Do Not Miss the Rest of Our 2006-07 Season!

The Mozart Celebration continues!

Symphony no. 18 in F; Regina coeli in B-flat; & Symphony no. 25 in G minor with soprano Jennifer Ellis & the Emory Concert Choir

(Eric Nelson, director)

Sunday 19 November 2006

Italian Music for Strings Music of Vivaldi, Corelli, Caldara,

Torelli, & Manfredini

Sunday 28 January 2007

Dieterich Buxtehude 300th Anniversary Membra Jesu Nostri (Seven meditations) Sonatas for strings and basso continuo

Sunday 11 March 2007

Handel & Haydn Handel: Concerti grossi from Op. 3 & Op. 6

Haydn: “Little Organ” Mass

With soprano Arietha Lockhart Chamber Choir of Peachtree Road United Methodist Church

(Scott Atchison, director)

Sunday 13 May 2007

Visit our web-site at

www.atlantabaroque.org

The Atlanta Baroque Orchestra John Hsu, Artistic Director & Conductor

Wolfgang Amadé Mozart 250th Anniversary Celebration II

Friday 22 September 2006 8:00 p.m.

Peachtree Road United Methodist Church 3180 Peachtree Road NW

Atlanta, Georgia

program

Symphony in G Major, K. 199 Allegro

Andantino grazioso Presto

Concerto in G Major, K. 216, for violin and orchestra

Allegro Adagio

Rondeau: Allegro

Karen Clarke, violin

intermission

Symphony in A Major, K. 201 Allegro moderato

Andante Menuetto

Allegro con spirito

The Atlanta Baroque Orchestra John Hsu, Artistic Director & Conductor

Violin Viola Flute Valerie Prebys Arsenault Melissa Brewer Catherine Bull Garry Clarke Martha Perry Janice Joyce Stephen Redfield Shawn Pagliarini Violoncello Oboe Gesa Kordes Stephanie Vial George Riordan Ute Marks Eckhart Richter Lara Lay Ruth Johnsen Martha Bishop Horn Violone Celeste Holler Melanie Punter Russell Williamson Harpsichord Daniel Pyle

Embellish A Melody!

Bach Club ($1.000 +) Telemann Club ($100-249) Dr. & Mrs. David Bright Niels Brix Andersen Dr. & Mrs. Peter DeWitt Roger S. Austin Federal Home Loan Bank of Atlanta Mr. & Mrs. William H. Austin, Jr. Janie R. Hicks Daniel Baba Martha J. R. Hsu Patrick L. Boyle & Paula G. Ciembor Douglas Leonard Stratton H. Bull Mr. & Mrs. William E. Pearson III Susan K. Card Daniel Pyle & Catherine Bull Dr. & Mrs. Robert M. Cates Lois Z. Pyle Dr. & Mrs. M. Dwayne Collier Donald E. Snyder Dr. & Mrs. Jack R. Edgens Susan Wagner Homer Edwards Larry Thorpe & Dr. Barbara Williams Drs. Thomas & Shauna Farmer Dr. & Mrs. Peter G. Gilmer Handel Club ($500-999) Anne Halliwell Donald N. Broughton & Susan L. Olson Dymples E. Hammer James E. Honkisz & Catherine A. Binns Dr. & Mrs. Daniel Hanks, Jr. Dr. & Mrs. William P. Marks, Jr. Dr. & Mrs. Bannester L. Harbin Dr. George Riordan & Karen Clarke Margaret T. Harbin Rome Area Council for the Arts Mr. & Mrs. Allan R. Jones Southeastern Historical Keyboard Society Hans & Christa Krause Dr. & Mrs. Joel D. Todino George H. Lanier Dr. & Mrs. Richard W. Leigh Vivaldi Club ($250-499) Mr. & Mrs. Gordon A. Leiter Martha Bishop Mrs. Hugh T. Moore Michael Clifford & Sandra Murray G. R. and Caroline Nuckolls Nancy Musselwhite Shawn Pagliarini & Russell Williamson Dr. Marie P. Griffith and Music Academy of Rome Mr. & Mrs. Jerry Pollard Dr. & Mrs. David Halverson Mary Roth Riordan Dr. Henry Kahn & Mary Gilmore--Kahn Dr. & Mrs. Michael Rogers Dr. Jerry McCormick — Certified Collision Specialists Dr. & Mrs. Jim L. Rogers Dr. & Mrs. Ephraim R. McLean Ann R. Rollins Mr. & Mrs. John L. Mortison Dr. Jack Runninger Holly, Mark, Jack, & Sara Murphy Michael & Cheri Schneider Dr. & Mrs. Roderick Remoroza Dr. & Mrs. Stuart A. Smith Mr. & Mrs. Thomas J. Thomas Hans & JoAnn Schwantje Mr. & Mrs. Paul Timm-Brock Mr. & Mrs. James H. Tuttle Dr. & Mrs. Gary Voccio

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) William & Ute Marks Janice Joyce & Chris Robinson Eckhart & Rosemary Richter Nancy & Wayne Musselwhite Gisella Torresala Janie Hicks Valerie Prebys Arsenault Peter and Patricia DeWitt Sid & Linda Stapleton Sandy Fitzpatrick & Randy Lewis Susan Wagner Ted Huddleston Linda Bernard & RyeType Design Martha Bishop Peachtree Road United Methodist Church: Scott Atchison and Amir Zaheri

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: Eckhart Richter Ephraim McLean Vice President: Cathy Adams William E. Pearson III Vice President for Development: Janie Hicks John Lemley Secretary: Susan Wagner Melanie Punter Treasurer: Peter DeWitt Scott Atchison Daniel Pyle, Resident Director

Hotel accommodation for The Atlanta Baroque Orchestra musicians is graciously provided by

Support is also provided by

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.

John Hsu is the Old Dominion Foundation Professor of Music Emeritus at Cornell University, where he taught for 50 years (1955-2005). He was the founder and conductor of the erstwhile Apollo Ensemble (a period instrument chamber orchestra) and a renowned virtuoso player of the viola da gamba and baryton. As both a conductor and an instrumentalist, he has been awarded grants by "The Fund for U.S. Artists at International Festivals and Exhibitions," a public/private partnership of the National Endowment for the Arts, the United States Information Agency, The Rockefeller Foundation, and the Pew Charitable Trusts. He has performed throughout North America and Europe, and made award-winning recordings. Among them are his CD of Haydn Baryton Trios (with violist David Miller and cellist Fortunato Arico), which was chosen Winner in the Music Retailers Association's Annual Award for Excellence in London, 1989; and his CD Symphonies for the Esterhazy Court by Joseph Haydn (with the Apollo Ensemble), which was nominated for the 1996 International Cannes Classical Music Award. In recognition of his edition of the complete instrumental works of Marin Marais (1656-1728), the most important composer of music for the viola da gamba, and for his performances and recordings of French baroque music for the viola da gamba, the French government conferred on him the knighthood Chevalier de l'Ordre des Arts et des Lettres in May of 2000. He is a graduate of the New England Conservatory of Music, which awarded him the Honorary Doctor of Music degree in 1971. He is also Artistic Director Emeritus of the Aston Magna Foundation for Music and the Humanities (the pioneering musical organization in the historical performance movement in this country, founded by Albert Fuller in 1972). As conductor of the Cornell Symphony Orchestra, he has performed all nine Beethoven Symphonies, based on the new Bärenreiter edition by Jonathan Del Mar, completed in 2000. Karen Clarke is a versatile performer, and has served as concertmaster of the ABO since 1998. Professor of Violin at the Florida State University College of Music, where she has taught since 1980, Ms. Clarke has appeared as soloist with orchestras throughout the nation, and maintains an active life as chamber musician, solo recitalist and orchestral performer. A former member of the Baltimore Symphony Orchestra, she served as concertmaster of various orchestras, including the Tanglewood Music Center Orchestra under the baton of Leonard Bernstein, the Wisconsin Chamber Orchestra, and for 20 years, the Tallahassee Symphony Orchestra. She has performed and recorded with the Baltimore Symphony, and with period instrument ensembles such as the Smithsonian Chamber Orchestra, the Apollo Ensemble, and the Boston Early Music Festival Orchestra.

As a founding member of the Rogeri Trio, Ms. Clarke performed throughout the United States and held a residency at Yale University. Through her great interest in stylistically imaginative performances, she became active as a period instrument violinist, performing on instruments and bows typical of those in use during the time of Bach, Vivaldi, Handel, Haydn, Mozart and Beethoven. While conducting research in London, she pursued period violin studies with Monica Huggett, whom ABO audiences heard as guest director and soloist during our 2002-03 season. Ms. Clarke's students have been finalists in solo and chamber competitions at the national level and hold positions in symphony orchestras and on faculties at universities and public and private schools in the U.S. and abroad. A native of Boise, Idaho, she holds degrees from the Peabody Institute in Baltimore with further study at Yale University, and her teachers have included Joseph Silverstein, Robert Gerle and Donald Weilerstein. Karen is married to the ABO's principal oboist, George Riordan. For this concert, she is performing on a violin by Pietro Giacomo Rogeri, Brescia, Italy, 1700, with a bow by the Dutch maker, Gerhard Landwehr.

Program Notes by John Hsu

The three works on this program, Symphonies K. 199 and K. 201, and the Violin Concerto K. 216, were

composed in Salzburg in 1773, 1774, and 1775 respectively. These were not happy years professionally

for the composer. He had just returned from his third trip to Italy, having spent twenty exciting and

active months in Milan, to find his new patron Count Colloredo, the Elector and Archbishop, tight-

fisted in his support of music, and not fully appreciative of Mozart’s musical genius and contributions.

It was probably during this period that Mozart realized that there was no future for him in Salzburg,

and that he had to seek his fortune elsewhere. It is possible that these three works are among the many

composed during 1773-1775 with an eye towards the future, for we know of no specific occasions for

which they were intended.

Symphony in G Major, K. 199, is a three-movement work in the Italian style, scored for two flutes (instead

of the more usual two oboes), two horns, and strings with continuo. It is an exuberant work infused

with youthful energy and spirit. From the initial chords of the first movement, one senses immediately

the influence of Italian opera. All three movements are in sonata form. The first movement is

characterized by the contrast between the scintillating first theme and the lyrical second theme, which

heightens the dramatic effect throughout the movement. The second movement is a duet with a simple

accompaniment, in which the theme is first heard as a duet for the violins, then the flutes, in both the

exposition and recapitulation. The development section features the violins in a dialogue. The third

movement begins as a fugue but wittily transform itself into a waltz-like dance movement, and ends

with a brilliant coda.

Symphony in A Major, K. 201, is indisputably the best of Mozart’s early chamber symphonies scored for

the modest instrumentation of two oboes, two horns, strings and continuo. It surpassed all the others

in its strong characterization of themes, the vitality and variety of rhythmic motives, and the effective

juxtaposition of homophonic and contrapuntal textures. Three of the four movements, excepting the

Menuetto, are in sonata form. By the extensive development of motivic ideas within each movement

and the presence of common elements in the themes of different movements, such as the prominence of

the octave in the first and last movements and the dotted rhythm in the two middle movements, this

work possesses a structural coherence and grandeur not found in his earlier symphonies. Many

Mozart lovers consider this work to be his first great symphony.

Inexplicably, this great achievement was followed by a hiatus in Mozart’s symphonic writing, lasting

from late 1774 until the appearance of the Symphony in D, K. 297, in Paris in June of 1778. It was

during this unfruitful symphonic period, namely in 1775, that Mozart composed four of his five violin

concertos. (The first violin concerto, K. 207, long thought to belong to this same year, was actually

composed in 1773.)

The Concerto in G is a work of eloquence and elegance, in which one finds the fusion of vocal lyricism

and instrumental virtuosity. In the sonata-form first movement, this quality is most apparent in the

development section, where the seemingly random juxtaposition of the contrasting motives of the

soloist and the harmonic modulations of the orchestra together create a dramatic tension that is

operatic.

The second movement is a song with a richly decorated melodic line that in style and expressiveness

is akin to that of a coloratura soprano aria. Its modest length and its simplicity of structure (an

introduction of the first four bars of the theme by the orchestra, followed by the complete theme and

its repetition, which are separated only by a short modulatory passage) is an effective contrast to the

structural complexity of the Rondeau that follows.

This finale is in the sonata-rondo form, and as suggested by its name, the formal structure of

ABACABA comprises the principles of both the rondo and the sonata form. As a rondo, the primary

musical interest is the alternation of the dance-like refrain in the fast triple meter of 3/8 with other

couplets of musical contrast. As a sonata movement, sections A and B of the rondo are construed as

the two themes in the exposition of the sonata form, the C section usually as the development section,

and the repeat of the A and B sections as the recapitulation. In this unusual movement, however,

section C cannot be taken as the development section of a sonata movement. It is instead an

extended contrasting couplet in the rondeau scheme, consisting of a pair of dances in duple time: an

gavotte in g minor, marked Andante, followed by a bourrée in G major, marked Allegretto. The

irresistible charm and elegance of this section, in contrast to the lively gigue-like refrain, makes it the

unforgettable, savory part of the movement.

(Additional note by Daniel Pyle — Mozart’s name which he was given at his baptism was Johann Chrysostom

Wolfgang Theophilus Mozart: “Johann Chrysostom” in honor of the saint of the same name, and “Theophilus” in

honor of his godfather. “Amadeus,” by which we know him, is simply a Latin translation of the Greek

“Theophilus,” He also used the form “Amadeo” at times, but the form he himself used most often was “Amadé” or

“Amadè.”)

As a founding member of the Rogeri Trio, Ms. Clarke performed throughout the United States and held a residency at Yale University. Through her great interest in stylistically imaginative performances, she became active as a period instrument violinist, performing on instruments and bows typical of those in use during the time of Bach, Vivaldi, Handel, Haydn, Mozart and Beethoven. While conducting research in London, she pursued period violin studies with Monica Huggett, whom ABO audiences heard as guest director and soloist during our 2002-03 season. Ms. Clarke's students have been finalists in solo and chamber competitions at the national level and hold positions in symphony orchestras and on faculties at universities and public and private schools in the U.S. and abroad. A native of Boise, Idaho, she holds degrees from the Peabody Institute in Baltimore with further study at Yale University, and her teachers have included Joseph Silverstein, Robert Gerle and Donald Weilerstein. Karen is married to the ABO's principal oboist, George Riordan. For this concert, she is performing on a violin by Pietro Giacomo Rogeri, Brescia, Italy, 1700, with a bow by the Dutch maker, Gerhard Landwehr.

Program Notes by John Hsu

The three works on this program, Symphonies K. 199 and K. 201, and the Violin Concerto K. 216, were

composed in Salzburg in 1773, 1774, and 1775 respectively. These were not happy years professionally

for the composer. He had just returned from his third trip to Italy, having spent twenty exciting and

active months in Milan, to find his new patron Count Colloredo, the Elector and Archbishop, tight-

fisted in his support of music, and not fully appreciative of Mozart’s musical genius and contributions.

It was probably during this period that Mozart realized that there was no future for him in Salzburg,

and that he had to seek his fortune elsewhere. It is possible that these three works are among the many

composed during 1773-1775 with an eye towards the future, for we know of no specific occasions for

which they were intended.

Symphony in G Major, K. 199, is a three-movement work in the Italian style, scored for two flutes (instead

of the more usual two oboes), two horns, and strings with continuo. It is an exuberant work infused

with youthful energy and spirit. From the initial chords of the first movement, one senses immediately

the influence of Italian opera. All three movements are in sonata form. The first movement is

characterized by the contrast between the scintillating first theme and the lyrical second theme, which

heightens the dramatic effect throughout the movement. The second movement is a duet with a simple

accompaniment, in which the theme is first heard as a duet for the violins, then the flutes, in both the

exposition and recapitulation. The development section features the violins in a dialogue. The third

movement begins as a fugue but wittily transform itself into a waltz-like dance movement, and ends

with a brilliant coda.

Symphony in A Major, K. 201, is indisputably the best of Mozart’s early chamber symphonies scored for

the modest instrumentation of two oboes, two horns, strings and continuo. It surpassed all the others

in its strong characterization of themes, the vitality and variety of rhythmic motives, and the effective

juxtaposition of homophonic and contrapuntal textures. Three of the four movements, excepting the

Menuetto, are in sonata form. By the extensive development of motivic ideas within each movement

and the presence of common elements in the themes of different movements, such as the prominence of

the octave in the first and last movements and the dotted rhythm in the two middle movements, this

work possesses a structural coherence and grandeur not found in his earlier symphonies. Many

Mozart lovers consider this work to be his first great symphony.

Inexplicably, this great achievement was followed by a hiatus in Mozart’s symphonic writing, lasting

from late 1774 until the appearance of the Symphony in D, K. 297, in Paris in June of 1778. It was

during this unfruitful symphonic period, namely in 1775, that Mozart composed four of his five violin

concertos. (The first violin concerto, K. 207, long thought to belong to this same year, was actually

composed in 1773.)

The Concerto in G is a work of eloquence and elegance, in which one finds the fusion of vocal lyricism

and instrumental virtuosity. In the sonata-form first movement, this quality is most apparent in the

development section, where the seemingly random juxtaposition of the contrasting motives of the

soloist and the harmonic modulations of the orchestra together create a dramatic tension that is

operatic.

The second movement is a song with a richly decorated melodic line that in style and expressiveness

is akin to that of a coloratura soprano aria. Its modest length and its simplicity of structure (an

introduction of the first four bars of the theme by the orchestra, followed by the complete theme and

its repetition, which are separated only by a short modulatory passage) is an effective contrast to the

structural complexity of the Rondeau that follows.

This finale is in the sonata-rondo form, and as suggested by its name, the formal structure of

ABACABA comprises the principles of both the rondo and the sonata form. As a rondo, the primary

musical interest is the alternation of the dance-like refrain in the fast triple meter of 3/8 with other

couplets of musical contrast. As a sonata movement, sections A and B of the rondo are construed as

the two themes in the exposition of the sonata form, the C section usually as the development section,

and the repeat of the A and B sections as the recapitulation. In this unusual movement, however,

section C cannot be taken as the development section of a sonata movement. It is instead an

extended contrasting couplet in the rondeau scheme, consisting of a pair of dances in duple time: an

gavotte in g minor, marked Andante, followed by a bourrée in G major, marked Allegretto. The

irresistible charm and elegance of this section, in contrast to the lively gigue-like refrain, makes it the

unforgettable, savory part of the movement.

(Additional note by Daniel Pyle — Mozart’s name which he was given at his baptism was Johann Chrysostom

Wolfgang Theophilus Mozart: “Johann Chrysostom” in honor of the saint of the same name, and “Theophilus” in

honor of his godfather. “Amadeus,” by which we know him, is simply a Latin translation of the Greek

“Theophilus,” He also used the form “Amadeo” at times, but the form he himself used most often was “Amadé” or

“Amadè.”)

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) William & Ute Marks Janice Joyce & Chris Robinson Eckhart & Rosemary Richter Nancy & Wayne Musselwhite Gisella Torresala Janie Hicks Valerie Prebys Arsenault Peter and Patricia DeWitt Sid & Linda Stapleton Sandy Fitzpatrick & Randy Lewis Susan Wagner Ted Huddleston Linda Bernard & RyeType Design Martha Bishop Peachtree Road United Methodist Church: Scott Atchison and Amir Zaheri

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: Eckhart Richter Ephraim McLean Vice President: Cathy Adams William E. Pearson III Vice President for Development: Janie Hicks John Lemley Secretary: Susan Wagner Melanie Punter Treasurer: Peter DeWitt Scott Atchison Daniel Pyle, Resident Director

Hotel accommodation for The Atlanta Baroque Orchestra musicians is graciously provided by

Support is also provided by

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.

John Hsu is the Old Dominion Foundation Professor of Music Emeritus at Cornell University, where he taught for 50 years (1955-2005). He was the founder and conductor of the erstwhile Apollo Ensemble (a period instrument chamber orchestra) and a renowned virtuoso player of the viola da gamba and baryton. As both a conductor and an instrumentalist, he has been awarded grants by "The Fund for U.S. Artists at International Festivals and Exhibitions," a public/private partnership of the National Endowment for the Arts, the United States Information Agency, The Rockefeller Foundation, and the Pew Charitable Trusts. He has performed throughout North America and Europe, and made award-winning recordings. Among them are his CD of Haydn Baryton Trios (with violist David Miller and cellist Fortunato Arico), which was chosen Winner in the Music Retailers Association's Annual Award for Excellence in London, 1989; and his CD Symphonies for the Esterhazy Court by Joseph Haydn (with the Apollo Ensemble), which was nominated for the 1996 International Cannes Classical Music Award. In recognition of his edition of the complete instrumental works of Marin Marais (1656-1728), the most important composer of music for the viola da gamba, and for his performances and recordings of French baroque music for the viola da gamba, the French government conferred on him the knighthood Chevalier de l'Ordre des Arts et des Lettres in May of 2000. He is a graduate of the New England Conservatory of Music, which awarded him the Honorary Doctor of Music degree in 1971. He is also Artistic Director Emeritus of the Aston Magna Foundation for Music and the Humanities (the pioneering musical organization in the historical performance movement in this country, founded by Albert Fuller in 1972). As conductor of the Cornell Symphony Orchestra, he has performed all nine Beethoven Symphonies, based on the new Bärenreiter edition by Jonathan Del Mar, completed in 2000. Karen Clarke is a versatile performer, and has served as concertmaster of the ABO since 1998. Professor of Violin at the Florida State University College of Music, where she has taught since 1980, Ms. Clarke has appeared as soloist with orchestras throughout the nation, and maintains an active life as chamber musician, solo recitalist and orchestral performer. A former member of the Baltimore Symphony Orchestra, she served as concertmaster of various orchestras, including the Tanglewood Music Center Orchestra under the baton of Leonard Bernstein, the Wisconsin Chamber Orchestra, and for 20 years, the Tallahassee Symphony Orchestra. She has performed and recorded with the Baltimore Symphony, and with period instrument ensembles such as the Smithsonian Chamber Orchestra, the Apollo Ensemble, and the Boston Early Music Festival Orchestra.

program

Symphony in G Major, K. 199 Allegro

Andantino grazioso Presto

Concerto in G Major, K. 216, for violin and orchestra

Allegro Adagio

Rondeau: Allegro

Karen Clarke, violin

intermission

Symphony in A Major, K. 201 Allegro moderato

Andante Menuetto

Allegro con spirito

The Atlanta Baroque Orchestra John Hsu, Artistic Director & Conductor

Violin Viola Flute Valerie Prebys Arsenault Melissa Brewer Catherine Bull Garry Clarke Martha Perry Janice Joyce Stephen Redfield Shawn Pagliarini Violoncello Oboe Gesa Kordes Stephanie Vial George Riordan Ute Marks Eckhart Richter Lara Lay Ruth Johnsen Martha Bishop Horn Violone Celeste Holler Melanie Punter Russell Williamson Harpsichord Daniel Pyle

Embellish A Melody!

Bach Club ($1.000 +) Telemann Club ($100-249) Dr. & Mrs. David Bright Niels Brix Andersen Dr. & Mrs. Peter DeWitt Roger S. Austin Federal Home Loan Bank of Atlanta Mr. & Mrs. William H. Austin, Jr. Janie R. Hicks Daniel Baba Martha J. R. Hsu Patrick L. Boyle & Paula G. Ciembor Douglas Leonard Stratton H. Bull Mr. & Mrs. William E. Pearson III Susan K. Card Daniel Pyle & Catherine Bull Dr. & Mrs. Robert M. Cates Lois Z. Pyle Dr. & Mrs. M. Dwayne Collier Donald E. Snyder Dr. & Mrs. Jack R. Edgens Susan Wagner Homer Edwards Larry Thorpe & Dr. Barbara Williams Drs. Thomas & Shauna Farmer Dr. & Mrs. Peter G. Gilmer Handel Club ($500-999) Anne Halliwell Donald N. Broughton & Susan L. Olson Dymples E. Hammer James E. Honkisz & Catherine A. Binns Dr. & Mrs. Daniel Hanks, Jr. Dr. & Mrs. William P. Marks, Jr. Dr. & Mrs. Bannester L. Harbin Dr. George Riordan & Karen Clarke Margaret T. Harbin Rome Area Council for the Arts Mr. & Mrs. Allan R. Jones Southeastern Historical Keyboard Society Hans & Christa Krause Dr. & Mrs. Joel D. Todino George H. Lanier Dr. & Mrs. Richard W. Leigh Vivaldi Club ($250-499) Mr. & Mrs. Gordon A. Leiter Martha Bishop Mrs. Hugh T. Moore Michael Clifford & Sandra Murray G. R. and Caroline Nuckolls Nancy Musselwhite Shawn Pagliarini & Russell Williamson Dr. Marie P. Griffith and Music Academy of Rome Mr. & Mrs. Jerry Pollard Dr. & Mrs. David Halverson Mary Roth Riordan Dr. Henry Kahn & Mary Gilmore--Kahn Dr. & Mrs. Michael Rogers Dr. Jerry McCormick — Certified Collision Specialists Dr. & Mrs. Jim L. Rogers Dr. & Mrs. Ephraim R. McLean Ann R. Rollins Mr. & Mrs. John L. Mortison Dr. Jack Runninger Holly, Mark, Jack, & Sara Murphy Michael & Cheri Schneider Dr. & Mrs. Roderick Remoroza Dr. & Mrs. Stuart A. Smith Mr. & Mrs. Thomas J. Thomas Hans & JoAnn Schwantje Mr. & Mrs. Paul Timm-Brock Mr. & Mrs. James H. Tuttle Dr. & Mrs. Gary Voccio

Do Not Miss the Rest of Our 2006-07 Season!

The Mozart Celebration continues!

Symphony no. 18 in F; Regina coeli in B-flat; & Symphony no. 25 in G minor with soprano Jennifer Ellis & the Emory Concert Choir

(Eric Nelson, director)

Sunday 19 November 2006

Italian Music for Strings Music of Vivaldi, Corelli, Caldara,

Torelli, & Manfredini

Sunday 28 January 2007

Dieterich Buxtehude 300th Anniversary Membra Jesu Nostri (Seven meditations) Sonatas for strings and basso continuo

Sunday 11 March 2007

Handel & Haydn Handel: Concerti grossi from Op. 3 & Op. 6

Haydn: “Little Organ” Mass

With soprano Arietha Lockhart Chamber Choir of Peachtree Road United Methodist Church

(Scott Atchison, director)

Sunday 13 May 2007

Visit our web-site at

www.atlantabaroque.org

The Atlanta Baroque Orchestra John Hsu, Artistic Director & Conductor

Wolfgang Amadé Mozart 250th Anniversary Celebration II

Friday 22 September 2006 8:00 p.m.

Peachtree Road United Methodist Church 3180 Peachtree Road NW

Atlanta, Georgia