Wednesday Evening, October 11, 2017, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents The Sounds of Democracy LEON BOTSTEIN, Conductor

AARON COPLAND Canticle of Freedom

ROGER SESSIONS Symphony No. 2 Molto agitato—Tranquilo e misterioso Allegretto capriccioso Adagio tranquillo ed espressivo Allegramente

Intermission

LEONARD BERNSTEIN Symphony No. 3 (“Kaddish”) Invocation: Adagio Kaddish 1: L’istesso tempo—Allegro molto Din-Torah Kaddish 2: Andante con tenerezza Scherzo: Presto scherzando, sempre pianissimo Kaddish 3: Adagio come nel Din-Torah Finale: Allegro vivo, con gioia PAMELA ARMSTRONG, Soprano THOMAS Q. FULTON, JR., Speaker BARD FESTIVAL CHORALE JAMES BAGWELL, Director MANHATTAN GIRLS CHORUS MICHELLE OESTERLE, Director

This evening’s concert will run approximately 1 hour and 50 minutes including one 20-minute intermission.

American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Music and Democracy Its leading post-civil war distinguish- by Leon Botstein ing symbols, particularly during the decades of mass immigration, were its During the past century—the 100 founding documents, the Declaration years since America entered World of Independence and the United States War I—what has been (and still might Constitution. America was a land of be) the connection between the essen- laws, rights, and a government that tially European traditions of orches- imagined an equality of citizenship tral and symphonic music and the between those who were born on its ideals, demands, and predicaments of land and those that acquired it later in American democracy? The historical life (with the exception of the right to precedents of form and expression that become president). The legal rhetoric of preoccupied the American composers the nation’s founding was a vision of an on today’s program emerged from a egalitarian democracy that offered to political world quite different from the all the right to political participation, American experience. Classical and economic opportunity, and protection Romantic concert music witnessed its from tyranny, the fact and legacy of significant development in a condition slavery notwithstanding. of un-freedom—a century of reaction and failed revolution—during which Indeed, the career and biographies of Europe remained largely dominated by the three composers on this program— monarchies that severely restricted a all of whom knew one another—suggest citizen’s political participation. this point. Sessions was the quintessen- tial Anglo-American aristocrat, a scion The impressive and predominant link of founders of the nation. Copland forged between large-scale musical descended from a relatively early cohort forms and politics during the second of Eastern European Jewish immigrants half of the 19th century in the Euro- to America who pursued a rapid and pean context concerned nationalism— successful path to acculturation. Leonard the use of music to define and assert Bernstein was a first generation Ameri- nascent and emerging modern national can Jew of Eastern European origins identities. Wagner and Sibelius are two whose parents negotiated the language obvious examples of this. American and customs of their newfound national composers, however, faced barriers to home with charming eccentricity and any simple emulation of the European who remained (in contrast to Copland’s rhetorical manner of connecting musi- parents) evidently tied, in manners and cal expression and the articulation of mores, to the old country. modern nationalism. America, by 1900, was an unusual amalgam of immi- What kind of music fits the celebration grants, descendants of slaves, and sur- of equal citizenship and love of free- viving native populations. Not only dom, extols the promises of democracy was America a relatively young politi- and the rule of law, and is distinctly cal construction, without a shared lan- American all without striking an exclu- guage or religion, but it was also made sionary or nativist note? Copland’s up of distinct regions and lacked per- 1942 Fanfare for the Common Man, suasive, quasi-religious, unifying myths. which became central to his 1946 Third Symphony, was used during the bicen- 1963, the symphony, owing to its theme tennial celebrations of 1976 to express and date of completion and first perfor- America’s spirit. But as Byron Adams mance, was received as a musical evo- reminds us, during the 1950s that cation of a national tragedy, in which unique Copland sound—found in the violence marred law and civility. Its powerful Lincoln Portrait, also from emotions are raw and its musical fabric 1942—was under suspicion, and not theatrical and direct in a manner remi- only for biographical reasons (e.g. niscent of Copland. Copland’s liberal political sympathies). Perhaps its theatrical solemnity and If Copland and Bernstein represent a restrained modernism made it too similar populist modernism that maintained a to certain types of “left-wing” musical distance from more radical musical inno- aesthetics—even those of Shostakovich. vations, Roger Sessions was America’s Copland, like his (and Bernstein’s) foremost proponent of an aggressive friend Marc Blitzstein and contempo- modernism. He was a lifelong proponent raries Hanns Eisler and Kurt Weill, had of the ethical necessity of maintaining a become skeptical during the 1930s of parallel between progressive politics radical musical modernism. It was too and progressive aesthetics. The Second remote and too hard for listeners. Mod- Symphony was written during the end ernism, despite its overt embrace of an of Franklin Roosevelt’s presidency, over inherent parallelism between radical two years spanning the president’s progressive change in art and politics, death and the beginning of the Truman actually created an intolerable distance era, and therefore the end of World War between the masses and the artist. II and the start of the Cold War. The work is a tribute to FDR (a sentiment Copland’s populism succeeded; works evident in the third movement) and the like Billy the Kid (1938) and Appalachian dedication came at a time when the con- Spring (1944) made him the iconic voice sequences of FDR’s death were becoming of America at mid-century. And Copland’s visible: a shift away from the ideals of the populist brand of modern music never New Deal, growing anti-communism, quite lost its association with a liberal and a resurgent conservatism. expansive view of the nation—one associated with Lincoln and Roosevelt. For Sessions, a celebration of the legacy Copland’s most famous and devoted of FDR required the same forward- protégé was Leonard Bernstein, whose looking approach to musical composi- music owes a singular debt to Copland. tion as FDR had brought to politics. Sessions regarded his commitment to But Bernstein, a committed and politi- the complex craft of the development of cally engaged liberal, was also deeply musical ideas and the extension of influenced by the confessional aesthet- musical language away from the prac- ics of Gustav Mahler, a composer with tices of late romanticism as consistent whom he closely identified. For Mahler, with a progressive and liberal agenda, the symphonic form was an essay in just as Copland and Bernstein regarded self-revelation; it became a chronicle of the embrace of accessibility and tonal- a psychological journey, both real and ity as essential to a democratic musical imagined. The aesthetics of Copland art. In the modernism of Sessions’ Sec- and Mahler meet in Bernstein’s Third ond Symphony one finds a powerful Symphony. Although conceived and evocation of American intensity and largely completed before the assassination vitality. The first two movements are of John F. Kennedy on November 22, filled with humor, grace, and brilliance. The orchestration and rhythm are no hint of flattery or currying favor unmistakably both American and mod- with power. And the substance of the ern. The symphony’s uncompromising admiration was for the ideals these formal sophistication lends the work its presidents stood for, and for their hopes magnetism, allure, and power. Even an for a more just and free country. Consider eloquence similar to that of Copland FDR’s Four Freedoms and JFK’s creation can be heard in the Adagio, reminding of the Peace Corps. And Copland’s work the listeners of the sense of loss at is not dedicated to any individual. It FDR’s death that Copland and Sessions— was written for the opening of an audi- contemporaries and friends—shared. torium on the campus of MIT, and sig- But the last movement of the symphony nals the enduring link between freedom returns, the grief at the loss of a great and education, between democracy and president notwithstanding, to the opti- the search for truth and the respect for mism, innovation, and brash ebullience the advancement of knowledge. of the American spirit audible at the start of the work. As we listen to these three works we need to recall that we now live in an era From the vantage point of 2017, these when the cult of personality around the three works point to the special chal- holder of the same office as FDR and lenge composers now face in the task of JFK overwhelms our respect for law writing music that celebrates democracy and deliberation, challenges the ideals in America. One of the central differ- of tolerance, and contests the very ences between autocracy and democracy premises of the conduct of science and is the way in which political leadership is advancement of knowledge. The three construed. Democracy seeks to place composers on this program each sought law and the deliberative process (trial to celebrate their patriotism and alle- by jury, legislatures, town hall meet- giance to America by evoking, through ings, open hearings) above personality. music, a commitment to freedom and Leadership by charisma or personal justice. They used divergent approaches power is traditionally frowned upon in to bring home a shared unique Ameri- a democracy. The admiration Sessions can sensibility regarding freedom and expresses for FDR and Bernstein expresses justice in democracy that we would be for JFK were posthumous. There was well advised to remember and cherish. THE Program by Byron Adams

Aaron Copland Born November 14, 1900, in Brooklyn, New York Died December 2, 1990, in North Tarrytown, New York

Canticle of Freedom Composed in 1955 Premiered in 1955 at Kresge Auditorium, Cambridge, Massachusetts Performance Time: Approximately 13 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (side drum, bass drum, glockenspiel, gong, chimes, vibraphone, crash cymbals, suspended cymbal, xylophone, tam-tam, triangle, woodblock, whip), 22 violins, 8 violas, 8 cellos, 6 double basses, 1 harp, and chorus

On May 26, 1953, Aaron Copland completely ignorant about classical appeared before the Senate Permanent music; they had no idea of Copland’s Subcommittee on Investigations. Sena- international fame or his accomplish- tor Joseph McCarthy (R-Wisconsin) ments. After the hearing Copland jotted chaired the committee; the committee’s down some of his thoughts about infamous chief counsel Roy Cohn was McCarthy: “He is like a plebeian Faustus present. The anti-Communist crusader who has been given a magic wand by McCarthy called Copland to testify about an invisible Mephisto—as long as the his left-wing political convictions. Ear- menace is there, the wand will work.” lier that year a right-wing congressman, Fortunately for Copland he was not Representative Fred Busbey, had agi- recalled for further testimony before tated successfully to remove Copland’s the Subcommittee. Lincoln Portrait from President-elect Eisenhower’s inaugural concert. Copland’s Canticle of Freedom, which was commissioned by MIT for the ded- The stakes could not have been higher ication of Kresge Auditorium, was com- for Copland: just being summoned pleted in 1955. It was a direct, dignified, before McCarthy and his Redbaiting and noble response to McCarthy’s dem- committee had an adverse though tem- agoguery. Copland’s biographer, Howard porary effect on Copland’s career. Pollack, has observed that this score Worse, the committee had the power to “stared McCarthyism squarely in the charge and imprison witnesses that they face.” Canticle of Freedom is scored for found recalcitrant. Although Roy Cohn orchestra and chorus. Copland cast the aggressively tried to entrap him into piece in a tripartite form similar to that admitting that he was a Communist of Lincoln Portrait, with chorus instead “sympathizer,” Copland replied to such of a narrator announcing the final sec- questions with calm dignity and refused tion. The text comes from an epic poem to “name names” of his supposed asso- by the 14th-century Scottish poet John ciates. Both McCarthy and Cohn were Barbour (c. 1320–95). When the chorus enters it becomes clear that the dynamic word “freedom” itself, so that both the rhythmic pattern with which Canticle of rhythm and the concept of freedom per- Freedom begins has its origin in the vade this stirring score.

Roger Sessions Born December 28, 1896, in Brooklyn, New York Died March 16, 1985, in Princeton, New Jersey

Symphony No. 2 Composed in 1944–46 Premiered on January 9, 1947, by the San Francisco Symphony Orchestra conducted by Pierre Monteaux Performance Time: Approximately 26 minutes

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

Roger Huntington Sessions was born in of Arts and Letters, and the American Brooklyn and raised in Hadley, Massa- Academy of Arts and Sciences. chusetts. His ancestors included Samuel Huntington, one of the signers of the William W. Austin wrote in handsome Declaration of Independence, and the tribute to Sessions: “In all his works the Rt. Rev. Dan Huntington, a noted Epis- vast range of his craft and the intensity copalian bishop of Central New York. of his thought are evident…. For those Sessions noted, “I come from an old capable of appreciating his technique, family and that is undoubtedly part of the music is deeply rewarding.” One of my life, because I realized that with that the most rewarding of Sessions’ scores background I always had a basic sense is his Symphony No. 2 (1946), which of social security; I mean a security in was commissioned by Columbia Uni- American society.” This august pedi- versity’s Ditson Fund. It is touchingly gree extended to his education as well: dedicated “To the Memory of Franklin Sessions studied at Harvard Univer- Delano Roosevelt.” An unusual aspect sity, at Yale University under Horatio of the orchestration is the prominence Parker, and privately with Ernest Bloch. of both piano and harp. Cast in four Sessions was an immensely influential movements, the symphony includes a composition teacher, and he served on short, satirical scherzo as the second the faculties of Smith College; Prince- movement and a kaleidoscopic finale. ton University; the University of Cali- Its heart, however, is found in its brood- fornia, Berkeley; and The Juilliard ing slow movement. In his trenchant School, among others. During his life- article on Sessions, Joseph Kerman sin- time Sessions received two Guggenheim gled out this movement for special com- Fellowships, a Rome Prize in 1926, and mendation: “The sombre crisis before two Pulitzer Prizes for Music. He was the ending (but not the ending itself) also elected to the National Institute of remains in mind as the focus of the Arts and Letters, the American Academy whole symphony.” Leonard Bernstein Born August 25, 1918, in Lawrence, Massachusetts Died October 14, 1990, in New York City

Symphony No. 3 (“Kaddish”) Composed in 1961–63; Revised in 1977 Premiered on December 10, 1963, in Tel Aviv by the Israel Philharmonic conducted by Leonard Bernstein with mezzo-soprano Jennie Tourel Performance Time: Approximately 41 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 3 clarinets, 1 bass clarinet, 1 alto saxophone, 2 bassoons, 1 contrabassoon, 4 French horns, 4 trumpets, 3 trombones, 1 tuba, timpani, percussion (side drum, bass drum, tenor drum, crash cymbals, field drum, triangle, tambourine, tam- tam, glockenspiel, xylophone, vibraphone, chimes, crotales, woodblock, temple blocks, whip, ratchet, Israeli hand drum, sand blocks, bongos, rasp, suspended cymbals, finger cymbals, maracas), 22 violins, 8 violas, 8 cellos, 6 double basses, 1 harp, piano, celeste, chorus, and 1 vocal soloist As Leonard Bernstein’s biographer by its composer’s ambition as explicitly Humphrey Burton notes, “Between articulated in the score’s narration. 1957 and 1971, the year of the Mass, [Bernstein] completed only two works: Bernstein fashioned the “Kaddish” Sym- the “Kaddish” Symphony (No. 3) of 1963 phony’s narration in the manner of the and the Chichester Psalms of 1965.” Book of Job, in which God’s decrees are There were several reasons for this slim harshly challenged. As Jack Gottlieb output: the pressures of a thriving con- observes, “This Speaker’s text dominates ducting career; the challenges of respond- the symphony and is woven into the fab- ing to the American musical modernist ric of the music (although some listeners aesthetics of the time, which favored have expressed the desire to hear the Schoenberg’s twelve-tone technique; music without it. I, for one, find a few of and the composer’s own exacting self- its passages “purple” and some of its criticism. Of these two works, the largely similes obvious).” For some listeners the cheerful and extroverted Chichester text’s self-conscious oratory proved to be Psalms has remained popular. In con- an impediment; others were unruffled. trast, the “Kaddish” Symphony is seldom performed, partly because of its fierce, Although it was generally lauded upon dark introversion and partly because it its premiere in Israel, American critics requires a narrator, a large orchestra, a lambasted the symphony when the soprano soloist, and a chorus. Boston Symphony Orchestra, conducted by Charles Munch, first presented it in Bernstein’s inimitable compositional the United States on January 10, 1964. voice pervades the “Kaddish” Sym- Although the “Kaddish” Symphony phony. Although it flirts with the twelve- was completed before President Kennedy’s tone technique, the piece is full of traits assassination on November 22, 1963, that characterize much of Bernstein’s Bernstein reverently dedicated the score music: glittering orchestration, tonal to his memory. lyricism, and American dance rhythms. Unlike the Chichester Psalms, however, Byron Adams is a professor of musicology the “Kaddish” Symphony is shadowed at the University of California, Riverside. THE Artists

LEON BOTSTEIN, Conductor

RIC KALLAHER RIC recordings with the London Symphony (including a Grammy-nominated record- ing 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 Orchestra are available online. His recording with the ASO of Paul Hindemith’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 spe- cial…in a crowded field” by Musicweb Leon Botstein has been music director International. Forthcoming from Hype- and principal conductor of the Ameri- rion in fall of 2018 is a CD of music by can Symphony Orchestra since 1992. Ferdinand Ries with The Orchestra Now. He is also music director of The Orches- tra Now, an innovative training orches- Mr. Botstein is the author of numerous tra composed of top musicians from articles and books, including The Com- around the world. He is co-artistic pleat Brahms (Norton), Jefferson’s director of Bard SummerScape and the Children (Doubleday), Judentum und Bard Music Festival, which take place Modernität (Bölau), and Von Beethoven at the Richard B. Fisher Center for the zu Berg (Zsolnay). He is also the editor Performing Arts at Bard College. He of The Musical Quarterly. For his con- has been president of Bard College tributions to music he has received the since 1975. He is also conductor laure- award of the American Academy of ate of the Jerusalem Symphony Orches- Arts and Letters and Harvard Univer- tra, where he served as music director sity’s prestigious Centennial Award, as from 2003–11. In 2018 he will assume well as the Cross of Honor, First Class artistic directorship of the Graffeneg from the government of Austria. Other Academy in Austria. recent awards include the Bruckner Society’s Julio Kilenyi Medal of Honor Mr. Botstein is also active as a guest for his interpretations of that composer’s conductor whose recent appearances music, and the Leonard Bernstein include the Mariinsky Orchestra in St. Award for the Elevation of Music in Petersburg, Russia, and the Los Angeles Society. In 2011 he was inducted into Philharmonic. He has made numerous the American Philosophical Society. PAMELA ARMSTRONG, Soprano KEN HOWARDKEN Pamela Armstrong has performed lead- ing roles with many of the world’s pre- eminent opera companies, including the Metropolitan Opera, Glyndebourne Festival Opera, Opéra National de Paris Bastille, Opéra National de Bordeaux, Théâtre du Capitole, Opéra de Marseille, Opéra Grand Avignon, Semperoper Dres- den, Bavarian State Opera, Hamburg State Opera, Teatro Regio di Torino, Teatro Verdi Trieste, and Ópera de Oviedo. She has also performed with Korea National Opera as well as with the Vienna State Opera on a tour to China. In the United States she has sung leading roles with the Metropolitan Opera, Houston Grand Opera, New and Tulsa Opera. Her symphonic work York City Opera, Los Angeles Opera, includes performances with the London Seattle Opera, Opera Theater of St. Louis, Philharmonic Orchestra, Detroit Sym- San Diego Opera, Pittsburgh Opera, phony, Ravinia Festival, Milwaukee Sym- Michigan Opera Theater, Portland Opera, phony, Aspen Music Festival, and the Opera Colorado, and Opera Pacific, as New Jersey Symphony, as well as perfor- well as with other regional American mances with regional orchestras in the companies, including Palm Beach Opera United States and Germany.

THOMAS Q. FULTON, JR., Speaker WILLIAM MECKLER WILLIAM Tom Fulton is an award-winning actor, director, and educator. He has per- formed at the Stratford Festival, Tina Packer’s Shakespeare & Company in Massachusetts, the Cleveland Play House, and with the Cleveland Orches- tra, among many others. As a proud member of Actors’ Equity Association since 1972, he has been awarded a num- ber of Times Tribute Awards for Out- standing Acting for his performances and portrayals of Dr. Astrov in Uncle Vanya, Tevye in Fiddler on the Roof, King Lear in King Lear, Don Quixote in Man of La Mancha, Tartuffe in Tartuffe, and George in Who’s Afraid of Virginia Woolf? Throughout his career he has extensive acting career, he has served performed more than 100 roles, ranging as artistic director of Center Repertory from the Devil in Don Juan in Hell to Theatre at Playhouse Square in Cleve- God in Oh, God! In addition to his land, Ohio; Phoenix Theatre En semble; Cleveland Theatre Company; and Cain more than $20 million of scholarships Park Summer Theatre. He is the founder for young talent. He was awarded The and artistic director of The Academy for Cleveland Critic Circle Award for his the Performing Arts, which over the last production of The Three Sisters and the ten years has provided high school Northern Ohio Live Artistic Achieve- juniors and seniors with inspiring train- ment recognition for Hamlet with the ing experience in the theater, resulting in Cleveland Theatre Company.

AMERICAN SYMPHONY ORCHESTRA

Now in its 56th season, the American at Bard College in Bard’s SummerScape Symphony Orchestra was founded in Festival and the Bard Music Festival. The 1962 by Leopold Stokowski, with a orchestra has made several tours of Asia mission of making orchestral music and Europe, and has performed in count- accessible and affordable for everyone. less benefits for organizations including Music Director Leon Botstein expanded the Jerusalem Foundation and PBS. that mission when he joined the ASO in 1992, creating thematic concerts that Many of the world’s most accomplished explore music from the perspective of the soloists have performed with the ASO, visual arts, literature, religion, and history, including Yo-Yo Ma, Deborah Voigt, and reviving rarely performed works that and Sarah Chang. The orchestra has audiences would otherwise never have a released several recordings on the chance to hear performed live. Telarc, New World, Bridge, Koch, and Vanguard labels, and many live perfor- The orchestra’s Vanguard Series con- mances are also available for digital sists of multiple concerts annually at download. In many cases these are the Carnegie Hall and Lincoln Center. ASO only existing recordings of some of the has also performed at the Richard B. rare works that have been rediscovered Fisher Center for the Performing Arts in ASO performances.

BARD FESTIVAL CHORALE

The Bard Festival Chorale was formed its members have distinguished careers in 2003 as the resident choir of the as soloists and as performers in a vari- Bard Music Festival. It consists of the ety of choral groups; all possess a finest ensemble singers from New York shared enthusiasm for the exploration City and surrounding areas. Many of of new and unfamiliar music.

JAMES BAGWELL, Director, Bard Festival Chorale

James Bagwell maintains an active Orchestra, leading them in concerts at international schedule as a conductor of both Carnegie Hall and Lincoln Cen- choral, operatic, and orchestral music. ter. From 2009–15 he served as music He was most recently named associate director of The Collegiate Chorale, conductor of The Orchestra Now and with whom he conducted a number of in 2009 was appointed principal guest rarely performed operas-in-concert at conductor of the American Symphony Carnegie Hall, including Bellini’s Beatrice di Tenda, Rossini’s Möise et Pharaon, Festival, American Symphony, Cincinnati and Boito’s Mefistofele. He conducted Symphony, Cincinnati Pops, and Indi- the New York premiere of Philip Glass’ anapolis symphony orchestras. Since 2003 Toltec Symphony and Golijov’s Oceana, he has been director of choruses for the both at Carnegie Hall. His performance of Bard Music Festival, conducting and pre - Kurt Weill’s Knickerbocker Holiday at paring choral works during the summer Alice Tully Hall was recorded live for festival at The Richard B. Fisher Center Gaslight Records and is the only com- for the Performing Arts at Bard College. plete recording of this musical. Since 2011 he has collaborated with singer Mr. Bagwell conducted some 25 pro- and composer Natalie Merchant, con- ductions as music director of Light ducting a number of major orchestras Opera Oklahoma. At Bard Summer- across the country, including the San Scape he has led various theatrical Francisco and Seattle Symphonies. works, most notably The Tender Land, which received glowing praise from Mr. Bagwell has trained choruses for a The New York Times, The New Yorker, number of major American and inter- and Opera News. From 2005–10 he national orchestras, including the New was music director of The Dessoff York Philharmonic; Los Angeles Phil- Choirs in New York, who under his harmonic; San Francisco, NHK (Japan), leadership made numerous appearances and St. Petersburg symphonies; and at Carnegie Hall in addition to their the Budapest Festival, Mostly Mozart regular season.

MANHATTAN GIRLS CHORUS MICHELLE OESTERLE, Founder and Artistic Director

The Manhattan Girls Chorus is a nur- the Israel Philharmonic Orchestra, turing community of 50 young women Thomas Hampson, and MasterVoices. grades five through 12 from all ethnic Most recently they were honored to and socio-economic backgrounds seek- perform at the United Nations Ambas- ing an extraordinary music education sadors’ Ball for the secretary generals’ and opportunities for performing excel- farewell event with Steven Tyler. They lence. It is free for every girl. In addition also performed at Carnegie Hall for the to helping each singer realize her full Rainforest Fund with Sting, Idina musical potential, we encourage men- Menzel, and Vittorio Grigòlo, and toring relationships with women in the recently completed a recording of the arts and other professions. Self-esteem, opera Le dernier sorcier, which has just confidence, and leadership skills are recently been rediscovered after 150 cultivated through a community of years. The Chorus recorded the opera love, respect, and support. Our hope with acclaimed artists Eric Owens, for every young woman is for her to Jamie Barton, Camille Zamora, Monica develop a lifelong passion for singing, Yunus, Adriana Zabala, Sarah Brailey, serving others, and bringing her inner and Michael Slattery. beauty to the world. The Chorus previously performed The Chorus, founded in 2011, made Richard Strauss’ Feuersnot, Osvaldo their Carnegie Hall debut in October Golijov’s Oceana, and Arrigo Boito’s 2012 in the New York premiere of Mefistofele with the American Sym- Noam Sheriff’s Mechaye Hametim with phony Orchestra at Carnegie Hall. AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO SAXOPHONE PERCUSSION Cyrus Beroukhim, Eugene Moye, Todd Groves David Nyberg, Concertmaster Principal Principal Yukie Handa Roberta Cooper BASSOON Kory Grossman Ashley Horne Annabelle Hoffman Marc Goldberg, Sean Statser Diane Bruce Sarah Carter Principal Andrew Blanco Ragga Petursdottir Maureen Hynes Maureen Strenge Alexander Appel Patricia Davis Eliana Mendoza Gilbert Dejean, Taylor Hampton Ann Labin Deborah Assael Contrabassoon Ann Gillette Tatyana Margulis HARP Gabrielle Fink HORN Sara Cutler, Principal Mayumi Wyrick BASS Zohar Schondorf, Bruno Peña John Beal, Principal Principal PIANO Mara Milkis Jack Wenger David Smith Christopher Oldfather, Louis Bruno Lawrence DiBello Principal VIOLIN II Peter Donovan Shelagh Abate Suzanne Gilman, Richard Ostrovsky Rachel Drehmann, CELESTE Principal Tony Flynt Assistant Elizabeth DeFelice Wende Namkung Yana Goichman FLUTE TRUMPET PERSONNEL Elizabeth Nielsen Catherine Gregory, James Ross, MANAGER Dorothy Strahl Principal Principal Matthew Dine Lucy Morganstern Anna Urrey Thomas Hoyt Alexander Vselensky Diva Goodfriend, Timothy Schadt ASSISTANT Nazig Tchakarian Piccolo Matt Gasiorowski CONDUCTOR Justin Smith Rosie Gallagher Benjamin Hochman Meghan Todt TROMBONE OBOE Richard Clark, ORCHESTRA VIOLA Annabelle Farid, Principal LIBRARIAN Jen Herman, Principal Bradley Ward Marc Cerri Principal Erin Gustafson Jeffrey Nelson, Bass Debra Shufelt-Dine Lillian Copeland, Trombone Rachel Riggs English Horn Shelley Holland- TUBA Moritz CLARINET Kyle Turner, Sally Shumway Todd Palmer, Principal Martha Brody Principal Adria Benjamin Shari Hoffman, Eb TIMPANI Jason Mellow Clarinet Jonathan Haas, Jackie Gillette Principal David Gould, Bass Clarinet BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO ALTO TENOR BASS Wendy Baker Maya Ben-Meir Jack Colver Daniel Alexander Danielle Buonaiuto Yiselle Blum Mark Donato David Asch Nonie Donato Donna Breitzer Sean Fallen Blake Burroughs Margaret Dudley Eric Brenner Ethan Fran Benjamin Cohen Heather Hill Hai-Ting Chinn John Kawa Roosevelt Credit Chloe Holgate Matthew Deming Chad Kranak Jonathan Estabrooks Melissa Kelley Michele Eaton Eric William Lamp David Flight Michele Kennedy Katharine Emory Adam MacDonald James Gregory Lauren-Rose King B. J. Fredricks Mukund Marathe Paul Holmes Yungee Rhie Erin Kemp Robert May Tim Krol Rachel Rosales Mary Marathe Emerson Sieverts Darren Lougee Ellen Taylor Sisson AnnMarie Sandy Michael Steinberger Steven Moore Elizabeth Smith Hillary Schranze Tommy Wazelle Mark Rehnstrom Christine Sperry Suzanne Schwing Jason Weisinger John Rose Martha Sullivan Nancy Wertsch* Aaron Theno Carla Wesby *Choral Contractor

MANHATTAN GIRLS CHORUS Michelle Oesterle, Director

Samantha Alexander Andie Earl Taylor Kirk Molly Oates Korinne Arenas Kaitlin Evans Sophie Koski Julia Reilly Chiara Beyer Amelia Frank Katherine Lake Jalese Rodriguez Anouk Bringer Adriana German Zoe Latanision Chloe Roe Emmy Cai Gabriella Ghaleb Tomoe Lin Samantha Seaman Jacqueline Madeline Green Jessi McGlashan Apurva Singh Carapetyan Shayne Goldstein Alexandra Miller Maya Sposito Gabriella Carapetyan Amber Hahn Gina Morgano Meana Torigoe Julie Cassidy Zoe Hamilton Grace Mosley Taylor Weinstein Ashleigh Conner Alexandra Harris Julia Moss Aviva Winick Lauren Conner Michelle Joseph Cirene Mourad Johanna Wolfgram Georgia Crawford Bria Jourdain Melody Munitz Nina Worley Adriana Dipple Refilwe Kekana Kimmy Norrell Riley Yaniak ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Shirley A. Mueller, Esq. Thurmond Smithgall, Vice Chair Debra R. Pemstein Eileen Rhulen Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director James Bagwell, Principal Guest Conductor Oliver Inteeworn, General Manager Zachary Schwartzman, Assistant Conductor Brian J. Heck, Director of Marketing Richard Wilson, Composer-In-Residence Nicole M. de Jesús, Director of Development James Bagwell, Artistic Consultant Sebastian Danila, Library Manager Alice Terrett, Marketing Associate Carissa Shockley, Operations Assistant

AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover less than a quarter of the expenses for our full-size orchestral concerts.

The American Symphony Orchestra Board of Trustees, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessible and affordable for everyone. While space permits us only to list gifts made at the Friends level and above, we value the generosity and vital support of all donors.

MAESTRO’S CIRCLE BENEFACTORS IBM Corporation Jeanne Donovan Fisher Anonymous Doug B. Jones The Frank & Lydia Bergen Mary F. and Sam Miller Erica Kiesewetter Foundation Patricia Kiley and Edward The Lanie & Ethel PATRONS Faber Foundation Anonymous (3) Jeanne Malter New York City Department The Amphion Foundation Joanne and Richard Mrstik of Cultural Affairs (DCA) Joel I. and Ann Berson James and Andrea Nelkin New York State Council on Connie S. P. Chen Anthony Richter the Arts (NYSCA) The David & Sylvia David E. Schwab II and Ruth Open Society Foundations Teitelbaum Fund, Inc. Schwartz Schwab Thurmond Smithgall The Elgar Society Dr. and Mrs. Thomas P. Felicitas S. Thorne Karen Finkbeiner Sculco Gary M. Giardina Janet Zimmerman Segal STOKOWSKI CIRCLE Arthur S. Leonard Joseph and Jean Sullivan Anonymous Dr. Pamela F. Mazur and Siri von Reis The Ann & Gordon Getty Dr. Michael J. Miller Foundation Shirley A. Mueller CONTRIBUTORS The Faith Golding Patricia E. Saigo Anonymous (2) Foundation, Inc. Gary Arthur Rachel and Shalom Kalnicki SUSTAINERS John and Rosemarie Dimitri B. and Rania Anonymous (4) Brautigam Papadimitriou Veronica and John Jeffrey Caswell Mr. and Mrs. Richard E. Frankenstein Roger Chatfield Wilson Stephen M. Graham Elliott Forrest Max and Eliane Hahn Jeffrey F. Friedman Gerald and Gloria Scorse Ashley Horne Helen Garcia Margret Sell Adnah G. and Grace W. Ann and Lawrence Gilman Georgi Shimanovsky Kostenbauder June O. Goldberg Bruce Smith and Paul Dr. Coco Lazaroff Diva Goodfriend-Koven Castellano Nancy Leonard and Gordon Gould Gertrude Steinberg Lawrence Kramer Greenwich House, Inc. Suzanne Steinberg Steve Leventis John L. Haggerty Susan Stempleski Peter A. Q. Locker Laura Harris Hazel C. and Bernard Strauss Stephen J. Mc Ateer Linda Herskowitz Helen Studley Christine Munson Penelope Hort Robert Sweeney Kurt Rausch and Lorenzo Hudson Guild, Inc. Margot K. Talenti Martone Sara Hunsicker Theodore and Alice Ginott Roland Riopelle and Leslie George H. Hutzler Cohn Philanthropic Fund Kanter Jewish Communal Fund Catherine Traykovski Harriet Schon José Jiménez Susan and Charles Tribbitt Martha and David Schwartz Ronald S. Kahn Mr. and Mrs. Jack Ullman Alan Stenzler Robert and Susan Kalish Larry A. Wehr Michael and Judith Thoyer Dr. Roses E. Katz Janet Whalen Mr. and Mrs. Jon P. Tilley Robert and Charlotte Kelly Victor Wheeler Robert and Patricia Ross Robert Keohane Donald W. Whipple Weiss David Kernahan Leonard and Ellen Zablow Irving and Rhoda Kleiman Alfred Zoller SUPPORTERS Caral G. and Robert A. Klein Myra and Matthew Anonymous (12) Peter Kroll Zuckerbraun American Express Gift Dr. Carol Lachman Matching Program Shirley Leong FRIENDS Bernard Aptekar Linda Lopez Anonymous (4) John and Joanne Baer William Lubliner Madelyn P. Ashman Marian D. Bach Joyce F. Luchtenberg Rudolph Baker The Bank of America Alan Mallach Stephen Blum Charitable Foundation Elizabeth Mateo Mrs. A. Peter Brown Reina Barcan Carolyn McColley Diane Bruce and John Carol Kitzes Baron Alan B. McDougall Sinclair Ruth Baron Sally and Bruce McMillen Joan Brunskill Mary Ellin Barrett Clifford S. Miller Stephen J. and Elena Chopek Dr. Robert Basner Phyllis and Stanley Mishkin Nancy L. Clipper David C. Beek and Gayle Lucy M. and Martin L. Robert Cohen Christian Murray Concerts MacMusicson Simone Belda Kenneth Nassau Patricia Contino Yvette Bendahan Michael Nasser Lois Conway Adria Benjamin Karen Olah Judy Davis Daniel and Gisela Berkson Clarence W. Olmstead, Jr. Thomas J. De Stefano Mona Yuter Brokaw and Kathleen F. Heenan Susanne Diamond Stephen M. Brown Roger and Lorelle Phillips Ruth Dodziuk-Justitz and Marjorie Burns David R. Pozorski and Jozef Dodziuk Moshe Burstein Anna M. Romanski Barton Dominus CA Technologies Anita Randolfi Jonathan F. Dzik Richard C. Celler Wayne H. Reagan Lee Evans Barbara and Peter Clapman Leonard Rosen and Phyllis ExxonMobil Foundation Bette Collom and Anthony Rosen Anne Stewart Fitzroy Menninger Jack Rosenthal and Holly Donald W. Fowle Laura Conwesser Russell Christopher H. Gibbs Michael and Frances Curran Rochelle Rubinstein Goldman, Sachs & Co. William Diggs Joe Ruddick and Mary Lou Robert Gottlieb Herbert and Mary Donovan Schemp Michael and Ilene Gotts Paul Ehrlich Michael T. Ryan Mr. and Mrs. Sidney Richard Farris Henry Saltzman Greenberg Lynda Ferguson Peter Lars Sandberg John Hall Martha Ferry Nina C. and Emil Scheller Donald Hargreaves Laura Flax Sharon Schweidel Andrée Hayum John Helzer Patricia Luca Dr. and Mrs. Arnold Rosen Robert Herbert Sarah Luhby Leslie Salzman Diana F. Hobson Nancy Lupton Dr. and Mrs. Herbert C. Christopher Hollinger Dr. Karen Manchester Schulberg Drs. Russell and Barbara Richard and Maryanne The Honorable Michael D. Holstein Mendelsohn Stallman Cyma Horowitz John D. Metcalfe Paul Stumpf Theresa Johnson Mark G. Miksic Madeline V. Taylor Ginger Karren Myra Miller Renata and Burt Weinstein Robin Katz Alex Mitchell David A. Wilkinson Peter Keil David Morton Ann and Doug William Kaori Kitao Michael Nassar Kurt Wissbrun Pete Klosterman Leonie Newman Dagmar and Wayne Yaddow Frederick R. Koch Sandra Novick Lawrence Yagoda Seymour and Harriet Koenig Mather Pfeiffenberger Mark and Gail Zarick Mr. and Mrs. Robert LaPorte Jane and Charles Prussack David Laurenson Bruce Raynor List current as of Walter Levi Martin Richman September 28, 2017 Judd Levy Catherine Roach José A. Lopez John Roane

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:

New York State Council on the Arts with The City of New York the support of Governor Andrew Cuomo The Honorable Bill De Blasio, Mayor and the New York State Legislature NYC Department of Cultural Affairs in partnership with the New York City Council KEEP US ON POINT! SUPPORT THE ASO

Since 1962 the American Symphony Orchestra has done something incredible: present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other orchestra dares to present the same depth of repertoire every single season.

But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions.

That’s why we must call on you—our audiences, artists, and community partners who can- not imagine a world without opportunities to hear live Schubert, Strauss, Elgar, or Bernstein.

Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program- ming now and ensure another season!

ANNUAL FUND Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra.

SUSTAINING GIFTS Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving.

MATCHING GIFTS More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits.

CORPORATE SUPPORT Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022.

HOW TO DONATE Make your gift online: americansymphony.org/support

Please make checks payable to: American Symphony Orchestra

Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018

For questions or additional information: Nicole M. de Jesús, Director of Development, 646.237.5022 or [email protected]. ASO’S 2017–18 VANGUARD SERIES AT CARNEGIE HALL

Sunday, Jan. 28, 2018 Hollow Victory: Jews in Soviet Russia after the World War

Leon Botstein, Conductor Mikhail Svetlov, Bass Aaron Blake, Tenor Marc Heller, Tenor Jennifer Roderer, Mezzo-soprano members of the Bard Festival Chorale

Despite the brutal suppression of Jewish culture in the late 1940s under Stalin, Jewish composers sustained a vibrant and active musical culture, as these grippingly beautiful works reveal. Expres- sion cannot be silenced, especially when friends like Shostakovich have the courage to help.

Mieczysław Weinberg – Rhapsody on Moldavian Themes Mieczysław Weinberg – Symphony No. 5 Veniamin Fleischmann/Dmitri Shostakovich – Rothschild’s Violin

Thursday, March 1, 2018 Intolerance

Leon Botstein, Conductor Daniel Weeks, Tenor Serena Benedetti, Soprano Hai-Ting Chinn, Mezzo-soprano Matthew Worth, Baritone Carsten Wittmoser, Bass-baritone Bard Festival Chorale

In post-Fascist Italy, Luigi Nono attempted to reverse the darkness of Mussolini and rescue art from being the handmaiden of the state. His one-act opera Intolleranza speaks out against dictatorship. It follows a migrant worker travelling home as he gets caught up in a political protest, is tortured in prison, and escapes to fight for a world without war.

Luigi Nono – Intolleranza