Atlanta Music Project INSTITUTIONAL DONORS
Funding provided in part by the Fulton County Board of Commissioners under the guidance of the Department of Community Development.
Major funding for this organization is provided by the Fulton County Board of Commissioners. This program is supported in part by the City of Atlanta Mayor’s Office of Cultural Affairs.
DEAR FRIENDS AMPWELCOME
It gives me great pleasure to welcome you all to the Atlanta Music Project World Music Festival, part of our 16th season!
For those of you who may not know, our first program, launched in 2010, was a small but mighty after-school orchestra at the Gilbert House, a City of Atlanta Recreation Center in Southwest Atlanta. We had 30 elementary school students attending five days per week, with classes lasting two hours each day. Today, we serve more than 1,000 young musicians annually through our youth orchestra and choir programs, which provide tuition-free classes, extraordinary performance opportunities, and college and career preparation.
When Atlanta was awarded eight matches for the 2026 FIFA World Cup, we immediately knew we wanted to be part of the festivities. With the world descending upon Atlanta, we developed the concept of the World Music Festival to share the talents of our young musicians while immersing them in the music and cultures of the visiting nations.
From the vibrant rhythms of South Africa and Morocco to the rich musical traditions of Czechia, Spain, Haiti, Cape Verde, and beyond, the AMP World Music Festival will transport audiences across continents through unforgettable live performances. As the world comes to Atlanta for the World Cup, we appreciate you joining us in celebrating the beauty, diversity, and power of music to bring people together.
The AMP World Music Festival Orchestra and Choir will present three spectacular concert events unlike anything the city has seen before. Each performance will take place on the eve of a FIFA World Cup match in Atlanta and will celebrate the music, culture, and spirit of the United States and the two nations set to compete the following day.
The AMP World Music Festival Orchestra features AMP faculty members seated in principal chairs, with our student musicians performing alongside them in each section. The AMP World Music Festival Choir features our students alongside college music majors serving as Music Mentors.
Under the guidance of our festival curator, Collin Edouard, and with the support of our score arrangers, ensemble coaches, and conductors, we have done our utmost to provide our students with a rich cultural experience. Our ensembles strive to present the music of the countries visiting Atlanta for the World Cup in a way that is both authentic and capable of transporting audiences to those places, even if only for a fleeting moment. If you are visiting from your home country, we hope our musicians can offer you a piece of home while you are here in Atlanta.
The AMP World Music Festival is more than a concert series. It is a musical journey around the globe, and we are delighted with your presence tonight! And we wish your World Cup team, whichever team that may be, the best of luck in their matches.
With Gratitude,
Dantes Rameau, Co-Founder & CEO
RESERVE YOUR TICKETS HERE
RESERVE YOUR TICKETS HERE
John Young Shik Concklin is Music Director of the Spartanburg Philharmonic and Hendersonville Symphony Orchestra. He also serves as Conductor with the Atlanta Music Project, an El Sistema organization focused on social justice and music, and the Piedmont Chamber Orchestra, a mentoring orchestra for high school and collegiate musicians. In the 24/25 season, he completed his North Carolina Symphony debut and was announced as a National Finalist for the Vytautas Marijosius Memorial Award for orchestral programming.
John is a values forward leader who believes that there is a unique pathway to success for every musical organization in every community, large or small. He seeks to humanize the orchestral experience for audiences through story telling, relationship building, and nuanced culture shifts that make accessibility more inclusive. Organizations for which he has played a leadership role have seen unprecedented artistic growth, a steady increase in ticket sales, and an intangible lift in spirit that translates across the organization and community. John is deeply committed to the teaching of conducting and leadership and seeks to engage education and learning at every level. He readily seeks opportunities to discuss and share about conducting and makes regular school visits wherever he is working.
Previous positions include Associate Conductor of the Georgia Symphony, Assistant Conductor of the Cleveland Pops Orchestra, and faculty appointments at Vanderbilt, Clemson, Furman and Converse Universities He has been a fellowship conductor at the Aspen Music Festival, a teaching assistant at the Brevard Music Center, and a finalist at the New World Symphony and Debut Orchestras
John has been a finalist for the 2019-2020 American Prize in Conducting. He has competed internationally at the Almaty, the Nino Rota, and the Città di Brescia Conducting Competitions. He is also regularly invited to coverconduct for the Nashville, Atlanta, and Kansas City Symphony Orchestras.
A flexible musician, John has also performed at the Super Bowl Halftime Show and has collaborated with Monica, a Grammy-winning R&B artist.
John studied at Vanderbilt University, Yale University, and the Cleveland Institute of Music. His mentors include David Zinman, Carl Topilow, Shinik Hahm, and Robin Fountain. He received further training from Lorin Maazel and Michael Tilson-Thomas.
John and his wife, Lauren Maxwell, co-founded Mozart for a Cause, a multi genre chamber music concert that fundraises for local causes.
MEETTHEGUESTARTIST
| COMPOSER
THOMAS FLIPPIN GUITARIST
Thomas Flippin is an original and versatile voice in the world of contemporary music. Whether premiering new works with his pioneering classical guitar ensemble, Duo Noire; performing avant-garde art songs on the theorbo as part of Alicia Hall Moran’s Motown Project; playing otherworldly electric guitar in Heartbeat Opera’s The Extinctionist; or plucking the banjo in the American Repertory Theater’s The Black Clown, Flippin’s playing has been hailed as “lovely” (New York Times), and “spectacularly precise” (St. Louis Post-Dispatch).
Recent concert highlights include: premiering a new double concerto for classical and blues guitars by Chris Brubeck with the Memphis Symphony Orchestra, performances at Carnegie Hall with Alicia Hall Moran and Jason Moran, Lincoln Center’s Mostly Mozart Festival with the American Repertory Theater, the 2022 Guitar Foundation of America Convention, National Sawdust, The Metropolitan Museum, The Cleveland Orchestra, Beijing’s Peking University, the Art Institute of Chicago, and Duo Noire premiering Held Together by GRAMMY-nominated composer Nathalie Joachim.
Flippin’s 2018 Duo Noire album, Night Triptych, was released on New Focus Recordings as the culmination of a 2015 project he launched through the Diller Quaile School of Music to address the lack of women composers programmed in classical guitar concerts. Featuring new works exclusively by accomplished women composers, it was praised for being a “truly pathbreaking recording” (AllMusic), that is “astounding” for its “sheer musicality” and “goldmine of ideas and feelings” (Stereophile). It was named Editor’s Choice for classical music albums that year by both All Music and I Care if You Listen.
As a composer, recent commissions include a string quartet for the Composing Inclusion joint project by Juilliard, the New York Philharmonic, and the American Composers Forum; the Guitar Foundation of America; The Cleveland Classical Guitar Society in partnership with the Cleveland Orchestra; a guitar orchestra piece for the Peabody Institute of Johns Hopkins University; the Yale School of Music Guitar Department; and the New York City Classical Guitar Orchestra. As a student, Flippin studied composition in courses by David Lang, Martin Bresnick, and Michelle McQuade DeWhirst, with additional lessons with Ingram Marshall and John Anthony Lennon.
Flippin graduated with honors from the University of Chicago, where he received the undergraduate composition prize. He then earned Master of Music and Artist Diploma degrees in guitar performance from the Yale School of Music. His primary guitar teachers were Benjamin Verdery, Denis Azabagic, and Dr. Julie Goldberg. Currently, Flippin is on the guitar faculty at Vassar College in New York, and Gateway Community College in New Haven. He plays Glenn Canin and Martin Blackwell guitars.
MEETTHECOMPOSER
NICOLE HARDIN
Nicole Hardin is a composer, arranger, violinist, violist, conductor, contractor, and creative entrepreneur whose work spans the worlds of orchestral music, commercial entertainment, education, and community impact. Known for her exceptional ability to “write what she hears,” she has established herself as a sought-after arranger and orchestrator for some of today’s most recognizable artists and productions. Her credits include work with Eminem, Rihanna, Beyoncé, Mariah Carey, John Legend, Toni Braxton, Lizzo, and Ms. Lauryn Hill, for whom she served as string arranger, conductor, and contractor for The Miseducation of Lauryn Hill Anniversary Tour featuring the Fugees.
With the Atlanta Music Project, Ms. Hardin has composed original works and arranged music for several collaborations, include Lecrae, Monica, and T.I.
MEETTHEASSISTANTCONDUCTOR
JORDAN OWEN
Jordan Owen is an American conductor, cellist, and composer whose work bridges performance, education, and creative collaboration. He currently serves as the fully funded Assistant Conductor of the UNCG Orchestra’s and Opera Theatre and Conducting Fellow with the Spartanburg Philharmonic for the 2024–25 season, assisting with rehearsals, performances, and leading education and community initiatives.
An emerging conductor with a passion for expressive storytelling and accessibility in classical music, Jordan has led ensembles including the New York Session Symphony, ICWC Festival Orchestra, Spartanburg Philharmonic, and the Petrie Festival Orchestra. He has also studied and performed at the Wintergreen Music Festival, where he appeared with the Wintergreen Festival Orchestra, and was selected as one of three 2024 New York Session Symphony Emerging Conducting Fellows. In 2025, he will be one of six invited participants in the CODA Conducting Masterclass with Carl Topilow.
Jordan toured the southern United States with the Atlanta Music Project Senior Youth Orchestra, and will return in the upcoming season to conduct and record performances for their fall and winter projects. Dedicated to music education, he works with high-level student ensembles and young musicians throughout the Southeast, fostering technical development and artistic awareness through mentorship and outreach.
As a composer, Jordan is a winner of the RISE Symposium Composition Competition, and his music reflects his JamaicanAmerican heritage, integrating rhythmic vitality and tonal sophistication. Future projects include a new work for members of the Spartanburg Philharmonic Chamber Ensemble, to be recorded and premiered in 2025.
Jordan’s musical roots stem from singing in a church chamber choir, where he first discovered the power of ensemble music. He later studied cello, performing nationally and abroad, including a tour of Germany’s Black Forest with the FEST WOCHE Music Festival. He is a founding member of the Calm Cadence Collective, an interdisciplinary ensemble exploring music, mindfulness, and community engagement through collaborative performances and workshops.
Jordan earned his Bachelor of Music in Theory and Composition with a concentration in Music History from the Petrie School of Music at Converse University and is currently completing his Master of Music in Orchestral Conducting at the University of North Carolina at Greensboro under the guidance of Dr. Jungho Kim. His artistic interests extend beyond the concert hall—he is passionate about projects that combine music with visual storytelling, exploring ways orchestral sound can heighten narrative and emotional depth across disciplines.
In his career, Jordan seeks to create performance experiences that are both artistically rigorous and deeply human—rooted in empathy, curiosity, and the shared spirit of musical communication.
COLLIN EDOUARD
Houngan Collin Edouard is a Ph.D. candidate whose scholarship lives at the intersection of academic rigor and grassroots healing. Over the years, he has redefined the relationship between academic spaces and local diverse cultural landscapes. Collin’s work is rooted in the belief that local practitioners — from Haitian musicians to grassroots activists — are not merely subjects of study, but essential ‘knowledge bearers’ who deserve equal partnership with the university. He researches the role of vocality in Haitian Vodou ceremonies. For his research, he won the 2023 Karen McCarthy Brown Award from the Scholarly Association for the Study of Haitian Vodou (KOSANBA) and the 2024 Emerging Scholars Award from the Haitian Studies Association. He is a Voting Councilor and Director of Outreach with Phi Beta Kappa New York (PBKNY), and a Junior Board member with KOSANBA. Edouard holds degrees from the University of Cambridge, Teachers College, Columbia University, and The City College of New York.
He serves as adjunct professor of music at the University of Bridgeport, where he won the 2024 Excellence in Teaching Award. He designed the course Music of the Global South, facilitating cross-cultural engagement through diasporic musical practices. His scholarship and pedagogy foreground marginalized sonic traditions and their social contexts. A contributing author to The New Teacher’s Guide to Overcoming Common Challenges, Edouard has led educational and musical initiatives across Spain, Uganda, Turkey, India, Iraq, England, and the United States. He is a priest in the Haitian Vodou tradition and a member of Sosyete Nago.
CONCERTPROGRAM
ATLANTA MUSIC PROJECT world music festival orchestra
John Young Shik Concklin | Conductor Thomas Flippin | Guitar
Variations on a Shaker Melody from Appalachian Spring.............Aaron Copland Adoration...................................................................................Florence Price arr. Tyler Merideth
WORLD PREMIERE
The Voices of Cape Verde.............................................................Nicole Hardin
I. Grito D’Povo, composed by Bana, arr. N. Hardin
II. Sodade, composed by Armando Zeferino Soares, arr. N. Hardin
III. Lullaby “Ninhância,” written by Teófilo Chantre, arr. N. Hardin
IV. Raboita Di Rubon Manel, written by Orlando Pantera, arr. N. Hardin
Concierto de Aranjuez..............................................................Joaquín Rodrigo
I. Allegro con spirito
II. Adagio
III. Allegro gentile
An American Salute......................................................................Morton Gould
PROGRAMNOTES
BY COLLIN EDOUARD
CONSULTING CURATOR, AMP WORLD MUSIC FESTIVAL
USA
Variations on a Shaker Melody from “Appalachian Spring” (1944) Aaron Copland (1900-1990)
A quintessential American work, Copland’s “Variations on a Shaker Melody” captures the spirit of rural America with its evocative and serene melodies, famously known from the ballet Appalachian Spring. Few works capture the spirit of America as vividly as Aaron Copland’s incomparable composition. Composed in 1944 for legendary choreographer Martha Graham, the ballet tells a simple yet deeply moving story: a young pioneer couple begins their new life together in rural Pennsylvania during the early nineteenth century. Rather than focusing on dramatic action, the work celebrates themes of hope, community, faith, and the promise of a new beginning.
Perhaps it’s the strings and the French horn undulating their rich sonorities that seem to gently wake up the blooming flowers and warm the morning dew over luscious vegetation, or maybe it’s the urgency of all the things nature has to do to wake up from its winter slumber felt around the middle of the selection. But certainly, it is the grand sense of coming together and of all things being exactly as they should be, for this new season to breathe life back into the earth. Notice the cyclical return of the theme as things get quiet again, as a salute to the opening exposition. The spring’s vibration rests for a moment as the hard work of awakening nature is complete.
It is clear that Copland’s music evokes wide-open landscapes and the optimism of the American frontier through clear textures, spacious harmonies, and memorable folk-inspired melodies. The score unfolds in a series of contrasting scenes, moving from moments of quiet contemplation to energetic dances and joyful celebrations. Throughout the work, Copland paints vivid musical images of pioneer life, creating a sound world that feels both intimate and expansive. He achieves this by centering the tuning of the folk instruments, such as the fourths and the fifths, and the wide open dance rhythms that complement the spaces needed to do these dances properly.
Although the title suggests the Appalachian Mountains, it was actually chosen by Martha Graham after the music had been completed. The phrase comes from a line in a poem by Hart Crane (1899 - 1932) and refers to a spring season rather than a water source. Nevertheless, the title has become inseparable from the music’s evocation of the American landscape and character. More than eighty years after its premiere, Appalachian Spring remains one of Copland’s most beloved compositions. Its warmth, lyricism, and unmistakably American voice continue to resonate with audiences, offering a timeless portrait of aspiration, resilience, and the enduring power of new beginnings.
PROGRAMNOTES
BY COLLIN EDOUARD
CONSULTING CURATOR, AMP WORLD MUSIC FESTIVAL
USA
Adoration by Florence Price (1887-1953)
Among the most cherished miniatures by Florence Price, Adoration reveals the composer’s gift for creating emotional depth through simplicity and lyricism. Originally written for organ in 1951 and its manuscript found in 2009, it was later arranged for various instrumental combinations. The work unfolds as a quiet meditation, inviting listeners into a world of reverence, warmth, and spiritual reflection. Price was the first African American woman to achieve national recognition as a symphonic composer. Throughout her career, she drew upon a diverse array of influences, skillfully blending European classical traditions with elements of African American musical culture. In Adoration, these influences merge seamlessly. A flowing, hymn-like melody rises above gentle accompaniment, creating an atmosphere of serenity and devotion. The music speaks with an intimate voice, expressing deep faith not through grand gestures but through heartfelt sincerity.
As the piece unfolds, its melody blossoms into moments of radiant beauty before returning to a state of peaceful contemplation. Price’s sensitive harmonic language lends the work a sense of longing and tenderness, while its graceful simplicity allows the emotional message to emerge with remarkable clarity. Feel the stretch of the expressive phrases by the Violin and listen carefully to the conversation it has with the Cello and Contrabass. What do they say? How does their exchange make you feel? The rises and falls in the phrase point us to a longing: a brief touch of the sky at the climax of the piece, followed by the exhale toward the concluding moments. Adoration was one of the last works Price wrote and reflected many of her earlier compositions.
Though brief in duration, Adoration possesses a timeless quality that has endeared it to performers and audiences alike. It offers a moment of stillness amid the concert experience; a chance to reflect, listen inwardly, and appreciate the quiet power of music to inspire comfort, hope, and spiritual renewal. In her composition, Florence Price reminds us that some of music’s most moving expressions are found not in grandeur, but in grace.
PROGRAMNOTES
BY COLLIN EDOUARD
CONSULTING CURATOR, AMP WORLD MUSIC FESTIVAL
CAPE VERDE
The Voices of Cape Verde arr. Nicole Hardin
Experience the vibrant sounds of Cape Verde with this captivating suite, arranged for symphony orchestra, by Nicole Hardin. This arrangement is a world premiere and blends traditional Cape Verdean rhythms and melodies into a delightful musical complex. Situated in the Atlantic Ocean off the west coast of Africa, the islands of Cape Verde have long served as a crossroads of cultures, where African, Portuguese, and Brazilian influences have blended to create a rich and distinctive musical heritage. Music is woven deeply into Cape Verdean life, expressing the joys, sorrows, resilience, and communal spirit of an island people shaped by both isolation and connection to the wider world.
This particular suite is divided into four sections, with 1 Grito D’Povo, or Cry of the People, originally by Adriano Gonçalves (1932-2013), who went by the stage name “Bana”. The song was released in 1975 as a multi-track album named after this selection. II Sodade, which roughly translates to a longing or nostalgia for a past thing or person that may never return, was originally composed by Cape Verdean composer Armando Zeferino Soares (1920-2007). III Ninancia or Ninhância, meaning a lullaby for babies to help them to sleep, was composed by singer-songwriter Teófilo Chantre (b. 1964). Finally, IV Raboita Di Rubon Manuel which is a historical peasant revolt: It is most famous from the song written by Orlando Pantera (1967-2001), notably sung by Portuguese singer of Cape Verdean descent Maria de Lurdes Assunção (b.1975) and goes by the stage name Lura. The song tells the story of an actual historical peasant revolt that took place in 1910 in Santa Catarina, Santiago. It details how rural Cape Verdean women led a resistance against oppressive land taxes and the exploitation of agricultural workers. This suite is infused with history and the voices of the people to remind listeners that some of the most influential songs arose from such pain and oppression.
The melodies often blend European harmonic traditions with African rhythmic sensibilities, creating music that feels both familiar and strikingly unique. Percussive patterns drive the music forward, while expressive melodic lines tell stories of love, migration, hardship, hope, and the enduring bonds of community. The resulting sound you will hear is one of remarkable emotional range, capable of conveying quiet reflection as well as exuberant joy. Today, Cape Verdean musical traditions continue to resonate far beyond the islands themselves, carried around the world by generations of migration and mobility and celebrated through the artistry of performers such as Cesária Évora (1941-2011), whose performances introduced many listeners to the beauty of Cape Verde’s musical voice. Whether contemplative or celebratory, traditional Cape Verdean rhythms and melodies offer a powerful expression of cultural identity—music that speaks of the sea, of journeys both physical and emotional, and of the enduring power of song to connect people across time and distance.
PROGRAMNOTES
BY COLLIN EDOUARD
CONSULTING
CURATOR, AMP
WORLD MUSIC FESTIVAL
SPAIN
Concierto de Aranjuez by Joaquín Rodrigo (1901-1999)
Featuring soloist Thomas Flippin, Rodrigo’s “Concierto de Aranjuez” is one of the most beloved guitar concertos. Its enchanting melodies and vibrant Spanish character evoke the beauty of the gardens of Aranjuez. Not many selections capture the spirit of Spain as vividly as Joaquín Rodrigo’s Concierto de Aranjuez. Composed in 1939 for guitar and orchestra, the concerto evokes the beauty and atmosphere of the royal gardens of Aranjuez, a historic palace retreat south of Madrid. Rodrigo described the work as a reflection of “the fragrance of magnolias, the singing of birds, and the gushing of fountains,” creating a musical portrait of one of Spain’s most cherished landscapes. His music is often described as having the remarkable ability to evoke the spirit of Valencia in this curated selection.
Although Rodrigo was blind from the age of three, his music is remarkably colorful and visual. In Concierto de Aranjuez, the guitar serves not as a virtuosic showpiece alone, but as a storyteller, weaving delicate melodies and rhythmic flourishes through the rich orchestral textures. The first movement sparkles with energy, drawing on Spanish dance rhythms and interconnected exchanges between soloist and orchestra. The finale returns to a mood of elegance and vitality, bringing the concerto to a spirited close. At the heart of the work lies the celebrated second movement, arguably, one of the most beloved melodies in all of classical music. Introduced by the English horn and answered by the guitar, its haunting, deeply expressive theme unfolds with an emotional intensity that has resonated with audiences for generations. While listeners often associate the movement with themes of longing and nostalgia, Rodrigo later revealed that it was inspired in part by personal sorrow and loss he and his wife experienced during the concerto’s composition. Since its premiere in 1940, Concierto de Aranjuez has become the defining work of the classical guitar repertoire and one of the most frequently performed concertos of the twentieth century. Its blend of lyrical beauty, Spanish character, and emotional depth continues to captivate audiences around the world, inviting listeners into a landscape where memory, history, and music converge.
PROGRAMNOTES
BY COLLIN EDOUARD
CONSULTING CURATOR, AMP WORLD MUSIC FESTIVAL
USA
American Salute by Morton Gould (1913–1996)
Concluding our evening, Morton Gould’s “American Salute” is a spirited and patriotic piece, known for its creative variations on the well-known tune “When Johnny Comes Marching Home.” It’s a celebratory end to our musical exploration.
Gould’s work captures the spirit of American optimism and resilience. Composed during the height of World War II, the piece is based on the familiar Civil War song “When Johnny Comes Marching Home,” transforming a simple patriotic tune into a dazzling and energetic concert showpiece. Gould was one of America’s most versatile musicians: a composer, conductor, arranger, and champion of American musical traditions. He had a remarkable ability to blend classical forms with popular styles, jazz influences, folk melodies, and patriotic themes. In An American Salute, he takes the well-known melody and centers `it to a series of inventive variations, each revealing a different character and color of the tune.
The work opens with a bold statement before launching into a succession of lively episodes. At times triumphant and martial, at others playful and lyrical, the music showcases the brilliance of the ensemble through sparkling orchestration, rhythmic vitality, and dramatic contrasts. Gould’s skillful treatment of the familiar melody keeps listeners engaged as it continually reappears in new and unexpected guises. Premiered in 1943, An American Salute quickly became one of Gould’s most beloved compositions and remains a staple of patriotic celebrations and concert programs. More than a tribute to a single song, the work reflects a broader sense of national pride, determination, and hope. Its exuberant energy and unmistakably American character continue to resonate with audiences, making it a fitting musical celebration of the nation’s history and spirit.
MEETTHEMUSICIANS
ATLANTA MUSIC PROJECT WORLD MUSIC FESTIVAL ORCHESTRA
VIOLIN I
Kerren Berz*
Foster Wilson
Tami Lee Hughes*
Caliah Matamoros
Moses Morano
Reyna Case
Gustavo De La Torre**
DOUBLE BASS
Blake Hilley*
Nia Blount
Bryan Ogbannu
Emir Zayas
Malachi Beckham
CLARINET
Andrew Warwick*
Amir Foster
TROMBONE
Calvin Morris*
Joel Patrick
*AMP Faculty
**Music Mentor
VIOLIN II
Jessica King* Marlee Carter
Courtney Vega King*
Anaika Dominic
Ethan Waithe
VIOLA
Megan Yost*
Andrew Atkinson
Lana Teko*
Kree Willingham
Tyson Jones
FLUTE
Matthieu Clave*
Leighlah West
Lailani Smith
Christina Paul
OBOE
Natalie Beckenbaugh*
Nehemiah Preston
Chineye Emenogu
CELLO
Ismail Akbar*
William Spann
Giancarlo Ortiz*
Mauricio Alvarado
Preston Walton
David Walton
BASSOON
Lazara Santana*
Shanae Cousley
BASS TROMBONE
Lovrick Gary* Jakob Cobbs
HORN
Dilon Bryan*
Jameson Olowoyo
Anthony Flores
Joshua Wheaton
TUBA
Robert Boone*
ENGLISH HORN
David Norville*
TRUMPET
Guillem Senent*
Dineo Halisi-Adams
Ethan Crawford
PERCUSSION
Dominic Ryder*
Alek Gayton*
Kori Harmon
John Tyler
Qianyu Chen*
PIANO
the atlanta music project mission and history
Founded in 2010, the Atlanta Music Project (AMP) provides world-class music training and performance opportunities supporting youth growth and development. Operating in under-resourced communities, AMP’s mission is to empower youth to realize their possibilities through music.
AMP serves over 1,000 young musicians annually through band, orchestra, and choir programs, private lessons, and the annual month-long AMP Summer Series. The AMP Senior Youth Orchestras and Choirs perform and compete both nationally and internationally. Additionally, AMP houses a college and career program, supporting AMP high school students and alumni. Since 2021, AMP has awarded $545,000 in college scholarships to its alumni.
AMP music ensembles perform more than 60 concerts annually, performing in venues all across Atlanta, from community centers to the Mercedes-Benz Stadium. AMP music ensembles have performed alongside international stars such as cellist Sterling Elliott, rapper Lecrae, operatic baritone Edward Parks, R&B singer Monica, The Piano Guys, the Harlem Quartet, electric violinist Lindsey Stirling, pianist Terrence Wilson, and the Imani Winds. AMP musicians can be seen performing with rapper T.I. on NPR’s Tiny Desk concert series.
AMP’s young musicians have successfully auditioned for Georgia All-State ensembles, and performed with the Atlanta Opera, the Atlanta Ballet, and the Fox Theatre. AMP ensembles have concertized as far away as Los Angeles, Aspen, Mexico, Canada, and New Zealand. The AMP Senior Youth Choir was crowned winner of the Youth Choirs category at the Open Competition of the 2024 World Choirs Games.
AMP is the recipient of several prestigious awards: 2015 Local Community Service Award (Spelman College), 2016 Neighborhood Builder (Bank of America), 2016 & 2017 Top 50 Youth Arts Program (USA President’s Committee on the Arts & Humanities), 2018 MLK Jr. Community Service Award (Emory University), 2019 Luminary Award for Arts Education (ArtsATL), and 2021 Infusion Award (Lewis Prize for Music).
AMP’s current major funders include the Chestnut Family Foundation, Cousins Foundations, Warner Music Group & Blavatnik Family Foundation Social Justice Fund, Bloomberg Philanthropies, Chick-fil-A Inc, Georgia Power, Intuit Mailchimp, the Abraham J. & Phyllis Katz Foundation, the Arthur M. Blank Foundation, the Sartain Lanier Foundation, the Luluma Foundation, Mayor’s Office of Cultural Affairs, Fulton County Arts Council, Georgia Council for the Arts, Georgia Department of Education, Bloomberg Philanthropies, Delta Community Credit Union, the Next Generation Fund, and the Community Foundation for Greater Atlanta.
In 2024, AMP became the recipient of five Steinway pianos and was awarded the prestigious honor of being a Steinway Select School, making AMP one of eight schools in the country with this distinction.
AMP’s partners and collaborators include the City of Atlanta Department of Parks and Recreation, Atlanta Public Schools, Clayton State University, and the Chestnut Family Foundation.
AMP’s existence is a direct result of the 2009 TED Prize, which was awarded to Dr. Jose Antonio Abreu, founder of Venezuela’s El Sistema. AMP’s co-founders were members of the Sistema Fellows Program at the New England Conservatory in Boston. AMP is a member of “El Sistema USA,” the National Alliance of El Sistema Inspired Programs.
For more information visit http://www.atlantamusicproject.org
ATLANTA MUSIC PROJECT BOARD OF DIRECTORS
Philip M. Juravel, CPA, Chair
Jennifer Dorian, Vice-Chair
Byron Gibbs, Treasurer
Racheal Woods, Secretary
Sarah Griesenauer-Barros, Ben Cherian, Anne Cross, Deva Hirsch, Valerie L. Holmes, James F. Lock III, Ceasar C. Mitchell Jr., Aisha Moody, Shawn Pacely, Elijah Brown, Dantes Rameau, John Sparrow, Mick Brons, Jaylen Mize
ATLANTA MUSIC PROJECT STAFF
Aisha Moody, Co-Founder & Chief Program Officer
Amber Taylor, Associate Director of AMP Academy
Breanna Johnson, Director of Choral Programs
Dantes Rameau, Co-Founder & Chief Executive Officer
D’Laney Bowry, Development & Grants Manager
Durand Bailey, Senior Director of Operations
Jack W. Wagner, Director of Grants
Jessica Stinson, Music Career Advisor
José L. Morales, Marketing & Graphic Design Associate
Lauren Jones, Program Operations Associate
Lauren Spence, Executive Assistant to the Chief Executive Officer
Liesl McWhorter, Youth Orchestras Program Manager
Lydia Falcon, After-School Programs Associate
Michael Crawford, Facilities Manager
Miriam Huppert, Director of College & Career Services
Monicia Banks, Van driver
Nassareen Rahman, Van Driver
Ron Pace, Finance Manager
