Dear Music Lovers:

We are thrilled to welcome you to a full weekend of outstanding programming with the Philharmonic.

This 52nd season has been a remarkable one for the . Under new Music Director Michael Christie's dynamic leadership we have collaborated with great innovators from all genres; from Brooklyn-based dance company nicholasleichterdance performing new choreography for Carl Orff's master­ work Carmina Burana; to Maestro Christie and Academy Award-winning actor F. Murray Abraham sharing the stage for the rarely-performed Mozart master­ work, King Thamos; to our most recent multi-media concert with cabaret superstar Ute Lemper. We conclude this vibrant season on a high note with a Friday night concert by superstar and a Saturday concert with esteemed guest conductor Chelsea Tipton II, featuring the world premiere of a work about an important hero of the Abolition Movement, Harriet Tubman.

Thank you for being a part of Michael Christie's exciting inaugural season with the Brooklyn Philharmonic. We hope that you will be able to enjoy our outdoor summer concert this July 14th in Prospect Park as part of the Celebrate Brooklyn I series.

Thank you for joining us this evening, and enjoy the concert.

Sincerely,

J. Barclay Collins, Chairman of the Board Brooklyn Philharmonic

Catherine M . Cahill, Chief Executive Officer Brooklyn Philharmonic

1 BROOKLYN philharmoniC MUSIC DIRECTOR michael ChriStie

Music Director Michael Christie on Freedom!

Earlier this year, Brooklyn Philharmonic intimate contact with the highest points of Artistic Advisor Evans Mirageas interviewed power because these were the people patron­ new Music Director Michael Christie for a izing them as artists. When you suddenly get a series of podcasts about the four main stage composer that's been stimulated by the power concerts. The following is adapted from and by the decision making that happens, and that interview. then they get their chance to be inspired by a text that has a real political current, you get a piece like Fidelia or you get Wagner and Shost akovich (as we heard earlier this season) whose lives were both pushed forward and pulled back by the force of politics.

EM: Now, was always a man truly engaged by politics, and his Symphony No. 1, "Jeremiah," is on this pro­ gram conducted by our guest conductor Chelsea Tipton, in his welcome return to the Brooklyn Philharmonic. Th is piece is, in the broadest sense, a political work, isn't it?

MC: Yes, that's right. You hear a piece li ke "Jeremiah," and the sense of the forsaken, the sense of despair is just so potently described by Bernstein.

EM: Th is great text of the "Jeremiah" sympho­ EM: Michael, there's a great saying-think ny is taken from the Book of Jeremiah, and global, act local. Nowhere is this sentiment describes at once the captivity of the Jewish more appropriate than w hen yo u start talking people, the destruction of the temple, the city about composers w ho have actually taken up laid waste as it were, and so it was so apt for a political cause of justice or freedom. Our us in those dark days after 9/ 11. But ultimately concert that concludes the season is the it is also a work about hope and I think one of perfect reflection. What do you think? the great things about a piece like "Jeremiah" is that even though it is a despairing text, MC: Political composers go back hundreds of Bernstein always seems to manage to put in years. Think of Beethoven, for example, and that tiny ray of hope some place. his opera Fidelia. These composers had such

2 MC: I think his whole life was just a ray of EM: One of the other exciting things about hope. He conducted with abandon, he com­ this concert, of course, is that we will be posed with abandon, he really allowed the big welcoming back the Emmanuel Baptist cities that he conducted and lived in to get Church's Tota l Praise Choir. With this concert under his skin. I think that Bernstein embodied in May, Michael, we come to the end of the human experience, and he let his life the regular winter and spring Brooklyn reflect that. There's no better place than Phi lharmonic season, but we don't go to "Jeremiah" to hear that. sleep for the rest of the season do we?

EM: Leonard Bernstein was also a great MC: No. The Brooklyn Philharmonic is one friend of the Brooklyn Philharmonic. He partici­ busy orchestra, that's for sure. Not only do our pated in symposiums during Lukas Foss' "Meet education activities go through the end of the the Moderns" series. A little tidbit for those of school year, but we have our annual concert you who are playing trivia questions, Leonard at Prospect Park on July 14th. It'll be a very Bernstein is actually buried in Brooklyn in the exciting summer for people who want to Greenwood cemetery. Speaking of Brooklyn come over the bridge and hear great music. and its landmarks, I think another wonderful fact about our borough that a lot of people EM: It's a very busy time for the Brooklyn don't know is that it was a very important Ph il harmonic because in addition to our fina l stop on the Underground Railroad. subscription concert with Chelsea Tipton II , we're also inviting Elvis Costello to come and MC: That's right. Just around the corner from present an amazing evening of his music. BAM, which is where we perform these con­ certs, is the site of a major stop on the EM: Michael, even though you'll be else­ Underground Railroad. where for a lot of the summer, Brooklyn will probably be in your thoughts a lot of the time EM: A few years ago, in the mid 1980's, I now, won't it? had the privilege of participating in the world premiere of an opera about the life of Harriet MC: Brooklyn is always in my thoughts. We Tubman, one of the great Underground have such a mission. Railroad conductors, and a hero of the Abolition Movement. Composer Thea EM: And in the summertime, w hen you are Musgrave wrote an opera about Harriet working with your wonderful festival in Tubman, which successfully premiered in Colorado, and breathing in that fresh moun­ Norfolk, and we're going to be giving the tain air, you'll also be thinking of the grit and world premiere of a suite that Musgrave has the excitement of the streets of the borough specially constructed from this opera for us. of Brooklyn.

MC: That's right, and we're so happy to have MC: Well, I think there's really no better place Chelsea Tipton II here to conduct this very to be than a lot of the parks in Brooklyn that I important concert-important not only in its saw during the summer last year. I think peo­ subject matter, but in its scope of composers ple will be having a pretty good time out there, taking a risk to reflect on some disturbing and I wish I could be out there with them. political events, and saying, 'let's bring this back to the concert hall, let's have some dis­ cussions about this, let's relive the potency of some of these events.'

3 WHO'S WHO

MICHAEL CHRISTIE Symphony, the Netherlands Radio Symphony, became Music Director the City of Birmingham Symphony, the of the Brooklyn Orchestre National du Capitole de Toulouse, Philharmonic in the Lausanne Chamber Orchestra, the NOR September 2005. That Hannover Orchestra, the Czech Ph ilharmonic, same month he was plus engagements in al l five Scandinavian appointed the Virginia countries. G. Piper Music Director Michael Christie also enjoys a strong profile of the Phoenix in Australia, where aside from his former role as Symphony. Already Music Director of the Chief Conductor of the Queensland Orchestra, Colorado Music Festival, where he has been he has also conducted the Sydney Symphony, much praised for his innovative programming, Tasmanian Symphony, Opera Queensland and he also holds the position of Princi~al Guest the Western Australian Symphony in Perth. Conductor with the Queensland Orchestra in Maestro Christie has regularly conducted Australia, having concluded his tenure as Chief both operas and ballet performances at the Conductor there at the end of 2004. Opernhaus in Zurich where, in the 1997-1998 The 2004-2005 season was an exciting one season, he was Assistant Co nductor to Franz for Michael Christie. In the Spring of 2005 he Weiser-Most (a position especially created for conducted including the Brooklyn him). That season he made his highly success­ Philharmonic, the Vancouver Symphony, the ful debut conducting performances of Romeo Calgary Philharmonic and the Oregon & Juliet and a new production of Hansel and Symphony. In Europe, he had engagements in Gretel. In March 2004 he made his opera France with the Orchestre de Bretagne and the debut in the Netherlands conducting John Orchestre National de Lille, performances with Adams' The Death of Klinghoffer with the the Odense and Aarhus Orchestras. In Spring Rotterdam Philharmonic. 2005 he also made his Berlin conducting debut Michael Christie first came to international with the Deutsches Symphony Orchestra. This attention in 1995 when he was awarded a past season ended with a series of concerts special prize for "Outstanding P0tential" at w ith the Los Angeles Ph ilharmonic, where he the First International Sibelius Conductor's has been invited to return during the 2006 Competition in Helsinki. Following the summer Hollywood Bowl season. Other future competition, Maestro Christie was invited to engagements include the Saint Louis and become an apprentice conductor with the Nashville Symphonies, the RTE Orchestra in Chicago Symphony Orchestra and subsequently Dublin and a return to the Atlanta Symphony. worked with Daniel Barenboim, both in He has, in previous seasons, conducted the Chicago and at the Berlin State Opera during Los Angeles Philharmonic, Dallas Symphony, the 1996-1997 season . Atlanta Symphony, Colorado Symphony, Michael Christie graduated from the Oberlin Florida Philharmonic, the Minnesota Orchestra, College Conservatory of Music with a bache­ the Indianapolis Symphony and the Cincinnati lor's degree in trumpet performance. His con­ Symphony, among many others in the U.S. In ducting teachers have included , Europe his career has been equally successful, Eiji Oue and Peter Jaffe. with engagements with the Swedish Radio

4 ABOUT THE ORCHESTRA

BROOKLYN PHILHARMONIC For over five decades the Brooklyn Philharmonic has been a nationally-recognized cornerstone in New York's impressive guild of cultural institutions. Initially founded in 1954 as an orchestra to serve the Brooklyn community, the Philharmonic has sin ce garnered critical accla im as a visionary orchestra committed to progressive programming, and as an organiza­ tion cultivating a vast roster of community service initiatives. The recipient of 21 ASCAP Awards over the last 26 years for "Adventurous Programming of Contemporary Music," the Brooklyn Phi lharmonic has premiered over 350 works, in cluding 61 commissions. Th e Brooklyn Philharmonic enters its 52nd season under the baton of new Music Di rector Michael Ch ri stie, the fifth conductor in that role si nce the founding of the Philharmonic. Maestro Christie, a paramount American con­ ductor of the 21st century, succeeds a line of illustrious predecessors- Robert Spano, Dennis Russell Davies, Lukas Foss, and the Orchestra's founding father, Siegfried Landau. Infused rehearsals for middle and high school students; w ith fresh energy and distinct leadership in a in-school repertoire workshops; curriculum­ new era, the Brooklyn Ph ilharmonic is not only based workshops at elementary schools; pre­ a critica lly-acclaimed orchestra, but also a vital and post-concert discussions; masterclasses; contributor to New York's cultural, civic, and in-school coaching; and free or reduced price educational communities. tickets for students and community groups. The Brooklyn Philh armonic is currently Bra nd new pilot programs include music partnering with the Brooklyn Academy of therapy work in Brooklyn-based hospitals, a Music, , Brooklyn Pub lic music-based re-entry program for previously Library, and borough-wide houses of worship incarcerated youth, and mentorship for for programs such as Music Off The Walls, emotionally disabled, at-risk children. Target First Saturdays, Music Off The Shelves, The Brooklyn Philharmonic has an impressive and Music In The Sanctuaries. This year also history of engaging community projects, marks the Philharmonic's 27th annual free pioneering arts education, and innovative pro­ summer concert in Prospect Park as part of gramming. As the Ph ilharmonic enters the 21st Celebrate Brooklyn. century, it proudly continues its legacy of being The Brooklyn Ph ilharmonic is continually a risk-taking in stitution of artistic excellence. expa nding its role as a leader in music ed uca­ tion and as a critica l cultural resource for economica lly disadvantaged children and at­ ri sk youth. Current initiatives include School Time Concerts that have introduced more than 350,000 children to the conce rt hall experience over the past 43 years; open

5 FRIDAY, MAY 12, 2006 8 PM

BROOKLYN philharmOniC MUSIC DIRECTOR michael Christie

Presents ELVIS COSTELLO Friday, May 12, 2006, 8:00 PM Brooklyn Academy of Music, Howard Gilman Opera House

Alan Broadbent, conductor , pianist

ELVIS COSTELLO Suite from // Sogno (2000) (b.1954-)

-Intermission-

ELVIS COSTELLO with the Brooklyn Philharmonic Orchestra

The use of cameras or recording devices during the concert is strictly prohibited.

Tonight's concert is sponsored by FORESTCITYRATNER COMPANIES

Printing Sponsor Print Media Sponsor Official Official Radio Station Promotions Sponsor

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6 WHO'S WHO

ELVIS COSTELLO inducted into the Rock & Roll Ha ll of Fame in has followed his musical 2003. During the same year he was awarded . curiosity in a career ASCAP's prestigious Founder's Award. There

j: spanning more than 28 have also been a number of Grammy nomina­ • years. He is perhaps best tions for his recent 'When I Was Cruel' known for his perform­ and "." \.·.~· ...... ·.·,,·."············-- ...... ~·~··· ·.··.--~· ·."'···· ...... i..,.,...... · .. ''~, . ' ·.*: ances w ith The The late 2003 Deutsche Grammophon release

\ ' ' ' - Attractions, The North-an of piano ballads composed, ~ Imposters and for con­ orchestrated and conducted by Costel lo­ cert appearances with pianist, Steve Nieve. His retained the number one position on the recordings include This Year's Model, Imperial Bil lboard Traditional Chart for five weeks. Bedroom, , Blood and In 2004 Costello was nominated for an Oscar Chocolate, Spike, , for Best Song The Scarlet Tide, sung by Alison When I Was Cruel, North and The Delivery Krauss in the motion picture, Cold Mountain. Man. However, he has also entered into The song was co-written with . acclaimed collaborations with , Follow i ~g the recording of The Delivery Man The Brodsky Quartet, Paul McCartney, Swedish in Oxford and Clarksdale, Mississippi, in the mezzo-, , gui­ spring of 2004, Elvis Costello and the Imposters tarist, Bill Frisel l, composer, Roy Nathanson, embarked on an eleven-month tour on which The Charles Mingus Orchestra and record pro­ they visited a number of cities for the first time, ducer and songwriter, T Bone Burnett. including Hobart, Sioux Fal ls, Bil bao and Istanbul. Costello's songs have been recorded by a The Live In Memphis DVD was recorded at great number of artists. The list of performers a club show at the Hi-Tone Cafe and issued in reflects his interest in a w ide range of musical 2005 by Eagle Rock, followed shortly after­ styles: George Jones, Chet Baker, , ward by The Right Spectacle, a Demon/Rhino , , Robert Wyatt, DVD compilation of video music clips and Charles Brown, No Doubt, , June archive television appearance dating from the Ta bor, Howard Tate, the gospel voca l group, late '70s to the mid-90s, which were compli­ The Fai rfield Four and the viol consort, Fretwork mented by Costello's not entirely reverent w ith the counter , Michael Chance. In commentary track. 2003 he began a songwriting partnership w ith The tour reached a climax in the summer of his wife, the jazz pianist and singer, Diana Krall, 2005 w ith a se ri es of dates in which Costello resulting in six songs included in her highly suc­ shared the stage with , per­ cessful album, The Girl In The Other Room. forming an almost entirely new repertoire. During his career Costello has received sever­ Multi-instrumentalist, Larry Campbell also al prestigious honours, including two lvor joined the tour, playing guitar, pedal steel, Novello Awards for songwriting, a Dutch Edison mandolin and fiddle. Award with The Brodsky Quartet for The Juliet The final date was accla imed appearance at Letters, the Nordoff-Robbins Silver Clef Award, the Newport Folk Festival w hich included an a BAFTA for the music w ritten with Richard impromptu collaboration with Gillian Welch, Harvey for Alan Bleasdale's television drama David Rawlings and Imposters' bassist, Davey seri es, G.B. H. and a Grammy for I Still Have Farag her on the Sta nley Brothers' Gathering That Other Girl from his 1998 collaboration Flowers For The Master's Bouquet and an with Burt Bacharach, . electri c encore performance of Bob Dylan's Elvis Costello and Th e Attractions were When I paint my masterpiece.

7 WHO'S WHO

The summer of 2004 saw Costello present­ South American concert debut in October 2005 ing a series of concerts as part of the Lincoln w ith appearances in Sao Pau lo, Rio de Ja neiro Center Festiva l in New Yo rk City. Following and Buenos Aires and had pla nned to record concerts with the Metropole Orkest and The aga in in the spring of '06. However, foll owing Imposters, the Brooklyn Philharmonic conduct­ the Katrina catastrophe, Costello was given the ed by Brad Lubman gave the premiere concert opportunity to perform at two benefit concerts performance of II Sogno, Costello's first full­ w ith the great New Orl ea ns piano player, song­ length orchestral work . w riter and producer, . Th e music was originally commissioned in Following a short but intense period of w riting 2000 by the Italian Dance Company, Aterbaletto, they entered the studio with a combination of for their adaptation of Shakespeare's A The Imposters lead by Toussaint at the piano and Midsummer Night's Dream. Following perform­ Steve Nieve playing Hammond B3. Toussaint's ances in Bologna with the Orchestra del Teatro regular guitar player, Anthony Brow n, and his Communale, the ballet was staged throughout horn section also augmented the band. Italy, Germany, France and Russia. was recorded in two II Sogno was subsequently recorded by The weeks and produced by . Sessions London Symphony Orchestra, conducted by began at Sunset Sound, Hollywood and con­ . The recording was cluded at Pi ety Street Studios in New Orleans. released in the late 2004 by Deutsche It is thought to be one of the first major Grammophon and stayed at the top of recording projects to take place in the city Billboard's Contemporary Classica l Charts for si nce the Katrina disaster. The album w ill 14 weeks. include renditions of a number of songs from El vis Costel lo has also been commissioned the Toussaint catalogue, including Who's by The Royal Danish Opera to compose an Gonna Help Brother Get Further? and opera based on the life of Hans Ch ristian . Anderse n. The Secret Songs, a "work-in­ The River In Reverse w ill be released on progress" cycle extracted from the opera, was Verve Forecast in Ju ne 2006. given its first performance in Copenhagen in October 2005 to an appreciative audience response and enthusiastic reviews. Coste llo sang both of the lead ing male roles; Andersen and that of the showman, P.T. Barnum, while the leading female role of Jenny Lind was taken by Swedish soprano, Gisela Stille. The small ensemble included Steve Nieve on piano, Bent Cla usen on vibraphone and banjo, Amit Sen on cello and multi-instrumen­ talist, Bebe Ri senfors playing bass clarinet, tuba, trumpet and . The fully pro­ duced opera w ill be premiered, in March 2007. Elvis Costello and the Imposters made their

8 WHO'S WHO

Born in Auckland, New As a member of he has Zealand, composer, toured throughout the USA, Canada and arranger and jazz Europe. His recordings w ith the group include pianist ALAN Haunted Heart, Always Say Goodbye, Now Is BROADBENT began The Hour and , al l featur­ performing professional­ ing his arrangements for string orchestra. ly at the age of 15, fol­ Broadbent's trio recordings include Better lowing classical studies. Days, Pacific Standard Time and Personal In 1966 he received a Standards which features his Gram my nomi­ scholarship to attend Boston's Berklee College nated song Everytime I Think of You. He has of Music, where he studied composition and also recorded a solo piano CD for Concord arranging. During his tenure at Berklee, Records' highly acclaimed Live at Maybeck Broadbent performed regularly in Boston Hall series (Vol.14), as well as a duo CD with while traveling on weekends to New York saxophonist Gary Foster, live at Maybeck. where he studied improvisation with Lennie His most recent CDs feature his arrange­ Tristano. Completing studies at Berklee in ments for Michael Feinstein and the Israel 1969, Broadbent began a three-year tour as Philharmonic (2002) and Natalie Cole's Ask A arranger and pianist for bandleader Woody Woman Who Knows for whom I'm Glad Herman, earning Downbeat Magazine's "Best There Is You was nominated for a Grammy Arranger" Award in 1972 and two Grammy Best Arrangement Accomp. Vocal (Feb. 2003). Award nominations for Children of Lima Broadbent is currently the musical director for (1975) and Aja (1978). Diana Krall. Settling in Los Angeles, Broadbent worked Whether working as a composer, arranger, with such notable musicians as Nelson Riddle conductor or pianist, he is w idely respected (his pianist for 10 yrs.), David Rose, Johnny and admired. Mandel and Henry Mancini. In addition to his own recording projects, Broadbent has arranged and conducted Mel Torme's Tribute to Bing Crosby (a Grammy nomination for best arrangement accompanying a vocal Without a Word of Warning 1995), Scott Hamilton's With Strings, Marian McPartland's Silent Pool and Natalie Cole's Take A Look, Holly and Ivy and Stardust. In 1997 he won a Grammy for his arrange­ ment of When I Fall In Love for Natalie Cole. In 2000 he earned his second Grammy Award for best arrangement accompanying a vocal for Lonely Town , which he wrote for 's Quartet West featuring Shirley Horn and strings.

9 WHO'S WHO

Keyboardist STEVE 1998's Burt Bacharach collaboration Painted NIEVE (born Steven From Memory, 2001's Anne-Sofie von Otter Nason in London, collaboration , and 2003's North. England, on February In 2001, Costello formed a new backing band 19, 1958) is best known consisting of Nieve, Attractions drummer Pete for his work with Elvis Thomas, and bassist . The band Costello. The Royal was subsequently dubbed The Imposters. Elvis College of Music stu­ Costello & The Imposters have toured exten­ dent joined Costello's sive ly and released the albums When I Was backing band in 1977 and Cruel (2002) and The Delivery Man (2004). played on most of Costello's projects over the In addition to his work with Costello, Steve next ten years, including the albums This Year's Nieve has released several solo albums, includ­ Model (1978), (1982), and ing Keyboard Jungle (1983), Playboy (1987), Blood & Chocolate (1986). He contributed a It's Raining Somewhere (1996), Mumu (2001), song, Sad About Girls, to Trust, under the and Windows (2004). name Norman Brain, in collaboration with his Nieve's opera Welcome To The Voice, a col­ wife, Fay Hart. (The back of Trust's faux movie laboration with Muriel Teodori, was performed poster ha s Steve "as Steve Hart.") in New York in 2000. A recording of the opera In the mid-'80s, Coste ll o began to work less was made in 2005 for future release. frequently with The Attractions and stopped In recent years Nieve has lived in France working w ith them entirely between 1987 and with Teodori. In 2003 he was inducted into 1993. During this period, Nieve focused on the Rock and Roll Hall of Fame as a member session work for other artists (Th e Neville of Elvis Costello & The Attractions. Brothers, Hothouse Flowers, Graham Parker, Squeeze, Tim Finn, Kirsty MacColl, Madness) and led the house band on Jonathan Ross' UK TV series The Last Resort. Costello reunited The Attractions for 1994's album . Although the reunion was re latively short-lived (they split again in 1996), the Costello/Nieve collaborations never stopped. They have toured as a duo, and Nieve has contributed keyboards to all of Costello's albums since the mid-'90s, including

10 BROOKLYN philharmoniC MUSIC DIRECTOR michael ChriStie

ELVIS COSTELLO CONCERT

VIOLIN BASS TUBA

Brennan Sweet ¥ o Joeseph Bongiorn o* Andrew Seligson* Deborah Wong ± Gregg August Rob in Bushman Judit h Sugarman TIMPANI Diane Bruce Louis Bru no Richard Fitz* .) Carlos Villa Sander Strenger FLUTE PERCUSSION Ashley Horne David Wechsler + Will Trigg+ Ann Labin Dan Ge rhard James Preiss Rena lsbin James Saporito, drum set Sashka Korzenska OBOE W illiam Ruyle, cimbalom Elizabeth Nielsen Randall Wolfgang* . Melanie Feld HARP Deborah Buck* Ka ren Li ndquist* Ka theri ne Hannauer CLARINET Shinwon Ki m Pau l Garment+ PIANO Sebu Sirinian Ken Bowen* Cecelia Hobbs Gardner SAX Joana Genova-Rudiakov Ted Nash PERSONNEL MANAG- Roxanne Bergman Lawrence Feldman ER Heather Ann Bixler Jonathan Taylor BASSOON VIOLA Frank Morelli* LIBRARIAN Ah Ling Neu + Harry Searing David Carp Debra Shufelt Alexander Rees FRENCH HORN Leslie Tomkins Paul Ingraham* Ariel Rudiakov Francisco Donaruma ¥ Concertmaster Ben Ullery ± Acting Concertmaster TRUMPET * Principal CELLO Wayne Dumaine + + Acting Principal Chris Finckel* Richard Clymer o On Leave David Calhoun Lanny Paykin TROMBONE Nicole Kim Hanson Hugh Eddy* Peter Rosenfeld Lawrence Benz Ka te Sanford Spi ngarn

11 SATURDAY, MAY 13, 2006 AT 8 PM

BROOKLYN philharmoniC MUSIC DIRECTOR michael christie

Presents Freedom! Saturday, May 13, 2006, 8:00 PM Brooklyn Academy of Music, Howard Gilman Opera House

Chelsea Tipton II, conductor Cynthia Haymon, soprano Pamela Dillard, mezzo soprano Nmon Ford, TOTAL PRAISE CHOIR of Emmanuel Baptist Church, Pastor Frank Haye, director, Reverend Anthony L. Trufant, senior pastor

DANIEL BERNARD ROUMAIN Hip-Hop Essay (b.1972- )

BERNSTEIN Symphony No. 1 "Jeremiah" (1918-1990) Ms. Dillard, mezzo soprano

-Intermission-

THEA MUSGRAVE Remembering Harriet: Excerpts from (b.1928- ) " Harriet, the Woman Called Moses" (WORLD PREMIERE) Ms Haymon, soprano Ms. Dillard, mezzo soprano Mr. Ford, baritone

Please join us immediately following the performance for a post-concert talk, FOR GOOD MEASURE, with Chelsea Tipton II, Thea Musg rave, Pamela Dillard, and Cynthia Haymon, moderated by Brooklyn Philharmonic Artistic Advisor, Evans M irageas.

Tonight's world premiere performance of Thea Musgrave's Remembering Harriet is made possible by The Fund for Musi c, Inc.

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12 NOTES ON THE PROGRAM

References to the word "freedom" are long­ "As for any questions you have about the standing. According to a foundation called music, you'll have to attend and answer them Liberty Fund, the earliest-known written appear­ yourself." ance of the word was found on a clay docu­ But it is clear, from a philosophical, artistic ment that dates from a city-state ca lled Lagash, and social standpoint, that honoring the man­ which thrived in Sumeria about 2300 B.C. ner in which freedom has been pursued, and Today, freedom is in co nstant use, its definition the striving for common ground and unity undulating. Using something like the unit of amidst conflict, are our overarching themes. measure popularized in the hit TV series "24," Of the three composers on the program, in which one hour of one day is represented by Leonard Bernstein is the one not living, and one weekly broadcast hour, the timeline of free­ that alone is not the reason for which a pro­ dom may be, according to some, on or near its gram biography of him seems unnecessary. eleventh hour. According to others, freedom is Leonard Bernstein's standing in American reborn and renamed with each culture, each music-well apart from his compositions-is generation. The clock is reset. totemic. As is generally known, he burst onto For the Brooklyn Philharmonic, even if it did the scene in late 1943, as an unknown assis­ not state so outright, the overriding and tant conductor at the , inescapa ble program for this concert is cele­ when he substituted for the ailing Bruno brating freedom- The meaning of it, the Walter in a radio-broadcast concert. Yet in struggle for it, the suffering for it, both in the later years it was his ability to elucidate musi­ long view and in the frozen bas-relief of an ca l concepts to audiences through simple lan­ individual life or an entire people. We are con­ guage and breathtaking clarity that endeared fronted with three distinct and absorbing, yet him to generations. Then there was the music. unmistakably familiar, utterances about free­ When it was not self-indulgent, it was incan­ dom. And there would be many more from descent and rivaled anything written during which to choose. the middle third of the 20th century. The There are different ways of appreciating this Symphony No. 1, in its long finale setting texts word, freedom, that apply not only to the from the Old Testament book of Jeremiah in overall life-themes of the composers, but also which the prophet laments the barrenness and to the style or metier they are said to embody. squalor of Jerusalem after its destruction by In describing Daniel Bernard Roumain's Hip­ Babylon, foreshadows future works like Arvo Hop Essay, the Brooklyn Philharmonic leaves it Part's Miserere and gives off a ghostly glow up to the audience to determine exactly what reflecting the end of Time. As if that were a they hear. Similarly, a 2003 Dallas Observer thing in the past-and in one sense, it is. article averred: "The African-American Festival Today we can only try to imagine its real effect

Concert's highlights include Daniel Bernard on audiences of 1944, when, though l• •c Roumain's 'Hip-Hop Essay for Orchestra,' ongoing great Holocaust of World War II was w hich incorporates hip-hop in symphonic yet but a frisson of rumor, Kristallnacht, Babi form . Roumain is a friend of [Da llas Symphony Yar, Guernica, the gulags and other select Orchestra] guest conductor Vincent Danner, atrocities were established realities 10 years so perhaps you can ask Danner to explain old or less. what is meant when Roumain is called 'a According to annotator David Wright, three combination of Mozart, Andrew Ll oyd Webber decades after Jeremiah, Bernstein confessed and Prince.' to a group of reporters that it and other works

13 NOTES ON THE PROGRAM

in his oeuvre were really all about one thing: heroic resistance to oppression does not delay "The work I have been writing all my life is in arriving. Decla res Harriet in the sixth pa ra­ about the struggle that is born of the crisis of graph of narration: "There's two things I got a our century, a crisis of faith." A generation right to. These are liberty and death. One or after that, one modern theologian took up the other I mean to have. No one w ill take me this theme w hen he defined freedom as deliv­ back alive." One should not wonder why this erence from that which enslaves or encases brand of tenacity would have led authorities to us-be it our narrow thinking, an addiction, or place a $40,000 bounty on her head, or why a violent oppressor. she is known to have evenly offered to shoot When one suffers, all suffer. In 1963 The some among the 300 she delivered to free­ Rev. Martin Luther King, Jr.'s Birmingham jail­ dom if, out of fright and waning courage, house letter to Atlantic Monthly voiced that they aborted their flight and ret urned to the theme succinctly: "Injustice anywhere is a familiar tranquility of servitude. threat to justice everywhere." King was not the And for Mr. Roumain, the word "freedom" first. Centuries earlier, firebrand Leveller John may have even a more general, yet more Lilburne said, "For what is done to anyone may immediate outward, unifying expression: be done to everyone." A friend of the poor music itself. "Western has roots and disenfranchised and champion of limited in the notion of saving lives, of changing peo­ government power, Lilburne's movement ple," he said told The Arizona Republic last inspired his contemporary Thomas Hobbes year. "It's a noble proposition." and, later, John Locke. He is one of the heroes Where Olivier Messiaen once spoke of pack­ of conscience to Th ea Musgrave, who Web­ ets of sound, Mr. Roumain employs packets of posts his prophetic warning and compares it to both sound and energy. The "Hip-Hop Essay," one on slavery by Abraham Lincoln. which won the 1997 American Composers Th e theme of heroic individual action set on Orchestra Whitaker Commission award, bun­ a historical canvas runs through the large-scale dles cel ls of sound and energy in a taut, 20- dramatic works of Ms. Musgrave, and it can minute flight that blends styles and genres. To be cha rted simply by naming her archetypal no one's su rpri se, he is thus addressing listen­ characters: Mary, Queen of Scots; Harriet, the ers across society, calling us to free ourselves Woman Called Moses; Simon Bolivar, the tow­ from our self-inflicted confines. So that when ering Venezuelan liberator of vast swaths of Mr. Roumain speaks to a class at Harlem South America who would not be crowned School of the Arts, he zeroes in on t he discon­ king; and, most recently, : A nect between classical music and hip-hop: "I Louisiana Legacy, the life and events of iron­ say to them, 'It's going to be easy for you in fisted 19th-century Louisiana developer your lives to point out the differences,"' he Micaela Almonester, the Baroness of told the Phoenix paper. Pontalba-a story based on the 1997 novel by "The real art is in finding the similarities. If historian Christina Vella. you can find the similarities in Bach and Remembering Harriet-a celebration of the Mendelssohn, that's the real thing. It's about life of superhuman Underground Railroad finding common ground. It's more difficult, heroine Harriet Tubman (ca 1819-1913), is a but more rewarding." shorter work based on the ea rlier full-length opera (1985) and is specifically drawn up for - © 2006 Arizeder Urreiztieta this world-premiere occasion, with new texts for the narrator's part. The stark theme of

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SYMPHONY NO.1, "JEREMIAH" Text from the book of Lamentations

Eicha Lamentations

PEREQ 1.1-3 CHAPTER 1.1-3 Eicha yashva vadad ha-ir How doth the city sit solitary Rabati am That was full of people! Hay'ta k' almana; How is she become as a widow! •' Rabati vagoyim She that was great among the nations, Sarati bam'dinot And princess among the provinces, Hay'ta lamas. How is she become tributary!

Bacho tivkeh balaila, She weepeth sore in the night, V'di,'ata allecheya; And her tears are on her cheeks; Ein Ia m'nacheim She hath none to comfort her Mikol ohaveha; Among all her lovers; Kol re-e iha bag'du va, All her friends have dealt Hayu Ia l'oy'vim. Treacherously w ith her, They are become her enemies.

Galta Y'huda meioni Judah is gone into exi le because of affliction, Umeirov avoda; And because of great servitude; Hi yashva vagoyim, She dwelleth among the nations, Lo matsa mano-a ch; She findeth no rest. Kol rod'feha hisiguha All her pursuers overtook her Ben hamitsarim Within the narrow passes.

PEREQ 1.8 CHAPTER 1.8 Cheit chata Y'rushalyim Jerusalem hath grievously sinned ... (Eicha yashva vadad ha-ir How doth the city sit solitary .. . k'almana .) ... a widow.

PEREQ 4.14-15 CHAPTER 4 .14-15 ' Na-u ivrim bachustot They wander as blind men in the streets, N'go-al u badam, They are polluted with blood, B'lo yuchlu So that men cannot , Yig'u bi lvusheihem. Touch their garments Suru tamei ka'u lamo, Depart, ye unclean! They cried unto them, Suru, suru al tiga-u ... Depart, depart! Touch us not...

PEREQ 5.20-21 CHAPTER 5.20-2 1 Lama lanetsach tishkacheinu ... Wherefore dost Thou forget us forever, Lanetsach taazveinu ... And forsake us so long time? ...

Hashiveina Adonai eilecha ... Turn Thou us unto Thee, 0 Lord ...

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THEA MUSGRAVE

REMEMBERING HARRIET Excerpts from "Harriet, The Woman Called Moses" A story of the American Underground Railroad

NOTE written for the Premiere of of us w ho despair of being able to make any t l Harriet, the Woman called Moses, positive change in the world in which we live. Virginia Opera, March 1, 1985. Black people do not lack for heroes and The story of Harriet Tubman concerns an indi­ heroines, but Harriet Tubman certainly vidual gifted with those rare qualities of deserves a place in the history of mankind's courage and imagination which enabled her struggle for human rights. to overcome seemingly insuperable odds. She These are some of the reasons why I, a followed the North Star to freedom and then w hite woman of Scottish descent, felt moved became herself a famous "conductor" on the to write about Harriet Tubman. But there is Underground Railroad, helping many other another overriding reason why composers are slaves to escape. drawn to subjects that cross political and tem­ Her story is also a moving example of the pora l boundaries and venture into different, age-old conflict between good and evil. often exotic settings for their work. For, in Abraham Lincoln described it in very direct addition to making one's work a satisfying terms ... "slavery is the eternal struggle emotional experience for the audience, most between two principles which have stood face composers want to underline and emphasize to face since the beginning of time, and which the eternal nature of human conflicts and will ever continue to struggle. The one is the emotions w hich transcend time and place. common right of all humanity; the other is the The artist is accustomed to making the leap in divine right of kings. Slavery is the spirit that their imagination into the feelings and lives of says 'You work and toil and earn bread, and people very different from themselves, yet I'll eat it!' No matter in what shape it comes it impelled and moved by the same motivations. is the same principle." Harriet is every woman who dared to defy The remarkable seventeenth century injustice and tyranny; she is Joan of Arc, she is Englishman, John Lilburne put it in another Susan B. Anthony, she is Anne Frank, she is way: "For what is done to anyone may be Mother Teresa. done to everyone." I am proud that the world premiere of At one time or another, most of us have Harriet, the Woman called Moses w ill take asked the question "But what can one person place in Virginia now my home .. do?" Harriet Tubman is an inspiration to those Thea Musgrave, August 20, 7984

CHORUS: Freedom! Lead us out of bondage! Freedom! Lead us to freedom! Lead us to freedom! HARRIET: Far away, far away HARRIET: I am sa fe! I am free! (dreaming) over the woods and fa rms like a soaring bird I fly! CHORUS: Moses, Moses! Far away, far away,

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over the fields and swamp JOS IAH: Hattie! See, I brought this sash I can see a river! for you ...

There on the other side HARRIET: Oh Josiah! there's ladies dressed in white, It's just my favorite color! they's reach ing to help me. JOSIAH: Hattie! I bin thinking .... CHORUS: Moses, Moses! I wanna go and ask the old Marse Lead us out of bondage! to let us get married! t Lead us to freedom! What do you say Hattie? Will you jump the broom with me? HARRIET: My arms reach out, my legs are numb HARRIET: Oh Josiah, and I'm falling! you know I always loved you! Ah yes, I will! CHORUS: Freedom, freedom! JOSIAH: Us should get married real soon and have us a whole bunch of HARRIET: I can't walk. ch iliens! I can't get across. They'll catch me ... HARRIET: Josiah! How your mind just I can see behind wild horsemen jumps on right ahead! and their dogs. (laughing) They're tearing the women BOTH: Sun dry or rain wet from their li'l children. now we'll follow life's road They're beating the men together. and chaining them together... From first dark to day clean now No, oh no ... we'll dream our dreams together. They're taking them away! We'll be side by side, CHORUS: Freedom, freedom! we'll be lonesome Lead us to freedom! no more! JOSIAH: I can't help thinking 'bout what'll Oh Josiah/ Hattie ! happen when old man buzzard My love! comes to visit the big house (calling out) Heh! Heh! HARRIET: "Swing low, sweet chariol ...

HARRIET: Josiah! Heh! Quiet child! Oh Josiah! Fang-tooth cat-man will get you if you don't go to sleep! JOSIAH: It's good to see you. Good to be with you. "Coming for to carry me" ... Hush baby! HARRIET: Oh Josiah! I bin so lonesome Jumping Je hosephat! for you! She'll get me now! Your Mammy don't like it w hen 17 LIBRETTO

you cry! HARRIET: Oh mama! it ain't right! If she hear you I'll be blamed and she'll punish me. RIT: No it ain't right! But chi ld, now you is growed "I looked over Jordan there's some things And what did I see? you gotta learn! } A band of angels Coming after me The Lord send the sun and the rain, Coming for to carry me home." the day and the night; ., the Lord send the summer and There now! Sleep li'l child! the winter, You're safe in your Hattie's arms. the good times and the bad; You'll be warm and I' ll cradle you. for the Lord he move in his own mysterious way Poor li'l child! and we's in His hands .... W hy can't they play with you and laugh and enjoy themselves? HARRIET: But this is different!

"Ah, I looked over Jordan RIT: No, Hattie! It ain't different! And what did I see? It the same, just the same! A band of angels coming." Like I said, there's some things you can't do nothing about. "Swing low, sweet chariot There's masters and there's slaves For you're coming and you can't change that! For to carry me home. II HARRIET: It ain't right! HARRIET: Ah, ah ... mm, mm. It ain't justice! (cradling the baby) RIT: No, it ain't right! Oh sir ! I didn't hear you come in! But that's the way it is! Ay ...... (scream ing)

RIT: Hattie, my honey! HARRIET: If we could only reach the river W hat happened? and cross the line and go North, HARRIET: Oh mama! we'd find freedom. That man is evil, he put his hands on me! RIT: Ch ild! " There ain't no freedom for folks RIT: Marse Preston done that? li ke us! If we went North, HARRIET: He was drunk! where'd we go? What'd we do? RIT: When Marse Preston is drunk there's always trouble! HARRIET: The Lord will help us! I knows he will. 18 LIBRETTO

He'll take us out of Egypt JOSIAH: I hear by the grapevine telegraph and lead us to the promised land! about white folks willing to help us! RIT: Hattie! If we went North we might be free RIT: White folks? You sure? but we'd starve. t Child, child ! JOSIAH: Yes. They's ca ll ed quakers. Ain't no good Them's white folks to have them kinda ideas . don't hold with slavery! • I This is our place. They help pass people to stations That's our cabin, on the underground railroad! this is our home. We gotta be grateful for what RIT: What railroad? we do have, There ain't no rai lroad here! cos nothing ain't never gonna change .. .. HARRIET:: Oh Rit! Understand! It just a manner of talking! HARRIET: But there once was a time when You don't talk about going North, we was free .. . or of Friends or hiding places ! You talks railroad! RIT: Times before us was borned! The underground railroad (very sad) Child! is the way that leads to freedom! There's some things you gotta accept. RIT: The way that leads to freedom? ... The Lord send the sun and the rain, the day and the night. JOSIAH : To Freedom! Out of bondage, HARRIET: Oh why should such things be? out of Egypt. It the way to the promised land RIT: The Lord send the summer and the winter, HARRIET: Josiah! the good times and the bad . HARRIET: Oh Lord, is there no deliverance? JOSIAH: I'm gonna run! (in a panic) I won't let them take me! RIT: For the Lord he move in his own I'll make right off for the town .. . mysterious way There, there's folks who'll help me! and we's in His hands. I'll f ind the way I. to freedom in the North. HARRIET: Oh Lord, is there no help? Hattie! You must follow me!

RIT: We's in His hands. HARRIET: Josiah!

HARRIET: Is there no help? HARRIET & Later, if ljyou can only reach the JOSIAH : nver HARRIET: We gotta save Josiah. and cross the line, We ain't got no time to lose! ljyou is free! 19 LIBRETTO

JOSIAH: Oh Hattie, but then you gotta JOS IAH: Heh, heh! Oh Hattie where is you? follow me (Offstage) I can't live without you. You gotta follow me North. l's gonna search for you every day. l's gonna ask everybody, HARRIET: Oh yes! I w ill! everywhere. I w ill follow and I will find you! CHORUS:: Moses, do not abandon us! JOSIAH: How can I ever live without you? Moses, do not forsake us! How can you ever come and find t me? HARRIET: Oh Lord, I know I must do as You say. HARRIET: Josiah, I will find you! I know I must follow Your wishes.

JOSIAH: Oh Hattie, I will never see you again. CHORUS: Do not abandon us! I can't bear to say goodbye. I can't stand leaving you. HARRIET: Oh Lord, that is hard, that is so hard. HARRIET: I will follow you North Oh Lord, so I pray with my whole and then we'll live in freedom. heart Josiah, goodbye! to give me courage to give me strength. JOS IAH: Hattie, goodbye! CHORUS: Oh help us! HARRIET: The Lord delivered Daniel Oh lead us to freedom! from the jaws of the lion Oh Lord save us! and Jonah from the be lly of the Oh Lord hear our prayer! whale HARRIET: Oh Lord, oh Lord! and Moses led his people out of Egypt.. .. CHORUS: Old man buzzard, he come. He take old Master Oh Lord! Is that what You mean? and he's dead and gone. They put him down Oh Lord, has I got to be like Moses? deep in the ground Has I got to cross that line and he's dead and gone. and go back South, Our old Master is gone, and with You guiding me, gone .... like Moses, help deliver my people

I out of bondage? RIT: Oh Marse, that ain't right! I' Oh Lord, is that what You's That ain't just! telling me? Is that w hat You mean? Oh Marse, he ain't done nothing! Oh Marse, have pity. l's not to seek my own happiness? l's not to stay here and find Josiah? CHORUS: Oh Lord, what will become of him? Oh Lord, I loves Josiah, What can we do? I must find him. 20 LIBRETTO

RI T: We gotta send for Moses. RIT: No Hattie. I can't go w ith you. We gotta get help. Ain't no. use! How can I live without my Ben? Marse Preston haul your Daddy How can I live without him? off to jail, I'll never see him again. he accuse him of helping runaways. Oh bow down your heads Oh Hattie, it's hopeless ! tl and weep with me! There's no way to save him This is a day of sorrow. and I could never go without him. This is a day of shame. l l HARRIET: Oh Mama! You must never lose CHORUS: Oh Lord, there is no hope. hope!

RIT: How can I live w ithout my Ben? CHORUS: Moses, lead us out of bondage! How can I live without him? Lead us to freedom! I'll never see him again. I'll never see him no more. RIT: Oh Hattie, w hat can we do? There is no hope. CHORUS: What can we do to save our Ben? Lord, please hear our prayer! HARRIET: Oh Mama! You must never lose hope! RIT: How can I live in such despair? How can I live any longer? CHORUS: Moses, lead us out of bondage! Oh Lord, I wish I'd never been born. Lead us to freedom! RIT: Oh Hattie, what can we do? CHORUS: Is there no hope? There is no hope.

RIT: Why child, I hardly recognized you. HARRIET: Oh Mama, you gotta have faith, Where you bin? you gotta have trust in the Lo rd. What you bin doing? They done search for you RIT: Oh my child, what can you do? everywhere. Marse Preston, he beside heself HARRIET: He will guide us! with fury. When I first crossed the line If he catch you here and I was free, )) he'll sell you South for sure! there wasn 't nobody to help me, nobody to welcome me CHORUS: Harriet, you is Moses! to the land of freedom.

HARRIET: Yes, I is Moses! I was a stranger in a strange land. Oh how I prayed then RIT: Hattie, is that right? lying all alone on the cold damp You is the famous Moses? ground! Oh Lord, I ain't got no friend but HARRIET: Yes, that's right! You! And l's come to take you with me Come to my help! to the land of freedom. 21 LIBRETTO

And then ...and then The jailer woke from out of his I looked at my hands sleep, to see if I was the same person He hollered and yelled and then now that I was free! he weep. And there came such a glory He grab his bottle and fling it on over everything! the ground, ), The sun ca me through the t rees He was madder than a hornet, and over the fields but Ben was flown. and I felt like I was in heaven! And I knew the Lord had taken CHORUS: Run, Hattie run! • care of me. The Lord He gave me courage, HARRIET: It ain't right. He gave me strength. It ain't justice. Ah yes! The fight is not over but I can't fight alone. Oh M ama, you gotta have faith, you gotta have trust! CHORUS: Yo u w ill not fight alone. We'll find a way to save my Pappy! We w ill fight together Come, we got to go! for what is rig ht. We will fight together CHORU S: Freedom! for what is just. Run Hattie, run, the pateroller You will not fight alone. get yer Run Hattie, run, and try to get RIT: You will not grieve alone. away. We will share your sorrow. Run Hattie, run, the pateroller get yer CHORUS: We w ill fight Run Hattie, run it's almost day. so no-one is a slave. So we all ca n live together Freedom! 1n peace, The jailer sleep and he'd locked in harmony the door. and in freedom. Poor old Ben he lay on the floor. Then Moses came and open the HARRIET: Ah yes! door And then old Ben was there no CHORUS & In peace, more! HARRIET, in harmony & RIT: and in freedom . t Run, Hattie run, the pateroller In freedom! get yer. Run, Hattie run, and try to get away. THE END Run, Hattie run, the pateroller get yer, Hit yer thirty-nine and swear didn't touch yer. Run! 22 WHO'S WHO

PAMELA DILLARD been heard in Atlanta area concerts during made her debut with the William L. Dawson Celebration at Emory San Francisco Opera as University and during the 2006 King Victoire in the world pre­ Celebration for Morehouse Co ll ege. miere of The Dangerous On the concert stage Ms. Dillard has Liaisons (telecast nation­ appeared w ith symphonies across the United ally for Great States including, the Boston Symphony Performances on PBS) . Orchestra, Saint Louis Symphony, Colorado She has returned to Sa n Symphony, New Haven Symphony, Pacific Francisco Opera to sing roles in Rusalka, Carmen Symphony and Marin Symphony Orchestras and Manon. Of her James Schwabacher Debut among others. Ms. Dillard was the featured Recital presented by the San Francisco Opera soloist in Alexander Nevsky for the Atlanta Center, Joshua Kosman of the San Francisco Symphony Orchestra and returned the follow­ Chronicle raved, "[Dillard] turns out to be a ing season to sing the title role in Carmen. She forceful presence-both regal and vivacious w ith was presented in concert with the Boston a w inningly rich hued voice to match." Pops Orchest ra in a tribute concert to the Ms. Dillard made her professional operatic centenary of the birth of Marian Anderson. In debut as Irina in Lost in the Stars with Boston recita l, she repeated a tribute performance to Lyric Opera staged by dancer/choreographer Marian Anderson for Onyx Opera of Atlanta. Bill T. Jones. She returned to Boston Lyric as She has sung under the baton of great con­ Ursula in Beatrice and Benedict and Meg Page ductors such as, Grammy nominated compos­ in Falstaff. Ms. Dillard ca ught the international er John Williams, Seiji Ozawa, Ke ith Lockhart, attention of critics for her stunning portrayal Donald Runnicles, Robert Spa no and Yoel Levi. of the title role in Opera Theat re of Sa int Pamela Dillard, a native of Atlanta, Georgia is Louis' production of La Belle Helene. She has an Adjunct Professor of Voice at Spelman also appeared as Meg Page in Falstaff and College in Atlanta. She earned her B.F.A. from Suz uki in Madama Butterfly for Opera Theatre Newcomb College of Tulane University where of Sa int Loui s. Ms. Dillard has also sung roles she received a Thomas J. Watson Fellowship, w ith Atlanta Opera, Opera Carolina, which provided her a year of travel and study in Opera/Columbus, Tul sa Opera and Western Europe. She is the recipient of the Martin Luther Opera Theatre. King Graduate Fellowship at Boston University, Ms. Dillard's most recent engagements w here she received her M.M. Her many awards include Lily in Porgy and Bess for Atlanta include a Richard Gaddes Fund Award for Opera, and Anita in West Side Story w ith Young Singers from Opera Theatre of Sa int Atlanta Symphony Orchestra during their sum­ Louis and a Richard Strauss Opera Study Award mer concert seri es. She was recently present­ from the San Francisco Opera Center w here sh·e ed in recital by Kennesaw State University in was a member of the Merola Program. Kennesaw, Georgia and as a guest artist at M s. Dillard ca n be heard on Watch and Pray, Benedict Co ll ege for the recent celebration of Spirituals and Art Songs by African American George Walker, American composer and recip­ Women Composers produced by Koch ient of a 1996 Pulitzer Prize in Music. Du ring International Classics. Other recordings include the holiday season, she performed M essiah in the featured soloist for the Grammy nominated Cambridge, M assachusetts and in a New so undtrack to Stephen Spielberg's Amistad; Yea r's Eve ga la concert in The Highlands, William Grant Still's Highway One for Visionary North Ca roli na benefiting the Children w ith Records; Superhero for Brian McKnight and Aids in DarEs Salam, Tanzania. She has also Preschool Favorites by Music For Little People. 23 WHO'S WHO

Panamanian-American Foundation of New York Wagner Competition, baritone NMON and prizes from the Gerda Lissner Foundation, FORD last appeared at the George London Foundation and the BAM w ith the Brooklyn Metropolitan Opera National Awards Council. Philharmonic in the Recent and future engagements for Mr. world premiere of Ford encompass the title role in Billy Budd Jennifer Higdon's w ith Hamburg Opera, the role of Amfortas Dooryard Bloom (com­ (cover) in Robert Wilson's product ion of posed specifically for Parsifal with Los Angeles Opera starring him), conducted by M ichael Christie. He has Placido Domingo and conducted by Kent performed throughout the Americas, Europe Nagano, Shostakovich's Symphony #13 (Babi and Japan, most recently as Demetrius in Yar) with the Los Angeles Phi lharmonic con­ Britten's A Midsummer Night's Dream with ducted by Alexander Mickelthwate, Mahler's Hamburg Opera. He was nominated for a Symphony #8 with the National Symphony Grammy Award for his contribution to the conducted by Leonard Slatkin, Dooryard Naxos recording of William Balcom's Songs of Bloom with the Atlanta Symphony conducted Innocence and of Experience, which was by Robert Spano, and the title role in a reviva l named as one of The New York Times "Best of Don Giovanni with the Spoleto Festival USA Classical CO's of the Year." Having begun his conducted by Emmanuel Villaume (directed by musical training in piano at age three, Mr. Gunter Kramer). Ford has since appeared with San Francisco More information about Mr. Ford is available Opera, Spoleto Festival U.S.A., Los Angeles at www.nmonford.com. Opera, Utah Opera, Portland Opera, Opera Memphis and Virg inia Opera in roles such as lago (Ote//o), Kurwenal (Tristan und Isolde), Scarpia (Tosca), Amonasro (Aida), Escamilla (Carmen ), and the High Priest (Samson et Dalila). Other roles include Posa (Don Carlo), Jochanaan (Salome), and Telramund (Lohengrin). Mr. Ford has worked with di stinguished conductors Esa-Pekka Sa lonen, Leonard Slatkin, Simone Young, Kent Nagano, Raphael Fruhbeck de Bu rgos, John Adams, Robert Spano and Marin Alsop. His solo concert appearances include the New York Philharmonic, the Los Angeles Philharmonic, the Orchestra of St. Luke's, the National Symphony, the Pittsburgh Symphony, the Hollywood Bow l, and the Milwaukee Symphony. He made hi s New York recital debut under the auspices of the Marilyn Horne Foundation. Mr. Ford's award recognitions include First Place in the Liederkranz

24 WHO'S WHO

Soprano CYNTHIA Pamina in Mozart's Die Zauberflote at the HAYMON was most Bastille Opera. In America, she has sung recently heard at Michaela with the Cleveland and San Francisco Tanglewood Music Operas, Liu and Mimi for Dallas Opera, and Festival in Mahler's Mimi for the Santa Fe Opera. Ms. Haymon's Fourth Symphony w ith recordings include Mendelssohn's Hymn of James Conlon and in Praise and La Boheme on Chandos; King, the Beethoven's Choral musical, on Decca; Porgy and Bess for EM I Fantasy w ith Seiji (which won a 1990 Grammy Award); and a Ozawa. Other orchestral engagements include solo CD of American songs entitled Where the the world premiere of Ned Rorem's Swords Music Comes From . and Plowshares as well as the world premiere of John W il liams's Seven for Luck for the Boston Symphony Orchestra, Carl Orff's Carmina Burana for the Detroit Symphony, Mozart concert arias for Orpheus Chamber Ensemble (under Myung-Whun Chung), Ross ini's Stabat Mater for the London Symphony Orchestra, Mozart's Mass in C Minor for the Tokyo Orchestra, at the May festiva l in Cinci nnati as the soprano soloist in Faure's Requiem, Steven Albert's Flower of the Mountain w ith the Seattle Symphony, Brahms's Requiem for the Rome Television Orchestra, Berg's Lulu Suite for the London Symphony (Michael Tilson Thomas), and 's Portraits for soprano, clarinet, violin, cel lo, and piano w ith William Hudgins, Marylou Speaker Churchill, Yo-Yo Ma, and Emanuel Ax at the Tanglewood Festival. Ms. Haymon has sung Bess in Porgy and Bess for the Dallas Symphony, Berlin Phi lharmonic (Simon Rattle), and Bregenz Summer Festival in Austria. Her operatic cred­ its in Europe include Euridice in Gluck's Orfeo ed Euridice with the Leipzig Opera, Bess w ith the Glyndebourne Opera and Teatro Real in Madrid, Liu in Puccini's Turandot in Hamburg, the roles of Mimi in Puccini's La Boheme, Michaela in Bizet's Carmen, and Marguerite in Gounod's Faust at the Deutsche Oper Berlin, Mimi, Liu, and Bess for Covent Garden, Poppea in Monteverdi's L'lncoronazione di Poppea for the Netherlands Opera, and

25 WHO'S WHO

Rich and powerful musi­ profession for a woman. The joint commission ca l language and a of Harriet, the Woman called Moses (1984) by strong sense of drama the Royal Opera House and Virginia Opera have made Scottish­ Association and, most recently, Simon Bo!fvar Ameri can composer by the Los Angeles Music Center Opera and THEA MUSGRAVE Scottish Opera can be seen as confirmation of a one of the most respect­ widespread recognition. Her newest opera, ed and exciting contem­ Ponta/ba, commissioned by New Orleans porary composers. Opera, premiered there on October 2, 2003. .J Her compositions were f irst brought to a Born in Edinburgh, Scotland on 27 May wider audience by the British Broadcasting 1928, she studied first at the University of Corporation and through performances at the Edinburgh and later at the Conservatoire in Edinburgh International Festival. As a result her Paris, where she spent four years as a pupil of works have been widely performed in Britain, , before establishing herself. Europe and the USA, and at the major music back in London as a prominent member of festiva ls, such as Ed inburgh, Wa rsaw Autumn, British musica l life w ith her orchestral, choral, Florence Maggio Musicale, Ven ice Biennale, operatic, and chamber works. In 1970 she Aldeburgh, Cheltenham and Zag reb; on most became Guest Professor at the University of of the European and American broadcasting Ca lifornia, Sant a Barbara, which anchored her stations; and on many reg ular symphony increasing involvement with the musical life of concert series. the United States. In 1971 she married the From time to time she conducts her own American violist and Opera conductor Peter works: the premiere performance of Mary, Mark, and has resided in the U.S. since 1972. Queen of Scots in August 1977 at the In 1974 she received the Koussevitzky Award, Edinburgh International Festival and again in resu lting in the composition of Space Play per­ 1979 w ith the San Francisco Spring Opera; her formed at . She has also been bal let Beauty and the Beast; the premiere per­ awarded two Guggenheim Fe llowships, in formances of The Voice of Ariadne in Britain 1974-5, and again in 1982-3, anrl recognized and again in New York and Los Angeles for the by Old Dominion University (Virginia) and Opera; orchest ral works w ith Smith College with honorary degrees. In June the BBC Symphony, Royal Phi lharmonic 1995 Musgrave received an Honorary Degree Orchestra, English Chamber Orchestra, and the of Doctor of Music from Glasgow University, London Sinfonietta; also a recording of the and she was awarded a C.B.E. on the Queen's Horn Concerto with the Scottish National New Year's Honour List in January 2002. As Orchestra and soloist . In the Distinguished Professor at Queens College, United States she has conducted the City University of New York from September Philadelphia Orchestra, the Los Angeles 1987-2002, Musgrave has guided and inter­ Chamber Orchestra, the San Francisco acted with many new and gifted young stu­ Symphony, and St. Paul Chamber Orchestra. dent composers. She has also conducted the Jerusalem Musgrave has consistently explored new Symphony and the Hong Kong Ph ilharmonic. means of projecting and maintaining essential­ It is a measure of her talent and determina­ ly dramatic situations in her music, frequently tion that Thea Musgrave achieved great respect altering and extending the conventional for her work both as a composer and conductor boundaries of instrumental performance (inter­ at a time when it was still a rather uncommon actions) in her orchestral and chamber music

26 WHO'S WHO

by physicalizing their musical and dramatic alogue, Thea Musgrave is freq uently inter­ impact. As she once put it, she wanted to viewed and questioned about being a 'explore dramatic-abstract ideas in some instru­ "woman" composer, to which she has replied; mental works (dramatic in the sense of presen­ "Yes, I am a woman; and I am a composer. tation, but without programmatic content, But rarely at the same time." such as the Clarinet Concerto, the Horn Concerto, the Viola Concerto, and Space Play), and specific programmatic dramatic ideas in ., others (such as the paintings in The Seasons, the poems in Ring Out Wild Bells, Journey in a Japanese Landscape, and Autumn Sonata, and the famous Greek legends in Orfeo, Narcissus, Helios, and Voices from the Ancient World);­ all extensions of concerto principles'. In some of these, to enhance the dramatic effect, the sonic possibilities of spatial acoustics have been incorporated: in the Clarinet Concerto the soloist moves around the different sections of the orchestra, and in the Horn Concerto the orchestral horns are stationed around the con­ cert hall . Thus the players are not only the con­ versants in an abstract musical dialogue, but also ve ry much the living (and frequently peri­ patetic) embodiment of its dramatis pe rsonae. It was therefore not surprising that her focus on both music's lyric and dramatic potential should have led to Musgrave's natu­ ral proclivity and fluency in the field of opera, and it is interesting to see that her large-scale operas of the past 30 years, beginning with The Voice of Ariadne (1972) and followed by Mary, Queen of Scots (1977), A Christmas Carol (1979), and Harriet, the Woman Called Moses (1984), are in every sense the true suc­ cessors to the instrumental concertos. Her last full-scale opera Simon Bolivar ( 1993), like many of her operas, focuses on a historic fig­ ure whose life takes on an epic or archetypal dimension-in this case the heroic liberator of Colombia. Her newest opera, Pontalba, A Louisiana Legacy (2003), again places the heroic struggle of its heroine in a larger histori­ cal context, in this case the Louisiana Purchase and the forging of the young United States. With such a large and varied career and cat-

27 WHO'S WHO

DANIEL BERNARD CHELSEA TIPTON, ROUMAIN (DBR) is a II enters his third composer, performer, season as Resident violinist, and bandleader Conductor with the who seamlessly blends Toledo Symphony funk, rock, hip-hop and Orchestra. Committed classical music into a to building a solid new sonic vision that is musical foundation for far out and creative in audiences both young another world. He is a classica l-u rban ambas­ and old, Mr. Tipton has taken an active role in sador for the next generation, and for a developing and implementing educational w idening audience, on a growing national and programs for the TSO in the communit y. international scene, he's simply Revolutionary. Mr. Tipton's guest conducting engagements Voted #3 Best Classical Moment of 2003 by have included the Chicago Symphony The New York Times and raved about by Orchestra, Boston Pops Orchestra, New Jersey critics from classical and popular music fields Symphony, Houston Symphony Orchestra, alike, DBR has collaborated with Philip Glass, Columbus (Ohio) Symphony Orchestra, Atlanta Ryu ichi Sakamoto, Vernon Reid, DJ's Radar, Symphony Orchestra, New York Ph ilharmonic Spooky, and Scientific, Susan Sarandon, (Special Reading Session), Alabama Symphony Cassandra W ilson, and an array of orchestras Orchestra, Louisville Orchestra, Mississippi and chamber ensembles. His dramatic soul­ Symphony Orchestra, Greenville (South inspiring pieces range from orchestral scores Carolina) Symphony Orchestra, Cincinnati to energetic chamber works to rock songs and Chamber Orchestra, Carolina Chamber electronica-all embracing modern musical Symphony, Florida Orchestra, Louisiana genres woven w ith a multicolored spectrum of Philharmonic Orchestra, Jacksonville Symphony popular music. His 9-piece band, DBR & TH E Orchestra, Baton Rouge Symphony, Brooklyn M ISSION, features an amplified string quartet, Philharmonic, the Sphinx Chamber Orchestra drum kit, keyboard s, vocalist, OJ and laptopist. and the Crested Butte Festival Orchestra. The orchestras of Dallas, Memphis, San Prior to his appointment with the TSO, Antonio, and St. Louis have performed or Mr. Tipton was Associate Conductor with the commissioned his works, and Bi ll T. Jones and Savannah Symphony Orchestra and served as the Orchestra of St. Lukes (OSL) regularly col­ Music Director of the Cincinnati Symphony laborate w ith him-DBR is the Music Director Youth Orchestra. of the Bill T. Jones/ Arnie Zane Dance Company and Assistant Composer-in­ Residence of the OS L.

28 WHO'S WHO

Pastor Frank Haye, Director, is an accom­ plished musician, composer, conductor and man of God. He was appointed Minister of Music at Em manuel Baptist Church in 1998 and building on the congregation's musical legacy, Pastor Haye combined its two choirs into a single group, TOTAL PRAISE. He then carved out smaller ensembles dedicated to anthems, hymns, spirit uals, classica l arrange­ ments, hip-hop, and pra ise-and-worship songs. Pastor Haye leads the entire Sacred Arts Ministry at Emmanuel w hich is a combination The 130 voices and instrumentalists who make of drama, dance and music ministries. Pastor up what is the TOTAL PRAISE choral family Haye believes that music is more than an art is an assortment of studied professional musi­ form: It is a tool for bringing people from all cians and those who, though largely untrained, different backgrounds together. have a keen ear for music and hearty desire for Reverend Anthony L. Trufant is the Senior song. The TOTAL PRAISE roster includes music Pastor of Emmanuel Baptist Church . His service award-winners, school teachers, lawyers, began fourteen years ago and during his bankers, doctors, retirees, and various other tenure Rev. Trufant's innovative leadership has occupations. Much like the cultural rainbow propelled Emmanuel into completing a twenty­ that is New York City, the choristers are a mix two year, multi-million dollar renovation proj­ of Big Apple natives and those born and bred ect. Rev. Trufant has developed three different in the states trailing from East Coast to West styles of worship services: Trad itional believers, Coast, Africa and the Caribbean. Contemporary, and a Seeker-Sensitive service. This varied crew begins its rehearsals with a Through this novel approach to deliver God's half-hour discussion and meditation on mat­ word, Emmanuel's membership has increased ters of the Spirit. From there, it dives into vocal three-fold. Under his leadership, one can warm-ups and exercises. The routine aims to expect greater things to happen as Emmanuel keep TOTAL PRAISE anchored, not simply mak­ becomes a spiritual leader not only in the ing music but answering what is its higher cal l Church community, but a leader t hroughout to ministry at Emmanuel Baptist Church. The the borough of Brooklyn and beyond. group has sung for private and public events Emmanuel Baptist Church has been a bea­ for corporate and church gatherings as well as con of light in its landmarked building on the numerous television appearances. In addition corner of St. James Place and Lafayette to the Brooklyn Academy of Music, TOTAL Avenue since its founding in 1881 . The PRAISE has performed at, among other ven­ Church's core va lues are Christ-Centered, ues, Central Park's Summerstage Festival, Biblically Based, Mission-Oriented, Culturally Celebrate Brooklyn!, and local and national Re levant, Gift-Based, Excel lence in Ministry conferences of the Urban League. TOTAL and Partnering through Prayer. Visit the PRAISE continues its busy schedule with local Church at http:/ jwww.ebc-ny.org. and international performances and is looking forward to recording a Christmas project and releasing its sophomore CD project in 2006. TOTAL PRAISE Live was released in 2002 to critical acclaim.

29 TOTAL PRAISE CHOIR OF EMMANUEL BAPTIST CHURCH Frank Haye, Director

SOPRANOS ALTOS Queenie Terry Vickie Thomas Colin Rodney Casilda Thomas Arlene Lewis Stephen Beasley Patricia Johnson Nikki Johnson Kevin Wheatley Eve Townsend Wanda Walton LaRaine Ward Genea Martin Ernesha K. Webb Derrick Marable Michelle Harris Nicolle A. Munroe Robin Danzy Alexia Scott Nicole Lourensz Daniel Chisolm Gloria Ferrer Pamela Holmes Lyndon Mclean Nakeesha Witherspoon Nedelka Echols Tynia Richard Delia Morrison Priscilla Rice Raymond Green Chantelle Wright Vivian L. Gordon Theresa Payne Nicole Hall Sade1 Bruce Betty McCain Shantelle Brown Christine Johnson Kito Huggins Reneel deChabert Naomi Johnson Larry Smith Sherilyn Brown Sharon Fayall Sarah Thomas Yvonne 0 1Neil Leta Forsythe Ann Bl ackburn Katti Gray Linda Russell Beatrice B. Jackson Ethel Hatfield Patricia Hadley Bradley Valentin Jahaira Marrero Rhoda A. ldowu Sandi Blair Meredith Suttles Dianne Manago Charles Dey Michelle Genece Claudette Williams Mario F. Daniels Dionne Watley-Adger Jacqueline Berrien Lerryn Perez Paula Sanders Maryse Jean-Baptiste Glenda Bies-Berry Lucille Dandridge Nayday LaBorde Debbie Carter Renee Jarvis Tayla Spence Ken neth W illiams Caroldine Smith Sabrina Walton Dana Watson Jacqueline Brown-Sinclair Barbara Stanford Stacey Frazier BASS Rose Hamm Natasha Johnson James R. Chestnutt Barbara Jones Queenie Jones-Hill Robert L. Evans Amanda McElveen Paula McCalla Je rold I. Lewis Angela McElveen Vida McWhite Craig Threat Hazel Gibbons Rrenee Miller Peter Johnson Chrystalyn Terrell Phillipa Philpot Gary Small Chantel R. Wright Benee Smith DeShawn Winslow Augustus T. Sanders Jonathan Hicks

30 BROOKLYN philharmoniC MUSIC DIRECTOR michael ChriStie

FREEDOM! CONCERT

VIOLIN BASS TROMBONE Brennan Sweet¥ o Joeseph Bongiorno * Hugh Eddy* Deborah Wong ± Gregg August Tom Olcott Robin Bushman Judith Sugarman Lawrence Benz Diane Bruce Louis Bruno Carlos Villa TUBA Claudia Hafer FLUTE Andrew Seligson* Sander Strenger Katherine Fink* Ashley Horne David Wechsler TIMPANI Ann Labin Dan Gerhard Richard Fitz* Cecelia Hobbs Gardner Sashka Korzenska OBOE PERCUSSION Randa ll Wolfgang* Barry Centanni + Deborah Buck* Melanie Feld James Preiss Katherine Hannauer Jim Roe Frank Cassara Shinwon Kim Ray Marchica Sebu Sirinian CLARINET Joana Genova-Rudiakov Steven Hartman* HARP Roxanne Bergman Shari Hoffman Karen Lindquist* Heather Ann Bixler Paul Garment Leona Nadj PIANO Catherine Mandelbaum BASSOON Ken Bowen* Harry Searing + VIOLA Doug Quint PERSONNEL MANAGER Ah Ling Neu + Jeff Marchand Jonathan Taylor Jessica Troy Alexander Rees FRENCH HORN LIBRARIAN Debra Shufelt Paul Ingraham* David Carp Ariel Rudiakov Scott Temple Ben Ullery Francisco Donaruma Patricia Diaz Kaitilin Mahony Martha Brody ¥ Concertmaster TRUMPET ± Acting Concertmaster CELLO Jim Stubbs* * Principal Chris Finckel* Wayne Dumaine + Acting Principa l David Calhoun Richard Clymer o On Leave Lanny Paykin Nicole Kim Hanson Peter Rosenfeld Kate Sanford Spingarn

31 SPECIAL THANKS

With this concert, cell ist Peter is a graduate of Swarthmore College PETER ROSENFELD and Queens College, and was a student at is completing 35 years The Ju il liard School, the Conservatoire with the Brooklyn National de Musique in Paris, and of Bernard Phi lh armonic, playing Greenhouse and Luigi Silva. He taught music just about every concert appreciation for over 25 years at Baruch and touring with the College, and coached chamber music at orchestra three times Queens College and for the past decade of to Mexico. A familiar the precollege division of the Mannes College presence in New York City's concert life as a of Music. He has played throughout the city f ree lance orchestral and chamber musician, for Young Audiences during his entire career. Peter played regularly w ith the American He and his wife, Lu cy, have three daughters Symphony, the New York City Ballet and and 4 and 8/9ths grandchildren. Opera Orchestras, the New York ~ops, Musica Aeterna, t he Contemporary Chamber Ensemble, t he American Opera Society, and numerous other groups. In addition to many memorable concerts with the Brooklyn Philharmonic, highpoints include Rio de Janeiro with the Violincello Society, faculty at American Academy in Fontainebleau, three tours of Japan, chamber music in Provincetown and Leo nia, N. J. (where he lives), and touring the country with the Robert Shaw Chorale in the Bach B minor Mass.

32 BROOKLYN philharmoniC MUSIC DIRECTOR michael ChriStie

2005-2006 Season Sponsors

The Brooklyn Philharmonic expresses deep appreciation to the individuals, foundations, national and international corporations, and government agencies whose contributions sustain the Annual Fund. The support of each and every donor helps to meet the 2005-2006 season operating expenses, which total almost $3 million, and enables the Brooklyn Philharmonic to maintain and expand its musical and educational activities. For more information about giving opportunities, please contact Maria Watson, Director of Development, Brooklyn Ph ilharmonic, 138A Court Street, Brooklyn, NY 11218, 718-488-7014.

Printing Sponsor Print Media Sponsor Official Piano Official Radio Station Promotions Sponsor

[ii•Rdhl"*!riiiii,i GYAMAHA 96o3_.,WQXR @the ONION. J>...t1?..1 > AufN,:1"' c-. :1,.,. y..i

SUPPORTERS

CORPORATE, Foundation Baker Botts LLP FOUNDATION, AND JP Morgan Chase CB Richard Ellis KeySpan Energy The Aaron Copland Fund for Music GOVERNMENT SUPPORT New York City Department of Oliver S. and Jennie R. Donaldson Youth and Community Charitable Trust LEADERSHIP GIFTS Development Jean and Louis Dreyfus ($100,000 and Above} New York Community Trust Foundation, Inc. Thomas A. Renyi, Chairman and New York State Assembly The Max and Victoria Dreyfus CEO, The Bank of New York New York State Council on the Arts Foundation, Inc. Company, Inc. Washington Mutual Ann and Gordon Getty Foundation Booth Ferris Foundation The Greenwall Foundation New York City Department of SOLOIST Hellmuth, Obata & Kassabaum Cultural Affairs ($20,000-$49,999} .Herrick, Feinstein LLP New York City Council Accenture Katan Developers Mainland I LLC The William Randolph Hearst Amerada Hess Corporation The Andrew W. Mellon Foundation Foundation Mary Flagler Cary Charitable Trust MetLife Foundation Rockefeller Brothers Fund Courier-Life Publications Mini-Circu its United States Department of The Dana Foundation Henry and Lucy Moses Fund, Inc. Education Katten Muchin Rosenman LLP New York State Senate United States Department of Justice National Endowment for the Arts Powers Global Strategies Wayne Winborne, Prudential Proskauer Rose LLP CONDUcrOR'S CIRCLE Financial The Scherman Foundation, Inc. ($50,000- $99,999) The Fan Fox and Lesl ie R. Samuels Thomas Heftier, Stroock & Stroock The Bank of America Foundation Foundation, Inc. & Lavan LLP The Louis Calder Foundation Vinson & Elkins, LLP Structure Tone, Inc. Carnegie Corporation of New York Yamaha Rafael Viiioly Architects PC The CF Group Varnado Realty Trust The Community Preservation PRINCIPAL Corporation ($10,000-$19,999) BENEFACTOR Con Edison Altria Group, Inc. {$5,000-$9,999} Forest City Ratner Companies The Amphion Foundation, Inc. American Express HSBC Bank USA The Rose M. Badgeley Residuary Astoria Federal Savings Independence Community Charitable Trust The Barker Welfare Foundation

33 SUPPORTERS

Brooklyn Borough President Marty Empire Office, Inc. Andrew Glass Mortgage Brokerage Markowitz Freddie Mac Foundation Inc. Catering by Framboise Goldfarb & Fleece Hinman, Howard & Katell, LLP Community Capital Bank Gotham Construction Company R.T. Hunt & Associates, Inc. Charles E. Culpeper Foundation Granoff, Walker & Forlenza Lentnek Management Ernst & Young LLP Greiner-Maltz Esanu Katsky Korins & Siger, LLP Woody Heller MATCHING GIFT Forte Condominiums, The Clarett Ruth & Stephen Hendel COMPANIES Foundation Group Bank of America Goldman, Sachs & Co. Victor Herbert Foundation Independence Community Ban k Hill, Betts & Nash LLP The Hallen Construction Co., Inc. The Henry Luce Foundation Music Performance Trust Fund Home Inspection Group JP Morgan Chase Muss Development Company J & R Electronics, Inc. Merrill Lynch Levine Builders/Douglaston O'Connor Capital Partners Charles Stewart Mott Foundation The Parsons Family Foundation Development Prudential Foundation Matching Linden Alschuler & Kaplan Pfizer Inc. and the Pfizer Gifts Foundation The Litwin Foundation Virgil Thomson Foundation Jeffrey and Tondra Lynford, MAESTRO'S CIRCLE Lynford Family Charitable Trust PARTNER Monadnock Construction, Inc. CHARTER MEMBERS ($2,500-$4,999) Charles Stewart Mott Foundation In celebration of the Brooklyn Ackman-Ziff Real Estate Group LLC New York State Department of Philharmonic's recent appoint­ Akin, Gump, Strauss, Haver and Education ment of Michael Christie as the Feld LLP New York Times Company Philharmonic's fifth Music American Property Financing Foundation Director, we are please to thank Benenson Capital Partners, LLC North Fork Bank the Charter Members of the Brown Raysman Millstein Parkchester Preservation Company Maestro's Circle Program. Deloitte & Touce LLP LLP Felder & Steiner LLP Pasternak, Baum & Co., Inc. CONDUCTOR'S CIRCLE Calip Dairies, Inc. Pinnacle Managing Co. LLC {$50,000-$99,999) The Gladys Krieble Delmas Rende Contracting Corporation Anonymous (2) Foundation RF I Binder Partners-Amy Binder B. Jaffe Real Estate Company Lawrence Samsky- Skyline SOLOIST Barbara Koz Paley, Metropolitan Appraisals, Inc. {$20,000-$49,999) Business Network Sankel, Skurman & McCartin, LLP J. Barclay Collins, II Prompt Mailers, Inc. Danielle Sprouts Sheri P. Chromow Raj Batheja, Stoneridge Homes Sugar Foods Corporation Donald H. Elliott Michael Tuch Foundation, Inc. Swidler Berlin LLP Craig G. and Carol Matthews Unity Electric Co., Inc. Time Moving & Storage Inc. Nancy E. Schuh and Joseph E. The Topps Company Mohbat PATRON F.S. Tonae Corporation Judy Witt-Witt/Hoey Foundation {$1,000- $2,499) United Management Corporation Berenson & Company David and Jane Walentas PRINCIPAL Brooklyn Information & Culture Steven Lloyd Weinrib Charitable {$10,000-$19,999) Brooklyn Renaissance Plaza Foundation Scott Ageloff, Ageloff & Associates Cassin Cassin and Joseph, LLP White & Case Gina Bolden-Rivera and Orlando Zeitz Foundation Cheswatyr Fund Rivera Community Capital Bank Catherine M. Cahill Cow Bay Contracting SUSTAINER Gail and David Corvette Cullen and Dykman LLP {$500-$999) Timothy and Sealy Ann Gilles Augie and Tracy D'Aionzo Aile Processing Corp. Timothy King Denver Investment Advisors Brooklyn Brewery Benjamin Kursman Digby Management Co., LLP Capital Bank & Trust Joseph Rosalie DiSalvo Contracting Co ., Emigrant Savings Bank 34 SUPPORTERS 0

BENEFACTOR Sha ron Gerson SUPPORTER ($5,000-$9,999) Steve Judson ($250-$499) Frederick and Mary McGowan Davis Richard Kessler Anonymous John Morning Clem Labine C. Murray and Lucy G. Adams Wayne Winborne John and Alison Lankenau Colonel Arnold Albert Nancy Lashine lgou and Nedda Allbray PARTNER Selma Lashine James Anning ($2,500-$4,999) David Manning Mil licent Aronoff Barbara and Robert Berger Cheryl and Philip Milstein Mitchell Bernstein Michael Gilligan Victor Owen Paula and Earl Black Paula Ingram and Robert Hebron Lois and Richard Pace Constance M. Burke President Christoph M. Kimmich, Laura Parkins Doris Clark Brooklyn College Richard Parkoff Phyllis Cohen Gloria Messinger and Charles Carl Podwoski and Virginia Lovejoy John R. Corporon Mandelstam Anne Pollack Gloria Fields Barbara Koz Paley Len Shendell Bernard J. Galiley Cecille Wasserman JoAnne Simon and William Harris Lawrence Gile Judy and Richard Wood Earl D. and Gina Ingoglia Weiner Joseph Gordon Elissa Winzelberg Steven Hartman and Marcie Shaw PATRON Thomas Workman Kenneth Hoogstra Raymond H. Yu ($1,000- $2,499) Harold Ickes Anonymous Anne Kirkwood Andrea Barbieri SUSTAINER Frederick and Marion Kneip Lisa Finstrom and Tim Sanford ($500-$999) Bernard Korman Allen Fischer and Renate Belville Anonymous Sanford Leff Eunice and Milton Forman Alex Garvin & Associates, Inc. Susan Levy Richard and Dorothy Hulbert Peter M. Cline Roger C. and Mary Elyn Matthews Jerry Jacobs Eileen C. Conyers Barbara F. and Richard W. Moore I. Stanley and Charlotte Kriegel Gilberto Cordero Fund Evelyn and Everett Ortner Richard Dolan and Marilyn Go Bonnie Nuzum Marvin Eisenstadt Judith Prince INDIVIDUAL SUPPORT Norman Feit Aubrey Riccardi Merrie Frankel Kathleen Roberts and Howard PRINCIPAL Virginia Gliedman Clyman John C. Sutherland ($10,000-$19,999) Steven Godsberg Jonathan J. Taylor Kenneth I. Chenault Forbes and Lyn Hill Jessie M. Kelly Susan Whiting Lewis M. Kwit & Lani Kennedy Kwit Fred and Melinda D. Whittum BENEFACTOR Dan iel D. McCrary ($5,000-$9,999) Ronay Menschel Thomas E. Heftier Gayle Morgan More than 500 members made gifts of Demetrios and lvonne Moragianis Julie Muraco less than $250. Although space limita­ Carole and Morton Olshan Dina Perry tions restrict us from listing each individ­ A. Lorne Weil Stanley Piesh ual, their generous support has helped make our programs possible and is Deborah and Alan Polinsky deeply appreciated. PATRON Dr. Martin and Mrs. Jane Salwen ($1,000- $2,499) Dr. Carmen Schuller If you would like to learn how to make Leslie and Alan Beller David S. and Martha G. Schwartz a gift to support the Annual Fund, Arthur C. Bennett Steven and Jeanne Stellman please call Maria Watson, Director of Development, at (718) 488-7014. Sally Brody and Melvin Herzberg Charles W. Ti mmons Richard DeZego John and Narcissa Titman Current as of May 1, 2006. We George Dellapa, Esq. Clare Weisz have made every effort to ensure the Vincent and Lorraine DiSalvo Jonathan Weld accuracy of our donor list. If you see an Reta Fields Nancy A. Wolf error, please call Maria Watson at Mr. and Mrs. Vincent Gallo Richard and Mary Anne Yancey (718) 488-7014. 35 BROOKLYN philharmoniC MUSIC DIRECTOR michael christie

BOARD OF DIRECTORS OFFICERS Robert C. Rosenberg, Hon. Mary McGowan Gloria Messinger J. Barclay Collins II, Chairman Emeritus Davis John Morning Chairman I. Stanley Kriegel, Timothy Gilles Barbara Koz Paley Donald H. Elliott, Honorary Chairman Michael Gilligan Anthony Quaranta Vice Chairman Jules Hirsh Robert Rediker Joseph Rosalie, DIRECTORS Daniel Holt Anthony Rimore Treasurer Kenneth Adams Russell Hotzler Na ncy Schuh Gina Bolden-Rivera, Scott M. Ageloff Jerry Jacobs Robert Spano Secretary Lou Bruno Christoph M. Kimmich Dawn Upshaw Sheri P. Chromow Timothy D. King Cecille Wasserman Craig G. Matthews, John Corigliano Benjamin Kursman T. Michael Wickersham President Emeritus Gail Corvette Nancy Lashine Wayne C. Winborne Stanley Kaplan, Thomas Dargan Margaret Osmer Chairman Emeritus McQuade

ADMINISTRATIVE STAFF Catherine M. Cahill, David Carp, Librarian Avital Lazar-Pa ley, MARKETING AND Chief Executive Jon Taylor, Orchestra Education and COMMUNICATIONS Officer Personnel Manager Community Johanna H. Thomsen, Engagement Assistant Director of Audience EXECUTIVE OFFICE EDUCATION AND Tim Shortie, Education Development Michelle Ramirez, COMMUNITY and Community James Clark, Manager of Executive Assistant to ENGAGEMENT Engagement Assistant Promotions CEO and Board Rob Davidson, Director Ted Wiprud, Curator of Jarret Clement, Bernard Rashbaum, of Education and Community Marketing Coordinator Director of Finance Community Engagement Ke lly Merkli n, Marketing and Administration Engagement Assistant Greg Pierson, Manager DEVELOPMENT Maurice Edwards, ARTISTIC AND of Education and Maria Watson, Director Archivist OPERATIONS Community of Development Kirshbaum Demler & Evans Mirageas, Artistic Engagement Erica Topple, Special Associates, Inc., Advisor Lisa Wollaston, Events Manager Publicists Lee Ellen Hveem, Coordinator of Brandy Wicker, Manager SmashArts, Promotional General Manager Education and of Institutional Giving Consultants Scott Nechemias, Community Prudence Walters, Production Manager Engagement Development Assistant Matthew Ozawa, Sandra Serrant, Special Production Assistant Events Assistant

CITY, STATE, AND FEDERAL REPRESENTATIVES Michael R. Bloomberg, Betsy Gotbaum, Public Joel I. Klein, Chancellor, Sheldon Silver, Speaker, Mayor of the City of Advocate for the City New York City New York State New York of New York Department of Assembly Christine Quinn, Speaker, Kate D. Levin, Education Richard J. Schwartz, NY City Council Commissioner, New George E. Pataki, Chairman, New York Marty Markowitz, York City Department Governor of the State State Council on the Brooklyn Borough of Cultural Affairs of New York Arts President Jeanne B. Mullgrav, Joseph L. Bruno, Majority Charles E. Schumer, W illiam C. Thompson, Jr., Commissioner, New Leader, New York United States Senator Comptroller, City of York City Department State Senate Hilla ry Rodham Clinton, New York of Youth & Community United States Senator Development 36 Please switch off your cell phone and other electronic devices

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