Friday Evening, October 16, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents Mimesis: Musical Representations LEON BOTSTEIN, Conductor

GUNTHER SCHULLER Seven Studies on Themes of Paul Klee Antique Harmonies Abstract Trio Little Blue Devil The Twittering-machine Arab Village An Eerie Moment Pastorale

HENRI DUTILLEUX Correspondances Gong (1) Danse Cosmique Interlude À Slava et Galina... Gong (2) De Vincent à Théo SOPHIA BURGOS, Soprano

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. NICO MUHLY Seeing is Believing TRACY SILVERMAN, Electric Violin

RICHARD STRAUSS Also sprach Zarathustra, Op. 30 Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) Von den Hinterweltlern (Of Those in Backwaters) Von der großen Sehnsucht (Of the Great Longing) Von den Freuden und Leidenschaften (Of Joys and Passions) Das Grablied (The Song of the Grave) Von der Wissenschaft (Of Science and Learning) Der Genesende (The Convalescent) Das Tanzlied (The Dance Song) Nachtwandlerlied (Song of the Night Wanderer) (No pause between sections)

This evening’s concert will run approximately two hours and 11 minutes including one 20-minute intermission.

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FROM THE Music Director Mimesis: Musical Representations The program seeks to inspire each of us by Leon Botstein to ask: How does music mean? What resemblances or divergences does it This season’s opening concert addresses have to words and images? What did a basic and persistent question that has composers intend to communicate and remained the subject of endless debate can we know that from hearing the and speculation. The answer remains music? Do we perceive or attribute sig- unresolved and contested, a fact that nificance in music differently from previ- inspired Leonard Bernstein to appropri- ous generations? Is listening, like seeing, ate the title of a work by Charles Ives, a human experience that changes over “The Unanswered Question,” for his time, rendering listening as an historical Harvard Norton Lectures on music. This phenomenon? Has something changed concert invites the audience to explore over the past century in our perception the character of music through the of the musical experience? medium of “classical” (or, as Bernstein once put it, “exact”) music written dur- The oldest piece in this concert, and its ing the past century and a half. closing work, was written at the end of the 19th century. It is the best known What Strauss drew from Nietzsche is and perhaps the most candidly philo- the conviction that the making of art, sophical work of the four on tonight’s and music in particular, was the highest program. Richard Strauss was influ- and most fully human expression of enced, as were many in his generation, greatness and the most powerful by Nietzsche’s startling poetic master- medium by which to define, represent, piece, the epic Also sprach Zarathustra and conjure human reality and experi- (Thus Spoke Zarathustra). Strauss read ence. As Strauss traverses Nietzsche’s literature and philosophy closely. His poem, he displays his unrivaled com- encounter with Nietzsche informed, mand of musical thought and sonority among other things, his lifelong athe- to evoke the language, events, and ideas ism and his skeptical attitude to an ide- of the text, and to match the poetry alistic view of music as a medium of with a musical interpretation as mov- metaphysical truth. Despite his deep ing, beautiful, and dramatic as the liter- admiration for how Wagner wrote music, ary text itself. he remained skeptical about Wagner’s extravagant claims on behalf of music Next in chronological sequence is the late with regard to philosophy and politics. Gunther Schuller’s best known orchestral work, the Seven Studies on Themes of As the famous opening of Nietzsche’s Paul Klee. Written in the late 1950s, a poem (and Strauss’ tone poem) make half-century after Strauss, Schuller’s plain, Nietzsche’s ambition is to force concerns were more formalist in nature. us to fundamentally invert our inher- Schuller, an eclectic and astonishingly ited scale of values. It is not a meta- versatile modernist composer, explored physical God or the Sun whom we should the formal parallels between music and worship and feel beholden to. Rather it the visual arts. By the mid-20th century, is the Sun who should be grateful to the modernist painting rejected the illu- human individual, for only humans cre- sions of visual realism, in which art ate value and meaning. If it were not for gave the viewer the sense of seeing some someone to shine on, the Sun would “objective” external reality or seeing have neither purpose nor meaning. It is how the painter saw external reality not God (our invention), the heavens, subjectively. Consider a portrait, a land- or our soul that is of greatest value, but scape, or a genre scene. The most aggres- the body, the physical, the time bound, sive retreat from any such connection mortal character of real human exis- between representation and the clearly tence on earth that is our greatest gift artificial frame of a painting was abstrac- and merits celebration. It is we, after tion and non-objective art, both of which all, who have invented the idea of the sought to celebrate the self-referential for- soul. Our very mortality and earth-bound mal elements of the visual as autonomous world permit us to love, sense beauty, and divorced even from an impression- and think. The glorious, triumphant, ist or expressionist subjective response and sensual opening (made famous by to the external world. In Klee, Schuller Kubrick’s film 2001: A Space Odyssey) found a painter who sought to do some- of Strauss’ tone poem is not a musical thing similar to what modernist com- depiction of the sun rising, but is rather posers in the 20th century hoped to the bold expression of an individual achieve: a distancing from any overt imagination that helps vest what we see inherited connection between musical with a grandeur that is not inherent in rhetoric—the shape of melodies and the what is out there, but exists only in the use of rhythm and harmony—and ordi- act of lending experience meaning. nary meaning. Music ought not illustrate or represent reality in any manner rem- correspond, and match our understand- iniscent of realist painting. Music had ings? Does the reading of a recipient to become free of overt mimesis and match the intentions of the writer? If create new meaning within the frame- that is clearly a complex and open ques- work of its own elements and practices, tion, might one also ask whether there using sound, silence, and time. Klee, are correspondences between music who was also a fine musician and a and words? devoted listener, found inspiration for his visual creations in music, and Last but not least, this first ASO concert Schuller, in turn, took inspiration from of the season presents a contemporary Klee’s unabashedly “musical” approach work by a celebrated young American to painting. composer, Nico Muhly, whose long association with the American Sym- Henri Dutilleux, one of the great com- phony Orchestra dates from well before posers of the late 20th century, in his he came into the limelight. Muhly’s song cycle Correspondances explores, music explores not only the nature of as Byron Adams points out, not only music, but also its potential connec- the link between language and music, tions to reality, to the contemporary but between the visual and music. social fabric, and the cultural conceits Using the tradition of speculation about and expectations of audiences. What art centered in Baudelaire, Dutillieux are the unique possibilities facing new also references letter writing. Dutillieux music today? What functions can be uses music to augment and divert from ascribed to contemporary music written linguistic meaning and seeks to work within the classical tradition in the con- out from language. The letter, as a text of the rich varieties of music that medium, is the most direct form of flourish today? communication; it is private writing between two people. Dutillieux explores Music is not strictly mimetic in the lit- how composed, written music can cre- erary sense, particularly as most famously ate sensibilities and meanings beyond elaborated by Erich Auerbach’s classic the range of words. In letters there is a book Mimesis. But it is clearly in some writer and a recipient: two subjective sense mimetic of the human experience, voices. In music, a unifying temporal of memory, joy and suffering, tied to frame is created. The writer and reader concrete realities that disappear, fade, meet simultaneously, and share in a and dissolve. Music does so in a man- transformative reading that extends the ner that neither falsifies nor hides the boundaries of the text. Music neither more familiar physical and historical represents nor interprets the text. Yet it dimensions of the external world. reveals a nascent presence of something Music’s temporal nature, its capacity to in words that without music never be remade, reheard, and recreated, its comes into being. The descriptive lan- distance from but affinity to the lin- guage about the visual experience only guistic and the visual, may ironically deepens the link between music and make it the most profoundly mimetic, words. The irony in the title becomes with respect to the human experience, evident. When we write, do we actually of all the arts. THE Program by Byron Adams and Nico Muhly

Gunther Schuller Born November 22, 1925, in Jackson Heights, New York Died June 21, 2015, in Boston

Seven Studies on Themes of Paul Klee Composed in 1959 Premiered on November 27, 1959, at the Northrop Memorial Auditorium in Minneapolis by the Minneapolis Symphony Orchestra conducted by Antal Dorati Performance Time: Approximately 21 minutes

Instruments for this performance: 3 flutes, 3 piccolos, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (vibraphone, glockenspiel, snare drum, bass drum, wood block, guiro, claves, triangle, hi-hat, suspended cymbal), 1 piano, 1 harp, 32 violins, 12 violas, 12 cellos, and 8 double-basses

Gunther Schuller was a brilliant poly- An unusually intellectual composer, math: a virtuoso horn player, a visionary Schuller made a connection between administrator, a celebrated conductor, the expressionism of Schoenberg and an author, an influential teacher, and a the bebop style of jazz developed dur- gifted, self-taught composer. His career ing the 1950s by Thelonius Monk, began as a choirboy at St. Thomas Dizzy Gillespie, and John Coltrane. Church Choir School in New York, Never a snob, Schuller sought to com- where he also began lessons on the bine progressive classical music and French horn. By 1943 he was appointed modern jazz into a “third stream.” In principal horn of the Cincinnati Sym- addition to jazz, Schuller was power- phony Orchestra—at the age of 18. He fully inspired by visual art. Several of then joined the horn section of the Met- his scores, such as the coruscating ropolitan Opera Orchestra, where he Seven Studies on Themes of Paul Klee, remained until 1959. Schuller taught are musical analogues of sculpture or composition at the Manhattan School paintings. Schuller wrote that in Seven and at Yale University before joining Studies on Themes of Paul Klee he the New England Conservatory; he was sought a “retranslation into musical president of that institution from 1967 terms of the ‘musical’ elements in cer- to 1977. He taught composition at the tain Klee pictures…. Each of the seven Berkshire Music Center from 1963 to pieces bears a slightly different relation- 1984. Much honored for his music as ship to the original Klee picture from well as for his championship of American which it stems.” Seven Studies on composers, Schuller earned a Grammy Themes of Paul Klee includes one of in 1974 for a recording of Scott Joplin’s Schuller’s chief preoccupations: the music. He received a McArthur Foun- movement entitled Little Blue Devil is dation “Genius” Award in 1991 and he an engaging example of the composer’s was awarded the Pulitzer Prize for “third stream” practice, a witty evoca- Music in 1994. tion of Klee’s sinister and gleeful image. Henri Dutilleux Born January 22, 1916, in Angers, France Died May 22, 2013, in Paris

Correspondances Composed in 2003 Premiered September 5, 2003, at the Philharmonie in Berlin by the Berliner Philharmoniker, which commissioned the piece in 1983, conducted by Simon Rattle with soprano Dawn Upshaw Performance Time: Approximately 23 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 3 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (suspended cymbal, tam-tam, 3 bongos, 3 tom-toms, snare drum, bass drum, marimba), 1 celeste, 1 harp, 1 accordion, 32 violins, 12 violas, 12 cellos, 8 double-basses, and solo soprano

A noble man who participated in the music, literature, and painting. As the French Resistance during the Second composer noted, “The work’s general World War, Henri Dutilleux was, with title, Correspondances, beyond the dif- Messiaen, one of the two true heirs to ferent meanings that could be given to the grand tradition established by his this word, refers to Baudelaire’s famous predecessors Fauré, Ravel, Dukas, and poem, ‘Correspondances,’ and to the Debussy. But these composers in turn synaesthesias he himself evoked.” The inherited the aesthetic principals be - opening lines of Baudelaire’s poem may queathed to them by the incandescent well provide a clue to Dutilleux’s poet Charles Baudelaire. Both Fauré music: “Nature is a temple where living and Debussy set poetry by Baudelaire, pillars / Let escape sometimes confused and Ravel cultivated the idea of the words.” Baudelairean dandy in both his life and art. Like Ravel, Dutilleux was a fastidi- As Baudelaire’s aesthetic of synaesthe- ous composer who refused to court easy sia, the blending of sensory stimuli and popularity. Dutilleux composed slowly responses, included the visual as well as and meticulously: he was undisturbed if the auditory, Dutilleux likewise fol- a score took 20 years to complete. In lowed Baudelaire’s example by evoking other words, he valued perfection over painting through setting a text drawn facility, elegance over prolificacy, and from a letter written by Vincent Van the lapidary over the ephemeral. Gogh to his devoted brother Théo: “I go outside in the night to paint the So it comes as no surprise to learn that stars…to feel the stars and the clear Dutilleux’s ravishing song cycle Corre- infinite shining heavens above.” Indeed, spondances was commissioned by the during this movement, Dutilleux, him- Berliner Philharmoniker in 1983 and pre- self the grandson of a distinguished miered in its final form on September 5, painter, quotes from his orchestral score 2003—20 years later. Dedicated to Timbres, espace, mouvement ou La Nuit Dawn Upshaw and Sir Simon Rattle, etoilée (1978), a work that was inspired Correspondances is a Baudelairean score by Van Gogh’s magnificent painting filled with subtle connections between Starry Night. Nico Muhly Born August 26, 1981, in Vermont

Seeing is Believing Composed in 2007 Original version premiered on January 7, 2008, at the Royal Academy of Music in London by the Aurora Orchestra conducted by Nicholas Collon with violinist Thomas Gould Full orchestra version premiered on January 23, 2015, at the Destiny Worship Center in Miramar Beach, Florida, by the Sinfonia Gulf Coast conducted by Demetrius Fuller with violinist Tracy Silverman Performance Time: Approximately 25 minutes

Instruments for this performance: 2 flutes, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 2 French horns, 2 trumpets, 1 trombone, 1 bass trombone, 1 tuba, percussion (vibraphone, claves, bass drum, marimba, wood block, metal pipe), 1 piano, strings, and solo six-string electric violin

Seeing is Believing references the excit- piece. Three minutes in, the woodwinds ing and superstitious practice of observ- begin twittering in what seems to be ran- ing and mapping the sky; while writing dom, insect-like formations. Eventually, it, I wanted to mimic the process by the piano and solo violin “map” them which, through observation, a series of into the celestially pure key of C major; points becomes a line—this seemed like rapturous pulses ensue. A slightly more the most appropriate way to think about stylized and polite version of the insect a soloist versus an orchestra. The electric music appears, and the violin sings long violin is such a specifically evocative lines above it. After a brief return to the instrument and has always reminded me first music, slow, nervous music alter- of the 1980s, and I tried, at times, to ref- nates with fast, nervous music. The fast erence the music attendant to ’80s edu- music takes over, pitches are scattered cational videos about science, which around, the violin calls everybody back always sounded vast and mechanical— to order with 40 repeated notes; rap- and sometimes, quite romantic. turous pulses again ensue. The piece ends as it began, with looped educa- The music begins and ends with the vio- tional music depicting the night sky. lin creating its own stellar landscape through a looping pedal, out of which Nico Muhly is a composer of chamber instruments begin to articulate an music, orchestral music, sacred music, unchanging series of 11 chords which opera, ballet, and music for collabora- governs the harmonic language of the tors across a variety of fields.

Richard Strauss Born June 11, 1864, in Munich Died September 8, 1949, in Garmisch-Partenkirchen, Germany

Also sprach Zarathustra, Op. 30 Composed in 1896 Premiered on November 27, 1896, in Frankfurt conducted by Strauss Performance Time: Approximately 34 minutes Instruments for this performance: 3 flutes, 2 piccolos, 3 oboes, 1 English horn, 2 clarinets, 1 B-flat clarinet, 1 bass clarinet, 3 bassoons, 1 contrabassoon, 6 French horns, 4 trumpets, 3 trombones, 2 tubas, timpani, percussion (glockenspiel, triangle, cymbals, bass drum, suspended cymbal, chimes), 1 organ, 2 harps, 32 violins, 12 violas, 12 cellos, and 8 double-basses

It is difficult to overestimate the dark professor neither better nor worse than glamour that the life and work of the he might have treated an overenthusias- German philosopher Friedrich Nietzsche tic St. Bernard.) Gustav Mahler set a text had for his contemporaries during the drawn from Nietzsche’s philosophical Bil- fin de siècle. André Gide traced his dungsroman, Also sprach Zarathustra, in intellectual heritage to both Nietzsche his Third Symphony (1896), while and Wilde, and H.L. Mencken wrote Frederick Delius based his great choral the first book in English on Nietzsche. fresco, A Mass of Life (which the ASO The works of such disparate authors as will be performing at Carnegie Hall in Jack London, Eugene O’Neill, and April 2016), on extended excerpts from D.H. Lawrence rest on a foundation of the same volume. Nietzsche’s philosophy. Indeed, in his great novel, Doktor Faustus, Thomas The most famous musical work inspired Mann based aspects of the unhappy by Nietzsche is unquestionably the tone fate of his protagonist, the composer poem Also sprach Zarathustra. (It is Adrian Leverkühn, upon Nietzsche’s worth noting that Nietzsche was still own: Mann’s hero dies of syphilis, the alive, although in the throes of dementia, same disease from which the philoso- when Strauss composed his tone poem.) pher perished. Strauss carefully described his score as “freely after Nietzsche”; he had earlier Mann’s expropriation of Nietzsche’s biog- read attentively the philosopher’s writ- raphy demonstrated his canny awareness ings. What Strauss sought to find were of the connections between the philoso- musical analogies to Nietzsche’s abstract pher’s career and German musical life of ideas and exalted prose. In 1895 Strauss the early 20th century. Like Schopenhauer, wrote to Friedrich von Hausegger, “While Nietzsche was fascinated with music. reading Schopenhauer or Nietzsche or Nietzsche had attempted to compose some history book, I will get an uncon- music, with varying success, and was trollable urge to go to the piano…. The first a worshipful friend—and later a intellect alone is engaged.” bitter foe—of Richard Wagner. (In the diaries kept by Cosima Wagner, it is Byron Adams is professor of musicology clear that her husband treated the young at the University of California, Riverside. Texts AND Translations Correspondances HENRI DUTILLEUX

I. Gong (1) Poem by Rainer Maria Rilke

Timbre No longer for ears…: sound qui n’est plus par l’ouïe measurable. which, like a deeper ear, Comme si le son qui nous surpasse de hears us, who only seem toutes parts Etait l’espace qui mûrit. to be hearing. Reversal of spaces.

From: Ahead of All Parting: The Selected Poetry and Prose of Rainer Maria Rilke by Stephen Mitchell. Copyright © 1995 Modern Library, New York

II. Danse Cosmique (The Cosmic Dance) Poem by Prithwindra Mukherjee

Des flammes, des flammes qui Flames, o Flames that invade the sky, envahissent le ciel, Qui es-tu, ô danseur, dans l’oubli du Who are you, o Dancer in oblivion of monde? the world? Tes pas et tes gestes font dénouer tes tresses, Your steps and your gestures undo your locks, Tremblent les planètes et la terre sous tes The earth and the planets all tremble pieds. under your feet.

Des flammes, des flammes qui Flames, o Flames that invade the earth, envahissent la terre, Des flammes de déluge pénétrant tous les Flames like a deluge rush inside hearts, cœurs, Effleurant les ondes de l’océan des nuits, Teasing the waves of a nocturnal ocean Des foudres se font entendre au rythme Thunders peal in a lightning rhythm. des éclairs.

Des flammes, des flammes dans les gouffres Flames, o Flames inside abysmal caverns souterrains, Des bourgeons de tournesol ouvrent Where buds of sun-flower keep on leurs pétales, blooming, Des squelettes du passé dans la caresse Skeletons of the past, caressed by fire du feu Engendrent les âmes d’une création Start souls invoking a new creation. nouvelle.

Des flammes, des flammes dans le coeur Flames, o Flames inside the heart of de l’homme, Man: Qui es-tu, ô barde céleste, qui chantes Who are you, heavenly Bard, voicing l’avenir? Tomorrow? Copyright © La danse cosmique, trilingual edition of selected poems Le Décaèdre/ Findakly, 2003, 63p; English translation by the author III. À Slava et Galina... (Dear Galochka and Slava!) Letter by Aleksandr Solzhenitsyn

A l’approche du dixième anniversaire de As the tenth anniversary of my exile mon exil, des scènes des années terribles approaches, scenes of the terrible, trying et accablantes reprennent vie devant mes years preceding it come alive. Alya and I yeux. Alia et moi avons repensé à ces have been thinking back: without your moments: sans votre protection et votre protection and support, I simply would soutien, jamais je n’aurais pu supporter not have survived those years. I would ces années-là. J’aurais fait naufrage, car have foundered—my strength was ma vigueur était déjà près de s’éteindre. already coming to an end. I simply had Je n’avais pas de toit pour m’abriter: à nowhere to live; in Ryazan they would Riazan, on m’aurait étouffé. Et vous, have smothered me…. And you tended vous avez protégé ma solitude avec un my solitude with tact, you didn’t even tact tel que vous ne m’avez même pas tell me of the growing constraints and parlé des contraintes et du harcèlement harassment you were subjected to. You auxquels vous étiez soumis. Vous avez created an atmosphere I never dreamed créé une atmosphère que je n’aurais pas possible…. Without it, I most likely imaginée possible. Sans elle, j’aurais would have burst, and wouldn’t have probablement explosé, incapable de tenir held out until 1974. jusqu’en 1974.

Se rappeler tout cela avec gratitude, To recall all that with gratitude is to say c’est bien peu dire. Vous l’avez payé little. You paid a cruel price for it, espe- bien cruellement, surtout Galina qui a cially Galya, who lost her theatre forever. perdu à jamais son théâtre. Toute ma No gratitude of mine can compensate for gratitude ne suffira jamais à compenser such losses. One can only derive strength de telles pertes. Tout au plus peut-on from the knowledge that in our time we retirer une certaine force de la conviction Russians are fated to a common doom, qu’en ce siècle, nous autres Russes and one can only hope that the Lord will sommes tous voués au même et terrible not punish us to the end. destin et d’espérer que le Seigneur ne nous punira pas jusqu’au bout.

Merci, mes chers amis. Thank you, my dear friends…. Yours Bien à vous pour toujours. always….

From: Galina. A Russian Story, Copyright © 1984 Galina Vishnevskaya and Harcourt, Inc. for the English translation by Guy Daniels. All Rights Reserved.

IV. Gong (2) Poem by Rainer Maria Rilke

Bourdonnement épars, silence perverti, A scattered humming, perverted silence, Tout ce qui fut autour, en mille bruits se all that was around changes to a thousand change, noises, Nous quitte et revient: rapprochement leaves us and returns: the strange étrange harmony De la marée de l’infini. of infinity’s tide.

English language translation copyright © 1986 by A. Poulin, Jr. Reprinted from The Complete French Poems of Rainer Maria Rilke with permission of Graywolf Press, Saint Paul, Minnesota V. De Vincent à Théo (From Vincent to Theo) Letter by Vincent van Gogh

…Tant que durera l’automne, je n’aurais …As long as autumn lasts, I shall not pas assez de mains, de toile et de couleurs have hands, canvas and colours enough pour peindre ce que je vois de beau. to paint the beautiful things I see. …J’ai un besoin terrible de religion. …It does not prevent me from having a Alors, je vais la nuit, dehors, pour peindre terrible need of [shall I say the word– of] les étoiles. Sentir les étoiles et l’infini, religion—then I go outside in the night alors, la vie est tout de même presque to paint the stars…. And all the same to enchantée. feel the stars and the infinite high and clear above you. Then life is almost enchanted after all.

…Tout et partout, la coupole du ciel est …Everywhere and all over the vault of d’un bleu admirable, le soleil a un heaven is a marvelous blue, and the sun rayonnement de soufre pâle et c’est doux sheds a radiance of pale sulphur, and it is et charmant comme la combinaison des soft and as lovely as the combination of bleus célestes et des jaunes dans les heavenly blues and yellows in a Van der Vermeer de Delft. Malheureusement à Meer of Delft…. Unfortunately, along côté de soleil du Bon Dieu il y a, trois with the Good God sun three quarters of quarts du temps, le Diable Mistral. the time there is the devil mistral.

…Dans mon tableau “café de nuit”, j’ai …In my picture of the “Night Café” I cherché à exprimer que le café est un have tried to express the idea that the endroit où l’on peut se ruiner, devenir café is a place where one can ruin oneself, fou, commettre des crimes. Enfin, j’ai go mad or commit a crime. So I have cherché par des contrastes de rose tendre tried to express, as it were, the powers of et de rouge sang et lie de vin, avec les darkness in a low public house, by vertsjaunes et les verts-bleus durs, tout contrasting soft pink with blood-red and cela dans une atmosphère de fournaise wine-red…with yellow-greens and harsh infernale, j’ai cherché à exprimer, dans blue-greens, and all this in an atmosphere une atmosphère de fournaise infernale, like a devil’s furnace, of pale sulphur. j’ai cherché à exprimer comme la puissance des ténèbres d’un assommoir.

Copyright © 2001 R.G. Harrison, for the English translation THE Artists LEON BOTSTEIN, Conductor Mr. Botstein leads an active schedule as a guest conductor all over the world, and can be heard on numerous record- ings with the London Symphony (includ- RIC RIC KALLAHER ing their Grammy-nominated recording of Popov’s First Symphony), the Lon- don Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orches- tra. Many of his live performances with the American Symphony Orchestra are available online, where they have cumu- latively sold more than a quarter of a million downloads. Upcoming engage- ments include the Royal Philharmonic, Wiesbaden, UNAM Mexico, and the Leon Botstein is now in his 24th year as Simon Bolivar Orchestra in Caracas. music director and principal conductor He recently conducted the Russian of the American Symphony Orchestra. National Orchestra, the Taipei Sym- This season he also begins his tenure as phony, the Los Angeles Philharmonic, the music director of The Orchestra and the Sinfónica Juvenil de Caracas in Now, an innovative training orchestra Venezuela and Japan, the first non- composed of top musicians from Venezuelan conductor invited by El Sis- around the world. Mr. Botstein has tema to conduct on a tour. been hailed for his visionary zeal, often creating concert programs that give Highly regarded as a music historian, audiences a once-in-a-lifetime chance Mr. Botstein’s most recent book is Von to hear live performances of works that Beethoven zu Berg: Das Gedächtnis are ignored in the standard repertory, der Moderne (2013). He is the editor of and inviting music lovers to listen in The Musical Quarterly and the author their own way to create a personal of numerous articles and books. He is experience. At the same time, he brings currently working on a sequel to Jeffer- his distinctive style to core repertory son’s Children, about the American edu- works. He is also artistic director of cation system. Collections of his writings Bard SummerScape and the Bard Music and other resources may be found online Festival, which take place at the at LeonBotsteinMusicRoom.com. For Richard B. Fisher Center for the Per- his contributions to music he has forming Arts at Bard College, where he received the award of the American has been president since 1975. In addi- Academy of Arts and Letters and Har- tion, he is conductor laureate of the vard University’s prestigious Centen- Jerusalem Symphony Orchestra, where nial Award, as well as the Cross of he served as music director from Honor, First Class from the govern- 2003–11. ment of Austria. Other recent awards include the Caroline P. and Charles W. Academic Leadership Award. In 2011 Ireland Prize, the highest award given he was inducted into the American by the University of Alabama; the Philosophical Society. Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that Mr. Botstein is represented worldwide composer’s music; the Leonard Bernstein by Susanna Stefani Caetani and in the Award for the Elevation of Music in United States by Columbia Artists Society; and Carnegie Foundation’s Management Inc.

SOPHIA BURGOS, Soprano Chicago-born soprano Sophia Burgos was influenced early on by the music of her Puerto Rican culture. During the sum- mer of 2015 she participated as a vocal fellow at the Tanglewood Music Center. There, she had the privilege of premiering two songs by André Previn, performing a scene from Osvaldo Golijov’s Ainadamar, and performing George Crumb’s Ancient Voices of Children. Following Tangle- wood, she continued her collaboration with Golijov in presenting freshly com- posed excerpts of his most-recent opera, Iphigenia in Aulis, for the Met- ropolitan Opera. During the summer of 2014 she was invited to the Lucerne [Switch~ Ensemble] and has performed Festival Academy as a soloist in Luciano with various contemporary music ensem- Berio’s Coro and was selected for mas- bles including the Eastman Musica ter classes and private instruction with Nova Ensemble and as soloist for the Barbara Hannigan, performing as soloist Ritsos Project in Athens, Greece. in Schoenberg’s String Quartet No. 2 and Matthias Pintscher’s Twilight Song. Ms. Burgos received her bachelor’s She also performed the title role of degree in vocal performance from the Handel’s rarely-performed oratorio Eastman School of Music, where she Esther, with the Bard College Baroque studied with Jan Opalach. She is cur- Ensemble conducted by James Bagwell. rently completing her master’s studies at the Bard College Conservatory of An advocate of contemporary music, Music studying with Edith Bers, Kayo Ms. Burgos is an active soloist with the Iwama, and Dawn Upshaw. NICO MUHLY, Composer, Seeing is Believing an encore for violinist Hilary Hahn, and a viola concerto for Nadia Sirota. The Metropolitan Opera recently com- missioned him to compose Marnie for its 2019–20 season, based on Winston

MATTHEW MURPHY MATTHEW Graham’s 1961 novel that was adapted into an Alfred Hitchcock movie.

Mr. Muhly has scored ballets for chore- ographer Benjamin Millepied, includ- ing the most recent work for Paris Opera Ballet, and films including The Reader, Kill Your Darlings, and Me and Earl and the Dying Girl, in addi- tion to arranging music by Antony & Nico Muhly is a composer of chamber the Johnsons and the National. His music, orchestral music, sacred music, debut CD, Speak Volumes (2007), was opera, ballet, and music for collabora- the first of many collaborations with tors across a variety of fields. He has the artists of Reykjavik’s Bedroom been commissioned by St. Paul’s Cathe- Community label, and with singer- dral and Carnegie Hall, and has written songwriter Thomas Bartlett (Dove- choral music for The Tallis Scholars man), he is half of the gamelan-inspired and The Hilliard Ensemble, songs for song project Peter Pears. He lives in Anne Sofie von Otter and Iestyn Davies, New York City.

TRACY SILVERMAN, Electric Violin Island String Quartet, he has con- tributed significantly to the repertoire and development of what he calls “21st century violin playing.” His work has

MARTIN CHERRY MARTIN inspired several major concertos com- posed specifically for him, including Pulitzer winner John Adams’ The Dharma At Big Sur, premiered with the Los Angeles Philharmonic at the gala opening of Walt Disney Concert Hall in 2003 and recorded with the BBC Sym- phony on Nonesuch Records. Legendary “Father of Minimalism” Terry Riley’s electric violin concerto, The Palmian Chord Ryddle, was premiered by Mr. Tracy Silverman is the world’s foremost Silverman with the Nashville Sym- concert six-string electric violinist, and phony at Carnegie Hall in 2012 and was named one of 100 distinguished recorded by Naxos Records, and Kenji alumni by The Juilliard School. For- Bunch’s concerto Embrace was co- merly first violinist with the Turtle commissioned by nine orchestras and premiered by Mr. Silverman in 2014. Chaos, features the Calder Quartet col- His 2014 recording for Delos/Naxos laborating on Mr. Silverman’s second Records, Between the Kiss and the electric violin concerto of the same title.

THE AMERICAN SYMPHONY ORCHESTRA

Now in its 54th season, the American SummerScape Festival and the Bard Symphony Orchestra was founded in Music Festival. The orchestra has made 1962 by Leopold Stokowski, with a several tours of Asia and Europe, and mission of making orchestral music acces- has performed in countless benefits for sible and affordable for everyone. Music organizations including the Jerusalem Director Leon Botstein expanded that Foundation and PBS. mission when he joined the ASO in 1992, creating thematic concerts that explore Many of the world’s most accomplished music from the perspective of the visual soloists have performed with the ASO, arts, literature, religion, and history, and including Yo-Yo Ma, Deborah Voigt, reviving rarely-performed works that and Sarah Chang. The orchestra has audiences would otherwise never have a released several recordings on the Telarc, chance to hear performed live. New World, Bridge, Koch, and Vanguard labels, and many live performances The orchestra’s Vanguard Series con- are also available for digital down- sists of multiple concerts annually at load. In many cases these are the only Carnegie Hall. ASO also performs at existing recordings of some of the rare the Richard B. Fisher Center for the works that have been rediscovered in Performing Arts at Bard College in Bard’s ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I VIOLIN II VIOLA Anik Oulianine Erica Kiesewetter, Richard Rood, William Frampton, Igor Scedrov Concertmaster Principal Principal Kate Spingarn Brian Krinke Sophia Kessinger Sally Shumway Christine Kim Ragga Petursdottir Yana Goichman Martha Brody Joseph Kimura Elizabeth Nielsen Heidi Stubner Shelley Holland- Jordan Enzinger Ashley Horne Lucy Morganstern Moritz Miho Zaitsu Mara Milkis Alexander Vselensky Rachel Riggs Alexandra Jones Nazig Tchakarian Naho Parrini Crystal Garner Clara Kennedy Philip Payton Kathryn Aldous Adria Benjamin Emma Sutton Shinwon Kim Louis Day BASS Lisa Matricardi Lisa Steinberg Gillian Gallagher Jordan Frazier, Wendy Case Lisa Tipton Ariel Rudiakov Principal Brian Fox Laura Bald Adrienne Sommerville Jack Wenger Emily Bruskin Roy Lewis David Fallo Louis Bruno Sebu Sirinian Wei Tan Richard Ostrovsky Mioi Takeda Laura Smith CELLO Tony Flynt Kate Light Sharon Gunderson Eugene Moye, William Sloat Principal William Ellison Robert Burkhart Richard Messbauer Tatyana Margulis FLUTE BASSOON TROMBONE ORGAN Karla Moe, Principal Charles McCracken, Richard Clark, Kent Tritle Katherine Fink Principal Principal Diva Goodfriend- Maureen Strenge Bradley Ward HARP Koven, Piccolo Gilbert Dejean, Jeffrey Caswell Victoria Drake, Fania Wyrick-Flax Contrabassoon Principal Gili Sharett TUBA Cecile Schoon OBOE Kyle Turner, Principal Alexandra Knoll, HORN Andrew Bove ACCORDION Principal Zohar Schondorf, William Schimmel Erin Gustafson Principal TIMPANI Laura Covey, English David Smith Jonathan Haas, PERSONNEL Horn Lawrence DiBello Principal MANAGER Setsuko Otake Kyle Hoyt Patty Schmitt Chad Yarbrough PERCUSSION CLARINET Theodore Primis Matthew Beaumont, ASSISTANT Laura Flax, Principal Shelagh Abate, Principal CONDUCTOR Benjamin Baron Assistant David Nyberg Zachary Schwartzman Shari Hoffman, Eb Andrew Beall Clarinet TRUMPET ORCHESTRA David Gould, Bass Carl Albach, Principal KEYBOARD LIBRARIAN Clarinet John Dent Elizabeth Wright, Marc Cerri Matthew Mead Principal Dominic Derasse

ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Debra R. Pemstein Thurmond Smithgall, Vice Chair Eileen Rhulen Felicitas S. Thorne Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski Shirley A. Mueller, Esq.

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director James Bagwell, Principal Guest Conductor Oliver Inteeworn, General Manager Zachary Schwartzman, Assistant Conductor Brian J. Heck, Director of Marketing Richard Wilson, Composer-In-Residence Nicole M. de Jesús, Director of Development James Bagwell, Artistic Consultant Sebastian Danila, Library Manager Carley Gooley, Marketing Assistant Carissa Shockley, Operations Assistant

AMERICAN SYMPHONY ORCHESTRA PATRONS

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

Mimesis: Musical Representations has been made possible due in part to The Amphion Foundation.

The ASO would also like to thank the following individuals for their support of tonight’s program:

Veronica and John Frankenstein Rachel and Dr. Shalom Kalnicki Michael and Anne Marie Kishbauch Thurmond Smithgall John D. Knoernschild Pamela F. Mazur and Michael J. Miller as of September 11, 2015

MAESTRO’S CIRCLE The Atlantic Philanthropies James H. and Louise V. North 1848 Foundation Director/Employee Anthony Richter The Achelis Foundation Designated Gift Program David E. Schwab II and Ruth Delius Trust Joel I. and Ann Berson Schwartz Schwab Jeanne Donovan Fisher The David & Sylvia Janet Zimmerman Segal The Frank & Lydia Bergen Teitelbaum Fund, Inc. Peter and Eve Sourian Foundation Karen Finkbeiner Joseph and Jean Sullivan Rachel and Shalom Kalnicki Gary M. Giardina Siri von Reis The Lanie & Ethel Foundation Peter L. Kennard National Endowment for the Arthur S. Leonard CONTRIBUTORS Arts (NEA) Dr. and Mrs. Peter J. Linden Anonymous (2) New York City Department Mary F. and Sam Miller Gary Arthur of Cultural Affairs (DCA) Dr. Pamela F. Mazur and Dr. Miriam Roskin Berger New York State Council on Dr. Michael J. Miller Jeffrey Caswell the Arts (NYSCA) Lisa Mueller and Gara Isabelle A. Cazeaux Open Society Foundations LaMarche Roger Chatfield Thurmond Smithgall James and Andrea Nelkin B. Collom and A. Menninger Felicitas S. Thorne Mark Ptashne and Lucy Elliott Forrest The Winston Foundation Gordon Anna and Jonathan Haas Patricia E. Saigo Max and Eliane Hahn STOKOWSKI CIRCLE Susan Stempleski Ashley Horne Anonymous Tides Foundation, on the Peter Kroll The Ann & Gordon Getty recommendation of Kathryn Adnah G. and Grace W. Foundation McAuliffe and Jay Kriegel Kostenbauder Michael and Anne Marie Nancy Leonard and Kishbauch SUSTAINERS Lawrence Kramer Dimitri B. and Rania Anonymous (3) Steve Leventis Papadimitriou The Bialkin Family Foundation Peter A. Q. Locker Thomas P. Sculco, M.D. and Thomas and Carolyn P. Cassilly Alan Mallach Cynthia D. Sculco Ellen Chesler and Matthew J. Stephen J. Mc Ateer The Spektor Family Mallow Charles McCracken, in Foundation Veronica and John memory of Jane Taylor Mr. and Mrs. Richard E. Wilson Frankenstein Sally McCracken Irwin and Maya B. Hoffman Kurt Rausch and Lorenzo BENEFACTORS IBM Corporation Martone Anonymous Patricia Kiley and Edward Roland Riopelle and Leslie Catharine Wilder Guiles Faber Kanter Mrs. James P. Warburg Erica Kiesewetter Martha and David Schwartz Tappan Wilder Jack Kliger and Amy Griggs Alan Stenzler The Wilder Family Jeanne Malter Mr. and Mrs. Jon P. Tilley The Vaughan Williams William McCracken and Robert and Patricia Ross Weiss Charitable Trust Cynthia Leghorn Susan and Graham McDonald SUPPORTERS PATRONS Joanne and Richard Mrstik Anonymous (11) The Amphion Foundation Shirley A. Mueller American Express Gift Anonymous (2) Tatsuji Namba Matching Program Bernard Aptekar Alan B. McDougall Lois Conway John and Joanne Baer Sally and Bruce McMillen Michael and Frances Curran Marian D. Bach Clifford S. Miller Judy Davis The Bank of America Phyllis and Stanley Mishkin Thomas J. De Stefano Charitable Foundation Martin L. and Lucy Miller Susanne Diamond Reina Barcan Murray Ruth Dodziuk-Justitz and Carol Kitzes Baron Kenneth Nassau Jozef Dodziuk Ruth Baron Michael Nasser Barton Dominus Mary Ellin Barrett Karen Olah Robert Durst Dr. Robert Basner Clarence W. Olmstead, Jr. Jonathan F. Dzik David C. Beek and Gayle and Kathleen F. Heenan Lee Evans Christian Roger and Lorelle Phillips Anne Stewart Fitzroy Simone Belda David R. Pozorski and Anna ExxonMobil Foundation Yvette and Maurice Bendahan M. Romanski Donald W. Fowle Adria Benjamin Wayne H. Reagan Helen Garcia Daniel and Gisela Berkson Bonita Roche Barbara Gates Stephen M. Brown Phyllis and Leonard Rosen Goldman, Sachs & Co. Marjorie Burns Rochelle Rubinstein Robert Gottlieb Moshe Burstein Michael T. Ryan Michael and Ilene Gotts CA Technologies Henry Saltzman Mr. and Mrs. Sidney Greenberg Richard C. Celler Peter Lars Sandberg John Hall Barbara and Peter Clapman Albert Sargenti Donald Hargreaves Theodore and Alice Ginott Sari Scheer and Samuel Kopel Andrée Hayum Cohn Philanthropic Fund Nina C. and Emil Scheller John Helzer Laura Conwesser Sharon Schweidel Robert Herbert Herbert and Mary Donovan Gerald and Gloria Scorse Gerald and Linda Herskowitz Paul Ehrlich Margret Sell Diana F. Hobson Richard Farris Georgi Shimanovsky Christopher Hollinger Lynda Ferguson Bruce Smith and Paul Castellano Cyma Horowitz Martha Ferry Gertrude Steinberg Drs. Russell and Barbara Laura Flax Hazel C. and Bernard Strauss Holstein Jeffrey F. Friedman Helen Studley Theresa Johnson Christopher H. Gibbs Robert Sweeney Ginger Karren Ann and Lawrence Gilman Margot K. Talenti Peter Keil June O. Goldberg Tart-Wald Foundation Kaori Kitao Gordon Gould Catherine Traykovski Pete Klosterman Greenwich House, Inc. Mr. and Mrs. Jack Ullman Frederick R. Koch Nathan Gross Janet Whalen Seymour and Harriet Koenig John L. Haggerty Victor Wheeler Mr. and Mrs. Robert LaPorte Laura Harris Donald W. Whipple David Laurenson Eric S. Holtz Larry A. Wehr Patricia Luca Penelope Hort Michael P. A. Winn Walter Levi Hudson Guild, Inc. Richard J. Wood Judd Levy Sara Hunsicker Leonard and Ellen Zablow José A. Lopez George H. Hutzler Alfred Zoller Sarah Luhby Jewish Communal Fund Myra and Matthew Nancy Lupton José Jiménez Zuckerbraun Dr. Karen Manchester Ronald S. Kahn Richard and Maryanne Robert and Susan Kalish FRIENDS Mendelsohn Dr. Roses E. Katz Anonymous (4) John Metcalfe Robert and Charlotte Kelly Madelyn P. Ashman Mark G. Miksic David Kernahan Stephen Blum Myra Miller Irving and Rhoda Kleiman Mona Yuter Brokaw Alex Mitchell Caral G. and Robert A. Klein Mrs. A. Peter Brown Christine Munson Dr. Carol Lachman Rufus Browning Michael Nassar Shirley Leong Joan Brunskill Leonie Newman Linda Lopez Connie Chen Sandra Novick William Lubliner Nancy L. Clipper Jane and Charles Prussack Joyce F. Luchtenberg Robert Cohen Bruce Raynor Elizabeth Mateo Concerts MacMusicson Martin Richman Carolyn McColley Patricia Contino Catherine Roach John W. Roane The Honorable Michael D. Ann and Doug William Dr. and Mrs. Arnold Rosen Stallman Kurt Wissbrun Joe Ruddick Paul Stumpf Dagmar and Wayne Yaddow Leslie Salzman Madeline V. Taylor Lawrence Yagoda Nick Sayward Gretchen Viederman Mark and Gail Zarick Harriet Schon Renata and Burt Weinstein Dr. and Mrs. Herbert C. Jon Wetterau List current as of Schulberg David A. Wilkinson September 11, 2015

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: National Endowment for the Arts The City of New York Jane Chu, Chairman The Honorable Bill De Blasio, Mayor NYC Department of Cultural Affairs in New York State Council on the Arts with partnership with the New York City the support of Governor Andrew Cuomo Council and the New York State Legislature

BE A CLASSICAL HERO: SUPPORT THE ASO!

Since 1962 the American Symphony Orchestra has done something incredible: Present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other orchestra dares to present the same depth of repertoire every single season. But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions. That’s why we must call on you—our audiences, artists, and community partners, who can- not imagine a world without live Schubert, Strauss, Cage, or Ives. Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program- ming now and ensure another season! ANNUAL FUND Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra. SUSTAINING GIFTS Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving. MATCHING GIFTS More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits. CORPORATE SUPPORT Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022 HOW TO DONATE Make your gift online: www.americansymphony.org/support Please make checks payable to: American Symphony Orchestra Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018

For questions or additional information: Nicole M. de Jesús, director of development, 646.237.5022 or [email protected].

ASO’S 2015–16 SEASON AT CARNEGIE HALL

Thursday, December 17, 2015 Russia’s Jewish Composers with István Várdai, cello These Russian Jews exploded ethnic stereotypes by refusing

PILVAX STUDIO PILVAX to be known only as Jewish composers. These works iden- tified them more with their homeland than their ethnicity. Aleksandr Krein – The Rose and the Cross (N.Y. Premiere) Anton Rubinstein – Cello Concerto No. 2 Mikhail Gnesin – From Shelley (U.S. Premiere) Maximilian Steinberg – Symphony No. 1 (U.S. Premiere)

Thursday, March 17, 2016 Giant in the Shadows with Peter Serkin, piano The reputation of Max Reger today belies his dominant presence in music during his lifetime and the legacy he left.

KATHY CHAPMAN KATHY Here we celebrate two of his works, and one by his friend and contemporary, Adolf Busch. Adolf Busch – Three Études for Orchestra Max Reger – Piano Concerto Max Reger – Variations and Fugue on a Theme of J.A. Hiller

Tuesday, April 5, 2016 A Mass of Life with the Bard Festival Chorale Delius was a fervid follower of Nietzsche, and here he set pas- sages from the philosopher’s book Also sprach Zarathustra to music, creating a grand and compelling work celebrating life at its highest. Frederick Delius – A Mass of Life