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Home , American Symphony, David Schwartz (violist), Grimeborn, Intolleranza 1960, New York Philharmonic, The Medium

Thursday Evening, March 1, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents Intolerance LEON BOTSTEIN, Conductor

LUIGI NONO Intolleranza 1960 Part I Scene 1: The Emigrant decides to return to his country Scene 2: The Woman unsuccessfully tries to hold him back and finally curses him Scene 3: The Emigrant finds himself in the midst of a demonstration and is arrested Scene 4: The Emigrant is interrogated Scene 5: The Emigrant is tortured Scene 6: The Emigrant is sent to a concentration camp Scene 7: The Emigrant escapes

Intermission

Part II Scene 1: Absurdities of contemporary life Scene 2: The Emigrant meets his new companion Scene 3: Images of violence—The Emigrant’s old lover appears as a symbol of fanaticism Scene 4: The Emigrant and his companion arrive home—Flood

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. An Emigrant: DANIEL WEEKS, His Companion: SERENA BENEDETTI, A Woman: HAI-TING CHINN, Mezzo-soprano An Algerian: MATTHEW WORTH, A Torture Victim: CARSTEN WITTMOSER, -baritone Solo: ELIZABETH SMITH, Soprano Policemen: GREGORY PURNHAGEN, BLAKE BURROUGHS, STEVEN MOORE, MICHAEL RILEY Voice of Alleg: MARK REHNSTROM Voice of Sartre: ALEX GUERRERO Speaker: THOMAS MCCARGAR

BARD FESTIVAL CHORALE JAMES BAGWELL, Director

This evening’s concert will run approximately 1 hour and 45 minutes including one 20-minute intermission.

American 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.

FROM THE Music Director Intolerance Whatever one’s politics may be, there is by Leon Botstein no question that the tolerance of immi- grants, the subject of Intolleranza It would be hard to imagine a work 1960, is declining in the present day, more pertinent to our times than Luigi and the distinctions we make between Nono’s Intolleranza 1960. It is a work ourselves and “others,” the basis of of musical theater that tells the story of anti-immigrant sentiment, is on the rise an emigrant worker who encounters both in Europe and the . prejudice, injustice, incarceration, and We are also witnesses to the steady rise violence. It assumes a political context of illiberalism in politics, an appetite in Europe of the threat of a return to for violence, and a populist embrace of fascism. Intolleranza 1960 suggests autocracy. We seem content with a that none of us can afford to assume growing inequality of wealth and are that we are immune to the character of reluctant to address the economic and the public life we not only live in, but social realities that have emerged since passively and actively helped create. 1960, particularly as a consequence of new technologies and that overused and before the 1930s. If the making of art poorly understood term, globalization. still had relevance, it needed to work against continuity, tradition, and com- What distinguishes 1960 from 2018 is placency. Art needed to be unsettling that in 1960 the central element in pol- and not merely affirmative of the status itics was the critique of capitalism. That quo. It needed to challenge traditional is not the case now. We no longer accept notions of beauty. It had to be adequate the idea that socialism and communism to the dangers of contemporary life and might challenge the unrestrained embrace confront the contradictions, absurdi- of the market and private property. The ties, and brutality of the historical contrast between “left” and “right” in moment, including the threat of nuclear 1960 still derived from World War II war that marked the Cold War. It is no and the experience of fascism in Italy, surprise then that 1960 was a high- Germany, and Spain. Members of Luigi water mark of 20th-century modernism Nono’s generation believed in the possi- in the arts. Nono’s score seeks to be res- bility, if not the necessity, of radical olutely new and defiant of conventional political change. Rightly or wrongly, expectations. It still evokes the mix of they were in part inspired by countries enthusiasm and shock that accompa- behind the Iron Curtain. Stalinism nied its first performances. It celebrates seemed in retreat (despite the suppres- the departures from late Romanticism sion of the Hungarian Revolution in and Neo-classicism in sound and form 1956). In the post-world war West, two pioneered by modernism. contradictory sentiments prevailed: the belief in Communism as a viable alter- A singular irony of Nono’s modernism native, and the fear of it as an ominous is that during the Cold War, radical evil threat from Eastern Europe. Both innovations in music composition were of these beliefs strengthened the case in celebrated in the West as markers of a the West for the welfare state and social free society. Despite Nono’s overt polit- democracy. In America, the New Deal ical intent, his manner of music-making remained until the late 1960s, a glorious was in stark contrast to the kind of example of how fairness and justice— music supported by the Soviet state and the realization of Roosevelt’s four free- dominant throughout Eastern Europe. doms of speech and religion, and from That music (Shostakovich, for example) fear and want—might be possible was viewed in the West as regressive within the framework of democracy. and conservative, even though it was thought to be populist and acceptable When Nono wrote Intolleranza 1960 by Communist ideology. The irony was the trauma of fascism and the World clear. Nono was using his freedom to War had not become a faded memory. make a case with music that never quite The two questions—why the catastro- gained a wide following, whereas in the phe that had come to an end in 1945 presumably progressive albeit autocratic had happened in the first place, and socialist state, a regressive conservative how a repeat of that disaster could be music was cherished by the public. Pro- averted—were the central preoccupa- gressive politics in the West was briefly tions of the composers, artists, and tied to an innovative and radical aes- writers who rose to prominence in the thetic. Its credibility was enhanced by 15 years between the end of the war the idea that Nono’s modernism was and 1960. As a result, it seemed evidence of the power and potential of implausible to simply continue aes- the freedom of the individual, to whose thetic traditions that had flourished protection the West was committed. Nono has much to say to us in music carries less significance. Further- Intolleranza 1960, because we live in a more, Nono’s musical modernism is, at time when his synthesis of radical poli- best, in retreat. It retains whatever cur- tics and aesthetics is very pertinent. rency it has mostly as a noble fragment 1989 and the end of the Cold War did of the past. Nevertheless it is an intense, not usher in a new golden age of innovative, and passionate experiment democracy, freedom, and justice. The in sonority that pervades the listener’s challenges we face once again suggest consciousness. It is a reminder that for that art needs to be more than a deco- Nono, art and music mattered, that lit- rative enterprise. It must possess an eth- erature and philosophy needed to inform ical and political dimension, as well as the making of music and help shape an obligation to speak independently music so that it might challenge the pub- and truthfully. In 1960 Nono under- lic to address injustice and inhumanity. stood how to electrify and shock the These beliefs need to be cherished and concert and audience; the conti- emulated. Intolleranza 1960 is a unique nuities with 19th-century practices had masterpiece that can inspire music and not been entirely broken. In 2018 those theater in our own times. Its startling rele- continuities no longer dominate, and the vance today justifies Nono’s faith in the entire enterprise of concert and operatic ethical power of the aesthetic imagination.

THE Program by Peter Laki

Luigi Nono Born January 29, 1924, in Venice Died May 8, 1990, in Venice

Intolleranza 1960 Composed in 1960–61 Premiered on April 13, 1961, at Teatro della Fenice in Venice with the BBC Symphony Orchestra conducted by Bruno Maderna Performance time: Approximately 1 hour and 45 minutes including intermission

Instruments for this performance: 3 flutes, 3 , 3 , 2 bass clarinets, 3 , 7 French horns, 4 , 4 , timpani, percussion (glockenspiel, xylophone, vibraphone, marimba, chimes, triangle, cymbals, tam-tam, tambourine, whip, side drum, snare drum, bass drum), 1 harp, 1 celeste, 19 violins, 6 violas, 6 cellos, 5 double basses, 5 vocal soloists, and chorus

Fifteen years after the end of World the legacy of fascism; the country had a War II, the wounds of Europe were far profound economic and political crisis from being healed. Italy in particular to overcome. Luigi Nono came of age had barely begun to come to terms with as a composer during these turbulent times. His first mature composition, writ- Born After (concluding Part II). The ten in 1950, was a series of variations on spoken excerpts describing or reflecting a tone row by , whose on torture are by Henri Alleg, a French- daughter, Nuria, he married five years Algerian journalist who fought for later. Nono, who joined the Italian Com- Algerian independence and was tor- munist Party in 1952, combined his rev- tured by the French; Julius Fučík, a olutionary agenda with the avant-garde Czech journalist killed by the Nazis; style of the Darmstadt school, of which and Jean-Paul Sartre, in whose seminal he was a prominent member. philosophical oeuvre an entire era of violence and devastation found its most Intolleranza 1960 is the culminating eloquent expression. This textual col- work of Nono’s first artistic period. lage broadens the work’s scope of refer- The composer called this one-act opera ences to include World War II; the an azione scenica, a “stage action” in atomic bomb; the Algerian war of inde- which the plot proceeds in brief pendence; the reappearance of neo-fascist episodes resembling a series of snap- elements in Italy; the mining disaster in shots. The protagonist (The Emigrant) Marcinelles, Belgium, where more than is an innocent miner returning home 300 people were killed in 1956; and the from a period of work abroad. He is 1951 flood in Polesine in the North of arrested on his way, tortured, sent to a Italy, where 100 people died and more concentration camp, and finally released, than 180,000 lost their homes. only to reach his home at the precise moment when a new disaster—a cata- Man-made disasters exacerbate natural strophic flood—strikes. The stages of ones throughout Nono’s “stage action,” the Emigrant’s journey are marked by which makes clear that it is only a small two women—one who becomes his step from intolerance to torture and enemy when he leaves her behind, and annihilation. The composer’s message another who joins him as his new Com- of protest is expressed by means of panion. There are five main characters vocal and instrumental lines spanning a in all, representing five voice types to wide range and projecting extreme dra- cover the entire spectrum of the human matic tension. The sounds of the live voice: the two women (soprano and musicians are complemented by cho- ), the Emigrant (tenor), an ruses relating “absurd scenes from con- Algerian who joins him during his temporary life.” The original production escape (baritone), and a tortured man was a real Gesamtkunstwerk involving (bass-baritone). sets and costumes by Emilio Vedova and stage direction by Josef Svoboda, Nono had originally conceived the the founder of the world-famous Laterna work in collaboration with poet Angelo magica theater of Prague. The stage Maria Ripellino, who was also a was divided in up to six different areas scholar of Russian language and litera- in which simultaneous actions were ture. Ripellino composed an extensive taking place. , of which Nono ended up using less than half, causing a major rift between The world premiere of Intolleranza the two former friends. Ripellino aug- 1960 took place at the Teatro della mented his original lines with quotes Fenice in Venice on April 13, 1961, as from various sources, including Paul part of the 24th International Festival Éluard’s famous poem Liberty, Vladimir of Contemporary Music, held during Mayakovsky’s Our March (concluding the Venice Biennale. The performance, Part I), and Bertolt Brecht’s To Those with Bruno Maderna the BBC Symphony Orchestra, caused a and leftist forces were rather frequent scandal. The great poet Eugenio Mon- in the country. tale, future Nobel Prize winner, was in attendance; in his review published two Following this premiere, Intolleranza days later he wrote: 1960 was not performed again in Italy in the original Italian for 50 years, The work’s reception was stormy as although it had several successful stag- one could expect, given the plot and ings in a German translation, mostly in the provocations in the music. The Germany. In 2018 intolerance is once two acts came off with great diffi- again, unfortunately, a timely topic, culty, among boos, shouts, alterca- and Nono, who fought against cruelty tions, fascist flyers raining down and injustice with his music, has much from the galleries… to say to those who, in the words of Bertolt Brecht quoted in the piece, were It should be remembered that in the “born after.” early 1960s the neo-fascist Movimento Sociale Italiano (Italian Social Move- Peter Laki is visiting associate professor ment) was the fourth-largest party in of music at the Bard College Conserva- Italy, and violent clashes between rightist tory of Music.

THE Artists

LEON BOTSTEIN, Conductor RIC KALLAHER RIC Orchestra Now, an innovative training orchestra composed of top musicians from around the world. He is co-artistic director of Bard SummerScape and the Bard Music Festival, which take place at the Richard B. Fisher Center for the Performing Arts at Bard College. He has been president of Bard College since 1975. He is also conductor laure- ate of the Jerusalem Symphony Orches- tra, where he served as music director from 2003–11. This year he will assume artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria.

Mr. Botstein is also active as a guest Leon Botstein has been music director conductor whose recent appearances and principal conductor of the Ameri- include the Mariinsky Orchestra in St. can Symphony Orchestra since 1992. Petersburg, Russia, and the Los Angeles He is also music director of The Philharmonic. Upcoming engagements include the Danish National Symphony Mr. Botstein is the author of numerous Orchestra. He has made numerous articles and books, including The recordings with the London Symphony Compleat Brahms (Norton), Jeffer- (including a Grammy-nominated record- son’s Children (Doubleday), Judentum ing of Popov’s First Symphony), the und Modernität (Bölau), and Von London Philharmonic, NDR-Hamburg, Beethoven zu Berg (Zsolnay). He is also and the Jerusalem Symphony Orchestra. the editor of The Musical Quarterly. Many of his live performances with the For his contributions to music he has American Symphony Orchestra are avail- received the award of the American able online. His recording with the ASO Academy of Arts and Letters and Har- of ’s The Long Christmas vard University’s prestigious Centennial Dinner was named one of the top record- Award, as well as the Cross of Honor, ings of 2015 by several publications, First Class from the government of and his recent recording of Gershwin Austria. Other recent awards include music with the Royal Philhar- the Bruckner Society’s Julio Kilenyi monic was hailed by The Guardian and Medal of Honor for his interpretations called “something special…in a crowded of that composer’s music, and the field” by Musicweb International. Forth- Award for the Eleva- coming from Hyperion in fall of 2018 is tion of Music in Society. In 2011 he was a CD of music by Ferdinand Ries with inducted into the American Philosophi- The Orchestra Now. cal Society.

SERENA BENEDETTI, Soprano

Serena Benedetti has appeared with the , the National Cathedral , and the National, Danish Radio, Atlanta, and Eugene , among many others. She collaborated with the late in his oratorio La Fiesta de la Posada, and concert highlights include Handel’s Messiah at , as well as performances with the New York Orato- rio Society at Carnegie Hall, in repertoire ranging from Vivaldi to Mendelssohn.

Ms. Benedetti has won a Career Grant for Emerging Classical Artists. Highlights of her operatic appearances include the role Utah Opera, Marzelline in Fidelio with of Frantik in the New York Philhar- Virginia Opera, and many others. monic’s production of Janáček’s The Cunning Little Vixen, Susanna in Le Ms. Benedetti has been heard exten- nozze di Figaro with Sarasota Opera, sively in both recital and chamber per- Musetta in La bohème with Palm formances with the Ludwig van Beach Opera, Fiordiligi in Così fan Beethoven Easter Festival (Warsaw, tutte with the Utah Symphony and Poland), the Guggenheim Museum (New York), Maverick Music Festival, Merkin Concert Hall, and Sym- and the Songfest Series, as well as in phony Hall. She began singing at a venues including the Washington young age as a member of the Metro- National Cathedral, Hall, politan Opera Children’s Chorus.

HAI-TING CHINN, Mezzo-soprano KATEMILFORD Orchestra, the Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly Consort; and on the stages of Carnegie Hall, the Mann Center for the Perform- ing Arts, the Edinburgh Festival, Verbier Festival, Festival, and on London’s West End. Operatic roles include Didone in Cavalli’s La Didone with The Wooster Group, Poppea in Monteverdi’s L’Incoronazione di Poppea and Medea in Cavalli’s Giasone with Opera Omnia, Nicklausse and the Muse in Offenbach’s Les Contes D’Hoffmann, Hansel in Hansel and Gretel, Dorabella in Così fan tutte, and in Peter Maxwell Davies’ monodrama . She Hai-Ting Chinn performs in a wide has premiered new works by Conrad range of styles and venues, from Purcell Cummings, Yoav Gal, Renée Favand- to Pierrot Lunaire, Cherubino to The See, Amy Beth Kirsten, Tarik O’Regan, King & I, J.S. Bach to P.D.Q. Bach. She Matthew Schickele, Stefan Weisman, was featured in the 2011–14 revival and , and she was featured in and tour of Phillip Glass’ Einstein on the 2017 Resonant Bodies Festival, a the Beach, and she is currently singing singer-centered celebration of new music. the role of Belle in Glass’ La Belle et La In April 2016, as an artist-in-residence at Bête at various venues around the HERE Arts Center, Ms. Chinn devel- world. She has performed with New oped and premiered Science Fair: An York City Opera, The Wooster Group, Opera With Experiments, a staged Opera Omnia, Orpheus Chamber show of science set to music. DANIEL WEEKS, Tenor

Daniel Weeks’ varied career encompasses the opera stage, oratorios with orches- tras, and recitals. His 2017–18 season includes performances as a soloist in Verdi’s with Grand Rapids Symphony and Beethoven’s Symphony No. 9 with the Augusta Symphony Orchestra. Last season Mr. Weeks per- formed Handel’s Messiah with the Rochester Philharmonic. Recent season engagements include Belmonte in a con- cert version of Mozart’s Die Entführung aus dem Serail with the Huntsville Symphony Orchestra, Mahler’s Das Lied von der Erde with the Princeton University Orchestra, the world pre- miere concert staging of Gregory Vajda’s Verdi’s Requiem with the Orquesta Sin- opera Georgia Bottoms with the fónica Naciónal de Costa Rica, and Huntsville Symphony Orchestra, Han- Bruckner’s and Bach’s Magni- del’s Messiah with the Orquesta Sin- ficat with the Houston Symphony. fónica Naciónal de México, concert performances and a new recording of Mr. Weeks serves on the faculties of the Mozart’s Requiem with the Winter Park University of Cincinnati and the Bach Festival (Florida), and Elijah with Cincinnati Conservatory of Music. He the South Dakota Symphony. Other and pianist Naomi Oliphant have col- highlights include Beethoven’s Sym- laborated on Women of Firsts, a recital phony No. 9 with the Dallas Symphony showcasing art songs of internationally and Orchestra of St. Luke’s, Haydn’s recognized female composers, which Lord Nelson Mass with the Columbus they have recorded with a grant from Symphony and Huntsville Symphony, the University of Louisville.

CARSTEN WITTMOSER, Bass-baritone

Carsten Wittmoser began his career at the State Opera of Stuttgart. He became a principal soloist of the Staatstheater Stuttgart, which led to engagements with the Landestheater Linz, the Freiburg Opera, and the Hamburg State Opera. Mr. Wittmoser has sung with such prestigious opera houses as Berlin State Opera, Deutsche Oper Berlin, Komis- che Oper Berlin, State Opera Munich, Teatro Real de Madrid, Opéra de Monte-Carlo, Seattle Opera House, Opera Theater, Ópera de Bel- las Artes Mexico City, and recently at the . He has per- Vienna, Sala São Paulo, Herkulessaal in formed at the Bayreuth Festival, the Munich, Brucknerhaus in Linz, the Cul- Lucerne Festival, the Gergiev Festival in ture and Convention Center in Lucerne, Rotterdam, Bard SummerScape, and in and Carnegie Hall. He recently debuted Taiwan and Singapore. Concert appear- at the Metropolitan Opera as Kurwenal ances include the Musikverein in in Tristan und Isolde.

MATTHEW WORTH, Baritone KRISTIN HOEBERMANN KRISTIN Kansas City, Laura Kaminsky and Mark Campbell’s As One with Cincinnati Opera, recitals at the University of Cincinnati and Austin Peay State Univer- sity, as well as continuing his doctoral studies at the University of Cincinnati College–Conservatory of Music, where he will perform Bach’s Mass in B minor. Next season he will return to Boston Lyric Opera in a title role. Highlights of recent seasons include the title role in the world premiere of JFK with Fort Worth Opera, the world premiere of The Manchurian Candidate with Min- nesota Opera, his European debut with Wexford Festival Opera in Silent Night, Matthew Worth’s performances in the and at Washington National 2017–18 season include the title role in Opera. He has performed principal roles David T. Little and Royce Vavrek’s JFK at Santa Fe Opera, Lyric Opera of with Opéra de Montréal, Bernstein’s Chicago, Castleton Festival, Arias and Barcarolles with the New Music Festival, Boston Lyric Opera, and York Festival of Song at Lyric Opera of Opera Theatre of Saint Louis.

AMERICAN SYMPHONY ORCHESTRA

Now in its 56th season, the American The orchestra’s Vanguard Series consists Symphony Orchestra was founded in of multiple concerts annually at Carnegie 1962 by , with a Hall and . ASO has also mission of making orchestral music performed at the Richard B. Fisher Cen- accessible and affordable for everyone. ter for the Performing Arts at Bard Col- Music Director Leon Botstein expanded lege in Bard’s SummerScape Festival and that mission when he joined the ASO the Bard Music Festival. The orchestra in 1992, creating thematic concerts has made several tours of Asia and that explore music from the perspec- Europe, and has performed in countless tive of the visual arts, literature, reli- benefits for organizations including the gion, and history, and reviving rarely Jerusalem Foundation and PBS. performed works that audiences would otherwise never have a chance to hear Many of the world’s most accom- performed live. plished soloists have performed with the ASO, including Yo-Yo Ma, Deborah performances are also available for dig- Voigt, and . The orches- ital download. In many cases these are tra has released several recordings on the only existing recordings of some of the Telarc, New World, Bridge, Koch, the rare works that have been rediscov- and Vanguard labels, and many live ered 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 Mr. Bagwell has trained choruses for a international schedule as a conductor number of major American and inter- of choral, operatic, and orchestral national , including the New music. He was most recently named York Philharmonic; Los Angeles Phil- associate conductor of The Orchestra harmonic; San Francisco, NHK (Japan), Now and in 2009 was appointed prin- and St. Petersburg Symphonies; and the cipal guest conductor of the American Budapest Festival, Mostly Mozart Fes- Symphony Orchestra, leading them in tival, American Symphony, Cincinnati concerts at both Carnegie Hall and Lin- Symphony, Cincinnati Pops, and Indi- coln Center. From 2009–15 he served anapolis Symphony Orchestras. Since as music director of The Collegiate 2003 he has been director of choruses Chorale, with whom he conducted a for the Bard Music Festival, conducting number of rarely performed -in- and preparing choral works during the concert at Carnegie Hall, including summer festival at The Richard B. Bellini’s Beatrice di Tenda, Rossini’s Möise Fisher Center for the Performing Arts et Pharaon, and Boito’s Mefistofele. He at Bard College. conducted the New York premiere of ’ Toltec Symphony and Mr. Bagwell conducted some 25 produc- Golijov’s Oceana, both at Carnegie tions as music director of Light Opera Hall. His performance of ’s Oklahoma. At Bard SummerScape he Knickerbocker Holiday at Alice Tully has led various theatrical works, most Hall was recorded live for Gaslight notably , which Records and is the only complete received glowing praise from The New recording of this musical. Since 2011 York Times, , and he has collaborated with singer and Opera News. From 2005–10 he was composer Natalie Merchant, conduct- music director of The Dessoff in ing a number of major orchestras New York, who under his leadership across the country, including the San made numerous appearances at Carnegie Francisco and Seattle Symphonies. Hall in addition to their regular season. AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO PERCUSSION Cyrus Beroukhim, Eugene Moye, Cynde Iverson, Jonathan Haas, Concertmaster Principal Principal Principal Yukie Handa Roberta Cooper Maureen Strenge Kory Grossman Diane Bruce Annabelle Hoffman Gilbert Dejean Javier Diaz Elizabeth Nielsen Sarah Carter Charles Descarfino Ragga Petursdottir Diane Barere HORN David Nyberg Patricia Davis Eliana Mendoza Zohar Schondorf, Matthew Beaumont John Connelly Principal Joseph Passaro Ashley Horne BASS David Smith Pablo Rieppi Mara Milkis John Beal, Principal Kyle Hoyt Morris Lang Bruno Peña Jordan Frazier Steven Sherts David Fein Louis Bruno Patrick Milando Jim Neglia VIOLIN II Richard Ostrovsky Ian Donald James Musto Richard Rood, Tony Flynt Judy Lee, Assistant Principal HARP Wende Namkung FLUTE Victoria Drake, Yana Goichman Laura Conwesser, Carl Albach, Principal Principal Alexander Vselensky Principal John Sheppard Dorothy Strahl Rie Schmidt Thomas Hoyt CELESTE Lucy Morganstern Diva Goodfriend- Matthew Gasiorowski Elizabeth Wright, James Tsao Koven Principal Nazig Tchakarian Sarah Zun Richard Clark, PERSONNEL Alexandra Knoll, Principal MANAGER VIOLA Principal David Read Matthew Dine William Frampton, Melanie Feld Andrea Neumann Principal Erin Gustafson Jeffrey Caswell, Bass ASSISTANT Sally Shumway Trombone CONDUCTOR Martha Brody Zachary Schwartzman Shelley Holland- Todd Palmer, Principal TIMPANI Moritz Shari Hoffman, Benjamin Herman, ORCHESTRA Rachel Riggs Principal LIBRARIAN Adria Benjamin Benjamin Baron, Sean Statser Marc Cerri Bass Clarinet

BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO ALTO TENOR BASS Wendy Baker Luthien Brackett Nathaniel Adams Daniel Alexander Megan Brunning Brooke Collins Jack Colver Jordan Barrett Amal El-Shrafi Katharine Emory Ethan Fran Blake Burroughs Sarah Griffiths B. J. Fredricks Alex Guerrero James Gregory Aine Hakamatsuka Helen Karloski John Kawa Nicholas Hay Manami Hattori Erin Kemp Chad Kranak Paul Holmes Chloe Holgate Mary Marathe Adam MacDonald Thomas McCargar Melissa Kelley Margaret O’Connell Mukund Marathe Steven Moore Rachel Rosales Heather Petrie Robert May Jose Pietri-Coimbre Ellen Taylor Sisson Suzanne Schwing Nathan Siler Gregory Purnhagen Elizabeth Smith Nancy Wertsch* Michael Steinberger Mark Rehnstrom Christine Sperry Carla Wesby Jason Weisinger Michael Riley Elena Williamson John Rose

*Choral Contractor 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

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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 PATRONS James and Andrea Nelkin Jeanne Donovan Fisher Anonymous (3) Anthony Richter The Frank & Lydia Bergen The Amphion Foundation David E. Schwab II and Ruth Foundation Joel I. and Ann Berson Schwartz Schwab Department Connie S. P. Chen Dr. and Mrs. Thomas P. Sculco of Cultural Affairs (DCA) The Elgar Society Janet Zimmerman Segal New York State Council on Karen Finkbeiner Joseph and Jean Sullivan the Arts (NYSCA) Gary M. Giardina Siri von Reis Open Society Foundations Arthur S. Leonard Dr. Pamela F. Mazur and CONTRIBUTORS STOKOWSKI CIRCLE Dr. Michael J. Miller Anonymous (3) Anonymous Shirley A. Mueller Gary Arthur The Faith Golding Patricia E. Saigo Jeffrey Caswell Foundation, Inc. Roger Chatfield Rachel and Shalom Kalnicki SUSTAINERS Elliott Forrest Dimitri B. and Rania Anonymous (4) Max and Eliane Hahn Papadimitriou Veronica and John Frankenstein Ashley Horne Mr. and Mrs. Richard E. Wilson Stephen M. Graham Adnah G. and Grace W. IBM Corporation Kostenbauder BENEFACTORS Doug B. Jones Dr. Coco Lazaroff Anonymous Erica Kiesewetter Nancy Leonard and The David & Sylvia Patricia Kiley and Edward Lawrence Kramer Teitelbaum Fund, Inc. Faber Steve Leventis Jeanne Malter Peter A. Q. Locker Joanne and Richard Mrstik Stephen J. Mc Ateer Christine Munson Sara Hunsicker Theodore and Alice Ginott Kurt Rausch and Lorenzo George H. Hutzler Cohn Philanthropic Fund Martone Jewish Communal Fund Catherine Traykovski Roland Riopelle and José Jiménez Susan and Charles Tribbitt Leslie Kanter Ronald S. Kahn Mr. and Mrs. Jack Ullman Harriet Schon Robert and Susan Kalish Larry A. Wehr Martha and David Schwartz Dr. Roses E. Katz Janet Whalen Alan Stenzler Robert and Charlotte Kelly Victor Wheeler Michael and Judith Thoyer Robert Keohane Donald W. Whipple Mr. and Mrs. Jon P. Tilley David Kernahan Leonard and Ellen Zablow Patricia Ross Weis Irving and Rhoda Kleiman Alfred Zoller Caral G. and Robert A. Klein SUPPORTERS Peter Kroll FRIENDS Anonymous (13) Dr. Carol Lachman Anonymous (4) American Express Gift Shirley Leong Madelyn P. Ashman Matching Program Linda Lopez Rudolph Baker Bernard Aptekar William Lubliner Stephen Blum Marian D. Bach Joyce F. Luchtenberg Mrs. A. Peter Brown John and Joanne Baer Alan Mallach Diane Bruce and John The Bank of America Elizabeth Mateo Sinclair Charitable Foundation Carolyn McColley Joan Brunskill Reina Barcan Alan B. McDougall Stephen J. and Elena Chopek Carol Kitzes Baron Sally and Bruce McMillen Nancy L. Clipper Ruth Baron Clifford S. Miller Robert Cohen Mary Ellin Barrett Myra Miller Concerts MacMusicson Dr. Robert Basner Phyllis and Stanley Mishkin Patricia Contino David C. Beek and Gayle Lucy M. and Martin L. Murray Lois Conway Christian Kenneth Nassau Judy Davis Simone Belda Michael Nasser Thomas J. De Stefano Yvette Bendahan Karen Olah Susanne Diamond Adria Benjamin Clarence W. Olmstead, Jr. Ruth Dodziuk-Justitz and Daniel and Gisela Berkson and Kathleen F. Heenan Jozef Dodziuk Mona Yuter Brokaw Mather Pfeiffenberger Barton Dominus Stephen M. Brown Roger and Lorelle Phillips Jonathan F. Dzik Marjorie Burns David R. Pozorski and Lee Evans Moshe Burstein Anna M. Romanski ExxonMobil Foundation CA Technologies Anita Randolfi Anne Stewart Fitzroy Richard C. Celler Wayne H. Reagan Donald W. Fowle Barbara and Peter Clapman Leonard Rosen and Phyllis Christopher H. Gibbs Bette Collom and Anthony Rosen Goldman, Sachs & Co. Menninger Jack Rosenthal and Holly Robert Gottlieb Laura Conwesser Russell Michael and Ilene Gotts Michael and Frances Curran Rochelle Rubinstein Mr. and Mrs. Sidney William Diggs Joe Ruddick and Mary Lou Greenberg Herbert and Mary Donovan Schemp John Hall Paul Ehrlich Michael T. Ryan Donald Hargreaves Richard Farris Henry Saltzman Andrée Hayum Lynda Ferguson Peter Lars Sandberg John Helzer Martha Ferry Nina C. and Emil Scheller Robert Herbert Jeffrey F. Friedman Sharon Schweidel Diana F. Hobson Helen Garcia Gerald and Gloria Scorse Christopher Hollinger Ann and Lawrence Gilman Margret Sell Drs. Russell and Barbara June O. Goldberg Georgi Shimanovsky Holstein Diva Goodfriend-Koven Bruce Smith and Paul Cyma Horowitz Gordon Gould Castellano Theresa Johnson Greenwich House, Inc. Gertrude Steinberg Ginger Karren John L. Haggerty Suzanne Steinberg Robin Katz Laura Harris Susan Stempleski Peter Keil Linda Herskowitz Hazel C. and Bernard Strauss Kaori Kitao Penelope Hort Robert Sweeney Pete Klosterman Hudson Guild, Inc. Margot K. Talenti Frederick R. Koch Seymour and Harriet Koenig Alex Mitchell The Honorable Michael D. Mr. and Mrs. Robert LaPorte David Morton Stallman David Laurenson Michael Nassar Paul Stumpf Walter Levi Leonie Newman Madeline V. Taylor Judd Levy Sandra Novick Renata and Burt Weinstein José A. Lopez Jane and Charles Prussack David A. Wilkinson Patricia Luca Bruce Raynor Ann and Doug William Sarah Luhby Martin Richman Kurt Wissbrun Nancy Lupton Catherine Roach Dagmar and Wayne Yaddow Dr. Karen Manchester John Roane Lawrence Yagoda Richard and Maryanne Dr. and Mrs. Arnold Rosen Mark and Gail Zarick Mendelsohn Leslie Salzman John D. Metcalfe Dr. and Mrs. Herbert C. List current as of Mark G. Miksic Schulberg February 15, 2018

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 alarming 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. 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].