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Home , Angel Blue, A Sea Symphony, David Peel (musician), Der singende Teufel, Die Gezeichneten, Irrelohe

Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with at 7:00

presents A Sampler LEON BOTSTEIN, Conductor

OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director

KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON,

FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE,

Intermission

RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director

This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend.

This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Foundation for Music, Inc., , NY.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing. selves inspired volumes of commentary. Hence reference works such as the The challenge resides in an irresolvable Oxford English Dictionary or Vladimir paradox: if the translator aims for Dahl’s dictionary of the Russian lan- laser-like accuracy of meaning, the guage (Nabokov’s favorite) are so essen- intangible qualities of linguistic usage tial to readers—even native speakers. that allow us to employ language in more subtle ways than Google Trans- The barrier that exists between languages late are lost; but if one aims to replicate has been responsible for one of the most the artistry of the work, then the result powerful modern uses of language—the is something other than the “original” establishment of discrete large-scale work. This is evident in many of the national identity, particularly in the great translations made by poets of the 19th century. The standardization of works of other poets. These are valued language in post-unification Italy or in not as “accurate” but as artistic works Napoleonic France and certainly after in their own right: Alexander Pope’s trans- the unification in 1870 of Germany lation of The Iliad, Henry Wadsworth was a crucial instrument in forging a Longfellow’s translation of The Divine unified modern national consciousness. Comedy, August Wilhelm Schlegel and Dramatic regional differences in these Ludwig Tieck’s German translation of countries came under scrutiny and Shakespeare. These translations achieved weakened. The masters of a national recognition as autonomous new works. language—writers and poets—were Fidelity to the original was no longer celebrated as giving voice to a con- the main critical criterion. They became sciousness that was quintessentially cherished because they resembled the emblematic of a nation; Johann Wolfgang translator’s other beloved original works. von Goethe, Alexander Pushkin, and Charles Baudelaire shaped the shared To take it even further, because lan- self-image of Germany, Russia, and guage is not a stable human instrument, France. Although the works of these within a single language, distance in writers have been translated into time and place between author and numerous other languages, these trans- reader may affect comprehension. lations are often accompanied by a dis- Translating from one language to couraging tagline, especially dear to another over a wide timeframe deepens “native” speakers: “You can’t really the problem. Modern English speakers appreciate them unless you read them from the American East Coast cannot in the original language.” One would be hard put to argue per- composers to set his words to the suasively that Walt Whitman does not medium of music that demands no trans- belong in the category of poets and lation, at least on the surface. Whitman’s writers who helped shape the dominant international influence debunks the myth vision of the American nation. He that translation cannot work and is expressed a quintessential American without value. Indeed, Homer and Virgil voice. His ecstatic, arresting eloquence have triumphed in translation, as have celebrated democracy, freedom, and all the Greek tragedians. The Divine individuality that continues to capture Comedy has made its way beyond read- American readers. What made Whitman’s ers of Italian. For all the complaints lev- poetry truly American was not mere eled at Constance Garnett’s translations patriotism or chest-beating about how of Tolstoy, the popularity and reputation great the country was (or could be), but of War and Peace and Anna Karenina in rather the unspoken values of the coun- the English-speaking world owe a per- try from which he came that allowed manent debt to her work. The music him to express individual and dissent- you will hear tonight sidesteps the contro- ing reflections of love, nature, sexuality, versies about translation and nationalism and humanity in poetry, just as his con- in favor of an example of the universality temporary Herman Melville did in prose. of the humanistic sensibilities contained Whitman’s poetry could only have come in Walt Whitman’s poetry. from a land that believed that it valued freedom, democracy, and plurality. Three of the composers on tonight’s program came from German-speaking As we celebrate the bicentenary of his Europe, albeit from distinct linguistic birth, the influence of Whitman has not regions. Kurt Weill was born in Dessau. diminished. Saul Bellow once jokingly Franz Schreker had his roots in Austria constructed a genealogy in American and spoke a Viennese dialect, and Othmar letters in which Allen Ginsberg, the Schoeck was a proud Swiss with a life- author of Howl, was actually a direct long allegiance to the peculiarities and descendent of Walt Whitman. Whitman’s beauties of Swiss German. The main vision inspired generations of artists, work on tonight’s concert is by an Eng- painters, and photographers, notably the lishman with political sympathies that circle around Alfred Stieglitz (Georgia were easily associated with Whitman. O’Keefe, Paul Strand, and Walker Evans, for example), as well as politically Whitman was one of the first American progressive composers such as Aaron poets to gain a foothold as a major lit- Copland and . And Whitman erary figure with readers who are not was a favorite among émigrés fleeing native English speakers. It is the inter- autocracy and dictatorship in Europe. national reputation of Whitman, his role as a conveyor of the most cherished Indeed, what is extraordinary about of American hopes and dreams— Whitman is the extent to which he democracy and inclusion that inspired a gained an enormous following in Europe unique aesthetic—that the ASO cele- in translation. It was reminiscent of the brates in this bicentenary. Whitman’s European enthusiasm for Edgar Allan success in speaking to peoples well Poe. Many of these Whitman transla- beyond the borders of America speaks tions were rather undistinguished, but well for the enterprise of poetry—the somehow, the essence got through. power of language, despite the difficul- Whitman inspired German and British ties of translation. Poetry, like music, can communicate, despite seemingly for music. The composers on our pro- unbridgeable differences in history, reli- gram shared divergent political views, gion, geography, and ethnic identity. but Whitman inspired them to create a Whitman’s poetry was a natural candidate common ground of the imagination.

THE Program by Byron Adams

Othmar Schoeck Born September 1, 1886, in Brunnen, Died March 8, 1957, in Zürich, Switzerland

Trommelschläge, Op. 26 Composed in 1915 Premiered on March 5, 1916, at Tonhalle, Zürich, with the Tonhalle-Orchester Performance Time: Approximately 4 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 3 , 3 , 2 , 1 , 5 French horns, 3 , 3 , 1 , , percussion ( drum, side drum, military drum, tam-tam, crash ), 18 , 6 , 6 , 5 double basses, organ, and chorus

The horrors of the First World War faced a paucity of German-language intruded upon the Swiss composer Oth- poetry that dealt with war, so Schoeck mar Schoeck personally: the only man- turned to the American verse of Walt uscript copy of one of his songs was Whitman. Sometime before August destroyed when a German U-boat torpe- 1915, Schoeck’s friend, the painter and doed the Lusitania on May 7, 1915. The poet Gustav Gamper, introduced the song was lost at sea forever, along with composer to Whitman’s poetry through more than a thousand men, women, and Johannes Schlaf’s 1907 German transla- children. Of course, Schoeck was far tion. Schoeck turned to “Beat! Beat! more horrified by the loss of life and the Drums!,” one of Whitman’s Civil War barbarism unleashed by the war than by poems, finishing the score of Trom- the loss of a single song. He clearly under- melschläge (Drum Taps) on August 16. stood that this cataclysm had changed everything, including, as it turned out, his Schoeck wrote pessimistically to a friend, own lush late-Romantic musical idiom. “I have vented all my anger about the present into a choral piece. It will per- Schoeck’s turn toward Expressionism haps break the neck of my position in can first be heard in his brief, violent, Zürich.” The position to which he was and harrowing Trommelschläge, Op. 26, referring was his conductorship of the for chorus and large orchestra. German- Lehrergesangverein, one of Zürich’s speaking composers who sought to com- leading choral ensembles. Predictably, ment musically on the First World War the singers detested Trommelschläge, which they considered to be a bewilder- and audience success. Schoeck’s con- ing example of musical ultra-modernism. ception of a five-minute work that Some of the singers ceased attending transformed both chorus and orchestra rehearsals as a protest. The choral soci- into a gigantic demonic drum proved ety’s president begged the choristers to overwhelming to its first listeners. In refrain from criticizing the score pub- later years Schoeck proudly asserted licly before its premiere. Despite these that Trommelschläge was his “first ill omens, the work proved to be a critical piece of modern music.”

Kurt Weill Born March 2, 1900, in Dessau, Germany Died April 3, 1950, in

Four Walt Whitman Songs Composed in 1942–47 Premiered in 1947 for Concert Hall Records, with William Horne and pianist Adam Garner Performance Time: Approximately 18 minutes

Instruments for this performance: 2 flutes, 1 , 2 clarinets, 1 bass , 1 , 1 contrabassoon, 3 French horns, 2 trumpets, 2 trombones, timpani, percussion (, side drum, , tam-tam, , crash cymbals, suspended , triangle, vibraphone, chimes), 18 violins, 6 violas, 6 cellos, 5 double basses, 1 harp, and baritone

Unlike some émigrés who fled Europe poet imaginable, a book that eloquently ahead of the Nazi menace, Kurt Weill welcomed aspiring future citizens of the never indulged in backward glances or United States just like Weill. The com- nostalgia. Even before he became an poser had certainly encountered Whitman American citizen on August 27, 1943, in Germany—German readers were Weill had proudly declared in a radio familiar with through a broadcast that he had “never felt as number of expert translations. In 1926, much at home in my native land as I years before his emigration, Weill have from the first moment in the saluted an upcoming broadcast recita- United States.” Musicologist Kim H. tion of Whitman’s verse in Der deutsche Kowalke has related that in 1937 Weill Rundfunk: “Walt Whitman was the declared to the playwright , first truly original poetic talent to grow “I have the feeling that most people out of American soil.” who ever came to this country came for the same reasons which brought me After the attack on Pearl Harbor in here: fleeing from the hate, the oppres- 1941, Weill quickly composed three sion, the restlessness, and troubles of settings of Whitman’s Civil War poems: the Old World to find freedom and the first, “Beat! Beat! Drums!” is mar- happiness in a New World.” tial and defiant; the second, a setting of Whitman’s famous poem “O Captain! That same year Green sent a copy of My Captain!” is touching and poignant, Whitman’s Leaves of Grass to Weill as with gentle echoes of Mahler’s Lieder; a celebratory gift. The choice of poet and the last, “Dirge for Two Veterans,” was hardly at random, as Green gave is both bluesy and deeply moving. In Weill the work of the most American 1947 Weill revisited Whitman with a setting of “Come Up from the Fields, for Concert Hall Records. (Another Father.” He positioned this as the third émigré composer to America, Carlos of his Four Walt Whitman Songs, which Surinach, orchestrated “Come Up from were recorded by tenor William Horner the Fields, Father” in Weill’s manner.)

Franz Schreker Born March 23, 1878, in Monaco Died March 21, 1934, in Berlin, Germany

Vom ewigen Leben Composed in 1923 Premiered in 1929 Performance Time: Approximately 20 minutes

Instruments for this performance: 2 flutes, 2 piccolos, 3 oboes, 1 English horn, 2 clarinets, 1 , 1 tenor saxophone, 1 alto saxophone, 2 bassoons, 5 French horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, side drum, triangle, chimes, crash cymbals, , ), 18 violins, 6 violas, 6 cellos, 5 double basses, 1 harp, celeste, organ, and soprano

Franz Schreker was celebrated princi- at the Hochschule in 1932. This humil- pally as a dramatic composer during his iation, combined with mounting finan- lifetime: his first success came in 1908 cial difficulties, placed Schreker under with a pantomime, Der Geburtstag der enormous emotional and physical stress. Infantin, based on The Birthday of the He died of a stroke in December 1933, Infanta by Oscar Wilde. In 1910 Schreker just short of his 56th birthday. completed his masterpiece, the , which enjoyed a veritable Schreker was extraordinarily respon- triumph at its 1912 premiere in Frankfürt sive to literature: he wrote his own am Main. Schreker consolidated his repu- librettos for his . His two settings tation as a leading German opera com- of Whitman’s verse, translated into poser in 1918 with . German by Hans Reisinger, are testa- Music critic Paul Bekker ignited a ments to Schreker’s ability to evoke firestorm of controversy by comparing fully poetry through music. These two Schreker to Wagner. In 1920 Schreker songs resemble a concise lyrical cantata was appointed director of the Hochschule more than two disparate lieder. The für Musik in Berlin, one of the most text of the first song of Vom ewigen prestigious music posts in Germany. Leben comes from the 12th poem of —“Roots and Leaves Them- By 1923, however, when he composed selves Alone”—in the ordering found in his two “lyrische Gesäge” on passages the final 1892 edition of Leaves of adapted from Walt Whitman’s Leaves Grass. The text of the second is found of Grass, Schreker’s reputation had in the sixth section of : begun to wane. His 1924 opera “A child said, ‘What is the grass?’” Using garnered only an equivocal success; his a sensuous harmonic idiom hovering next opera, , which delicately on the brink of premiered in 1928, was a disastrous paired with shimmering orchestral tim- failure. Due to right-wing pressure that bres, Schreker probes the metaphysical resulted from his father’s Jewish her- import of Whitman’s poetry in a manner itage, Schreker was forced from his post both insightful and achingly beautiful. Born October 12, 1872, in Down Ampney, England Died August 26, 1958, in London

A Sea Symphony Composed in 1903–09 Premiered on October 12, 1910, at the Leeds Festival, England Performance Time: Approximately 70 minutes

Instruments for this performance: 2 flutes, 2 piccolos, 2 oboes, 1 English horn, 2 clarinets, 1 E-flat clarinet, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 5 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (bass drum, side drum, crash cymbals, suspended cymbal, triangle), 18 violins, 6 violas, 6 cellos, 5 double basses, 2 harps, organ, chorus, and 2 vocal soloists

In 1892 Bertrand Russell recommended Unknown Region, was successfully per- Walt Whitman’s poetry to a fellow formed at the Leeds Festival in 1907; undergraduate at Trinity College, Cam- three years later his massive and origi- bridge: the aspiring young composer nal , A Sea Symphony, Ralph Vaughan Williams. Whitman’s was premiered at the same festival, con- poetry was well known in Britain by ducted by its nervous composer on that time. William Michael Rossetti, October 12, his 38th birthday. brother of both Christina and Dante Gabriel, published a bowdlerized selection Despite the precedent of Beethoven’s of verse drawn from the fourth edition of Ninth Symphony and Mahler’s Second Leaves of Grass in 1868. Whitman later and Third Symphonies, there was no repudiated these excisions, exclaiming, choral symphony as such by a British “Damn the expurgated books! I say composer when Vaughan Williams damn them!” began to sketch A Sea Symphony in 1903. Unlike its German predecessors, Vaughan Williams, who had been search- the chorus and vocal soloists were inte- ing for poetry that transcended the parlor- gral parts of Vaughan Williams’ con- bound interiority of much Victorian verse, ception of all four movements from the recognized at once that Whitman’s cele- beginning and pervade the texture bration of panoramic vistas and pan- throughout. The majestic opening is theistic rapture was exactly what he like the sudden revelation of a teeming needed in order to escape from the seascape that evokes Turner’s grandiose world of polite oratorios, cantatas, and nautical canvases. A quotation from anthems that made up the bulk of Elgar’s oratorio , British choral music in the 1890s. While at the words “And on its limitless, his teachers Charles Villiers Stanford heaving breast,” announces that this and Charles Wood had tentatively symphony is not mere tone-painting, begun setting Whitman’s poetry at the but rather a transformative voyage of end of the 19th century, Vaughan the spirit into transcendent and myste- Williams’ passionate love of this verse— rious realms. he carried a pocket volume of Whitman into the trenches during the First World Byron Adams is a professor of musi- War—resulted in a series of visionary cology at the University of Califor- scores. His “choral song,” Toward the nia, Riverside. THE Artists

LEON BOTSTEIN, Conductor RIC KALLAHER RIC (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 Orches- tra 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 music with the Royal Philharmonic was hailed by The Guardian and called “something special…in a crowded field” by Musicweb International. Leon Botstein has been music director and principal conductor of the Ameri- Mr. Botstein is the author of numerous can Symphony Orchestra since 1992. articles and books, including The Com- He is also music director of The pleat Brahms (Norton), Jefferson’s Orchestra Now, an innovative training Children (Doubleday), Judentum und orchestra composed of top musicians Modernität (Bölau), and Von Beethoven from around the world. He is co-artistic zu Berg (Zsolnay). He is also the editor director of Bard SummerScape and the of The Musical Quarterly. For his con- Bard Music Festival, which take place tributions to music he has received the at the Richard B. Fisher Center for the award of the American Academy of Performing Arts at Bard College, where Arts and Letters and Harvard Univer- he has been president since 1975. He is sity’s prestigious Centennial Award, as also conductor laureate of the Jerusalem well as the Cross of Honor, First Class Symphony Orchestra, where he served from the government of Austria. Other as music director from 2003–11. This recent awards include the Bruckner summer he assumed artistic directorship Society’s Julio Kilenyi Medal of Honor of the Grafenegg Academy in Austria. for his interpretations of that composer’s music; and the Mr. Botstein is also active as a guest Award for the Elevation of Music in conductor and can be heard on numerous Society. In 2011 he was inducted into recordings with the London Symphony the American Philosophical Society. SONYA GARZA DALLAS PADOVEN for the Vier Vier letzte as Pelleas, a role Das Paradies und die , Mahler’s , Symphony Mahler’s No 2, Peri , and Verdi’s Requiem. She will sing will She Requiem. Verdi’s and , she sings ’ Lieder in Schumann’s Peri Royal Opera House, and Mimì for the in Dresden and the Ham- burg State Opera. Mimì and Bess for the Opera, Violetta Metropolitan in National Opera in a new production of production new a in Opera National Pelléas et Mélisande he later sang with Opera de Oviedo , ), La Les with Carmina Le nozze Le ), ), Lucia di Dido and Don Gio- La bohème La Baritone La bohème A Midsummer Don ), Dido ( Soprano ), Lucia ( Die Zauberflöte ), Liù ( Liù ), ), Helena ( ), Mimì ( , debut at the Palm Beach ), Giulietta and Antonia ( , where he will sing songs of ), Contessa Almaviva ( Almaviva Contessa ), with the Mobile Symphony and Symphony Mobile the with ), and Donna Elvira ( ), while on the concert platform

La traviata Manon

EDWARD NELSON, EDWARD ANGEL ANGEL BLUE, Opera as the title role in in role title the as Opera in Stefan Herheim’s production of Norwegian National Opera as Dandini Francis Poulenc. He will return to the Cenerentola humaine Ne Quittez Pas: A Reimagined La voix Night’s Dream Night’s Lammermoor makes his Opera Philadelphia debut in ( Micaëla ( contes d’Hoffmann ( di Figaro Aeneas vanni In the 2018–19 season Edward Nelson Ms. Blue’s operatic roles include Violetta include roles operatic Blue’s Ms. International Festival. de Música, Seoul Arts Center, and ater an der Wien, Auditorio Nacional at the Walt Disney Concert Hall, The- cisco Opera, and Frankfurt Opera, and Scala Milan, Seattle Opera, San Fran- den, Opera, Teatro alla Vienna State Opera, Semperoper Dres- Philharmonic, , Cecilia, Munich Philharmonic, Israel tra dell’Accademia Nazionale di Santa London Philharmonic Orchestra, Orches- Orchestra, Philharmonic London formed with the , American American soprano Angel Blue has per- European debut at the Norwegian a recital of Lieder at the Four Arts Soci- Arts Four the at Lieder of recital a tra. In concert he will Burana sing the Boston Youth Symphony Orches- Recently Mr. Nelson made an acclaimed an made Nelson Mr. Recently ety in Palm Beach. and sing both Schaunard in Schaunard both sing and and Papageno in and covered at the Glyndebourne Festi- Symphony in Vaughan Williams’ Sea val. He made his Washington National Symphony. In his final season as an Opera debut as Maximillian in Francesca Adler Fellow at the , Zambello’s production of Candide and he sang mainstage performances of debuted at the Michigan Opera Theatre Malatesta in Don Pasquale, Yamadori in as the Count in Le nozze di Figaro. He Madama Butterfly, and roles in the world was also heard with the Milwaukee premiere of Dream of the Red Chamber.

AMERICAN SYMPHONY ORCHESTRA

Now in its 57th season, the American SummerScape Festival and the Bard Symphony Orchestra was founded in Music Festival. The orchestra has made 1962 by , with a mis- several tours of Asia and Europe, and sion of making orchestral music accessi- has performed in countless benefits for ble and affordable for everyone. Music organizations including the Jerusalem Director Leon Botstein expanded that Foundation and PBS. mission when he joined the ASO in 1992, creating thematic concerts that explore Many of the world’s most accomplished music from the perspective of the visual soloists have performed with the ASO, arts, literature, religion, and history, and including Yo-Yo Ma, Deborah Voigt, 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. ASO has also performed only existing recordings of some of the at the Richard B. Fisher Center for the rare works that have been rediscovered Performing Arts at Bard College in Bard’s in ASO performances.

BARD FESTIVAL CHORALE

The Bard Festival Chorale was formed its members have distinguished careers in 2003 as the resident 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 director of The Collegiate Chorale; international schedule as a conductor some of the highlights of his tenure of choral, operatic, and orchestral there include conducting a number of music. In 2015 he was named associate rarely performed operas-in-concert, conductor of The Orchestra Now while including Bellini’s Beatrice di Tenda, continuing his role as principal guest Rossini’s Moise et Pharaon, and, most conductor of the American Symphony recently, Boito’s Mefistofele. He con- Orchestra. From 2009–15 he was music ducted the New York premiere of ’ Toltec Symphony and Orchestra, Jerusalem Symphony, Amici Osvaldo Golijov’s Oceana, both at New York, Indianapolis Chamber Or- Carnegie Hall. His performance of chestra, and Tulsa Symphony Orches- Kurt Weill’s Knickerbocker Holiday tra, among others. at Alice Tully Hall was recorded live for Gaslight Records and is the only Mr. Bagwell has trained choruses for a complete recording of this musical. number of major American and inter- Since 2011 he has collaborated with national orchestras, including the Boston singer and composer Natalie Merchant, Symphony, Mostly Mozart Orchestra, conducting a number of major orches- Israel Philharmonic, San Francisco tras across the country, including the Symphony, Los Angeles Philharmonic, San Francisco and Seattle Symphonies. NHK Symphony (Japan), St. Petersburg Other recent performances in New Symphony, Budapest Festival Orches- York include conducting Philip Glass’ tra, American Symphony Orchestra, Another Look at Harmony at the Cincinnati Symphony Orchestra, Cincin- Park Avenue Armory, and leading The nati Pops Orchestra, and Indianapolis Little Opera Theatre of New York’s Symphony Orchestra. He is professor production of Rossini’s Opportunity of music and director of performance Makes the Thief. He has been guest studies at Bard College and Bard Col- conductor of The Cincinnati Symphony lege Conservatory of Music.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Jen Herman OBOE Cyrus Beroukhim, Nikki Federman Alexandra Knoll, Raymond Riccomini, Concertmaster Elise Frawley Principal Principal Suzanne Gilman Julia DeRosa Dent Pauline Kim Harris Melanie Feld, Thomas Hoyt Yukie Handa Eugene Moye, English Horn Elizabeth Nielsen Principal Diane Bruce Sarah Carter CLARINET Richard Clark, Ashley Horne Annabelle Hoffman Liam Burke, Principal John Connelly Maureen Hynes Principal Nicole Abissi Katherine Livolsi- Eliana Mendoza Benjamin Baron, Jeffrey Caswell, Bass Landau Tatyana Margulis E-flat Clarinet Trombone Ming Yang Christopher Cullen BASS Lino Gomez, Bass TUBA II John Beal, Principal Clarinet Kyle Turner, Principal Richard Rood, Jordan Frazier Principal Jack Wenger BASSOON TIMPANI Wende Namkung Louis Bruno Gina Cuffari, Benjamin Herman, Robert Zubrycki Richard Ostrovsky Principal Principal Yana Goichman Oleksiy Zakharov James Tsao FLUTE Gilbert Dejean, PERCUSSION Alexander Vselensky Laura Conwesser, Contrabassoon Jonathan Haas, Bruno Peña Principal Principal Nazig Tchakarian Rie Schmidt HORN Kory Grossman Diva Goodfriend- David Peel, Principal Charles Descarfino Koven, Piccolo Kyle Hoyt Javier Diaz William Frampton, Chad Yarbrough Principal Shelagh Abate Sally Shumway Adam Krauthamer, Rachel Riggs Assistant HARP CELESTE PERSONNEL ORCHESTRA Victoria Drake, Elizabeth DiFelice, MANAGER LIBRARIAN Principal Principal Matthew Dine Marc Cerri Cecile Schoon ORGAN ASSISTANT Kent Tritle CONDUCTOR Zachary Schwartzman

BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO ALTO TENOR BASS Nonie Donato Maya Ben-Meir Christopher Carter David Asch Margaret Dudley Sarah Bleasdale Sean Clark David Baldwin Lori Engle Yiselle Blum Jack Colver Jordan Barrett Jennifer Gliere Donna Breitzer Jack Cotterell Blake Burroughs Aine Hakamatsuka Katharine Emory John Des Marais Benjamin Cohen Manami Hattori Agueda Fernandez Mark Donato James Gregory Chloe Holgate Erica Koehring Ethan Fran Jonathan Guss Melissa Kelley Hannah Kurth John Kawa Paul Holmes Michele Kennedy Mary Marathe Matthew Krenz Aaron Ingersoll Lauren-Rose King Nicole Mitchell Eric William Lamp Douglas Manes Liz Lang Margaret O’Connell Mukund Marathe Andrew Martens Katherine Peck Elizabeth Picker Nathan Siler Michael Riley Rachel Rosales AnnMarie Sandy Kannan Vasudevan Aaron Theno Ellen Taylor Sisson Suzanne Schwing Tommy Wazelle Jason Thoms Elizabeth Smith Nancy Wertsch* Makoto Winkler Christine Sperry *Choral Contractor

ASO BOARD OF TRUSTEES

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

ASO ADMINISTRATION

Oliver Inteeworn, Executive Director James Bagwell, Principal Guest Conductor Brian J. Heck, Director of Marketing Zachary Schwartzman, Assistant Conductor Nicole M. de Jesús, Director of Development Richard Wilson, Composer-In-Residence Sebastian Danila, Library Manager Joshua Winograde, Vocal Casting Director Alice Terrett, Marketing Manager Carissa Shockley, Operations Assistant AMERICAN SYMPHONY ORCHESTRA PATRONS

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The American Symphony Orchestra Board of Trustees, staff, and artists gratefully acknowl- edge the following individuals, foundations, corporations, and government agencies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessi- ble 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 David E. Schwab II and Ruth David C. Beek and Gayle Jeanne Fisher Schwartz Schwab Christian New York City Department Dr. and Mrs. Thomas P. Simone Belda of Cultural Affairs (DCA) Sculco Yvette Bendahan New York State Council on Janet Zimmerman Segal Adria Benjamin the Arts (NYSCA) Joseph and Jean Sullivan Daniel and Gisela Berkson Open Society Foundations Siri von Reis Mona Yuter Brokaw Stephen M. Brown STOKOWSKI CIRCLE CONTRIBUTORS Marjorie Burns Anonymous Anonymous (3) Moshe Burstein Rachel and Shalom Kalnicki Gary Arthur CA Technologies Dimitri B. and Rania Jeffrey Caswell Richard C. Celler Papadimitriou Roger Chatfield Barbara and Peter Clapman Patricia E. Saigo Max and Eliane Hahn Bette Collom and Anthony Felicitas S. Thorne Ashley Horne Menninger Mr. and Mrs. Richard E. Adnah G. and Grace W. Laura Conwesser Wilson Kostenbauder Michael and Frances Curran Dr. Coco Lazaroff William Diggs BENEFACTORS Nancy Leonard and Herbert and Mary Donovan Anonymous Lawrence Kramer Paul Ehrlich The David & Sylvia Steve Leventis Richard Farris Teitelbaum Fund, Inc. Peter A. Q. Locker Lynda Ferguson The Kurt Weill Foundation Stephen J. Mc Ateer Martha Ferry for Music, Inc. Christine Munson Laura Flax Kurt Rausch and Lorenzo Jeffrey F. Friedman PATRONS Martone Helen Garcia Anonymous (3) Roland Riopelle and Leslie Ann and Lawrence Gilman Joel I. and Ann Berson Kanter June O. Goldberg Connie S. P. Chen Harriet Schon Diva Goodfriend-Koven Gary M. Giardina Martha and David Schwartz Gordon Gould Arthur S. Leonard Alan Stenzler Greenwich House, Inc. Dr. Pamela F. Mazur and Michael and Judith Thoyer John L. Haggerty Dr. Michael J. Miller Mr. and Mrs. Jon P. Tilley Laura Harris David C. Pixley, in honor of Robert and Patricia Ross Linda Herskowitz Dorothy Pixley Rothschild Weiss Hudson Guild, Inc. Sara Hunsicker SUSTAINERS SUPPORTERS George H. Hutzler Anonymous (4) Anonymous (13) Jewish Communal Fund Veronica and John Frankenstein American Express Gift Cassondra Joseph Stephen M. Graham Matching Program Ronald S. Kahn IBM Corporation Bernard Aptekar Robert and Susan Kalish Doug B. Jones Marian D. Bach Dr. Roses E. Katz Erica Kiesewetter John and Joanne Baer Robert and Charlotte Kelly Patricia Kiley and Edward The Bank of America Robert Keohane Faber Charitable Foundation David Kernahan Jeanne Malter Reina Barcan Irving and Rhoda Kleiman Joanne and Richard Mrstik Carol Kitzes Baron Caral G. and Robert A. Klein James and Andrea Nelkin Ruth Baron Peter Kroll Anthony Richter Mary Ellin Barrett Dr. Carol Lachman Dr. Robert Basner Shirley Leong Linda Lopez Mr. and Mrs. Jack Ullman Theresa Johnson William Lubliner Larry A. Wehr Ginger Karren Joyce F. Luchtenberg Janet Whalen Robin Katz Alan Mallach Victor Wheeler Peter Keil Elizabeth Mateo Donald W. Whipple Kaori Kitao Carolyn McColley Leonard and Ellen Zablow Pete Klosterman Alan B. McDougall Alfred Zoller Frederick R. Koch Clifford S. Miller Seymour and Harriet Koenig Myra Miller FRIENDS Mr. and Mrs. Robert LaPorte Phyllis and Stanley Mishkin Anonymous (4) David Laurenson Lucy M. and Martin L. Murray Madelyn P. Ashman Walter Levi Kenneth Nassau Rudolph Baker Judd Levy Michael Nasser Stephen Blum José A. Lopez Karen Olah Mrs. A. Peter Brown Patricia Luca Clarence W. Olmstead, Jr. Diane Bruce and Sarah Luhby and Kathleen F. Heenan Joan Brunskill Nancy Lupton Mather Pfeiffenberger Stephen J. and Elena Chopek Dr. Karen Manchester Roger and Lorelle Phillips Nancy L. Clipper Richard and Maryanne David R. Pozorski and Robert Cohen Mendelsohn Anna M. Romanski Concerts MacMusicson John D. Metcalfe Anita Randolfi Patricia Contino Mark G. Miksic Wayne H. Reagan Lois Conway Alex Mitchell Leonard Rosen and Phyllis Judy Davis David Morton Rosen Thomas J. De Stefano Michael Nassar Jack Rosenthal and Susanne Diamond Leonie Newman Holly Russell Ruth Dodziuk-Justitz and Sandra Novick Rochelle Rubinstein Jozef Dodziuk Jane and Charles Prussack Joe Ruddick and Barton Dominus Bruce Raynor Mary Lou Schemp Jonathan F. Dzik Martin Richman Michael T. Ryan Lee Evans Catherine Roach Henry Saltzman ExxonMobil Foundation John Roane Peter Lars Sandberg Anne Stewart Fitzroy Dr. and Mrs. Arnold Rosen Nina C. and Emil Scheller Donald W. Fowle Leslie Salzman Sharon Schweidel Christopher H. Gibbs Dr. and Mrs. Herbert C. Gerald and Gloria Scorse Goldman, Sachs & Co. Schulberg Margret Sell Robert Gottlieb Madeline V. Taylor Georgi Shimanovsky Michael and Ilene Gotts Renata and Burt Weinstein Bruce Smith and Paul Castellano Mr. and Mrs. Sidney Greenberg David A. Wilkinson Gertrude Steinberg John Hall Ann and Doug William Suzanne Steinberg Donald Hargreaves Kurt Wissbrun Susan Stempleski Andrée Hayum Dagmar and Wayne Yaddow Hazel C. and Bernard Strauss John Helzer Lawrence Yagoda Robert Sweeney Robert Herbert Mark and Gail Zarick Margot K. Talenti Diana F. Hobson Theodore and Alice Ginott Christopher Hollinger List current as of Cohn Philanthropic Fund Drs. Russell and Barbara October 5, 2018 Catherine Traykovski Holstein Susan and Charles Tribbitt Cyma Horowitz

A Walt Whitman Sampler has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY.

The Kurt Weill Foundation for Music, Inc. promotes and perpetuates the legacies of Kurt Weill and Lotte Lenya by encouraging an appreciation of Weill’s music through support of performances, recordings, and scholarship, and by fostering an understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts. It administers the Weill-Lenya Research Center, a Grant and Collaborative Performance Initiative Program, the Lotte Lenya Competition, the Kurt Weill/Julius Rudel Conducting Fellowship, the Kurt Weill Prize for scholarship in music theater; sponsors the Kurt Weill Fellowship at the Stage Directors and Choreographers Foundation and Kurt Weill/Lotte Lenya Artists at various young artist training programs in the US; and publishes the Kurt Weill Edition and the Kurt Weill Newsletter. Building upon the legacies of both Weill and Lenya, the Foundation nurtures tal- ent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Since 2012 the Kurt Weill Foundation has administered the musi- cal and literary estate of composer . www.kwf.org

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 The City of New York with 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. 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 646.244.8028.

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, 646.244.8028 or [email protected].

ASO’S 2018–19 VANGUARD SERIES AT CARNEGIE HALL

Friday, January 25, 2019 Sounds of the American Century with Charlie Albright, Piano New York City composers of the mid-20th century sought to define a new American sensi- bility in orchestral music. The abstract works of Robert Mann and Jacob Druckman explored the possibilities of orchestral color and sound. Vivian Fine and William Schuman brought their compositional craft to the classical tradition of orchestral music. Robert Mann – Fantasy for Orchestra Jacob Druckman – Prism Vivian Fine – Concertante for Piano and Orchestra (New York Premiere) William Schuman – Symphony No. 3

Friday, March 22, 2019 The Key of Dreams with the Bard Festival Chorale Based on the French play Juliette, ou La clé des songes (Juliette, or The Key of Dreams) by Georges Neveux, Martinů’s operatic masterpiece Julietta, one of the greatest 20th-century works for the stage, explores the intersection of dreams and reality. Bohuslav Martinů – Julietta (U.S. Premiere in Czech)