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Sunday Afternoon, November 17, 2013, at 2:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 1:00

presents : An American Original LEON BOTSTEIN, Conductor

ELLIOTT CARTER Suite from Pocahontas Overture: John Smith and John Rolfe lost in the Virginia Forest Princess Pocahontas and her Ladies Torture of John Smith Pavane

Sound Fields for String

Clarinet Concerto Scherzando Deciso Tranquillo Presto Largo Giocoso Agitato ANTHONY MCGILL,

Intermission

ELLIOTT CARTER Warble for Lilac-Time MARY MACKENZIE, Soprano

Voyage TERESA BUCHHOLZ, Mezzo-soprano

Concerto for Orchestra

This evening’s concert will run approximately two hours, 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. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 2

Notes ON THE PROGRAM Elliott Carter: An Appreciation Ives, had for the most part fallen silent by Leon Botstein as a composer.

If there was ever a persuasive instance For Elliott Carter, the initial encounter for thinking about the appropriateness with the music of Ives (whom he met of the analytical category of “late” style while still in high school), Stravinsky, it can be found in the case of Elliott and Schoenberg would be crucial in the Carter. His longevity and vitality were development of his approach to compo- extraordinary. Few have been blessed sition. But in contrast to Roger Sessions, with such a dignified and productive his older contemporary (whom he old age. Much has been written about admired) and fellow Harvard alumnus, Carter. It is hard to avoid being intimi- Carter exhibited few signs of his genius dated by the length, consistency, versa- and talent early. He was no prodigy, no tility, and centrality of the composer’s wunderkind in the way many other career. He was one of the towering fig- great composers, from Mozart to Korn- ures of 20th-century music, certainly in gold, were. What Carter did reveal America, and for decades was consid- from the start was the remarkable and ered by many this country’s greatest liv- wide range of his intellectual abilities. ing composer. What made Carter’s He taught at St. John’s College in career so central and interesting, how- Annapolis, where he was required to ever, is the extent to which it stands at teach not only music but also Greek, the crossroads of a century-old frac- philosophy, and mathematics. In the tious and intense debate about the impressive set of collected essays by nature and place of music in the mod- Carter, there is an affecting and elo- ern world. quent defense of music as a crucial component of liberal learning. Carter That debate began as the “long” 19th displayed a natural affinity to literature century came to an end, during Carter’s and language. He credited his interest early childhood. It has been common- in addressing through music the com- place to locate the public recognition of peting constructs and experiences of a generational reaction against the time to Proust and Joyce. Poetry held a compositional practices, musical cul- central, if not growing role as a con- ture, and habits of listening developed stituent of his musical imagination. between 1750 and the end of the 19th century in the year 1913, when Stravin- With uncanny discipline and patience, sky’s Rite of Spring was premiered in Carter pursued his compositional Paris and a “scandal” concert took career. Although he taught composi- place in Vienna on which music by tion, on and off, at Peabody, Columbia, Mahler, Schoenberg, and Berg was per- Cornell, Yale, Queens College, and Juil- formed. It is ironic that after World liard, Carter devoted his time essentially War I, when the emergence of compet- to composing. His leap to prominence ing approaches to writing new and took place in the 1950s with the First “modern” music deemed adequate to a String Quartet. From then on a series of radically changed world became most commanding works followed, including evident and apparent, the pioneer of the Variations for Orchestra (1956), a American musical modernism, Charles second quartet (1960), the Concerto for 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 3

Harpsichord and (1961), the If there was something quintessentially (1967), the Concerto American about Carter it was his prag- for Orchestra (1970), a third quartet matic approach to influence. As if by (1973), the Symphony of Three Orches- trial and error, he absorbed and adapted tras (1977), and Syringa (1978), as well ideas around him to generate a unique as many smaller works. All this was way of composing. By teaching himself done before he turned 70. and resisting the role of being someone else’s disciple and heir, he fashioned the Carter, like Copland, was generous to col- means to lend his music a distinctive leagues. He accumulated a wide range of character. From Ives he took the fasci- colleagues and friends, ranging from nation with the experience of simulta- nearly contemporary composers (includ- neous hearing and the intersection of ing Wolpe, Piston, Sessions, Petrassi, aural memory and experience as well as Boulez, and Lutoslawski) to performers the practice of combining discrete con- (Charles Rosen, Ursula Oppens, Fred trasting but continuous elements, not Sherry, Gilbert Kalish, Daniel Barenboim, mere fragments, and weaving them into and James Levine), composer-performers a single fabric within the frame of a (Heinz Holliger and Oliver Knussen), and composition. In one Carter work the younger composers (Frederic Rzewski listener confronts disparate and chang- and Richard Wilson). Between age 70 ing constructs of time and of regularity and age 100, an astonishing series of and irregularity. works came into being, including songs, chamber works, an opera, and concertos From Schoenberg and his followers for , the , and for horn, as well Carter adapted the idea of construing as numerous works for orchestra. all the pitch elements of the tempered scale as equivalent to one another and Throughout all these years Carter sus- without normative priority and there- tained the modernist project that came fore without implied hierarchical rela- into being in his youth. That project was tionships. He accepted the idea that to extend but yet confront the inherited tonality had run its course and that the traditions of musical composition in dissonance had been truly emancipated. ways that seemed consonant with the What he developed was an elaborate distinctive and seemingly discontinuous and intricate catalog of note sequences features of modern 20th-century life. that could be combined into chord Modernism sought to continue musical groupings, ranging from three to 12. culture and musical expression and com- These could be manipulated in inge- munication along a trajectory that was nious and nearly inexhaustible ways. understood to be progressive in the ways For those not given to cowardice, one in which it corresponded with, or perhaps can find these pitch groupings painstak- responded to, the historical moment. ingly outlined and analyzed in Carter’s That moment, from 1913 to the mid- book on harmony. Carter seemed to 1970s, when modernism began its select a particular pitch grouping as the retreat, witnessed a mix of tragic and raw material for a single composition. transformative events. In the light of In the most dense of the orchestral modern experience, Carter’s impulse was works, a 12-note grouping often never either restorative or nostalgic, even defines the material. during the period between 1939 and 1944 when he wrote the ballet Pocahon- Varèse’s influence on Carter can be tas and the Holiday Overture. Neither found in Carter’s attention to sonori- was his approach rigidly ideological. ties. Stravinsky left his mark in the 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 4

interaction between materials and form Indeed, as Charles Rosen has argued, in relationship to elapsed time. And Carter wrote for a select few, primarily Bartók’s impact might be found in the musicians and those who are willing to vitality of rhythmic patterns and devel- learn how to understand and follow opment and Carter’s acute sensitivity to music. The task of the listener is not to time duration within clearly defined reject what seems at first an encounter movements. Inspired by all three of irritatingly “unintelligible,” but rather to these masters, Carter pursued the inti- stick with the new as if it were a new lan- mate connection between pitch groupings guage, and learn its order and logic and and particular sound color, developing then derive pleasure from it. For Rosen all correspondences between structural ele- great music demands this kind of time ments in pitch and rhythm and the spe- and energy if it is to be understood and cific use of instruments in a single loved. But for Taruskin this notion is work. In the end, however, Carter quite possibly inherently meaningless, in invented himself without propagating a the sense that the distinction between the school, a system, or training a group of purely musical and the extra-musical is imitators. He was a meticulous builder, artificial and a conceit. If music is a form an engineering experimentalist with an of life, which it is, it has an inevitable con- uncanny sense of practical utility. nection to speech and sight. The writing of music that demands close study seems The respect accorded Carter has not impenetrable and meaningless, and is been without controversy. Together dauntingly counterintuitive and complex, with Roger Sessions and Milton Babbitt, may be an act of elitism requiring the cre- he was heralded as a composer con- ation of an exclusive club of cognoscenti cerned with the possibilities of new and true believers who share a common music as a self-contained logical sys- delusion. If appreciation depends on tem, a self-referential act of the human exclusive and arcane knowledge, we must imagination distinct from ordinary lan- abandon, either tacitly or explicitly, the guage and meaning. In Richard Taruskin’s commonplace claims regarding the social five-volume tour-de-force account of importance of music, its universality, its Western music, Carter’s music is under- humanistic essence—all claims held dear stood as not carrying any intent to by many who would argue how central express some “extra”-musical meaning— the traditions of concert music are to cul- to narrate or illustrate to one’s public in ture and society. In any event, the public one’s own time. There is as little residue is dismissed as a legitimate arbiter of of the Wagnerian in Carter as there is in quality. American musicians and com- Stravinsky. Rather, as Carter suggested posers, most notably Copland, inspired in a 1984 interview, he saw himself as a by the populism of the New Deal and the contemporary analog to Haydn, a com- artistic and democratic vision of Walt poser whose powers of musical inven- Whitman, rejected the extreme conceits tion per se were prodigious and who of modernism. Accessibility and compre- wrote for an audience that could follow hensibility became requirements of the the intricacies of musical thought and craft of composition and not markers of did not expect or require any presumed debased cultural standards. translation into verbal narrative or visual imagery. Carter knew that the The debate between Rosen and Taruskin audience he faced was by and large over the character of Carter’s music unable to respond to him the way Haydn’s may in fact not be as central as the pro- audience could to every new work. tagonists believe. Whatever may be true 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 5

of other modernists, perhaps Carter’s music, be it Western, non-Western, music, despite its aggressive allegiance rock, or classical music. Old-time snob- to modernism, like the music of Berg, bery is on its way out, and there is no can win the affections of the public. more persuasive sign than the success of Whether one speaks of Bach or Mozart, Alex Ross’ And the Rest Is Noise. Beethoven or Chopin, Stravinsky or Bartók, or Ives or Copland, there are What drove audiences of the past mad, many different but compatible ways of beginning with the pre-World War I con- listening to and enjoying the music. Each certs featuring the music of Schoenberg, of the aforementioned composers has was the sense that they, members of the won adherents and admirers from among audience, were being insulted. For the entirely untutored and the literate decades after that it was fashionable for professionals in the public. What the late composers to heap contempt on the music of Elliott Carter suggests is that musical judgment of avid amateurs and even the most dense and complex of music lovers and to deride the taste of Carter’s finest mid-career works can suc- the bourgeois concert-going public. The ceed with the wider audience because his traditional audience of the past felt at music works on many levels. best condescended to. This dynamic has, with the passing of generations, Take the Concerto for Orchestra, which largely vanished, in part because today’s is among Carter’s most demanding audiences are neither so conceited nor scores. I have had the honor of con- so invested in their connoisseurship. ducting this work before with the Managements may be conservative but American Symphony Orchestra at a audiences are not. They are far more concert that the composer attended. At relaxed and catholic in their tastes. a distance, taken as a composite experi- Given the types of things they hear and ence, the work engaged and reached an listen to, they are unlikely to be startled audience that most likely “knows” and put off. They are happy, in a world nothing about music in Rosen’s sense. that celebrates near subjectivity with Given the acoustic environment we live alarming ease as a sufficient basis for in and the unparalleled eclectic range of action, to make what they can of some- musics we hear unintentionally and thing they hear on first encounter and to willingly, the work strikes listeners as find a way to enjoy it. Because there is so dramatic, arresting, original, powerful, much genuine richness in Carter’s music, and lyrical. And for those curious to dig it has a real chance for success with the deeper, there are certainly depths to audiences of today and tomorrow. plumb. The culture wars of the 1950s and 1960s, which Taruskin discusses so Perhaps what makes Carter great is that deftly and insightfully, are long over. he, through painstaking discipline and They have receded into history, concentration, invented music that together with the Cold War. No doubt, works the way the music of the great Taruskin is right when he observes that masters from the Classical era did and there was at a minimum an irony in the that reaches across a wide range of lis- anti-Communist Cold War-era support teners. Carter’s music has, in the end, an for a forbidding modernism celebrated emotional necessity behind its existence. by a very few. Today’s audiences are It is therefore neither academic nor beyond these quarrels. The eclecticism polemical. Its surface of modernity is not of the last 30 years has spawned an artificial but human in a unique intro- unusual tolerance among listeners. spective, dramatic, and elegant man- Young players now listen to all kinds of ner: what is unexpected and seemingly 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 6

unintelligible has emerged in an uncom- paradoxes and contradictions of moder- promisingly modern manner akin to nity was to write music honestly, from Mozart, Haydn, and Chopin, leading within himself. That disciplined candor, listeners to trust what they hear. ambition, and obsession are and will remain audible and alluring no matter The suspicion that this might be the case how difficult Carter’s music appears or emerges not exclusively from the music. may be to perform. But has there ever The materials of Carter’s biography been any music to which we wish to reveal integrity, kindness, and an almost return that, in the end, is easy to perform? naïve generous enthusiasm for and devo- tion to music as a vital medium of per- A version of this essay appeared in sonal expression. Carter’s response to the Musical Quarterly, Vol. 91, No. 3/4, predicaments of a life fully engaged in the Fall–Winter, 2008: 151–157.

THE Program by Richard Wilson

Elliott Carter Born December 11, 1908, in New York City Died November 5, 2012, in New York City

Pocahontas Composed for piano in 1936, revised for orchestra in 1938–39 Suite composed in 1960 Original version premiered on August 17, 1936, in Keene, New Hampshire Orchestra version premiered at the Martin Beck Theatre in New York City on May 24, 1939, under Fritz Kitzinger Approximate performance time: 20 minutes

Instruments: 3 flutes (1 doubling piccolo), 2 , 2 , 2 , 4 French horns, 3 , 3 , 1 , , percussion (triangle, , xylophone, , small and large Indian drums, large , sleigh bells, gourd rattle, tin rattle, slap stick, , tenor drum), 1 piano, 1 harp, and strings

Sound Fields for String Orchestra Composed in 2007 Premiered on July 20, 2008, under Stefan Asbury at the Festival of Contemporary Music at Tanglewood Approximate performance time: 7 minutes

Instruments: strings only 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 7

Clarinet Concerto Composed in 1996 Premiered on January 10, 1997, under Pierre Boulez Approximate performance time: 20 minutes

Instruments: 1 flute, 2 oboes (1 doubling English horn), 1 , 1 , 1 , 1 , 1 tuba (doubling euphonium), percussion (glockenspiel, xylophone, vibraphone, gavel, bongos, tom-toms, cymbals, small snare drum, medium snare drum, large snare drum, wood drum tamtam, metal blocks, small and large wood blocks, temple blocks, cowbells, bass drum), 1 piano, 1 harp, strings, and solo clarinet

Warble for Lilac-Time Composed in 1943 Premiered on September 14, 1946, by the Yaddo Orchestra under Frederick Fennell Approximate performance time: 7 minutes

Instruments: 1 flute, 2 clarinets, 1 bassoon, 1 harp, strings, and solo soprano

Voyage Composed in 1943 Premiered in New York City on March 16, 1947 Arranged for orchestra in 1979 Approximate performance time: 6 minutes

Instruments: 2 flutes (1 doubling alto flute), 1 oboe, 2 clarinets, 1 bassoon, 1 French horn, percussion (vibraphone, chimes), 1 piano, 1 harp, strings, and solo mezzo-soprano

Concerto for Orchestra Composed in 1969 Premiered on February 5, 1970, by the New York Philharmonic under Leonard Bernstein Approximate performance time: 22 minutes

Instruments: 3 flutes (2 doubling piccolo), 3 oboes (1 doubling English horn), 3 clarinets (1 doubling and 1 doubling E-flat clarinet), 3 bassoons (1 doubling ), 4 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (tamtam, cymbals, gong, glockenspiel, cowbells, anvil, tambourine, snare drums, tenor drums, ratchets, castanets, marimba, xylophone, woodblocks, maracas, whip, vibraphone, bass drum), 1 piano, 1 harp, and strings

Elliott Carter’s Pocahontas, the earliest Hart Crane’s epic poem The Bridge, work on this program, was commis- entitled “Powhatan’s Daughter.” Much sioned by his Harvard classmate Lincoln of the music dates from 1936, when a Kirstein—son of the president of preliminary version was performed Filene’s Department Store—for his Bal- with piano accompaniment. The offi- let Caravan. The impulse for the sce- cial premiere took place three years nario came from the second part of later. The score was revised in 1960. 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 8

We will hear the suite that comprises lyricism. This is one of the very few four scenes from the ballet. An overture Carter works where the first and last begins with attention-grabbing hammer sounds are loud. strokes and continues in a fierce tone leading to less threatening music in A striking moment occurs at the exact tarantella style that depicts the English midpoint of Carter’s only opera, What adventurers John Smith and John Rolfe Next?. The five vocal characters retreat lost in the Virginia forest and engaged to the wings and the stage itself “sings.” in an improbable dance. (It is, after all, The music consists of less than two a ballet.) A beautifully graded transi- minutes of quietly floating intervals and tion introduces Pocahontas and her chords. In Sound Fields, the most ladies who are depicted by a solo violin recently composed work on this pro- in conversation with flute and clarinet. gram, the composer takes the idea of The Torture of John Smith recalls the restricted means further, choosing only stormy opening, now enhanced by the sonority of strings playing without angry trumpets and trombones. The vibrato, at a single dynamic level turmoil is suddenly interrupted and we (mezzo piano), with no change in hear a gentle melody in flute and harp— tempo, and without obvious rhythmic the famous moment when Pocahontas impulse. In a note in the score he writes: saves John Smith. But she goes off to “Helen Frankenthaler’s fascinating England with his sidekick John Rolfe. Color Field pictures encouraged me to In a final Pavane, Carter reveals his affec- try this experiment.” tion for Elizabethan keyboard music. About his Warble for Lilac-Time, a set- The orchestration of Pocahontas ting of Walt Whitman’s poem, composed exhibits many conventional devices in 1943 for soprano and orchestra, such as lines doubled at the octave, Carter wrote: instruments treated in traditional groupings, with large sections of the In this song, I tried to catch Whitman’s orchestra playing in similar rhythm— visionary rapture, using smooth- all features Carter would abandon in flowing diatonic lines in the accom- his mature works. paniment and a lyric vocal line that becomes increasingly rhapsodic as One such work is the Clarinet Con- the song progresses. certo, the form of which—its delin- eation into seven parts—is made clearer Also from 1943 is Voyage, a setting of by subdivisions of the ensemble of 17 Hart Crane’s poem “Infinite Consan- players in addition to the traditional guinity” from the collection entitled means of tempo and character contrast. Voyages. Originally for medium voice The full assemblage participates in the and piano, it was orchestrated in 1979. seventh section and punctuates transi- tions among the others. But it is piano, Elliott Carter’s Concerto for Orchestra harp, and marimba in the first; percus- salutes similarly titled predecessors by sion in the second; muted brass in the Walter Piston, Béla Bartók, and Witold third; woodwinds in the fourth; strings Lutoslawski in which virtuosity is in the fifth; and full-voiced brass in the demanded of all members of the ensem- sixth that give support and contention ble. Virtuosity is also demanded of lis- to the busy soloist. Sections three and teners hearing this work for the first five provide opportunities for expressive time, who may be surprised to learn 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 9

that its design has 19th-century renewal, suggestive of musical textures antecedents. There are four movements as well as overall character. framed by an introduction and coda. These components dissolve one into Personal Note: Elliott Carter’s conver- another with no articulating pause sation was as surprising as his music. between. It helps to know that the first Here are two examples. movement features , piano, harp, and wooden percussion; the second, a RW: Did you ever meet Shostakovich? high-pitched scherzo, relies on stratos- EC: No, but I went to the movies with pheric , piccolos, and metallic Prokofiev. In Paris. We saw a film percussion; the “slow movement” is about Schubert. ushered in and out by fairly violent timpani and bass drum attacks but RW: I’ve just heard Fabio Luisi conduct includes some moments of repose, even Till Eulenspiegel with the Met Orchestra. a lyrical solo for double basses; clar- EC: Well I heard Richard Strauss con- inets, trumpet, and snare drum color duct Till Eulenspiegel. In Munich. He the finale which undergoes a gradual had a very small beat…like Reiner. Did acceleration until, in the last measures, I ever tell you my Reiner story…? bell sounds mark the quiet close. While composing this work, Carter found the Richard Wilson is ASO’s composer in poem Vents by Saint-John Perse, with residence and the Mary Conover Mellon its wind-swept images of change and Professor of Music at Vassar College. Texts Warble for Lilac-Time after WALT WHITMAN Leaves of Grass

WARBLE me now, for joy of Lilac-time, (returning in reminiscence,) Sort me, O tongue and lips, for Nature’s sake, Souvenirs of earliest summer— Gather the welcome signs, (as children, with pebbles, or stringing shells;) Put in April and May—the hylas croaking in the ponds—the elastic air, Bees, butterflies, the sparrow with its simple notes, Blue-bird, and darting swallow—nor forget the high-hole flashing his golden wings, The tranquil sunny haze, the clinging smoke, the vapor, Spiritual, airy insects, humming on gossamer wings, Shimmer of waters, with fish in them—the cerulean above; All that is jocund and sparkling—the brooks running, The maple woods, the crisp February days, and the sugar-making; The robin, where he hops, bright-eyed, brown-breasted, With musical clear call at sunrise, and again at sunset, Or flitting among the trees of the apple-orchard, building the nest of his mate; The melted snow of March—the willow sending forth its yellow-green sprouts; —For spring-time is here! the summer is here! and what is this in it and from it? Thou, Soul, unloosen’d—the restlessness after I know not what; 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 10

Come! let us lag here no longer—let us be up and away! O if one could but fly like a bird! O to escape—to sail forth, as in a ship! To glide with thee, O Soul, o’er all, in all, as a ship o’er the waters! —Gathering these hints, the preludes—the blue sky, the grass, the morning drops of dew; The lilac-scent, the bushes with dark green, heart-shaped leaves, Wood violets, the delicate pale blossoms called innocence, Samples and sorts not for themselves alone, but for their atmosphere, To grace the bush I love—to sing with the birds, A warble for joy of Lilac-time, Returning in reminiscence.

Voyage HART CRANE Voyages III

Infinite consanguinity it bears This tendered theme of you that light Retrieves from sea plains where the sky Resigns a breast that every wave enthrones; While ribboned water lanes I wind Are laved and scattered with no stroke Wide from your side, whereto this hour The sea lifts, also, reliquary hands.

And so, admitted through black swollen gates That must arrest all distance otherwise, Past whirling pillars and lithe pediments, Light wrestling there incessantly with light, Star kissing star through wave on wave unto Your body rocking! and where death, if shed, Presumes no carnage, but this single change,- Upon the steep floor flung from dawn to dawn The silken skilled transmemberment of song;

Permit me voyage, love, into your hands… 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 11

THE Artists LEON BOTSTEIN, Conductor

Widely recognized for his visionary zeal as well as his performances, champi- oning masterpieces unfairly ignored by history and creating concert programs that engage the head as well as the heart, Leon Botstein recently celebrated his 20th year as music director and principal conductor of the American Symphony Orchestra. He is also co- artistic director of the Summerscape and Bard Music Festivals, which take place at the Richard B. Fisher Center for the Performing Arts, designed by

Frank Gehry for Bard College, where PHOTO BY RIC KALLAHER Mr. Botstein has been president since Highly regarded as a music historian, 1975. He is also conductor laureate of Mr. Botstein’s most recent book is Von the Jerusalem Symphony Orchestra, Beethoven zu Berg: Das Gedächtnis der where he served as music director from Moderne (2013). He is the editor of 2003–11. Musical Quarterly and the author of numerous articles and books. He is cur- Mr. Botstein leads an active schedule as rently working on a book based on his a guest conductor all over the world, talks given at the prestigious Tanner and can be heard on numerous record- Lectures in Berkeley, California. For his ings with the London Symphony (their contributions to music he has received recording of Popov’s First Symphony the award of the American Academy of was nominated for a Grammy), the Arts and Letters and Harvard Univer- London Philharmonic, NDR-Hamburg, sity’s prestigious Centennial Award, as and the Jerusalem Symphony Orches- well as the Cross of Honor, First Class tra. Many of his live performances with from the government of Austria. In the American Symphony Orchestra are 2009 he received Carnegie Foundation’s available for download online. The Los Academic Leadership Award, and in Angeles Times called this summer’s Los 2011 was inducted into the American Angeles Philharmonic performance Philosophical Society. He is also the under Mr. Botstein “the all-around 2012 recipient of the Leonard Bernstein most compelling performance of any- Award for the Elevation of Music in thing I’ve heard all summer at the Society. In 2013, following in the foot- Bowl.” Earlier this season he con- steps of Sir John Barbirolli, Otto ducted the Sinfónica Juvenil de Caracas Klemperer, and others, Mr. Botstein in Venezuela and Japan, the first non- received the Bruckner Society’s Julio Venezuelan conductor invited by El Sis- Kilenyi Medal of Honor for his inter- tema to conduct on a tour. pretations of that composer’s music. 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 12

TERESA BUCHHOLZ, Mezzo-soprano Orchestra, Bach’s Cantata No. 190 with Amor Artis for a New Year’s Eve all-Bach Concert, and the title role in Handel’s Giulio Cesare with Opera Roanoke. Her most recent performances include Mahler’s Das Lied von der Erde with Gateway Chamber Orchestra in Tennessee, Mozart’s Requiem with the Helena Symphony in Montana, Beethoven’s Symphony No. 9 with the Stamford Symphony in Connecticut, the role of Mathurine in Gluck’s The Reformed Drunkard with the Little

PHOTO BY JOSHUA SOUTH JOSHUA BY PHOTO Opera Theatre of New York, Handel’s An accomplished artist, known for her Messiah with the Danbury Symphony, colorful, clear voice and thoughtful Bach’s Christmas Oratorio with the interpretation, Teresa Buchholz is Amor Artis Chorus and Orchestra in emerging as a promising mezzo-soprano New York City, and a return to the Bard in the world of singing. Her perfor- Music Festival to perform Chausson’s mances for the 2013–14 season include Chanson perpétuelle with piano quintet. Handel’s Messiah with DCINY at Avery In addition, this past April she was Fisher Hall, Mendelssohn’s Elijah with named the winner of the Nico Castel the Rhode Island Civic Chorus and International Master Singer Competition.

MARY MACKENZIE, Soprano

works for voice. Her contemporary opera premieres include Héctor Parra’s Hypermusic: Ascension at the Guggen- heim Museum, Jonathan Dawe’s Cracked Orlando, and Così faranno tutti at Columbia University. Ms. Mackenzie has appeared with the Amer- ican Contemporary Music Ensemble, Ekmeles, The Juilliard School’s AXIOM Ensemble and New Juilliard Ensemble, the Da Capo Chamber Players, Fulcrum Point New Music Project, the Metropo- lis Ensemble, and the Talea Ensemble. PHOTO BY NICK GRANITO NICK BY PHOTO Mary Elizabeth Mackenzie is a soprano Her notable solo appearances include who has captured the attention of audi- Jean Barraqué’s Chant Aprés Chant at ences in New York, Chicago, Wisconsin, Alice Tully Hall, Schoenberg’s String Philadelphia, Cleveland, and Boston. A Quartet No. 2 with the Borromeo passionate performer of contemporary String Quartet, Pierrot Lunaire with music, Ms. Mackenzie works closely Carnegie Hall’s Academy and at the with young composers to develop new Rockport Music Festival, and Boulez’s 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 13

Improvisations sur Mallarmé Nos. 1 & 2 is also active as a recitalist and is a at Columbia University’s Miller Theatre. founding member of SongFusion, an art song ensemble based in New York Ms. Mackenzie made her professional City. Upcoming recordings include opera debut as Despina in Così fan James Primosch’s Sacred Songs and tutte with Madison Opera and appeared Meditations with the 21st Century as the soprano soloist in Orff’s Consort, and the debut recording of Carmina Burana with the Grant Park John Harbison’s Songs After Hours Symphony Orchestra. Ms. Mackenzie with jazz pianist John Chin.

ANTHONY MCGILL, Clarinet

Principal clarinet of the Metropolitan Opera Orchestra since 2004, Anthony McGill has been recognized as one of the classical music world’s finest solo, chamber, and orchestral musicians. He has appeared as soloist with many , including the Metropolitan Opera Orchestra and the New York String Orchestra at Carnegie Hall, the Baltimore Symphony, the San Diego Symphony, and the Chicago Youth Symphony Orchestra. His upcoming orchestral performances include Orches-

tra 2001, the Baltimore Symphony FINLAYSON PHOTO BY DAVID Orchestra, and the New Jersey Sym- phony Orchestra. Mr. McGill has appeared on Perfor- mance Today, MPR’s St. Paul Sunday As a chamber musician, Mr. McGill has Morning, the Philadelphia Chamber performed throughout the United States, Music Society series, and Mr. Roger’s Europe, and Asia with such quartets as Neighborhood. In 2013, with his brother the Guarneri, Tokyo, Brentano, Pacifica, Demarre, he appeared on NBC Nightly Shanghai, Miro, and Daedalus, and with News, The Steve Harvey Show, and on musicians from Marlboro and Chamber MSNBC with Melissa Harris-Perry. Music Society of Lincoln Center. He is a member of the Schumann Trio. Mr. In demand as a teacher, Mr. McGill McGill has collaborated with Emanuel serves on the faculty of The Juilliard Ax, Yefim Bronfman, Gil Shaham, School, the Peabody Institute of Johns Midori, Mitsuko Uchida, and Lang Hopkins University, Bard College Con- Lang, and on January 20, 2008, per- servatory of Music, and Manhattan formed with Itzhak Perlman, Yo-Yo Ma, School of Music, and has given master and Gabriela Montero at the inaugura- classes throughout the United States tion of President Barack Obama. and in Europe. 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 14

THE AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra winter subscription series as well as was founded 50 years ago by Leopold Bard’s annual SummerScape Festival Stokowski, with the avowed intention and the Bard Music Festival. In 2010 of making orchestral music accessible the ASO became the resident orchestra and affordable for everyone. Under Music of The Collegiate Chorale, performing Director Leon Botstein, Stokowski’s mis- regularly in the Chorale’s New York sion is not only intact but thrives. And concert series. The Orchestra has made beyond that, the ASO has become a several tours of Asia and Europe, and pioneer in what The Wall Street Jour- has performed in countless benefits for nal called “a new concept in orches- organizations, including the Jerusalem tras,” presenting concerts curated Foundation and PBS. around various themes drawn from the visual arts, literature, politics, and his- Many of the world’s most accomplished tory, and unearthing rarely-performed soloists have performed with the ASO, masterworks for well-deserved revival. among them Yo-Yo Ma, Deborah These concerts are performed in the Voigt, and Sarah Chang. In addition to Vanguard Series at Carnegie Hall. CDs released by the Telarc, New World, Bridge, Koch, and Vanguard The Orchestra also gives the celebrated labels, many live performances by the concert series Classics Declassified at American Symphony are now available Peter Norton Symphony Space, and for digital download. In many cases, regularly performs at the Richard B. these are the only existing recordings of Fisher Center for the Performing Arts some of the rare works that have been at Bard College, where it appears in a rediscovered in ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Lucy Morganstern Sarah Carter Erica Kiesewetter, Concertmaster Elizabeth Kleinman Alberto Parrini Suzanne Gilman Dorothy Strahl Maureen Hynes Yukie Handa Alexander Vselensky Diane Barere Sophia Kessinger Mara Milkis Eliana Mendoza Ragga Petursdottir Nazig Tchakarian Dorothy Lawson Diane Bruce Tatyana Margulis Robert Zubrycki Yana Goichman Nardo Poy, Principal BASS Ann Labin William Frampton John Beal, Principal Sander Strenger John Dexter Jordan Frazier Laura Frautschi Shelley Holland-Moritz Jack Wenger Katherine Hannauer Crystal Garner Louis Bruno Sarah Zun Adria Benjamin Peter Donovan Ann Gillette Mark Holloway Richard Ostrovsky Alyssa Hardie William Sloat VIOLIN II Ariel Rudiakov Lisa Chin Richard Rood, Principal Arthur Dibble Elizabeth Nielsen FLUTE Wende Namkung Laura Conwesser, Principal Patricia Davis Eugene Moye, Principal Rie Schmidt Katherine Livolsi-Landau Roberta Cooper Diva Goodfriend-Koven, Piccolo Heidi Stubner Annabelle Hoffman 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 15

OBOE TRUMPET KEYBOARD Nick Masterson, Principal Carl Albach, Principal Christopher Oldfather, Principal Erin Gustafson John Sheppard Melanie Feld, English horn Thomas Hoyt HARP Sara Cutler, Principal CLARINET TROMBONE Laura Flax, Principal Kenneth Finn, Principal Marina Sturm Bradley Ward PERSONNEL MANAGER Lino Gomez, Bass clarinet Jeffrey Caswell Ann Yarbrough Guttman

BASSOON TUBA ASSISTANT CONDUCTOR Charles McCracken, Principal Kyle Turner, Principal Zachary Schwartzman Mark Timmerman Gilbert Dejean, Contrabassoon TIMPANI ORCHESTRA LIBRARIAN Benjamin Herman, Principal Marc Cerri HORN Zohar Schondorf, Principal PERCUSSION David Smith Kory Grossman, Principal Lawrence DiBello Javier Diaz Chad Yarbrough Jonathan Haas Theodore Primis, Assistant Charles Descarfino Matthew Beaumont Matthew Donello David Nyberg

ASO BOARD OF DIRECTORS

Dimitri B. Papadimitriou, Chair Debra R. Pemstein Thurmond Smithgall, Vice Chair Eileen Rhulen Karen L. Zorn, Treasurer Felicitas S. Thorne

Miriam R. Berger HONORARY MEMBERS Michael Dorf Joel I. Berson, Esq. Rachel Kalnicki L. Stan Stokowski Jack Kliger Shirley A. Mueller, Esq.

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director Ben Oatmen, Production Assistant Oliver Inteeworn, General Manager Leszek M. Wojcik, Concert Archival Recording Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development James Bagwell, Principal Guest Conductor Sebastian Danila, Library Manager Geoffrey McDonald, Assistant Conductor Marielle Métivier, Operations Manager Zachary Schwartzman, Assistant Conductor Katrina Herfort, Ticketing Services Coordinator Richard Wilson, Composer-In-Residence Marc Cerri, Orchestra Librarian James Bagwell, Artistic Consultant Ann Yarbrough Guttman, Orchestra Personnel Manager 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 16

AMERICAN SYMPHONY ORCHESTRA ANNUAL CONTRIBUTORS

Ticket sales cover only a small percentage of the expenses for our full-size orchestral concerts. The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies 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 Orchestra Club level and above, we value the generosity of all donors.

STOKOWSKI SOCIETY Jack Kliger and Amy Griggs The Booth Ferris Foundation William McCracken and Cynthia Leghorn Michael Dorf Marcia H. Moor Faith Golding Foundation, Inc. Richard and Joanne Mrstik The Fan Fox & Leslie R. Samuels Foundation, Inc. James and Andrea Nelkin Jeanne Donovan Fisher David E. Schwab II and Ruth Schwartz Schwab The Frank & Lydia Bergen Foundation Peter Sourian Danny Goldberg and Rosemary Carroll Ronnie Streichler, in honor of Leon Botstein Rachel and Shalom Kalnicki Tart-Wald Foundation Peter Linden New York City Department of Cultural Affairs CONTRIBUTOR New York State Council on the Arts Anonymous Open Society Foundations Tania Ahuja Dimitri B. and Rania Papadimitriou Gary M. Arthur Robert Rauschenberg Foundation David Beek and Gayle Christian Thurmond Smithgall Thomas and Carolyn P. Cassilly Felicitas S. Thorne Richard C. Celler The Winston Foundation Bette Collom and Anthony Menninger Nicole M. de Jesús and Brian P. Walker SUSTAINING SUPPORTER Mr. and Mrs. Joseph Lawrence Gilman Anonymous Rhea Graffman-Cohen, in honor of The Ann & Gordon Getty Foundation Miriam R. Berger Mary and Sam Miller Eva Botstein Griepp Mrs. James P. Warburg Max and Eliane Hahn Mr. and Mrs. Richard E. Wilson Sara Hunsicker The Kanter Riopelle Family DISTINGUISHED PATRON Erica Kiesewetter Anonymous Irving and Rhoda Kleiman The Elroy & Terry Krumholz Foundation John D. Knoernschild Peter Kroll GOLDEN CIRCLE Peter A. Q. Locker Anonymous Alan Mallach Joel and Ann Berson Jeanne Malter Eric Czervionke Karen Manchester The David & Sylvia Teitelbaum Fund, Inc. Stephen McAteer Gary M. Giardina Sally McCracken Peter L. Kennard Lisa Mueller and Gara LaMarche Arthur S. Leonard Tatsuji Namba Dr. Pamela F. Mazur Kurt Rausch LLC JoAnne Meloccaro Harriet Schon Shirley A. Mueller Martha and David Schwartz Joseph and Jean Sullivan Jon P. Tilley Mark Ptashne and Lucy Gordon Larry Wehr Irene Zedlacher Robert Weis Wayne and Dagmar Yaddow BENEFACTOR Anonymous ORCHESTRA CLUB Miriam R. Berger Anonymous (4) Ellen Chesler and Matthew J. Mallow American Express Gift Matching Program Patricia K. Faber Ellis Arnstein Karen Finkbeiner Carol H. Ash Irwin and Maya Hoffman Ronald Baranowski IBM Corporation Reina Barcan Michael Kishbauch Carol K. Baron 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 17

Ruth Baron Ellen Marshall, in honor of Louis Marshall Mary Ellin Barrett Carolyn McColley Robert Basner Joan and Allan McDougall Matthew and Debra Beatrice Richard and Maryanne Mendelsohn Karen Bedrosian-Richardson June Meyer Yvette and Maurice J. Bendahan Mark G. Miksic Adria Benjamin Clifford S. Miller Stephen Blum Phyllis Mishkin John Brautigam Alex Mitchell Mona Yuter Brokaw Judith Monson Patricia R. Brophy Elisabeth J. Mueller Stephen M. Brown Marin L. and Lucy Miller Murray, in honor of Marjorie L. Burns, in memory of Marden Bate Leon Botstein Isabelle A. Cazeaux Michael Nassar Roger Chatfield Kenneth Nassau Barbara Clapman Maury Newburger Michele Cone Jacob and Susan Neusner Mary M. Cope James North Diana Davis Sandra Novick Elisabeth Derow Jill Obrig Antonio Diez Clarence W. Olmstead, Jr. and Kathleen F. Heenan Ruth Dodziuk-Justitz Thomas O’Malley Barton Dominus Jim and Mary Ottaway The Rt. Reverend and Mrs. Herbert A. Donovan, Jr. Roger Phillips Robert Durst Jane and Charles Prussack Paul Ehrlich Bruce Raynor Exxon Mobil Foundation Anthony Richter Richard Farris Kenneth Rock W.J. Fenza Leonard Rosen Martha Ferry Peri Rosenfeld Donald W. Fowle Henry Saltzman Deborah Franco Leslie Salzman Lyudmila German Nina C. and Emil Scheller Christopher H. Gibbs Harriet Schon MacEllis K. Glass Gerald and Gloria Scorse June Goldberg Janet Z. Segal Michael Gotts Georgi Shimanovsky Greenwich House, Inc. Bruce Smith Nathan Gross John Sowle John Haggerty Stanley Stangren Laura Harris Gertrude Steinberg James Hayden Alan Stenzler Robert Herbert Hazel and Bernard Strauss Roberta Hershenson Paul Stumpf Dr. and Mrs. Gerald Herskowitz Andre Sverdlove Deb Hoffman Lorne and Avron Taichman Eric S. Holtz Madeline V. Taylor George H. Hutzler William Ulrich Jose Jimenez James Wagner Donald Juliano Renata and Burt Weinstein Ronald S. Kahn Barbara Westergaard Robert Kalish Janet Whalen Peter Keil Ann William David Kernahan Michael P.A. Winn Caral G. and Robert A. Klein Kurt Wissbrun Adnah G. and Grace M. Kostenbauder Richard J. Wood Robert LaPorte Leonard and Ellen Zablow Thomas Lambert Mark Zarick Gerald Laskey Alfred Zoller Steve Leventis Karen Zorn Walter Levi Myra and Matthew Zuckerbraun Judd Levy José A. Lopez List current as of November 5, 2013 Linda Lopez Harvey Marek 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 18

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York:

New York State Council on the Arts The New York City Department of Cultural with the support of Governor Andrew Affairs Cuomo and the New York State Legislature The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner SUPPORT ASO

Ensure the next 50 years: Support the American Symphony Orchestra Our success has been made possible by friends and music lovers like you. Tax-deductible donations help us sustain the artistic excellence, music education, and preservation that are vital to our cultural life. Your contribution will provide insider information, discounts, and unparalleled access to one of the most dynamic and innovative orchestras performing today.

Annual Fund Annual gifts help 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. Minimum installments of $25.

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 or education program and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022.

How to donate: Make your gift online: www.amerciansymphony.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]. 11-17 ASO_Carnegie Hall Rental 11/5/13 3:10 PM Page 19

ASO’S 2013–14 SEASON AT CARNEGIE HALL

Sunday, December 15, 2013 Strauss: Self-Portrait of the Artist The one-act opera Feuersnot in concert, portraying Strauss as a vengeful sorcerer

Friday, January 31, 2014 This England Works by Sir Arthur Bliss, Frank Bridge, Robert Simpson, and William Walton

Thursday, March 27, 2014 Moses Max Bruch’s oratorio, with The Collegiate Chorale

Friday, May 30, 2014 Forged From Fire WWI-era works by Reger, Ives, Bloch, and Szymanowski

SUBSCRIBE TO ASO

Choose any three or more concerts and save 15%!

Subscribers get great seats, and when you add on a donation to ASO you get access to prime locations! Your gift helps sustain the artistic excellence, music education, and community outreach that are vital to our cultural life. For a full list of benefits, including invitations to rehearsals, name recognition in programs, and more, visit AmericanSymphony.org.

Order your subscription at AmericanSymphony.org or call (212) 868-9ASO (9276).

Single tickets to each concert are $25–50 and can be purchased at CarnegieHall.org, CarnegieCharge at (212) 247-7800, or the box office at 57th St. & 7th Ave.