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Thursday Evening, May 2, 2013, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents Hungary Torn LEON BOTSTEIN, Conductor

ÖDÖN PÁRTOS Yizkor (In Memoriam) PÉTER BÁRSONY, Viola

LÁSZLÓ WEINER Overture (Nyitany) (U.S. premiere)

MIHÁLY NÁDOR Violin Concerto (world premiere) BARNABÁS KELEMEN, Violin

LÁSZLÓ GYOPÁR Credo from “Missa” (world premiere) JANICE CHANDLER-ETEME, Soprano JAMIE BARTON, Mezzo-soprano BRIAN CHENEY, Tenor LEON WILLIAMS, Baritone THE COLLEGIATE CHORALE SINGERS JAMES BAGWELL, Director

Intermission “ ERNO DOHNÁNYI Missa in dedicatione ecclesiae, Op. 35 (Szeged Mass) (U.S. premiere) JANICE CHANDLER-ETEME, Soprano JAMIE BARTON, Mezzo-soprano BRIAN CHENEY, Tenor LEON WILLIAMS, Baritone THE COLLEGIATE CHORALE SINGERS JAMES BAGWELL, Director

This evening’s concert will run approximately two and a half hours, including 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.

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THE Program ÖDÖN PÁRTOS In Memoriam Born October 1, 1907, in Budapest Died July 6, 1977, in Tel Aviv Composed in 1946

Instruments: strings and viola soloist

LÁSZLÓ WEINER Overture Born April 9, 1916, in Szombathely, Hungary Died July 25, 1944, in the Lukov forced labor camp, in Slovakia Premiered in 1939 under Lajos Rajter

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

MIHÁLY NÁDOR Violin Concerto Born April 16, 1882, in Temesvar, Hungary Died in 1944 Composed in 1903, revised 1941–42 World premiere this evening

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

LÁSZLÓ GYOPÁR Credo from “Missa” Born November 4, 1918, in Budapest Died in the summer of 1944 Composed in 1942 World premiere this evening

Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, organ, strings, chorus, and vocal soloists “ ERNO DOHNÁNYI Missa in dedicatione ecclesiae (Szeged Mass) Born July 27, 1877, in Pozsony, Hungary Died February 9, 1960, in New York City Composed in 1930 Premiered on October 25, 1930, at the Votive Cathedral in Szeged, Hungary

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Notes ON THE PROGRAM Hungary Torn Strauss, Walter Gieseking, and Wilhelm by Leon Botstein Furtwängler—while equally egregious cases were left in relative obscurity and The consequences of the rise of fascism led to no consequences in the post-war in the 1930s and the Second World War years—as in the cases of Karl Böhm and have continued to command our atten- Carl Orff. tion, despite the passage of time. The reasons are largely obvious. During the However, as the above list indicates, the war millions of civilians were systemat- primary focus has been on events in ically selected by racial criteria, brutal- German-speaking Europe. Tonight’s ized, and murdered. The destruction of concert goes beyond that frame to Hun- the population and culture of the Jews gary and its history between the wars of Europe was the result of fascism and during the Second World War. For (particularly Nazism) and the war. The most Americans, Hungarian history German initiative and widespread (with the exception of the Revolution European complicity stand as reminders of 1956) is less known. The Hungary of a specifically modern barbarism. It that emerged from World War I was not revealed how hollow was the character only broken away from the old Austro- of what was once understood as pro - Hungarian Empire in its post-1867 gress. The perpetration of violence and legal incarnation, but it did not include hate against innocent men, women, and all Hungarian-speaking peoples. Like children was the work of civilized, literate Germany, a reduced Hungary felt individuals living in an advanced indus- betrayed by what were regarded as trial civilization. Terror, death, and punitive peace settlements, particularly dehumanization were justified by highly the Treaty of Trianon of 1920. educated individuals, ranging from jurists to scholars, artists, university By the late 1930s, in order to appease professors, and musicians. Dissent and Nazi Germany, Hungary had passed its resistance were minimal. own restrictive laws against Jews. In the interwar period Hungary witnessed its In recent decades attention has been given own brand of fascism in the form of the to what happened to musicians who suf- Arrow Cross movement. In 1940 the fered, died, and were persecuted. There Hungarian government became allied have been many studies of emigration and with the Axis powers. In 1944 German exile. There has been also a systematic troops occupied Hungary and the Arrow excavation of the music of composers Cross took control. This led to the rapid who died in the concentration camps. The deportation of Hungary’s Jews and mass names Viktor Ullmann and Erwin Schul- killings, as well as the heroic efforts at res- hoff have now become somewhat familiar cue by the legendary Swedish diplomat to concert goers and performers. Raoul Wallenberg.

The focus of these investigations has not In 1918 Hungary’s capital, Budapest, only been on victims, but on patterns of was legendary for its high percentage of collaboration. It is odd that some cases Jewish inhabitants. (It still boasts the quickly became quite well known—as in largest Jewish population of any city in the examples of Hans Pfitzner, Richard central Europe outside of Russia.) The 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 4

percentage of the population in 1918 patriot, did not share. Kodály remained that was Jewish reached 23%, inspiring in Budapest, sought to protect Jewish German-speaking anti-semites (German colleagues, and was arrested by the was the city’s second language until 1945) Gestapo, but lived to become Commu- to dub the city Juda-pest, the Jewish nist Hungary’s most celebrated com- plague. Yet Hungarian Jews, particu- poser and a pioneer in music pedagogy. larly in Budapest, assimilated with rela- tive ease within Hungarian culture and Dohnányi, the oldest of the three, suf- society in a manner comparable to the fered from a mix of bad luck and poor German Jewish experience before 1914. judgment. He stayed in Budapest until Their contributions to science, art, and late 1944 when the city became a war culture were disproportionately high. zone. He was photographed shaking hands with the notorious head of the For tonight’s concert the young musi- Arrow Cross movement. He concertized cian and scholar Péter Bársony has during the war in Germany. But he was unearthed from the archives music by truly a man of little political sense. He four Hungarian composers who suf- opposed anti-semitism in the 1920s and fered in this history. Three of them per- 1930s, but he wished to remain as long ished in the war. One, Ödön Pártos, as he could in his homeland as a prac- emigrated to Palestine, where he played ticing artist, despite the politics. a major role in the development of the musical life of Israel. And it should be After the war Dohnányi went through a noted that after 1945, Hungarian Jewry trying de-Nazification investigation. He continued to contribute to the nation’s was not only a truly gifted composer, but musical culture, as the post-war careers a great pianist and conductor. However, of Leó Weiner, György Ligeti, and his reputation was damaged and he was György Kurtág, Hungary’s greatest liv- forced to leave Europe. After a sojourn ing composer, suggest. in Argentina he relocated in 1949 to the University of Florida in Tallahassee, where Most concerts of music by victims of he worked as a teacher until his death in the Holocaust become memorials. The 1960. Ironically, he died just as his ASO wanted to honor the music of career as a pianist was enjoying a these lesser-known victims by placing it renascence as the result of his remark- in a concert format that went beyond able recordings of the late Beethoven the status of a eulogy for the composers sonatas. But his standing as a composer as victims. For that reason we have cho- still awaits its proper recognition. Over sen to end the concert with a great the years the ASO has pioneered in this unknown work by perhaps the least- effort, performing in concert his two known figure within the legendary tri- symphonies and his Konzertstück for umvirate of Hungarian composers of cello and orchestra, and recording his the 20th century. That triumvirate con- Harp Concertino with ASO’s own prin- sisted of Béla Bartók, Zoltän Kodály, cipal harpist, Sara Cutler. and Erno“ Dohnányi. Bartók emigrated to America in 1940. He was a staunch The placing of Dohnányi’s magnificent opponent of fascism and resented the Mass as the final work on tonight’s pro- attempt during the 1930s to appropriate gram is intended to return the music of his path-breaking ethnographic work those who were victims to its proper on folk music and his uses of folk context—as part of a noble 20th-century sources in his own music on behalf of a tradition of high art music within Hun- racialist nationalism, which he, a true gary, a country with a keen national 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 5

sensibility, and a Catholic majority, as persecution, which were rampant in well as a significant Calvinist minority. Hungarian public life from the 1920’s The Mass, composed in 1930, also on. It was Dohnányi who, in 1938, pre- points out the vulnerability of traditional vented the establishment of the Chamber culture, religion, and communal feelings of Musicians, a fascist organization of national solidarity when faced with whose goal was to banish Jews from the the aggressive, reductive, and cruel poli- cultural life of the country. (In Germany tics of prejudice and xenophobia, and the Reichmusikkammer had been formed with the rejection of democratic prac- as early as 1933 with Richard Strauss as tices that secure freedom and dissent and president and Wilhelm Furtwängler as which protect us from the tyranny of the vice president.) majority and of a single ideology. One might have hoped that these dangers The mass deportation of Hungarian would in the 21st century be merely mat- Jews started relatively late in the history ters of historical memory. But apparently of the Holocaust. This made it possible the lessons of history have not yet been for a cultural rescue operation, unique in learned quite as well as we might wish in all of Europe, to continue until the Ger- contemporary Europe, including in the man invasion of Hungary on March 19, new democracies that came into being 1944. The musical section of OMIKE after the collapse of the Soviet empire (Hungarian Jewish Educational Associa- and the end of the Cold War. tion) provided the best Jewish musicians with opportunities to perform and earn The Hungarian-Jewish Composers of money. OMIKE also set up a special WWII music school for teachers and students by Péter Bársony who were denied a place elsewhere. They organized chamber and orchestral At the beginning of the 20th century the concerts as well as opera performances; Liszt Music Academy had the highest the program books were printed a month ratio of Jewish students among all Hun- before each event. Often the artists who garian universities. Between 1915 and were scheduled to play were drafted to 1919 almost half of all music students labor service and had to be replaced, but were Jewish. After the fall of the Hun- there were so many outstanding musi- garian Soviet Republic in 1919 and the cians that the audience sometimes didn’t enactment of Europe’s first anti-Jewish even notice the change. Artists including law, the so-called numerus clausus in Dezso“ Ernster, János Starker, Robert 1920, many young Jews fled to the uni- Gerle, Viktor Adler, and Annie Fischer versities of Vienna, Prague, Paris, and performed in these concerts, and many above all, Berlin and Leipzig. Follow- non-Jewish artists participated as well, ing Hitler’s rise to power in 1933, even though this was prohibited, out of Hungarian-Jewish musicians living, solidarity with their colleagues. studying, and working in Germany re - turned to Hungary. Despite all the rescue efforts, hundreds of Hungarian musicians, including at Although the directors of the Music Acad- least 22 composers, fell victim to the emy appeared to cooperate with the gov- Nazis and their Hungarian allies. Their ernment, they in fact passively sabotaged life and work was forgotten not only by the rules and regulations. Both Jen Hubay the nation at large, but also by their and Erno“ Dohnányi showed exemplary immediate enviromnent, the majority of courage in opposing discrimination and musicians, and music historians. 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 6

Ödön Pártos was able to emigrate his one-movement Violin Concerto in before the war. A violist and composer, 1903. In 1941 he added two more he had studied with Hubay and Kodály movements, and in 1942 he further and worked in Germany as a soloist revised the piece, giving it its final form and concertmaster from 1927 to 1933. in May 1942. This is the version which In 1933 he was forced to move back to will be performed tonight. Hungary. Five years later he emigrated to Palestine at the invitation of Bro- László Gyopár was a student of Zoltán nisław Huberman. He served as princi- Kodály and Leó Weiner at the Academy pal violist in the Palestine Philharmonic of Music in Budapest. The talented Orchestra and taught at the Rubin Acad- young musician tried to earn his living emy, becoming one of the pioneers of in war-time Budapest by giving music- Israeli music. Yizkor was written to theory and solfeggio lessons. Although commemorate those who had perished he converted to Christianity with his in the Holocaust. parents, due to his Jewish descent he fell under the regulations of the anti- László Weiner also studied composition Jewish laws. He was drafted for labor with Kodály. He was also a concert service. In the summer of 1944 on the pianist. From 1940 he was regularly Russian front, his health deteriorated, drafted for labor service. In 1942 he and he fell behind in the column during married the singer Vera Rózsa (1917– a retreat. He was shot to death by a 2010); Kodály was a witness at the wed- Hungarian guard. He had entrusted his ding. After his wedding Weiner was magnum opus, his Mass in D minor to called up again, and died in a labor his friend and companion in labor ser- camp on the Ukrainan front in the sum- vice, composer Istvan Anhalt (1919–2012). mer of 1944. The premiere of his Over- Anhalt preserved the score and brought ture was conducted by Lajos Rajter. it to safety in Canada. In 1994 he The work has not been played since the arranged for the premiere of parts of premiere. After the war Vera Rózsa the work with the help of composer moved to London where she became a András Szöllosy (1921–2007). The world-famous voice teacher; her stu- Credo movement has never been played dents included Kiri Te Kanawa and in concert before. Anne-Sofie von Otter. Péter Bársony is a violist and a professor Mihály Nádor studied in Munich. In at the Franz Liszt Academy of Music 1901 he won the Beethovenhaus com- in Budapest. petition in Bonn with his string quartet. In 1917 he became a prisoner-of-war in Missa in dedicatione ecclesiae Russia, from where he managed to (Szeged Mass) escape. Although a great part of his rich by Peter Laki oeuvre was in a lighter style—operetta, stage incidental music, chanson, film “Musical life in Budapest today may be music, cabaret music—he continuously summed up in one name—Dohnányi.” worked on his classical works even in These words were written by Béla the last years of his life. Early in 1944 Bartók in a 1920 article for the New he gave 14 packages of his works, York Musical Courier. A decade later, including the Violin Concerto, to a when the present Mass was composed, friend for safekeeping. A few months Dohnányi was still a defining figure in later in June 1944, he was killed at an Hungary. He was at the height of his unknown location. Nádor composed career as a pianist, composer, conductor, 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 7

and a star piano professor at the Dohnányi was considered the bour- Budapest Academy of Music, of which geois composer par excellence, and his he would assume the directorship a few sacred music, a genre that was problem- years later. To the younger composers atic for the regime anyway, was by no whose works we heard in the first half means the only kind to be suppressed. of this concert, he was almost like a god; His stylistic conservatism was also held his peerless musicianship was admired against him; yet today, when many per- by everyone who ever had a chance to formers and listeners have developed a experience him live. Certain ardent fol- new appreciation for historical alterna- lowers of Bartók and Kodály, whose tives to the avant-garde, this can hardly innovative musical idioms were rooted count as a liability any more. in Hungarian folksong, may have faulted Dohnányi for being different. Dohnányi brought supreme craftsman- Yet the three composers, themselves ship and a prodigious musical imagina- friends from a young age, had no hostility tion to bear on the task. He was, of for one another. Dohnányi’s biographer, course, familiar with the liturgy from Bálint Vázsonyi, told the story of how childhood. (His father taught at a Bartók had to ask Aladár Tóth, the Catholic high school in Pozsony.) Most leading music critic in the country, to polyphonic masses are made up of the stop attacking Dohnányi in print. With- five movements of the Ordinary (Kyrie, out question Bartók, Kodály, and Gloria, Credo, Sanctus/Benedictus, Dohnányi, were the leading triumvirate Agnus Dei). Dohnányi, however, of Hungarian music, and Dohnányi was included settings of four Proper move- a staunch champion of his colleagues’ ments (Introit, Gradua, Offertory, music whose styles he understood on a Communion) as well, which is rarely deep level. done. (The difference between Ordi- nary and Proper is that the words of the As a composer, Dohnányi was best former always stay the same, while in known for his chamber compositions the latter, the words change with the and solo piano works, although he liturgical occasion.) wrote symphonic music and opera as well. Yet he had written no major By composing a mass for the dedication sacred works until he entered a compe- of a cathedral, Dohnányi followed in tition, announced by the Cultural Min- the footsteps of Franz Liszt, who had istry, for a solemn mass to celebrate the composed his Esztergom Mass for a dedication of the new Votive Cathedral similar occasion in another Hungarian in the city of Szeged in southeastern town in 1856. Dohnányi’s work is Hungary. Unsurprisingly, Dohnányi scored for eight-part double chorus, a won the competition, and his Mass was quartet of soloists (treated as a group premiered in that imposing neo- rather than individually), and full Romanesque structure, a landmark in orchestra with organ. It shows evidence 20th-century Hungarian architecture, of Dohnányi’s study of Renaissance on October 25, 1930. polyphony, especially the works of Palestrina. The opening theme of the The Szeged Mass is one of the very few Kyrie, for instance, is in perfect Palest- settings of the complete Roman rina style, although Dohnányi, here and Catholic Mass by a major 20th-century elsewhere, boldly juxtaposed the stile composer. Its longtime neglect, which is antico with the late Romantic chord pro- highly regrettable, had political and aes- gressions that were part of his musical thetic reasons. In communist Hungary mother tongue. The composer observed 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 8

the age-old tradition of ending the Gloria awe (“Introit Terribilis est locus iste”), movement with a fugue (“Cum Sancto as a dwelling of God surrounded by Spiritu”), but went against the grain in angels (“Gradual Locus iste a Deo factus the Credo, where, instead of another est”), as a setting for a fervent personal fugue that would have been expected prayer (“Offertory Domine Deus”), or a (“Et vitam venturi saeculi”), he ended location where God’s own voice may be the movement, to great dramatic effect, heard (the closing movement, “Commu- with a whispered choral recitative. nion Domus mea”). With his rich com- positional palette, Dohnányi found the The movements of the Ordinary make perfect expression of each of these spiri- use of the entire orchestra while those of tual moods. The work ends with a solemn the Proper mainly feature the organ to instrumental postlude, commensurate accompany the voices. Since this is a with the grandiosity of the occasion. Mass intended for the dedication of a new church, all the Proper texts mention Mr. Laki is a visiting associate professor the house of God, as a place inspiring of Music at Bard College. Libretto Credo from “Missa” LÁSZLÓ GYOPAR

Patrem omnipotentem, I believe in God, the Father Almighty, factorem coeli et terrae, creator of heaven and earth, visibilium omnium, et invisibilium. of all that is seen and unseen. et in umum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei ungenitum, the only begotten Son of God, et ex Patre natum ante omni saecula. begotten of the Father before all worlds.

Deum de Deo, lumen de lumine, God from God, light from light, Deum verum de Deo vero. true God from God true. Genitum, non factum, Begotten not made, consubstantialem Patri, being of one substance with the Father, per quem omnia facta sunt. by whom all things were made. Qui propter nos homines, Who for us men, et propter nostrum salutem, and for our salvation, descendit de caelis, came down from heaven, et incarnatus est de Spiritu Sancto, was made flesh of the Holy Spirit, ex Maria Virgin, of the Virgin Mary, et homo factus est. and was made into man.

Crucifixus etiam pro nobis sub Pontio He was crucified for us under Pontius Pilate; Pilato; passus, et sepultus est. He suffered, and was buried. Et ressurexit tertia die, And on the third day he rose again, secundum scripturas. according to the Scriptures. Et ascendit in caelum, And He ascended into heaven, sedet ad dexteram Patris. and sits at the right hand of the Father. et interum venturus est cum Gloria, And he shall come again with glory, 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 9

judicare vivos et mortuos, to judge the quick and the dead, cujus regni non erit finis. whose kingdom shall have no end.

et in Spiritum Sanctum Dominun And I believe in the Holy Spirit, et vivificantem, the giver of life, qui ex Patre Filioque procedit, who proceeds from the Father and the Son, qui cum Patre et Filio simul adoratur who with the Father and Son is adored et conglorificatur, and glorified, qui locutus est per prophetas. who spoke through the Prophets. Et unam santam catholicam And I believe in one, holy, catholic apostolicam ecclesiam. and apostolic church. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum. for the remission of sins. Et expect resurrectionem mortuorum, And I look for the resurrection of the dead, Et vitam venture saeculi. Amen. And the life of the world to come. Amen.

Szeged Mass ERNO“ DOHNÁNYI

I. Introitus I. Introitus

Terribilis est locus iste! How awesome is this place! Hic domus Dei est, This is the house of God, Et porta coeli The gate of heaven Et vocabitur aula Dei. And it shall be called the court of God.

Quam dilecta tabernacula tua, How lovely are thy dwellings, Domine virtutum! Lord of hosts! Concupiscit et deficit anima My soul longeth and fainteth mea in atria Domini. For the courts of the Lord.

Gloria Patri, et Filio, Glory to the Father and to the Son et Spiritui Sancto: and to the Holy Spirit: Sicut erat in principio, et nunc, As it was in the beginning, is now, et semper, and ever shall be, et in sæcula sæculorum. Amen. and forever. Amen.

II. Kyrie II. Kyrie

Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy. Kyrie eleison. Lord have mercy.

III. Gloria III. Gloria

Gloria in excelsis Deo. Glory be to God in the highest. Et in terra pax And in earth peace hominibus bonæ voluntatis. to men of good will.

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Laudamus te; benedicimus te; We praise Thee; we bless Thee; adoramus te; glorificamus te. we worship Thee; we glorify Thee. Gratias agimus tibi We give thanks to Thee propter magnam gloriam tuam. for Thy great glory.

Domine Deus, Rex coelestis, O Lord God, Heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite Jesu Christe. O Lord Jesus Christ, the only begotten Son. Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris. Son of the Father.

Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dextram Patris, Thou that sittest at the right hand of the Father, O miserere nobis. have mercy upon us. Quoniam tu solus Sanctus, For thou only art holy, tu solus Dominus, thou only art the Lord, tu solus Altissimus, Jesu Christe. thou only art the most high, Jesus Christ. Cum Sancto Spiritu Together with the Holy Ghost in gloria Dei Patris. in the glory of God the Father. Amen. Amen.

IV. Graduale IV. Graduale

Locus iste deo factus est, This place was made by God, Inaestimabile sacramentum, irrepre a priceless mystery, it is without reproof. hensibilis est. O God, before Whom stands the choir Deus, cui astat Angelorum chorus, of Angels, give ear to the prayers of Exaudi preces servorum tuorum. Thy servants. Alleluja! Alleluia! Adorabo ad templum sanctum tuum: I will worship towards Thy holy temple: Et confitebor nomini tuo! and I will give glory to Thy Name! Alleluja! Alleluia.

V. Credo V. Credo

Credo in unum Deum; I believe in one God; Patrem omnipotentem, the Father almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible.

Credo in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, the only begotten Son of God, Et ex Patre natum ante omnia sæcula. begotten of the Father before all worlds. Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, true God of true God, Genitum non factum, begotten not made, 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 11

consubstantialem Patri: being of one substance with the Father, per quem omnia facta sunt. by Whom all things were made. Qui propter nos homines, et propter Who for us men, and for our salvation nostram salutem descendit de coelis. descended from heaven. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost ex Maria Virgine, et homo factus est. of the Virgin Mary, and was made man.

Crucifixus etiam pro nobis, He was crucified also for us, sub Pontio Pilato, suffered under Pontius Pilate, passus et sepultus est. and was buried. Et resurrexit tertia die And on the third day He rose again secundum Scripturas. according to the Scriptures. Et ascendit in coelum: And ascended into heaven. sedet ad dexteram Patris. He sitteth at the right hand of the Father. Et iterum venturus est cum gloria, And He shall come again with glory, judicare vivos et mortuos; to judge the living and the dead; cujus regni non erit finis. and His kingdom shall have no end. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Dominum, et vivificantem, the Lord and giver of life, qui ex Patre Filioque procedit, Who prodeedeth from the Father and the Son, Qui cum Patre et Filio simul Who with the Father and the Son together adoratur et conglorificatur; is worshipped and glorified; qui locutus est per Prophetas. as it was told by the Prophets.

Credo in unam sanctam And I believe in one holy catholicam et apostolicam Ecclesiam. catholic and apostolic Church. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum. for the remission of sins.

Et expecto resurrectionem mortuorum And I await the resurrection of the dead et vitam venturi sæculi. and the life of the world to come.

VI. Offertorium VI. Offertorium

Domine Deus, O Lord God, In simplicitate cordis mei in the simplicity of my heart laetus obtuli universa; I have joyfully offered all these things; Et populum tuum, qui repertus est, and I have seen with great joy Thy people Vidi cum ingentigaudio: which are here present: Deus Israel, custodi hanc voluntatem. O God of Israel, keep this will. Alleluja! Alleluia!

VII. Sanctus VII. Sanctus

Sanctus, Sanctus, Sanctus, Dominus Holy, Holy, Holy, Lord God of Hosts. Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Hosanna in excelsis. Hosanna in the highest.

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VIII. Benedictus VIII. Benedictus Benedictus qui venit Blessed is He that cometh in nomine Domini. in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

IX. Agnus IX. Agnus

Agnus Dei, Lamb of God, qui tollis peccata mundi, Who takest away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei. Lamb of God. Dona nobis pacem. Grant us peace.

X. Communio X. Communio

Domus mea, domus orationis vocabitur, My house shall be called a house of prayer, dicit Dominus: saith the Lord: in ea omnis, qui petit, accipit: in it every one that asketh, receiveth: et uia quaerit, invenit, and he that seeketh, findeth, et pulsanti aperietur. and to him that knocketh it shall be opened.

THE Artists LEON BOTSTEIN, Conductor

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 College in New York since 1975.

Mr. Botstein leads an active schedule as a guest conductor all over the world, and can be heard on numerous recordings, including operas by Strauss, Dukas, and Chausson, as well as works of Sho -

PHOTO BY MATT DINE MATT BY PHOTO stakovich, Dohnányi, Liszt, Bruckner, This season, Leon Botstein celebrates his Bartók, Hartmann, Reger, Gliere, Szy- 20th anniversary as music director and manowski, Brahms, Copland, Sessions, principal conductor of the American Sym- Perle, and Rands. Many of his live per- phony Orchestra. He is co-artistic director formances with the American Sym- of the acclaimed Summerscape and Bard phony Orchestra are now available for Music Festivals, which take place at the download on the Internet. 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 13

Mr. Botstein is highly regarded as a received Carnegie Foundation’s Acade- music historian. He is the editor of The mic Leadership Award, and in 2011 Musical Quarterly and the author of was inducted into the American Philo- numerous articles and books. Last year sophical Society. He is also the 2012 he gave the prestigious Tanner Lectures recipient of the Leonard Bernstein in Berkeley, CA. For his contributions Award for the Elevation of Music in to music he has received the award of Society. In 2013 Mr. Botstein received the American Academy of Arts and Let- the Bruckner Society’s Julio Kilenyi ters and Harvard University’s presti- Medal of Honor. gious Centennial Award, as well as the Cross of Honor, First Class from the Maestro Botstein is represented by government of Austria. In 2009 he Columbia Artists Management, LLC. PÉTER BÁRSONY, Violist

Violist Péter Bársony is a frequent recitalist, soloist, and chamber musi- cian. His chamber partners include Márta Gulyás, Ida Kavafian, Péter Csaba, Zoltán Kocsis, Melvin Chen, Rivka Golani, Kristóf Baráti, Barnabás Kelemen, Dezso“ Ránki, Miklós Perényi, István Várdai, and David Grimal. He has performed with ensembles includ- ing the Brentano, Ying, Miró, Kodály, and Keller string quartets.

He participates in prestigious interna-

tional festivals, including the Ravinia STUDIO, BALÁZS BÖRÖCZ PILVAX BY PHOTO Festival, Mostly Mozart Festival, and Ferenc Prize, the highest Hungarian gov- Schubertiade. As a passionate contem- ernmental musical award. porary music player, Mr. Bársony fre- quently works with György Kurtág, His solo appearances include concerts Péter Eötvös, Sofia Gubaidulina, and with the Franz Liszt Chamber Orchestra, Steve Reich. Several composers have Hungarian Radio Orchestra, and Hun- dedicated viola works to him. He was a garian Symphony Orchestra. Mr. Bár- member of the Keller String Quartet sony’s recordings include the Viola and he has been solo viola player of the Concerto and Fusions of Ödön Pártos, Concerto Budapest since 2000. He was a and the complete duets for violin and guest principal violist to several orches- viola of Joseph Haydn and Carl tras, including Budapest Festival Orches- Stamitz with Vilmos Szabadi. On his tra and Osaka Century Orchestra. He is latest recording he performs the com- a professor at Franz Liszt Academy of plete works for viola of the famous Music in Budapest and regularly teaches Hungarian violinist and composer Jen master courses in Hungary, the U.K., Hubay, including the Concerto for Germany, and the U.S. In 2012 Mr. Bár- Viola and Orchestra with the Erkel sony was awarded the prestigious Liszt Chamber Orchestra. 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 14

JAMIE BARTON, Mezzo-soprano Arts Society. She will also be seen in the role of Julia Child in Bon Appetit as part of the first annual Chamber Opera Festival with Opera Memphis. Future seasons include a debut with the Mel- bourne Symphony in Verdi’s Requiem, as well as returns to the Metropolitan Opera, Lyric Opera of Chicago, and Houston Grand Opera.

Last season Ms. Barton made her debut with the Lyric Opera of Chicago in pro- ductions of Les Contes d’Hoffmann,

PHOTO BY JONATHAN TIMMS JONATHAN BY PHOTO Boris Godunov, and Ariadne auf Mezzo-soprano Jamie Barton’s 2012–13 Naxos, followed by The Golden Ticket season sees her return to the Lyric with Atlanta Opera and Götterdäm- Opera of Chicago as Magdalene in a merung with the Bayerische Staatsoper new production of Die Meistersinger in Munich. Ms. Barton recently von Nürnberg. In concert Ms. Barton recorded Scarlatti’s La Dirindina with makes her U.K. debut at the Barbican Ars Lyrica Houston and is a graduate Hall performing Elgar’s Sea Pictures of the Houston Grand Opera Studio. with the London Schools Symphony She is the recipient of many acco- Orchestra followed by Agnese in Beat- lades, including a winner of the 2007 rice di Tenda with the Collegiate Metropolitan Opera National Council Chorale and Mozart’s Requiem with Auditions, a Grammy nominee, and the Orchestra of St. Luke’s at Carnegie U.S. representative at the upcoming Hall. In recital she appears with tenor 2013 BBC Cardiff Singer of the Russell Thomas and the Atlanta Vocal World Competition.

JANICE CHANDLER-ETEME, Soprano

Gershwin’s Porgy and Bess with the Vancouver and Milwaukee Sym- phonies; Strauss’ Four Last Songs with the Reading, Baltimore, Syracuse, and Utah symphonies; Florida Orchestra and Grand Teton Music Festivals; Philip Glass’ Passion of Ramakrishna with the Pacific Symphony; Mahler’s Second Symphony with the San Diego, Baltimore, Nashville, Cincinnati, Col- orado, and Pacific symphonies, and Rome’s Santa Cecilia Orchestra; Haydn’s Die Schöpfung with the Atlanta, Pittsburgh, and Cincinnati Janice Chandler-Eteme’s repertoire symphonies; Lokumbe’s Dear Mrs. includes the Bennett arrangement of Parks with the Detroit Symphony; the 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 15

Brahms Requiem with the San Diego Orchestre National des Pays de la Loire, Symphony; Mahler’s Eighth Symphony performing Villa-Lobos’ Bachianas with the Milwaukee, Montreal, and Brasileiras No. 5. Her current season Grand Rapids symphonies; Beet hoven’s includes the premiere of Lokumbe’s Can Symphony No. 9 with the New Jersey You Hear God Crying with the Chamber and Houston Symphonies; and Barber’s Orchestra of Philadelphia, Mendelssohn’s Knoxville: Summer of 1915 and Brahms’ Elijah with the Washington Chorus at the work A German Requiem with the Balti- Kennedy Center, the Verdi Requiem with more Symphony. She has sung Tippett’s A the Binghamton Philharmonic, and Child of Our Time with the Dallas Sym- Strauss’ Four Last Songs with the Fort phony, and toured France with the Wayne Philharmonic.

BRIAN CHENEY, Tenor The protégé of legendary tenor Jerry Hadley, Brian Cheney has portrayed characters such as Nemorino in L’elisir d’amore, Edgardo in Lucia di Lammer- moor, Don Ottavio in Don Giovanni, Rodolfo in La bohème, the Duke in Rigoletto, Candide in Candide, and Tom Rakewell in The Rake’s Progress.

Following Mr. Cheney’s debut at Carnegie Hall in 2007, he has been per- forming concert works and oratorio throughout the country. He has per- formed numerous times as a soloist at Carnegie Hall, with his most recent He has served as tenor soloist in pieces performance in 2011 performing a ranging from Verdi’s Requiem and world premiere of Festival Te Deum by Beethoven’s Ninth Symphony to Puccini’s David Childs. In 2011 Mr. Cheney also Messa di Gloria, Mozart’s Requiem, and made his Lincoln Center debut as tenor Mendelssohn’s Elijah. soloist for the tenth anniversary of 9/11, appearing with acclaimed soprano Mr. Cheney is also an accomplished Jessye Norman. Most recently, he gave recitalist performing recitals and concerts a world premiere performance of a song throughout the country. He has per- cycle for tenor and orchestra, Daniel formed in cities including San Francisco, Steven Crafts’ From a Distant Mesa Tulsa, and Key Largo, and made his New with the New Mexico Philharmonic. York City recital debut at Carnegie Hall. 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 16

BARNABÁS KELEMEN, Violinist As a chamber musician Mr. Kelemen has performed with Zoltán Kocsis, Miklós Perényi, and Shai Wosner, among others, in recitals in Carnegie Hall, Amsterdam’s Concertgebouw, and London’s Wigmore Hall. He plays first violin with the Kelemen Quartet, which placed second and won the Audience and Musica Viva Australia Prizes at the Melbourne International Chamber Music Competition in 2011.

Mr. Kelemen’s varied discography

PHOTO BY EMMER BY RÖVID PHOTO includes his recording of Bartók’s Rhap- Barnabás Kelemen gave the Hungarian sodies and Second Violin Concerto, premieres of the Ligeti and Schnittke which won the 2011 German Record Violin Concertos, as well as the Hun- Critics’ Award in the concerto category. garian and world premieres of violin His recording of Brahms’ Sonatas for works by Gubaidulina and Kurtág. In Violin and Piano won a Diapason d’Or, addition to appearances with all the and that of Liszt’s complete works for major orchestras in Hungary, Mr. Kele- Violin and Piano was awarded the men has collaborated with the Helsinki, Grand Prix du Disque 2001 by the Hong Kong, London, Munich, Nether- International Liszt Society. Among his lands Radio, Mozarteum Salzburg, and more recent recordings are Bartók’s Liverpool philharmonic orchestras, as Violin Concerto No. 1 and Solo Sonata well as the Indianapolis, Lahti, Berlin as well as a live DVD recording of the Radio, and Trondheim symphony complete Mozart Violin Concertos. orchestras. Mr. Kelemen was artist-in- Born in Budapest in 1978, Mr. Kelemen residence at the Musis Sacrum in Arn- entered the Franz Liszt Music Academy hem for the 2010–11 season; projects at age 11. He has won several interna- have included collaborations with the tional awards including the 2002 Inter- Budapest Festival Orchestra and Con- national Violin Competition of Indi- certgebouw Chamber Orchestra. anapolis, and the Kossuth Prize in 2012. 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 17

LEON WILLIAMS, Baritone Baritone Leon Williams has performed Mendelssohn’s Elijah with the Honolulu Symphony and Florida Orchestra; Orff’s Carmina Burana with Florida Orchestra, National Philharmonic, the Baltimore, Reading, Alabama, Westchester, Grand Rapids, Jacksonville, Hartford, and Col- orado symphonies, and at the Berkshire Choral Festival; Britten’s War Requiem, the Mozart and Fauré Requiems and Haydn’s Creation with the Colorado Symphony; Vaughan-Williams’ A Sea Symphony with the Portland, Grand Rapids, and Illinois symphonies and Florida Orchestra; Fauré’s Requiem with special program of the music of Charles the Kansas City Symphony; Brahms’ Wuorinen with the Da Camera Society Requiem with the Alabama and Santa of Houston, which was repeated at the Barbara symphonies; Haydn’s Il ritorno Guggenheim. Opera credits include di Tobia and Harold Farberman’s War Anthony in Sondheim’s Sweeney Todd Cry on a Prayer Feather with the Amer- with Toledo Opera, Papageno in ican Symphony Orchestra at Lincoln Mozart’s Die Zauberflöte with Hawaii Center; Weill’s Der Lindberghflug with Opera Theatre, and Jake in Gershwin’s the American Composers Orchestra at Porgy and Bess with the Boston Sym- Carnegie Hall; Mahler’s Rückert-lieder phony, Los Angeles Philharmonic, and at Japan’s Sapporo Festival; and Lieder Dallas Opera. Mr. Williams has won top eines fahrenden Gesellen and Eighth prizes in the Naumburg, Joy-in-Singing, Symphony with Leon Botstein at the and Lola Wilson Hayes competitions. Bard Music Festival. He performed His recording of Delius’ Appalachia and Brahms’ Vier ernste Gesänge with the Sea Drift with the Florida Orchestra was Da Camera Society of Houston and a just issued by Naxos.

THE AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra was These concerts are performed for the founded 50 years ago by Leopold Vanguard Series at Carnegie Hall. Stokowski with the specific intention of making orchestral music accessible and In addition the orchestra performs in affordable for everyone. Under music the celebrated concert series Classics director Leon Botstein, the ASO has Declassified at Peter Norton Symphony kept Stokowski’s mission intact, and has Space, and is the resident orchestra of also become a pioneer in what The Wall the Richard B. Fisher Center for the Per- Street Journal called “a new concept in forming Arts at Bard College, where it orchestras,” presenting concerts curated appears in a winter subscription series, around various themes drawn from the as well as Bard’s annual SummerScape visual arts, literature, politics, and his- Festival and the Bard Music Festival. In tory, and unearthing rarely performed 2010 the American Symphony became masterworks for well-deserved revival. the resident orchestra of The Colle- 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 18

giate Chorale, performing regularly in high schools across the tri-state area. the Chorale’s New York concert series. In addition to many albums released The orchestra has made several tours on the Telarc, New World, Bridge, of Asia and Europe, and has per- Koch, and Vanguard labels, many live formed in countless benefits for orga- performances by the American Sym- nizations, including the Jerusalem phony are now available for digital Foundation and PBS. ASO’s award- download. In many cases these are the winning music education program, only existing recordings of some of the Music Notes, integrates symphonic rare works that have been rediscovered music into core humanities classes in in ASO performances.

THE COLLEGIATE CHORALE SINGERS

The Collegiate Chorale Singers was recent years include Stephanie Blythe, founded in 2003 as an elite, mostly pro- Victoria Clark, Nathan Gunn, Thomas fessional ensemble of The Collegiate Hampson, Angela Meade, Kelli O’Hara, Chorale. The Singers, led by Chorale Eric Owens, Réne Pape, Bryn Terfel, and music director James Bagwell, perform Deborah Voigt. as featured artists on select concerts of American Symphony Orchestra, as well Last season’s highlights include Michael as in other engagements around New Tippett’s moving oratorio A Child of Our York City. Time with soloists Nicole Cabell and John Relyea, and a critically acclaimed Founded in 1941 by the legendary con- concert performance of Gilbert and Sulli- ductor Robert Shaw, The Collegiate van’s The Mikado with Broadway greats Chorale has established a preeminent Kelli O’Hara, Victoria Clark, Christo- reputation for its interpretations of the pher Fitzgerald, and Jason Danieley. Per- traditional choral repertoire, vocal formances in The Chorale’s 2012–13 works by American composers, and season include Golijov’s Oceana and rarely heard operas in concert, as well Glass’ Symphony No. 7 Toltec, and as commissions and premieres of new musical-theater gem Song of Norway works by today’s most exciting creative by Wright and Forrest. The Chorale will artists. The many guest artists with make its sixth appearance at the Verbier whom The Chorale has performed in Festival in July.

JAMES BAGWELL

James Bagwell maintains an active conducting and preparing choral works schedule throughout the United States as during their annual summer festival. He a conductor of choral, operatic, and has also prepared The Concert Chorale orchestral music. In 2009 he was of New York for performances with the appointed music director of The Colle- American Symphony Orchestra, Los giate Chorale. He was also recently Angeles Philharmonic, and Mostly named principal guest conductor of the Mozart Festival. This past summer American Symphony Orchestra and marked his sixth season as chorus mas- director of the music program at Bard ter for Mostly Mozart Festival at Lin- College. Since 2003 he has been director coln Center. From 2005 to 2009 he was of choruses for the Bard Music Festival, music director of the Dessoff Choirs in 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 19

New York. He has trained choruses for frequently appears as guest conductor a number of major American and inter- for orchestras around the country and national orchestras. abroad, including the Jerusalem Sym- phony, Tulsa Symphony, and the Indi- For 12 seasons Mr. Bagwell has been anapolis Chamber Orchestra. music director for the May Festival Youth Choir in Cincinnati. He has con- He has taught since 2000 at Bard College, ducted some 25 productions as music where he is the chair of the undergraduate director of Light Opera Oklahoma, music department and co-director of the including Candide, Sweeney Todd, and graduate program in conducting. The Merry Widow, among others. He

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Annabelle Hoffman TRUMPET Erica Kiesewetter, Concertmaster Maureen Hynes Carl Albach, Principal Yukie Handa Diane Barere John Dent Diane Bruce Dorothy Lawson John Sheppard Patricia Davis Tatyana Margulis John Connelly Elina Lang TROMBONE Elizabeth Nielsen Richard Clark, Principal Ashley Horne BASS Kenneth Finn James Tsao Jordan Frazier, Principal Jeffrey Caswell Ann Labin Jack Wenger Katherine Livolsi-Landau Louis Bruno TUBA Sander Strenger Peter Donovan Kyle Turner, Principal Mara Milkis Richard Ostrovsky William Sloat TIMPANI VIOLIN II Benjamin Herman, Principal Suzanne Gilman, Principal FLUTE Wende Namkung Laura Conwesser, Principal PERCUSSION Yana Goichman Diva Goodfriend-Koven, Jonathan Haas, Principal Lucy Morganstern Piccolo Kory Grossman Heidi Stubner Elizabeth Kleinman OBOE ORGAN Dorothy Strahl Alexandra Knoll, Principal Kent Tritle Alexander Vselensky Melanie Feld Katherine Hannauer PERSONNEL MANAGER Ann GIllette CLARINET Ann Yarbrough Guttman Laura Flax, Principal VIOLA Marina Sturm ASSISTANT CONDUCTOR William Frampton, Principal Zachary Schwartzman Sally Shumway BASSOON John Dexter Charles McCracken, Principal ORCHESTRA LIBRARIAN Rachel Riggs Marc Goldberg Marc Cerri Adria Benjamin Ah Ling Neu HORN Louis Day Zohar Schondorf, Principal Emily Basner David Smith Theo Primis CELLO Wei-Ping Chou Eugene Moye, Principal Kyle Hoyt, Assistant Sarah Carter 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 20

THE COLLEGIATE CHORALE SINGERS James Bagwell, Director

SOPRANOS Suzanne Doob Frederic Heringes Eliza Bagg Anne Doyle Leo Leal Wendy Baker Katharine Emory Marc Molomot Jennifer Bates Agueda Fernandez Christopher Preston Thompson Miriam Chaudoir B.J. Fredricks Kevin Rose Eileen Clark Yonah Gershator Nathan Siler Maggie Finnegan Nancy Good Kannan Vasudevan Jennifer Gliere Keiko Kai Melissa Kelley Kirsten Kane BASSES Elaine Lachica Katherine Keyes Daniel Alexander Heather Meyer Mary Marathe Nathan Brian Sandy MacDonald AnnMarie Sandy Donald Boos Rochelle Nelson Irene Snyder Clifford Derix Cindy Ohanian Nancy Wertsch, James Gregory Deborah Simunovich Choral contractor Gilbert High Elisa Singer Michael Maliakel Ellen Taylor Sisson TENORS Steven Moore Christine Sperry James Bassi Michael Riley Katherine Wessinger Matthew Deming John Rose Michael Denos Christopher Roselli ALTOS Sean Fallen Jason Thoms Biraj Barkakaty Ethan Fran Martha Buckwalter Joseph Grillo

ASO BOARD OF DIRECTORS

Dimitri B. Papadimitriou, Chair HONORARY MEMBERS Thurmond Smithgall, Vice Chair Joel I. Berson, Esq. Karen Zorn, Treasurer L. Stan Stokowski

Miriam Berger CHAIRMEN EMERITI Michael Dorf Joel I. Berson, Esq. Rachel Kalnicki Robert A. Fippinger Jack Kliger Danny S. Goldberg Shirley A. Mueller, Esq. Debra R. Pemstein Eileen Rhulen Felicitas S. Thorne

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 Katrina Herfort, Ticketing Services Coordinator Richard Wilson, Composer-in-Residence Marc Cerri, Orchestra Librarian James Bagwell, Artistic Consultant Ann Yarbrough Guttman, Orchestra Personnel Manager 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 21

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 vital support. While space permits us only to list gifts made at the Orchestra Club level and above, we value the generosity of all donors.

STOKOWSKI SOCIETY Peter Sourian The Frank & Lydia Bergen Foundation Ronnie Streichler, in honor of Leon Botstein Michael Dorf The Fan Fox & Leslie R. Samuels Foundation, Inc. CONTRIBUTOR Jeanne Donovan Fisher Tania Ahuja The Booth Ferris Foundation Gary M. Arthur Danny Goldberg and Rosemary Carroll David Beek and Gayle Christian Faith Golding Foundation, Inc. Thomas Cassilly Rachel and Shalom Kalnicki Richard C. Celler Peter Linden Bette R. Collom New York City Department of Cultural Affairs Mary S. Donovan New York State Council on the Arts Mr. and Mrs. Joseph Lawrence Gilman Open Society Institute Rhea Graffman-Cohen, in honor of Miriam Berger Robert Rauschenberg Foundation Eva Botstein Griepp Thurmond Smithgall Max and Eliane Hahn Felicitas S. Thorne Sara Hunsicker The Winston Foundation Erica Kiesewetter Irving Kleiman SUSTAINING SUPPORTER John D. Knoernschild Dr. Leon Botstein Peter Kroll The Ann & Gordon Getty Foundation Peter A. Q. Locker Mary and Sam Miller Alan Mallach Dimitri B. Papadimitriou Jeanne Malter Mrs. James P. Warburg Karen Manchester Mr. and Mrs. Richard E. Wilson Stephen McAteer Sally McCracken DISTINGUISHED PATRON Lisa Mueller and Gara LaMarche The Elroy & Terry Krumholz Foundation Tatsuji Namba Lynne Meloccaro James and Andrea Nelkin Lawrence Nylen GOLDEN CIRCLE Kurt Rausch LLC Joel and Ann Berson Harriet Schon Eric Czervionke Martha and David Schwartz Gary M. Giardina Jon P. Tilley Peter L. Kennard Kenneth Wald Arthur S. Leonard Larry Wehr Dr. Pamela F. Mazur Robert Weis JoAnne Meloccaro Wayne and Dagmar Yaddow Shirley A. Mueller Joseph and Jean Sullivan ORCHESTRA CLUB The David & Sylvia Teitelbaum Fund, Inc. Harold P. Allen Irene Zedlacher American Express Gift Matching Program Ellis Arnstein BENEFACTOR Carol H. Ash Anonymous Ronald Baranowski Miriam R. Berger Carol K. Baron Patricia K. Faber Ruth Baron Karen and Mark Finkbeiner Matthew and Debra Beatrice Irwin and Maya Hoffman Karen Bedrosian-Richardson IBM Corporation Yvette and Maurice J. Bendahan Michael Kishbauch Adria Benjamin Jack Kliger Stephen Blum William McCracken and Cynthia Leghorn John Brautigam Marcia H. Moor Mona Yuter Brokaw Richard and Joanne Mrstik Patricia R. Brophy Mr. and Mrs. David E. Schwab II Stephen M. Brown 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 22

Marjorie L. Burns, in memory of Marden Bate Phyllis Mishkin Isabelle A. Cazeaux Alex Mitchell Roger Chatfield Judith Monson Barbara Clapman Elisabeth J. Mueller Michele Cone Marin L. and Lucy Miller Murray, in honor of Mary M. Cope Leon Botstein Diana Davis Kenneth Nassau Elisabeth Derow Maury Newburger Antonio Diez Jacob and Suzanne Neusner Ruth Dodziuk-Justitz James North Robert Durst Sandra Novick Paul Ehrlich Jill Obrig Exxon Mobil Foundation Clarence W. Olmstead and Kathleen F. Heenan Richard Farris Thomas O’Malley W.J. Fenza James Ottaway Martha Ferry Roger Phillips Donald W. Fowle Jane and Charles Prussack Deborah Franco Bruce Raynor Lyudmila German Anthony Richter Christopher H. Gibbs The Kanter Riopelle Family MacEllis K. Glass Kenneth Rock June Goldberg Leonard Rosen Michael Gotts Peri Rosenfeld Greenwich House, Inc. Henry Saltzman Nathan Gross Leslie Salzman John Haggerty Emil and Nina C. Scheller Laura Harris Harriet Schon James Hayden Janet Z. Segal Roberta Hershenson Georgi Shimanovsky Dr. and Mrs. Gerald Herskowitz Bruce Smith Deb Hoffman John Sowle Eric S. Holtz Stanley Stangren George H. Hutzler Gertrude Steinberg Jose Jimenez Alan Stenzler Donald Juliano Hazel and Bernard Strauss Ronald S. Kahn Paul Stumpf Robert Kalish Andre Sverdlove David Kernahan Lorne Taichman Caral G. Klein Madeline V. Taylor Adnah Kostenbauder William Ulrich Robert LaPorte James Wagner Gerald Laskey Renata Weinstein Steve Leventis Barbara Westergaard Walter Levi Janet Whalen Judd Levy Ann William Harvey Marek Kurt Wissbrun Ellen Marshall, in honor of Louis Marshall Leonard Zablow Carolyn McColley Mark Zarick Alan B. McDougall Alfred Zoller Richard and Maryanne Mendelsohn Karen Zorn, Longy School of Music of Bard College June Meyer Clifford S. Miller List current as of April 17, 2013 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 23

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

SUPPORT ASO

Be a part of the American Symphony Orchestra this season! Give a gift and help sustain the artistic excellence, music education, and preservation that are vital to our cultural life.

Annual Fund Annual gifts help 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.

Matching Gifts Many companies match employees’ contributions to nonprofit organizations. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits.

Sustaining Gifts Make your 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. To make a sustaining gift, please contact the ASO Development Office. Minimum installments of $25.

Corporate Support Have your corporation underwrite an American Symphony Orchestra concert or education program 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 212.868.9276.

How to donate: Please make checks payable to: American Symphony Orchestra

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

Make you gift online: www.amerciansymphony.org/support

For questions or additional information: Nicole M. de Jesús, Director of Development, 646.237.5022. 05-02 ASO_Carnegie Hall Rental 4/24/13 10:42 AM Page 24

ASO’S 2013–14 SEASON AT CARNEGIE HALL

Thursday, October 3, 2013 New York Avant-Garde Antheil, Griffes, Ruggles, Copland, Varèse

Sunday, November 17, 2013 Elliott Carter: An American Original Six orchestral works from 1939 to 2007

Sunday, December 15, 2013 Strauss: Self-Portrait of the Artist Feuersnot (In Need of Fire)

Friday, January 31, 2014 This England Sir Arthur Bliss, Frank Bridge, Robert Simpson, William Walton

Thursday, March 27, 2014 Moses Oratorio by Max Bruch

Fri, May 30, 2014 Forged from Fire WWI-era works by Max Reger, Charles Ives, Ernest Bloch, and Karol Szymanowski

SUBSCRIBE TO ASO

Subscriptions for the 2013–2014 Season are now on sale. Order your subscription at AmericanSymphony.org/2013 or call (212) 868-9ASO (9276).

Subscribers get great seats, and when you add on a donation to ASO you get access to prime loca- tions! Your gift helps sustain the artistic excellence, music education, and community outreach that are vital to our cultural life. For a full list of benefits, including invitations to rehearsals, name recognition in programs, and more, visit AmericanSymphony.org.