Friday Evening, October 26, 2012, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents 50th Birthday Celebration LEON BOTSTEIN, Conductor

JOHN STAFFORD SMITH The Star-Spangled Banner Arr. by LEOPOLD STOKOWSKI

CHARLES IVES Symphony No. 4 Prelude: Maestoso Allegretto Fugue: Andante moderato Largo maestoso BLAIR MCMILLEN, Piano THE COLLEGIATE CHORALE

Intermission

GUSTAV MAHLER Symphony No. 8 in E-flat Major (“Symphony of a Thousand”) Part 1: Hymnus: Veni, Creator Spiritus Part 2: Final scene from Goethe’s Faust Part 2 Magna Peccatrix: REBECCA DAVIS, Soprano Una Poenitentium: ABBIE FURMANSKY, Soprano Mater Gloriosa: KATHERINE WHYTE, Soprano Mulier Samaritana: SUSAN PLATTS, Mezzo-soprano Maria Aegyptiaca: FREDRIKA BRILLEMBOURG, Mezzo-soprano

(continued)

This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. The Empire State Building is lit red and white this evening in honor of American Symphony Orchestra’s 50th Birthday. We would like to thank the Empire State Building for this special honor. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASESWITCHOFFYOURCELLPHONESANDOTHERELECTRONICDEVICES. Dr. Marianus: CLAY HILLEY, Tenor Pater Ecstaticus: TYLER DUNCAN, Baritone Pater Profundus: DENIS SEDOV, Bass THE COLLEGIATE CHORALE JAMES BAGWELL, Director THE BROOKLYN YOUTH CHORUS DIANNE BERKUN, Director THE Program

JOHN STAFFORD SMITH (Arr. by LEOPOLD STOKOWSKI) The Star-Spangled Banner Smith: Born March 30, 1750 in Gloucester, England Died September 21, 1836 in London Stokowski: Born April 18, 1882 in London Died September 13, 1977 in Nether Wallop, Hampshire, England Composed by Smith as “The Anacreontic Song” in 1775 in London Stokowski first arranged the song in 1940. That version was the first piece ever performed by the American Symphony Orchestra, on October 15, 1962 at Carnegie Hall. This evening’s piece was arranged by Stokowski in 1969 and dedicated to the ASO. Performance Time: Approximately one and a half minutes

Instruments: 2 flutes, 2 piccolos, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 french horns, 4 trumpets, 4 trombones, tuba, tim- pani, percussion (2 snare drums), and strings

CHARLES IVES Symphony No. 4 Born October 20, 1874 in Danbury, CT Died May 19, 1954 in New York City Composed 1910–25 in New York City Movements i & ii premiered on January 29, 1927 by members of the NY Phil- harmonic under Eugene Goossens at Town Hall in New York City Movement iii premiered on May 10, 1933 by The New Chamber Orchestra under Bernard Hermann at New School Auditorium in New York City The full symphony premiered on April 26, 1965 by the American Symphony Orchestra under Leopold Stokowski at Carnegie Hall Performance Time: Approximately 33 minutes

Instruments: 3 flutes, piccolo, 2 oboes, 3 clarinets, tenor saxophone, baritone saxophone, 2 bassoons, 4 French horns, 6 trumpets, cornet, 4 trombones, tuba, theremin, timpani, percussion (snare drum, field drum, tom-tom, bass drum, tri- angle, cymbals, bells, 2 gongs), celesta, solo piano, 4-hand piano, organ, strings, distant choir (5 violins, harp), and chorus

(continued) GUSTAV MAHLER Symphony No. 8 Born July 7, 1860 in Kališteˇ, Bohemia Died May 18, 1911 in Vienna Composed in the summer of 1906 at Maiernigg in southern Austria Premiered on September 12, 1910 at the Neue Musik-Festhalle in Munich, conducted by Mahler U.S. Premiere: March 2, 1916 by The Philadelphia Orchestra under Leopold Stokowski Performed on August 18, 2002 by the American Symphony Orchestra under Leon Botstein at Bard College in Annandale-on-Hudson, NY Performance Time: Approximately 80 minutes

Instruments: 5 flutes, 2 piccolos, 4 oboes, English horn, 3 clarinets, bass clarinet, 2 E-flat piccolo clarinets, 4 bassoons, contrabassoon, 8 French horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (tamtam, cymbals, glockenspiel, triangle, bass drum, 2 deep bells), 2 harps, celesta, piano, organ, mandolin, strings, banda (4 trumpets, 3 trombones), boys chorus, double mixed choir, and 8 vocal soloists ABOUT THIS Concert

THE ASO AT FIFTY repertoire, not just his ear for sound by Leon Botstein and his theatrical gifts. He envisioned the ASO as a new beginning. Tonight’s concert is not just a season opener; it marks 50 years of concerts by Stokowski had just turned 80 and he the American Symphony Orchestra. The wished to impart to a young orchestra founding of the ASO was an act of his irreverent sense of adventure and vision by the great conductor and charis- innovation. He wanted the ASO to reach matic personality, Leopold Stokowski. well beyond the standard repertory. The In 1962 the New York Philharmonic American Symphony Orchestra in its moved to the new Philharmonic Hall at first seasons premiered and recorded Lincoln Center, leaving Carnegie Hall, many works other conductors rejected. New York’ s historic, endangered, and We have continued this practice and magnificent concert venue without a gone further by making most of our live resident orchestra. The ASO was performances available for download on formed to fill that gap. the internet. Stokowski made history in 1965. He singled out a work by America’s But Stokowski sought to do more than most controversial and original com- compensate for the loss of the New poser of the early 20th century, one that York Philharmonic. He realized that a had been deemed un-performable: period of European hegemony in the Charles Ives’ Fourth Symphony, a work training of classical musicians in America you will hear tonight. Tonight we link had come to an end. In 1962 America that ASO world premiere with one resembled the China we see today in from Stokowski’s Philadelphia years, terms of classical music. The talent born his celebrated first American perfor- and raised in the United States was out- mance in 1916 of Mahler’s massive stripping that within Europe and the rest Eighth Symphony (which he repeated in of the world. But most American orches- New York at the Metropolitan Opera), tras still defined themselves in terms of a work, despite its monumental archi- musicians from Europe and European tecture, that remains controversial even traditions. Stokowski created the ASO to within the now highly popular canon of give young American musicians a chance Mahler’s symphonies. to launch their professional careers and be part of a new American venture that In addition to assembling a young Ameri- celebrated American traditions (as well can membership and offering cutting-edge as others) in classical music. concert programming, Stokowski intro- duced a third dimension into the mis- Stokowski also recognized an opportu- sion of the ASO. This idea was to offer nity to return to his own singular artistic concerts at prices that could be vision as a music director. He had been afforded by all citizens in a democratic a pioneer in orchestral programming society. New York had witnessed many and created a distinctive orchestral similar attempts at this ideal. But by the sound during his tenure at the Philadel- 1960s most had disappeared. Only in phia Orchestra before World War II. the summer months were there still won- His international reputation was based derful and inexpensive regular outdoor in part on his courage with respect to concerts at Lewisohn Stadium at City College. Stokowski’s founding of the largesse. That the ASO opened with ASO was indeed prescient, for the sum- strikingly inexpensive tickets reflected a mer series at Lewisohn Stadium would widespread belief that orchestral music come to an end by the close of the could be emancipated from dependence decade. The ASO, with considerable on patronage, whether by a monarchy, effort, has struggled to remain true to an aristocracy, or direct subvention this mission. We honor Stokowski’s from the modern nation state, democ- intention tonight precisely by offering ratic or authoritarian. In other words, a this concert at the same ticket price as symphony orchestra could thrive as an at the opening concert of the American open-market commodity in a democra- Symphony in October 1962. tic society.

Stokowski’s idealism seemed in tune In the 50 years that have passed since with history. The 1950s and 1960s 1962, these premises and ideals upon were years of unprecedented prosperity which Stokowski modeled the ASO’s in the United States. The general eco- mission have only partly been realized. nomic and cultural optimism (including The United States continues to produce President Kennedy’s creation of the first-class musicians, but that is because National Endowment for the Arts) was of the excellence of its institutions, its felt with particular intensity in the busi- conservatories and universities. The ness of classical music. With the advent largest source of talent for these Amer- of the long-playing record, advances in ican institutions, however, comes now radio and broadcasting, and the arrival not from North America, but from of television, it appeared as if the tradi- Asia. Nevertheless, from a global per- tions of concert music could be extended spective, his instinct was on the mark. to a wider audience than ever before in a There is no question that the quality practical fashion, and that an enthusias- and number of musicians prepared to tic and sufficient consumer market for it play in first-class orchestras today are could emerge. unprecedented. As in sports, the techni- cal standards of performance have During the Cold War, the Iron Curtain reached the highest levels in history. countries had made live concert music affordable to anyone through state sub- Furthermore, Stokowski was prophetic sidy. Concert life thrived throughout in identifying the need to diversify and the Soviet Empire, though with oppres- expand the repertory. That need, if any- sive state control. By the early 1960s in thing, has become more urgent since the United States and the rest of what 1962. When Stokowski founded the was deemed the “free world,” it was ASO, Leonard Bernstein was the music thought that economic prosperity might director of the New York Philharmonic. produce a similar result in a free market The New York Philharmonic programs environment. In America, symphonic Bernstein presided over reveal a range music had always been an extremely and enterprise that were exceptional. The expensive art form requiring patronage same can be said of Bernstein’s immedi- from the social and financial elite. But ate successor, Pierre Boulez. Yet the trend in the decades following World War II, from the 1970s on has been increasingly multiple income sources from perfor- conservative. For many reasons, orches- mances, recordings, and broadcasting tral programming around the world has seemed profitable enough to carry this become far more risk-averse and conven- expense in a more commercial manner tional than it was in 1962. and more independent of philanthropic But the hope that has most distressingly musicians have driven the cost of failed to materialize is the expectation orchestras well beyond what can be regarding the economic conditions of reasonably passed on to ticket buyers. the orchestra. The changes in technol- If orchestral music is to be made avail- ogy and communication that were sup- able at reasonable prices to a diverse posed to expand the economic viability public in a democratic society today, then and commercial market for orchestra orchestral music and opera once again music have, it turns out, undermined it will require, as Berlioz observed, massive by producing an overwhelming compe- patronage, philanthropic largesse from tition in alternative media—cinema, the wealthy, the state, or alliances with television, video games, internet, mobile not-for-profit institutions that serve the devices—in a way that Stokowski’s public good. audiences could never have imagined. Today, technology has altered the very The challenge facing classical music concept of audience, as well as the phe- today is not a depletion of audience or nomena of fame, popular demand, dis- potential audience, or the aging of the semination, and critical influence. audience. The real problem is that the Instead of developing a wider market for very wealthy no longer consider it their orchestral music, the sea-change in civic responsibility to contribute to the media has put many orchestras in danger traditions of the symphony orchestra. of becoming fossilized in a reactionary Their attentions have turned elsewhere. construct of tradition and a standard The great patrons of orchestral music, repertory, a powerful but distorted rep- especially in the 20th century, were resentation of the history of music. often lovers of music and amateurs, but even those who were not felt it their Hector Berlioz once lamented that com- duty to enhance the quality of life in the posing symphonic music was an irra- cities in which they lived. Civic leader- tional activity because it inevitably ship meant the creation of great artistic required the largesse of a very few peo- institutions that would make the city ple in order to be heard. In the immedi- great. It is ironic that one single ate post-World War II years it was donor—Samuel Rubin—made the ASO thought this circumstance could be possible in 1962, just as one single changed. But Berlioz has turned out to be donor made Carnegie Hall possible in right. Already in 1966, William Baumol 1891. When Rubin died, the ASO and William Bowen published their almost died with him. The tradition of now legendary study on the inherent philanthropy that Rubin represented is unsustainability of the orchestra in a fading. If orchestras are to survive this market economy. A recent study, econ- century, they will have to build innova- omist Robert J. Flanagan’s The Perilous tive partnerships with like-minded Life of Symphony Orchestras, gives a institutions such as universities and compelling account of the probable fate foundations, which function to pre- of orchestras if forced to operate solely serve and promote the non-commercial on a commercial earned-income basis. pursuits, discoveries, and accomplish- Flanagan makes it abundantly clear ments that define our cultural heritage. that if orchestras are to survive (and many will not), there can be no expec- In the face of crushing constraints, the tation that they will survive on the basis ASO during the last 20 years has sought of ticket sales or standard models of to perpetuate Stokowski’s vision. The business efficiency. The legitimate ASO owes a debt to its loyal audience, requirements of a living wage among to its donors, and to those institutions that have partnered with it, particularly has been a variation on Stokowski’s Bard College. In the past 20 years we original purpose. Our intent has been to have focused mainly on two objectives. show that orchestral music is still con- The first is a reconsideration of the rich nected to many concepts and issues that history of orchestral music in the 19th continue to engage us today. Listeners and 20th centuries. We have brought can get unique insights on such matters back unjustly forgotten repertoire. Pre- (including their favorite standard works) cisely owing to the changing character from listening to music framed in its of culture and education, the ASO has proper and varied historical contexts. tried to expand the audience for sym- There has been, thankfully, a growth in phonic music by programming in a new the number of ensembles devoted to new way, highlighting the enormous diver- music. Therefore, the ASO has focused sity of all that is out there, rather than on music from the past, with a view that simply repeating the works that audi- the way we represent history is as much ences seem to know best. a part of the present as the performance of new music. In a universe of such wide-ranging reper- tory, it becomes more difficult to dismiss At the same time, the ASO has stayed orchestral music as a remote, arcane true to Stokowski’s vision of moderate field. We believe that rejecting orchestral ticket prices to ensure wide accessibility. music because one may not like Beet- The ASO also continues to explore new hoven is akin to rejecting reading because ways of linking performing arts organi- Shakespeare seems obscure, or deciding zations with the university community, all cinema is useless because one saw a particularly by integrating the worlds of few ghastly movies. The ASO does not scholarship in music with traditions of passively accept the idea that concert performance. That kind of relationship music can be represented by just a few has characterized the early music field works, or that it is an activity detached for some time, but only recently has it from the conduct of ordinary life. Even begun to establish itself in music of later the greatest music will not be interesting periods. And ASO has actively estab- if listeners see no connection between it lished award-winning educational pro- and their own experience. Therefore the grams, collaborations with high schools second objective has been to reinstate and middle schools. the link between music and other aspects of culture such as the visual arts, politics, As we look back over the last 50 years, literature, and history itself. ASO sub- it becomes clear that the period of enor- scribers will have a better perspective on mous expansion in the number of per- the Pussy Riot incident (which, inciden- formances, orchestras, summer festivals, tally, took place in the Church for whose and concert venues is coming to an end. dedication Tchaikovsky composed the Particularly since the financial crisis of 1812 Overture) if they saw the several 2008, the prospect of contraction for programs we presented on music under any orchestra is real and inevitable. Soviet rule. Fans of The Twilight Saga These circumstances have given rise to a might be fascinated to know that an general sense of fear and pessimism opera written back in the 19th century regarding the future of orchestral concert (Marschner’s Der Vampyr, which will be performances. There is a lively, burgeon- performed this season) was based on one ing world of new music, particularly for of the original great vampire stories. smaller ensembles, and to a limited extent in theater and opera. But the ASO’s aim during the past two decades daunting scale and cost of orchestral concerts has placed the symphony tain that these two historic figures—one orchestra and its work on a precarious a central European Jew, the other a Yale path. ASO has tried to resist the natural graduate and son of a Connecticut tendency to respond to such fear and bandleader—intersected on a level of uncertainty with increased conservatism influence and memory, just as we hope and risk-avoidance. Instead, with the that by pairing them in performance enthusiastic support of its musicians, they will intersect in your memory and the ASO has continued to pursue the experience tonight in a new way. new and the unexplored, in keeping with the spirit of Stokowski. We try to CHARLES IVES’S SYMPHONY NO. 4 design every concert to be enjoyable for by Christopher H. Gibbs the novice, for the connoisseur, and for everyone in between. The genesis, musical substance, and fate of Charles Ives’s Fourth Symphony are To mark our 50th anniversary we are in many respects representative of the performing Ives and Mahler because singularly strange career of this unusual both had a unique relationship with American composer. The son of a Con- Stokowski and therefore the history of necticut bandmaster, Ives studied music this orchestra. But there is more. Ives at Yale University with Horatio Parker and Mahler were contemporaries. There and enjoyed early success in New York has always been a suspicion that on his City, where he served as organist at last trip home to Vienna from New Central Presbyterian Church. In 1902, York in 1911, Mahler carried with him at age 28, he abandoned the profes- a manuscript of Ives’ music. Both com- sional musical world and turned to busi- posers experimented with music as an ness, eventually becoming an extremely instrument of memory and the percep- successful insurance executive. Ives con- tion of time. Both evoked memories of tinued to compose in his spare time, but childhood and reflected on modernity withheld most of his compositions from through the lens of a critical nostalgia. performance and publication. With no They were concerned with the idea that pressing deadlines, pieces could evolve the past was refracted by missing and dis- for years, being continually reworked torted memory. Both had a self-conscious and revised. His works frequently make reaction to the conceits of late Roman- reference to other music, most often to ticism and the notion that music should indigenous American pieces as well as to be understood along the lines of a nar- Ives’s own earlier compositions and to rative, realistic novel. Both experi- ones of the European classical tradition. mented with instrumental sound and symphonic form. That the ASO has After writing a fairly conventional First been a New York City-based orchestra Symphony at Yale, his next two incor- makes the pairing of these two com- porated marches, Protestant hymns, posers a natural act of remembrance. American popular songs, and explored Charles Ives lived and worked in the city new harmonic, orchestral, and spatial of New York during the years that Gus- realms. Ives went even further in his tav Mahler conducted at the Metropoli- Fourth Symphony, which he composed tan Opera and the New York Philhar- between 1910 and 1925, although it monic. It was during Mahler’s New recycles compositions that date back to York years in 1910, that his Eighth the 1890s. Ives also revisits grand philo- Symphony had its premiere in Munich. sophical issues posed in earlier pieces, Whether Mahler and Ives actually ever most famously in The Unanswered met, no one will ever know, but it is cer- Question (1908). When two movements were premiered in 1927, the program GUSTAV MAHLER’S SYMPHONY note, based on remarks by Ives, stated NO. 8 that “the aesthetic program” of sym- by Christopher H. Gibbs phony probes “the searching questions of What? and Why? which the spirit of “On the first day of the holidays, I went man asks of life.” up to the hut in Maiernigg with the firm resolution of idling the holiday away (I The brief first movement (Prelude), needed to so much that year) and which sets up the searching questions recruiting my strength. On the threshold the next three attempt to answer, begins of my old workshop the Spiritus creator with a forceful orchestral passage that is took hold of me and shook me and juxtaposed with part of a “distant drove me on for the next eight weeks choir” of solo violins and harp playing a until my greatest work was done.” So fragment of Lowell Mason’s “Bethany” Mahler wrote to his wife Alma in June (“Nearer My God to Thee”); soon the 1910, remembering the events four chorus enters singing Mason’s “Watch- summers earlier, when in an unusually man, Tell Us of the Night.” The second short time he sketched his monumental movement (Comedy), filled with popular Eighth Symphony. The eighth-century tunes and striking layering effects, Pentecost hymn Veni creator spiritus depicts a journey on “The Celestial (Come Creative Spirit) served as the Railroad,” inspired by Nathaniel inspiration for the first movement while Hawthorne’s satirical short story from the ending of Goethe’s Faust II provided 1842. Rather than walking the hard the basis for the second. path to salvation as in John Bunyan’s The Pilgrim’s Progress, the tale’s narra- According to conventional definitions, tor relates a dream showing a simpler the Eighth is more a cantata or orato- way by rail (sounds of which are imi- rio than a symphony. Multiple cho- tated in alternation with hymns). The ruses and vocal soloists are used third movement (Fugue) prominently throughout, unlike Beethoven’s Ninth uses Mason’s “From Greenland’s Icy Symphony or Mahler’s own Second Mountains.” Snippets of “Bethany,” that withhold vocalists until the end. intoned by a wordless choir, return for Mahler recognized this as a revolution- the Finale, an “apotheosis” of the previ- ary feature, telling his biographer ous movements “in terms that have Richard Specht, “Its form is something something to do with the reality of exis- altogether new. Can you imagine a tence and its religious experience.” symphony that is sung throughout, from beginning to end? So far I have A series of serious health setbacks around employed words and the human voice 1920 greatly lessened Ives’s composi- merely to suggest, to sum up, to estab- tional activity, although he lived for more lish a mood…. Here the voice is also an than three decades longer. He self-pub- instrument…. It is really strange that lished some of his works and gradually nobody has ever thought of this before; found performers eagerly advancing his it is simplicity itself, The True Sym- cause. Although three movements of the phony, in which the most beautiful Fourth Symphony were performed during instrument of all is led to its calling. Yet his lifetime (and one published), the pre- it is used not only as sound, because the miere of the entire work was posthu- voice is the bearer of poetic thoughts.” mous, coming in 1965 when Leopold Stokowski conducted the American Sym- Mahler cast the Eighth Symphony in phony Orchestra at Carnegie Hall. two movements, with texts in Latin and German, and used an immense orchestra, “Accende lumen sensibus, Infunde two large mixed choirs and separate amorem cordibus!” (“Illuminate our children’s chorus, organ, off-stage brass, senses, Pour love into our hearts!”), and eight soloists. These extraordinary which serves as a conceptual bridge to the forces prompted its unofficial title, more humanistic themes of the second “Symphony of a Thousand.” The name movement. That part begins mysteriously, came from the shrewd impresario Emil with an extended slow introduction in the Gutmann, who arranged the legendary minor. The Faust movement is often premiere on September 12, 1910, at described as encompassing the expected Munich’s New Music Festival Hall. The next three sections of a typical sym- performance allegedly employed 858 phony—a slow movement, scherzo, singers and 171 instrumentalists, for a and finale—but that does not do full total of 1,029 performers (plus Mahler justice to its layout, moments of which conducting). The premiere was an enor- return to music from the opening move- mous success, undoubtedly the greatest ment. The soloists, who were anony- of Mahler’s career. mous in the first movement, are now used to convey specific biblical and After an introductory measure in which quasi-spiritual figures, among them the organ firmly establishes the key of E Mater Gloriosa as the Virgin Mary, flat, the symphony opens with an enor- “the personification of the Eternal Fem- mous burst of energy as the massed inine,” as well characters from Faust, choral forces exclaim the Veni creator including “a penitent woman,” Faust’s spiritus text. The opening motto reap- beloved Gretchen. pears throughout the symphony and ultimately caps the final measures. The Dr. Gibbs is the James H. Ottaway, Jr. soprano initiates the soloists and their Professor of Music at Bard College and interactions with the double chorus and the Co-Artistic Director of the Bard children’s chorus. One of the climaxes Music Festival. of the movement is the section MEET THE Artists LEON BOTSTEIN, Conductor

This season, Leon Botstein celebrates his 20th anniversary as music director and principal conductor of the American Symphony Orchestra. He is co-artistic director of the acclaimed Summerscape and Bard Music Festivals, which take place at the Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry for Bard College. He is also con- ductor laureate of the Jerusalem Sym- phony Orchestra, where he served as Music Director from 2003–2011. He PHOTO BY MATT DINE has been president of Bard College in numerous articles and books. Last year New York since 1975. he gave the prestigious Tanner Lectures in Berkeley, CA. For his contributions to Upcoming guest engagements include music he has received the award of the the Los Angeles Philharmonic, Hawaii American Academy of Arts and Letters Symphony, and Taipei Symphony. Mr. and Harvard University’s prestigious Botstein may also be heard on numerous Centennial Award, as well as the Cross recordings, including operas by Strauss, of Honor, First Class from the govern- Dukas, and Chausson, as well as works ment of Austria. In 2009 he received of Shostakovich, Dohnanyi, Liszt, Carnegie Foundation’s Academic Lead- Bruckner, Bartók, Hartmann, Reger, ership Award, and in 2011 was inducted Gliere, Szymanowski, Brahms, Copland, into the American Philosophical Society. Sessions, Perle, and Rands. Many of his He is also the 2012 recipient of the live performances with the American Leonard Bernstein Award for the Eleva- Symphony Orchestra are now available tion of Music in Society. for download on the Internet. Maestro Botstein is represented by Mr. Botstein is highly regarded as a Columbia Artists Management, LLC. music historian. He is the editor of The Musical Quarterly and the author of FREDERIKA BRILLEMBOURG

Recent highlights include Amneris in Aida (Stuttgart Opera 2010 and Macedonia May Festival 2012), Contessa di Coigny and Madelon in Andrea Chenier (Bregenz Festival 2011 and 2012), Jitsuko Honda in Hanjo (La Monnaie and De Neder- landse Opera 2011), Adalgisa in Norma (Theater Bremen & Croatian National Opera in Zagreb 2011), the title-role in Carmen (Sarasota Opera 2012), Klemen- tia in Paul Hindemith’s Sancta Susanna (Bard Festival 2010), and the First Norn PHOTO BY GREG JAMES Fredrika Brillembourg is known for her and Flosshilde in Götterdammerung unusual versatility in roles ranging from (Washington National Opera, 2009). Carmen to Brangäne to Ligeti’s Mescalina at many of the world’s leading Ms. Brillembourg has worked with the theatres, including The Aix-en-Provence Bavarian Radio Symphony Orchestra, Festival; Théatre Royal de la Monnaie; The City of Birmingham Symphony De Nederlandse Opera; Grand Théâtre Orchestra, The Royal Concertgebouw de Genève; Theater Bremen; Athens Orchestra, and The Mahler Chamber Megaron; Opéra National de Lyon; Orchestra in repertory that includes Brooklyn Academy of Music; New York Mahler’s Kindertotenlieder, Elgar’s Sea City Opera; Seattle Opera; Teatro la Pictures, Verdi’s Messa da Requiem, and Fenice; Deutsche Oper am Rhein; Komis- the Bach Passions. Upcoming engage- che Oper Berlin; Teatro Nacional de São ments include a return to Berlin’s Carlos, Lisbon; Teatro Massimo Bellini, Komische Oper as the Witch in Hänsel Catania; and Semperoper, Dresden. and Gretel and Marco in Tan Dun’s Marco Polo at the 2013 Bergen Festival. REBECCA DAVIS

Mass in G, Imant Raminsh’s Missa Bre- vis, and Mozart’s Laudate Dominum.

In her blossoming career, Ms. Davis has appeared in the roles of many heroines, including Donna Elvira, Violetta, Fiordiligi, Ilia, Abigail Williams, Cio Cio San, Mimi, Musetta, Micaela, Tatyana, the Countess, Tosca, Baby Doe, and Magda in La Rondine. Ms. Davis has appeared with such compa- nies as Chicago Opera Theater, the Rebecca Davis made her Chicago Sym- Sarasota Opera, the Kentucky Opera, phony Orchestra debut in April 2008 Opera San Jose, Festival Opera, Opera singing Salaambo’s aria from the movie North, Opera Idaho, Music by the score of Citizen Kane, followed by a Lake, DuPage Opera Theatre, Opera debut at Carnegie Hall singing Schubert’s Santa Barbara, and San Francisco Opera’s prestigious Merola program. season includes the Midsummer Mozart Ms. Davis has earned numerous singing Festival in San Francisco singing Vorrei awards, including the Grand Prize of the spiegarvi o Dio and as a soprano soloist Chicago Bel Canto, finalist of the Tri- in Mozart’s C minor mass, Mimi in La State Region in the Metropolitan Opera Boheme for Hidden Valley Opera, Competition, finalist and winners con- Magda in La Rondine for Fresno Opera, cert of the Renata Tebaldi competition, Violetta in La Traviata for Livermore finalist of the José Iturbi competition, Valley Opera, and the Countess in Le and most recently the winner of the Nozze di Figaro for Dayton Opera. Irene Dalis competition. Her 2012–13

TYLER DUNCAN

Tyler Duncan’s current season includes a New York Philharmonic debut and join- ing the Metropolitan Opera roster. He has appeared at the Spoleto USA, Prince- ton, Halle, Bard, Lanaudière, Berkshire Choral, Chautauqua, and Vancouver Early Music Festivals; sang Dandini in Rossini’s La Cenerentola with Pacific Opera Victoria; and the title role of Mozart’s Le nozze di Figaro on tour with the Munich Chamber Orchestra.

Concerts include Haydn’s Die Schöpfung PHOTO BY COLIN MILLS with the Québec and Montreal Sym- Mr. Duncan has earned prizes from the phonies; Haydn’s Die Jahreszeiten with Naumburg, Wigmore Hall, ARD/ the Calgary Philharmonic; Händel’s Mes- Munich, Joy-in-Singing, and New York siah with the Montreal and Toronto Oratorio Competitions, and the Prix Symphonies, Boston’s Händel and International Pro Musicis Award and the Haydn Society, and San Francisco’s Phil- Bernard Diamant Prize from the Canada harmonia Baroque; Brahms’ Requiem Council for the Arts. He is a founding with the Rochester Philharmonic; Bach’s member on the faculty of the Vancouver Ich habe genug and Weihnachtsorato- International Song Institute and has given rium with Toronto’s Tafelmusik; the acclaimed recitals in New York, Boston, Mozart Requiem with the Toronto and and Paris, as well as throughout Canada, Montreal Symphonies; Mahler’s Eighth Germany, Sweden, France, and South Symphony with the Toronto Sym- Africa. Recordings include Bach’s St. John phony; and Vaughan-Williams’ Five Passion with Portland Baroque, and the Mystical Songs at Carnegie Hall with title role of John Blow’s Venus and Adonis the Oratorio Society of New York. with the Boston Early Music Festival. ABBIE FURMANSKY

Opera Company, Washington National Opera, Los Angeles Opera, the opera companies of Munich and Frankfurt, and the Baden Baden Festival. Ms. Fur- mansky is featured with Vesselina Kasarova and Ramon Vargas as Inès in La Favorite with the Bavarian Radio Orchestra, released on the BMG label.

Concert performances have included Brit- ten’s War Requiem at the Philharmonie in Berlin; the European premiere of Bern- Abbie Furmansky came to prominence in stein’s Kaddish Symphony, subsequently Europe as an ensemble member at the released on Nimbus records; Beethoven- Deutsche Oper Berlin and has since Strauss’s Die Ruinen von Athen with the appeared with orchestras such as the Dresdner Philharmonie; Frank Martin’s Deutsches Symphonieorchester Berlin, Golgotha in Potsdam; Beethoven’s 9th the Netherlands Radio Philharmonic Symphony in Novi Sad Serbia; Orchestra and the Bavarian Radio Mendelssohn’s Elijah with the Singapore Orchestra. Symphony Orchestra; and Mahler’s 2nd Symphony in Sofia, Bulgaria. Operatic appearances include Nicolas Lehnhoff’s Baden Baden production of Recent highlights include role debuts at Parsifal, released on DVD; Robert Wil- Staatstheater Mainz as the Marschallin son’s Los Angeles Opera production of in Der Rosenkavalier, Jenny in Aufstieg Parsifal with Placido Domingo;a und Fall der Stadt Mahagonny, Mimì in Netherlands Opera debut in Elektra; La Boheme, Marie in Wozzeck and the concert broadcast performance of Parsi- title-role in Madama Butterfly. Future fal from the Concertgebouw with the engagements include a return to the Netherlands Radio Philharmonic Friedenskirche in Potsdam, Germany Orchestra; as well as leading roles with with a performance of Verdi’s Requiem the New York City Opera, Canadian with Matthias Jakob.

CLAY HILLEY debut with the American Symphony Orchestra. He is returning recently from his debut at the Royal Opera House in Muscat, Oman, where he joined a shared production of the Glimmerglass Festival’s The Music Man singing the role of Ewart Dunlop. His concert and oratorio credits include Beethoven’s Symphony No. 9, Brahms’ Neue Liebeslieder-Waltzer, Britten’s Canticle Number II ‘Abraham and Isaac’, Han- del’s Messiah, Haydn’s Creation, Tonight’s concert marks Clay Hilley’s Mendelssohn’s Elijah and Lobgesang, Mozart’s Requiem and Coronation Reserve. His other repertoire includes Mass, Janácˇek’s Diary of One Who the title roles of Werther, Hoffmann, Vanished, and Verdi’s Requiem. and Faust; Turiddu in Cavalleria Rusti- cana; Anatol in Vanessa; Canio in I This past season he sang Il Messaggero Pagliacci; Roméo in Roméo et Juliette; in Aida with the Glimmerglass Festival Cavaradossi inTosca; Edgardo in Lucia and covered Radames in Aida and di Lammermoor; and Molqi in The Pinkerton in Madama Butterfly with Death of Klinghoffer. He will be heard Arizona Opera. He has sung Don José in in future engagements as Steuermann in La tragedie de Carmen, Froh in Das Der fliegende Holländer with Indi- Rheingold with Indianapolis Opera, and anapolis Opera and Radames as guest Don José in Carmen and Pinkerton in artist with the BJU Opera Series in Madama Butterfly with Opera Western South Carolina.

BLAIR MCMILLEN

Blair McMillen has performed in venues both traditional and avant-garde; from Carnegie Hall, the Moscow Conserva- tory, the Metropolitan Museum, Avery Fisher Hall, Caramoor, Miller Theatre, and the Library of Congress to (le) Pois- son Rouge, Galapagos, the Knitting Fac- tory, and The Stone. Highlights from recent seasons include the Prokofiev Piano Concerto No. 1 at Bard Summer- scape, John Cage’s Sonatas and Interludes

at Bargemusic, and several appearances PHOTO BY KEIKO NAGATA with the St. Paul Chamber Orchestra. a classical-contemporary music series which had its inaugural season in Sum- Dedicated to new and groundbreaking mer 2011. projects, Mr. McMillen is intensely committed to commissioning and per- Mr. McMillen holds degrees from forming the music of today. Known for Oberlin College, The Juilliard School, his adventurous and imaginative pro- and Manhattan School of Music. His gramming, he has premiered hundreds first solo CD, Soundings, was released of works and constantly works with in 2005 to wide critical acclaim. More both established and emerging com- recent recordings include Powerhouse posers in commissioning new works for Pianists on Lumiere, Concert Music of the piano. An avid chamber player, Mr. Fred Hersch on Naxos, and Multiplici- McMillen is pianist for the Naumburg ties: Born in ’38 on Centaur. Mr. Award-winning Da Capo Chamber McMillen lives in New York City and Players. He is also recently the co- serves on the music faculty at Bard Col- founder and director of the Rite of lege and Conservatory. Summer Festival on Governor’s Island, SUSAN PLATTS

and St. Paul Chamber Orchestras. An art-song specialist, she has appeared at the Kennedy Center in Washington, D.C., New York’s Frick Collection, and Lincoln Center’s “Art of the Song,” as well as on the premier recital series of Cleveland, Toronto, Montreal, and San Francisco. Current highlights include her London and Berlin debuts, in John Adams’ Nixon in China with the BBC Symphony, and her staged-opera debut

PHOTO BY TOMAS BERTELSON in the role of Florence Pike in Britten’s Susan Platts has performed at Teatro alla Albert Herring at Pacific Opera Victoria. Scala; Teatro di San Carlo; and Carnegie and Alice Tully Halls; as well as with the Ms. Platts’ recordings include Das Lied Philadelphia, CBC Radio, Cleveland, von der Erde and Lieder eines fahren- Tokyo Metropolitan, Louisville, and den Gesellen, and a disc of songs by Minnesota Orchestras; Orchestre de Brahms and Robert and Clara Schu- Paris; National Arts Centre Orchestra; mann. As part of the Rolex Mentor and Montreal, Toronto, Detroit, Milwaukee, Protégé Arts Initiative, world-renowned Baltimore, North Carolina, Quebec, soprano Jessye Norman chose Ms. Seattle, and Houston Symphonies; Les Platts from 26 international candidates, Violons du Roy; Boston’s Handel and and continues to mentor her. Haydn Society; and the Los Angeles

DENIS SEDOV

Hunding in Die Walküre and Verdi’s Requiem with the Orquesta Filar- mônica de Minas Gerais, and Bach’s Christmas Oratorio with the Mit- teldeutsches Kammerorchester on Sylt Island. Recent performances include Le nozze di Figaro at Covent Garden; Don Giovanni in Milan; La bohème in Paris, Atlanta, and with The Metropolitan Opera; Ariodante in Barcelona; Faust, Eugene Onegin, La bohème, and

PHOTO BY PAVEL ANTONOV Otello in Cincinnati; Les pêcheurs de Denis Sedov returns to the American perles in Washington, D.C.; Don Gio- Symphony Orchestra this evening, hav- vanni and La sonnambula in Paris and ing previously joined the ensemble as Florence; Orlick in Mazeppa with The the Seder Leader in Hagadah shel Metropolitan Opera; Il viaggio a Reims Pesach. Also this season, he premieres a with La Monnaie; Giulio Cesare in San song cycle by Carlos Alberto Vazquez Francisco; Maometto II at Strasbourg; in Puerto Rico, reprises the Chamber- Die Zauberflöte in Atlanta; I puritani lain in Le rossignol at the Teatro in Seattle; and Lucia di Lammermoor Municipal in São Paulo, and sings in Pittsburgh. Previous performances include Mahler’s Málaga; Verdi’s Requiem in Los Ange- Symphony No. 8 in Paris, Quebec, and les; Beethoven’s Symphony No. 9 in San Vancouver, and Le rossignol in Atlanta; Francisco; and Berlioz’ Romeo et Juli- Berlioz’s La damnation de Faust in Tel ette in Cleveland. Aviv; Prokofiev’s Ivan the Terrible at KATHERINE WHYTE Tauride and returned to the company as Isis in Semele. She returned to the roster of the Metropolitan Opera for the new production of The Enchanted Island and was heard in performances of Beethoven’s Symphony No. 9 with the Arkansas Symphony Orchestra. She began the 2010–11 season as the Countess in Le nozze di Figaro for her debut with Opera Hamilton. She returned to the Houston Symphony for

PHOTO BY PAVEL ANTONOV performances of Handel’s Messiah, Katherine Whyte has performed on opera joined John Nelson for Brahms’ and concert stages across her native Requiem at Wheaton College, and Canada, the United States, and Europe. In made her Avery Fisher Hall debut in a the current season, Ms. Whyte returns to performance of Beethoven’s Symphony the Metropolitan Opera for the new pro- No. 9 with the National Chorale. She duction of Parsifal. She is also heard in sang her first performances of Pamina performances of Handel’s Messiah with in Die Zauberflöte with Michigan the National Symphony in Washington, Opera Theatre and was heard with the D.C., as well as Mozart’s Mass in C Colorado Symphony Orchestra in per- minor with the Vancouver Symphony, formances of Mendelssohn’s A Mid- and Beethoven’s Symphony No. 9 with summer Night’s Dream. The winner of the National Chorale. the 2007 Alice Tully Recital Competi- tion, Ms. Whyte made her Carnegie This past season, Ms. Whyte made her Hall debut in solo recital at Weill Hall debut with the Canadian Opera Com- in January 2008. pany in the title role of Iphigenie en AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra series as well as Bard’s annual Summer- was founded 50 years ago by Leopold Scape Festival and the Bard Music Fes- Stokowski, with the specific intention tival. In 2010 the American Symphony of making orchestral music accessible became the resident orchestra of The and affordable for everyone. Under Collegiate Chorale, performing regu- music director Leon Botstein, the ASO larly in the Chorale’s New York concert has kept Stokowski’s mission intact, series. The orchestra has made several and has also become a pioneer in what tours of Asia and Europe, and has per- The Wall Street Journal called “a new formed in countless benefits for organiza- concept in orchestras,” presenting con- tions including the Jerusalem Foundation certs curated around various themes and PBS. ASO’s award-winning music drawn from the visual arts, literature, education program, Music Notes, inte- politics, and history, and unearthing grates symphonic music into core rarely-performed masterworks for humanities classes in high schools across well-deserved revival. These concerts the tri-state area. are performed in the Vanguard Series at Carnegie Hall. In addition to many albums released on the Telarc, New World, Bridge, In addition, the orchestra performs in Koch, and Vanguard labels, many live the celebrated concert series Classics performances by the American Sym- Declassified at Peter Norton Symphony phony are now available for digital Space, and is the resident orchestra of download. In many cases, these are the the Richard B. Fisher Center for the only existing recordings of some of the Performing Arts at Bard College, where rare works that have been rediscovered it appears in a winter subscription in ASO performances.

THE COLLEGIATE CHORALE

Founded in 1941, The Collegiate Wrath (2010) with an all-star cast Chorale has established a preeminent including Jane Fonda, Nathan Gunn, reputation for its interpretations of the and Victoria Clark. Others include the traditional choral repertoire, vocal American premieres of Dvorˇák’s Dmitri works by American composers, and (1984) and Handel’s Jupiter in Argos rarely heard operas-in-concert, as well (2008), as well as the New York pre- as commissions and premieres of new mieres of Respighi’s La fiamma (1987) works by today’s most exciting creative and Strauss’ previously unrecorded artists. The many guest artists with one-act opera, Friedenstag, which was whom The Chorale has performed in recorded live and released on the Koch recent years include Stephanie Blythe, label in 1991, reaching the top 25 on Victoria Clark, Nathan Gunn, Thomas the classical Billboard charts. Hampson, Angela Meade, Kelli O’Hara, Eric Owens, Rene Papé, Bryn Among musical theater works The Terfel, and Deborah Voigt. Chorale has performed are Gilbert and Sullivan’s The Mikado last spring at Opera highlights include the New York Carnegie Hall; Kurt Weill’s Knicker- premiere of Ricki Ian Gordon and bocker Holiday (2011) with Kelli Michael Korie’s opera The Grapes of O’Hara and Victor Garber, conducted by James Bagwell and commercially Upcoming performances in the 2012–13 available on Sh-K-Boom Records; and season include Bellini’s Beatrice di Kurt Weill and Ira Gershwin’s The Fire- Tenda (12/5) with Angela Meade in the brand of Florence (2009), with Nathan title role; Golijov’s Oceana and Glass’s Gunn in the lead role. Other works in Symphony No. 7 “Toltec” (2/27); and this repertoire include Scott Joplin’s musical theatre gem Song of Norway by Tremonisha (2006), Philip Glass’s The Wright and Forrest (4/30). The Chorale Juniper Tree (2007), and the New York will make its sixth appearance at the premiere of Leonard Bernstein’s A Verbier Festival in July 2013. White House Cantata (2008).

JAMES BAGWELL

James Bagwell maintains an active to 2009 he was Music Director of the schedule throughout the United States Dessoff Choirs in New York. He has as a conductor of choral, operatic, and trained choruses for a number of major orchestral music. In 2009 he was American and international orchestras. appointed music director of The Colle- giate Chorale. He was also recently For 12 seasons Mr. Bagwell has been named principal guest conductor of the music director for the May Festival American Symphony Orchestra and Youth Choir in Cincinnati. He has con- director of the music program at Bard ducted some 25 productions as music College. Since 2003 he has been direc- director of Light Opera Oklahoma, tor of choruses for the Bard Music Fes- including Candide, Sweeney Todd, and tival, conducting and preparing choral The Merry Widow, among others. He works during their annual summer fes- frequently appears as guest conductor tival. He has also prepared The Concert for orchestras around the country and Chorale of New York for performances abroad, including the Jerusalem Sym- with the American Symphony Orches- phony, Tulsa Symphony, and the Indi- tra, the Los Angeles Philharmonic, and anapolis Chamber Orchestra. He has the Mostly Mozart Festival. This past taught since 2000 at Bard College, summer marked his sixth season as where he is the chair of the undergrad- chorus master for The Mostly Mozart uate music department and co-director Festival at Lincoln Center. From 2005 of the graduate program in conducting. THE BROOKLYN YOUTH CHORUS

Now in its twenty-first season, the BYC often performs in major music fes- Grammy Award-winning Brooklyn tivals, including the BAM Next Wave Youth Chorus (BYC), under the direc- Festival with the Kronos Quartet, tion of Founder and Artistic Director BAM’s Crossing Brooklyn Ferry Festival Dianne Berkun, is one of the country’s curated by Aaron and Bryce Dessner, leading children’s choruses and the the Ecstatic Music Festival, and Park ensemble of choice for internationally- Avenue Armory’s Tune-In Festival. BYC renowned orchestras and artists. has also garnered a strong reputation as a major arts presenter with several col- The Chorus studies and performs a wide laborative projects including 2011’s Tell range of music—classical and non-clas- the Way, co-produced with St. Ann’s sical—and has an active commissioning Warehouse, and 2012’s Brooklyn Vil- program to develop new works across a lage, co-produced with the Brooklyn variety of genres. BYC has performed Philharmonic and Roulette Theater. with a wide range of major artists including Elton John, Lou Reed, Grizzly The Chorus receives its training from Bear, and John Legend. In 2005 BYC the Brooklyn Youth Chorus Acad- won a Grammy Award for the world emy—a performance-based vocal music premiere live recording of John Adams’s education program serving over 350 On the Transmigration of Souls with students annually in six ensembles. The the New York Philharmonic. Chorus draws students from all over the city and reflects the broad diversity of the Metropolitan area. DIANNE BERKUN

Dianne Berkun is the Founder and as the New York Philharmonic, The Artistic Director of the Brooklyn Youth Weill Music Institute at Carnegie Hall, Chorus (BYC). She has prepared cho- New York University, NYSSMA, the ruses for performances with acclaimed American Choral Directors Association, orchestras and conductors. Under her and the New York City Department of leadership, BYC performed with the Education. Ms. Berkun is the co-creator New York Philharmonic in the world of BYCA’s groundbreaking Cross-Choral premiere and recording of John Adams’s Training program—an innovative On the Transmigration of Souls, which approach to group voice and musician- won a Grammy Award in 2005. Ms. ship training. Ms. Berkun earned her B.S. Berkun has also prepared BYC for per- degree from New York University. She formances and recordings with artists studied conducting and theory at Mannes such as Sir Elton John, Lou Reed, Philip College of Music, holds a diploma in the Glass, Grizzly Bear, John Legend, Kodály Concept from the University of Natasha Bedingfield, and Alicia Keys. Calgary, and an Artist-Teacher diploma Ms. Berkun is active as a guest conduc- from the CME Institute. tor and clinician for organizations such AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I FLUTE TIMPANI Erica Kiesewetter, Concertmas- Laura Conwesser, Principal Jonathan Haas, Principal ter Elizabeth Brown Suzanne Gilman Diva Goodfriend-Koven, Pic- PERCUSSION Yukie Handa colo Charles Descarfino, Principal Diane Bruce Karla Moe Matthew Beaumont Ragga Petursdottir Tanya Witek Matthew Donello Patricia Davis Susan Rotholz Sean Statser Elizabeth Nielsen Simon Boyar Ashley Horne OBOE Andrew Beall Nazig Tchakarian Alexandra Knoll, Principal Garrett Lanzet Emily Yarbrough Matthew Dine Michael Osrowitz Sarah Zun Melanie Feld, English horn Montgomery Hatch David Steinberg Erin Gustafson Ann Gillette Kelly Peral HARP Sander Strenger Sara Cutler, Principal CLARINET Victoria Drake VIOLIN II Laura Flax, Principal Richard Rood, Principal Marina Sturm, Eb clarinet KEYBOARD Sophia Kessinger Shari Hoffman Elizabeth Wright, Principal Yana Goichman Lino Gomez, Bass clarinet Elizabeth DiFelice Heidi Stubner Alan Kay Peggy Kampmeier Robert Zubrycki Maureen Hurd Lucy Morganstern THEREMIN Ann Labin BASSOON Elizabeth Brown Alexander Vselensky Charles McCracken, Principal Dorothy Strahl Marc Goldberg ORGAN Elizabeth Kleinman Gilbert Dejean, Contrabassoon Kent Tritle Lisa Tipton Maureen Strenge Lisa Steinberg Thomas Sefcovic OFF STAGE VIOLIN Ming Yang VIOLA HORN Dorothy Han Nardo Poy, Principal Zohar Schondorf, Principal Uli Speth Sally Shumway Kyle Hoyt Roy Lewis John Dexter Theo Primis Laura Bald Rachel Riggs Patrick Pridemore Debra Shufelt-Dine Wei-Ping Chou, Assistant OFF STAGE TRUMPET Adria Benjamin Julie Pilant Thomas Hoyt Shelley Holland-Moritz Adam Krauthamer Paul Murphy Crystal Garner Patrick Milano Martha Brody Rachel Drehmann OFF STAGE TROMBONE Louis Day Michael Lormand TRUMPET Marc Donatelle CELLO Carl Albach, Principal Don Hayward Eugene Moye, Principal John Dent Roberta Cooper John Sheppard ADDITIONAL CONDUCTORS Annabelle Hoffman Jason Covey James Bagwell Sarah Carter Michael Blutman Geoffrey McDonald Maureen Hynes Nathan Botts Zachary Schwartzman Eliana Mendoza Matthew Oberstein Tatyana Margulis TROMBONE Elina Lang Richard Clark, Principal PERSONNEL MANAGER Anik Oulianine Kenneth Finn Ann Yarbrough Guttman Igor Scedrov Jeffrey Caswell Thomas Hutchinson ASSISTANT CONDUCTOR BASS Geoffrey McDonald John Beal, Principal TUBA Jack Wenger Kyle Turner, Principal ORCHESTRA LIBRARIAN Louis Bruno Marc Cerri Louise Koby MANDOLIN Peter Donovan Joyce Bilant Richard Ostrovsky William Sloat Tony Flynt THE COLLEGIATE CHORALE James Bagwell, Director

SOPRANOS ALTOS Scott Clugstone Julie Baraz Arlene Berrol Bruce A. Cogan Barbara Bralver Barnard Ryann Bieber Sean Fallen+ Elisabeth Boada Sarah Bleasdale+ Cathy Friedman Roxanne Brandt Raehann Bryce-Davis+ Eric Paul Gratton Samara Breger Martha Buckwalter Joseph Grillo Gerilyn Brewer Anne-Marie Canel Alex Guerrero+ Colleen D. Brown Kate Chamberlin Robert Harley Hannah Chung Lauren Tucker Cross Jack Harrell Diane Christian Suzanne Doob Ben Herman Susan Eddy Anne Doyle Thomas S. Hom Rachel Freeman Sue Dramm John Howell+ Candice Garvey* Annemarie Errico** Olivier Janin Jennifer Gliere+ Sylvia Floyd Bruce C. Johnson Elise Simon Goodman Nancy Forman Kalif Omari Jones* Joan B. Harris Veronica Forman Nicholas W. Lobenthal Taylor Kelly* Gizzel George* James A. Louis Laura Kroh Nancy Good Mukund Marathe+ Carole-Marie Labozzetta Savannah Gordon** Don McComb Antoinette DePalma Leemans Esther Horwitz Marc Molomot+ Miriam Levy Priscilla F. Kauff Thomas Mooney+ Sandy MacDonald Nancy Kingston Yukihiro Ohira Pamela Melhado Heather Marvin** Terence Purtell Leandra Merola Kimberly Mossel Jose Romero* Heather Meyer+ Haya Nasser Nancy Louise Rothe Susan Miller Ruth G. Nolan Lisa Rubin Angela Milner Susan Obel Hassan Salazar* Melanie Milton Margaret O’Connell+ Sam Sherrill Rochelle Nelson Michelle Oesterle Stephen Weber Amy C. Offner Janet B. Pascal Marian Young Cindy Ohanian Guadalupe Peraza+ Joseph Zimmerman Judith Oringer Krasimira Petkova Angela Palumbo Veronica C. Pidala BASS Stella Papatheodorou** Sybil Pollet Lowell Accola Clelia Parisi Lauren Porsch Mark Ahramjian Rebecca Lundin Pitke Janet Quint William Bailey Ana Quintana Emma Richter Jay Benzon Anita Rogers* Laurie P. Rios Nathaniel Bickford Amy Rood+ Judith Sloan Kevin Boyd Rachel Rosales + Irene Snyder+ Al J. Daniel, Jr. Bonnie Rosenberg Betsey Steeger Matthew Diaz Delores Schmidt Deborah F. Stiles Stephen Eisdorfer Susan Shine Anna Svahn Paul Epstein Deborah Simunovich Holly Tedder Roy N. Feldhusen Hannah Sloane-Barton Norma Vavolizza David Goldblatt Shira Spiel* Maggie Ward Michael Griebel Glenda Strother Amanda Weiss Nicholas Hay+ Lauryn Faye Sullivan Tina Wileikis Juan Jose Ibarra+ Ayumi Takita Larissa Wohl Graham King Adèle K. Talty Abigail Wright+ W. Theodore Kuck Mayumi Tsuchino Kaarel Laev Carla Wesby+ TENORS Lawrence Madison Phyllis Whitehouse+ Rima Ayas Glynn Mapes Julien Charrel Ron Meyers Kenneth Moore Robert Roper + Professional member James Neely James Ross (Nancy Wertsch, Choral Nick Nolte Christopher Rothko Contractor) Bruce Patrick Andrew Sharkey * Side-By-Side student Jose Pietri-Coimbre+ Mark Spergel member Robert P. Rainier Jason Thoms+ ** Side-By-Side graduate Robert Reichstein Alex Tiedtke member Gerald W. Richman Costas Tsourakis** Daniel Rios* Dane Twining THE BROOKLYN YOUTH CHORUS Dianne Berkun, Director

Emily Ahn Vincenzo Harty Liza Patterson Lillian Avram Asia Harvey-Wright Anya Petkovich Yatzany Bell Samara Jaffee Lily Pisano Taylor Boria Camille Johnson Sarah Popalisky Dominique Callahan Lucinda Kahn Devyn Prieto Lauren Caraballo Olivia Knutsen Roselise Russo Alexandra Caruso Adrian Korin Sarah Sotomayor Julia Cassidy Ona Linna-Hipp Brooke Sumrall Michael Cassidy Juliana LoPiccolo Katie Sundsted Stephanie Collins Grace Luckett Allison Tindel Ciara Cornelius Lily Maass Julien Tornelli Megan Doyle Evencia Marcellus Ilanah Torres Essien Duke Alice Markham-Cantor Rachel Vales Talia Fuchs Anna McNeil Kaitlyn Vincent Deanna Goudelias Kelly McTaggart Jennifer Williams Margaret Grabar Sage Jake Montagnino Miranda Halle Isabella Nigro ASO BOARD OF DIRECTORS

Danny Goldberg, Chair Shirley A. Mueller, Esq. Thurmond Smithgall, Vice Chair Eileen Rhulen Dimitri Papadimitriou, Treasurer Felicitas S. Thorne

Miriam Berger HONORARY MEMBERS Michael Dorf Joel I. Berson, Esq. Rachel Kalnicki L. Stan Stokowski Jack Kliger Jan Krukowski ASO ADMINISTRATION

Lynne Meloccaro, Executive Director Ben Oatmen, Production Assistant Oliver Inteeworn, General Manager Leszek M. Wojcik, Concert Archival Brian J. Heck, Director of Marketing Recording Sebastian Danila, Library Manager Marielle Métivier, Operations Manager James Bagwell, Principal Guest Conductor Katrina Herfort, Ticketing Services Geoffrey McDonald, Assistant Conductor Coordinator Zachary Schwartzman, Assistant Conductor Jennifer Luzzo, Development Manager Richard Wilson, Composer-In-Residence Marc Cerri, Orchestra Librarian James Bagwell, Artistic Consultant Ann Yarbrough Guttman, Orchestra Personnel Manager AMERICAN SYMPHONY ORCHESTRA PATRONS

The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies for their generosity and vital support.

STOKOWSKI SOCIETY Mr. and Mrs. David E. Schwab II The Frank & Lydia Bergen Foundation David and Martha Schwartz Michael Dorf Peter Sourian The Fan Fox and Leslie R. Samuels Irene Zedlacher Foundation, Inc. The Booth Ferris Foundation CONTRIBUTOR Fund for the City of New York Tania Ahuja Danny Goldberg and Rosemary Carroll Harold P. Allen Faith Golding Foundation, Inc. Anonymous x2 Christian A. Johnson Endeavor Foundation Gary M. Arthur Rachel and Shalom Kalnicki Carol K. Baron Mary and Sam Miller Thomas Cassilly Stuart K. Nelson Isabelle A. Cazeaux New York City Department of Cultural Affairs Connie Chen New York State Council on the Arts Bette R. Collom Open Society Institute Mary S. Donovan Robert Rauschenberg Foundation Danny S. Goldberg Thurmond Smithgall Rhea Graffman-Cohen, in honor of Miriam Berger Felicitas Thorne Sara Hunsicker The Winston Foundation Michael Kishbauch Peter Kroll SUSTAINING SUPPORTER Alan Mallach Dr. Leon Botstein Jeanne Malter Jeanne Donovan Fisher Stephen J. McAteer The Ann and Gordon Getty Foundation James and Andrea Nelkin Dimitri Papadimitriou Maury Newburger Mrs. James P. Warburg Kurt Rausch Mr. and Mrs. Richard E. Wilson Wayne and Dagmar Yaddow

DISTINGUISHED PATRON ORCHESTRA CLUB The Jarvis & Constance Doctorow Family American Express Gift Matching Program Foundation Anonymous The Elroy and Terry Krumholz Foundation Carol H. Ash Gary M. Giardina Ronald Baranowski Shirley A. Mueller Ruth Baron The David and Sylvia Teitelbaum Fund, Inc. Matthew and Debra Beatrice David C. Beek GOLDEN CIRCLE Simone Belda Peter L. Kennard Yvette and Maurice J. Bendahan Arthur S. Leonard Adria Benjamin Mimi Levitt John Brautigam Dr. Pamela F. Mazur Mona Yuter Brokaw JoAnne Meloccaro Patricia R. Brophy Lynne Meloccaro Richard C. Celler Bruce Slovin Roger Chatfield Joseph and Jean Sullivan Barbara Clapman Dr. Barton Cohen BENEFACTOR Michele Cone Miriam R. Berger Mary M. Cope Patricia K. Faber Thomas Dean Karen and Mark Finkbeiner Elisabeth Derow Irwin and Maya Hoffman Thomas J. DeStefano IBM Corporation Antonio Diez Erica Kiesewetter Ruth Dodziuk-Justitz Jack Kliger Robert Durst Marcia H. Moor Paul Ehrlich Richard and Joanne Mrstik W.J. Fenza Martha Ferry Roger Phillips Donald W. Fowle Bruce Raynor Deborah Franco Anthony Richter Veronica Frankenstein Kenneth Rock Christopher H. Gibbs Leonard Rosen Mr. and Mrs. Joseph Lawrence Gilman Peri Rosenfeld MacEllis K. Glass Henry Saltzman Nathan Gross Leslie Salzman John Haggerty Emil Scheller Max Hahn Gloria Scorse Laura Harris Janet Z. Segal James Hayden Georgi Shimanovsky Thomas Hayden Bruce Smith Dr. and Mrs. Gerald Herskowitz Harriet Solomon-Schon Deb Hoffman Stanley Stangren George H. Hutzler Gertrude Steinberg Jose Jimenez Alan Stenzler Donald Juliano Mariola Strahlberg Ronald S. Kahn Hazel and Bernard Strauss Robert Kalish Paul Stumpf David Kernahan Andre Sverdlove Irving Kleiman Madeline V. Taylor Caral G. Klein Jon P. Tilley Robert LaPorte William Ulrich Gerald Laskey James Wagner Steve Leventis Kenneth Wald Judd Levy Larry A. Wehr Peter A. Locker Renata Weinstein Alan B. McDougall Janet Whalen Clifford S. Miller Ann William Phyllis Mishkin Kurt Wissbrun Elisabeth J. Mueller Leonard Zablow Tatsuji Namba Alfred Zoller Kenneth Nassau Karen Zorn, Longy School of Music James North Sandra Novick

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York:

The National Endowment for the Arts The New York City Department of Mr. Rocco Landesman, Chairman Cultural Affairs The Honorable Michael R. Bloomberg, Mayor New York State Council on the Arts The Honorable Kate D. Levin, Commissioner The Honorable Andrew M. Cuomo, Governor List current as of September 18, 2012 SUPPORT ASO

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Single tickets to each concert are $25–$50 and can be purchased at CarnegieHall.org, CarnegieCharge at (212) 247-7800, or the box office at 57th St & 7th Ave. American Symphony Orchestra’s 50th Anniversary Season at Carnegie Hall

Thu, Dec 13, 2012 The Cage Concert John Cage, Anton Webern, Morton Feldman, Erik Satie

Fri, Jan 25, 2013 What Makes a Masterpiece Brahms’ 4th, Dvorˇák’s 4th, U.S. Premiere of Heinrich von Herzogenberg’s 1st

Sun, Feb 10, 2013 Truth or Truffles R. Strauss’ “Whipped Cream,” Karl Amadeus Hartmann’s “Sodom and Gomorrah”

Sun, Mar 17, 2013 The Vampire Opera-in-concert by Heinrich Marschner

Thu, May 2, 2013 Hungary Torn WWII-era Hungarian composers. Four U.S. Premieres