Tuesday Evening, April 5, 2016, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents A Mass of Life LEON BOTSTEIN, Conductor

FREDERICK DELIUS A Mass of Life Part I Animato Animoso Andante tranquillo con dolcezza Agitato ma moderato Andante molto tranquillo

Intermission

Part II: On the Mountains Introduction: Andante Con elevazione e vigore Andante Lento Lento molto Allegro, ma non troppo, con gravità Largo, con solennità

SARAH FOX, Soprano AUDREY BABCOCK, Mezzo-soprano RODRICK DIXON, Tenor THOMAS CANNON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director

This performance is generously supported by the Delius Trust. This evening’s concert will run approximately two hours and ten minutes including one 20-minute intermission. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. ASO’S 2016–17 VANGUARD SERIES AT CARNEGIE HALL

Wednesday, October 19, 2016 Troubled Days of Peace with the Bard Festival Chorale Two one-act operas with strikingly different reactions to tyranny. Ernst Krenek – Der Diktator (“The Dictator”) Richard Strauss – Friedenstag (“Day of Peace”)

Friday, November 18, 2016 Bernstein and the Bostonians This concert pays tribute to a group of composers known as the “Boston School” who lived, studied, taught, and composed in and around that city. Leonard Bernstein – Candide Overture Irving Fine – Symphony Harold Shapero – Symphony for Classical Orchestra Arthur Berger – Ideas of Order Richard Wernick – …and a time for peace

Friday, February 10, 2017 Prague Central: Great 20th-Cenutry Czech Composers Though right in the center of the group of countries that defined the Western musical tradition, Czech composers often felt like outsiders looking in. Víteˇzslav Novák – In the Tatras Bohuslav Martinu˚ – Symphony No. 3 Josef Suk – Fantastické scherzo Erwin Schulhoff – Symphony No. 5

Friday, May 12, 2017 The Apostles with the Bard Festival Chorale England’s greatest composer after Purcell wrote a magnificent but rarely-heard setting of the New Testament, following the story of the Twelve through the Resurrection. – The Apostles

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Subscriptions for the 2016–17 season are now on sale at AmericanSymphony.org/subscribe and (212) 868-9ASO (9276). Just choose three or four concerts, and all seats in all locations are just $25. FROM THE Music Director A Mass of Life notably the African-American popula- by Leon Botstein tion of the South. Delius’ training after he returned from America was largely The life and work of German, though among his staunchest defy both characterization and compar- advocates were Scandinavians. But he ison. His music is distinctive in the attached himself to no school or style sense that its individuality is unmistak- and his improbable sojourns in Europe able and its style reveals influences only and North America ended up rendering obliquely. Delius was born a British him an outsider everywhere: an English subject, and we have become used to composer who lived in France, whose associating him with an “English” sen- work was championed and published in sibility, but Delius suggests little of Germany and who was as attached to what sounds English in the music of the poetry of Walt Whitman as he was Elgar, for example. In fact there are to that of Friedrich Nietzsche. those who reject entirely the idea that there is anything particularly “English” Delius’ uncompromising but intuitive about his music. Perhaps this is because individuality led not only to his being at there seems to be too much unedited the margins of European musical life expressiveness in Delius’ music; indeed during his lifetime, but an object of there is a fabric of sonority and har- controversy, which he remains. Few monies we would more likely think of composers seem to elicit such strong as French. He did write a symphonic reactions. Delius’ partisans have been poem in 1899 entitled Paris: Song of a and remain uncommonly vociferous. Great City and he took up residence Most famous among them was Sir there eventually. Delius was in the habit , who worked tire- of connecting landscape with musical lessly on Delius’ behalf. But the list form. In terms of form, in his instrumen- includes the conductor Fritz Cassirer, tal and operatic music, one can therefore scion of one of Germany’s most illustri- detect the influence of Liszt and a Wag- ous extended families, and Florent nerian impulse towards extended musical Schmitt, the French composer. Detrac- narration, sustained by dense reliance on tors have found the music too mean- chromatic harmonies free of the rigorous dering, too atmospheric and ill-formed formal and rhythmic traditions champi- and without any persuasive rhythmic oned by Max Reger. pacing. Deryck Cooke, the eminent Eng- lish scholar who was one of the first to Delius may have grown up in England, attempt a completion of the tenth sym- but his family was of German origin phony of Mahler, is reputed to have and as an adult he only lived in England quipped that to admit to being a Delius briefly during World War I. But before partisan was akin to confessing to being he settled outside of Paris, he also lived a drug addict. in Florida and Virginia, nominally run- ning a citrus farm and pursuing music Delius was born to a prosperous mer- as both student and teacher. This was chant family and struggled to persuade unusual for an aspiring European. his father to support a career in music. America left an indelible impression on He essentially trained himself, with Delius—both its landscape and people, periods of formal study (primarily in Leipzig), but he was never a performer journey. It confirmed his atheism and and he never entirely shed the image of offered a defense of his commitment to being perhaps nothing more than a self- music. Nietzsche himself harbored trained gentleman amateur. Readers dreams of becoming a composer, and may bristle at this or the following no art form was as central to his out- comparison, but in terms of reputation, look as music. It is therefore no wonder context, and reception, Delius is sug- among Delius’ finest works is the set- gestive of the career of Charles Ives in ting of Nietzsche’s text in the ironic America. Ives’ music is certainly Amer- form of a “Mass”; but this Mass is pre- ican in a way Delius’ is not English, but cisely an inversion of the Christian both were innovators who lived at the orthodoxy implied by the title. Delius margins of musical culture, operating employs the ritual association of the on their own, iconoclasts and fiercely word Mass against itself. For this independent individuals. Both had a “Mass” celebrates the human and tem- biographical connection to the turn of poral existence, not the promise of the century world of business and the death and salvation on the grounds that tensions between artistic sensibilities and life on earth, in one’s body, is somehow the world of commerce. Amateurism a punishment, a temporary compromise was lauded and professionalism derided. whose end will be, one hopes, the immor- Delius and Ives lived in a culture in tality of the soul. which the central argument of Thomas Mann’s masterpiece—the fate of the A Mass of Life is one of the great choral aesthetic in modernity—in the 1901 works of its time. Its infrequency in novel Buddenbrooks resonated through- concert is to be lamented. The reasons out Europe and North America, well for its obscurity include of course its beyond Mann’s native Bremen. logistical demands and Delius’ own reputation and marginal place in the The mention of Thomas Mann is apt, standard repertory. But the reasons also since he and Delius came of age in the his- include the text. Delius’ Whitman set- torical moment when Friedrich Nietzsche tings seem more inviting, since Whitman was the key influential philosophical is embraced as the true voice of Ameri- voice for a new generation. Nietzsche’s can patriotism. Nietzsche on the other most famous book, perhaps the finest hand has gained a reputation as a destruc- piece of German poetry to be written tive voice, as an apologist for nihilism since the death of Goethe, Also Sprach and violence, for the anti-social, for elit- Zarathustra, A Book for All or None, ist snobbery, obscurantist thought, and was a sensation when it first appeared in above all as an inspiration for the Nazis. 1883. It put forward a trans-valuation of the meaning of good and evil, chal- Nietzsche’s writings are truly hard to lenged the language of morality, lamented categorize, and the disputes about his the influence of Christianity, pilloried meanings and influence will not cease. the marketplace, journalism, social con- But only selected attributes about the ventions, hierarchies of learning, the con- text inspired Delius. First, Nietzsche’s ceits of democracy, and celebrated the language is as musical as possibly can potential of the individual, as artist—in be imagined. It sings and dances its way the world, in the present—without any off the page. Second, one of the few concern for a mythic afterlife. philosophers and writers Nietzsche admired deeply was Ralph Waldo Delius was awestruck by this text. It Emerson. That fact links him oddly to seemed to vindicate his personal life America, and thereby offers another perspective on why Delius, an English- poet, Whitman, would have been so sus- man who worked in America, who fell in ceptible to the greatness of Nietzsche’s love with aspects of its non-aristocratic Zarathustra, one of the few works of culture (consider Delius’ 1903 work literature to have, for better or worse, a Appalachia) including its most populist decisive historical impact.

THE Program by Byron Adams

Frederick Delius Born January 29, 1862, in , England Died June 10, 1934, in Grez-sur-Loing, France

A Mass of Life Composed in 1904–05 Part II premiered on June 4, 1908, in by the Hofkapelle München and the Munich Choral Society conducted by Ludwig Hess Complete work premiered on June 7, 1909, in at the Queen’s Hall by Beecham Orchestra and the North Staffordshire District Choral Society conducted by Thomas Beecham Performance time: Approximately two hours and ten minutes including intermission

Instruments for this performance: 3 flutes, 1 piccolo, 3 oboes, 2 English horns, 1 bass oboe, 3 clarinets, 1 bass clarinet, 3 bassoons, 1 contrabassoon, 7 French horns, 4 trumpets, 3 trombones, 1 tuba, timpani, percussion (snare drum, castanets, tam-tam, Thai gong, cymbals, glockenspiel, chimes, bass drum, triangle), 2 harps, 26 violins, 10 violas, 10 , 8 double basses, chorus, and 4 vocal soloists

Frederick Delius is thought of as a narrative is hardly unusual in the annals British composer only out of conve- of music history, but young Delius’ com- nience: his restlessly cosmopolitan nature pulsive wanderlust is astonishing. In 1884 resists easy pigeonholes. That he was the untamable young Fritz somehow con- born in England is without doubt: bap- vinced his father to set him up with a truly tized Fritz Delius, he was the son of a harebrained scheme—running a citrus stern, unbending wool dealer in the plantation in northern Florida. town of Bradford. Delius’ father, Julius, encouraged amateur music- Delius, who changed his name to Frederick making in the home without entertain- after his tyrannical father’s death, spent ing even the remote possibility of a very little time cultivating fruit and a musical career for either of his sons. great deal of time hunting alligators, lis- However, the materialism and suffocat- tening to the singing of the African- ing strictness of the Delius home fomented Americans, and studying music with rebellion in young Fritz’s heart: he rebelled the organist of a prominent Roman decisively against his upbringing. This Catholic church in Jacksonville. During this wild period, Delius may well have over harsh but magnificent terrain. contracted syphilis in the brothels for During his travels, Delius also mastered which Jacksonville was noted at the time. several languages, including Danish and Norwegian. Although Delius’ time in Florida was relatively short, it was on the banks of It was on a visit to Norway that Delius the Saint Johns River that he found his discovered the work of literature that vocation as a composer. Late in life, a had the greatest impact on his music blind and paralyzed composer recalled and personality: Friederich Nietzsche’s to his amanuensis, Eric Fenby, the mag- Also sprach Zarathustra (1883–85). ical singing of the black farm workers: Eric Fenby tells the story of that “They showed a truly wonderful sense momentous encounter: “When, one of musicianship and harmonic resource wet day…he was looking for something in the instinctive way that they treated to read in the library of a Norwegian a melody.” At such moments, Delius expe- friend with whom he was staying dur- rienced the ecstasy of pantheistic rapture. ing a walking tour, and had taken down As he remembered long after, “Hearing a book, Thus Spake Zarathustra…he their singing in such romantic surround- was ripe for it. It was the very book he ings, it was then and there that I first felt had been seeking all along.” Nietzsche’s the urge to express myself in music.” As volume chimed with Delius’ deepest his biographer Philip Heseltine—later experience of life, for, as Fenby notes, known as a composer who published “Delius was always a pagan.” under the pseudonym “”— wrote, “Delius is, indeed, a pantheistic The culmination of Delius’ obsession mystic whose vision has been attained with Also sprach Zarathustra came in by an all-embracing acceptation, a ‘yea- 1905, when he completed his choral saying’ to life…the realization that fresco, A Mass of Life. Using a text com- change and death are only apparent.” piled by the conductor Fritz Cassirer, Delius set Nietzsche’s words directly in From America, Delius traveled to German. (The score of Delius’ work Leipzig, where he studied hard at the was published with the English title A famous conservatory there; later char- Mass of Life, across from the German acterizations of Delius as a poetical one, Eine Messe des Lebens.) In his composer with an underdeveloped skillful redaction, Cassirer included all technique who could only write orches- of the most celebrated passages, includ- tral miniatures were nonsense. The ing the Mitternachtslied Zarathustras encouragement of Norwegian com- (“O Mensch! Gib Acht”) that Mahler poser Edvard Grieg further spurred set in his Third Symphony (1896). Cast Delius’ ambitions: he composed inces- in 11 sections, A Mass of Life ends with santly, producing several unproduced an exuberant chorus: no “dying fall” here, operas including The Magic Fountain but an exultant celebration intermingled (1895), which is set in Florida. As fasci- with the contemplation of eternity. nated by Scandinavia as he was by Florida, Delius exulted in the rugged Byron Adams is a professor of musicology northern landscape, hiking long distances at the University of California, Riverside. THE Artists LEON BOTSTEIN, Conductor RIC KALLAHER RIC Leon Botstein has been music director and principal conductor of the Ameri- can Symphony Orchestra since 1992. He is also music director of The Orchestra Now, an innovative training orchestra composed of top musicians from around the world. He is artistic director of Bard SummerScape and the Bard Music Festival, which take place at the Richard B. Fisher Center for the Performing Arts at Bard College, where he has been president since 1975. He is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. Mr. Botstein’s most recent book is Von Mr. Botstein’s recent engagements Beethoven zu Berg: Das Gedächtnis der include the Royal Philharmonic, Wies- Moderne (2013). He is the editor of The baden, UNAM Mexico, and the Simon Musical Quarterly and the author of Bolivar Orchestra in Caracas. He has numerous articles and books. He is cur- appeared with the Los Angeles Philhar- rently working on a sequel to Jefferson’s monic, Russian National Orchestra, Children, about the American education Taipei Symphony, and the Sinfónica system. Collections of his writings and Juvenil de Caracas in Venezuela and other resources may be found online at Japan, the first non-Venezuelan con- LeonBotsteinMusicRoom.com. For his ductor invited by El Sistema to con- contributions to music he has received duct on a tour. Upcoming engagements the award of the American Academy of include the Aspen Festival and the Arts and Letters and Harvard Univer- Magna Grecia Festival in Italy. He can sity’s prestigious Centennial Award, as be heard on numerous recordings with well as the Cross of Honor, First Class the London Symphony (including a from the government of Austria. Other Grammy-nominated recording of Popov’s recent awards include the Caroline P. First Symphony), the London Philhar- and Charles W. Ireland Prize, the high- monic, NDR-Hamburg, and the Jeru- est award given by the University of salem Symphony Orchestra. Many of Alabama; the Bruckner Society’s Julio his live performances with the Ameri- Kilenyi Medal of Honor for his inter- can Symphony Orchestra are avail- pretations of that composer’s music; able online. His recording with the the Leonard Bernstein Award for the ASO of Paul Hindemith’s The Long Elevation of Music in Society; and Christmas Dinner was named one of Carnegie Foundation’s Academic Lead- the top recordings of 2015 by numer- ership Award. In 2011 he was inducted ous trade publications. into the American Philosophical Society. AUDREY BABCOCK, Mezzo-soprano With Blood, With Ink at Fort Worth Opera; La Reina and The Poe Project with American Lyric Theater in New York; and appeared as Mother in Win- ter’s Child at Beth Morrison’s Prototype Festival in New York City in 2015. LAURA LAURA MARIE DUNCAN Other engagements for 2014–15 included Carmen with Knoxville Opera and Suburban Symphony, and La Tragédie de Carmen with OperaDelaware. Addi- tional recent highlights include Mad- dalena in Rigoletto with Boston Lyric Opera, Opera Omaha, Tulsa Opera, Florentine Opera Company, and Nash - ville Opera; Erika in Vanessa with Sara- sota Opera; Suzuki in Madama Butterfly Award-winning mezzo-soprano Audrey with Tulsa Opera; Secretary in Menotti’s Babcock is quickly gaining acclaim for The Consul with New Jersey State Opera; her performances as Carmen and her and Jo in Little Women with Utah Opera portrayals of Maddalena in Rigoletto. As and Syracuse Opera, where she won Carmen, Ms. Babcock made her French Artist of the Year. debut with the Festival Lyrique-en-Mer and has performed the role with the Engagements for the 2015–16 season Florentine Opera Company; Opera San include Carmen with Anchorage Opera, Antonio; OperaDelaware; and the Nash - Rosette in Manon with Dallas Opera, ville, Florida Grand, New York City, La Reina at the Prototype Festival, and Toledo, and Utah festival operas. She a concert with Flamenco Sephardit. has premiered several new operas, includ- Future seasons include Maddalena in ing the New York premiere of Tobias Rigoletto with Palm Beach Opera and Picker’s Thérèse Raquin with Dicapo Carmen with Dayton Opera and Fort Opera Theatre; the world premiere of Worth Opera. THOMAS CANNON, Baritone

Thomas Cannon has participated in young artists’ programs at the Glimmer- glass Festival; Arizona Opera; Chau- tauqua Opera; Crested Butte Music Festival; Dallas Opera; International Vocal Arts Institute in Tel Aviv, Israel; Santa Fe Opera; Opera Roanoke; and the Music Academy of the West. He has appeared on the concert stage at Carnegie Hall as soloist in Verdi’s Requiem to ben- efit victims of Japan’s earthquake; and with the Cecilia Chorus of New York, singing Mozart’s Vesperae Solennes de Confessore and Schubert’s Stabat Mater. Elsewhere, he has performed a host of oratorio and orchestra works including Mozart’s Requiem, Rossini’s Petite Messe Solennelle, and Handel’s . Mr. Cannon has garnered awards from the Dallas Opera Guild (Encourage- Mr. Cannon is a graduate of Baylor ment Award), Chautauqua Opera (Guild University and The Juilliard School on Award), the Anna Sosenko Assist Trust, full scholarship. Notable teachers include Palm Beach Opera (finalist), Opera Nico Castel, Joan Dornemann, Mignon Birmingham (Encouragement Award), Dunn, Marlena Kleinman Malas, and and the Metropolitan Opera National Sherrill Milnes. Council (regional finalist).

RODRICK DIXON, Tenor

Rodrick Dixon has performed with DEMETRIAD DAN many of the leading conductors, orches- tras, and opera companies throughout North America, including Los Angeles Opera, Michigan Opera Theatre, Todi International Music Masters Festival, Portland Opera, Opera Columbus, Vir- ginia Opera, Cincinnati Opera, and Opera Southwest.

On the concert stage, Mr. Dixon is a frequent soloist of the . Other organizations where he has appeared include the Cleveland and Philadelphia Orchestras, Los Angeles Philharmonic, Ravinia Festival, Atlanta Symphony Orchestra, Bravo! Vail Music Festival, Kimmel Center for the Perform- a program of works by Samuel ing Arts, and the Longfellow Chorus for Coleridge-Taylor, which was recorded and included in a film about the com- Mr. Dixon has appeared on television poser. He has also performed at the in a number of PBS specials. He was Sydney Festival in Australia and in part of the original cast of Ragtime on Mongolia at the Miss World competi- Broadway, and in Show Boat at the tion. The current season includes appear- Auditorium Theatre. He has also ances with the Philadelphia Orchestra appeared on recordings of PBS Great for the world premiere of Hannibal Performances’ Cook, Dixon & Young Lokumbe’s One Land, One River, One Volume One (Sony/BMG); the Christ- People in Philadelphia and at the mas album Follow That Star; Liam Saratoga Performing Arts Center, and Lawton’s Sacred Land; Rodrick Dixon the Cincinnati May Festival as featured Live in Concert; and a Christmas soloist in a new work by Alvin Singleton. album with the Cincinnati Pops.

SARAH FOX, Soprano La bohème for . Addi- tional roles include Ellen Orford in , Servilia in Servilia, and Ilia in . Her concert career has encompassed engagements in Den- ver, Minneapolis, New York, San Fran- GRAHAME GRAHAME MELLANBY cisco, Tel Aviv, and Tokyo as well as tours throughout the UK and Europe. She has worked with many of the world’s leading orchestras, including the Acad- emy of Ancient Music, Berlin Philhar- monic, and Concerto Cologne. She has appeared several times at the BBC Proms, the Edinburgh Festival, and the Three Choirs Festival and is a regular guest with the Classical Opera Com- Sarah Fox was educated at Giggleswick pany and at London’s . School, London University, and the She performs frequently with John Wilson Royal College of Music. A former win- and his Orchestra, is a regular guest on ner of the Kathleen Ferrier Award and BBC Radio 2’s Friday Night is Music the John Christie Award, she is also an Night, and has performed concerts honorary fellow of Royal Holloway with Rufus Wainwright in Europe. College, London University. Her discography includes Aminta in Il Roles at the , Re Pastore, The Complete Songs of Covent Garden have included Micaela Poulenc Vols. 3–5, The Cole Porter in Carmen, Asteria in , Zer- Songbook, and Mahler’s Symphony lina in , and Woglinde in No. 4 (Philharmonia/Mackerras and Der Ring des Nibelungen. Other high- Philharmonia/Maazel) for Signum Clas- lights have included Susanna in Le sics; That’s Entertainment (John Wilson nozze di Figaro for Glyndebourne and Orchestra/Wilson) for EMI Classics; the Royal Danish Opera, and Mimi in and others. THE AMERICAN SYMPHONY ORCHESTRA

Now in its 54th season, the American SummerScape Festival and the Bard Symphony Orchestra was founded in Music Festival. The orchestra has made 1962 by Leopold Stokowski, with a several tours of Asia and Europe, and mission of making orchestral music acces- has performed in countless benefits for sible and affordable for everyone. Music organizations including the Jerusalem Director Leon Botstein expanded that Foundation and PBS. mission when he joined the ASO in 1992, creating thematic concerts that explore Many of the world’s most accomplished music from the perspective of the visual soloists have performed with the ASO, arts, literature, religion, and history, and including Yo-Yo Ma, Deborah Voigt, reviving rarely-performed works that and Sarah Chang. The orchestra has audiences would otherwise never have a released several recordings on the chance to hear performed live. Telarc, New World, Bridge, Koch, and Vanguard labels, and many live perfor- The orchestra’s Vanguard Series con- mances are also available for digital sists of multiple concerts annually at download. In many cases these are the Carnegie Hall. ASO also performs at only existing recordings of some of the the Richard B. Fisher Center for the rare works that have been rediscovered Performing Arts at Bard College in Bard’s in ASO performances.

BARD FESTIVAL CHORALE

The Bard Festival Chorale was formed its members have distinguished careers in 2003 as the resident choir of the as soloists and as performers in a vari- Bard Music Festival. It consists of the ety of choral groups; all possess a finest ensemble singers from New York shared enthusiasm for the exploration City and surrounding areas. Many of of new and unfamiliar music.

JAMES BAGWELL, Director, Bard Festival Chorale

James Bagwell maintains an active inter- New York premiere of Philip Glass’ national schedule as a conductor of Toltec Symphony and Golijov’s Oceana, choral, operatic, and orchestral music. both at Carnegie Hall. His performance He was most recently named associate of Kurt Weill’s Knickerbocker Holiday at conductor of The Orchestra Now (TN) Alice Tully Hall was recorded live for and in 2009 was appointed principal Gaslight Records and is the only com- guest conductor of the American Sym- plete recording of this musical. Since phony Orchestra, leading them in con- 2011 he has collaborated with singer and certs at both Carnegie Hall and Lincoln composer Natalie Merchant, conducting Center. From 2009–15 he served as music a number of major orchestras across the director of The Collegiate Chorale, with country, including the San Francisco and whom he conducted a number of rarely Seattle Symphonies. performed operas-in-concert at Carnegie Hall, including Bellini’s Beatrice di Mr. Bagwell has trained choruses for a Tenda, Rossini’s Möise et Pharaon, and number of major American and interna- Boito’s Mefistofele. He conducted the tional orchestras, including the New York Philharmonic; Los Angeles Philharmonic; He conducted some 25 productions as San Francisco, NHK (Japan), and St. music director of Light Opera Okla- Petersburg symphonies; and the Budapest homa. At Bard SummerScape he has led Festival, Mostly Mozart Festival, Ameri- various theatrical works, most notably can Symphony, Cincinnati Symphony, The Tender Land, which received glow- Cincinnati Pops, and Indianapolis Sym- ing praise from The New York Times, phony orchestras. Since 2003 he has been The New Yorker, and Opera News. director of choruses for the Bard Music From 2005–10 he was music director of Festival, conducting and preparing choral The Dessoff Choirs in New York, who works during the summer festival at the under his leadership made numerous Richard B. Fisher Center for the Perform- appearances at Carnegie Hall in addition ing Arts at Bard College. to their regular season.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Adria Benjamin Nick Masterson, TROMBONE Erica Kiesewetter, Debra Shufelt-Dine English Horn Michael Seltzer, Concertmaster Louis Day Melanie Feld, Principal Suzanne Gilman Arthur Dibble English Horn & Kenneth Finn Yukie Handa Bass Oboe Jeffrey Caswell, Bass Diane Bruce Trombone Ragga Petursdottir Eugene Moye, CLARINET John Connelly Principal Laura Flax, Principal TUBA Ashley Horne Roberta Cooper Christopher Cullen Kyle Turner, Wende Namkung Annabelle Hoffman Benjamin Baron Principal Ann Labin Sarah Carter Daniel Spitzer, Bass Robert Zubrycki Alberto Parrini Clarinet TIMPANI Mara Milkis Maureen Hynes Benjamin Herman, Nazig Tchakarian Diane Barere BASSOON Principal Philip Payton Eliana Mendoza Charles McCracken, Ming Yang Robert Burkhart Principal PERCUSSION Anik Oulianine Marc Goldberg Jonathan Haas, VIOLIN II Maureen Strenge Principal Richard Rood, BASS Gilbert Dejean, Kory Grossman Principal Tony Flynt, Principal Contrabassoon Charles Descarfino Sophia Kessinger Jack Wenger Javier Diaz Yana Goichman Louis Bruno HORN Heidi Stubner Peter Donovan Julie Landsman, HARP Lucy Morganstern Richard Ostrovsky Principal Cecile Schoon, Dorothy Strahl William Sloat Sara Cyrus Principal Sarah Zun Patrick Swoboda Michael Atkinson Jane Yoon Katherine Livolsi- William Ellison Adam Krauthamer Landau Chad Yarbrough PERSONNEL Elizabeth Kleinman FLUTE Rachel Drehmann MANAGER Alexander Vselensky Laura Conwessor, Kyle Hoyt, Assistant Patty Schmitt Kathryn Aldous Principal Wendy Case Rie Schmidt TRUMPET ASSISTANT Diva Goodfriend- John Sheppard, CONDUCTOR VIOLA Koven, Piccolo Principal Zachary Schwartzman Nardo Poy, Principal John Dent Sally Shumway OBOE Jason Covey ORCHESTRA John Dexter Alexandra Knoll, Dominic Derasse LIBRARIAN Rachel Riggs Principal Marc Cerri William Frampton Erin Gustafson Martha Brody BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO ALTO TENOR BASS Wendy Baker Sarah Bleasdale Brian Anderson David Baldwin Danielle Buonaiuto Donna Breitzer Joseph Demarest Justin Beck Brooke Collins Eric Brenner Mark Donato Donald Boos Nonie Donato Teresa Buchholz Sean Fallen Blake Burroughs Lori Engle Sishel Claverie Alex Guerrero Samuel Carl Jennifer Gliere Katharine Emory John Kawa Joseph Chappel Sarah Griffiths Agueda Fernandez Chad Kranak Benjamin Cohen Manami Hattori B. J. Fredricks Eric William Lamp Roosevelt Credit Sarah Hawkey Catherine Hedberg Adam MacDonald Steven Hrycelak Chloe Holgate Erica Koehring Mukund Marathe Enrico Lagasca Melissa Kelley Mary Marathe Marc Molomot Douglas Manes Michele Kennedy Nicole Mitchell Stephen Rosser Jose Pietri-Coimbre Caroline Miller Sarah Nordin Emerson Sieverts Mark Rehnstrom Katherine Peck Guadalupe Peraza Michael Michael Riley Sian Ricketts Christine Reimer Steinberger John Rose Rachel Rosales Suzanne Schwing Kannan Vasudevan Kurt Steinhauer Ellen Taylor Sisson Nancy Wertsch* Sorab Wadia Jason Thoms Elizabeth Smith Abigail Wright Christine Sperry *Choral Contractor

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 James Bagwell, Principal Guest Conductor Oliver Inteeworn, General Manager Zachary Schwartzman, Assistant Conductor Brian J. Heck, Director of Marketing Richard Wilson, Composer-In-Residence Nicole M. de Jesús, Director of Development James Bagwell, Artistic Consultant Sebastian Danila, Library Manager Carley Gooley, Marketing Assistant Carissa Shockley, Operations Assistant AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover less than a quarter of the expenses for our full-size orchestral concerts.

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 and vital support of all donors.

This performance is generously supported by the Delius Trust.

MAESTRO’S CIRCLE PATRONS Stephen M. Graham 1848 Foundation Anonymous (3) Irwin and Maya B. Delius Trust The Amphion Foundation Hoffman Jeanne Donovan Fisher The Atlantic IBM Corporation The Frank & Lydia Philanthropies Patricia Kiley and Bergen Foundation Director/Employee Edward Faber New York City Designated Gift Erica Kiesewetter Department of Cultural Program Jeanne Malter Affairs (DCA) Lillian Barbash Joanne and Richard New York State Council Joel I. and Ann Berson Mrstik on the Arts (NYSCA) The David & Sylvia Shirley A. Mueller Open Society Foundations Teitelbaum Fund, Inc. James H. and Louise V. Thurmond Smithgall Karen Finkbeiner North Felicitas S. Thorne Gary M. Giardina Anthony Richter The Winston Foundation Arthur S. Leonard David E. Schwab II and Mary F. and Sam Miller Ruth Schwartz STOKOWSKI CIRCLE Dr. Pamela F. Mazur and Schwab Anonymous Dr. Michael J. Miller Janet Zimmerman Segal The Ann & Gordon Lisa Mueller and Gara Peter and Eve Sourian Getty Foundation LaMarche Joseph and Jean Sullivan The Faith Golding James and Andrea Nelkin Siri von Reis Foundation, Inc. Mark Ptashne and Lucy Rachel and Shalom Gordon CONTRIBUTORS Kalnicki Patricia E. Saigo Anonymous (3) Michael and Anne Marie Susan Stempleski Gary Arthur Kishbauch Tides Foundation, on the Jeffrey Caswell Dimitri B. and Rania recommendation of Isabelle A. Cazeaux Papadimitriou Kathryn McAuliffe Roger Chatfield Thomas P. Sculco, M.D. and Jay Kriegel B. Collom and A. and Cynthia D. Sculco Menninger Mr. and Mrs. Richard E. SUSTAINERS Elliott Forrest Wilson Anonymous (3) Max and Eliane Hahn The Bialkin Family Ashley Horne BENEFACTORS Foundation Peter Kroll Anonymous Ellen Chesler and Adnah G. and Grace W. Matthew J. Mallow Kostenbauder Veronica and John Dr. Coco Lazaroff Frankenstein Nancy Leonard and Theodore and Alice Phyllis and Stanley Lawrence Kramer Ginott Cohn Mishkin Steve Leventis Philanthropic Fund Martin L. and Lucy Peter A. Q. Locker Laura Conwesser Miller Murray Stephen J. Mc Ateer Michael and Frances Kenneth Nassau Christine Munson Curran Michael Nasser Kurt Rausch and Herbert and Mary Karen Olah Lorenzo Martone Donovan Clarence W. Olmstead, Roland Riopelle and Paul Ehrlich Jr. and Kathleen F. Leslie Kanter Richard Farris Heenan Harriet Schon Lynda Ferguson Roger and Lorelle Phillips Martha and David Martha Ferry David R. Pozorski and Schwartz Laura Flax Anna M. Romanski Alan Stenzler Jeffrey F. Friedman Wayne H. Reagan Michael and Judith Christopher H. Gibbs John Roane Thoyer Ann and Lawrence Bonita Roche Mr. and Mrs. Jon P. Tilley Gilman Leonard Rosen and Robert and Patricia Ross June O. Goldberg Phyllis Rosen Weiss Gordon Gould Rochelle Rubinstein Greenwich House, Inc. Michael T. Ryan SUPPORTERS Nathan Gross Henry Saltzman Anonymous (11) John L. Haggerty Peter Lars Sandberg American Express Gift Laura Harris Albert Sargenti Matching Program Eric S. Holtz Sari Scheer and Samuel Bernard Aptekar Penelope Hort Kopel John and Joanne Baer Hudson Guild, Inc. Nina C. and Emil Scheller Marian D. Bach Sara Hunsicker Joe Ruddick and Mary The Bank of America George H. Hutzler Lou Schemp Charitable Foundation Jewish Communal Fund Sharon Schweidel Reina Barcan José Jiménez Gerald and Gloria Scorse Carol Kitzes Baron Ronald S. Kahn Margret Sell Ruth Baron Robert and Susan Kalish Georgi Shimanovsky Mary Ellin Barrett Dr. Roses E. Katz Bruce Smith and Paul Dr. Robert Basner Robert and Charlotte Castellano David C. Beek and Gayle Kelly Gertrude Steinberg Christian David Kernahan Suzanne Steinberg Simone Belda Irving and Rhoda Kleiman Hazel C. and Bernard Yvette and Maurice Caral G. and Robert A. Strauss Bendahan Klein Helen Studley Adria Benjamin Dr. Carol Lachman Robert Sweeney Daniel and Gisela Shirley Leong Margot K. Talenti Berkson Linda Lopez Tart-Wald Foundation Stephen M. Brown William Lubliner Catherine Traykovski Marjorie Burns Joyce F. Luchtenberg Susan and Charles Moshe Burstein Alan Mallach Tribbitt CA Technologies Elizabeth Mateo Mr. and Mrs. Jack Richard C. Celler Carolyn McColley Ullman Barbara and Peter Alan B. McDougall Janet Whalen Clapman Sally and Bruce McMillen Victor Wheeler Clifford S. Miller Donald W. Whipple Larry A. Wehr Michael and Ilene Gotts Mark G. Miksic Leonard and Ellen Zablow Mr. and Mrs. Sidney Myra Miller Alfred Zoller Greenberg Alex Mitchell Myra and Matthew John Hall David Morton Zuckerbraun Donald Hargreaves Michael Nassar John Helzer Leonie Newman FRIENDS Robert Herbert Sandra Novick Anonymous (4) Gerald and Linda Mather Pfeiffenberger Madelyn P. Ashman Herskowitz Jane and Charles Prussack Stephen Blum Diana F. Hobson Bruce Raynor Mona Yuter Brokaw Christopher Hollinger Martin Richman Mrs. A. Peter Brown Cyma Horowitz Catherine Roach Joan Brunskill Drs. Russell and Barbara John W. Roane Connie Chen Holstein Dr. and Mrs. Arnold Stephen J. and Elena Theresa Johnson Rosen Chopek Ginger Karren Leslie Salzman Nancy L. Clipper Peter Keil Dr. and Mrs. Herbert C. Robert Cohen Kaori Kitao Schulberg Concerts MacMusicson Pete Klosterman The Honorable Michael Patricia Contino Frederick R. Koch D. Stallman Lois Conway Seymour and Harriet Paul Stumpf Judy Davis Koenig Madeline V. Taylor Thomas J. De Stefano Mr. and Mrs. Robert Renata and Burt Weinstein Susanne Diamond LaPorte Jon Wetterau Ruth Dodziuk-Justitz David Laurenson David A. Wilkinson and Jozef Dodziuk Patricia Luca Ann and Doug William Barton Dominus Walter Levi Kurt Wissbrun Jonathan F. Dzik Judd Levy Dagmar and Wayne Lee Evans José A. Lopez Yaddow Anne Stewart Fitzroy Sarah Luhby Lawrence Yagoda ExxonMobil Foundation Nancy Lupton Mark and Gail Zarick Donald W. Fowle Dr. Karen Manchester Helen Garcia Richard and Maryanne List current as of Goldman, Sachs & Co. Mendelsohn March 22, 2016 Robert Gottlieb John Metcalfe

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: New York State Council on the Arts The City of New York with the support of Governor Andrew Cuomo The Honorable Bill De Blasio, Mayor and the New York State Legislature NYC Department of Cultural Affairs in partnership with the New York City Council EXPAND OUR REPERTOIRE: 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 opportunities to hear live Strauss, Muhly, Delius, or Reger. Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program- ming now and ensure another season! ANNUAL FUND Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra. SUSTAINING GIFTS Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving. MATCHING GIFTS More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits. CORPORATE SUPPORT Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022. HOW TO DONATE Make your gift online: www.americansymphony.org/support Please make checks payable to: American Symphony Orchestra Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018

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