De Profundis: out of the Depths

Thursday Evening, May 2, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage

and

Present

DE PROFUNDIS: OUT OF THE DEPTHS

LEON BOTSTEIN, Conductor

Performance #123: Season 4, Concert 29

VIRGIL THOMSON De Profundis (1920, rev. 1951) (1896–1989)

JOACHIM RAFF De Profundis, Psalm 130, Op. 141 (1868) (1822–82) NYC Premiere Introduction: Andante De Profundis: Andante con moto Si iniquitates: Andantino Quia apud te: Allegretto A custodia matutina: Andante con moto Et ipse redimet: Allegro ELIZABETH DE TREJO, Soprano

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

05-05 Orchestra Now.indd 1 4/18/19 4:04 PM LERA AUERBACH De Profundis, Concerto for Violin and (B. 1973) Orchestra No. 3 (2015) NYC Premiere Andante sognando Allegro marcato Adagio pesante VADIM REPIN, Violin

LILI BOULANGER Psalm 130: Du fond de l’abîme (1893–1918) (De Profundis) (1914–17) ELIZABETH DE TREJO, Soprano SEAN FALLEN, Tenor

BARD FESTIVAL CHORALE JAMES BAGWELL, Choral Director

This evening’s concert will run approximately 2 hours and 35 minutes including one 20-minute intermission.

PSALM 130: DE PROFUNDIS

Out of the deep have I called unto Thee, O Lord. Lord, hear my voice: O, let Thine ear consider well the voice of my complaint.

If Thou, Lord, wilt be extreme to mark what is done amiss, O, Lord who may abide it? For there is mercy with Thee, therefore, shalt Thou be feared.

I look for the Lord, my soul doth wait for Him. In His word is my trust. My soul fleeth after the Lord before the morning watch, I say before the morning watch.

O, Israel, trust in the Lord, for with Him there is mercy, And with Him is plenteous redemption. And He shall redeem Israel from all his sins.

05-05 Orchestra Now.indd 2 4/18/19 4:04 PM Notes ON THE MUSIC

VIRGIL THOMSON’S De Profundis

MATT DINE the U.S. he established himself in New York City and stayed there for the rest of his life. He lived with his partner, Maurice Grosser, in the Chelsea Hotel, a center of cultural activity.

An American Style Thomson was key in the development of an American style of classical music. His use of hymns is a characteristic trait, as it is in the music of Charles Ives, but Thomson stayed as close to tonality as possible. He wrote music for movies and documentaries, perhaps most famously Pare Lorentz’s The Plow that Broke the Plains (1936). His style utilized popular TON’¯¯ s Guillermo García Cuesta on songs, hymns, and a new way of orches- Virgil Thomson’s De Profundis trating. Thomson could also be a contro- versial author, writing about hot topics, A Religious Beginning like the suffragette Susan B. Anthony in Virgil Thomson was born in Kansas his opera The Mother of Us All, and in- City, Missouri. He grew up in a reli- cluding a tango ballet in Four Saints in gious environment and was very famil- Three Acts, which premiered with an all- iar with the Latter-day Saint movement. black cast. He learned piano with the organist of the Grace and Holy Trinity Cathedral, De Profundis and went on to play organ there him- Tonight we will listen to his choral self. All this would eventually influence work De Profundis, the Psalm 130. I his style, since hymns were in his DNA. don’t know this as a fact, but I wouldn’t be surprised if he had chosen this Psalm From Paris to New York after the famous letter “De Profundis,” Thomson lived in Paris from 1925 to which Oscar Wilde wrote while impris- 1940 and studied for a while with Nadia oned for being homosexual. Thomson Boulanger. He was acquainted with the received a copy of that letter as a birth- group of influential composers there day gift when he was 17-years-old and known as Les Six. When he returned to he kept it for the rest of his life.

05-05 Orchestra Now.indd 3 4/18/19 4:04 PM JOACHIM RAFF’S De Profundis, Psalm 130, Op. 141

MATT DINE ing with Liszt, Raff decided to leave and successfully established his own career as a composer. Even after the split Liszt always approached discussions of Raff with supportive, fatherly intent. De Profundis seems to have played a role in mild reconciliation between the two composers, highlighting a change in Raff after the war—a tip of the hat to Liszt’s wish for him to explore and write in a more religious style. In the words of his daughter, Helene Raff:

It is “worshipfully dedicated to Franz Liszt.” Since Vienna (1862) Raff overcame his nature, his distrustful TON’¯¯ s Emily Buehler on Joachim Raff’s bitterness that had grown in him… De Profundis, Psalm 130, Op. 141 Liszt with his familiar personality is supposed to have made certain re- De Profundis marks regarding Raff in 1856 or 1857 Written for soprano, small choir, which Raff discovered…Through the and orchestra, Joachim Raff’s 1868 dedication of the De Profundis, Raff De Profundis, Op. 141 is a setting showed that the old personal devo- of Psalm 130: “Out of the depths, Oh tion survived despite everyday dis- Lord, have I cried unto thee.” Raff had agreements…Liszt took pleasure in multiple notable compositions including the dedication and in the work; in a the patriotic Germany’s Resurrection letter to the Princess Sayn-Wittgen- and his version of Sleeping Beauty, stein (Liszt’s long-time companion) which was, in the opinion of Franz he mentions it as an important work. Liszt, some of his best musical writing. A Re-discovery Raff’s Relationship with Liszt Once popular among festivals and Raff left Weimar for Wiesbaden in orchestras, Raff’s De Profundis is no 1856, creating a somewhat bitter rift longer widely performed. According to between him and Liszt, amidst an al- Helene, one of the last performances of ready complicated relationship. The two its time was after Raff’s death, at the composers had blurred lines between city church of Weimar. This piece has roles of apprentice and partner. Raff was since been performed in Europe, but to- unclear of his position with Liszt, while day will be the NYC premiere. Liszt was clear on the idea that Raff was his protégé. After spending time work-

05-05 Orchestra Now.indd 4 4/18/19 4:04 PM LERA AUERBACH’S De Profundis, Concerto for Violin and Orchestra No. 3 In lieu of concert notes, Ms. Auerbach has requested that the following poem be printed to accompany her music. ABYSS

It is always there, waiting, waiting. As I wake, as I walk my dog in the morning or re-read my favorite poem (the one which struck me as true in adolescence) the Abyss is always just a step away.

If you stare at anything with burning intensity— you can see the edge of its bottomless mouth. Keep on looking through your tears and sweat, without turning your gaze even once— soon you will notice nothing else.

The Abyss tempts you to lean even closer. Others may think you must have gone blind, but you start distinguishing black on black, you start seeing the distant valleys.

Once you’ve managed to really focus, so much that the noisy light can’t disturb your full concentration—at last—you see deep within the Abys—the Sun, and stars of another great Universe, calling to you with their flickering dance.

Now you may take this final step, one step that still keeps you away. As you stand on the edge, leaning ever closer to the great expanse—the empty wow of nothing-ness—

you see how the Abyss, with its wrinkled topography of a world alien to comprehension, rearranges its valleys and mountains— to form your own face.

05-05 Orchestra Now.indd 5 4/18/19 4:04 PM LILI BOULANGER’S Psalm 130: Du fond de l’abîme (De Profundis)

MATT DINE The Music Although it is rarely performed this is a great orchestral work. Performing this piece is difficult, given the magnitude of instrumentalists and singers required. Boulanger uses the organ and choir as representatives of her Catholic faith. The piece also makes use of the sarrusophone, which was used for outdoor military band concerts at the time. Her compositional mastery is made clear by her combination of dense harmonies ar- ticulated by horizontal juxtaposed lines. Beautiful melodies richly ornamented in chromaticism can be found in contrast with melodies that bring to mind early TON’¯¯ s Rodrigo Orviz Pevida on Lili Gregorian Chants. Toward the end of Boulanger’s Psalm 130: Du fond de the piece, the beautiful interaction be- l’abîme (De Profundis) tween the contralto and the tenor nar- rates what could be if the composer met The Composer her father in heaven. Marie-Juliette Olga “Lili” Boulanger finished her setting of the penitential An Emotional Journey Psalm 130, Du fond de l’abîme, in In my opinion this masterwork is a 1917, on the cusp of World War I. The beautiful way to express a personal con- dense and thick orchestration that Bou- nection between the real world and the langer chose for this work could easily divine in a very emotional journey. Even depict the deadly tussles related to the though the orchestration suggests a very European conflict of the time. At the religious background, I feel it represents time the 24-year-old composer was at in a very versatile manner the human the peak of her suffering from a pulmo- philosophy between life and death. The nary illness that made her very vulner- pace of the choral lines seems to lead able throughout her career. She finished to emotional processes back and forth this piece, which she dedicated to the between strength and weakness. It is ex- memory of her father, from bed with the tremely impressive and admirable how help of her sister, Nadia Boulanger. Du a very young composer at the beginning fond de l’abîme reflects this composer’s of the 20th century had the marked troubled life, pained with the memories maturity to compose her own Requiem of a father whose death would leave dedicated to the loss of her father. no relief from grief in the youngest of his daughters.

05-05 Orchestra Now.indd 6 4/18/19 4:04 PM THE Artists

LEON BOTSTEIN, Conductor

MATT DINE Now. He has been music director of the American Symphony Orchestra since 1992, artistic codirector of Bard Summer- Scape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he assumed artistic directorship of the Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Leon Botstein brings a renowned career Quarterly, and has received many hon- as both a conductor and educator to his ors for his contributions to music. role as music director of The Orchestra

ELIZABETH DE TREJO, Soprano

Romeo et Juliette; Rosina in Sacco and Vanzetti; Despina in Così fan tutte; Musetta in La bohème; Clarice in Il Mondo della Luna in Basel, Switzerland; Die Königen die Nacht in Die Zauber- flöte für Kinder with the Opernhaus Zürich; Fiordiligi in Così fan tutte with North Carolina Opera; Norma in Nor- ma with St. Petersburg Opera; Donna Elvira in Don Giovanni with the Sa- vannah Voice Festival; Donna Anna in Don Giovanni and Gilda in Rigoletto with Toledo Opera; Goddess Venus in Orphée aux enfers with New Orleans Opera; Lulu in Lulu in her Metropolitan Opera debut Performances: Violetta in La traviata with Miami Opera and Opera Tampa; Poppea Appearances: has sung extensively in Eu- in L’Incoronazione di Poppea; Cleopatra rope, Asia, and the United States; soloist in Giulio Cesare; Juliette in Gounod’s with the National Chorale at Lincoln

05-05 Orchestra Now.indd 7 4/18/19 4:04 PM Center; Bach’s Mass in B minor; Mahler’s Randolph “Randy” Mickelson Memo- Symphony No. 4; Beethoven’s Mass in C rial Fund Award Major; Mozart’s Requiem Recordings: EMI Classics DVD of Der Festivals: Great Mountains Music Festi- Rosenkavalier with Vasselina Kasarova, val and PyeongChang Music Festival in Nina Stemma, and Alfred Muff, live from South Korea; Savannah Voice Festival Opernhaus Zürich; upcoming Naxos recording of songs by the Pulitzer Awards: Gerda Lissner Opera com- Prize-winning poet Sara Teasdale petition, MacAllister Opera competition, Metropolitan Opera National Education: Loyola University (B.M.), Council auditions, Jenny Lind Soprano Yale University (M.M.), International competition, Rosa Ponselle competi- Opera Studio of the Opernhaus Zürich tion, Giulio Gari Foundation Opera competition, Liederkranz Foundation competition, first-ever recipient of the

VADIM REPIN, Violin

LEONID LAZARENKO Performances: premieres of works by John Adams, Sofia Gubaidulina, James MacMillan, Benjamin Yusupov, Alexander Raskatov, and Lera Auerbach; with musicians such as Marta Argerich, Cecilia Bartoli, Yuri Bashmet, Boris Berezovsky, Gautier Capuçon, Itamar Golan, Evgeny Kissin, Alexander Knyazev, Andrei Korobeinikov, Lang Lang, Nikolai Lugansky, Mischa Maisky, Denis Matsuev, Mikhail Pletnev, and Jean- Yves Thibaudet

Festivals: founder and artistic director of the Trans-Siberian Art Festival, founded in his hometown of Novosi- Appearances: symphony orchestras of the birsk in 2014; Moscow Easter Festival; Bavarian Radio and the Bavarian State White Nights of St. Petersburg Festival; Opera; philharmonic orchestras of Berlin, BBC Proms; Schleswig-Holstein Music London, Vienna, Radio France, Munich, Festival; Salzburg Festival; festivals in Rotterdam, Israel, Los Angeles, New Tanglewood, Ravinia, Gstaad, Rhe- York, Philadelphia, and Hong Kong; ingau, Verbier, Dubrovnik, Menton, Concertgebouw Orchestra; symphony and Cortona orchestras of London, Boston, Chicago, Baltimore, Montreal, and Cleveland; Or- Awards: Chevalier de l’Ordre des Arts et chestra Filarmonica della Scala, Milan; des Lettres; Legion d’Honneur; winner, Orchestre de Paris; St. Petersburg Philhar- French Victoire de la Musique; many of monic; National Philharmonic of Russia; his more than 30 CD recordings have Tchaikovsky Symphony Orchestra Mos- won awards, such as the ECHO Klassik, cow; State Symphony Orchestra Novaya the Diapason d’Or, Prix Caecilia, and Rossiya; Novosibirsk Philharmonic Edison Award

05-05 Orchestra Now.indd 8 4/18/19 4:04 PM THE ORCHESTRA NOW DAVID DENEE

– The Orchestra Now (TON) is a 2015 as a master’s degree program at group of vibrant young musicians Bard College, where he also serves as from across the globe who are mak- president. The orchestra is in residence ing orchestral music relevant to at Bard’s Richard B. Fisher Center for 21st-century audiences. They are the Performing Arts, performing multi- lifting the curtain on the musicians’ ple concerts there each season as well experience and sharing their unique as taking part in the annual Bard Music personal insights in a welcoming en- Festival. They also perform regularly vironment. Hand-picked from the at the finest venues in New York, in- world’s leading conservatories—including Carnegie Hall, Lincoln Center, cluding The Juilliard School, Shang- The Metropolitan Museum of Art, and hai Conservatory of Music, Royal others across NYC and beyond. The Conservatory of Brussels, and the orchestra has performed with many Curtis Institute of Music—the mem- distinguished conductors, includ- – bers of TON are not only thrilling ing Fabio Luisi, Neeme Järvi, Gerard audiences with their critically ac- Schwarz, and JoAnn Falletta. claimed performances, but also en- – lightening curious minds by giving We invite you to get to know TON on-stage introductions and demon- and discover music in the making! strations, writing concert notes from Explore upcoming concerts, see what the musicians’ perspective, and hav- our musicians have to say, and more ing one-on-one discussions with pa- at theorchestranow.org. trons during intermissions.

Conductor, educator, and music his- – torian Leon Botstein founded TON in

05-05 Orchestra Now.indd 9 4/18/19 4:04 PM BARD FESTIVAL CHORALE

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

JAMES BAGWELL, Choral Director ERIN BAIANO James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2015 he was named associate conductor of The Orchestra Now while continuing his role as principal guest conductor of the American Symphony Orchestra. From 2009–15 he was music director of The Collegiate Chorale; some of the highlights of his tenure there include conducting a number of rarely performed operas-in-concert, including Bellini’s Beatrice di Tenda, Rossini’s Moise et Pharaon, and, most recently, Boito’s Mefistofele. He con- ducted the New York premiere of Philip Glass’ Toltec Symphony and Jerusalem Symphony, Amici New Osvaldo Golijov’s Oceana, both at York, Indianapolis Chamber Orches- Carnegie Hall. His performance of tra, and Tulsa Symphony Orchestra, Kurt Weill’s Knickerbocker Holiday among others. at Alice Tully Hall was recorded live for Gaslight Records and is the only com- Mr. Bagwell has trained choruses for a plete recording of this musical. Since number of major American and inter- 2011 he has collaborated with singer national orchestras, including the Bos- and composer Natalie Merchant, con- ton Symphony, Mostly Mozart Orches- ducting a number of major orchestras tra, Israel Philharmonic, San Francisco across the country, including the San Symphony, Los Angeles Philharmonic, Francisco and Seattle Symphonies. NHK Symphony (Japan), St. Petersburg Other recent performances in New Symphony, Budapest Festival Orches- York include conducting Philip Glass’ tra, American Symphony Orchestra, Another Look at Harmony at the Park Cincinnati Symphony Orchestra, Cin- Avenue Armory, and leading The Little cinnati Pops Orchestra, and Indianapo- Opera Theatre of New York’s produc- lis Symphony Orchestra. He is professor tion of Rossini’s Opportunity Makes of music and director of performance the Thief. He has been guest conductor studies at Bard College and Bard Col- of The Cincinnati Symphony Orchestra, lege Conservatory of Music.

05-05 Orchestra Now.indd 10 4/18/19 4:04 PM LERA AUERBACH, Composer

around the globe led by conductors such as Christoph Eschenbach, Andris Nelsons, Vladimir Jurowski, Vladimir Fedoseyev, Neeme Järvi, Charles Dutoit, Sakari Oramo, Hannu Lintu, Osmo Vanska, Alan Gilbert, Eiji Oue, and Hugo Ticciati, among many others.

Her operas and ballets have been staged at Theatre an der Wien in Vienna, New York’s Lincoln Center, Washing- ton’s Kennedy Center, Moscow’s Stan- islavsky Theater, the Hamburg State Theater, the Nuremberg State Theater, The National Ballet of Canada, the Netherlands Dance Theater, the Royal Lera Auerbach is active as a composer, Danish Theater, the Finnish National conductor and pianist. Her extensive Theater, the San Francisco Ballet, and collaborations include violinists Gidon the National Ballet of China. Kremer, Vadim Repin, Leonidas Kavakos, Daniel Hope, Hilary Hahn, and Vadim Her most recent composition, ARCTICA Gluzman; violists Kim Kashkashian for piano, orchestra, and choir, which and Richard O’Neill; cellists Alisa was commissioned by the National Weilerstein, Gautier Capuçon, Alban Geographic Society, premiered at the Gerhardt, David Finckel, and David Kennedy Center with the National Geringas; the Artemis, Borromeo, Symphony Orchestra on March 30, Tokyo, and Ying Quartets; and the 2019. Her recordings are available on Chamber Music Society of Lincoln ECM Records, Deutsche Grammophon, Center. Her symphonic works have Nonesuch, BIS, Cedille, and other labels. been performed by countless orchestras

05-05 Orchestra Now.indd 11 4/18/19 4:04 PM TRANS-SIBERIAN ARTS FESTIVAL

The Trans-Siberian Art Festival, found- The Trans-Siberian Art Festival has ed in 2014 by Artistic Director Vadim gradually spread out all over Russia to Repin in his hometown, Novosibirsk, Krasnoyarsk, Omsk, Tyumen, Tobolsk, – shares its values with TON and Leon Samara, St. Petersburg, Moscow, and Botstein: to build cultural, social, and beyond its boundaries to Japan, Israel, geographical bridges across the conti- Belgium, California, Korea, Austria, nents by means of the arts and music Germany, and France. The collabora- – education. Each year the Festival com- tion with TON marks a particularly missions a new work, one of which is memorable moment in that a Festival Lera Auerbach’s deeply moving violin project will be presented at Carnegie concerto De Profundis, which on this Hall for the first time. More info online occasion will receive its NYC premiere. at transsiberianfestival.com.

THE ORCHESTRA NOW Leon Botstein, Music Director

Violin I Sarah Schoeffler Bassoon Harp Yuqian Zhang, Kelly Knox Carl Gardner, Emily Melendes, Concertmaster Lauren Peacock* Principal2,3, Principal Jiayu Sun Sarrusophone4 Dillon Robb Bass Adam Romey, Guest Musicians Diego Gabete- Kaden Henderson, Principal4 Rodriguez Principal Matthew Gregoire, Violin I Jacques Gadway Zhenyuan Yao Contrabassoon3 Andrés Rivas Weiqiao Wu Luke Stence Allyson Tomsky Gaia Mariani Mariya-Andoniya Horn Bruno Pena Ramsdell Andonova- Emily Buehler, Emily Uematsu Henderson Principal2,3 Wei Tan Violin II Joshua DePoint William Loveless VI, Linda Duan, Principal4 Violin II Principal Flute Luke Baker* Jessica Belflower Clara Engen Matthew Ross, Gökçe Erem Stuart McDonald Principal2,4 Trumpet Emanouil Manolov Leonardo Pineda Leah Stevens, Anita Tóth, Yurie Mitsuhashi Principal3, Piccolo4 Principal2 Viola Gerg ˝o Krisztián Tóth Denis Savelyev, Guillermo García Denise Stillwell Drew Youmans Piccolo3 Cuesta, Joanna Mattrey Coline Berland* Principal3,4 Brendan Speltz Oboe Viola James Jihyun Kim, Trombone Cello Emmanuel Koh, Principal Matt Walley, Charlotte Ullman Principal Kelly Mozeik, Principal Theo Zimmerman Lucas Goodman English Horn3,4 Federico Ramos, Batmyagmar Regina Brady* Bass Trombone Bass Erdenebat Justin Morgan Larissa Mapua Clarinet Tuba Leonardo Vásquez Rodrigo Orviz Pevida, Dan Honaker Oboe Chacón Principal2 Hassan Anderson Viktor Tóth, Timpani Cello Principal3 Miles Salerni Horn Lucas Button, Ye Hu, Daniel Salera Principal Principal4 Percussion Paul Celentano Kyle Anderson Micah Candiotti- Wanyue Ye, Principal Zhilin Wang Pacheco, Bass Trumpet Alana Shannon Clarinet3,4 Sam Exline

05-05 Orchestra Now.indd 12 4/18/19 4:04 PM Trombone Celeste Organ Hitomi Yakata Pei-Hsuan Shen Ray Nagem 2 Raff Ron Hay 3 Auerbach Piano Harp 4 Boulanger Percussion Yung-Ting Shih Melanie Genin * on leave Andrew Funcheon David Degge – Members of TON can be identified by their distinctive blue attire.

BARD FESTIVAL CHORALE James Bagwell, Director

Soprano Alto Jack Cotterell David Huneryager Hirona Amamiya Maya Ben-Meir Matthew Deming Darren Lougee Danielle Buonaiuto Sarah Bleasdale John Des Marais Douglas Manes Eileen Clark Johanna Bronk Sean Fallen Steven Moore Nonie Donato Teresa Buchholz John Kawa Michael Riley Lori Engle Sishel Claverie Matthew Krenz Makoto Winkler Jennifer Gliere Brooke Collins Anthony McGlaun Aine Hakamatsuka Katharine Emory Douglas Purcell * choral contractor Danya Katok Margaret O’Connell Nathan Siler Melissa Kelley Heather Petrie Adam Von Almen Liz Lang Elizabeth Picker Jessica Marsten Hillary Schranze Bass Marie Mascari Nancy Wertsch* Blake Burroughs Kathryn Papa Carla Wesby Roosevelt Credit Katherine Peck Abigail Wright Jonathan Estabrooks Rachel Rosales David Flight Ellen Taylor Sisson Tenor James Gregory Christine Sperry Christopher Carter Jonathan Guss Jack Colver Paul Holmes

05-05 Orchestra Now.indd 13 4/18/19 4:04 PM Congratulations to our third-year musicians, who are graduating with a Master of Music Degree in Curatorial, Critical, and Performance Studies.

Coline Berland Micah Candiotti- Clara Engen Diego Gabete- violin Pacheco violin Rodriguez clarinet violin

Dan Honaker Emmanuel Koh Kelly Mozeik Lauren Peacock tuba viola oboe cello

Leonardo Pineda Federico Ramos Alana Shannon Jiayu Sun violin bass trombone cello violin

Matt Walley Zhilin Wang Drew Youmans Zhenyuan Yao trombone cello violin bass

Photos by Matt Dine

05-05 Orchestra Now.indd 14 4/18/19 4:04 PM – MEET THE TON Musicians

ADAM ROMEY, Bassoon MATT DINE

What is your earliest memory of classical music? I was obsessed with Mozart’s The Magic Flute as a toddler and would watch videos of it constant- ly, sometimes twice a day.

When did you realize you wanted to pursue music as a career? When I started to study Stravinsky’s The Rite of Spring in high school, I realized that I couldn’t picture any other center to my life.

Favorite non-classical musician or band: Radiohead, and lots of indie hip- Adam will talk briefly about Joachim hop and rock from Minnesota Raff’s De Profundis, Psalm 130, Op. 141 on stage before the performance. What is your favorite place you’ve traveled to and why? The summit of Hometown: St. Paul, MN Mount Rigi outside Luzern, Switzer- land. The view commanded respect Alma maters: Wilfrid Laurier Univer- and brought perspective, and the vast sity, B.A.; Glenn Gould School, A.D.; landscape was humbling. Indiana University Jacobs School of Music, M.M. Tell us something about yourself that might surprise us: I used to play in two Awards/Competitions: Grant recipi- rock bands and a jazz band...on guitar! ent, 2014–15 Frank Huntington Beebe Fund for Musicians; Winner, 2009 Ken Piece of advice for a young classi- Murray Concerto Competition cal musician: While it’s definitely important to focus on the fundamentals Appearances: Windfest, 2009; Centre of your instrument, always return to for Opera Studies in Italy Festival, phrasing and atmosphere because they 2011–13, 2015; Brevard Music Festival, give life to the music. 2014; Weimar Bach Academy, 2016

05-05 Orchestra Now.indd 15 4/18/19 4:04 PM

4/18/19 4:04 PM Don’t be ashamed of the Don’t violin at age four. My older brother had My older four. violin at age memories, as long as I have been playing when I asking for a violin and I began be sure it was what I real- was three. To sit through a year of ly wanted, I had to mom got me my his lessons before my size!). first violin (1/16th Giuseppe Tartini’s Favorite piece to play: and Sonata for Violin Trill The Devil’s Continuo Ned Rorem’s Favorite obscure piece: Sonata (1954) Violin Favorite fact about your instrument: strings were first made of sheep Violin gut (commonly known as catgut), twisted. and dried, stretched, was which Other materials violin strings have been made out of include solid steel, stranded steel, metal wound synthetic materials many of (such as Dominants), and now, - us are playing titanium strings for great er projection! Piece of advice for a young classical musician: thoughts and feelings that playing your is instrument can stir up! Playing music an exploration of ourselves as well as the music, and you never know what might be hiding away somewhere. I began playing the I began Musical origins:

De Profundis, Concerto for

DREW YOUMANS, Violin - Competition; Win Concerto Orchestra Philharmonic 2007 Hudson Valley ner, Competition Virtuoso-in-Progress Winner, 2014 Winner, Awards/Competitions: - Queens College Orchestra Competi tion; 2nd Prize, 2014 Queens Symphony Alma maters: CUNY Queens College, B.M.; Shepherd School of Music, Rice M.M. University, Hometown: Stanfordville, NY Auerbach’s Auerbach’s be- and Orchestra No. 3 on stage Violin fore the performance. Drew will talk briefly about Lera MATT DINE 05-05 Orchestra Now.indd 16 - 4/18/19 4:04 PM 2014 National Trumpet Competition, Trumpet 2014 National Hungary Budapest, Academy Or Grafenegg Appearances: chestra, 2018 you wanted toWhen did you realize camp In music pursue music as a career? sawI school elementary in was I when canwho people music teachers and that coolest people in theplay music are the be one of them. world. I wanted to genre of music do Which composer or with the most? you feel you connect with an orches- music Playing Mahler’s tra like The Orchestra Now is one of a the best things that could happen to brass player. What has been your favorite experience as a musician? I had the opportunity to Háry János with the com- play Kodály’s in pany of the National Theatre of Gyo˝r the Hungarian Opera House, where the piece was premiered. The piece is very challenging for trumpets. If you could play another instrument, what would it be? French horn. They have the best parts in orchestra pieces. a musician, what would If you weren’t you be doing? I’d be a zookeeper!

ANITA TÓTH, Trumpet 3rd Place, 2013 Awards/Competitions: Uni- Gyo˝r Concerto Competition of Prize, 2014 Hungary; Special versity, Competition, De- National Trumpet - brecen, Hungary; 1st Place, 2014 Con University, Gyo˝r of certo Competition Hungary; 3rd Place and Special Prize, Instagram: @atina_htot Faculty of Art, Gyo˝r Uni- Alma maters: Faculty of Art, Gyo˝r Hungary versity, Oroszlány, Hungary Hometown: Oroszlány, Anita will talk briefly about Lili Anita will talk briefly about Lili Du fond de 130: Psalm Boulanger’s l’abîme (De Profundis) on stage before the performance. MATT DINE 05-05 Orchestra Now.indd 17 – THE TON FUND

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05-05 Orchestra Now.indd 18 4/18/19 4:04 PM – THE TON FUND DONORS

The Orchestra Now gratefully acknowledge the generosity of each and every donor who makes our work possible. While space permits us only to list gifts made at the Downbeat level and above, we value the generosity of all donors. Ticket sales cover less than a quarter of the expenses for our concerts and educational initiatives. Thank you for making this important investment in the future of classical music!

THE YVONNE NADAUD Hospitality Committee Kent Brown MAI CONCERTMASTER for United Nations Dora Jeanette Canaday CHAIR Delegations (HCUND) Maria J. Chiu Made possible by The Mai Kassell Family Foundation of Susan Christoffersen Family Foundation the Jewish Communal Fund Ann Cunningham Tigue Tatsuji Namba Nicole M. de Jesús and LEADERSHIP GIFTS Maury Newburger Brian P. Walker Anonymous (2) Brigitte R. Roepke Hildegard Frey Edling Michael Dorf and Sarah – Christopher H. Gibbs Connors TONor Robert and Karen Harvey Rockefeller Brothers Fund Anonymous Jack Homer Felicitas S. Thorne Richard Bopp Neil Jacobs Phyllis and Joseph DiBianco Elizabeth and Ray Kasevich CONDUCTOR’S BOX Christine Edwards Nancy S. Leonard and Marshall Family Foundation, Barbara Ewert Lawrence Kramer Inc. Arnold and Milly Feinsilber David Lewis Stephen J. Hoffman Emma Lewis ALLEGRO Scott Huang Erika Lieber Gary and Martha Giardina Charlotte Mandell Kelly and Paul Lowrey Robert Kelly Harvey Marek FORTE Erica Kiesewetter Ms. Emily Michael Anonymous Peter J. and Susan B. Warren R. Mikulka Robert Losada LeVangia Millbrook Acupuncture, Harold Oaklander Catherine and Jacques Luiggi PLLC Denise and Glenn Ross Christine Munson Karen E. Moeller and Nora Post Charles H. Talleur TRUMPETER Ann and Thomas Robb Gary E. Morgan Anonymous (3) Linda Schwab-Edmundson Roy Moses Joseph Baxer and Barbara Frances Sharpless Douglas Okerson and Bacewicz James K. Smyth William Williams Joanne and Richard Mrstik Allan and Ronnie Streichler Catherine K. and Fred Reinis James and Andrea Nelkin Theodore and Alice Ginott Nina Selmayr Bonnie and Daniel Shapiro Cohn Philanthropic Fund Frances Smyth Judith R. Thoyer Joseph Storch CRESCENDO Rose Veccia Mr. and Mrs. Ronald Atkins DOWNBEAT Michael and Leslie Weinstock Diane and Ronald Blum Anonymous (2) Meyer J. Wolin Stan J. Harrison Jesika Berry

This list represents gifts made to The Orchestra Now between January 1, 2018 and February 22, 2019. – For information on making a contribution to TON, or to update your listing, please contact Nicole M. de Jesús at [email protected] or 845.758.7988. Thank you for your partnership.

05-05 Orchestra Now.indd 19 4/18/19 4:04 PM THE ORCHESTRA NOW

Artistic Staff Administrative Staff Leon Botstein, Music Director Vincent Roca, Managing Director James Bagwell, Associate Conductor Brian J. Heck, Director of Marketing Jindong Cai, Academic Director and Nicole M. de Jesús, Director of Development Associate Conductor Sebastian Danila, Music Preparer and Zachary Schwartzman, Resident Conductor Researcher Andrés Rivas, Assistant Conductor Marielle Metivier, Orchestra Manager Erica Kiesewetter, Professor of Orchestral Alice Terrett, Marketing Manager Practice Benjamin Oatmen, Librarian Bridget Kibbey, Director of Chamber Music Hsiao-Fang Lin, IT Associate and Arts Advocacy Viktor Tóth, Production Coordinator Kristin Roca, Administrative Assistant

BARD COLLEGE

Board of Trustees Marieluise Hessel James C. Chambers ’81, Chair Maja Hoffmann George F. Hamel Jr., Vice Chair Matina S. Horner+ Emily H. Fisher, Vice Chair Charles S. Johnson III ’70 Elizabeth Ely ’65, Secretary; Life Trustee Mark N. Kaplan, Life Trustee Stanley A. Reichel ’65, Treasurer; Life Trustee George A. Kellner Fredric S. Maxik ’86 Fiona Angelini James H. Ottaway Jr., Life Trustee Roland J. Augustine Hilary C. Pennington Leon Botstein+, President of the College Martin Peretz, Life Trustee Stuart Breslow+ Stewart Resnick, Life Trustee Mark E. Brossman David E. Schwab II ’52 Jinqing Cai Roger N. Scotland ’93, Alumni/ae Trustee Marcelle Clements ’69, Life Trustee Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche, Jeannette Taylor+ Honorary Trustee James A. von Klemperer Asher B. Edelman ’61, Life Trustee Brandon Weber ’97, Alumni/ae Trustee Robert S. Epstein ’63 Susan Weber Barbara S. Grossman ’73, Alumni/ae Trustee Patricia Ross Weis ’52 Andrew S. Gundlach Sally Hambrecht + ex officio

THE ORCHESTRA NOW: UPCOMING EVENTS

Sunday, May 19, 2019, at 2 p.m. ABSTRACTION IN MUSIC AND ART

Conductor and music historian Leon Botstein explores the parallels between music and art. A discussion is accompanied by musical excerpts and on-screen artworks, then a full performance and audience Q&A.

Leon Botstein, conductor

Webern Six Pieces for Orchestra Feldman Orchestra (NY Premiere) the artwork of the Abstract Expressionists

More information available at theorchestranow.org.

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