I am most eager to begin my work with the Brooklyn Philharmonic. For an itinerant conductor such a commitment is ideal ; all the more so with an orchestra of such distinguished history and artistic commitment as the BPO. It is an honor to fol­ low in the footsteps of Lukas Foss and Dennis Russell Davies. I look MYyears with the Brooklyn forward to calling Brooklyn home. Philharmonic have been exciting and fulfilling ones for me, and I approach this season with a cer­ Robert Spano tain sadness knowing that I will miss musicians and staff very much. It is therefore especially gratifying that the orchestra was able to attract a fine , innovative and dedicated conductor like Robert Spano to continue our pro­ gram. The BPO's future is in excellent hands.

Dennis Russell Davies

Robert C. Rosenberg Chairman of the Board

Artistic II the audience of the future

The 1994-95 Season When Peter G. Davis, in New York Magazine, The weekend in question, "Paradise Lost," named the "best" and "worst" musical events also included music by Hindemith and of 1995, the Brooklyn Philharmonic was the Mahler- programming variously described in only organization to make both lists. This the press as "peculiar, " "outrageous," "gen­ seemed the ultimate accolade. uinely interesting," and "ingenious. " Beyond a doubt, many at BAM that weekend were As surely as the Brooklyn Academy of Music, exposed to Hindemith and Mahler for the for which it is Orchestra in Residence, BPO first time. Their reactions were vividly shuns business as usual. demonstrative. Swed, in The Wall Street The highlights of the 1994- 95 season Journal, reported seeing a young woman included a weekend with Marianne Faithful! "theatrically gasping for air at intermission" singing Kurt Weill. This was a winning gam­ and "shrieking hysterically to her companion ble based on an artistic hunch. As Mark that the music made her physically sick. " Swed put it in The Wall Street Journal: "Ms. There was also the spectacle of a young man Faithful! is a famed survivor of an era of with shaven head and a motorcycle jacket nihilistic abandon in the rock world of the who saved his loudest bravos and applause sixties that was not so very different from the for Mahler's Fourth . glamorous Weimar decadence of Berlin in Tim Page , surveying the sold-out house, the twenties. " observed: Tim Page wrote in New York Newsday: There is a huge audience of cultivated On paper, the idea of dressing Marianne young Americans in their 30s and 40s Faithful! up in high heels and a slit skirt, who grew up on pop music but fe lt giving her a microphone and a top hat, increasingly dispossessed by the direc­ and having her slink around the stage tion it has taken and (more to the point, declaiming "Surabaya Johnny" and perhaps) by its steadfast refusal to grow "Mack the Knife" sounds like an awful up and speak to their present concerns. marketing stunt cooked up by some What will feed these folks? Old ies? Well , self-consciously hip, overpaid corporate maybe, but oldies get old . New age and chowderhead at a record company. In "lite" classics-those Vivaldi concertos fact, Faithful! was splendid-alternately that drool from the radio- will claim a crooning and croaking, her voice full of share of the market. But the venture­ innocence and experience ... her stage some, I believe , will turn toward jazz manner a mixture of theatrical grandeur and serious, genuinely thoughtful and and refreshing informality. creative classical and contemporary music. Where to begin? A program at the Artistic Collaborations Radio And Recordings "The last years have been a time Brooklyn Academy of Music this Sunday BPO performances are regularly heard on of change and growth for the afternoon summoned what one would Artistic co llaboration is a new concept in the orchestra community. For orchestras like National Public Radio. For Public Radio Brooklyn Philharmonic Orchestra. hope might be representative of the Th is summer offered an opportu­ BPO, whose concerts are more than con­ International (formerly American Public fabled Audience of the Future ...After nity to reflect on the events of ce rts, it makes sense. Collaborative planning Radio) , BPO has created a one-hour program such an afternoon, I suspect some new these yea rs and on the Brooklyn of interdisciplinary orchestra l festivals facili­ exploring the relationship between Emerson, listeners wi ll pack th eir way into the Philharmonic's longstanding tradi­ tates fund-raising by boosting the scope , visi­ Thoreau, and lves. Parts were taped live at classical section at the loca l Tower. tion of outreach and education in BPO's "American Transcendentalists" bility, and geographic reach of planned activ­ the community. At two day-long BPO's oth er subscription concerts for 1994- ities. When touring guest artists or Interplay (November 13, 1994). The pro­ 'retreats' representatives of all 95 li kewise showcased adventure and ensembles are engaged , collaborations cut gram, supported by a grant from the areas of the orchestral commu­ unlikely juxtaposition. "Mirror Images" costs. Collaborations expand the pool of National Endowment for the Humanities, has nity-musicians, staff, board opened the season with three BPO commis­ planning resources . BPO is convinced that been widely distributed , with broadcasts in members, BAM staff-met with sions, including Philip Glass's Symphony this is an id ea whose time has come. New York, Boston , Chicago, and many other outside experts to explore this No. 2. "America n Tran scendenta lists" inter­ cities. commitment. Even Music Director BPO subscription programm ing in 1995-96 polated readi ngs from Em erson and Thoreau Designate Robert Spano joined in BPO selectively records music other orches­ into performances of lves' Concord Sonata will include collaborations with Da Camera of these wide ranging discussions. Houston, Houston Grand Opera, the Chicago tras do not. Its recent recordings include the and Three Places in New England. "Bach to Assisted by a planning grant from Symphony Orchestra, the Pratt Institute, the best-selling Philip Glass Low Symphony, with Bach" surveyed three versions of the D minor the Knight Foundation (the BPO San Antonio Symphony, and the Aspen Dennis Russell Davies conducting. Under Concerto alongside Peter Schickele's excruci­ was one of only eight orchestras in Music Festival. Future collaborations are cur­ Mr. Davies and Michael Barrett, the orches­ atingly hilarious parody, A Bach Portrait. America to receive one), the rently being planned with the Chicago tra has also recently recorded music by John "Th e Ru ssia n Crucible" packed four pre­ retreats were organized to focus Corigliano, Peggy Glanville-Hicks, Lou mieres into a three-hour evening climaxed by Symphony, the Oregon Symphony, and th e on Interplays, outreach, educa­ San Antonio Symphony, among other orches­ Harrison, Terry Riley, and Alec Wilder, among Shostakovich's Eighth Symphony. tion, and ties between these activ­ tras. others . Its upcom ing recordings include Duke ities and the orchestra 's emphasis Can genui ne innovation find a genuine audi­ Ellington's jazz opera Queenie Pie, and the on thematic programming. ence? Over the past two seasons, BPO has first CD devoted to the music of Colin The quality of the Brooklyn achieved a 50 per cent increase in sub­ McPhee (a crucial influence on Glass, Steve Dennis Russell Davies Philharmonic's relationship with scribers, and a 75 per cent increase in ticket Reich, and other contempo- "The Magic of Music," a new grant program Antonio Symphony, and St. Paul Chamber its audience-whether in tradi­ revenues. At the same time, impend ing cut­ ~--- rary Americans). established by the John S. and James L. Orchestra). A substantia l portion of the antic­ tional concert settings, or in lec­ backs in govern- Knight Foundation, seeks to foster "transfor­ ipated Knight BPO grant will go towards sup­ tures, or in free concerts for ment support for mational change" in the American orchestra porting and expa nd ing BPO's Sunday after­ schoolchildren, or at perfor­ the arts demand •one of my indelible memor ies was wait­ ing for my costume to arrive the night community in order to faci litate "a greater noon Interplays, which Knight regards as an mances in the high schools partic­ th at the orchestra of the first performance of The Seven sense of excitement in the concert-going ipating in the ISPIP program-has Deadly Sins. I was backstage, the con­ artistic innovation of national significance . In find new sources of cert had already started, and I was experience and a more vital relationship fact, the entire "Magic of Music" program is been evident throughout the year. income. FREAKING . Everyone-the orchestra, the backstage lot-wanted to see "What is she between artists and audiences ." Fifty conceived as a series of eight pilot projects, The retreats explored and cele­ going to wear?• And I had ordered this American orchestras were invited by Knight each of which wil l be closely watched by the brated this relationship, which gorgeous green suit from Anna Sui. provides the foundation for the (After all, The Seven Deadly Sins is to apply for major, multi-year funding. Of the other seven orchestras . about a girl called Anna, isn't it?) I orchestra's efforts in seasons to mean, I couldn't go out dressed in jeans eight chosen, BPO is by far the smallest (the come. " and a. T-shirt, could I? I was actually others are the Boston Symphony, Los I set to borrow a jacket from one of the trumpet players. I'd actually put it on; Angeles Philharmonic, New World it was nice but rather large. Then, five Symphony [Miami , Fl orida]. Oregon minutes before I went on, my green suit Paul Travis arrived. Symphony, Philadelphia Orchestra, San Vice President, BPO Board of Directors "Really, working with the Brooklyn Philharmonic was one of the highlights of my life. It takes me so long to get to trust people. But I came away from The Knight that weekend trusting the staff, the musicians, the wonderful audience. And Dennis was so extraordinary-he created a feeling of complete safety I'd never Foundation known before from a conductor. I can't wait to work with everyone again.• ! f{\lvM~ j Marianne Faithful! ~~------~--~----~--~--~~~.. Mirror Images American Transcendentalists Bach to Bach Paradise Lost The Russian Crucible October 14 & 15, 1994 November 11-13, 1994 February 3 & 4, 1995 April 7-9, 1995 May 5 & 6, 1995

During the first subscription weekend This program explored the relationship Under Conductor Laureate Lukas Foss, the On April 7 and 8 Principal Conductor Dennis The final concert of the season, again led by Principal Conductor Denn is Ru ssell Davies between the writings of Emerson and orchestra performed an eclectic program Ru ssell Davies led the orchestra in Paul Mr. Davies , featured the violinists Gidon led three works commissioned by BPO. Two Thoreau and music by Charles lves and John sampling Bach transcriptions and adapta­ Hindemith's Kammermusik No. 1, Mahler's Kremer and Tatyana Grindenko in Arvo Part's were world premieres: Symphony No. 2 by Adams. The weekend incorporated readings , tions by Mendelssohn, Schumann, Foss­ Fourth Symphony, and Kurt Weill's The Seven Fratres and Alfred Sch nittke's Concerto Philip Glass and Chen Yi's Piano Concerto. theatrical lighting, and a distinctive presenta­ and by Ba ch himself. One unusual feature of Deadly Sins (with Marianne Faithful! and the Grosso No. 1. The program ended with The third work was John Zorn's For Your tion combining lves songs in live perfor­ the program was three perspectives on Hudson Shad). A pre-concert presentation took Shostakovich 's Symphony No. 8 led by Eyes Only. At a pre-concert recital , Dennis mance with commentary by a psychoanalyst. Ba ch's D minor Clavier Concerto: the con­ place in the Carey Playhouse included perfor­ Dennis Russell Davies. A pre-concert recital Russell Davies performed Glass's Six Etudes On November 11 and 12, John Adams led certo itself, conducted from the keyboard by mances by the Hudson Shad (recreating the by Kremer and Grindenko featured works by for solo piano, an American premiere. On the orchestra in Jves's The Unanswered Lukas Foss; Foss's Non-Improvisation (for I Comedian Harmonists, which performed in Sus! in (American premiere), Schnittke both nights, BPO Executive Director Joseph Question and Three Pla ces in New England five instrumentalists) , which wickedly decon­ Berlin cabarets during the 1920's). (American premiere), Martinov (world pre­ Horowitz moderated post-concert discussions - introduced by Donald Moffatt's readings structs the first movement; and Bach's "Wir miere) , and Prokofiev. On Apri l 9, BPO presented a Sunday Interplay in featuring cond uctor Davies, soloist Margaret of related poetry. Also heard were lesser mussen vie! Trubsal ," which rescores the the BAM Opera House in two parts. Part I was a Leng Tan , and composers Glass and Chen . known Jves works : Country Band March, concerto's second movement for chorus, lOOth birthday ce lebration of Hindemith featur­ Largo, and Ragtime Dance No. 4, as well as organ, and orchestra. These conce rts also ing piano works performed by Dennis Russell a set of lves songs with baritone Kurt featured Peter Schickele (aka P.D.Q. Bach) in Davies and Lukas Foss, including the Sonata for Ollmann. Mr. Adams was represented by his his own Bach Portrait, and the Rutgers Piano Duet. Part II featured a Weimar Cabaret Christian Zeal and Activity, and by his setting University Concert Choir. A pre-concert with Marianne Faithful! , with special guest star of Walt Whitman, Wound Dresse r, with recital featured the Chaconne from Bach's Sandra Bernhard and Paul Trueblood at the James Maddalena as baritone soloist. At the Violin Partita in D minor, with piano accom­ piano. The cabaret featured such Weill/Brecht Sunday Interp lay, pianist Steven Mayer per­ paniments by Schumann and Mendelssohn, collaborations as Alabama Song, Pirate Jenny, form ed movements from lves's Concord featuring BPO concertmaster Benjami n and Surabaya Johnny. Sonata , with readings by Mr. Moffatt from Hudson and BPO pianist Kenneth Bowen . Emerson, Thoreau , and lves, and Mr. Ollmann sang selections from lves' 114 Songs with commentary by Dr. Stuart Feder. A 55-page program booklet elaborated the varied manifestations of American Tran scendental ism. Th e weekend was reco rd ed for broadcast by National Public Radio . The BPO created a specia l one-hour radio feature was created for national distrib­ ution (in 1995) by Public Radio International.

Philip Glass

Gidon Kremer Constantine Kitsopou/os

by music teacher Martin Gigler and other members of the Philippa Schuyler faculty. The BPO also provided special classroom • guests, including performers and speakers ore who also took part in the "From the New World" weekend at BAM, at which a visual BPO and Education presentation accompanying the New World 1rec Beginning in 1993-94, BPO refashioned its Symphony explored Dvorak's inspired main subscription concerts at BAM as the­ response to the American West. With the Shostakovich Eighth Symphony last matic weekend festivals , featuring dancers The Philippa Schuyler course-built upon May, Dennis Russell Davies led his final con­ and actors, scholars and films, stressing Dvorak's espousal of an American music cert as Principal Conductor of the Brooklyn intellectual engagement and audience partic­ inspired by African -American and Native Ph il harmonic, a post he has held with great ipation. The educational ramifications were American song and dance. His vision of a distinction since 1991. The orchestra's obvious and irresistible. One BPO weekend, dynamic and diversified "New World" fur­ Music Director Designate, Robert Spano, is a "From the New World," was transformed nishes an ideal opportunity to stir the imagi­ musician of unusual energy and breadth. He into an educational experiment called nation of inner-city youngsters-to show • made his professional conducting debut only "Soundscape. " This distinctive outreach pro­ them where today's music, both classical four years ago, as a 29-year-old assistant to gram, at the Philippa Schuyler Middle School and popular, comes from; to introduce them the Boston Symphony's Seiji Ozawa. In a (a magnet school for the Gifted and Talented to a range of music as it relates to the fate of review, Boston Globe music critic Richard in Bushwick, Brooklyn), was a course which the American Indian and to the African­ USI Dyer wrote that the orchestra seemed as met three times a week. Its 30 students rep­ American slave. The Soundscape experience at Philippa enthusiastic about Spano as the audience, resented a cross-section of the student popu­ Schuyler dramatically confirmed the peda­ and that the audience gave him a standing lation, including students who were not part gogical potential of the Dvorak story. At the ovation. Dyer has since called Spano "the of the school's performing arts sequence. same time , it taught a lesson to the teachers: most comprehensively gifted American con­ Participants were mainly African-American the students were too passively involved to ductor to emerge since James Levine , seventh graders. The course was taught by reap full benefits. As a result, beginning in Michael Tilson Thomas, and Leonard BPO Executive Director Joseph Horowitz and an 1995/96, and partly supported by the John Slatkin ."

"From the Spano comes to Brooklyn having already led New every major American orchestra except the World " New York Philharmonic. Last June, he made his English debut with the Royal Opera, Covent Garden, in Benjamin Britten's Billy Budd. A gifted pianist, speaker, and educa­ tor, he is eager to take part in the orchestra's Education and Summer concerts, as well as subscription concerts at BAM. And he is planning to move to Brooklyn. S. and James L. Knight Foundation , BPO Dvorak in America ; a historic recording was David Amram-who, as The New York Times Last season's program was entitled undertakes More Than Music, a unique heard of Harry Burleigh singing "Go Down has put it, "was multi-cultural before multi­ "Discovering the World Through Music" and expansion of Soundscape and BPO's long­ Moses" (as he once sang it for Dvorak) ; a culturalism existed."- celebrated his 25th included de Falla's Ritual Fire Dance, standing In-School Performance Instruction member of the school chorus sang "Goin' season as conductor of BPO's Free Bartok's Bear Dance, the "Storm " movement Program (ISPIP) , and so creating what BPO Home" with orchestral accompaniment; and Schooltime and Family Concerts. Some from Beethoven's Pastoral Symphony, and and Knight regard as a national pilot pro­ the student/professional orchestra performed 14,000 elementary age chi ld ren from over Thelonious Monk's Bye-Ya . The usual bar­ gram for arts education. the Largo from Dvorak's New World 200 New York City public schools- from the rage of letters from grateful and excited stu­ Symphony (the source of "Goin' Home") with South Bronx to East Harlem and East New dents elicited a range of opinion about the Through ISPIP, students in Brooklyn and a visual presentation exploring the influence York-attended these free concerts at BAM . music heard . Isaiah , a kindergartner of P.S. Nassau County public secondary schools are on Dvorak of Longfellow's The Song of A Program/Study Guide (including brief com­ 139, wrote, "I enjoyed yesterday's concert brought together with BPO musicians for a Hiawatha . Alice Timothy, Brooklyn Tech 's posers' biographies , backgrou.nd on the very much . In my color paper I did not draw unique learning, mentoring, and performing Assistant Principal for Speech/Music/Modern musical selections , general information about about the storm because it was so fabulous experience . Each student takes part in ten "The Brooklyn Philharmonic's joint Language, called this two-hour evening a concert with the Brooklyn the music, and a glossary of terms) is distrib­ that I went right to sleep. " Elliot, from the coaching sessions with professional musi­ "watershed event" for the school. Technical High School Orchestra uted free of charge to teachers, parents, and same school, called Beethoven's Storm "my cians from BPO, one intensive orchestra and Band has greatly changed ch ild ren. best song" and added: "I imagined that it rehearsal, and a final joint performance by In a sense , the entire MORE THAN MUSIC is our music department. The spec­ was raining on me. " students playing side-by-side with BPO a grand exercise in preparing youngsters to tacular slide show accompanying musicians, conducted by BPO's Education attend BPO concerts-a full-service educa­ the Largo from Dvorak's New Music Director, Constantine Kitsopoulos. tional program that is at the same time a World Symphony, with its eloquent Schooltime and concentrated exercise in audience building. images of Native Americans Fusing the Soundscape concept with ISPIP, whose culture inspired Dvorak, MORE THAN MUSIC will create thematic, helped to stimulate a new aware­ family concerts interdisciplinary curricula , taught in the ness of the importance of music classroom for a period of months preceding in our school. The master classes the culminating ISPIP concert, the repertoire gave our students an opportunity of which will dovetail with classroom instruc­ to work with a professional musi­ tion . As a first, fledgling step toward MORE cian in a classroom setting. This THAN MUSIC, BPO mounted an expanded special attention has helped them ISPIP program at Brooklyn Technical High to grow and set higher standards School in May 1995. At the final concert, six of performance for themselves as students offered an oral presentation on individuals and as a group. The students are still talking about it. Music is starting to bloom at Brooklyn Tech. How many young­ sters do you know who can say, 'I played with the Brooklyn Philharmonic Orchestra'? We can, and w_e're :j:/ri." ~-0~~ Geraldine V. Gayson Concert Orchestra and Concert Band Director, Brooklyn Technical High School

In-School Coordinator Ken Adams

DavidAmram From Gospel to Gershwin Oriental ism Beethoven 's Ninth The Brooklyn Ph ilharmonic explores the A festival exploring the influence of the East Beethoven's monumental Ninth Symphony, bracing musical styles and cultures flavoring on Western composers. Music Director plus Simon Estes in Zemlinsky 's zesty set­ the Harlem Renaissance. Designate Robert Spano makes his New York tings of African-American poetry. debut in a weekend bursting with Oriental November 3 & 4 , 1995 at 8pm May 31 & June 1, 1996 at 8pm music and energy. Gunther Schuller, conductor Dennis Russell Davies , conductor Morgan State University Choir Febru ary 16 & 17, 1996 at 8pm Theresa Hamm-Smith , soprano Theresa Hamm-Smith, soprano Robert Spano , conductor Mara Partamian , mezzo-soprano Kevin Deas, baritone East Coast Klenengan Ensemble Thomas Young, tenor Scott Joplin Treemonisha Overture Traditional Javanese court game/an Simon Estes, bass-baritone James P. Johnson Yamekraw music New York Choral Society William Grant Still Symphony No. 3 Maurice Ravel Va!lee des Cloches Johann Sebastian Bach/Max Reger Aria The Empress of the Pagodas from Selected spirituals and gospel songs Alexander von Zemlinsky Africa Sings The Brooklyn Phi lharmonic's 1994/95 sea­ But perhaps the most unusual program this Mother Goose George Gershwin Porgy and Bess Suite (for baritone and orchestra, American son of Free Concerts in the Parks was high­ season paired the Brooklyn Philharmonic Pre-concert presentation at 7pm with Judith Colin McPhee Symphony No. 2 premiere) lighted by a Latin American concert featuring Brass Quintet, directed by Andrew Seligson , Anne Still. Nikolai Rimsky-Korsakov Scheherazade Ludwig van Beethoven Symphony No. 9 that great jazz artist, Paqu ito D'Rivera, in with soprano Amy Goldstein and accordionist November 5, 1995 at 2pm . Pre-concert lecture/recital at 7pm with Pre-concert recital at 7pm featuring classical and jazz clarinet repertoire, plus William Schimmel in what turned out to be a Edward Said and Robert Spano. Sunday Interplay: A 16-piece jazz ensemble Zemlinsky songs. jazz saxophone works , at the Prospect Park tantalizing mix of favorite arias from opera led by Gunther Schuller in Mood Indigo and February 18, 1996 at 2pm Add itional Performa nce Bandshell. Carlos Franzetti conducted and and operetta , fantasias for the accordion , and other Duke Ellington classics. Pianist Steven Sunday Interplay: Robert Spano, Lukas Foss , June 2, 1996 at 3pm made the symphonic arrangements of the brass works from Bach to Bernstein . All Mayer recreates the improvisations of Art and BPO musicians in music by Debussy, jazz pieces performed by the BPO together artists joined forces for a pop finale. Tatum . Ravel , and Steve Reich , plus a Balinese Avery Fisher Hall with Paquito and his Jazz Quartet. Paquito's gamelan orchestra. Dennis Russell Davies, conductor wife, soprano Brenda Feliciano, made a sur­ Bela Bart6k/Kronos Quartet New York Choral Society prise appearance to the delight of one and all Dennis Russell Davies leads Bartok's suite The Plow That Broke the Plains Robert Schumann Mass in C Minor (NY premiere) in the huge audience. from The Miraculous Mandarin. Th e cele­ Virgil Thomson's famous score to Pare brated Kronos Quartet performs new works Lorentz's The Plow that Broke the Plains Ludwig van Beethoven Symphony No. 9 Another highlight was the Opera and Musical throbbing with folk rhythms and exotic per­ (1936), performed live with the film that Comedy program conducted by newcomer Paquito D'Rivera cussion . searingly recounts the Depression-era dust­ Charles Prince, in his debut with the November 17 & 18, 1995 at 8pm bowl. Brooklyn Philharmonic, at Starrett at Spring March 29 & 30, 1996 at 8pm Creek. Featured singers were soprano Carol Dennis Russell Davies , conductor David Loebel, conductor Wilson and tenor Wil liam Joyner. This pro­ Kronos Quartet Dmitri Yanov-Yanovsky Conjunctions for Jack Larson , narrator gram was to be repeated the next day at quartet and orchestra (premiere) Virgil Thomson The Plow that Broke the South Street Seaport but had to be called off Lou Harrison New First Suite (American Plains (film with live music) because of the 104° heatl premiere) Fugue on Yankee Doodle Dandy Zhou Long Alternatives for string quar­ Pictures for Orchestra tet and orchestra (premiere) Claude Debussy La Mer Bela Bartok The Miraculous Mandarin Pre-concert lecture-recital at 7pm with Suite Anthony Tommasini and H. Wiley Hitch cock.

Pre-concert presentation at 7pm with Zhou March 31 , 1995 at 2pm Long and Lou Harrison. Sunday Interplay: Pianists Ned Rorem and Anthony Tommasini join BPO chamber musi­ cians in music by Thomson and Satie. Plus excerpts from the film classic, Louisiana Story. Carlos Franzetti 1995-96 Subscription

Charles Prince From its earl iest days, the Brooklyn Brooklyn Philharmonic Chemical Bank Sustainers Sam & Stephanie Lebowitz Philharmonic Orchestra has relied on th e Orchestra Donors Aaron Diamond Foundation $250 or more Margaret Maxwell generosity of many corporate , foundation , The Equitable Foundation Kathryn Ann McDonald Leadership Mr. & Mrs. Robert Arnow government, and individual supporters to Finkelstein , Borah , Schwartz, Altschuler & Mr. & Mrs. L.S. McMorris $25,000 or more Seymour & Lill ian Besunder brid ge th e gap between ticket sal es and th e Goldstein, PC. Robert C. Newman Ernest R. Bitzer fund s necessary to realize our ambitious pro­ Booth Ferris Foundation Richard Kane Mr. & Mrs. Carl A. Pa lumbo John D. Brown grams . Mary Flagler Cary Charitable Trust The J. M. Kaplan Fund Robert Pesner Mr. James Collins Robert Sterling Clark Foundation Georgia J. Malone Mr. George P. Schmidt Th e Borough of Brooklyn, New York City Kevin F. Cronebach Rita J. & Stanley H. Kaplan Foundation Gloria Messinger Dr. Stephen D. Sholder Department of Cultural Affa irs, New York Feld Kaminetsky & Cohen , PC. John S. & James L. Knight Foundation J.P. Morgan Charitable Trust Nicholas Stathis State Counci l on the Arts, and the Federal Mr. & Mrs. Darko V. Fran k Andrew W. Mellon Foundation New York City Yours to Discover Tourism Dr. Gertrude Stern government have supported BPO for many The Reverend Lou is Hallgring National Endowment for the Arts Grant Program Dr. S1,1san Stewart years. Thi s past season , for the second time , Lukas Foss and Stanley Kaplan Mr. & Mrs. Gerard Hekker National Endowment for the Humanities Josephine Bay Paul & C. 'Michael Paul Jana Strauss & David Kleiser we added th e National Endowment for the Dr. & Mrs. Jacob Horowitz National Heritage Trust Foundation Donors Warren A. Sweeney Humanities to our list of public funders . The F. J. Kazeroid Realty Group New York City Department of Cu ltura l Affairs John M. Powers , Jr. $1 ,000 or more Mr. Staffan Wahlander NEH generously supported our interdiscipli­ Helena Rubinstein Foundation Alice Kupper New York Community Trust A&S Dr. & Mrs. Irwin Weiner nary weekends "American Transcendentalists" Marjorie Martin New York State Council on the Arts Starr Foundation Su san Whiting & Bruce Van Richard L. Benson Daniel McCrary and , in the 1995-96 season , "From Gospel Paul Travis Dusen Edward John Noble Foundation Citibank To Gershwin ." Dr. Tatsuji Namba Philip Morris Companies Inc. Grantors Victoria Williams Gerard Conn & Carol Yorke David & Sheila Newman Republic National Bank of New $2 ,500 or more Dr. & Mrs. Edward Wolf • We were also named one of eight orchestras, Cowles Charitable Trust Pioneer Savings & Loan Bank York/Republic Bank For Savings nation-wide, to receive major, multi-year Goldman Sachs Ms. Elaine F. Rubenstein The Brooklyn Philharmonic also Robert C. Rosenberg The Barker Welfare Foundation funding by the Knight Foundation , in support Mr. & Mrs. Richard Hulbert W. Dr. & Mrs. Martin J. Salwen wishes to thank donors making Starrett at Spring Creek, managed by Mary Duke Biddle Foundation of "systemic changes" in the ways American Mr. & Mrs. Joseph F. Kelly gifts of less than $150, and Botwinick-Wolfensohn Foundation Jeanette Sanger Grenadier Realty Corp . especially the Adopt-a-teen orchestra function , and the purposes they I. Stanley Kriegel Dr. Sondra E. Vitals John Tamberlane The Chase Manhattan Bank, N.A. sponsors of the In-School perfor­ serve. The Knight Foundation regards our Harry A. Olson, Jr. Virgil Thomson Foundation The Dime Savings Bank of New York Mr. & Mrs. Joel Wechsler mance and Instruction Program . weekend festivals and expanded education Mrs. Marie D. Powers European American Bank Zeitz Foundation programs as national models for innovation. Pacesetters In memory of Bernard L. The Fund for the Borough of Brooklyn $10,000 or more Rosenberg Contributors Joyce Mertz-Gilmore Foundation BPO's Board of Directors is instrumental in Arnold L. Sabin $150 or more Brooklyn Borough President, Howard Golden Goldie-Anna Charitable Trust maintaining many longstanding relationships Arnold & Marie Schwartz Fund Lucy & Murray Adams and helping to create new connections to Brooklyn Union The Heckscher Foundation for Children William & Marjorie Ade corporate and private philanthropic organiza­ Kevin Burke Jerry Jacobs Benefactors lgou & Nedda Allbray tions . We are pleased to welcome , as our Con Edison Merrill Lynch $500 or more Aaron Copland Fund for Music Atlantic Bank newest board members, Russ Campbell , Taz Pfizer Inc. Bangser Klein Rocca & Blum Eleanor Naylor Dana Charitable Trust Lynda M. Anderson Smith , and Gloria Messinger. Billy Rose Foundation John Barch Construction Forest City Ratner Companies Janet Scherer Bensonhurst Lion's Club Alan & Leslie Beller The heart of BPO's successful fundraising is The Fan Fox and Leslie R. Samuels The Traveler's Fund Constance Burke Ernie & Rita Bogen people-including the many individuals who Foundation , Inc. Richard Corry Laura Walker & Bert Wells Constance Culver Foundation BPO Artistic Director Maurice Edwards with contribute through BPO's members program , Craig G. Matthews Richard Crisona artist Joan Morris Champions Domino Sugar Foundation and the "Adopt-a-Teen " drive. Music Performance Trust Funds Dwight & Ann Ellis $1,500 or more Greenpoint Savings Bank National Westminster Bank USA Mrs. Vincent Finamore Mrs. Walter Hinrichsen NYNEX Alice M. Ditson Fund Mrs. Wanatha Garner Mr. & Mrs. Jessie Kelly Julie & Bruce Ratner Ann & Gordon Getty Foundation Mendel Gurfein Mrs. August Ludtmann The Scherman Foundation , Inc. Merrill G. & Emita E. Hastings Foundation Hamilton Federal Savings Bank Peerless Importers Emma A. Sheafer Charitable Trust Victor Herbert Foundation Louis J. Hector Mr. & Mrs. Frederick P. Rose Michael Tuch Foundation IBM Corporation Mr. & Mrs. Michael Janove Mr. Jonathan F. P Rose Independence Savings Bank Mr. Robert B. Jones Patrons If you would like informa­ Nicholas M. Infantino Salomon Brothers Inc. Frank Robert Kraft tion on becoming a contrib­ $5,000 or more Securities Industry Automation Mr. & Mrs. Harvey Kaylie Mr. & Mrs. Maurice Kramer utor to BPO please contact Corporation (SIAC) Amerada Hess Corporation Markku T. Kurkinen the Development Office at BPO Board member and Sound Bite host John M. Stadtmauer, Bailkin, Levine & Powers, Jr. , featured artists William Balcom and Joan The Louis Armstrong Educational 718. 636. 4137 Masyr Richard M. Lagani Morris, and BPO Executive Director Joseph Horowitz after Foundation , Inc. the Balcom & Morris SoundBite (December 1994). Dr. Arthur J. Vidich Bank Leumi

14 15 Chairman of the Board Music Director Designate (/) Violin I Flute Robert C. Rosenberg : I Robert Spano ~ Benjamin Hudson, Katherine Fink, Principal ro Chairman Emeritus Conductor Laureate Q) Concertmaster David Wechsler ...f..---J Stanley H. Kaplan Lukas Foss Yuval Waldman, Diva Goodfriend-Koven Assistant Concertmaster Honorary Chairman Executive Producer Oboe (f) I. Stanley Kriegel ...0 Robert Chausow Harvey Lichtenstein Henry Schuman, Principal Secretary Diane Bruce Executive Director Melanie Feld Georgia J. Malone E Carlos Villa Clarinet u Joseph Horowitz Treasurer Rebekah Johnson Artistic Director Q) Steven Hartman , Principal c Kevin Burke Lenard Rivlin Maurice Edwards Laura Flax Executive Vice Presidents Claudia Hafer Dennis Smylie ro Craig G. Matthews Acting Director of Development ~ Sander Strenger Bassoon John Tamberlane Lisa B. Segal (/) Deborah Wong Frank Morelli , Principa l Vice Presidents Operations/Education Director Joanna Jenner ~ ro Harry Searing Jerry Jacobs Paul Fricken ~ Ann Labin Jeff Marchand Paul Travis Special Projects Director/ 0 ...f..---J Violin II French Horn Laura Walker Education Specialist ...f..---J (/) Darryl Kubian , Principal Paul Ingraham, Principal Directors Richard Lee u Q) Dale Stuckenbruck Scott Temple Russell A. Campbell Development Assistant Q) Katherine Hannauer Frank Donaruma H. Wiley Hitchcock Allison M. Crouch Eugenie Seid Kroop ~ ...c Richard Hagen Office Manager Harvey Lichtenstein Shin Won Kim Trumpet ·- Charles Merideth Robert L. Patterson Ill u Fritz Krakowski ~ Wilmer Wise, Principal Staff Assistant 0 Gloria Messinger Ming Yeh Ph ilip Ruecktenwa ld John M. Powers , Jr. Marc Cerri 0 Sebu Sirinian Trombone Intern '-I- Ju lie Ratner Viola Jonathan Taylor, Principal Benjamin Jacobi 0 Janet L. Scherer u Janet Hill , Principal Hugh Eddy Taz Smith Orchestra Personnel Manager Sarah Adams Lawrence Benz Honorary Chairpersons Dale Stuckenbruck ·- Ronald Carbone Tuba u Hon . Elizabeth Holtzman c Nancy Uscher Librarian ~ Andrew Seligson. Principal Hon. Howard Golden Pat McCarty 0 Veronica Salas Timpani ro Rabbi Eugene J. Sack Director of Finance Karen Ritscher Richard Fitz, Principal 0 Honorary Directors Arthur J. Shaw Monica Gerard Percussion Daniel Eisenberg E Cello Vice President for Marketing ~ James Preiss, Principa l C() Joseph Scorcia & Promotion Chris Finckel , Principa l David Frost Advisory Board Tambra Lee Dillon ro David Calhoun Piano Jack Litwack, Chairman Public Relations ...c Lanny Paykin Kenneth Bowen , Principal Lillian Besunder Agnes Bruneau & Associates Michael Rudiakov Harp Henry J. Foner Volunteer Council ·- Joshua Gordon Karen Lindquist, Principal Nicholas M. Infantino Jules Hirsh, President ...c Sally Cline Arnold L. Sabin Laura Keith, Vice President Sarah Fiene Hon. Edolphus Town s Kathy Cole, Vice President o._ Peter Rosenfeld Bill Barone Bass Julianne Hirsh Joseph Bongiorno, Principal Araceli Lippman c Marji Danilow Rich Puglia ~ Jaime Austria Alan Sidman Louis Bruno Janet Conway Barbour Marcia Stecker .Y. Design: Levinson Cre~tive, Herb Weller Jules Hirsh Brooklyn 0 Photography: Petra G>ldmann, Deborah Finegold, Ja:k Mitchell, 0 Elena Olivo ~ C() 16