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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. American Symphony Orchestra welcomes The many organizations who parTicipate in our CommuniTy Access Program, which provides free and low-cost TickeTs To underserved groups in New York’s five boroughs. For information on how you can support This program, please call (212) 868-9276. 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