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Carnegie Hall Rental

Carnegie Hall Rental

Thursday Evening, March 26, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with at 7:00

presents Opus Posthumous LEON BOTSTEIN, Conductor

FRANZ SCHUBERT from Claudine von Villa Bella, D. 239

ANTON BRUCKNER No. 00 (“Study Symphony in ”) Allegro molto vivace Andante molto : Schnell / Trio: Langsamer Finale: Allegro

Intermission

ANTONÍN DVORÁKˇ Symphony No. 1 in (“The Bells of Zlonice”) Allegro Adagio di molto Allegretto Finale: Allegro animato

This evening’s concert will run approximately two hours and 10 minutes including one 20-minute intermission.

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PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Reception and Reputation Schubert was undiscovered, lonely and by Leon Botstein penniless, during his life has to be set side by side with the success and satis- This concert explores shifts in the repu- faction acknowledged and experienced tation and characterization of com- by Haydn, Brahms, Tchaikovsky, Strauss, posers during their lifetime and after and Stravinsky in their lifetimes. Mozart their deaths, generated by posthumous was hardly obscure and his burial had discoveries. As in the history of the to do with the rituals and mores of visual arts (contrary to public opinion, 1791 , and Schubert was famous the highest prices were paid for work and well-loved in his lifetime. What is during the artists’ lifetimes, not after), more likely the case in music history is in music, composers have been best not the discovery of an overlooked known and best understood while they genius but the forgetting of those once were living, not after their death. The justifiably famous and the recalibration myth of the unappreciated and unrec- of the reputation of permanently well- ognized genius is just that—a later known composers. romantic invention. The popularity of the image of the misunderstood artist It is this last process that this concert gains momentum with Wagner, who, examines. Schubert, for example was despite astonishing success, seemed to famous at the time of his death for the revel in spreading the idea that he was lieder, choral, and dance music he the victim of philistine taste, that he wrote. “The Great” C major sym- was held back and misunderstood. The phony came to light only a decade after advantage in doing so was that it his death, and the most famous of all enhanced his sense of self, reinforcing Schubert works—the so-called “unfin- his belief that he was a visionary ished” symphony—was first heard prophet of the future—a threat. nearly 40 years after the death of the composer. The C major came Wagner’s fame coincided with the to light in the 1850s (Schubert died in spread of the practice of the arts during 1828). Schubert harbored ambitions to the ; in a parallel fashion succeed in the theater—but in that he the affectations and mannerisms of the did indeed fail; most of his operatic artistic temperament, and a growing work remained unperformed. The over- affection for the notion of the great ture that begins the concert points to a artist as “ahead of his time,” an out- radical shift in the way posterity has sider and an outcast, flourished. No understood Schubert, a shift made pos- one made more of this sensibility than sible by the discovery of unknown , who despite great suc- large-scale works for the stage and con- cess and acknowledgment, felt unap- cert hall. Schubert’s fame was redi- preciated and predicted that “his time” rected in the second half of the 19th would come, but after his demise. century by the encounter with new works that came to light. After 1870 he The idea that Mozart had been buried became an icon of late 19th-century in an unmarked grave presumably more than a proponent of because no one cared and he was the early Biedermeier aesthetic of the impoverished and obscure, or that years between 1815 and 1828. Bruckner is best known for his sym- “unfinished” it came to light only phonies. But Bruckner is seen as a com- decades after the composer’s death. It poser in the thrall of the Wagnerian—a required a renumbering of the Dvořák Viennese figure opposed to a sterile clas- and a reconsideration of sicism associated with Brahms. Bruckner the composer’s aesthetic trajectory. is understood as having transformed Dvořák revised many of his early the symphony into a monumental sonic works; we therefore rarely get a chance drama. He was a world-famous man at to hear what the young composer the time of his death. Much as Brahms thought to do, unhampered by the wis- and Bruckner shared a mutual antipa- dom of experience. This symphony is a thy during the more than 30 years they case in point since the composer con- both lived and worked in Vienna, they sidered it lost. (One is reminded in how both shared a deep debt to and love for privileged a condition we live now. Schubert. The link between Brahms and Imagine writing an entire symphony Schubert is more familiar to classical and having only one copy). music lovers. But as the “Study” sym- phony on this program makes evident, In the 20th century each of these three Bruckner’s reputation as a link to works became important as scholars Mahler and major figure in the post- and audiences revisited the life, career, Wagnerian world becomes tempered and reputation of three famous com- when we encounter the early works and posers, all widely honored and acknowl- recognize affinities between Bruckner edged in their lifetimes, but all too and Schubert. quickly categorized in too simplified and reductive a manner by posterity. It is The most astonishing posthumous discov- unfortunate that these posthumously dis- ery on today’s program is doubtlessly the covered works have not yet gained the Dvořák first symphony. Like Schubert’s place in the repertory that they deserve.

THE Program by Christopher H. Gibbs

Franz Schubert Born January 31, 1797, in Vienna Died November 19, 1828, in Vienna

Overture from Claudine von Villa Bella, D. 239 Composed from July 26, 1815, to September 1815 Premiered on April 26, 1913, at the Gemeindehaus Wieden in Vienna Performance Time: Approximately 8 minutes

Instruments for this performance: 2 , 2 , 2 , 2 , 2 French horns, 2 , , 22 violins, 8 violas, 8 cellos, and 6 double basses

The teenage Schubert tried his hand at small-scale domestic music to masses, all genres current at the time, from symphonies, and operas. Most of these early pieces were meant to be played at Schubert composed Claudine von Villa home, at his school, or in community Bella, a three-act Singspiel, in the summer settings—they were projects through of 1815, the most prolific period of his which he hoped to hone his craft (among short life. He was immersed, at the time, his teachers was the formidable Antonio in the poetry of Goethe, which inspired his Salieri) and were not intended to gener- first masterpieces: Gretchen am Spinnrade ate public fame. He seems rarely to (Gretchen at the Spinning Wheel) the pre- have looked back at these works as his vious October and Erlkönig later that ambitions became ever grander. year. Like most of his early large works, Claudine was never presented in public Although his lieder, keyboard and during his lifetime, although there were , and symphonies eventu- plans for performances of the overture in ally won a central place in the repertoire, 1818. Schubert’s older brother Ferdinand Schubert’s name is rarely associated with informed him that the piece “comes in for dramatic music even though he wrote it much criticism….The wind parts are said over the entire course of his brief career. to be so difficult as to be unplayable, He composed his first operas and particularly those for the oboes and bas- Singspiels (operas with spoken German soon.” The first documented public per- dialogue) in his teens, and in 1820 Die formance of the first act of Claudine had Zwillingsbruder (The Twin Brothers) to wait until the 20th century as most of had a run of performances at a presti- the opera had been destroyed. Schubert gious theater in Vienna. His incidental had given the manuscript to his friend music for Rosamunde proved more Josef Hüttenbrenner, whose housekeeper popular than the dreary play it accom- burned the second and third acts during panied at its 1823 premiere in Vienna. the 1848 revolution. The charming over- In addition to short works and various ture is scored for an orchestra of Classical unrealized projects, he completed two proportions and begins with an intense major operas: Alfonso und Estrella Adagio introduction followed by an Ital- (1821–22) and Fierabras (1823). ianate Allegro vivace.

Anton Bruckner Born September 4, 1824, in , Died October 11, 1896, in Vienna

Symphony No. 00 (“Study Symphony in F minor”) Composed in 1863 Second movement premiered on October 31, 1913, in Vienna First and fourth movements premiered on March 18, 1923, in Klosterneuburg, Austria Third movement premiered on October 12, 1924, in Klosterneuburg, Austria Performance Time: Approximately 41 minutes

Instruments for this performance: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 , timpani, 22 violins, 8 violas, 8 cellos, and 6 double basses

Anton Bruckner was a late bloomer Tom Lehrer song: by that age Schubert among eminent composers. He com- had been dead 10 years.) His path to pleted his first numbered symphony in the piece included the “Study” Sym- 1866 at age 41. (To paraphrase the phony heard on the concert tonight. Sloth was not a reason for Bruckner’s Schularbeit (school exercise). He began late start, but rather a combination of writing the manuscript in pencil and as insecurity and a desire to master vari- he gained confidence switched to ink. ous technical elements of composition Since his goal was refining his composi- before presenting himself as a profes- tional technique rather than producing sional symphonist. a recipe for actual performance, he noted relatively few dynamics, phrasing, and In 1855, at age 31, Bruckner took up a other interpretative markings. One can position as cathedral organist in nonetheless already perceive some of the and began meticulous study of counter- distinctive characteristics of Bruckner’s point with the noted Viennese theorist mature symphonic style, a complex (with whom Schubert alchemy of liturgical influences, Baroque sought council in the last weeks of his organ sonorities, and his recent revela- life). Sechter forbade free composition tory exposure to Wagner’s music. and for some six years Bruckner ceased his own serious work. (Sechter remarked Nearly two years later, in January 1865, that he never had a more diligent stu- Bruckner began his First Symphony and dent.) In 1861 Bruckner sought out four years after that (the chronology is Otto Kitzler, a conductor a decade his not entirely clear) wrote at least parts of junior, with whom he worked for some another unnumbered one, in , two years on form and orchestration. now known as “Die Nullte.” Neither this After writing keyboard music and a Symphony No. 0 nor the F minor “Study” string quartet, he turned to bigger pro- Symphony was performed during his life- jects, including an Overture in G minor, time. The second movement of the F a setting of , and the Sym- minor was heard in Vienna in 1913 and phony in F minor. the first, second, and fourth movements premiered in Klosterneuberg in 1923 with Bruckner composed the symphony over the third movement, which had previously the course of three and a half months in been thought lost, first performed in the early 1863 and labeled the score a same city the following year.

Antonín Dvořák Born September 8, 1841, in Nelahozeves, Bohemia Died May 1, 1904, in Prague

Symphony No. 1 in C minor (“The Bells of Zlonice”) Composed from February 14 to March 24, 1865 Premiered on October 4, 1936, in Brno, Czech Republic, conducted by Milan Sachs Performance Time: Approximately 50 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English , 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, 22 violins, 8 violas, 8 cellos, and 6 double basses

During his early teens Dvořák lived in playing in , teaching, and com- Zlonice, a small town northeast of Prague posing (he later destroyed most of his where he received his initial musical train- early pieces). A career path that eventually ing. At age 16 he moved to Prague to changed his fortunes was to enter compe- study at the Organ School; he began titions. Although the details are not clear, it seems he tried at age 23 to enter a Ger- The symphony is known as “The Bells man competition with his Symphony No. of Zlonice,” although that title appears 1 in C minor, which he composed in less nowhere in the manuscript. Dvořák than six weeks during early 1865. supposedly referred to it as such and commenters often point to bell-like Dvořák did not win (although ten years passages, especially in the first and later he was awarded an Austrian final movements. Dvořák originally stipend that launched his international planned a three-movement work to career) and the symphony was never which he added the third movement returned. Decades later, when some of scherzo. The ominous key of C minor his students at the Prague Conservatory is that of Beethoven’s Fifth Symphony, asked him what he had done about it, to which the work owes various debts, Dvořák supposedly replied: “I sat down not least, as František Bartoš observed, and wrote another.” And indeed the in the overall trajectory from darkness Symphony in B-flat major, now known to light, doubt to affirmation. Dvořák as the Second, dates from just a few wrote the symphony during a period of months later in 1865. That symphony intense infatuation with a young was the first which Dvořák numbered actress named Josefina Čermáková and assigned an opus number—he later who performed in a theater where he revised it to premiere in 1888. But he played and to whom he gave piano never heard the First Symphony per- lessons (he eventually married her sis- formed and said that he had destroyed ter). Although Dvořák thought the it. The piece had, in fact, survived. In symphony lost, he did not forget its the 1880s a young scholar named music, various ideas of which he later Rudolf Dvořák (no relation) bought the recast in his first orchestral Rhapsody, manuscript at a second-hand bookstore Op. 14 (1874) and piano cycle Silhou- in Leipzig. Only in 1923 did word of ettes, Op. 8 (1879). the lost symphony emerge, although the work was not premiered until 1936 in Christopher H. Gibbs is James H. Brno (in an abridged version) and the Ottaway Jr. Professor of Music at score remained unpublished until 1961. Bard College. THE Artists LEON BOTSTEIN, Conductor

Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are RIC RIC KALLAHER available online, where they have cumu- latively sold more than a quarter of a million downloads. Upcoming engage- ments include the Royal Philharmonic and the Russian National Orchestra. Recently he conducted the Taipei Sym- phony, the Los Angeles Philharmonic at the Hollywood Bowl, and the Sin- fónica Juvenil de Caracas in Venezuela and Japan, the first non-Venezuelan conductor invited by El Sistema to Leon Botstein is now in his 23rd year as conduct on a tour. music director and principal conductor of the American Symphony Orchestra. Highly regarded as a music historian, He has been hailed for his visionary Mr. Botstein’s most recent book is Von zeal, often creating concert programs Beethoven zu Berg: Das Gedächtnis that give audiences a once-in-a-lifetime der Moderne (2013). He is the editor of chance to hear live performances of The Musical Quarterly and the author works that are ignored in the standard of numerous articles and books. He is repertory, and inviting music lovers to currently working on a sequel to Jeffer- listen in their own way to create a per- son’s Children, about the American edu- sonal experience. At the same time he cation system. Collections of his writ- brings his distinctive style to core ings and other resources may be found repertory works. He is also co-artistic online at LeonBotsteinMusicRoom.com. director of Bard SummerScape and For his contributions to music he has the Bard Music Festival, which take received the award of the American place at the Richard B. Fisher Center Academy of Arts and Letters and Har- for the Performing Arts at Bard Col- vard University’s prestigious Centennial lege, where he has been president since Award, as well as the Cross of Honor, 1975. He is also conductor laureate of First Class from the government of Aus- the Jerusalem Symphony Orchestra, tria. Other recent awards include the where he served as music director from Caroline P. and Charles W. Ireland Prize, 2003–11. the highest award given by the Univer- sity of Alabama; the Bruckner Society’s Mr. Botstein leads an active schedule as Julio Kilenyi Medal of Honor for his a guest conductor all over the world, interpretations of that composer’s and can be heard on numerous record- music; the Leonard Bernstein Award ings with the London Symphony (includ- for the Elevation of Music in Society; ing their Grammy-nominated recording and Carnegie Foundation’s Academic of Popov’s First Symphony), the London Leadership Award. In 2011 he was inducted into the American Philosophi- Mr. Botstein is represented by Columbia cal Society. Artists Management, LLC.

THE AMERICAN SYMPHONY ORCHESTRA

Now in its 53rd season, the American an upstate home at the Richard B. Symphony Orchestra was founded in Fisher Center for the Performing Arts 1962 by Leopold Stokowski, with a at Bard College, where it performs in mission of making orchestral music an annual subscription series as well as accessible and affordable for everyone. Bard’s SummerScape Festival and the Music Director Leon Botstein expanded Bard Music Festival. The orchestra has that mission when he joined the ASO in made several tours of Asia and Europe, 1992, creating thematic concerts that and has performed in countless benefits explore music from the perspective of the for organizations including the Jerusalem visual arts, literature, religion, and history, Foundation and PBS. and reviving rarely-performed works that audiences would otherwise never have a Many of the world’s most accom- chance to hear performed live. plished soloists have performed with the ASO, including Yo-Yo Ma, Deborah The orchestra’s Vanguard Series, which Voigt, and Sarah Chang. The orches- includes these themed programs as well tra has released several recordings on as an opera-in-concert and a celebra- the Telarc, New World, Bridge, Koch, tion of an American composer, consists and Vanguard labels, and many live of six concerts annually at Carnegie performances are also available for Hall. ASO goes in-depth with three digital download. In many cases these familiar symphonies each season in the are the only existing recordings of some popular series Classics Declassified at of the rare works that have been redis- Peter Norton Symphony Space, and has covered in ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I Yana Goichman CELLO Erica Kiesewetter, Dorothy Strahl Eugene Moye, Bart Feller, Principal Concertmaster Lucy Morganstern Principal Rie Schmidt Suzanne Gilman Elizabeth Kleinman Maureen Hynes Karla Moe, Piccolo Diane Bruce Alexander Vselensky Diane Barere Patricia Davis Sarah Zun Eliana Mendoza Robert Zubrycki Tatyana Margulis Matthew Dine, John Connelly VIOLA Rubin Kodheli Principal Ashley Horne William Frampton, Robert Burkhart Melanie Feld, James Tsao Principal Sofia Nowik English horn Ann Labin Sally Shumway Erin Gustafson Wende Namkung Rachel Riggs BASS Mara Milkis Martha Brody John Beal, Principal Nazig Tchakarian Shelley Holland- Jordan Frazier Laura Flax, Principal Moritz Jack Wenger Nicholas Gallas VIOLIN II Adria Benjamin Louis Bruno Richard Rood, Crystal Garner Richard Ostrovsky Principal Louis Day Tony Flynt Charles McCracken, Yukie Handa Principal Elizabeth Nielsen Marc Goldberg HORN TIMPANI ASSISTANT Zohar Schondorf, Carl Albach, Benjamin Herman, CONDUCTOR Principal Principal Principal Zachary David Smith John Dent Schwartzman Theodore Primis PERSONNEL Chad Yarbrough MANAGER ORCHESTRA Shelagh Abate, Kenneth Finn, Ann Yarbrough LIBRARIAN Assistant Principal Guttman Marc Cerri Bradley Ward Mark Johansen

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 Ann Yarbrough Guttman, Orchestra Oliver Inteeworn, General Manager Personnel Manager Brian J. Heck, Director of Marketing Ben Oatmen, Production Assistant Nicole M. de Jesús, Director of Development Leszek M. Wojcik, Concert Archival Recording Sebastian Danila, Library Manager Marielle Métivier, Operations Manager James Bagwell, Principal Guest Conductor Carley Gooley, Marketing Assistant Zachary Schwartzman, Assistant Conductor Marc Cerri, Orchestra Librarian Richard Wilson, Composer-In-Residence James Bagwell, Artistic Consultant

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.

MAESTRO’S CIRCLE New York City Department STOKOWSKI CIRCLE The Achelis Foundation of Cultural Affairs (DCA) Anonymous Michael Dorf New York State Council on The Ann & Gordon Getty Jeanne Donovan Fisher the Arts (NYSCA) Foundation The Frank & Lydia Bergen Open Society Foundations Michael and Anne Marie Foundation Dimitri B. and Rania Kishbauch Rachel and Shalom Kalnicki Papadimitriou Mary F. and Sam Miller The Lanie & Ethel Thurmond Smithgall Thomas P. Sculco, M.D. and Foundation Felicitas S. Thorne Cynthia D. Sculco National Endowment for the The Winston Foundation The Spektor Family Arts (NEA) Foundation Mr. and Mrs. Richard E. Wilson BENEFACTORS CONTRIBUTORS Laura Flax Anonymous Anonymous Jeffrey F. Friedman The Amphion Foundation Gary Arthur Christopher H. Gibbs Catharine Wilder Guiles Dr. Miriam Roskin Berger Todd Gordon and Mrs. James P. Warburg Jeffrey Caswell Susan Feder Tappan Wilder Bette R. Collom and Michael and Ilene Gotts The Wilder Family Anthony Menninger Greenwich House, Inc. Nicole M. de Jesús and Nathan Gross PATRONS Brian P. Walker John L. Haggerty Anonymous (2) Anna and Jonathan Haas Laura Harris The Atlantic Philanthropies Max and Eliane Hahn Eric S. Holtz Director/Employee Ashley Horne Hudson Guild, Inc. Designated Gift Program Erica Kiesewetter Sara Hunsicker Joel I. and Ann Berson Adnah G. and Grace W. George H. Hutzler The David & Sylvia Kostenbauder Jewish Communal Fund Teitelbaum Fund, Inc. Steve Leventis José Jiménez Karen Finkbeiner Peter A. Q. Locker Ronald S. Kahn Gary M. Giardina Alan Mallach Robert and Susan Kalish Peter L. Kennard Jeanne Malter Robert and Charlotte Kelly Ross Lipman Charles McCracken, in David Kernahan Dr. Pamela F. Mazur and memory of Jane Taylor Irving and Rhoda Kleiman Dr. Michael J. Miller Sally McCracken Caral G. and Robert A. Klein Lisa Mueller and Peter Lars Sandberg and Peter Kroll Gara LaMarche Nancy Whitaker Kurt Rausch LLC Mark Ptashne and Martha and David Schwartz Dr. Nancy Leonard and Lucy Gordon Peter and Eve Sourian Dr. Lawrence Kramer Patricia E. Saigo Alan Stenzler Linda Lopez Tides Foundation, on the Robert F. Weis Elizabeth Mateo recommendation of William C. Zifchak Stephen J. Mc Ateer Kathryn McAuliffe and Carolyn McColley Jay Kriegel SUPPORTERS Alan B. McDougall Anonymous (9) Sally and Bruce McMillen SUSTAINERS American Express Gift Clifford S. Miller Anonymous (2) Matching Program Judith Monson The Bialkin Family Foundation Madelyn P. Ashman Martin L. and Lucy Miller Thomas and Carolyn P. John and Joanne Baer Murray Cassilly Bank of America Kenneth Nassau Ellen Chesler and Reina Barcan Michael Nasser Matthew J. Mallow Carol Kitzes Baron Karen Olah Veronica Frankenstein Ruth Baron Roger and Lorelle Phillips Irwin and Maya B. Hoffman Mary Ellin Barrett David R. Pozorski and IBM Corporation Dr. Robert Basner Anna M. Romanski Patricia Kiley and David C. Beek and Anthony Richter Edward Faber Gayle Christian Roland Riopelle and Jack Kliger and Amy Griggs Simone Belda Leslie Kanter Arthur S. Leonard Yvette and Maurice Bonita Roche William McCracken and Bendahan Phyllis and Leonard Rosen Cynthia Leghorn Adria Benjamin Michael T. Ryan Susan and Graham McDonald Daniel and Gisela Berkson Henry Saltzman Marcia H. Moor Stephen M. Brown Sari Scheer and Samuel Kopel Joanne and Richard Mrstik Marjorie Burns Gerald and Gloria Scorse Shirley A. Mueller Moshe Burstein Georgi Shimanovsky Tatsuji Namba Isabelle A. Cazeaux Bruce Smith and James and Andrea Nelkin Richard C. Celler Paul Castellano James H. and Louise V. Roger Chatfield Gertrude Steinberg North Alice and Theodore Cohn Hazel C. and Bernard Strauss David E. Schwab II and Laura Conwesser Helen Studley Ruth Schwartz Schwab Paul Ehrlich Tart-Wald Foundation Janet Zimmerman Segal Richard Farris Mr. and Mrs. Jon P. Tilley Joseph and Jean Sullivan Lynda Ferguson Elisabeth F. Turnauer, M.D. Siri von Reis Martha Ferry Donald W. Whipple Larry A. Wehr Goldman, Sachs & Co. Jane and Charles Prussack Michael P. A. Winn Robert Gottlieb Bruce Raynor Kurt Wissbrun Mr. and Mrs. Sidney Wayne H. Reagan Richard J. Wood Greenberg Martin Richman Leonard and Ellen Zablow John Hall Catherine Roach Alfred Zoller Donald Hargreaves John W. Roane Myra and Matthew Andrée Hayum Dr. and Mrs. Arnold Rosen Zuckerbraun Robert Herbert Leslie Salzman Gerald and Linda Herskowitz Nick Sayward FRIENDS Diana F. Hobson Nina C. and Emil Scheller Anonymous (4) Christopher Hollinger Harriet Schon Stephen Blum Cyma Horowitz Dr. and Mrs. Herbert C. Mona Yuter Brokaw Drs. Russell and Barbara Schulberg Mrs. A. Peter Brown Holstein Sharon Schweidel Rufus Browning Theresa Johnson The Honorable Michael D. Joan Brunskill Peter Keil Stallman CA Technologies Kaori Kitao Susan Stempleski Leonard Chibnick Pete Klosterman Paul Stumpf Soriya Chum Frederick R. Koch Andre Sverdlove Concerts MacMusicson Seymour and Harriet Koenig Lorne and Avron Taichman Patricia Contino Mr. and Mrs. Robert LaPorte Margot K. Talenti Lois Conway Patricia Luca Madeline V. Taylor Judy Davis Walter Levi Mr. and Mrs. Jack Ullman Thomas J. De Stefano Judd Levy Gretchen Viederman Susanne Diamond José A. Lopez James Wagner and Ruth Dodziuk-Justitz and Sarah Luhby Barry Hoggard Jozef Dodziuk Dr. Karen Manchester Renata and Burt Weinstein Barton Dominus Richard and Maryanne Victor Wheeler Robert Durst Mendelsohn Ann and Doug William Lee Evans Mark G. Miksic Dagmar and Wayne Yaddow ExxonMobil Foundation Alex Mitchell Donald W. Fowle Christine Munson List current as of Helen Garcia Michael Nassar February 23, 2015 Barbara Gates Clarence W. Olmstead, Jr. June O. Goldberg and Kathleen F. Heenan

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 CHAMPION LIVE MUSIC: 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 SPRING SEASON AT CARNEGIE HALL

Sunday, April 19, 2015 Music U. A celebration of Ivy League composers, including a world premiere with the Cornell University Glee Club and Chorus

Friday, May 29, 2015 American Variations: Perle at 100 Two works by George Perle, alongside variations by Copland, Lukas Foss, and William Schuman

Tickets to each concert are $29–$54 and can be purchased at CarnegieHall.org, CarnegieCharge at (212) 247-7800, or the box office at 57th St. & 7th Ave

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