AT L A N TA SY M P H O N Y O R C H E S T R A
JANUARY 2026
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JA N UA RY
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I N T R O D U C T I O N S In Tune. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Music Director.. . . . . . . . . . . . . . . . . . . . . 5 ASO Musicians. . . . . . . . . . . . . . . . . . . . . 6 ASO Leadership. . . . . . . . . . . . . . . . . . . . 8 ASO's Celebration of American Music Charts the Country's Musical History and the Path Forward.. . . . . . 10 N OT E S
O N
T H E
P R O G R A M
Written by Noel Morris
January 4/6 . . . . . . . . . . . . . . . . . . . . . . 14 January 15/16. . . . . . . . . . . . . . . . . . . . . 20 January 22/24. . . . . . . . . . . . . . . . . . . . 26 January 29/31. . . . . . . . . . . . . . . . . . . . . 36 D E PA R T M E N T S
ASO's Celebration of American Music Charts the Country's Musical History and the Path Forward By Jon Ross
ASO Support. . . . . . . . . . . . . . . . . . . . . . 46 Henry Sopkin Circle. . . . . . . . . . . . . . . . 51 ASO Staff. . . . . . . . . . . . . . . . . . . . . . . . . 52 The Woodruff Circle. . . . . . . . . . . . . . . 55 Experience Atlanta, Experience Woodruff. . . . . . . . . . . . . . . . . . . . . . . 56
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
2 | encore ASO | IN TUNE
Happy New Year! We are grateful to each of you for attending this performance of the Atlanta Symphony Orchestra. Whether this is your first ASO performance or if you are a long-time subscriber, it gives us great joy to be able to go on this musical journey with you.
TODD HALL
DEAR FRIENDS,
We’re excited to begin the new year with our crowd-favorite tradition, Vivaldi’s Four Seasons with our Concertmaster, David Coucheron, in the spotlight leading his colleagues and playing this beloved concerto. This month also brings a program led by our Music Director Nathalie Stutzmann, highlighting the music of Franz Schubert, featuring his Second Mass with the ASO Chamber Chorus, and his Ninth Symphony, nicknamed the “Great”—one of the great landmarks of the symphonic repertoire. Nathalie has unique insight into Schubert’s work and style, having sung his famous Lieder extensively throughout her storied career as a mezzo-soprano. Her conception of his “Great” symphony is both intriguing and strongly influenced by his song cycles. We’re in for a great journey. Starting January 22, we begin our America @ 250 focus, a series of concerts celebrating our nation’s anniversary. These concerts include works by Duke Ellington (his Three Black Kings, a tribute to Dr. Martin Luther King, Jr.— an ASO premiere), Aaron Copland, Leonard Bernstein, Artie Shaw, Valerie Coleman, Barber’s Violin Concerto featuring the charismatic Randall Goosby, and the distinguished American conductor Leonard Slatkin. I hope you’ll join us. Your commitment provides a foundation for all that we do, making it possible for us to tackle ambitious projects. Soon we will be announcing the 2026-27 season, and we hope you’ll join us by renewing you subscription or becoming a subscriber. The musical journey continues, and we hope you’ll come along for the ride. With gratitude,
Jennifer Barlament, Executive Director
Stutzmann Conducts Schubert’s Great Symphony
+ Atlanta Symphony Orchestra Chamber Chorus
Duke Ellington and Elgar’s Enigma Variations + Shostakovich’s Second Piano Concerto
America @ 250: Copland + Barber
+ Randall Goosby performing Barber’s Violin Concerto
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ASO | NATHALIE STUTZMANN Nathalie Stutzmann is the Music Director of the Atlanta Symphony Orchestra and the second woman in history to lead a major American orchestra. She was Principal Guest Conductor of The Philadelphia Orchestra from 2021-2024. Nathalie’s 2025-26 season includes major debuts with the Symphonieorchester des Bayerischen Rundfunks, Staatskapelle Berlin, and Royal Concertgebouw Orchestra. She also returns to conduct the London Symphony Orchestra, Swedish Radio Symphony Orchestra, and Oslo Philharmonic. Named Best Conductor of the Year at the 2024 Oper! Awards, she earned acclaim for Wagner’s Tannhäuser at the Bayreuth Festival in 2023 and 2024, with Frankfurter Allgemeine Zeitung praising her as “a genius who makes music irresistible.” In 2026, she returns for the festival’s 150th anniversary with a new production of Rienzi, and debuts at the Bayerische Staatsoper conducting Faust. She also opens the 2025–26 season at Dutch National Opera with Tosca. An exclusive recording artist with Warner Classics/Erato, Nathalie’s first symphonic release with the Atlanta Symphony— Dvořák’s Symphony No. 9 and American Suite— earned her cover recognition from Gramophone magazine. The album was highlighted by The New York Times as one of “5 Classical Music Albums You Can Listen to Right Now,” and received OPUS Klassik nominations for Best Conductor and Best Symphonic Recording of the Year. This followed her 2023 OPUS Klassik MUSIC DIRECTOR'S CORNER win for Concerto Recording of The Year, for her album featuring the Glière and Recently, Nathalie extended Mosolov harp concertos with Xavier de her contract as Music Director Maistre and the WDR Sinfonieorchester. of the Atlanta Symphony In 2022, she released the complete Orchestra through 2029, sharing Beethoven piano concertos with “Together we will keep pushing Haochen Zhang and The Philadelphia artistic boundaries, bringing Orchestra, which Gramophone hailed as fresh energy to the great major “a brilliant collaboration”. repertoire, and sharing the spirit Nathalie started her studies at a young of Atlanta through our music." age in piano, bassoon, and cello, and Stutzmann recently was guest studied conducting with legendary conductor at the Staatskapelle Finnish teacher Jorma Panula. As one of Berlin and Symphonieorchester the world’s most celebrated contraltos, des Bayerischen Rundfunks, she has made over 80 recordings conducting Wagner, Strauss and and received numerous international Mozart. This season, Stutzmann accolades. Named “Chevalier de la Le has also led the Dutch National gion d’Honneur” and “Commandeur Opera in a production of Tosca dans l’Ordre des Arts et des Lettres” by and Carmen and was recently the French government, she is also an appointed an Honorary Member Honorary Member of the Royal Academy of the Royal Academy of Music. of Music.
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Nathalie Stutzmann
2025/26 Musician Roster
music director
FIRST VIOLIN
SECOND VIOLIN
CELLO
David Coucheron
Anastasia Agapova
concertmaster
principal
Daniel Laufer acting / associate principal
The Mr. & Mrs. Howard R. Peevy Chair
The Atlanta Symphony Associates Chair
The Miriam & John Conant Chair
Justin Bruns*
Sou-Chun Su
acting associate / assistant
associate concertmaster
associate principal
principal
The Charles McKenzie Taylor Chair
The Frances Cheney Boggs Chair
The Livingston Foundation Chair
Lauren Roth-Gómez acting associate / assistant
Jay Christy
Thomas Carpenter
assistant principal
concertmaster
Rachel Ostler*
Joel Dallow
Jun-Ching Lin*
The Robert Reid Topping Chair
Karen Freer
The UPS Foundation Chair
Robert Anemone
Ray Kim
Noriko Konno Clift
Isabel Kwon
assistant concertmaster
Paolo Dara
Nathan Mo
Kevin Chen
David Dillard
Brad Ritchie
Paul Halberstadt
Charles Zandieh
The Wells Fargo Chair
Eun Young Jung
Juan R. Ramírez Hernández
Eleanor Kosek
BASS
Kelly Kanai
Julia Su
John Meisner
Yaxin Tan
assistant concertmaster
Ruoying Pan
Carolyn Toll Hancock
Christopher Pulgram Olga Shpitko Kenn Wagner Lisa Wiedman Yancich Jin Wook Suk Sissi Yuqing Zhang SECTION VIOLIN ‡ Judith Cox Raymond Leung The Carolyn McClatchey Chair
VIOLA
Joseph McFadden principal
The Marcia & John Donnell Chair
Gloria Jones Allgood associate principal
Zhenwei Shi*
The Lucy R. & Gary Lee Jr. Chair
principal
Karl Fenner
The Edus H. & Harriet H. Warren Chair
Catherine Lynn
acting principal / assistant
Michael Kurth The Jane Little Chair
Jungsu Lee
principal
Nicholas Scholefield
Paul Murphy
Daniel Tosky
associate principal
The Mary & Lawrence Gellerstedt Chair
Marian Kent
FLUTE Christina Smith principal
Yiyin Li
The Jill Hertz Chair The Mabel Dorn Reeder Honorary Chair
Lachlan McBane
Robert Cronin
Patrick Miller
associate principal
Yang-Yoon Kim
Jessica Oudin Madeline Sharp
C. Todd Skitch second flute
Gina Hughes piccolo / flute
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William R. Langley resident conductor &
atlanta symphony youth
Norman Mackenzie
Finan Jones
director of choruses
assistant conductor
The Frannie & Bill Graves Chair
orchestra music director
The Zeist Foundation Chair
OBOE
HORN
TIMPANI
Elizabeth Koch Tiscione
Ryan Little
Jake Darnell
principal
principal
principal
The George M. & Corrie Hoyt Brown Chair
The Betty Sands Fuller Chair
Zachary Boeding
Andrew Burhans
Michael Stubbart acting principal / assistant
associate principal
principal
Kimberly Gilman
The Walter H. Bunzl Chair
second horn
PERCUSSION
associate principal
The Kendeda Fund Chair
William Dunlop second oboe
Emily Brebach english horn / oboe CLARINET Jesse McCandless principal
The Robert Shaw Chair
Iván Valbuena second clarinet
Alcides Rodriguez
acting associate principal / e - flat
BASSOON Cameron Bonner principal
The Abraham J. & Phyllis Katz Foundation Chair
Anthony Georgeson associate principal
Laura Najarian second bassoon
Juan de Gomar contrabassoon / bassoon
Reese Farnell third horn
Scott Sanders fourth horn
Joseph Petrasek principal
The Julie & Arthur Montgomery Chair
TRUMPET
Michael Jarrett
Michael Tiscione acting / associate principal
The William A. Schwartz Chair
assistant principal
The Madeline & Howell Adams Chair Michael Stubbart The Connie & Merrell Mark Maliniak Calhoun Chair acting associate principal
William Cooper second trumpet
TROMBONE
HARP Elisabeth Remy Johnson principal
The Sally & Carl Gable Chair
Nathan Zgonc acting / associate principal
KEYBOARD
The Terence L. Neal Chair, Honoring his dedication & service to the Atlanta Symphony Orchestra
The Hugh & Jessie Hodgson Memorial Chair
Sharon Berenson †
The Home Depot Veterans Chair
LIBRARY
Jason Patrick Robins second trombone
TUBA Michael Moore principal
The Delta Air Lines Chair
Emma Luty principal
The Marianna & Solon Patterson Chair
Sara Baguyos associate principal
James Nelson GUEST CONDUCTOR Neil and Sue Williams Chair
Players in rotating sections are listed alphabetically. ‡ Rotates between sections | * Leave of absence | † Regularly engaged musician
8 | encore ASO | LEADERSHIP | 2025/26 Board of Directors OFFICERS Angela Evans
Joia Johnson
Janine Brown
chair
treasurer
vice chair
Patrick Viguerie
Galen Oelkers
Lynn Eden
immediate past chair
secretary
vice chair
DIRECTORS Phyllis Abramson
Angela Evans
Grace Lee, M.D.
V Scott
Keith Adams
Craig Frankel
Sukai Liu
Charles Sharbaugh
Juliet M. Allan
Sally Bogle Gable
Kevin Lyman
Gayle Sheppard
Susan Antinori
Anne Game
Deborah Marlowe
Fahim Siddiqui
Rona Gomel Ashe
Rod Garcia-Escudero
Arthur Mills IV
W. Ross Singletary, II
Andrew Bailey
Sally Frost George
Molly Minnear
John Sparrow
Jennifer Barlament*
Robert Glustrom
Hala Moddelmog*
Elliott Tapp
Keith Barnett
Julie Goosman
Caroline Moïse
Yannik Thomas
Paul Blackney
Bonnie B. Harris
Anne Morgan
Maria Todorova
Janine Brown
Charles Harrison
Terence L. Neal
Ben Touchette
Betsy Camp
Tad Hutcheson, Jr.
Galen Lee Oelkers
Benny Varzi
Lisa Chang
Roya Irvani
Dr. John Paddock
S. Patrick Viguerie
Susan Clare
Joia M. Johnson
Margie Painter
Kathy Waller
Russell Currey
Raymond Kotwicki, M.D., M.P.H.
Cathleen Quigley
Chris Webber
Doug Reid
Richard S. White, Jr.
Carlos del Rio, M.D. FIDSA
Carrie Kurlander
James Rubright
Mack Wilbourn
Scott Lampert
Ravi Saligram
Lisa DiFrancesco, M.D.
James H. Landon
William Schultz
Kevin E. Woods, M.D., M.P.H.
Lynn Eden
Daniel Laufer*
June Scott
Yelena Epova
Donna Lee
Sheila Lee Davies
BOARD OF COUNSELORS Neil Berman
Dona Humphreys
Howard D. Palefsky
Michael W. Trapp
Benjamin Q. Brunt
Aaron J. Johnson, Jr.
Patricia H. Reid
Ray Uttenhove
John W. Cooledge, M.D. James F. Kelley
Joyce Schwob
Chilton Varner
John R. Donnell, Jr.
Patricia Leake
John A Sibley, III
Adair M. White
Jere A. Drummond
Karole F. Lloyd
H. Hamilton Smith
Sue Sigmon Williams
Carla Fackler
Meghan H. Magruder
G. Kimbrough Taylor, Jr.
Charles B. Ginden
Shelley McGehee
John T. Glover
Penelope McPhee
Valerie Thadhani, M.D.
LIFE DIRECTORS Howell E. Adams, Jr.
Connie Calhoun
Azira G. Hill
John B. White, Jr. * Ex-Officio Board Member ^ On Sabbatical
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Ben F. Johnson, III
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The Atlanta Symphony Orchestra Advisory Council is a group of passionate and engaged individuals who act as both ambassadors & resources for the ASO Board and staff. The Atlanta Symphony Orchestra extends heartfelt gratitude to the members listed on this page. 2025/26 CHAIRS Jane Morrison advisory council chair
Justin Im internal connections task force co-chair Robert Lewis, Jr. internal connections task force co-chair Kristi Stathopolous internal connections task force co-chair
Jane Blount patron experience task force co-chair
Frances A. Root patron experience task force co-chair
Tiffany Rosetti community connections
& education task force co-chair Otis Threatt community connections
& education task force co-chair MEMBERS Dr. Marshall & Stephanie Abes Krystal Ahn Kristi & Aadu Allpere Logan Anderson & Ian Morey Evelyn Babey Asad & Sakina Bashey Meredith W. Bell John Blatz Jane Blount Carol Brantley & David Webster
Johanna Brookner Mrs. Amy B. Cheng & Dr. Chad A. Hume, Ph.D Kate Cook DePorres & Barbara Cormier Daniel P. Debonis Donald & Barbara Defoe Paul & Susan Dimmick Bernadette Drankoski John & Catherine Fare Dyer Jerry H. Evans Mary Ann Flinn Bruce & Avery Flower Karen Foster Annie Frazer John D. Fuller Alex Garcias Dr. Paul Gilreath Nadeen Green Greg Heathcock & Cesar Moreno Elizabeth Hendrick Mia Frieder Hilley Caroline Hofland Justin Im Dr. Lillian Ivansco Frank & Janice Johnston Baxter Jones & Jiong Yan Lana Jordan Jennifer B. Kahnweiler Rosthema Kastin Andrea Kauffman Alfred D. Kennedy & Bill Kenny
Brian & Ann Kimsey Jason & Michelle Kroh Jeff & Pam Kuester Van & Elizabeth Lear Dr. Fulton Lewis III & Mr. Neal Rhoney Robert Lewis, Jr. Jonathan Lively Eunice Luke Catherine & Bill Lundstrom Thomas Mabry Erin Marshall Alfredo Martin Belinda Massafra Catherine Massey Doug & Kathrin Mattox Ed & Linda McGinn Suneel Mendiratta Keyeriah Miles Berthe & Shapour Mobasser Bert Mobley Sue Morgan Bill Morrison & Beth Clark-Morrison Jane Morrison Gary Noble Regina Olchowski Bethani Oppenheimer Joseph Owen, Jr. Ralph & Suzanne Paulk Ann & Fay Pearce Jonathan & Lori Peterson Dr. John B. Pugh Eliza Quigley
Joseph Rapanotti Leonard Reed Dr. Jay & Kimberley Rhee Vicki Riedel Felicia Rives David Rock Frances A. Root Maurice & Tricia Rosenbaum Tiffany & Rich Rosetti Noelle Ross Thomas & Lynne Saylor Beverly & Milton Shlapak Suzanne Shull Baker Smith Cindy Smith Janice Smith Victoria Smith Peter & Kristi Stathopoulos Tom & Ani Steele Deann Stevens Beth & Edward Sugarman Stephen & Sonia Swartz George & Amy Taylor Bob & Dede Thompson Otis Threatt Jr. Roxanne Varzi Robert & Amy Vassey Juliana Vincenzino Emily C. Ward Dr. Nanette K. Wenger
Kiki Wilson
Camille Yow
For more information about becoming an Advisory Council member, please contact Beth Freeman at beth.freeman@atlantasymphony.org or 404.733.4532.
ASO’s celebration of American music charts the country’s musical history and the path forward By Jon Ross
Learn more about the America @ 250 series at aso.org/america250
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hink of a stereotypical American piece of classical music. What do you hear? There might be a bit of jazz, a sprinkling of gospel or perhaps an Appalachian folk melody. Perhaps you’re thinking of a tonal composition filled with innovative rhythms. Odds are that there’s a tunefulness to the music, a complete earworm of a melody. That’s what Music Director Laureate Robert Spano imagines when he thinks of American classical music: a melting pot of sounds, an aural tapestry that incorporates the soundscapes of the country. American classical music contains multitudes. Spano returns to Symphony Hall at the end of April for two concerts celebrating this diverse American sound, presenting programs centered on Leonard Bernstein’s first two symphonies. It’s all part of the Atlanta Symphony Orchestra’s America @ 250 celebration. Starting in late January, the ASO will spotlight six American programs in celebration of the 250th anniversary of the Declaration of Independence. During that span, five guest conductors, including former ASO Resident Conductor Jerry Hou, take the Symphony Hall stage. The mini festival contains new works, including ASO commissions by Valerie Coleman and Rapido! winner Nicky Sohn, and compositions by jazz luminaries; the orchestra will present Duke Ellington’s “Three Black Kings” and Artie Shaw’s clarinet concerto. And a lot of Bernstein (conductor Teddy Abrams, in his ASO debut, leads the orchestra in Symphonic Dances from West Side Story.) Is Bernstein a synecdoche for American classical music? “No … but yes,” Spano said before highlighting what makes Bernstein’s symphonies sound American: a jazz trio section near the end of the second movement of his second symphony; his use of vernacular American music in a symphonic setting; and the mixed meter section, which creates “rhythmic vitality,” in the second movement of the Jeremiah symphony. “Both pieces are absolute masterpieces that show that his compositional prowess was all the more impressive for being able to operate in so many arenas,” Spano said. West Side Story is one of the greatest shows ever … and here are two pretty substantial and profound symphonic statements from the same composer.” Bernstein was popular in his day, of course, but Spano noted that contemporary orchestral programs have been highlighting his work
12 | encore more and more. That might be due to a broadening of American music, an opening up beyond the serialism and chance works that seemed to define American music decades ago. This movement toward tonality mirrors the direction Spano has taken when programming American composers in Atlanta and elsewhere, including the cohort of musicians he gathered together during his time leading the ASO. “I think certainly the generation of Atlanta School composers that we were featuring over a couple of decades reflects an aesthetic opening, that everything became viable,” he said. The school became Spano’s way of purposefully championing new music and composers from the United States, a legacy passed to him from former music director Robert Shaw. But is the 250th anniversary of the United States a time for reflection, of taking stock of American musical history, or is it a chance to celebrate the possibilities to come? For his part, Gaetan Le Divelec, the ASO’s Vice President of Artistic Planning, has been thinking about incorporating more American music into the orchestra’s programming since before his 2022 arrival in Atlanta. “My feeling was that the United States as a whole, as a culture, was struggling with recognizing and celebrating its own musical heritage,” he said. “I came into this role thinking I want to try and change this, to get to a point where an American orchestra is a little bit less obsessed with European musical heritage and a little more focused on defining what is American classical music.” Le Divelec said he thinks historically it has been difficult to generate enthusiasm about American classical music. Through the America @ 250 celebration, and increased American programming next season, he hopes to change that perspective. For him, it’s also about broadening the perceived definition of American music, breaking out of the two or three instantly recognizable composers and welcoming new, or unheralded, voices. “There are some great classics that we need to celebrate, but we also need to make space for those strands of American culture that are not so readily recognized in classical music,” he said. “I think it’s important for anyone who is in a position of programming for a U.S. classical music organization. That needs to be part of the goal, to try to put American music heritage more at the forefront.”
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We are deeply grateful to the following leadership donors whose generous support has made the Atlanta Symphony Orchestra's season possible.
14 | january4/6 The 4,178th and 4,179th concerts of the Atlanta Symphony Orchestra Sunday, January 4, 2026, 3pm Tuesday, January 6, 2026, 8pm Atlanta Symphony Hall DAVID COUCHERON, violin + director
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
PETER WARLOCK (1894-1930) Capriol Suite for String Orchestra (1926) I. Basse-Danse II. Pavane III. Tordion IV. Bransles V. Pieds-en-l'air VI. Mattachins
11 MINS
WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. 25 in G minor, K. 183 (173dB) (1773) 24 MINS I. Allegro con brio II. Andante III. Menuetto IV. Allegro INTERMISSION
20 MINS
ANTONIO VIVALDI (1678-1748) Le quattro stagioni for Violin and Orchestra, Op. 8 (The Four Seasons) (P 1725) 37 MINS I. Concerto in E major, RV 269, “La primavera” (Spring) Allegro Largo Allegro II. Concerto in G minor, RV 315, “L’estate” (Summer) Allegro Adagio Presto III. Concerto in F major, RV 293, “L’autunno” (Autumn) Allegro Adagio Allegro IV. Concerto in F minor, RV 297, “L’inverno” (Winter) Allegro Largo Allegro
notesontheprogram | 15 by Noel Morris Program Annotator
Notes to Know • Peter Warlock is a pen name reflecting the composer’s fascination with the occult. At age 36, he died of coal gas poisoning under suspicious circumstances. • In general, Wolfgang Mozart’s early symphonies were studies and pastiches of other composers’ music. The Symphony No. 25, written when he was 17, is a window into the mind of a great composer coming into his own. • The Vivaldi revival began in 1926 with the discovery of a trunk of music at a boarding school in Italy’s Piedmont region. WARLOCK Capriol Suite
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n 1600, the French cleric Jehan Tabourot rebelled against prudish Protestants and published a manual on the joys of dancing. Written as a dialogue, the teacher Arbeau counsels the youth Capriol about his anxieties about dancing with a girl (note: the teacher’s name, Thoinot Arbeau, is an anagram of Jehan Tabourot). The manual serves as a Rosetta Stone of Renaissance dance, explaining traditions that appear in art and literature while preserving forty-seven choreographies with their respective dance tunes. At the same time, Tabourot’s Orchésographie is a good read, filled with witticisms about the birds and the bees.
This is the first ASO performance.
In 1926, the English composer Philip Heseltine, a.k.a. Peter Warlock, arranged six of the dance tunes for two pianos, juxtaposing Renaissance melodies with contemporary harmonies and instruments. He orchestrated the suite in 1928. MOZART Symphony No. 25
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hrough the 1760s, news of a child prodigy named Mozart spread far and wide. The boy’s abilities exceeded those of most adults, both as a player and an improviser. His recall was staggering. But his greatness as a composer took more time to germinate. He spent much of his childhood on the road before settling into his hometown of Salzburg. For about four years, the
First ASO performance: January 5, 1972 Julius Rudel, conductor Most recent ASO performance: November 7, 2010 Michael Palmer, conductor
16 | encore teen Mozart lived and worked as a court musician. No longer a child who absorbed and imitated styles in farflung locations, the voice of a genius emerged. Mozart wrote his Symphony No. 25 in G minor in October 1773 at age 17, possibly in answer to a series of Haydn symphonies that culture-watchers had labeled “Sturm und Drang” (from a play by Friedrich Maximilian von Klinger). The “Storm and Stress” movement offered emotional extremes as a foil to the measured, almost Vulcan-like logic of Enlightenment art. In that context, minor-key-Mozart is as rare as it is tasty. In fact, of his forty-one numbered symphonies, only two are in a minor key.
INSIDE THE SCORE At 17, young Mozart added a pair of horns to the standard orchestra to give more weight to the texture of his Symphony No. 25. Written before the advent of valved horns, which allow a player to perform a more even-sounding chromatic scale, Mozart’s score calls for pairs of horns in B-flat and G, giving him access to more notes.
First ASO performance: March 11, 1987 Iona Brown, violin and director Most recent ASO performance: March 11, 2025 David Coucheron, violin and director
VIVALDI The Four Seasons
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ntonio Vivaldi was an ordained priest who worked as a schoolteacher, a touring opera composer, and a theater director. During his lifetime, he achieved fame and fortune, yet died a pauper and a stranger in a foreign land. 19th-century musicians almost forgot him, allowing gaps to ossify in what we know about his life, including the composition of his most famous piece, The Four Seasons.
In 1703, Vivaldi became a master of the violin at Ospedale della Pieta, a school for foundling girls. Because many of the students were illegitimate daughters of the nobility, the school had ample funding, giving Vivaldi all the resources needed for an excellent orchestra. Over his lifetime, he produced some 500 concertos, many written for the girls to play.
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With The Four Seasons, Antonio Vivaldi did something that would become popular a hundred years after his death: he used instrumental music to tell a story. The 1725 publication includes a sonnet for each concerto, which Vivaldi paints with the sounds of the instruments, including birdsong, bitter winds, and a drunken bacchanal. Some editions of The Four Seasons credit Vivaldi as the author of the sonnets; however, this is unverified. The Four Seasons Sonnets attributed to Antonio Vivaldi SPRING Allegro Spring has arrived, and joyfully the birds greet her with glad song, while at Zephyr’s breath the streams flow forth with a sweet murmur. Her chosen heralds, thunder and lightning, come to envelop the air in a black cloak; once they have fallen silent, the little birds return anew to their melodious incantation. Largo Then, on the pleasant, flower-bedecked meadow, to the happy murmur of fronds and plants, the goatherd sleeps next to his trusty dog. Allegro To the festive sound of rustic bagpipes nymphs and shepherds dance beneath the beloved sky at the glorious appearance of spring. SUMMER Allegro In a harsh season burned by the sun, man and flock languish, and the pine tree is scorched; the cuckoo unleashes its voice, and soon we hear the songs of the turtledove and the goldfinch. Sweet Zephyr blows, but Boreas suddenly opens a dispute with his neighbor; and the shepherd laments his fate for he fears a fierce squall is coming.
18 | encore Adagio His weary limbs are robbed of rest by his fear of fierce thunder and lightning and by the furious swarm of flies and blowflies. Presto Alas, his fears are only too real: the sky fills with thunder and lightning, and hailstones hew off the heads of proud cornstalks. AUTUMN Allegro The countryman celebrates with dance and song the sweet pleasure of a good harvest, and many, fired by the liquor of Bacchus, end their enjoyment by falling asleep. Adagio Everyone is made to abandon singing and dancing by the temperate air, which gives pleasure, and by the season, which invites so many to enjoy the sweetness of sleep. Allegro The huntsmen come out at the crack of dawn with their horns, guns and hounds; the quarry flees and they track it; already terrified and tired out by the great noise of the guns and hounds, the wounded beast makes a feeble effort to flee but dies in agony. WINTER Allegro To shiver, frozen, amid icy snow in the bitter blast of a horrible wind; to run, constantly stamping one’s feet; and to feel one’s teeth chatter on account of the excessive cold; Largo To spend restful, happy days at the fireside while the rain outside drenches a good hundred [people]; Allegro To walk on the ice, and with slow steps to move about cautiously for fear of falling; to go fast, to slip and fall down; to go on the ice again and run fast until the ice cracks and opens up;
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to hear coming out of the iron gates Sirocco, Boreas and all the winds at war: that’s winter, but of a kind to gladden one’s heart. DAVID COUCHERON, violin + director avid Coucheron joined the Atlanta Symphony Orchestra as Concertmaster in September 2010. At the time, he was the youngest concertmaster in any major U.S. orchestra. He has performed as soloist with the BBC Symphony Orchestra, Bergen Philharmonic Orchestra, Sendai Symphony Orchestra, Oslo Philharmonic Orchestra and the Trondheim Symphony Orchestra.
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Coucheron has given solo recitals at Carnegie Hall, Wigmore Hall, the Kennedy Center and the Olympic Winter Games (Salt Lake City, Utah), as well as in Chile, China, Hong Kong, Japan, Serbia, Singapore and Shanghai. His chamber music performances have included appearances at Suntory Hall, Wigmore Hall and Alice Tully Hall. Coucheron serves as the Artistic Director for the Kon Tiki Chamber Music Festival in his hometown of Oslo, Norway. He is on the artist-faculty for the Aspen Music Festival and Brevard Music Festival. An active recording artist, recordings with sister and pianist Julie Coucheron include “David and Julie” (Naxos/Mudi) and “Debut” (Naxos). He is the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan Williams’ The Lark Ascending, which was released in Fall 2014. Coucheron began playing the violin at age three. He earned his Bachelor of Music degree from The Curtis Institute of Music, his Master of Music from The Juilliard School and his Master of Musical Performance from the Guildhall School of Music and Drama, studying with teachers Igor Ozim, Aaron Rosand, Lewis Kaplan and David Takeno. Coucheron plays a 1725 Stradivarius, on kind loan from Anders Sveaas Charitable Trust.
20 | january15/16 The 4,180th and 4,181st concerts of the Atlanta Symphony Orchestra Thursday, January 15, 2026 at 8:00 PM Friday, January 16, 2026 at 8:00 PM Atlanta Symphony Hall NATHALIE STUTZMANN, conductor ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS NORMAN MACKENZIE, Director of Choruses
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
FRANZ SCHUBERT (1797-1828) Ballet No. 2 from Rosamunde, D. 797 (1823) 7 MINS Mass No. 2 in G major, D. 167 (1815) 22 MINS I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Agnus Dei Juliana Bolaño, soprano LaRue Bowman, tenor Christopher Briggs Rodriguez, baritone ASO Chamber Chorus INTERMISSION FRANZ SCHUBERT (1797-1828) Symphony No. 9 in C major, D. 944 (“The Great”) (1825-1828) I. Andante. Allegro, ma non troppo II. Andante con moto III. Scherzo: Allegro vivace IV. Allegro vivace
20 MINS
52 MINS
Thursday’s concert is dedicated to A FRIEND OF THE SYMPHONY in honor of their generous support of the 2024/25 Annual Fund. Friday’s concert is dedicated to DR. CARLOS DEL RIO AND DR. JEANNETTE GUARNER in honor of their generous support of the 2024/25 Annual Fund. This week's concerts were made possible in part by a grant from the BARNEY M. FRANKLIN AND HUGH W. BURKE CHARITABLE FUND.
notesontheprogram | 21 by Noel Morris Program Annotator
Notes to Know • Franz Schubert started his career at 11 with the Vienna Boys’ Choir, where he sang for his supper (and his schooling). • Schubert’s Mass No. 2, written at age 18, comes from the “miracle year,” 1815, when the composer wrote more than 20,000 bars of music. • Due to the sometimes confusing business of musical scholarship, orchestras list Schubert’s “Great” C major Symphony as his ninth symphony, although the “seventh” doesn’t exist. SCHUBERT Rosamunde
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n the spring of 1822, two of the all-time greatest composers of vocal music both inhabited Vienna. It seemed the whole city had caught “Rossini fever,” a reference to the visiting Italian Gioachino Rossini. The other pre-eminent composer of vocal music was a native son, Franz Schubert. He wasn’t a complete unknown, and he’d written an extraordinary body of music, including hundreds of art songs, but could not get a foothold in the opera house.
This is the first ASO
performance. Opera was the gold standard in the Austrian capital. While Rossini basked in the glitter of dinners and receptions, Schubert remained penniless. Living off the charity of friends, he struggled to produce a hit show, cranking out more than a dozen operas and operettas— only to tank at the box office. His songs and choral works are sublime, but his operatic writing couldn’t overcome the weakness of their librettos.
In the fall of 1823, a friend asked him to write incidental music to a play called Rosamunde, Princess of Cyprus. In less than two months, he served up one of his most charming scores. The suite includes three entr’actes, two ballet tunes, a romance for contralto, and three choruses. He pinched the overture from one of his operas, one that had been rejected by the Vienna Court Opera (Alfonso und Estrella from 1822). Oddly, it is not the overture we associate with Rosamunde today.
22 | encore The overture as we know it originated in Schubert’s incidental music for the melodrama Die Zauberharfe (The Magic Harp). The play flopped, but attendees gushed about the overture. In 1855, a publisher gave the overture its “forever home” in the Rosamunde suite. The play Rosamunde opened on December 20, 1823. It was one of two shows debuting that season by Helmina von Chézy; the second was Weber’s opera Euryanthe (she wrote the libretto). In both cases, local critics savaged Chézy's scripts. Rosamunde closed after two performances. First ASO performance: March 27, 1958
SCHUBERT Mass No. 2
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ranz Schubert wrote a mind-boggling amount of music: masses, cantatas, symphonies, operas, conductor dozens of chamber works, and more than 600 songs— Most recent ASO and he only lived to the age of 31. As a youth, he enjoyed performance: a career as a chorister with the famed Vienna Boys’ December 20, 1988 Choir, receiving schooling, music lessons, meals, and a Robert Shaw, roof over his head. He also formed lifelong friendships conductor with boys from prominent families. After his voice changed, Schubert lost interest in school and moved back home, working for a time at the school where his father taught. Against his dad’s wishes, Schubert quit that job to become a full-time composer, and Papa booted him out. Henry Sopkin,
Without missing a beat, young Franz fell into society with his old classmates: poets, writers, musicians, and intellectuals. His friends kept him afloat, sustaining his short life by lending him a piano and a quiet room to work. By night, the unhoused composer and friends haunted the cafes of Vienna. By day, he wrote music. Well-versed in the requirements of a church service, the 18-year-old Schubert wrote his Mass No. 2 in just six days in 1815. Schubert’s G Major Mass met the requirements of his parish in the (then) Viennese suburb of Lichtental. Considered a Missa brevis (short mass), it compresses the Catholic Mass into a more compact setting. The modest orchestration for organ and strings complemented the available players at the church. In later performances, Schubert added trumpets and timpani.
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SCHUBERT C Major Symphony
First ASO performance:
I
February 27, 1969
n 1828, the composer Robert Schumann wrote in his diary, “Schubert is dead—dismay and confusion.”
Eleven years later, he knocked on the door of the Viennese organist Ferdinand Schubert, the younger brother of the composer. Together, the two men thumbed through a pile of music manuscripts. Much to Schumann’s astonishment, he uncovered a handwritten score to an entire symphony, a massive four-movement work in the key of C Major, utterly unknown to the world.
Michael Zearott, conductor Most recent ASO performance: February 20, 2010 Roberto Abbado, conductor
Schumann persuaded Ferdinand to let him take the C Major Symphony and pitch it to his publisher, Breitkopf & Härtel. Then Schumann handed the piece to Felix Mendelssohn, who conducted its premiere in Leipzig. That concert led to a renewed interest in Schubert’s music and kicked off a hunt for his manuscripts, many of which turned up with Schubert’s friends. At varying times, Robert Schumann’s discovery has been called Schubert’s Seventh, Eighth, and Ninth Symphony. Lately, we’ve settled on calling it the Ninth, which leaves a gap for number seven. The mix-up dates back to the summer of 1825, when Schubert took a four-month walking tour with baritone Johann Michael Vogl. Together, they traveled through Upper Austria to Salzburg and landed in the spa town of Gastein, a fairytale-like village of ornamented buildings hugged by jagged alpine cliffs. There, Schubert wrote a symphony in C Major. He was proud of his new symphony and shopped it around to different publishers. In 1828, he turned to the score once more and wrote “March 1828” on the title page. This caused early Schubert scholars to conclude that the 1825 Gastein symphony and the C Major Symphony were two different works. In reality, analysis of the paper confirmed the score was with him in 1825. In 1826, Schubert presented his C Major Symphony to the Society of Friends of Music in Vienna. The next performance would have to wait until 1840.
24 | encore NORMAN MACKENZIE, Director of Choruses
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orman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Chorus for the Atlanta Symphony Orchestra (ASO) since 2000, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw. During his tenure, the Chorus has made numerous tours and garnered several Grammy® awards, including Best Classical Album and Best Choral Performance. At the ASO, he prepares the Choruses for all concerts and recordings, works closely with Nathalie Stutzmann on the commissioning and realization of new choral-orchestral works and conducts holiday concerts. In his 14-year association with Mr. Shaw, he was keyboardist for the ASO, 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. He 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. ATLANTA SYMPHONY ORCHESTRA CHAMBER CHORUS
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cclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Orchestra Chamber Chorus has been an important part of the orchestra’s programming since its founding by the late Robert Shaw. The Chamber Chorus, which debuted on December 14, 1967, is composed of 40-60 volunteers selected by audition from the ranks of the ASO Chorus, who meet for extra rehearsals and perform with the ASO each season. The Chamber Chorus performs music of the Baroque and Classical eras, as well as works by modern masters such as Golijov, Tavener, Pärt, Paulus, Theofanidis and Britten. Highlights of the ASO Chamber Chorus’s history include a residency with the ASO and Robert Spano for California’s Ojai Festival, participation with the ASO in recordings of masterworks by Bach, Golijov,
meettheartists | 25
Handel, Haydn, Mozart, Schubert, Vivaldi and a 2005 a cappella recording that features the Vaughan Williams Mass under Norman Mackenzie. Their Carnegie Hall appearances include performances of Bach’s B Minor Mass, Rachmaninoff Vespers, Stravinsky’s Nightingale and Mozart’s Requiem. Norman Mackenzie Marcia Chandler
Dock Anderson
CHORUS ADMINISTRATOR
SERIES ACCOMPANIST
SOPRANO Juliana Bolaño Hanan Davis Khadijah Davis Liz Dean * Megan Littlepage Arietha Lockhart ** Mindy Margolis +* Joneen Padgett +* Mary Martha Penner Marianna Schuck Lydia Sharp Anne-Marie Spalinger +* Brianne Turgeon +* Lacy Wilder Wanda Yang Temko +*
ALTO Ana Baida + Angelica Blackman Keim Marcia Chandler * Katherine Fisher Kathleen Kelly George + Emily Halbert Unita Harris Virginia Little +* Katie MacKenzie + Linda Morgan ** Lillian Nittler Kathleen Poe Ross * Laura Rappold * Anna Ree
TENOR David Blalock ** Matthew Borkowski LaRue Bowman Jack Caldwell +* Daniel Compton +* Justin Cornelius + Matthew Gavilanez Leif Gilbert Hansen * John Harr Keith Langston * Michael Parker + Timothy Parrott Christopher Patton *
BASS Dock Anderson + Philip Barreca + Clarence Bell Christopher Briggs Rodriguez Trey Clegg * Joel Craft ** Michael Cranford + Timothy Gunter +* Rodney Jones Peter MacKenzie + Jason Maynard + Benjamin Temko +* Joel Terning Edgie Wallace Jr. +*
** = 40-year member
+* = 30-year member
* = 20-year member
+ = 10-year member
DIRECTOR OF CHORUSES
The Frannie & Bill Graves Chair
Celebrate our country’s birthday with concerts curated to reflect both historical & current American culture with a blend of classical, jazz and contemporary voices.
Aso.org/america250
26 | january22/24 The 4,182nd and 4,183rd concerts of the Atlanta Symphony Orchestra Thursday, January 22, 2026 at 8:00 PM Saturday, January 24, 2026 at 8:00 PM DAVID DANZMAYR, conductor CLAIRE HUANGCI, piano
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
DUKE ELLINGTON (1899-1974) arr. Luther Henderson Les trois rois noirs (The Three Black Kings) (1974) I. King of the Magi II. King Solomon III. Martin Luther King
15 MINS
DMITRI SHOSTAKOVICH (1906-1975) Concerto No. 2 in F major for Piano and Orchestra, Op. 102 (1957) 20 MINS I. Allegro II. Andante III. Allegro Claire Huangci, piano INTERMISSION
20 MINS
EDWARD ELGAR (1857-1934) Enigma Variations, Op. 36 (Variations on an Original Theme) (1898-1899) 31 MINS
Thursday's concert is dedicated to the MASSEY CHARITABLE TRUST in honor of its generous support of the 2024/25 Annual Fund.
Enigma: Andante I. “C.A.E.” L’istesso tempo II. “H.D.S.-P.” Allegro II. “R.B.T.” Allegretto IV. “W.M.B.” Allegro di molto V. “R.P.A.” Moderato VI. “Ysobel” Andantine VII. “Troyte” Presto VIII. “W.N.” Allegretto IX. “Nimrod” Moderato X. “Dorabella - Intermezzo” Allegretto XI. “G.R.S.” Allegro di molto XII. “B.G.N.” Andante XIII. “*** - Romanza” Moderato XIV. “E.D.U.” - Finale
notesontheprogram | 27 by Noel Morris Program Annotator
Notes to Know • Over his lifetime, Duke Ellington performed more than 20,000 shows and wrote nearly 200 compositions. • Dmitri Shostakovich’s Piano Concerto No. 2 has had a life outside the concert hall. In 1957, the New York City Ballet choreographed the piece for the ballet Concerto DSCH. The concerto also appeared in the Disney film Fantasia 2000. • Ever since Edward Elgar claimed his “Enigma” tune is a countermelody to another famous tune, music fans have combed the repertoire searching for its companion. The source remains an enigma. ELLINGTON Three Black Kings
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and leader, composer, pianist, genius. Edward Kennedy “Duke” Ellington grew up in a middle-class family in Washington, D.C. He founded an orchestra in New York City and soon landed a gig at the gangsterowned, whites-only Cotton Club in Harlem, so named as a tribute to plantation life. Ellington cut a suave figure that served as a counternarrative to racist tropes emanating from Hollywood in the 1920s. Soon, he became a mainstream sensation through weekly radio broadcasts. As his star rose, so did his capacity for social activism. Ellington gave benefit concerts for legal defense and even participated in a 1960 sit-in.
This is the first ASO performance.
With Three Black Kings, Ellington placed Rev. Martin Luther King, Jr., alongside two great Biblical kings: Balthazar and Solomon. The first movement depicts one of the three kings from the Christmas story. According to tradition, Balthazar journeyed from Africa to offer myrrh as a gift to the Christ child. In the second movement, Ellington stirs up some lounge music to represent King Solomon, who loved women (the Bible tells us he had 700 wives and 300 concubines). The third movement represents Dr. King, the preacher, with
28 | encore gospel sounds. Sadly, the Duke died in 1974 before completing this, his last work. “Pop had a superstition,” said his son, Mercer Ellington. “He never wrote the finale for a show until the day the show was going to open.” Mercer, a Juilliard-trained musician, finished his father’s piece. Luther Henderson did the orchestration. Maurice Peress rescored the piece for symphony orchestra. orchestra. SHOSTAKOVICH Piano Concerto No. 2
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hostakovich was a master of the musical wrecking ball, creating moments of such terrifying force that one can scarcely discuss him without acknowledging his existence under Joseph Stalin. Unfortunately, those stories eclipse the man known by friends and family as a fun-loving guy with a knee-slapping sense of humor. Happily, the Piano Concerto No. 2, written during the Krushchev thaw, falls under the heading of “lighthearted Shostakovich.”
First ASO performance: April 28, 1983 Maxim Shostakovich, conductor Dmitri Shostakovich II, piano Most recent ASO performance:
It’s no small irony that the composer produced the thing that had been required of him during the deadly years—a happy, tuneful piece. But he waited until the tyrant died. The Piano Concerto No. 2 serves up wit and good cheer minus the biting sarcasm of his Stalin-era music.
In 1957, Shostakovich set aside his Eleventh Symphony (another heavy) to write the concerto for his son, Vasily Petrenko, Maxim, a budding pianist. The piece opens like a frolic conductor in the park, without overtaxing the soloist. The middle Kirill Gerstein, movement’s lyricism reveals the composer’s tender piano Romantic side, if not a nod to Beethoven, while the finale puts Shostakovich’s wit on full display—it’s chock full of piano student-style finger exercises in the offkilter meter of 7/8. By infusing the last minutes with slapdashery and oomph, Papa assured a standing ovation for his boy. May 20, 2012
Maxim Shostakovich premiered his dad’s Second Piano Concerto on his nineteenth birthday, May 10, 1957.
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ELGAR Enigma Variations
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ne evening in 1898, Alice Elgar overheard her 41-year-old husband noodling at the piano. They laughed together as he spun a melody into parodies of their friends—what became the Enigma Variations. Apart from presenting a set of portraits of real people, Edward Elgar maintained that his principal theme accompanies a famous melody—one that isn’t heard in the piece. He never revealed his source, hence the name “Enigma.” The piece became his first major success. Years later, the composer provided detailed descriptions: C.A.E. - Caroline “Alice” Elgar was the composer’s wife. “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions,” he wrote. “Those who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.”
First ASO performance: April 1, 1952 Henry Sopkin, conductor Most recent ASO performance: May 14, 2022 Alexander Soddy,
H.D.S-P. - Hew David Steuart-Powell was an amateur pianist. “His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the [sixteenth-note] passages; these should suggest a Toccata, but chromatic beyond H.D.S-P.’s liking.” R.B.T. - Richard Baxter Townshend was an author and amateur actor who was often cast as an old man. Elgar parodied his rumbling speaking voice, which sometimes leaped into the soprano range. Elgar uses plucked strings and woodwinds to imitate Townshend’s bicycle bell. W.M.B. - William Meath Baker was “a country squire, gentleman and scholar,” wrote Elgar. Baker once startled his guests when he “hurriedly left the music-room with an inadvertent bang of the door.” R.P.A. - Richard Penrose Arnold was an amateur pianist who played with great insight. Ysobel - Ysobel Fitton studied viola with the composer. “It may be noticed,” he wrote, “that the opening bar, a phrase
conductor
30 | encore made use of throughout the variation, is an ‘exercise’ for crossing the strings—a difficulty for beginners; on this is built a pensive and, for a moment, romantic movement.” Troyte - Arthur Troyte Griffith was one of Elgar’s best friends. “The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the [piano],” wrote the composer. W.N. - Winifred Norbury lived in an eighteenth-century house with her sister, Florence. “A little suggestion of a characteristic laugh is given.” Nimrod - Nimrod was a biblical hunter. Here, the name refers to Elgar’s dear friend and publisher, August Jaeger (Jaeger is the German word for hunter). The quality of “Nimrod’s” music underscores his importance in Elgar’s life. The variation recalls Jaeger’s musings on the exquisite slow movements of Beethoven. Dorabella - Dora Penny was close to the composer and spoke with a stammer, which comes through in the halting rhythms of the music. G.R.S. - Named after George Robertson Sinclair. The music describes the “great bulldog Dan (a well-known character) falling down the steep bank into the River Wye (bar 1), his paddling up stream to find a landing place (bars 2 and 3); and his rejoicing bark on landing (second half of bar 5). G.R.S. said, ‘Set that to music.’ I did; here it is.” B.G.N.- Cellist Basil George Nevinson was Elgar’s chamber music partner. *** - The three asterisks represent a lady, possibly Lady Mary Lygon. A thrum in the violas and timpani suggests the engines of a steamship carrying her overseas. Elgar quotes a theme from Mendelssohn’s Calm Sea and Prosperous Voyage. - E.D.U. - “Edu” was Alice Elgar’s nickname for her husband, Edward Elgar.
PLEASE JOIN US FOR THE
ASO DAY OF GIVING FEBRUARY 4, 2026
On our annual Day of Giving, the Atlanta Symphony Orchestra celebrates our first performance given on February 4, 1945 and the community that makes all we do possible. Just as each musician plays an integral part in the Orchestra’s sound, your support plays an essential role. Our music is made together, and your generosity is the fuel that powers every note on stage, enabling our Orchestra to serve as an engine of inspiration and joy for hundreds of thousands of people across Atlanta and beyond.
WAYS TO SUPPORT • Scan the QR code to the right with your smart phone camera, and follow the link. • Visit aso.org/DayofGiving to make a gift online. • Call 404.733.4416 to make a gift by phone. • Tell your friends and share our posts on Facebook and Instagram.
IT’S NOT TOO EARLY! You can celebrate the Day of Giving before it arrives by scanning this QR code and making your gift today. Thank you!
meettheartists | 33
DAVID DANZMAYR, conductor
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avid Danzmayr is in his fifth season as Music Director of the Oregon Symphony. Alongside his position in Oregon, Danzmayr also serves as Music Director of the innovative ProMusica Chamber Orchestra, comprised of musicians from all over the USA who are building exciting projects towards their upcoming 50th anniversary season. He also works regularly with Zagreb Philharmonic Orchestra with whom he previously served as Chief Conductor— highlights of his tenure included several European tours with concerts in Vienna Musikverein as well as Salzburg Festival Hall, where together they performed the prestigious New Year’s concert. As a guest conductor, Danzmayr has worked extensively across North America, and recent and forthcoming engagements include Seattle, St Louis, Atlanta, Vancouver and Dallas symphonies, as well as the orchestras of Detroit, Baltimore, Houston and San Diego. In Europe, relationships include City of Birmingham Symphony Orchestra, Bamberger Symphoniker, Sinfonieorchester Basel, Mozarteum Orchester, Iceland Symphony Orchestra, and he has a regular relationship with Deutsche Kammerphilharmonie Bremen with whom he embarks on a summer festivals tour in 2026. Working with soloists at the highest level, the 2025/26 season includes regular partners Joshua Bell, Joyce Yang, Colin Currie and Gil Shaham. In the same season, he will make the world premiere of a new Jazz piano concerto by David Schiff, commissioned by Oregon Symphony with pianist Darrell Grant. Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. In recognition of his success, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum.
34 | encore CLAIRE HUANGCI, piano
T
he American pianist Claire Huangci continually captivates audiences with her “radiant virtuosity, artistic sensitivity, keen interactive sense and subtle auditory dramaturgy” (Salzburger Nachrichten). With an irrepressible curiosity and penchant for unusual repertoire, she proves her versatility with a breadth of repertoire spanning from Bach and Scarlatti via German and Russian romanticism to Bernstein, Amy Beach, and Samuel Barber.
Highlights from Claire’s 2025-26 season in the US include her concerto debuts playing Shostakovich with the Atlanta Symphony, Mozart with the Baltimore and Santa Rosa Symphonies, and Chopin with the North Carolina Symphony; and returns to Eugene Symphony (Grieg), Springfield Symphony (Gershwin), Columbus Symphony (Beethoven), and Fairfax Symphony (Prokofiev). In solo recitals and with international orchestras, Claire has appeared in some of the most prestigious halls such as Carnegie Hall, Segerstrom Concert Hall, Suntory Hall Tokyo, NCPA Beijing, Paris Philharmonie, Frankfurt Alte Oper, Munich Prinzregententheater, Hamburg Elbphilharmonie, Leipzig Gewandhaus, Berlin Philharmonie, Vienna Konzerthaus, and Salzburg Festspielhaus. She is a welcome guest at the Lucerne Festival, Rheingau Musik Festival and Klavier Festival Ruhr, among others. Her esteemed musical partners include the Mozarteumorchester Salzburg, Stuttgart Radio Symphony Orchestra, TonhalleOrchester Zurich, Munich Chamber Orchestra, Basel Chamber Orchestra and Iceland, Eugene and Pacific Symphonies. Claire’s latest Alpha Classics solo recording, MADE IN USA, featuring Gershwin, Beach and Barber, received the “Preis der Deutschen Schallplattenkritik.” Her newest album on Alpha, PIANO HEROINES, with music of Fanny Hensel, Clara Schumann, Amy Beach, and Florence Price, will be released in January 2026. www.clairehuangci.com
36 | janauary29/31 The 4,184th and 4,185th concerts of the Atlanta Symphony Orchestra
LEONARD SLATKIN (b. 1944) Schubertiade: An Orchestral Fantasy (2024)
Thursday, January 29, 2026 at 8:00 PM Saturday, January 31, 2026 at 8:00 PM
SAMUEL BARBER (1910-1981) Concerto for Violin and Orchestra, Op. 14 (1939-re. 1949) 25 MINS I. Allegro II. Andante III. Presto in moto perpetuo Randall Goosby, violin
LEONARD SLATKIN, conductor RANDALL GOOSBY, violin
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
INTERMISSION
15 MINS
20 MINS
AARON COPLAND (1900-1990) Symphony No. 3 (1944-1946) 43 MINS I. Molto Moderato – with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato – Allegro risoluto
Thursday’s concert is dedicated to SUSIE AND PATRICK VIGUERIE in honor of their generous support of the 2024/25 Annual Fund.
notesontheprogram | 37 by Noel Morris Program Annotator
Notes to Know • Music is a family business for conductor Leonard Slatkin. His parents were prominent studio musicians during Hollywood’s Golden Age and founded the Hollywood String Quartet. Mo. Slatkin’s brother, Frederick, was a notable cellist, and his son, Daniel, is a composer. Leonard Slatkin is married to composer Cindy McTee. • The forces onstage belie the folk-like simplicity of Aaron Copland’s Third Symphony. The score calls for large wind and brass sections, along with two harps. It takes five players to handle the percussion parts, which include various drums, mallet instruments, bells, an anvil, a whip, a ratchet, and more. • Samuel Barber initially wrote two tender, lyrical movements for his Violin Concerto, but then did an about-face in the finale, throwing the soloist into a perilous runaway train. Young violinists often learn the first movement, but only the most advanced players attempt to perform the entire concerto. SLATKIN, Schubertiade: An Orchestral Fantasy A note from the composer
I
n April of 2022, when we were all starting to come out of hiding from the global pandemic, I had the privilege of conducting the Hiroshima Symphony Orchestra in a concert honoring the 50th anniversary of their becoming a professional orchestra. When we had concluded the Sixth Symphony by Gustav Mahler, I sat, somewhat exhausted, in the dressing room. This is the first ASO
Several administrators of the orchestra came to greet performance. me, and during the course of our chat, they asked my wife, composer Cindy McTee, if she would be interested in writing a work to honor Franz Schubert. She was flattered but declined. However, I became quite intrigued by the idea and suggested that the piece be written by me. Our concert is actually on his birthday, January 31. Almost immediately, ideas started swirling around in my head. Should it be a totally original composition, with no
38 | encore musical reference to the Austrian master? Or might it be a hybrid, where various strains of Schubert fragments are heard alongside new material? I decided on the latter and used the composer’s final composition, the Symphony in B minor, as a starting point. Schubert himself was rather poor for most of his brief life. To get his music heard, he would organize soirées at his apartment, where friends would gather to play and sing his works. These events were known as Schubertiaden. The composer was usually at the piano. When I began to write this piece, I wondered what it might be like if this tradition could be extended well past the composer’s lifetime. The work is basically in three parts, with descriptive moments placed before each. It begins with Schubert, not seen, at the piano playing the opening of his monumental B-flat Sonata. This is rudely interrupted by the orchestra, representing the guests, who arrive rather vociferously with a series of fanfares and flourishes by the trumpets, horns and flutes. The initial section is taken from the first six bars of Schubert’s “Unfinished” Symphony and is cast as a passacaglia. This is a set of variations over the bass line which opens the symphony. Other elements of the first movement are introduced, but those become more and more distorted as the guests indulge in some glühwein. Schubert is playing one of his impromptus when several more friends arrive, and they are introduced by the same instruments who greeted the earlier visitors. When they settle down, some more recent composers, perhaps Phillip Glass or Steve Reich, proceed to take Schubert’s main themes from the slow movement of his final work and alter them into a mash-up of harmonic and rhythmic glee. This becomes the second part of Schubertiade. The guests are anxious to get home, and the music becomes more and more deafening as well as fast, with dancing turned into a frenzy. The music stops and once more, the flourishes are played, but this time, they are done more quietly. It is a signal for everyone to leave. But they do not make their way to the door until several have honored their host by
encoreatlanta.com | 39
performing fragments of some of his other compositions. This is the third and final section of the piece, a quodlibet, if you will. Sometimes these are not played exactly as the composer wrote them, but we are in a 21st-century version of a Schubertiade. It is raining as the guests depart into the evening. A final reference to the fanfares is heard, but this time the notes are played in reverse. The composer is left at his piano, trying to complete the sonata melody that began the evening. And which, at least in this version, will remain “Unfinished.” BARBER Violin Concerto
“B
arber’s music isn’t terribly advanced, but at least it’s honest,” quipped the modernist titan Pierre Boulez. With a backhanded compliment, the ever-discerning Boulez summed up the enduring appeal and the slow start of Samuel Barber’s Violin Concerto. Working during the mid-twentieth century, Barber sat out the trendy modernist footrace. As other composers endeavored to invent the following form of musical expression, he wrote music that sounded good to him. The soap mogul Samuel Fels paid him to write his Violin Concerto in 1939 for the composer’s former classmate Iso Briselli. Initially, young Barber wrote two luscious, song-like movements, including one with a gorgeous oboe solo. He then topped them off with a fiery, fingertwisting motto perpetuo. Sadly, Briselli’s violin teacher poisoned the waters by suggesting he’d like to “fix” Barber’s concerto. The 29-year-old composer refused to change his piece, and Briselli never played it.
First ASO performance: February 8, 1968 Robert Shaw, conductor Jaime Laredo, violin Most recent ASO performance: October 12, 2013 Susanna Malkki, conductor David Coucheron,
violin It took decades for this little gem to shine. Barber went on to a charmed career, winning two Pulitzer Prizes and three GRAMMYS. But few of the great violinists played the Violin Concerto during the last century—now they all do. Barber’s “Concerto da sapone” (soap concerto), as he called it, went on to become the most popular violin concerto written by an American.
40 | encore COPLAND Symphony No. 3
“W
herever music is played and loved at home and abroad, among your fellow composers, among musicians, and among ordinary listeners, you are justly recognized as America’s foremost composer. . . . We are proud to join in this fanfare for a most uncommon man.” —President Jimmy Carter at Aaron Copland’s 80th birthday celebration
First ASO performance:
Aaron Copland’s was the quintessential American journey. The son of Russian Jewish immigrants, he Aaron Copland, spent his youth in the melting pot of Brooklyn, far from conductor the prairies and cowboys that later inhabited his music. Most recent ASO Through his twenties, he grew into a sophisticated performance: composer and tireless champion of the avant-garde— November 20, 2021 until the stock market crashed in 1929. In a few years, Robert Spano, the national mood shifted. Artists and composers conductor began looking for ways to lift the human spirit. As thousands turned to soup kitchens, Copland turned to a style he called “imposed simplicity,” a more sentimental and nostalgic sound. To achieve this musical populism, he integrated folksongs into his works and, in the process, pioneered a singularly American musical style. January 25, 1968
Through the Great Depression and into World War II, Copland rolled out one hit after another, including his Pulitzer Prizewinning ballet Appalachian Spring (1944). That same year, conductor Serge Koussevitzky commissioned the Third Symphony. Drawing on past compositions and discarded sketches, Copland stitched together the themes of the new piece. The Third Symphony “contains no folk or popular material,” he wrote in 1946. “However, I do borrow from myself by using Fanfare for the Common Man in an expanded and reshaped form in the final movement. I used this opportunity to carry the Fanfare material further and to satisfy my desire to give the Third Symphony an affirmative tone. After all, it was a wartime piece—or more accurately, an end-of-war piece— intended to reflect the euphoric spirit of the country at the time.”
meettheartists | 41
LEONARD SLATKIN, conductor
I
nternationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra, Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), Conductor Laureate of the St. Louis Symphony Orchestra (SLSO), Principal Guest Conductor of the Orquesta Filarmónica de Gran Canaria (OFGC), Artistic Consultant to the Las Vegas Philharmonic (LVP), and Artistic Advisor to the Nashville Symphony. He maintains a rigorous schedule of guest conducting and is active as a composer, author, and educator. The 2025-26 season includes engagements with the National Symphony Orchestra (Ireland), Manhattan School of Music Symphony Orchestra, SLSO, USC Thornton Symphony, LVP, Taiwan Philharmonic, KBS Symphony Orchestra (Seoul), Gunma Symphony Orchestra, NHK Symphony Orchestra (Tokyo), Nashville Symphony, Atlanta Symphony Orchestra, Orchestre Symphonique de Montréal, Warsaw Philharmonic, Franz Schubert Filharmonia (Barcelona), ONL, Prague Symphony Orchestra, Filarmonica George Enescu (Bucharest), OFGC, and Rundfunk-Sinfonieorchester Berlin.
Slatkin has received six Grammy® awards and 35 nominations. Naxos recently reissued Vox audiophile editions of his SLSO recordings featuring the works of Gershwin, Rachmaninov, and Prokofiev. Other Naxos recordings include Slatkin Conducts Slatkin—a compilation of pieces written by generations of his family—as well as works by Saint-Saëns, Ravel, Berlioz, Copland, Borzova, McTee, and Williams. A recipient of the National Medal of Arts, Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has been awarded the Prix Charbonnier from the Federation of Alliances Françaises, Austria’s Decoration of Honor in Silver, and the League of American Orchestras’ Gold Baton. His debut book, Conducting Business (2012), for which he received the ASCAP Deems Taylor Special Recognition Award, was followed by Leading Tones (2017) and Classical Crossroads: The Path Forward for Music in the 21st Century (2021). His latest books are Eight Symphonic Masterworks of
42 | encore the Twentieth Century (spring 2024) and Eight Symphonic Masterworks of the Nineteenth Century (fall 2024), part of an ongoing series of essays that supplement the score-study process, published by Bloomsbury. For more information, visit leonardslatkin.com. RANDALL GOOSBY, violin Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light. Goosby serves on Juilliard’s Pre-College violin faculty beginning in Fall 2025, and as of 2024/25, he is a member of Konzerthaus Dortmund’s series “Junge Wilde”. Highlights of Randall Goosby’s 2025/26 season include debut performances with the Atlanta Symphony/Leonard Slatkin, Orchestre National de France/Cristian Măcelaru, KBS Symphony/Peter Oundjian, and San Diego Symphony/ Kahchun Wong. Goosby returns to the San Francisco Symphony, Pittsburgh Symphony, and New Jersey Symphony. He appears in recital across North America and Europe with pianist Zhu Wang as well as with the Renaissance Quartet, and joins clarinetist Anthony McGill and pianist Joshua Mhoon in a program presented by the Philadelphia Chamber Music Society. Goosby returns to the San Francisco Symphony, Pittsburgh Symphony, and New Jersey Symphony. He appears in recital across North America and Europe as soloist as well as with the Renaissance Quartet. Goosby plays the Antonio Stradivarius, Cremona, “exStrauss,” 1708 on generous loan from Samsung Foundation of Culture.
Emory
CHAMBER MUSIC SOCIET Y
of Atlant a
2025-2026 Season 33 Years of Chamber Music at its Best! Over 60 concerts, masterclasses, and events including Zuill Bailey, Marina Lomazov, Gloria Chien, Joel Thompson, David Shifrin, the Vega Quartet's 20th Anniversary, and more- all FREE!
Visit chambermusicsociety.emory.edu for full information
44 | encore Campaign for the
The Atlanta Symphony Orchestra has begun an ambitious campaign to generate new endowment and stability funding. Our Campaign for the Next Era will allow the ASO to achieve its vision while maintaining its financial health and ensuring long-term sustainability. This Campaign will create sustainable funding to: • Enable the ASO to continue to attract and retain the finest musicians in the world, • Maintain and expand our community-wide education programs • Fully fund our nationally-recognized Talent Development Program Investments in the Campaign for the Next Era will help the ASO continue to enrich our beloved community with brilliant performances and music education for decades to come.
CAMPAIGN CONTRIBUTORS The Atlanta Symphony Orchestra is grateful to the following donors and volunteers who have supported our Campaign for the Next Era Endowment Campaign. CAMPAIGN CHAIRS:
CAMPAIGN CABINET:
Kathy Waller
Bert Mills
John B. White, Jr.
Anne Morgan
Ray Uttenhove
Jim Rubright
Patrick Viguerie
For more information about the Atlanta Symphony Orchestra’s Campaign for the Next Era, please contact Grace Sipusic, Vice President of Development at grace.sipusic@atlantasymphony.org or 404.733.5061.
Ross Singletary
encoreatlanta.com | 45
$1,000,000+ A Friend of the Symphony (4) Mr. Eric Bressner The Family of Ann Grovenstein Campbell The Zeist Foundation, Inc. $500,000+ A Friend of the Symphony The Farideh and Al Azadi Foundation Emerald Gate Charitable Trust Kathy Waller & Kenneth Goggins $250,000+ A Friend of the Symphony Mr. & Mrs. Mark A. Kauffman Anne Morgan & Jim Kelley Mary & Jim Rubright Patrick & Susie Viguerie $100,000+ Balloun Foundation Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. Paul J. Blackney Ms. Elizabeth W. Camp Sheila Lee Davies & Jon Davies Cari K. Dawson & John M. Sparrow Marcia & John Donnell Ms. Angela L. Evans Dick & Anne Game Mr. Fahim Siddiqui & Ms. Shazia Fahim Ann Marie & John B. White, Jr.
$50,000+ A Friend of the Symphony The Antinori Foundation Jeannette Guarner, MD & Carlos del Rio, MD Bonnie & Jay Harris James H. Landon Ms. Molly Minnear Bert & Carmen Mills John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D. Patty & Doug Reid Ross & Sally Singletary Slumgullion Charitable Fund John & Ray Uttenhove Up to $50,000 A Friend of the Symphony (2) Phyllis Abramson, Ph.D. Mr. Keith Adams & Ms. Kerry Heyward Juliet & John Allan Mr. & Mrs. Andrew Bailey Wright* & Alison Caughman Ms. Lisa V. Chang Lisa DiFrancesco, MD & Darlene Nicosia The Gable Foundation Craig Frankel & Jana Eplan Florencia & Rodrigo Garcia Escudero Sally & Walter George Georgia Power Company Pam & Robert Glustrom Elizabeth & Sheffield Hale Mr. & Mrs. Charles B. Harrison Tad & Janin Hutcheson Brian & Carrie Kurlander Donna Lee & Howard Ehni Dr. Jennifer Lyman & Mr. Kevin Lyman Ms. Deborah A. Marlowe & Dr. Clint Lawrence Massey Charitable Trust Carla & Arthur Mills IV Galen Oelkers Victoria & Howard Palefsky Bill & Rachel Schultz Joyce & Henry Schwob Charlie & Donna Sharbaugh Elliott & Elaine Tapp
ASO | SUPPORT
T
he Atlanta Symphony Orchestra continues to prosper thanks to the support of our generous patrons. The list below recognizes the donors who have made contributions since June 1, 2024. Their extraordinary generosity provides the foundation for this worldclass institution. $1,000,000+ A Friend of the Symphony $100,000+ Sheila Lee Davies & Jon Davies Barney M. Franklin & Hugh W. Burke Charitable Fund $50,000+ The Antinori Foundation Connie & Merrell** Calhoun Ms. Lynn Eden Ms. Angela L. Evans ∞ John D. Fuller The Gable Foundation Ms. Margaret Painter ∞ Mr. Robert L. Setzer SFH Giving Fund Ann Marie & John B. White, Jr. ° ∞ $35,000+ Ms. Krystal Ahn Mr. & Mrs. Paul J. Blackney Paulette Eastman & Becky Pryor Anderson** Sally & Walter George John R. Paddock, Ph.D. & Karen M. Schwartz, Ph.D. Sally & Pete Parsonson ∞ Patty & Doug Reid Mary & Jim Rubright June & John Scott ∞ Slumgullion Charitable Fund Patrick & Susie Viguerie Kathy Waller & Kenneth Goggins Mr. Mack Wilbourn $25,000+ Mr. Neil Ashe & Mrs. Rona Gomel Ashe Carol C. Attridge, in memory of Phil Attridge Mr. & Mrs. Andrew Bailey Mr. Keith Barnett Janine Brown & Alex J. Simmons, Jr. John W. Cooledge
Sally** & Larry Davis Cari K. Dawson & John M. Sparrow Mr. Richard H. Delay & Dr. Francine D. Dykes ∞ Mr. & Mrs. William S. Duffey, Jr. Pam & Robert Glustrom Jeannette Guarner, MD & Carlos del Rio, MD ∞ Bonnie & Jay Harris Mr. & Mrs. Charles B. Harrison Donna Lee & Howard Ehni Massey Charitable Trust John & Linda Matthews ∞ Tyler Perry Mr. & Mrs. Ravi Saligram Bill & Rachel Schultz ° Ms. Gayle S. Sheppard Mr. Fahim Siddiqui & Ms. Shazia Fahim Mrs. Edus H. Warren
Ross & Sally Singletary Mr. G. Kimbrough Taylor & Ms. Triska Drake Dr. Ravi & Dr. Valerie Thadhani John & Ray Uttenhove Roxanne and Benny Varzi Mrs. Sue S. Williams
$15,000+ A Friend of the Symphony (2) Phyllis Abramson, Ph.D. Madeline** & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward ° Aadu & Kristi Allpere ° Mr. David Boatwright Wright** & Alison Caughman Ms. Lisa V. Chang Mr. & Mrs. Erroll B. Davis, Jr. Lisa DiFrancesco, MD & Darlene Nicosia Dr. John Dyer & $17,500+ Mrs. Catherine Faré Dyer John & Juliet Allan Eleanor & Charles Edmondson Farideh & Al Azadi Foundation Ms. Yelena Epova & Mr. Neil Chambers Jennifer Barlament & Kenneth Potsic ∞ Craig Frankel & Jana Eplan Ms. Elizabeth W. Camp Roya & Bahman Irvani Russell Currey & Amy Durrell Sarah & Jim Kennedy Florencia & Stephen & Carolyn Knight Rodrigo Garcia Escudero Brian & Carrie Kurlander ∞ Dick & Anne Game James H. Landon Mr. & Mrs. David Goosman Drs. Joon & Grace Lee Ms. Joia M. Johnson Mr. Sukai Liu & Dr. Ginger J. Chen Dr. & Mrs. Scott I. Lampert John F.** & Marilyn M. McMullan Dr. Jennifer Lyman & Mr. & Mrs. Suneel Mendiratta ∞° Mr. Kevin Lyman Mr. & Mrs. Arthur Mills IV Ms. Deborah A. Marlowe & Bert & Carmen Mills Dr. Clint Lawrence Victoria & Howard Palefsky Ms. Molly Minnear Mr. Edward Potter & Caroline & Phil Moïse Ms. Regina Olchowski ° Anne Morgan & Jim Kelley Mr. Joseph Rapanotti Terence L. & Jeanne Perrine Neal ° Vicki & Joe Riedel Galen Oelkers Katherine Scott Ralph Paulk & V Scott Suzanne Redmon Paulk Mr. John A. Sibley, III Martha M. Pentecost Elliott & Elaine Tapp ° Ms. Cathleen Quigley Judith & Mark K. Taylor
encoreatlanta.com | 47 Mr. Yannik Thomas Carolyn C. Thorsen Ms. Maria Todorova Carol & Ramon Tomé Family Fund Mr. Ben Touchette Adair & Dick White Drs. Kevin & Kalinda Woods $10,000+ A Friend of the Symphony Mr. & Mrs. Calvin R. Allen Jack & Helga Beam ∞ Mr. & Mrs. Gerald R. Benjamin Kelley O. & Neil H. Berman Mr. & Mrs. Marc Brown Karen & Rod Bunn Lisa & Russ Butner ∞ John Champion & Penelope Malone Mr. & Mrs. Thomas C. Chubb III Janet & John Costello Mr. & Mrs. Warren L. Culpepper Mr. Christopher J. Decoufle & Ms. Karen Freer Donald & Barbara Defoe ° Peter & Vivian de Kok Marcia & John Donnell Ms. Diane Durgin Cheryl Etheridge in memory of David Etheridge Dr. & Mrs. Leroy Fass Mr. Nigel Ferguson Mr. & Mrs. William A. Flinn Dr. V. Alexander Garcias Dr. Paul Gilreath The Hertz Family Foundation, Inc. Richard & Linda Hubert Clay & Jane Jackson ∞ Cecile M. Jones James Kieffer Ann & Brian Kimsey ∞ Mr. & Mrs. Jeff Kuester Meghan & Clarke Magruder Ms. Erin M. Marshall ∞ Dr. & Mrs. Douglas Mattox Mr. Cesar Moreno & Mr. Greg Heathcock Jane Morrison ∞ Margaret H. Petersen Mr. Allen Phinney Mr. Ron Raitz David F. & Maxine A.** Rock
Ms. Frances A. Root Thomas & Lynne Saylor Ms. Barbara S. Schlefman Beverly & Milton Shlapak Tom & Ani Steele John & Yee-Wan Stevens Mr. & Mrs. Edward W. Stroetz, Jr. George & Amy Taylor ∞ Drs. Jonne & Paul Walter Dr. & Mrs. James O. Wells, Jr. Camille W. Yow $7,500+ Dr. Marshall & Stephanie Abes Carol Brantley & David Webster Judith D. Bullock** Patricia & William Buss ∞ Mark Coan & Family Sally W. Hawkins Grace Taylor Ihrig** Jason & Michelle Kroh Dr. Fulton D. Lewis III & S. Neal Rhoney Mr. Robert M. Lewis, Jr. & G. Wesley Holt Elvira & Jay Mannelly Ed & Linda McGinn Berthe & Shapour Mobasser Sue Morgan ∞ Ms. Eliza Quigley ∞ Leonard Reed Mr. & Mrs. Joel F. Reeves Stephen & Sonia Swartz Ms. Juliana T. Vincenzino Alan & Marcia Watt Kiki Wilson Mr. David J. Worley & Ms. Bernadette Drankoski $5,000+ A Friend of the Symphony Louis J. Alrutz Mr. Logan Anderson Dr. Evelyn R. Babey Lisa & Joe** Bankoff Anthony Barbagallo & Kristen Fowks Asad & Sakina Bashey Meredith Bell Mr. & Mrs. Thomas D. Bell, Jr. Mr. John Blatz Rita & Herschel Bloom
Jane & Greg Blount Dr. & Mrs. Jerome B. Blumenthal Mrs. Robert C. Boozer Margo Brinton & Eldon Park Ms. Jane F. Boynton Ms. Johanna Brookner Jacqueline A. & Joseph E. Brown, Jr. CBH International, Inc Mrs. Amy B. Cheng & Dr. Chad A. Hume, Ph.D Mr. & Mrs. Dennis M. Chorba Malcolm & Ann Cole William & Patricia Cook Ned Cone & Nadeen Green Matt & Kate Cook Mary Carole Cooney & Henry R. Bauer, Jr. Mr. & Mrs. DePorres Cormier Carol Comstock & Jim Davis Kelly Goldston DeBonis & Daniel P. DeBonis Mr. & Mrs. Paul H. Dimmick ∞ Xavier Duralde & Mary Barrett Robert S. Elster Foundation Jerry H. Evans & Stephen T. Bajjaly Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand Bruce W. & Avery C. Flower ∞ Mr. David L. Forbes Dr. Karen A. Foster Annie Frazer & Jen Horvath Gaby Family Foundation Mr. & Mrs. Richard Goodsell Mr. James N. Grace John** & Martha Head The Reverend Elizabeth H. Hendrick Hilley & Frieder Tad & Janin Hutcheson Mr. Justin Im & Dr. Nakyoung Nam Lillian Kim Ivansco & Joey Ivansco Ann A. & Ben F. Johnson III ° Mr. W. F. & Dr. Janice Johnston For information about giving to the Atlanta Symphony Orchestra Annual Fund, please contact William Keene at 404.733.4839 or william.keene@ atlantasymphony.org.
ASO | SUPPORT Mr. & Mrs. Baxter Jones Lana M. Jordan ∞ Dr. Jennifer Kahnweiler & Dr. William M. Kahnweiler Paul** & Rosthema Kastin Mr. & Mrs. Mark A. Kauffman Mona & Gilbert Kelly ° Mr. Alfred D. Kennedy & Dr. William R. Kenny Mr. Charles R. Kowal Pat & Nolan Leake Mr. & Mrs. Van R. Lear Jonathan Lively Mr. William A. Lundstrom & Mrs. Catherine L. Lundstrom Ms. Eunice Luke Thomas & Marianne Mabry In Memoriam: Betty (B.J.) Malone Mr. Alfredo Martin & Mr. Beau Martin Mr. & Mrs. Christopher D. Martin Belinda & Gino Massafra Catherine Massey Ms. Darla B. McBurney Molly McDonald & Jonathan Gelber Fred and Sue McGehee Family Charitable Fund Mr. Dale Metz & Ms. Lisa Williams Key Miles Mr. Bert Mobley ∞ Mr. William Morrison & Mrs. Elizabeth Clark-Morrison Ms. Bethani Oppenheimer Mr. & Mrs. Joseph Owen, Jr. Mr. & Mrs. Solon P. Patterson Mr. & Mrs. Edmund F. Pearce, Jr. ° Jonathan & Lori Peterson In Memory of Dr. Frank S. Pittman III Dr. & Mrs. John P. Pooler Dr. John B. Pugh John H. Rains Mrs. Susan H. Reinach Dr. Jay Rhee & Mrs. Kimberley Rhee ∞ Ms. Felicia Rives ∞ Tiffany & Rich Rosetti ∞ Ms. Noelle Ross & Mr. Tim Dorr John T. Ruff Dr. & Mrs. Rein Saral
Dr. Robert D. Schreiner & Dr. Patricia M. Simone Suzanne Shull ∞ Gerald & Nancy Silverboard Baker & Debby Smith Ms. Cynthia Smith Janice B. Smith Ms. Victoria Smith Ms. Lara Smith-Sitton Mr. & Mrs. Peter Stathopoulos In memory of Elizabeth B. Stephens by Powell, Preston & Sally ∞ Ms. Deann Stevens Beth & Edward Sugarman Dede & Bob Thompson Trapp Family Dr. Brenda G. Turner Chilton & Morgan** Varner Amy & Robert Vassey Emily C. Ward Ruthie Watts Mr. & Mrs. Chris Webber Dr. Nanette K. Wenger David & Martha West John F. Wieland, Jr. Suzanne B. Wilner Mr. & Mrs. M. Beattie Wood Kaya Yamashita in memory of her parents, Hiroko & Tomohiro Yamashita $3,500+ A Friend of the Symphony (2) Liz & Charlie Cohn ° Jean & Jerry Cooper Mr. David S. Dimling Sandra & John Glover Mr. Jeff Harms & Mr. Peter MacLean Ms. Susan V. Heerin Barbara M. Hund Cameron H. Jackson Ms. Rebecca Jarvis Sally C. Jobe Mrs. Gail Johnson Wolfgang** & Mariana Laufer Ms. Ellen B. Macht Martha & Reynolds McClatchey Ms. Kathy Powell S.A. Robinson
Ms. Donna Schwartz Ms. Martha Solano Mrs. Dale L. Thompson Judy Zaban-Miller & Lester Miller** $2,000+ A Friend of the Symphony (5) Paul & Melody Aldo Mr. James L. Anderson Atlanta Symphony Associates Herschel Beazley Dr. Bruce and Linda** Beeber Dr. & Mrs. Joel E. Berenson Susan & Jack Bertram Mr. & Mrs. Xavier Bignon Leon & Joy Borchers Mr. & Mrs. Sam Boyte Martha S. Brewer Harriet Evans Brock Benjamin Q. Brunt Laurel and Gordon Buchmiller Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Betty Fuller Case Mr. Jeffery B. Chancellor & Mr. Cameron England Mr. Michael J. Clifford & Ms. Sandra L. Murray Mr. James Cobb Coenen-Johnson Foundation Susan S. Cofer Nicky Cohen & Simon Dibley Ralph** & Rita Connell Dr. & Mrs. John E. Cooke Mrs. Nancy Cooke Mr. William R. Cranshaw R. Carter & Marjorie A. Crittenden Foundation Claire & Alex Crumbley Dr. & Mrs.** F. Thomas Daly, Jr. Vicente del Rio Ms. Suzanne Denton Jerome J. Dobson Mr. & Mrs. Graham Dorian Mr. Christopher Drew Gregory & Debra Durden Mr. Trey Duskin & Ms. Noelle Albano ° Mrs. Eve F. Eckardt Dr. & Mrs. Ralph Edgar Mr. & Mrs. Robert G. Edge
encoreatlanta.com | 49 In Memory of Pam McAllister Dieter Elsner & Othene Munson Mr. & Mrs. James McClatchey Mr. & Mrs. Paul G. Farnham Mr. & Mrs. John G. McColskey Dr. Donald & Janet Filip Mr. & Mrs. Robert McDuffie Tom & Cecilia Fraschillo Birgit & David McQueen Dr. Elizabeth C. French Anna & Hays Mershon Mr. & Mrs. Kevin Gaid Mr. & Mrs. Thomas B. Mimms, Jr. Mr. & Mrs. Sebastien Galtier ∞ Mr. Jamal Mohammad & Dr. & Mrs. John C. Garrett Mr. Marcus Dean Marty & John Gillin ° Ms. Helen Motamen & Mrs. Janet D. Goldstein Mr. Deepak Shenoy Dr. & Mrs. Martin I. Goldstein Mr. & Mrs. Peter Muniz Mr. Robert Golomb Melanie & Allan Nelkin Mrs. Beverly Green Agnes V. Nelson Richard & Debbie Griffiths Mr. & Mrs. Denis Ng Mr. & Mrs. George Gundersen Gary R. Noble, MD & Mr. & Mrs. Juanmarco Gutierrez Joanne Heckman Deedee Hamburger Mr. & Mrs. Charles H. Ogburn Ms. Ayonna Hammond Mr. & Mrs. James Pack Phil & Lisa Hartley Mr. Albert Palombo & Mr. & Mrs. Steve Hauser ° Mrs. Linda E. Berggren Mr. & Mrs. John Hellriegel ∞ Erica L. Parsons & J. Mark Stewart Bill & Babette Henagan Mr. & Mrs. Al Pearson Ann J. Herrera & Mary M. Goodwin Mr. Doug F. Powell Kenneth & Colleen Hey Mr. & Mrs. Douglas G. Riffey, Jr. Dr. Thomas High Mr. & Mrs. Kenneth Roberts Azira G. Hill Betsy & Lee Robinson Sarah & Harvey Hill, Jr. ° Dr. Judith C. Rohrer Mr. & Mrs. Jacob Hill Ms. Lili Santiago-Silva & Mrs. Leslie H. Hill & Mr. Jim Gray Mr. Jacob C. Hill Drs. Lawrence & Laurie House Hopkins & Rachel Schonberger John D. Hopkins Dick Schweitzer James & Bridget Horgan ° Angela Allen Sherzer Mrs. Nicole L. House Mr. David C. Shih Mr. & Mrs. Brian Huband Alan & Marion Shoenig Mr. & Mrs. Paul Huesken Helga Hazelrig Siegel Dona & Bill Humphreys Diana Silverman Mr. Christopher Hurst Hamilton & Mason Smith Ms. Olga Inozemtseva Anne-Marie Sparrow Aaron & Joyce Johnson Elizabeth Morgan Spiegel Dr. & Mrs. Eike Jordan James & Shari Steinberg Teresa M. Joyce, Ph.D Dr. Steven & Lynne Steindel ° Ms. Alice Kwan Ms. Lizanne E. Stephenson & Dr. & Mrs. William C. Land, Jr. Mr. Alan Kendall Lillian Balentine Law Ms. Sandra Stine & Mr. Greg Burel Mr. Andrew Liakopoulos & Dr. & Mrs. John P. Straetmans Mr. Mark Hawkins Kay R. Summers Mr. & Mrs. J. David Lifsey Ms. Linda F. Terry Deborah & William Liss Johnny Thigpen & Clay Martin Barbara & Jim MacGinnitie Mr. & Ms. Nathaniel Thomas Dr. Marcus Marr Duane P. Truex III Marx & Marx LLC
Mr. Jerry Stacy Tucker Bill & Judy Vogel Dr. James L. Waits Mr. Charles D. Wattles & Ms. Rosemary C. Willey Mr. & Mrs. Robert L. Welch Russell F. Winch & Mark B. Elberfeld Mrs. Lynne M. Winship Sandra L. Wong Mr. Will Young Zaban Foundation, Inc. Herbert** & Grace Zwerner ** = deceased ° = We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. ∞ = Leadership Council We salute these extraordinary donors who have signed pledge commitments to continue their support for three years or more. Patron Leadership (PAL) Committee We give special thanks to this dedicated group of Atlanta Symphony Orchestra donor-volunteers for their commitment to each year’s annual support initiatives: Linda Matthews chair
Kristi Allpere Helga Beam Bill Buss Pat Buss Kristen Fowks Deedee Hamburger Judy Hellriegel Belinda Massafra Sally Parsonson June Scott Milt Shlapak Lara Smith-Sitton Kay Summers Jonne Walter Marcia Watt
50 | encore CORPORATE PARTNERS $1,000,000+ Delta Air Lines $100,000+ AAA Parking Bloomberg Philanthropies The Coca-Cola Company Georgia Power Company Graphic Packaging International, Inc.∞ The Home Depot Foundation Piedmont Realty Trust $75,000+ Alston & Bird LLP The Norfolk Southern Corporation $50,000+ Accenture LLP Four Seasons Hotel Atlanta Google PwC The Robert W. Woodruff Health Sciences Center of Emory University
$25,000+ AFFAIRS to REMEMBER Bank of America Charitable Foundation BlueLinx Corporation Cadence Bank Chick-fil-A Foundation | Rhonda & Dan Cathy∞ Deloitte Eversheds Sutherland Grady Health System King & Spalding LLP KPMG LLP, Partners & Employees Porsche Cars North America Inc. Publix Super Markets Charities, Inc. The QUIKRETE® Companies Regions Bank Truist Bank $15,000+ Atlanta Parent EY FleishmanHillard Georgia-Pacific Tony Brewer and Company SouthState Bank WABE 90.1 FM Warner Bros. Media
$10,000+ Buckhead Village Costco Wholesale Davis Broadcasting’s WJZA Smooth Jazz 101/100 Dennis Dean Catering Greenberg Traurig Jazz 91.9 WCLK La Fête du Rosé Merrill Music Matters WVEE-FM | V-103.3 FM $5,000+ A Friend of the Symphony Chef Craig Richards Marietta Neonatology Parker Poe Perkins&Will The St. Regis Atlanta Yellow Bird Project Management $2,000+ Allen Organ Studios The Backline Company Big Dome Promotions, LLC EventWorks Morehouse School of Medicine The Piedmont National Family Foundation Ticketmaster
FOUNDATION AND GOVERNMENT SUPPORT $250,000+ Lettie Pate Evans Foundation Goizueta Foundation $100,000+ Amy W. Norman Charitable Foundation Charles Loridans Foundation, Inc. Emerald Gate Charitable Trust The Molly Blank Fund of the Arthur M. Blank Family Foundation The Zeist Foundation, Inc. $50,000+ The Halle Foundation Georgia Department of Public Health Paul M. Angell Family Foundation Robert & Polly Dunn Foundation, Inc.
$35,000+ City of Atlanta Mayor’s Office of Cultural Affairs Georgia Council for the Arts The Hellen Plummer Charitable Foundation, Inc. The Roy & Janet Dorsey Foundation $25,000+ The Jim Cox, Jr. Foundation Fulton County Arts & Culture The Marcus Foundation, Inc.∞ Massey Charitable Trust $15,000+ The Sartain Lanier Family Foundation
$10,000+ The Graves Foundation The Scott Hudgens Family Foundation In Memory of Betty Sands Fuller $5,000+ A Friend of the Symphony The Breman Foundation, Inc. National Endowment for the Arts $2,000+ 2492 Fund Alice M. Ditson Fund of Columbia University Paul and Marian Anderson Fund The Parham Fund
encoreatlanta.com | 51 Mr.* & Mrs.* Fred A. Hoyt, Jr. Reverend Neal P. Ponder, Jr. Jim* & Barbara Hund Dr. John B. Pugh Clayton F. Jackson William L.* & Lucia Fairlie* Pulgram Mary B. James Ms. Judy L. Reed* H E N RY S O P K I N C I R C L E Nancy Janet Carl J. Reith* Mr. Calvert Johnson & Named for the Atlanta Symphony Orchestra’s Mr. Kenneth Dutter Vicki J. & Joe A. Riedel founding Music Director, the HENRY SOPKIN Joia M. Johnson Helen & John Rieser CIRCLE celebrates cherished individuals and Mr. & Mrs. Baxter Jones Dr. Shirley E. Rivers* families who have made a planned gift to the Deforest F. Jurkiewicz* David F. & Maxine A.* Rock Anne Morgan & Jim Kelley Glen Rogerson* Atlanta Symphony Orchestra. These special Bob Kinsey Tiffany & Richard Rosetti donors preserve the Orchestra’s foundation James W.* & Mary Ellen* Mr.* & Mrs.* Martin H. Sauser and ensure success for future generations. Kitchell. Bob & Mary Martha Scarr Miss Florence Kopleff* Mr. Paul S. Scharff & Ms. Polly G. Fraser Mr. Robert Lamy A Friend of the Dr. Janie Cowan Dr. Barbara S. Schlefman James H. Landon Symphony (22) Mr. & Mrs. William R. Cummickel Ouida Hayes Lanier Bill & Rachel Schultz Madeline* & Bob* & Verdery* Cunningham Lucy Russell Lee* & Mrs. Joan C. Schweitzer* Howell E. Adams, Jr. Vivian & Peter de Kok Gary Lee, Jr. June & John Scott Mr.* & Mrs.* John E. Aderhold Mr. Richard H. Delay & Ione & John Lee Edward G. Scruggs* Paul & Melody Aldo Dr. Francine D. Dykes Mr. Larry M. LeMaster Dr. & Mrs. George P. Sessions Mr. & Mrs. Ronald R. Antinori John R. Donnell Mr.* & Mrs.* William C. Lester Mr. W. G. Shaefer, Jr. Elizabeth Ann Bair* Dixon W. Driggs* Liz & Jay* Levine Charles H. Siegel* Dr. & Mrs. William Bauer Pamela Johnson Drummond Robert M. Lewis, Jr. Mr. & Mrs. H. Hamilton Smith Helga Beam Mrs. Kathryn E. Duggleby* Carroll & Ruth Liller* Mrs. Lessie B. Smithgall* Mr. Charles D. Belcher* Catherine Warren Dukehart* Ms. Joanne Lincoln* Ms. Margo Sommers Neil H. Berman Ms. Diane Durgin Jane Little* Elliott Sopkin Susan & Jack Bertram Arnold & Sylvia Eaves Mrs. J. Erskine Love, Jr.* Elizabeth Morgan Spiegel Mr.* & Mrs.* Karl A. Bevins Mr. & Mrs. Robert G. Edge K Maier Mr. Daniel D. Stanley* The Estate of Donald S. & Geoffrey G. Eichholz* John W. Markham* Gail & Loren Starr Joyce Bickers Elizabeth Etoll Mrs. Ann B. Martin Peter James Stelling* Ms. Page Bishop* Mr. Doyle Faler* Linda & John Matthews Ms. Barbara Stewart* Mr.* & Mrs.* Sol Blaine Brien P. Faucett Mr. Michael A. McDowell, Jr. Beth & Edward Sugarman John Blatz Dr. Emile T. Fisher* Dr. Michael S. McGarry C. Mack* & Mary Rose* Taylor Rita & Herschel Bloom Moniqua N Fladger Richard & Shirley McGinnis* Isabel Thomson* The Estate of Mrs. Mr. & Mrs. Bruce W. Flower John & Clodagh Miller Jennings Thompson IV Gilbert H. Boggs, Jr. A. D. Frazier, Jr.* Mr. & Mrs. Arthur Mills, IV Margaret* & Randolph* Thrower W. Moses Bond Nola Frink* Ms. Vera Milner Kenneth & Kathleen Tice Mr.* & Mrs. Robert C. Boozer Betty* & Drew* Fuller Mrs. Gene Morse* Mr. H. Burton Trimble, Jr.* Elinor A. Breman* Sally & Carl Gable Hal Matthew Mueller* & Mr. Steven R. Tunnell Carol J. Brown William & Carolyn Gaik Constance Lombardo Mr. & Mrs. John B. Uttenhove James C. Buggs* Dr. John W. Gamwell* Ms. Janice Murphy* Mrs. Anise C. Wallace* Hugh W. Burke* Mr.* & Mrs.* L.L. Gellerstedt, Jr. Mr. & Mrs. Bertil D. Nordin Diane Woodard & Mr. & Mrs. William Buss Ruth Gershon & Sandy Cohn Mrs. Amy W. Norman* Bruce Wardrep Wilber W. Caldwell* Max Gilstrap* Galen Oelkers Mr. Robert Wardle, Jr. Mr.* & Mrs. C. Merrell Calhoun Mr. & Mrs. John T. Glover Roger B. Orloff Mr. & Mrs. John B. White, Jr. Cynthia & Donald Carson Mrs. David Goldwasser* Barbara D. Orloff Adair & Dick White Mrs. Jane Celler* Robert Hall Gunn, Jr. Fund Mr. & Mrs. Joe Owen Mr. Hubert H. Whitlow, Jr.* Mr. Jeffery B. Chancellor & Billie & Sig Guthman* Mr. & Mrs. Paul Joseph Owen Jr. Sue & Neil* Williams Mr. Cameron England Betty G.* & Joseph* F. Haas Dr. Bernard* & Sandra Palay Mrs. Frank L. Wilson, Jr. Lenore Cicchese* Dr. Charles H. Hamilton* Sally & Pete Parsonson Mrs. Elin M. Winn Dr. & Mrs. Grady S. Sally & Paul* Hawkins James L. Paulk Ms. Joni Winston Clinkscales, Jr. John* & Martha Head Ralph & Kay* Paulk George & Camille Wright Suzanne W. Cole Sullivan Ms. Jeannie Hearn* Dan R. Payne Mr.* & Mrs.* Charles R. Yates Robert Boston Colgin Barbara & John Henigbaum* Bill Perkins Mrs. Mary Frances Ms. Elizabeth Hendrick Mrs. Lela May Perry* * deceased Evans Comstock* Jill* & Jennings* Hertz Mr.* & Mrs. Rezin E. Pidgeon, Jr. Miriam* & John A.* Conant Mr.* & Mrs. Charles K. Janet M. Pierce* Dr. John W. Cooledge Holmes, Jr.
aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
52 | encore ASO | STAFF EXECUTIVE
James Nelson
Sean David
Jennifer Barlament
assistant librarian
video editor
marketing coordinator,
executive director
David Lesser
live
Lizzy Clements
director of orchestra
Bob Scarr archivist & research
personnel
coordinator
marketing coordinator, live
management
Meagan Rwambaisire
Alvinetta Cooksey executive &
assistant orchestra
SALES & REVENUE MANAGEMENT
Steven Thompson event coordinator, live
Russell Wheeler vice president, sales &
FINANCE & ADMINISTRATION
revenue management
Susan Ambo
executive assistant, senior
personnel manager
ARTISTIC
Melissa Nabb orchestra hr & finance
Gaetan Le Divelec vice president, artistic
Paul Barrett
finance assistant
planning
Ebner Sobalvarro artistic administrator
RaSheed Lemon artistic coordinator
Marcia Chandler chorus administrator
EDUCATION & COMMUNITY ENGAGEMENT Sarah Grant vice president of education
& community engagement Ryan Walks
partner
director of production
Richard Carvlin
Nancy James
& cfo Kimberly Hielsberg
senior director of sales &
Dasha Allen
Jesse Pace
stage manager
senior manager of ticketing
producer
Hunter Moore
& patron experience Dennis Quinlan manager, business insights & analytics
live sound engineer
Robin Smith
Harold Abbott head flyman/carpenter
guest services coordinator
Jacob Scott
lighting designer & stage
Jake Van Valkenburg group sales & audience development supervisor
electrician
Anna Caldwell
orchestra & teen programs
Daniel Stupin
guest services associate
manager
stagehand
Elena Gagon Dunn family programs &
MARKETING & COMMUNICATIONS
community engagement
Ashley Mirakian vice president, marketing &
atlanta symphony youth
manager
Michael Kralik manager of school engagement
ATLANTA SYMPHONY HALL LIVE Nicole Panunti vice president, atlanta symphony hall live
vice president of finance
April Satterfield controller
Brandi Reed staff accountant
DEVELOPMENT Grace Sipusic vice president of development
William Keene senior director of development
James Paulk senior annual giving officer
Renee Contreras
director of development, institutional giving
Beth Freeman senior manager of major
communications
Will Strawn
gifts
Camille McClain
director of marketing
Sharveace Cameron
director of marketing
Jadonna Brewton
& communications
interim talent development
Matt Dykeman
program manager
executive vice president
Erin Jones
audience development
audio recording engineer &
Maria Austin
front of house supervisor
senior stage manager
Jeremy Tusz
Meredith Chapple
Christine Lawrence
senior development
director of ticketing &
associate
parking
Rachel Bender
director of
OPERATIONS
Lisa Eng
digital content
creative services
giving
Emily Liao Master vice president & general
Adam Fenton
manager
director of
Caitlin Buckers
Jenny Ricke manager, grants
manager
multimedia technology
marketing manager
and development
Hannah Pearson
Delle Beganie content & production
Dan Nesspor
communications
manager
symphony hall live
Matthew Enfinger manager, corporate
senior manager of
Mia Jones-Walker
Liza Palmer
relations
operations
marketing manager
event manager
AJ McCurry
Emma Luty
Whitney Hendrix
development associate
principal librarian
creative services
Nicole Jurovics booking & contract manager
development associate
assistant general manager
Justin Richardson
Sara Baguyos
manager, aso
associate principal
Amy Godwin
librarian
communications manager
ticketing manager, atlanta
manager of individual
Gregory Freeman
encoreatlanta.com | 53
ASO | CORPORATE & GOVERNMENT SUPPORT
Major support is provided by the City of Atlanta Mayor’s Office of Cultural Affairs.
Major funding is provided by the Fulton County Board of Commissioners.
This program is supported in part by an award from the National Endowment for the Arts.
54 | encore
*
THE WOODRUFF CIRCLE Thank you to the Woodruff Arts Center’s dedicated Annual Fund donors whose gifts support the arts and education work at the Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art.
$1,000,000+
A Friend of the Atlanta Symphony Orchestra • A Friend of the High Museum of Art Lauren Amos • Mr. Joseph H. Boland, Jr.* • Mr. & Mrs.* Shouky A. Shaheen
$500,000 - $999,999 Anonymous Art Bridges Foundation
Georgia Power Foundation The Home Depot Foundation
Zeist Foundation
Sarah and Jim Kennedy E. Mcburney Trust Norfolk Southern Foundation Novelis, Inc. The Rich’s Foundation The Shubert Foundation Smurfit Westrock Alfred A Thornton Venable Trust
Truist Trusteed Foundations: Harriet McDaniel Marshall Trust, The Florence C. and Harry L. English Memorial Fund and the Woolford Charitable Trust UPS
$250,000 - $499,999 Accenture Farideh and Al Azadi Foundation Bank of America Bloomberg Philanthropies Chick-fil-A Foundation | Rhonda and Dan Cathy The Sara Giles Moore Foundation Google Reverend Ruth T. Healy*
$100,000 - $249,999 AAA Parking Alston & Bird Atlantic Station Sandra and Dan Baldwin Helen Gurley Brown Foundation Cadence Bank The Chestnut Family Foundation City of Atlanta Mayor’s Office of Cultural Affairs The Community Foundation for Greater Atlanta Sheila Lee Davies and Jon Davies Emerald Gate Charitable Trust Barney M. Franklin and Hugh W. Burke Charitable Fund Mr. James E. Gay* Georgia Council for the Arts
Northside Hospital Georgia Department of Early Care and Learning Piedmont Realty Trust PNC Georgia-Pacific Garnet and Dan Reardon Estate of Burton M. Gold Graphic Packaging International, Inc. Patty and Doug Reid Sartain Lanier Family Hazel Hale Trust Foundation, Inc. The Hertz Family Foundation, Inc. M. Douglas and V. Kay Ivester Southern Company Gas Foundation Carol and Ramon King & Spalding, Tomé Family Fund Warner Bros. Discovery Partners & Employees KPMG LLP, Partners & Employees Mrs. Harriet Warren The Charles Loridans Rod and Kelly Westmoreland Foundation, Inc. The Marcus Foundation, Inc. Amy W. Norman Charitable Foundation * In memoriam
56 | encore The Woodruff Arts Center’s Experience Atlanta, Experience Woodruff campaign succeeded in modernizing the campus and expanding arts education. We extend our deepest gratitude to the generous donors whose commitment brought this milestone to life.
$1,000,000+ Anonymous The Coca-Cola Foundation James M. Cox Foundation The Delta Air Lines Foundation The Goizueta Foundation Douglas J. Hertz Family Foundation The Home Depot Foundation
The Imlay Foundation Sarah and Jim Kennedy The Marcus Foundation Norfolk Southern PNC Bank Patty and Doug Reid Family Foundation*
The Sara Giles Moore Foundation The Carol and Ramon Tomé Family Fund Robert W. Woodruff Foundation Zeist Foundation
Cisco Systems Georgia Power Foundation
Kelin Foundation
The Fay S. and W. Barrett Howell Family Foundation Phil and Jenny Jacobs Margaret and Bob Reiser*
Truist Trusteed Foundations: Harriet McDaniel Marshall Trust, The Florence C. and Harry L. English Memorial Fund and the Woolford Charitable Trust
Ann and Jeff Cramer* Harland Charitable Foundation The Hearst Foundations Joia M. Johnson
Sartain Lanier Family Foundation The Selig, Lewis, Shoulberg Families Truist Charitable Fund Kathy Waller and Kenneth Goggins*
$500,000 - $999,999 Acuity Inc. Anonymous
$250,000 - $499,999 Bank of America Chick-fil-A, Inc. | Rhonda and Dan T. Cathy The Fraser-Parker Foundation
$100,000 - $249,999 A Friend of the Woodruff Arts Center Liz and Frank Blake Stephanie Blank* Aimee and Tom Chubb
$10,000 - $99,999 Ann A. Adams Anonymous Yum and Ross Arnold Ed Bastian Ken Bernhardt and Cynthia Currence Tony Conway, Legendary Events Johnson and Margaret Cook Cousins Properties Lee and Warren Culpepper Mike and Nancy Doss Mike and Mindy Egan Emeral Gate Charitable Trust Vicki Escarra Georgia Council for the Arts Patrick Gunning and Elizabeth Pelypenko Rand and Seth Hagen Joan Stanescu and Terrence Hahn Philip Harrison and Susan Stainback
The Pighini Family S. Jack and Michal Hart Hillman The Rockdale Foundation Julia Houston Lauren and Andrew Schlossberg Robin and Hilton Howell The Scott Hudgens Family Foundation Lauren and Tim Schrager June and John Scott Jim and Lori Kilberg Southface Institute KPMG LLP Candace Steele Flippin The Dennis Lockhart and Mary Rose Dave Stockert and Cammie Ives Taylor Memorial Fund The Mark and Evelyn Trammell Beau and Alfredo Martin Foundation, Inc. Jean Ann and Barry C. McCarthy* Tull Charitable Foundation John F. McMullan** The Vasser Woolley Foundation, Inc. Richard and Wimberly McPhail Susie and Patrick Viguerie Kavita and Ashish Mistry Pat Mitchell Seydel and Scott O. Seydel Sally and Mel Westmoreland John Wieland Hala and Steve Moddelmog* Kent and Talena Moegerle D. Richard Williams and Janet Lavine David, Helen, and Marian Ken and Val Neighbors Galen Oelkers Woodward Fund John and Ellen Yates Chuck and Kathie Palmer
Experience Atlanta, Experience Woodruff is supported in part by Georgia Council for the Arts through appropriations of the Georgia General Assembly and support from the National Endowment for the Arts. *Denotes additional support for the Alliance Theatre’s Imagine Campaign ** In memoriam