02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 1

Sunday Afternoon, February 10, 2013, at 2:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 1:00

presents Truth or Truffles LEON BOTSTEIN, Conductor

KARL AMADEUS Gesangsszene (“Sodom and Gomorrah”) HARTMANN (U.S. Premiere) LESTER LYNCH, Baritone

Intermission

RICHARD STRAUSS Schlagobers, Op. 70 (“Whipped Cream”)

This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 2

THE Program

KARL AMADEUS HARTMANN Gesangsszene Born August 2, 1905, in Munich Died December 5, 1963, in Munich Composed in 1962–63 Premiered on November 12, 1964, in Frankfurt, by the orchestra of the Hessischer Rundfunk under Dean Dixon with soloist Dietrich Fischer-Dieskau, for whom it was written Performance Time: Approximately 27 minutes

Instruments: 3 flutes, 2 piccolos, alto flute, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 3 French horns, 3 trumpets, piccolo trumpet, 3 trombones, tuba, timpani, percussion (triangle, gong, chimes, cymbals, tamtam, tambourine, tomtoms, timbales, field drum, snare drum, bass drum, glockenspiel, xylophone, vibraphone, marimba), harp, celesta, piano, strings, and solo baritone

RICHARD STRAUSS Schlagobers (“Whipped Cream”) Born June 11, 1864, in Munich Died September 8, 1949, in Garmisch-Partenkirchen, Germany Composed in 1921–22 Premiered on May 9, 1924, in Vienna, by the Vienna State Opera Performance Time: Approximately 90 minutes

Instruments: 4 flutes, piccolo, 2 oboes, English horn, 4 clarinets, bass clarinet, 4 bassoons, contrabassoon, 4 French horns, 7 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, xylophone, triangle, cymbals, tambourine, snare drum, bass drum, castanets, maracas), 2 harps, celesta, organ, and strings 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 3

Notes ON THE PROGRAM

Musical Expression and the Challenge not be expressed in language? Or was of 20th Century History music inherently tied to linguistic mean- by Leon Botstein ing, suggesting what ultimately became a widespread assumption of a parallelism 19th-century Europe witnessed un- between music and language? Enthusiasm precedented social and economic trans- for dynamics between music and mean- formations. Among the most lasting ing was timely, for as the public for music (albeit erratic) of these was the expan- increased so too did the belief that music sion of literacy, most noticeable in was especially potent psychologically as a Europe’s rapidly growing cities. With means of expression. Music became the spread of literacy came the stan- invested with a power to convey—in its dardization of orthography, inexpensive own way—emotions, ideas, and senti- books, lending libraries, public libraries, ments we normally associate with lan- and the emergence of journalism—daily guage, but seem unnaturally trapped by newspapers, weekly magazines, and reg- speech and reason. ular periodicals. A myriad of local and regional public spheres took shape, as did It was this premium on music’s expres- a world of public opinion. These in turn siveness, and on the intense intermingling spawned movements and ideologies, not of music with language against which only concerning politics and social ques- many early 20th-century modernist com- tions, but matters of taste and value— posers rebelled. Romanticism in music everything from fashion to religion. had degenerated into a species of vulgar realism. In an effort to reclaim the Notably in German-speaking Europe, autonomy of music and rescue it from literacy in music developed rapidly in the status of sonic decoration, com- the wake of the expansion of reading posers turned away from the inherited and writing. That this historical devel- conventions of 19th century musical opment coincided with flowering of logic. Modernism rejected the idea that musical romanticism was perhaps more music was expressive of something than a coincidence. By the 1830s the other than itself, or that music could musical culture that was taking hold was give voice to love, desire, regret, hero- increasingly bound up with language. A ism, loss, solitude, and community. shared musical rhetoric emerged that came to frame conversations and con- What propelled this modernist rebellion victions. It was communicated through most of all was the recognition, after the the medium of the song, opera, and novel carnage of World War I, that the clichés forms of instrumental music—from short of musical romanticism had turned a works for the solo piano expressive of noble art form into a handmaiden for a sensibilities to larger scale instrumental culture that much like the language of works that assumed an illustrative story cheap journalism had succeeded in ren- telling function. dering inhumanity, cruelty, antipathy, and violence aesthetically pleasing. Inevitably music became the object of philosophic speculation. Was music This concert takes a candid and contro- fundamentally different from language versial look at the musical culture which and meaningful in a manner that could developed during the 19th century and 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 4

was bequeathed to the 20th century. It and charm fell flat. Nothing could have sets in opposition to one another two shed a worse light on Strauss the man master composers from different gener- and the composer. ations who died mid-century. Richard Strauss is arguably the most facile and But is this judgment fair? Perhaps the versatile master of musical traditions virtuosity of musical realism and narra- and musical thinking. There was noth- tion that Strauss reveals in this score, ing in musical composition he could not the sensuality of the orchestration and do. At the same time, he was accused by the unabashed rehearsal of clichés and his contemporaries (rivals and admirers tricks tell a different story, one of fan- alike) of an excess of ironic detachment, tasy, enthusiasm, delight, magical unre- a corrosive cynicism born out of his ality, and the dream of that brief escape immense facility. Nothing seemed to mat- into another sense of time and space ter to him. Everything was done for effect that the darkest of times call into being. and too often his elegantly crafted and Perhaps Strauss marshaled all the inher- astonishingly appealing music descended ited conventions of musical communica- into kitsch, an empty sentiment entirely tion to recapture, briefly, the innocent, different from the anguished profundity fleeting, childlike beauty of the present of his contemporary, Gustav Mahler. moment in a manner unique to music. In this spirit we revisit this score with- In Strauss’ long career, only two out apology and with admiration for its moments have escaped critical derision: craftsmanship and possibly its outra- the period before 1911, during which geously cloaked and unrestrained ideal- the famous tone poems and Salome and ism. It deserves a new look. Perhaps Elektra were composed, and the so- Schlagobers can take its place alongside called Indian Summer, Strauss’ last The Nutcracker and offer some wel- years during the 1940s. Strauss’ music come relief from that overplayed score from the 1920s has long been regarded during Christmas time with a delightful as tired, empty, and forgettable. Indeed, ballet that can enchant children and given Strauss’ collaboration with the distract their parents, however briefly. Nazi regime, his music from the 1920s and 1930s came to represent the most The other work on today’s program corrupt and embarrassing (albeit skilled) dates from the post-World War II era. example of music as an explicitly The ASO has championed the music of expressive medium that manipulated Karl Amadeus Hartmann over the past rather than elevated its audience. 20 years. I regard him as one of the great masters of the 20th century, whose To challenge this conventional view, this stature and achievement rival that of program features Strauss’ perhaps least- Alban Berg and Dmitri Shostakovich. respected score, a piece that was excori- Hartmann inherited an ambition regard- ated at its premiere and has remained ing the power of musical expression that dismissed as a minor if not tasteless and sought to link ethics with art. He uninspired venture by even the com- remained, however, a conservative mod- poser’s most ardent defenders. The ernist. Influenced by Mahler, Schoenberg, work, Schlagobers, is a ballet score and Berg, Hartmann understood his modeled after Tchaikovsky’s The Nut- vocation as a composer as one of con- cracker. It was written in the midst of science and opposition to evil. He was the worst economic circumstances in committed to the redemption of musical Central Europe in the 1920s. Strauss’ expression and communication from attempt at lightness, humor, delicacy, the vulgar, the commonplace, and the 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 5

complicit. His music and his life were conductor Hermann Scherchen, whom cut from one fabric—a fabric of Nazi cultural bureaucrats held in grave impregnable integrity, humility, and suspicion, conducted his overtly political courage in the face of radical evil. If symphonic poem Miserae. Even more Strauss was the master of ironic detach- daring was the dedication of this score, ment and profound philosophic pes- which reads “To My Friends…Dachau simism, Hartmann was the master of 1933/34.” Had the officials of the truth telling and unabashed intensity in Reichsmusikkammer discovered this music marked by the tireless struggle inscription, it would have spelled a vir- against despair. The work heard today tual death warrant for the composer. As was Hartmann’s last and is an unfor- it was, Hartmann’s wife has testified gettable masterpiece in the tradition of that the German authorities disapproved Mahler and Berg. of his attendance at the festival, which was unauthorized. During the war Hart- The encounter at this concert is there- mann and his wife, Elisabeth, listened to fore with two seemingly incompatible the BBC, nervous lest their little boy, consequences of more than a century of Richard, might innocently divulge his European musical culture. Drawing on parent’s resistance to the Reich. the very same traditions of musical form, shared conventions of musical During the Nazi regime, Hartmann development and sonority and using paid a steep professional price, as he the same instrument—the modern refused to participate in musical activi- orchestra—they both in separate ways ties in Germany and Austria, so that his seek to celebrate the human imagina- music was neither published nor per- tion through the inherent unreality of formed. (Indeed, the performance of the musical experience as an antidote to Miserae was possible only because it was the everyday experience of suffering, performed in Prague.) Collaborationist fear, and cruelty. In seemingly disparate colleagues such as Carl Orff, Werner ways they both sought to inspire us to Egk, and Anton Webern shunned him. realize that if human life matters and time is precious, then music matters too. After the war Hartmann was one of the very few German musicians of stature Hartmann’s Gesangsszene to have remained uncontaminated by by Byron Adams collusion with the Nazis, and was therefore tapped by American authori- Karl Amadeus Hartmann is a shining ties as the logical person to reconstruct example of the composer as a princi- German musical culture in Bavaria. In pled dissident. As Michael H. Kater has the process of organizing concerts in observed, “we must continue to accept the shattered city of Munich, Hart- the hitherto reported version that Hart- mann made a point of challenging any mann was opposed to the Hitler regime lingering revenants of Nazi musical ideol- and, together with his family, made it ogy by programming the music of Jewish through the Third Reich without hav- composers such as Milhaud, Toch, and ing to sell his soul.” Indeed, Hartmann Copland, whose music had been banned evidenced considerable courage during by the Nazis. To this end he founded the years of his inner resistance to Musica Viva, an organization devoted to National Socialism. In 1935, for example, programming an eclectic and enlightened Hartmann attended the festival of the selection of contemporary music. Not for International Society for Contemporary Hartmann the aloof stance of the postwar Music in Prague, at which the Socialist serial composers of Darmstadt. 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 6

A moving example of Hartmann’s even of the ballet or a more thorough- determination to use music to comment going degradation of theater to the level broadly on politics and culture is his of a preschool than this Schlagobers.” final score, the Gesangsszene (“Song Later in the same essay Kraus exclaims Scene”) for baritone and orchestra. ironically, “It is just a ‘merry Viennese Begun in 1961 at the height of the Cold ballet’…but even if one combines the War when nuclear annihilation was a horrors of the Sansculottes with those real and present danger, this score was of the Bolsheviks, the resulting terror left unfinished at the composer’s death cannot possibly come close to even the two years later; it was premiered on mere plot summary of Schlagobers.” September 12, 1964 by the great bari- tone Dietrich Fischer-Dieskau, for Even Michael Kennedy, surely Strauss’ whom the work was written. For his most indulgent biographer, has to text Hartmann chose a German transla- admit that Strauss “inaugurated his tion of a literally apocalyptic passage 60th birthday celebrations by conduct- from Sodome et Gomorrha, the last ing the first performance of Schlagobers play by the French author Jean Girau- in Vienna on 9 May [1924]…It was a doux (1882–1944). Produced during ghastly flop.” Kennedy speculates on the German occupation of France in this failure by noting that the ballet, “a 1943, Giraudoux’s Sodome et Gomorrha gay and witty confection set in confec- takes as its subject the impossibility of tioner’s shop, with characters like love in the midst of an endemic societal Princess Pralinée, Prince Cocoa, and corruption that leads inexorably to Mlle Marianne Chartreuse” was “not destruction. From the achingly vulnerable the dish of whipped cream to set before opening flute solo, Hartmann traces the starving, bankrupt Vienna.” While agony of a text that speaks of “lice on most of the sharp-penned Viennese the head of bald millionaires” and the music critics loathed Schlagobers with a fiery destruction of the proud and tech- deadly loathing, the score had a nologically advanced Cities of the defender in the French novelist Romain Plain: “Es ist ein Ende der Welt!” As the Rolland, author of that now indi- score nears its conclusion, the music gestible roman fleuve, Jean-Christophe, suddenly ceases at the moment when and darkly suspected the Viennese critics death snatched the pen from Hart- of ulterior motives in their dismissal of mann’s hand, so that the last two lines Schlagobers: “Strauss has caused too of the text are spoken unaccompanied: many wounds to self-esteem, even the most devastating and true ending among his adherents. They are taking possible for this harrowing score. their revenge.” (One can only imagine the derisive laughter with which Kraus —© 2012 Byron Adams would have greeted this declaration.) Paying a consolatory call on the com- Strauss’ Schlagobers poser, Rolland recorded Strauss’ reac- by Byron Adams tion: “Haven’t I the right, after all, to write what music I please? I cannot To say that Karl Kraus, the radical bear the tragedy of the present time. I Viennese essayist and founder of the want to create joy. I need it.” satirical journal Die Fackel, disliked Richard Strauss’ ballet Schlagobers, Strauss’ declaration is the key to the Op. 70 (“Whipped Cream”) would be critic’s detestation of Schlagobers, for its an understatement: “There has not patent escapism, even frivolity, offended been a nastier desolation of the spirit their sense of propriety. Written in the 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 7

shadow of post-war humiliation during a circle—not to mention the implications period of runaway inflation and a dark- of his own actions—that he included a ening political landscape, Schlagobers scene in his ballet during which prole- must have seemed heartless at best. tariat cakes waved red banners to the Ironically, as Strauss himself had lost all accompaniment of a revolutionary of his savings after the First World War, polka conducted by Russian matzos. Schlagobers may have resulted from his With a sumptuous production and desire to write a hit that would generate elaborate choreography by Heinrich a much-needed infusion of cash into his Kröller, Schlagobers struck exactly the bank account. The admittedly slight sce- wrong note at its première and the nario, written by Strauss himself and critical opprobrium that initially curiously reminiscent of the plot of greeted the score has echoed down to Tchaikovsky’s The Nutcracker, concerns the present day. Although the skillful a party in which a group of children and brilliant music has its undoubted gorge themselves on sugary delicacies in charms and there is at least one superb a Viennese confectionary. At one point a waltz, Schlagobers is a disturbing arti- boy who has greedily stuffed himself fact of its creator’s growing indiffer- with sweets swoons and has a vision of ence to the world around him, an three seductive liquors whose disruptive indifference that boded ill for Strauss’ behavior is pacified ultimately by good future reputation. German beer. (Strauss’ mother was a member of the famous Pschorr family of —© 2012 Byron Adams brewers and he grew up in a house on the grounds of their famed Munich brewery.) Even in the midst of the financial and Dr. Adams is professor of musicology political crises that swirled around him at the University of California, River- in the 1920s, Strauss remained so disen- side, and his music has been performed gaged from concerns outside his family across Europe and the U.S. 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 8

Libretto Gesangsszene, to words from Sodom and Gomorrah by Jean Giraudoux

Das ist der schönste Spielbeginn, This is the greatest opening of a play den die Zuschauer je erlebt haben! ever seen by audiences! Der Vorhang hebt sich, The curtain rises, und vor ihren Augen steht and before your very eyes, der Oberste der Erzengel. stands the head of all the archangels! Sie sollen ihr Glück But enjoy your good fortune rasch auskosten; while you can; es wird nicht lange währen. it won’t last long. Und das Schauspiel, das dann folgt, For the play that now follows wird vielleicht grauenvoll sein! may prove to be quite horrifying!

Man sagt, daß Sodom und Gomorrha It is said that Sodom and Gomorrah, mitsamt ihrer Herrschaft with their dominance bis nach Indien hin reaching to India, und die Macht ihres Handels and the hegemony of their trade und ihres Geistes über die Welt and their intellect over the world zunichte werden sollen! would come to nothing! Das ist nicht das Schlimmste! That’s not the worst thing. Und darum geht es auch gar nicht! And that’s not the point! Andere Reiche sind zunichte geworden. Other empires have come to nothing. Und ebenso unverhofft! And just as unexpectedly! Wir alle haben Reiche stürzen sehen, We’ve all seen empires crumble, und gerade die festesten und gerade and it’s always the most solid and sure diejenigen, ones, die am raschesten wuchsen the ones that grew most rapidly und deren Dauer am sichersten and whose continuation seemed most verbürgt schien. secure.

Reiche, die eine Zierde dieser Erde Empires, that were an adornment to the Earth, und ihrer Geschöpfe waren! and to its creatures!

Auf dem Höhepunkt der Erfindungskraft At the height of their ingenuity und des Talents and their talents, standen sie mitten im Rausche they were drunk with des Lebensgenusses the pleasures of life und der Welteroberung. and world conquest.

Ihr Heer war kraftvoll und jung, Their army was strong and young, die Vorratsspeicher waren gefüllt; their stores and reserves were plenteous; in den Theatern drängten sich die theaters were thronged with visitors; Besucher; in den Färbereien entdeckte man das they discovered the secret of the dye, Geheimnis, das reine Purpurrot und they created the pure purple-red and 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 9

das makelloseste Weiß herzustellen; the most immaculate white; in den Bergwerken fand man Diamanten in mines they discovered diamond, und in den Zellen Atome. and in cells, atoms.

Man zauberte Symphonien aus der Luft They conjured symphonies from the air, und Gesundheit aus dem Meere. and good health from the sea. Tausend Systeme wurden ausgeklügelt, They puzzled out a thousand systems, um die Fußgänger to guard the pedestrian vor den Gefahren der Straße zu schützen; from the dangers of the street; man hatte Mittel gegen die Kälte, to find a cure for the common cold, gegen die Nacht und gegen die to foil the night and deliver from ugliness; Häßlichkeit; Bündnisse sicherten die Menschen alliances protected the people from war; gegen den Krieg; alle Gifte und Drogen waren aufgeboten, all poisons and drugs were put to use um die Krankheiten der Reben to prevent the diseases of the vine und schädliche Insekten zu bekämpfen. and combat harmful insects. Hagelschlag wurde durch Hailstorms were predicted by scientific wissenschaftliche Gesetze calculation im voraus berechnet und seine and their consequences negated. Wirkung aufgehoben.

Und da, mit einem Male, And then, all at once, erhebt sich binnen ein paar Stunden an evil rears itself in just a few hours, ein Übel und befällt den gesündesten and attacks the healthiest and und glücklichsten aller Körper! most fortunate of all bodies!

Das Übel der großen Reiche! The disease of great empires! Das tödliche Übel! The fatal illness!

Und nun ist das Gold da und häuft And now the gold is there and piling sich in den Banken, up in the banks, aber selbst Heller und Sou verlieren but their currency’s value is depreciating. ihren Wert. Ochsen sind da, Kühe und Schafe; There are oxen and cows and sheep; aber die Menschen leiden Hunger. but the people suffer from hunger. Alles bricht nun plötzlich über das Suddenly everything goes wrong with Reich herein; the empire; von der Raupe bis zum Erbfeind From the caterpillar to the deadliest enemy und den Pfandbriefen Gottes. And the mortgages owed to God. Sogar da, wo man es für alle Zeiten Even there, where it was believed verbannt glaubte, banished forever, erhebt das Übel sein Haupt: the evil raises its head: man sieht den Wolf mitten in der you can see the wolf stalking through Großstadt the city center, und die Laus auf der Glatze des and lice on the billionaire’s bald head. Milliardärs. Und in dem Sturm und Wogenprall, And in the storm and clash of waves, 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 10

in diesem Krieg aller Kriege, in this war of all wars, bleibt nichts als Bankrott und Schande, there is nothing but bankruptcy and shame, das vor Hunger verzerrte Gesicht eines the distorted face of a hungry child, Kindes, der Schrei einer Wahnsinnigen und der the shriek of the madman, and death. Tod.

In jedes Vogellied hat ein grauenhafter In every bird’s song there is a horrible Ton tone, sich eingeschlichen; ein einziger nur, which has crept in, just a single note, doch der tiefste Ton aller Oktaven: der but the deepest note in all the octaves: des Todes. the one of death. Und die Schwalben steigen hoch, And the swallow climbs high, weil die Erde heut ein Kadaver ist Because today’s world is a cadaver, und alles, was Flügel hat, aus ihrer and all that has wings flees its presence. Nähe flieht. Und die Bäche sind klar und And the streams are clear, their spiegelblank die Quellen, sources bright as mirrors, aber ich habe das Wasser gekostet: but I have tasted the water: es ist das Wasser der Sintflut. it is the water of the deluge.

Und die Sonne brennt, And the sun burns, aber ich habe ihre Wärme mit der but I have tested its warmth with my Hand geprüft: hand: es ist siedendes Pech. it is boiling pitch. Und aus der Kehle der Schwalbe And from the throat of the swallow, wird der Donner des Unerbittlichen the inexorable thunder will break loose. losbrechen. Und aus dem Einschnitt der harzigen And from the slash in the resinous cedar, Zeder werden die Tränen des Weltunterganges spill the tears of the world’s end. rinnen.

Es ist ein Ende der Welt! It is the end of the world! Das Traurigste von allen! The saddest thing of all! 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 11

Synopsis

Schlagobers (“Whipped Cream”)

Prologue In keeping with Viennese tradition, the young candidates for the rite of Confirmation are treated by their parents to a trip to the confectioner’s shop in a horse-drawn carriage (1). Once there, they gorge themselves on sweets, so much so that one boy becomes ill and makes a hasty retreat. The other children engage in a gentle dance (2). The children then leave the shop with their parents.

Act I In the dark and empty shop, marzipan, Lebkuchen, and chocolate figures come to life and wage a mock war (3). Then three noble beverages step forward, each with its own dance: tea (4), coffee (5, 6), and cocoa (7). Sugar appears (8), making advances to and dancing with all three drinks (9). At this point a torrent of whipped cream comes pouring out of a gigantic bowl and engulfs everything (10).

Act II The scene shifts to the room of the sick boy. A doctor enters and administers foul- tasting medicine to the youngster, and then leaves him to sleep it off. Then appears the Praline Princess and her court (12). She dances a waltz (13) and then the little Pralines come out for their dance (14). That is followed by the dance of the candy snappers (15). With an almost nightmarish energy, all the sweets perform a riotous gallop (16), and everything goes dark (17). Eventually some liqueurs enter the scene, and Marianne Chartreuse dances a minuet (18), admiring herself in a hand- held mirror. Her dance attracts the attention of Lladislaw Slivovitz, but she rebuffs him. But then when boorish Boris Vodka begins to woo her, she looks more kindly on Slivovitz and dances a pas de deux with him (19). Vodka, disappointed, con- tents himself with holding Chartreuse’s train as the three liqueurs walk off. But then stomach aches make themselves heard (20), and a rebellion erupts among the candies and liqueurs. They all go marching off to the confectionary, waving flags and pamphlets (21). Tea, coffee, and cocoa gallantly defend the shop, pouring their contents over the rebellious candy. But it is not until German beer miraculously arrives and thoroughly douses everyone that tranquility is restored (22). At this point Princess Praline enters with her guard of quince sausages, and with that, all the sweets and beverages unite in general jubilation.

Movements 1.) Fast 9.) Roundelay of Tea, 16.) Gallop 2.) Ländler Sugar, Coffee, and Cocoa 17.) Interlude 3.) The Confectionary 10.) Whipped Cream Waltz 18.) Minuet 4.) Dance of the Tea Leaves 11.) Molto agitato 19.) Pas de deux 5.) Coffee Dance 12.) Entrance of the Praline 20.) Chaotic 6.) Daydream Princess and Her Court 21.) Rebellion Polka 7.) Cocoa Dance 13.) Slow Waltz 22.) Dance of the Serenity 8.) Appearance and Dance 14.) Dance of the Little Pralines of Beer of the Sugar 15.) Leaping Dance of the Finale: Collective Dance Snappers 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 12

THE Artists LEON BOTSTEIN, Conductor

including operas by Strauss, Dukas, and Chausson, as well as works of Sho - stakovich, Dohnanyi, Liszt, Bruckner, Bartók, Hartmann, Reger, Gliere, Szy- manowski, Brahms, Copland, Sessions, Perle, and Rands. Many of his live per- formances with the American Sym- phony Orchestra are now available for download on the Internet.

Mr. Botstein is highly regarded as a music historian. He is the editor of The Musical Quarterly and the author of numerous articles and books. Last year PHOTO BY MATT DINE MATT BY PHOTO he gave the prestigious Tanner Lectures This season, Leon Botstein celebrates his in Berkeley, CA. For his contributions to 20th anniversary as music director and music he has received the award of the principal conductor of the American Sym- American Academy of Arts and Letters phony Orchestra. He is co-artistic director and Harvard University’s prestigious of the acclaimed Summerscape and Bard Centennial Award, as well as the Cross Music Festivals, which take place at the of Honor, First Class from the govern- Richard B. Fisher Center for the Perform- ment of Austria. In 2009 he received ing Arts, designed by Frank Gehry for Carnegie Foundation’s Academic Lead- Bard College. He is also conductor laure- ership Award, and in 2011 was inducted ate of the Jerusalem Symphony Orchestra, into the American Philosophical Society. where he served as music director from He is also the 2012 recipient of the 2003–11. He has been president of Bard Leonard Bernstein Award for the Eleva- College in New York since 1975. tion of Music in Society.

Mr. Botstein leads an active schedule as a Maestro Botstein is represented by guest conductor all over the world, and Columbia Artists Management, LLC. can be heard on numerous recordings, 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 13

LESTER LYNCH, Baritone

For the 2012–13 season Lester Lynch will be heard as Crown in Porgy and Bess with the Berlin Philharmonic and as Amonasro in Aida with the Dallas Opera. Highlights of the 2011–12 sea- son included the title role in Rigoletto with the Canadian Opera Company, a return engagement with the Bregenzer Festspiele as Carlo Gérard in Andrea Chénier, and a concert performance with the Greenville Symphony.

During the 2010–11 season Mr. Lynch joined the San Francisco Opera as Car- bon in Cyrano de Bergerac and Lyric a song cycle by Lowell Lieberman, Opera of Chicago as Herald in Lohen- which was commissioned for him by grin. Additional engagements included the Foundation. In addition, he has the Kentucky Opera as Alfio and Tonio offered a recital with pianist/composer in Cavalleria rusticana and I Pagliacci. John Musto at the Morgan Library. He offered concerts with the Virginia Symphony, Akron Symphony, and Bay- Mr. Lynch is the recipient of many dis- erische Rundfunkorchester, and a solo tinguished awards, including the Met- recital at the Saint Louis Art Museum. ropolitan Opera National Council Auditions, the George London Vocal A frequent recitalist, Mr. Lynch has Competition, and the Sullivan Awards, toured throughout the U.S. under the and his work with Opera Theatre of auspices of the Marilyn Horne Founda- Saint Louis earned him the prestigious tion, highlighted by a performance at Richard Gaddes Award. Merkin Concert Hall where he premiered THE AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra was In addition the orchestra performs in founded 50 years ago by Leopold the celebrated concert series Classics Stokowski with the specific intention of Declassified at Peter Norton Symphony making orchestral music accessible and Space, and is the resident orchestra of affordable for everyone. Under music the Richard B. Fisher Center for the Per- director Leon Botstein, the ASO has forming Arts at Bard College, where it kept Stokowski’s mission intact, and has appears in a winter subscription series, also become a pioneer in what The Wall as well as Bard’s annual SummerScape Street Journal called “a new concept in Festival and the Bard Music Festival. In orchestras,” presenting concerts curated 2010 the American Symphony became around various themes drawn from the the resident orchestra of The Collegiate visual arts, literature, politics, and his- Chorale, performing regularly in the tory, and unearthing rarely performed Chorale’s New York concert series. The masterworks for well-deserved revival. orchestra has made several tours of Asia These concerts are performed for the and Europe, and has performed in count- Vanguard Series at Carnegie Hall. less benefits for organizations including 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 14

the Jerusalem Foundation and PBS. Vanguard labels, many live performances ASO’s award-winning music education by the American Symphony are now program, Music Notes, integrates sym- available for digital download. In many phonic music into core humanities classes cases these are the only existing recordings in high schools across the tri-state area. of some of the rare works that have been rediscovered in ASO performances. In addition to many albums released on the Telarc, New World, Bridge, Koch, and AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I BASS TUBA Erica Kiesewetter, John Beal, Principal Kyle Turner, Principal Concertmaster Jordan Frazier Suzanne Gilman Jack Wenger TIMPANI Yukie Handa Peter Donovan Benjamin Herman, Principal Diane Bruce Richard Ostrovsky Elizabeth Nielsen William Sloat PERCUSSION Jennifer Kim Jonathan Haas, Principal John Connelly FLUTE Charles Descarfino Robert Zubrycki Laura Conwesser, Principal Javier Diaz Ragga Petursdottir Tanya Witek Matthew Beaumont Katherine Livolsi-Landau Karla Moe Matthew Donello Katherine Hannauer Sheryl Henze Sean Statser Sander Strenger Joseph Passaro OBOE Garrett Lanzett VIOLIN II Alexandra Knoll, Principal Richard Rood, Principal Erin Gustafson HARP Sophia Kessinger Katherine Halvorson Victoria Drake, Principal James Tsao Laura Sherman Wende Namkung CLARINET Patricia Davis Shari Hoffman, Principal KEYBOARD Ann Labin Marina Sturm Elizabeth Wright, Principal Yana Goichman Maureen Hurd Elizabeth DiFelice Lucy Morganstern Christopher Cullen Dorothy Strahl ORGAN Elizabeth Kleinman BASSOON Kent Tritle Alexander Vselensky Charles McCracken, Principal Mara Milkis Maureen Strenge BANDA TRUMPETS Gili Sharett Dominic Derasse VIOLA Gilbert Dejean, Contrabassoon Nathan Botts Nardo Poy, Principal Alex Holton Sally Shumway HORN Lorraine Cohen John Dexter Zohar Schondorf, Principal Veronica Salas David Smith PERSONNEL MANAGER Crystal Garner Lawrence DiBello Ann Yarbrough Guttman Adria Benjamin Kyle Hoyt Shelley Holland-Moritz Chad Yarbrough, Assistant ASSISTANT CONDUCTOR Debra Shufelt-Dine Zachary Schwartzman TRUMPET CELLO John Sheppard, Principal ORCHESTRA LIBRARIAN Eugene Moye, Principal John Dent Marc Cerri Annabelle Hoffman Thomas Hoyt Sarah Carter Dominic Derasse Diane Barere Dorothy Lawson TROMBONE Eliana Mendoza Richard Clark, Principal Tatyana Margulis Bradley Ward Elina Lang Jeffrey Caswell 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 15

ASO BOARD OF DIRECTORS

Danny Goldberg, Chair Jan Krukowski Thurmond Smithgall, Vice Chair Shirley A. Mueller, Esq. Dimitri Papadimitriou, Treasurer Eileen Rhulen Felicitas S. Thorne Miriam Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski

ASO ADMINISTRATION

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

The American Symphony Orchestra board of directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies for their generosity and vital support.

This project is supported by the Robert Rauschenberg Foundation.

STOKOWSKI SOCIETY Mary and Sam Miller The Frank & Lydia Bergen Foundation Dimitri Papadimitriou Michael Dorf Mrs. James P. Warburg The Fan Fox and Leslie R. Samuels Mr. and Mrs. Richard E. Wilson Foundation, Inc. Jeanne Donovan Fisher DISTINGUISHED PATRON The Booth Ferris Foundation The Jarvis & Constance Doctorow Danny Goldberg and Rosemary Carroll Family Foundation Faith Golding Foundation, Inc. The Elroy and Terry Krumholz Foundation Peter Linden Gary M. Giardina Stuart K. Nelson Lynne Meloccaro New York City Department of Cultural Affairs Shirley A. Mueller New York State Council on the Arts The David and Sylvia Teitelbaum Fund, Inc. Open Society Institute Robert Rauschenberg Foundation GOLDEN CIRCLE Thurmond Smithgall Miriam R. Berger Felicitas Thorne IBM Corporation The Winston Foundation Eric Czervionke Peter L. Kennard SUSTAINING SUPPORTER Arthur S. Leonard Dr. Leon Botstein Mimi Levitt The Ann and Gordon Getty Foundation Dr. Pamela F. Mazur Rachel and Shalom Kalnicki JoAnne Meloccaro 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 16

Bruce Slovin Patricia R. Brophy Joseph and Jean Sullivan Roger Chatfield Connie Chen BENEFACTOR Barbara Clapman Anonymous Michele Cone Karen and Mark Finkbeiner Mary M. Cope Irwin and Maya Hoffman Diana Davis Jack Kliger Elisabeth Derow William McCracken and Cynthia Leghorn Thomas J. DeStefano Marcia H. Moor Antonio Diez Richard and Joanne Mrstik Ruth Dodziuk-Justitz James and Andrea Nelkin Robert Durst Mr. and Mrs. David E. Schwab II Paul Ehrlich David and Martha Schwartz Exxon Mobil Foundation Peter Sourian W.J. Fenza Ronnie Streichler, in honor of Leon Botstein Martha Ferry Irene Zedlacher Donald W. Fowle Deborah Franco CONTRIBUTOR Lyudmila German Tania Ahuja Christopher H. Gibbs Harold P. Allen MacEllis K. Glass Gary M. Arthur June Goldberg Thomas Cassilly Nathan Gross Isabelle A. Cazeaux John Haggerty Richard C. Celler Laura Harris Bette R. Collom James Hayden Mary S. Donovan Roberta Hershenson Mr. and Mrs. Joseph Lawrence Gilman Dr. and Mrs. Gerald Herskowitz Rhea Graffman-Cohen, in honor of Deb Hoffman Miriam Berger George H. Hutzler Eva Botstein Griepp Jose Jimenez Max Hahn Donald Juliano Sara Hunsicker Ronald S. Kahn Michael Kishbauch Robert Kalish Peter Kroll David Kernahan Alan Mallach Irving Kleiman Jeanne Malter Caral G. Klein Stephen McAteer Adnah Kostenbauder Richard and Joanne Mrstik Robert LaPorte Lisa Mueller and Gara LaMarche Gerald Laskey Maury Newburger Steve Leventis Lawrence Nylen Walter Levi Kurt Rausch LLC Juddy Levy Harriet Schon Peter A. Locker Jon P. Tilley Harvey Marek Larry Wehr Ellen Marshall, in honor of Louis Marshall Robert Weis Alan B. McDougall Wayne and Dagmar Yaddow June Meyer Clifford S. Miller ORCHESTRA CLUB Phyllis Mishkin American Express Gift Matching Program Elisabeth J. Mueller Ellis Arnstein Marin L. and Lucy Miller Murray, Carol H. Ash in honor of Leon Botstein Ronald Baranowski Tatsuji Namba Carol K. Baron Kenneth Nassau Ruth Baron Jacob and Suzanne Neusner Matthew and Debra Beatrice James North Yvette and Maurice J. Bendahan Sandra Novick Adria Benjamin Jill Obrig John Brautigam Thomas O’Malley Mona Yuter Brokaw James Ottaway 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 17

Roger Phillips Alan Stenzler Bruce Raynor Hazel and Bernard Strauss Anthony Richter Paul Stumpf The Kauter Riopelle Family Andre Sverdlove Kenneth Rock Madeline V. Taylor Leonard Rosen William Ulrich Peri Rosenfeld James Wagner Henry Saltzman Kenneth Wald Leslie Salzman Renata Weinstein Emil Scheller Barbara Westergaard Gloria Scorse Janet Whalen Janet Z. Segal Ann William Georgi Shimanovsky Kurt Wissbrun Bruce Smith Leonard Zablow John Sowle Mark Zarick Stanley Stangren Alfred Zoller Gertrude Steinberg Karen Zorn, Longy School of Music Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York:

New York State Council on the Arts The New York City Department of The Honorable Andrew M. Cuomo, Governor Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner

List current as of January 8, 2013

SUPPORT ASO

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

Gifts That Keep Giving – NEW! We’re grateful for your annual contribution to ASO. Now, you can support ASO all year with Monthly Installment giving. Call us and tell us how much you would like to give and how often you want to give it. Monthly installment giving is easier for you and sustaining income for the American Symphony.

How to donate: Online: www.AmericanSymphony.org Phone: 646.237.5022 Mail: American Symphony Orchestra Attn: Development 263 W 38th Street, 10th Floor New York, NY 10018 (Checks payable to: American Symphony Orchestra)

Corporate Support Have your corporation underwrite an American Symphony Orchestra concert or education program and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 212.868.9276. 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 18

American Symphony Orchestra’s 50th Anniversary Season at Carnegie Hall

Sunday, March 17, 2013 The Vampire Opera-in-concert by Heinrich Marschner.

Thursday, May 2, 2013 Hungary Torn WWII-era Hungarian composers. Four U.S. Premieres.

ASO’S 2013–14 SEASON AT CARNEGIE HALL

Thursday , Oct 3, 2013 The Avant-Garde in New York Antheil, Griffes, Ruggles, Copland, Strauss

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

Sunday, Dec 15, 2013 Ariane Opera-in-concert by Jules Massenet

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

Thursday, March 27, 2014 Moses Oratorio by Max Bruch

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