For News of further concerts

This season,

Visit our web-site

at

www.atlantabaroque.org

The At lanta Baroque Orches t ra

Homage to Handel

Dana Maiben, Viol in is t & Gues t Director

Sunday 4 October 2009 3:00 p.m.

Peachtree Road United Methodist Church 3180 Peachtree Road NW

Atlanta, Georgia

Homage to Handel Music of George Frideric Handel (1685–1759)

Concer to Gros so, Opus 6, # 5, in D Major (HWV 323, London, 1740) [Larghetto, e staccato] Presto Largo Allegro Menuet ~ Un poco larghetto Chaconne in G (based on HWV 435 London, 1732-33) (in a new orchestration by Dana Maiben) Organ Concer to “The Cuckoo and the Night inga le” in F Major Larghetto (HWV 295, London, 1739) Allegro Larghetto Allegro Concer to Gros so Opus 3, # 2, in Bb Major (HWV 313, London, 1734) Vivace Largo

Allegro (Fuga) [Passepied] [Gavotte]

Intermi s s ion Water Music (HWV 348, and HWV 331 London, 1717-1734) Overture: [Largo] - Allegro Adagio e staccato [Allegro] ~ Andante ~ [Allegro] Allegro Air Minuet Bouree Hornpipe [Andante] [Allegro] Alla Hornpipe

Embellish A Melody!

Bach Club ($1.000 +) Vivaldi Club ($250-499) Cathy Callaway Adams Mr. & Mrs. Jeffery A. Freeman Dr. & Mrs. David Bright Virginia Ware Killorin Peter & Pat DeWitt Dr. & Mrs. Ephraim McLean Federal Home Loan Bank of Atlanta Mary Roth Riordan Janie R. Hicks Dr. & Mrs. Eckhart Richter Douglas A. Leonard Daniel Pyle & Catherine Bull Lois Z. Pyle Telemann Club ($100-249) Donald E. Snyder Stratton H. Bull Susan Wagner Susan K. Card Dr. Alan Goodman Handel Club ($500-999) Mr. & Mrs. Gerald Hickman Anne P. Halliwell Hans & Christa Krause Dr. & Mrs. William P. Marks, Jr. North Side Women’s Club John & Zoe Pilgrim Rich & Caroline Nuckolls Dr. George Riordan & Karen Clarke Rebecca M. Pyle

The Atlanta Baroque Orchestra would like to thank the following persons and establishments For contributing their time, talents, and energy in regard to the details of ABO concerts.

Atlanta Early Music Alliance (AEMA) Eckhart & Rosemary Richter Janice Joyce & Chris Robinson Russell Williamson Janie Hicks Valerie Prebys Arsenault Peter and Pat DeWitt Sid & Linda Stapleton Peachtree Road United Methodist Church: Scott Atchison Susan Wagner and Camilla Cruikshank & Judy Koch Linda Bernard & RyeType Design Daniel Pyle & Catherine Bull Cathy Adams & The Federal Home Loan Bank of Atlanta

The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the orchestra by its members. These concerts could not be given without their enthusiasm and support.

ABO Board of Directors President: Cathy Adams Janis Gay

Vice President: Eckhart Richter Alan Goodman

Vice President for Development: Janie Hicks Gerald Hickman

Secretary: Susan Wagner Janice Joyce

Treasurer: Peter DeWitt Melanie Punter

Daniel Pyle, Resident Director

figuration. A brief connecting passage leads to a slow movement which highlights two cellos in dialogue

with each other, surmounted by a cantilena in the solo first violin. A lively fugue follows, and then two

dance-movements — a passepied (like a fast menuet) and a gavotte with two variations.

According to a well-known story, made known in the first biography of Handel published shortly after

his death, his Water Music was composed in 1717 for the new King of Great Britain, George I, in an

attempt to regain the new king’s favor. In 1710 Handel asked his new employer, the Elector of Hanover,

for leave of absence to travel to London to produce some new operas. The Elector gave him leave for only

a few years, but in 1714, when it was clear to all the Handel had no intention of returning to Germany,

his employer instead moved to London as the successor to his recently-deceased cousin Queen Anne. No

doubt Handel was acutely aware of the awkwardness of his position (especially since he was the

recipient of grant of 200 pounds per year from the late Queen), and wished to continue in the good

graces of the Crown. He composed three suites to be performed in the King’s presence while on a

boating party on the Thames. The suite in F major uses oboes and horns in addition to the normal

complement of strings. Although a harpsichord would not have been used on board the boats in 1717, it

is called for in the first publication in 1733. The final two movements, usually heard in the key of D with

trumpets, are here heard in an alternate version that also circulated at that time for horns without

trumpets, and in the key of F.

The Chaconne in G originally was composed for harpsichord alone. However, Handel’s music for

harpsichord often displays an orchestral sensibility in its textures; since he was himself a frequent

recycler of his own music (and that of other composers), creating an orchestral version of the piece is

within the style, and enables modern audiences to experience a seldom-heard but major composition.

©Daniel Pyle 2009

Catering by Jessica Ray, Culinary Artistry Personal Chef Service, Inc. Support for ABO is provided by

http://mychefsite.com/chefjessica

THE ATLANTA BAROQUE ORCHESTRA Dana Maiben, Violinist & Guest Director

Violin Cel lo Oboe Allison Bursey Brad Knobel George Riordan Daniel Stein Eckhart Richter Lara Lay Martha Perry Ute Marks Violone Horn Andrea Dawson Melanie Punter Celeste Holler Russell Williamson Viola Flu te Melissa Brewer Catherine Bull Organ & Harps ichord Elena Kraineva Janice Joyce Daniel Pyle

The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need for a permanent, professional, historical-instrument orchestra in the Southeast. The unique, transparent sheen of “early” instruments, coupled with their capability of a delightful variety of articulations, allows voices and instruments to blend into a unified, yet clear, sound that is very difficult to achieve with “modern” instruments. Since its founding in 1997, the ABO has been applauded for its freshness and verve, and for its delightful, convincing performances of a wide range of earlier works. The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of individuals, and has also depended on donations of time and money from the musicians themselves. The ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are tax-deductible, are greatly appreciated and are central to the survival of a venture such as this. If you would like to support the ABO and its future programming, please send checks made out to “The Atlanta Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity for friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our website at www.atlantabaroque.org for more information on the ABO.

Violinist , conductor, and composer Dana Maiben, hailed by the Boston Globe for her "supremely joyous artistry," is founding Music Director of the new ensemble Foundling, a baroque orchestra and women’s advocacy project inspired by the women of L’Ospedale della Pieta in 18th-century Venice. Maiben is founding concertmaster and frequent guest director and soloist with Arcadia Players in Western Massachusetts, and played principal violin for John Hsu’s Apollo Ensemble for over ten years. As founder and Music Director of the Genesee Baroque Players, Maiben designed and directed more than 30 concert programs for Western New York audiences. She has served as concertmaster of the New York Collegium under the direction of Christophe Rousset, Martin Gester, Paul Goodwin, and Andrew Parrott. Recording credits include projects for Centaur, Dorian, EMI, fuga libera, and Hyperion.

Maiben was a founder member of the groundbreaking ensemble for 17th century music, Concerto Castello, whose debut recording, Affetti Musicali, was nominated for the Deutsche Schallplatten Preis. Colin Tilney, writing in Continuo Magazine, cited her as “high priestess of the Italian 17th century solo.” In 2002 Maiben launched a new ensemble for 17th century music, Concerto Incognito. Maiben graduated cum laude from Smith College after studies at Oberlin Conservatory and the Schola Cantorum Basiliensis. She frequently performs with her principal teacher, Jaap Schroeder, and in duo with harpsichordist Arthur Haas. Maiben has taught at the Eastman School of Music, at Amherst Early Music Festival Baroque Academy,, and since 1989 has served on the faculty of the Longy School of Music in Cambridge, Massachusetts, where she teaches violin and medieval, renaissance, baroque, and classical performance practice, coaches chamber music, and occasionally directs opera. Her own opera, Look and Long, based on the play by Gertrude Stein, was presented in staged workshop at Smith College in 1998.

Program Notes

Of the three great composers born in 1685 — Johann Sebastian Bach, George Frideric Handel, and

Domenico Scarlatti — one was described by no less than Ludwig van Beethoven in this way: "the master

of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb."

We in our time might assume that he was talking about Bach, but in fact he was speaking of Handel; and

Beethoven’s exalted opinion of Handel was shared by his older contemporaries Haydn and Mozart.

Beethoven was certainly aware of Bach’s mastery of intricate counterpoint and of harmony, having

studied Bach’s music in great depth during his student years; but what he found so compelling in

Handel’s music was the direct simplicity of expression that nevertheless carried great emotional power.

The differences between the modes of expression of Handel and Bach are doubtless the result of different

personalities, about which we can say or know little, but must also have been influenced by very

dissimilar circumstances of their lives. Bach belonged to the fifth generation of a family of town- and

church-musicians with a very strong tradition, whereas Handel was the only member of his family to

pursue music as a career (his father was a barber-surgeon, who forbade his son to study music seriously)

and so had to find his own way. Bach worked throughout his career in either church or court, obliged to

satisfy only his God or his noble patron. Handel was a man of the theater, who sought to move his

audiences, and to retain them; in this regard Handel was very much a more modern man. It could well

be argued that Handel (not Beethoven, nor Mozart) was the first to break free from the ancient system

of noble or ecclesiastical patronage under which all previous composers (and many afterward) worked.

Handel achieved great success — and also notable failure — in the theater, with his operas and then his

oratorios, but at a significant price: a stroke when he was only fifty-two, and more than one nervous

breakdown.

By far the greater part of Handel’s output was his dramatic work, the operas and the oratorios. Of his

instrumental music, the best-known are found in four sets: the Water Music (first performed 1717, but

not published until 1733), the Six Concerti Grossi op. 3 (1734), the Twelve Grand Concertos in 7 Parts, op.

6 (1739), and the Music for the Royal Fireworks (1749); there are also three sets of organ concertos (Op. 4

from 1738; two from 1739 and published the next year without opus number; and Op. 7 published

posthumously in 1761).

The Twelve Grand Concertos, op. 6 , were created in a very short time, a 30-day period in the fall of

1739, a feat of inspiration and concentration that rivals the composition of Messiah in only a few weeks of

1741. They are generally accepted to be the ultimate achievement in the Baroque concerto grosso, along

with Bach’s six “Brandenburg” Concerti, but they resemble the “Brandenburgs” only in quality, not in

form or structure. Whereas Bach used a strikingly different palette of tone-colors for each of his concerti,

Handel used the same orchestra, only strings, divided into a four-part ripieno and a three-part solo

ensemble, for all twelve concertos. Also, whereas Bach modeled his concertos on the three-movement

format of Vivaldi, Handel’s concertos resemble the more flexible format of Corelli’s concerti grossi —

hardly an accident, since Handel knew and worked with Corelli during his five-year stay in Italy. The D-

major concerto, no. 5 in the set, has six movements. The moderate first movement, characterized by jagged

rhythms, leads to a fast second movement, which in turn leads to an even faster third movement. The

fourth movement is a broad Largo based on three descending notes, which leads to a rollicking Allegro; it

is completed by Menuet with two variations.

The concerto for solo keyboard-instrument and orchestra was created virtually simultaneously by Bach and

Handel in the 1730’s, in both cases to feature themselves before public audiences. Bach invented the

harpsichord concerto to play with his Leipzig Collegium Musicum, and Handel invented the organ concerto

as a way to bring in audiences for his oratorios. The Concerto in F which bears the nickname “The

Cuckoo and the Nightingale” was composed to be played in between the first and second acts of the

oratorio Israel in Egypt in 1739 — the same year in which Handel created his Opus 6 concertos. It gets its

nickname from the bird-like motives in the second movement. Because Handel intended all of his organ

concerti for himself to play, and because he was known throughout Europe as a great improviser, he often

left entire movements blank, marking them only “ad libitum organo,” as is the third movement of this

concerto. One of his keyboard pieces is used to fill in the gap.

The Six Concerti gross i, op. 3 were actually assembled not by Handel, but by his publisher John

Walsh, apparently with only minimal supervision by the composer. (The first concerto in the set suggests

this rather strongly, since it ends in the wrong key.) Unlike the concerti in Opus 6, these early ones call for

oboes and bassoon as a necessary part of the orchestra. The second concerto in the set begins with a

dramatic declaration of the tonality, and proceeds by combining the declamatory idea with rapid

Maiben was a founder member of the groundbreaking ensemble for 17th century music, Concerto Castello, whose debut recording, Affetti Musicali, was nominated for the Deutsche Schallplatten Preis. Colin Tilney, writing in Continuo Magazine, cited her as “high priestess of the Italian 17th century solo.” In 2002 Maiben launched a new ensemble for 17th century music, Concerto Incognito. Maiben graduated cum laude from Smith College after studies at Oberlin Conservatory and the Schola Cantorum Basiliensis. She frequently performs with her principal teacher, Jaap Schroeder, and in duo with harpsichordist Arthur Haas. Maiben has taught at the Eastman School of Music, at Amherst Early Music Festival Baroque Academy,, and since 1989 has served on the faculty of the Longy School of Music in Cambridge, Massachusetts, where she teaches violin and medieval, renaissance, baroque, and classical performance practice, coaches chamber music, and occasionally directs opera. Her own opera, Look and Long, based on the play by Gertrude Stein, was presented in staged workshop at Smith College in 1998.

Program Notes

Of the three great composers born in 1685 — Johann Sebastian Bach, George Frideric Handel, and

Domenico Scarlatti — one was described by no less than Ludwig van Beethoven in this way: "the master

of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb."

We in our time might assume that he was talking about Bach, but in fact he was speaking of Handel; and

Beethoven’s exalted opinion of Handel was shared by his older contemporaries Haydn and Mozart.

Beethoven was certainly aware of Bach’s mastery of intricate counterpoint and of harmony, having

studied Bach’s music in great depth during his student years; but what he found so compelling in

Handel’s music was the direct simplicity of expression that nevertheless carried great emotional power.

The differences between the modes of expression of Handel and Bach are doubtless the result of different

personalities, about which we can say or know little, but must also have been influenced by very

dissimilar circumstances of their lives. Bach belonged to the fifth generation of a family of town- and

church-musicians with a very strong tradition, whereas Handel was the only member of his family to

pursue music as a career (his father was a barber-surgeon, who forbade his son to study music seriously)

and so had to find his own way. Bach worked throughout his career in either church or court, obliged to

satisfy only his God or his noble patron. Handel was a man of the theater, who sought to move his

audiences, and to retain them; in this regard Handel was very much a more modern man. It could well

be argued that Handel (not Beethoven, nor Mozart) was the first to break free from the ancient system

of noble or ecclesiastical patronage under which all previous composers (and many afterward) worked.

Handel achieved great success — and also notable failure — in the theater, with his operas and then his

oratorios, but at a significant price: a stroke when he was only fifty-two, and more than one nervous

breakdown.

By far the greater part of Handel’s output was his dramatic work, the operas and the oratorios. Of his

instrumental music, the best-known are found in four sets: the Water Music (first performed 1717, but

not published until 1733), the Six Concerti Grossi op. 3 (1734), the Twelve Grand Concertos in 7 Parts, op.

6 (1739), and the Music for the Royal Fireworks (1749); there are also three sets of organ concertos (Op. 4

from 1738; two from 1739 and published the next year without opus number; and Op. 7 published

posthumously in 1761).

The Twelve Grand Concertos, op. 6 , were created in a very short time, a 30-day period in the fall of

1739, a feat of inspiration and concentration that rivals the composition of Messiah in only a few weeks of

1741. They are generally accepted to be the ultimate achievement in the Baroque concerto grosso, along

with Bach’s six “Brandenburg” Concerti, but they resemble the “Brandenburgs” only in quality, not in

form or structure. Whereas Bach used a strikingly different palette of tone-colors for each of his concerti,

Handel used the same orchestra, only strings, divided into a four-part ripieno and a three-part solo

ensemble, for all twelve concertos. Also, whereas Bach modeled his concertos on the three-movement

format of Vivaldi, Handel’s concertos resemble the more flexible format of Corelli’s concerti grossi —

hardly an accident, since Handel knew and worked with Corelli during his five-year stay in Italy. The D-

major concerto, no. 5 in the set, has six movements. The moderate first movement, characterized by jagged

rhythms, leads to a fast second movement, which in turn leads to an even faster third movement. The

fourth movement is a broad Largo based on three descending notes, which leads to a rollicking Allegro; it

is completed by Menuet with two variations.

The concerto for solo keyboard-instrument and orchestra was created virtually simultaneously by Bach and

Handel in the 1730’s, in both cases to feature themselves before public audiences. Bach invented the

harpsichord concerto to play with his Leipzig Collegium Musicum, and Handel invented the organ concerto

as a way to bring in audiences for his oratorios. The Concerto in F which bears the nickname “The

Cuckoo and the Nightingale” was composed to be played in between the first and second acts of the

oratorio Israel in Egypt in 1739 — the same year in which Handel created his Opus 6 concertos. It gets its

nickname from the bird-like motives in the second movement. Because Handel intended all of his organ

concerti for himself to play, and because he was known throughout Europe as a great improviser, he often

left entire movements blank, marking them only “ad libitum organo,” as is the third movement of this

concerto. One of his keyboard pieces is used to fill in the gap.

The Six Concerti gross i, op. 3 were actually assembled not by Handel, but by his publisher John

Walsh, apparently with only minimal supervision by the composer. (The first concerto in the set suggests

this rather strongly, since it ends in the wrong key.) Unlike the concerti in Opus 6, these early ones call for

oboes and bassoon as a necessary part of the orchestra. The second concerto in the set begins with a

dramatic declaration of the tonality, and proceeds by combining the declamatory idea with rapid

figuration. A brief connecting passage leads to a slow movement which highlights two cellos in dialogue

with each other, surmounted by a cantilena in the solo first violin. A lively fugue follows, and then two

dance-movements — a passepied (like a fast menuet) and a gavotte with two variations.

According to a well-known story, made known in the first biography of Handel published shortly after

his death, his Water Music was composed in 1717 for the new King of Great Britain, George I, in an

attempt to regain the new king’s favor. In 1710 Handel asked his new employer, the Elector of Hanover,

for leave of absence to travel to London to produce some new operas. The Elector gave him leave for only

a few years, but in 1714, when it was clear to all the Handel had no intention of returning to Germany,

his employer instead moved to London as the successor to his recently-deceased cousin Queen Anne. No

doubt Handel was acutely aware of the awkwardness of his position (especially since he was the

recipient of grant of 200 pounds per year from the late Queen), and wished to continue in the good

graces of the Crown. He composed three suites to be performed in the King’s presence while on a

boating party on the Thames. The suite in F major uses oboes and horns in addition to the normal

complement of strings. Although a harpsichord would not have been used on board the boats in 1717, it

is called for in the first publication in 1733. The final two movements, usually heard in the key of D with

trumpets, are here heard in an alternate version that also circulated at that time for horns without

trumpets, and in the key of F.

The Chaconne in G originally was composed for harpsichord alone. However, Handel’s music for

harpsichord often displays an orchestral sensibility in its textures; since he was himself a frequent

recycler of his own music (and that of other composers), creating an orchestral version of the piece is

within the style, and enables modern audiences to experience a seldom-heard but major composition.

©Daniel Pyle 2009

Catering by Jessica Ray, Culinary Artistry Personal Chef Service, Inc. Support for ABO is provided by

http://mychefsite.com/chefjessica

THE ATLANTA BAROQUE ORCHESTRA Dana Maiben, Violinist & Guest Director

Violin Cel lo Oboe Allison Bursey Brad Knobel George Riordan Daniel Stein Eckhart Richter Lara Lay Martha Perry Ute Marks Violone Horn Andrea Dawson Melanie Punter Celeste Holler Russell Williamson Viola Flu te Melissa Brewer Catherine Bull Organ & Harps ichord Elena Kraineva Janice Joyce Daniel Pyle

The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need for a permanent, professional, historical-instrument orchestra in the Southeast. The unique, transparent sheen of “early” instruments, coupled with their capability of a delightful variety of articulations, allows voices and instruments to blend into a unified, yet clear, sound that is very difficult to achieve with “modern” instruments. Since its founding in 1997, the ABO has been applauded for its freshness and verve, and for its delightful, convincing performances of a wide range of earlier works. The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of individuals, and has also depended on donations of time and money from the musicians themselves. The ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are tax-deductible, are greatly appreciated and are central to the survival of a venture such as this. If you would like to support the ABO and its future programming, please send checks made out to “The Atlanta Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity for friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our website at www.atlantabaroque.org for more information on the ABO.

Violinist , conductor, and composer Dana Maiben, hailed by the Boston Globe for her "supremely joyous artistry," is founding Music Director of the new ensemble Foundling, a baroque orchestra and women’s advocacy project inspired by the women of L’Ospedale della Pieta in 18th-century Venice. Maiben is founding concertmaster and frequent guest director and soloist with Arcadia Players in Western Massachusetts, and played principal violin for John Hsu’s Apollo Ensemble for over ten years. As founder and Music Director of the Genesee Baroque Players, Maiben designed and directed more than 30 concert programs for Western New York audiences. She has served as concertmaster of the New York Collegium under the direction of Christophe Rousset, Martin Gester, Paul Goodwin, and Andrew Parrott. Recording credits include projects for Centaur, Dorian, EMI, fuga libera, and Hyperion.

Homage to Handel Music of George Frideric Handel (1685–1759)

Concer to Gros so, Opus 6, # 5, in D Major (HWV 323, London, 1740) [Larghetto, e staccato] Presto Largo Allegro Menuet ~ Un poco larghetto Chaconne in G (based on HWV 435 London, 1732-33) (in a new orchestration by Dana Maiben) Organ Concer to “The Cuckoo and the Night inga le” in F Major Larghetto (HWV 295, London, 1739) Allegro Larghetto Allegro Concer to Gros so Opus 3, # 2, in Bb Major (HWV 313, London, 1734) Vivace Largo

Allegro (Fuga) [Passepied] [Gavotte]

Intermi s s ion Water Music (HWV 348, and HWV 331 London, 1717-1734) Overture: [Largo] - Allegro Adagio e staccato [Allegro] ~ Andante ~ [Allegro] Allegro Air Minuet Bouree Hornpipe [Andante] [Allegro] Alla Hornpipe

Embellish A Melody!

Bach Club ($1.000 +) Vivaldi Club ($250-499) Cathy Callaway Adams Mr. & Mrs. Jeffery A. Freeman Dr. & Mrs. David Bright Virginia Ware Killorin Peter & Pat DeWitt Dr. & Mrs. Ephraim McLean Federal Home Loan Bank of Atlanta Mary Roth Riordan Janie R. Hicks Dr. & Mrs. Eckhart Richter Douglas A. Leonard Daniel Pyle & Catherine Bull Lois Z. Pyle Telemann Club ($100-249) Donald E. Snyder Stratton H. Bull Susan Wagner Susan K. Card Dr. Alan Goodman Handel Club ($500-999) Mr. & Mrs. Gerald Hickman Anne P. Halliwell Hans & Christa Krause Dr. & Mrs. William P. Marks, Jr. North Side Women’s Club John & Zoe Pilgrim Rich & Caroline Nuckolls Dr. George Riordan & Karen Clarke Rebecca M. Pyle

The Atlanta Baroque Orchestra would like to thank the following persons and establishments For contributing their time, talents, and energy in regard to the details of ABO concerts.

Atlanta Early Music Alliance (AEMA) Eckhart & Rosemary Richter Janice Joyce & Chris Robinson Russell Williamson Janie Hicks Valerie Prebys Arsenault Peter and Pat DeWitt Sid & Linda Stapleton Peachtree Road United Methodist Church: Scott Atchison Susan Wagner and Camilla Cruikshank & Judy Koch Linda Bernard & RyeType Design Daniel Pyle & Catherine Bull Cathy Adams & The Federal Home Loan Bank of Atlanta

The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the orchestra by its members. These concerts could not be given without their enthusiasm and support.

ABO Board of Directors President: Cathy Adams Janis Gay

Vice President: Eckhart Richter Alan Goodman

Vice President for Development: Janie Hicks Gerald Hickman

Secretary: Susan Wagner Janice Joyce

Treasurer: Peter DeWitt Melanie Punter

Daniel Pyle, Resident Director

For News of further concerts

This season,

Visit our web-site

at

www.atlantabaroque.org

The At lanta Baroque Orches t ra

Homage to Handel

Dana Maiben, Viol in is t & Gues t Director

Sunday 4 October 2009 3:00 p.m.

Peachtree Road United Methodist Church 3180 Peachtree Road NW

Atlanta, Georgia