Wednesday Evening, October 15, 2014, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents Marriage Actually LEON BOTSTEIN, Conductor

RICHARD STRAUSS Four Symphonic Interludes from Intermezzo Reisefieber und Walzerszene (“Travel excitement and waltz scene”) Träumerei am Kamin (“Reverie by the fireplace”) Am Spieltisch (“At the gaming table”) Fröhlicher Beschluß (“Happy conclusion”)

Parergon on Symphonia Domestica, Op. 73 MARK BEBBINGTON, Piano

Intermission

RICHARD STRAUSS Symphonia Domestica, Op. 53 Theme 1: Bewegt/Theme 2: Sehr lebhaft/ Theme 3: Ruhig Scherzo (Munter) Wiegenlied (Mäßig langsam) Adagio (Langsam) Finale (Sehr lebhaft)

This evening’s concert will run approximately two hours and 10 minutes, including one 20-minute intermission.

ASO’s Vanguard Series at Carnegie Hall is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

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PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Marriage Actually possibilities of music and turned it into by Leon Botstein a cheapened illustrative medium.

The musical language of late Romanti- But this division was more ambiguous cism, its rhetoric and vocabulary, were than it appears. Wagner’s grandiose inspired in part by the 19th century’s theatrical ambitions inspired him to use fascination with what music as an art repetition and musical signature motives form could accomplish relative to other to generate a clear narrative arc in his art forms. The 19th century witnessed music. But at the same time, Wagner’s the development of the realist novel and love of myth and philosophical preten- of historical and genre painting; art was tions led him to ascribe a metaphysical being used to evoke idealized versions dimension to his music, idealist proper- of an imagined past, a threatened pre- ties beyond its purely descriptive func- sent, and real and familiar objects and tion. In this sense he was much closer to events. It was inevitable that the nature Mendelssohn and Brahms in his recog- of music would be interrogated with a nition of the special power of music view to finding out whether music too than the surface of the conflict suggests. could weave its own illusions of real- And Mendelssohn and Brahms, for ism, tell a story, and communicate emo- their part, may have worked within the tions. Could music be used as a form of traditional framework of forms such as narrative, or were its beauty and con- chamber music and symphony, but they tent simply formal in character? Could had no doubt as to the collective emo- music actually illustrate or portray tional power of music, which worked something, or was it purely an abstract by evoking musings and memories, sen- art form? sations and experiences, just as poetry and painting did. These philosophical musings occupied the first generation of Romantic com- Of the composers of the generation posers, particularly Mendelssohn and after Wagner and Brahms, Richard Schumann. Mendelssohn famously Strauss was the most representative of a argued counter-intuitively that music synthesis of the two opposing camps. was more “precise” than language. Strauss was, for a composer, among the These issues became contentious in the most sophisticated of readers and the 1850s and 1860s as a rift grew between keenest of observers. Influenced by the defenders of the formalist traditions Nietzsche, he had little use for religion. of the 18th century and the practition- As much as he admired Wagner, he ers of “program” music, composers eventually became disenchanted by who rejected forms such as the quartet Wagner’s mythic and philosophical and traditional symphony in favor of claims on behalf of music. Strauss was instrumental “tone poems” with liter- suspicious of grandiose metaphysical ary titles, and, predictably, music with and political dreams, in which music words, notably opera. Liszt and Wagner, was required to play a role, though at the leaders of the “New German” school, the same time, he was never in doubt were characterized by the formalists as about the power of the Classical and debasers of the high art of music, apos- Romantic traditions to depict and illu- tates who abandoned the unique formal minate the human experience. Strauss began his career as a young and suffering within its epic propor- composer sympathetic to Brahms. He tions. Strauss makes it plain that a com- then turned to opera and embraced the poser does not have to resort to gods Wagnerian. But ultimately the com- and heroes to ascend to the height of poser he most revered throughout his meaning. No wonder the radical realism career was Mozart. Of Strauss’ contem- of Strauss’ writing in Symphonia Domes- poraries, the most distinguished was tica infuriated Charles Ives, among oth- Gustav Mahler, who was, for much of ers, who found it brash and vulgar. his career, an avowedly confessional composer whose symphonies had spe- Symphonia Domestica premiered in cific programs, some drawn from his 1904 in New York during Strauss’ tour personal life. Tonight’s program reveals of the United States (which also permit- how Strauss used the personal, but, in ted the photographer Edward Steichen contrast to Mahler, not in a confes- to make a stunning portrait of the com- sional, psychological sense. The “char- poser). It also received two perfor- acters” in Symphonia Domestica may mances a month later in Wanamaker’s be his own wife and child, but in department store in New York, which Strauss’ hands the experience of daily somehow seems fitting, given its domes- life, from the quarreling to the love- tic subject matter. making, are rendered believable but accessible and familiar through music This work, one of Strauss’ last major to the audience; they are human arche- orchestral compositions, forms the types built out of the detail of Strauss’ basis of tonight’s concert. When it was everyday life. In this sense, the predica- written, Strauss and his wife were still a ments that unfold in Symphonia Domes- youngish couple with an infant son; tica resemble, as a source, the universal thus the narrative draws its episodes sensibilities that are evoked by Mozart’s from the daily life of a young family. The Marriage of Figaro. The Intermezzo interludes and the par- ergon were written much later, in the Using a huge and highly differentiated 1920s. By then Strauss was already orchestra, Strauss manipulates every regarded as an old master and possibly sonority and technique available to a an outdated one. He resented this bit- symphonic composer. A Liszt-like illus- terly. He was shunned by a new gener- trative strategy is integrated with tradi- ation of modernists because he never tional formal procedures of thematic lost faith in tonality and in the possibil- development, as was the case in many ities of the grand musical tradition of of Strauss’ famous tone poems. But in the 18th and 19th centuries. Like Brahms Symphonia Domestica Strauss reveals before him, Strauss developed a bitter- his sense of humor. He pokes fun at all sweet nostalgia about the world in those who seek to elevate music as an which he lived. He thought of himself abstract, profound experience “above” as a witness to a dying golden age. He the mundane. What he desires to show came to suspect that he was the last instead is that music, like all great art, exponent of a grand tradition. must (in the late Arthur Danto’s words) “transfigure the commonplace” in its own Strauss was unusually consistent, produc- way. The ordinary life of people can be the tive and disciplined as a composer. He basis of art, because real human life is the hated the social delusions and pretensions only subject worth examining through of “artsy” bohemian artists. He por- art. The work contains triumph, heart- trayed himself explicitly as an unapolo- break, love, remembrance, aspiration, getic bourgeois who was shamelessly absorbed with making money, copy- were not playing cards but when he was rights, card playing, and his comfort- composing or reading. Strauss was the able life at Garmisch. He made no heir to Mozart, who also displayed apologies for his egotism and had no wide contrast between his visible social doubt about his own superior talent. self-presentation and the complexity, subtlety, and humanity audible in his One aspect of his domestic life that music. There are indeed few composers never ceased to puzzle his friends and who have written instrumental music followers was his deep devotion to his that illuminates and penetrates the con- wife, the soprano Pauline de Ahna, tradictions, shortcomings, and sufferings whom very few people seemed to have of the human condition as consistently liked. She badgered and criticized him, and persuasively as the music of Strauss was imperious and thought herself and Mozart. socially superior to her husband, the descendent of a brewer. She was In this concert we hear Strauss’ reflec- offended by Intermezzo. But something tions over a 20-year period on marriage, worked between them; Strauss and love, family, human frailty, and jealousy, Pauline were married for 55 years, and as well as the fear of death. The music is she survived him by only 8 months. personal and becomes personal for the That Strauss was truly a family man, listener. But it betrays no intimacies. devoted to Pauline and to his son and Rather, Strauss’ personal experience daughter-in-law, there can be no doubt. inspired him to create a musical com- mentary on life. Through music Strauss But behind this veneer of unremarkable transcends his mask by using it and pays middle-class respectability—Strauss’ tribute to the woman he loved and the mask—was a perceptive and deeply relationship that gave him the stability solitary man whose happiest moments to realize his genius to the fullest extent. THE Program by Peter Laki

Expanded versions of these concert notes can be read at AmericanSymphony.org.

Richard Strauss Born June 11, 1864, in Munich Died September 8, 1949, in Garmisch-Partenkirchen, Germany

Four Symphonic Interludes from Intermezzo Intermezzo composed in 1918–23 and premiered on November 4, 1924, at the Dresden Semperoper, conducted by Fritz Busch Symphonic suite compiled in 1929 Approximate performance time: 24 minutes

Instruments for this performance: 2 flutes, 2 oboes, 1 English horn, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 2 trombones, timpani, percussion (triangle, snare drum, cymbals), piano, harp, 24 violins, 9 violas, 8 cellos, and 6 double basses

Strauss had written his own lyrics to his take over. These instrumental interludes first opera, Guntram, but later on always (intermezzi within Intermezzo) represent enlisted the help of professional librettists some of the most glorious music within (his long collaboration with the celebrated the opera, and Strauss later arranged Austrian poet Hugo von Hofmannsthal them into an orchestral suite in four was legendary). He departed from this movements. The first of these, Travel established practice only in Intermezzo, Excitement and Waltz Scene, shows the where he offers a portrait of himself and maestro’s hasty departure for a series of his wife, Pauline, that no other librettist performances, following a heated argu- could possibly have attempted. The con- ment with his wife. To console herself in ductor Robert Storch and his tempera- her solitude, Christine goes to a tobog- mental wife, Christine, are thinly disguised gan party where she meets a handsome stand-ins for the Strausses. The opera was but not very intelligent young Baron based on a true incident in the couple’s with whom she later attends a ball. lives, when a very friendly note from a young woman, intended for another musi- In the second movement we see Christine cian, was addressed to Strauss by mistake sitting by herself in the living room of and ended up in Pauline’s hands. She was her large apartment. She feels slightly ready to file for divorce before the misun- attrac ted to the Baron, yet her thoughts derstanding was cleared up. soon turn back to her husband whom she loves deeply, despite all appear- Strauss called Intermezzo a “conversa- ances to the contrary. The music is tion piece” in music—an equivalent to effusively lyrical, with lush harmonies comedies about domestic life in spoken and lavish orchestration. theater. Still, he felt the need, at several important junctures, to let the conversa- In the meantime, Storch enjoys a post- tion stop and purely instrumental music performance card game with his friends; the cheerful score even unfortunate mix-up that occurred at evokes the sound of the cards being home—a situation whose happy reso- shuffled. It is during this card game lution is celebrated in the final move- that Storch receives word of the ment of the suite.

Parergon on Symphonia Domestica, Op. 73 Composed in 1924–25 Premiered June 10, 1925, in Dresden by Paul Wittgenstein with the Berlin Philharmonic Approximate performance time: 23 minutes

Instruments for this performance: 2 flutes, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 5 French horns, 2 trumpets, 3 trombones, 1 tuba, timpani, harp, 24 violins, 9 violas, 8 cellos, 6 double basses, and solo piano (left hand) In 1924 Richard Strauss received a by his family life. Franz was a child commission from Paul Wittgenstein, a then, and he was given a lyrical theme pianist who lost his right arm in World that, along with the themes of his par- War I, to compose a work for piano left ents, formed the basis of much of the hand and orchestra. The pianist, older work. Elements of the child’s theme, brother of the philosopher Ludwig now “grown up,” inform the Parergon Wittgenstein, came from a prominent (the Greek word means “addendum” Viennese family; their father, Karl, was or “supplement”), which, as Strauss’ a steel magnate, arts patron, and host sketches attest, was based on the ideas of a salon where many of the greatest of illness and recovery. luminaries of the time, including Brahms, were regular guests. Strauss had known The conflict between those two opposite the Wittgenstein family before the war, emotional poles generates the entire and he used to play piano duets with structure of the work, as an extensive, Paul when the latter was a child. brooding, and chromatically complex introduction gives way to a more upbeat, The commission reached Strauss at a faster section with a soaring, energetic time when he had just finished his auto- theme. Yet this material is abruptly cut biographical opera Intermezzo. In the off and the uncertainties return with opera, Kapellmeister Storch and his some more agitated and dissonant music. wife had a young son named Franz, just After a meditative interlude culminating as the Strausses did in real life. But the in a cadenza, the woodwinds intone a opera captures a much earlier moment peaceful song which symbolizes the sim- in the Strausses’ lives; by 1924 Franz ple world of the child. This hymn-like Strauss was a grown man. Recently tune turns out to be a variant of the soar- married, he contracted typhus on his ing theme we heard before; it returns in honeymoon in Egypt and for a while his its original form and is given a dazzling life was in danger. Under these circum- development. The peaceful version of the stances, Strauss’ thoughts naturally theme reappears, now sounding more turned to his Symphonia Domestica, lyrical in a richer orchestration, before written two decades earlier, also inspired the grandiose and triumphant ending. Symphonia Domestica, Op. 53 Composed in 1902–03 Premiered March 21, 1904, at Carnegie Hall with Strauss conducting the Wetzler Symphony Orchestra Approximate performance time: 45 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 oboes, 1 oboe d’amore, 1 English horn, 3 clarinets, 1 D clarinet, 1 bass clarinet, 1 soprano saxophone, 1 alto saxophone, 1 baritone saxophone, 1 bass saxophone, 4 bassoons, 1 contrabassoon, 9 French horns, 4 trumpets, 3 trombones, 1 tuba, timpani, percussion (glockenspiel, triangle, tambourine, cymbals, bass drum), 2 harps, 26 violins, 10 violas, 10 cellos, and 8 double basses Fairy tales often end with the phrase clock, indicating the time when baby “happily ever after.” We are rarely told goes to sleep. what happens after the hero and hero- ine have settled down to make a home, In the next section, entitled Schaffen und have children, and (we hope) lead an Schauen (“Creation and Contempla- exemplary life. Richard Strauss, mar- tion”), Papa sits quietly in his study. His ried and the father of a young son him- wife’s entrance is announced by her self, took up the challenge to sing the theme, and within a few moments, Papa praises of family life. and Mama are transformed into Tristan and Isolde as their themes become The symphony is based on three major entwined in a lush hyper-Romantic themes introduced at the outset, one orchestration. At last, their passion spent, each for father, mother, and child. The the couple fall asleep until they are awak- “mother” theme is the inversion of the ened by the clock striking seven—this “father” theme, containing a descend- time, 7 a.m. ing major sixth instead of an ascending one. The “child” theme, in a slower The finale opens with a double fugue rep- tempo, is a tender melody played by the resenting a domestic argument. With the oboe d’amore. The powerful off-key quarrel resolved or at least put aside, the trills in the woodwinds and the violins’ parents take a moment to play with little wild runs may find their explanation in Franz, as we hear a quasi-folksong in a a remark made by Strauss in a letter slower tempo. But there isn’t much time written soon after his son’s birth: “The for games, and a more turbulent form of boy is screaming like hell.” family activity is resumed. The work ends with a fortissimo rendition of Papa’s The baby and its musical theme take theme. He has the last word in the sym- center stage in the scherzo. The child’s phony, although we are told this was not antics are ended by Mama’s stern how things usually went in real life at the reminder that it is bedtime. We hear a Strausses’. But composers are luckier than lullaby based on a theme from most other people: they can have their Mendelssohn’s Songs without Words; way at least in their music. Papa and Mama say goodnight with their respective leitmotifs. The glocken- Peter Laki is visiting associate professor spiel imitates the seven strokes of the of music at Bard Conservatory of Music. THE Artists LEON BOTSTEIN, Conductor

Jerusalem Symphony Orchestra. Many of his live performances with the Ameri- can Symphony Orchestra are available for download online. Upcoming engagements RIC RIC KALLAHER include the Royal Philharmonic, the Russ- ian National Orchestra, and the Taipei Symphony. Last season he conducted the Los Angeles Philharmonic at the Holly- wood Bowl, and the Sinfónica Juvenil de Caracas in Venezuela and Japan, the first non-Venezuelan conductor invited by El Sistema to conduct on a tour.

Highly regarded as a music historian, Mr. Botstein’s most recent book is Von Leon Botstein is now in his 23rd year as Beethoven zu Berg: Das Gedächtnis music director and principal conductor der Moderne (2013). He is the editor of of the American Symphony Orchestra. The Musical Quarterly and the author He has been heralded for his visionary of numerous articles and books. He is zeal, creating concert programs that currently working on a sequel to Jeffer- give audiences a once-in-a-lifetime son’s Children, about the American chance to hear live performances of education system. For his contributions works that are ignored in the standard to music he has received the award of repertory, and inviting music lovers to the American Academy of Arts and listen in their own way to create a per- Letters and Harvard University’s presti- sonal experience. He is also co-artistic gious Centennial Award, as well as the director of Bard SummerScape and the Cross of Honor, First Class from the Bard Music Festival, which take place government of Austria. Other recent at the Richard B. Fisher Center for the awards include the Caroline P. and Performing Arts at Bard College, where Charles W. Ireland Prize, the highest he has been president since 1975. He is award given by the University of also conductor laureate of the Jerusalem Alabama; the Bruckner Society’s Julio Symphony Orchestra, where he served Kilenyi Medal of Honor for his inter- as music director from 2003–11. pretations of that composer’s music; the Leonard Bernstein Award for the Mr. Botstein leads an active schedule as Elevation of Music in Society; and a guest conductor all over the world, Carnegie Foundation’s Academic Lead- and can be heard on numerous record- ership Award. In 2011 he was inducted ings with the London Symphony (includ- into the American Philosophical Society. ing their Grammy-nominated recording of Popov’s First Symphony), the London Mr. Botstein is represented by Colum- Philharmonic, NDR-Hamburg, and the bia Artists Management, LLC. RAMA KNIGHT and and further concerto recordings with the Ulster and Symphony City Orchestras; appearances of in Birmingham major concert series and festivals both and throughout Kingdom in United the Europe (including Husum Piano a Rarities Festival in Ger- debut many and the at Grand Theatre at Opera the National de Bordeaux as part of Bordeaux International the Festival); con- certs with Orches- Concert BBC theand Philharmonic, Philharmonia, Royal tras; and London solo Southbank recitals at the Centre, St Square, and Wigmore Hall. John’s Smith tion series as well as Bard’s SummerScape Bard’s as well as series tion home home at the Richard B. Fisher Center where it performs in an annual subscrip- annual an in performs it where ton Symphony Space, and has an upstate an has and Space, Symphony ton for the Performing Arts at Bard College, Bard at Arts for Performing the phonies phonies each season in the popular goes goes in-depth with three familiar sym- series Classics Declassified Nor- Classics Peter series at concerts annually at Carnegie Hall. ASO Hall. Carnegie at annually concerts of an American composer, consists of six of consists composer, American an of as an opera-in-concert and a celebration as an opera-in-concert includes these themed programs as these programs themed includes well The orchestra’s Vanguard Series, which The Vanguard orchestra’s . Piano BBC Music Magazine Music BBC MARK MARK BEBBINGTON, Mark Mark Bebbington makes his New York and Carnegie Hall debut at concert. tonight’s He has recorded for extensively the SOMM label’s New Horizons series. His most recent CDs, released in 2013, include four British piano con- certos with the City Symphony of Orchestra. His Birmingham solo recital recordings earned in stars sevenfive of sets consecutive Projects Projects for 2014–15 include continu- ing releases for the both SOMM 20th-century British label piano music of Over Over recent seasons Mr. Cen- throughout extensively toured has Bebbington tral and Northern recitalist Europe and as (both soloist with as many of the leading world’s orchestras), as well as the Far Within East the and United North Kingdom appeared in concerts Africa. with he the London has Philharmonic, Royal and Philharmonia Orchestras; the Lon- Philharmonic, don Mozart Players; and the Orchestra both featured been has He Swan. the of as soloist and recitalist on BBC Televi- sion and networks. Radio radio and television and European also on major THE THE AMERICAN SYMPHONY ORCHESTRA Now Now in its 53rd season, the American Symphony Symphony Orchestra was founded in 1962 1962 by Leopold Stokowski, with a mission of making orchestral music accessible accessible and affordable for everyone. Music Director Leon Botstein expanded Botstein Leon Director Music that mission when he joined the ASO in he when joined mission that visual arts, literature, religion, and history, and religion, literature, arts, visual 1992, 1992, creating the of thematic perspective concerts the from that music explore and reviving rarely-performed works that works rarely-performed reviving and audiences would otherwise never have a never otherwise would audiences live. performed hear to chance Festival and the Bard Music Festival. The and Sarah Chang. The orchestra has orchestra has made several tours of Asia released several recordings on the and Europe, and has performed in count- Telarc, New World, Bridge, Koch, and less benefits for organizations including Vanguard labels, and many live perfor- the Jerusalem Foundation and PBS. mances are also available for digital download. In many cases these are the Many of the world’s most accomplished only existing recordings of some of the soloists have performed with the ASO, rare works that have been rediscovered including Yo-Yo Ma, Deborah Voigt, in ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Adria Benjamin CLARINET TROMBONE Erica Kiesewetter, Crystal Garner Laura Flax, Principal Richard Clark, Concertmaster Louis Day Shari Hoffman Principal Yukie Handa Lino Gomez, Bass Brad Ward Diane Bruce CELLO Clarinet Jeffrey Caswell Elizabeth Nielsen Eugene Moye, Liam Burke Ragga Petursdottir Principal Jo-Ann Sternberg TUBA John Connelly Roberta Cooper Daniel Peck, Principal Ann Labin Annabelle Hoffman SAXOPHONE Yana Goichman Sarah Carter Daniel Goble TIMPANI Mara Milkis Maureen Hynes David Demsey Benjamin Herman, Deborah Wong Diane Barere Chad Smith Principal Nazig Tchakarian Tatyana Margulis John Winder Ming Yang Anik Oulianine PERCUSSION Ann Gillette Rubin Kodheli BASSOON Jonathan Haas, Sander Strenger Igor Scedrov Charles McCracken, Principal Principal Kory Grossman VIOLIN II BASS Marc Goldberg Cyrus Beroukhim, John Beal, Principal Gilbert Dejean, KEYBOARD Principal Jordan Frazier Contrabassoon Elizabeth DiFelice, James Tsao Jack Wenger Maureen Strenge Prinicpal Wende Namkung Louis Bruno Gili Sharett Suzanne Gilman Richard Ostrovsky HARP Patricia Davis Tony Flynt HORN Sara Cutler, Principal Elizabeth Kleinman Patrick Swoboda Zohar Schondorf, Victoria Drake Dorothy Strahl William Sloat Principal Alexander Vselensky David Smith PERSONNEL Lucy Morganstern FLUTE Lawrence DiBello MANAGER Katherine Hannauer Laura Conwesser, Kyle Hoyt Ann Yarbrough Emily Bruskin Principal Theodore Primis Guttman Akiko Hosoi Rie Schmidt Patrick Milando Diva Goodfriend- Rachel Drehmann ASSISTANT VIOLA Koven, Piccolo Adam Krauthamer CONDUCTOR William Frampton, Karla Moe Chad Yarbrough, Zachary Schwartzman Principal Assistant Sally Shumway OBOE ORCHESTRA John Dexter Keisuke Ikuma, TRUMPET LIBRARIAN Debra Shufelt-Dine Principal Carl Albach, Principal Marc Cerri Veronica Salas Melanie Feld, John Dent Shelley English horn Thomas Hoyt Holland-Moritz Erin Gustafson Lorraine Cohen Martha Brody Laura Covey ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Debra R. Pemstein Thurmond Smithgall, Vice Chair Eileen Rhulen Felicitas S. Thorne Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski Shirley A. Mueller, Esq.

ASO ADMINISTRATION

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

AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover only a small percentage of the expenses for our full-size orchestral con- certs. The American Symphony Orchestra Board of Trustees, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessible and affordable for everyone. While space permits us only to list gifts made at the Friends level and above, we value the generosity of all donors.

MAESTRO’S CIRCLE The Spektor Family Mark Ptashne and Lucy Michael Dorf Foundation Gordon Jeanne Donovan Fisher Mr. and Mrs. Richard E. Tappan Wilder The Frank & Lydia Bergen Wilson Foundation SUSTAINERS Rachel and Shalom Kalnicki BENEFACTORS Anonymous (2) The Lanie & Ethel Foundation Anonymous Thomas and Carolyn P. New York City Department The Amphion Foundation Cassilly of Cultural Affairs Mrs. James P. Warburg Ellen Chesler and Matthew J. New York State Council on Mallow the Arts PATRONS Veronica Frankenstein Open Society Foundations Anonymous (2) Irwin and Maya B. Hoffman Dimitri B. and Rania Joel I. and Ann Berson Erica Kiesewetter Papadimitriou The David & Sylvia Patricia Kiley and Edward Thurmond Smithgall Teitelbaum Fund, Inc. Faber Felicitas S. Thorne Karen Finkbeiner Gary M. Giardina The Winston Foundation Peter L. Kennard Jack Kliger and Amy Griggs Michael and Anne Marie Jay L. Kriegel and Kathryn STOKOWSKI CIRCLE Kishbauch McAuliffe, in honor of Anonymous Ross Lipman Leon Botstein The Ann & Gordon Getty Dr. Pamela F. Mazur and Arthur S. Leonard Foundation Dr. Michael J. Miller William McCracken and Mary F. and Sam Miller Cynthia Leghorn Susan and Graham Moshe Burstein Michael T. Ryan McDonald Isabelle A. Cazeaux Henry Saltzman Marcia H. Moor Richard C. Celler Sari Scheer and Samuel Kopel Joanne and Richard Mrstik Roger Chatfield Gerald and Gloria Scorse Shirley A. Mueller Alice and Theodore Cohn Georgi Shimanovsky Tatsuji Namba Laura Conwesser Bruce Smith and Paul James and Andrea Nelkin Paul Ehrlich Castellano David E. Schwab II and Ruth Richard Farris Gertrude Steinberg Schwartz Schwab Lynda Ferguson Hazel C. and Bernard Strauss Janet Zimmerman Segal Martha Ferry Jon P. Tilley Joseph and Jean Sullivan Laura Flax Elisabeth F. Turnauer, M.D. Tart-Wald Foundation Jeffrey F. Friedman Donald W. Whipple Christopher H. Gibbs Larry A. Wehr CONTRIBUTORS Todd Gordon and Susan Michael P. A. Winn Anonymous (2) Feder Kurt Wissbrun Gary Arthur Michael and Ilene Gotts Richard J. Wood Dr. Miriam Roskin Berger Greenwich House, Inc. Leonard and Ellen Zablow Bette R. Collom and Anthony Nathan Gross Alfred Zoller Menninger John L. Haggerty Myra and Matthew Nicole M. de Jesús and Brian Laura Harris Zuckerbraun P. Walker Eric S. Holtz Max and Eliane Hahn Hudson Guild, Inc. FRIENDS Ashley Horne Sara Hunsicker Anonymous (4) Steve Leventis George H. Hutzler Adria Benjamin Peter A. Q. Locker IBM Corporation Stephen Blum Alan Mallach Jewish Communal Fund Mona Yuter Brokaw Jeanne Malter José Jiménez Mrs. A. Peter Brown Stephen J. Mc Ateer Ronald S. Kahn Rufus Browning Charles McCracken, in Robert and Susan Kalish Joan Brunskill memory of Jane Taylor The Kanter Riopelle Family CA Technologies Sally McCracken Robert and Charlotte Kelly Leonard Chibnick James H. and Louise V. David Kernahan Soriya Chum North Irving and Rhoda Kleiman Concerts MacMusicson Peter Lars Sandberg and Caral G. and Robert A. Klein Lois Conway Nancy Whitaker Adnah G. and Grace W. Judy Davis Martha and David Schwartz Kostenbauder Thomas J. De Stefano Alan Stenzler Peter Kroll Susanne Diamond Robert F. Weis Kurt Rausch LLC Ruth Dodziuk-Justitz and William C. Zifchak Thomas Lambert Jozef Dodziuk Dr. Nancy Leonard and Dr. Barton Dominus SUPPORTERS Lawrence Kramer Robert Durst Anonymous (9) Steve Leventis Lee Evans American Express Gift Linda Lopez ExxonMobil Foundation Matching Program Elizabeth Mateo Donald W. Fowle Madelyn P. Ashman Carolyn McColley Helen Garcia John and Joanne Baer Alan B. McDougall Barbara Gates Bank of America Sally and Bruce McMillen June O. Goldberg Reina Barcan Clifford S. Miller Goldman Sachs Carol Kitzes Baron Judith Monson Robert Gottlieb Ruth Baron Martin L. and Lucy Miller Mr. and Mrs. Sidney Mary Ellin Barrett Murray Greenberg Dr. Robert Basner Kenneth Nassau John Hall David C. Beek and Gayle Michael Nasser Donald Hargreaves Christian Karen Olah Andrée Hayum Simone Belda Clarence W. Olmstead, Jr. Robert Herbert Yvette and Maurice and Kathleen F. Heenan Gerald and Linda Herskowitz Bendahan Roger and Lorelle Phillips Diana F. Hobson Adria Benjamin David R. Pozorski and Anna Christopher Hollinger Daniel and Gisela Berkson M. Romanski Cyma Horowitz Stephen M. Brown Anthony Richter Drs. Russell and Barbara Marjorie Burns Phyllis and Leonard Rosen Holstein Peter Keil Michael Nassar Helen Studley Kaori Kitao Jane and Charles Prussack Paul Stumpf Pete Klosterman Bruce Raynor Andre Sverdlove Frederick R. Koch Wayne H. Reagan Lorne and Avron Taichman Seymour and Harriet Koenig Martin Richman Margot K. Talenti Mr. and Mrs. Robert LaPorte Catherine Roach Madeline V. Taylor Walter Levi John W. Roane Mr. and Mrs. Jack Ullman Judd Levy Dr. and Mrs. Arnold Rosen Gretchen Viederman José A. Lopez Nick Sayward James Wagner and Barry Patricia Luca Nina C. and Emil Scheller Hoggard Sarah Luhby Harriet Schon Renata and Burt Weinstein Dr. Karen Manchester Dr. and Mrs. Herbert C. Victor Wheeler Richard and Maryanne Schulberg Ann and Doug William Mendelsohn Sharon Schweidel Dagmar and Wayne Yaddow Mark G. Miksic The Honorable Michael D. Alex Mitchell Stallman List current as of Christine Munson Susan Stempleski September 11, 2014

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 with The City of New York the support of Governor Andrew Cuomo The Honorable Bill De Blasio, Mayor and the New York State Legislature NYC Department of Cultural Affairs in partnership with the New York City Council

PRESERVE LIVE PERFORMANCE: SUPPORT THE ASO!

Since 1962 the American Symphony Orchestra has done something incredible: present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other orchestra dares to present the same depth of repertoire every single season.

But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions.

That’s why we must call on you—our audiences, artists, and community partners, who can- not imagine a world without live Schubert, Strauss, Cage, or Ives.

Every dollar counts. Please donate at any level to safeguard ASO’s distinctive programming now and ensure another season!

Annual fund Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra.

Sustaining gifts Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving. Matching Gifts More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits.

Corporate Support Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022

How to donate Make your gift online: www.amerciansymphony.org/support

Please make checks payable to: American Symphony Orchestra

Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018

For questions or additional information: Nicole M. de Jesús, director of development, 646.237.5022 or [email protected].

SUBSCRIBE TO ASO

Choose any three or more concerts and ALL SEATS in ALL LOCATIONS are just $25! Sub- scribers get great locations, big discounts, easy exchanges, and special perks at local restaurants. Visit AmericanSymphony.org/subscribe for more info, or call 212.868.9ASO (9276).

Single tickets to each concert are $29–$54 and can be purchased at CarnegieHall.org, CarnegieCharge at 212.247.7800, or the box office at 57th St. and 7th Ave. ASO’s 2014–15 SEASON AT CARNEGIE HALL

Wednesday, December 10, 2014 Requiem for the 20th Century Vaughan William’s Sixth Symphony, Ligeti’s Requiem, and the U.S. premiere of Schnittke’s Nagasaki

Friday, February 20, 2015 Mona Lisa A concert performance of Max von Schillings’ opera

Thursday, March 26, 2015 Opus Posthumous Once lost, hidden, and forgotten works by Schubert, Bruckner, and Dvorˇák

Sunday, April 19, 2015 Music U. A celebration of Ivy League composers, including a world premiere with the Cornell University Glee Club and Chorus

Friday, May 29, 2015 American Variations: Perle at 100 Two works by George Perle, alongside variations by Copland, Lukas Foss, and William Schuman