Concert Program - Atlanta Baroque Orchestra

Concert Program - Atlanta Baroque Orchestra

The Atlanta Baroque Orchestra
Music of J. S. Bach
Birthday Celebration
Dana Maiben,
Violinist & Guest Director
Sunday 14 March 2010
4:00 p.m.
Roswell Presbyterian Church
755 Mimosa Boulevard
Roswell, Georgia
PROGRAM
MUSIC OF JOHANN SEBASTIAN BACH
(1685–1750)
Ouverture I
(before 1725)
Ouverture
Courante
Gavottes 1 & 2 alternativement
Forlane
Menuets 1 &2 alternativement
Bourees 1 & 2 alternativement
Passepieds 1&2 alternativement
BWV 1066
Dialogus: “Ach Gott, wie manches Herzelied” (5 January 1727)
Dialog Cantata for the Sunday after the Feast of the Circumcision of Christ
Duetto: “Ach Gott, wie manches Herzelied”
“ Nur Geduld, mein Herze”
Recitativo: “Verfolgt dich gleich”
Aria: “Ich bin vergnügt”
Recitativo: “Kann es die Welt nicht lassen”
Duetto: “Ich hab vor mir ein’ schwere Reis’ ”
“ Nur getrsot, ihr Herzen”
BWV 58
Judith Overcash, soprano, & Matthew Hoch, bass
~ Intermission ~
Concerto in d, for Two Violins, Strings, and Basso Continuo (circa 1730)
Vivace
Largo ma non tanto
Allegro
Dana Maiben and Karen Clarke, violin soloists
Serenata “Durchlauch’ster Leopold” zum Geburtstage Leopold’s, Fürsten zu Anhalt-Cöthen
(Serenata for the birthday of Leopold, Prince of Anhalt-Cöthen,10 Dec?1722)
Recitativ: “Durchlaucht’ster Leopold”
Arie: “Güldner Sonnen, frohe Stunden”
Arie Vivace: “Leopold’s Vertrefflichkeiten”
Arie, al Tempo di Menuetto: Unter seinem Purpursaum”
Recitativ: “”Durchlauchtigster, den Anhalt Vater”
Arie: “Dein Namen gleich der Sonnen geh’ ”
Chor: “Nimm mich, grosser Fürst”
Judith Overcash, soprano, & Matthew Hoch, bass
BWV 1043
BWV 173a
Texts and T ransl atio ns
Cant at a no . 58 “A ch Gott , wie m anches H erzelie d
1. Chorale and Aria [Soprano, Bass]
Soprano:
Ach Gott, wie manches Herzeleid
Begegnet mir zu dieser Zeit!
Der schmale Weg ist Trübsals voll,
Den ich zum Himmel wandern soll.
Ah God, how many a heartache
I meet with at this time!
The narrow way is full of affliction
by which I must travel to heaven.
Bass:
Nur Geduld, Geduld, mein Herze,
Es ist eine böse Zeit!
Doch der Gang zur Seligkeit
Führt zur Freude nach dem Schmerze.
Only patience, only patience, my heart,
This is an evil time!
But the way to blessedness
leads to joy after sorrow.
2. Recitative [Bass]
Verfolgt dich gleich die arge Welt,
So hast du dennoch Gott zum Freunde,
Der wider deine Feinde
Dir stets den Rücken hält.
Und wenn der wütende Herodes
Das Urteil eines schmähen Todes
Gleich über unsern Heiland fällt,
So kommt ein Engel in der Nacht
Der lässet Joseph träumen,
Daß er dem Würger soll entfliehen
Und nach Ägypten ziehen.
Gott hat ein Wort, das dich vertrauend macht.
Er spricht: Wenn Berg und Hügel niedersinken,
Wenn dich die Flut des Wassers will ertrinken,
So will ich dich doch nicht verlassen noch versäumen.
If the evil world at once persecutes you,
then you still have God as your friend,
who against your enemy
always guards your back.
And when Herod in his rage
decrees the judgement of shameful death
on our saviour
then there comes an angel in the night,
who causes Joseph to dream
so that he may flee from the executioner
and travel to Egypt.
God has a word that makes you full of confidence.
He speaks: though mountain and hill fall down,
though the flood of water wants to drown you,
it is not my will to abandon or forsake you.
3. Aria [Soprano]
Ich bin vergnügt in meinem Leiden,
Denn Gott ist meine Zuversicht.
Ich habe sichern Brief und Siegel,
Und dieses ist der feste Riegel,
Den bricht die Hölle selber nicht.
I am happy in my sufferings,
since God is my reassurance.
I have a sure letter and seal
and this is the strong bolt
that hell itself does not break.
4 .Recitative [Soprano]
Kann es die Welt nicht lassen,
Mich zu verfolgen und zu hassen,
So weist mir Gottes Hand
Ein andres Land.
Ach! könnt es heute noch geschehen,
Daß ich mein Eden möchte sehen!
Even though the world does not cease
to persecute and hate me,
yet God's hand shows to me
another land,
Ah! if only it could happen today
that I might see my Eden!
5 .Chorale and Aria [Soprano, Bass]
Soprano:
Ich hab für mir ein schwere Reis
Zu dir ins Himmels Paradeis,
Da ist mein rechtes Vaterland,
Daran du dein Blut hast gewandt.
I have before me a difficult journey
to you in heaven's paradise,
which is my true fatherland,
for which you have shed your blood.
Bass:
Nur getrost, getrost, ihr Herzen,
Hier ist Angst, dort Herrlichkeit!
Und die Freude jener Zeit
Überwieget alle Schmerzen.
Be comforted, be comforted, you hearts,
Here is anxiety, there glory!
and the joy of that time
outweighs all sorrows.
B WV 173a
Durchl aucht ste r L eo pol d
Cant at a B WV 173a
Most Se rene Hig hnes s L eo pol d
1. Recitative [Soprano]
Durchlauchtster Leopold,
Es singet Anhalts Welt
Von neuem mit Vergnügen,
Dein Köthen sich dir stellt,
Um sich vor dir zu biegen,
Durchlauchtster Leopold!
Most Serene Highness Leopold,
the world of Anhalt sings
anew with pleasure,
your Köthen presents itself to you
to bow before you,
Most Serene Highness Leopold.
2. Aria [Soprano]
Güldner Sonnen frohe Stunden,
Die der Himmel selbst gebunden,
Sich von neuem eingefunden,
Rühmet, singet, stimmt die Saiten,
Seinen Nachruhm auszubreiten!
Happy hours of golden sunshine,
that are made by heaven itself
and appear again now,
praise, sing, tune the strings
to spread abroad his lasting fame!
3. Aria [Bass]
Leopolds Vortrefflichkeiten
Machen uns itzt viel zu tun.
Mund und Herze, Ohr und Blicke
Können nicht bei seinem Glücke,
Das ihm billig folget, ruhn.
Leopold’s excellence
Gives us now much to do.
Mouth and heart, ear and eyesight
Cannot be still before the good fortune
that justly follows him.
4. Aria (Duetto) [Bass, Soprano]
Bass:
Unter seinem Purpursaum
Ist die Freude
Nach dem Leide,
Jeden schenkt er weiten Raum,
Gnadengaben zu genießen,
Die wie reiche Ströme fließen.
Beneath the purple border of his robe
there is joy
after sorrow,
to everyone he grants wide scope
to enjoy the gifts of his grace
that flow like copious streams.
Soprano:
Nach landesväterlicher Art
Er ernähret,
Unfall wehret;
Drum sich nun die Hoffnung paart,
Daß er werde Anhalts Lande
Setzen in beglückten Stande.
As a sovereign father of his country should,
he gives support,
defends from misfortune;
therefore our hopes now join together
that he will establish the land of Anhalt
in a fortunate state.
Both:
Doch wir lassen unsre Pflicht
Froher Sinnen
Itzt nicht rinnen,
Heute, da des Himmels Licht
Seine Knechte fröhlich machet
Und auf seinem Zepter lachet.
Yet we do not allow our duty
in our happiness
to slip away,
today, when heaven's light
makes its servant joyful
and smiles upon his sceptre.
5. Recitativo (Duetto) [Soprano, Bass]
Durchlauchtigster, den Anhalt Vater nennt,
Wir wollen dann das Herz zum Opfer bringen;
Aus unsrer Brust, die ganz vor Andacht brennt,
Soll sich der Seufzer Glut zum Himmel schwingen,
Most Serene Highness, whom Anhalt calls father.
we want to bring our hearts as an offering;
from our breasts, which burn with devotion,
the ardour of our sighs shall soar up to heaven.
6. Aria [Soprano]
So schau dies holden Tages Licht
Noch viele, viele Zeiten.
Und wie es itzt begleiten
Hohes Wohlsein und Gelücke,
So wisse es, wenn es anbricht
Ins Künftige, von Kummer nicht.
Look upon this day's lovely light
many, many more times,
and just as this day is now accompanied
by great prosperity and good fortune,
so when it appears in the future
may it know nothing of trouble.
7. Aria [Bass]
Dein Name gleich der Sonnen geh,
Stets während bei den Sternen steh!
Leopold in Anhalts Grenzen
Wird im Fürstenruhme glänzen.
May your name go forth like the sun
and last for ever along with the stars!
Within Anhalt’s borders Leopold
will be glorious with his princely fame.
8. Chorus (Duetto) [Soprano, Bass]
Nimm auch, großer Fürst, uns auf
Und die sich zu deinen Ehren
Untertänigst lassen hören!
Glücklich sei dein Lebenslauf,
Sei dem Volke solcher Segen,
Den auf deinem Haupt wir legen!
Receive us also, great prince,
and as we sing in your honour
let your most humble subjects be heard!
May the course of your life be fortunate,
and may such a blessing come to your people
as we lay upon your head!
THE AT LANT A B AROQUE ORC HEST RA
Dana Maiben, Violinist & Guest Director
Violin
Allison Bursey
Rebecca Cole
Shawn Pagliarini
Karen Clarke
Ute Marks
Andrea Dawson
Cello
Viola
Elena Kraineva
Nancy Schechter
Flute
Catherine Bull
Janice Joyce
Brad Knobel
Eckhart Richter
Violone
Melanie Punter
Oboe
George Riordan
Susan Brashier
Lara Lay
Bassoon
Keith Collins
Organ & Harpsichord
Daniel Pyle
The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with founding-members
Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need for a permanent, professional,
historical-instrument orchestra in the Southeast. The unique, transparent sheen of “early” instruments, coupled with their
capability of a delightful variety of articulations, allows voices and instruments to blend into a unified, yet clear, sound that is very
difficult to achieve with “modern” instruments. Since its founding in 1997, the ABO has been applauded for its freshness and
verve, and for its delightful, convincing performances of a wide range of earlier works.
The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of individuals, and has
also depended on donations of time and money from the musicians themselves. The ABO is a not-for-profit corporation based in
Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are tax-deductible, are greatly appreciated and are central to the
survival of a venture such as this. If you would like to support the ABO and its future programming, please send checks made
out to “The Atlanta Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity for
friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our website at
www.atlantabaroque.org for more information on the ABO.
*****
Violinist, conductor, and composer Dana Maiben, hailed by the Boston Globe for her "supremely joyous artistry," is
founding Music Director of the new ensemble Foundling, a baroque orchestra and women’s advocacy project inspired by the
women of L’Ospedale della Pieta in 18 -century Venice. Maiben is founding concertmaster and frequent guest director and
soloist with Arcadia Players in Western Massachusetts, and played principal violin for John Hsu’s Apollo Ensemble for
over ten years. As founder and Music Director of the Genesee Baroque Players, Maiben designed and directed more than 30
concert programs for Western New York audiences. She has served as concertmaster of the New York Collegium under the
direction of Christophe Rousset, Martin Gester, Paul Goodwin, and Andrew Parrott. Recording credits include projects for
Centaur, Dorian, EMI, fuga libera, and Hyperion.
th
Maiben was a founder-member of the groundbreaking ensemble for 17th century music, Concerto Castello, whose debut
recording, Affetti Musicali, was nominated for the Deutsche Schallplatten Preis. Colin Tilney, writing in Continuo
Magazine, cited her as “high priestess of the Italian 17th century solo.” In 2002 Maiben launched a new ensemble for 17th
century music, Concerto Incognito.
Maiben graduated cum laude from Smith College after studies at Oberlin Conservatory and the Schola Cantorum
Basiliensis. She frequently performs with her principal teacher, Jaap Schroeder, and in duo with harpsichordist Arthur
Haas. Maiben has taught at the Eastman School of Music, at Amherst Early Music Festival Baroque Academy, and
since 1989 has served on the faculty of the Longy School of Music in Cambridge, Massachusetts, where she teaches violin
and medieval, renaissance, baroque, and classical performance practice, coaches chamber music, and occasionally directs
opera. Her own opera, Look and Long, based on the play by Gertrude Stein, was presented in staged workshop at Smith
College in 1998.
*****
Judith Overcash originally hails from Charleston, South Carolina, but now resides in Ohio. She has spent several years
specializing in the interpretation of music from the Medieval through the early Classical period and the 20th century, and her
performances have received critical acclaim across the country.
As a concert soloist, Judith has established a reputation performing large oratorio and dramatic works such as Bach’s St. John
Passion, his B Minor Mass, the Christmas Oratorio, Handel’s Messiah, the Haydn Creation oratorio, Mozart’s
Requiem, and other oratorio, mass, opera and requiem settings by composers such as Vivaldi, Duruflé, Mozart, and
Brahms. She is most often praised for bringing an “unexpected and interesting lightness” to such traditionally large works;
however, Judith is perhaps most well-known for her performances of smaller, more intimate early music and chamber works by
composers such as Monteverdi, Bach, Handel, Buxtehude, Schütz, and Pergolesi, and can often be heard performing florid
cantatas, odes, and arias in a style that has been called “wonderfully tasteful, understated and expressive.”
Judith makes frequent appearances as a featured soloist with a number of period and modern ensembles and orchestras across
North America, performing in programs ranging from 11th-century song to American musical theater. But whether singing
music from medieval France or from Broadway, her “lovely, clear-as-a-bell voice,” paired with an “excellence of style and ease
of expression,” has been a recipe for repeated critical acclaim. She was also named as a finalist in the International Bodky
Award Competition, the only vocalist ever to receive such a distinction.
Judith’s performances have taken her from coast to coast, appearing with period orchestras and ensembles such as the Seattle
Baroque Orchestra, the Texas Early Music Project, Apollo’s Fire, the Atlanta Baroque Orchestra, the Catacoustic
Consort, Istanpitta, and La Folia, among others, as well as with a variety of critically-acclaimed modern orchestras. She also
makes appearances within her home state of Ohio with such critically-acclaimed ensembles as the Mansfield Symphony
Orchestra, the Dayton Philharmonic, the Columbus Bach Ensemble, the Warren Philharmonic, and the Dayton Bach
Society.
Judith holds Masters and Doctoral degrees in Early Music Performance Practices, as well as a Bachelor of Music degree in
Vocal Performance/Music History, with post-graduate work at the University of Texas at Austin, the Indiana University
Institute of Early Music, and Case Western Reserve University. She has held positions as faculty lecturer
in music history, vocal pedagogy, graduate research methods, and voice faculty at both Case Western Reserve University in
Cleveland and Hiram College in Hiram, Ohio, and is ever-active as guest faculty and lecturer for special events and workshops,
including most recently the International Historical Harp Conference, the Southeast Medieval Association International
Conference in New Orleans, and the Amherst Early Music International Festival and Workshop in Storrs, Connecticut.
Judith can be heard on recordings and public radio broadcasts with Istanpitta, the Texas Early Music Project, the Columbus
Bach Ensemble, the Dayton Bach Society, the Atlanta Baroque Orchestra, the Warren Philharmonic, Amherst Early
Music, Inc., and the Charleston Pro Musica.
*****
Matthew Hoch is Assistant Professor of Music at Shorter College, where he teaches applied voice and vocal literature
courses. Before coming to Shorter College in 2006, he was Assistant Professor of Music at the University of WisconsinBarron County. Prior to that appointment, he held part-time teaching positions at Northeastern University, Central
Connecticut State University, the Hartt School, and the New England Conservatory.
Dr. Hoch recently sang the role of Peter in Bach’s St. Matthew Passion at the Oregon Bach Festival under the baton of
Helmuth Rilling. In 2008, he was one of seven national finalists at the Louisville Bach Competition. His professional oratorio
experience includes Mendelssohn's Elijah, Bach's Jesus, and other major works by Bach, Duruflé, Dvo!ák, Fauré, Handel,
Haydn, Mozart, and Orff. Recent operatic credits have included the title roles in Gianni Schicchi and Dido and Aeneas,
Falke in Die Fledermaus, Don Alhambra in The Gondoliers, Jupiter in Orphée aux enfers, Fiorello in Il barbiere di
Siviglia, Silvio in Un ballo in maschera, and Count Almaviva in Le nozze di Figaro. He has held summer apprenticeships
with Ash Lawn Opera and the College Light Opera Company on Cape Cod. Also interested in new music, Hoch can be
heard as a soloist on the new Navona recording of Kile Smith’s Vespers with the Piffaro Renaissance Band and the Crossing.
At the Weill Music Institute at Carnegie Hall, he studied twentieth-century vocal techniques in New York City with
Meredith Monk, a workshop that resulted in his solo and conducting debuts in Carnegie's Zankel Hall. He has been a soloist
in world-premiere performances of works by Daniel Asia, Robert Kyr, and Jocelyn Hagen. As a professional chorister, he has
sung with the Oregon Bach Festival (six seasons), the Santa Fe Desert Chorale (two seasons), Conspirare, the Handel &
Haydn Society, and the Festival dei due Mondi in Spoleto, Italy.
Dr. Hoch holds a BM degree, summa cum laude, from Ithaca College with a triple major in vocal performance, music
education, and music theory; an MM degree from the Hartt School with a double major in vocal performance and music
history; and a DMA degree in vocal performance and literature from the New England Conservatory. He lives in Rome,
Georgia, with his wife, Theresa, and two daughters, Hannah and Sofie.
Program notes
This program in celebration of Bach’s birthday (21 March) presents the four major aspects of Bach’s
relatively long career. There were basically four options for an organist/harpsichordist in 17th- and 18thcentury Lutheran Germany. He could work for either a princely court (of which there were hundreds, since
there was no single political entity as “Germany,” not until 1871, and the country was a patchwork of tiny
kingdoms, principalities, duchies, counties, and Imperial Free Cities) or for a municipality (there was no
separation of church and state in the modern sense, and in working for a church one was employed by the
city). And he could focus on either sacred music for use in worship, or on secular music for the pleasure of
an audience.
Bach at one time or another was active in all four of these spheres. From 1703 through 1707 he was
organist for municipal churches in Arnstadt and Mühlhausen, and again from 1723 until his death in 1750
he was again employed by a city, Leipzig, as the Director of Music for all four principal congregations in
the city. For a second major phase of his career, from 1708-1717, he worked as a church-musician, but in
a ducal chapel — in the town of Weimar — rather than in a municipal church. But he was also active in the
sphere of secular music. His very first job was as a violinist at the ducal court of Weimar (where later he
became chapel organist), but that was only for part of the year 1703. But from 1718 to 1723 he was the
“Capellmeister” for Duke Leopold of Anhalt-Cöthen, where he was responsible for composing and
directing chamber-music for the Duke; since the Duke was a Calvinist rather than a Lutheran, instrumental
music was not permitted in worship in the ducal chapel, and therefore Bach had no responsibility for
church-music during this five-year period. And lastly, from 1730 through the mid-1740’s Bach was
“moonlighting” as the director of the Collegium Musicum, which presented public concerts in
Zimmermann’s coffee-house in Leipzig (this organization, having undergone many transformations since
then, still exists as the Leipzig Gewandhous Orchestra, one of Germany’s major symphony orchestras).
The oldest work on the program, the Overture in C major, was probably composed for the entertainment
of Duke Leopold in Anhalt-Cöthen. It consists of a large opening movement in the form of a French
overture, which gives its name to the entire piece. This opening movement is in three sections, slow-fastslow, with the outer sections having a proud and majestic rhythmic character, and the fast inner section
being imitative. In this overture, the quick inner section features solo passages for the oboes and bassoon.
The first movement is followed by a series of French-style dances.
The other instrumental piece, the Concerto for Two Violins, comes from the time of Bach’s activity with
the Leipzig Collegium Musicum. Rather than being rooted in French style like the Overture, it is based on
Italian models, particularly the three-movement concerto-form (fast – slow – fast) popularized by Vivaldi.
In the two outer movements the large ensemble states musical ideas which are then developed and
extended by the two solo-violins; the slow middle movement, one of Bach’s most beautiful compositions,
is an extended duet for the two solo-parts.
Just as the two instrumental compositions are examples of Bach’s secular work for princely courts (the
Overture) and public concerts (the Concerto), so also the two cantatas represent Bach’s vocal
compositions for Church (no. 58 “Ach, wie manches Herzeleid”) and for Court (no. 173a “Durchlauch’ster
Leopold”).
Cantata 58 is a “dialogue-cantata” — that is, it presents two contrasting facets of the Christian life, in the
form of a dialogue between soprano and bass soloists. The soprano voice represents the pain and sorrow
that is experienced in this life, while the bass sings of the consolation and redemption offered by God
through Jesus. In the first and last movements the soprano sings verses from the Lutheran hymn “O God,
how many a heart-ache” while the the bass exhorts the soul to rejoice in salvation.
Cantata 173a, on the other hand, was composed for the birthday celebration of Duke Leopold of
Anhalt-Cöthen, probably in 1722. Its catalogue-number includes the “a” because a few years later Bach
transformed it into a church-cantata (no. 173). It was common practice to re-cycle music in this fashion.
Bach did so frequently: in fact, large portions of some of his best-known choral music – the Christmas
Oratorio, many cantatas, even the B-minor Mass and the other “short” Masses — are derived from
secular arias and choruses, and even from concerto-movements. To Bach, as to many people in that
time, all the world was God’s, and therefore there was no real distinction between secular and sacred.
We can get a glimpse of Bach’s world-view in the fact that although Bach frequently adapted secular
music for sacred use, he never worked in the opposite direction: a piece of music once composed or
adapted to use in worship was not then turned to secular use.
The cantata for Duke Leopold’s birthday is a joyful work (the five years which Bach spent in his employ
were perhaps the happiest of his life), and uses dance-like rhythms throughout. The first aria (the second
movement) is in the rhythm of an Allemande. The fourth movement (the first duet for the two singers) is
in the style of a Menuet; it is unique among Bach’s works in that with each stage of the piece (the bass
solo, the soprano solo, and then the duet) it changes key, rising through the circle of fifths at the same
time that the instrumental accompaniment accelerates through faster and faster note-values. The sixth
movement, a solo for the soprano, is in the beat of a Bourée (compare it to the sixth movement of the
Overture), and the closing duet is like a Passepied (again, compare to the corresponding movement of
the Overture.)
© 2010 Daniel Pyle
Support for ABO is provided by
Embellish A Melody!
Bach Club ($1.000 +)
Cathy Callaway Adams
Dr. & Mrs. David Bright
Peter & Pat DeWitt
Federal Home Loan Bank of Atlanta
Janie R. Hicks
Douglas A. Leonard
Daniel Pyle & Catherine Bull
Lois Z. Pyle
Donald E. Snyder
Susan Wagner
Vivaldi Club ($250-499)
Mr. & Mrs. Jeffery A. Freeman
Mr. & Mrs. Gerald Hickman
Virginia Ware Killorin
Dr. & Mrs. Ephraim McLean
Mary Roth Riordan
Dr. & Mrs. Eckhart Richter
Telemann Club ($100-249)
Stratton H. Bull
Janis Gay
Dr. Alan Goodman
Dymples E. Hammer
Hans & Christa Krause
North Side Women’s Club
Rich & Caroline Nuckolls
Rebecca M. Pyle
Handel Club ($500-999)
Anne P. Halliwell
Dr. & Mrs. William P. Marks, Jr.
John & Zoe Pilgrim
Dr. George Riordan & Karen Clarke
The Atlanta Baroque Orchestra would like to thank the following persons and establishments
for contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA)
Janice Joyce & Chris Robinson
Janie Hicks
Peter and Pat DeWitt
Roswell Presbyterian Church:
Buce Graham
Daniel Pyle & Catherine Bull
Eckhart & Rosemary Richter
Russell Williamson
Valerie Prebys Arsenault
Sid & Linda Stapleton
Susan Wagner
Linda Bernard & RyeType Design
Cathy Adams & The Federal Home Loan Bank
of Atlanta
The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously
given to the orchestra by its members. These concerts could not be given without their enthusiasm and support.
ABO Board of Directors
President: Cathy Adams
Vice President: Eckhart Richter
Secretary: Susan Wagner
Treasurer: Peter DeWitt
Daniel Pyle, Resident Director
Janis Gay
Alan Goodman
Gerald Hickman
Janice Joyce
Melanie Punter
Carson Malone
Come to our Next Concert:
Sunday 2 May, 4:00 pm
English Chamber Music
by Purcell, Lawes, &c.
Visit our web-site
at
www.atlantabaroque.org