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ASOprogram
Atlanta Symphony Orchestra
A founding member of the Robert W. Woodruff Arts Center
Robert Spano, Music Director
Donald Runnicles, Principal Guest Conductor
Delta classical Series Concerts
Thursday, February 26, and Saturday, February 28, 2009, at 8 p.m.
robert spano, Conductor
Janice Chandler ETEME, Soprano (Gabriel, Eva)
Thomas Cooley, Tenor (Uriel)
Derrick Parker, Bass (Raphael, Adam)
Atlanta Symphony Orchestra Chamber Chorus,
Norman Mackenzie, Director of Choruses
Franz Joseph Haydn (1732-1809)
German and English Texts by Gottfried van Swieten (1733-1803)
Die Schöpfung (The Creation), Hob. XXI:2 (1798)
First Part
1. The Representation of the Chaos
2. Recitative and Chorus: In the beginning God created
3. Aria and Chorus: Now vanish before the holy beams
4. Recitative: And God made the firmament
5. Solo with Chorus: The marvelous work beholds amazed
6. Recitative: And God said: Let the waters
7. Aria: Rolling in foaming billows
8. Recitative: And God said: Let the earth bring forth grass
9. Aria: With verdure clad
10. Recitative: And the heavenly hosts proclaimed
11. Chorus: Awake the harp
12. Recitative: And God said: Let there be lights
13. Recitative: In splendor bright
14. Trio and Chorus: The heavens are telling
INTERMISSION
Atlanta’s Performing Arts Publication 19
Second Part
15. Recitative: And God said: Let the waters bring forth
16. Aria: On mighty pens
17. Recitative: And God created great whales
18. Recitative: And the angels struck their immortal harps
19. Trio and Chorus: Most beautiful appear
20. Recitative: And God said: Let the earth bring forth
21. Recitative: Strait opening her fertile womb
22. Aria: Now heaven in fullest glory shone
23. Recitative: And God created man
24. Aria: In native worth and honor clad
25. Recitative: And God saw everything
26. Chorus: Achieved is the glorious work
INTERMISSION
Third Part
27. Recitative: In rosy mantle
28. Duet with Chorus: By thee with bliss
29. Recitative: Our duty we performed now
30. Duet: Graceful consort! At thy side
31. Recitative: O happy pair!
32. Chorus: Sing the Lord ye voices all!
Anne Patterson, Set Designer and Co-Director with Robert Spano
Adam Larsen, Projection Designer
Sung in German with English surtitles, edited by Ken Meltzer
“Inside the Music” preview of the concert, Thursday at 7 p.m.,
presented by Ken Meltzer, ASO Insider and Program Annotator.
The use of cameras or recording devices during the concert is strictly prohibited.
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Atlanta Symphony Orchestra
sponsors
is proud to sponsor the Delta Classical Series
of the Atlanta Symphony Orchestra.
Delta’s commitment to the communities we serve began the day our first flight took off.
After almost 80 years, 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!
Major funding for theAtlanta Symphony Orchestra is provided by the
Fulton County Board of Commissioners under the guidance of the
Fulton County Arts Council.
Solo pianos used by the ASO are gifts of the Atlanta Steinway Society and in
memory of David Goldwasser. The Hamburg Steinway piano is a gift received
by the ASO in honor of Rosi Fiedotin.
The Yamaha custom six-quarter tuba is a gift received by the ASO in honor
of Principal Tuba player Michael Moore from The Antinori Foundation.
This performance is being recorded for broadcast at a later time.
ASO concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and
Georgia Public Broaccasting’s statewide network.
The ASO records for Telarc. Other ASO recordings are available on the Argo,
Deutsche Grammophon, New World, Nonesuch, Philips and Sony Classical labels.
Four Seasons Hotel Atlanta is the preferred hotel of the ASO.
Trucks provided by Ryder Truck Rental Inc.
Media sponsors: The Atlanta Journal-Constitution and WSB 750 AM.
Atlanta’s Performing Arts Publication 21
Notes on the Program
By Ken Meltzer
Die Schöpfung (The Creation) (1798)
Franz Joseph Haydn was born in Rohrau, Austria, on March 31, 1732, and died
in Vienna, Austria, on May 31, 1809. The first performance of The Creation took place at the
Schwarzenburg Palace in Vienna on April 29, 1798, conducted by the composer. The Creation
is scored for soprano, tenor, and bass soloists, mixed chorus, three flutes, two oboes, two
clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani,
harpsichord and strings. Approximate performance time is two hours.
First ASO Classical Subscription Performance: January 21, 22 and 24, 1971, Atlanta Symphony
Orchestra Chorus, Robert Shaw, Conductor.
Most Recent ASO Classical Subscription Performances: April 30, May 1 and May 2, 1992,
Atlanta Symphony Orchestra Chamber Chorus, Robert Shaw, Conductor.
ASO Recording: Dawn Upshaw, soprano, Jon Humphrey, tenor, John Cheek, bass, Heidi Grant
Murphy, soprano, James Michael McGuire, baritone, Atlanta Symphony Orchestra Chamber
Chorus, Robert Shaw, Conductor (Telarc CD-80298, 2CD)
Haydn, Salomon and London
F
or almost a quarter-century (1766-90), Franz Joseph Haydn served as First
Kappellmeister to the Hungarian Prince, Nikolaus Esterházy. After the Prince’s
death on September 28, 1790, Haydn returned home to Vienna. It was there that he
encountered Johann Peter Salomon, a German-born violinist, composer and impresario, who resided in London. Salomon had attempted on several previous occasions to
convince Haydn to come to London, but the venerable composer remained steadfastly
loyal to Prince Nikolaus. Now, with the Prince’s death, Salomon would not be denied.
One day, he appeared, unannounced, at Haydn’s Vienna lodgings and proclaimed: “I am
Salomon of London and have come to fetch you. Tomorrow we will arrange an accord.”
Salomon offered Haydn an extremely lucrative contract to supervise a series of London concerts featuring new works by the esteemed Austrian composer. And so on New Year’s Day,
1791, Haydn sailed to England. The composer would remain in London until June 1792. It was
the first of two visits to that city, the second lasting from February, 1794, to August, 1795.
Haydn had long been revered in England, and the London public seized the opportunity to
lavish its adulation upon the composer. Haydn acknowledged that the journeys to England
provided him with the happiest years of his life. They were certainly years of tremendous
productivity. Haydn composed numerous works for performance by the superb London musicians at his disposal. These compositions include various chamber and vocal pieces and the
magnificent “London” Symphonies (Nos. 93-104).
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“He is the master of us all.”
While in London, Haydn also had the opportunity to hear many works by another great composer who enjoyed considerable success in that city, George Frideric Handel (1685-1750). In
1791, Haydn attended a performance at Westminster Abbey of Handel’s oratorio, Messiah.
During the famous “Hallelujah” Chorus, Haydn wept, and exclaimed: “He is the master of
us all.” And after hearing “The nations tremble” from Handel’s Joshua, Handel admitted to
his friend, English composer William Shield, that he “had long been acquainted with music,
but never knew half its powers before (he) heard it. (He) was perfectly certain that only one
inspired author ever did, or ever would, pen such a sublime composition.”
Salomon gave Haydn an English libretto originally intended to serve as the basis for another
Handel oratorio. The English text, by a poet named Lidley (or Lindley), was inspired by John
Milton’s Paradise Lost. For unknown reasons, Handel never set the text to music. Haydn took
the libretto back with him to Vienna, and shared it with his friend, Baron Gottfried van Swieten,
a composer, as well as a tireless patron of Baroque music.
Swieten set about adapting the text into German. In a 1799 article, Swieten noted that “while
on the whole I followed the general outlines of the original piece, I changed details whenever it
seemed prudent to do so for the sake of the musical line or expression.” Swieten’s text served
as the basis for Haydn’s oratorio, Die Schöpfung (The Creation). The Baron also raised funds
for Haydn to compose the work and arranged for its first performance (later, Swieten authored
the text for Haydn’s other great oratorio, the 1801 The Seasons).
“Daily I fell on my knees”
Haydn composed The Creation during the years 1797 and 1798. He later commented: “I was
never so religious as during the composition of ‘The Creation.’ Daily I fell on my knees and asked
God for strength.” When someone asked Haydn why the composition of The Creation took place
over such an extended period, he responded: “Because I intend it to last for a long time.”
The premiere of Haydn’s The Creation took place under the composer’s direction at the Schwarzenburg
Palace in Vienna on April 29, 1798. The first public performance was at the Vienna Burgtheater on
March 19, 1799. Haydn once again conducted and Antonio Salieri played the keyboard. Eighteen
mounted guards and a dozen policemen were summoned to maintain order among the large group
of admirers who attended. Haydn’s biographer G.A. Griesinger, who was in the audience for the
public premiere, attested to the ecstatic response. He also reported the composer’s heightened
emotions: “’Sometimes my whole body was ice cold,’ he said; ‘and sometimes I was overcome with
burning fever; more than once I was afraid that I should suddenly suffer a stroke.’”
The Creation soon made its way throughout Europe, and remained immensely popular throughout
Haydn’s lifetime. Ludwig van Beethoven (1770-1827), a former student of Haydn’s, and at the outset
of his own career, completed his Septet, Opus 20, in 1800. Beethoven proudly told a friend, “this is
my Creation.” Eight years later, a gala performance of The Creation took place in Vienna to honor
Haydn on his 76th birthday. Despite failing health, Haydn insisted on appearing. Haydn entered
the concert hall, borne on a litter. Beethoven rushed to him and, with tears streaming down his
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face, kissed Haydn’s forehead and hands. At the conclusion of The Creation’s First Part, Haydn’s
physician ordered that the composer be returned home. As Haydn exited the hall, he turned to the
audience: “then, looking at heaven and with tears in his eyes, he blessed his children.”
The Creation is celebrated as one of Haydn’s masterpieces, and among the finest of all choral
works. Haydn was in his mid-60s and at the height of his powers when he composed The
Creation. As in the case of another late-career masterpiece, Giuseppe Verdi’s final opera,
Falstaff (1893), Haydn’s The Creation is a joyous work for vocal soloists, chorus and orchestra
that is the product of a lifetime of experience, a miracle of vocal and orchestral writing. The
Sergei Prokofiev
latter, in particular, is notable for the remarkable way Haydn uses the various instruments of
the orchestra to illuminate the text describing the miracles of the Creation (and as with Verdi’s
Falstaff, each repeated hearing reveals more of these brilliant touches). Haydn’s passion for
life and fervent spirituality are evident in each and every bar of The Creation, from the stunning
Representation of Chaos at the work’s outset to the glorious final chorus in praise of God.
First Part
The First Part opens with a remarkable orchestral Prelude (Largo), depicting the chaos that existed prior to Creation. The remainder of the First Part describes the first four days. The archangel
Raphael (bass) and chorus relate the transition from chaos to the stunning first appearance of
light. The archangel Uriel (tenor) and chorus celebrate the disappearance of the spirits of hell.
Raphael narrates the creation of the firmament, the division of waters and the onset of fearsome
storms. The archangel Gabriel (soprano) and chorus praise this “marvelous work.” Raphael
describes how God divided the waters from the dry land, creating the Earth and Seas. Gabriel
recounts the creation of grass, herbs and fruit. Uriel and the chorus celebrate the conclusion of
Creation’s third day. Uriel then relates the miracles of the fourth day — the formation of the sun,
moon, and the stars to mark the day and night, and the appearance of the various seasons. The
First Part concludes with the beloved chorus, “The heavens are telling the glory of God.”
Second Part
The Second Part, opening with the fifth day, describes the creation of life. Gabriel relates
the beauties of the eagle, lark, dove and nightingale. Raphael narrates the creation of living
creatures, and God’s command that they “be fruitful and multiply.” The soloists and chorus
wonder at the beauties of these creations and of God’s glory. Raphael describes the sixth day,
and the procession of the creatures. But Raphael notes that God’s work was not complete.
Uriel then tells how God created man and woman. Raphael confirms the end of the sixth day,
and the soloists and chorus praise God and his work.
Third Part
The Third Part of The Creation describes Adam and Eve in the Garden of Eden. Uriel introduces
the arrival of dawn and of the “blissful pair.” Adam, Eve and the Chorus praise God and his
creations. Adam and Eve pledge themselves to each other. Uriel wishes the couple eternal
happiness, but warns against trying to pursue impermissible knowledge. The Creation ends
with everyone celebrating and praising God.
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Janice chandler ETEME, Soprano
J
anice Chandler Eteme has long been among America’s
foremost lyric sopranos, singing an astonishing range of
literature with the world’s top orchestras and conductors. This season she makes her European operatic debut as Bess in Gershwin’s
Porgy and Bess at the Opera de Lyon, following a Dallas Opera
debut as Clara in the same opera. In March 2008 she returned
to Carnegie Hall for the Brahms Requiem with the Orchestra of
St. Luke’s. The soprano also sings Haydn’s Die Schoepfung with
David Loebel and the Memphis Symphony; Lokumbe’s Dear Mrs.
Parks with the Detroit Symphony; the Brahms Requiem with Jahja
Ling and the San Diego Symphony; and Mahler’s Eighth Symphony
with Andreas Delfs and the Milwaukee Symphony.
Janice
Chandler Eteme
Ms. Chandler Eteme has sung Strauss’s Four Last Songs with Yuri Temirkanov and the Baltimore
Symphony, Daniel Hege and the Syracuse Symphony, Stefan Sanderling and the Florida
Orchestra, and with Peter Oundjian at the Grand Teton Music Festival. She has forged memorable collaborations with James Conlon and the Cincinnati Symphony, Gabriel Levine and the
Pittsburgh Symphony (Haydn’s Die Schöpfung), and Andrew Litton and the Dallas Symphony
(Tippett’s A Child of Our Time). Ms. Chandler Eteme first gained international prominence as one
of the great Robert Shaw’s soloists of choice.
thomas cooley, Tenor
T
homas Cooley has been praised for his clear, supple, lyrical, powerful and expressive voice. These
qualities, combined with his musicianship and style makes him
equally at home on the opera, concert and recital stages. He
appears throughout Europe and the U.S. with major orchestras
and ensembles such as the Gewandhaus Orchestra Leipzig,
the Bavarian Radio Orchestra, the Bach Collegium Stuttgart,
the Chicago Symphony Orchestra, the Cleveland Orchestra, the
Thomas Cooley
Minnesota Orchestra, and the Orchestra of St. Luke’s. His repertoire includes the works of Monteverdi, Bach, Handel, Haydn, Mozart, Beethoven, Mendelssohn,
Elgar, Kodaly, Britten, and Penderecki. Of his debut with the Cologne Philharmonie as the Evangelist
in Bach’s St. Matthew Passion, one reviewer wrote, “Thomas Cooley stood out among the strong
soloists. A better Evangelist can hardly be imagined.”
As a member of the ensemble at the Staatstheater am Gärtnerplatz in Munich, he sang such roles
as Ferrando in Cosi fan tutte, Tamino in Die Zauberflöte, Belmonte in Die Entführung aus dem Serail,
the title role in Idomeneo, and Count Almaviva in Rossini’s Il barbiere di Siviglia. The 2008-09 season includes his debuts with the St. Louis Symphony, Kansas City Symphony, and the Carmel Bach
Festival, and returns to the St. Paul Chamber Orchestra, Philharmonia Baroque Orchestra, and the
International Bach-Academie Stuttgart, as well as Beethoven 9 in Japan.
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derrick parker, Bass
H
ailed by Opera News for his “vividly flavored vocalism” and “tall and commanding” presence, Derrick
Parker’s performances in the 2008-09 season include Alidoro in
La Cenerentola in a return to Fort Worth Opera and Escamillo
in Carmen with Opera Santa Barbara. He also sings his first
performances of Haydn’s Creation with the Atlanta Symphony
Orchestra under the baton of Robert Spano, Mozart’s Requiem
with the Utah Symphony, as well as Messiah with the National
Chorale at Avery Fisher Hall, Bach’s Mass in B minor with the New
Choral Society, and a gala concert with Opera Birmingham.
Derrick Parker
Mr. Parker marked his European operatic debut with performances of Mel in Anthony McDonald’s
The Knot Garden at the Scottish Opera and recently sang Crown in Porgy and Bess with Cape Town
Opera on tour in Sweden as well as in Africa. His other recent performances include Colline in La
bohème with Fort Worth Opera, Lyric Opera of Kansas City, and Shreveport Opera; Escamillo in
Carmen with Chautauqua Opera; Masetto in Don Giovanni with Houston Grand Opera and New
Orleans Opera; and student performances with Dallas Opera. Other roles include Collatinus in The
Rape of Lucretia with Chicago Opera Theatre; Basilio in Il barbiere di Siviglia in a return to Utah
Symphony; and Zuniga in Carmen with Lyric Opera of Kansas City and Pensacola Opera; the title
role in Don Giovanni and Figaro in Le nozze di Figaro with Pensacola Opera and Spokane Opera.
NORMAN MACKENZIE, Conductor/Director of Choruses
N
orman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought
him national recognition. As Director of Choruses for the Atlanta
Symphony Orchestra, holder of its endowed Frannie and Bill
Graves Chair, he was chosen to help carry forward the creative
vision of legendary founding conductor Robert Shaw to a new
generation of music lovers. At the ASO, he prepares the choruses
for all concerts and recordings, conducts holiday concerts annually
and works closely with ASO Music Director Robert Spano and commissioned composers in the creation and premiere of new works.
Norman Mackenzie
His leadership was rewarded in 2003 with Grammy awards for Best Classical Album and Best Choral
Performance for the ASO and Chorus recording of A Sea Symphony by Vaughan Williams, and in 2005
with another Best Choral Performance Grammy for the Berlioz Requiem. He also serves as Director
of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church. In addition, he was musical assistant
and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral
Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops.
In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra,
Principal Accompanist for the ASO Choruses and, ultimately, Assistant Choral Conductor.
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ASOprogram
atlanta symphony orchestra
chamber chorus
Norman Mackenzie, Director of Choruses
The Frannie and Bill Graves Chair
Jeffrey Baxter, Choral Administrator
Todd Skrabanek, Accompanist
A
cclaimed for the beauty, precision and
expressive qualities of its singing, the
Atlanta Symphony Orchestra Chamber Chorus has been
ASO Chamber Chorus
an important part of the orchestra’s programming since
its founding by the late Robert Shaw. The Chamber Chorus, which debuted on Dec. 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, Poulenc 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 Telarc
recordings of masterworks by Bach, Golijov, Handel, Haydn, Mozart, Schubert, Vivaldi and a 2005 a
cappella recording that features the Vaughan Williams Mass under Norman Mackenzie; an appearance on national television in 1987 performing Handel’s Messiah with Robert Shaw; and several
Carnegie Hall appearances, which include performances of the B-Minor Mass, the Matthew and John
Passions of Bach, the Rachmaninoff Vespers and the Mozart/Levin Requiem.
Soprano
June Abbott *
Michelle Belle Isle
Kristen Gwaltney
Celia Jacobs
Kathleen Kelly-George
Marie Little
Arietha Lockhart *
Cheryl Lower **
Patricia Nealon *
Joneen Padgett
Lisa Rader
Doris Rivers
Anne-Marie Spalinger
Camilla Springfield *
Wanda Yang Temko
Alto
Donna Carter-Wood *
Marcia Chandler
Christa Joy Chase
Lisa Foltz
Janet Johnson *
Maria LindbergKransmo
Paige Mathis
Linda Morgan **
Brenda Pruitt
Laura Rappold
Diana Strommen
Carol Wyatt
Tenor
Jeffrey Baxter *
David Blalock *
John Brandt
Phillip Crumbly
Jeffrey Daniel
Leif Hansen
Thomas LaBarge
Sean Mayer
Clinton Miller
Christopher Patton
Mark Warden
* 20+ years of service
Bass
Michael Arens
Russell Cason *
Joseph Champion
Joshua Clark
John Cooledge **
Rick Copeland *
Trey Clegg
Steven Darst *
Timothy Gunter
Gregory Hucks
Robert Lower **
Stephen Ozcomert *
Edgie Wallace
Edward Watkins **
** 30+ years of service
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ASOprogram
anne patterson, Set Designer and Co-Director
A
nne Patterson is a visual artist and designer based
in New York City. This is her 11th collaboration with
Robert Spano. Through her direction and design for this production of The Creation she continues a relationship with Maestro
Spano which began at Brooklyn Philharmonic Orchestra 10 years
ago. She has created installations for the Philadelphia Orchestra,
American Symphony Orchestra and RED {an orchestra}. Ms.
Patterson has designed 14 operas at the Aspen Opera Theater
Center including the national premieres of Ligea (Augusta Reed
Anne Patterson
Thomas), King of Hearts (Michael Torke), Powder Her Face and
Belladonna (Bernard Rands). Her work has also been seen in New
York at Brooklyn Academy of Music, Avery Fisher Hall, Alice Tully Hall, The Juilliard School, WPA,
NY Theater Workshop, EST, The Joyce, Atlantic Theater Co. and St. Mark’s Dance Space. She has
designed for The Arena Stage, The Fisher Center at Bard College, Pacific Northwest Ballet, Ballet
West, Houston Ballet, The Kennedy Center, The Wilma Theater in Philadelphia, Wolftrap, Scottish
Ballet, and The National Theatre, London. Ms. Patterson’s production design work has been seen
on PBS and the BBC. Ms. Patterson has collaborated with artists including performer Michael
Moschen, choreographer Lila York, directors Molly Smith, Edward Berkeley, Jiri and Blanka Zizka,
Kate Saxon and Chris Ashley, playwrights Terrence McNally, Wendy Wasserstein, Doug Wright and
Nilo Cruz, and composers Philip Glass, Michael Torke, Augusta Reed Thomas, Thomas Ades and
Bernard Rands. Her sculptures and paintings have been exhibited at galleries in NYC and included
in the arts festival Sevilla Entre Culturas in Spain. She received the prestigious Creative Capital grant
from the Warhol Foundation to create a performance event for classical and electronic music.
adam larsen, Projection Designer
A
dam Larsen is a New York-based artist, projection
designer and filmmaker. Projection designs include:
Hal Prince’s LoveMusik (Broadway); the world premieres of The
Women of Brewster Place (Alliance Theatre & Arena Stage) and
Christmas Carol 1941 (Arena Stage) both directed by Molly Smith;
Carmina Burana, and projection coordinator for Dancing Joni
(Alberta Ballet); From the House of the Dead (Canadian Opera
Company); Lily Plants a Garden (Mark Taper P.L.A.Y.); Gorecki’s
Adam Larsen
Symphony No.3 (Atlanta Symphony Orchestra); Quartet (Aspen
Santa Fe Ballet); numerous productions with both Cedar Lake Contemporary Ballet and the
Fulton Opera House including the world premiere of The French Lieutenant’s Woman; and most
recently big, a collaboration between the Atlanta Ballet and Big Boi from Outkast and The Gospel
at Colonus at the Herod Atticus theatre in Athens. He holds a BFA in Cinematography from the
North Carolina School of the Arts and is currently self-producing a feature length documentary
on autism entitled Neurotypical (www.neuro-typical.com).
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