ENCORE ATLANTA :: Atlanta Symphony Orchestra :: September 2021

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September 18 | 8 p.m.


October 3 | 4 p.m.

LEONIDAS KAVAKOS, violin and YUJA WANG, piano November 2 | 8 p.m.



February 18 | 8 p.m.


March 18 | 8 p.m.




February 24–26 | 7:30 p.m.

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

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Co-Artistic Advisors. 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. ASO Staff. .


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4 | encore ASO | IN TUNE Dear Friends of the Atlanta Symphony Orchestra, I am absolutely thrilled to welcome you back to Atlanta Symphony Hall! While the Orchestra continued playing and recording in Symphony Hall over the past 18 months, sending programs to your homes via the all-digital Behind the Curtain series, we have missed a vital element: YOU! Each concert promises to be an emotional reunion and reminds us of how excited we are to be able to come together again to share great music. There are many members of the ASO family to thank for helping make this triumphant return to the stage possible. I'd like to start with our extraordinary Board, led by Chair Janine Brown, for leading the way. Two of our Board members provided particularly vital counsel, without whom we would not have been able to continue: internationally renowned physician and epidemiologist Dr. Carlos del Rio helped us develop health and safety protocols, and lawyer Charlie Sharbaugh spearheaded our approval for the Georgia Film Tax Credit. Thank you, Carlos and Charlie, and to the entire ASO Board for your steadfast counsel and leadership, which paved the way for our return. I also want to thank each and every one of you, our patrons and our donors, for your unwavering support. From tuning in to Behind the Curtain, to generous donations, subscription purchases or words of encouragement, your support has been instrumental in sustaining the ASO. Last but not least, I salute our entire team, musicians, administrative staff and artistic leaders Robert Spano and Sir Donald Runnicles who made personal sacrifices and worked tirelessly in unfamiliar environments to not only keep the music going but to innovate and create thriving new programs. I cannot thank the entire ASO family enough for your continued dedication to this orchestra. We look forward to a season like no other, together again at last. Read more about this season’s offerings on page 16. I hope to see you in Symphony Hall again soon! Warm gratitude,

Jennifer Barlament Executive Director

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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 was 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. Carlos del Rio, M.D. FIDSA Keith Adams

James H. Landon

Fahim Siddiqui

Donna Lee

W. Ross Singletary, II

Juliet M. Allan

Sloane Drake

Sukai Liu

John Sparrow

Susan Antinori

Lynn Eden

Kevin Lyman

Elliott Tapp

Jennifer Barlament*

Angela Evans

Deborah Marlowe

Brett Tarver

Paul Blackney

Craig Frankel

Penelope McPhee†

S. Patrick Viguerie

Rita Bloom

Sally Bogle Gable

Bert Mills

Kathy Waller

Janine Brown

Anne Game

Molly Minnear

Mark D. Wasserman

Justin Bruns*

Bonnie B. Harris

Hala Moddelmog*

Chris Webber

Benjamin Q. Brunt

Charles Harrison

Terence L. Neal

John B. White, Jr.

C. Merrell Calhoun

Caroline Hofland

Galen Lee Oelkers

Richard S. White, Jr.

S. Wright Caughman, M.D.

Tad Hutcheson, Jr.

Howard D. Palefsky

Roya Irvani

Cathleen Quigley

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

Susan Clare

Nancy Janet*

James Rubright

Russell Currey

Randolph J. Koporc

William Schultz

Erroll Brown Davis, Jr.

Carrie Kurlander

Charles Sharbaugh


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

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10 | encore ASO | 2021/22 Musician Roster

FIRST VIOLIN David Coucheron concertmaster

The Mr. and Mrs. Howard R. Peevy Chair

Justin Bruns associate concertmaster

The Charles McKenzie Taylor Chair

Vacant assistant concertmaster

Jun-Ching Lin

Dae Hee Ahn Robert Anemone Sharon Berenson Noriko Konno Clift David Dillard Sheela Iyengar** Eleanor Kosek Ruth Ann Little Rachel Ostler

The Wells Fargo Chair

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 SECOND VIOLIN Vacant


The Frances Cheney Boggs Chair

Jay Christy


The Edus H. and Harriet H. Warren Chair

Paul Murphy associate principal

The Mary and Lawrence Gellerstedt Chair

Catherine Lynn assistant principal

Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp CELLO Rainer Eudeikis

acting associate / assistant

Brad Ritchie BASS Joseph McFadden principal

The Marcia and John Donnell Chair

Gloria Jones Allgood The Lucy R. & Gary Lee Jr. Chair

Brittany Conrad** Karl Fenner Michael Kenady The Jane Little Chair

Michael Kurth Daniel Tosky FLUTE Christina Smith principal

The Jill Hertz Chair

Robert Cronin associate principal

C. Todd Skitch Gina Hughes PICCOLO Gina Hughes

Daniel Laufer

OBOE Elizabeth Koch Tiscione

associate principal


The Livingston Foundation Chair

The George M. and Corrie Hoyt Brown Chair

The Miriam and John Conant Chair

The Atlanta Symphony Associates Chair

Sou-Chun Su acting / associate

VIOLA Zhenwei Shi



The UPS Foundation Chair

associate principal

assistant concertmaster

Anastasia Agapova Kevin Chen Carolyn Toll Hancock

Thomas Carpenter Joel Dallow

Karen Freer assistant principal

Zachary Boeding

Dona Vellek

associate principal

assistant principal emeritus


The Kendeda Fund Chair

Samuel Nemec Emily Brebach

Players in string sections are listed alphabetically

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Robert Spano

co-artistic advisor

The Robert Reid Topping Chair

Sir Donald Runnicles principal guest conductor co-artistic advisor

The Neil & Sue Williams Chair

ENGLISH HORN Emily Brebach CLARINET Laura Ardan principal

The Robert Shaw Chair

Jerry Hou

Norman Mackenzie

associate conductor;

director of choruses

music director of the atlanta symphony youth orchestra

The Frannie & Bill Graves Chair

The Zeist Foundation Chair

Kimberly Gilman Chelsea McFarland** Bruce Kenney

PERCUSSION Joseph Petrasek

TRUMPET Stuart Stephenson

William Wilder


The Mabel Dorn Reeder Honorary Chair

The Madeline and Howell Adams Chair

Ted Gurch

Michael Tiscione

associate principal

associate principal

Marci Gurnow Alcides Rodriguez

Anthony Limoncelli Mark Maliniak




The Julie and Arthur Montgomery Chair assistant principal

The William A. Schwartz Chair

Michael Stubbart

The Connie and Merrell Calhoun Chair

HARP Elisabeth Remy Johnson principal

BASS CLARINET Alcides Rodriguez BASSOON Andrew Brady principal

The Abraham J. & Phyllis Katz Foundation Chair

Anthony Georgeson associate principal

Laura Najarian Juan de Gomar CONTRA-BASSOON Juan de Gomar



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

The Hugh and Jessie Hodgson Memorial Chair

Nathan Zgonc acting / associate principal Jeremy Buckler** Brian Hecht* Luke Sieve•** BASS TROMBONE Brian Hecht* Luke Sieve•**

The Home Depot Veterans Chair

TUBA Michael Moore principal

The Delta Air Lines Chair

HORN Jaclyn Rainey principal

The Betty Sands Fuller Chair

Susan Welty associate principal

The Sally and Carl Gable Chair

TIMPANI Mark Yancich principal

The Walter H. Bunzl Chair

Michael Stubbart assistant principal

Peter Marshall † Sharon Berenson LIBRARY Katie Klich principal

The Marianna & Solon Patterson Chair

Holly Matthews assistant principal librarian

Hannah Davis asyo / assistant


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

12 | encore

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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 Bruce Flower John Fuller Sally George Nancy Harrison Sally Hawkins Mia Hilley Justin Im

Brian & Ann Kimsey Jason & Michelle Kroh Scott Lampert Belinda Massafra Bert Mobley Anne Morgan Tatiana Nemo Regina Olchowski Swathi Padmanabhan Margaret Painter Eliza Quigley 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 Kiki Wilson Taylor Winn David Worley Nanette Wenger Camille Yow

For more information about becoming an Advisory Council member, please contact Cheri Snyder at cheri.snyder@atlantasymphony.org or 404.733.4904.

14 | encore

Welcome Home: Celebrating a Return to Atlanta Symphony Hall

By Kate Rogers


he 2021/22 season of the Atlanta Symphony Orchestra signals a triumphant return to live music with new and rare works paired with timeless classics. International virtuosi grace this season’s programs alongside Atlanta’s own renowned musicians, with performances sure to excite all audiences. Here are some highlights you will not want to miss.

Garrick Ohlsson David Coucheron Miloš Karadaglić

Denyce Graves

Gemma New

Avi Avital

Xavier Foley Nathalie Stutzmann

Stephen Hough

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


| 15

This season is filled with breathtaking pieces that push the boundaries of orchestral instruments and explore new musical possibilities. Peter Herresthal performs Dark with Excessive Bright under the baton of Philadelphia Orchestra Principal Guest Conductor Nathalie Stutzmann (October 13/14). In this piece penned by Brooklynbased composer Missy Mazzoli, the violin takes up the role of historian, and soaring lines and expressive passages lead us on a fascinating journey through new angles on music from the past. The work is followed by Tchaikovsky’s Symphony No. 5, a pillar of the orchestral romantic literature. Stutzmann returns in March to conduct another iconic masterwork, Mozart’s Requiem (March 17/18). World-renowned guest artists will delight with their performances throughout the season. Midori’s technical finesse and impassioned playing are sure to shine in her presentation of Tchaikovsky’s Violin Concerto (October 21/23/24). In February, triple threat Dmitry Sinkovsky leads the orchestra through a night celebrating virtuosity. After performing Vivaldi’s Il favorito concerto on violin, Sinkovsky pairs his clear countertenor voice with Atlanta-based soprano Georgia Jarman in arias by Handel and Mozart. The concert concludes with Sinkovsky stepping to the podium to conduct Mozart’s breathtaking “Jupiter” Symphony (February 10/12/13). Michelle Cann makes her ASO debut this March with a performance of Florence Price’s Piano Concerto in One Movement (March 3/5). A champion of Price and her music, Dmitry Cann has been instrumental in Sinkovsky making Price’s works known today. She describes the piano concerto as “a constant mix of originality, inspiration, and traditions from Western classical music to African

Alisa Weilerstein


16 | encore American music and American music.” The concerto’s themes draw on the musical language of African American spirituals, and the lyrical melody in the middle section of the piece features plaintive, improvisatory-like passages. The concerto concludes with a section built around syncopated rhythmic figures inspired by Juba, an African American antebellum folk dance. This season also features performances on instruments not often heard with a symphony orchestra. Renowned classical guitarist Miloš Karadaglić will dazzle audiences with the United States premiere of Ink Dark Moon, a concerto written for him by Joby Talbot (January 20/22). Inspired by Karadaglić’s Montenegrin roots, Talbot weaves Balkan dance rhythms throughout the piece, while exploring timbres and virtuosic techniques unique to classical guitar. The concerto’s solemn and mysterious opening is answered by the technical fireworks of the last movement. Under the baton of Carlos Kalmar, accordionist Ksenija Sidorova performs Aconcagua by Argentinian composer Astor Piazzolla (February 3/5). Nicknamed after the tallest mountain in South America, the piece takes the audience to the accordion’s heights with a sizzling tango, a contemplative slow movement, and danceable finale. Grammy®-nominated mandolinist and audience favorite Avi Avital provides his rendition of a brand-new concerto by Jennifer Higdon later this season (March 31, April 2). Atlanta Symphony Orchestra’s own principal players will showcase their talents throughout the season. Principal Viola Zhenwei Shi performs the viola concerto by British composer William Walton (February 24/26). Originally rejected by viola pioneer Lionel Tertis for its modern aesthetic, the piece has now become a staple of the repertoire. Principal Cello Rainer Eudeikis brilliantly executes Shostakovich’s Cello Concerto No. 1, one of the most difficult

Miloš Karadaglić

Jacquelyn Stucker

Michelle Cann

Marc-André Hamlin Ksenija Sidorova

Saleem Ashkar

Kelley O’Connor

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pieces composed for the instrument (May 12/14). In the final movement of this piece, Shostakovich voices opposition to the repressive Soviet regime by musically satirizing a theme from “Suliko,” one of Joseph Stalin’s favorite songs. Lovers of low strings will be happy to note that this season also features not one but two double bass concerti. Vanhal’s Double Bass Concerto, performed by Principal Bass Joseph McFadden, highlights the wistful nature and extensive register of the instrument (September 23/25). On the more modern side, ASO Talent Development Program alumus Xavier Foley will give a world premiere of his very own bass concerto later in the season (March 24/26). In April, Concertmaster David Coucheron presents an epic performance of Bruch’s Scottish Fantasy (April 21/23). The piece quotes a variety of Scottish folk melodies, and the gorgeous harp solos, played by Principal Harp Elisabeth Remy Johnson, further immerse the listener in the rolling Scottish highlands. In May, Principal Oboe Elizabeth Koch Tisione performs Alessandro Marcello's best-known work, his Oboe Concerto.(May 26/28). In May, the ASO welcomes opera to the symphonic stage with Act III of Verdi’s Aida, with Denyce Graves and Michelle Bradley starring in this operatic masterwork (May 19/20). We also can look forward to exhilarating performances of symphonies by Mahler, Schubert and Brahms. Music’s power to inspire, tell stories and ignite the imagination is ever present this season, and you don’t want to miss this momentous return to the stage!

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MAY 8 | SUN: 3PM

The Kanneh-Mason Recital BEETHOVEN: Cello Sonata No. 4 SHOSTAKOVICH: Cello Sonata BRIDGE: Cello Sonata BRITTEN: Cello Sonata Sheku Kanneh-Mason, cello Isata Kanneh-Mason, piano MAY 21 | Sat: 8pm

Itzhak Perlman TCHAIKOVSKY: Symphony No. 4 VERDI: Overture to I vespri Siciliani BRUCH: Violin Concerto Nicola Luisotti, conductor Itzhak Perlman, violin

Isata & Sheku Kanneh-Mason Itzhak Perlman

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

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Coming Up VERDI: Overture to La forza del destino MISSY MAZZOLI: Dark with Excessive Bright TCHAIKOVSKY: Symphony No. 5

Nathalie Stutzmann conductor

OCT 13/14 RAMEAU: Suite from Les Indes galants JOHN ADAMS: The Chairman Dances OSVALDO GOLIJOV: Azul

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

NOV 4/6

21/22 SEASON

J.LEE III: Sukkot Through Orion’s Nebula TCHAIKOVSKY: Violin Concerto SCHUMANN: Symphony No. 4 Juanjo Mena, conductor

Midori violin

OCT 21/23/24 COPLAND: Fanfare for the Common Man MICHAEL GANDOLFI: Concerto for Piano

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

NOV 18/20

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



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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 The Estate of Catherine Warren 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 to the ASO Stability Fund since March 2020.

22 | sep9/10/11 Concerts of Thursday, Sep. 9, 2021 8:00pm Friday, Sep. 10, 2021 8:00pm Saturday, Sep. 11, 2021 8:00pm ROBERT SPANO, conductor GARRICK OHLSSON, piano

LUDWIG VAN BEETHOVEN (1770–1827) Symphony No. 5 in C Minor, Op. 67 (1808) 34 MINS I. Allegro con brio II. Andante con moto III. Scherzo: Allegro (attacca) IV. Allegro INTERMISSION LUDWIG VAN BEETHOVEN (1770–1827) Concerto No. 5 in E-Flat Major for Piano and Orchestra, Op. 73, “Emperor” (1811) I. Allegro II. Adagio un poco mosso (attacca) III. Rondo: Allegro ma non troppo Garrick Ohlsson, piano

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.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


39 mins


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by Noel Morris Program Annotator

Symphony No. 5 in C Minor, Op. 67 Symphony No. 5 is scored for three flutes, two oboes, two clarinets, three bassoons, two horns, two trumpets, three trombones, timpani and strings.


t has one of the most famous openings ever written; a grab-you-by-the-collar idea that transcends nationality, language and time. In World War II, when “V for victory” went viral among Allied peoples, Beethoven’s Fifth Symphony also went viral—that fournote opening spells “V” in Morse code ( ··· - ). In spite of Beethoven having been German, the French patriot Maurice van Moppes wrote words to Beethoven’s melody, calling it “Chanson de V,” a song which was printed on pamphlets and airdropped into occupied France. It isn’t often that a musician can light a fire with just four notes. It was a spectacularly successful inspiration that doesn't just open a symphony, it begets a symphony. It is the brick with which Beethoven fashions the entire building (just for fun, try counting the number of times you hear that rhythmic pattern).

In the early years of the 19th century, Beethoven was a star pianist performing and teaching (mostly) in the noble houses of Vienna. Because ideas were constantly popping into his head, he carried a sketchbook. Whatever he was doing—hiking in the woods, dining at a favorite inn—he would stop to write them down. From one sketchbook dated 1803 and 1804 come the seeds of concertos, his opera Fidelio and his Third, Fifth and Sixth Symphonies. It’s no coincidence that the fournote rhythm which gave rise to the raging Fifth is elemental to the sublimely serene Fourth Piano Concerto; the opening music of each appears side-by-side in that sketchbook. Beethoven would continue to work on the Fifth Symphony off and on until completing the piece in early 1808. If its sheer life force says something about the composer’s spirit, it belies the condition in which he lived. Already, his hearing was beginning to fail; he had suffered from a series of illnesses, and an infection in one of his fingers which interfered with his ability to play the piano.

First ASO Performance: December 17, 1949, Henry Sopkin, conductor Most Recent ASO Performances: May 9 and 11, 2019, Robert Spano, conductor.

24 | encore Politically, his hometown of Vienna had suffered under the occupation of Napoleon and his troops. Personally, Beethoven was constantly quarreling with the people who had been his closest allies—not a recipe for happiness. On a frigid day in December of 1808, Beethoven rented a concert hall and hired a pick-up orchestra and chorus to give “a concert for his own benefit.” The Viennese audience filed into the cavernous, unheated space to witness the premieres of his Fifth and Sixth Symphonies, his Fourth Piano Concerto and his Choral Fantasy, among other works—all were sadly underrehearsed. It was a fiasco. One sympathetic witness wrote: “There we sat, in the most bitter cold, from half past six until half past ten, and confirmed for ourselves the maxim that one may easily have too much of a good thing.” It was an audacious move on Beethoven’s part, a fitting premiere for the Fifth Symphony. First ASO Performance: January 22, 1953, Eugene Istomin, piano, Henry Sopkin, conductor Most Recent

Concerto No. 5 in E-Flat Major for Piano and Orchestra, Op. 73, “Emperor” In addition to the solo piano, the Concerto No. 5 is scored for two flutes, two oboes, two clarinets, two bassoons, two horns two trumpets, timpani and strings.


o one knows how the “Emperor” Concerto got its nickname. It’s a moniker that fits the character of the music perfectly, but it does not Jorge Federico Osorio, piano, fit Beethoven at all. He had little affection for emperors. Robert Spano, conductor. In fact, in 1803, he was elated by rumors of a great liberator sweeping across Europe. He thought Napoleon would be that liberator and dedicated a “Bonaparte Symphony” to him, until Napoleon placed a crown upon his own head. Beethoven destroyed the dedication and retitled the piece “Eroica.” ASO Performances:

January 25 and 27, 2018,

Beethoven’s own emperor was alarmed by the abolition of the French monarchy. Upon his coronation in 1792, Franz II, Holy Roman Emperor, declared war on France and dispatched spies around Vienna to suppress rumblings of liberty and democracy. In 1805, the two emperors spoiled Beethoven’s efforts to launch his only opera; Franz’s censors pulled Fidelio for having seditious overtones. And then, just as Beethoven prepared to premiere a revised version, Napoleon invaded

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The Fifth Piano Concerto was composed during Napoleon’s second occupation of Vienna. Starting in May of 1809, the French laid siege to the city and pounded the perimeter with howitzers. Quickly, the nobility and the army got out of town, leaving the rest of the citizenry to feed, house and otherwise submit to the French soldiers. “What a destructive and disorderly life I see and hear around me,” Beethoven wrote, “nothing but drums, cannons and human misery in every form.” At one point, the composer is said to have taken shelter in his brother’s basement, pressing pillows to his head to preserve what was left of his hearing. He wrote the Fifth Concerto that same summer. Beethoven was a new breed of musician. The piano, invented around 1700, had only recently become widespread, and his was the first generation to come of age on the instrument. Realizing its dramatic potential, he wrote concertos to show off his skills as a player, but sadly ran out of time with this last concerto. The first known public performance took place in Leipzig, two years after he wrote it, and featured another player—Beethoven’s hearing was too far gone. When the piece made its way home to Vienna in 1812, an unconfirmed report claims that a French soldier was so moved by its scope and its grandeur, he shouted “C’est l’Empereur!”


Vienna and scattered the opera audience. Fidelio was a box office disaster.

26 | meettheartists You may read ROBERT SPANO'S biography on page 7. GARRICK OHLSSON, PIANO



ianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Ohlsson commands an enormous repertoire ranging over the entire piano literature, and he has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date, he has at his command more than 80 concertos. In 2018/19 season, he launched an ambitious project exploring the complete solo piano works of Brahms to be heard in New York, San Francisco, Montreal, Los Angeles, London. A frequent guest with orchestras in Australia, he accomplished a seven-city recital tour across Australia just prior to the closure of the concert world due to COVID-19. Since that time, and as a faculty member of San Francisco Conservatory of Music, he has been able to contribute to keeping music alive for a number of organizations with live or recorded recital streams. An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, Tokyo and Takacs string quartets, including most recently Boston Chamber Players on tour in Europe. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the FOG Trio. Passionate about singing and singers, Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion and Virgin Classics labels.

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Albert Watson, Sebastian Cardin in Issey Miyake (1989)



28 | sep17/18 Concerts of Friday, Sep. 17, 2021 8:00pm Saturday, Sep. 18, 2021, 8:00pm

RICHARD STRAUSS (1864–1949) Don Juan, Op. 20 (1889) 18 MINS CONRAD TAO (b. 1994) Violin Concerto (2021) Stefan Jackiw, violin




ROBERT SPANO, conductor

ALVIN SINGLETON (b. 1940) Different River (2012)



RICHARD STRAUSS (1864–1949) Till Eulenspiegels lustige Streiche, Op. 28 (1895)


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by Noel Morris Program Annotator

Don Juan, Op. 20

First ASO Performance:

Don Juan is scored for three flutes, three oboes, two clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.

March 16, 1954,


Henry Sopkin, conductor. Most Recent ASO Performances:

April 27 and 29, 2017, y father was “vehement, irascible, tyrannical.” Vasily Petrenko, conductor Thus spoke Richard Strauss. For over 40 years, Franz Strauss played horn in the Bavarian Court Orchestra. His footprint in the musical life of young Richard, and of Germany, was considerable. He was an ardent musical conservative, a classicist who “worshipped the trinity of Mozart (above the others), Haydn and Beethoven,” said Richard.

The elder Strauss couldn’t bear the musical shockwave issuing from the pens of Liszt and Wagner—though he played the premieres of several Wagner operas. So cantankerous was he, when Wagner died, he refused to stand in observance with his fellow musicians. “Strauss is a detestable fellow,” Wagner had quipped, “but when he plays the horn, you can’t be angry with him.” Even as Franz championed the past, there was a modernist giant developing underneath his own roof. He had trained young Richard to ably sit at the piano and accompany him in the Mozart concertos; but when he had the chance, the younger Strauss stole peeks at the scores of Richard Wagner. In honor of his high school graduation, Richard persuaded his father to take him to Bayreuth to see a production of Parsifal. In 1885, Richard, then 21 years old, began working as an assistant to the esteemed Wagnerian conductor Hans von Bülow, the music director of the Meiningen Court Orchestra. Within a few months, Bülow took another post; the youth took his place. By this time, Strauss had written two symphonies, a violin concerto, a mass and dozens of other works, all fitting into traditional classical forms and rarely played today. In 1886, a trip to Italy inspired something different: a symphonic poem depicting four Italian landscapes. Strauss' Aus Italien paints vivid scenes in the style of Franz Liszt—a composer he would arguably eclipse.

30 | encore Immediately, Richard Strauss set to work on his second tone poem, Macbeth. Still not completely abandoning his classical upbringing, he labored to tell Shakespeare’s tale in sonata form, a structure favored by composers a hundred years before. Working with one foot in the past and one in the future, Strauss struggled over Macbeth; classical models weren’t working for him. Both Hans van Bülow and the elder Strauss urged the young composer to make revisions, but Richard was already at work on his sizzling showpiece Don Juan. For his source material, young Strauss (he was only 24) looked to a dramatic poem on the subject by the Nikolaus Lenau, who had left the play unfinished at his death. Strauss included quotes from Lenau’s work in his score. From it, we get a different version of the legendary lover: where Mozart’s Don Giovanni (known to Strauss through his conducting), lived to seduce as many women as possible, Lenau’s Don Juan is driven by the pursuit of the ideal woman. Frustrated, bored and disinterested in life, Lenau’s Don Juan allows himself to be killed in a duel. “The fuel is all consumed and the hearth is cold and dark,” reads the Lenau quote in Strauss’s score. And thus ends the tone poem. On November 11, 1889, Richard Strauss conducted the premiere of Don Juan in Weimar; it launched his career as a composer and is widely considered a masterpiece. Violin Concerto (World Premiere) Violin Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, percussion, harp and strings.


onrad Tao has appeared worldwide as a pianist and composer. He is the recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist—an honor awarded every two years highlighting the most promising American pianists of the new generation. As a composer, he was also the recipient of a 2019 New York Dance and Performance “Bessie” Award, for Outstanding Sound Design / Music Composition, for his work on More Forever, his collaboration with dancer and choreographer Caleb Teicher. Conrad Tao has recently appeared as soloist with the Los

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Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, and Boston Symphony. As a composer, his work has been performed by orchestras throughout the US; his first large scale orchestral work, Everything Must Go, was premiered by the New York Philharmonic in 18–19, and will be premiered in Europe by the Antwerp Symphony in 21–22. He will also make his London solo recital debut at the Wigmore Hall, and will appear in recital throughout North America, including Boston, New York, Washington and Seattle. Tao’s Bessie Award-winning dance work with Caleb Teicher, More Forever, will continue to tour North America, including performances at Cal Performances in Berkeley and Fall for Dance North in Toronto. Other collaborations include his duo work Counterpoint, also with Caleb Teicher, and a multi-city tour with violinist Stefan Jackiw and cellist Jay Campbell, as a member of the Junction Trio. Tao was born in Urbana, Illinois in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis. FROM THE COMPOSER:


hile I was working on writing this piece, I was thinking about the experience of being online during the first several months of the pandemic. Streams of information and misinformation overlapping, competing for our distracted attention. Connecting through a screen as the primary means of staying socially nourished. Struggling to find internal peace in the chaos. Like many, I found calm in time spent outdoors. Focusing on the ebb and flow of the Hudson River, listening intently to traffic noise and leaves commingling in the wind, finding a shore of mysteriously stacked stones while walking north along the water—it all kept me in the present, in my body, and in my life. My violin concerto is all about line. It opens with a series of dyads played by the solo violinist, followed by a descending gesture played by the clarinet. These first bars set in motion the main engines for the piece, the space between the violin’s initial notes articulating a line that carves through the entire piece, interacting variously with

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32 | encore colliding harmonies and layered rhythms in the orchestra. The music then condenses into a simple song in B Major—I knew I was writing this piece for Stefan, and I knew I wanted to give him a melody to really sing through—before the finale, which begins spaciously, rapid and airy solo violin lines interacting with sparse interjections from the surrounding environment. The clarinet’s opening gesture, which has been compressing over the course of the piece’s three movements, helps move the music through several key areas, getting ever more anxious, before soloist and orchestra both burst out into a sustained and shared ecstatic release. First ASO Performances: May 10, 11, and 12, 2012, Robert Spano, conductor (world premiere) Most Recent ASO Performances:

Different River Different River is scored for three flutes, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.


lvin Singleton was born in Brooklyn, New York, in 1940. His unique musical voice is the product Robert Spano, conductor of his richly diverse educational and cultural background. Singleton studied at New York University, Yale University, and, as a Fulbright scholar, with Goffredo Petrassi at the Accademia Nazionale di Santa Cecilia in Rome. Numerous and varied styles of music influenced his works. Growing up, he was fascinated by such artists as the Beatles, John Coltrane, James Brown and Mahalia Jackson. Singleton was also profoundly influenced by the gospels and spirituals that resounded in his family’s church. April 7 and 8, 2016,

Singleton served as Resident Composer at Spelman College (1988–91), as UNISYS Composer-in-Residence with the Detroit Symphony Orchestra (1996–97), and Composer-inResidence with the Ritz Chamber Players of Jacksonville, Florida (2002–03). In addition, he has served as Visiting Professor of Composition at the Yale University School of Music. In 2004, Singleton joined the American Composers Orchestra as “Music Alive” Composer-in-Residence and Artistic Advisor for the IMPROVISE! Festival, and in 2008, he served as Composer-in-Residence in Tirana, Albania. Singleton’s compositions have been performed by major orchestras worldwide. International festivals that have

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programmed his music include Chamber Music Northwest in Portland, Tanglewood, Aspen, Bravo! Colorado, Music from Angel Fire in New Mexico, Cincinnati May Festival, Cabrillo Music Festival, Bang on a Can, the National Black Arts Festival in Atlanta, Other Minds in San Francisco, Festival Miami, the Vienna Summer Festival, Pro Musica Nova in Bremen, the Styrian Autumn Festival in Graz, Nuova Consonanza Festival in Rome, the Brussels ISCM World Music Days and IRCAM in Paris. After his studies in Rome, Singleton remained in Europe for 14 years, where he received numerous awards for his works. While in Paris, he met Robert Shaw, then the Music director of the Atlanta Symphony Orchestra. This meeting ultimately led to Singleton’s appointment as Composer-inResidence for the ASO, a post he held from 1985–88. Different River For a century or more the trend for so many composers of creative music has been to put the emphasis of their work on self-expression with ever-less regard for listeners, even sophisticated ones. Certain composers have even boasted that they don’t want their works understood; or as one said, he writes for his colleagues. Alvin Singleton, on the other hand, has typically achieved the distinct accomplishment of writing music that is both attractive to hear and intellectually challenging in a way that also invites listeners to join him in some sonic and/or structural guessing game. Different River is certainly a case in point. Scored for full orchestra with extra percussion, this onemovement work lasts about 25 minutes. Of the title the composer writes: it is “about an ever-changing perspective on a river that is always moving...Each time you step in you’re at a different place.” Are we in this river or observing it? And of what is it made (composed)? Strange objects float by. Intensely themselves, they may be the mystical-though-annunciatory percussion utterance that opens Different River. Or the galloping 16th notes from mallet instruments that follows, or the contrasting long, long tones of strings and woodwinds, or a brass fanfare, the sweet mumblings of solo harp, and then

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34 | encore a stretch of silence. Unlike in many of his works, Singleton here seems not to favor any of these as the “theme” that wins out in the end. Each element that enters and passes is bright, clear, and strong. There are moments when elements gather, crash together, and suggest “climax.” But the true theme of Different River is the listener’s experiencing the rolling by of disparate musical passages. River-like, each impresses (intrigues?) us, and like the river of life, all passes on. — Notes by Carman Moore First ASO Performance: March 31, 1951, Henry Sopkin, conductor Most Recent ASO Performances: January 23 and 25, 2020,


James Gaffigan, conductor

Till Eulenspiegels lustige Streiche, Op. 28 Till Eulenspiegels lustige Streiche is scored for four flutes, four oboes, four clarinets, four bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.


here is a 1915 National Geographic photograph of a square in the Lower Saxon town of Brunswick with half-timbered buildings and a quirky bronze fountain in front. The fountain’s subject is not an imposing war hero, but the scrawny Till Eulenspiegel grinning at a gathering of owls and monkeys. With his sleeves rolled up and a shoe dangling off the toes, the fountain memorializes the insouciant prankster, right at the entrance to a bakery that, until 1944, served rolls in the shape of owls and monkeys. Most of those buildings fell in World War II, but the Till Eulenspiegel Fountain survived. The story goes that it was at that bakery that Till impersonated a baker. When his boss left him with bread dough and ordered him to get busy, the imposter said, “What do I do with it?” “Make owls and monkeys,” snapped the baker. That night, instead of producing loaves of bread, Till Eulenspiegel turned out baskets full of owls and monkeys. The next day, the baker fired him. But the swindler got the last laugh, selling his critter-shaped buns to happy townspeople. A jester, a con artist and a practical joker, the legend of Till Eulenspiegel entered the hearts of the German people through a new popular pastime: literature. It was in the early 16th century that literacy expanded following the advent of the printing press. Packed with potty humor,

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this picaresque comedy delighted that new, less-refined audience. By the mid-16th century, the legend jumped the English Channel with the phrase, “Here beginneth a merye Jest of a man that was called Howleglas” (Eulenspiegel translates into a compound word: owl + mirror). Till’s legend became the subject of an 1867 novel by Charles de Coster and, as recently as 2014, inspired a TV movie. One cannot overstate the facility with which Richard Strauss turned personalities and pictures into music. From busybody music critics to a knight’s battle with windmills, the physical world was a great source of inspiration. Initially, the composer wanted to write an opera about the naughty Till, but confessed, “The figure of Master Till Eulenspiegel does not quite appear before my eyes.” In 1894, he produced the exuberant symphonic poem, Till Eulenspiegel’s Merry Pranks, after the Old Rogue’s Tale, Set in Rondo Form for Large Orchestra, but resisted providing specifics: “Any words into which I might put the thoughts that the several incidents suggested to me would hardly suffice; they might even offend.” Eventually, Strauss did offer more details, acknowledging he had envisioned a series of episodes: Till charging on horseback through a crowded market, Till impersonating a priest and flirting with a pretty girl, a spat with academics, and his trial and execution. Accounts of the historical and elusive Till Eulenspiegel, born in 1300, vary widely. In some versions, he paid for his misdeeds with his life (if he lived at all), yet there survives an early account of a tombstone in Mölln stating he succumbed to the Black Death in 1350. According to tradition, Till’s victims included a king, the clergy, doctors, tradesmen and peasants. It often became necessary for him to get out of town quickly, which pushed his reputation—and his exploits—to cities across Europe. Strauss’ tone poem opens with a little introductory music, as if to say, “Once upon a time.” There follows one of Strauss' famous themes ever written for French horn, a whimsical tune representing the title character. A second tune sounding in the clarinet, a faster version of the ‘Once upon a time’ music, represents Till’s laughter.

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36 | encore Strauss wove these themes throughout the piece, and changed them constantly to suggest a quick-witted, everchanging character. In the end, a furious drum roll and a thundering denunciation by the low brass signal Till’s meeting with the gallows. He lets out a shriek in the clarinet before falling silent. According to legend, Till Eulenspiegel left a few pranks to be played from beyond the grave. In Strauss’s score, the 'Once upon a time' theme follows the execution, and the immutable Till roars back to deliver an orchestral kick in the pants. fig. 1

fig. 2

Strauss wove these themes throughout the piece, and changed them constantly to suggest a quick-witted, everchanging character. In the end, a furious drum roll and a thundering denunciation by the low brass signal Till’s meeting with the gallows. He lets out a shriek in the clarinet before falling silent. According to legend, Till Eulenspiegel left a few pranks to be played from beyond the grave. In Strauss’s score, the 'Once upon a time' theme follows the execution, and the immutable Till roars back to deliver an orchestral kick in the pants.

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You may read ROBERT SPANO'S biography on page 7. STEFAN JACKIW, VIOLIN


In Summer 2021, Jackiw returned to the Cleveland Orchestra with Rafael Payare, the Boston Symphony with Alan Gilbert, and the Aspen Music Festival performing the Beethoven Triple Concerto, alongside Alisa Weilerstein and Inon Barnatan.


tefan Jackiw is one of America’s foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others.

Before the outbreak of COVID-19, Jackiw was scheduled to appear with the Los Angeles Philharmonic, Philadelphia Orchestra, Vancouver Symphony, Konzerthausorchester Berlin, Royal Scottish National Orchestra, and Antwerp Symphony, among others. In the 2021–2022 season, highlights include performances with the NDR Elbphilharmonie Orchestra and Alan Gilbert, and with Orchestre National de Lyon under Nikolaj Znaider. In July 2020, he launched Stefan’s Sessions, a virtual masterclass series exploring major works with up-and-coming violinists. Jackiw also tours frequently with his musical partners, pianist Conrad Tao and cellist Jay Campbell, as part of the Junction Trio. Born to physicist parents of Korean and German descent, Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. Jackiw plays a violin made in 1750 in Milan by G.B. Guadagnini, on generous loan from a private collection.

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38 | sep23/25 Concerts of Thursday, Sep. 23, 2021 8:00pm Saturday, Sep. 25, 2021 8:00pm SHIYEON SUNG, conductor JOSEPH MCFADDEN, double bass

JOSEPH HAYDN (1732–1809) Symphony No. 102 in B-Flat Major, Hob. I:102 (1795) I. Largo — Vivace II. Adagio III. Menuetto — Trio, Allegro IV. Finale, Presto JOHANN BAPTIST VANHAL (1739–1813) Double Bass Concerto I. Allegro moderato II. Adagio III. Allegro Joseph McFadden, double bass INTERMISSION JOHANNES BRAHMS (1833–1897) Serenade No. 2 in A Major, Op. 16 (1860) I. Allegro moderato II. Scherzo, Vivace – Trio III. Adagio non troppo IV. Quasi menuetto – Trio V. Rondo, Allegro

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.

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by Noel Morris Program Annotator

Symphony No. 102 in B-Flat Major, Hob. I:102

First ASO Performance:

Symphony No. 102 is scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings.

April 26, 1973,


Robert Shaw, conductor. Most Recent

ASO Performances: n 1761, Franz Joseph Haydn must have been giddy November 5, 6, and 7, 1992, about his new job with the powerful Esterházy Yoel Levi, conductor. family. He had been a country boy, born to a poor family. When he won a spot in the famed Vienna Boys’ Choir in 1750, he got a free ride—schooling, room and board—although he often complained of hunger. After his voice changed, he was on his own. A job with the Esterházys was his ticket to stability—and so much more.

This new appointment would become one of music’s great marriages between genius and circumstance: Haydn donned a servant’s uniform and followed his prince to various palaces, but he worked primarily at a sprawling estate called Esterháza, just inside the Hungarian border. In those years, Esterháza served as a destination for Europe’s most powerful people—and a veritable laboratory for music. The prince provided Haydn with singers, an orchestra, an opera house and a puppet theater; and Haydn created. He wrote hundreds of works, dozens of symphonies and conducted over a thousand operas. By the end of 1789, after almost three decades with the Esterházys, Haydn was among the most famous composers in the world, yet remained, for all intents and purposes, the exclusive property of his prince. And it seems Haydn was feeling some burnout. After having spent a joyous Christmas season in Vienna, where he hustled between concerts, quartet parties and holiday festivities, he bemoaned his return to the Hungarian estate. “Well, here I sit in my wilderness,” he wrote, “forsaken, like some poor orphan.” Little did he know, his life was about to change forever. On September 28, Prince Nikolaus died, leaving his title and estate to his son, a man who was not a music lover. The new prince released Haydn and his orchestra. With a decent pension in his pocket, Haydn packed up his music and went home to Vienna. Enter Johann Peter Salomon.

40 | encore Salomon was a violinist and composer from Bonn, a man coincidentally born at 515 Bongasse, the same house in which Beethoven was born. Although Salomon was by all accounts a fine musician, he’s best remembered as the impresario who paid Haydn to go to London. On January 1, 1791, Haydn stepped onto English soil and into one of the happiest periods of his life. It seems he found love, wrote some 250 compositions, including twelve symphonies, made a lot of money and became acquainted with the royal family. His Symphony No. 102 was first performed at the King’s Theatre on February 2, 1795, a historic occasion that has been somewhat muddled over the years. Haydn’s biographer Albert Christoph Dies wrote the following account describing an event which took place in London four years before: “When Haydn appeared in the orchestra and sat down at the pianoforte to conduct a symphony himself, the curious audience in the parterre left their seats and crowded towards the orchestra, the better to see the famous Haydn quite close. The seats in the middle of the floor were thus empty, and hardly were they emptied when the great chandelier crashed down and broke into bits, throwing the numerous gathering into great consternation!” An event which could have killed a couple dozen people, caused only minor injuries, prompting history to name the Symphony No. 96 (ostensibly the piece that was being played at that fateful moment) “The Miracle”—except there exists a newspaper article describing the incident as having happened on February 3, 1795, the morning after the premiere of the Symphony No. 102. Today, people still refer to the Symphony No. 96 as the “The Miracle” Symphony, but with a nod to No. 102. Double Bass Concerto These are ASO premiere performances.

In addition to the solo double bass, this concerto is scored for two oboes, bassoon, two horns, harpsicord and strings.


istory books are packed with stories about the private lives of kings, queens and emperors. Serfs and peasants—not so much. Based on scant

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Subject to the emperor in Vienna, Czech territories were the staging ground for numerous conflicts in Europe, including the War of Austrian Succession. In spite of all the tumult, Vanhal’s parents recognized the boy’s prodigious talent and got him lessons in music, and (importantly) the German language. By the age of thirteen, he had a job as an organist and choirmaster. After a while, his reputation and compositions attracted the attention of a Silesian noblewoman who sponsored his move to Vienna around 1760. Now in the musical capital of the empire, Vanhal took lessons from Carl Ditters von Dittersdorf (who was the same age), and eventually landed a post at the Burgtheater. It seems Vanhal had been on track to win a major appointment in Vienna, possibly from Emperor Joseph II, but he withdrew from the Viennese musical scene for some time. Some historians have suspected mental illness, but this is unconfirmed. He did spend some time in Italy, and eventually, settled in Vienna as a freelancer (a new niche for musicians), writing music that he could sell to amateur pianists and chamber musicians in the growing middle class. Vanhal’s name comes up in an account that surfaced in 1826 after the death of the Irish tenor Michael Kelly: Kelly left behind a journal describing a 1784 party at the home of the English composer Stephen Storace. According to Kelly, four of the guests sat down to play string quartets together: Franz Joseph Haydn and Carl Ditters von Dittersdorf on violin, Wolfgang Amadeus Mozart on viola, and Johann Vanhal on cello. “A greater treat or a more remarkable one cannot be imagined,” wrote Kelly. Vanhal’s Double Bass Concerto is widely considered the finest of the classical era. Alas, the original manuscript is lost, and so the piece comes to us from the music library of a Vanhal contemporary named J. M. Sperger. With the cadenzas notated in Sperger’s own hand, the piece is written for 18th-century Viennese bass players. Significantly, their instruments were tuned differently


information, it seems Jan Křtitel Vanhal (or in German, Johann Baptist Wanhal) was born into servitude in a remote village in Bohemia, a kingdom under Hapsburg rule.

42 | encore than today’s double bass (the intervals between strings is different). As a result, soloists have a decision to make: they can either retune the bass to match the original (which takes some getting used to), or play the piece in one of several keys, including C major, D major, E major or the original E-flat major—all different solutions to the challenges posed by modern tuning. First ASO Performance: January 30, 1954, Henry Sopkin, conductor. Most Recent

Serenade No. 2 in A Major, Op. 16 Serenade No. 2 is scored for three flutes, two oboes, two clarinets, two bassoons, two horns and strings.


eethoven was a giant to 19th-century composers. He kicked off the Romantic age with a set of April 11, 2021, nine watershed symphonies which became the Robert Spano, conductor. gold standard for orchestral writing. And he got into people’s heads. People kept anointing this composer and that composer the “heir to Beethoven.” Gustav Mahler, a superstitious man, gave his ninth symphonic effort a fancy title (Das Lied von der Erde) rather than naming it “Symphony No. 9,” because he was afraid he’d die if he completed as many symphonies as Beethoven had. (After Das Lied, he did write a Ninth Symphony—and then died.) ASO Performance:

Brahms reacted in a different way. It seems he suffered from imposter syndrome, famously saying, “You have no idea what it’s like to hear the footsteps of a giant like that behind you.” Johannes Brahms was born into a working-class neighborhood along the seaport of Hamburg. A teenager when the 1848 revolutions swept across Europe, he witnessed a flood of refugees, all hoping to board a ship to the New World. Hungarians arrived by the thousands. And the people of Hamburg developed a taste for their music. From the age of fourteen, Brahms helped support his parents by playing piano in dive bars. With long, blonde hair, piercing blue eyes and an almost feminine beauty, he cut an unlikely figure among the sailors and exiles, but one of those, the young violinist Eduard Reményi, found in him a brilliant recital partner. Reményi introduced Brahms to the community of Hungarians, exposing him to the wild, whirling fiddle music of the Roma—a sound that would inhabit Brahms’s music

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from that point on. Soon, he worked up some feverish piano parts to accompany his friend, and the two boys went on the road. The friendship didn’t last, but Reményi did introduce him to someone who would change his life: the prominent Hungarian violinist Joseph Joachim. Glomming onto the gifted youth, Joachim, who was only a couple years older, secured for Brahms an audience with composers Franz Liszt and Robert Schumann, as well as George V, King of Hanover. The blind king dubbed the twenty-year-old Brahms “Little Beethoven,” and Joachim became Brahms’s primary resource for all things violin. It was Robert Schumann, editor of a music journal, who published an article about Brahms, introducing him to the world: "I thought… that someone would suddenly come along… one whose mastery would not gradually unfold but, like Minerva, would spring fully armed from the head of Jupiter. And now he has arrived, a young blood, at whose cradle graces and heroes kept watch. His name is Johannes Brahms." It was high praise for a youth who had written a few piano pieces. From that point on, Brahms was burdened by Schumann’s prophesy. Not long after the article was published, he got it in his head that he needed write a symphony, and thus began a long series of frustrated attempts, one of which evolved into his Piano Concerto No. 1 in 1858. He had his first real taste of the orchestra while serving as the director of Court Concerts and Choral Society for the Prince of Lippe-Detmold. A cushy job for a 21-year-old, he played piano, directed a fine orchestra, a women’s chorus and gave lessons. With the ensemble as his laboratory, Brahms began writing a serenade for wind instruments in July of 1858. He soon added strings and toyed with the idea of expanding it into a symphony. “I need the [staff] paper,” he wrote to Joachim, “to change my first serenade, now and finally into a symphony.” But that didn’t stick—the piece would remain a serenade. That same year, he began working on the five-movement Serenade No. 2, this time scoring it for orchestra minus the violins. He finished his Second Serenade in 1859.

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44 | encore Symphony vs. Serenade Generally speaking, a symphony in Brahms’s day was a dramatic, (usually) four-movement work for full orchestra. Already, the word ‘serenade’ conjures a different image, perhaps of a young lover strumming his lute beneath a girl’s window. When Mozart wrote serenades, the essence was the same: a suite of light pieces to be enjoyed outdoors at night (at garden parties, etc.). Using the Mozart model, young Brahms found a way to try his hand in the orchestral medium without stepping into Beethoven’s arena. For that, the world would have to wait another sixteen years.

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| 45

Performance in the Park Piedmont Park Concert SEP 28 | 7:30pm

Major support provided by: The Mark and Evelyn Trammell Foundation, Inc.

Presented by:


Charles Loridans Foundation, Inc.

46 | meettheartists SHIYEON SUNG, CONDUCTOR



onductor Shiyeon Sung is the first female conductor out of South Korea to make the leap to the podium of internationally renowned orchestras, including the Orchestre Philharmonique de Radio France, the Los Angeles Philharmonic, the Konzerthaus Orchestra Berlin, the Bamberg and the Nuremberg Symphony. When she was appointed assistant conductor at the Boston Symphony Orchestra in 2007, her reputation as one of the most exciting emerging talents on the international music circuit was already secure: shortly before, Sung had won the International Conductors’ Competition Sir Georg Solti and the Gustav Mahler Conductors’ Competition. During her tenure in Boston, she began a close collaboration with the Seoul Philharmonic Orchestra and conducted their season-opening concert in 2007. In 2009, the orchestra established an associate conductor’s position for her, which she held until 2013. She was chief conductor of the Gyeonggi Philharmonic Orchestra from 2014 until 2017, during which time she led the orchestra to international success. Following a performance at the Philharmonie Berlin, in 2017 Sung and her orchestra were the first Asian orchestra to be invited for a guest appearance at the renowned Musikfest Berlin. Their recording of Mahler’s Symphony No. 5 for Decca documents Sung’s outstanding work with the group of predominantly young orchestral musicians, for which she was awarded the Musical Performance Prize 2017 from the Daewon Cultural Foundation. After her departure from Gyeonggi, Sung relocated to Berlin, but remains a popular guest in her home country and regularly returns to the Korea National Opera and the Seoul Philharmonic Orchestra.

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


| 47


oseph McFadden joined the bass section of the Atlanta Symphony Orchestra (ASO) in September 2011 and won the Principal Bass position in 2017. Prior to his arrival at the ASO, he was Principal Bass of the Alabama Symphony Orchestra. McFadden has also performed with the Los Angeles Philharmonic, New York Philharmonic, Minnesota Orchestra, Toronto Symphony Orchestra, Milwaukee Symphony Orchestra and the Nashville Symphony. During his time with the Alabama Symphony, McFadden performed Bottesini’s Double Bass Concerto No. 2 as a featured soloist. During the summer he is a member of the Orchestra for the Cabrillo Festival of Contemporary Music. McFadden performs chamber music regularly with the Riverside Chamber Players here in Atlanta and has also performed with the HighlandsCashiers Chamber Music Festival. A native of Los Angeles, McFadden received his bachelor’s degree from California State University, Northridge, where he studied with Oscar Meza. He completed his master’s degree at Indiana University under the instruction of Bruce Bransby. While in Indiana, he served as Principal Bass of both the Indiana University Chamber Orchestra and Symphony Orchestra. He currently serves on the faculty of Kennesaw State University. McFadden is a two-time fellowship recipient at the Aspen Music Festival and School, where he studied with Chris Hanulik and Bruce Bransby and performed throughout the summer with the Aspen Chamber Symphony. McFadden plays on a bass he commissioned from Chris Threlkeld, which was finished for him in October of 2009.



48 | 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.


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.** United Distributors, Inc. Kathy Waller & Kenneth Goggins Mr.** & Mrs. Edus H. Warren, Jr. Ann Marie & John B. White, Jr.°∞

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$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 Mr. G. Kimbrough Taylor & Ms. Triska Drake 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

| 49

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

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

50 | 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 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 Gretchen Nagy & Allan Sandlin

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°

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

Donald S. Orr & Marcia K. Knight Mr. Charles R. Kowal Isabel Lamy Lee Belinda & Gino Massafra 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 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 Martha & Reynolds 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 Mr. Thomas Saylor Sharon & David Schachter° Dr. Bess T. Schoen Drs. Lawrence & Rachel Schonberger

| 51

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

52 | encore 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*

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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

54 | 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 aso.org 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.org/give.

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


| 55

ASO | STAFF EXECUTIVE Jennifer Barlament executive director

Alvinetta Cooksey executive & finance assistant

ARTISTIC 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




Tammy Hawk vice president, marketing & communications

Russell Wheeler vice president, sales &

Susan Ambo cfo & vp business

revenue management


Delle Beganie content & production

Megan Brook

Kimberly Hielsberg

front of house manager

senior director of


Erin Jones

financial planning

Leah Branstetter director of digital content

Elizabeth Daniell associate director of communications

Lisa Eng multimedia creative manager, live

Richard Carvlin stage manager

Victoria Moore director of orchestra

Grace Sipusic

teleservices manager

vice president of

Jesse Pace


manager of patron

& season

Nancy Field manager of grants


director of multimedia

Dennis Quinlan

William Keene

data analyst

director of annual giving


Caitlin Buckers

marketing manager, live

Robin Smith patron services

& season

Dana Parness individual giving

Rob Phipps

ticket associate


director of publications


James Paulk

Nicole Panunti vice president, atlanta

Stephanie Smith

symphony hall live


Christine Lawrence

Cheri Snyder

associate director of

senior director of

guest services


Joanne Lerner

Sarah Wilson

atlanta symphony hall

development operations

event manager


Bob Scarr archivist & research coordinator

marketing, live

& asyo


Jack McCabe





services supervisor


Will Strawn

director of orchestra

April Satterfield

Adam Fenton

Paul Barrett senior production stage Tyler Benware

Ronald MacDuff front of house & guest




sales manager

associate director of

annual giving officer

development services

Michael Tamucci event coordinator


Hsing-I Ho assistant orchestra personnel manager

aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony


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.


aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony

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

| 57

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Suwanee Arts Center

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

Suwanee.com Just you wait.