Sunday Afternoon, April 19, 2015, at 2:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 1:00

presents Music U. LEON BOTSTEIN, Conductor

RANDALL THOMPSON Alleluia ROBERT ISAACS, Conductor

HORATIO PARKER Dream-King and his Love, Op. 31 PHILLIP FARGO, Tenor

GEORGE ROCHBERG Symphony No. 2

Intermission

LEON KIRCHNER Music for Cello and Orchestra NICHOLAS CANELLAKIS, Cello

ROBERTO SIERRA Cantares (World Premiere) Hanacpachap cussicuinin Canto Lucumí Interludio Suerte lamentosa

with CORNELL UNIVERSITY CHORUS CORNELL UNIVERSITY GLEE CLUB ROBERT ISAACS, Director

This afternoon’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. FROM THE Music Director Music and the University music (and an ardent critic of Wagner) by Leon Botstein was its first occupant. He taught more than music appreciation. Horatio Parker Music has long held a particular pride taught at Yale and Edward MacDowell of place as a subject of formal educa- at Columbia. They too were composers tion in the Western tradition. Part of and major figures in American musical the “quadrivium” of the seven liberal life. Although learning to play an instru- arts, alongside arithmetic, astronomy, ment was looked down upon (Harvard and geometry, already from medieval until recently did not give credit for times music was part of the indispens- instruction in instruments or perfor- able training in thinking, and therefore mance), composing new music was not. a core constituent of true philosophical As the late Milton Babbitt (the distin- education. Knowledge of music was guished and exacting modernist composer viewed as essential to the examined and who served on the Princeton faculty) is just life. It, as an art, demanded that supposed to have replied when asked one command knowledge of logic, why no credit was given towards a grammar, and rhetoric, the “trivium” degree in music at Princeton for study- that prepared one to master music, ing an instrument: “does the English mathematics, and science represented department give credit for typing?” by the remaining four liberal arts. The proper subjects of study in music In comparison to the visual arts—with within the university therefore included the possible exception of architecture history, theory, and composition. But (which is often compared to music)— from the very start of the career of music has therefore been held in high music departments in our leading uni- esteem in the university, the academy of versities, particularly the Ivy League, higher learning. In the United States it music appreciation for the non major, was the first of the arts to become a and the support of voluntary amateur permanent faculty in the university. But performance organizations, from choral within the arts and sciences university societies and singing clubs, to orches- the teaching of music took on a quality tras and musical theater organizations quite distinct from the way music was designed to offer public opportunities taught in conservatories, music’s insti- to students to perform, were at the tutional equivalent of an arts academy, heart of the place music assumed at a place where one trained in a practical Yale, Columbia, Harvard, Cornell, manner to become an artist. In the uni- Prince ton, Dartmouth, Penn, and Brown. versity music was considered a core constituent of the humanities. When we lament the decline of audi- ences, we often neglect to cite as a cause The way music became defined in the the sustained failure of music depart- American university was nonetheless ments in these elite universities to main- not analogous to the way art history tain, after the 1960s, a once honored now has a place in the curriculum. The tradition of music appreciation. In part first professorship in music within the as a consequence of a desire to profes- Ivy League was at Harvard. John Knowles sionalize music history, the kind of sweep- Paine, a fine composer of orchestral ing and often “easy” general survey course once associated with Harvard’s pejorative when speaking about art, G. Wallace Woodworth, Cornell’s Donald including music. In Europe institutional- J. Grout, and Columbia’s Paul Henry ized teaching gained an unequal reputa- Lang has vanished, and with it the tion, mostly as a barrier to innovation. chance to nurture interest among In France, Berlioz ran afoul of institu- unwitting undergraduates in the joy of tions of formal instruction and the con- music. It is interesting to note that Cor- servatism and moribund character of nell was the first American university to the Paris Conservatoire at mid century hire a professional musicologist (Otto led to the establishment of rival institu- Kinkeldey) and the first to grant a doc- tions. In the Vienna Conservatory, torate in composition. Bruckner taught counterpoint, not composition; Mahler as a student failed The Ivy League has had its generous to win the coveted Beethoven Prize for share of distinguished musicians from its composition. History (and even the undergraduate alumni, including Charles ASO) has long forgotten a long list of Ives from Yale, and Leonard Bernstein winners. Perhaps the most successful and Yo Yo Ma, both Harvard alumni (as record in terms of conservatories with is ASO’s longtime composer-in-residence, respect to nurturing composers can be Richard Wilson). But each of these found in Eastern Europe from Warsaw, institutions now boasts impressive Budapest, and Prague to Moscow and departments that give Ph.Ds in musicol- St. Petersburg. ogy, music theory, and composition. They have taken on an indispensable In America, however, the existence of role in the preservation and furtherance new concert and so-called “art” music of musical culture. in the 20th century, particularly after World War II, owes a special debt not Given that an alternative model of only to the nation’s conservatories but institutionalizing the teaching of music also to the comprehensive university. also thrives in the United States—the Aaron Copland may have gone to Juil- conservatory—as a free standing institu- liard, but Bernstein, Adams, Babbitt, tion (e.g. Juilliard, Curtis, the Manhattan Carter, Glass, Crumb, Husa, Krenek, School, the New England Conservatory), Schoenberg, Sessions, Luening, Mason, or a unit of a large state university (e.g. Moore, Wuorinen, Hindemith, Shapey, at Indiana and Michigan), or a separate Blackwood, Wernick, Piston, Milhaud, school within a private university (e.g. Richard Wilson (and all the composers Eastman at the University of Rochester, on this program) as well as dozens of Peabody at Johns Hopkins, and for that other major composers of the 20th cen- matter, the graduate Yale School of tury (including Druckman, Tower, and Music), the question might be posed: Tsontakis at Bard) have owed either what has been the impact of the teach- their education or a significant part of ing of composition within the univer- their livelihood to the faculties of arts sity, and outside of what by comparison and sciences at colleges and universi- some might deem a “trade” school, the ties, not conservatories. music conservatory. The inclusion of composition in the It should be remembered that within undergraduate and graduate curricu- the history of music, the institutional- lum of these non-conservatory institu- ized teaching has not always been tions of higher education has fostered a viewed with approbation. The word closer link between new music and “academic” is frequently used as a other disciplines, from mathematics to literature. It has helped sustain whatever ever-increasing obligation to nurture, broader consciousness and appreciation protect, and preserve a sophisticated (in of music still persists in the educated the best sense) musical culture that is public. In that regard from the ear of not commercially viable and not even Parker and Ives to today the presence of popular. That protection will involve composers on the faculty has provided the research in and teaching of music’s the amateur music groups within the past and theoretical underpinnings. It university a contemporary repertoire, will involve also the education of future much in the spirit of Thompson’s generations of composers. And it will “Alleluia.” Furthermore the university require the support of the public per- has protected and nurtured a spirit of formance of classical music, new and experimentation and the avant-garde in old, by amateurs and professionals alike. contemporary music. In the best sense it has acted as a bulwark against crass A living and vibrant culture of classi- commercialism. This last achievement cal music will increasingly be depen- has been accomplished in a manner dent on the university. The halls of complementary to a respect for music’s academe will emerge as a refuge, a historical legacy, the great tradition of shield against a society increasingly Western classical music. governed by the rules and mores of “business.” Let us hope that those So much for the past! Classical music, who govern our universities and those new and old, has never thrived as a who support it will embrace that task business. It has been dependent on and will prove equal to it. As the ASO patronage from the 17th century on. It joins with Cornell University to cele- cannot compete as a dimension of the brate the founding of that great insti- contemporary marketplace of enter- tution, we hope that the next 150 tainment that earns profits. In the years will prove to be as fruitful and decades ahead the university, especially productive at Cornell with respect to the well-endowed private universities— music as the century and a half that notably the Ivy League—will face the preceded the year 2015 have been.

THE Program by Peter Laki and Roberto Sierra

Randall Thompson Born April 21, 1899, in New York City Died July 9, 1984, in Cambridge, Massachusetts

Alleluia Composed July 1–5, 1940 Premiered July 8, 1940, conducted by G. Wallace Woodworth, commissioned by Serge Koussevitzky for the opening of the Berkshire Music Center at Tanglewood Performance Time: Approximately 6 minutes

Instruments for this performance: a cappella chorus Randall Thompson was an undergrad- Center (now the Tanglewood Music uate and later a longtime faculty mem- Center) when it opened for the first ber at Harvard, but in between those time. Because of the war in Europe the stints in Cambridge, Massachusetts, he composer felt that a jubilant Alleluia also studied and taught elsewhere. was out of place, and composed a quiet, After graduation he worked privately introspective piece, in mostly soft with Ernest Bloch; over the years he dynamics with only a single fortissimo counted personalities as diverse as outburst near the end. The harmonies Leonard Bernstein, Frederic Rzewski, are simple throughout, although some and Richard Wilson among his students. subtle chromatic inflections give the work a special flavor. The work is mostly Thompson’s most famous work is his homophonic, which makes the few con- “Alleluia” for a cappella chorus, writ- trapuntal passages all the more striking. ten a few years before he joined the Harvard faculty. Here the composer Written in five days at the beginning of showed that there was still plenty of July 1940, “Alleluia” was first per- great music to be written in the key of formed on July 8, 1940, at Tangle- D major in 1940. But his was not the wood, under the direction of G. Wallace triumphant, celebratory D major of Woodworth. (Affectionately known as Handel’s “Alleluia” chorus from Messiah. Woody, Woodworth was a longtime pro- In Thompson’s own words, “It is a slow, fessor and university organist at Har- sad piece, and…comparable to the vard, where he also led the famous Glee Book of Job, where it is written, ‘The Club for 25 years, in addition to being Lord gave and the Lord has taken away. the director of the Radcliffe Choral Soci- Blessed be the name of the Lord.’” ety.) To this day Thompson’s “Alleluia,” celebrating its 75th anniversary this year, The work was commissioned by Serge is performed at the opening of the Tan- Koussevitzky for the Berkshire Music glewood Music Festival every summer.

Horatio Parker Born September 15, 1863, in Auburndale, Massachusetts Died December 18, 1919 in Cedarhurst, New York

Dream-King and his Love, Op. 31 Composed in 1891 Premiered March 30, 1893, at Madison Square Garden in a concert for the winners of a National Conservatory of Music competition with Parker conducting the Conservatory Chorus and Anton Seidl’s orchestra Performance Time: Approximately 12 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, percussion (triangle), 1 harp, 22 violins, 8 violas, 8 cellos, 6 double basses, chorus, and tenor soloist

Horatio Parker is mostly remembered most prominent American Romantics today as Charles Ives’ teacher at Yale, yet whose Latin oratorio, Hora novissima, he was an important and prolific com- was performed with great success not only poser in his own time. He was one of the in the United States but in England as well. Parker had studied with George Chad- The cantata takes us, in quick succes- wick in Boston and Joseph Rheinberger sion, from an ordinary bedroom to a in Munich. Before his appointment at magnificent fairyland; a solemn mar- Yale he briefly taught at the National riage ceremony and a tender wedding Conservatory in New York under the night are followed by a rude awaken- directorship of Antonín Dvořák, and it ing. The text offered Parker many was there that his cantata Dream-King opportunities for sumptuous word- and his Love won first prize in a com- painting. The lyrical scenes are accom- position contest, with Dvořák as the panied by lush chromatic harmonies; chief adjudicator. the magical transformation is repre- sented by lively rhythmic motifs and the The text of this cantata is an anony- royal wedding, appropriately, by a mous English translation of Traumkönig polonaise. The closing moment—the und sein Lieb by Emanuel von Geibel evanescence of the dream—is fashioned (1815–84), a German poet whose into a major dramatic climax, lest we works were set to music by Schumann, take the story too lightly. For the Brahms, and Wolf (among many oth- Romantic imagination, where dreams ers). A fair maiden slumbers in her are more important than the real world, room; as she is wooed by the handsome and the darkness of the night preferable Dream-King, the room turns into a to the light of day (as in Tristan), the resplendent palace where she is made loss of such a precious moment is truly Queen and receives her King’s caresses. tragic. Parker captured these tragic feel- But then, alas!, dawn breaks and the ings perfectly in his music, which lovely vision vanishes, leaving the earned great accolades at its premiere in maiden in a state of great distress. New York on March 30, 1893.

George Rochberg Born July 5, 1918, in Paterson, New Jersey Died May 29, 2005, in Bryn Mawr, Pennsylvania

Symphony No. 2 Composed 1955–56 Premiered February 26, 1959, in Cleveland by the Cleveland Orchestra conducted by George Szell Performance Time: Approximately 30 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (snare drum, tenor drum, suspended cymbal, bass drum, xylophone, tambourine, triangle, gong), 22 violins, 8 violas, 8 cellos, and 6 double basses

George Rochberg’s posthumously pub- School of Music in the 1940s—another, lished memoirs, Five Lines, Four Spaces, at Curtis, was Rosario Scalero, who open with the story of the Second Sym- had also been Samuel Barber’s teacher.) phony and its premiere by George Szell The fact that the composer singled out and the Cleveland Orchestra on Febru- this particular work in the first chapter ary 26, 1959. (Szell had been one of of his book indicates that he considered Rochberg’s teachers at the Mannes it an important milestone in his career. Rochberg is best known for his later rhythm, the orchestration, and the break with modernism and his return to overall form of the piece, however, are tonality after the 1960s. For many free for the composer to shape without years he taught at the University of any external constraints whatsoever. Pennsylvania, where his students included Rochberg’s symphony, in five move- Stephen Albert, Maryanne Amacher, ments played without a pause, is pure and Stephen Hartke. drama from beginning to end. A com- plex first movement—in turn seethingly The second of Rochberg’s six sym- intense and gently lyrical—is followed phonies is a product of the composer’s by a wild scherzo, a somber Adagio, modernist period. Yet Rochberg was and a varied recapitulation of the open- never the kind of modernist who would ing section. A slow, and rather tragic, put dissonances before feelings, or exper- coda ends this symphony, about which imentation before experience. In a letter musicologist Alexander L. Ringer once to one of his closest friends, Hungarian- wrote in The Musical Quarterly: Canadian composer Istvan Anhalt (1919– 2012), Rochberg called it a compressed, [It] astonishes as much by the novel hot, concentrated work,” emphasizing sounds drawn from the traditional its strong emotional foundations. orchestra as by the melodic-rhythmic wealth derived from a single 12-tone In music composed according to the 12- row…. Rhythmically, as in the melodic tone system, the melodies and har- realm, Rochberg has succeeded in monies are derived from the tone-row creating the unity in variety that and its various transformations. The marks the true master.

Leon Kirchner Born January 24, 1919, in Brooklyn Died September 17, 2009, in New York City

Music for Cello and Orchestra Composed in 1992 Premiered on October 16, 1992, by Yo-Yo Ma and the Philadelphia Orchestra conducted by David Zinman Performance Time: Approximately 19 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (xylophone, glockenspiel, bongos, chimes, snare drum, tenor drum, suspended cymbal, tambourine, vibraphone, wood blocks, claves, temple blocks, antique cymbals, bass drum, tamtam), 1 piano, 1 celesta, 22 violins, 8 violas, 8 cellos, 6 double basses, and solo cello

For 28 years (1961–89) Leon Kirchner— among others, John Adams, who writes a brilliant pianist and conductor as well in his 2008 autobiography Hallelujah as composer—was professor of compo- Junction: “Kirchner was one of the sition at Harvard University, where he most intuitive musicians I ever encoun- held the chair previously occupied by tered…. [He] could never find a way to Walter Piston. Arnold Schoenberg’s for- make his own musical instincts fit into mer student thus became the teacher of, the straitjacket of a rigorous method.” Elsewhere, Adams commented: “What the orchestra, or one in a group of makes his music lasting in my mind soloists that frequently includes a solo are those great exploding arches of violin. There is nearly always more counterpoint and the erotic lushness of than one melodic line going on at the the harmonies.” same time, confirming Adams’ observa- tion about Kirchner’s use of counter- Both of those features are strongly in point. As far as the lush harmonies are evidence in Music for Cello and concerned, they range from dense Orchestra, a piece Kirchner wrote for atonal chromaticism to unabashedly Yo-Yo Ma, who was another former Romantic sounds that at one point student of his. The commission came evoke distinct Wagnerian memories. from the Philadelphia Orchestra and was underwritten by the noted home- These two worlds, a harsher and a builder and environmental activist gentler one, seem to be directly con- Maurice Barbash and his wife Lillian in trasted throughout the piece, as if honor of their 40th wedding anniver- engaged in a struggle for dominance. sary. The first performance was given At the end Romanticism emerges vic- by the Philadelphia Orchestra under torious with some ethereal cello har- David Zinman’s direction, with Ma as monics to which the English horn adds the soloist, on October 16, 1992. one last lyrical counterpoint.

Although the cello is clearly the protag- Peter Laki is visiting associate professor onist, it is sometimes treated as part of of music at Bard College.

Roberto Sierra Born October 9, 1953, in Vega Baja, Puerto Rico

Cantares (World Premiere) Composed in 2014–15 Performance Time: Approximately 25 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (suspended cymbal, tamtam, bass drum, snare drum, xylophone, temple blocks, marimba, güiro, glockenspiel, maracas, vibraphone, bongos, congas, claves, tom-toms), 1 piano, 1 harp, 22 violins, 8 violas, 8 cellos, 6 double basses, and chorus

When I was asked to write this work my triggered in my mind many questions initial impulse was to compose music that about how this music may have unfolded. would evoke lost voices in time. I searched At the end I decided not to reconstruct the for texts that dated back in history and sound or the way the hymn would have memory, and the inspiration for the been played, but rather create my own first movement was drawn from a 17th- modern reflection on a beautiful text and century manuscript book of prayers four-voice polyphony written around 400 that contains the hymn Hanacpachap years ago. The text combines both the cussicuinin written in Quechua and pub- ideas and concepts coming from the lished in 1631 in Cuzco, Peru. This early Quechua culture and the Christian con- syncretic attempt is fascinating and cept of the mother of God. Canto Lucumí traces its ancestry to second is the seed that generates the Afro-Cuban ritual music of West musical fabric. This intervallic sequence African origins. The text consists of also determines the central note for incantations that have been phoneti- each movement. The idea of three and cally transcribed into Spanish. The two also permeates the rhythmic cells meaning of the words is sometimes used throughout the work. obscure, but what really interested me was how they sounded and their fasci- In Suerte lamentosa a 1528 poem is nating rhythmic quality. The floating superimposed to another 16th-century nature of music and the use of extended text by the Spaniard Bernal Diaz del vocal techniques of sibilant noise and Castillo; it is the telling of tragic events percussive sounds enhance the mystery that occurred during the conquest of already embedded in the original texts. the Aztec Empire. These narratives offer two perspectives: one from the The orchestral interlude is a meditation viewpoint of the invader and another on the two previous movements and from those fighting the invasion. brings together the intervallic structure that has dominated both the melodic Roberto Sierra is Old Dominion Foun- and harmonic content of the work. An dation Professor in the Humanities at interval sequence of a minor third and a Cornell University.

Texts AND Translations

Dream-King and his Love, Op. 31 HORATIO PARKER Text by E. Whitney after Emanuel Geibel

A maiden is sleeping in rest profound, On snowiest pillow reposing; The night wind breathes refreshment around, With coolness the soft couch enclosing.

Under the window roses in bloom, And lindens sweet odors spreading, Scarce can the moon ray enter the room Through vines the casement shading; Scarce can the moon ray enter the room Through vines the casement shading.

But listen! Music faint is heard, Fireflies their lanterns are swinging; The lindens are rustling, the air is stirr’d with soft and melodious singing.

Sweet love, sweet love, Now rock thee to sleep, rock thee to sleep, On slumber waves repose thee, On slumber waves repose thee; Rock thee to sleep, rock thee to sleep, rock thee to sleep. Dream-King, they faithful love would be, Dream-King, with love enclose thee.

There stands an Elf before her face, His dark locks with jewels entwining, And bright upon his brow displays A diadem soft shining.

Now bends he before the fair maiden’s low bed, Her brow and her lips kisses lightly; His wand he waves, and with dainty tread An airy throng round him presses.

His wand then he further and further swings The room as a palace appearing; Which ‘shrined in halo of glory bright, in halo of glory bright; Dream-King and his love, Dream-King and love are sharing.

A throne with a canopy rich is there, A royal estate revealing, A soft lamp glows in the room afar, Two pages under it kneeling;

Above in a silvery ring a bird With glorious plumage is swinging; He dreamily floats and his voice is heard A bridal song singing; He dreamily floats and sings, he dreamily floats and sings A bridal song of the Dream-King.

So rest the Dream-King and maiden fair, Dream-King now rests, Dream-King now rests.

So Dream-King rests with the maiden and gives her caresses, Til sunlight glowing and morning air The earth with radiance blesses.

Then vanishes Dream-King from sight away, And the soft spell is departed, And the soft spell is departed. And when she wakes at the dawning of day, The maiden is left heavy hearted;

And now as she opens her lovely eyes With long dark lashes o’er shaded, She presses her sad heart, she sobs, she sighs, Ah! is the bright vision departed, thus departed? has it faded, thus departed? Ah! is the vision departed? Cantares ROBERTO SIERRA

Hanacpachap cussicuinin Hanacpachap cussicuinin, Joy from heaven, huarancacta muchascaiqui. I worship you Yupairurupucoc mallqui, Precious fruit from the fertile tree runacunap suyacuinin. Hope that encourages, Callpan nacpa quemi cuinin, and supports mankind. huaciascaita. Hear my prayer.

Uyarihuai muchascaita. Diospa rampam Diospa maman. Hear our pleas Yurac tocto hamancaiman. White pillar, mother of God Yupascalla, collpascaita. Accept this song, Huahuarquiman suyascaita. Help us, Ricuchillai. show us your fruit.

Canto Lucumí Iyá mo dukpe fó ba a é. Mother I am grateful to be near you. Obanlá tobiaro Agogoloná Great King I feel good near you.

O ya ya lumba This incantation instructs a spirit to go o ya ya kuanda gangá, to the place of the dead to perform the munan finda ton bo güa ge re ré task commanded by the person intoning munalu tako guasimon so the chant.

Iyá mo dukpe ya le Variant of first strand yalode Obanlá tobiaro agogoloná

Suerte lamentosa ídolos, sonaba, desde donde estaban los Idols, sounded, where the idols stood. A ídolos, sonaba un tambor, tambor, el más drum could be heard, the saddest sound, triste sonido, sonido, como instrumento sound, like instrument of demos. They de demonios. Se escuchaban a la distancia were heard at a distance with the sounds con el sonido de los caracoles, bocinas y of seashells, horns and whistles. We silbidos. Entonces supimos que ofrecían knew then that they offered in sacrifice en sacrificio diez corazones y la sangre, ten hearts and the blood of our friends sangre de nuestros compañeros quienes who were captured when they captured había sido capturados cuando ellos Cortés, they took, they took them to be capturaron a Cortés, llevaban, los llevaban sacrificed. They made them dance in para ser sacrificados, sacrificados. Les front of the Huichilobos [the tutelary hacían bailar frente a los Huichilobos, deity of the Aztecs, worshiped as a god con plumas y abanicos en la cabeza y of the sun and of war], with feathers and luego los colocaron en piedras donde les fans on their heads and then they laid cortaban el pecho para extraer sus them on stones where their chests were corazones palpitantes como ofrenda a cut open to extract their beating hearts sus ídolos, pateando los cuerpos por las as offerings to their idols, kicking their gradas. Allí los esperaban los indios bodies through the stands. There the carniceros donde les cortaban los brazos butcher Indians received them to cut off y piernas, y usaban como guantes la piel the arms and legs, and used as gloves the de sus caras con barbas, rojas están las bearded skins of their faces, the waters aguas, rojas. are red, red. Con suerte lamentosa nos vimos With misfortune we found ourselves angustiados. distressed. En los caminos yacen dardos rotos; On the roads lie broken arrows; los cabellos están esparcidos. the hairs are scattered. Destechadas están las casas, The houses are roofless enrojecidos tienen sus muros. and the walls are red. Gusanos pululan por calles y plazas, Maggots swarming streets and squares, y están las paredes manchadas de sesos. and the walls are stained with brains. Rojas están las aguas, cual si las Red are the waters, as if they’d been hubieran teñido, dyed, y si las bebíamos, eran agua de salitre. and if we drank, it was salt water.

Golpeábamos los muros de adobe en We hit the adobe walls in our anxiety nuestra ansiedad y nos quedaba por and what was left for us was the holes herencia una red de agujeros. in the walls.

En los escudos estuvo nuestro resguardo, We protected ourselves with shields, pero los escudos no detienen la but the shields could not stop our desolación. desolation. Hemos comido panes de colorín We ate colorín bread, hemos masticado grama salitrosa, salty grass, pedazos de adobe, lagartijas, ratones pieces of adobe, lizards, mice, y tierra hecha polvo y aun los gusanos… dust and even worms…

THE Artists LEON BOTSTEIN, Conductor

that give audiences a once-in-a-lifetime chance to hear live performances of works that are ignored in the standard repertory, and inviting music lovers to RIC RIC KALLAHER listen in their own way to create a per- sonal experience. At the same time he brings his distinctive style to core repertory works. He is also co-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 Col- lege, where he has been president since 1975. He is also conductor laureate of the Jerusalem Symphony Orchestra, Leon Botstein is now in his 23rd year as where he served as music director from music director and principal conductor 2003–11. of the American Symphony Orchestra. He has been hailed for his visionary Mr. Botstein leads an active schedule as zeal, often creating concert programs a guest conductor all over the world, and can be heard on numerous record- of numerous articles and books. He is ings with the London Symphony (includ- currently working on a sequel to Jeffer- ing their Grammy-nominated recording son’s Children, about the American edu- of Popov’s First Symphony), the London cation system. Collections of his writings Philharmonic, NDR-Hamburg, and the and other resources may be found online Jerusalem Symphony Orchestra. Many at LeonBotsteinMusicRoom.com. For of his live performances with the his contributions to music he has received American Symphony Orchestra are the award of the American Academy of available online, where they have cumu- Arts and Letters and Harvard Univer- latively sold more than a quarter of a sity’s prestigious Centennial Award, as million downloads. Upcoming engage- well as the Cross of Honor, First Class ments include the Royal Philharmonic. from the government of Austria. Other Recently he conducted the Russian recent awards include the Caroline P. National Orchestra, the Taipei Sym- and Charles W. Ireland Prize, the high- phony, the Los Angeles Philharmonic est award given by the University of at the Hollywood Bowl, and the Sin- Alabama; the Bruckner Society’s Julio fónica Juvenil de Caracas in Venezuela Kilenyi Medal of Honor for his inter- and Japan, the first non-Venezuelan pretations of that composer’s music; the conductor invited by El Sistema to con- Leonard Bernstein Award for the Eleva- duct on a tour. tion of Music in Society; and Carnegie Foundation’s Academic Leadership Highly regarded as a music historian, Award. In 2011 he was inducted into Mr. Botstein’s most recent book is Von the American Philosophical Society. Beethoven zu Berg: Das Gedächtnis der Moderne (2013). He is the editor of Mr. Botstein is represented by Colum- The Musical Quarterly and the author bia Artists Management, LLC.

NICHOLAS CANELLAKIS, Cello

Nicholas Canellakis is an artist of the Chamber Music Society of Lincoln Center, with which he performs regu- larly in Alice Tully Hall and on tour throughout the United States and abroad. He has given concerts in some of the most prestigious venues in the United States, including Carnegie Hall, the Kennedy Center, the Kimmel Cen- ter, Harris Theater, Jordan Hall, and Disney Hall, and is a frequent performer at Bargemusic in New York City. He has also been a guest artist at many of the world’s leading music festivals, including Santa Fe, Ravinia, Verbier, Music@Menlo, Mecklenburg, La Jolla, The Canellakis-Brown Duo, his collab- Moab, Bridgehampton, Sarasota, and oration with pianist-composer Michael Aspen. He is the co-artistic director of Brown, performs numerous recitals the Sedona Winter MusicFest in Arizona. throughout the country, and is set to release its debut album during the Center’s CMS Two international audi- 2014–15 season. Mr. Canellakis and tions. He was also selected to be in res- Mr. Brown have also garnered attention idence at Carnegie Hall as a member of for their multimedia projects, and one Ensemble ACJW, in which he per- of their short films received a world formed often in Weill and Zankel Halls premiere at the 2013 Look & Listen and worked to enhance music educa- Festival in New York. tion throughout New York City. He is on the faculty of the Brooklyn College Mr. Canellakis was a winner of the Conservatory of Music and the Bow- Chamber Music Society of Lincoln doin Music Festival.

ROBERT ISAACS, Choral Director and Conductor

debut at Carnegie Hall with the Argento New Music Project, and has also con- ducted at the Royal Albert Hall in Lon- don, the Edinburgh Fringe Festival, the Snape Proms, the Guggenheim Museum, and other venues ranging from Stock- holm to the Cook Islands. As a singer he has appeared as a guest soloist with Saint Thomas Fifth Avenue, Trinity Wall Street, Musica Sacra, Polyphony Voices of New Mexico, and many more. He regularly tours and records with Pomerium, the Vox Vocal Ensem- ble, and the Clarion Music Society, accompanied the Mark Morris Dance Robert Isaacs is the director of choral Group on tour in Russia, and performed activities at Cornell University, a posi- twice in Jonathan Miller’s staged St. tion generously supported by Priscilla Matthew Passion at the Brooklyn E. Browning. Previously he ran choral Academy of Music. He was nominated programs at Princeton University and for a Grammy Award in 2006. the Manhattan School of Music, and served as interim director of the Mr. Isaacs graduated with high honors National Youth Choir of Great Britain. from Harvard University, where he He has chorus-mastered for BBC Proms designed his own course of study in choral concerts and worked as a guest conductor music. After a stint as a juggler and unicy- with ensembles on both sides of the clist on the streets of San Francisco, he Atlantic, including Laudibus, Cerddorion, spent a year as a Trustman Fellow, Amuse, TENET, and the Vox Vocal researching choral rehearsal psychology Ensemble. He made his conducting throughout England and Scandinavia.

THE AMERICAN SYMPHONY ORCHESTRA

Now in its 53rd season, the American mission of making orchestral music Symphony Orchestra was founded in accessible and affordable for everyone. 1962 by Leopold Stokowski, with a Music Director Leon Botstein expanded that mission when he joined the ASO in annual subscription series as well as 1992, creating thematic concerts that Bard’s SummerScape Festival and the explore music from the perspective of the Bard Music Festival. The orchestra has visual arts, literature, religion, and history, made several tours of Asia and Europe, and reviving rarely-performed works that and has performed in countless benefits audiences would otherwise never have a for organizations including the Jerusalem chance to hear performed live. Foundation and PBS.

The orchestra’s Vanguard Series, which Many of the world’s most accomplished includes these themed programs as well soloists have performed with the ASO, as an opera-in-concert and a celebra- including Yo-Yo Ma, Deborah Voigt, tion of an American composer, consists and Sarah Chang. The orchestra has of six concerts annually at Carnegie released several recordings on the Hall. ASO goes in-depth with three Telarc, New World, Bridge, Koch, and familiar symphonies each season in the Vanguard labels, and many live per- popular series Classics Declassified at formances are also available for digital Peter Norton Symphony Space, and has download. In many cases these are the an upstate home at the Richard B. only existing recordings of some of the Fisher Center for the Performing Arts at rare works that have been rediscovered Bard College, where it performs in an in ASO performances.

CORNELL UNIVERSITY CHORUS

The Cornell University Chorus, founded In addition the Chorus boasts extensive in 1921, is Cornell’s premier treble experience in professional settings, hav- voice ensemble. Since 2001 the Chorus ing appeared on the stages of Carnegie has made it a special point to commis- Hall, Lincoln Center, the Kennedy Cen- sion new works from women com- ter, the Philadelphia Academy of Music, posers with the goal of expanding the and the Saratoga Performing Arts Center. contemporary repertoire for treble The Chorus has also had the privilege of voices. Comprised of 50 women from a working with renowned world musician variety of backgrounds, both academic Samite, of Uganda, and with Anonymous and otherwise, the Chorus performs a 4 in a production of Richard Einhorn’s repertoire spanning eight centuries and Voices of Light. ten languages, including masses, motets, spirituals, and folk, with a variety of The ensemble has made numerous suc- other classical and contemporary pieces. cessful tours of New England, the Mid- west, Canada, and, most recently, Cali- The Chorus performs annually through- fornia. The Chorus also travels to other out the academic year for a multitude of institutions for competitions and festi- university events, including Convocation, vals and has performed with other First Year Family Weekend, Senior Week, groups, such as the Toronto Women’s Commencement, and Reunions weekend. Chorus and the Penn State Glee Club.

CORNELL UNIVERSITY GLEE CLUB

In the fall of 1868, months after Cor- Orpheus Glee Club. Originally com- nell University opened its doors, stu- posed of a vocal quartet, several accom- dents banded together to form the panying instrumentalists, and a poet, the group has become a home to thou- Wachner, David Conte, Daniel Kel- sands of young men who have traveled logg, Shulamit Ran, Norbert Palej, in all walks of life, from music and Benjamin May, Bernard Rands, Joseph medicine to agriculture and astronomy. Gregorio, J. David Moore, and most The group has performed songs of recently Toby Twining. Bernstein on Malaysian television and songs of Shostakovich in the Moscow The Glee Club has been led by several conservatory, sung in more than a notable directors, including Hollis Dann, dozen languages, logged hundreds of Eric Dudley, Thomas Tracy, and Direc- thousands of miles, and brought music tor Emeritus Thomas Sokol, who led to millions of people across the globe. the group for 38 years. Scott Tucker, the Glee Club’s director from 1995–2012, The ensemble performs a diverse rep- brought the group international acclaim ertoire, ranging from liturgical settings with performances at the American to folk songs and from works of the Choral Directors Association and the Renaissance to contemporary music. Llangollen International Musical Eist- In 1995 the Glee Club began a project edfodd in Wales, where the Glee Club of annually commissioning a new placed second place in the Male Choir piece for male voices by composers competition. Robert Isaacs is the glee such as Augusta Read Thomas, Julian club’s ninth conductor.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I VIOLA Richard Messbauer HORN Erica Kiesewetter, William Frampton, Bill Ellison Zohar Schondorf, Concertmaster Principal Principal Yukie Handa Shelley Holland- FLUTE David Smith Ragga Petursdottir Moritz Laura Conwesser, Theodore Primis John Connelly John Dexter Principal David Peel Elizabeth Nielsen Adria Benjamin Karla Moe Shelagh Abate, Patricia Davis Sally Shumway Rie Schmidt, Piccolo Assistant Ann Labin Veronica Salas Yana Goichman Crystal Garner OBOE TRUMPET Diane Bruce Chiu-Chen Liu Julia DeRosa, Carl Albach, Cyrus Beroukhim Principal Principal Mara Milkis CELLO Erin Gustafson John Dent Sarah Zun Rubin Kodheli, Rita Mitsel, English Thomas Hoyt Principal horn VIOLIN II Maureen Hynes TROMBONE Suzanne Gilman, Annabelle Hoffman CLARINET Richard Clark, Principal Anik Oulianine Laura Flax, Principal Principal Wende Namkung Robert Burkhart Benjamin Baron Kenneth Finn James Tsao Tatyana Margulis David Gould, Bass Christopher Olness Heidi Stubner Igor Scedrov clarinet Dorothy Strahl Elizabeth Thompson TUBA Lucy Morganstern BASSOON Kyle Turner, Elizabeth Kleinman BASS Charles McCracken, Principal Alexander Vselensky John Beal, Principal Principal Ann Gillette Jack Wenger Maureen Strenge TIMPANI Lisa Tipton Louis Bruno Gilbert Dejean, Benjamin Herman, Richard Ostrovsky Contrabassoon Principal PERCUSSION KEYBOARD PERSONNEL ORCHESTRA Jonathan Haas, Elizabeth Wright, MANAGER LIBRARIAN Principal Principal Ann Yarbrough Marc Cerri Kory Grossman Guttman Javier Diaz HARP James Musto Victoria Drake, ASSISTANT Jeff Irving Principal CONDUCTOR David Nyberg Zachary Schwartzman

CORNELL UNIVERSITY CHORUS Robert Isaacs, Director John Rowehl, Assistant Conductor Michael Small and Annalise Smith, Teaching Assistants

SOPRANO I Natasa Kostic ’18, Computer Lauren Morehouse ’18, Rachel Arrowood ’15, Science Materials Science Information Science Claire Lender ’15, Animal Esther Okech ’16, Rachel Benjamin ’15, Spanish Science Environmental Science and Alexandra Cesare ’15, Emily Lutz ’15, Information Sustainability Biological Engineering Science Olivia Vaz ’15, Biology and Kelsey Evenson ’17, Mary Elizabeth Mueller ’18, Society Government Biology/ Music Emily Higgins ’15, Applied Nereida Ramirez ’17, Physics ALTO II and Engineering Physics Samantha Reig ’17, Chelsea Brite ’15, Human Laura Kaminsky ’17, Psychology/Information Development Environmental Science and Science Madison Butzbach ’15, Sustainability Collette Roberto ’16, Physics Information Science Emma Keteltas ’17, Industrial Sanjana Thirumalai ’16, Rachel Connolly ’17, and Labor Relations Biology Materials Science Jennifer Lambert ’15, Human Lucy Whiteley ’17, French/ Katherine Flood ’16, Development History Linguistics Christina Lee ’18, English Emily Woo ’18, Human Krista Galie ’15, Nutrition Brigid Lucey ’18, Undecided Biology, Health and Society Eva Gonzalez ’16, Hotel Emma Newburger ’18, Administration Communication ALTO I Taylor Levy ’18, Applied Amelia Pacht ’18, Industrial Sara Birmingham ’15, Economics and and Labor Relations English/Linguistics Management Adja Toure ’18, Hotel Michelle Bowen ’16, Abby Maranga ’16, Biology Administration Environmental Engineering and Society Anna Yesypenko ’17, Anne Dickey ’15, Chemical Amy Penick ’17, Chemical Computer Science Engineering Engineering Samantha Yip ’17, Sarah Fortna ’17, Biology Sophie Rogers ’16, Operations Research Marissa Grill ’17, Policy Psychology/French Analysis and Management Ziyou Tian ’15, Urban and SOPRANO II Rose Hanson ’15, History Regional Studies Caitlin Gleason ’18, Industrial Sydney Hertafeld ’18, Biology Kelly Wallace ’15, Biology and Labor Relations Robyn Houghton ’18, Stefanie Wu ’17, Information Olivia Gustafson, MEng ’15, Architecture Science Electrical and Computer Megan Larkin ’17, Hotel Engineering Administration Amanda Hellwig ’16, Human Katherine Minnes ’16, Biology, Health and Society Sociology CORNELL UNIVERSITY GLEE CLUB Robert Isaacs, Director John Rowehl, Assistant Conductor Michael Small and Annalise Smith, Teaching Assistants

TENOR I Jacob Herrera ’16, Computer John Schafer ’18, Biological Justin Alicea ’18, Psychology Science/Economics Engineering Roshun Alur ’15, Electrical Nataniel Kashdan ’18, Daniel Shaw ’18, Materials and Computer Engineering Economics Science Andrew Brown ’18, Jonathan Lassman ’17, Civil Michael Small, Grad Student, Computer Science Engineering Music Phillip Fargo ’16, Biology Benjamin McEwen ’17, Chandler Waggoner ’15, Michael Gross ’15, Biological Materials Science Theatre Arts/ English Engineering Jae Noh ’18, Chemistry Nathan Weierich ’18, Aaron Gustafson ’16, Diego Ricaurte ’15, Economics/Government Computer Science/ Psychology Benjamin Wu ’15, Mathematics Matthew Sobiesk ’16, Mechanical Engineering Scott Hare ’16, Applied Mathematics/Near Eastern Raymond Wu ’15, Statistics Economics and Studies Management Christopher Wolfrom ’16, BASS II Donny Morrissey ’16, Mechanical Engineering Robert Dunbar ’18, Government/ Economics Government Daniel Petralia ’15, Chemical BASS I Daniel Golland ’15, Engineering Michael Bentley, MS ’16, Economics Charles Phil ’17, Information Applied Economics and Erik Gustafson ’18, Science Management Mechanical Engineering James Purcell ’18, Biology Garrett Craig-Lucas ’16, Ian Huang, MA ’15, Public Christopher Shiprack ’15, Landscape Architecture/ Affairs Animal Science Urban and Regional Studies Max Ke ’15, Chemistry Zachary Zimmerman ’17, Aaron Gittelman ’16, Nathaniel LaCelle-Peterson Computer Science Chemical Engineering ’18, Undecided Zachary Hempstead, MEng Martin Mahoney ’17, Music TENOR II ’15, Computer Science Trevor McDonald ’17, Chino Agulanna ’18, Paul Hwang ’15, Music Computer Science Mechanical Engineering Christian Kelly ’16, Malcolm McKinney ’15, Patrick Braga ’16, Urban and Performing and Media Computer Science Regional Studies/Music Arts/Biology Kurt Miller ’15, Biology Jacob Cohen ’16, Government Matthew Linden ’17, Riley Owens ’17, Music Andrew Dorion ’16, Biology History/Linguistics Stephen Pallone, PhD ’17, George Epstein ’15, Physics Christopher Martin ’17, Operations Research Jonathan Fisher ’17, Human Physics Adam Proch ’17, Operations Development Calvin Multanen ’15, Research Aaron Frederick ’15, Animal Government McKenzie Read ’15, Science Christopher Phare, PhD ’17, Mechanical Engineering Adam Friedlander ’16, Food Electrical and Computer Christian Waibel ’17, Science Engineering Materials Science Kareem Hamdy ’15, Nicholas Ringelberg ’16, Evan Yetter ’16, Computer Engineering Physics Biology Science/ Music Becket Harney ’17, Benjamin Salinas ’18, Environmental Science Sociology 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 Ann Yarbrough Guttman, Orchestra Oliver Inteeworn, General Manager Personnel Manager Brian J. Heck, Director of Marketing Ben Oatmen, Production Assistant Nicole M. de Jesús, Director of Development Leszek M. Wojcik, Concert Archival Recording Sebastian Danila, Library Manager Marielle Métivier, Operations Manager James Bagwell, Principal Guest Conductor Carley Gooley, Marketing Assistant Zachary Schwartzman, Assistant Conductor Marc Cerri, Orchestra Librarian Richard Wilson, Composer-In-Residence James Bagwell, Artistic Consultant

AMERICAN SYMPHONY ORCHESTRA PATRONS

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

This project has been made possible with the support of The Amphion Foundation.

MAESTRO’S CIRCLE Felicitas S. Thorne Mrs. James P. Warburg 1848 Foundation The Winston Foundation Tappan Wilder The Achelis Foundation The Vaughan Williams Michael Dorf STOKOWSKI CIRCLE Charitable Trust Jeanne Donovan Fisher Anonymous The Wilder Family The Frank & Lydia Bergen The Ann & Gordon Getty Foundation Foundation PATRONS Rachel and Shalom Kalnicki Michael and Anne Marie Anonymous (2) The Lanie & Ethel Kishbauch The Atlantic Philanthropies Foundation Mary F. and Sam Miller Director/Employee National Endowment for the Thomas P. Sculco, M.D. and Designated Gift Program Arts (NEA) Cynthia D. Sculco Joel I. and Ann Berson New York City Department The Spektor Family Foundation The David & Sylvia of Cultural Affairs (DCA) Mr. and Mrs. Richard E. Teitelbaum Fund, Inc. New York State Council on Wilson Karen Finkbeiner the Arts (NYSCA) Gary M. Giardina Open Society Foundations BENEFACTORS Peter L. Kennard Dimitri B. and Rania Anonymous Ross Lipman Papadimitriou The Amphion Foundation Dr. Pamela F. Mazur and Thurmond Smithgall Catharine Wilder Guiles Dr. Michael J. Miller Lisa Mueller and Gara Sally McCracken Linda Lopez LaMarche Peter Lars Sandberg and William Lubliner James and Andrea Nelkin Nancy Whitaker Elizabeth Mateo Mark Ptashne and Lucy Martha and David Schwartz Stephen J. Mc Ateer Gordon Alan Stenzler Carolyn McColley Patricia E. Saigo Robert F. Weis Alan B. McDougall Tides Foundation, on the William C. Zifchak Sally and Bruce McMillen recommendation of Clifford S. Miller Kathryn McAuliffe and SUPPORTERS Phyllis and Stanley Mishkin Jay Kriegel Anonymous (9) Judith Monson American Express Gift Martin L. and Lucy Miller SUSTAINERS Matching Program Murray Anonymous (3) Madelyn P. Ashman Kenneth Nassau The Bialkin Family John and Joanne Baer Michael Nasser Foundation Bank of America Karen Olah Thomas and Carolyn P. Cassilly Reina Barcan Roger and Lorelle Phillips Ellen Chesler and Carol Kitzes Baron David R. Pozorski and Anna Matthew J. Mallow Ruth Baron M. Romanski Veronica Frankenstein Mary Ellin Barrett Wayne H. Reagan Irwin and Maya B. Hoffman Dr. Robert Basner Anthony Richter IBM Corporation David C. Beek and Gayle Roland Riopelle and Leslie Patricia Kiley and Edward Faber Christian Kanter Jack Kliger and Amy Griggs Simone Belda Bonita Roche Arthur S. Leonard Yvette and Maurice Bendahan Phyllis and Leonard Rosen Jeanne Malter Adria Benjamin Michael T. Ryan William McCracken and Daniel and Gisela Berkson Henry Saltzman Cynthia Leghorn Stephen M. Brown Sari Scheer and Samuel Kopel Susan and Graham McDonald Marjorie Burns Nina C. and Emil Scheller Marcia H. Moor Moshe Burstein Gerald and Gloria Scorse Joanne and Richard Mrstik Richard C. Celler Georgi Shimanovsky Shirley A. Mueller Roger Chatfield Bruce Smith and Paul Tatsuji Namba Alice and Theodore Cohn Castellano James H. and Louise V. Laura Conwesser Gertrude Steinberg North Paul Ehrlich Hazel C. and Bernard Strauss David E. Schwab II and Ruth Richard Farris Helen Studley Schwartz Schwab Lynda Ferguson Tart-Wald Foundation Janet Zimmerman Segal Martha Ferry Mr. and Mrs. Jon P. Tilley Peter and Eve Sourian Laura Flax Elisabeth F. Turnauer, M.D. Joseph and Jean Sullivan Jeffrey F. Friedman Donald W. Whipple Siri von Reis Christopher H. Gibbs Larry A. Wehr Michael and Ilene Gotts Michael P. A. Winn CONTRIBUTORS Greenwich House, Inc. Kurt Wissbrun Anonymous Nathan Gross Richard J. Wood Gary Arthur John L. Haggerty Leonard and Ellen Zablow Dr. Miriam Roskin Berger Laura Harris Alfred Zoller Jeffrey Caswell Eric S. Holtz Myra and Matthew Isabelle A. Cazeaux Hudson Guild, Inc. Zuckerbraun B. Collom and A. Menninger Sara Hunsicker Nicole M. de Jesús and Brian George H. Hutzler FRIENDS P. Walker Jewish Communal Fund Anonymous (4) Anna and Jonathan Haas José Jiménez Stephen Blum Max and Eliane Hahn Ronald S. Kahn Mona Yuter Brokaw Ashley Horne Robert and Susan Kalish Mrs. A. Peter Brown Erica Kiesewetter Robert and Charlotte Kelly Rufus Browning Adnah G. and Grace W. David Kernahan Joan Brunskill Kostenbauder Irving and Rhoda Kleiman CA Technologies Steve Leventis Caral G. and Robert A. Klein Leonard Chibnick Peter A. Q. Locker Peter Kroll Soriya Chum Alan Mallach Kurt Rausch LLC Concerts MacMusicson Charles McCracken, in Dr. Nancy Leonard and Patricia Contino memory of Jane Taylor Dr. Lawrence Kramer Lois Conway Judy Davis Peter Keil Leslie Salzman Thomas J. De Stefano Kaori Kitao Nick Sayward Susanne Diamond Pete Klosterman Harriet Schon Ruth Dodziuk-Justitz and Frederick R. Koch Dr. and Mrs. Herbert C. Jozef Dodziuk Seymour and Harriet Koenig Schulberg Barton Dominus Mr. and Mrs. Robert LaPorte Sharon Schweidel Robert Durst Patricia Luca The Honorable Michael D. Lee Evans Walter Levi Stallman ExxonMobil Foundation Judd Levy Susan Stempleski Donald W. Fowle José A. Lopez Paul Stumpf Helen Garcia Sarah Luhby Andre Sverdlove Barbara Gates Dr. Karen Manchester Lorne and Avron Taichman June O. Goldberg Richard and Maryanne Margot K. Talenti Goldman, Sachs & Co. Mendelsohn Madeline V. Taylor Robert Gottlieb John Metcalfe Mr. and Mrs. Jack Ullman Mr. and Mrs. Sidney Greenberg Mark G. Miksic Gretchen Viederman John Hall Alex Mitchell James Wagner and Barry Donald Hargreaves Christine Munson Hoggard Andrée Hayum Michael Nassar Renata and Burt Weinstein Robert Herbert Clarence W. Olmstead, Jr. Jon Wetterau Gerald and Linda Herskowitz and Kathleen F. Heenan Victor Wheeler Diana F. Hobson Jane and Charles Prussack Ann and Doug William Christopher Hollinger Bruce Raynor Dagmar and Wayne Yaddow Cyma Horowitz Martin Richman Drs. Russell and Barbara Catherine Roach List current as of April 7, 2015 Holstein John W. Roane Theresa Johnson Dr. and Mrs. Arnold Rosen

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: National Endowment for the Arts The City of New York Jane Chu, Chairman The Honorable Bill De Blasio, Mayor NYC Department of Cultural Affairs in New York State Council on the Arts with partnership with the New York City the support of Governor Andrew Cuomo Council and the New York State Legislature

CHAMPION LIVE MUSIC: SUPPORT THE ASO!

Since 1962 the American Symphony Orchestra has done something incredible: Present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other Orchestra dares to present the same depth of repertoire every single season. But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions. That’s why we must call on you—our audiences, artists, and community partners, who can- not imagine a world without live Schubert, Strauss, Cage, or Ives. Every dollar counts. Please donate at any level to safeguard 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].

ASO AT CARNEGIE HALL

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

Tickets are $29–$54 and can be purchased at CarnegieHall.org, CarnegieCharge at (212) 247-7800, or the box office at 57th St. & 7th Ave. ASO’S 2015–16 SEASON AT CARNEGIE HALL

Friday, October 16, 2015 Mimesis: Musical Representations Works by Gunther Schuller & Henri Dutilleux, a new orchestration by Nico Muhly, and R. Strauss’ Also sprach Zarathustra

Thursday, December 17, 2015 Russia’s Jewish Composers Four works that show the Russian side of Jewish composers, including two U.S. premieres and one New York premiere

Thursday, March 17, 2016 Giant in the Shadows Two works by Max Reger, including Peter Serkin’s performance of the Piano Concerto, and one by Adolf Busch

Tuesday, April 5, 2016 A Mass of Life Frederick Delius’ grand and compelling mass, inspired by the writings of Nietzsche

SUBSCRIBE TO ASO

Subscriptions for the 2015–16 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.