ASO ENCORE - June 2016

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contentJune 2016

features11 Amplified by Passion

Announcing the 2016-17 Atlanta Symphony Orchestra Season

By Andrew Alexander

6 Welcome

10 Robert Spano

12 Orchestra Leadership

14 Musicians

80 ASO Sponsors

26 Concert Program and Notes

80 ASO Support

90 ASO Staff

91 Ticket Info / General Info

departments

ar* experiences 2 WellStar

3 Southern Lexus Dealer Association

5 Dignity Memorial

7 Atlanta Braves Summer Concerts

8 Fifth Group – Lure

9 Tennessee Valley Rail Road

11 Georgia Natural Gas

13 City of Suwanee

19 Château Élan

21 Cancer Treatment Centers of America

23 Davio’s Northern Italian Steakhouse

43 Center for Civil & Human Rights

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59 Serenbe

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85 Advertise with Encore Atlanta

92 Frederick Brown Amphitheatre

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96 Harry Norman Realtors

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Dear Friends,

In April, we announced the 2016-17 season of the Atlanta Symphony Orchestra, which features classical favorites, 20th and 21st century masterworks, world premieres, distinguished visitors and the incomparable Atlanta Symphony Orchestra Chorus.

The season is designed in the spirit of celebrating creativity with four unique festivals, including a John Adams’ 70th birthday celebration, a salute to American composers and the Elements Festival, which celebrates the creativity of composers who illustrate the beauty of nature in music. And finally, the Modern Masters Series, which pays tribute to today’s living composers and includes a reprise of Christopher Theofanidis’ Creation/Creator, which will not only be performed in Symphony Hall, but also at the 2017 SHIFT Festival in Washington, DC. The 2016-17 season will also celebrate one of the greatest creators of creativity, the legendary musician and prophet, Orpheus.

We’re also happy to announce two new outdoor concerts this summer. On June 16, 2016, the Orchestra will perform Great American Music at Verizon Wireless Amphitheatre, followed by The Music of The Eagles at Chastain Park Amphitheater on June 25, 2016, and look for a Piedmont Park announcement coming soon.

On a final note, the Atlanta Symphony Orchestra has raised $17.25 million for the Musicians’ Endowment Fund, and the Orchestra has filled five of the 11 positions, with an additional audition planned for the fall. As you know, reaching our $25 million goal is critical not only to the success of the organization, but to the future of classical music in Atlanta. To those who have helped us reach this initial milestone, thank you, and to those considering helping us reach the finish line, we welcome your support.

Thank you for your continued dedication to the Atlanta Symphony Orchestra!

Sincerely,

Jennifer Barlament Executive Director

ASO | WelcomeR

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2016 SUMMER CONCERT SERIES

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Robert Spano

Conductor, pianist, composer and pedagogue Robert Spano is known for his unique communicative abilities. In 14 seasons as Music Director of the Atlanta Symphony Orchestra, this imaginative conductor has quietly been responsible for nurturing

the careers of numerous classically-trained composers and conductors. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs, including Aspen’s American Academy of Conducting.

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai and Savannah Music Festivals. Guest engagements have included orchestras such as the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, along with Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring Cycle.

Maestro Spano begins the 2015-16 season conducting the Saito Kinen Orchestra in Japan as part of a gala performance celebrating Seiji Ozawa’s 80th birthday. With the Atlanta Symphony Orchestra he leads four world premieres, seven Atlanta premieres and celebrates the centennial of the legendary Robert Shaw’s birth with Brahms’s A German Requiem and Leshnoff’s Zohar in Atlanta and at Carnegie Hall. Additional guest conducting engagements include the Minnesota Orchestra, the Oregon, Utah and Kansas City symphonies, Orquestra Sinfonica Brasileira, Orquestra Sinfonica Estado Sao Paulo and the Melbourne Symphony in Australia. Maestro Spano also holds a conductor residency with the Colburn School Orchestra in Los Angeles. As a pianist, he joins Wu Han and Alessio Bax for a program of piano masterworks as part of the Chamber Music Society of Lincoln Center’s residency at the University of Georgia in Athens.

With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon and ASO Media recorded over nine years, Robert Spano has won six Grammy® Awards with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin. Maestro Spano is one of two classical musicians inducted into the Georgia Music Hall of Fame and is proud to live in Atlanta.

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2015-2016 Board of Directors

OfficersD. Kirk Jamieson Chair

Meghan H. Magruder Vice Chair

Thomas Wardell Vice Chair

John B. White, Jr. Secretary

Suzanne Tucker Plybon Treasurer

DirectorsKeith AdamsNeil H. BermanPaul BlackneyBrett M. BlumencranzFrank H. BoykinMary Rockett BrockJanine Brown†C. Merrell CalhounBill CareyS. Wright Caughman, M.D.

Russell CurreyHarry J. CynkusCarlos del Rio, M.D.

Lynn EdenShirley C. FranklinPaul R. GarciaJason GuggenheimVirginia A. Hepner*Caroline HoflandDouglas R. HookerTad HutchesonMrs. Roya IrvaniClayton F. JacksonCamille Kesler*Carrie KurlanderJames H. LandonDonna Lee

Hank LinginfelterKarole F. LloydKelly L. LoefflerBelinda Massafra*Brian F. McCarthyPenny McPhee†Terence L. NealJoseph M. O’DonnellHoward D. PalefskySunny K. ParkE. Fay Pearce, Jr.Ronda Respess*William SchultzJohn Sibley

Paul SnyderJohn SparrowGail Ravin StarrJoseph M. ThompsonRay UttenhoveS. Patrick ViguerieKathy N. WallerMark D. WassermanRichard S. White, Jr.Camille Yow

Board of CounselorsMrs. Helen AderholdElinor BremanDr. John W. CooledgeJohn DonnellJere DrummondCarla FacklerCharles Ginden

John T. GloverDona HumphreysAaron J. JohnsonBen F. Johnson IIIHerb KarpJim KelleyGeorge Lanier

Patricia LeakeLucy LeeMrs. William C. Lester

Mrs. J. Erskine LovePatricia H. ReidJoyce SchwobH. Hamilton Smith

W. Rhett TannerG. Kimbrough TaylorMichael W. TrappChilton VarnerEdus WarrenAdair R. WhiteSue S. Williams

Life DirectorsHowell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew FullerMary D. Gellerstedt

Azira G. HillMrs. Charles A. Smithgall, Jr.

* Ex-officio† 2015-2016 Sabbatical

ASO | leadership

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Robert Spano Music Director The Robert Reid Topping Chair

Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair

Michael Krajewski Principal Pops Conductor

Joseph Young Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair

Norman Mackenzie Director of ChorusesThe Frannie and Bill Graves Chair

FIRST VIOLINDavid Coucheron ConcertmasterThe Mr. and Mrs. Howard R. Peevy ChairThe Mabel Dorn Reeder Honorary ChairAssociate Concertmaster - Vacant The Charles McKenzie Taylor ChairJustin Bruns Assistant/Acting Associate ConcertmasterJun-Ching Lin Assistant ConcertmasterAnastasia AgapovaCarolyn Toll HancockJohn MeisnerChristopher PulgramCarol RamirezJuan RamirezOlga ShpitkoDenise Berginson Smith Kenn WagnerLisa Wiedman Yancich

SECTION VIOLIN ‡Judith CoxRaymond LeungSanford Salzinger

SECOND VIOLINPrincipal - VacantThe Atlanta Symphony Associates ChairSou-Chun Su Associate/Acting Principal The Frances Cheney Boggs ChairJay Christy Assistant/Acting Associate PrincipalNoriko Konno CliftActing Assistant PrincipalSharon BerensonDavid BraitbergDavid DillardEleanor KosekRuth Ann LittleThomas O’DonnellRonda RespessFrank Walton

VIOLAReid Harris Principal The Edus H. and Harriet H. Warren ChairPaul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair Catherine Lynn Assistant PrincipalMarian KentYang-Yoon KimYiyin LiLachlan McBaneJessica OudinSarah Park Chastain†

AtlantaSymphonyOrchestra

ROBERT SPANO

DONALD RUNNICLES

MICHAEL KRAJEWSKI

JOSEPH YOUNG

NORMAN MACKENZIE

Players in string sections are listed alphabetically


CELLOChristopher Rex Principal The Miriam and John Conant ChairDaniel Laufer Associate Principal The Livingston Foundation ChairKaren Freer Assistant PrincipalDona Vellek Assistant Principal EmeritusJoel DallowLarry LeMasterBrad RitchiePaul Warner

BASSColin Corner • PrincipalThe Marcia and John Donnell Chair Gloria Jones Associate PrincipalLucy R. & Gary Lee Jr. ChairJane Little Assistant Principal EmeritusKarl Fenner •Michael KenadyMichael KurthJoseph McFaddenDaniel Tosky •

FLUTEChristina Smith Principal The Jill Hertz ChairRobert Cronin Associate PrincipalC. Todd SkitchCarl David Hall

PICCOLOCarl David Hall

OBOEElizabeth Koch Tiscione Principal The George M. and Corrie Hoyt Brown ChairYvonne Powers Peterson Associate Principal The Kendeda Fund ChairSamuel Nemec Emily Brebach

ENGLISH HORNEmily Brebach

CLARINETLaura Ardan Principal The Robert Shaw ChairTed Gurch Associate Principal2nd Clarinet - VacantAlcides Rodriguez

E-FLAT CLARINETTed Gurch

BASS CLARINETAlcides Rodriguez

BASSOONAndrew Brady • PrincipalVacant Associate PrincipalLaura NajarianJuan de Gomar

CONTRA- BASSOONJuan de Gomar

HORNBrice Andrus PrincipalThe Betty Sands Fuller ChairSusan Welty Associate PrincipalErnesto Tovar Torres •Jaclyn Rainey •Bruce Kenney

TRUMPETStuart Stephenson Principal The Madeline and Howell Adams ChairAssociate Principal - VacantMichael Tiscione Acting Associate Principal/SecondMichael Myers

TROMBONEPrincipal - VacantThe Terence L. Neal Chair, Honoring his Dedication and Service to the Atlanta Symphony OrchestraNathan Zgonc Acting Principal Joshua Bynum †Brian Hecht

BASS TROMBONEBrian Hecht The Home Depot Veterans Chair

TUBAMichael Moore Principal

TIMPANIMark Yancich Principal The Walter H. Bunzl ChairWilliam Wilder Assistant Principal

PERCUSSIONThomas Sherwood* Principal The Julie and Arthur Montgomery ChairCharles Settle Acting PrincipalThe Connie and Merrell Calhoun ChairWilliam Wilder Assistant Principal The William A. Schwartz Chair

HARPElisabeth Remy Johnson Principal The Sally and Carl Gable Chair

KEYBOARDThe Hugh and Jessie Hodgson Memorial ChairPeter Marshall †Beverly Gilbert †Sharon Berenson

LIBRARYRebecca Beavers PrincipalNicole Jordan Assistant Principal Librarian

‡ rotate between sections* Leave of absence

† Regularly engaged musician

• New this season


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encoreatlanta.com | Atlanta’s Performing Arts Publication 17

The 2016-17 Atlanta Symphony Orchestra season

will be a celebration of creativity featuring an irresistible mix of classical favorites, 20th and 21st century masterworks, world premieres and distinguished guests. To celebrate the creative spirit, the season has right at its center the orchestra’s reprisal of Christopher Theofanidis’ Creation/Creator, the grand oratorio which the Atlanta Symphony Orchestra gave its world premiere and recorded in April of 2015.

“Creation/Creator tackles both the ideas about how the world was created and also the act of creativity itself,” says Evans Mirageas, Vice President for Artistic Planning. “It’s a magnificent piece that sits right in the middle of the season. The season is a celebration looking backwards and forwards from that fulcrum to the notion of the wonder of the creation of music.”

In the fall, the theme of creativity is expressed in a series of concerts featuring the work of composers who have illustrated the beauty of nature by focusing on the four basic elements: Earth, Air, Fire and Water. Atlanta Symphony Orchestra Music Director Robert Spano initiates the series (Nov. 3 and 5) with a concert based on the theme of water featuring Elgar’s Sea Pictures and Vaughan Williams’ A Sea Symphony, which Spano recorded with the Orchestra in 2003, a now classic recording which won three Grammy® Awards. For the concert,

Amplified by Passion

Announcing the 2016-17 Atlanta Symphony Orchestra Season by Andrew Alexander


The season is a celebration looking backwards and forwards …to the notion of the wonder of the creation of music

the Orchestra will be joined by Georgia native and renowned mezzo-soprano Jamie Barton, making her Symphony Hall debut in the Elgar, and recent Richard Tucker Award winner, soprano Tamara Wilson, and baritone Brian Mulligan for the Vaughan Williams.

The Elements Festival continues the following week, (Nov. 10-12), with the element of Fire in a Spano-led concert featuring Oliver Knussen’s Flourish with Fireworks, Stravinsky’s The Firebird Suite the rarely perfomed Scriabin Symphony ‘Prometheus, Poem of Fire’ and a solo performance by Concertmaster David Coucheron of Prokofiev’s fiery Violin Concerto No. 1. The series concludes with Principal Guest Conductor Donald Runnicles taking the helm for Earth and Air with a performance of Mahler’s Das Lied von der Erde and 20th century composer Toru Takemitsu’s A flock descends into the Pentagonal Garden.

Throughout the season, the Symphony will also celebrate the 70th birthday of contemporary composer John Adams with performances of several of his great

works. The 2016-17 Delta Classical season opens (Sep. 22 and 24) with performances of Adams’ Tromba lontana alongside Sibelius’ Symphony No. 5 and Rachmaninov’s Piano Concerto No. 3, featuring frequent guest pianist Garrick Ohlsson. The birthday bash continues (Oct. 6 and 8) with Spano conducting Adams’ The Chairman Dances on a program that also includes Shostakovich’s Symphony No. 5 and Bosnian pianist Pedja Muzijevic performing Mozart’s Piano Concerto No. 22. American composers become the theme for the concerts of (Oct. 13 and 15) with Adams’ Lollapalooza paired with Copland’s Symphony No. 3 and Gershwin’s Piano Concerto in F, featuring the Atlanta Symphony Orchestra debut of Russian pianist Denis Kozhukhin. The Adams celebration concludes with a performance of the composer’s pivotal Harmonielehre or “book of harmony” (Mar. 2 and 4), a concert that also features Sibelius’ Violin Concerto performed by young American violinist Benjamin Beilman.

As the Elements Festival and John Adams celebrations show, there’s a remarkable mix of the old and the new in the 2016-17 season, a theme that continues throughout with a string of Modern Masters performances. During his 16 seasons with the Atlanta Symphony Orchestra, Robert Spano has championed new work by performing, touring and even commissioning significant contemporary works by living American

CHRISTOPHER THEOFANIDIS’ Creation/Creator

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composers. Throughout the new season, five concerts will pair contemporary works by living composers with works by more established 20th century masters. In all, the season will include three world premieres: a new work by Marc Neikrug (Jan. 12 and 14), a new composition by Rapido! Competition winner, Mark Buller (Jun. 1 and 3), as well as a performance of Scriabin’s Symphony No. 5 in a new arrangement by Atlanta Symphony Orchestra Double Bass player and composer Michael Kurth (Nov. 10 and 12). The Orchestra will introduce 12 new works to its repertoire during the 2016-17 season including Theofanidis’ Dreamtime Ancestors (Mar. 2 and 4) and James Lee III’s Sukkot Through Orion’s Nebula (Oct. 20 and 22).

Former Atlantan and renowned American countertenor David Daniels makes his long-awaited Atlanta Symphony Orchestra debut with a concert performance of Gluck’s Orfeo ed Euridice, (May 11 and 13), featuring soprano Susanna Phillips as Euridice. Though the role has been strongly associated with Daniels throughout his career, the singer has yet to make a complete recording of the opera, and the concert itself will be recorded live for release on the ASO’s own label.

In all, 12 new guest artists make their Atlanta Symphony Orchestra debuts this season, joining a roster of popular returning guests and featured soloists from within the Orchestra. In early December, young mandolin virtuoso Avi Avital arrives to perform the Concerto for Mandolin and Strings by Israeli composer Avner Dorman, whose exciting percussive work Spices, Perfumes,Toxins! the Orchestra memorably performed in 2015. Superstar violinist Joshua Bell performs at Symphony Hall in

a special one-night only, Spano-conducted, all-Tchaikovsky program featuring the composer’s Violin Concerto in D Major (Sept. 15). The Atlanta Symphony’s own Christina Smith solos on Jolivet’s Flute Concerto on an all-French composers’ program (May 25 and 27), that also includes the Atlanta Symphony Orchestra Chorus joining the Orchestra for Fauré’s Requiem. Principal Trumpet Stuart Stephenson makes his solo debut performing Haydn’s Trumpet Concerto (Jan. 5 and 7) under the baton of Guest Conductor Peter Oundjian.

Symphony Hall is not the only place you can hear the Atlanta Symphony Orchestra. The Orchestra is visiting more locations around the state with increasing frequency this year: the 2016-17 season features six concerts at the University of Georgia in Athens, four at Kennesaw State University, two at Madison and one in Savannah. The Orchestra will also perform two concerts at Reinhardt and a holiday concert at North

Avenue Presbyterian Church. In addition, the Orchestra will be taking its performance of Creation/Creator to the Kennedy Center in Washington DC, for the SHIFT Festival of American Orchestras.

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And of course, the Atlanta Symphony Orchestra continues its tradition of ringing in the holidays at Symphony Hall with its Coca-Cola Holiday Concert Series including

the return of Handel’s Messiah, Part I, A Very Merry Holiday POPS!, the classic and beloved Christmas with the ASO concerts, a spectacular acrobatic performance from Cirque de la Symphonie and a new jazz program featuring Atlanta native jazz trumpeter Byron Stripling in a holiday-time tribute to the great Louis Armstrong.

The Delta POPS! Series returns this year, bigger and better than ever, with the Orchestra performing the score live for popular films such as Raiders of the Lost Ark (Jan.27 and 28), The Nightmare Before Christmas (Oct. 28 and 29) and Singin’ in the Rain (Jun. 9 and 10). The King himself, Elvis Presley, gets an orchestral tribute

(May 19 and 20), and back by popular demand, the legendary music of Simon and Garfunkel (Feb.17 and 18). Tony Award-winning Georgia native Sutton Foster will bring Broadway magic to Atlanta with a special Symphony Hall performance, (Apr. 21 and 22).

Casual Fridays return for their third season and offer a great way to skip the traffic and enjoy the best of the Atlanta Symphony Orchestra in a slightly abbreviated program. The Thursday night pre-concert Chamber Recital series is back, with seating on stage in Symphony Hall, making the patrons a part of the concert experience.

Whether it’s POPS!, Modern Masters or classical favorites, the 2016-17 season offers countless ways to experience the great musical creativity and vitality of the Atlanta Symphony Orchestra.

Enjoy all the season has to offer with great benefits by becoming a 2016-17 subscriber TODAY! aso.org

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The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.

Delta is proud to celebrate over 74 years as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin.

The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation.

The Atlanta Symphony Orchestra records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels.

Media sponsors: WABE, WSB AM, and AJC.

Trucks provided by Ryder Truck Rental Inc.

ASO | sponsors

OFFICIAL AIRLINE OF THEATLANTA SYMPHONY ORCHESTRA

PRESENTING SPONSOR OF THE ATLANTA SYMPHONY ORCHESTRA

OFFICIAL AIRLINE OF THEATLANTA SYMPHONY ORCHESTRA


AtlantaSymphonyOrchestraRobert Spano, Music DirectorDonald Runnicles, Principal Guest Conductor

Delta Classical ConcertConcerts of Thursday, May 5 and Saturday, May 7, at 8:00pm, and Friday, May 6, at 6:30pm.

Lothar Zagrosek, Conductor

Javier Perianes, pianoFELIX MENDELSSOHN (1809-1847)Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Opus 27 (1828) 13MIN

ROBERT SCHUMANN (1810-1856)Concerto for Piano and Orchestra in A minor, Opus 54 (1845) 33MIN I. Allegro affettuoso II. Intermezzo. Andantino grazioso III. Allegro vivace Javier Perianes, piano

INTERMISSION 20MIN

JOHANNES BRAHMS (1833-1897)Symphony No. 1 in C minor, Opus 68 (1876) 46MIN I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco Allegretto e grazioso IV. Adagio; Più Andante;

Allegro non troppo, ma con brio

The concert of Friday, May 6, performed without intermission, includes the Mendelssohn and Brahms works.

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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.

KEN MELTZER, Atlanta Symphony Orchestra Program Annotator

Ken’s in-depth program notes, detailed musical analysis and listening samples can be found online: aso.org/encore. Podcasts of Ken’s pre-concert lectures are at: aso.org and kenmeltzer.com To contact Ken, please email Ken.Meltzer@ woodruffcenter.org.


Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Opus 27 (1828)

FELIX MENDELSSOHN was born in Hamburg, Germany, on February 3, 1809, and died in Leipzig, Germany, on November 4, 1847. The first performance of Calm Sea and Prosperous Voyage took place in Berlin on December 1, 1832, with the composer conducting. Calm Sea and Prosperous Voyage is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, three trumpets, timpani, and strings.

First Classical Subscription Performance: November 20, 1965, Robert Mann, Conductor.

Most Recent Classical Subscription Performances: April 21, 22, and 23, 2011, Julian Kuerti, Conductor.

Felix Mendelssohn first met Johann Wolfgang von Goethe (1749-1832) in

November of 1821 at the great German author’s home in Weimar. On that occasion, Mendelssohn was introduced by his music teacher, Karl Zelter. Goethe was immediately entranced by the twelve-year-old Mendelssohn’s precocious talents. Goethe told Mendelssohn: “I am Saul, and you are my David. When I am sad, come and cheer me with your playing.”

Mendelssohn’s final visit with Goethe took place in Weimar in May of 1830. The author gave the composer a manuscript sheet from Faust, with the following inscription: “To my dear young friend F.M.B., mighty yet delicate master of the piano, in friendly remembrance of happy May days in 1830. J.W. von Goethe.”

Two years earlier, Mendelssohn composed a work based upon two poems by Goethe, the Calm Sea and Prosperous Voyage Overture.

These are the poems that also served as the inspiration for Ludwig van Beethoven’s 1815 Cantata of the same name, scored for chorus and orchestra. When Goethe learned of Mendelssohn’s composition, he wrote to his young friend: “Sail well in your music, and may your voyages always be as pros-perous as this one.”

Mendelssohn’s Overture contrasts the sea’s mysterious stillness with the sailor’s joyous sighting of land.

Concerto for Piano and Orchestra in A minor, Opus 54 (1845)

ROBERT SCHUMANN was born in Zwickau, Germany, on June 8, 1810, and died in Endenich, Germany, on July 29, 1856. The first performance of the Piano Concerto took place at the Hall of the Hôtel de Saxe in Dresden, Germany, on December 4, 1845, with Clara Schumann as soloist and Ferdinand Hiller, conducting. In addition to the solo piano, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: November 27, 1948, William Schatten, Piano, Henry Sopkin, Conductor.

Most recent Classical Subscription Performances: March 20, 21, and 22, 2008, Nicholas Angelich, Piano, Hugh Wolff, Conductor.

Robert Shaw Performances (Classical Subscription, unless otherwise noted): November 21, 22, and 24, 1968, Lilian Kallir, Piano; November 25 and 26, 1968, Lilian Kallir, Piano (Tour, Macon, GA, and Moultrie, GA); December 1, 2, and 3, 1983, Murray Perahia, Piano; January 16, 1984, Jeffrey Kahane, Piano (Tour, West Palm Beach, FL).

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Robert Schumann composed the Piano Concerto for his beloved wife,

the pianist and composer Clara Wieck Schumann (1819-1896). The work originated in May of 1841, as a Fantasy in A minor for piano and orchestra. In 1845, Schumann added two movements to the Fantasy. Clara Schumann wrote in her diary: “(The Fantasy) has now become a concerto that I mean to play next winter. I am very glad about it for I have always wanted a great bravura piece by him.” The following month, Clara enthused: “I am happy as a king at the thought of playing it with orchestra.”

Clara Schumann was the soloist in the December 4, 1845 premiere of Robert’s Concerto in A minor for Piano and Orchestra. The first performance took place in Dresden at the Hall of the Hôtel de Saxe, led by the work’s dedicatee, conductor Ferdinand Hiller. On New Year’s Day, 1845, Clara Schumann played the new Concerto with the Leipzig Gewandhaus Orchestra, under Felix Mendelssohn’s direction. In many subsequent performanc-es of the Schumann Piano Concerto, it was Robert who served as conductor/accompa-nist for his wife.

In a letter written to Clara a few years before their marriage, Robert Schumann described his conception of a piano concer-to as “a compromise between a symphony, a concerto and a huge sonata. I see I cannot write a concerto for the virtuosos—I must plan something else.” And, despite the considerable technical hurdles for the solo-ist, there is always an admirable sense of partnership between pianist and orchestra. Further, it is remarkable that while four years separate the composition of the first movement and the final two, the Concerto is an organic composition that proceeds

unerringly from start to finish. These admi-rable qualities, coupled with Schumann’s inspired lyrical gifts, produce a sublime work, certainly one of the finest piano con-certos of the Romantic era.

The Concerto is in three movements, the final two played without pause. The first (Allegro affettuoso) opens in dramatic fash-ion, with a forte orchestral chord, imme-diately followed by an emphatic descend-ing passage for the soloist. The oboes, supported by the clarinets, bassoons, and horns, sing the espressivo principal theme, soon repeated by the soloist. The brief second movement (Intermezzo. Andantino grazioso) is in A—B—A form. The soloist, in dialogue with the strings, presents the charming opening theme, derived from the ascending portion of the principal melody of the first movement. The cellos launch the more rhapsodic “B” section. In the finale (Allegro vivace), the soloist introduces the joyous principal theme, again related to the principal melody of the opening movement. The finale concludes with an expansive coda, in which the soloist takes center stage, closing with a dazzling, ascending flourish.

Symphony No. 1 in C minor, Opus 68 (1876)

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The first performance of the Symphony No. 1 took place in Karlsruhe, Germany, on November 4, 1876, with Otto Dessoff conducting. The Symphony No. 1 is scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

First Classical Subscription Performance: April 30, 1949, Henry Sopkin, Conductor.


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Most Recent Classical Subscription Performances: November 6, 7, and 8, 2014, Marc Piollet, Conductor.

Robert Shaw Performances (Classical Subscription, unless otherwise noted): February 7, 1975 (Tour, Columbus, GA); March 18, 19, and 20, 1982; October 20, 21, and 22, 1983; November 22 and 27, 1983 (Runout, Thomasville, GA, Gainesville, GA); March 21 and 24, 1984 (Tour, Helena, AK, Aurora, IL); June 10, 1984 (Atlanta Parks); September 17, 18, and 19, 1987; October 4, 1987 (Special); February 2, 1988 (Tour, Tampa, FL); May 25, 1988 (Tour, New York, NY).

As early as 1853, prominent musicians, Robert Schumann included, urged

the young Johannes Brahms to try his hand at symphonic composition. Brahms, however, resisted the call. In 1870, Brahms wrote to conductor Hermann Levi: “I shall never write a symphony. You have no idea the likes of us feel when we hear the tramp of a giant like him beside us.” Here, Brahms referred to the great shadow cast by Ludwig van Beethoven and his epochal Nine Symphonies. And it was not until 1876, when Brahms was forty-three years old, that he completed his First Symphony. The November 4, 1876, premiere took place in Karlsruhe, under the direction of Otto Dessoff.

Although Beethoven had been dead nearly half a century when the C-minor Symphony premiered, comparisons with the man Brahms called a “giant” were inevitable. The Brahms First presents a dramatic jour-ney from C minor to C Major, as does Beethoven’s Fifth. A four-note motif, also reminiscent of the famous opening theme of the Beethoven Fifth, plays a promi-nent role the first movement. A friend of Brahms noted the similarity of the finale’s

principal theme to the Ode “To Joy” in Beethoven’s Ninth. To this observation, Brahms responded, “any ass can see that!” The eminent conductor, Hans von Bülow, dubbed the work “Beethoven’s Tenth.” Although Bülow certainly meant that as a compliment, it provided Brahms no great satisfaction.

For Brahms’s part, it seems that the com-pletion of his First Symphony liberated him from the paralyzing specter of Beethoven’s imposing legacy. Three more Brahms Symphonies followed over the ensuing decade—each, like the first, a monument of the late 19th-century orchestral repertoire. In time, it became abundantly clear that in his Four Symphonies, Brahms, a musical descendent of Beethoven, spoke very much in his own voice—a voice of Romantic lyri-cism, passion, and grandeur.

The Symphony’s opening movement begins with a dramatic, slow-tempo introduction (Un poco sostenuto), featuring the tim-pani’s relentless hammer-blows and hints of the ensuing Allegro’s thematic materi-al. Another brusque chord launches the Allegro proper and the strings’ forte pre-sentation of the ascending and descend-ing theme that forms the nucleus for the movement’s thematic material. Two rela-tively brief movements follow. The beau-tiful slow movement (Andante sostenuto) concludes with a shimmering violin solo. The third movement (Un poco Allegretto e grazioso) is a graceful intermezzo. As with the opening movement, the finale begins with an extended slow-tempo introduction (Adagio). The principal section of the finale (Allegro non troppo, ma con brio) opens with the broad and majestic theme that bears a kinship to Beethoven’s Ode “To Joy.” Storm and stress finally resolve to the triumphant closing measures.

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Atlanta Symphony Orchestra | aso.org30 Atlanta Symphony Orchestra | aso.org30

LOTHAR ZAGROSEK, Conductor

Lothar Zagrosek has been principal conductor of the Konzerthausorchester

Berlin since 2006. He studied with Hans Swarowsky, István Kertész, Bruno Maderna and Herbert von Karajan, and was appointed principal conductor of the Vienna Radio Symphony Orchestra in 1982, followed by appointment as musical director of the Paris Grand Opéra, principal guest conductor of the BBC Symphony Orchestra, general music director of the Leipzig Opera, and general music director of the Stuttgart State Opera.

His career as a conductor has taken him, among other engagements, to the Vienna and Hamburg State Operas, the Deutsche Oper Berlin, the Frankfurt Opera, the Théâtre de la Monnaie in Brussels, Glyndebourne, the Salzburg Festival, the Vienna and Berlin Festival Weeks, the Munich Opera Festival and the London Promenade Concerts.

Since 1995 he has been first guest conductor and artistic adviser to the German Youth

Philharmonic and a regular guest with the Bavarian Radio Orchestra, the West German Radio Orchestra, the NHK in Tokyo, the Orchestre Philharmonique of Radio France, and the RAI Orchestra in Turin.

JAVIER PERIANES, piano

Javier Perianes’ flourishing international career spans five continents taking him

to some of the world’s most prestigious venues, including, Carnegie Hall in New York, the Barbican, Royal Festival and Wigmore Halls in London, Salle Pleyel and the Théâtre des Champs-Élysées in Paris,

Berlin’s Philharmonie, the Musikverein in Vienna, the Concertgebouw in Amsterdam, St Petersburg’s Philharmonic Hall, the Great Hall at the Moscow Conservatory and Suntory Hall in Tokyo.

Perianes’ 2015/16 season includes concerts with Wiener Philhamoniker, Chicago and Boston Symphony Orchestras, Yomiuri Nippon Symphony Orchestra, hr-Sin-fonieorchester, London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, Tonkünstler-Orchester, Orchestre de Chambre de Paris and Orchestra of St. Luke’s (Carnegie Hall), as well as a month-long-tour of orchestras in Australia and New Zealand.

Perianes records exclusively for harmonia mundi. In May 2015 he released a live recording of Grieg’s Piano Concerto with the BBC Symphony Orchestra and Sakari Oramo and a selection of Grieg’s Lyric Pieces. Songs without Words, a selection of piano works by Mendelssohn released in November 2014, has received unanimous critical praise. His previous releases for the label include Schubert’s Impromptus and Klavierstücke, Manuel Blasco de Nebra’s keyboard sonatas, Mompou’s Música calla-da, ...les sons et les parfums which focuses on works by Chopin and Debussy, and Moto perpetuo - a selection of Beethoven’s sonatas. Perianes’ recording of Falla’s Nights in the Gardens of Spain and select-ed solo works received a Latin Grammy® Nomination.

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AtlantaSymphonyYouthOrchestra

Concert of Sunday, May 8, 2016, at 3:00pm.

Joseph Young, Conductor

Finale ConcertPETER ILYICH TCHAIKOVSKY (1840-1893)Romeo and Juliet, Fantasy Overture (1870, rev. 1880)

ALBERTO GINASTERA (1916-1983)Four Dances from Estancia, Opus 8a (1941) I. The Land Workers II. Wheat Dance III. The Cattlemen IV. Final Dance (Malambo)

INTERMISSION

BENJAMIN BRITTEN (1913-1976)Variations and Fugue on a Theme of Purcell, “The Young Person’s Guide to the Orchestra,” Opus 34 (1946)

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The Atlanta Symphony Youth Orchestra is sponsored by Wells Fargo.





Romeo and Juliet, Fantasy Overture (1870, rev. 1880)

PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Romeo and Juliet, Fantasy Overture took place in Moscow, Russia, at a concert of the Musical Society on March 16, 1870, with Nikolai Rubinstein conducting. The Romeo and Juliet Fantasy Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp, bass drum, cymbals, and strings.

It was at the suggestion of Russian composer Mily Balakirev that Tchaikovsky

composed his orchestral depiction of William Shakespeare’s Romeo and Juliet. The work was the product of an extended creative process. Tchaikovsky began his Romeo and Juliet in 1869. But it was not until 1880, after several performances and revisions, that Tchaikovsky completed the final version, one of the Russian composer’s most popular and beloved works.

Romeo and Juliet opens with an extend-ed slow-tempo introduction, featuring a theme depicting the kindly Friar Laurence. Violent music, representing the warring Montagues and Capulets, launches the principal fast-tempo section. Muted violas and the English horn introduce Romeo and Juliet’s immortal “love theme,” paired with an undulating motif in the muted violins. The development and recapitulation of the themes resolve to the brooding final section, capped by the forceful concluding bars.

Four Dances from Estancia, Opus 8a (1941)

ALBERTO GINASTERA was born in Buenos Aires, Argentina, on April 11, 1916, and died in Geneva, Switzerland, on June 25, 1983. The premiere of the Suite from Estancia took place in Buenos Aires on May 12, 1943, with Ferruccio Calusio conducting the Teatro Colón Orchestra. Estancia is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, suspended cymbals, cymbals, triangle, castanets, tam-tam, bass drum, military drum, field drum, xylophone, tambourine, piano, and strings.

In 1941, Lincoln Kirstein commissioned the celebrated Argentine composer

Alberto Ginastera to write a new ballet for his American Ballet Caravan. Kirstein planned to have George Balanchine choreograph the work. However, Kirstein’s group disbanded the following year. It was not until 1952 that Ginastera’s ballet, Estancia, received its first performance, at the Teatro Colón in Buenos Aires.

Ginastera created a concert suite that incorporated four movements from the original ballet score. Ginastera’s Suite from Estancia had its first performance in Buenos Aires on May 12, 1943, with Ferruccio Calusio leading the Teatro Colón Orchestra.

“Estancia” is the Argentine word for “ranch.” The story of the ballet is about a boy from the city who wants to win the heart of ranch girl. She rejects him, as he seems to be no match for the gauchos who work on the ranch. But in the end, the city boy earns the ranch girl’s favor by proving he can compete with the gauchos.

Estancia is the first musical-dramatic work to draw upon the “gauchesco” literary and

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dance traditions, portraying through char-acteristic dance and song a “day-in-the-life” of an Argentine ranch. Striking rhythms pervade the suite, especially in movements I, III, and IV; Los trabajadores agrícolas (The Land Workers), Los peones de haci-enda (The Cattlemen), and the concluding Malambo—the latter a type of dance in which gauchos compete through undertak-ing ever-more-energetic dance steps. The second-movement Danza del trigo (Wheat Dance) provides lyrical contrast.

Variations and Fugue on a Theme of Purcell, “The Young Person’s Guide to the Orchestra,” Opus 34 (1946)

BENJAMIN BRITTEN was born in Lowestoft, England, on November 22, 1913, and died in Aldeburgh, England, on December 4, 1976. The first performance of “The Young Person’s Guide to the Orchestra” took place on October 15, 1946, with Sir Malcolm Sargent conducting the Liverpool Philharmonic Orchestra. “The Young Person’s Guide to the Orchestra” is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp, xylophone, tambourine, triangle, bass drum, gong, side drum, castanets, whip, cymbals, suspended cymbal, Chinese blocks, and strings.

“I have a small film to write for the Board of Education,” Benjamin Britten

informed Mary Behrend, a friend who had commissioned the composer’s Second String Quartet (1945). The educational film, commissioned by the Crown Film Unit, was designed to introduce children to the various instruments of the orchestra.

The premiere of the educational film, enti-tled Instruments of the Orchestra, took place on November 29, 1946. Sir Malcolm

Sargent served as conductor and narra-tor. During the previous month, Sargent conducted the Liverpool Philharmonic Orchestra in the first concert performance of the “Young Person’s Guide to the Orchestra.” Sargent also delivered the text, authored by Eric Crozier.

“The Young Person’s Guide to the Orchestra” proved to be a success from its inception. “I’m glad that the Min. of Ed. chaps approve,” Britten told a friend. “I never really worried that it was too sophis-ticated for kids—it is difficult to be that for the little blighters!” The “Young Person’s Guide” remains one of the most popular compositions of its kind. As with any superior educational experience, Britten’s “Young Person’s Guide to the Orchestra” simultaneously informs, stimulates and entertains students (of all ages).

The composer’s subtitle for the “The Young Person’s Guide to the Orchestra” is Variations and Fugue on a Theme of Henry Purcell. The piece begins with a grand, tutti declaration of a melody that was originally a hornpipe, featured in British composer Henry Purcell’s (1659-95) Incidental Music to the play, Abdelazar, or The Moor’s Revenge (1695). Statements of the melody by each of the four instrument families (woodwind, brass, strings, and percussion) lead to a reprise of the orchestral tutti. A series of thirteen variations follows, each designed to highlight particular instru-ments. The variations are succeeded by a lively fugue, with the instruments making their entrances in the same order as the preceding variations. In the grand climax, the brass majestically proclaims the original Purcell melody, while the remainder of the orchestra continues the fugue. A brief, spir-ited coda rounds out “The Young Person’s Guide to the Orchestra.”


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JOSEPH YOUNG, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director

Increasingly recognized as “one of the most gifted conductors of his generation,”

Joseph Young is currently the Assistant Conductor of the Atlanta Symphony Orchestra. In his role, Joseph conducts more than 50 concerts per season with the Atlanta Symphony, which include programs on the Delta Classical Series, Concerts for Young People and Families, and various other concerts geared towards specific audiences in the community. Mr. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011-12 season, and League of American Orchestras Conducting Fellow with the Buffalo Philharmonic and Baltimore Symphony.

Joseph made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), and Chicago Sinfonietta, among others. During the 2015-16 Season he will make his subscription debut with the Atlanta Symphony Orchestra and the Little Orchestra Society. This season he will also return to the Baltimore Symphony and the St. Louis Symphony.

Joseph is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also

won in 2008 and 2014. In 2013, Joseph was a semi-finalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one of six conductors featured in the League of American Orchestra’s prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic.

Joseph earned his bachelor’s degree in music education at the University of South Carolina, and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert Spano and Marin Alsop, with whom he continues to maintain a close relationship.

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Atlanta Symphony Youth Orchestra


All sections listed in alphabetical order.

VIOLIN IYueci ChenEunice ChoiAomeng CuiJennifer DengWhit FitzGeraldNam KimMalhar KuteSarah LiJasmine LiuPhoebe LiuPassacaglia MasonGeorge PanKyle QianAlex Yang

VIOLIN IIWill Bontempo***Sarah ChenVivian ChengNaomi Fan Andrew FuBrianna HouSerena GaoMK GuthrieMaya KangJulia Koh Christine LiuZoe LoJulia LuAnnie SuJulia SuSamuel Surbrook

VIOLAWilliam ChurchEmma DeJarenette*Wilfred FarquharsonJoy HsiehKelsey JohnsonJames Kang*Jun KangAmy LiuRichard PeiMatthew PinderIve XueGrace ZhouRaymond Zhu

CELLOJoe BillipsJoseph BrownBrandon ChungClarisa ColtonTannessa DangJefferson DownsLexine FengOlivia HuntRayen KangKevin LiAria PosnerLeonardo Tang

BASSDaniel BarketBailey BennettMalcolm CrowderGabriel EnglishMatthew HensonBlake Hilley

Matthew JungTravis LorenzNicole MannDaniel Tancredi**

FLUTERachel AndersHaiwen GuiJack KangNina Qin

OBOEMekhi Gladden***Sydney HancockHannah LeeAlexa Levy

CLARINETCaleb RuckerMichael TangEric WangAlisha Zamore

BASSOONAllie ByrdChristopher ChungKalli EdwardsAustin Summy

HORNJonathon ChiouHannah CulbrethNick FrattoTyler LaneMolly ShannonSean TurnerAkhil VaidyaElyza Wylder

TRUMPETMichael BarbourImani DuheSteven LukehartRichard StinsonLizbeth Yanez

TROMBONELovrick GaryHans Kang***Andrew TaylorEvan Roussey

TUBAErrol Rhoden IIIJoshua Williams

PERCUSSIONMichael DehanKyle Favors Jim GraberDrew HooperParker OlsonDylan So

HARPKimberly Walker

KEYBOARDEthan Shen

*Ardath W. Weck Chair**Douglas Sommer Chair***Elinor Rosenberg Breman ASYO Fellowship

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WEST SIDE STORYthe EMPIRE STRIKES BACK

AARON COPLAND’S RODEO& MORE!

JOSEPH YOUNG, CONDUCTOR

JUSTIN BRUNS, VIOLIN

TICKETS AT THE WOODRUFF ARTS CENTER BOX OFFICE | | aso.org


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AtlantaSymphonyOrchestraRobert Spano, Music DirectorDonald Runnicles, Principal Guest ConductorMichael Krajewski, Principal Pops Conductor

Delta POPS! Concert

The Golden Age of Broadway ClassicsFriday, May 13 and Saturday, May 14 at 8pm, Sunday, May 15, 2016 at 3pm.

Michael Krajewski, ConductorAtlanta Symphony Orchestra ChorusJenn Gambatese, Sarah Pfisterer, Nathaniel Stampley, vocalists

Produced in collaboration with Broadway Pops International | BroadwayPops.com

Overture to Gypsy — Julie Styne — orch Wendel Music

“Strike Up the Band” from ‘S Wonderful – George Gershwin

Introduction and “Summertime” from Porgy and Bess – George Gershwin

“I Got Plenty O’ Nothin’” from Porgy and Bess – George Gershwin

“New York, New York” from On the Town – Leonard Bernstein

Overture to West Side Story – Leonard Bernstein

A George M. Cohan Overture – Wendel Music(“Give My Regards to Broadway,” “Mary,” “Harrigan,” “Over There,” “Yankee Doodle Dandy,” “You’re a Grand Old Flag”)

THERE WILL BE A 20 MINUTE INTERMISSION

Porter’s Overture A – Lang(“Ridin’ High,” “Love For Sale,” “Anything Goes”)

“Blow Gabriel Blow” from Anything Goes – Cole Porter

“Ascot Gavotte” from My Fair Lady – Frederick Loewe

“I Could Have Danced All Night” from My Fair Lady – Frederick Loewe

“Carousel Waltz” from Carousel – Richard Rodgers

“If I Loved You” from Carousel – Richard Rodgers

“Oklahoma” from Oklahoma! – Richard Rodgers

“Climb Ev’ry Mountain” from The Sound of Music – Richard Rodgers


The Atlanta Symphony Orchestra POPS! Series is presented by Delta Air Lines.


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MICHAEL KRAJEWSKI, Principal Pops Conductor

Known for his entertaining programs and clever humor, Michael Krajewski is a

much sought after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Houston, Atlanta and Jacksonville Symphonies.

As a guest conductor, Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National Symphonies, and numerous other orchestras across the United States. In Canada, he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and Kitchener-Waterloo Symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra, as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and this season’s debut with Spain’s Bilbao Symphony Orchestra.

Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. On recording, he has led the Houston Symphony on two holiday albums: Glad

Tidings and Christmas Festival. In 2014-15, Michael conducted his original Sounds of Simon & Garfunkel program all over North America featuring national touring

artists AJ Swearingen and Jonathan Beedle. Michael’s other collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, Big Bad Voodoo Daddy and The Midtown Men.

With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony, and for eleven years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, FL with his wife Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.

“…his wry wit, as spontaneous as a stand-up comedian’s, emerged to amuse the audience. Krajewski turned to the orchestra to lead a bright, sassy account. It showed that he is as effective and entertaining a communicator in music as he is in words.” — Charles Ward, Houston Chronicle

NORMAN MACKENZIE, Director of Choruses

As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and

holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of

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legendary founding conductor Robert Shaw to a new generation of music lovers. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts annually. During his tenure, the chorus has made numerous tours, garnered several Grammy® awards for Best Classical Album and Best Choral Performance and made an acclaimed debut with the Berlin Philharmonic. Mr. Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church and pursues an active recital and guest conducting schedule.

Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Mr. Shaw, he was keyboardist for the Atlanta Symphony Orchestra, Principal

Accompanist for the Atlanta Symphony Orchestra Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing and partnered with Robert Spano for the Twentieth Anniversary Workshop featuring the Berlioz Requiem.

ATLANTA SYMPHONY ORCHESTRA CHORUS

The Atlanta Symphony Orchestra Chorus was founded in 1970 by former

Music Director Robert Shaw. Comprising

200 auditioned voices, the Chorus is an all-volunteer organization that performs on a regular basis with the Orchestra and is featured on many of the their recordings.

Led by Director of Choruses Norman Mackenzie, the Chorus is known for its precision and expressive singing quality. Their recordings with the Atlanta Symphony Orchestra have won multiple Grammy® Awards, including Best Choral Performance, Best Classical Recording and Best Opera Recording. Those include Vaughan Williams’s A Sea Symphony and the Berlioz Requiem.

The Chorus performs large choral-symphonic works with the full Orchestra under the batons of Music Director Robert Spano and Principal Guest Conductor Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned choral works.

The Chorus made its debut at New York’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Shaw. In addition, the Chorus performed in Washington, D.C., for President-elect Jimmy Carter’s Inaugural Concert in 1977. The Chorus has traveled to Germany three times to be a special guest of the Berlin Philharmonic in December 2003 for performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem and in December 2009 for a week of Brahms Requiem performances — all with Atlanta Symphony Orchestra Principal Guest Conductor Donald Runnicles.

Within the Chorus, there is an auditioned group of 60 musicians called the Atlanta Symphony Orchestra Chamber Chorus. The Chamber Chorus, which formed before

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the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters.

JENN GAMBATESE, vocals

Jenn Gambatese had the great privilege of playing Carrie Pipperidge in the Lyric

Opera of Chicago’s star-studded Spring 2015 production of Carousel. She made her Lyric Opera debut the previous season to great acclaim as Maria in The Sound of Music opposite Billy Zane. This followed her “traveling by bubble” across the country as Glinda in the 1st national tour of Wicked.

On Broadway she created the roles of Jane in Disney’s Tarzan, Natalie in All Shook Up, and Marie Leroux in Is He Dead?. Additionally on Broadway she played Penny Pingleton in Hairspray, mul-tiple roles in A Year with Frog and Toad, and Urleen in Footloose. Among her favor-ite off-Broadway appearances have been Eliante in Classic Stage Company’s The School for Lies, and both Dora in Fiorello! and The Girl in Stairway to Paradise for New York City Center’s “Encores!” series.

Among her most important credits in regional theater are leading roles for three Connecticut companies: Chloe Haddock in Lips Together Teeth Apart at Westport Country Playhouse, Constance Blackwell in We Have Always Lived in the Castle at Yale Repertory Theatre, and both Annie Oakley in Annie Get Your Gun and Carrie Pipperidge in Carousel for Goodspeed

Musicals.

She studied at New York University, graduating magna cum laude with a double major in drama and sociology.

SARAH PFISTERER, vocals

Sarah Pfisterer has played over 1000 performances in the role of Christine in

The Phantom Of The Opera on Broadway and across the country. On Broadway, she played Magnolia in Harold Prince’s Show Boat and was seen in Children And Art directed by Richard Maltby, celebrating Stephen Sondheim’s 75th birthday. Off-Broadway she played Anna Smith in Meet Me In St. Louis at the Irish Repertory Theatre directed by Charlotte Moore. A Metropolitan Opera semi-finalist, Sarah has worked with conductors such as Michael Tilson Thomas and John McGlinn and did a recording of Jerome Kern’s Oh Boy in London under the direction of Mr. McGlinn.

NATHANIEL STAMPLEY, vocals

Nathaniel Stampley appeared in the West End in The Lion King (Disney

UK Ltd.). He also went on tour with Ragtime and Orpheus Returns. His Off- Broadway/Regional credits include Big Love (Signature Theatre); Fiorello!, and Lost in the Stars (NY City Center’s Encores!); The Gershwins’ Porgy and Bess (The A.R.T.); Abyssinia (North Shore Music Theatre); Pacific Overtures (Chicago Shakespeare Theater); Strike Up the Band and One Touch of Venus (Auditorium Theatre’s Ovations!); Violet, Once on This Island and Big River (Joseph Jefferson Award nomination; Apple Tree Theatre); The Color Purple (The Milwaukee Repertory Theater); Showboat (Sacramento Music Circus); Harriet: The Woman Called Moses, El Capitan, Girl Crazy, The King and I, Porgy and Bess (The Skylight Music Theater).

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He has performed in a concert version of The Marriage of Figaro and Songs from Around the World with the Milwaukee Symphony Orchestra; American Favorites from Gershwin to Copland, Home for the Holidays concerts, and has record-ed with the Elgin Symphony Orchestra (Naxos). He has been a guest artist with the UW-Milwaukee Symphony Orchestra, the Milwaukee Youth Sympony Orchestra and toured internationally with the Madison Children’s Choir. He recently performed a Rogers and Hammerstein tribute concert at Lincoln Center.

He has performed in The Weill Music Institute concert series, Musical Explorers and Link Up with the Orchestra of St. Luke’s at Carnegie Hall. Other Concerts include Musical Introduction Series at 92Y, the El Paso Symphony Orchestra, and the Springfeld Sympony Orchestra. In Collaboration with Margaret Paek, Lanette Costas, Jason and Alicia Hall Moran he performed in the installation, BLEED at the Whitney Museum of Art. .

He directed 19 Secrets and Painted Red for Sacred Ground Productions. He has upcoming concert dates with the Philadelphia Orchestra in Bernstein’s Mass.

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Atlanta Symphony Orchestra Chorus

Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair

Peter Marshall, Accompanist

SOPRANO 1Ariel BarnesKathryn Bishop Sarah Clements Hanan Davis Liz DeanLaura FosterNatalie GoughMichelle GriffinJayme Hogan-Yarbro

Jacquelyn Holloway

Erin JonesVictoria KoltermanArietha Lockhart**Mindy Margolis*Patricia Nealon*Joneen Padgett*Callaway PowlusCatherine Steen Lykins

Stacey Tanner

SOPRANO 2June Abbott**Sloan Atwood*Jessica BarberAnne Beloncik Schantz

Barbara BrownKelly CampobassoMartha CraftEllen Dukes**Katherine FoldsMary GoodwinAmanda HoffmanKathleen Kelly-

GeorgeEda Mathews**Shannon NesbitRachel O’DellVickie OrmeChantae PittmanDonna Ross*Sydney SewellSydney Smith-Rikard

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Tommie StorerEmily TallantCheryl Thrash**Donna Weeks*

ALTO 1Deborah Boland**Rachel BowmanAmy ChastainLaurie CroninBeth FreemanPamela Griffin*Noelle HoogeBeverly HueterJanet Johnson*Susan JonesVirginia Little*Staria LoveladyHolly McCarren*Frances McDowell**

Anna MillerLinda Morgan**Laura SoltisMeesook Sonu

Rachel Stewart**Diana StrommenNancy York*

ALTO 2Nancy Adams*Stephanie BizardiMarcia ChandlerMeaghan CurryCynthia DeBold**Sally KannKatherine MacKenzie

Lynda MartinBrenda Pruitt*Laura RappoldSharon SimonsAlexandra TanicoCheryl VantureSarah WardRyan WhickerDiane Woodard**

TENOR 1Jeffrey Baxter**David Blalock**John Brandt*Daniel Cameron*Justin CorneliusJoseph CortesClifford Edge**Steven Farrow**Leif Gilbert-HansenJames JarrellJeffrey LeCrawClinton MillerMatthew NeylonChristopher Patton

Stephen Reed#

TENOR 2Randall Barker** Mark BarnesCurtis BisgesCharles Cottingham#

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Owen TalleyIke Van MeterEdgie Wallace*Edward Watkins**

BASS 2Philip BarrecaClarence BellCharles BooneBrian Brown*John Cooledge#Rick Copeland*Joel Craft**Andrew Gee*Philip JonesEric Litsey**Evan MaukEckhart Richter*John Ruff*Jonathan SmithTimothy Solomon**

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Delta Classical ConcertConcerts of May 19 and 21, 2016, at 8:00pm.


Christina and Michelle Naughton, pianosFRANZ JOSEPH HAYDN (1732-1791)Symphony No. 46 in B Major, Hob.I:46 19MIN I. Vivace II. Poco adagio III. Menuet. Allegretto IV. Finale. Presto e scherzando

WOLFGANG AMADEUS MOZART (1756-1791)Concerto for Two Pianos and Orchestra No. 10 in E-flat Major, K. 365 (1779) 25MIN I. Allegro II. Andante III. Rondeau. Allegro Christina and Michelle Naughton, pianos

INTERMISSION 20MIN

SERGEI PROKOFIEV (1891-1953)Excerpts from Romeo and Juliet, Suites 1 and 2, Opus No. 64bis/64ter (1935-6) 42MIN I. Montagues and Capulets (Suite 2, No.1) II. The Young Girl Juliet (Suite 2, No. 2) III. Minuet (Suite 1, No. 4) IV. Masks (Suite 1, No. 5) V. Romeo and Juliet (Balcony Scene)

(Suite 1, No. 6) VI. Death of Tybalt (Suite 1, No. 7) VII. Dance of the Maids from the Antilles

(Suite 2, No. 6) VIII. Romeo at the Tomb of Juliet (Suite 2, No. 7) IX. Juliet’s Death (Ballet score)

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Symphony No. 46 in B Major, Hob.I:46

FRANZ JOSEPH HAYDN was born in Rohrau, Austria, on March 31, 1732, and died in Vienna, Austria, on May 31, 1809. The Symphony No. 46 is scored for two oboes, bassoon, two horns, and strings.

These are the first Classical Subscription Performances.

From 1766 until 1790, Franz Joseph Haydn served as Kappellmeister to

the court of the ruling Prince Nikolaus Esterházy. The years 1766-73 were among the most prolific and creative of Haydn’s Esterházy tenure. These years are often characterized to as Haydn’s Sturm und Drang (“Storm and Stress”) period—a reference to the relatively contemporaneous German literary movement. During those Sturm und Drang years, Haydn composed several Symphonies that feature minor keys, pervasive, restless energy, stunning dynamic contrasts, and frequent, dramatic pauses. All of these elements serve to create an atmosphere of super-charged drama. No doubt, Haydn’s revolutionary Sturm und Drang Symphonies thrilled, and at times, even shocked contemporary audiences.

It’s not surprising for an artist of Haydn’s artistic range and creativity that many compositions from this period do not fit completely within the Sturm und Drang model. One such piece is the Symphony No. 46. It is a work teeming with energy and beauty, and one that features the delightful surprises that make Haydn’s works unique and endlessly fascinating.

The Symphony No. 46 is in four move-ments. The first (Vivace) opens with a force-ful presentation of a wide-ranging four-note motif that will play a central role through-out the work. The violins are muted for the slow-tempo second movement (Poco ada-

gio), cast in 6/8 time, and the parallel key of B minor. The third movement is a Minuet (Menuet), an elegant court dance in 3/4 time. The central Trio episode is based upon a variant of the first movement’s four-note motif. The Finale (Presto e scherzando) is a nonstop tour-de-force of unexpected twists and turns, including a sudden reappearance of the third-movement Minuet.Concerto for Two Pianos and Orchestra No. 10 in E-flat Major, K. 365 (1779)

WOLFGANG AMADEUS MOZART was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. In addition to the two solo pianos, the Concerto No. 10 is scored for two oboes, two clarinets (optional), two bassoons, two horns, two trumpets (optional), timpani (optional), and strings.

First Classical Subscription Performance: March 16, 1950, William Johnson, Michael McDowell, Pianos, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: December 4, 5, and 6, 1986, Cipa Dichter, Misha Dichter, Pianos, William Fred Scott, Conductor.

Robert Shaw Performances: February 22, 1968, Robert Fizdale, Arthur Gold, Pianos; February 25, 1972 (Tour, Florence, SC), Thelma Sasser, William Sasser, Pianos.

From September of 1777 to January of 1779, Wolfgang Amadeus Mozart

toured throughout Europe. Mozart hoped the tour would secure a new position that would allow him to leave Salzburg. For some time, Mozart had viewed his native city as an insufficient venue for his talents. Mozart’s efforts to find employment outside of Salzburg proved unsuccessful. During this trip, however, Mozart suffered a far more devastating blow.

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The composer’s mother, Anna Maria, accompanied Mozart on the tour. On July 3, 1778, while in Paris, Anna Maria Mozart died, at the age of 57. Mozart returned to Salzburg in 1779. That year, he composed a pair of superb works, both in the key of E-flat, and scored for two soloists and orchestra—the Sinfonia concertante for Violin and Viola, K. 364, and the Concerto for Two Pianos, K. 365. Some commentators have suggested that the Andante of the Sinfonia concertante—one of Mozart’s most beautiful and tragic slow movements—is a musical expression of the composer’s grief over his mother’s death.

No such pathos may be found in the buoyant and optimistic Piano Concerto, K. 365. It is quite possible Mozart originally wrote this Concerto for performance by him and his sister, Nannerl, also a fine pianist. Mozart finally left Salzburg in the spring of 1781 to stake his independence in Vienna. There, he performed the Concerto on at least a few occasions with one of his pupils, Josepha Barbara Auernhammer.

The Concerto for Two Pianos, K. 365, is in three movements. The traditional orchestral introduction of the first (Allegro) sets the stage for a movement notable for high spirits and a wealth of thematic material. Typical of the slow movements in Mozart’s Concertos, the Andante spotlights the soloists’ lyric, even vocal, qualities. A sparkling Rondeau (Allegro) brings the Concerto to a festive close.

Excerpts from Romeo and Juliet, Suites 1 and 2, Opus No. 64bis/64ter (1935-6)

SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the ballet, Romeo and Juliet, took place at the Brno Opera

House in Czechoslovakia, on December 30, 1938. The Suites are scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, tenor saxophone, two bassoons, contrabassoon, four horns, two trumpets, cornet, three trombones, tuba, timpani, xylophone, triangle, military drum, suspended cymbal, cymbals a2, suspended cymbals, triangle, bass drum, tambourine, orchestra bells, maracas, triangle harp, piano/celeste, and strings.

First Classical Subscription Performances: April 10, 11 and 12, 1980, Louis Lane, Conductor.

Most Recent Classical Subscription Performances: May 13, 14, 15, and 16, 2010, Ludovic Morlot, Conductor.

Prokofiev’s Romeo and Juliet has long been celebrated as one of the greatest

ballet scores. But during the period of its creation and early performances, Prokofiev met resistance at every turn. This prompted the great Russian ballerina Galina Ulanova, who danced the role of Juliet at the July 11, 1940 Leningrad premiere, to offer the following toast, a play on the concluding lines of the Shakespeare original:

Never was a story of more woe

Than this of Prokofiev’s music for Romeo.

Prokofiev adapted music from his Romeo and Juliet ballet for two Orchestral Suites (premiered, respectively, in Moscow, in 1936, and Leningrad, in 1937) as well as a collection of Ten Pieces for Solo Piano, Opus 75 (1937). Prokofiev completed a third Orchestral Suite in 1946.

I. Montagues and Capulets (Suite 2, No.1)—The brief and fierce introduction is derived from an Interlude that follows the Prince of Verona’s warning to the battling Montague and Capulet families. After the introduc-


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tion, the Dance of the Knights begins.

II. The Young Girl Juliet (Suite 2, No. 2)—The playful nature of the thirteen-year-old Juliet is marvelously depicted by the spic-cato violin figures, but there is also more reflective music that suggests the blossom-ing young woman.

III. Minuet (Suite 1, No. 4)—The Minuet accompanies the arrival of the guests to a ball at the Capulet home. The stately, principal dance alternates with contrasting episodes.

IV. Masks (Suite 1, No. 5)—Romeo, Montague’s son, and his friend, Mercutio, arrive at the ball, wearing disguises. Capulet and his wife enter with their daughter Juliet. They bid the musicians to play, and the guests to dance. At the sight of Juliet, Romeo immediately falls in love with the beautiful young woman.

V. Romeo and Juliet (Balcony Scene) (Suite 1, No. 6)—At night, Romeo stands beneath Juliet’s balcony and prays for her to appear. Juliet comes to the balcony, and the two declare their eternal love.

VI. Death of Tybalt (Suite 1, No. 7)—Tybalt challenges Romeo to a duel. Romeo is now married to Juliet, and therefore, Tybalt’s cousin. Romeo refuses to fight. Mercutio intercedes and is mortally wound-ed by Tybalt. When Romeo learns that his friend has died, he is overcome with anger, and kills Tybalt. A searing funeral proces-sion follows.

VII. Dance of the Maids from the Antilles (Suite 2, No. 6)—Juliet is forced by her parents to marry Count Paris. On the day of Juliet’s wedding, handmaidens surround her, bearing lilies.

VIII. Romeo at the Tomb of Juliet (Suite 2, No. 7)— Juliet, hoping to escape with Romeo, drinks a potion that places her in

a deep sleep, creating the appearance of death. The Capulet family carries Juliet’s lifeless body to the family tomb. Romeo has learned of Juliet’s supposed death and has rushed to the Capulet tomb. The music depicting the funeral procession—and Romeo’s despair—develops a shattering momentum and intensity. After the climax, the music subsides to a pianissimo whisper.

IX. Juliet’s Death (Ballet score)—Romeo drinks poison and dies. Juliet awakens and sees her dead husband. She takes Romeo’s knife and kills herself.

JOSEPH YOUNG, Assistant Conductor, Atlanta Symphony Youth Orchestra Music Director

Increasingly recognized as “one of the most gifted conductors of his generation,”

Joseph Young is currently the Assistant Conductor of the Atlanta Symphony Orchestra. In his role, Joseph conducts more than 50 concerts per season with the Atlanta Symphony, which include programs on the Delta Classical Series, Concerts for Young People and Families, and various other concerts geared towards specific audiences in the community. Mr. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011-12 season, and League of American Orchestras Conducting Fellow with the Buffalo Philharmonic and Baltimore Symphony.

Joseph made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony,

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Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), and Chicago Sinfonietta, among others. During the 2015-16 Season he will make his subscription debut with the Atlanta Symphony Orchestra and the Little Orchestra Society. This season he will also return to the Baltimore Symphony and the St. Louis Symphony.

Joseph is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008 and 2014. In 2013, Joseph was a semi-finalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one of six conductors featured in the League of American Orchestra’s prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic.

Joseph earned his bachelor’s degree in music education at the University of South Carolina, and completed graduate studies

with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert

Spano and Marin Alsop, with whom he continues to maintain a close relationship.

CHRISTINA and MICHELLE NAUGHTON, pianos

Christina and Michelle Naughton made their European debut at Herkulesaal

in Munich, where the Süddeutsche Zeitung proclaimed them “an outstanding piano duo.” They made their Asian debut with the Hong Kong Philharmonic, where the Sing Tao Daily said of their performance: “Joining two hearts and four hands at two grand pianos, the Naughton sisters created an electrifying and moving musical performance.” An appearance with the Philadelphia Orchestra led the Philadelphia Inquirer to characterize their playing as “paired to perfection,” while the Saarbrücker Zeitung exclaimed, “This double star could soon prove to be a supernova.”

Orchestral engagements include appear-ances with the Philadelphia Orchestra; Houston, Milwaukee, New Jersey, North Carolina, Nashville, Virginia, Hawaii, Maryland, Toledo, Delaware, El Paso, Napa Valley, Wichita, Tulsa, Gulf Coast and Madison symphonies; the Buffalo Philharmonic; the Wisconsin Chamber Orchestra; Cleveland’s Red Orchestra; Chicago’s Ars Viva Symphony Orchestra and Erie Philharmonic; as well as with ensembles such as the Mahler Chamber Orchestra, Hong Kong Philharmonic, Royal Flemish Philharmonic in Belgium, Solistes Européens Luxembourg, Hamburg Chorus, Kiel Philharmonic and Norddeutsche Philharmonie Rostock. Past and future sea-sons feature collaborations under the batons of conductors such as Stephane Deneve, Edo deWaart, Charles Dutoit, JoAnn Falletta, Giancarlo Guerrero, Emanuel Krivine, Cristian Macelaru, Andres Orozco-Estrada and Michael Stern.

The Naughtons recorded their first album in the Sendesaal in Bremen, Germany, and it

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was released worldwide in fall 2012 by ORFEO. The album has been praised by DerSpiegel Magazine for “stand(ing) out with unique harmony, and sing(ing) out with stylistic confidence,” and described by ClassicsToday as a “Dynamic Duo Debut.”

Born in Princeton, NJ, to parents of European and Chinese descent, the Naughtons are graduates of The Juilliard School and the Curtis Institute of Music, where they were each awarded the Festorazzi Prize. They are Steinway Artists and cur-rently reside in New York City.

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AtlantaSymphonyOrchestra*AtlantaSymphonyYouthOrchestra+

Concert of Thursday, May 26, 2016, at 8:00pm.


Malhar Kute, violin

Terry Neal, narrator

Side-By-Side ConcertDMITRI SHOSTAKOVICH (1906-1975)Festive Overture, Opus 96 (1954)+

SERGEI PROKOFIEV (1891-1953)Concerto for Violin and Orchestra No. 2 in G minor, Opus 63 (1935)* I. Allegro moderato Malhar Kute, violin

PETER ILYICH TCHAIKOVSKY (1840-1893)Romeo and Juliet, Fantasy Overture (1870, rev. 1880)*,+

BENJAMIN BRITTEN (1913-1976)Variations and Fugue on a Theme of Purcell, “The Young Person’s Guide to the Orchestra,” Opus 34 (1946)*,+ Terry Neal, narrator

This concert is performed without intermission.


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The Atlanta Symphony Youth Orchestra is sponsored by Wells Fargo.





Festive Overture, Opus 96 (1954)

DMITRI SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow, Russia, on August 9, 1975. The first performance of the Festive Overture took place at the Bolshoi Theater in Moscow on November 6, 1954, with Alexander Melik-Pashayev conducting the Bolshoi Theater Orchestra. The Festive Overture is scored for piccolo, two flutes, three oboes, three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, snare drum, cymbals, bass drum, and strings.

Dmitri Shostakovich composed his Festive Overture in the autumn of

1954. The premiere took place at Moscow’s Bolshoi Theater on November 6, 1954. Shostakovich composed the Festive Overture as part of the celebrations of the 37th anniversary of the October Revolution. But some commentators have suggested that the work’s energy and high spirits express Shostakovich’s reaction to the death the previous year of his long-time nemesis, Soviet Dictator Joseph Stalin.

Concerto for Violin and Orchestra No. 2 in G minor, Opus 63 (1935)

SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the Violin Concerto No. 2 took place in Madrid, Spain, on December 1, 1935, with Robert Soëtans as soloist and Enrique Arbos conducting the Madrid Symphony Orchestra. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two trumpets, two horns, triangle, suspended cymbal, castanets, snare drum, bass drum, triangle, and strings.

In his autobiography, Sergei Prokofiev recalled the circumstances surrounding

the creation of his Violin Concerto No. 2:

In 1935 a group of admirers of the French violinist (Robert) Soëtans asked me to write a violin concerto for him, giving him exclusive rights to perform it for one year. I readily agreed since I had been intending to write something for the violin at that time and had accu-mulated some material. As in the case of the preceding concertos, I began by searching for an original title for the piece, such as “concert sonata for violin and orchestra,” but finally returned to the simplest solution: Concerto No. 2. Nevertheless, I wanted it to be alto-gether different from No. 1 both as to music and style.

Despite Prokofiev’s apparent desire that his Second Violin Concerto stand in sharp con-trast to the First, most commentators have noted the similarly elegant and lyric nature of the two works. Regardless of Prokofiev’s stated intent, what emerged is a work of enduring charm and grace that demands the highest level of technical mastery from the soloist.

The Concerto is in three movements. This concert features the opening move-ment (Allegro moderato), based upon two themes, both introduced by the soloist.

Romeo and Juliet, Fantasy Overture (1870, rev. 1880)

PETER ILYICH TCHAIKOVSKY was born in Kamsko-Votkinsk, Russia, on May 7, 1840, and died in St. Petersburg, Russia, on November 6, 1893. The first performance of the Romeo and Juliet, Fantasy Overture took place in Moscow, Russia, at a concert of the Musical Society on March 16, 1870, with Nikolai Rubinstein conducting.

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The Romeo and Juliet Fantasy Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp, bass drum, cymbals, and strings.

It was at the suggestion of Russian composer Mily Balakirev that Tchaikovsky

composed his orchestral depiction of William Shakespeare’s Romeo and Juliet. The work was the product of an extended creative process. Tchaikovsky began his Romeo and Juliet in 1869. But it was not until 1880, after several performances and revisions, that Tchaikovsky completed the final version, one of the Russian composer’s most popular and beloved works.

Romeo and Juliet opens with an extend-ed slow-tempo introduction, featuring a theme depicting the kindly Friar Laurence. Violent music, representing the warring Montagues and Capulets, launches the principal fast-tempo section. Muted violas and the English horn introduce Romeo and Juliet’s immortal “love theme,” paired with an undulating motif in the muted violins. The development and recapitulation of the themes resolve to the brooding final section, capped by the forceful concluding bars.

Variations and Fugue on a Theme of Purcell, “The Young Person’s Guide to the Orchestra,” Opus 34 (1946)

BENJAMIN BRITTEN was born in Lowestoft, England, on November 22, 1913, and died in Aldeburgh, England, on December 4, 1976. The first performance of “The Young Person’s Guide to the Orchestra” took place on October 15, 1946, with Sir Malcolm Sargent conducting the Liverpool Philharmonic Orchestra. “The Young Person’s Guide to the Orchestra” is scored for narrator, piccolo, two

flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp, xylophone, tambourine, triangle, bass drum, gong, side drum, castanets, whip, cymbals, suspended cymbal, Chinese blocks, and strings.

“I have a small film to write for the Board of Education,” Benjamin Britten

informed Mary Behrend, a friend who had commissioned the composer’s Second String Quartet (1945). The educational film, commissioned by the Crown Film Unit, was designed to introduce children to the various instruments of the orchestra.

The premiere of the educational film, enti-tled Instruments of the Orchestra, took place on November 29, 1946. Sir Malcolm Sargent served as conductor and narra-tor. During the previous month, Sargent conducted the Liverpool Philharmonic Orchestra in the first concert performance of the “Young Person’s Guide to the Orchestra.” Sargent also delivered the text, authored by Eric Crozier.

“The Young Person’s Guide to the Orchestra” proved to be a success from its inception. “I’m glad that the Min. of Ed. chaps approve,” Britten told a friend. “I never really worried that it was too sophis-ticated for kids—it is difficult to be that for the little blighters!” The “Young Person’s Guide” remains one of the most popular compositions of its kind. As with any superior educational experience, Britten’s “Young Person’s Guide to the Orchestra” simultaneously informs, stimulates and entertains students (of all ages).

The composer’s subtitle for the “The Young Person’s Guide to the Orchestra” is Variations and Fugue on a Theme of Henry Purcell. The piece begins with a grand, tutti


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declaration of a melody that was originally a hornpipe, featured in British composer Henry Purcell’s (1659-95) Incidental Music to the play, Abdelazar, or The Moor’s Revenge (1695). Statements of the melody by each of the four instrument families (woodwind, brass, strings, and percussion) lead to a reprise of the orchestral tutti. A series of thirteen variations follows, each designed to highlight particular instru-ments. The variations are succeeded by a lively fugue, with the instruments making their entrances in the same order as the preceding variations. In the grand climax, the brass majestically proclaims the original Purcell melody, while the remainder of the orchestra continues the fugue. A brief, spir-ited coda rounds out “The Young Person’s Guide to the Orchestra.”

MALHAR KUTE, violin

Malhar Kute, 18, is a senior at Chamblee Charter High School as a member

of the Magnet Program, and has been playing the violin since he was 10 years old. He currently studies under the tutelage of Justin Bruns.

Malhar has received much recognition for his violin performance. In 2014 he won first place in the Samuel A. Fordis Concerto Competition and performed with the Georgia Philharmonic. Last year, he was a finalist in the Rising Stars Festival of Arts Competition, and in 2014 he won the DeKalb Youth Symphony Concerto Competition. He also recently won the Ruth Kern Concerto Competition and performed with the Atlanta Community Symphony Orchestra.

Malhar has been a member of the Atlanta Symphony Youth Orchestra for two years, where he currently serves as concertmaster. In 2014-2015 he was the co-concertmaster of the DeKalb Youth Symphony. He has been a member of the GMEA All State Orchestra for four years, earning the leading positions of principal second violin in 2015 and concertmaster in 2016. Malhar has attended several prestigious music summer programs, such as the Meadowmount School of Music and the Montecito International Music Festival. He has also performed in master classes for Jun Iwasaki and Karen Gomyo.

In addition to music, Malhar is very passionate about math and science. In 2015, he was one of eleven students worldwide to earn a perfect score on the AP Calculus BC exam and was recently invited to the 2016 White House Science Fair to honor this achievement. In college, Malhar plans to pursue degrees in both materials engineering and violin performance.

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TERRY NEAL, narrator and Atlanta Symphony Orchestra Board Member

Terry Neal is an avid supporter and patron of the GRAMMY® Award-

winning Atlanta Symphony Orchestra. Over the years his commitment to the Orchestra has been demonstrated through a variety of roles, from serving as a member of the Board of Directors to stepping in as Interim President & CEO from October 2014 to December 2015. He also served as the Orchestra Board representative on the Woodruff Arts Center initiative that consolidated all development functions into one organization.

Mr. Neal retired from The Coca-Cola Company in 2009 with over 30 years of service. Formerly, he served as the Vice President of the Latin America Group and Director of Customer Development. Throughout his career, both domestically and internationally, his focus was on building collaborative business relationships with large complex customers, as well as developing organizational and individual capabilities. Mr. Neal is currently a member of the Coca-Cola Alumni Association Board of Directors, serving as Chairman of the Public Affairs Committee. He resides in Atlanta with his wife, Jeanne and has one daughter, Chloe.

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s e r e n b e p l ay h o u s e • 2 0 1 6 • s e a s o n s e v e n

A S E A S O N o f

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The most INTREPID & FEARLESS of theatre companies. One that produces its REINVENTED productions in the never ending expanse of the GREAT OUTDOORS.

Photos by BreeAnne Clowdus

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Atlanta Symphony Youth Orchestra


All sections listed in alphabetical order.

VIOLIN IYueci ChenEunice ChoiAomeng CuiJennifer DengWhit FitzGeraldNam KimMalhar KuteSarah LiJasmine LiuPhoebe LiuPassacaglia MasonGeorge PanKyle QianAlex Yang

VIOLIN IIWill Bontempo***Sarah ChenVivian ChengNaomi Fan Andrew FuBrianna HouSerena GaoMK GuthrieMaya KangJulia Koh Christine LiuZoe LoJulia LuAnnie SuJulia SuSamuel Surbrook

VIOLAWilliam ChurchEmma DeJarenette*Wilfred FarquharsonJoy HsiehKelsey JohnsonJames Kang*Jun KangAmy LiuRichard PeiMatthew PinderIve XueGrace ZhouRaymond Zhu

CELLOJoe BillipsJoseph BrownBrandon ChungClarisa ColtonTannessa DangJefferson DownsLexine FengOlivia HuntRayen KangKevin LiAria PosnerLeonardo Tang

BASSDaniel BarketBailey BennettMalcolm CrowderGabriel EnglishMatthew HensonBlake Hilley

Matthew JungTravis LorenzNicole MannDaniel Tancredi**

FLUTERachel AndersHaiwen GuiJack KangNina Qin

OBOEMekhi Gladden***Sydney HancockHannah LeeAlexa Levy

CLARINETCaleb RuckerMichael TangEric WangAlisha Zamore

BASSOONAllie ByrdChristopher ChungKalli EdwardsAustin Summy

HORNJonathon ChiouHannah CulbrethNick FrattoTyler LaneMolly ShannonSean TurnerAkhil VaidyaElyza Wylder

TRUMPETMichael BarbourImani DuheSteven LukehartRichard StinsonLizbeth Yanez

TROMBONELovrick GaryHans Kang***Andrew TaylorEvan Roussey

TUBAErrol Rhoden IIIJoshua Williams

PERCUSSIONMichael DehanKyle Favors Jim GraberDrew HooperParker OlsonDylan So

HARPKimberly Walker

KEYBOARDEthan Shen

*Ardath W. Weck Chair**Douglas Sommer Chair***Elinor Rosenberg Breman ASYO Fellowship


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ASO | 5.27/28/29 | program

AtlantaSymphonyOrchestraRobert Spano, Music DirectorDonald Runnicles, Principal Guest ConductorMichael Krajewski, Principal Pops Conductor

Delta POPS! Concert

Michael Cavanaugh: Songs of Elton John & moreFriday, May 27 and Saturday, May 28 at 8pm, Sunday, May 29, 2016 at 3pm.

Stuart Chafetz, ConductorMichael Cavanaugh, piano and vocals

Billboard calls Michael Cavanaugh the “The new voice of the American Rock ‘n’ Roll Songbook.” After the huge success from the orchestra show The Songs of Billy Joel & more, Cavanaugh pro-duced two other orchestral shows: The Songs of Elton John & more (tonight’s performance) which features some of the greatest hits by piano legend Sir Elton John, as well as the Singer Songwriter show: The songs of Paul Simon, James Taylor and Neil Diamond which are part of Michael’s “Generations of Rock” series.

Cavanaugh will be opening up the Rock ‘n’ Roll songbook and not only play songs by Elton John, but will feature selections by other legendary artists. Get ready for some surprises!

We will also have an audience vote for a song to be featured in the 2nd Act. Please text the word “Songs” to 25827 (CLUBS) and at intermission we will we will send you a text that allows you to vote for the featured song. No other touring artist allows the audience to select any part of the set list…tonight you get to!

We hope you enjoy (and sing along) to tonight’s performance.

THERE WILL BE A 20 MINUTE INTERMISSION

Selections for tonight will include: “Pinball Wizard,” “Your Song,” “Candle in the Wind,” “Goodbye Yellow Brick Road,” “Rocket Man,” and “Benny and the Jets”.


The Atlanta Symphony Orchestra POPS! Series is presented by Delta Air Lines.


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STUART CHAFETZ, Conductor

Stuart Chafetz is a conductor with a dynamic podium demeanor and a

refined sense of audience engagement. Increasingly in demand with orchestras across the continent, this season Chafetz

will be on the podium in Chicago, Naples, Phoenix, Houston, Atlanta, Seattle, Milwaukee, Detroit, Cincinnati, Hawaii, Jacksonville, Dallas, Louisiana and others.

He previously held posts as Resident Conductor of the Milwaukee Symphony Orchestra and Associate Conductor of the Louisville Orchestra. As Principal Timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annu-al Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops.

In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops. Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a Bachelor’s degree in music perfor-mance from the College-Conservatory of Music at the University of Cincinnati and a Master’s from the Eastman School of Music.

MICHAEL CAVANAUGH, piano & vocals

Michael Cavanaugh is the New Voice of the American Rock & Roll Songbook.

A charismatic performer, musician and actor, made famous for his piano/lead vocals in the Broadway Musical Movin’ Out.

Michael Cavanaugh was handpicked by Billy Joel to star in the title role and evokes a style rivaling the Piano Man. Michael appeared in the show for three years with over 1200 performances, receiving accolade after accolade, which culminated in 2003 with both Grammy® and Tony Award nominations.

With the close of Movin’ Out at the end of 2005, Mr. Cavanaugh began touring in his own right, creating a show that reinterprets the modern pop/rock songbook. He soon became one of the hottest artists in the corporate/events market. He continues to perform worldwide for company and charity events, as well as sporting events including PGA tour events, the US Open and the Indy 500. It wasn’t long before symphony orchestras discovered Michael’s talents and audience appeal. He accepted his first orchestral booking, Michael Cavanaugh – The Songs of Billy Joel and more, which debuted in April of 2008 with the Indianapolis Symphony and continues to tour. In October 2008, he signed with Warner/ADA to distribute his first CD titled In Color.

In June, 2010, Mr. Cavanaugh debuted his second symphony show in the Generations of Rock series, entitled Michael Cavanaugh: The Songs of Elton John and more and then debuted his third symphony show Singers and Songwriters: the Music of Paul Simon, Neil Diamond and James Taylor in 2012. He continues to tour all three symphony productions.

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Delta Classical ConcertConcerts of Thursday, June 2, and Saturday, June 4, 2016, at 8:00pm.

Peter Oundjian, Conductor

Robert McDuffie, violinPHILIP GLASS (b. 1937)Violin Concerto No. 2, “The American Four Seasons” (2009) 38MIN I. Prologue II. Movement I III. Song No.1 IV. Movement II V. Song No.2 VI. Movement III VII. Song No.3 VIII. Movement IV Robert McDuffie, violin

INTERMISSION 20MIN

HECTOR BERLIOZ (1803-1869)Symphonie fantastique, Opus 14 (1830) 52MIN I. Reveries, Passions (Largo; Allegro agitato e

appassionato assai) II. A Ball (Valse. Allegro non troppo) III. Scene in the Country (Adagio) IV. March to the Execution

(Allegretto non troppo) V. Dream of a Witches’ Sabbath

(Larghetto; Allegro)


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Additional support generously provided by





Violin Concerto No. 2, “The American Four Seasons” (2009)

PHILIP GLASS was born in Baltimore, Maryland, on January 31, 1937. The first performance of the Violin Concerto No. 2 took place in Toronto, Ontario, Canada, on December 9, 2009, with Robert McDuffie as violin soloist, and the Toronto Symphony Orchestra, conducted by Peter Oundjian. In addition to the solo violin, the Concerto is scored for strings and synthesizer.

These are the First Classical Subscription Performances.

The Violin Concerto No. 2, “The American Four Seasons”, by the

distinguished American composer Philip Glass, was a co-commission by the Toronto Symphony Orchestra, London Philharmonic Orchestra, Aspen Music Festival and School, Krannert Center for the Performing Arts at University of Illinois at Champaign-Urbana, and Carlsen Center at Johnson County Community College in Overland Park, Kansas.

Glass’s Violin Concerto No. 2 was inspired by one of the most beloved works in the con-cert repertoire, Le quattro stagioni (The Four Seasons) (ca. 1725), by the Italian Baroque composer Antonio Vivaldi (1678-1741). The Four Seasons is a series of three-movement concertos, scored for solo violin, strings, and continuo. Each of the four concertos (comprising two quick-tempo movements framing one in slow tempo) depicts a season of the year.

The 1725 score of Vivaldi’s The Four Seasons includes sonnets describing the programs for each of the twelve movements. Further, cer-tain passages in the score are accompanied by captions describing what the music is intended to portray. While Vivaldi incorpo-rates dozens of such descriptive touches into The Four Seasons, the music never lapses

into a series of effects. Rather, The Four Seasons demonstrates an admirable—and highly satisfying—sense of cohesion. This is achieved, in great part, by Vivaldi’s use of the ritornello (a recurring instrumental phrase) in the outer movements of each “Season. Vivaldi’s considerable melodic gifts, daring harmonies, and brilliant writing for the solo instrument produce an immensely entertain-ing work.

Philip Glass Discusses “The American Four Seasons”

The Violin Concerto No. 2 was composed for Robert McDuffie in the Summer and Autumn of 2009. The work was preceded by several years of occasional exchanges between Bobby and myself. He was interested in music that would serve as a companion piece to the Vivaldi “Four Seasons” concertos. I agreed to the idea of a four-movement work but at the outset was not sure how that correspondence would work in practice—between the Vivaldi concertos and my own music. However, Bobby encouraged me to start with my composition and we would see in due time how it would relate to the very well known original.

When the music was completed I sent it on to Bobby, who seemed to have quickly seen how the movements of my Concerto No. 2 related to the “Seasons.” Of course, Bobby’s interpretation, though similar to my own, proved to be also somewhat different. This struck me as an opportunity, then, for the listener to make his/her own interpretation. Therefore, there will be no instructions for the audience, no clues as to where Spring, Summer, Winter, and Fall might appear in the new concerto – an interesting, though not worrisome, problem for the listener. After all, if Bobby and I are not in complete agreement, an independent

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interpretation can be tolerated and even welcomed. (The mathematical possibilities, or permutations, of the puzzle are in the order of 24.)

Apart from that, I would only add that, instead of the usual cadenza, I provided a number of solo pieces for Bobby—thinking that they could be played together as separate concert music when abstracted from the whole work. They appear in the concerto as a “prelude” to the first movement and three “songs” that precede each of the following three movements.

–Philip Glasshttp://www.philipglass.com/music/recordings/american4seasons.php

Symphonie fantastique, Opus 14 (1830)

HECTOR BERLIOZ was born in La Côte-Saint-André, Isère, France, on December 11, 1803, and died in Paris, France, on March 8, 1869. The first performance of the Symphonie fantastique took place at the Paris Conservatoire on December 5, 1830, with François-Antoine Habeneck conducting the Orchestra of the Société des Concerts du Conservatoire. The Symphonie fantastique is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two clarinets, four bassoons, four horns, two trumpets, two cornets, three trombones, two tubas, timpani (two players), bass drum, cymbals, suspended cymbals, snare drum, low bells (offstage), two harps, and strings.

First Classical Subscription Performances: February 12 and 13, 1958, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: January 23, 25, and 26, 2014, Robert Spano, Conductor.

Robert Shaw Performances (Classical Subscription, unless otherwise noted): September 26, 1968; October 6, 1968

(Other Series); October 28-November 2, 1968 (Tour); March 13, 14 and 15, 1980; April 20, 1980 (Runout, Thomasville).

In September 1827, Hector Berlioz, then a 23-year-old student at the Paris

Conservatory, attended productions by an English touring company of Shakespeare’s Hamlet and Romeo and Juliet. In those performances, Harriet Smithson, a beautiful and young Irish actress, portrayed the tragic heroines, Ophelia and Juliet. Berlioz immediately fell in love with her.

Berlioz did everything within his power to try to get Smithson to take notice of him, but without success. In February of 1830, Berlioz wrote to his sister: “I am about to commence my grand symphony (Episode in the Life of An Artist), in which the development of my infernal passion will be depicted.” On April 16 of that same year, Berlioz announced that his Symphony was complete.

The premiere of the Symphonie fantastique took place at the Paris Conservatory on December 5, 1830, with François-Antoine Habeneck conducting the Orchestra of the Société des Concerts du Conservatoire. The drama, innovation, and sheer audacity of the young composer’s vision stunned the audience. By the time Harriet Smithson returned to Paris in 1832 and attended a performance of the Fantastic Symphony, it seemed the actress was the only person in the entire city who didn’t realize she was the inspiration for the music. When Smithson discovered the truth, she finally agreed to meet Berlioz. After a brief courtship, the two wed on October 3, 1833. Franz Liszt and Heinrich Heine served as witnesses. However, the marriage deteriorated, and in the early 1840s, Smithson and Berlioz separated.

Even after the acrimonious conclusion of their marriage, Berlioz acknowledged his artistic kinship with Harriet Smithson, and


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the profound influence she exercised upon his development as an artist. Toward the end of her life, Smithson suffered paralysis. After Harriet Smithson’s death in 1854, Liszt wrote to Berlioz: “She inspired you, you loved her and sang your love, her mission was fulfilled.”

Berlioz, a gifted and prolific writer, provided the following program notes for his Symphonie fantastique.

A young musician of morbidly sensitive temperament and lively imagination poisons himself with opium in an attack of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his feelings, his emotions, his memories are transformed in his sick mind into musical images. The Beloved herself becomes for him a melody, a cyclical theme (idée fixe) that he encounters and hears everywhere.

(Annotator’s note: The idée fixe is introduced approximately five minutes into the opening movement by the flute and first violins.)

I. Reveries, Passions (Largo; Allegro agitato e appassionato assai)—At first he recalls that sickness of the soul, those intimations of passion, the apparently groundless depression and intoxication he experienced before he met the woman he adores; then the volcanic love that she inspired in him, his delirious anguish, his furious jealousy, his return to tenderness, his religious consolation.

II. A Ball (Valse. Allegro non troppo)—He meets his beloved again in the midst of the tumult of a glittering fête.

III. Scene in the Country (Adagio)—On a summer evening in the country, he hears two shepherds piping back and forth a ranz des vaches (the traditional melody of Swiss shepherds for summoning their

flocks); this pastoral duet, the peaceful landscape, the rustling of the trees gently rocked by the wind, some prospects of hope he recently found—all combine to soothe his heart with unusual tranquility and brighten his thoughts. But she reappears, he feels his heart tighten, he is smitten with sad foreboding: what if she were to prove false?…One of the shepherds resumes his simple tune; the other no longer responds. The sun sets…distant roll of thunder…solitude…silence.

IV. March to the Execution (Allegretto non troppo)—He dreams he has murdered his Beloved, that he has been condemned to death and is being led to the scaffold. The procession advances to the sound of a march that is now somber and agitated, now brilliant and solemn, in which the muffled sound of heavy steps is suddenly juxtaposed with the noisiest clamor. At the end, the idée fixe returns for a moment like a final thought of love, suddenly interrupted by the death blow.

V. Dream of a Witches’ Sabbath (Larghetto; Allegro)—He imagines himself at a Witches’ Sabbath, among a hideous throng of ghouls, sorcerers and monsters of every kind, assembled for his funeral. Ominous sounds, groans, bursts of laughter, distant cries that other cries seem to answer. The Beloved’s melody reappears, but it has lost its noble and timid character; it has become a vulgar dance tune, unworthy, trite and grotesque: there she is, coming to join the Sabbath…A roar of joy greets her arrival…She takes part in the infernal orgy…The funeral knell, a burlesque parody of the Dies irae…the witches’ round…the dance and the Dies irae are heard together.

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PETER OUNDJIAN, Conductor

Toronto-born conductor Peter Oundjian, noted for his probing musicality,

collaborative spirit, and engaging personality, has been an instrumental figure in the rebirth of the Toronto Symphony Orchestra since his appointment as Music Director in 2004. In addition to conducting the Orchestra in dynamic performances which have achieved outstanding artistic acclaim, he has been greatly involved in a

variety of new initiatives which have strengthened the ensemble’s presence in the community and attracted a young and diverse audience.

During his tenure, Oundjian has also released eight record-ings on the Orchestra’s

self-produced record label TSO Live and signed a multi-disc recording contract with Chandos Records. He recently led the TSO on a tour of Europe which included a sold-out performance at Amsterdam’s Concertgebouw and the first perfor-mance of a North American orchestra at Reykjavik’s Harpa Hall.

Oundjian was appointed Music Director of the Royal Scottish National Orchestra in 2012. Few conductors bring such musician-ship and engagement to the world’s great podiums—from Berlin, Amsterdam, and Tel Aviv, to New York, Chicago, and Sydney. He has also appeared at some of the great annual gatherings of music and music-lov-ers: from the London Proms and the Prague Spring Festival, to the Edinburgh Festival and The Philadelphia Orchestra’s Mozart Festival where he was Artistic Director from 2003 to 2005.

Oundjian was Principal Guest Conductor of the Detroit Symphony Orchestra from 2006 to 2010 and played a major role at the Caramoor International Music Festival in New York between 1997 and 2007. Since 1981, he has served as a visiting professor at the Yale School of Music, and was awarded the university’s Sanford Medal in 2013. In May 2009 Mr. Oundjian received an honorary doctorate from the San Francisco Conservatory.

ROBER MCDUFFIE, violin

Grammy® nominated artist Robert McDuffie has appeared as soloist with

most of the major orchestras of the world.

He gave the World Premiere of Philip Glass’ Violin Concerto No. 2, The American Four Seasons - a work written for Robert McDuffie - with the Toronto Symphony. McDuffie recently completed a 30-city U.S. tour with the Venice Baroque Orchestra, pairing the Glass Four Seasons with the Vivaldi Four Seasons

Robert McDuffie recorded The American Four Seasons with the London Philharmonic and Marin Alsop on Philip Glass’ Orange Mountain Music label. His acclaimed Telarc and EMI recordings include the violin concertos of Mendelssohn, Bruch, Adams, Glass, Barber, Rozsa, Bernstein, William Schuman, and Viennese violin favorites.

Future plans include additional appearances with actor/playwright Anna Deavere Smith, a return to Korea and his annual visit to the Aspen Music Festival. He will perform with the Royal Scottish National Orchestra, the Puerto Rico Symphony Orchestra, the Atlanta Symphony Orchestra and the Louisiana Philharmonic. On June 17, 2016 he will perform the world premiere of Mills Concerto for Violin, Rock Band and

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Orchestra with the Toronto Symphony.

Robert McDuffie is the found-er of the Rome Chamber Music Festival. He has been awarded the prestigious Premio Simpatia by the Mayor of Rome, in recognition of his contribution to the city’s cultural life. Mr. McDuffie holds the Mansfield and Genelle Jennings Distinguished University Professor Chair at Mercer University, Macon, Georgia, where he founded the Robert McDuffie Center for Strings. Robert McDuffie lives in New York. He plays a 1735 Guarneri del Gesu violin, known as the “Ladenburg”.

TICKETS AT THE WOODRUFF ARTS CENTER BOX OFFICE

| aso.org

FEATURINGCONDUCTOR MARTIN HERMAN

VOCALISTS TERRY BROCK, JOHN HINES & GLENN DELAUNE

THE ATLANTA SYMPHONY ORCHESTRA AND A FULL ROCK BAND WILL PERFORM EAGLES CLASSIC SONGS IN A

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Delta Classical ConcertConcerts of Thursday, June 9, and Saturday, June 11, at 8:00p, and Sunday, June 12, 2016, at 3:00pm.

Robert Spano, Conductor

André Watts, pianoJOHANNES BRAHMS (1833-1897)Concerto for Piano and Orchestra No. 2 in B-flat Major, Opus 83 (1881) 55MIN I. Allegro non troppo II. Allegro appassionato II. Andante III. Allegretto grazioso André Watts, piano

INTERMISSION 20MINSymphony No. 2 In D Major, Opus 73 (1877) 41MIN I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito


Additional support generously provided by





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JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897.

Concerto for Piano and Orchestra No. 2 in B-flat Major, Opus 83 (1881)

The first performance of the Piano Concerto No. 2 took place at the Redoutensaal in Budapest, Hungary, on November 9, 1881, with the composer as soloist and Sándor Erkel conducting the Budapest Philharmonic. In addition to the solo piano, the Concerto is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

First Classical Subscription Performance: January 30, 1954, Joseph Battista, Piano, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: November 29 and 30, December 1, 2012, Emanuel Ax, Piano, Robert Spano, Conductor.

Robert Shaw Performances (Classical Subscription, unless otherwise noted): February 5, 6, and 8, 1970, Theodore, Lettvin, Piano; February 9, 12, 13, 16, 17, 18, 19, 20, 1970, Theodore Lettvin, Piano (Tour); April 22, 1970, Bruno Leonardo Gelber, Piano (Tour); October 19, 20, and 22, 1972, Bruno Leonardo Gelber, Piano; April 21, 22, and 23, 1977, Lee Luvisi, Piano; September 21, 22, and 23, 1978, Peter Serkin, Piano; November 5, 6, and 7, 1981, James Tocco, Piano; October 9, 10, and 11, 1986, Peter Serkin, Piano; April 23 and 26, 1987, Peter Serkin, Piano (Tour); February 15, 16, and 17, 1990, András Schiff, Piano.

Johannes Brahms completed his First Piano Concerto (D minor, Opus

15) in 1858. The premiere took place the following year. The epic, stormy,

and complex work did not easily win public acceptance. Brahms himself was philosophical: “It will please, once I have improved its anatomy, and a second one will sound quite different.” Brahms was correct on both counts, although twenty years would elapse before that Second Concerto materialized.

Brahms first sketched thematic material for his B-flat Concerto in the spring of 1878, following a trip to Italy with his friend, Viennese surgeon, Theodor Billroth. It appears that Brahms did no further work on the Concerto for three years. At the con-clusion of another journey to Italy, Brahms resumed composition. Two months later, on July 7, 1881, he completed the score.

In a letter to a friend, Brahms announced, with typically self-deprecating humor, the creation of the epic four-movement Concerto: “I don’t mind telling you that I have written a tiny, tiny, pianoforte con-certo with a tiny, tiny, wisp of a scherzo.” A similar letter to the superb pianist, Clara Schumann—widow of composer Robert Schumann—elicited the following response: “I don’t really trust your word ‘little.’ However, I wouldn’t mind a bit (if it were little) because in that case I might even be able to play it myself.”

Brahms forwarded the score of the B-flat Concerto to Billroth on July 11 with the following explanation: “I am sending you enclosed a couple of little pieces for the piano(!)” Billroth replied that very day, comparing the Second Piano Concerto to the First as “that of the grown man to the youth; unmistakably the same, yet in every way sturdier, more mature.”

Brahms was the soloist for the premiere, which took place on November 9, 1881, at the Redoutensaal in Budapest. A few weeks later, Brahms again performed the work


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at Meiningen, with his friend, Hans von Bülow, conducting. Unlike the D-minor, Brahms’s Second Piano Concerto was an instant success with the critics and public.

Billroth’s comparison of the B-flat Concerto to its predecessor as “that of the grown man to the youth” is quite apt. Whereas the D-minor is filled with storm and stress, the Second Concerto radiates an autumnal glow, and proceeds with an inevitability that are hallmarks of the mature Brahms.

Despite their differences of style, the D-minor and B-flat Piano Concertos do share a symphonic conception that places them in a special category among 19th-century works. The First Piano Concerto was created from sketches for what Brahms initially planned to be his first symphony. Brahms had no similar aspirations for the B-flat Concerto. Still, the close partnership of soloist and orchestra, as well as the use of four movements as opposed to the traditional three, prompted critic Eduard Hanslick to term the work “a symphony with piano obbligato.” That, however, is a characterization offered by someone who did not have to confront the supreme technical and interpretive demands this extraordinary work places upon the soloist.

The Concerto’s first movement (Allegro non troppo) opens with a dialogue between the horns and piano, finally leading to the introduction of the principal thematic material. The second movement (Allegro appassionato) is a vigorous scherzo, with a brilliant major-key “trio” section. The slow-tempo third movement (Andante) is based upon a poignant and beautiful melody introduced by the solo cello. Brahms returned to that melody five years later in his melancholy song, Immer leiser wird mein Schlummer (“My Sleep Becomes Ever Lighter”), Opus 105, No. 2. The rondo

finale (Allegretto grazioso) offers a light touch and high spirits virtually throughout, culminating in a grand final statement.

Symphony No. 2 In D Major, Opus 73 (1877)

The first performance of the Symphony No. 2 took place in the concert hall of the Musikverein in Vienna on December 30, 1877, with Hans Richter conducting the Vienna Philharmonic. The Symphony No. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

First Classical Subscription Performance: April 6, 1950, Henry Sopkin, Conductor.

Most Recent Classical Subscription Performances: February 21, 22, and 23, 2013, Robert Spano, Conductor.

Robert Shaw Performances (Classical subscription, unless otherwise noted): April 13 and 14, 1973 (Tour); September 20-23, 1979; October 10, 1979 (Tour); February 17, 1980 (Runout); March 26, 1980 (Tour); October 11, 12, and 13, 1984; October 14, 1984 (Runout); October 17 and 19, 1984 (Tour); November 18, 1984 (Runout); March 15 and 17, 1985 (Tour).

“I shall never write a symphony. You have no idea how the likes of us

feel when we hear the tramp of a giant like him beside us.” So Johannes Brahms wrote in 1870 to conductor Hermann Levi. The “giant” Brahms feared was Ludwig van Beethoven (1770-1827), whose Nine Symphonies form the cornerstone of the orchestral repertoire.

Although he attempted the composition of a symphony as early as 1854, it wasn’t until 1876 that the 43-year-old Brahms gathered the courage to complete his First (in C minor, Opus 68). The First Symphony received


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its premiere on November 4, 1876. The premiere and early subsequent performances were far from unqualified triumphs. Nevertheless, Brahms had finally cast aside his trepidation about composing in a genre that invited comparisons to Beethoven.

Brahms spent the following summer in Pörtschach, a tiny Austrian village on Lake Wörth. It was there, between the months of June and September 1877, that Brahms composed his Second Symphony. Brahms found Pörtschach a congenial place for musical inspiration. In addition to the Second Symphony, Brahms composed his Violin Concerto (1878), the G-Major Violin Sonata (1878-9), and Two Piano Rhapsodies (1879) while vacationing at the peaceful lakeside village.

The premiere of the Brahms Second Symphony took place on December 30, 1877, at the concert hall of the Musikverein in Vienna. The eminent conductor, Hans Richter, led the Vienna Philharmonic.

The D-Major Symphony seems to reflect the composer’s relaxed state of mind during the happy summer of 1877. The lyrical character of the work—sometimes referred to as Brahms’s “Pörtschach” or “Pastoral” Symphony—certainly is in marked contrast to the storm and stress that pervades the C-minor First (although to be sure, the Second Symphony has its moments of conflict as well, particularly in the first two movements).

Brahms referred to his Second Symphony as a “charming new monster” and, in typically self-deprecating fashion, told his friend, Elisabeth von Herzogenberg, that it was merely a little Sinfonia. That of course, is hardly the case, and in spite of Brahms’s protestations to critic Eduard Hanslick that “there is nothing

clever about it,” the Second Symphony is a remarkably intricate and unified composition. In its own genial fashion, the D-Major Symphony is as dramatically rewarding as its heroic predecessor.

The Symphony No. 2 is in four movements. The first (Allegro non troppo) opens with the cellos and basses intoning a three-note motif that will return in various guises throughout the Symphony. The movement also includes a waltz-like theme that recalls the composer’s beloved “Lullaby,” Opus 49, Nr. 4 (1868). The slow-tempo second movement (Adagio non troppo) alternates lyrical repose with moments of tension, not resolved until the final bars. The third movement (Allegretto grazioso) opens with the oboe’s presentation of the sprightly principal melody that returns throughout, alternating with fleet interludes. The concluding movement (Allegro con spirito), the most cheerful finale among Brahms’s Four Symphonies, radiates energy and optimism from start to finish.

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ANDRÉ WATTS, piano

André Watts is a world-renowned concert pianist who holds the Jack I.

and Dora B. Hamlin Endowed Chair in Music at Indiana University, and was the 2001 recipient of the National Medal of Arts.

Mr. Watts’ career began at 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic in their Young People’s Concerts, broadcast nationwide on CBS-TV. Two weeks later, Mr. Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances with the New York Philharmonic.

He is a regular guest at the major sum-mer music festivals including Ravinia, the Hollywood Bowl, Saratoga, Tanglewood and the Mann Music Center, and with orchestras like the Philadelphia and Minnesota Orchestras; New York and Los

Angeles Philharmonics; and the St. Louis, Dallas, Houston, Baltimore, Indianapolis, Seattle and National symphonies.

Mr. Watts has appeared on numerous tele-vision programs, and his 1976 New York recital, aired on the program Live from Lincoln Center, was the first full length recital broadcast in the history of television.

In June 2006, he was inducted into the Hollywood Bowl of Fame to celebrate the 50th anniversary of his debut. He is also the recipient of the 1988 Avery Fisher Prize. Mr. Watts was the youngest person ever to receive an Honorary Doctorate from Yale University and has received numer-ous honors from respected music pro-grams like the University of Pennsylvania, Brandeis University, The Juilliard School of Music and his Alma Mater, the Peabody Conservatory of Johns Hopkins University.

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1 The Atlanta Symphony Youth Orchestra attended a special program at the Nashville School of Arts which included master classes with faculty, rehearsal time with the Director of the Vanderbilt University Orchestra, Robin Fountain (pictured here), campus tours and a performance in Ingram Hall. In addition, the students enjoyed master classes with Nashville Symphony Musicians and attended a Nashville Symphony Orchestra performance in the Schermerhorn Symphony Center.

2 The 2016 Talent Development Program Spring Recitals were a great success. The students showcased their hard work and incredible talents for friends, family and music lovers alike.

3 Congratulations to Music Director Robert Spano, who was awarded the “Champion of New Music” award for his significant contribution to the work and livelihoods of contemporary composers. The 2015/16 season for the Atlanta Symphony Orchestra included four world premieres by composers Mark Grey, Jonathan Leshnoff and ASO Double Bass Michael Kurth, plus seven Atlanta premieres.

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$500,000+A Friend of the Orchestra (3)Connie & Merrell CalhounDelta Air LinesLettie Pate Evans Foundation, Inc.Sally & Carl GableAbraham J. & Phyllis Katz Foundation

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The Orchestra donor list includes all donations made since June 1, 2014. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime.

Those among us who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world.

On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share.

Bravo!

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



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AppAssionAto Donors who give at the Appassionato level ($10,000 - $24,999) enjoy the benefits of the Patron Partnership, while also having opportunities to attend the annual Appassionato Soiree, receive VIP personal ticketing and reservation concierge, exclusive access to artists’ events, and recognition as a concert sponsor. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.


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patron partnership Members of the Patron Partnership ($2,000-$9,999) enjoy a host of benefits that include event invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.


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The Reverend Neal P. Ponder, Jr.

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**Deceased


patron partnership 2015-16 committee

Belinda Massafra Chair

Kristi Allpere Vice-Chair, Programs

Helga Beam Vice-Chair, Annual Fund

June Scott Vice-Chair, Communications & Newsletter Co-editor

Deedee Hamburger Programs Committee Member

Judy Hellriegel Annual Fund Committee Member

Cindy Jeness Communications Committee Member

Milt Shlapak Program Committee Member

Peter Stelling Communications & Program Committee Member

Jonne Walter Annual Fund Committee Member

Marcia Watt Communications Committee Member

The ROBERT SHAW ROOM, the VIP Donor Lounge and Dining Room, is open for cocktails and dinner prior to Atlanta Symphony Orchestra

performances in Atlanta Symphony Hall, as well as for cocktails and complimentary coffee during intermission. For more information, visit

atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.

Camille Kesler President

Belinda Massafra Advisor

Leslie Petter Advisor

Sabine Sugarman Secretary

Glee Lamb Treasurer

Sylvia Davidson Nominating Chair

Bunny Davidson Membership VP

Melissa Hudson Communications & Development VP

Jonathan Brown & Josh Cochran Bravo Unit Chairs

Martha & John Head Concerto Unit Chairs

Joan Abernathy Encore Unit Chair

Corrie Johnson & Joanne Chesler Gross Ensemble Unit Chair

Atlanta Symphony AssociatesThe volunteer organization of the Atlanta Symphony Orchestra

2015-16 ASA Board of Directors


Henry Sopkin CircleRecognizing planned gifts that benefit the Atlanta Symphony Orchestra

Named for the Orchestra’s founding Music Director, the Henry Sopkin Circle recognizes individuals who have included the Atlanta Symphony Orchestra in their

will or estate plans. Members enjoy special events and benefits throughout the season, including the Annual Henry Sopkin Circle Luncheon. For more information, visit www.atlantasymphony.org/giving or call Shawn Gardner at 404.733.4839.

Anonymous (21)Madeline & Howell E. Adams, Jr.

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Ruth Gershon & Sandy Cohn

Micheline & Bob GersonMr. & Mrs. John T. Glover

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Reverend Neal P. Ponder, Jr.

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Mr.** & Mrs. Martin H. Sauser

Mr. Paul S. Scharff & Ms. Polly G. Fraser

Dr. & Mrs. George P. Sessions

Charles H. Siegel**Hamilton & Mason Smith

Mrs. Lessie B. SmithgallElliott Sopkin

Elizabeth Morgan Spiegel

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Jennings Thompson IVMargaret** & Randolph** Thrower

Kenneth & Kathleen Tice

Mr. H. Burton Trimble, Jr.

Steven R. TunnellMary E. Van Valkenburgh

Adair & Dick WhiteMr. & Mrs. John B. White, Jr.

Hubert H. Whitlow, Jr.Sue & Neil** WilliamsMrs. Frank L. Wilson, Jr.Joni WinstonGeorge & Camille WrightMr.** & Mrs. Charles R. Yates

You can leave a legacy of music. Call Jessica Langlois, Director of Development for more information. 404.733.4864

**Deceased

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SUNDAY, JUNE 19

ON SALENOW!

Tickets at the Bank of North Georgia Box Office at Cobb Energy Centre, www.ticketmaster.com or (800) 745-3000

March 11–29Family Series on the Alliance Stage

discover us. discover you.

Recipient of the Regional Theatre Tony Award®

May 2012FoxTheatre.org

EncoreAtlanta.com

THE FABULOUS FOX THEATRE

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1

la

Puccinibohèmeoctober 3, 6, 9, 11, 2015

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NIELSEN: Violin Concerto

Robert SpanoMusic DirectorDonald RunniclesPrincipal Guest ConductorMichael KrajewskiPrincipal Pops Conductor

FEB 27/28/MAR 1

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APR 24/26

BRITTEN:

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1

March 5, 8, 11, 12, 13, 2016

The PiraTes of PenzanceGilberT & sullivan

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JANUARY 2014 | WWW.FOXTHEATRE.ORG | WWW.ENCOREATLANTA.COM

THE FOX THEATRE

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T H E F O X T H E A T R E | F E B R U A R Y 2 0 1 5

F O X T H E A T R E . O R G | E N C O R E A T L A N T A . C O M

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Nov. 21–Dec. 24, 2014Family Series on the Alliance Stage



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JAN 23/25/262012 Musical America MUSICIAN OF THE YEAR

WU HANBRITTEN: Piano Concerto

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JAN 29/31/FEB 1

70th ANNIVERSARY SEASON

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WWW.FOXTHEATRE.ORG | WWW.ENCOREATLANTA.COM

THE FOX THEATRE | APRIL 2014

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Sept. 3–Oct. 5, 2014

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DO YOU WANT TO REACH MORE THAN 4 MILLION ACTIVE, ENGAGED

AND CONNECTED PEOPLE THIS YEAR?

To find out about advertising with Encore Atlanta contact Tom Casey by phone, 678–837–4032, or by email, [email protected], today!

ADVERTISE IN ENCORE ATLANTA!

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corporate & government | support

This program is supported in part by the Georgia Council for the Arts (GCA)

through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the

National Endowment for the Arts

This program is supported in part by an award from the

National Endowment for the Arts.

Major support is provided by the City of Atlanta Office

of Cultural Affairs.

Mayor’s Office ofCultural Affairs

Major funding is provided by the Fulton County Board

of Commissioners.


$500,000+A Friend of the Atlanta

Symphony OrchestraChick-fil-A Foundation /

Rhonda and Dan CathySally and Carl GableGeorgia Power Foundation, Inc.The Home Depot

SunTrust Foundation SunTrust Bank Teammates and The SunTrust Trusteed Foundations: Florence C. and Harry L. English Memorial Fund Walter H. and Marjory M. Rich Memorial FundWells Fargowish Foundation, Inc.

THE WOODRUFF CIRCLEWoodruff Circle members each contribute more than $250,000 annually to support the arts and education work of the Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these 36 partners who lead our efforts to ensure the arts thrive in our community.

$1 MILLION+

JOY & TONY GREENE

Woodruff Circle & Patron Circle donations made:June 1, 2014 – May 31, 2015

Beauchamp C. Carr Challenge Fund Donors

A FRIEND OF THE ATLANTASYMPHONY ORCHESTRA

$400,000+The Community Foundation for

Greater Atlanta, Inc. Sarah and Jim KennedyMr. and Mrs. Donald Keough

PwC, Partners & EmployeesLouise Sams & Jerome GrilhotUPS

$300,000+AT&TThe Goizueta FoundationInvesco Ltd.

Margaret and Terry StentTurner Broadcasting System, Inc.Mr. and Mrs. Edus H. Warren, Jr.

$250,000+Bank of AmericaDeloitte, its Partners & EmployeesEquifax Inc. & EmployeesEY, Partners & EmployeesKing & Spalding LLP, Partners & Employees

PNCPatty and Doug ReidMrs. Charles A. Smithgall Jr.


FOUNDATION SUPPORTERS$150,000+A Friend of the High Museum of ArtAbraham J. & Phyllis

Katz FoundationThe Henry Luce Foundation, Inc.National Endowment for the ArtsThe Rich Foundation, Inc.The Sara Giles Moore FoundationThe Shubert Foundation, Inc.

$100,000+The Andrew W. Mellon FoundationCity of Atlanta Office of

Cultural Affairs

The Frances and Beverly DuBose Foundation, Inc.

The Marcus Foundation, Inc.Morgens West FoundationThe Sartain Lanier Family

Foundation, Inc.

$75,000+Fulton County Arts CouncilTriad Foundation, Inc.

$50,000+The Arthur M. Blank

Family Foundation

The Charles Loridans Foundation, Inc.

Frances Wood Wilson Foundation, Inc.

The Fraser-Parker FoundationGeorgia Council for the ArtsThe Graves FoundationLivingston Foundation, Inc.The Mark and Evelyn

Trammell FoundationMassey Charitable TrustSamuel H. Kress FoundationSpray Foundation, Inc.

$200,000+KPMG LLP, Partners & Employees

$150,000+Alston & Bird LLPJones Day Foundation & EmployeesPorsche Cars North America

$100,000+AGL Resources Inc.First Data CorporationGE Asset ManagementGenuine Parts CompanyIntercontinental Exchange, Inc.Kaiser PermanenteKilpatrick Townsend LLPNorthern Trust CompanyTarget Stores

$75,000+General Electric CompanyGeorgia-Pacific CorporationNewbridge ManagementWestRock Company

$50,000+BB&T CorporationBirch CommunicationsCarter’s Charitable FoundationCrawford & CompanyGMT Capital CorporationNorfolk Southern CorporationNorth Highland CompanyPrimerica, Inc.Printpack, Inc.Publix Super Market Charities, Inc.Regions Financial CorporationSutherland Asbill & Brennan LLPU.S. Trust

$25,000+ACE Charitable FoundationAGSI Business TechologyAmericas Mart Real Estate, LLC

AT&T MobilityAtlanta Homes & LifestylesBlueCross BlueShield of GeorgiaBNY Mellon Wealth ManagementThe Boston Consulting GroupCousins Properties FoundationDisney Publishing WorldwideGeorgia Natural GasGlobal Payments, Inc.Holder Construction CompanyJLLJP Morgan Private BankKia Motors America, Inc.Lanier Parking SolutionsLockheed Martin Aeronautics

CompanyNelson Mullins Riley &

Scarborough, LLPNovelis, Inc.Post Properties, Inc.QuikreteRyder Truck Rental, Inc.Sam’s Club & Wal-Mart Stores, Inc.SCANA EnergyThe Selig Foundation Southwest AirlinesState Bank & Trust CompanySteinway Piano GalleriesTraditional HomeUnited Distributors, Inc.Verizon WirelessWaffle HouseWilmington TrustWoodruff Arts Center EmployeesYancey Bros. Co.

$15,000+ABMAcuity Brands, Inc.Alvarez & MarsalAntique Piano Shop

Arby’s Foundation, Inc.Arnall Golden Gregory LLPAssurant Specialty PropertyAtlanta Tech VillageAtlantic Trust CompanyAVYVEBank of North Georgia/

Synovus Financial CorpBenjamin MooreBluetube InteractiveBryan CaveBuilding Materials Holding

CorporationCalicoThe Casey-Slade Group, Merrill Lynch Wealth

ManagementChristie’sCushman & Wakefield, Inc.Fifth Third BankGas South, LLCGraphic Packaging

International, Inc.Humphries and Company LLCKimberly-Clark CorporationMacy’s NGI InvestmentsNorthside HospitalPerformex CompanyPerkins & Will, Inc.Piedmont National CorporationPulteGroup, Inc.Recall CorporationRicoh USA, Inc.Rooms to Go Children’s FundSmith & Howard, PCSouthwire CompanyStonegate DesignsVertical SystemsWomble Carlyle Sandridge & Rice, PLLC

CORPORATE PARTNERS

THE PATRON CIRCLEThe Patron Circle includes donors who generously made contributions to our FY15 annual funds and/or long-term special projects and endowment funds.

INDIVIDUAL PHILANTHROPISTS$200,000+A Friend of the High Museum of ArtMs. Jeannie Hearn

$150,000+Victoria and Howard Palefsky

$100,000+Susan and Richard AndersonMr. Joseph F. Best, IIIThalia & Michael Carlos FundMr. and Mrs. Bradley Currey, Jr.Marcia and John DonnellThe Douglas J. Hertz FamilyMr. and Mrs. Charles K. Holmes, Jr.Mr. Jimmy LiautaudCarol and Ramon Tomé

Family FundMrs. Sue Williams

$75,000+A Friend of the High Museum of Art Sandra and Dan BaldwinMrs. Frances B. BunzlKarole and John LloydCarla and Graham RobertsSusan and Thomas WardellMs. Joni Winston

$50,000+Nancy and Kenny BlankBarbara and Steve ChaddickPeggy and Rawson ForemanSonya and Rick GarberMrs. Charlotte GarsonRobin and Hilton HowellKaren and Jeb HughesJane and Clay JacksonLori and Bill JohnsonMr. Baxter P. Jones & Dr. Jiong Yan Terence L. and Jeanne P. NealBeth and David ParkAlyson and Gregory RogersRuthie Magness RollinsLinda and Steve Selig

Robert SpanoSara and Paul SteinfeldJoan N. WhitcombAdair and Dick WhiteElizabeth and Chris Willett

$25,000+A Friend of the High Museum of ArtAarati and Peter Alexander Susan and Ron AntinoriSpring and Tom AsherJulie and Jim BallounMr. and Mrs. Joseph R. BankoffPaul and Linnea BertMr. and Mrs. Paul J. BlackneyJohn and Mary BrockJohn W. and Rosemary K. BrownLucinda W. BunnenMs. Mary CahillConnie and Merrell CalhounWright and Alison CaughmanSusan and Carl CoferAnn and Tom CousinsAnn and Jeff CramerMr. Larry DarrowElaine and Erroll DavisCatherine Warren DukehartMs. Lynn EdenMr. and Mrs. Joseph W. EvansFeinberg Charitable TrustMr. and Mrs. Howard FeinsandMr. John FoyBetty Sands FullerCarol and Paul GarciaMr. and Mrs. Lawrence L. Gellerestedt IIIMr. and Mrs. Holcombe T. Green, Jr.Margaret and Scotty GreeneNena GriffithMs. Maria GuariscoNewell and Tom HarbinVirginia A. Hepner and

Malcolm BarnesMr. Andrew Heyman

Allison and Ben HillJocelyn J. HunterMr. and Mrs. Bahman M. IrvaniKatie and West JohnsonMary and Neil JohnsonJinny and Michael KeoughThe Klaus Family FoundationJames H. LandonMr. and Mrs. J. Hicks LanierMr. and Mrs. Gary Lee, Jr.John Paddock and Karen SchwartzMerry McCleary & Ann PaskySally and Allen McDanielMr. Alan B. McKeon &

Ms. Evelyn AshleyThe Deborah A. Kahn & Harris N. Miller Charitable FundJennifer and Brand MorganMr. and Mrs. C.V. Nalley, IIIMr. and Mrs. William A. Parker, Jr.Sally & Pete Parsonson FoundationMrs. Martha PentecostChristina and Jim PriceLaurie and Roland PritchettMr. and Mrs. Gordon P. RamseyMr. and Mrs. David M. RatcliffeMr. and Mrs. William C. RawsonDan and Garnet ReardonBill and Rachel SchultzJeffrey C. Sprecher and

Kelly LoefflerLes Stumpff and Sandy MoonMary and Greg ThompsonRebekah and Mark WassermanAda and William WeillerMr. and Mrs. John B. White, Jr.Ramona and Ben WhiteSusan and John WielandMs. Regina WilliamsonDina E. WoodruffMr. and Mrs. John C. YatesMary and Bob YellowleesThe Zaban Foundation

$25,000+Ann and Gordon Getty FoundationAtlanta FoundationGertrude and William C.

Wardlaw FundThe Harold and Mimi Steinberg

Charitable TrustThe Howell Fund, Inc.Ida Alice Ryan Charitable TrustJames Starr Moore

Memorial FoundationJane Smith Turner FoundationJohn & Mary Franklin

Foundation, Inc.Margaret Gill Clements

Napier Foundation

The Oscar G. and Elsa S. Mayer Family Foundation

Piedmont Charitable Foundation, Inc.

Price Gilbert, Jr. Charitable FundThe Ray M. and Mary

Elizabeth Lee Foundation, Inc.The Vasser Woolley

Foundation, Inc.Walter Clay Hill & Family

Foundation

$15,000+The Blanche Lipscomb FoundationCamp-Younts FoundationCenter Family Foundation

The Chatham Valley Foundation, Inc.

Covenant Foundation, Inc.JBS Foundation Jim Cox, Jr. FundJohn H. and Wilhelmina D.

Harland Charitable FoundationThe L&C Wood Family

Foundation, Inc. Roderick S., Flossie R., and Helen

M. Galloway Foundation Thalis & Michael C.

Carlos FoundationThomas H. Lanier FoundationTull Charitable FoundationWeldon H. Johnson

Family Foundation


INDIVIDUAL PHILANTHROPISTS$200,000+A Friend of the High Museum of ArtMs. Jeannie Hearn

$150,000+Victoria and Howard Palefsky

$100,000+Susan and Richard AndersonMr. Joseph F. Best, IIIThalia & Michael Carlos FundMr. and Mrs. Bradley Currey, Jr.Marcia and John DonnellThe Douglas J. Hertz FamilyMr. and Mrs. Charles K. Holmes, Jr.Mr. Jimmy LiautaudCarol and Ramon Tomé

Family FundMrs. Sue Williams

$75,000+A Friend of the High Museum of Art Sandra and Dan BaldwinMrs. Frances B. BunzlKarole and John LloydCarla and Graham RobertsSusan and Thomas WardellMs. Joni Winston

$50,000+Nancy and Kenny BlankBarbara and Steve ChaddickPeggy and Rawson ForemanSonya and Rick GarberMrs. Charlotte GarsonRobin and Hilton HowellKaren and Jeb HughesJane and Clay JacksonLori and Bill JohnsonMr. Baxter P. Jones & Dr. Jiong Yan Terence L. and Jeanne P. NealBeth and David ParkAlyson and Gregory RogersRuthie Magness RollinsLinda and Steve Selig

Robert SpanoSara and Paul SteinfeldJoan N. WhitcombAdair and Dick WhiteElizabeth and Chris Willett

$25,000+A Friend of the High Museum of ArtAarati and Peter Alexander Susan and Ron AntinoriSpring and Tom AsherJulie and Jim BallounMr. and Mrs. Joseph R. BankoffPaul and Linnea BertMr. and Mrs. Paul J. BlackneyJohn and Mary BrockJohn W. and Rosemary K. BrownLucinda W. BunnenMs. Mary CahillConnie and Merrell CalhounWright and Alison CaughmanSusan and Carl CoferAnn and Tom CousinsAnn and Jeff CramerMr. Larry DarrowElaine and Erroll DavisCatherine Warren DukehartMs. Lynn EdenMr. and Mrs. Joseph W. EvansFeinberg Charitable TrustMr. and Mrs. Howard FeinsandMr. John FoyBetty Sands FullerCarol and Paul GarciaMr. and Mrs. Lawrence L. Gellerestedt IIIMr. and Mrs. Holcombe T. Green, Jr.Margaret and Scotty GreeneNena GriffithMs. Maria GuariscoNewell and Tom HarbinVirginia A. Hepner and

Malcolm BarnesMr. Andrew Heyman

Allison and Ben HillJocelyn J. HunterMr. and Mrs. Bahman M. IrvaniKatie and West JohnsonMary and Neil JohnsonJinny and Michael KeoughThe Klaus Family FoundationJames H. LandonMr. and Mrs. J. Hicks LanierMr. and Mrs. Gary Lee, Jr.John Paddock and Karen SchwartzMerry McCleary & Ann PaskySally and Allen McDanielMr. Alan B. McKeon &

Ms. Evelyn AshleyThe Deborah A. Kahn & Harris N. Miller Charitable FundJennifer and Brand MorganMr. and Mrs. C.V. Nalley, IIIMr. and Mrs. William A. Parker, Jr.Sally & Pete Parsonson FoundationMrs. Martha PentecostChristina and Jim PriceLaurie and Roland PritchettMr. and Mrs. Gordon P. RamseyMr. and Mrs. David M. RatcliffeMr. and Mrs. William C. RawsonDan and Garnet ReardonBill and Rachel SchultzJeffrey C. Sprecher and

Kelly LoefflerLes Stumpff and Sandy MoonMary and Greg ThompsonRebekah and Mark WassermanAda and William WeillerMr. and Mrs. John B. White, Jr.Ramona and Ben WhiteSusan and John WielandMs. Regina WilliamsonDina E. WoodruffMr. and Mrs. John C. YatesMary and Bob YellowleesThe Zaban Foundation

$25,000+Ann and Gordon Getty FoundationAtlanta FoundationGertrude and William C.

Wardlaw FundThe Harold and Mimi Steinberg

Charitable TrustThe Howell Fund, Inc.Ida Alice Ryan Charitable TrustJames Starr Moore

Memorial FoundationJane Smith Turner FoundationJohn & Mary Franklin

Foundation, Inc.Margaret Gill Clements

Napier Foundation

The Oscar G. and Elsa S. Mayer Family Foundation

Piedmont Charitable Foundation, Inc.

Price Gilbert, Jr. Charitable FundThe Ray M. and Mary

Elizabeth Lee Foundation, Inc.The Vasser Woolley

Foundation, Inc.Walter Clay Hill & Family

Foundation

$15,000+The Blanche Lipscomb FoundationCamp-Younts FoundationCenter Family Foundation

The Chatham Valley Foundation, Inc.

Covenant Foundation, Inc.JBS Foundation Jim Cox, Jr. FundJohn H. and Wilhelmina D.

Harland Charitable FoundationThe L&C Wood Family

Foundation, Inc. Roderick S., Flossie R., and Helen

M. Galloway Foundation Thalis & Michael C.

Carlos FoundationThomas H. Lanier FoundationTull Charitable FoundationWeldon H. Johnson

Family Foundation


ASO | staff

EXECUTIVEJennifer Barlament Executive Director

Alesia Mack Director of Executive Services

Alvinetta Cooksey-Wyche, Executive Services Office Assistant

ARTISTICEvans Mirageas Vice President for Artistic Planning & Operations

Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor

Jeffrey Baxter Choral Administrator

Nicole Epstein Managing Producer of ASO Presents

Alex Malone Managing Producer Symphony POPS!

Ken Meltzer ASO Insider & Program Annotator

Scott O’Toole Artistic Assistant

Bob Scarr Archives Program Manager

DEVELOPMENTJessica Langlois Director of Major Gifts and Special Projects

Shawn Gardner Senior Development Coordinator

Ashley Nixon Special Events Coordinator

MARKETING & COMMUNICATIONSKristen Delaney Vice President of Marketing & Communications

KC Commander Marketing Coordinator

Elizabeth Daniell Communications Coordinator

Lisa Eng Multimedia Creative Manager

Adam Fenton Director of Multimedia Technology

Holly Hanchey Director of Marketing & Patron Experience

Tammy Hawk Director of Communications

Robert Phipps Publications Director

Will Strawn Marketing Coordinator

SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management

Dallas Greene Season Tickets Assistant

Melanie Kite Director of Subscriptions & Patron Services

Pamela Kruseck Manager of Group Sales & Tourism

Christine Lawrence Box Office Manager

Gokul Parasuram Group & Corporate Sales Assistant

Robin Smith Subscription & Education Sales

Christopher Stephens Corporate Sales Manager

Karen Tucker Season Tickets Associate

EDUCATION & COMMUNITY ENGAGEMENTKatherine Algarra Manager of the Atlanta Symphony Youth Orchestra & Community Music School

Kaitlin Gress Manager of Community Programs

Tiffany I. M. Jones Education Associate for Audience Development

Ruthie Miltenberger Manager of Family Programs

Adrienne Thompson Manager, Talent Development Program

OPERATIONSRussell Williamson Senior Orchestra Manager

Paul Barrett Senior Production Stage Manager

Richard Carvlin Stage Manager

Christopher McLaughlin Orchestra Operations Manager

Jesse Pace Front of House Manager

Kourtnea Stevenson Assistant Orchestra Personnel Manager

Susanne Watts Orchestra Personnel Manager

FINANCE & ADMINISTRATIONSusan Ambo Chief Financial Officer

Peter Dickson Senior Accountant

Nicole Epstein Venues Accountant

Kimberly Hielsberg Senior Director of Financial Planning & Analysis

Stephen Jones Symphony Store

Shannon McCown Office Manager

April Satterfield Controller


ASO | ticket info

ASO | general infoLATE SEATINGPatrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPECIAL ASSISTANCEAll programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements.

SYMPHONY STOREThe Symphony Store is now open in its new location directly adjacent to the Robert Shaw Room and Delta SKY360º Club. The store is open before, during and after most concerts.

THE ROBERT SHAW ROOMThe ASO invites donors who contribute at least $2,000 annually to become members of this private dining room for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERSConcert Hotline (Recorded info) 404.733.4949Symphony Hall Box Office 404.733.5000Ticket Donations/Exchanges 404.733.5000Subscription Information/Sales 404.733.4800Group Sales 404.733.4848Atlanta Symphony Associates 404.733.4865(Volunteers)Educational Programs 404.733.4870Youth Orchestra 404.733.5038Box Office TTD Number 404.733.4303Services for People 404.733-5000 with Special Needs 404.733.4800Lost and Found 404.733.4225Symphony Store 404.733.4345Donations & Development 404.733.4262

CAN’T ATTEND A CONCERT?If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 10 a.m.-8 p.m. Monday-Friday; noon-8 p.m. Saturday-Sunday. Service charge applies. Phone orders are filled on a best-available basis.

www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.

WOODRUFF ARTS CENTER BOX OFFICEOpen 10 a.m. - 6 p.m. Monday; 10 a.m. - 8 p.m. Tuesday – Friday; and noon – 8 p.m. Saturday; noon - 5 p.m. Sunday. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs are subject to change.

GROUP DISCOUNTSGroups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.

You may purchase tickets at The Fred box office, or online atwww.ticketalternative.com or by phone at 1-877-725-8849

JUNE18

Remember WhenRock Was Young

Elton John Tribute withAtlanta Pops Orchestra

Yacht Rock Revue

JULY3

The Purple XperienceA Tribute to Prince and the Revolution

JULY22

JUNE10

SEPT.11

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SPECIAL SEPTEMBER 11TRIBUTE CONCERT

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You may purchase tickets at The Fred box office, or online atwww.ticketalternative.com or by phone at 1-877-725-8849

JUNE18

Remember WhenRock Was Young

Elton John Tribute withAtlanta Pops Orchestra

Yacht Rock Revue

JULY3

The Purple XperienceA Tribute to Prince and the Revolution

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READ ENCORE ATLANTA ONLINE

1

la

Puccinibohèmeoctober 3, 6, 9, 11, 2015

OCT

2015

Elisabeth Remy Johnson,

harp

Christina Smith,

flute

MOZARTConcerto for Flute & Harp



September 2–20, 2015

T H E � F O X � T H E A T R E � | � O C T O B E R � � � � �

F O X T H E A T R E � O R G � | � E N C O R E A T L A N T A � C O M

The sTory of frankie Valli & The foUr seasons

Find out what you need to know before the show. Read the current and past Encore Atlanta programs for the Fox Theatre, Atlanta Symphony Orchestra, Alliance Theatre and The Atlanta Opera online at issuu.com/encoreatlanta.

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BLUE RIDGE706-632-7211

PEACHTREE CITY770-632-8526

EAST COBB770-977-9500

ATLANTA NORTH770-622-3081

INTOWN404-897-5558

BUCKHEAD NORTH404-814-9000

BUCKHEAD404-233-4142

SANDY SPRINGS404-250-9900

FORSYTH/LAKE LANIER770-497-2000

ATLANTA PERIMETER770-394-2131

LUXURY LAKE & MOUNTAIN706-212-0228

BUCKHEAD NORTHWEST404-261-2700

BIG CANOE - NORTH GA770-893-2400

NORTH FULTON678-461-8700

COBB MARIETTA770-422-6005

SAVANNAH912-233-6609

HIAWASSEE706-632-7211

BUCKHEAD CHASTAIN404-233-1492

“Everybody deserves an excellent real estate experience.” -Mrs. Harry Norman

HarryNorman.com

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Documents

ASO ENCORE - June 2016