October 2011: Rachmaninov & Scriabin at the Atlanta Symphony Orchestra

October

Robert SpanoMusic DirectorDonald RunniclesPrincipal Guest ConductorMichael KrajewskiPrincipal Pops Conductor

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Proudly taking our seat as a supporter of Miami-area arts.Proudly taking our seat as a supporter of Miami-area arts.

Proudly taking our seat as a supporter of the arts in Atlanta.

20 “Nyx” Esa-PekkaSalonenandRobert

Spanoareofonemindona conductor’srole.

46 Community Corner: Meet Sheehan Hanrahan

Inthecommunity,making adifference.

50 ASO Media: Three for Three

GarrickOhlssonperforms Rachmaninov’sPiano ConcertoNo.3onnewCD.

departments12 President’s Letter 14 Orchestra Leadership 16 Robert Spano18 Musicians35 Contributors52 Calendar54 Administration56 General Info 58 Ticket Info60 Gallery ASO

features

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25This week’s concert and program notes

the music

October 2011contents

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vp of creative/chief storyteller KristicaseySanders

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WelcomeCon-cert (kan-surt)n.[fromLatincom-,with+certare,tostrive]1)mutualagreement,concord;2)aperformanceofmusic—inconcert,inunison.

Welcometo theAtlanta Symphony Orchestra’s 2011-2012DeltaClassicalConcertSeason, our 68th! This season has been years in the making. We deliberated andplannedanddevelopedandtestedideaafteridea,allinanefforttofulfillthehopes,tomeettheneedsandexpectationsofouraudiences.Iamconfidentthatwe’vecreatedaseasonthatwilldelightyou,moveyou,andinspireyou.

Overthecomingweeksyouwillseeandhearus:

In Concert with Great Music:Beethoven’simmortalNinthSymphony,Tchaikovsky’sbelovedViolinConcert,Brahms’dramaticSymphony4,Rachmaninov’sThe Bells,musicofourowndayfromrenownedcomposersOsvaldoGolijov,MichaelAbels,andEsa-PekkaSalonen—andmuch,muchmore.

In Concert with Great Artists: Music Director Robert Spano, soprano ChristineBrewer, our own Atlanta Symphony Orchestra Chorus, legendary violinist JoshuaBell,pianistsTerrenceWilsonandHoracioGutierrezandmany,manymore.

In Concert With This Community: Through our nationally recognized educationprograms—SoundLearning,theTalentDevelopmentProgram,theAtlantaSymphonyYouthOrchestraandSymphonyStreetConcerts—wearenurturingthemusicalgiftsofAtlanta’schildrenandshapingboththepresentandthefutureofourcity.

Weareabletobeinconcertwithgreatmusic,withgreatartists,andwiththiscommunitythankstoyoursupport.Bravo—andthankyou!

Wishingyouallthebest,

StanleyE.Romanstein,Ph.D.President

12 EncorEAtlAntA.coM


2011-2012 BOArd Of dIreCTOrS

BOArd Of COuNSelOrS

lIfe dIreCTOrS

dIreCTOrS

OffICerS JimAbrahamson

ChairKaroleF.Lloyd

Chair-Elect

D.KirkJamiesonVice Chair

MeghanH.MagruderVice Chair

JoniWinston†Secretary

ClaytonF.JacksonTreasurer

JimAbrahamsonPinneyL.AllenJosephR.Bankoff*PaulBlackneyJanineBrownC.MerrellCalhounDonaldP.CarsonAnnW.Cramer†RichardA.DorfmanDavidEdmistonGaryP.FayardDr.RobertM.

Franklin,Jr.PaulR.GarciaCarolGreen

Gellerstedt

ThomasHootenTadHutcheson†Mrs.RoyaIrvani†ClaytonF.JacksonD.KirkJamiesonBenF.JohnsonIIIMarkKistulinecSteveKooninCarrieKurlanderMichaelLangDonnaLeeLucyLeeKaroleF.LloydMeghanH.MagruderBelindaMassafra*PennyMcPhee

VictoriaPalefskyLeslieZ.PetterSuzanneTucker

PlybonPatriciaH.ReidMargaretConant

ReiserJohnD.RogersStanleyE.Romanstein,

Ph.D.*MartinRichenhagen†DennisSadlowskiLynnSchinaziWilliamSchultzJohnSibleyH.HamiltonSmithLucindaB.Smith

ThurmondSmithgallGailRavinStarrMaryRoseTaylorJosephM.ThompsonLizTroyRayUttenhoveChiltonDavisVarner†S.PatrickViguerieRickWalkerThomasWardellMarkD.WassermanJohnB.White,Jr.†RichardS.White,Jr.†JoniWinston†PatriceWright-LewisCamilleYow

Mrs.HelenAderholdRobertM.BalentineElinorBremanDr.JohnW.CooledgeJohnDonnellJereDrummondCarlaFacklerArnoldoFiedotin

CharlesGindenJohnT.GloverFrancesB.GravesDonaHumphreysAaronJ.JohnsonHerbKarpJimKelleyGeorgeLanier

PatriciaLeakeMrs.WilliamC.LesterMrs.J.ErskineLoveCarolynC.

McClatcheyJoyceSchwobMrs.CharlesA.

Smithgall,Jr.

W.RhettTannerG.KimbroughTaylorMichaelW.TrappEdusWarrenAdairR.WhiteNeilWilliams

HowellE.Adams,Jr.BradleyCurrey,Jr.

Mrs.DrewFullerMaryD.Gellerstedt

AziraG.HillDr.JamesM.Hund

ArthurL.Montgomery

* ex officio† 2011-2012 sabbatical

leadership

AtlantaSymphonyOrchestraLeague

The Gary W. and

Ruth M. Rollins

Foundation

Presenting Sponsor Lead Sponsors

Additional support is provided by The Rich Foundation, the Modern Masters Circle of the High Museum of Art, and an indemnity from the Federal Council on the Arts and the Humanities.

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

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

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His mother said, “If you are a soldier,

you will become a general.

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

Instead, he was a painter and he became Picasso.

H I G H

Music Director Robert Spano, currently in his 11th season as music director of the Atlanta Symphony Orchestra,

is recognized internationally as one of the most imaginative conductors today. Since 2001, he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have together explored a creative mix of programming, including Theater of a Concert performances, which explore different formats, settings, and enhancements for the musical performance experience, such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008 and the production of Puccini’s Madama Butterfly in June 2011. The Atlanta School of Composers reflects

Mr. Spano’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of

American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, Michael Gandolfi, and Adam Schoenberg. Since the beginning of his tenure (to date), Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works (composed since 1950).

Mr. Spano has a discography with the Atlanta Symphony Orchestra of 19 recordings, six of which

have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall,

Lincoln Center, as well as the Ravinia, Ojai, and Savannah Music Festivals. Mr. Spano has led the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia Symphony Orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles. Mr. Spano was Musical America’s 2008 Conductor of the Year.

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

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

Robert SpanoMuSIC dIreCTOr

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FIRST VIOLIN

David Coucheron ConcertmasterWilliam Pu Associate Concertmaster

The Charles McKenzie Taylor Chair*

Justin BrunsAssistant Concertmaster

Jun-Ching Lin Assistant Concertmaster

Carolyn Toll HancockJohn MeisnerAlice Anderson Oglesby

Lorentz OttzenChristopher PulgramCarol RamirezJuan RamirezOlga ShpitkoDenise Berginson SmithKenn WagnerLisa Wiedman Yancich

SECTION VIOLIN ‡

Judith CoxRaymond LeungSanford Salzinger

SECOND VIOLIN

David Arenz Principal The Atlanta Symphony Associates Chair*

Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair*

Jay Christy Assistant PrincipalSharon BerensonDavid BraitbergNoriko Konno CliftDavid DillardEleanor KosekRuth Ann LittleThomas O’DonnellRonda RespessFrank Walton

VIOLA

Reid Harris Principal The Edus H. and Harriet H. Warren Chair*

Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair *

Catherine Lynn Assistant PrincipalWesley CollinsMarian KentYang-Yoon KimYiyin LiLachlan McBaneJessica OudinArdath Weck

CELLO

Christopher Rex Principal The Miriam and John Conant Chair*

Daniel Laufer Associate Principal The Livingston Foundation Chair*

Karen Freer Assistant PrincipalDona Vellek Assistant Principal Emeritus

Joel DallowJere FlintJennifer HumphreysLarry LeMasterBrad RitchiePaul Warner

BASS

Ralph Jones Principal The Marcia and John Donnell Chair *

Gloria Jones Associate PrincipalJane Little Assistant Principal Emeritus

Michael KenadyMichael KurthJoseph McFaddenDouglas SommerThomas Thoreson

Robert Spano Music Director The Robert Reid Topping Chair *

Donald RunniclesPrincipal Guest Conductor

The Neil and Sue Williams Chair *

Michael KrajewskiPrincipal Pops Conductor

Atlanta’s Performing Arts Publication 19

FLUTE

Christina Smith Principal The Jill Hertz Chair*Robert Cronin Associate PrincipalPaul BrittanCarl David Hall

PICCOLO

Carl David Hall

OBOE

Elizabeth Koch Principal The George M. and Corrie Hoyt Brown Chair *

Yvonne Powers Peterson

Associate PrincipalAnn Lillya †

CLARINET

Laura Ardan Principal The Robert Shaw Chair*

Ted Gurch Associate PrincipalWilliam RappaportAlcides Rodriguez

E-FLAT CLARINET

Ted Gurch

BASS CLARINET

Alcides Rodriguez

BASSOON

Carl Nitchie PrincipalElizabeth Burkhardt Associate PrincipalLaura NajarianJuan de Gomar

CONTRA-BASSOON

Juan de Gomar

HORN

Brice Andrus PrincipalSusan Welty Associate PrincipalThomas WitteRichard Deane Bruce Kenney

TRUMPET

Thomas HootenPrincipal The Madeline and Howell Adams Chair*

The Mabel Dorn Reeder Honorary Chair*

Karin Bliznik Associate PrincipalMichael TiscioneJoseph Walthall

TROMBONE

Colin Williams Principal Stephen Wilson Associate PrincipalGeorge Curran

BASS TROMBONE

George Curran

TUBA

Michael Moore Principal

TIMPANI

Mark Yancich Principal The Walter H. Bunzl Chair*

William Wilder Assistant Principal

PERCUSSION

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair*

William Wilder Assistant Principal The William A. Schwartz Chair*

Charles Settle

HARP

Elisabeth RemyJohnson

Principal The Delta Air Lines Chair

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair*

Peter Marshall †Beverly Gilbert †Sharon Berenson

LIBRARY

Rebecca Beavers PrincipalNicole Jordan Assistant Principal Librarian

John WildermuthAssistant Librarian

‡ rotate between sections* Chair named in

perpetuity † Regularly engaged

musician Players in string sections

are listed alphabetically

Jere Flint Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra

The Zeist Foundation Chair*

Norman MackenzieDirector of Choruses The Frannie and Bill Graves Chair

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

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

By Karl Schnittke


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

Then it’s on to Carnegie Hall for the New York premiere of “Nyx,” and the Orchestra’s first performance at Carnegie without the Chorus since 1997, on Nov. 5. Instead of The Bells, pianist Garrick Ohlsson will perform the Rachmaninov Third Piano Concerto. (He plays the work on the new ASO Media recording, also featuring the composer’s Symphonic Dances, to be released in early November. A related article appears on page 48.)

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

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

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

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

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

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

Continued on page 42

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program

Robert Spano, music DirectorDonald Runnicles, Principal Guest conductor

Delta classical Series concertsthursday and Saturday, october 27 and 29, 2011, at 8 p.m..

robert Spano, conductor tatiana monogarova, Soprano Sergey romanovsky, tenor Denis Sedov, Bass Atlanta Symphony orchestra, norman mackenzie, Director of choruses

ESA-PEKKA SALONEN (b. 1958) Nyx (2011) Atlanta Symphony orchestra Premiere, co-commissioned by radio France, carnegie Hall, Atlanta Symphony orchestra, Barbican centre and Finnish radio Symphony orchestra

ALExANDER SCRIABIN (1872-1915) Le Poème de l’extase (The Poem of Ecstasy, Symphony No. 4), opus 54 (1908)

IntErmISSIon

SERgEI RACHMANINOV (1873-1943) The Bells, for chorus, orchestra and Solo, opus 35 (1913) I. The Silver Sleigh Bells (Tenor solo and chorus); Allegro, ma non tanto Sergey romanovsky, tenor II. The Mellow Wedding Bells (Soprano solo and chorus); Lento tatiana monogarova, Soprano III. The Loud Alarum Bells (Chorus); Presto IV. The Mournful Iron Bells (Baritone and Chorus); Lento lugubre Denis Sedov, Bass Atlanta Symphony orchestra chorus

“InSIde The MuSIC” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator.

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


SPonSorS

is proud to sponsor the Delta classical Series of the Atlanta Symphony orchestra.

delta is proud to be celebrating our 70th anniversary as Atlanta’s hometown airline. delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships.

delta is an active, giving corporate citizen in the communities it serves. delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to utilize many aspects of delta’s currency — our employees time and talent, our free and discounted air travel, as well as our surplus donations. Together, we believe we can take our worldwide communities to new heights!

The Atlanta Symphony Orchestra’s concert on november 5, 2011 at Carnegie hall is made possible through the generous support of delta Air Lines and Thurmond Smithgall.

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

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

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABe FM-90.1 and Georgia Public Broadcasting’s statewide network.

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

Media sponsors: WABe, WSB AM, and AJC.

Trucks provided by Ryder Truck Rental Inc.

program


notes on the ProgramBy Ken Meltzer

Nyx (2011)

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

These are the first ASO Classical Subscription Performances.

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

The composer provided the following commentary:

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

Rather than utilizing the principle of continuous variation of material, as is the case mostly in my recent music, Nyx behaves rather differently. Its themes and ideas essentially keep their properties throughout the piece while the environment surrounding them keeps changing constantly. Mere whispers grow into roar; an intimate line of the solo clarinet becomes a slowly breathing broad melody of tutti strings at the end of the 18-minute arch of Nyx.

I set myself a particular challenge when starting the composition process, something I hadn’t done earlier: to write complex counterpoint for almost one hundred musicians playing tutti at full throttle without losing clarity of the different layers and lines; something that Strauss and Mahler so perfectly mastered. not an easy task, but a fascinating one. I leave it to the listener to judge how well I succeeded.

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


uranus, the starry heaven, and Pontus, the sea. nyx (also sometimes known as nox) is supposed to have been another child of Gaia, along with erebus. The union of nyx and erebus produces day.

Another version says that Cronos (as Time) was there from the beginning. Chaos came from Time. nyx was present as a sort of membrane surrounding Chaos, which had Phanes (Light) at its centre. The union of nyx with Phanes produced heaven & earth.

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

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

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

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

esa-Pekka Salonen1 October 2011

Le Poème de l’extase (The Poem of Ecstasy, Symphony No. 4), opus 54 (1908)

Alexander Scriabin was born in Moscow, Russia, on January 6, 1872, and died there on April 27, 1915. The premiere of Le Poème de l’extase took place in new York on december 10, 1908, with Modest Altschuler conducting the Russian Symphony Society. Le Poème de l’extase is scored for piccolo, three flutes, three oboes, english horn, three clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tuba, timpani, celeste, organ, two harps, triangle, cymbal, bass drum, tam-tam, keyboard glockenspiel, bell in C and strings. Approximate performance time is twenty minutes.


program

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

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

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

1903 marked a dramatic turning point in the life of pianist and composer Alexander Scriabin. A classmate of Sergei Rachmaninov at the Moscow

Conservatory, Scriabin became a professor of piano at that institution, commencing in 1898. however, in 1903 Scriabin left the Conservatory to focus on his musical compositions and a series of concert tours. That same year, Scriabin abandoned his wife and family to live in Western europe with a young admirer named Tatyana Schloezer. Schloezer, a devotee of cult philosophy, encouraged Scriabin in his messianic sense of creative omnipotence, based first upon his interpretations of the writings of Friedrich nietzsche and later, the theosophy of helena Blavatsky.

The Poem of Ecstasy is the second work of a projected orchestral tetralogy depicting Scriabin’s mystical philosophy. Scriabin described the first composition in the series, The Divine Poem (1904), as portraying:

the struggle between Man enslaved to a personal God and Man, who is himself God but lacking the will to proclaim his divinity. Thus frustrated, he immerses himself in the pleasures of sense, depicted in the second section of the work. But internal divine powers assist him toward liberation, and in the third and last section of the tone poem he gives himself up to the joys of “untrammeled existence.”

Scriabin intended the final two portions of the tetralogy, Prometheus, The Poem of Fire (1910) and The Mystery to offer an unprecedented fusion of the arts and senses. Prometheus is scored for a large orchestra, piano, organ, wordless chorus and a keyboard that projects colors onto a screen.Scriabin envisioned the even more ambitious The Mystery as the tetralogy’s apocalyptic culmination: a grand religious event to be held in India, with both the chorus and audience clothed in white. Scriabin was unable to complete The Mystery before his death in 1915.

In June of 1905, while living with Schloezer in Bogliasco, near Genoa, Scriabin began work on an intended multi-movement symphony entitled Poème Orgiaque. however, Scriabin encountered great difficulty with this original conception. In the spring of 1907, Scriabin announced he had completed his “finest composition,” the single-movement The Poem of Ecstasy. In the summer of 1907, conductor Modest Altschuler, a champion of contemporary Russian music, assisted Scriabin with revisions to the orchestration. Altschuler observed:

Scriabin is neither an atheist nor a theosophist, yet his creed includes ideas somewhat related to each of these schools of thought. There are


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

Scriabin himself authored an accompanying and lengthy explanatory poem, the opening lines of which read:

The spirit,Pinioned on its thirst for life,Soars in flightTo heights of negation.There in the rays of its fantasyIs born a magic worldOf wondrous images and feelingsThe playing spirit,The suffering spirit,The spirit that creates sorrow in doubt,Gives itself to the torment of love.

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

Musical Analysis

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

The Bells, for Chorus, Orchestra and Solo, opus 35 (1913)

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


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

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

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

“From childhood to the grave”

In his memoirs, Sergei Rachmaninov acknowledged:

The sound of church bells dominated all the cities of Russia I used to know — novgorod, Kiev, Moscow. They accompanied every Russian from childhood to the grave, and no composer could escape their influence…

All my life I have taken pleasure in the differing moods and music of gladly chiming and mournfully tolling bells. This love for bells is inherent in every Russian. One of my fondest childhood recollections is associated with the four notes of the great bells in the St. Sophia Cathedral of novgorod, which I often heard when my grandmother took me to town on church festival days. The bellringers were artists. The four notes were the theme that recurred again and again, four silvery weeping notes, veiled in an everchanging accompaniment woven around them…

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

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

Rome, Tchaikovsky and The Bells

The following year, Rachmaninov and his family traveled to Rome. As Rachmaninov informed Oskar von Riesemann:

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


nothing helps me so much as solitude. For me, it is possible to compose only when I am alone and nothing from the outside hinders the flow of ideas. These conditions were ideal in the flat on the Piazza di Spagna. All day long I spent at the piano or the writing desk, and not until the pines on the Monte Pincio were gilded by the setting sun did I put away my pen.

While in Rome, Rachmaninov focused upon two compositions — the Second Piano Sonata, and The Bells. In his memoirs, Rachmaninov recalled:

In the drowsy quiet of a Roman afternoon, with Poe’s verses before me, I heard the bell voices, and tried to set down on paper their lovely tones that seemed to express the varying shades of human experience. And there was the added stimulus of working in the room where (Peter Ilyich) Tchaikovsky had worked, of writing on the table on which he had written.

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

Progress on the Piano Sonata and The Bells was interrupted when two of Rachmaninov’s daughters contracted typhoid fever. The family traveled to Berlin to seek medical treatment. After the daughters recovered, the Rachmaninovs returned to Russia. There, Rachmaninov put the finishing touches on The Bells.

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

“Miss Danilova”

One reader took particular interest in newspaper reports that were published during the period of rehearsals for the premiere of The Bells. She was “Miss danilova,” a cello pupil of one of Rachmaninov’s friends, Mikhail Bukik. One day, Miss danilova arrived for her lesson with Bukik:

in great agitation; while she played, she seemed very excited and eager to tell me something. She finally revealed that Balmont’s translation of Poe’s poem, The Bells, had once made a great impression on her — she could think of it only as music — and who could write the music but her adored Rachmaninov! That she must do this became her idée fixe, and she wrote anonymously to her idol, suggesting that he read the poem and compose it as music.


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When danilova read that Rachmaninov had, in fact, composed a work based upon The Bells, and that the piece was scheduled for its premiere, she, according to Bukik:

was mad with joy. But someone had to be told her secret — and that’s how all her emotions were unloaded during my lesson. She told me the whole story. I was astounded to think our reserved and quite unsentimental Rachmaninov could have been capable of being inspired by someone else’s advice — to create so important a work! I kept my pupil’s secret until Rachmaninov’s death.

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

Slyšiš’, sani mcatsja v rjad,Mcatsja v rjad!Kolokol’ciki zvenjat,Serebristym lëgkim zvonom

slux naš sladostno tomjat,etim pen’em i guden’em

o zabven’i govorjat.O, kak zvonko, zvonko, zvonko,Tocno zvucnyj smex rebënka,V jasnom vozduxe nocnomGovorjat oni o tom,Cto za dnjami zablužden’janastupaet vozrožden’e,Cto volšebno naslažden’e —

naslažden’e nežnym snom.Sani mcatsja, mcatsja v rjad,Kolokol’ciki zvenjat,Zvëzdy slušajut, kak sani,

ubegaja, govorjat,I, vnimaja im, gorjat,I mectaja, i blistaja,

v nebe duxami parjat;I izmencivym sijan’em,Molcalivym obajan’emVmeste s zvonom, vmeste s pen’em,

o zabven’i govorjat.

hear the sleighs rush along in line,They rush along in line!The little bells tinkle,With their light, silvery ringing

they sweetly tire our hearing,With their singing and jingling

they tell of oblivion.Oh, how clearly, clearly, clearly,Like the ringing laughter of a child,In the clear night airThey tell the tale of how,After days of delusion,Rebirth will follow,Magical delight,The delight of tender sleep.The sleighs rush along in line,The little bells tinkle,The stars listen as the sleighs,

fleeing, speak,And heeding them, they shine,And dreaming, and twinkling,

they hover in the sky like spirits;And with their flickering radiance,With their silent enchantment,Together with the ringing, together with

the singing, they tell of oblivion.

Kolokola The Bells

I. The Silver Sleigh Bells (Tenor solo and chorus); Allegro, ma non tanto

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Slyšiš’ k svad’be zov svjatoj, zolotoj!Skol’ko nežnogo blazhenstva

v etoj pesne molodoj!Skvoz’ spokojnyj vozdux nociSlovno smotrjat c’i-to oci,I blestjat,Iz volny pevucix zvukov

na lunu oni gljadjat.Iz prizyvnyx divnyx kelij,Polny skazocnyx veselij,narastaja, upadaja, bryzgi svetlye letjat.Vnov’ potuxnut, vnov’ blestjat,I ronjajut svetlyj vzgljadna grjadušcee, gde dremlet

bezmjatežnost’ nežnyx snov,Vozvešcaemyx soglas’em

zolotyx kolokolov!

hear the holy golden call to the wedding!how much tender bliss there is

in this youthful song!Through the calm night air,It’s as if someone’s eyes are watchingAnd shining,Out of the wave of melodious sounds

they gaze at the moon.Out of their inviting, wondrous cells,Full of fairytale delights,Rising, falling, the bright sparks fly.They go out again, they shine again,And they cast their bright gazeOn the future, where slumbers

the serenity of sweet dreams,Proclaimed by the harmony

of the golden bells!

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

Slyšiš’, vojušcij nabat,Tocno stonet mednyj ad!eti zvuki, v dikoj muke,

skazku užasov tverdjat.Tocno moljat im pomoc’,Krik kidajut prjamo v noc’,Prjamo v uši tëmnoj noci.Každyj zvuk,To dlinnee, to koroce,Vyklikaet svoj ispug —I ispug ix tak velik,Tak bezumen každyj krik,Cto razorvannye zvony,

nesposobnye zvucat’,Mogut tol’ko bit’sja, vit’sa, i

kricat’, kricat’, kricat’!Tol’ko plakat’ o pošcade,I k pylajušcej gromadeVopli skorbi obrašcat’!A mež tem ogon’ bezumnyj,I gluxoj i mnogošumnyj,Vsë gorit,

Hear the howling alarm bell,Like the groaning of a brazen hell!These sounds in their savage torment

repeat a tale of horror.As though begging for help,They hurl their cry into the night,Straight into the ears of the dark night.Each sound,Now longer, now shorter,Calls out its fright —And their fright is so great,So mad is each shout,That the tormented bells,

unable to sound,Can only batter, writhe, and

shout, shout, shout!They can only weep for mercy,And to the mass of flamesAddress their wails of grief!And meanwhile the frantic fire,Both deaf and full of noises,Keeps burning,

III. The Loud Alarum Bells (Chorus); Presto

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Atlanta’s Performing Arts Publication 34B

To iz okon, to po kryše,Mcitsja vyše, vyše, vyše,I kak budto govorit:Ja xocuVyše mcat’sja, razgorat’sja,

vstrecu lunnomy lucu,Il’ umru, il’ totcas-totcas vplot’

do mesjaca vzlecu!O, nabat, nabat, nabat,esli b ty vernul nazadetot užas, eto plamja, etu iskru,

etot vzgljad,etot pervyj vzgljad ognja,O kotorom ty vešcaeš’, s placem,

s voplem, i zvenja!A teper’ nam net spasen’ja,Vsjudu plamja i kipen’e,Vsjudu strax i vozmušcen’e!Tvoj prizyv,dikix zvukov nesoglasnost’Vozvešcaet nam opasnost’,To rastët beda gluxaja, to spadaet,

kak priliv.Slux naš cutko lovit volny

v peremene zvukovoj,Vnov’ spadaet, vnov’ rydaet

medno-stonušcij priboj!

Now from the windows, now along the roof, It rushes higher, higher, higher,

And seems to say:I wantTo rush higher, to flare up

towards the moonbeam,I’ll either die out or immediately

fly right up to the moon!Oh, alarm bell, alarm bell, alarm bell,If you had only turned awayThis horror, this flame, this spark,

this glance,This first glance of the fire,About which you prophesy, with weeping,

with wailing, and ringing!And now there is no salvation for us,The flames seethe everywhere,Everywhere is fear and turmoil!Your call,The discord of wild soundsProclaims to us the danger,The hollow sound of misfortune rises and

falls like the tide.Our hearing distinctly catches the waves

of changing sounds,It falls again, it sobs again,

the brazen, groaning surf.

Poxoronnyj slyšen zvon,dolgij zvon!Gor’koj skorbi slyšny zvuki,

gor’koj žizni koncen son.Zvuk železnyj vozvešcaet

o pecali poxoron!I nevol’no my drožim,Ot zabav svoix spešim,I rydaem, vspominaem,

cto i my glaza smežim.neizmenno-monotonnyj,etot vozglas otdalënnyj,Poxoronnyj tjažkij zvon,

The funeral knell can be heard,The long knell!The sounds of bitter grief can be heard,

the dream of bitter life has ended.The iron sound proclaims

the sorrow of the funeral!And we involuntarily shudder,We hurry away from our pastimes,And we sob, and recall

that we too shall close our eyes.Invariably monotonous,This distant cry,The heavy funeral knell,

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

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Tocno ston,Skorbnyj, gnevnyj,I placevnyj,Vyrastaet v dolgij gul,Vozvešcaet, cto stradalec

neprobudnym snom usnul.V kolokol’nyx kel’jax ržavyx,On dlja pravyx i nepravyxGrozno vtorit ob odnom:cto na serdce budet kamen’,

cto glaza somknutsja snom.Fakel traurnyj gorit,S kolokol’ni kto-to kriknul,

kto-to gromko govorit,Kto-to cërnyj tam stoit,I xoxocet i gremit,I gudit, gudit, gudit,K kolokol’ne pripadaet,Gulkij kolokol kacaet,Gulkij kolokol rydaet,Stonet v vozduxe nemomI protjažno vozvešcaet o pokoe grobovom.

Like a groan,doleful, wrathful,And mournful,It grows into a long rumbling,It proclaims that the sufferer

has fallen into eternal sleep.In the belfry’s rusty cells,For the righteous and unrighteousIt menacingly repeats a single thing:That there will be a stone on your heart,

that your eyes will close in sleep.The funeral torch burns,From the belfry someone has shouted,

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

Transliteration of the Russian and english translation by Keith Langston.

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Atlanta’s Performing Arts Publication 34D

TATIANA MONOgAROVA, Soprano

Tatiana Monogarova began the 2011-12 season with revival performances of her highly successful

appearance as Rusalka at the Semperoper dresden. She returned to the Bolshoi Theater for her signature role of Tatyana (Eugene Onegin) in a production by dimitri Tcherniakov that was broadcast, cinecast, released on dVd, and toured europe. She joins the Atlanta Symphony Orchestra for The Bells under the baton of Robert Spano, and sings Janácek’s Glagolitic Mass with Bavarian Radio Symphony Orchestra under the baton of Mariss Jansons. And she will return to Ljubljana State Opera for another production of Rusalka.

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

Miss Monogarova was born in Moscow and studied voice at the Russian Academy of Arts. She made her international debut in Sergei Slonimsky’s opera The Master and Margarita with the Forum Theatre, Moscow, on tour in Germany under Mikhail Jurowski, and then as Xenia in Boris Godunov at La Fenice, Venice, in 1995.

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

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

her career to date includes appearances with such eminent conductors as Vladimir Spivakov, Vladimir Fedoseev, Vladimir and Mikhail Jurowski, Mikhail Pletnev, Alexander Vedernikov, daniele Callegari, Andreas Spering, Louis Langree, Julian Reynolds, normunds Vaicis, Tomas netopil, edo de Waart, hans Zender and Kent nagano. She sang Symphony no. 14 with the Iceland Symphony Orchestra, The Bells at hong Kong Arts Festival, Strauss’ Four Last Songs with the hong Kong Philharmonic, Tchaikovsky’s Hamlet with the Orchestra of Age of enlightenment under Vladimir Jurowski, and Martynov’s Vita Nova in London and new York.

Tatiana Monogarova

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SERgEY ROMANOVSKY, tenor

The tenor Sergey Romanovsky was born in Mineralny Vody, Russia. he graduated from the

Music School as a violinist and studied singing at the College of Music. In 2004 he entered the Moscow Tchaikovsky State Conservatory. he has now entered into the Moscow Academy of Choral Art, where he works with Professor dmitry Vdovin. he also took part in the International School of Vocal Art in Moscow in 2006 and 2007, where he worked with George darden of the Metropolitan Opera, Caroline dumas of the ecole normale in Paris, Stephen King, diane Zola, Richard Bado of the houston Grand Opera and Rudolf Piernay from London.

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

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

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

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

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

Sergey Romanovsky

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Atlanta’s Performing Arts Publication 34F

DENIS SEDOV, Bass

Opera news has priased denis Sedov for being “tall and commanding, gifted with a splendid

physique and a bass to match” and for his ability to “seduce with his voice as well as with his presence.” he begins the 2011-12 season with performances of Rachmaninov’s The Bells with Robert Spano conducting the Atlanta Symphony Orchestra and Mozart’s Requiem with the Orquestra Sinfônica Brasileira. Last season he sang Raimondo in Lucia di Lammermoor with Pittsburgh Opera, Frere Laurent in Roméo et Juliette at the Teatro Municipale Giuseppe Verdi di Salerno and Gremin in Eugene Onegin in a return to Cincinnati Opera. he also sang the Seder Leader in dessau’s Hagadah Shel Pessach with the American Symphony Orchestra at Carnegie hall, Rachmaninov’s The Bells with the Orquesta del Palau de la Musica in Valencia, and Prokofiev’s Ivan the Terrible with the Orquesta Filarmónica de Málaga.

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

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

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

Denis Sedov

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ATLANTA SYMPHONY ORCHESTRA CHORUS norman mackenzie, Director of choruses

the Frannie and Bill Graves chair Jeffrey Baxter, choral Administrator todd Skrabanek, Accompanist

D uring the 2011–12 season, the Atlanta Symphony Orchestra Choruses will be

featured in nine concert programs including Beethoven’s ninth Symphony, Bach’s St. Matthew Passion, Mahler’s Symphony no. 2, Rachmaninov’s The Bells and Theater of a Concert performances of the John Adams opera A Flowering Tree.

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

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

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

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

Atlanta Symphony Orchestra Chorus

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Atlanta’s Performing Arts Publication 34H

SOPRANO 1JoAnn AlexanderKelly eggersAmber GreerKristen Gwaltneyerin JonesArietha Lockhart *Patricia nealonBlair OakleyCatherine SteenRachel Stewart **elizabeth StukBrianne TurgeonAllegra WhitneyLori Beth WisemanKara Mia WrayWanda Yang Temkonatalie York

SOPRANO 2June Abbott **Sloan AtwoodPamela Barnette **Barbara BrownSuzannah CarringtonClaudia CorriereMartha Craftellen dukes **Mary GoodwinAbigail halonKathleen Kelly-Georgenatalie LeeMarie Littleeda Mathews *Rachel O’dellVickie OrmeLindsay PattenChantae PittmanLinda SearlesSydney Smith-RikardPaula SnellingCamilla Springfield *Tommie StorerCheryl Thrash *donna Weeks *

ALTO 1Ana Baidadeborah Boland *donna Carter-Wood *Laurie CroninPatricia dinkins-

MatthewsPamela drummondBeth FreemanPamela GriffinBeverly hueterShani JeffersonJanet Johnson *Virginia LittleStaria LoveladyAllison LoweFrances Mcdowell *Linda Morgan **dominique Petite-

Chabukswarnorma Raybon *Andrea SeeneyCheri SnyderAnne Stillwagondiana Reed StrommenSharon Vrieland *nancy York

ALTO 2nancy AdamsSally Rose BatesMarcia ChandlerMeaghan CurryCynthia Goeltz deBold *Sally Kannnicole Khourynancy Llamazales **Katherine Johnson

MacKenzieLynda MartinBrenda Pruitt *Kristen ReisigAndrea SchmidtSharon SimonsVirginia ThompsonSarah WardAlexandra WillinghamKiki Wilson **diane Woodard *

TENOR 1Jeffrey Baxter *daniel BentleyChristian Biglianidavid Blalock **John Brandt *daniel CameronClifford edge *Steven Farrow **Wayne GammonLeif hansenJames JarrellThomas LaBargeKeith LangstonClinton MillerChristopher PattonStephen Reed ‡

Timothy SwaimCarson Zajdel

TENOR 2Randy BarkerCurtis BisgesJustin CorneliusCharles Cottingham ‡

Phillip CrumblyJeffrey danielJoseph Few *hamilton Fongearl Goodrich *John GoodsonKeith JeffordsSteven JohnstoneJohn Kenemernathan OsborneMichael ParkerMarshall Peterson *Richard ProutyBrent RunnelsClifton RussellJeremy SimmonsWesley StonerCaleb WatersRobert Wilkinson

BASS 1dock AndersonMark BlankenshipRobert BolyardRichard Brock *Russell Cason *Trey CleggSteven darst *Leroy Fettersdavid ForbesJon Gunnemann *Jonathan havelnick Jones ‡

Adam KisselPeter MacKenzieJason MaynardCharles McClellan *John newsomeMark RussellKendric Smith ‡

John StallingsIke Van Meteredgie Wallaceedward Watkins **

BASS 2Shaun AmosCharles BooneBrian BrownJoseph ChampionJohn Cooledge ‡

Joel Craft **Paul FletcherAndrew GeeBen howellPhilip Joneseric Litsey **Sam Marleyevan Maukeckhart Richter *John RuffJohn SmithJonathan SmithTimothy Solomon *Benjamin Temkodavid Webster **Keith Wyatt

* 20+ years of service ** 30+ years of service ‡ Charter member (1970)

34I EncorEAtlAntA.com

NORMAN MACKENzIE, Director of choruses

N orman Mackenzie’s abilities as musical collaborator, conductor and concert organist

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

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

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

Norman Mackenzie


support

Mrs. Thalia N. Carlos**Delta Air Lines

The Mabel Dorn Reeder FoundationThe Zeist Foundation, Inc.

Fulton County Arts Council

National Endowment for the Arts

UPS

GE Asset ManagementAbraham J. & Phyllis Katz FoundationMr. & Mrs. Charles H. McTier

Turner Broadcasting SystemThe Vasser Woolley Foundation, Inc.Woodruff Arts Center

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

The Coca-Cola CompanyMrs. William A. Schwartz

$50,000+

$500,000+

$250,000+

$100,000+

$75,000+

$35,000+

$25,000+

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

AnonymousAT&T Real Yellow PagesMarcia & John DonnellGE EnergyThe Graves FoundationInterContinental Hotels Group

The Charles Loridans Foundation, Inc.

The Reiman FoundationMr. Thurmond SmithgallRobert SpanoSusan & Thomas Wardell

SunTrust BankSunTrust FoundationSunTrust Bank

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

Massey Charitable TrustPorsche Cars North America

Publix Super Markets CharitiesPatty & Doug Reid

Sutherland Asbill & Brennan LLP

Susan & Richard AndersonStephanie & Arthur BlankMr. & Mrs. C. Merrell CalhounMr. & Mrs. Bradley Currey, Jr.Georgia Council for the ArtsGeorgia Natural GasAnn & Gordon Getty FoundationJohn H. & Wilhelmina

D. Harland Charitable Foundation, Inc.

Lucy R. & Gary Lee, Jr.MetLife FoundationThe Sara Giles Moore

FoundationNalley Automotive GroupTerence L. & Jeanne P. Neal*Victoria & Howard PalefskyMr. & Mrs. Solon P. Patterson*Printpack Inc. & The Gay

& Erskine Love Foundation

Ryder System, Inc.Mrs. Charles A. Smithgall, Jr.Mr. & Mrs. K. Morgan

Varner, IIIAdair & Dick WhiteAnn Marie & John B.

White, Jr.*Sue & Neil Williams

The Atlanta Symphony Orchestra gratefully acknowledges the generous gifts of individuals, corporations, foundations, government and other entities whose contributions help the Orchestra fulfill its mission to be a vigorous part of the cultural fabric of our community. The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives from the fiscal year 2011: June 1, 2010 through May 31, 2011.

(Please note that donor benefits are based solely on contributions to the annual fund.)


$15,000+

$10,000+

$5,000+

Pinney L. Allen & Charles C. Miller III

The Antinori FoundationLisa & Joe BankoffMary Helen & Jim DaltonMr. & Mrs. David EdmistonIn memory of Polly Ellis

by Admiral James O. Ellis, Jr.

Mr. Donald F. FoxMr. & Mrs. Lawrence L.

Gellerstedt IIICharles & Mary GindenAnn A. & Ben F.

Johnson III*Sarah & Jim KennedySteve & Eydie KooninCarrie & Brian Kurlander

Michael & Cindi LangDonna Lee & Howard

C. EhniMeghan & Clarke

MagruderJeff Mango -

Verizon WirelessMr. & Mrs. William

T. Plybon*

Dr. Stanley & Shannon Romanstein

Lynn SchinaziIrene & Howard SteinMary Rose TaylorRay & John UttenhoveMr. & Mrs. Edus H.

Warren, Jr.

AnonymousThe Aaron Copland Fund

for Music, Inc.AGCO Corporation,

Lucinda B. SmithMark & Christine ArmourThe Balloun FamilyKelley O. & Neil

H. BermanMr. David BoatwrightMrs. Suzanne Dansby

Bollman & Mr. Brooks Bollman

The Boston Consulting Group

The John & Rosemary Brown Family Foundation

The Walter & Frances Bunzl Foundation

Cynthia & Donald CarsonDr. John W. CooledgeTrisha & Doug CraftCari Katrice DawsonEleanor & Charles

EdmondsonRosi & Arnoldo FiedotinMary D. GellerstedtGMT Capital CorporationNancy D. GouldThe Robert Hall Gunn,

Jr. Fund

Joe Guthridge & David Ritter*

Jan & Tom HoughMr. Tad HutchesonRoya & Bahman IrvaniAnne Morgan & Jim KelleyMr. & Mrs. Donald

R. KeoughMr. & Mrs. John M. LawThe Livingston

Foundation, Inc.Mike’s Hard LemonadeMorgens West FoundationLynn & Galen OelkersPrimerica

Margaret & Bob ReiserBill & Rachel Schultz*Joyce & Henry SchwobMr. John A. Sibley IIIJohn SparrowCarol & Ramon Tome

Family Fund*Trapp FamilyMike & Liz TroyTurner Foundation, Inc.Mark & Rebekah WassermanNeal & Virginia WilliamsSuzanne Bunzl Wilner

Atlanta Federation of Musicians

Edith H. & James E. Bostic, Jr. Family Foundation

Breman FoundationJeff & Ann Cramer*

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

Foundation

JBS FoundationThe Hellen Plummer

Charitable Foundation, Inc.

Anonymous (3)John** & Helen Aderhold*Aadu & Kristi Allpere*Ms. Julie M. AltenbachThe ASCAP FoundationDr. Robert L. & Lucinda

W. BunnenCharles Campbell & Ann

Grovenstein-CampbellRichard A. & Lynne

N. DorfmanChristopher & Sonnet

Edmonds

Dr. & Mrs. Carl D. FacklerDavid L. ForbesJames F. FraserThe Fraser-Parker

Foundation, Inc.Betty Sands FullerSally & Carl GableDick & Anne GoodsellThe Jamieson FamilyPhilip I. KentJames H. LandonGeorge H. Lanier

The Sartain Lanier Family Foundation, Inc.

Pat & Nolan LeakeLinks Inc., Azalea City

ChapterBelinda & Gino MassafraLinda & John MatthewsJohn F. & Marilyn

M. McMullanPenelope & Raymond

McPhee*Dr. & Mrs. Mark P.

Pentecost, Jr.

Margaret H. PetersenJohn & Kyle RogersHamilton & Mason Smith*Sandy & Paul SmithPeter James StellingMrs. C. Preston StephensTriska Drake & G.

Kimbrough Taylor, Jr.Charlie Wade &

M.J. ConboyRussell Williamson

& Shawn Pagliarini

$7,500+

$17,500+

Anonymous (2)Jim and Adele

AbrahamsonThe Arnold

Foundation, Inc.

Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr.

City of Atlanta Office of Cultural Affairs

Gary & Nancy FayardMr. & Mrs. Paul

R. GarciaJane & Clay JacksonKarole & John Lloyd

Mr. Kenneth & Dr. Carolyn Meltzer

Loren & Gail StarrAlison M. & Joseph

M. ThompsonCamille Yow

$3,500+

AnonymousMr. & Mrs. Dennis ChorbaMr. James L. Davis &

Ms. Carol Comstock*Jere & Patsy Drummond

Ellen & Howard FeinsandFour Seasons Hotel AtlantaHerbert & Marian

Haley FoundationSteven & Caroline Harless

Mr. & Mrs. John E. Hellriegel

Mr. & Mrs. Daniel H. Hollums

JoAnn Hall Hunsinger

Paul & Rosthema KastinDr. & Mrs. James

T. Laney*Mr. & Mrs. William

C. Lester*


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

$2,250+

$1,750+

Anonymous (3)Mrs. Kay Adams*

& Mr. Ralph PaulkMr. & Mrs. Phillip

E. Alvelda*Paul & Marian AndersonJack & Helga BeamMs. Laura J. Bjorkholm

& Mr. John C. Reece IIRita & Herschel BloomMargo Brinton & Eldon ParkJacqueline A. & Joseph E.

Brown, Jr.Dr. & Mrs. Anton

J. BueschenMajor General & Mrs.

Robert M. BunkerDr. Aubrey M. Bush

& Dr. Carol T. BushThe Buss Family

Charitable FundMs. Marnite B. CalderMr. & Mrs. Beauchamp

C. CarrChip & Darlene ConradMr. & Mrs. Thomas

G. CousinsMr. Robert Cronin

& Ms. Christina SmithSally & Larry DavisElizabeth & John Donnelly

Gregory & Debra DurdenMs. Diane DurginCree & Frazer DurrettThe Robert S. Elster

Foundation George T. & Alecia

H. EthridgeJohn & Michelle FullerMr. & Mrs. Edward

T. GarlandDr. Mary G. George

& Mr. Kenneth MolinelliBen & Lynda GreerDr. & Mrs. Alexander GrossPaul B., Paul H.,

& M. Harrison HackettSally W. HawkinsDarlene K. HensonMr. & Mrs. Harry C. HowardRichard & Linda HubertDr. William M. HudsonMr. & Mrs. William C.

Humphreys, Jr.Dr. & Mrs. James M. HundDorothy JacksonMs. Cynthia JenessMr. & Mrs. Robert

A. JohnsonMr. W. F. & Dr. Janice

JohnstonDr. Maurice J. Jurkiewicz**

Hazel & Herb KarpMr. & Mrs. John

H. KauffmanMr. & Mrs. L.

Michael KellyDick & Georgia Kimball*Mr. & Mrs. Daniel J. KingDr. Fulton D. Lewis III & Mr.

Stephen Neal RhoneyMr. & Mrs. J. David LifseyMr. & Mrs. Paul A. Lutz*Mr. & Mrs. Frederick

C. MabryBarbara & Jim MacGinnitieThe Devereaux F.

& Dorothy McClatchey Foundation, Inc.

Mr. & Mrs. Albert S. McGhee

Birgit & David McQueenGregory & Judy MooreMs. Lilot S. Moorman

& Mr. Jeffrey B. BradleyDr. & Mrs. R. Daniel NableMr. & Mrs. Robert OliveMs. Rebecca OppenheimerMr. & Mrs. Andreas

PenningerSusan PerdewDr. & Mrs. W. Harrison

Reeves, Sr.

Mr. & Mrs. Richard L. Rodgers

Mr. & Mrs. George P. Rodrigue

Dr. Paul J. SeguinElizabeth S. SharpAngela & Morton SherzerKay R. ShirleyBeverly & Milton ShlapakHelga Hazelrig SiegelLewis SilverboardBaker & Debby SmithAmy & Paul SnyderMr. & Mrs. Raymond F.

Stainback, Jr.Lynne & Steven Steindel*John & Yee-Wan StevensMr. & Mrs. George B.

Taylor, Jr.Mr. & Mrs. Mark TaylorAnnie York-Trujillo & Raul

F. TrujilloMr. William C. VossDr. & Mrs. James O.

Wells, Jr.David & Martha WestMr. & Mrs. Peter

L. WhitcupMary Lou WolffJan & Beattie WoodMr. & Mrs. John C. Yates

AnonymousMr. & Mrs. Stephen

D. AmboDr. David & Julie BakkenMr. & Mrs. Ron BellLeon & Linda BorchersMr.** & Mrs. Eric

L. BrookerMr. & Mrs. Russell

E. ButnerMr. & Mrs. Walter

K. CanipeSusan & Carl CoferMr. & Mrs. R. Barksdale

Collins*Ralph & Rita ConnellDr. & Mrs. William

T. CookJean & Jerry CooperMr. & Mrs. Brant Davis*Mrs. H. Frances DavisMr. & Mrs. Peter T.

de KokDrs. Carlos Del Rio

& Jeannette Guarner

Elizabeth & John DonnellyXavier Duralde

& Mary BarrettCree & Frazer DurrettDr. Francine D. Dykes

& Mr. Richard DelayMary Frances EarlyRee & Ralph EdwardsGeorge T. & Alecia

H. EthridgeBill & Susan GibsonCarol & Henry GradyMr. Lewis H. Hamner IIIThomas HighIn memory of Carolyn

B. HochmanStephanie & Henry HowellMary B. & Wayne JamesAaron & Joyce JohnsonVeronique & Baxter JonesLana M. JordanMr. Thomas J. JungDr. Rose Mary KolpatzkiMr. & Mrs. David Krischer

Thomas C. LawsonMr. & Mrs. Craig

P. MacKenzieKay & John MarshallMartha & Reynolds

McClatcheyCaptain & Mrs. Charles

M. McCleskeyVirginia K. McTagueAngela & Jimmy MitchellMrs. Gene Morse**Barbara & Sanford OrkinDr. & Mrs. Keith

D. OsbornDr. & Mrs. Bernard

H. PalayMr. & Mrs. Emory

H. PalmerElise T. PhillipsDr. & Mrs. Frank

S. Pittman IIIThe Reverend Neal

P. Ponder, Jr.Provaré Technology, Inc.

Ms. Susan Robinson & Ms. Mary Roemer

The Gary Rollins Foundation

John T. RuffDr. & Mrs. Rein SaralAlida & Stuart SilvermanSydney SimonsAlex & Betty Smith

Foundation, Inc.Johannah SmithMr. & Mrs. Gabriel SteagallKay & Alex SummersElvira TateMr. & Mrs. William

M. TippingDrs. Jonne & Paul WalterAlan & Marcia WattMr. & Mrs. William White*Hubert H. Whitlow, Jr.Mrs. Frank L. Wilson, Jr.Charlie & Dorothy Yates

Family FundHerbert & Grace Zwerner

$3,500+ continued

Deborah & William LissDr. & Mrs. James T. LowmanRuth & Paul MarstonMr. & Mrs. Harmon B.

Miller III

Walter W. MitchellLeslie & Skip PetterMr. & Mrs. Rezin Pidgeon, Jr.Mr. & Mrs. Joel F. ReevesS.A. Robinson

Nancy & Henry ShufordIn memory of Willard ShullElliott SopkinMs. Kimberly Tribble

& Mr. Mark S. Lange

Burton TrimbleDrs. Julius & Nanette WengerH. & T. Yamashita*

support


Henry Sopkin CircleRecognizing planned gifts that benefit the Atlanta Symphony Orchestra

Madeline & Howell E. Adams, Jr.

Mr.* & Mrs. John E. Aderhold

William & Marion AtkinsDr. & Mrs. William BauerNeil H. BermanFred & Bettye BettsMr.* & Mrs.* Karl

A. BevinsMr.* & Mrs. Sol BlaineFrances Cheney Boggs*W. Moses BondRobert* & Sidney BoozerElinor A. BremanWilliam Breman*James C. Buggs, Sr.Mr. & Mrs. Richard

H. BurginHugh W. BurkeWilber W. CaldwellMr. & Mrs. C. Merrell CalhounCynthia & Donald CarsonMargie & Pierce ClineDr. & Mrs. Grady

Clinkscales, Jr.Miriam & John

A. Conant*Dr. John W. CooledgeMr.* & Mrs.* William

R. CummickelJohn R. DonnellDixon W. Driggs*Catherine Warren DukehartMs. Diane DurginKenneth P. DutterArnold & Sylvia EavesElizabeth Etoll

John F. EvansDoyle Faler*Rosi & Arnoldo FiedotinDr. Emile T. FisherA. D. Frazier, Jr.Betty & Drew* FullerCarl & Sally GableWilliam H. GaikKay Gardner*Mr.* & Mrs. L. L.

Gellerstedt, Jr.Ruth Gershon & Sandy CohnMicheline & Bob GersonMr. & Mrs. John T. GloverMrs. Irma G. Goldwasser*Robert Hall Gunn, Jr.Billie & Sig* GuthmanBetty G. & Joseph* F. HaasJames & Virginia HaleMiss Alice Ann Hamilton*John & Martha HeadMs. Jeannie HearnMr. Walter T. Heist* Jill* & Jennings HertzAlbert L. Hibbard, Jr.*Richard E. HodgesMr. & Mrs. Charles K.

Holmes, Jr.Mr.* & Mrs. Fred A.

Hoyt, Jr.Dr. & Mrs. James

M. HundMary B. JamesCalvert JohnsondeForest F. Jurkiewicz*Herb & Hazel KarpAnne Morgan

& Jim Kelley

Bob KinseyJames W. & Mary Ellen*

KitchellPaul Kniepkamp, Jr.Miss Florence KopleffOuida Hayes LanierMr. & Mrs. William LesterLiz & Jay* LevineJane LittleMrs. J. Erskine Love, Jr.Nell Galt & Will D. MagruderK Maier John W. Markham, IIIAnn Bernard Martin*Mr. Michael McDowell*Dr. Michael S. McGarryMr. & Mrs. Richard McGinnisVera A. Milner*Mr. & Mrs. Bertil

D. NordinRoger B. OrloffDr. Bernard

& Sandra PalayBill PerkinsMr. & Mrs. Rezin E.

Pidgeon, Jr.Janet M. PierceReverend Neal P.

Ponder, Jr.William L. & Lucia

Fairlie PulgramThe Reiman FoundationCarl J. Reith*Edith Goodman Rhodes*Vicki J. & Joe A. RiedelDr. Shirley E. RiversMr. & Mrs. Martin

H. Sauser

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

Edward G. Scruggs*Dr. & Mrs. George P. SessionsW. Griggs Shaefer, Jr.*Mr.* & Mrs.* Robert ShawCharles H. Siegel*Mr. & Mrs. H.

Hamilton SmithMrs. Lessie B. SmithgallMargo Sommers*Elliott SopkinElizabeth Morgan SpiegelDaniel D. Stanley*Peter James StellingBarbara Dunbar Stewart* C. Mack* & Mary

Rose TaylorJennings Thompson IVMargaret* & Randolph

ThrowerKenneth & Kathleen TiceSteven R. TunnellMary E. Van ValkenburghMrs. Anise C. Wallace*Mr. & Mrs. John B.

White, Jr.Adair & Dick WhiteHubert H. Whitlow, Jr.Sue & Neil WilliamsMrs. Frank L. Wilson, Jr.Elin M. Winn*Joni WinstonGeorge & Camille WrightMr.* & Mrs. Charles

R. YatesAnonymous (12)

*Deceased

Patron Partnership Thomas J. Jung, Chair

The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support.

Appassionato Meghan Magruder, Appassionato Chair

The Atlanta Symphony Orchestra is privileged to receive annual contributions from individu-als throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continu-ous and strong financial base in support of our ambitionous aritistic and education initiatives.

additional supportBlonder Family Foundation William McDaniel Charitable

FoundationWilliam Randolph Hearst

Endowed Fund


Classical Title SponsorClassic Chastain Title Sponsor

Family and SuperPOPS Presenting Sponsor

RICHARD ANDERSONChief Executive Officer

Holiday Title Sponsor

MUHTAR KENTPresident and

Chief Operating Officer

DARRYL HARMONSoutheast Regional President

Atlanta School of Composers Presenting Sponsor

PHILIP I. KENTChief Executive Officer

Supporter of the AtlantaSymphony Orchestra Chorus

JERRY KARRManaging Director

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

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

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

Atlanta Symphony Orchestra programs are supported in part by an award from the National Endowment for the Arts.

corporate & government support


2011-2012 boardBelinda Massafra

PresidentSylvia Davidson

President ElectSuzy Wasserman,

Leslie Petter, Camille Yow Advisors

Ruth & Paul Marston Decorator’s Show House & Gardens Advisors

Elba McCue Secretary

Sabine Sugarman Treasurer

Camille Kesler VP Administration

Dawn Mullican VP Public Relations

Paula Ercolini VP Youth Education

Ruth & Paul Marston VP Membership

Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians

Judy Schmidt Nominating Committee Chair

Amy Mussara, Chair, Decorators’ Show House & Gardens

Natalie Polk & Hillary Inglis Co-Chairs, Decorators’ Show House & Gardens

Janis Eckert & Gail Spurlock Chairs, ASA Fall Meeting

Poppy Tanner Chair, ASA Night at the ASO

Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon

Pat King ASA Notes Newsletter Editor

Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk

Helen Marie Rutter Bravo Chair

Elba McCue Concerto Chair

Joan Abernathy Encore Chair

Liz Cohn & Betty Jeter Ensemble Chairs

Karen Bunn Intermezzo Chair

Atlanta Symphony AssociatesThe volunteer organization of the Atlanta Symphony Orchestra

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


Patron Circle of StarsBy investing $15,000 or more in the Woodruff Arts center and its divisions – the Alliance theatre, Atlanta Symphony orchestra, High museum of Art and Young Audiences – these outstanding Annual corporate campaign donors helped us exceed our $8.8 million fundraising goal for 2010–11. thank you!

cHAIrmAn’S councIl★★★★★★★★★★★★★$500,000+

The Coca-Cola Company Georgia Power Foundation, Inc. UPS

★★★★★★★★★★★$450,000+

Cox Interests Atlanta Journal-Constitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation

Hon. Anne Cox Chambers

★★★★★★★★★$200,000+

AT&T The Community Foundation for Greater Atlanta, Inc.

Deloitte LLP, its Partners & Employees

Ernst & Young, Partners & Employees

The Home Depot Foundation Jones Day Foundation & Employees

The Klaus Family FoundationPricewaterhouseCoopers Partners & Employees

Mabel Dorn Reeder FoundationTurner Broadcasting System, Inc.

★★★★★★★★$150,000+

Alston & Bird LLP Equifax Inc. & Employees The Rich Foundation, Inc. SunTrust Bank Employees & Trusteed Foundations Harriet McDaniel Marshall Trust Walter H. & Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust Greene-Sawtell Foundation

Wells Fargo

★★★★★★★$100,000+

AirTran Airways Bank of AmericaDelta Air Lines, Inc. Kaiser Permanente King & Spalding LLP KPMG LLP, Partners & Employees

The Marcus Foundation, Inc. The Sara Giles Moore Foundation

Novelis, Inc.Regions Financial Corporation Wal-Mart Stores, Inc. The David, Helen & Marian Woodward Fund

★★★★★★$75,000+

Holder Construction CompanyThe Sartain Lanier Family Foundation, Inc.

Patty & Doug Reid Family Foundation

★★★★★$50,000+

AGL Resources Inc. Lisa & Joe BankoffCiscoCoca-Cola Enterprises Ann & Jay DavisDoosan Infracore InternationalFrank Jackson Sandy Springs Toyota and Scion

GMT Capital CorporationBeth & Tommy HolderING Mr. & Mrs. M. Douglas IvesterKilpatrick Townsend & Stockton LLP

Newell RubbermaidPrimericaDarrick StephensSutherland Asbill & Brennan LLP

The Zeist Foundation, Inc.

★★★★$35,000+

Accenture & Accenture Employees

Katharine & Russell Bellman Foundation

Mr. & Mrs. Bradley Currey, Jr. GE EnergyThe Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation

SCANA Energy Siemens Industry, Inc.Harris A. Smith Troutman Sanders LLP Frances Wood Wilson Foundation, Inc.

★★★$25,000+

Air Serv CorporationAssurant Atlanta Companies Assurant SolutionsAssurant Specialty Property

Atlanta Foundation Julie & Jim Balloun BB&T CorporationBDO USA, LLPLaura & Stan BlackburnBrysan Utility Contractors, Inc.ChartisCIGNA FoundationCousins Properties IncorporatedCrawford & Company Drummond Company, Inc.Eisner Family FoundationFirst Data CorporationFord & Harrison LLPGenuine Parts Company Georgia-Pacific Jack & Anne Glenn Foundation, Inc.

IBM Corporation Infor Global SolutionsSarah & Jim KennedyPhilip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc.

LexisNexis Risk Solutions


The Blanche Lipscomb Foundation

Livingston Foundation, Inc.Macy’s Foundation McKinsey & Company, Inc. Katherine John Murphy Foundation

Piedmont Charitable Foundation, Inc.

J. Marshall & Lucile G. Powell Charitable Trust

Mary & Craig RamseyRock-Tenn Company Richard D. ShirkSouthwire CompanySpectrum BrandsTowers WatsonWaffle House, Inc. Gertrude & William C. Wardlaw Fund

Waste Management Charitable Foundation

Yancey Bros. Co.

★★$15,000+

22squared, inc. A. E. M. Family FoundationACE Charitable FoundationAcuity Brands, Inc.AGCO CorporationAlix PartnersAlvarez & MarsalArnall Golden Gregory LLPThe Partners & Employees of Atlanta Equity Investors

Atlanta Marriott Marquis Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris

The Arthur M. Blank Family Foundation

The Boston Consulting GroupCatherine S. & J. Bradford Branch

George M. Brown Trust Fund of Atlanta, Georgia

Bryan Cave LLPBuck Consultants

The Capital Group Companies Charitable Foundation

Talela & Beauchamp CarrRoxanne & Jeffrey CashdanCB Richard EllisCenter Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene BermanThe Chatham Valley Foundation, Inc.

Chick-fil-A, Inc.CornerCap Investment CounselAnn & Jeff CramerDLA Piper Duke Realty Corporation Egon Zehnder InternationalExide TechnologiesFeinberg Charitable TrustMr. & Mrs. Frank L. FernandezFifth Third BankRobert Fornaro John & Mary Franklin Foundation, Inc.

Gas South, LLC Georgia Natural Gas Dolores & Javier C. GoizuetaGrant Thornton LLPHarland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC JamestownJenny & Phil JacobsMr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation

Ingrid Saunders JonesDavid & Jennifer Kahn Family Foundation

Mr. & Mrs. Muhtar KentKurt Kuehn & Cheryl DavisLanier Parking SolutionsThe Latham Foundation Barbara W. & Bertram L. Levy Fund

Karole & John LloydLockheed Martin Aeronautics Company

Marsh-MercerMcKenna Long & Aldridge LLPMohawk Industries, Inc.Mueller Water Products, Inc.Noonan Family FoundationGail & Bob O’LearyVicki R. PalmerThe Sally & Peter Parsonson Foundation, Inc.

Paul, Hastings, Janofsky & Walker LLP

Printpack Inc./The Gay & Erskine Love Foundation

David M. Ratcliffe J. Mack Robinson InterestsFrances & Jesse A. Sasser, Jr.Emily Winship Scott FoundationSelig Enterprises, Inc./ The Selig Foundation

Skanska USA Building Inc.Spencer Stuart Karen & John Spiegel Superior Essex Inc. Sysco AtlantaTriMont Real Estate Advisors, Inc.

United Distributors, Inc. WATL/WXIA/Gannett Foundation

John F. WielandMr. & Mrs. James B. Williams Sue & Neil Williams Womble Carlyle Sandridge & Rice, PLLC

Carla & Leonard Wood The Xerox Foundation Mr. & Mrs. Robert A. Yellowlees

*As of May 31, 2011


“Being a conductor myself, I do have some knowledge of the ‘empty hype’ that goes with this profession,” he said in an interview several years ago with Alex Ross of The New Yorker. “Conductors should be what they used to be — spokespeople for music in their hometown. But [as a composer] only I can write my own music. There’s no one else who can do it for me.”

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

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

Next up, “Nyx.”

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

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

Continued from page 20


community corner

Meet Sheehan Hanrahan,

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

What started you on the path to community service?I started early, joining clubs and activities in my elementary, middle and high schools, and a community organization with my family. In middle school, I was a member of the chamber music program, Beta Club, Junior Honor Society and a member of the Atlanta Indian Catholic Association. All these organizations arranged for community opportunities which I took part in; all of them exposed me to community service and giving.

Share a little about the community service plan you’re developing for the Youth Orchestra.I envision every member participating in at least one community service project this season, which is a challenge because we do a lot more than practice and perform music. We’re involved in sports, school clubs, organizations and many other activities, but I am confident we can do it — from volunteering at instrument petting zoos and a Youth Orchestra fundraiser to working in the community. Student musicians are the Youth Orchestra’s greatest resource, and following the lead of the Atlanta Symphony, we have the potential to take our music and talents throughout Atlanta and Georgia. There are many of us and taking part in one service project will have a lot of impact in the community.

Tell us about your work with the ASYO Student Council.I’ve been a member for two years. The student council is comprised of members from each [instrumental] section, and we meet throughout the year to discuss the non-music and social aspect of being in the orchestra and bring up any questions or concerns. We also plan events throughout the year that give students an opportunity to socialize and get to know one another. In the past we have held secret Santa gift exchanges and kickball games and will add community service as a priority.

In�the�Community,��Making a Difference

Our Professional EnsembleBruce V. Benator, CPA, Managing Partner

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community corner continued


What are the challenges you face as the “student voice” on the Orchestra’s Education Committee?One of the biggest challenges is finding ways to make music more interesting and to incorporate it into students’ lives in the community and in their schools. Many students who would have been exposed to music at an early age are now missing out due to budget cuts, and this is devastating. We are all aware of the numerous studies that repeatedly show the positive effects of music on children, yet many families are not inclined towards music or are unable to afford private music tuition. My peers in the Youth Orchestra and I are a testament to the positive impact that music can have on students. I started playing the violin in fourth grade, and since then I have realized how much it has benefitted and helped me in various aspects of my life. There are many ideas as to how to solve this problem and efforts are underway to improve the situation.

How does the ASO impact your life and lives in your high school and community?It’s my favorite thing about this city and has provided me with so many wonderful experiences and opportunities, both musical and non-musical. To me, there is nothing that can compare to a night at the symphony. Watching our outstanding orchestra perform music with unsurpassed skill and musicality offers me something that no movie or theater can. My visits to Atlanta Symphony Hall are always the highlight of my week and always create fantastic memories.

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

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

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

Edited and condensed by Karl Schnittke

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

Sheehan Hanrahan

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

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The Lovett SchoolEncore Atl ad4.625” x 3.625” (1/2 page horiz.) FINAL Schwartz Center for Performing Arts

Photo by Gary Heery

Hilary Hahn, violin

with

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Thursday, October 27, 8 p.m.

Schola Cantorum

de Venezuela

Friday, November 11, 8 p.m.

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

composer’s Symphonic Dances and Garrick Ohlsson, a frequent guest at Atlanta Symphony Hall, performs the mighty Third Concerto, a touchstone of the piano repertoire.

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

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

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

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

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

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

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

ASO Media recordings are available at the Symphony Store.

three for threeBy Karl Schnittke

Garrick Ohlsson, piano Robert SpanoAtlanta Symphony Orchestra

Rach- maninov

TM

Piano ConCerto no. 3Symphonic DanceS

October 27/29Thu/Sat: 8pm Delta ClassicalEsa-PEkka salOnEn: Nyxscriabin: Poem of EcstasyrachmaninOv: The BellsRobert Spano, conductorTatiana Monogarova, sopranoSergey Romanovsky, tenorDenis Sedov, bassAtlanta Symphony Orchestra Chorus

October 30 Sun: 1:30 & 3:30pm Familya stOrybOOk hallOwEEn Jere Flint, conductorLee Harper DancersWendy Bennett, vocalist

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

brittEn: The Building of the House Overturebrahms: Double concertoOlivEr knussEn: symphony in One movementbrittEn: Young Person’s Guide to the OrchestraOliver Knussen, conductorDavid Coucheron, violinChristopher Rex, cello

november 17/19Thu/Sat: 8pm Delta ClassicalrugglEs: AngelssEEgEr: Andante for stringsmOzart: Flute concerto no. 1sibElius: symphony no. 2Ilan Volkov, conductorChristina Smith, flute

november 20

Sun: 3pm Overture

JamEs bEckEl: CelebrationsliaDOv: From the ApocalypsegabriEla lEna Frank: La Llorona

stravinsky: The FirebirdJere Flint, conductorJennifer Stumm, violaAtlanta Symphony Youth Orchestra

november 25/26

Fri/Sat: 8pm SuperPOPS!

symPhOnic sPEctacular – See the Music!Michael Krajewski, conductorDazzling imagery on giant screens accompany the world’s best loved music in a breathtaking SuperPOPS! first!

calendar

aso.org | 404.733.5000woodruff arts center box Office @15th and Peachtree

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Administrative StaffExEcutivE Stanley E. Romanstein, Ph.D. President

Aysha H. Siddique Manager of Board & Community Relations

Brien Faucett Administrative Assistant to the President’s Office

Evans Mirageas Director of Artistic Planning

ADMiNiStRAtiONJohn Sparrow Vice President for Orchestra Initiatives & General Manager

Mala Sharma Assistant to the Vice President for Orchestra Initiatives & General Manager

Julianne Fish Orchestra Manager

Nancy Crowder Operations/Rental Events Coordinator

Kelly O’Donnell Artist Assistant

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

Jeffrey Baxter Choral Administrator

Ken Meltzer ASO Insider & Program Annotator

Russell Williamson Orchestra Personnel Manager

Susanne Watts Assistant Orchestra Personnel Manager

Paul Barrett Senior Production Stage Manager

Richard Carvlin Stage Manager

Lela Huff Assistant Stage Manager

Education & Community EngagementMark B. Kent Senior Director of Education & Community Engagement

Melanie Darby Director of Education Programming

Ahmad Mayes Community Programs Coordinator

Education & Community Engagement (cont.)Nicole BirdEducation Program Coordinator

Janice CrewsProfessional Learning Teaching Artist

Tiffany I.M. JonesEducation Sales Associate

FiNANcE & ADMiNiStRAtiONDonald F. Fox Executive Vice President for Business Operations & Chief Financial Officer

Shannon McCown Assistant to the Executive Vice President for Business Operations & Chief Financial Officer

Susan Ambo Vice President of Finance

Kim Hielsberg Director of Financial Planning & Analysis

April Satterfield Senior Accountant

Peter Dickson Staff Accountant

Michael Richardson Venues Analyst

Stephen Jones Symphony Store Manager

ASO PresentsClay Schell Vice President, Programming

Trevor Ralph General Manager and Senior Director of Operations

Holly Clausen Director of Marketing

Keri Musgraves Promotions Manager

Lisa Eng Graphic Artist

Chastain Park AmphitheaterTanner SmithProgram Director

Verizon Wireless Amphitheatre at Encore ParkKatie Daniel VIP Sales Manager

Jenny Pollock Operations Manager

Rebecca Simmons Box Office Manager

DEvELOPMENtSandy Smith Vice President for Development

Rebecca Abernathy Development Services Coordinator

Zachary Brown Director of Volunteer Services

Corey Cowart Director of Corporate Relations

Melissa Donalson Development Coordinator

Janina Edwards Grants Consultant

Ashley Krausen Special Events Coordinator

Jessica Langlois Director of Leadership Gifts & Planned Giving

Sarah Levin Volunteer Project Manager

Stephanie Malhotra Director of Development & Education Services

Toni Paz Director of Individual Giving

Barbara Saunders Director of Foundation Relations

Meredith Schnepp Prospect Research Officer

Tammie Taylor Assistant to the

VP for DevelopmentAndrea Welna Major Gifts Office

Sarah Zabinski Individual Giving Manager

MARKEtiNG & cONcERt PROMOtiONSCharles Wade Vice President for Marketing & Symphony Pops

Alesia Banks Director of Customer Service & Season Tickets

Ted CaldwellGroup & Corporate Sales Assistant

Meko HectorMarketing Production Manager

Jennifer JeffersonDirector of e-Business & Interactive Media

Melanie KiteSubscription Office Manager

Shelby MoodyGroup & Corporate Sales Manager

Seth Newcom Database Administrator

Kimberly Nogi Publicist

Robert Phipps Publications Director

Melissa A. E. SandersSenior Director, Communications

Christine Saunders Group & Corporate Sales Associate

Karl Schnittke Publications Editor

Robin Smith Subscription & Education Sales

Rachel TrignanoManager of Broad Based Giving

Russell Wheeler Director of Group & Corporate Sales

Christina Wood Director of Marketing


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general infoLAtE SEAtiNGLatecomers are seated at the discretion of house management. Reserved seats are not guaran-teed after the performance starts. Latecomers 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 disabil-ities. Please call the box office (404.733.5000) to make advance arrangements.

SYMPHONY StOREThe ASO’s gift shop is located in the galleria and offers a wide variety of items, rang-ing from ASO recordings and music-related merchandise to T-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.

tHE ROBERt SHAW ROOMThe ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and din-ing on concert evenings — private rentals available. Call 404.733.4860.

iMPORtANt PHONE NuMBERSConcert Hotline 404.733.4949(Recorded information)Symphony 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 404.733.4345

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

SiNGLE ticKEtS Call 404.733.5000 Mon.—Fri., 10 a.m.– 8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis.

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

weeks prior to the concert, tickets will be held at the box office.

WOODRuFF ARtS cENtER BOx OFFicEMon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon–8 p.m. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change.

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

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Documents

October 2011: Rachmaninov & Scriabin at the Atlanta Symphony Orchestra