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Home , Blair Brown, Hollywood Bowl Orchestra, John Corigliano, John Mauceri, Second Rhapsody

Presents

Brooklyn Goes Hollywood Saturday, January 15, 2005, 8:00 p.m. Brooklyn Academy of Music

John Mauceri, conductor

HERRMANN Prelude to North by Northwest (1911-1975)

COPLAND I Compiled FREED The Heiress - Suite (1900-1990)

SCHOENBERG Chamber No. 2, Op. 38 (1874-1951 ) Adagio Con fuoco

-Intermission-

HERRMANN I MAUCERI Psycho - A Narrative for String

SCHOENBERG Theme and Variations, Op. 43b

GERSHWIN I KRASKER Shall We Dance-Watch Your Step Ballet (1898-1937) (New York Premiere)

-Epilogue-

JOHN CORIGLIANO Altered States-Love Theme (1938- )

Please join us immediately following the performance for FOR GOOD MEASURE, a post-concert talk with moderated by Brooklyn Philharmonic Artistic Advisor, Evans Mirageas.

Season Sponsor HSBC Bank USA

Yamaha is the Official Piano of the Brooklyn Philharmonic 2004-2005 Season Print Media Sponsor: Courier-Life Publications 2004-2005 Season Printing Sponsor: CF Group 7 BROOKLYN philharmonic 50th ANNIVERSARY SEASON

NOTES ON THE PROGRAM By Evans Mirageas, Brooklyn Philharmonic Artistic Advisor

Brooklyn Goes Hollywood - (1911-1975): An Introduction Prelude to North by Northwest Tonight's concert celebrates another aspect of The collaboration between New Yorker Bernard the enormous creativity Brooklyn has given the Herrmann and Londoner Alfred Hitchcock has world. The infant film industry found fertile entered the realm of legend. Their highly suc­ ground in Brooklyn, Queens and Manhattan. In cessful run of films together included Psycho, the early years of the 20th century tiny studios, Mamie, Vertigo, The Man Who Knew Too Much, often no more than storefronts, dotted many of and North by Northwest. Herrmann was famous the boroughs. With success came the need for for producing the unexpected-unusual orchestra­ bigger facilities, outdoor locations and more con­ tions, innovative use of recording technology sistent weather. California beckoned and even­ and most of all, music that may seem to be tually dominated the film industry but it all began superficially unsuited to a scene, but when here! viewed with the image is absolutely right. Live and recorded music was an important Such is the case with the Prelude or Main adjunct to the early si lent films. Curiously, when Title to their 1959 film, North by Northwest. 'talkies' began in the late 1920's, there was ini­ Hitchcock supposedly wanted a tial resistance to specially written and performed 'Gershwinesque' jazzy opening sequence to music, integrated into the soundtrack of the film. convey the hustle and bustle of New York. Eventually, music won out and quickly became a Herrmann responded with nothing less than a vital part of the overall soundtrack. While this is Spanish Fandango (!) whose nervous energy not the place for a detailed history of film music perfectly sets up the thriller to come. As was the it is sufficient to say that the potential fame and case in many of his later films, Hitchcock himself fortune of writing for films inspired generations appears on screen in a cameo moment. In of composers who have dedicated a great deal North by Northwest it occurs during this Prelude of their creativity to film music, some exclusively as we see 'Hitch' run to try and catch a bus just and others as part of a va ried career in music. before it pu lls away. He is too late. The doors Brooklyn has given the world its share of these slam in his face and the bus drives off! creative artists. Tonight we celebrate Brooklyn's own , John Corigliano and AARON COPLAND (1900-1990): as well as Manhattan-born The Heiress - Suite Bernard Herrmann, who went to school in the (compiled by Arthur Freed) Bronx and is buried in Brooklyn. And yes, Arnold Aaron Copland first tried his hand at film scoring Schoenberg, who was certainly not born in any in 1939 with a documentary film ca lled The City, of the Five Boroughs but read on for that curi­ shown at The New York World's Fair. He would ous, yet potent connection. go on to write several more scores including, Of We are pleased to welcome back to the podi­ Mice and Men, The Red Pony, Our Town and um John Mauceri who holds the positions of North Star, and his Oscar winning score for The Music Director both at The Pittsburgh and Heiress. This 1949 film, directed by William the Symphony. Mr. Mauceri has Wyler and starring Olivia de Havilland, devoted much of his career to championing music Montgomery Clift and Ralph Richardson is con­ of composers who were banned or murdered by sidered by most to be Copland's finest work for Hitler's Third Reich as well as being a passionate the screen. It is haunting, evocative and appo­ advocate of the rich legacy of great music written site to the plot, adapted from Henry James for the stage and screen. Mr. Mauceri first con­ novella Washington Square. Director Wyler later ducted the Brooklyn Philharmonic in our recounted that he considered it quite a coup to September 11 commemorative concert in 2002. 'land' Copland as his composer, especially in the '8 NOTES ON THE PROGRAM nervous 'Red Scare' atmosphere of the late dates Schoenberg's development of the twelve­ 1940's. Copland was among the hundreds of tone method of composition. In 1911 and 1916, artists wrongfully accused of Communist Party Schoenberg returned to the Second Chamber membership and forced to testify in Congress (in Symphony, but cou ld not complete it. Finall y, in 1953, the same year his music was pu lled from 1939, at the urging of his friend , the Metropolitan the Eisenhower Inauguration festivities for politi­ Opera conductor Fritz Stiedry, Schoenberg cal reasons). In 1949, Wyler had to lobby vigor­ examined the first movement and set to work on ously with the Paramount 'brass' to hire completing the Symphony in Hollywood. Th e Copland. In addition to Copland's Academy resulting two-movement work is a tightly argued Award for 'Scoring of a Dramatic Picture' as it score, integrating the warm , rich harmonies of was called then, Olivia de Havilland won for late Romanticism with transparent textures and Best Actress and Edith Head for Costume a rhythmically lively, almost neo-classic spirit. Design. Stiedry gave the world premiere at a concert of the Orchestra of the Friends of New Music on (1874-1951): December 15, 1940 in Carnegie Hall. Chamber Symphony No.2, Op. 38 ' As an interesting sidelight, Schoenberg's When planning this concert John Mauceri sug­ presence in Los Angeles was felt in film music gested we include two 'Hollywood' compositions fairly quickly. Schoenberg himself may have not by Arnold Schoenberg. At first the connection written film scores, but his pupils Alfred between Bernard Herrmann, George Gershwin Newman, David Raksin and others felt inspired and Arnold Schoenberg was not clear to this to include atonal and twelve-tone music in their writer. Mr. Mauceri quickly explained that scores. As John Mauceri points out, much of Gershwin and Schoenberg were great personal Stothart's original music for The Wizard of Oz is friends and that Bernard Herrmann was an highly chromatic and atonal, perfectly su ited to early champion on Schoenberg's music, con­ scarier moments in Oz. ducting this Second Chamber Symphony as part of his CBS radio series in the 1940's-at a time BERNARD HERRMANN: when very little of Schoenberg's music was Psycho - A Narrative for being played anywhere. (reconstruction by John Mauceri) Arnold Schoenberg called Hollywood home In 1999 when John Mauceri was invited to con­ from 1934 until his death in 1951. He was one duct a concert celebrating the centenary of of the many 'Exiles in Paradise' an illustrious Alfred Hitchcock it was on ly natural that he group of refugees from Hitler's Europe, a list would turn to the path-breaking music Bernard that included Alma Mahler (widow of the com­ Herrmann wrote for Psycho. However, when poser), conductor Otto Klemperer and the Mauceri examined the score sent by the pub­ philosopher Thomas Mann. While it never came lisher it was clear that the music usually made to pass, Schoenberg was almost certainly available for live performance was only a set of approached to write film music, most likely for 'cues'. For his famous 1968 recording of a Suite the 1937 MGM film The Good Earth. Sketches from Psycho for Decca Phase Four, Bernard for the music were begun, but negotiations Herrmann took the original motives from his film broke down and the score was eventually hand­ score and wrote a continuous composition for ed over to the estimable American composer strings. It is this version we hear on tonight's , who himself would go on to concert which received its world concert pre­ win an Oscar for The Wizard of Oz in 1939.* miere with John Mauceri and the Hollywood When Schoenberg arrived in Hollywood, he Bowl Orchestra in the Dorothy Chandler had in his possession the first movement of an Pavilion , Los Angeles in 1999. unfinished Chamber Symphony, begun in 1906, Psycho nearly instantly became a cult classic immediately after the completion of the First upon its release in 1960. It is rightly considered Chamber Symphony, Op. 9. This music pre- to be one of Hitchcock's best films , and one of q BROOKLYN philharmonic 50th ANNIVERSARY SEASON

Herrmann's finest achievements. However, this swagger reminiscent of the genuinely tonal film and its music did not have an easy birth. music of his dear friend George Gershwin, Herrmann once told director Brian de Palma, "I especially the last variation. remember sitting in a screening room after see­ In the end , the world premiere of the original ing the rough cut of Psycho. Hitch was nervous­ ve rsion was given by a professional band, the ly pacing back and forth, saying it was awful and famous Edwin Franko Goldman Band here in that he was going to cut it down for his television New York. Knowing that band performances show. He was crazy. He didn't know what he would be few and far between, Schoenberg (on had. ·Wait a minute ', I said, 'I have some ideas. a further commission from Serg~e Koussevitzky) How about a score completely for strings? I re-arranged this masterful and exuberant piece used to be a violin player you know .. .' Hitch was for symphony orchestra. He worked on both ver­ crazy then. You know, he made Psycho with his sions simultaneously in the summer of 1943. own money and he was afraid it was going to be On October 20, 1944 Koussevitzky gave the a flop. He didn 't even want any music in the premiere of the orchestral version with the shower scene. Can you imagine that?" Boston Symphony. The band version was pre­ The score that resulted is a masterpiece of miered on June 27, 1946 in a Goldman Band economical use of instruments deployed to Concert in Central Park. achieve the greatest possible effect. Bernard Herrmann died on Christmas Eve, 1975 just GEORGE GERSHWIN (1898-1937): after finishing work on his score for Martin Shall We Dance-Watch Your Step Ballet Scorcese's film Taxi Driver. (New York Premiere) "Go west young man and grow up with the ARNOLD SCHOENBERG: country"* rang true for George and Ira Theme and Variations, Op. 43b Gershwin in 1936. The California sun and work Life as an 'Exile in Paradise' in the 1930's and in the flourishing film industry tempted the tal­ 40's was not easy for Arnold Schoenberg. Very ented brothers to return to Hollywood where few conductors and instrumentalists were brave they had written their first film Delicious in enough to program his music and new commis­ 1931. While the movie itself, starring Janet sions were not exactly pouring into his mailbox. Gaynor, was not a hit, Gershwin derived a con­ Teaching at the University of Southern California cert work eventually called Second Rhapsody eventually ameliorated his financial concerns from the film . somewhat, but here was a composer whose pri­ By 1936 George Gershwin was arguably the mary desire was to compose and he was denied most famous and popular American composer the recognition he felt was his. A retrospective in any field , but Hollywood, was suspicious. look at Schoenberg's output in the final seven­ With two less than successful New York musi­ teen years of his life reveals a creativity undi­ cals in previous seasons and the 'highbrow' minished and a frequent return to the world of opera (which initially failed with tonality, both by choice and necessity. the New York critics), did the Gershwins still During World War II Schoenberg's son-in-law have what it took to write a popular tune? The Felix Greissle was working for the publisher G. answer was a resounding yes. In the short time Schirmer in New York. In 1943, at his urging , in Hollywood before his life was tragically cut they came forward with a commission. The brief short by a brain tumor in July of 1937, George was simple-write a work playable by school and Ira wrote no fewer than twenty-four songs, symphony bands of the United States. for three films including: They All Laughed, Let's Schoenberg responded with a set of variations which was full of invention and technical chal­ *This famous quote, often attributed to Horace Greeley, lenges, far too technically complex for young was actually first used by journalist John B.L. Soule in amateurs. It was also filled with energy and an 1851 editorial in the Terre Haute Express. NOTES ON THE PROGRAM

Call The Whole Thing Off, They Can 't Take JOHN CORIGLIANO (1938- ): That Away From Me, , Nice Work If Altered States - Love Theme You Can Get It, and Love Is As an epilogue to our concert we note with Here to Stay. pleasure that the creativity continues into our The 1937 RKO film Shall We Dance was a own day. Brooklyn-born and Manhattan resi­ vehicle for the peerless team of Fred Astaire dent, John Corigliano wrote his first film score in and Ginger Rogers. Astaire was cast as a 1991 at the invitation of director . world-renowned ballet dancer and Rogers as a Russell recalls : "After a tiring day at the musical comedy headliner. Rogers' manager Burbank studios working on Altered States I concocts a phony romance between his client was out for an evening of relaxation with a and Astaire in order to garner pUblicity for them much loved and familiar masterpiece, the mem­ both. Eventually, of course, the twosome falls in ory of which was blown into oblivion by the love for real , but not before a cornucopia of music of a name totally unfamiliar to me-John confusion, complications and misunderstand­ Corigliano. Reading from my program that he ings. The film ends with a virtuoso ballet in the was a contemporary composer, I braced myself best Hollywood style in which Astaire and for thirty minutes of plinks and plunks that pass Rogers are reunited. It is a continuous musical for music these days. I was in for a surprise, a sequence and the last orchestral music George shock, a revelation ... ".** The music Russell Gershwin scored before he died. John Mauceri heard that fateful evening was John Corigliano's and his longtime collaborator and musical Clarinet . The composer recalls that sleuth Tommy Krasker created a concert per­ Russell phoned him the next day and offered forming edition of this music and gave the world him the assignment. premiere at The Hollywood Bowl in 1991. Altered States is an often disturbing film George Gershwin died on July 11 , 1937. The depicting one man's physical and hallucinatory next day on a nationally broadcast tribute to journey through the entire history of human Gershwin, his friend and mentor Arnold evolution. made his bold film debut Schoenberg said: as the psycho-physiologist who Eddie Jessup "George Gershwin was one of these rare who plays guinea pig to his own experiments; kinds of musicians to whom music is not a mat­ Blair Brown is his wife, whose devotion is just ter of more or less ability. Music, to him, was strong enough to bring him back from the most the air he breathed, the food which nourished altered state imaginable. him, the drink that refreshed him. Music was Not unlike Bernard Herrmann, John what made him feel and music was the feeling Corigliano has expanded the way in which he expressed. Directness of this kind is given music for film is written and played. He invented only to great men. And there is no doubt that new notation techniques for this score and cre­ he was a great composer. What he has ated a sound world that matched the phantas­ achieved was not only to the benefit of a magoric mindscape of Russell's onscreen national American music but also a contribution images. One exception is the serenely beautiful to the music of the whole world. In this mean­ Love Theme, an oasis of calm in the midst of ing I want to express the deepest grief for the the experimental mayhem. deplorable loss to music. But may I mention that I lose also a friend whose amiable person­ ality was very dear to me."

" From the booklet for th e original soundtrack recording of Altered States '{ BROOKLYN philharmonic 50th ANNIVERSARY SEASON

BROOKLYN PHILHARMONIC The Walls," developed in partnership with the One of the nation's premier music ensembles, Brooklyn Museum of Art; "Music Off The the Brooklyn Philharmonic continues to celebrate Shelves," with the Brooklyn Public Library; and its 50th-Anniversary as a vital presence in the "Music In The Sanctuaries," with diverse houses cultural life of the New York metropolitan area. of worship. The orchestra continues to Devoted to bringing music to the entire Brooklyn collaborate with the Brooklyn Museum of Art in community, the Philharmonic serves the bor­ the wildly popular "First Saturday" events, where ough's cultural and educational communities Brooklyn Philharmonic musicians and guest through partnerships with 's artists perform in spaces that provide arresting Department of Education, Brooklyn Museum of context for themes related to upcoming orchestra Art, Brooklyn Public Library and Brooklyn concerts at BAM. Academy of Music, among other organizations. The Brooklyn Philharmonic was founded in For the past five decades, the Brooklyn 1954 by conductor Siegfried Landau. Mr. Philharmonic has played a leading role in the Landau programmed many premieres during his presentation of innovative and thematic program­ tenure and embraced the Brooklyn tradition of ming, receiving 21 AS CAP Awards over the last new and adventurous programming. Siegfried 23 years for "Adventurous Programming of Landau was succeeded by Lukas Foss, now the Contemporary Music." Since its 1954 inception, Philharmonic's Conductor Laureate, who opened audiences have embraced the Brooklyn his first season with a 4-hour Bach marathon. Philharmonic's commitment to the concept of the Marathons of Beethoven, Mozart and orchestra as a contemporary performance Tchaikovsky, as well as evenings of Baroque, ensemble, emphasizing important present-day Romantic, American, Viennese and Parisian music, as in the decades of Beethoven and music followed. Twentieth-Century repertoire Brahms. The Philharmonic has premiered over became a trademark of his programming and his 150 works, including 61 commissions. "The "Meet the Moderns" series was a national show­ Brooklyn Band is something different: devoted, case for contemporary music. Dennis Russell beautifully, wholly professional," salutes The New Davies succeeded Mr. Foss in 1991, and the York Times. Philharmonic achieved new prominence during For its 50th-Anniversary, the Philharmonic Davies's tenure as Resident Orchestra of the continues to pay tribute to the Brooklyn commu­ Brooklyn Academy of Music. nity that has supported it since its inception. In 1996, the Brooklyn Philharmonic received Celebrating Brooklyn's contribution to the world the American Symphony Orchestra League's of music, four mainstage concerts and one spe­ Morton Gould Award for Innovative cial performance presented in conjunction with Programming, bestowed annually upon a single the Brooklyn Academy of Music are offered this American orchestra. That same year, Robert season, each defining the community's Spano was appointed Music Director. Mr. unchangeably unique spirit. In addition to the Spano is widely credited with bringing the mainstage season, the Philharmonic continues orchestra to serious international attention. its long tradition of community engagement with "Robert Spano's innovative programming has concerts and educational activities planned turned the Brooklyn Philharmonic from a throughout the borough. respected ensemble in an outer borough into an In 2001 , the Brooklyn Philharmonic launched essential contributor to the cultural life of an ambitious series of Community Concerts and greater New York" () . Partnerships for Music Education, holding The Brooklyn Philharmonic has been featured musical events in schools, museums, churches twice on CBS's Late Night With David Letterman, and other sites across the borough. In its 50th­ as well as on CBS Sunday Morning, PBS's City Anniversary season, the Philharmonic has Arts, NBC News and A&E's Breakfast with the continued to increase its circle of community Arts. partnerships through programs like "Music Off Id- WHO'S WHO

JOHN MAUCERI, Music Director of The Pittsburgh Opera and Principal Conductor of the , was born in New York City and graduated from . The position of Principal Conductor of the Hollywood Bowl Orchestra was created for him by the Association in 1991 . Together they have per­ formed more than 275 times at the historic venue, to an audience of more than four million people, and toured Japan and South America. Mauceri has conducted many of the world's greatest symphony including the , London Symphony Orchestra, the orchestras of Chicago, Philadelphia, and the Israel Philharmonic; he (Waxman, Rozsa , Herrmann, North). has led opera companies including the Mr. Mauceri writes frequently on opera and , , music theater. Most recently, he delivered a Lyric Opera of Chicago, Deutsche Oper Berlin, paper at the American Musicological Society's and the Royal Opera Covent Garden national conference on twentieth century opera and was the first music director of the and his paper "Verdi for the Twenty-first American Symphony to succeed its founding Century" was published in Florence, Italy. conductor, , with whom he One of the worlds's most honored musi­ had studied. In addition, Mauceri was the cians; Mauceri has received Grammy, Tony, music director of the Center's orches­ Olivier, Drama Desk, Emmy, Diapason d'or, tras as well as the Washington Opera. He was Billboard, Cannes, Edison Klassiek, and the first American to be appointed music direc­ Deutsche Schall platten awards. He is a mem­ tor of an opera house in Great Britain (Scottish ber of the advisory panel of the Opera) as well as Italy (, Turin). Edition and the American Institute of Verdi At the age of 22 , Mauceri was appointed to Studies and, in 1999, was a fellow of the the faculty of Yale University, where he taught American Academy in Berlin. for 15 years. In 1971 he became a conducting Mauceri was selected as a Voice of the fellow at Tanglewood , where he studied with Millennium by CNN and CNN-International, and Bruno Maderna and . From a Standard-bearer of the Twenty-first Century 1972 until his death in 1990, Leonard Bernstein by the classical station of The New York Times , chose Mauceri to conduct and edit his music in WQXR. He made his debut with the Brooklyn many of the music capitals of the world, includ­ Philharmonic on September 11 , 2002 in a spe­ ing Vienna, Paris, Milan, London , and New cial memorial concert in Prospect Park. York. Mauceri recently appeared celebrating Mauceri has championed the restoration and Dame Joan Sutherland on the nationally tele­ performance of music in many diverse styles, vised Kennedy Center Honors and next week including the music of , Debussy, he will head to Leipzig for his 6th annual Stockhausen, Scriabin, Ellington and Gershwin. appearance with the Gewandhaus Orchestra. He has also focused his attention on refugee composers banned by the Nazi reg ime (Schulhof, Weill, Schoenberg, Krenek, Korngold ) as well as composers for the cinema I;; BROOKLYN phHharmoniC SOth ANNIVERSARY SEASON

BROOKLYN PHILHARMONIC

VIOLI N BASS TROMBONE Brennan Sweet, Concert Joseph Bongiorno' Hugh Eddy' Master Gregg August Richard Chamberlain Diane Bruce Judith Sugarman Lawrence Benz Carlos Villa Gail Kruvand Moye Fritz Krakowski TUBA Claudia Hafer FLUTE Andrew Seligson' Sander Strenger Katherine Fink' Deborah Wong David Wechsler TIMPANI Ann Labin Dan Gerhard Richard Fitz' Cecilia Hobbs Gardener Sarah Schwartz PERCUSSION Randall Wolfgang' James Preiss' VIOLIN II Dennis Andersen William Trigg Deborah Buck' Pedro Diaz David Frost Katherine Hannauer Ray Marchica Eugenie Seid Kroop CLARINET Shinwon Kim Steven Hartman' HARP Sebu Sirinian Paul Garment Karen Lindquist' Rena Isbin Lino Gomez Sashka Korzenska AI Hunt PIANO Elizabeth Nielsen Ken Bowen Heather Ann Bixler SAXOPHONE Christopher Oldfather Lino Gomez VIOLA Dennis Anderson PERSONNEL MANAGER Sarah Adams' Paul Garment Jonathan Taylor Ah Ling Neu AI Hunt Veronica Salas LIBRARIAN Alexander Rees BASSOON David Carp Jessica Troy Frank Morell i' Juliet Haffner Jeff Marchand Leslie Tomkins Maxine Roach FRENCH HORN Paul Ingraham' CELLO Scott Temple Chris Finckel' Francisco Donaruma Lanny Paykin Kaitlin Mahony Peter Rosenfeld Sarah Hewitt Roth TRUMPET Robert Larue Jim Stubbs' Michael Finckel Wayne Dumaine Richard Clymer ' Principal WHO'S WHO

BROOKLYN PHILHARMONIC

BOARD OF DIRECTORS ADMINISTRATION

J. Barclay Collins II , Chairman Executive Office Catherine M. Cahill , Chief Executive Officer Craig G. Matthews, Chairman Emeritus Shannel Cox, Executive Assistant to CEO and Board Stanley Kaplan, Chairman Emeritus Thomas Fordham, Business Manager Robert C. Rosenberg, Chairman Emeritus I. Stanley Kriegel , Honorary Chairman Artistic, Operations, Education and Community Engagement Donald H. Elliott, Vice Chairman Lee Ellen Hveem , General Manager John Morning, Vice Chairman Eva ns Mi rageas, Artistic Advisor Greg Pierson, Manager of Education and Joseph Rosalie, Treasurer Community Engagement Scott Nechemias, Production Manager Kenneth Adams Jonathon Taylor, Personnel Manager Scott Ageloff David Carp, Librarian Gina Bolden-Rivera Lou Bruno Development Sheri P. Chromow Maria Watson , Director of Development John Corigliano Lisa Kim, Manager of Institutional Giving Thomas Dargan Hon. Mary McGowan Davis Marketing and Communications Scott El kins Bonnie Barrett, Director of Marketing and Patrick Fallon Communications Timothy Gilles Janet Fisher, Public Relations Consultant Michael Gi lligan Thomas Johnstone, Development and Marketing Jules Hirsh Coordinator Daniel Holt Maurice Edwards, Archivist Jerry Jacobs Christoph M. Kimmich National Public Relations Representative Gloria Messinger Kirshbaum Demler & Associates, Inc. Barbara Koz Paley Anthony Quaranta Nancy Schuh Robert Spano Dawn Upshaw Cecille Wasserman T. Michael Wickersham Wayne C. Winborne Judy M. Witt Richard J. Wood

{5 philharmonic BROOKLYN 50th ANNIVERSARY SEASON

BROOKLYN PHILHARMONIC SPONSORS This year marks the 50th Anniversary of the Brooklyn Philharmonic. We salute the many friends who will support the orchestra during this milestone year. Their support makes pos­ sible dynamic concerts, critically-needed education programs, and extensive community engagement activities that will reach more than 75,000 people this year. The entire Brooklyn Philharmonic family thanks the individuals, corporations, foundations and gove'rnment agen­ cies listed below who have provided vital annual support.

2004-2005 Season Sponsors

50th Anniversary Sponsor HSBC a. Print Media Sponsor Printing Sponsor COURIER-LIFE PUBLICATION

Official Piano _YAMAHA

Public Funds Provided By:

United States Department of Educa tion ~ ~ NATIONAL NYSCA ENDOWMENT FOR TH E ARTS

New York State Assembly

New York City Council

Brooklyn Borough President Marty Markowitz

IL SUPPORTERS

LEADERSHIP GIFTS BENEFACTOR ($100,000 and Above) ($5,000-$9,999) Anonymous Scott Ageloff Booth Ferris Foundation The Barker Welfare Foundatuion Carnegie Corporation Gina Bolden-Rivera and Orlando Rivera The Andrew W. Mellon Foundation Brookfield Properties Corporation New York City Department of Cultural Affairs Samuel Freeman Chartiable Trust New York City Council TImothy and Sealy Ann Gilles The Hallen Construction Co., Inc. CONDUCTOR'S CIRCLE Daniel Holt ($50,000- $99,999) Rita J. and Stanley H. Kaplan Family Foundation Louis Calder Foundation Music Performance Fund CF Group The New York Times Company Foundation Courier-Life Publications Pfizer Inc and the Pfizer Foundation The Hearst Foundation Phoenix Beverages HSBC Bank USA Foundation Independence Community Foundation Trump Management, Inc. The John S. and James L. Knight Foundation Cecille Wasserman National Endowment for the Arts Wayne C. Winborne New York State Council on the Arts A. Lorne Weil Rockefeller Brothers Fund The Fan Fox and Leslie R. Samuels Foundation, Inc. PARTNER Robert Spano ($2,500-$4,999) United States Department of Education Robert and Barbara Berger Kevin and Patricia Burke SOLOIST The Gladys Krieble Delmas Foundation ($20,000-$49,999) Georgetown Company Amerada Hess Richard and Dorothy Hulbert Animating Democracy/Americans for the Arts Prudential Securities Brooklyn Borough President Marty Markowitz Michael Tuch Foundation, Inc. Burson-Marsteller Richard Wood Aaron Copland Fund for Music, Inc. Mary Flagler Cary Charitable Trust PATRON J. Barclay Collins, II , Esq. ($1,000- $2,499) Con Edison American Symphony Orchestra League Donald H. Elliott The Arthurs/Kessler Family Charitable Fund JP Morgan Chase ASCAP Award for Adventuresome Programming Keyspan Energy Leslie Beller Charlotte and I. Stanley Kriegel Arthur C. Bennett Craig G. and Carol Matthews Brooklyn Information & Culture MetLife Foundation Cheswatyr Fund Joseph A. Rosalie Jerome and Cynthia Cohen Congress Robert Rubin Cullen and Dykman Bleakley Platt LLP Washington Mutual Frederick and Mary McGowan Davis Deloitte & Touche PRINCIPAL Allen Fischer and Renate Belville ($10,000-$19,999) Leslie Gaines-Ross Altria Group, Inc. Michael Gilligan Baker & Botts Granoff Walkdor & Forlenza P.C. Bank of America Victor Herbert Foundation Jean and Louis Dreyfus Foundation, Inc. Herrick Feinstein Ann and Gordon Getty Foundation Jerry Jacobs The Greenwall Foundation President Christoph M. Kimmich, Brooklyn College Generation X Technologies KMZ Rosenman Daniel Holt Clem Labine Gloria Messinger and Charles Mandelstam The Litwin Foundation Mini-Circuits Emily F. Mandelstam John Morning Evelyn and Everett Ortner Nancy E. Schuh and Joseph E. Mohbat Barbara Koz Paley The Scherman Foundation Laura Parkins Swanke Hayden Connell Ltd. Carl Podwoski and Virginia Lovejoy TIme Warner Inc. Earl D. & Gina Ingoglia Weiner Vinson and Elkins Jill Weinstein Judy WittlWitt Hoey Foundation Carol Yorke Yamaha Zeitz Foundation 17 BROOKLYN philharmonic 50th ANNIVERSARY SEASON

SUSTAINER SUPPORTER ($500-$999) ($250-$499) Beverage Works Constance Burke . Andrea Barbieri Doris Clark Jack and Enid Benezra John R. Corporon Barbara Bernard DiSalvo Contracting Co. , Vincent Di Salvo Alice Connell Lawrence and Betsy Gile Cow Bay Contracting Michael Kane Denver Investment Advisors Bernard Korman Richard Dolan and Marilyn Go Irving & Eugenie Kroop Peter H. Flint John O'Malley Milton and Eunice Forman Roberta D. Rettner Merrie Frankel Robert Rosenberg and Fran Kaufman Andrew Glass Brokerage Gloria S. Fields and Andrew Seligson Virginia Gliedman John C. Sutherland Hill, Betts & Nash LLP Jonathan J. Taylor B. Jaffe Real Estate Company Todtman Nachamie Spizz & Johns P.C. Richard Kessler Jill Weinstein Daniel D. McCrary Fred and Melinda D. Whittum Phyllis Mills Nancy Wolf Gayle Morgan Dianne Abeloff and Sanford Nager Matching Gift Companies Robert C. Newman Bank of America Deborah and Alan Polinsky Independence Community Bank Dr. Martin and Mrs. Jane Salwen The Henry Luce Foundation Marlene Sanders JP Morgan Chase David S. and Martha G. Schwartz Merrill Lynch Security Industry Automation Corporation Charles Stewart Mott Foundation Josephine B. Sokolski

More than 250 members made gifts of less than $250. Although space limitations restrict us from listing each individual, their generous support has helped make our programs possible and is deeply appreciated.

If you would like to learn how to make a gift to support the Annual Fund, please call us at (718) 488-5700.

We have made every effort to ensure the accuracy of our donor list. If you have any questions or see an error, please call us at (718) 488-7013.

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