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Friday Evening, January 25, 2013, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents What Makes a Masterpiece LEON BOTSTEIN, Conductor

ANTONÍN DVORÁKˇ Symphony No. 4 in D minor, Op. 13 Allegro Andante sostenuto e molto cantabile Allegro feroce Allegro con brio

HEINRICH VON Symphony No. 1 in C minor, Op. 50 HERZOGENBERG (U.S. Premiere) Adagio—Allegro Adagio, ma non troppo Allegro agitato Allegro

Intermission

JOHANNES BRAHMS Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 2

THE Program

ANTONÍN DVORÁKˇ Symphony No. 4 Born September 8, 1841, in Nelahozeves, Czechoslovakia Died May 1, 1904, in Prague Composed January 1–March 26, 1874, in Prague, revised in 1887–8, Premiered April 6, 1982, in Prague Performance Time: Approximately 38 minutes

Instruments: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, percussion (triangle, cymbals, bass drum), harp, and strings

HEINRICH VON HERZOGENBERG Symphony No. 1 Born June 2, 1843, in Graz, Austria Died October 9, 1900, in Wiesbaden, Germany Composed in 1885 Performance Time: Approximately 42 minutes

Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, and strings

JOHANNES BRAHMS Symphony No. 4 Born May 7, 1833, in Hamburg Died April 3, 1897, in Vienna Composed in 1884–85, in Mürzzuschlag, Austria Premiered on October 25, 1885, in Meiningen, Germany with Brahms conducting Performance Time: Approximately 39 minutes

Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 French horns, 2 trumpets, 3 trombones, timpani, percussion (triangle), and strings 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 3

ABOUT THIS Concert

What Makes a Masterpiece and are all in minor keys. All three were by Leon Botstein either composed or revised in the decade of the 1880s by composers who shared It is rare that one gets to match wits with biographical connections and one lan- a distinguished colleague before the public guage in common: German. on a subject, and debate a matter of importance. As a reader of the program The three works on tonight’s program notes to tonight’s concert will discover, are all properly identified in the notes my good friend David Brodbeck and I to this concert written by the eminent do not quite see eye to eye. Therefore scholar, David Brodbeck. He acknowl- tonight may, in retrospect, have the feel edges the program as being made up of of a public debate. It is a pleasure to be an obscure symphony by an obscure part of a controversy in an art form that composer, a neglected work by a often appears to be so staid. famous composer, and a famous work by a famous composer. After all, tonight’s concert was designed to challenge received wisdom about the But there is where the debate begins. merits of musical works, and the criteria Brodbeck offers the accepted judgment by which we judge music. The premise of of history, and therefore the standard the concert is one that has been responsi- view. Herzogenberg’s symphony is ble for much of the ASO’s programming judged the work of an epigone, and little over the past two decades. We believe more than a pale reflection of Brahms. that inherited verdicts of quality are too Its presumed lack of originality has readily accepted, and that we succumb been the source of its obscurity. Brod- uncritically to the so-called judgment of beck deems the work workmanlike and history. Is what has been handed down to cleanly executed and therefore from us as canonical and superior really so, or time to time worthy of being heard. The is the standard concert repertory more of Dvorˇák, even in its revision, is judged a a biased and perhaps lax selection from failure, except for the two inner move- the past? Could the standards that earn a ments. The symphony’s merit seems to historical work of music a regular place rest in the idea that these better move- on today’s concert stage be narrow and ments prefigure the mature Dvorˇák we even arbitrary, and perhaps reveal a dis- all know and love. In other words the tortion of history? main reason to tolerate Dvorˇák’s Fourth Symphony is because of our In order to pursue this challenge, high- longstanding attachment to the Seventh, light the inadequacy of today’s account Eighth, and Ninth symphonies (and of our musical heritage, and expose the possibly Nos. 5 and 6). But is this the poverty of the accepted selection of best that can be said of the Fourth? works from the past which are per- What exactly is deficient about it? formed all too frequently in concert life, the ASO has chosen to organize a Brahms’ Fourth is an acknowledged closely argued experiment in the form of masterpiece the merit of which Brod- a concert. We will perform three sym- beck rightly knows requires no defense phonies that exhibit common formal or argument. There is indeed no point characteristics, share aesthetic premises, or purpose in taking issue with the 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 4

accepted view of Brahms’ E-minor sym- This concert exists because we wel- phony. But is Brodbeck’s comparative come the opportunity for an audience assessment of the weakness of the other to come to its own conclusions. Faced two—the standard view in the critical with these three comparable works, no and scholarly literature—justified? How one expects our collective opinion can we locate and challenge the pre- about Brahms to change. But perhaps sumed objective criteria that render the the time has come to revisit a less famil- account of the supposed shortcomings iar Dvorˇák symphony—a powerful and of the other works valid? That prescrip- ambitious work—as well as to give the tive notion is precisely what this pro- Herzogenberg symphony a second chance. gram, in explicitly juxtaposing these three symphonies, attempts to explode. At issue are our reactions to the way musical time is framed by composers For do we always listen, look, or read from this historical era. What is the only in a comparative mode, thinking character of their musical materials, about experiences with works of art what is the manner in which they elab- that strike us as better or worse? If that orate them, and how do they choose to were the case we could conceivably construct a musical argument? Given a select one kind of novel, one painting, shared musical grammar and vocabu- or one film to enjoy and then disregard lary, what seems to be at stake for each all the rest. Rather, we enlarge our expe- of these composers? Absent an explicit rience by understanding that, beyond program or narrative, what do these issues of personal taste, what makes a works tell us about musical meaning worthy piece or even a masterpiece are and communication at the end of the not necessarily some immutable objective 19th century—the transaction between attributes, but the shifting discrimina- composer and listener? How have our tions within the passing eras of history. Is expectations regarding tradition and Dvorˇák’s Fourth somehow lesser or not innovation in music changed? What are worth hearing because we also have the continuities and discontinuities in Brahms’ Fourth? Is Dvorˇák’s Fourth our musical culture? How does the somehow weak or not deserving of per- meaning of music change over time? formance because his Eighth and Ninth symphonies have become more popular? Such reflections are hard for us to engage in if we only play and listen to a How does Herzogenberg’s Symphony few works that have been repeated so No. 1 hold up now, more than a century often that they have lost all connection after it was written? Brahms was not gen- to their historical context. They stand, erous in his assessment, but during his cut off from their roots, as revered lifetime, Herzogenberg was considered relics burdened by their own extensive by many to be a composer of stature, performance history and a daunting albeit in the orbit of Brahms. What body of criticism. caused the difference in the way we hear both of their symphonies? How do our By placing these three works side by reactions differ from the way their origi- side we invite audiences to find new nal audiences heard them? Perhaps we ways of thinking about familiar sub- should not be guided by Brahms’ well- jects. Dvorˇák is still known primarily known harsh opinions. At age 60 he for a few works, and for his reputation destroyed many of his own works, much as a Czech and quintessentially a voice to the dismay of his most ardent admir- within the concert repertory suggestive ers, including Clara Schumann. of a particular ethnic folk tradition. 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 5

Placed alongside Brahms, Dvorˇák may too, in that the senior member of appear to lack the gravitas we attribute tonight’s trio of composers, Johannes to Brahms, even though Brahms would Brahms, acted as a supporter of or have recoiled at such a judgment and inspiration for the two junior members. found it ludicrous. Brahms, after all, volunteered to proofread Dvorˇák’s Antonín Dvorˇák came to Brahms’ atten- works for publication, a singular ges- tion in the mid-1870s, when the latter ture of respect. served on the Austrian state committee that awarded him several stipends in And what shall we make of Heinrich von support of his work. Brahms subse- Herzogenberg, whom we now remember quently persuaded his Berlin publisher, largely on account of his wife? Her Simrock, to take on Dvorˇák’s music as famous correspondence and friendship well, thereby playing a key role in dis- with Brahms (who deeply admired her) seminating the composer’s reputation provide essential clues to understanding beyond his native Bohemia. The two that enigmatic composer. The music in men soon developed an enduring friend- this symphony suggests depth and elo- ship based in mutual respect of each quence. It possesses the capacity to other’s rather different artistic strengths. reward both player and listener by offer- ing a touching and memorable encounter Composed in 1874, toward the end of with music. Is it possible to see Herzo- Dvorˇák’s early flirtation with the New genberg as an artist of distinction rather German School, the Symphony No. 4 than a forgettable epigone? was thoroughly revised in 1887–88 for a performance in London that didn’t Such a conjecture does no harm to the pan out. This isn’t the work of a master, belief that Brahms’ Fourth is an excep- however, despite these revisions, tional work. In fact, let us hope that although it does point the way toward hearing these infrequently performed Dvorˇák’s mature style. The inner move- works tonight alongside an acknowl- ments are the finest. The lyrical Andante edged masterpiece might just stimulate e molto cantabile, a theme with varia- our curiosity to search out other tions that often sound like something neglected works from the past, and to from Tannhäuser, reveals a passion for anticipate with pleasure the prospect of Wagner that Dvorˇák never really got hearing Dvorˇák’s Fourth and the music over. By contrast, the ensuing scherzo of Herzogenberg again soon. gives an early sign of the Czech style that would soon endear Dvorˇák to his A Master, a Protégé, and an Epigone non-Czech audiences. The vigorous by David Brodbeck scherzo theme, sounded at first in the unison woodwinds, is based on the Tonight’s program brings together a same 16th-century Hussite hymn that familiar symphony by a canonic com- Smetana used in Má vlast to evoke a poser, an unfamiliar symphony by strong and glorious Czech nation. another canonic composer, and a for- gotten symphony by a forgotten com- Brahms’ acquaintance with Heinrich poser. This may at first seem an unlikely von Herzogenberg, an Austrian-born combination, but in fact the works on composer of French aristocratic descent, tonight’s bill provide a good overview dates to the early 1860s. Herzogenberg of the symphonic landscape in Central eventually married Elisabeth von Stock- Europe during the last quarter of the hausen, a former piano student of 19th century. The grouping is fitting, Brahms and later an astute critic on 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 6

whom the latter came to rely for a work of rigorous tonal and motivic insightful and frank readings of his new logic. Indeed, in response to Brahms’ works. Although Brahms fell out of request for her thoughts about his new contact with the newly married couple piece, Elisabeth feared that it was when they left Vienna to set up home in Graz, the friendship was renewed after designed too much for the eye of they moved on to Leipzig and began to the microscope, as though all the drum up support for his music in a city beauties were not laid bare for that had long resisted it. every simple admirer, and as though it were a tiny world for the wise Herzogenberg’s admiration for the and learned, only a small part of older composer is evident in the Varia- which might be had by the common tions on a Theme by Johannes Brahms people who walk in darkness. for four-hand piano that he published in 1876. When Herzogenberg later Herzogenberg’s First Symphony soon composed his Symphony No. 1, he took fell into obscurity. It sounds like Brahms Brahms’ own First Symphony as his but isn’t Brahms, and we don’t need a point of departure: both are in the key microscope to determine why. Even in a of C minor, show a similar serious favorable early review of the work, demeanor, and share certain rhythmic what comes through is the primacy of and harmonic features. Moreover, with the model: “The symphony seems to us opening movements in which a slow to be one whole gigantic reminiscence, introduction gives way to an allegro in though in the best sense of the word, of 6/8 time, and finales in C major, each Johannes Brahms.” At the same time, realizes the same narrative from dark- however, this reviewer reminds us that ness into light that characterizes originality was not essential to gaining a Beethoven’s Fifth Symphony. favorable hearing, and that workman- like, cleanly executed music such as this Brahms was evasive when Elisabeth had its place in the concert culture of the prodded him to comment on her hus- later 19th century. It is well worth hear- band’s newly published score. Begging ing again from time to time in our own off from responding in detail, he merely concert culture. expressed regret that “Heinz…put such a strain on his audiences with his first Dr. Brodbeck is professor of musicology symphony.” There is irony a plenty in and the Robert and Marjorie Rawlins these remarks, given all the challenges Chair of Music at the University of that Brahms had just tossed out in his California, Irvine. own newly completed Fourth Symphony, 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 7

MEET THE Artists LEON BOTSTEIN, Conductor

This season, Leon Botstein celebrates his 20th anniversary as music director and principal conductor of the American Sym- phony Orchestra. He is co-artistic director of the acclaimed Summerscape and Bard Music Festivals, which take place at the Richard B. Fisher Center for the Perform- ing Arts, designed by Frank Gehry for Bard College. He is also conductor laure- ate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. He has been president of Bard DINE MATT BY PHOTO College in New York since 1975.

Mr. Botstein leads an active schedule as a guest conductor all over the world, and in Berkeley, CA. For his contributions to can be heard on numerous recordings, music he has received the award of the including operas by Strauss, Dukas, and American Academy of Arts and Letters Chausson, as well as works of Sho - and Harvard University’s prestigious stakovich, Dohnanyi, Liszt, Bruckner, Centennial Award, as well as the Cross Bartók, Hartmann, Reger, Gliere, Szy- of Honor, First Class from the govern- manowski, Brahms, Copland, Sessions, ment of Austria. In 2009 he received Perle, and Rands. Many of his live per- Carnegie Foundation’s Academic Lead- formances with the American Sym- ership Award, and in 2011 was inducted phony Orchestra are now available for into the American Philosophical Society. download on the Internet. He is also the 2012 recipient of the Leonard Bernstein Award for the Eleva- Mr. Botstein is highly regarded as a tion of Music in Society. music historian. He is the editor of The Musical Quarterly and the author of Maestro Botstein is represented by numerous articles and books. Last year Columbia Artists Management, LLC. he gave the prestigious Tanner Lectures

THE AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra was Street Journal called “a new concept in founded 50 years ago by Leopold orchestras,” presenting concerts curated Stokowski, with the specific intention of around various themes drawn from the making orchestral music accessible and visual arts, literature, politics, and his- affordable for everyone. Under music tory, and unearthing rarely performed director Leon Botstein, the ASO has masterworks for well-deserved revival. kept Stokowski’s mission intact, and has These concerts are performed in the also become a pioneer in what The Wall Vanguard Series at Carnegie Hall. 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 8

In addition the orchestra performs in organizations including the Jerusalem the celebrated concert series Classics Foundation and PBS. ASO’s award-win- Declassified at Peter Norton Symphony ning music education program, Music Space, and is the resident orchestra of Notes, integrates symphonic music into the Richard B. Fisher Center for the core humanities classes in high schools Performing Arts at Bard College, where across the tri-state area. it appears in a winter subscription series, as well as Bard’s annual Sum- In addition to many albums released merScape Festival and the Bard Music on the Telarc, New World, Bridge, Festival. In 2010 the American Sym- Koch, and Vanguard labels, many live phony became the resident orchestra of performances by the American Sym- The Collegiate Chorale, performing phony are now available for digital regularly in the Chorale’s New York download. In many cases, these are the concert series. The orchestra has made only existing recordings of some of the several tours of Asia and Europe, and has rare works that have been rediscovered performed in countless benefits for in ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO HORN Erica Kiesewetter, Eugene Moye, Principal Zohar Schondorf, Principal Concertmaster Roberta Cooper David Smith Yukie Handa Annabelle Hoffman Lawrence DiBello Diane Bruce Sarah Carter Kyle Hoyt Patricia Davis Maureen Hynes Chad Yarbrough, Assistant Sophia Kessinger Diane Barere Elizabeth Nielsen Dorothy Lawson TRUMPET Katherine Livolsi-Landau Eliana Mendoza John Sheppard, Principal Ann Labin John Dent Ragga Petursdottir BASS Anna Elashvili John Beal, Principal TROMBONE Mara Milkis Jordan Frazier Richard Clark, Principal Katherine Hannauer Jack Wenger Kenneth Finn Louis Bruno Jeffrey Caswell VIOLIN II Peter Donovan Suzanne Gilman, Principal Richard Ostrovsky TIMPANI Robert Zubrycki Benjamin Herman, Principal Yana Goichman FLUTE Lucy Morganstern Laura Conwesser, Principal PERCUSSION Ashley Horne Rie Schmidt Jonathan Haas, Principal Elizabeth Kleinman Diva Goodfriend-Koven, Kory Grossman Dorothy Strahl Piccolo Alexander Vselensky HARP Pauline Kim OBOE Sara Cutler, Principal Sarah Zun Alexandra Knoll, Principal Matthew Dine PERSONNEL MANAGER VIOLA Ann Yarbrough Guttman Nardo Poy, Principal CLARINET Debra Shufelt-Dine Laura Flax, Principal ASSISTANT CONDUCTOR John Dexter Marina Sturm Zachary Schwartzman Shelley Holland-Moritz Veronica Salas BASSOON ORCHESTRA LIBRARIAN Adria Benjamin Charles McCracken, Principal Marc Cerri Sally Shumway Maureen Strenge Rachel Riggs Gilbert Dejean, Contrabassoon 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 9

ASO BOARD OF DIRECTORS

Danny Goldberg, Chair Jan Krukowski Thurmond Smithgall, Vice Chair Shirley A. Mueller, Esq. Dimitri Papadimitriou, Treasurer Eileen Rhulen Felicitas S. Thorne Miriam Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director Ben Oatmen, Production Assistant Oliver Inteeworn, General Manager Leszek M. Wojcik, Concert Archival Brian J. Heck, Director of Marketing Recording Sebastian Danila, Library Manager Marielle Métivier, Operations Manager James Bagwell, Principal Guest Conductor Katrina Herfort, Ticketing Services Geoffrey McDonald, Assistant Conductor Coordinator Zachary Schwartzman, Assistant Conductor Marc Cerri, Orchestra Librarian Richard Wilson, Composer-In-Residence Ann Yarbrough Guttman, Orchestra James Bagwell, Artistic Consultant Personnel Manager

AMERICAN SYMPHONY ORCHESTRA PATRONS

The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies for their generosity and vital support.

This project is supported by the Robert Rauschenberg Foundation.

STOKOWSKI SOCIETY Dimitri Papadimitriou The Frank & Lydia Bergen Foundation Mrs. James P. Warburg Michael Dorf Mr. and Mrs. Richard E. Wilson The Fan Fox and Leslie R. Samuels Foundation, Inc. DISTINGUISHED PATRON Jeanne Donovan Fisher The Jarvis & Constance Doctorow Family The Booth Ferris Foundation Foundation Danny Goldberg and Rosemary Carroll The Elroy and Terry Krumholz Foundation Faith Golding Foundation, Inc. Gary M. Giardina Peter Linden Lynne Meloccaro Stuart K. Nelson Shirley A. Mueller New York City Department of Cultural Affairs The David and Sylvia Teitelbaum Fund, Inc. New York State Council on the Arts Open Society Institute GOLDEN CIRCLE Robert Rauschenberg Foundation Miriam R. Berger Thurmond Smithgall IBM Corporation Felicitas Thorne Peter L. Kennard The Winston Foundation Arthur S. Leonard Mimi Levitt SUSTAINING SUPPORTER Dr. Pamela F. Mazur Dr. Leon Botstein JoAnne Meloccaro The Ann and Gordon Getty Foundation Bruce Slovin Rachel and Shalom Kalnicki Joseph and Jean Sullivan Mary and Sam Miller 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 10

BENEFACTOR Ruth Dodziuk-Justitz Anonymous Robert Durst Karen and Mark Finkbeiner Paul Ehrlich Irwin and Maya Hoffman Exxon Mobil Foundation Jack Kliger W.J. Fenza Marcia H. Moor Martha Ferry Richard and Joanne Mrstik Donald W. Fowle James and Andrea Nelkin Deborah Franco Mr. and Mrs. David E. Schwab II Christopher H. Gibbs David and Martha Schwartz MacEllis K. Glass Peter Sourian June Goldberg Ronnie Streichler, in honor of Leon Botstein Nathan Gross Irene Zedlacher John Haggerty Laura Harris CONTRIBUTOR James Hayden Tania Ahuja Roberta Hershenson Harold P. Allen Dr. and Mrs. Gerald Herskowitz Gary M. Arthur Deb Hoffman Thomas Cassilly George H. Hutzler Isabelle A. Cazeaux Jose Jimenez Richard C. Celler Donald Juliano Bette R. Collom Ronald S. Kahn Mary S. Donovan Robert Kalish Mr. and Mrs. Joseph Lawrence Gilman David Kernahan Rhea Graffman-Cohen, in honor of Irving Kleiman Miriam Berger Caral G. Klein Eva Botstein Griepp Robert LaPorte Max Hahn Gerald Laskey Sara Hunsicker Steve Leventis Michael Kishbauch Walter Levi Peter Kroll Juddy Levy Alan Mallach Peter A. Locker Jeanne Malter Harvey Marek Stephen McAteer Ellen Marshall, in honor of Louis Marshall Maury Newburger Alan B. McDougall Lawrence Nylen June Meyer Kurt Rausch LLC Clifford S. Miller Harriet Schon Phyllis Mishkin Jon P. Tilley Elisabeth J. Mueller Larry Wehr Marin L. and Lucy Miller Murray, in honor of Robert Weis Leon Botstein Wayne and Dagmar Yaddow Tatsuji Namba Kenneth Nassau ORCHESTRA CLUB Jacob and Suzanne Neusner American Express Gift Matching Program James North Ellis Arnstein Sandra Novick Carol H. Ash Jill Obrig Ronald Baranowski James Ottaway Carol K. Baron Roger Phillips Ruth Baron Bruce Raynor Matthew and Debra Beatrice Anthony Richter Yvette and Maurice J. Bendahan The Kauter Riopelle Family Adria Benjamin Kenneth Rock John Brautigam Leonard Rosen Mona Yuter Brokaw Peri Rosenfeld Patricia R. Brophy Henry Saltzman Roger Chatfield Leslie Salzman Connie Chen Emil Scheller Barbara Clapman Gloria Scorse Michele Cone Janet Z. Segal Mary M. Cope Georgi Shimanovsky Diana Davis Bruce Smith Elisabeth Derow John Sowle Thomas J. DeStefano Stanley Stangren Antonio Diez Gertrude Steinberg 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 11

Alan Stenzler Barbara Westergaard Hazel and Bernard Strauss Janet Whalen Paul Stumpf Ann William Andre Sverdlove Kurt Wissbrun Madeline V. Taylor Leonard Zablow William Ulrich Mark Zarick James Wagner Alfred Zoller Kenneth Wald Karen Zorn, Longy School of Music Renata Weinstein

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York:

New York State Council on the Arts The New York City Department of The Honorable Andrew M. Cuomo, Governor Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner

List current as of December 21, 2012

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American Symphony Orchestra’s 50th Anniversary Season at Carnegie Hall

Sunday, February 10, 2013 Truth or Truffles R. Strauss’ “Whipped Cream,” Karl Amadeus Hartmann’s “Sodom and Gomorrah.”

Sunday, March 17, 2013 The Vampire Opera-in-concert by Heinrich Marschner.

Thursday, May 2, 2013 Hungary Torn WWII-era Hungarian composers. Four U.S. Premieres.