Friday Evening, February 10, 2017, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents Central: Great 20th Century Czech LEON BOTSTEIN, Conductor

VÍTEˇ ZSLAV NOVÁK In the Tatras, Op. 26 BOHUSLAV MARTINU˚ Symphony No. 3 Allegro poco moderato Largo Allegro—Andante

Intermission

JOSEF SUK fantastique, Op. 25 ERWIN SCHULHOFF Symphony No. 5 Andante, ma molto risoluto Adagio Allegro con brio Allegro con brio—Allegro moderato

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

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PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. ASO THIS SEASON AT CARNEGIE HALL

Fri, May 12, 2017 The Apostles with the Bard Festival Chorale

England’s greatest after Purcell wrote a magnificent but rarely-heard setting of the New Testament. Elgar’s The Apostles follows the story of the Twelve through the Resurrection, and is at once sublime and heartbreakingly human. Edward Elgar – The Apostles

FROM THE Music Director AFTER DVORˇ ÁK AND SMETANA: CZECH MUSIC IN THE 20TH CENTURY By Leon Botstein

The four composers on this ASO program Indeed, from the Baroque era on, music were major twentieth-century figures in was a distinctive component of Bohemian the musical tradition of a region in and Moravian life. In the mid-19th centu- Central Europe: the Czech lands of ry, two Czech composers rose to interna- Bohemia and Moravia, famed for contri- tional fame: Antonín Dvorˇák and Bedrˇich butions to European culture, particularly Smetana. Dvorˇák’s career was assisted by in music. The historic capital of Bohemia, support from Vienna through the advoca- Prague is now the capital of the Czech cy of Brahms. Smetana—who wrote both Republic. Before this, it was the capital of the first famous Czech national , a nation spliced together after the end of The Bartered Bride, and the best-known World War I——which national cycle of tone poems, Má Vlast— existed from 1918 until the fall of the was ironically far more comfortable in Soviet Empire just over a quarter of a cen- German than in the Czech language, and tury ago, when it was divided into the he spent an important part of his career and Slovakia. in Sweden.

Prior to 1918, both major regions of But despite their affiliation with German today’s Czech Republic—Bohemia and culture, both composers became associ- Moravia—had been part of the Habsburg ated with a burgeoning Czech national- Empire. The historic center of gravity in ism that blossomed after the Habsburg that dynastic and much maligned multi- defeat at the hand of the Prussians in national Empire was Vienna. Already in 1866. Once the Habsburg Empire began the 18th century these regions were cen- to crumble, a Prussian-dominated ters of German (not Czech) high culture. German nation was configured which Mozart’s Don Giovanni was premiered in excluded the Habsburg lands, in which Prague. Franz Kafka is perhaps the best- German was spoken, particularly known figure from the vital German- Austria and the lands where these com- speaking Jewish community of Prague posers were born. Although they were into which Erwin Schulhoff was born. citizens of the same empire as the Germans and Austrians, Dvorˇák and His achievements can be rightly compared Smetana came to be seen as Czech to those of his Czech-Jewish German- nationalists. speaking contemporaries in other fields: Kafka and the writers Egon Erwin Kisch It is ironic in the context of the current and Max Brod (who played a decisive role revival of extreme nationalism in Central in bringing the great original Moravian- and Eastern Europe and the fragility of Czech composer of the previous genera- the European Union that, in retrospect, tion, Leos Janácˇek, to international atten- the multi-national Habsburg Empire may tion during the interwar years). But have been a far more promising frame- Schulhoff is now mostly remembered as a work than once thought for the expres- victim of the Nazis, and not the major sion of disparate linguistic and cultural European composer he was. autonomy within a tolerant, pluralist gov- erning political structure. But in the late This concert offers the public an opportu- 19th century the Empire, which was cen- nity to sample the achievements of the tered in Vienna (and after 1867 in music that emerged from a tumultuous Budapest), was seen as archaic and era of political change. The post- oppressive. Habsburg development of nationalism, democracy, fascism, anti-Semitism, and In turn-of-the-century and early twenti- socialism all collided in the twenty years eth-century Czech musical life, opposing of Czechoslovakia after 1918. In 1938, camps emerged: one centered around democratic Czechoslovakia was dismem- Smetana (viewed to be the more radical bered by the Nazis; after 1945 it fell with- nationalist voice) and one around Dvorˇák in the Soviet Empire. (a figure seen as more loyal, politically, to the Habsburg model). Two of the com- However, the composers on this program posers on this program were students of all represented a sense of nationalism Dvorˇák: (his son-in-law) and compatible with a vital cosmopolitan cul- Víteˇzslav Novák. Like Dvorˇák, on whose ture, both Czech and German. Their music both Brahms and Wagner exerted remarkable output is a welcome reminder influence, Suk and Novák were acutely of the urgent need for an alternative to the aware of their leading German-speaking narrow xenophobic and provincial contemporaries, Richard Strauss and nationalisms that have, in recent years, (who was born in reasserted their allure and power— Moravia). In the cross currents of political nationalisms that are unlikely to offer the ferment in the late nineteenth and early multi-faceted sources of inspiration that twentieth centuries, Prague became more Suk, Novák, Martinu° , and Schulhoff drew than a place in which national sentiment upon. flourished; it became a major center of modernist innovation in literature, art, On a personal note, I would like to dedi- and music. cate this concert to the memory of (1912–94), the consummate Bohuslav Martinu° (who spent a great deal musician and phenomenal pianist, student of his career in Paris and the United of Janácˇek’s, and ardent partisan of the States) was a Czech patriot who felt the democratic Czechoslovakia in which he trials of exile keenly. He was brilliant and grew up. It was through Firkušný, a close prolific and more of his music deserves to friend of Martinu° ’s , that I first became be heard. Schulhoff, who began as an acquainted with the music of the com- experimental modernist in the Kafka posers on this program, particularly the mold, eventually turned to communism. works of Suk and Novák. THE Program

Víteˇzslav Novák Born December 5, 1870, in Kamenice nad Lipou, Southern Bohemia Died July 18, 1949, in Skutecˇ, Czech Republic

In the Tatras, Op. 26 Composed in 1902 Premiered on November 25, 1902 in Prague by the conducted by Oskar Nedbal Performance Time: Approximately 25 minutes

Instruments for this performance: 2 , 1 piccolo, 2 , 1 English , 2 , 1 bass , 2 , 1 , 4 French horns, 3 , 3 , 1 , , percussion (, snare drum, suspended cymbal, crash cymbals, glockenspiel), 1 harp, 18 violins, 6 , 6 cellos, 5 double basses

Víteˇzslav Novák was a gifted and prolific Antartica, combines several prototypes or composer who was at the core of Czech “topics.” First, the music conjures up musical life in the first decades of the 20th images of the sublime: a vast, jagged, and century. Composing in virtually every open space which dwarfs a human scale genre, he has been claimed by both mod- and produces wonder and terror. This is ernists and neo-romantics as a founding readily apparent in Novák’s opening figure. He was also at the very center of an theme with its unison ascent followed by ongoing series of artistic feuds about the a leap. Second, it involves music of strug- direction of Czech music, which were a fea- gle, since such works not only seek to ture of musical life at the time. suggest the appearance and nature of In a forthcoming article about the com- mountains, but also engage the relation- poser, Lenka Krupková refers to his ship of human beings to them. Finally, “South Moravian” Suite as a kind of climbing mountains is not only a matter “ethnotourism,” noting that unlike of engaging the physical challenges of the Janácˇek, Novák had little primary experi- peak itself, but the kind of weather often ence with folk culture. Thus according to encountered by mountaineers reaching her, his lovely work is a classic example of toward high summits. So we also have a a composition by an outsider. Not so with range of sounds throughout conjuring the In the Tatras! Novák was deeply familiar music of cold, a kind of vocabulary devel- with the mountains and had scaled them oped over the centuries, from Purcell as a kind of expert climber (he carped through Vivaldi and from Janácˇek’s that Strauss’ Alpine Symphony was com- “Voice of the Steppe” in House of the posed from an armchair, and, in fact, three years after composing In the Tatras Dead to a broad range of cinematic he was almost killed in a dangerous fall effects associated with icy weather, such while climbing them). as high harmonics, tremolos, and the use of flutes and piccolos. Mountain music, whether by Strauss or by Michael Beckerman Ralph Vaughan Williams in his Sinfonia Bohuslav Martinu° Born December 8, 1890, in Policˇka, Czechoslovakia Died August 28, 1959, in Liestal, Switzerland

Symphony No. 3 Composed in 1944 Premiered on October 12, 1945 in Boston by the Boston Symphony Orchestra conducted by Serge Koussevitsky Performance Time: Approximately 30 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 3 clarinets, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (bass drum, snare drum, suspended cymbal, crash cymbals, tam-tam, triangle), 1 , 1 harp, 18 violins, 6 violas, 6 cellos, and 5 double basses

Before coming to New York City in 1941 Allegro poco moderato’s opening are repre- as a political refugee, Czechoslovak com- sentative of how such treatment cuts across poser Bohuslav Martinu° obtained recogni- the symphony. tion internationally in a variety of musical genres and styles. Until his American resi- Following an arresting fortissimo sonority dency, however, Josef Suk’s former student and a subsequent brief, dramatic pause, avoided the conventional symphony. When Martinu° commences an addition of melod- he composed for the orchestra, he preferred ic germs in the violins and woodwinds. to work in the neobaroque concerto grosso Serving in a percussive capacity, the hushed genre, which relies upon the alternations piano and harp, sounding at low and high between groups of solo instruments and extremes of register, respectively, provide a full orchestra. But Martinu° , ever the con- steady pulse and sense of meter. However, summate professional, attuned himself to Martinu°’s stacking of syncopated melodic the moods and tastes of his new wartime germs fog such efforts at metric legibility. American market. He composed his first But the tables turn. The impulses of the five symphonies between 1942 and 1946. charismatic woodwinds and strings The sixth came a little over a decade later. become clear pulses, and the piano and Martinu° composed the Third Symphony harp hammer out descending, fortissimo without a commission in Ridgefield, impulses, obfuscating the meter once again. Connecticut. It unfolds in three movements instead of the more conventional four. From one perspective, Suk’s scherzo being programmed beside Martinu° ’s symphony In each movement, Martinu° mobilizes provides Martinu° ’s work with the jocular what he called “germs,” or endlessly gener- dance movement that it was missing. From ative, particle-like melodic cells. Similar to another, Martinu° ’s symphony is dressed up Suk’s offering, the charm of Martinu° ’s in the clothes of a fantastic scherzo. Third Symphony is equally attendant upon Therefore, the programing possibly offers the composer’s treatment of rhythm, meter, two fantastic scherzi where once there orchestral color (especially percussion), was one. and dynamics as it is on harmonic and by Jon Meadow melodic planning. The contrasts of the Josef Suk Born January 4, 1874, in Krˇecˇovice, Czechoslovakia Died May 29, 1935, in Benešov, Czechoslovakia

Scherzo fantastique, Op. 25 Composed in 1903 Premiered on April 18, 1905 in Prague at the Rudolfinum Performance Time: Approximately 15 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 , 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, 1 tuba, timpani, percussion (crash cymbals, triangle, tambourine), 1 harp, 18 violins, 6 violas, 6 cellos, and 5 double basses

Canonic figures like Scherzo is the Italianization of Scherz, a (A Midsummer Night’s Dream Overture German word for joke. And within the from 1826), Hector Berlioz (Queen Mab context of the concert hall, the fantas- from the 1839 choral symphony Roméo tique refers to the composer’s production et Juliette), and (The of a sort of wavering or hesitation in both Sorcerer’s Apprentice from 1897) assisted the audience and the music’s unfolding. in bringing the concert hall genre known For example, Suk cleverly toggles as the fantastic scherzo into its own between the jocular and incongruous throughout the 19th century. The fantas- phraseology of the scherzo’s first, wood- tic scherzi of such luminaries grew in wind-dominated theme and the well- popularity because of how they show- defined triple meter of the balanced, cased their composers’ innovative use of waltz-like second theme, whose lyrical sonic and formal parameters like orches- melody is divided between the cellos and tral color, rhythm, meter, dynamics, and violins. So, while contrapuntal as well as phrasing. That less ink has been spilled in modal and chromatic harmonic innova- Josef Suk’s name than, say, a tions of the turn-of-the-century are pres- Mendelssohn or Berlioz, and that he is ent and accounted for, the Scherzo fantas- currently known more for intimate, tique reveals its genre credentials less expressive piano cycles and the funereal through harmonic and contrapuntal (1905–06), does not planning and symphonic thematic devel- detract from how the Bohemian compos- opment and more through subtle shifts in er, violinist, and educator forcefully drew orchestral color, dynamics, metric, and the fantastic scherzo genre into the 20th rhythmic conflicts at different temporal century with his Scherzo fantastique. levels. Suk’s contribution serves as a powerful by Jon Meadow introduction to both an underrated com- poser and to the soundworld of an orchestral genre more broadly. Erwin Schulhoff Born June 8, 1894, in Prague Died August 18, 1942, in Würzburg, Germany

Symphony No. 5 Composed in 1938–9 Premiered on March 5th, 1965 in Weimar by the Weimar State Orchestra conducted by Gerhardt Pfluger Performance Time: Approximately 36 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 1 clarinet, 1 bass clarinet, 1 , 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (bass drum, snare drum, suspended cymbal, crash cymbals, xylophone, field drum, triangle), 18 violins, 6 violas, 6 cellos, and 5 double basses

There is no style shift more dramatic than passages suggesting tension and forebod- that undergone by Erwin Schulhoff after ings, and, in keeping with the aesthetic of his “conversion” to Communism in the socialist realism, an overriding sense of early 1930s. Beginning his career as an hope for the future. This is found most apostle of the avant-garde, mixing jazz, notably in the triumphant conclusion to the surrealism, nihilism, and a dazzling final movement, but also in the panoply of national styles, he had estab- sublime second movement Adagio. Thus lished himself as a brilliant pianist and Schulhoff’s Symphony No. 5 keeps compa- somewhat of an enfant terrible. He wrote a ny with such works as Martinu° ’s Double Sinfonia Germanica which is nothing more Concerto, which for that composer marked than a series of mutterings, shouts, and a turn to the dramatic and even tragic, and then a distorted version of the German Shostakovich’s Leningrad Symphony as national anthem; a Sonata Erotica which epic and profound wartime musical can- consists only of a woman coming to a cli- vases. max; and a piece called The Bass Nightingale for solo contrabassoon. Although Schulhoff is often grouped with Nothing is more surprising, then, after lis- the “Terezin” composer who perished in tening to such pieces and some of his Auschwitz, his fate was rather different. He extraordinary and edgy was arrested not on account of his Jewish from the 1920s, to confront works like his identity but for his Soviet sympathies and Second Symphony (written in 1932 at the died of tuberculosis in a camp in Würzburg same time as his setting of the Communist near Bavaria. Manifesto), marking an almost complete by Michael Beckerman turn away from the individuality of his ear- lier works, perhaps comparable only to the Michael Beckerman is the Carroll and kind of break between Stravinsky’s Rite of Milton Petrie Professor of Music at New Spring and his . York University.

The Fifth Symphony, though, is something Jon Meadow is a Ph.D. student in different. Although it has a far more cine- Historical Musicology at New York matic sound than the works of the 1910s University. His work is focused on the roles and 20s, it was written in 1938–9 and cap- of humor and comedy in Bohuslav tures some of the flavor of those years, with Martinu° ’s Great Depression theatre dramatic clashes, a full palette of musical reforms. THE Artists

LEON BOTSTEIN, Conductor

London Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are avail- able online. His recording with the ASO of Paul Hindemith’s The Long Christmas Dinner was named one of the top record- ings of 2015 by several publications, and his recent recording of Gershwin piano music with the Royal Philharmonic was hailed by The Guardian and called “something special . . . in a crowded field” by Musicweb International.

Mr. Botstein is the author of numerous RIC RIC KALLAHER articles and books, including The Leon Botstein has been music director Compleat Brahms (Norton), Jefferson’s and principal conductor of the American Children (Doubleday), Judentum und Symphony Orchestra since 1992. He is Modernität (Bölau) and Von Beethoven also music director of The Orchestra zu Berg (Zsolnay). He is also the editor Now, an innovative training orchestra of The Musical Quarterly. For his contri- composed of top musicians from around butions to music he has received the the world. He is co-artistic director of award of the American Academy of Arts Bard SummerScape and the Bard Music and Letters and Harvard University’s Festival, which take place at the Richard prestigious Centennial Award, as well as B. Fisher Center for the Performing Arts the Cross of Honor, First Class from the at Bard College, where he has been presi- government of Austria. Other recent dent since 1975. He is also conductor lau- awards include the Bruckner Society’s reate of the Jerusalem Symphony Julio Kilenyi Medal of Honor for his Orchestra, where he served as music interpretations of that composer’s music; director from 2003–11. In 2018 he will and the Leonard Bernstein Award for the assume artistic directorship at Grafenegg, Elevation of Music in Society. In 2011 he Austria. was inducted into the American Philosophical Society. Mr. Botstein is also active as a guest con- ductor and can be heard on numerous recordings with the London Symphony (including a Grammy-nominated record- ing of Popov’s First Symphony), the AMERICAN SYMPHONY ORCHESTRA

Now in its 55th season, the American Music Festival. The orchestra has made Symphony Orchestra was founded in several tours of Asia and Europe, and has 1962 by Leopold Stokowski, with a mis- performed in countless benefits for organ- sion of making orchestral music accessi- izations including the Jerusalem ble and affordable for everyone. Music Foundation and PBS. Director Leon Botstein expanded that mission when he joined the ASO in 1992, Many of the world’s most accomplished creating thematic concerts that explore soloists have performed with the ASO, music from the perspective of the visual including Yo-Yo Ma, Deborah Voigt, and arts, literature, religion, and history, and Sarah Chang. The orchestra has released reviving rarely-performed works that several recordings on the Telarc, New audiences would otherwise never have a World, Bridge, Koch, and Vanguard chance to hear performed live. labels, and many live performances are also available for digital download. In The orchestra’s Vanguard Series consists many cases, these are the only existing of multiple concerts annually at Carnegie recordings of some of the rare works that Hall. ASO has also performed at the have been rediscovered in ASO perform- Richard B. Fisher Center for the ances. Performing Arts at Bard College in Bard’s SummerScape Festival and the Bard

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Debra Shufelt-Dine Erica Kiesewetter, John Dexter Alexandra Knoll, Principal Concertmaster Sally Shumway Erin Gustafson Suzanne Gilman Adria Benjamin Melanie Feld, English Horn Yukie Handa John Connelly CELLO CLARINET Ragga Petursdottir Eugene Moye, Principal Jon Manasse, Principal Ashley Horne Maureen Hynes Shari Hoffman James Tsao Annabelle Hoffman David Gould, Bass Clarinet Yana Goichman Alberto Parrini Ann Labin Melissa Meell BASSOON Diane Bruce Yevgeny Briskin Marc Goldberg, Principal Maureen Strenge VIOLIN II BASS Gilbert Dejean, Contrabassoon Richard Rood, Principal John Beal, Principal Sophia Kessinger Jordan Frazier HORN Wende Namkung Jack Wenger Zohar Schondorf, Principal Heidi Stubner Louis Bruno David Smith Dorothy Strahl Richard Ostrovsky Lawrence DiBello Alexander Vselensky Kyle Hoyt Elizabeth Kleinman Theodore Primis, Assistant Mara Milkis Keith Bonner, Principal Karla Moe Diva Goodfriend-Koven, Carl Albach, Principal William Frampton, Principal Piccolo John Dent Rachel Riggs John Sheppard PERCUSSION PERSONNEL MANAGER Richard Clark, Principal Jonathan Haas, Principal Matthew Dine Kenneth Finn Matthew Beaumont Jeffrey Caswell, Bass David Nyberg ASSISTANT CONDUCTOR Trombone Sean Statser Zachary Schwartzman

TUBA PIANO ORCHESTRA LIBRARIAN Kyle Turner, Principal Elizabeth Wright, Principal Marc Cerri

TIMPANI HARP Benjamin Herman, Principal Sara Cutler, Principal

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

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