january 2012: mahler's resurrection at the atlanta symphony orchestra

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20 Coming Home PrincipalGuestConductor

DonaldRunniclesmakeshis seasondebutandreflectson makinghistorywithRobert Spanoformorethanadecade.

46 A Moment with Monica MeetviolinistMonicaCaldwell,

asophomoreatShilohHigh Schoolinherthirdyearasa memberoftheAtlanta SymphonyOrchestra’sTalent DevelopmentProgram.

departments12 President’s Letter 14 Orchestra Leadership 16 Robert Spano18 Musicians35 Contributors50 Calendar54 Administration56 General Info 58 Ticket Info60 Gallery ASO

features25This week’s concert and program notes

the music

January 2012encoreatlanta.com

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Welcometo our first concerts of the new year! We’re delighted that you have chosen to begin your year with us. We step forward into the first month of 2012 with great music — Beethoven’s Violin Concerto and Eroica Symphony, Britten’s Violin Concerto, Dvorak’s Cello Concerto, Mahler’s Resurrection Symphony — all led by our very own Robert Spano and Donald Runnicles. Add the superb Atlanta Symphony Orchestra Chorus, the Morehouse and Spelman College glee clubs, and a host of internationally renowned soloists — cellist Yo-Yo Ma, mezzo-soprano Kelley O’Connor, soprano Nicole Cabell, violinist James Ehnes and pianist Dejan Lazic — and you have a month which brings our audiences some of the very best that the Atlanta Symphony Orchestra has to offer.

Often I’m asked how we create individual concerts and complete seasons. In many American orchestras, concert programs are created solely by the music director, in keeping with his or her artistic vision. In Atlanta, we have a long-standing tradition of bringing lots of voices to the table: Our Music Director Robert Spano plays a leading role, but we also hear from Donald Runnicles (Principal Guest Conductor), Norman Mackenzie (Director of Choruses), Evans Mirageas (Vice President, Artistic Planning) John Sparrow (Vice President, Orchestral Initiatives and General Manager), Charlie Wade (Vice President, Marketing and Symphony Pops), Sandy Smith (Vice President, Development), Mark Kent (Senior Director, Education and Community Engagement), Ken Meltzer (ASO Insider, Program Annotator), Russell Williamson (Orchestra Personnel Manager), Rebecca Beavers (Principal Librarian), Julie Fish (Orchestra Manager) and me. Lots of intelligent voices, lots of creative insights, lots of brilliant ideas. Our conversations are lengthy, always animated, sometimes contentious and always focused on one essential question:

What great music and which accomplished artists will inspire, excite, move — and attract — the people of Atlanta?

The needs and desires of our audiences always come first with us, as they should — and we’re open to your ideas. I invite you to share them with me: [email protected].

I look forward to a new year filled with memorable performances of great music by great artists, designed just for you, our audience. Thank you for supporting your Atlanta Symphony Orchestra!

Wishing you all the best,

StanleyE.Romanstein,Ph.D.President


2011-2012 BoArd of dIreCtors

BoArd of Counselors

lIfe dIreCtors

dIreCtors

offICers JimAbrahamson

ChairKaroleF.Lloyd

Chair-Elect

MeghanH.MagruderVice Chair

D.KirkJamiesonVice Chair

JoniWinston†Secretary

ClaytonF.JacksonTreasurer

JimAbrahamsonPinneyL.AllenJosephR.Bankoff*NeilH.BermanPaulBlackneyJanineBrownC.MerrellCalhounDonaldP.CarsonS.WrightCaughman,

M.D.AnnW.Cramer†CarlosdelRio,M.D.RichardA.DorfmanDavidEdmistonGaryP.FayardDr.RobertM.

Franklin,Jr.PaulR.Garcia

CarolGreenGellerstedtThomasHootenTadHutcheson†Mrs.RoyaIrvani†ClaytonF.JacksonD.KirkJamiesonBenF.JohnsonIIIMarkKistulinecSteveKooninCarrieKurlanderJamesH.LandonMichaelLangDonnaLeeLucyLeeKaroleF.LloydKellyL.LoefflerMeghanH.MagruderBelindaMassafra*

PennyMcPheeVictoriaPalefskyLeslieZ.PetterSuzanneTuckerPlybonPatriciaH.ReidMargaretConantReiserMartinRichenhagen†JohnD.RogersStanleyE.

Romanstein,Ph.D.*DennisSadlowskiLynnSchinaziWilliamSchultzJohnSibleyH.HamiltonSmithLucindaB.SmithThurmondSmithgallPaulSnyder

GailRavinStarrMaryRoseTaylorJosephM.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


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 and

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

18 Atlanta Symphony Orchestra/aso.org

encoreatlanta.com/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 PrincipalNathan ZgoncGeorge 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


Timing is everything in music, and Donald Runnicles’s decision 12 years ago to become Principal Guest Conductor-designate of the Atlanta Symphony Orchestra and join Music Director-designate Robert Spano in a novel creative partnership has been serendipitous for all parties.

“I’m delighted and grateful to be part of what I consider to be a vital and groundbreaking collaboration,” Mr. Runnicles said at the time, and the creative partnership has certainly been a trailblazer, bringing dynamic programming and guests and today’s brightest young composers to Atlanta Symphony Hall and dramatically energizing the Orchestra’s presence in the community.

Throughout his tenure in Atlanta, the career trajectory of the acclaimed maestro has soared. Mr. Runnicles’s first Orchestra recording, Orff’s Carmina Burana, was released in 2003 and subsequent releases of Mozart’s Requiem, Beethoven’s Ninth Symphony, and a Brittania album were all well received. His visits with the Chorus to perform with the esteemed Berlin Philharmonic were acclaimed and led to the

Coming Home

Principal Guest Conductor Donald Runnicles makes his season debut and reflects on making history with Robert Spano for more than a decade

By Kimberly Nogi

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Chorus’s burgeoning global reputation as a major force in the operatic and symphonic arenas. Not to mention that his conducting appearances at Atlanta Symphony Hall have been increasingly popular with Orchestra patrons. Mr. Runnicles’s involvement with the Atlanta Symphony organization has been tremendous, and this year his relationship with Orchestra will extend even further, as he will lead a reading session with the Atlanta Symphony Youth Orchestra for the first time at the end of the month.

Over the past few years, Mr. Runnicles’s focus has shifted abroad as the music director of the Deutsche Oper Berlin and chief conductor of his homeland pride and joy, the BBC Scottish Symphony Orchestra.

The move to Berlin, where he now resides, “constituted a huge shift in my personal life,” recalled Mr. Runnicles. “Yet I relish being at the helm of one of the most storied opera houses in the world, which annually performs all of the major German romantic operas — Wagner and Strauss, not to mention Mozart, Berlioz, Debussy and Janacek. The orchestra also gives

symphonic concerts and has a chamber music series. Life is busy and diverse!”

Yet his importance to the players and singers here is unquestioned and his two appearances during the 2011-12 season are indispensable: conducting the Beethoven “Eroica” Symphony No. 3 and Britten’s Violin Concerto, featuring the fine Canadian virtuoso James Ehnes, January 19-22; and with the Chorus, Mahler’s “Resurrection” Symphony No. 2, January 26/28.

Mr. Runnicles is especially looking forward to reuniting with the Atlanta Symphony Orchestra Chorus, in his view “one of the finest in the world. There is a phenomenal discipline to their singing. To listen to their warm-up routine is still awe-inspiring!” Throughout his Atlanta tenure, his relationship with the Chorus has blossomed. In his 11 years as Principal Guest Conductor, Mr. Runnicles and the Chorus have annually performed in Atlanta, as well as with the Berlin Philharmonic on three separate occasions.

Continued on page 44

Donald Runnicles leads the Orchestra Chorus and Berlin Philharmonic at the Berliner Philharmonie concert hall in 2004.

program

Robert Spano, Music DirectorDonald Runnicles, Principal Guest Conductor

Delta Classical Series ConcertsThursday and Saturday, January 26 and 28, 2012, at 8 p.m.

Donald Runnicles, Conductor Nicole Cabell, Soprano Kelley O’Connor, Mezzo-soprano Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses

GUSTAV MAHLER (1860-1911) Symphony No. 2 in C minor, “Resurrection” (1894) I. Allegro maestoso II. Andante moderato III. In ruhig fliessender Bewegung (In calm, more flowing motion) IV. Urlicht (Primal Light) (Sehr feierlich, aber schlicht) (Very solemn, but simply) V. Im Tempo des Scherzo (In Scherzo Tempo)

TheSe CONCeRTS ARe PeRfORMeD WiThOuT iNTeRMiSSiON

english Surtitles by Ken Meltzer

“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 this Delta Classical Concert of the Atlanta Symphony Orchestra.

Porsche cars north America has enjoyed many successes throughout its 15 years of being headquartered in Atlanta. Among its many community achievements, Porsche supports the Atlanta symphony Orchestra, the Ronald Mcdonald house, Kate's club and the Ryan cameron Foundation. Porsche recently solidified its commitment to Atlanta when the company announced plans to build a 26.4-acre complex in the new Aerotropolis redevelopment site near the International terminal at hartsfield-Jackson Atlanta International Airport. the complex will be comprised of modern office facilities for a workforce that will eventually number 400 employees, as well as a leading-edge customer experience center that will feature a test track designed to show the capabilities of Porsche's industry-leading vehicles. For 62 years, Porsche technologies have revolutionized vehicle performance, improved safety and spurred environmental innovation, offering the most technically advanced high-performance vehicles in the world. Recent examples of these advancements include its two four-door hybrid vehicles — cayenne s hybrid and the Panamera s hybrid and the forthcoming 918 spyder plug-in hybrid sports car.

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, thurmond smithgall and the Massey charitable trust.

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

Symphony No. 2 in C minor, “Resurrection” (1894)

GUSTAV MAHLER was born in Kalište, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. the premiere of the complete “Resurrection” symphony took place in Berlin, Germany, on december 13, 1895, with the composer conducting the Berlin Philharmonic. the “Resurrection” symphony is scored for soprano and alto solos, mixed chorus, four piccolos, four flutes, four oboes, two english horns, two e-flat clarinets, five clarinets, bass clarinet, four bassoons, two contrabassoons, ten horns, eight trumpets, four trombones, tuba, timpani (two players), orchestra bells, snare drum, low chimes, triangle, rute, cymbals, suspended cymbals, high tam-tam, bass drum, low tam-tam, two harps, organ and strings. Approximate performance time is eighty-six minutes.

First ASO Classical Subscription Performance: April 6, 1966, Irene Callaway, Soprano, Mildred Miller, Mezzo-soprano, Choral Guild of Atlanta, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: September 15, 16 and 17, 2005, Twyla Robinson, Soprano, Nancy Maultsby, Mezzo-soprano, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

ASO Recording: Telarc CD-80548 (2 Discs), Barbara Bonney, Soprano, Mary Philips, Mezzo-soprano, Atlanta Symphony Orchestra Chorus, Yoel Levi, Conducting.

“Absolutely hopeless as a composer”

Gustav Mahler’s epic “Resurrection” symphony was the product of an extended and mighty struggle. Mahler composed the various movements in

fits and starts over a seven-year period. even after Mahler had completed four of the symphony’s five movements, the composer despaired that he would never be able to fashion a suitable conclusion.

In January of 1888, Mahler began to sketch the massive opening movement he called Totenfeier (Funeral Rites). Mahler had just conducted the successful Leipzig premiere of carl Maria von Weber’s opera, Die drei Pintos. Flowers from various well-wishers bedecked Mahler’s room. his friend, natalie Bauer-Lechner, recalled that while composing Totenfeier, Mahler (who always harbored a morbid preoccupation with mortality) had a vision in which he was “dead, laid out in state, beneath wreaths and flowers.”

Mahler completed Totenfeier that August. It appears that the composer intended from the outset that Totenfeier would be the opening movement of a symphony. the original score bears the work’s title, as well as the designations “symphony in c Minor” (crossed out) and “Movement I” (not crossed out).


In March of 1891, Mahler was appointed conductor of the stadttheater in hamburg. that september, Mahler approached the eminent conductor and leader of the hamburg Orchestra, hans von Bülow. Mahler asked Bülow to hear Totenfeier, which had still not been performed.

the meeting was a disaster. Bülow had the utmost respect for Mahler as a conductor, but did not care for the young man’s compositions. Mahler played a piano reduction of the score for Bülow. Although Bülow repeatedly covered his ears, he still urged the increasingly agitated composer to continue. Finally, as Mahler related to his friend, composer Josef Foerster:

When I had finished I awaited the verdict silently. But my only listener remained at the table silent and motionless. suddenly, he made an energetic gesture of rejection and said: “If that is still music then I do not understand a single thing about music.”

We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer.

Perhaps it should be noted that while hans von Bülow was undoubtedly a great conductor and a frequent champion of contemporary music, his judgment of the artistic merits of new works was hardly infallible. the day before the May 22, 1874 premiere of Giuseppe Verdi’s Requiem Mass, Bülow described the composer as “the all-powerful corrupter of Italian artistic taste” and the composition itself as “his latest opera in ecclesiastical garb.” these comments prompted Bülow’s friend, Johannes Brahms, to remark: “Bülow has made a fool of himself for all time; only a genius could write such a work (as the Verdi Requiem).” Indeed, almost two decades later, Bülow wrote a profuse apology to Verdi and requested forgiveness.

Bülow’s harsh reaction did nothing to increase Mahler’s confidence about his new work. Mahler seemed to abandon the idea of making Totenfeier part of a multi-movement symphony. A month after the unhappy meeting with Bülow, Mahler sent a letter to his publisher, referring to Totenfeier as a “symphonic poem.”

A “stroke of lightning”

then in the summer of 1893, Mahler suddenly found new inspiration. he quickly completed the second-movement Andante and third-movement Scherzo. Mahler used an orchestration of the song, Urlicht, from Des Knaben Wunderhorn, as the symphony’s fourth movement. But once again, Mahler became frustrated, this time with creating a finale that would properly answer the questions posed in the opening Totenfeier. Mahler drove himself almost to the point of a nervous breakdown attempting, without success, to complete the symphony.

As it turned out, the source of inspiration for the finale of Mahler’s second symphony came from hans von Bülow. the conductor died, at the age of 64, on February 12, 1894. Mahler attended the March 28 memorial service. In a February 17, 1897 letter to conductor Anton seidl, Mahler recalled:


program

For a long time I had been pondering the idea of including a choir in the last movement. Only the fear that this might be considered an overt imitation of Beethoven made me hesitate again and again! When Bülow died, I attended his funeral. the mood in which I was in as I sat there thinking of the deceased was very much in the spirit of the work I had on my mind at the time. then, from the organ loft, the choir sang (Friedrich G.) Klopstock’s chorale Resurrection! this hit me like lightning, and everything appeared clearly and distinctly before me! every creative artist waits for that stroke of lightning; it is a kind of holy conception!

that very afternoon, Mahler resumed work on his “Resurrection” symphony. Over the next few months, he penned revisions to the various movements and sketched the finale. On June 29, 1894, Mahler announced the symphony’s completion. In a July 19 letter to Richard strauss, Mahler stated:

In recent weeks I have completed the final movement of my second symphony. When you hear it you will understand why I had to do something other than correct my shed skin (i.e., the First symphony). I have grown a new one — a better fit. In fact, my new work in relation to the one you know is like a man to a newborn baby.

Mahler conducted the premiere of the symphony’s first three movements in Berlin on March 4, 1895. the first performance of the entire “Resurrection” symphony took place on december 13 of that year, again with the composer conducting. despite a severe migraine attack that incapacitated Mahler on the afternoon of the performance, the premiere was a great success with the public, although critical reaction was mixed.

Mahler Describes His “Resurrection” Symphony

Although Mahler authored several programs for his “Resurrection” symphony, they are essentially similar in terms of conveying the work’s meaning. the following musical synopsis quotes the program Mahler prepared for a 1901 dresden performance. References to other programs by the composer are specifically designated.

I. Allegro maestoso —

We are standing beside the coffin of a man beloved. (note: In a letter of March 26, 1896, Mahler informs Max Marschalk: “I have called the first movement Totenfeier, and if you would like to know, I am interring the hero of my d Major symphony [no. 1, “titan”], whose life I capture in a pure reflection from a higher vantage point.”) For the last time, his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this solemn and deeply stirring moment, when we are released from the paltry distractions of everyday life, our hearts are gripped by a voice of awe-inspiring solemnity, that we seldom or never hear above the deafening traffic of mundane affairs. What next? it says. What is life — and what is death?


have we any continuing existence?

Is it all an empty dream, or has this life of ours, and our death, a meaning?

If we are to go on living, we must answer this question. (note: In the 1896 letter to Marschalk, Mahler concludes: “this answer I give in the last movement.”)

the massive opening movement begins with string tremolos and a thundering motif played fff by the cellos and basses. the movement is cast as an epic funeral march, although there are frequent and often wildly divergent fluctuations of tempo and mood. Mahler introduces several themes that will return in the finale, including a lyrical ascending passage for strings that forms the basis of the resurrection chorale, “Mit Flügeln, die ich mir errungen.” the tempest of the opening movement seems to move toward a quiet resignation, ultimately shattered by a final orchestral outburst and two pizzicato chords.

the next three movements are conceived as intermezzi.

II. Andante moderato —

You must have had the experience of attending the funeral of a person dear to you and then, perhaps, on the way back suddenly the picture of a happy hour long, long past, arises in your mind like a ray of sun undimmed by anything — and you can almost forget what has just happened. that is the second movement. (1896 letter to Marschalk)

the change of mood from the preceding Allegro maestoso to this bucolic Andante is so profound that Mahler specified a pause of “at least five minutes” between the two movements. the Andante is cast in rondo form and opens with the strings’ graceful presentation of the principal theme, in the spirit of the landler, a rustic cousin of the waltz. the movement is a superb example of the composer’s unerring dramatic genius — the contrasting sections are increasingly violent, while each reprise of the principal section (played first by muted, and then, pizzicato strings) seems to be a dying echo of its predecessor.

III. In ruhig fliessender Bewegung (In calm, more flowing motion) —

A spirit of unbelief and negation has taken possession of him. Looking into the turmoil of appearances, he loses together with the clear eyes of childhood the sure foothold that love alone gives. (note: In a discussion with nathalie Bauer-Lechner, Mahler described this individual as “destitute and unlucky: to such a person, the world appears as in a concave mirror, distorted and mad.”) he despairs of himself and of God. the world and life become a witch’s brew; disgust of existence in every form strikes him with (an) iron fist and drives him to an outburst of despair.

Mahler bases this scherzo on a song from his setting of a poem from Des Knaben Wunderhorn (The Youth’s Magic Horn), entitled “des Antonius von Padua Fischpredigt”


program

(“st. Anthony of Padua Preaches to the Fishes”). In the satiric text, st. Anthony finds the churches empty. And so he goes to the rivers to deliver his sermon. the fish appear to be quite attentive and moved by st. Anthony’s words. But as soon as the sermon is concluded, they immediately forget its message and resume their flawed lives.

the scherzo features a manic juxtaposition of mood, stunning in its cumulative effect. As in the opening movement, Mahler presents themes that will play important roles in the finale.

IV. Urlicht (Primal Light) (Sehr feierlich, aber schlicht) (Very solemn, but simply) —

the moving voice of ingenuous belief sounds in our ears.

“I am from God and will return to God! God will give me a candle to light me to the bliss of eternal life.”

the penultimate movement is a setting for alto solo and orchestra of “urlicht” (“Primal Light”) from Des Knaben Wunderhorn. Mahler described the text as an expression of “the questioning and agonized searching of the soul for God and its own eternal existence.” As such, this movement serves as a bridge between the despair of the previous movement and the transformation that will be attained in the finale — but only after a titanic struggle.


IV. Urlicht

Alto soloO Röschen rot!der Mensch liegt in grösster not!der Mensch liegt in grösster Pein!Ja lieber möcht’ ich im himmel sein!da kam ich auf einem breiten Weg;da kam ein engelein und wollt’ mich

abweisen.Ach nein! Ich liess mich nicht abweisen!Ich bin von Gott und will wieder zu Gott!der liebe Gott wird mir ein Lichtchen geben,Wird leuchten mir bis in das ewig selig Leben!

IV. Primal Light

Alto soloO red rose!Man lies in greatest need!Man lies in greatest pain!Yes, I would rather be in heaven!then I came upon a broad road: there came an angel who wanted to

refuse me.Ah no! I would not be refused!I am from God and will return to God!the dear God will give me a small light,Will light my way unto eternal blessed life!

V. Im Tempo des Scherzo (In Scherzo Tempo) —

We are confronted once more by terrifying questions.

A voice is heard crying aloud: the end of all living things is come — the Last Judgment is at hand and the horror of the day of days has come.

the earth quakes, the graves burst open, the dead arise and stream on in endless procession. the great and the little ones of the earth — kings and beggars, righteous and godless — all press on — the cry for mercy and forgiveness strikes fearfully on our ears. the wailing rises higher — our


senses desert us, consciousness dies at the approach of the eternal spirit. the “Great Roll-call” is heard — the trumpets of the Apocalypse ring out; in the eerie silence that follows we can just catch the distant, barely audible song of a nightingale, a last tremulous echo of earthly life! A chorus of saints and heavenly beings softly breaks forth:

“thou shalt arise, surely thou shalt arise.” then appears the glory of God! A wondrous, soft light penetrates us to the heart — all is holy calm!

And behold — it is no judgment — there are no sinners, no just. none is great, none is small. there is no punishment and no reward.

An overwhelming love lightens our being. We know and are.

the finale opens with an orchestral explosion reminiscent of the third movement’s “outburst of despair.” Offstage horns represent the “voice crying aloud,” inspired by Isaiah 40:3: “A voice cries in the wilderness: Prepare the way of the Lord, make straight in the desert a highway for our God.” After Mahler’s stunning depiction of the day of Judgment, a chorus softly intones the opening lines of Klopstock’s Resurrection. the first two stanzas of the final movement’s text are derived from Klopstock’s poem. the remaining stanzas (beginning with the alto solo, “O glaube”) are by the composer. An organ enters for the exultant, fff proclamation by the chorus of the final stanza, “Auferstehn, ja auferstehn wirst du, mein herz in einum nu!” (“Rise again, yes you will rise again my heart, in an instant!”)

V.

Chorus and Soprano SoloAufersteh’n, ja aufersteh’n wirst du,Mein staub, nach kurzer Ruh!unsterblich Leben wird, der dich rief dir geben!

Wieder aufzublüh’n, wirst du gesä’t!der herr der ernte gehtund sammelt Garbenuns ein, die starben!

Alto SoloO glaube, Mein herz, O glaube:es geht dir nichts verloren!dein ist, was du gesehnt!dein, was du geliebt,Was du gestritten!

Soprano SoloO glaube,du wardst nicht umsonst geboren!hast nicht umsont gelebt, Gelitten!

V.

Chorus and Soprano SoloRise again, yes, you will rise again,My dust, after a short rest!he who called you will give you eternal Life.

You are sown to bloom again!the Lord of the harvest goes forthAnd gathers the sheaves,Of us who have died!

Alto SoloOh believe, my heart, oh believe:nothing of you will be lost!What you longed for is yours!What you loved for,What you fought for!

Soprano SoloOh believe,You were not born in vain!have not lived, suffered in vain!

program


ChorusWas enstanden ist,das muss vergehen!Was vergangen, auferstehen!

Chorus and Alto Solohör’ auf zu beben!Bereite dich zu leben!

Soprano and Alto SolosO schmerz! du Alldurchdringer!dir bin ich entrugen!O tod! du Allbezwinger!nun bist du bezwungen!

Mit Flügeln, die ich mir errungen,In heissem Liebesstreben,Werd’ ich entschwebenZum Licht, zu dem kein Aug’gedrungen!

ChorusMit Flügeln, die ich mir errungen,Werd ich entschwebensterben werd ich, um zu leben!

Chorus, Soprano and Alto SolosAufersteh’n, ja aufersteh’nWirst du, Mein herz, in einem nu!Was du geschlagen,Zu Gott wird es dich tragen!

ChorusWhat was created,Must perish!What perished, must rise again!

Chorus and Alto Solosstop trembling!Prepare yourself to live!

Soprano and Alto SolosO pain, that pierces all!I have been taken away from you!O death! that overcomes all!now you are conquered!

With wings that I have won for myself,In love’s fervent striving,I shall soarto the light no eye has reached!

ChorusWith wings that I have won for myself,I shall soarI shall die, in order to live!

Chorus, Soprano and Alto SolosRise again, yes you will rise againMy heart, in an instant!What you have conquered,Will carry you to God!

34A Atlanta Symphony Orchestra/aso.org

DONALD RUNNICLES, Conductor

P rincipal Guest conductor donald Runnicles is currently in his 11th year of artistic partnership

with Music director Robert spano. One of today’s most consistently acclaimed conductors of opera and symphonic repertoire, Mr. Runnicles is also General Music director of the deutsche Oper Berlin and chief conductor of the BBc scottish Orchestra. Mr. Runnicles was previously the Music director and Principal conductor of the san Francisco Opera, and is currently the Music director of the Grand teton Music Festival.

Mr. Runnicles’s acclaimed recordings with the Atlanta symphony Orchestra include a recent concert disc with soprano christine Brewer singing strauss. With the Atlanta symphony, Mr. Runnicles has also recorded the Mozart Requiem, Orff’s Carmina Burana, Beethoven’s ninth symphony, and a Brittania album. during the 2009-10 season, Mr. Runnicles and the Atlanta symphony Orchestra chorus returned to the Berlin Philharmonic to perform Brahms’s A German Requiem. the concerts marked their third collaboration with the German orchestra.

Mr. Runnicles has ongoing musical relationships with today’s finest orchestras and opera companies. Among the more than 60 productions he has conducted at san Francisco Opera was the 2005 world premiere of John Adams’s Doctor Atomic. Mr. Runnicles also enjoys accompanying singers at the piano and playing chamber music.

Donald Runnicles

program

encoreatlanta.com/Atlanta’s Performing Arts Publication 34B

NICOLE CABELL, Soprano

N icole cabell, the 2005 winner of the BBc singer of the World competition in cardiff,

and a decca recording artist, is fast becoming one of the most sought-after lyric sopranos of today. her solo debut album, Soprano, was named editor’s choice by Gramophone and has received an incredible amount of critical acclaim and several prestigious awards: the 2007 Georg solti Orphée d’Or from the French Académie du disque Lyrique and an echo Klassik Award in Germany.

Ms. cabell’s current season showcases her command of Mozart’s music, as she sings the countess in Mozart’s Nozze di Figaro in Montreal, Pamina in Die Zauberflöte at the Lyric Opera of chicago and donna elvira in Don Giovanni in tokyo. she will also be heard in some of her favorite roles in the French repertoire: Juliette in Roméo et Juliette with the Palm Beach Opera and Leïla in Les Pêcheurs de Perles at the santa Fe Opera. In concert, she will be heard in London, chicago, cincinnati, toronto, Atlanta, san diego and st. Petersburg. Future engagements include a debut with the san Francisco Opera in a leading role.

nicole cabell returned last season to the Metropolitan Opera and the Lyric Opera of chicago for Micaëla in Carmen; to the Royal Opera house, covent Garden, for Leila in Les Pêcheurs de Perles; and made an exciting role debut as donna elvira in Don Giovanni with the Oper Köln and the deutsche Oper, Berlin. she also returned to the cincinnati Opera as Pamina in Die Zauberflöte. In concert, she appeared with the edinburgh Festival as the Mater Gloriosa in Mahler’s symphony no. 8, followed by gala opening concerts in Kuala Lumpur with the Malaysian Philharmonic Orchestra and its music director, claus Peter Flor. nicole cabell sang solo recitals in toronto and Louisville, Ky.

Other recent engagements include Musetta in La Bohème at the Metropolitan Opera and for her debut at the teatro colon in Buenos Aires, as well as Adina in L’Elisir d’Amore and the countess in Le Nozze di Figaro at the Lyric Opera of chicago. she also made debuts with the new Orleans Opera as Juliette in Romeo et Juliette and with the Atlanta Opera as Pamina. In concert, she debuted with three major orchestras: the new York Philharmonic in Opera Aria concerts in new York and in Vail with Bramwell tovey; the Boston symphony in Beethoven’s symphony no. 9 with Kurt Masur; and the cleveland Orchestra with music director Franz Welser-Möst, in Brahms’ Ein deutsches Requiem. she returned to the chicago symphony Orchestra for performances of Mahler’s symphony no. 4 with Markus stenz, sang Mahler’s symphony no. 2, first with the singapore symphony and John nelson, then with the Accademia di santa cecilia and Antonio Pappano in Rome. In recital, she was heard in urbana, Ill., and savannah, Ga.

Ms. cabell’s previous season brought her to the Metropolitan Opera for her house debut in two of her most acclaimed roles: Pamina in The Magic Flute, followed by Adina in L’Elisir d’Amore. With her home company, the Lyric Opera of chicago, she sang Leïla in Bizet’s Les

Nicole Cabell

34C Atlanta Symphony Orchestra/aso.org

Pêcheurs de Perles and an Opera concert at Millenium Park conducted by the company’s music director, sir Andrew davis. Other opera engagements included two role debuts: the countess in Mozart’s Le Nozze di Figaro with the cincinnati Opera and Micaëla in Carmen with the deutsche Oper, Berlin. In concert, she was heard in copenhagen, Prague, Munich, Frankfurt, dortmund, Ottawa, Indianapolis and Raleigh. Ms. cabell appeared twice in recital at carnegie hall, first for Marilyn horne’s 75th birthday gala concert, then as part of Jessye norman’s honor Festival, apart from solo dates in toronto, Berkeley and cincinnati. A more unusual event in the soprano’s season was a series of cabaret concerts at the Orange county Performing Arts center. Website: nicole-cabell.com.

KELLEY O'CONNOR, Mezzo-soprano

P ossessing a voice of uncommon allure, musical sophistication far beyond her years, and

intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O’connor has emerged as one of the most compelling performers of her generation. during the 2011-12 season, the california native’s impressive calendar includes the world premiere of a new oratorio by John Adams, The Gospel According to the Other Mary, commissioned and performed by the Los Angeles Philharmonic under Gustavo dudamel. Ms. O’connor brings “her smoky sound and riveting stage presence” (the new York times) to performances as ursule in Berlioz’s Béatrice et Bénédict with Opera Boston, and to her signature role as Federico García Lorca in a Peter sellars staging of Golijov’s Ainadamar at teatro Real in Madrid. she sings her first performances of Ravel’s Shéhérazade with Michael christie at the colorado Music Festival and with esa-Pekka salonen and the Philharmonia Orchestra at the edinburgh Festival. Other highlights include a program of Bach cantatas with the chamber Music society of Lincoln center, Beethoven’s ninth symphony with Jahja Ling and the cleveland Orchestra, stravinsky’s Les Noces with david Robertson and the st. Louis symphony, handel’s Messiah with the san Francisco symphony, Mahler’s “Resurrection” symphony with donald Runnicles and the Atlanta symphony, as well as with the Kansas city symphony, and Mozart’s Requiem with Louis Langrée and the Mostly Mozart Festival Orchestra at Lincoln center, Peter Oundjian and the toronto symphony, and Iván Fischer and the Orchestra of st. Luke’s at carnegie hall. she returns to Atlanta for Bach’s St. Matthew Passion led by Robert spano, which she also sings with the calgary Philharmonic.

In June 2011, the Atlanta symphony Orchestra released a recording of Peter Lieberson’s Neruda Songs, featuring Ms. O’connor. Neruda Songs has highlighted her prominence as one of the world’s leading concert artists in two significant european debuts: performances with david Zinman and the Berliner Philharmoniker as well as with the tonhalle-Orchester Zürich. Additionally, the work served as her carnegie hall debut in a performance with the chicago symphony Orchestra conducted by Bernard haitink.

Kelley O'Connor

program

encoreatlanta.com/Atlanta’s Performing Arts Publication 34D

highlights of the 2010-11 season included the artist’s return to the new York Philharmonic for staged performances of Janácek’s The Cunning Little Vixen under the baton of Alan Gilbert, and her Lyric Opera of chicago debut as hippolyta in A Midsummer Night’s Dream in the company’s new production by neil Armfield, conducted by Rory Macdonald. she joined Gustavo dudamel and the Los Angeles Philharmonic on an international tour offering performances of Bernstein’s “Jeremiah” symphony. Ms. O’connor also performed Berio’s Folk Songs with daniel harding and the London symphony Orchestra at the Berlin Festival, excerpts from Roussel’s Padmâvatî with christoph eschenbach and the national symphony Orchestra, Bach’s Missa Brevis in F major with Franz Welser-Möst and the cleveland Orchestra, Beethoven’s ninth symphony with Kurt Masur and the shanghai symphony Orchestra, Lieberson’s Neruda Songs with stéphane denève and the seattle symphony as well as with the Royal scottish national Orchestra, Mahler’s “Resurrection” symphony with Gustavo dudamel and the simón Bolívar Orchestra, david Robertson and the st. Louis symphony Orchestra, and with edo de Waart and the Milwaukee symphony, and Britten’s “spring” symphony with Robert spano and the Atlanta symphony Orchestra.

Internationally in recent seasons Ms. O’connor made her Proms Festival debut with Jirí Belohlávek and the BBc symphony Orchestra in Mahler’s eighth symphony, and an edinburgh International Festival debut with James conlon and the BBc scottish symphony Orchestra in John Adams’ El Niño. she joined edo de Waart for Mahler’s third symphony with the hong Kong Philharmonic, toured with Iván Fischer and the Budapest Festival Orchestra in Beethoven’s ninth symphony, and sang Mendelssohn’s Elias with Ingo Metzmacher and the deutsches symphonie-Orchester Berlin.

Additional information is available on the artist’s website: kelleyoconnor.com.

34E Atlanta Symphony Orchestra/aso.org

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.

under the leadership of Music directors Robert shaw and Robert spano, the AsO 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

program

encoreatlanta.com/Atlanta’s Performing Arts Publication 34F

SOPRANO 1JoAnn AlexanderLiz deanKelly eggersAmber GreerMichelle GriffinKristen Gwaltneyerin JonesArietha Lockhart *Mindy MargolisPatricia nealonBlair OakleyJoneen PadgettLisa RaderOlivia Rutkowskicatherine steenelizabeth 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 Pittmansydney smith-RikardPaula snellingcamilla springfield *tommie storercheryl thrash *donna Weeks *

ALTO 1Ana Baidadeborah Boland *donna carter-Wood *Laurie croninPatricia dinkins-

MatthewsPamela drummondBeth FreemanBeverly huetershani JeffersonJanet Johnson *Virginia Littlestaria LoveladyAllison Loweholly MccarrenFrances Mcdowell *Linda Morgan **dominique Petite-

chabukswarnorma Raybon *cheri snyderAnne stillwagondiana Reed strommensharon Vrieland *nancy York

ALTO 2nancy Adamssally Rose BatesMarcia chandlerMeaghan currycynthia Goeltz deBold *Michèle diamentsally Kannnicole Khourynancy Llamazales **Katherine Johnson

MacKenzieLynda MartinBrenda Pruitt *Kristen ReisigAndrea schmidtsharon simonsVirginia thompsoncheryl Vanturesarah WardAlexandra WillinghamKiki Wilson **diane Woodard *

TENOR 1Jeffrey Baxter *daniel Bentleychristian Biglianidavid Blalock **John Brandt *daniel cameronclifford edge *steven Farrow **Wayne GammonLeif hansenJames Jarrellthomas LaBargesean Mayerclinton Millerchristopher Pattonstephen Reed ‡

carson Zajdel

TENOR 2Randy Barkercurtis BisgesJustin corneliuscharles cottingham ‡

Phillip crumblyJeffrey danielJoseph Few *hamilton Fongearl Goodrich *John GoodsonKeith Jeffordssteven JohnstoneJohn KenemerMichael ParkerMarshall Peterson *Brent Runnelsclifton RussellWesley stonercaleb WatersRobert Wilkinson

BASS 1dock AndersonMark BlankenshipRobert BolyardRichard Brock *Russell cason *trey cleggsteven darst *Leroy Fettersdavid ForbesJon Gunnemann *david hansen *Jonathan havelnick Jones ‡

Adam KisselPeter MacKenzieJason Maynardcharles Mcclellan *John newsomeMark RussellKendric smith ‡

John stallingsIke Van Meteredward Watkins **

BASS 2shaun Amoscharles BooneBrian BrownJohn cooledge ‡

Rick copeland *Joel craft **Paul FletcherAndrew GeeBen howellPhilip Joneseric Litsey **sam Marleyevan Maukeckhart Richter *John RuffJohn smithJonathan smithtimothy solomon *Benjamin temkodavid Webster **Gregory Whitmire *Keith Wyatt

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

34G Atlanta Symphony Orchestra/aso.org

NORMAN MACKENzIE, ConductorDirector 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

community corner

OVERTURE TO THE SEASONMusic Director Jere Flint conducted the Atlanta Symphony Youth Orchestra in its Overture concert of the season, with violist Jennifer Stumm, an Atlanta native and Youth Orchestra alumna, showcased in Gabriela Lena Frank’s La Llorona. Robert Spano leads and narrates Copland’s Lincoln Portrait at the Youth Orchestra’s Crescendo concert, Sunday, March 25, at 3 pm in Atlanta Symphony Hall.

family concert

404.733.5000 | aso.orgWoodruff Arts Center Box Office @ 15th & Peachtree

Make it a group! 404.733.4848

The Fabled

Cinderella February 12 | Sun: 1:30 & 3:30pm | Atlanta Symphony Hall

Jere Flint, conductor | Enchantment Theatre Company

You and your children know the story but you’ve never seen Cinderella like this before. Hilarious life-sized puppets, masks, magic and wonderful music assure this nationally acclaimed original production is fun for the whole family.

family time totreasure for

as little as

$15

family concert

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 PagesGE 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

Georgia Natural GasMassey Charitable Trust

Porsche Cars North AmericaPublix Super Markets Charities

Patty & Doug ReidSutherland Asbill & Brennan LLP

Jim & Adele AbrahamsonSusan & Richard AndersonStephanie & Arthur BlankMr. & Mrs. C. Merrell CalhounMr. & Mrs. Bradley Currey, Jr.Marcia & John DonnellCatherine Warren DukehartGeorgia Council for the ArtsAnn & Gordon Getty Foundation

John H. & Wilhelmina D. Harland Charitable Foundation, Inc.

Lucy R. & Gary Lee, Jr.MetLife FoundationThe Sara Giles Moore FoundationTerence 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 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 BankoffMr. & Mrs. David EdmistonIn memory of Polly Ellis

by Admiral James O. Ellis, Jr.

Mr. Donald F. FoxCharles & Mary GindenD. Kirk Jamieson,

Verizon WirelessAnn A. & Ben F.

Johnson III*Sarah & Jim KennedySteve & Eydie Koonin

Carrie & Brian KurlanderMichael & Cindi LangDonna Lee

& Howard C. EhniMeghan & Clarke

MagruderSuzanne & Bill PlybonDr. Stanley & Shannon

Romanstein

Lynn SchinaziJoyce & Henry SchwobIrene & Howard SteinMary Rose TaylorMike & Liz TroyRay & John UttenhoveMr. & Mrs. Edus H.

Warren, Jr.

AnonymousAGCO Corporation,

Lucinda B. SmithMark & Christine ArmourThe Balloun FamilyMr. David BoatwrightThe Boston Consulting

GroupThe Breman Foundation,

Inc.The John & Rosemary

Brown Family FoundationThe Walter & Frances

Bunzl Foundation

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

EdmondsonRosi & Arnoldo FiedotinMr. & Mrs. Lawrence L.

Gellerstedt IIIMary D. GellerstedtGMT Capital CorporationNancy D. GouldJoe Guthridge

& David Ritter*

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

R. KeoughJames H. LandonMr. & Mrs. John M. LawThe Livingston

Foundation, Inc.Mike’s Hard LemonadeMorgens West FoundationPrimerica

Margaret & Bob ReiserBill & Rachel Schultz*Mr. John A. Sibley IIISiemens Industry, Inc.John SparrowCarol & Ramon Tome

Family Fund*Trapp FamilyTurner Foundation, Inc.Mark & Rebekah

WassermanNeal & Virginia WilliamsSuzanne Bunzl Wilner

The Aaron Copland Fund for Music, Inc.

Atlanta Federation of Musicians

Jeff & Ann Cramer*

Mr. & Mrs. Jesse Hill, Jr.JBS Foundation

The Hellen Plummer Charitable Foundation, Inc.

Anonymous (2)John** & Helen Aderhold*Aadu & Kristi Allpere*Ms. Julie M. AltenbachThe ASCAP Foundation

Irving Caesar FundMrs. Suzanne Dansby

Bollman & Mr. Brooks Bollman

Bubba Brands, Inc.Dr. Robert L. & Lucinda

W. BunnenCharles Campbell & Ann

Grovenstein-Campbell

Mary Helen & Jim DaltonRichard A. & Lynne N. DorfmanChristopher & Sonnet

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

Foundation, Inc.Betty Sands FullerSally & Carl GableDick & Anne GoodsellThe Robert Hall Gunn, Jr.

Fund

The Jamieson FamilyPhilip I. KentGeorge H. LanierThe 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. PetersenHamilton & 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)The Arnold

Foundation, Inc. Kelley O. & Neil H.

BermanMr. & Mrs. Paul J.

Blackney

Janine Brown & Alex J. Simmons, Jr.

City of Atlanta Office of Cultural Affairs

Gary & Nancy FayardMr. & Mrs. Paul

R. Garcia

Jane & Clay JacksonAmy & Mark KistulinecKarole & John LloydKelly Loeffler & Jeffrey

C. SprecherMr. Kenneth &

Dr. Carolyn Meltzer

Loren & Gail StarrAlison M. & Joseph

M. ThompsonPatrick & Susie

ViguerieCamille 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

Sally W. HawkinsMr. & Mrs. John

E. HellriegelMr. & Mrs. Daniel

H. Hollums

JoAnn Hall HunsingerPaul & Rosthema KastinDr. & Mrs. James T. Laney*Mr. & Mrs. William C. Lester*Deborah & William Liss


*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 BloomEdith H. & James E. Bostic,

Jr. Family FoundationMargo 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. CarrRalph & Rita ConnellChip & Darlene ConradMr. & Mrs. Thomas

G. CousinsMr. Robert Cronin

& Ms. Christina SmithSally & Larry DavisDrs. Carlos del Rio

& Jeannette Guarner

Gregory & Debra DurdenMs. Diane DurginThe Robert S. Elster

Foundation John & Michelle FullerMr. & Mrs. Edward

T. GarlandDr. Mary G. George

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

& M. Harrison HackettDarlene K. HensonMr. Thomas Hooten

& Ms. Jennifer MarottaMr. & Mrs. Harry C. HowardRichard & Linda HubertDr. William M. HudsonMr. & Mrs. William C.

Humphreys, Jr.Dr. & Mrs. James M. HundDorothy Jackson**Ms. 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. & Mrs. Scott I. LampertDr. 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 PerdewElise T. PhillipsMr. & Mrs. Rezin Pidgeon, Jr.Dr. & Mrs. W. Harrison

Reeves, Sr.Mr. & Mrs. Richard

L. RodgersMr. & Mrs. George

P. RodrigueJohn & Kyle RogersDr. Paul J. Seguin

Elizabeth S. SharpAngela & Morton SherzerKay R. ShirleyBeverly & Milton ShlapakHelga Hazelrig SiegelLewis SilverboardSydney SimonsBaker & 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. VossMr. & Mrs. Randolph O.

WatsonDr. & Mrs. Roger P. WebbDr. & 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 BellDr. & Mrs. Joel E. BerensonLeon & Linda BorchersMr.** & Mrs. Eric L. BrookerMr. & Mrs. Russell E. ButnerMr. & Mrs. Walter K. CanipeSusan & Carl CoferMr. & Mrs. R. Barksdale

Collins*Dr. & Mrs. William T. CookJean & Jerry CooperMr. & Mrs. Brant Davis*Mrs. H. Frances DavisPeter & Vivian de KokElizabeth & John DonnellyXavier Duralde

& Mary BarrettCree & Frazer DurrettDr. Francine D. Dykes

& Mr. Richard Delay

Mary Frances EarlyRee & Ralph EdwardsHeike & Dieter ElsnerGeorge T. & Alecia

H. EthridgeBill & Susan GibsonCarol & Henry GradyMary C. GramlingMr. 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 KrischerThomas C. LawsonMr. & Mrs. Craig

P. MacKenzie

Kay & 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. PalmerMr. Robert PetersonDr. & Mrs. Frank

S. Pittman IIIThe Reverend Neal

P. Ponder, Jr.Provaré Technology, Inc.Mr. & Mrs. David M.

Ratcliffe

Ms. Susan Robinson & Ms. Mary Roemer

The Gary Rollins FoundationJohn T. RuffDr. & Mrs. Rein SaralAlida & Stuart SilvermanAlex & Betty Smith

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

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

Family FundHerbert & Grace Zwerner

$3,500+ continued

Dr. & Mrs. James T. LowmanRuth & Paul MarstonMr. & Mrs. Harmon B.

Miller III

Walter W. MitchellLeslie & Skip PetterMr. & Mrs. Joel F. Reeves

S.A. RobinsonNancy & Henry ShufordIn memory of Willard ShullElliott Sopkin

Ms. Kimberly Tribble & Mr. Mark S. Lange

Burton TrimbleH. & T. Yamashita*

support


Henry Sopkin CircleHonoring the Atlanta Symphony Orchestra’s first Music Director, the Henry Sopkin Circle recognizes our friends who have planned bequests and other gifts to benefit the Orchestra’s future. We remain grateful to all Henry Sopkin Circle members – past and present – for their generosity, trust, and vision.

Madeline & Howell E. Adams, Jr.

Mr.* & Mrs. John E. Aderhold

William & Marion AtkinsDr. & Mrs. William BauerNeil H. BermanFred & Bettye BettsMr.* & Mrs. Sol BlaineW. 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.Dr. John W. CooledgeJohn R. DonnellCatherine Warren DukehartMs. Diane DurginKenneth P. DutterArnold & Sylvia EavesElizabeth Etoll

Rosi & Arnoldo FiedotinDr. Emile T. FisherA. D. Frazier, Jr.Betty & Drew* FullerCarl & Sally GableWilliam H. GaikMr.* & Mrs. L. L.

Gellerstedt, Jr.Ruth Gershon & Sandy CohnMicheline & Bob GersonMr. & Mrs. John T. GloverRobert Hall Gunn, Jr.Billie & Sig* GuthmanBetty G.* & Joseph F.* HaasJames & Virginia HaleMiss Alice Ann Hamilton*Dr. Charles H. Hamilton*John & Martha HeadMs. Jeannie HearnRichard E. HodgesMr. & Mrs. Charles K.

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

Hoyt, Jr.Dr. & Mrs. James

M. HundMary B. JamesCalvert JohnsonHerb & Hazel KarpAnne Morgan

& Jim KelleyBob Kinsey

James W. & Mary Ellen* Kitchell

Paul 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, IIIDr. Michael S. McGarryMr. & Mrs. Richard McGinnisJohn & Clodagh MillerMr. & 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 FoundationVicki 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. SessionsMr. & Mrs. H.

Hamilton SmithMrs. Lessie B. SmithgallElliott SopkinElizabeth Morgan SpiegelPeter James StellingBarbara Dunbar Stewart* C. Mack* & Mary

Rose TaylorJennings Thompson IVMargaret* & Randolph

ThrowerKenneth & Kathleen TiceSteven R. TunnellMary E. Van ValkenburghMr. & Mrs. John B.

White, Jr.Adair & Dick WhiteHubert H. Whitlow, Jr.Sue & Neil WilliamsMrs. Frank L. Wilson, Jr.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 individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous 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 Series Title SponsorClassic Chastain Title Sponsor

Family and SuperPOPS Presenting Sponsor

RICHARD ANDERSONChief Executive Officer

Holiday Title Sponsor

MUHTAR KENTChairman of the Board

and Chief Executive Officer

DARRYL HARMONSoutheast Regional President

Atlanta School of Composers Presenting Sponsor

PHILIP I. KENTChairman and

Chief Executive Officer

Supporter of the AtlantaSymphony Orchestra Chorus

JERRY KARRSenior Managing 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

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, Nancy Fields & 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

Whitley Greene Vivace Chair

Atlanta Symphony AssociatesThe volunteer organization of the Atlanta Symphony Orchestra

BRAVO! CRUISIN’ CASINO NIGHT. Members of Bravo!, the young professional volunteer group of the Orchestra, tried their luck at casino game tables while enjoying the smooth sounds of Yacht Rock DJ. From left to right, Ashley Jones, Andy Nickerson, Joe Fischer, and Jonathon Javetz. For more information on Bravo! and other events like these please contact Volunteer Project Manager, Sarah Levin at 404-733-4921


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 raise more than $8.9 million last year. Thank you!

ChAiRMAN’S COuNCil

★★★★★★★★★★★★$500,000+

the coca-cola company Georgia Power Foundation, Inc.

uPs

★★★★★★★★★★★$450,000+cox Interests Atlanta Journal-Constitution,

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

Hon. Anne Cox Chambers

★★★★★★★★★★$300,000+deloitte LLP, its Partners

& employees

★★★★★★★★★$200,000+At&t the community Foundation

for Greater Atlanta, Inc. ernst & Young, Partners

& employeesthe home depot Foundation Jones day Foundation

& employees Pwc Partners & employees Mabel dorn Reeder Foundationsuntrust Bank employees

& trusteed Foundations Florence C. & Harry L. English

Memorial Fund Greene-Sawtell Foundation SunTrust Foundationturner Broadcasting system, Inc.

★★★★★★★★$150,000+delta Air Lines, Inc. equifax Inc. & employees

KPMG LLP, Partners & employees

the Rich Foundation, Inc. Wells Fargo

★★★★★★★$100,000+Alston & Bird LLP Bank of AmericaKaiser Permanente King & spalding Partners

& employees the Klaus Family Foundationthe Marcus Foundation, Inc. the sara Giles Moore Foundationnovelis Inc.Wal-Mart stores, Inc. the david, helen & Marian

Woodward Fund

★★★★★★$75,000+Airtran Airways holder construction companyKilpatrick townsend the sartain Lanier Family

Foundation, Inc.Regions Financial corporation

★★★★★$50,000+AGL Resources Inc. Lisa & Joe BankoffciscoAnn & Jay davisdoosan Infracore InternationalFederal home Loan Bank

of AtlantaFrank Jackson sandy springs

toyota and scionBeth & tommy holdernewell RubbermaidPrimerica

devyne stephens sutherland Asbill & Brennan LLPthe Zeist Foundation, Inc.

★★★★$35,000+Katharine & Russell Bellman

FoundationBryan cave LLPMr. & Mrs. Bradley currey, Jr. Ge energyGeorgia-Pacificthe Imlay Foundation, Inc. Invesco PLc norfolk southern, employees

& Foundation siemens Industry, Inc.Alex & Betty smith

Foundation, Inc.harris A. smithFrances Wood Wilson

Foundation, Inc

★★★$25,000+Accenture & Accenture

employeesAir serv corporationAtlanta Foundation Julie & Jim Balloun BB&t corporationLaura & stan BlackburncIGnA Foundationcousins Properties Incorporated crawford & company Ford & harrison LLPJack & Anne Glenn Foundation, Inc.GMt capital corporationInfor Global solutions InG sarah & Jim KennedyPhilip I. Kent Foundation the Ray M. & Mary elizabeth

Lee Foundation, Inc.


Lexisnexis Risk solutionsthe Blanche Lipscomb

Foundation Macy’s Foundation Katherine John Murphy

FoundationPatty & doug Reid Family

FoundationRocktenn scAnA energy southwire companysprint Foundationtowers Watsontroutman sanders LLP Waffle house, Inc. Gertrude & William c.

Wardlaw Fund

★★$15,000+A. e. M. Family FoundationAce charitable FoundationAlixPartnersAlvarez & MarsalArnall Golden Gregory LLPthe Partners & employees

of Atlantaequity InvestorsAtlanta Marriott MarquisBeaulieu Group, LLcsusan R. Bell & Patrick M. Morristhe Arthur M. Blank Family

Foundationthe Boston consulting Groupcatherine s. & J. Bradford

Branchthe capital Group companies

charitable FoundationRoxanne & Jeffrey cashdancenter Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman

chartischick-fil-A, Inc.cornercap Investment counselduke Realty corporationegon Zehnder Internationaleisner Family FoundationFeinberg charitable trustFifth third BankFirst data corporationGas south, LLcGenuine Parts companyGeorgia natural Gasdolores & Javier c. GoizuetaGrant thornton LLPharland clarkehd supplythe howell Fund, Inc.Ics contract services, LLcMr. & Mrs. M. douglas IvesterJamestownMr. & Mrs. tom O. JewellWeldon h. Johnson Family

FoundationIngrid saunders JonesJones day Foundation, in honor

of James h. LandonMr. & Mrs. Muhtar KentKurt P. Kuehn & cheryl davisLanier Parking solutionsthe Latham FoundationBarbara W. & Bertram L.

Levy FundLivingston Foundation, Inc.Karole & John LloydLockheed MartinMarsh-MercerMohawk Industries, Inc.

& Frank h. BoykinMueller Water Products, Inc.Gail & Bob O’LearyVicki R. Palmer

Paul, hastings, Janofsky & Walker LLP

Piedmont charitable Foundation, Inc.

Printpack Inc./the Gay & erskine Love Foundation

Mary & craig RamseyMr. & Mrs. david M. Ratcliffeemily Winship scott

Foundationskanska usA Building Inc.spencer stuartKaren & John spiegelsuperior essex Inc.sysco Atlantaunited distributors, Inc.WAtL/WXIA/Gannett Foundationsue & John WielandMr. & Mrs. James B. Williamssue & neil Williamscarla & Leonard Woodthe Xerox FoundationYancey Bros. co.Mr. & Mrs. Robert A.

Yellowlees

*Annual Campaign Donors from June 1, 2010 - May 31, 2011



Continued from page 22

“We really enjoy working with Donald,” said Nick Jones, a longtime member of the Chorus and the Orchestra’s former Program Annotator. “[His] fluid conducting style, his songful interpretations, his idiosyncratic left-handed baton … we love

his piercing Scottish gaze and his lilting brogue. We accompanied him to Germany three times, allowing us to build a terrific relationship with the Berlin Philharmonic. And of course, we joyfully anticipate each time he works with us in Atlanta.”

Reminiscing about the Chorus’s performance of the Berlioz Requiem with the Berlin players in 2008, Mr. Runnicles said, “When the Chorus began to sing without accompaniment, the orchestra all turned around. The collective look on their faces was one of the most moving things I have ever seen.” Most recently, Mr. Runnicles and the Chorus performed Brahms’s A German Requiem with the German orchestra in 2009.

And the creative partnership? “It’s hard to believe 10 years of collaborating with

Robert and this Orchestra have gone by so quickly,” Mr. Runnicles said. “It’s been a unique, joyous, utterly inspiring synergy that Robert and I have enjoyed, and I’ve loved and treasured the partnership. The challenges and achievements over the years have been considerable. What a joy and privilege to belong to the Atlanta family.”

For more than a decade, Mr. Spano and Mr. Runnicles have helped shape musical perspective and programming within the Atlanta Symphony and throughout the country. Under their leadership, the Orchestra has been acknowledged as a hub of creativity through performances, presentations, and learning forums, all inspired by the work of this dynamic artistic team.

“The excitement and fulfillment of working with Robert and the Atlanta Symphony Orchestra deepens for me each year,” explained Mr. Runnicles.

And the feeling is mutual. Of the creative partnership, Mr. Spano said, “To have been able to have this journey here with Donald has been one of the joys of my life. We have a wonderful professional friendship and I’m very blessed.”

“With Robert and with Donald, it’s sometimes easy to forget — until we read about them in the New York Times or some other place — that these are two international superstars who are completely at home here in Atlanta,” said Atlanta Symphony Orchestra President Stanley E. Romanstein. “We’re incredibly fortunate to have him.”

“�The�excitement�and�fulfillment�of�working�with�Robert�Spano��and�the�Atlanta�Symphony��Orchestra�deepens�for�me��each�year”

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community�corner

Meet Monica Caldwell, a sophomore at Shiloh High School. The 15-year-old violist is in her third year as a member of the Atlanta Symphony Orchestra’s Talent Development Program and her second season with the Atlanta Symphony Youth Orchestra. Monica attributes her success as a musician to what she has gained through these student musician training programs.

When did you start playing the viola? When I was in sixth grade, I joined my school orchestra and I had no idea what a viola was — or that it even existed! I actually had my mind set on playing the bass, but after trying it I decided I wanted to play the cello instead. I thought I had finally made up my

mind, but as soon as the orchestra teacher played a few notes on the viola, I was intrigued and quickly changed my decision. It was love at first sight!

What made you decide to become involved with the Orchestra’s student musician training programs? In my seventh grade year, I was improving on my instrument much faster than my peers. I would spend hours practicing and the extra time I dedicated to my viola became evident very quickly through the

improved quality of my playing. At that point, my music teacher recommended me for the Talent Development Program (TDP). I was really excited about the opportunity, but I had no idea how significantly it would impact my life and what kind of musician I was yet to become.

So, how has it impacted you? My whole perception of playing the viola is completely different than when I began in my small sixth-grade orchestra. After being accepted into the TDP program, I began studying privately with Atlanta Symphony violist Lachlan McBane. He has encouraged me to always be very thoughtful about what I’m playing. Nothing about playing an instrument is careless, and everything in music has meaning. I started incorporating that concept into my music, and my playing has never been the same since.

I’ve also been incredibly fortunate to have a wonderful mentor, harpist Angelic Hairston, who graduated from the Talent Development Program last spring. As an older member of the program, Angelica was one of the first students to reach out to me, and I was incredibly inspired by how much she had already accomplished at such a young age. I hope to accomplish just as much as she did in her five years in TDP! She’s now studying music in Canada, but I still make time to keep in touch with her. Even though she’s far away, she still encourages me to take my music to the next level.

a�moment�with�Monica…

Our Professional EnsembleBruce V. Benator, CPA, Managing Partner

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Do you hope to mentor younger students? Yes! I aspire to be a performer, but I also hope to inspire someone the way I was first inspired to play the viola and pursue a career in music.

One of the “perks” of being a member of the TDP is the opportunity to study at prestigious summer music festivals. What have your experiences been like? During the past two summers, I have attended Interlochen Arts Academy and Credo Chamber Music Camp at Oberlin Conservatory. My quick musical progress simply would not have been possible without these summer programs. I had the opportunity to study with two of the best viola teachers in the world — David Holland and Peter Slowik — and they truly shaped my technique and helped me develop my mature sound. Sometimes I would get a little homesick, but I knew that being away from home, and away from so many distractions, was the best way for me to focus on my musical development.

And you’re also a member of the Atlanta Symphony Youth Orchestra? Yep! Last year was my first season with the Youth Orchestra. It was a great experience and really pushed me musically and mentally because the music was so challenging! I remember sightreading through a piece of music at the first rehearsal and not being able to play any of it, and I realized that I

had a lot of work to do to keep up with such an amazing group of students!

What do you like most about the Youth Orchestra? Viola sectionals are always the highlight of rehearsal for me. It’s always interesting having a room full of 14 violists! Our coach is Cathy Lynn, an Atlanta Symphony violist, and she always gives us “hot viola tips.” Her guidance helps us work through the hardest sections of the repertoire so we can be at our very best when we perform on the Atlanta Symphony Hall stage!

Additionally, I truly appreciate being able to play in a full orchestra on a regular basis — it’s an opportunity that I don’t have with my school music program. I also benefit from being around my Youth Orchestra colleagues because we share a love of music and a similar motivation and drive.

If your life could turn out just the way you wanted, what would you be doing in 10 or 15 years?I would love to have graduated from a prestigious music school and be a professional musician with a nationally-recognized orchestra. I haven’t really thought about the specifics because I still have three years to figure everything out! But this is what I do know: My life without music would be a life without passion, and I can’t ever imagine not having music, or the viola, in my life. I’m incredibly grateful to the Atlanta Symphony Orchestra for making my career as a violist possible!

Edited and condensed by Kimberly Nogi.

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calendar

The AmAzing monTero February 2/3/4 Delta ClassicalThu/Fri/Sat: 8pmrAvel: Mother Goose SuiteBeeThoven: Piano Concerto no. 3Dvorák: Symphony no. 8

Thomas Wilkins, conductorGabriela Montero, piano

PhiSh PhAnS! February 9 SpecialThu: 8pmTrey AnASTASio and the Atlanta Symphony Orchestra

BoTTi’S BACk! February 10/11 SuperPoPS!Fri/Sat: 8pmChriS BoTTi & BAnD

CinDerellA February 12 Family ConcertSun: 1:30pm & 3:30pmThe FABleD CinDerellA

Jere Flint, conductorEnchantment Theatre Company

rADiAnT mozArT, PASSionATe elgAr February 16/17/19 Delta ClassicalThu/Fri: 8pm/Sun: 3pm WAgner: Prelude to Die MeistersingerelgAr: Cello Concerto mozArT: “haffner” Symphonyr. STrAuSS: Der Rosenkavalier Suite

Roberto Minczuk, conductorJohannes Moser, cello

SymPhony gAlA February 18Sat: 7:30pmBernADeTTe PeTerS

Shimmering JoSeFoWiCz February 23/25 Delta ClassicalThu/Sat: 8pmhAyDn: overture to L’Isola disabitataThomAS ADÈS: violin ConcertoWAgner: Lohengrin Prelude to Act oneDeBuSSy: La mer

James Gaffigan, conductorLeila Josefowicz, violin

Presented by: Supported by: Media Sponsors:

404.733.5000 | aso.org Woodruff Arts Center Box office @15th and Peachtree

Make it a group! 404.733.4848

sold out!

Special Gala Concert!with members of the Orchestra

February 18Sat: 8pm | Atlanta Symphony Hall

Bernadette PetersThe dazzling superstar Bernadette Peters, winner of multi Tony (Follies, Gypsy, A Little Night Music) and Grammy awards, lights up the 2nd annual Symphony Gala benefitting the Orchestra’s education and community programs. Tickets starting at $35 on sale now!

aso.org | 404.733.5000Woodruff Arts Center Box Office @15th and Peachtree

“ As an actress, singer, comedienne and winning presence, Bernadette Peters has no peer…”

– Frank Rich, NY Times

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

Brien Faucett Assistant to the President

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

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

ArTiSTiCEvans Mirageas Director of Artistic Planning

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

Jeffrey Baxter Choral Administrator

Ken Meltzer ASO Insider & Program Annotator

eDuCATion & CommuniTy engAgemenTMark B. Kent Senior Director of Education & Community Engagement

Melanie Darby Director of Education Programming

Ahmad Mayes Community Programs Coordinator

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

ASO Presents (cont.)

Chastain Park AmphitheaterTanner SmithProgram Director

Verizon Wireless Amphitheatre at Encore ParkKatie Daniel VIP Sales Manager

Jenny Pollock Operations Manager

Rebecca Simmons Box Office Manager

Deborah Honan Customer Service Manager & Venue Rental Coordinator

DeveloPmenTSandy Smith Vice President for Development

Rebecca Abernathy Development Services Coordinator

Zachary Brown Director of Volunteer Services

Corey Cowart Director of Corporate Relations

Janina Edwards Grants Consultant

Tegan Ketchie Development Coordinator

Ashley Krausen Special Events Coordinator

Sarah Levin Volunteer Project Manager

Stephanie Malhotra Director of Development & Education Services

Melissa Muntz Development Coordinator

Barbara Saunders Director of Foundation Relations

Meredith Schnepp Prospect Research Officer

Tammie Taylor Assistant to the

VP for DevelopmentSarah 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

Bill TarulliMarketing Manager

Rachel TrignanoManager of Broad Based Giving

Russell Wheeler Director of Group & Corporate Sales

Christina Wood Director of Marketing

staff


Historic charm combined with artful hospitality.1302 West Peachtree St., Atlantaartmorehotel.com • 800.548.5631

A hip and contemporary place to meet for cocktails or hold your next event.

A Boutique Luxury Hotel

After the show,Enjoy some ofour award winning...

regencysuites.comWest Peachtree at 10th

Southern Hospitality

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

Moderation shmoderation.

Just blocks from the Fox Theatre at 40 7th Street NESun.-Thurs. 5:30-10pm | Fri.-Sat. 5:30-11pm | Bar open daily at 4pm

404.347.9555 | ecco-atlanta.com | @FifthGrouper | facebook.com/eccoatlanta

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The best restaurant Midtown has to offer ...

... would like to invite you to enjoy 15% off.PRESENT YOUR TICKET AND RECEIVE 15% OFF FOOD ONLY AT SHOUT*

*Offer valid with your Atlanta Symphony Orchestra or Fox Theatre ticket stub. Expires 1/31/11.

Located at 14th Street & Peachtree Street NE

(404) 846-2000

Call 1-866-851-7239 for the Fox Theatre rateor visit http://tinyurl.com/FoxRate

683 Peachtree St. NE • Across from the Fox!BRAND NEW, FOX INSPIRED LOBBY, BAR AND BISTRO!

Hotel Indigo Atlanta Midtown683 Bar and Bistro

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.

giFT CerTiFiCATeS Available in any amount for any series, through the box office. Call 404.733.5000.

Share your art and stories with us at Facebook.com/

CozmicFunLines [email protected]

THE PERFECT GIFT!Birthdays • Mother’s Day • Father’s Day • Christmas

Easter • Thanksgiving • and Halloween

A Whole Year of Coloring Fun!

FREE ART KIT!

with every “Ultimate” gift set

purchase while supplies last.

Atlanta’s Performing Arts Publication

404.459.4128encoreatlanta.com

More than a program, it’s your ticket to the arts.

galleryGiving voice & the gift of music

Jeff

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k D

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n

1 SHOUT, SISTER, SHOUT!

Richardine Holmes feels it during the

Orchestra’s annual Gospel Christmas

performances in early December.

2 MUSICAL BALM Violinists Sandy

Salzinger and Ruth Ann Little and bassist

Gloria Jones and violist Yang-Yoon Kim

(not pictured) perform holiday music

at the Arbor Terrace assisted living

community last month. Orchestra

musicians share music with over

2000 senior citizens annually.

3 SANTA’S LITTLE HELPERS

“ASO Kid’s Christmas” joyfully lived

up to its name.

2

3

1 Ah

mad

May

es

60

Discover places to shop, dine and play in 4 easy steps

Have an Android phone? Follow these instructions.

+ Read show programs, find contests and deals on your phone!

2. Click on this icon and

1. Go to m.encoreatlanta.com

3. Add name 4. Enjoy the finer things in life!

january 2012: mahler's resurrection at the atlanta symphony orchestra

Documents

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