October 2011: The Rach II - Ravishing "Pictures"

October

Robert SpanoMusic DirectorDonald RunniclesPrincipal Guest ConductorMichael KrajewskiPrincipal Pops Conductor

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

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

20 “Nyx” Esa-PekkaSalonenandRobert

Spanoareofonemindona conductor’srole.

46 Community Corner: Meet Sheehan Hanrahan

Inthecommunity,making adifference.

50 ASO Media: Three for Three

GarrickOhlssonperforms Rachmaninov’sPiano ConcertoNo.3onnewCD.

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

features

8 EncorEAtlAntA.coM

25This week’s concert and program notes

the music

October 2011contents

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vp of creative/chief storyteller KristicaseySanders

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editorial assistants tiranGoldstein

atlanta symphony orchestradirector of publications robPhipps

publications editor KarlSchnittkeprogram annotator KenMeltzer

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

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

Overthecomingweeksyouwillseeandhearus:

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

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

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

Weareabletobeinconcertwithgreatmusic,withgreatartists,andwiththiscommunitythankstoyoursupport.Bravo—andthankyou!

Wishingyouallthebest,

StanleyE.Romanstein,Ph.D.President

12 EncorEAtlAntA.coM


2011-2012 BOArd Of dIreCTOrS

BOArd Of COuNSelOrS

lIfe dIreCTOrS

dIreCTOrS

OffICerS JimAbrahamson

ChairKaroleF.Lloyd

Chair-Elect

D.KirkJamiesonVice Chair

MeghanH.MagruderVice Chair

JoniWinston†Secretary

ClaytonF.JacksonTreasurer

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

Franklin,Jr.PaulR.GarciaCarolGreen

Gellerstedt

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

VictoriaPalefskyLeslieZ.PetterSuzanneTucker

PlybonPatriciaH.ReidMargaretConant

ReiserJohnD.RogersStanleyE.Romanstein,

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

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

Mrs.HelenAderholdRobertM.BalentineElinorBremanDr.JohnW.CooledgeJohnDonnellJereDrummondCarlaFacklerArnoldoFiedotin

CharlesGindenJohnT.GloverFrancesB.GravesDonaHumphreysAaronJ.JohnsonHerbKarpJimKelleyGeorgeLanier

PatriciaLeakeMrs.WilliamC.LesterMrs.J.ErskineLoveCarolynC.

McClatcheyJoyceSchwobMrs.CharlesA.

Smithgall,Jr.

W.RhettTannerG.KimbroughTaylorMichaelW.TrappEdusWarrenAdairR.WhiteNeilWilliams

HowellE.Adams,Jr.BradleyCurrey,Jr.

Mrs.DrewFullerMaryD.Gellerstedt

AziraG.HillDr.JamesM.Hund

ArthurL.Montgomery

* ex officio† 2011-2012 sabbatical

leadership

AtlantaSymphonyOrchestraLeague

The Gary W. and

Ruth M. Rollins

Foundation

Presenting Sponsor Lead Sponsors

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

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

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

PICASSOTOWARHOL

Get to know Picasso.

HIGH MUSEUM OF ART ATLANTA | TICKETS: HIGH.ORG OR 404-733-5000

FOURTEEN MODERN MASTERS

Opening October 15!

His mother said, “If you are a soldier,

you will become a general.

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

Instead, he was a painter and he became Picasso.

H I G H

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

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

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

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

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

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

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

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

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

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

Robert SpanoMuSIC dIreCTOr

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FIRST VIOLIN

David Coucheron ConcertmasterWilliam Pu Associate Concertmaster

The Charles McKenzie Taylor Chair*

Justin BrunsAssistant Concertmaster

Jun-Ching Lin Assistant Concertmaster

Carolyn Toll HancockJohn MeisnerAlice Anderson Oglesby

Lorentz OttzenChristopher PulgramCarol RamirezJuan RamirezOlga ShpitkoDenise Berginson SmithKenn WagnerLisa Wiedman Yancich

SECTION VIOLIN ‡

Judith CoxRaymond LeungSanford Salzinger

SECOND VIOLIN

David Arenz Principal The Atlanta Symphony Associates Chair*

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

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

VIOLA

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

Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair *

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

CELLO

Christopher Rex Principal The Miriam and John Conant Chair*

Daniel Laufer Associate Principal The Livingston Foundation Chair*

Karen Freer Assistant PrincipalDona Vellek Assistant Principal Emeritus

Joel DallowJere FlintJennifer HumphreysLarry LeMasterBrad RitchiePaul Warner

BASS

Ralph Jones Principal The Marcia and John Donnell Chair *

Gloria Jones Associate PrincipalJane Little Assistant Principal Emeritus

Michael KenadyMichael KurthJoseph McFaddenDouglas SommerThomas Thoreson

Robert Spano Music Director The Robert Reid Topping Chair *

Donald RunniclesPrincipal Guest Conductor

The Neil and Sue Williams Chair *

Michael KrajewskiPrincipal Pops Conductor

Atlanta’s Performing Arts Publication 19

FLUTE

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

PICCOLO

Carl David Hall

OBOE

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

Yvonne Powers Peterson

Associate PrincipalAnn Lillya †

CLARINET

Laura Ardan Principal The Robert Shaw Chair*

Ted Gurch Associate PrincipalWilliam RappaportAlcides Rodriguez

E-FLAT CLARINET

Ted Gurch

BASS CLARINET

Alcides Rodriguez

BASSOON

Carl Nitchie PrincipalElizabeth Burkhardt Associate PrincipalLaura NajarianJuan de Gomar

CONTRA-BASSOON

Juan de Gomar

HORN

Brice Andrus PrincipalSusan Welty Associate PrincipalThomas WitteRichard Deane Bruce Kenney

TRUMPET

Thomas HootenPrincipal The Madeline and Howell Adams Chair*

The Mabel Dorn Reeder Honorary Chair*

Karin Bliznik Associate PrincipalMichael TiscioneJoseph Walthall

TROMBONE

Colin Williams Principal Stephen Wilson Associate PrincipalGeorge Curran

BASS TROMBONE

George Curran

TUBA

Michael Moore Principal

TIMPANI

Mark Yancich Principal The Walter H. Bunzl Chair*

William Wilder Assistant Principal

PERCUSSION

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair*

William Wilder Assistant Principal The William A. Schwartz Chair*

Charles Settle

HARP

Elisabeth RemyJohnson

Principal The Delta Air Lines Chair

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair*

Peter Marshall †Beverly Gilbert †Sharon Berenson

LIBRARY

Rebecca Beavers PrincipalNicole Jordan Assistant Principal Librarian

John WildermuthAssistant Librarian

‡ rotate between sections* Chair named in

perpetuity † Regularly engaged

musician Players in string sections

are listed alphabetically

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

The Zeist Foundation Chair*

Norman MackenzieDirector of Choruses The Frannie and Bill Graves Chair

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

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

By Karl Schnittke


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

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

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

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

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

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

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

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

Continued on page 42

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CIA0005-June 15 Playbill Ad.pdf 2 6/15/11 12:49 PM


program

Robert Spano, music DirectorDonald Runnicles, Principal Guest conductor

Delta classical Series concertsthursday, Friday and Saturday, october 20, 21 and 22, 2011, at 8 p.m..

miguel Harth-Bedoya, conductorHoracio Gutiérrez, Piano

NIKOLAI RIMSKY-KORSAKOV (1844-1908) Capriccio espagnol, opus 34 (1887) I. Alborada. Vivo e strepitoso II. Variations. Andante con moto III. Alborada. Vivo e strepitoso IV. Scene and Gypsy Song. Allegretto V. Fandango of the Asturias

SERgEI RACHMANINOV (1873-1943) concerto no. 2 for Piano and orchestra in c minor, opus 18 (1901) I. Moderato II. Adagio sostenuto III. Allegro scherzando Horacio Gutiérrez, Piano

IntErmISSIon

MODEST MUSSORgSKY (1839-1881) (orchestrated by maurice ravel—1923) Pictures at an Exhibition (1874) Introduction: Promenade I. Gnomus Promenade II. Il vecchio castello Promenade III. Tuileries IV. Bydlo Promenade V. Ballet of Little Chicks in their Shells VI. Samuel Goldenberg and Schmuyle VII. The Market Place in Limoges VIII. Catacombae — Cum mortuis in lingua mortua IX. The Hut on Hen’s Legs (Baba-Yaga) X. The Great Gate of Kiev

“InsIde the MusIc” preview of the concert, thursday at 7 p.m., presented by Ken Meltzer, Atlanta symphony Orchestra Insider and Program Annotator.

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


SPonSorS

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

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

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

the Atlanta symphony Orchestra’s concert on november 5, 2011 at carnegie hall is made possible through the generous support of delta Air Lines and thurmond smithgall.

solo pianos used by the Atlanta symphony Orchestra are gifts of the Atlanta steinway society and in memory of david Goldwasser. the hamburg steinway piano is a gift received by the Atlanta symphony Orchestra in honor of Rosi Fiedotin.

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

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

the Atlanta symphony records for AsO Media. Other recordings of the Orchestra are available on the Argo, deutsche Grammophon, new World, nonesuch, Philips, telarc and sony classical labels.

Media sponsors: WABe, WsB AM, and AJc.

trucks provided by Ryder truck Rental Inc.

program


notes on the ProgramBy Ken Meltzer

Capriccio espagnol, opus 34 (1887)

NIKOLAI RIMSKY-KORSAKOV was born in tikhvin, Russia, on March 18, 1844, and died in Lyubensk, Russia, on June 21, 1908. the first performance of the Capriccio espagnol took place at the small theater in st. Petersburg, Russia, on October 31, 1887, with the composer conducting the Orchestra of the Imperial Russian Opera house. the Capriccio espagnol is scored for piccolo, two flutes, two oboes, english horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp, triangle, snare drum, tambourine, castanets, cymbals, bass drum and strings. Approximate performance time is sixteen minutes.

First ASO Classical Subscription Performance: February 27, 1949, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: May 8, 9 and 10, 1997, Louis Lane, Conductor.

“glitter with dazzling color”

nikolai Rimsky-Korsakov composed his brilliant Capriccio espagnol in the summer of 1887. For some time, the composer had been occupied with the

orchestration of his opera, Prince Igor. however, according to Rimsky-Korsakov: “In the middle of the summer this work was interrupted: I composed the Spanish Capriccio from the sketches of my projected virtuoso violin fantasy on spanish themes. According to my plans the Capriccio was to glitter with dazzling color, and manifestly, I had not been wrong.”

It was Rimsky-Korsakov who led the October 31, 1887 premiere of his Capriccio espagnol. the concert took place at the small theater in st. Petersburg, as part of the Russian Musical society’s concert series. Rimsky-Korsakov conducted the Orchestra of the Imperial Russian Opera house. the concert, according to Rimsky-Korsakov, “was played with a perfection and enthusiasm the like of which it never possessed subsequently, even when led by (Arthur) nikisch himself. despite its length, the composition called forth an insistent encore.”

Rimsky-Korsakov has long been hailed as one of the masters of orchestration. the composer himself acknowledged that the Capriccio espagnol, along with Scheherazade (1888) and the Russian Easter Overture (1888), marked the culmination of a period in “which my orchestration had reached a considerable degree of virtuosity and bright sonority…”

nevertheless, Rimsky-Korsakov admonished:

the opinion formed by both critics and the public, that the Capriccio is a magnificently orchestrated piece — is wrong. the Capriccio is a brilliant composition for the orchestra. the change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of


instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration. the spanish themes, of dance character, furnished me with rich material for putting in use multi-form orchestral effects. All in all, the Capriccio is undoubtedly a purely external piece, but vividly brilliant for all that.

Musical Analysis

Rimsky-Korsakov chose the melodies of the Capriccio espagnol from a collection of songs and dances, edited by the 19th-century spanish composer José Inzenga y castellanos (1828-1891). the five movements are played without pause.

I. Alborada. Vivo e strepitoso — the Capriccio espganol opens with a scintillating Alborado (an aubade, or morning serenade). the sparkling introduction leads to playful solos for the clarinet and violin.

II. Variations. Andante con moto — the horns introduce a languid, dolce theme that serves as the basis for a series of variations, showcasing the orchestra’s wide range of colors. the movement concludes with a cadenza for the solo flute.

III. Alborada. Vivo e strepitoso — the third movement offers a repetition of the opening Alborada, now transposed from A to B-flat Major.

IV. Scene and Gypsy Song. Allegretto — A roll of the snare drum introduces a series of cadenzas for the horns and trumpets, violin, flute and clarinet, and harp. A vibrant Gypsy song dominates the latter part of the movement, gathering impressive momentum as it proceeds directly to the finale.

V. Fandango of the Asturias — the final movement opens with a Fandango, a lively dance in triple meter. the Gypsy song briefly returns, as does the opening Alborada, bringing the Capriccio espagnol to a dazzling Presto conclusion.

Concerto No. 2 for Piano and Orchestra in C minor, opus 18 (1901)

SERgEI RACHMANINOV was born in semyonovo, Russia, on April 1, 1873, and died in Beverly hills, california, on March 28, 1943. the first performance of the second Piano concerto took place in Moscow on november 9, 1901, with the composer as soloist and Alexander siloti conducting the Moscow Philharmonic society. In addition to the solo piano, the concerto no. 2 is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals and strings. Approximate performance time is thirty-three minutes.

First ASO Classical Subscription Performance: December 17, 1949, Jacques Abram, Piano, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: February 6, 7 and 8, 2003, André Watts, Piano, Robert Spano, Conductor.


program

“A conservatory in Hell”

When sergei Rachmaninov completed his First symphony in August of 1895, he was 22, and brimming with all the confidence of youth. “I imagined

that there was nothing I could not do and had great hopes for the future,” he later recalled. Rachmaninov’s First symphony received its premiere in st. Petersburg on March 27, 1897, with composer Alexander Glazunov conducting. But what should have been one of the great triumphs of the young Rachmaninov’s life almost permanently ended his career as a composer.

Rachmaninov began to lose faith in his First symphony during the first rehearsal. the composer’s doubts were hardly allayed by nicolai Rimsky-Korsakov, who remarked, “Forgive me, but I do not find this music at all agreeable.” Any possibilities of success for the symphony were foiled by a performance Rachmaninov described as “beneath contempt.” Immediately after the final chords, Rachmaninov “fled, horrified, into the street.”

While Rachmaninov was able to escape the confines of the theater, he still had to face the wrath of the critics. Russian composer césar cui wrote in the st. Petersburg news:

If there were a conservatory in hell, if one of its many talented students were instructed to write a programme symphony on the “seven Plagues of egypt,” and if he were to compose a symphony like Mr. Rachmaninov’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of hell.

It’s not surprising that Rachmaninov was devastated by this disastrous turn of events. he lapsed into a profound depression, and vowed to give up composing. Rachmaninov recalled: “this condition, which was as tiresome for myself as for those about me, lasted more than a year. I did not live; I vegetated, idle and hopeless.”

Rachmaninov’s friends were alarmed by his condition, and tried all forms of cures. Princess Alexandra Lieven arranged for Rachmaninov to visit his idol, the author tolstoy. But when the terrified Rachmaninov was finally able to summon the courage to play one of his piano compositions, tolstoy queried: “tell me, does anybody need music like this?”

“You will begin to write your Concerto”

Finally, the satin family convinced Rachmaninov that he should consult dr. nikolai dahl, a doctor who had gained some prominence for his employment of suggestion and auto-suggestion. Between January and April of 1900, Rachmaninov visited dr. dahl on a daily basis. Rachmaninov had tried, unsuccessfully, to compose a piano concerto he promised for London. the composer recalled:

I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in dr. dahl’s study. “You will begin to write your concerto...You will work with great facility...the concerto will be of an excellent quality...” It was always the same, without interruption. Although it may sound incredible, this cure really helped me. Already


at the beginning of the summer I began again to compose. the material grew in bulk, and new musical ideas began to stir within me — far more than I needed for my concerto.

Rachmaninov completed the final two movements of his second Piano concerto in the autumn of 1900 and performed them at a Moscow charity concert in October. Rachmaninov added the opening movement in the spring of the following year, and appeared as soloist in the november 9, 1901 premiere of the entire second concerto. In gratitude, Rachmaninov dedicated the concerto to dr. dahl.

Musical Analysis

I. Moderato — the soloist intones eight chords that crescendo to the orchestra’s presentation of the surging opening melody, marked con passione. After a brief, capricious flight by the soloist and a forceful orchestral statement, the pianist introduces the second theme, one of the haunting, expansive melodies that are a hallmark of Rachmaninov’s art. the development, prominently featuring the soloist, builds to a climax. this leads to a recapitulation in which the orchestra’s repetition of the first theme is juxtaposed with a martial proclamation by the soloist. A solo horn reprises the lovely second theme. the movement concludes with a terse, powerful coda.

II. Adagio sostenuto — the concerto’s slow movement opens with muted strings. the pianist accompanies the solo flute and clarinet as they softly introduce the movement’s principal melody, closely related to the opening Moderato’s second theme. the Adagio proceeds as a haunting fantasia on the melody. toward the latter part of the movement, there is an agitated episode for the soloist. soon, however, the atmosphere of the opening returns, and the soloist brings the Adagio to a serene conclusion.

III. Allegro scherzando — the orchestra presents a march-like figure. After a brief solo passage, the pianist introduces the finale’s descending principal theme. the violas and solo oboe introduce the beautiful second theme, one of Rachmaninov’s most famous melodies (and the basis for a 1940s popular song, “Full Moon and empty Arms”). the soloist then offers his own ardent version of the melody. the opening theme returns, presented in varied and thrilling fashion. A brief interlude by the soloist introduces the solo flute and violins’ reprise of the second theme. After a reflective passage for soloist and orchestra, fragments of the opening theme return, leading to the opulent closing measures. A lush presentation of the second theme, capped by the soloist and orchestra’s headlong dash, bring the concerto to a thrilling close.

Pictures at an Exhibition (1874) (orchestrated by maurice ravel—1923)

MODEST MUSSORgSKY was born in Karevo, district of Pskov, Russia, on March 21, 1839, and died in st. Petersburg, Russia, on March 28, 1881. the premiere of the Maurice Ravel orchestration of Mussorgsky’s Pictures at an Exhibition (originally composed for piano solo) took place in Paris, France, on May 3, 1923, with serge Koussevitsky conducting. the Ravel orchestration is scored for two piccolos, three flutes, three oboes, english horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon,


program

four horns, three trumpets, three trombones, tuba, timpani, two harps, celeste, xylophone, snare drum, tam tam, triangle, whip, ratchet, cymbals, bass drum, orchestra bells, suspended cymbal, chimes and strings. Approximate performance time is thirty-four minutes.

First ASO Classical Subscription Performance: March 10, 1953, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: October 1, 2 and 3, 2009, Robert Spano, Conductor.

ASO Recording: Yoel Levi, Conductor (Telarc CD-80296)

In 1873, the Russian artist Viktor hartmann died at the age of 39. After hartmann’s death, the st. Petersburg society of Architects presented an

exhibition of hartmann’s works. One of the people attending the exhibition was hartmann’s dear friend, the Russian composer Modest Mussorgsky.

Mussorgsky was as profoundly impressed with the quality of hartmann’s works as he was saddened by the sudden loss of a dear friend. Mussorgsky decided to offer a tribute to hartmann in the form of a musical representation of several of the pieces of art featured at the st. Petersburg exhibit. In 1874, Modest Mussorgsky completed his work for solo piano, Pictures at an Exhibition, published after the composer’s death in 1881.

While many critics have suggested that Mussorgsky did not write in a particularly idiomatic fashion for the piano, the original version of Pictures can make a stunning impact when interpreted by a sympathetic virtuoso. still, it was not until Maurice Ravel applied his brilliant talents to Mussorgsky’s original score that Pictures at an Exhibition became destined for the immense popularity it enjoys today.

conductor serge Koussevitsky commissioned Ravel’s orchestration for the annual Paris Concerts Koussevitsky, where it premiered, to great acclaim, on May 3, 1923. since that time, the Mussorgsky/Ravel Pictures at an Exhibition has been celebrated as a quintessential showpiece for orchestras and conductors alike. It is one of the most performed and recorded works in the concert repertoire.

Musical Analysis

Promenade. Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto — the Promenade serves as a connecting motif between musical portrayals of the various pictures. Russian music critic Vladimir stassov described the promenade as depicting the composer “moving now to the left, now to the right, now wandering about aimlessly, now eagerly making for one of the pictures...” the composer’s unpredictable movements are reflected in the odd combinations of 5/4 and 6/4 rhythms. In Ravel’s orchestration, the main Promenade theme is first played by the solo trumpet and, ultimately, by the full orchestra.

I. Gnomus. Vivo — Many of hartmann’s works disappeared during the period between the 1874 st. Petersburg exhibition and Ravel’s 1923 orchestration of Mussorgsky’s composition. And so, there is disagreement as to the exact nature of the picture that inspired this music. In the original piano edition, stassov describes hartmann’s work: “A dwarf walks about


awkwardly on crooked little legs.” however, Alfred Frankenstein, longtime Music and Art editor of the San Francisco Chronicle, engaged in a detailed search and study of the original hartmann pictures. Frankenstein stated that “(t)he picture was a design for a nutcracker in the form of a gnome with huge jaws.” In either case, the music depicting hartmann’s drawing is ominous and, at times, violent.

Promenade — A more introspective statement of the Promenade theme serves as a bridge to the following picture.

II. Il vecchio castello. Andante — the painting depicts an old Italian castle, before which a lute-bearing troubadour stands. the troubadour’s melancholy ballad, principally intoned by the saxophone, is set to an undulating 6/8 rhythm.

Promenade. Moderato non tanto, pesamente — A brief, weighty restatement of the Promenade leads to:

III. Tuileries. Allegretto non troppo, capriccioso — Mussorgsky’s own subtitle for this section is “children Quarreling After Play.” the painting depicts the Parisian tuileries gardens, where children play under the watchful eye of their nurses. the action is portrayed in a fleeting, airy section that, in Ravel’s orchestration, prominently features the woodwinds.

IV. Bydlo. Sempre moderato pesante — “Bydlo” is the Polish word for “cattle.” hartmann’s watercolor depicts an ox-drawn cart with massive wooden wheels. the lumbering movement of the cart is reflected in the plodding 2/4 rhythm and dark orchestration, including an extended tuba solo.

Promenade. Tranquillo — A short reprise of the Promenade serves as a bridge to:

V. Ballet of the Chicks in Their Shells. Scherzino. Vivo leggiero — the sketch that inspired this delightful miniature scherzo was made by hartmann for the ballet, Trilby. It features costumed children impersonating chicks newly emerging from their shells. Ravel’s filigree scoring of Mussorgsky’s tripping rhythm is sheer magic.

VI. Samuel Goldenberg and Schmuyle. Andante — the title of this section is the creation of stassov—Mussorgsky’s original reads, “two Polish Jews; one rich, the other poor.” this episode appears to be based upon a hartmann drawing of the sandomir ghetto. Mussorgsky owned the drawing and loaned it to the st. Petersburg exhibit. the exchange between the wealthy Goldenberg (lower strings supported by woodwinds) and schmuyle (muted trumpet) eventually erupts into an argument, as the two simultaneously attempt to express themselves.

here, Ravel omits Mussorgsky’s repetition of the Promenade and proceeds to:

VII. The Market Place in Limoges. Allegretto vivo, sempre scherzando — hartmann’s watercolor portrays the façade of the Limoges cathedral. Mussorgsky focused on a small portion of the watercolor that shows market women engaged in lively conversation. the quicksilver musical portrayal of their gossip is interrupted by:

VIII. Catacombae, Sepulchrum Romanum. Largo — the painting depicts hartmann and a friend standing in a Paris catacomb, observing a pile of skulls illuminated by a guide’s lantern. Brass pronouncements alternating loud and soft dynamics lead directly to:


program

Cum mortuis in lingua mortua. Andante non troppo, con lamento — Mussorgsky’s own footnote to this section’s title reads: “A Latin text: ‘With the dead in a dead Language.’ Well may it be in Latin! the creative spirit of the departed hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within.” the bond between hartmann and Mussorgsky is made clear by the repetition of the Promenade theme, played over mysterious string tremolos. the oboes and english horn first play the theme, followed by the bassoons and contrabassoon.

A moment of silence is shattered by:

IX. The Hut on Hen’s Legs (Baba-Yaga). Allegro con brio, féroce—Andante mosso—Allegro molto — Baba-Yaga is a mythical Russian witch who lured victims into her hut. there, Baba-Yaga ground her prey’s bones with a giant mortar that she also used to transport herself through the air. hartmann’s drawing is a representation of a huge clock in the shape of the witch’s hut that, according to legend, stood on four chicken feet, thereby allowing the quick capture of each new victim. Mussorgsky’s musical portrayal of the witch’s grotesque hut and her flight leads without pause to:

X. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza — the final picture represented hartmann’s entry in a competition to erect a gateway in Kiev. the gateway was intended to serve as a memorial to tsar Alexander II’s escape from assassination. hartmann envisioned a massive and ornate structure, featuring a cupola in the form of a slavonic war helmet. Mussorgsky’s music, enhanced by Ravel’s orchestration, evokes the epic grandeur of hartmann’s design, as well as images of ceremonial processions through the extraordinary gate. the Promenade theme returns in triumphant fashion, leading to one of the most thrilling conclusions in concert music.

MIgUEL HARTH-BEDOYA, conductor

Music director of the Fort Worth symphony Orchestra for more than a decade, Miguel

harth-Bedoya is one of this country’s most exciting and sought-after conductors. under his leadership, the artistic level of the Fort Worth symphony and its contribution to the cultural life of the community have grown enormously. he has also appeared with the symphony orchestras of Atlanta, Baltimore, Boston, chicago, cincinnati, cleveland, colorado, dallas, detroit, houston, Los Angeles, Milwaukee, Minnesota, national (Washington, d.c.), new York, Philadelphia, st. Louis, san diego, seattle, toronto and utah, and the saint Paul chamber Orchestra.

Worldwide, Mr. harth-Bedoya has performed with the BBc London symphony, BBc scottish symphony, Berlin symphony, Birmingham symphony, dresden Philharmonic, Gøteborg symphony, helsinki Philharmonic, MdR Orchestra/Leipzig, London Philharmonic, Malmø symphony, Montreal symphony, Munich Philharmonic, ndR Orchestra/hamburg, Orchestre national Bordeaux Aquitaine, Orchestre national de Lyon, Orchestre de

Miguel Harth-Bedoya


HORACIO gUTIéRREz, Piano

Considered one of the great pianists of our time, horacio Gutiérrez is consistently praised by

critics and audiences alike for the poetic insight and technical mastery he brings to a diverse repertoire. since his professional debut in 1970 with Zubin Mehta and the Los Angeles Philharmonic, Mr. Gutiérrez has appeared regularly with the world’s greatest orchestras and on its major recital series.

his 2011-12 engagements include returns to the symphony Orchestras of Baltimore, Atlanta, st. Louis, san Francisco, Winnipeg and san diego, plus opening the new soka Arts center in Orange county, calif., performing the Rachmaninov concerto no. 2 with the Pacific symphony. Mr. Gutiérrez has given recitals at Amsterdam’s concertgebouw, Berlin’s Philharmonie, the schleswig-holstein Festival and new York’s carnegie and Avery Fisher, halls and has twice performed on tour with the cleveland Orchestra.

A favorite of new York concertgoers, Mr. Gutiérrez has frequently performed at Lincoln center’s Avery Fisher hall and at carnegie hall in recital and with orchestra. he has been a frequent soloist at the Mostly Mozart Festival and has appeared on its season-opening “Live From Lincoln center” telecast. As a chamber musician, he has collaborated with the Guarnieri, tokyo and cleveland quartets as well as the chamber Music society of Lincoln center. In 1982, he received the prestigious Avery Fisher Prize.

Mr. Gutiérrez is a strong advocate of contemporary American composers. Of special importance were his performance of William schuman’s Piano concerto in honor of the composer’s 75th birthday at new York’s 92nd street Y, and of André Previn’s Piano concerto with the new York Philharmonic with Mr. Previn conducting.

his tV performances in Britain, the united states and France have been widely acclaimed, and have won him an emmy Award for his fourth appearance with the chamber Music society of Lincoln center.

Horacio gutiérrez

Paris, Orchestre de la suisse Romande, Orquesta y coros nacionales de españa, Orquesta nacional de Madrid, Orquesta sinfónica de castilla de Lyon/Valladolid, Orquesta sinfónica de Galicia, Orquesta sinfónica de tenerife, Residentie Orkest/the hague, Royal scottish national Orchestra, Royal stockholm Philharmonic, stavanger symphony (norway), sWR Orchestra/stuttgart, sydney symphony, WdR Orchestra/cologne and Zurich tonhalle as well as tours of new Zealand with the new Zealand Orchestra and of scandinavia with soprano Renée Fleming.

equally at home in the theater, Miguel harth-Bedoya conducted a new production of La Bohème at the english national Opera/London in 2009, directed by Jonathan Miller. he has also led productions with the opera companies of canada, cincinnati, Minnesota and santa Fe.

Winner of the 2002 seaver/neA conductors Award, Mr. harth-Bedoya also has served as music director of the Auckland Philharmonia, eugene symphony, and the Philharmonic Orchestra of Lima.


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

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H. Sauser

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

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

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

Rose TaylorJennings Thompson IVMargaret* & Randolph

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

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

R. YatesAnonymous (12)

*Deceased

Patron Partnership Thomas J. Jung, Chair

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

Appassionato Meghan Magruder, Appassionato Chair

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

additional supportBlonder Family Foundation William McDaniel Charitable

FoundationWilliam Randolph Hearst

Endowed Fund


Classical Title SponsorClassic Chastain Title Sponsor

Family and SuperPOPS Presenting Sponsor

RICHARD ANDERSONChief Executive Officer

Holiday Title Sponsor

MUHTAR KENTPresident and

Chief Operating Officer

DARRYL HARMONSoutheast Regional President

Atlanta School of Composers Presenting Sponsor

PHILIP I. KENTChief Executive Officer

Supporter of the AtlantaSymphony Orchestra Chorus

JERRY KARRManaging Director

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

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

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

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

corporate & government support


2011-2012 boardBelinda Massafra

PresidentSylvia Davidson

President ElectSuzy Wasserman,

Leslie Petter, Camille Yow Advisors

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

Elba McCue Secretary

Sabine Sugarman Treasurer

Camille Kesler VP Administration

Dawn Mullican VP Public Relations

Paula Ercolini VP Youth Education

Ruth & Paul Marston VP Membership

Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians

Judy Schmidt Nominating Committee Chair

Amy Mussara, Chair, Decorators’ Show House & Gardens

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

Janis Eckert & Gail Spurlock Chairs, ASA Fall Meeting

Poppy Tanner Chair, ASA Night at the ASO

Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon

Pat King ASA Notes Newsletter Editor

Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk

Helen Marie Rutter Bravo Chair

Elba McCue Concerto Chair

Joan Abernathy Encore Chair

Liz Cohn & Betty Jeter Ensemble Chairs

Karen Bunn Intermezzo Chair

Atlanta Symphony AssociatesThe volunteer organization of the Atlanta Symphony Orchestra

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

For less than what it costs for a single admission, you can purchase a Dinner & A Show package and get a TICKET PLUS A $20 GIFT CARD redeemable at a fine Atlanta restaurant.

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For more information, please call Janet Potash at the Fox Theatre at 404-881-2103

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

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

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

★★★★★★★★★★★$450,000+

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

Hon. Anne Cox Chambers

★★★★★★★★★$200,000+

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

Deloitte LLP, its Partners & Employees

Ernst & Young, Partners & Employees

The Home Depot Foundation Jones Day Foundation & Employees

The Klaus Family FoundationPricewaterhouseCoopers Partners & Employees

Mabel Dorn Reeder FoundationTurner Broadcasting System, Inc.

★★★★★★★★$150,000+

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

Wells Fargo

★★★★★★★$100,000+

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

The Marcus Foundation, Inc. The Sara Giles Moore Foundation

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

★★★★★★$75,000+

Holder Construction CompanyThe Sartain Lanier Family Foundation, Inc.

Patty & Doug Reid Family Foundation

★★★★★$50,000+

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

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

Newell RubbermaidPrimericaDarrick StephensSutherland Asbill & Brennan LLP

The Zeist Foundation, Inc.

★★★★$35,000+

Accenture & Accenture Employees

Katharine & Russell Bellman Foundation

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

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

★★★$25,000+

Air Serv CorporationAssurant Atlanta Companies Assurant SolutionsAssurant Specialty Property

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

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

LexisNexis Risk Solutions


The Blanche Lipscomb Foundation

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

Piedmont Charitable Foundation, Inc.

J. Marshall & Lucile G. Powell Charitable Trust

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

Waste Management Charitable Foundation

Yancey Bros. Co.

★★$15,000+

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

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

The Arthur M. Blank Family Foundation

The Boston Consulting GroupCatherine S. & J. Bradford Branch

George M. Brown Trust Fund of Atlanta, Georgia

Bryan Cave LLPBuck Consultants

The Capital Group Companies Charitable Foundation

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

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

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

Ingrid Saunders JonesDavid & Jennifer Kahn Family Foundation

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

Karole & John LloydLockheed Martin Aeronautics Company

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

Paul, Hastings, Janofsky & Walker LLP

Printpack Inc./The Gay & Erskine Love Foundation

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

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

United Distributors, Inc. WATL/WXIA/Gannett Foundation

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

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

*As of May 31, 2011


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

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

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

Next up, “Nyx.”

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

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

Continued from page 20


community corner

Meet Sheehan Hanrahan,

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

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

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

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

In�the�Community,��Making a Difference

Our Professional EnsembleBruce V. Benator, CPA, Managing Partner

Kevin J. Hedrick, CPA, PartnerSteven G. Horn, CPA, PartnerLaura E. Speir, CPA, Partner

Patricia A. Yeager, CPA, Partner

NO rehearsalsONLY performances

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community corner continued


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

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

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

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

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

Edited and condensed by Karl Schnittke

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

Sheehan Hanrahan

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

Lovett Open HouseSunday, November 13, 2011

K–Grade 5, 1:00 pm

Grades 6–12, 3:30 pm

We offer more than 50 classes in the visual and performing arts,

as well as private lessons, all taught by professional artists.

Come to our Open House and explore the arts at Lovett—

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The Lovett School practices a nondiscriminatory admission policy.

Financial aid is available.

Learn more at www.lovett.org

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

Photo by Gary Heery

Hilary Hahn, violin

with

Valentina Lisitsa, piano

Thursday, October 27, 8 p.m.

Schola Cantorum

de Venezuela

Friday, November 11, 8 p.m.

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

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

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

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

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

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

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

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

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

ASO Media recordings are available at the Symphony Store.

three for threeBy Karl Schnittke

Garrick Ohlsson, piano Robert SpanoAtlanta Symphony Orchestra

Rach- maninov

TM

Piano ConCerto no. 3Symphonic DanceS

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

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

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

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

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

november 20

Sun: 3pm Overture

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

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

november 25/26

Fri/Sat: 8pm SuperPOPS!

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

calendar

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

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

Aysha H. Siddique Manager of Board & Community Relations

Brien Faucett Administrative Assistant to the President’s Office

Evans Mirageas Director of Artistic Planning

ADMiNiStRAtiONJohn Sparrow Vice President for Orchestra Initiatives & General Manager

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

Julianne Fish Orchestra Manager

Nancy Crowder Operations/Rental Events Coordinator

Kelly O’Donnell Artist Assistant

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

Jeffrey Baxter Choral Administrator

Ken Meltzer ASO Insider & Program Annotator

Russell Williamson Orchestra Personnel Manager

Susanne Watts Assistant Orchestra Personnel Manager

Paul Barrett Senior Production Stage Manager

Richard Carvlin Stage Manager

Lela Huff Assistant Stage Manager

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

Melanie Darby Director of Education Programming

Ahmad Mayes Community Programs Coordinator

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

Janice CrewsProfessional Learning Teaching Artist

Tiffany I.M. JonesEducation Sales Associate

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

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

Susan Ambo Vice President of Finance

Kim Hielsberg Director of Financial Planning & Analysis

April Satterfield Senior Accountant

Peter Dickson Staff Accountant

Michael Richardson Venues Analyst

Stephen Jones Symphony Store Manager

ASO PresentsClay Schell Vice President, Programming

Trevor Ralph General Manager and Senior Director of Operations

Holly Clausen Director of Marketing

Keri Musgraves Promotions Manager

Lisa Eng Graphic Artist

Chastain Park AmphitheaterTanner SmithProgram Director

Verizon Wireless Amphitheatre at Encore ParkKatie Daniel VIP Sales Manager

Jenny Pollock Operations Manager

Rebecca Simmons Box Office Manager

DEvELOPMENtSandy Smith Vice President for Development

Rebecca Abernathy Development Services Coordinator

Zachary Brown Director of Volunteer Services

Corey Cowart Director of Corporate Relations

Melissa Donalson Development Coordinator

Janina Edwards Grants Consultant

Ashley Krausen Special Events Coordinator

Jessica Langlois Director of Leadership Gifts & Planned Giving

Sarah Levin Volunteer Project Manager

Stephanie Malhotra Director of Development & Education Services

Toni Paz Director of Individual Giving

Barbara Saunders Director of Foundation Relations

Meredith Schnepp Prospect Research Officer

Tammie Taylor Assistant to the

VP for DevelopmentAndrea Welna Major Gifts Office

Sarah Zabinski Individual Giving Manager

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

Alesia Banks Director of Customer Service & Season Tickets

Ted CaldwellGroup & Corporate Sales Assistant

Meko HectorMarketing Production Manager

Jennifer JeffersonDirector of e-Business & Interactive Media

Melanie KiteSubscription Office Manager

Shelby MoodyGroup & Corporate Sales Manager

Seth Newcom Database Administrator

Kimberly Nogi Publicist

Robert Phipps Publications Director

Melissa A. E. SandersSenior Director, Communications

Christine Saunders Group & Corporate Sales Associate

Karl Schnittke Publications Editor

Robin Smith Subscription & Education Sales

Rachel TrignanoManager of Broad Based Giving

Russell Wheeler Director of Group & Corporate Sales

Christina Wood Director of Marketing


staff

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general infoLAtE SEAtiNGLatecomers are seated at the discretion of house management. Reserved seats are not guaran-teed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPEciAL ASSiStANcEAll programs of the Atlanta Symphony Orchestra are accessible to people with disabil-ities. Please call the box office (404.733.5000) to make advance arrangements.

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

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

iMPORtANt PHONE NuMBERSConcert Hotline 404.733.4949(Recorded information)Symphony Hall Box Office 404.733.5000Ticket Donations/Exchanges 404.733.5000Subscription Information/Sales 404.733.4800Group Sales 404.733.4848Atlanta Symphony Associates 404.733.4865(Volunteers)Educational Programs 404.733.4870Youth Orchestra 404.733.5038Box Office TTD Number 404.733.4303Services for People 404.733-5000 with Special Needs 404.733.4800Lost and Found 404.733.4225Symphony Store 404.733.4345

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

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

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

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

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

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

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Southern Hospitality

symphonic summer

Eri

k D

ixo

n

1 SPANO At ASPEN Robert Spano,

the music director-designate of the

Aspen Music Festival, led Rachmaninov’s

2nd Piano Concerto, with Vladimir

Feltsman at the keyboard.

2 iNtO tHE WOODS WE GO!

The Orchestra’s student musicians

play a vital role in the Alliance Theatre’s

opening production of Stephen

Sondheim’s Into The Woods.

3 BRAvO, BRAvES! Members

of the Youth Orchestra, under

Jere Flint, performed the National

Anthem at the Atlanta Braves’

inaugural Music Appreciation Night.

4 vWA WOW! The Orchestra’s

fourth summer at Verizon Wireless

Amphitheatre hit all the right notes,

including a concert with Cirque de

la Symphonie.

gallery

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2

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RCS_BGA_P08409 Client: Ruth’s Chris Steak HouseWO: Encore Atlanta Metro start your night .. (digest full)

Live: 4.875” x 7.875” Trim: 5.375” x 8.375” Bleed: 5.625” x 8.625” Gutter: NoneMedia Type: Magazine Pubs: Encore Magazine Issue: 2010; AdSize: digest full Line Screen: Default Mech Scale: NoneAD: Jessica Giles CW: None ACCT: Jackie Ferrer PROD: Angel Pabon TRAF: Lynn Mathis Studio: Kevin Tinsley

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Four Metro Atlanta RestaurantsSandy Springs • Buckhead

Centennial Olympic Park • Kennesaw

ruthschris.com

Start your night with a standing ovation.

Enjoy a sumptuous pre-show dinner with our 3-course Prime Time Menu | $39.95 or $49.95

Off ered nightly until 6:30pm.

CMYK 15/100/100/68

S:4.875”S:7.875”

T:5.375”T:8.375”

CLIENT: Delta BILLING #: DLTCORM11020 ECD: Scott Vitrone / Ian Reichenthal CW: Ben Hughes BLEED: 5.625” x 8.625” GUTTER: None

CAMPAIGN: 2011 National TRACKING #: NA CD/ACD: John Parker/Ben Hughes SA: Jill Kearton TRIM: 5.375” x 8.375” PUBLICATION: Encore

EXECUTION: More First Class AD: Matt Even PM: Stacy Grogan SAFETY: 4.625” x 7.625” PUB DATE: June

PRINT SCALE: None SCALE: Actual

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FONTS: Whitney HTF (Medium, Book), Times (Regular)

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October 2011: The Rach II - Ravishing "Pictures"

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