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Home , American Symphony, An American Symphony, Charlie Albright, Dimitri Mitropoulos, Isaac Stern, Leon Botstein

Friday Evening, January 25, 2019, at 8:00 Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with at 7:00

presents Sounds of the American Century LEON BOTSTEIN, Conductor

ROBERT MANN Fantasy for

VIVIAN FINE Concertante for and Orchestra (New York Premiere) Andante con moto Allegro risoluto , Piano Charlie Albright will perform his own

Intermission

JACOB DRUCKMAN Prism After Marc-Antoine Charpentier After Francesco Cavalli After Luigi Cherubini

WILLIAM SCHUMAN No. 3 Part I: Passacaglia and Fugue Part II: Chorale and Toccata

This evening’s concert will run approximately 2 hours including one 20-minute intermission.

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PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director , Teachers, and New York eye because of the name Schuman, only by Leon Botstein to realize that it is not Robert, nor spelled the same way. The remaining This concert is exemplary of the origi- three are not well enough known to be nal and ongoing mission of the ASO. recognized by the audience we should The four composers on the program are be reaching. The ASO fights against all American, and they represent a 30- these trends. We are determined to year period, from Pearl Harbor to the advocate for the unfairly neglected Vietnam War, that witnessed unprece- from the past and to push against the dented growth in the concert and clas- winds of fashion. sical music world of this country. These composers enjoyed enormous recogni- All these composers overlapped with tion and success in their lifetimes. one another and knew one another. They were centered, for a great part of With the passage of time, however, mem- their careers, in , although ories fade and tastes change. Major fig- some, like Fine, migrated to New York. ures are remembered largely as names And all of them taught. They were pro- in history books, and perhaps then only foundly influential. Vivian Fine was a with a passing mention or a footnote. legend at Bennington. She, like Schuman, Their music is now more widely recorded was a tireless organizer and performer and low resolution postings of perfor- in New York. This concert is a journey mances can be found on the internet. to our own past, to a different time, Such a legacy, however, becomes acade- with different cultural ambitions and mic, literally and figuratively. conflicts, and a time of great excite- ment, energy, confidence, growth, and Live performances of the music of the faith in future generations of musicians once central figures who have passed and listeners. into history become rare, and not because the music falls short. Books It is a particular honor to perform a can be reissued and paintings from the work by the late , the leg- past taken out of storage and sold, endary violinist, quartet leader, and downloaded, and hung in public gallery teacher. He was a fine and a spaces more easily than music, espe- great advocate of the new music of his cially music written for large forces, time. , the fabu- can be put on the stage. And music lous conductor and music director of must be heard live and with an audi- the , and also a ence to be realized. partisan of the new, was himself a com- poser. Earlier this month I had the privi- Music in the classical field deals with its lege of the first performance history as if it were a winner-take-all of a new edition of a Grosso proposition. But this is wrong because by Mitropoulos in . Mitropoulos it distorts history and we rarely get the recognized Mann’s gifts and premiered chance to change our minds. This con- his Fantasy for Orchestra, which opens cert of music by Mann, Fine, Druckman, tonight’s concert. Years ago Mann and Schuman could catch someone’s mentioned the work to me, in passing and all too modestly. The ASO dedi- and . If Rimsky-Korsakov cates this performance to Robert and Gabriel Fauré could manage it, Mann’s memory. I would like to think why not ? he would be pleased to see the work revived and performed again in Car- Jacob Druckman was a widely admired negie Hall. composer until his untimely death in 1996. He taught for many years at Bard William Schuman is the best-known and two of his students later became composer on this program, and his famous as members of Steely Dan. He Symphony No. 3 is the one work then moved to Juilliard, where he being performed tonight to approxi- remained. In his lifetime he won many mate a repertory staple. This sym- prizes and was noted for the subtlety, phony is a contender for the status of refinement, and distinctiveness of his one of the major American sym- structures and sonorities. phonies of the 20th century. We hope that it is brought back regularly, and Vivian Fine was not only a great that more of Schuman’s music gets teacher and an avid performer, but played. Schuman, like his contempo- mentor to many generations of Ameri- rary , was a man of can composers. She exemplifies the many talents. He was, like Fine, a ter- spirit of this program: a conviction in rific organizer and institutional leader, the potential of new music in America, somewhat in the mold of musicians great craft and ambition, a determina- who devoted their time and energy to tion to reach the public, and an abiding creating and leading institutions designed belief in how important musical culture to sustain music. He headed Juilliard is to this city and the nation. THE Program by Matthew Mugmon

Robert Mann Born July 19, 1920, in Portland, Oregon Died January 1, 2018, in New York City

Fantasy for Orchestra Composed in 1957 Premiered on February 23, 1957, at , with the New York Philharmonic, conducted by Dimitri Mitropoulos Performance Time: Approximately 13 minutes

Instruments for this performance: 2 , 1 piccolo, 2 , 1 English horn, 2 , 1 bass , 2 , 1 , 5 French horns, 3 , 3 , 1 , , percussion (, side drum, tam-tam, small , crash , triangle), 22 violins, 8 , 8 cellos, 6 double basses, 1 harp, piano, and celeste

A celebrated violinist who died last year “a brief allusion” at the work’s conclu- at 97, Robert Mann was an outsize fig- sion to the faster material. ure in the world of chamber music per- formance. He spent more than 50 Even if the Fantasy faded from view after years, from 1946 to 1997, as the its premiere, Mann’s stature as a musi- renowned Juilliard ’s cian in New York certainly lent weight to founding first violinist. By the time the event; Harold C. Schonberg, in his Mann’s Fantasy for Orchestra appeared review in , wrote on a New York Philharmonic program that Mann “blossomed out as a com- in 1957, he was a composer of some poser” with the work, which was dedi- note. The Fantasy came about because cated to the memory of the distinguished Dimitri Mitropoulos, the orchestra’s patron Alma Morgenthau (1887–1953). music director, caught wind of some of Although Schonberg found the Fantasy Mann’s music and asked him for an to be more of a technical than a “per- orchestral work. sonal” expression, he praised Mann’s orchestration, linked its “rhythmic The New York Philharmonic never devices” to American compositional again performed the Fantasy after its trends, and offered an (admittedly premiere—or any of Mann’s other backhanded) compliment about its cin- works, for that matter. Nor are com- ematic quality (“One could easily imag- mercial recordings available. But pro- ine it as the background music of a very gram notes for the premiere highlighted expensive grade A film”). In calling it the straightforward multipartite struc- “an elaborate mood piece with, possi- ture of this single-movement work; it bly, a hidden program,” Schonberg begins with “a slow introduction, in a hinted at the work’s potential to move somewhat reflective vein,” followed by audiences with its stirring soundscapes, a fast, bustling section, a return of the characterized by what the critic described introduction’s sensibility, and, finally, as pervasive dissonance. Vivian Fine Born September 28, 1913, in , Died March 20, 2000, in Bennington,

Concertante for Piano and Orchestra Composed in 1943–44 Premiered in 1944 Performance Time: Approximately 17 minutes Charlie Albright will perform his own cadenza

Instruments for this performance: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, timpani, 22 violins, 8 violas, 8 cellos, 6 double basses, and piano

Vivian Fine’s multifaceted output as a soloist in favor of a more extensive composer included vocal, chamber, interplay among instrumental forces. orchestral, and theater works. Fine was also a highly regarded , and her For Fine, its heritage in baroque music Concertante reflects her deep attach- meant that the musical language of the ment to the keyboard. The work is Concertante was tonal—“deliberately” readily connected to neoclassicism—a so, as Fine said, “while most of my term that suggests a strong interest in other pieces, while not atonal, are freely forms and styles of the baroque and atonal and freely tonal at the same classical periods. A number of signifi- time.” The Concertante begins with a cant twentieth-century musical figures study of contrasts: forceful, declama- were associated with neoclassicism, tory orchestral declarations yield to including and Aaron songlike piano passages. This alterna- Copland. Both Copland and Stravinsky tion quickly gives way to a more fluid wrote piano , but Fine’s term interaction between soloist and orches- “concertante” suggests something sub- tra, but the basic sense of division— tly different: it points to the work’s her- sometimes jarring and sudden—between itage in compositions that featured sweeping and delicate melodies, on the multiple soloists. In Fine’s piece, the one hand, and gritty, even strident pas- piano is obviously the highlighted sages, on the other, characterize the soloist, complete with a cadenza in the wide-ranging and dramatic opening second (and final) movement. But the movement. A faster and more playful title “concertante” invites us to hear the second movement rounds out the work. piano and orchestra as existing on a Here, rhythmic energy and verve sug- more equal footing than they might in a gest a swirling dance between piano typical classical or romantic concerto. and orchestra. One highlight, though, is In fact, Fine said that the work was a brief, tender woodwind passage that “modeled after the concerti grossi” of temporarily interrupts the movement’s baroque composers. Following the defining buoyancy. A lively piano cadenza spirit of such works, Fine’s Concertante flows into a jovial conclusion for piano eschews extended passages for the and orchestra. Jacob Druckman Born June 26, 1928, in Philadelphia, Pennsylvania Died May 24, 1996, in New Haven, Connecticut

Prism Composed in 1979–80 Premiered on May 21, 1980, in , with the Baltimore Symphony, conducted by Sergiu Comissiona Performance Time: Approximately 22 minutes

Instruments for this performance: 2 flutes, 1 alto , 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 , 2 bassoons, 5 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (bass drum, tam-tam, crash cymbals, suspended , triangle, vibraphone, marimba, glockenspiel, crotales, chimes, temple blocks, bongos, timbales, tom-tom, conga), 22 violins, 8 violas, 8 cellos, 6 double basses, 1 harp, piano, and synthesizer Jacob Druckman’s Prism is perhaps out of old masterpieces, fascinating best understood, at first, through the effects, and surprising juxtapositions, lens of a work Druckman admired: the allowing Druckman to capture not the Italian composer ’s Sinfo- myth itself but what he called “the nia (1968), which Druckman called “a many-layered quality of the telling and masterful example of the general ten- re-telling of the story. It is a reflection on dency to reach backwards and for- the persistent re-emergence of the myth wards simultaneously.” The third that lies at the center of the new work.” movement of Berio’s Sinfonia employs the scherzo of ’s (1860– Far from another retelling of the myth 1911) Second Symphony as the back- then, Druckman’s Prism views the drop for a dizzying array of sonic myth, and the that use it as the explorations. Composed 12 years after subject, through a kind of musical the Sinfonia, Prism, like its predecessor, prism. Prism also hints at a narrative carries its own blend of reminiscence shape of its own through a fairly and innovation. In Druckman’s case, straightforward, even conventional, the “backwards” is not just the operatic three-movement format. In the intro- work of the 17th- and 18th-century ductory first (and shortest) movement, composers he quotes—Marc-Antoine what Druckman called Charpentier’s Charpentier (Médée), Francesco Cavalli “pageantry”—complete with regal brass (Il Giasone), and Luigi Cherubini motifs—emerges from and recedes (Médée)—but the ancient myth of behind a dissonant, mysterious orchestral Jason and Medea, the subject of those wash. The mostly slow and atmospheric operas. The “forwards” is in Druckman’s but also whimsical second movement fol- inventive use of the orchestra, what lows Cavalli’s interpretation of the Bernard Holland in a New York Times myth “as a tender and comic love review described as “timbral devices” story.” The pace quickens in the finale, that “whirl around us in Cineramic bril- which takes as its starting point the way liance.” It is also, to some extent, in the Cherubini “drives relentlessly toward idea of splicing together a composition [the myth’s] tragic conclusion.” William Schuman Born August 4, 1910, in New York City Died February 15, 1992, in New York City

Symphony No. 3 Composed in 1941 Premiered on October 17, 1941, with the Boston Symphony Orchestra, conducted by Performance Time: Approximately 31 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 E-flat clarinet, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 5 French horns, 4 trumpets, 4 trombones, 1 tuba, timpani, percussion (bass drum, side drum, crash cymbals, xylophone), 22 violins, 8 violas, 8 cellos, 6 double basses, and piano

When William Schuman completed his imitations in quick successions—in the Symphony No. 3 in 1941, he had an trumpets that serves as a rousing fan- illustrious advocate: Boston Symphony fare before a calmer pastoral passage Orchestra conductor Serge Koussevitzky, for winds. Schuman’s textures accumu- an active supporter of American music. late quickly, with focuses on single It was Koussevitzky who led the pre- instruments and sections giving way to miere of Symphony No. 3; he had full-bodied orchestral outpourings; one already performed Schuman’s Sym- such accumulation gives way to a brief phony No. 2, and Schuman would go on unaccompanied timpani solo with a to write his Symphony for Strings (1943) response in the French horns and, soon as a commission for the Koussevitzky after, an amassing of forces. Music Foundation. Part II returns to the passacaglia’s musi- Schuman shaped his Symphony No. 3 cal world, with an opening section into two parts, each divided into two (Chorale) that begins with another pen- contrasting subsections and named for sive string passage; wind instruments are baroque precedents. The first section of invited in, starting with a languid trum- Part I, Passacaglia, refers to a slow pet solo over a hazy string accompani- work in the mold of a theme and varia- ment, and followed by a flute. Despite its tions, with an illustrious heritage in the similarities to Part I, the Chorale lacks finale of ’ Fourth the polyphonic mayhem of Part I. It Symphony. Schuman’s similarly solemn leads to the animated Toccata—a term movement builds gradually from a lone that suggests spontaneity and virtuosity. to the entire to the Schuman makes a special point to high- winds and brass, and it follows Brahms’ light percussion in this movement, par- example in its fiery contrasts of mood ticularly in the opening (in which a snare and sensibility, ranging from delicate drum engages with various wind instru- melodic wanderings to sturdy climaxes. ments) and in the electrifying finish. This leads seamlessly into the next sec- tion of Part I—the spiky, colorful Fugue. Matthew Mugmon is assistant pro- Especially exhilarating, early on in the fessor of musicology at the Univer- section, is a stretto—a series of melodic sity of Arizona. THE Artists LEON BOTSTEIN, Conductor RIC KALLAHER RIC (including a Grammy-nominated re - cording of Popov’s First Symphony), the London Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orches- tra. Many of his live performances with the American Symphony Orches- tra are available online. His recording with the ASO of ’s The Long Christmas Dinner was named one of the top recordings of 2015 by several publications, and his recent recording of Gershwin piano music with the Royal Philharmonic was hailed by The Guardian and called “something special...in a crowded field” by Musicweb International. Leon Botstein has been music director and principal conductor of the Ameri- Mr. Botstein is the author of numerous can Symphony Orchestra since 1992. articles and books, including The Com- He is also music director of The pleat Brahms (Norton), Jefferson’s Orchestra Now, an innovative training Children (Doubleday), Judentum und orchestra composed of top musicians Modernität (Bölau), and Von Beethoven from around the world. He is co-artistic zu Berg (Zsolnay). He is also the editor director of Bard SummerScape and the of The Musical Quarterly. For his con- , which take place tributions to music he has received the at the Richard B. Fisher Center for the award of the American Academy of Performing Arts at , where Arts and Letters and Harvard Univer- he has been president since 1975. He is sity’s prestigious Centennial Award, as also conductor laureate of the Jerusalem well as the Cross of Honor, First Class Symphony Orchestra, where he served from the government of Austria. Other as music director from 2003–11. In recent awards include the Bruckner 2018 he assumed artistic directorship Society’s Julio Kilenyi Medal of Honor of the Grafenegg Academy in Austria. for his interpretations of that composer’s music; and the Leonard Bernstein Mr. Botstein is also active as a guest con- Award for the Elevation of Music in ductor and can be heard on numerous Society. In 2011 he was inducted into recordings with the London Symphony the American Philosophical Society. CHARLIE ALBRIGHT, Piano

Pianist, composer, and improviser Charlie Albright is the recipient of numerous national and international awards and competitions, including the prestigious Avery Fisher Career Grant, Gilmore Young Artist Award, Ruhr Klavier Fes- tival Young Artist Award presented by Marc-André Hamelin, and the International Auditions.

Mr. Albright has appeared regularly worldwide with such as the BBC Concert Orchestra (14-concert tour); the Boston Pops; the Chamber Orchestra of Philadelphia; and the Baltimore, Buf- falo, California, Edmonton (Canada), Des Moines, Fort Smith, Houston, Kymi Syn- instructor, teacher, and competition fonietta (), Omaha, National Cen- judge. His debut commercial recording, ter for the Performing Arts (), Vivace, has sold thousands of copies Phoenix, Seattle, San Francisco, and Vic- worldwide, and the first of a three-part toria (Canada) Symphony Orchestras. He Schubert Series of live, all-Schubert has also performed at such venues as recordings was released in 2017. Lincoln Center, the NCPA, and the Kennedy Center for the Performing Arts. Mr. Albright studied with Nancy Adsit in State, and proceeded to Mr. Albright’s worldwide appearances become the first classical pianist in the include prominent solo and concerto /New England Con- performances as well as frequent col- servatory five-year A.B./M.M. joint laborations with artists of all genres, program, completing a bachelor’s de- such as cellist Yo-Yo Ma, violinist Joshua gree as an economics major and pre- Bell, and vocalist Bobby McFerrin. He med student at Harvard, and a master was named artist-in-residence for Har- of music degree in piano performance vard University’s Leverett House, a at NEC, having studied with Wha- position last filled by Yo-Yo Ma. Kyung Byun. He graduated with the prestigious artist diploma (A.D.) from In addition to performing, he is a The , having studied sought-after speaker, master class with Yoheved Kaplinsky.

AMERICAN SYMPHONY ORCHESTRA

Now in its 57th season, the American in 1992, creating thematic concerts Symphony Orchestra was founded in that explore music from the perspec- 1962 by , with a tive of the visual arts, literature, reli- mission of making orchestral music gion, and history, and reviving rarely accessible and affordable for everyone. performed works that audiences would Music Director Leon Botstein expanded otherwise never have a chance to hear that mission when he joined the ASO performed live. The orchestra’s Vanguard Series con- Many of the world’s most accomplished sists of multiple concerts annually at so loists have performed with the ASO, Carnegie Hall. ASO has also performed including Yo-Yo Ma, , and at the Richard B. Fisher Center for the . The orchestra has released Performing Arts at Bard College in Bard’s several recordings on the Telarc, New SummerScape Festival and the Bard World, Bridge, Koch, and Vanguard la- Music Festival. The orchestra has made bels, and many live performances are also several tours of Asia and Europe, and available for digital download. In many has performed in countless benefits for cases these are the only existing recordings organizations including the Jerusalem of some of the rare works that have been Foundation and PBS. rediscovered in ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO PERCUSSION Cyrus Beroukhim, Eugene Moye, Marc Goldberg, , Concertmaster Principal Principal Principal Ragga Petursdottir Roberta Cooper Maureen Strenge Kory Grossman Yukie Handa Annabelle Hoffman Gilbert Dejean, Javier Diaz Diane Bruce Sarah Carter Contrabassoon Pauline Kim Harris Maureen Hynes HARP Patricia Davis Diane Barere HORN Tori Drake, Principal James Tsao Eliana Mendoza Zohar Schondorf, Katherine Livolsi- Tatyana Margulis Principal PIANO Landau David Smith Christopher Yana Goichman BASS Lawrence DiBello Oldfather, Sarah Zun John Beal, Principal Chad Yarbrough Principal Bruno Peña Louis Bruno Rachel Drehmann, Samuel Katz Peter Donovan Assistant PERSONNEL Richard Ostrovsky MANAGER VIOLIN II William Ellison Matthew Dine Richard Rood, William Sloat Carl Albach, Principal Principal John Dent ASSISTANT Sophia Kessinger FLUTE John Sheppard CONDUCTOR Robert Zubrycki Laura Conwesser, Thomas Hoyt Zachary Schwartzman Alexander Vselensky Principal Lucy Morganstern Keith Bonner ORCHESTRA Dorothy Strahl Karla Moe Richard Clark, LIBRARIAN Mara Milkis Principal Marc Cerri Nazig Tchakarian David Read Gökçe Erem Alexandra Knoll, Andrea Neumann Robyn Quinnett Principal Jeffrey Caswell, Bass Erin Gustafson Trombone VIOLA Melanie Feld, William Frampton, English Horn TUBA Principal Kyle Turner, Sally Shumway CLARINET Principal Rachel Riggs Shari Hoffman, Shelley Holland- Principal TIMPANI Moritz Liam Burke Benjamin Herman, Veronica Salas Benjamin Baron, Principal Jen Herman E-flat Clarinet Debra Shufelt-Dine Lino Gomez, Bass Jason Mellow Clarinet ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Hans-Jurgen Knoch Shirley A. Mueller, Esq. Helen Baron Eileen Rhulen Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski

ASO ADMINISTRATION

Oliver Inteeworn, Executive Director James Bagwell, Principal Guest Conductor Brian J. Heck, Director of Marketing Zachary Schwartzman, Assistant Conductor Katherine C. Peck, Development Manager Richard Wilson, Composer-In-Residence Alice Terrett, Marketing Manager Joshua Winograde, Vocal Casting Director Sebastian Danila, Library Manager Carissa Shockley, Operations Assistant

AMERICAN SYMPHONY ORCHESTRA PATRONS

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ASO’S 2018–19 VANGUARD SERIES AT CARNEGIE HALL

Friday, March 22, 2019 The Key of Dreams

Leon Botstein, Conductor Julietta: Sara Jakubiak, Soprano Michel: Aaron Blake, Tenor Bard Festival Chorale

Based on the French play Juliette, ou La clé des songes (Juliette, or The Key of Dreams) by Georges Neveux, Martinů’s operatic masterpiece Julietta, one of the greatest 20th-century works for the stage, explores the intersection of dreams and reality.

Bohuslav Martinů – Julietta (U.S. Premiere in Czech)