoria & Howard Palefsky The Piedmont National Family Foundation Charlie & Donna Sharbaugh Mr. John A. Sibley, III Ross & Sally Singletary Elliott & Elaine Tapp Ms. Brett A. Tarver Carol & Ramon Tomé Family Fund Adair & Dick White

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The Sartain Lanier Family Foundation Pat & Nolan Leake The Monasse Family Foundation∞ North Highland Company Vicki & Joe Riedel Beverly & Milton Shlapak Dr. Steven & Lynne Steindel° Judith & Mark K. Taylor The Mark and Evelyn Trammell Foundation Ms. Sheila Tschinkel Turner Enterprises, Inc. Dr. & Mrs. James O. Wells, Jr.


A Friend of the Symphony Paul & Marian Anderson* Jack & Helga Beam∞ Lisa & Russ Butner Ms. Diane Durgin $10,000+ Deedee & Marc Hamburger° A Friend of the Symphony Sally W. Hawkins Farideh & Al Azadi Foundation∞ Dr. & Mrs. Scott I. Lampert Julie & Jim Balloun Peter James Stelling* Bell Family Foundation Stephen & Sonia Swartz for Hope Inc Dr. Meredith W. Bell The Breman Foundation, Inc. Mr. & Mrs. Jonathan J. Davies Sally & Larry Davis Peter & Vivian de Kok Leadership Council ∞ Marcia & John Donnell We salute those extraordinary Eversheds Sutherland donors who have signed Georgia-Pacific pledge commitments to The Robert Hall Gunn, Jr., continue their annual giving Fund for three years or more. The Hertz Family Foundation, Inc. Roya & Bahman Irvani Clay & Jane Jackson For Ann A. & Ben F. Johnson III° more information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@

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

40 | encore ASO | SUPPORT (cont.) $5,000+ A Friend of the Symphony Mr. & Mrs. Calvin R. Allen Dr. Evelyn R. Babey Lisa & Joe Bankoff Mr. Keith Barnett Asad Bashey Kelley O. & Neil H. Berman Natalie & Matthew Bernstein Jane & Gregory Blount Mr. & Mrs. Philip P. Bolton Mrs. Sidney W. Boozer Margo Brinton & Eldon Park Mrs. Judith D. Bullock Karen & Rod Bunn Patricia & William Buss Mr. John T. Champion & Ms. Penelope Malone Ms. Tracey Chu Mark Coan & Family Dr. & Mrs. Richard W. Compans Ralph & Rita Connell William & Patricia Cook Carol Comstock & Jim Davis Donald & Barbara Defoe° Mr. & Mrs. Paul H. Dimmick Drew Eckl & Farnham, LLP in memory of Clayton Farnham Xavier Duralde & Mary Barrett Paulette Eastman & Becky Pryor Anderson∞ Dr. & Mrs. Carl D. Fackler Dr. Leroy Fass Ellen & Howard Feinsand

Bruce W. & Avery C. Flower Sally & Walter George Mary & Charles Ginden Mr. & Mrs. Richard Goodsell∞ Azira G. Hill CBH International, Inc Mr. Justin Im & Dr. Nakyoung Nam Mr. Baxter P. Jones & Dr. Jiong Yan Paul* & Rosthema Kastin Ann T. Kimsey Ms. Carrie L. Kirk Mr. & Mrs. Jason M. Kroh Dr. Fulton D. Lewis III & S. Neal Rhoney Peg & Jim Lowman Lubo Fund Dr. & Mrs. Ellis L. Malone Elvira Mannelly Mary Ruth McDonald The Fred & Sue McGehee Family Charitable Fund Mr. & Mrs. Arthur Mills IV Mr. Bert Mobley Judge Jane Morrison Gretchen Nagy & Allan Sandlin Mr. Samir Nikocevic Mrs. Kay Adams* & Mr. Ralph Paulk° Margaret H. Petersen The Hellen Ingram Plummer Charitable Foundation, Inc. Mr. Edward Potter & Ms. Regina Olchowski Ms. Eliza Quigley Leonard Reed° Mr. & Mrs. Joel F. Reeves Ms. Felicia Rives Betsy & Lee Robinson Ms. Frances A. Root John T. Ruff Ms. Katherine Scott

Suzanne Shull Baker & Debby Smith Ms. Cynthia Smith Hamilton & Mason Smith In memory of Elizabeth B. Stephens by Powell, Preston & Sally∞ John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. Ms. Kimberly Strong George & Amy Taylor∞ Ms. Cathy Toren Trapp Family Burton Trimble Chilton & Morgan Varner Amy & Robert Vassey Mr. Robert Walt & Mr. Daniel J. Hess Drs. Jonne & Paul Walter Ruthie Watts Dr. Nanette K. Wenger David & Martha West Suzanne B. Wilner Mrs. Frank L. Wilson, Jr. Mr. & Ms. Taylor Winn Mr. David J. Worley & Ms. Bernadette Drankoski Camille W. Yow

$3,500+ A Friend of the Symphony Jacqueline A. & Joseph E. Brown, Jr. Mr. & Mrs. Dennis M. Chorba Dieter Elsner & Othene Munson John & Martha Head Sarah & Harvey Hill° Donald S. Orr & Marcia K. Knight Mr. Charles R. Kowal | @AtlantaSymphony |

Isabel Lamy Lee Belinda & Gino Massafra Martha & Reynolds McClatchey Ed & Linda McGinn° Michael & Carol Murphy Gary R. Noble, MD Dr. & Mrs. John P. Pooler Ms. Kathy Powell S.A. Robinson Ms. Martha Solano Tom & Ani Steele Dale L. Thompson Alan & Marcia Watt

$2,000+ A Friend of the Symphony 2492 Fund Dr. & Mrs. Marshall Abes Mr. & Mrs. Ivan Allen IV Mr. & Mrs. Walker Anderson The Hisham & Nawal Araim Family Foundation Mrs. Juanita Baranco Anthony Barbagallo & Kristen Fowks Mr. Herschel V. Beazley Mr. Julian Bene & Dr. Amy Lederberg Shirley Blaine Leon & Joy Borchers Mr. & Mrs. Andrew J. Bower° Carol Brantley & David Webster Martha S. Brewer Dr. & Mrs. Anton J. Bueschen Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Mr. & Mrs. Charles Cape Julie & Jerry Chautin Susan S. Cofer Malcolm & Ann Cole

2021-22 SEASON




JAN 2022



MAR 2022



APR & MAY 2022



42 | encore Mr. Thomas J. Collins & Mr. Jeff Holmes Ned Cone & Nadeen Green Jean & Jerry Cooper Mr. Jeffrey M. Daniel & Mr. Michael M. Arens Greg & Debra Durden Mr. & Mrs. Robert G. Edge Mr. & Mrs. William A. Flinn Mr. Nathan Gaby Mr. & Mrs. Sebastien Galtier Raj & Jyoti Gandhi Family Foundation Mr. & Mrs. Edward T.M. Garland Marty & John Gillin° Mrs. Janet D. Goldstein Mary C. Gramling Richard & Debbie Griffiths Mr. & Mrs. George Gunderson Phil & Lisa Hartley Mr. & Mrs. Marc S. Heilweil Mr. & Mrs. John Hellriegel Mr. Kenneth & Ms. Colleen Hey Laurie House Hopkins & John D. Hopkins James & Bridget Horgan°

Mrs. Sally Horntvedt Dr. Michael D. Horowitz° Dona & Bill Humphreys Barbara M. Hund The Hyman Foundation Mary & Wayne James Aaron & Joyce Johnson Mrs. Gail Johnson Mr. W. F. & Dr. Janice Johnston Cecile M. Jones Mr. & Mrs. David T. Jones Lana M. Jordan William L. & Sally S. Jorden Mr. & Ms. James Kieffer David & Jill Krischer Wolfgang* & Mariana Laufer Mr. & Mrs. Theodore J. Lavallee, Sr. Lillian Balentine Law Olivia A. M. Leon Elizabeth J. Levine Mr. & Mrs. J. David Lifsey Deborah & William Liss° Ms. Eunice Luke In Memory of Pam McAllister Mr. & Mrs. James McClatchey

Mr. & Mrs. Robert McDuffie Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Anna & Hays Mershon Mr. & Mrs. Thomas B. Mimms, Jr. Berthe & Shapour Mobasser Janice & Tom Munsterman∞ Melanie & Allan Nelkin John C. & Agnes V. Nelson Mr. & Mrs. Edmund F. Pearce , Jr.° Mrs. Susanne Pinkerton In Memory of Dr. Frank S. Pittman III Mary Kay & Gene Poland° Dr. Susan Reef Dr. & Mrs. Rein Saral Thomas & Lynne Saylor Sharon & David Schachter° Dr. Bess T. Schoen Drs. Lawrence & Rachel Schonberger Mr. Jim Schroder Ms. Donna Schwartz

Sam Schwartz & Dr. Lynn Goldowski Mr. & Mrs. S. Albert Sherrod° Nick & Annie Shreiber Helga Hazelrig Siegel Gerald & Nancy Silverboard Diana Silverman Johannah Smith Mr. & Mrs. Raymond F. Stainback, Jr. Richard M. Stormont Dr. & Mrs. John P. Straetmans Beth & Edward Sugarman Kay & Alex* Summers Carolyn C. Thorsen ∞ Ms. Juliana T. Vincenzino Vogel Family Foundation Mr. & Mrs. Robert L. Welch Ron & Susan Whitaker Thomas E. Whitesides, Jr. M.D. Russell F. Winch Mrs. Lynne M. Winship Mr. & Mrs. M. Beattie Wood Zaban Foundation, Inc. Herbert* & Grace Zwerner

Patron Partnership and Appassionato Leadership Committee We give special thanks to this dedicated group of Atlanta Symphony Orchestra donor-volunteers for their commitment to each year’s annual support initiatives: Linda Matthews chair

Kristi Allpere Helga Beam Bill Buss

Pat Buss Deedee Hamburger Judy Hellriegel Belinda Massafra Sally Parsonson

June Scott Milt Shlapak Sheila Tschinkel Jonne Walter Marcia Watt

°We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. *Deceased | @AtlantaSymphony | H E N RY S O P K I N CIRCLE

Jill* & Jennings* Hertz Mr. Albert L. Hibbard Richard E. Hodges Named for the Atlanta Symphony Mr.* & Mrs. Charles K. Holmes, Jr. Orchestra’s founding Music Mr.* & Mrs. Director, the HENRY SOPKIN CIRCLE Fred A. Hoyt, Jr. Jim* & Barbara Hund celebrates cherished individuals and Clayton F. Jackson families who have made a planned gift Mary B. James to the Atlanta Symphony Orchestra. Mr. Calvert Johnson & Mr. Kenneth Dutter These special donors preserve deForest F. Jurkiewicz* the Orchestra’s foundation and Herb* & Hazel Karp ensure success for future Anne Morgan & generations. Jim Kelley Bob Kinsey James W.* & Mary Ellen* A Friend of the Bob & Verdery* Kitchell Symphony (22) Cunningham Paul Kniepkamp, Jr. Madeline* & Howell E. John R. Donnell Miss Florence Kopleff* Adams, Jr. Dixon W. Driggs* Mr. Robert Lamy Mr.* & Mrs.* Pamela Johnson Drummond James H. Landon John E. Aderhold Mrs. Kathryn E. Duggleby Ouida Hayes Lanier Mr. & Mrs. Catherine Warren Dukehart* Lucy Russell Lee* & Ronald R. Antinori Ms. Diane Durgin Gary Lee, Jr. Dr. & Mrs. William Bauer Mr. Richard H. Delay & Dr. Ione & John Lee Mr. Charles D. Belcher* Francine D. Dykes Mr. Larry M. LeMaster Neil H. Berman Arnold & Sylvia Eaves Mr.* & Mrs.* Susan & Jack Bertram Mr. & Mrs. William C. Lester Mr.* & Mrs.* Robert G. Edge Liz & Jay* Levine Karl A. Bevins Geoffrey G. Eichholz* Robert M. Lewis, Jr. The Estate of Donald S. & Elizabeth Etoll Carroll & Ruth Liller Joyce Bickers Mr. Doyle Faler Ms. Joanne Lincoln* Ms. Page Bishop Brien P. Faucett Jane Little* Mr.* & Mrs. Sol Blaine Dr. Emile T. Fisher* Mrs. J. Erskine Love, Jr.* Rita & Herschel Bloom Moniqua N Fladger Nell Galt & Will D. Magruder The Estate of Mrs. Mr. & Mrs. Bruce W. Flower Gilbert H. Boggs, Jr. K Maier A. D. Frazier, Jr. W. Moses Bond John W. Markham Nola Frink Mr.* & Mrs. Mrs. Ann B. Martin Betty & Drew* Fuller Robert C. Boozer Linda & John Matthews Sally & Carl Gable Elinor A. Breman* Mr. Michael A. William & Carolyn Gaik James C. Buggs* McDowell, Jr. Dr. John W. Gamwell* Mr. & Mrs.* Dr. Michael S. McGarry Mr.* & Mrs.* Richard H. Burgin Richard & Shirley McGinnis L.L. Gellerstedt, Jr. Hugh W. Burke* John & Clodagh Miller Ruth Gershon & Mr. & Mrs. William Buss Ms. Vera Milner Sandy Cohn Wilber W. Caldwell Mrs. Gene Morse* Micheline & Bob Gerson Mr. & Mrs. C. Merrell Calhoun Ms. Janice Murphy* Max Gilstrap Cynthia & Donald Carson Mr. & Mrs. Mr. & Mrs. John T. Glover Mrs. Jane Celler* Stephen L. Naman Mrs. David Goldwasser Lenore Cicchese* Mr. & Mrs. Bertil D. Nordin Robert Hall Gunn, Jr. Fund Margie & Pierce Cline Mrs. Amy W. Norman* Billie & Sig Guthman Dr. & Mrs. Grady S. Galen Oelkers Betty G.* & Clinkscales, Jr. Roger B. Orloff Joseph* F. Haas Robert Boston Colgin Dr. Bernard* & James & Virginia Hale Mrs. Mary Frances Sandra Palay Ms. Alice Ann Hamilton Evans Comstock* Sally & Pete Parsonson Dr. Charles H. Hamilton* Miriam* & John A.* Conant James L. Paulk Sally & Paul* Hawkins Dr. John W. Cooledge Ralph & Kay* Paulk John & Martha Head Mr. & Mrs. William R. Dan R. Payne Ms. Jeannie Hearn* Cummickel Bill Perkins Barbara & John Henigbaum Mrs. Lela May Perry*

| 43

Mr.* & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce* Reverend Neal P. Ponder, Jr. William L.* & Lucia Fairlie* Pulgram Ms. Judy L. Reed* Carl J. Reith* Mr. Philip A. Rhodes Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers* David F. & Maxine A.* Rock Tiffany & Richard Rosetti Mr.* & Mrs.* Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser Dr. Barbara S. Schlefman Bill & Rachel Schultz Mrs. Joan C. Schweitzer June & John Scott Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. W. G. Shaefer, Jr. Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall* Ms. Margo Sommers Elliott Sopkin Elizabeth Morgan Spiegel Mr. Daniel D. Stanley Gail & Loren Starr Peter James Stelling* Ms. Barbara Stewart C. Mack* & Mary Rose* Taylor Jennings Thompson IV Margaret* & Randolph* Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Mr. Steven R. Tunnell Mr. & Mrs. John B. Uttenhove Mary E. Van Valkenburgh Mrs. Anise C. Wallace Mr. Robert Wardle, Jr. Mr. & Mrs. John B. White, Jr. Adair & Dick White Mr. Hubert H. Whitlow, Jr.* Sue & Neil* Williams Mrs. Frank L. Wilson, Jr. Mrs. Elin M. Winn Ms. Joni Winston George & Camille Wright Mr.* & Mrs.* Charles R. Yates *Deceased

44 | encore CAN’T ATTEND A CONCERT? You may exchange your tickets by 4pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000.

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

WOODRUFF ARTS CENTER BOX OFFICE The Atlanta Symphony Orchestra Box Office is open 3 hours prior to a performance time and closes at the end of intermission. If a performance has no intermission, the Box Office will close 30 minutes after the performance start time. Call 404.733.5000 ext. 3 M – F: 9am-5pm Visit to order anytime. Please note: All artists and programs are subject to change

GIFT CERTIFICATES Available in any amount for any concert, through the box office. Call 404.733.5000. DONATE Donations to the ASO allow us to broaden our audiences locally and globally, reach greater artistic heights, and transform lives through the power of our music. To make a gift, please call 404.733.5079 or visit

ASO | GENERAL INFO LATE SEATING Patrons arriving late will be seated at an appropriate interval in the concert program, determined by the House Manager. Reserved seats are not guaranteed after the performance starts. Late comers may be 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 to make advance arrangements: 404.733.5000.

Atlanta Symphony Associates (Volunteers) 404.733.4485

THE ROBERT SHAW ROOM ASO donors who give $2,500 or more annually gain special access to this private dining room. For more information, please call 404.733.5079.

The Woodruff Arts Center Box Office 404.733.5000 Ticket Donations/ Exchanges 404.733.5000 Subscription Information/ Sales 404.733.4800 Group Sales


Educational Programs


Atlanta Symphony Youth Orchestra


Lost and Found


Donations & Development 404.733.5079 | @AtlantaSymphony |

| 45

ASO | STAFF EXECUTIVE Jennifer Barlament executive director

Alvinetta Cooksey executive & finance assistant

Elise Kolle​ executive assistant to




Tammy Hawk vice president, marketing & communications

Russell Wheeler vice president, sales &

Susan Ambo

revenue management

& vice president,

Delle Beganie content & production

Megan Brook

business operations

front of house manager

Kimberly Hielsberg


Erin Jones

senior director of

senior management

Leah Branstetter


director of digital

Evans Mirageas artistic advisor

Jeffrey Baxter choral administrator

Carol Wyatt executive assistant to the co-artistic advisors

EDUCATION & COMMUNITY ENGAGEMENT Sarah Grant director of education

Ryan Walks talent development program manager

OPERATIONS Sameed Afghani vice president & general manager

Paul Barrett senior production stage manager

Tyler Benware director of orchestra operations

& asyo

Richard Carvlin stage manager

Elizabeth Graiser manager of operations

& asyo

Hsing-I Ho assistant orchestra personnel manager

Victoria Moore director of orchestra personnel


Caitlin Buckers

marketing manager, live

Elizabeth Daniell associate director of communications

chief financial officer

financial planning

sales manager

Ronald MacDuff front of house & guest services supervisor

April Satterfield controller


Jack McCabe teleservices manager

Jesse Pace manager of patron



multimedia creative


manager of grants

Dennis Quinlan


Adam Fenton director of multimedia technology

& season

Grace Sipusic vice president,

Lisa Eng manager, live

data analyst

Robin Smith patron services



Nancy Field


William Keene director of annual giving

& season

Catherine MacGregor

Mia Jones-Walker

ticket associate

assistant manager of

marketing manager


donor engagement

Nicole Panunti vice president, atlanta

individual giving

Rob Phipps director of publications

Bob Scarr archivist & research coordinator

Will Strawn associate director of marketing, live

Madisyn Willis marketing manager

Dana Parness coordinator

symphony hall live

James Paulk

Christine Lawrence

annual giving officer

associate director of

Stephanie Smith

guest services

development services

Joanne Lerner


atlanta symphony hall

Cheri Snyder

event manager

senior director of

Michael Tamucci


event coordinator

Sarah Wilson development operations associate

46 | encore THE WOODRUFF CIRCLE Woodruff Circle members have contributed more than $250,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.


A Friend of the Atlanta Symphony Orchestra

$500,000+ A Friend of the Atlanta Symphony Orchestra A Friend of the Woodruff Arts Center Bank of America Chick-fil-A Foundation | Rhonda & Dan Cathy The Community Foundation for Greater Atlanta Georgia Power Foundation, Inc. The Douglas J. Hertz Family The Home Depot Foundation Sarah and Jim Kennedy SunTrust Trusteed Foundations

$250,000+ A Friend of the Woodruff Arts Center Farideh & Al Azadi Foundation The Molly Blank Fund Helen Gurley Brown Foundation Cathy Cousins Foundation In Loving Memory of Catherine W. Dukehart The Goizueta Foundation Estate of Burton M. Gold Invesco The Marcus Foundation, Inc. The Andrew W. Mellon Foundation PNC The Rich Foundation, Inc. UPS WarnerMedia and AT&T Foundation The Zeist Foundation, Inc. | @AtlantaSymphony |

| 47

THE BENEFACTOR CIRCLE Benefactor Circle members have contributed more than $100,000 annually to support the arts and education work of the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these partners who lead our efforts to help create opportunities for enhanced access to the work.

$100,000+ 1180 Peachtree Alston & Bird American Academy of Arts and Letters The Antinori Foundation Atlanta Homes & Lifestyles Atlantic Station The Arthur M. Blank Family Foundation The John and Rosemary Brown Family Foundation The Estate of Mr. Hugh W. Burke Thalia and Michael C. Carlos Advised Fund City of Atlanta Mayor’s Office of Cultural Affairs Eversheds Sutherland Forward Arts Foundation The Fraser-Parker Foundation Georgia Natural Gas Georgia-Pacific Louise S. Sams and Jerome Grilhot The Halle Foundation Mr. and Mrs. Hilton H. Howell, Jr. The Imlay Foundation, Inc. Institute of Museum & Library Services Jones Day Foundation & Employees

Kaiser Permanente King & Spalding , Partners & Employees Knobloch Family Foundation The Charles Loridans Foundation, Inc. The Henry Luce Foundation, Inc. Morris Manning & Martin LLP National Endowment for the Arts Amy W. Norman Charitable Foundation Northside Hospital Novelis Victoria & Howard Palefsky Patty and Doug Reid The Sartain Lanier Family Foundation The Shubert Foundation Carol & Ramon Tomé Family Fund Triad Foundation The Estate of Mrs. Mary F. Trembath Wells Fargo Rod Westmoreland WestRock Company wish Foundation The David, Helen & Marian Woodward Fund


Mayor’s Office of Cultural Affairs

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

Major funding is provided by the Fulton County Board of Commissioners. | @AtlantaSymphony |

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


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Suwanee Arts Center

There are a million things in Suwanee that you haven’t done. Just you wait.

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