BROOKLYN PHILHARMONIC ORCHESTRA

Robert Spano, Music Director Lukas Foss, Conductor Laureate Craig G. Matthews, President

47th Season 2000-2001

Friday Evening, April 6, 2001, at 8:00 Sunday Afternoon, April 8, 2001, at 3:00 BAM Howard Gilman Opera House

ROBERT SPANO, Conductor

PURCELL March from Funeral Music for Queen Mary (1694)

(there will be no pause between these works)

BERIO Requies (1983-85)

WAGNER Prelude and Liebestod from Tristan und Isolde (1856- 59)

Intermission

HERSCH Umbra (World Premiere: Brooklyn Philharmonic Commission) (2000) Largo Adagio Grave Largo Molto Adagio Adagio Allegro

SCRIABIN Le Poeme de l'extase, Op. 54 (1905-08)

Major support for this concert has been provided by KeySpan Foundation. Umbra by Michael Hersch was commissioned by the Brooklyn Philharmonic with support provided by The Geraldine C. and Emory M. Ford Foundation, Heathcote Art Foundation, and The O'Grady Family Foundation. Baldwin is the official piano of the Brooklyn Philharmonic Orchestra. The Brooklyn Philhannonic Orchestra gratefully acknowledges Mr. and Mrs. Stanley H. Kaplan, whose generous support made possible the Stanley H. Kaplan Education Center Acoustical Shell. As a courtesy to others, please turn off watches, phones, and other electronic devices.

25 BROOKLYN PHILHARMONIC ORCHESTRA Notes on the Program by David Wright

March from Funeral Music and minor harmonies in what must then for Queen Mary have seemed a strange, uncanny sound, HENRY PURCELL stirring together emotions of nostalgia, ten­ Born 1659, probably in London derness, grief, and hope-and all in music Died November 21, 1695, in London of the utmost dignity and royal formality. Through all the political upheavals in Requies England during the 1680s-most notably LUCIANO BERlO the "Glorious Revolution" in which Born October 24, 1925, in Oneglia, William and Mary of the house of Orange Imperia, Italy ousted James II, the last Stuart king­ Henry Purcell continued as organist of Composed between 1983--85 Requies derives the Chapel Royal, supplying music for its title from the Latin word for "rest." Mr. court occasions. He was also a prolific Berio dedicated this work "to the memory composer of operas, music for plays, and of Cathy Berberian," the extraordinary bawdy drinking songs. When Queen vocalist (1925-1983) who excelled in the Mary died in 1694, Purcell followed the avant-garde soundscapes of Cage, Henze, practice of most Baroque composers, and Berio himself, to whom she was mar­ adapting some previously composed ried from 1950 to 1966. In the context of the music (and adding two new movements) present program it is worth noting that Ms. to provide a solemn march, brass can­ Berberian's three-octave vocal range once zona, and choral anthems for her funeral. inspired an awestruck critic to write that she As often happens with J.5. Bach, this "could sing both Tristan and Isolde." adapted music seems so suited to the new At the outset, a single note shimmers occasion that it is hard to imagine its hav­ and changes tone color as different instru­ ing been composed for anything else. All ments take it up-a signal that, in this piece, the music became known as the Funeral Mr. Berio will compose as much with Music for Queen Mary, even though some of changing colors as with changing pitches in it, including the noble March, had been a melody. During much of the piece, the composed in 1692 for a production of instruments play mainly in the soprano Thomas Shadwell's play The Libertine. Just range, as if we were hearing Ms. Berberian's a year later Purcell himself died, and this voice from afar, and the mood is muted and music was performed at his funeral in tender. At the end, however, the music Westminster Abbey on November 26, 1695. becomes more agitated and forceful, as if This mournful March and the Canzona the composer were contradicting his own of the Funeral Music are the only surviving title, and protesting against letting his loved music known to have been composed for one "go gentle into that good night." the "flat trumpet," an English type of slide For the first recording of Requies in trumpet, so named because it was capable 1988, Mr. Berio supplied the following of playing in the "flat keys," i.e., minor keys. description of it: By moving a loop of tubing near his chin, A chamber orchestra plays a the player could fill in the missing notes of melody. More specifically it the instrument's natural scale, and thus describes a melody, but only in the play in C minor instead of C major. In this sense that a shadow describes an March, Purcell's imaginative genius made object or an echo describes a sound. the most of this capability, mingling major The melody constantly unfolds, 26 BROOKLYN PHILHARMONIC ORCHESTRA

albeit in a discontinuous manner, Romantic youth became, in Wagner's later through repeats and digressions operas, a prophecy of human love broken around a changeable, distant, and on the rack of war, politics, and the indus­ perhaps indescribable center. trial age. The musical metaphor for this vision was the dismantling of the centuries­ Prelude and Liebestod from old system of tonal harmony, which was Tristan und Isolde already under way in 1865, when Wagner made it the hallmark of his opera Tristan RICHARD WAGNER und Isolde. TItis story of doomed love, set Born May 22, 1813, in Leipzig (like so many Romantic operas) in medieval Died February 13, 1883, in Venice times, was set to rootless yet passionate Richard Wagner was a man of the theater music that expressed unfulfilled yearning through and through; his life was dedi­ as nothing has before or since. Tristan cated to the blending of poetry, music, became the rallying cry for exponents of drama, and spectacle into the Gesamtkunst­ the "Music of the Future," and Wagner werk, the unified work of art. In his music became the rock star of his generation. dramas he avoided arias, overtures, and For longtime concertgoers or record col­ the other traditional operatic elements that lectors, the phrase "Prelude and Liebestod" could be easily excerpted for performance rolls easily off the tongue, as the orchestral in a concert. He also composed almost no passages most often excerpted from Tristan. music that was intended for the concert In fact one might as well refer to "Page 1 hall. And yet the influence of his musical and Page 883" of some great novel, since ideas was so potent that not even the com­ what we are hearing is Wagner's brief posers of symphonies and chamber music musical preparation for the drama to come, could avoid them. Except for Brahms and coupled with (several hours later in the his neoclassical disciples-and maybe not opera) the drama's tremendous conclusion, even them-i t seemed as though all the joining of Isolde with her lover Tristan European composers of the late 19th cen­ in death. The Prelude is a bundle of yearn­ tury were measured by how their compo­ ing chromatic modulations that, quiet as sitions measured up to those of the master, they seem to be, have kept many harmonic or by how effectively they were able to analysts (and maybe also psychoanalysts) thumb their nose at the great musical awake at night. And even in the orchestral emperor. Despite the difficulty of snipping version without the soprano's incandes­ music out of Wagner's lengthy works for cent solo, the opera's concluding pages, the concert performance, conductors did so Liebestod or "love-death" of Isolde, are an anyway because they believed this music overwhelming expression of the consum­ had to be heard, even by people who didn't mation of unconsummated love. attend the opera. TItis custom continued robustly until well past the midpoint of the Umbra 20th century. MICHAEL HERSCH How did Wagner become the pivotal Born June 25, 1971 in Washington, D.C. musical figure of his era, as Beethoven had Now living in Rome, Italy 60 years before? By drawing together the elements of Romanticism-the fairy-tale By now the story of the young man named operas of Weber, the tragic passion of Michael Hersch, growing up in a Virginia Goethe's Werther, the harmonic innova­ suburb of Washington, D.C., who at age 19 tions of Chopin and Liszt, to name a few­ saw a videotape of Sir Georg Solti con­ and giving them a mighty shove toward ducting Beethoven's Fifth Symphony and the 20th century. The fashionable despair of decided on the spot that he wanted to be a

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musician, and who in the subsequent ten say sounds less long than it really is, like a years has earned the highest praise from good jazz solo. American composers and conductors for Most unusually for an American com­ his piano playing and his compositions, is poser, Mr. Hersch seems irresistibly drawn familiar to many readers. to what George Rochberg called "the dark For those who haven't yet heard of Mr. places of the human heart and soul." Titles Hersch, here is a brief summary: It was his like .. .and I am plunged into darkness and On younger brother, now a professional hom Sorrow, Anger, and Reflection do not promise player, who noted his artistic inclinations much jollity, and yet these orchestral pieces and prodigious memory, and turned him have won Mr. Hersch warm applause for on to music with that Selti tape. After just their sincerity, energy, and skillful use of two years of lessons and courses, Mr. the orchestra. Hersch was admitted to Peabody Conser­ Umbra, which receives its world pre­ vatory of Music in Baltimore, where the miere at these concerts, is quite literally late John Henry Carton, the venerable named for a dark place. (The piece, com­ chairman of the music theory department, posed in 2000, arose from a meeting in called his compositions "astonishing" and Tanglewood in 1997 between Mr. Hersch likened him to "a young Beethoven." His and the Brooklyn Philharmonic's music studies also have taken him to the Moscow director Robert Spano, and was commis­ Conservatory and to Rome, where he now sioned by the orchestra with support from lives and composes at the American the Geraldine C. and Emory M. Ford Academy under a Prix de Rome grant. Foundation, the Heathcote Art Foundation, Senior American composers have taken and the O'Grady Family Foundation.) The notice of him: John Corigliano, who gave word umbra, Latin for "shadow," is used in him lessons; John Harbison; Christopher astronomy to describe the darkest part of a Rouse, who invited him to share the bill at planet's shadow, in which total eclipses a music festival in Japan; and George occur. In a recent conversation Mr. Hersch Rochberg, who called Mr. Hersch "a rare said that, for this work, he wanted a title and unique talent. The inherent drama of that was neutral enough "not to lead peo­ his work is remarkable for being com­ ple anywhere," but that the word umbra led pletely unselfconscious, unstudied, and him to a dictionary definition that read powerful in its projection." "shadowed; usually creating an unsettling Mr. Hersch's sudden emergence has feeling." It was, he said, that "nightmarish" been a headline writer's dream; articles quality he was after, in which "a passing about him have been titled "The Natural" shadow can cause terror, and you're (Washington Post), "The Gift" (Village shaken awake." Voice), and "Force of Nature" (Symphony This piece is unusual for him in that it magazine). All this "natural" talk underes­ falls into brief movements instead of what timates Mr. Hersch's considerable knowl­ he calls "one large gesture." Its scoring is edge of music and composers, which he also a novelty: "I heard it for this instru­ acquired quickly, thanks to his powers of mentation," he said, "a large orchestra, not memory. His learning is evident in conver­ a chamber orchestra-but without brass." sation with him; references to Bach's Art of The short movements use that large orches­ Fugue tumble after observations on tra with restraint-strings only in the first Schumann's piano music and the sym­ movement, winds only in the second, etc. phonies of Mahler and Shostakovich. The short phrases, often characterized by Nevertheless, his compositions have an sudden, phantasmal crescendos, seem like exceptional feeling of spontaneity about shadows on the wall of a cave, the ghosts of them. They tend to spill out in a single melody. And yet Mr. Hersch said the music lengthy movement, which many listeners contains "pregnant energy ... a sense of

28 BROOKLYN PHILHARMONIC ORCHESTRA inevitability in how it moves along." The purified plane of existence. He even fifth movement, played over a held E in the seemed to believe that his own music had cellos and double basses, finally approaches the power to cause that event. In the years something like an orchestral tutti; the lis­ between about 1902 and his death in 1915 tener should feel "grounded at last," the at age 33, he was composing piano sonatas composer said. But even this music leads and symphonic works, and writing mysti­ back to a literal repetition of the second cal poetry, like a man possessed. movement in the sixth, restoring the mood All this might just be a footnote in the of suspense. "In a sense," Mr. Hersch said, history of artistic oddities were it not that "the first six movements are like one big Scriabin was one of the most gifted musi­ upbeat to the seventh." cians of his time. Like another "transcen­ The seventh and last movement is an dental" composer of that period, Charles extraordinary outburst, marked in the Ives, he longed to break free of all conven­ score "Frantic, with unyielding force and tion, and he had the musical skill and intensity." This music, which occupies inspiration to do it. For much of the 20th more pages in the score than all the previ­ century these two composers were dis­ ous movements put together, is composed missed as undisciplined wild men who in a complex fugal style, with one princi­ never codified their experiments into a pal theme (stated at the outset by the vio­ method, it la Schoenberg. But in the more las) and at least four other identifiable freewheeling concert world since 1980 or motives or subjects hurled together in a so, the force of their personalities has contrapuntal tour de force. Besides dis­ reasserted itself, and their adumbrations of playing the composer's skills, the move­ modernism seem less like a lucky guess ment's unrelenting momentum is a test of and more like a true expression of the com­ the players' stamina and concentration. ing age. In that sense, Scriabin got his wish. Fury piles on fury, until the sudden, In 1904 Scriabin wrote a friend that he breathtaking ending, which Mr. Hersch was thinking about a successor to his Third describes as "like a guillotine." Symphony (subtitled "Le Divin Poeme"). A year later, under the influence of theosophy Le Poeme de l'extase, Op. 54 and its founder Madame Blavatsky, he was ALEXANDER SCRlABIN filling his notebooks with mystical verse, Born January 6, 1872, in Moscow which he called his "Poem of Ecstasy." The Died April 27, 1915, in Moscow Fourth Symphony, provisionally titled "Poeme orgiaque," was progressing by fits The normal egotism of the artist seems to and starts. Scriabin set it aside for a year, have been magnified a hundredfold in while completing his Piano Sonata No.5. Alexander Scriabin, under the influence of Resuming work on the orchestral piece, he the spiritualist and mystical movements found that it was not taking the multi­ that attracted so many artists and intellec­ movement form of a symphony, and he tuals in the years just after 1900. These began referring to it simply as "Le Poeme ideas could, for example, make an English de l'extase." (Some sources still call it schoolmaster named Gustav Holst con­ Symphony No.4.) By May 1907 the piece ceive a vast symphonic vision of The was complete: a single movement, more Planets as astronomical and astrological concise than his previous symphonies. (and also very English) beings. For his Scriabin pronounced it "my finest part Scriabin embraced a vision like some­ composition," and began revising it in thing out of the movie 2001 , foreseeing a anticipation of a February 1908 premiere in time, not far off, when the human race St. Petersburg. Owing to various delays would take leave of its baser nature, rising and misunderstandings, that performance in a spiritual and erotic rapture to a new, did not take place; the world premiere of Le

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Poeme de l'extase occurred in New York on dream," for clarinet over misty strings; December 10, 1908, under the direction of "victory," stepping up boldly in a solo the composer's friend Modeste Altschuler. trumpet before falling back chromatically; In the work's opening bars, one enters and "foreboding," in galloping horns a Debussy-like world of sensuous languor (eight of them, no less). One would not punctuated by bouts of ecstatic dancing. describe this piece as being in classical The rich and fanciful scoring has roots in sonata form, but Scriabin does honor it in Borodin and the other Russian national­ the breach, alternating between clear ists, and the yearning chains of harmonic restatements of his themes and two full­ modulations are distinctly Wagnerian­ throated, climactic developments of them. and yet Scriabin has given it all a texture of The closing coda cuts off at the peak of its its own, attenuated, suggesting the spiritual yearning climax, only to return with a rising above the physical. The composer massive affirmation of the chord of C identified this opening flute theme as major, Scriabin's mystical touchstone, his "longing." Several other themes stand out ticket to the next plane of existence. from the welter of musical ideas: "the - Copyright © 2001 by David Wright

Next subscription concerts by the Brooklyn Philharmonic Orchestra and Robert Spano, Music Director, will feature: Michelle deYoung, Mezzo-soprano Members of New York Virtuoso Singers Harold Rosenbaum, Director and Brooklyn Youth Chorus Dianne Berkun, Director

May 18 and 19, 2001, at 8:00 p.m. Howard Gilman Opera House BAM

MAHLER Symphony No.3

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Robert Spano, Music Director Timothy Long, Assistant Conductor

VIOLIN I Joshua Gordon CONTRABASSOON Laura Park, Concertmaster Peter Rosenfeld Harry Searing Diane Bruce, Sarah Hewitt Roth FRENCH HORN Assistant Concertmaster Michael Finckel Carlos Villa Paul Ingraham' Robert Larue Scott Temple Lenard Rivlin Roberta Cooper Francisco Donaruma Claudia Hafer Stan Orlovsky Kaitilin Mahony Ann Labin Justin Kagan Fritz Krakowski Katie Dennis Min-Young Kim BASS Kelly Dent Conrad Harris Joseph Bongiorno' John Clark Sashka Korzenska Judith Sugarman Milton Phibbs Kurt Maroki Elizabeth Nielsen TRUMPET Richard Ostrovsky Sarah Schwartz Jim Stubbs' Troy Rinker Deborah Buck Wayne Dumaine Pawel Knapik Janet Sung Tom Hoyt Rachel Calin Jennifer Choi Steve Ametrano Richard Sosinsky Natalie Lipkina Richard Clymer FLUTE VIOLIN II TROMBONE Katherine Fink' Cheryl Norman' Hugh Eddy' David Wechsler Katherine Hannauer Richard Chamberlain Dan Gerhard Eugenie Seid Kroop Lawrence Benz Shinwon Kim Brian Miller Sebu Sirinian TUBA PICCOLO Andrew Seligson' Stephani J. Bell Dan Gerhard Rena Isbin TIMPANI Roxanne Bergman OBOE Richard Fitz' Mara Milkis Henry Schuman' Heather Ann Bixler Pedro Diaz PERCUSSION Patricia Davis Melanie Feld James Preiss' Victoria Stewart Robert Ingliss William Trigg Tengfei Zhou David Frost Victor Heifets ENGLISH HORN Barry Centanni Melanie Feld Chris Nappi VIOLA Sarah Adams' CLARINET Steven Hartman' HARP Ah Ling Neu Karen Lindquist' Larry Guy Veronica Salas Susan Jolles Dennis Smylie Jessica Troy Monica Gerard Owen Kotler PIANO/CELESTE/ORGAN Ken Bowen Juliet Haffner E-FLAT CLARINET Sandra Robbins Larry Guy LIBRARIAN Leslie Tomkins David Carp Christine Ims BASS CLARINET Maxine Roach Dennis Smylie PERSONNEL MA AGER Ariel Rudiakov Jonathan Taylor BASSOON Alison Gordon Frank Morelli' • Prillcipal CELLO Lauren Goldstein Stubbs Chris Finckel' Harry Searing Lanny Paykin Martin Kuuskman

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BOARD OF DIRECTORS Craig G. Matthews, President Stanley H. Kaplan, Chairman Emeritus Robert C. Rosenberg, Chairman Emeritus 1. Stanley Kriegel, Honorary Chairman Scott Ageloff John M. Powers Jr. Arthur C. Bennett Irving Redel Kevin Burke Joseph Rosalie Lou Bruno Henry Schuman Donald H. Elliott Tazewell Smith Timothy Gilles John Tamberlane Harriet Goodman Paul Travis Richard Hayden Miguel Valcarcel Jerry Jacobs Bruce Van Dusen James Kendrick Laura Walker Gloria Messinger Wayne C. Winborne

ADMINISTRATION Catherine M. Cahill, Chief Executive Officer Executive Office Artistic and Operations Deborah Langdon, Graham Parker, General Manager Assistant to the Chief Executive Officer Evans Mirageas, Artistic Advisor and Board of Directors Rob Ross, Production Manager Ruth Benn, Finance Manager and Education Coordinator David Carp, Librarian Development Joseph Chart, Director of Development Marketing and Communications Gregory Fienhold, David Kitto, Development Consultant Director of Marketing and Communications David W. Mallison, Richard Larter, Strategic Planning and Director of Audience Services Development Consultant Maurice Edwards, Archivist Kate Scheuring, Kirshbaum, Demler & Associates, Inc., Administrative Assistant Public Relations

BROOKLYN PHILHARMONIC ORCHESTRA One Hanson Place, Suite 1806 Brooklyn, New York 11243 Phone: (718) 622-5555 Fax: (718) 622-3774 www.brooklynphilharmonic.org

32 BROOKLYN PHILHARMONIC ORCHESTRA Meet the Artists

Music director of the Brooklyn Philhar­ Symphony Orchestra and Finland's monic and music director designate of the Tampere Philharmonic. Atlanta Symphony Orchestra, Robert Music director of the Brooklyn Spano is recognized internationally as one Philharmonic since 1996, Mr. Spano has of America's outstanding conductors. recently renewed his commitment to the Possessing an extraordinary breadth of organization by signing a five-year contract repertoire and a unique and imaginative which will see the Philharmonic through its style of programming, he is "a brilliant 50th-anniversary season. As music director young American maes­ designate of the tro who has a talent for Atlanta Symphony stripping away routine," Orchestra, Mr. Spano (New Yorker). conducts the Orches­ Mr. Spano has con­ tra for five weeks this ducted nearly every season. He opened major North American Atlanta's 2000-2001 orchestra, induding the season with a gala Chicago Symphony, performance featur­ Cleveland Orchestra, ing soprano Sylvia Houston Symphony, Los McNair and will dose Angeles Philharmonic, the season with the Minnesota Orchestra, renowned Atlanta National Symphony, Symphony Chorus in Philadelphia Orchestra, Verdi's Requiem. San Francisco Symphony, In addition to his and Toronto Symphony, demanding perform­ as well as the Chicago ance schedule, Mr. Lyric Opera, Houston Spano remains com­ Grand Opera, and Santa mitted to music edu­ Fe Opera. He also has cation. In 1998 he appeared with orchestras and opera compa­ began his tenure as head of the prestigious nies throughout Europe and Asia. conducting fellowship program at the Mr. Spano began the 2000-2001 season Tanglewood Music Center and remains at conducting the GlobalFreeway Australian Oberlin Conservatory as associate profes­ Youth Orchestra on its Olympic Arts sor of conducting. Festival Tour. He also conducts the Boston Born in Conneaut, Ohio, and raised in Symphony, Philadelphia Orchestra, Min­ Elkhart, Indiana, Mr. Spano is a graduate of nesota Orchestra, Saint Louis Symphony, the Oberlin Conservatory of Music and Cur­ Cincinnati Symphony, and Seattle and tis Institute of Music. Mr. Spano has been Santa Fe Operas. In addition to multiple featured on the PBS series City Arts, A&E's performances with the Atlanta Symphony Breakfast with the Arts, CBS' wte Night with Orchestra and Brooklyn Philharmonic, Mr. David Letterman, and CBS Sunday Morning. Spano leads the City of Birmingham Mr. Spano lives in Brooklyn, New York.

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At age 29 Michael was heard in Canada for the first time Hersch is already when On Sorrow, Anger, and Reflection being recognized as received its world premiere at the CBC one of the most Vancouver Symphony. In February 1999 gifted composers of Marin Alsop and the Colorado Symphony his generation. In performed a world-premiere orchestral April 2000 he was work. Mr. Hersch's Piano Quartet received awarded the Prix de its premiere at Carnegie Hall's Weill Rome for 2000-2001. Recital Hall on April 12, 1999, commis­ In the 2000-2001 sea­ sioned by the Ellen Taaffe Zwilich Young son the Pittsburgh Composers Workshop at Carnegie Hall. Symphony performed the New York pre­ Highlights of past seasons include the miere of Ashes of Memory conducted by premiere of Mr. Hersch's work Elegtj for Mariss Jansons at Carnegie Hall in March strings in February 1997 at Lincoln Center. 2001. The Chamber Music Society of His Movement for Orchestra, commis­ Lincoln Center presented two new works sioned through the New York Youth this season: the New York premiere of his Symphony's First Music program, received Solo Sonata for Violin and a new piano its premiere in May 1997 at Carnegie Hall. piece, Mistral, which Mr. Hersch performed In May 1998 The Chamber Music Society of at Merkin Concert Hall. Mr. Hersch's music Lincoln Center performed his first clarinet also was featured in a program hosted by trio. In August 1998 the Cabrillo Festival Ned Rorem at the 92nd Street Y. On May 19, performed the world premiere of his 2001, Merkin Concert Hall will present a Prelude and Fugue for orchestra, con­ chamber concert featuring Mr. Hersch's ducted by Marin Alsop. Mr. Hersch's music. Mr. Hersch's alma mater, Peabody chamber music also has been performed at Conservatory, also will perform Ashes of the Tanglewood Music Festival; Pacific Memory at Lincoln Center on April 25, 2001. Music Festival in Sapporo, Japan; The 1999-2000 season included three American Music Festival in Washington, commissioned works. In November 1999 D.C.; and elsewhere in the United States, as the Dallas Symphony Orchestra premiered well as in Moscow. the Hersch Symphony No. 1 with Alan One of the youngest composers ever to Gilbert conducting. In January 2000 the win the Guggenheim Fellowship in Music Pittsburgh Symphony Orchestra presented (1997), in the past three years Mr. Hersch Ashes of Memory, conducted by Mariss has received awards from the American Jansons, and in April 2000 the Orchestra of Academy of Arts & Letters, American St. Luke's presented a new chamber piece. Composers Award, New York Youth Mr. Hersch's Elegy for strings was per­ Symphony's First Music prize, a Meet The formed by the Hong Kong Philharmonic in Composer grant, and three ASCAP May and his Symphony No. 1 also was Foundation grants. In 1997 he was a fel­ repeated at the Cabrillo Festival in August low at the Tanglewood Music Center. In led by Marin Alsop. June 1998 he attended the Norfolk The 1998-99 season included premieres Festival in Connecticut and accompanied of three orchestral works and two chamber Christopher Rouse to the Pacific Music works. In October 1998 the New York Festival in Sapporo, Japan. Chamber Symphony performed the world Mr. Hersch was born in Washington, premiere of Recollections of Fear, Hope, and D.C., in 1971, and grew up in Reston, Discontent. Also during October 1998 his Virginia. He studied composition at the second clarinet trio was performed in Moscow Conservatory in Russia and Washington and New York, and his music received a certificate in composition in

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1995. In 1997 he completed his master's Philharmonic has performed more than degree in composition at the Peabody 150 premieres, including 60 commissions. Conservatory in Baltimore. In addition to its regular season of sub­ scription concerts, the Brooklyn Philhar­ Under the artistic vision of music director monic serves New York's most populous Robert Spano, the Brooklyn Philhannonic borough with diverse programs including has emerged as one of the nation's premier symposiums, educational programs, and music ensembles and continues to be a free community concerts. The Brooklyn vital presence in the cultural life of the Philharmonic was founded by conductor New York metropolitan area. "Robert Siegfried Landau in the spring of 1955. Spano's innovative programming has Mr. Landau programmed many pre­ turned the Brooklyn Philharmonic from a mieres during his tenure and from the respected ensemble in an outer borough beginning embraced the Brooklyn tradi­ into an essential contributor to the cultural tion of new and adventurous program­ life of greater New York," (Anthony Tom­ ming dating back a century to the era of masini, New York Times, February 9, 2000). Theodore Thomas. Audiences have embraced the Brooklyn The Philharmonic's 2000-2001 sea­ Philharmonic's commitment to the con­ son, entitled Liebestod, explores music of cept of the orchestra as a contemporary love and loss, ecstasy and pain, passion performance ensemble, emphasizing-as and abandonment. in the decades of Beethoven and Brahms­ Information on the season is available important present-day music. The at www.brooklynphilharmonic.org.

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Brooklyn Philharmonic salutes the generous contributors who have provided support for our concerts and education programs. The many individuals, corporations, foun­ dations, and government agencies listed below have sustained the Orchestra and have provided vital support for subscription concerts at the Brooklyn Academy of Music, free concerts in the parks, and special education concerts and programs, which reach more than 10,000 young people annually. THIS CONCERT AND ALL LEADERSHIP GIFTS Christy MacDougall Mitchell BROOKLYN PHILHARMONIC ($100,000 OR MORE) Cushman & Wakefield PROGRAMS ARE SUPPORTED HSBC Bank USA Aaron and Deborah Dean WITH PUBLIC FUNDS FROM: The Independence Community Deloitte and Touche LLP Foundation Desola Group The New York City Council and The Irene Diamond Fund, Inc. the Brooklyn Delegation to the EAB New York City Council Donald H. Elliott New York City Department of Finnair Cultural Affairs Finnish Tourist Board All en C. Fischer and Renate Belville CONDUCTOR'S CIRCLE Gerner Kronick & Vakarcel, Architects NATIONAL ($50,000 OR MORE) Ann and Gordon Getty Foundation ENDOWMENT Ba ldwin Piano TImothy and Sealy Ann Gilles fOR THE ARTS The Dime Savings Bank Goldman, Sachs & Co. of New York, F.S.B. Dr. Harriet Goodman Mary Flagler Cary Charitable Trust The Hallen Construction Co., Inc. KeySpan Foundation Richard Hayden Andrew W. Mellon Foundation jessie M. Kelly Brooklyn Borough President New York State Council on the Arts KeySpan Home Energy Services Howard Golden The Starr Foundation Kramer, Levin, Naftalis & Frankel LLP Charlotte and Stanley Kriegel SOLOIST ($20,000 OR MORE) William M. Mercer, Inc. LEADERSHIP SUPPORT FOR Brooklyn Borough President Gloria Messinger and BROOKLYN PHILHARMONIC The Louis Calder Foundation Charles Mandelstam CONCERT AND EDUCATION The Chase Manhattan Bank Metropolitan Life Foundation PROGRAMS HAS BEEN Robert Sterling Clark Foundation, Inc. Patterson, Belknap, Webb & Tyler, LLP PROVIDED BY: Con Edison Philip Morris Companies Forest City Ratner Companies joseph Rosalie The Fan Fox and Leslie R. Robert C. Rosenberg and CHASE Samuels Foundation Fran Kaufman o The Rita j. and Stanley H. Kaplan Salomon Smith Barney Family Foundation F.J. Sciame Construction Co., Inc. j.P. Morgan Irw in and Carolee Shubert National Endowment for the Arts Simpson Thacher & Bartlett The New York Community Trust Swanke Hayden Connell Ltd. Anonymous (2) Miguel Valcarcel A. LorneWeil PRINCIPAL ($10,000 OR MORE) The Williams Companies Autotote Corporation Willis of New York, Inc. DiME. AXA Foundation Wayne C. Winborne The Aaron Copland Fund for Music The Eleanor Naylor Dana PARTNER ($2,500 OR MORE) Charitable Trust American Scandinavian Foundation FORESTOTYRATNER The Greenwall Foundation E.3••• Amphion Foundation Craig G. and Carol Matthews Barbara and Robert Berger Merrill Lynch and Co., Inc. Alan and Leslie Beller -- Music Perfonnance Trust Fund Art Bennett john j. Powers j r. Kevin and Patricia Bu rke HSBC ID Paul Travis and Washington joseph Chart Square Partners Geraldine C. and Emory M. Ford Foundation BENEFACTOR ($5,000 OR MORE) Heathcote Art Foundation (~ Indep,endence Acme Architectural Walls Communn~ fUundallOfl Mr. and Mrs. Richard W. Hulbert Scott Ageloff james Kendrick Amerada Hess The O'Grady Family FoundaHon Artisan Group Pfi zer Asplundh Construction Corp. Pricewaterho useCoopers LLP KFOPA.-' Burson-Marsteller Irving and Claudia Redel FOUNDAT ION Catherine Cahill Billy Rose Foundation

32D BROOKLYN PHILHARMONIC ORCHESTRA

Strook & Strook Cynthia and Jerome Kathy and Michael Debost Alex D. Wender & Lavan LLP Cohen Congress Michael D'Onofrio Wolf Plumbing & Michael Tuch Foundation, Danker, Sellew & Douglas Marla Donovan Heating Corp. Inc. Hester Diamond and Marc Dorfman and Xerox Corporation David and Jane Walentas Ralph Kaminsky James Keller Anonymous (2) Laura Walker and Bert Wells Rebecca Diederich Edelman Public Relations The Kurt Weill Foundation Domino Sugar Worldwide DONOR ($100 OR MORE) for Music Councilwoman June and Chiedu Egbuniwe and Michael Ambrosio and WNYC Paul Eisland Michael Phillips Regina Neal Jane B. and Richard Engquist Gloria Fields and Laurel Arapoglou PATRON ($1,000 OR MORE) Chris Estaban Andrew Seligson Millicent Aronoff Aetna U. S. Healthcare Arthur Feigenbaum Martin Finkelman Michael and Laura Bailey Arthur Anderson, LLP Dr. and Mrs. Austin Fink Fort Greene Association Zachary M. Baker ASCAP Max Friedman and Max Friedman and Andrea Barbieri BDOSeidman Thomas A. Romich Thomas Romich Richard L. Benson Brinson Partners Geiger Brickel Inc. Kwok Sum Fung Irwin H. Block Brooklyn Renaissance Plaza Lou Harrison Julianne and Jules Hirsh Irmgard Bomer Gerard Conn and Carol Yorke Hay Management Karen E. Johnson Carol S. Braund Cullen and Dykman Consultants Pat Keely Personnel, Inc. Lucinda Brickler Deloitte Consulting (Dallas) Charles Ingham Donald Knutson Sally R. Brody Denver Invesbnent Oliver and Lorraine Koppel Komfort Plumbing & John D. Brown Advisors LLC Anne Korman Heating, Inc. Michael Cairl The Oi Paulo Foundation Drs. Larry and Yangnim Kurz Jane Krieger Gordon Cavanaugh Donaldson, Lufkin John Lipsky and L & I Mechanical Carolyn Chaliff and and Jenrette Zsuzsanna Karasz Contractors Inc. Carl Wolff Eagle Interiors Inc. Daniel D. and Sal Leggio Joan Conrad Taina Edlund Martha McCrary Harvey Lichtenstein John Cruz Goldman Sachs & Co. Herman Miller Inc. Richard H. Lowe Orville Dale Nancy Hager Morgan Stanley Dean Wi tter Scott McDonald Ronald Davidow Hawkins Delafield and Wood Drs. Sybil and Alfred Nadel Charles Edward Meyers Harris and Judith Davis Jerry Jacobs Diana and Edward Nash Elizabeth Miller James and Susan Demler Dr. and Mrs. Sanford Leff Michael Palma Philip and Iliana Mindlin William Donohue Lehr Construction Corp. William Parsons Joseph Nacmias Jeffrey Dreiblatt The Litwin Foundation John Rosenthal Dr. Tatsuji Namba Thomas S. Drescher Macy's Gordon L. Seaman Inc. Marvin Numeroff Dennis and Brenda Dugan Marcan tonio & Kuhn Laura Schoen Barry Michael Okun and Dr. Carol Edward Architects, Pc. Helen M. Scholz Judith Ann Fell Larry Ellis and Marsh Financ,ial Services Marion Scott John O'Malley Sandra Molyneaux McKinsey & Company, Inc. Gail Clott Segal Evelyn and Everett Ortner Mr. and Mrs. R. Esnard The New York Tunes Steven and Jeanne Stellman Mr. and Mrs. Stanley Pilchik Janice Etchison Company Foundation, Inc. Richard G. Suter Print Data Corp. Alfred Evans Nordic Interior, Inc. Tavella Plumbing & C. Claiborne Ray Sara and Seth Faison Putnam Investments Heating Corp. John E Roche Fiona Morgan Fein Jonathan EP. Rose Jonathan J. Taylor Andrew Rosenberg Stanley Fertig Nancy E. Schuh and United Envelope LLC Dr. and Mrs. Martin Salwen Wendy Fingerhut Joseph E. Mohbat Dr. Robert H. Vadheim Scientific Cleaning Peter H. Flint Jr. Martin E. Segal Michael J. and Contractors, Inc. Melissa Fournier SIAC Brooke A. Vieten David Scott Robert Belmont Freeman Jr. Tazewell Smith James A. Wagner and Joan and Richard Sexton Erwin V. Fromm John D. TItman Jr. Barry G. Hoggard Stashu Smaka Dr. H. Paul Gabriel Bruce and Susan Van Dusen Anonymous (2) Richard G. Suter Bernie Galiley James E Volpe Electrical Ronald J. Tabak Emilio and Agnes Gautier Contracting Corp. SPONSOR ($250 OR MORE) Tunothyand Elizabeth Abraham Gelfand Webb, Johnson C. Murray and Lucy Adams Thompson Lawrence M. Gite Associates, Inc. 19ou and Nedda Allbray Gayle E. Toonkel I.M. Goodman and Zei tz Founda tion American Express One Travel Roberta S. Treacy Judith Uman Joseph Zelazny The Ayers Group Universal Safeguard Mr. and Mrs. Lou is Gordon Anonymous TImothy L. and Security Corp. Hayley Gorenberg and Virginia Barnes James T. Vacirca Erach Screwvala INVESTOR Sarah E. Blair Dr. Robert Vadheim David M. Grant ($500 OR MORE) Jane and William Bram Philip and Mary Van Orman Lenore R. Greenberg Roger Abramson Barbara Bromfield and Warren Elevator Henry Greenwald ADT Security Services Steven Conyers Service Co., Inc. Oaphna Gutman Debra C. Allee Constance Burke Mr. and Mrs. Howard Elizabeth Hallett and Daniel L. and Judia E. Black Elizabeth Burnett Warshower David Kitteridge Ea rl and Paula Black Ted Chin Rochelle Weiner and Steven Hartman and Ernie and Rita Bogen Eileen and Joe Conyers Peter Kaplan Marcie Shaw Murray Srauman John and Harriet Corporon Jill Weinstein Jack and Terri Hassid

32E BROOKLYN PHILHARMONIC ORCHESTRA

Jack M. Hazerjian ancy J. Lynch and Arthur Radin and TImothy L. Thompson Hollis Headrick and Richard Corry Miriam Katowitz Charlotte L. Thorp Sonnet Takahisa Dr. Edward A. Mainzer Waldo Rasmussen Charles and ancy TImmons Mr. and Mrs. Harry H. Hinkle Susan and Warren Malone Stephen and Marilyn Wayne and Susan Tobias Mary McMahon Hollaender Suzan Marks and Reichstein Maria Tomasz Kenneth Hoogstra Vincent Campo Nancy Rice Gary and Evelyn Trachten Fred J. Howard Frances McCormick Karen Bedrosian Richardson Roberta Treacy Consuela Hudgins Leslie M. McKinley Ugia Sanchez Rivers Robert Tumbelston and Jon and Josephine Hutton Milrase Consultants, Inc. Mr. Donald and Craig Seligman Thomas Jambois Thomas and Rae Dr. Ellen Robinson James T. Vacirca Marvin G. Kantor Alexander Minter Dr. and Mrs. Benjamin A. Mary Vaux Shoko Kashiyama Alex and Alaire Mitchell Rosenberg August Ventura Alyce Hare Kaufman Richard and Barbara Moore Janet and Fred Rosenberg Diane Villani Dara Kingsley Mr. and Mrs. David H. Rhoda and Judah Rosenfeld Emma H. and Jim Vizzini Elizabeth Kittredge ewman Arthur and Elizabeth Samuel Jan Vomacka Elizabeth Koch Robert C. ewman Dr. Israel Samuelly Staffan Wah lander Alice Kira Kornhauser Marjorie Odessky Virginia Schendler Jane Warshaw Frank Robert Kraft Mr. and Mrs. Herbert S. Okun Helen M. Scholz Herbert and Marcia Weller Bennette Kramer and The Reverend Clint Padgitt Dr. Thomas P. Sculeo Mr. and Mrs. Michael J. Eliot Long Jane Palmquist Evelyn and Emile H. Serposs Whiteman Maurice and Elaine Kramer Daniel Paterna Joan F. Sexton Melinda and Frederick Robert Krones David and Marjorie Perlin Alan and Sharman Whittum Alison and Duncan Kruse J. Brian Peters YoffieSidman Walter J. Wilkie William C. Lattka Keonaona D. Peterson Alfonso Sorrentino G. Pierce Williams Scott Lever Howard Pitsch James and Karen Victoria and Glenn Williams John Levin Alan Polinsky Lindquist Speyer Lucille Windsor and Ann and Mitch Lowenthal Allan Poretsky Samuel and Ellen Sporn Jerome Hasenpflug Carole and Gerald Lewis Richart T. Prins and John C. Sutherland Edward Wolf Raymond and Corinne Steensma Louisa Swift Sharon Wolf Maureen Lindie Mr. and Mrs. Jon E. Quint Frieda C. Tabak Jane T. Zweifler

List compiled February 27, 200]

More than 150 members made gifts of less than $100. Although space limitations restrict us from listing each individual, their generous support has helped make our programs possible and is deeply appreciated. Please contact the Brooklyn Philhannonic Development Office if there are errors or omissions. (718) 622-5566

32F