Carnegie Hall Rental

Friday Evening, December 9, 2016, at 7:30 Isaac Stern Auditorium/Ronald O. Perelman Stage

presents Denounced!

LEON BOTSTEIN , Conductor

Performance #39, Season 2, Concert 10

NIKOLAI MYASKOVSKY Symphony No. 25 in D-flat major, Op. 69 (1881 –1950) (1945 –46) Adagio Moderato Allegro impetuoso

DMITRI SHOSTAKOVICH From Jewish Folk Poetry , Op. 79 (1906 –75) (1948) Lament Over the Death of a Small Child The Loving Mother Cradle Song Before a Long Separation Warning The Forsaken Father Song of Misery Winter The Good Life Song of the Girl Happiness ILANA DAVIDSON, Soprano KATHARINE GOELDNER, Mezzo-soprano SERGEY POLYAKOV, Tenor

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. SERGEI PROKOFIEV Symphony No. 6 in E-flat minor, Op. 111 (1891 –1953) (1944 –47) Allegro moderato Largo Vivace

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

– Notes FROM T ON MUSICIANS by Rachel Boehl, Horn

Nikolai Myaskovsky Symphony No. 25 in D-flat major, Op. 69

Nikolai Myaskovsky’s symphonic out - Zhdanovshchina . Led by Stalin’s spokes - put was quite prolific for a composer of man Andrei Zhdanov, “underminers of his age. As a musical “late bloomer” socialist realism” were purged from the who didn’t enter the Saint Petersburg culture. Although Myaskovsky had pre - Conservatory until the age of 25, his viously been heralded as the “Father of compositional output was extensive the Soviet Symphony,” his music was and included 27 symphonies. He was found to be too “individualistic” for born on April 20, 1881, and died the extremist Zhdanov. Symphony No. August 8, 1950, not long after his 25 was written in 1946, as the new culture music was abolished from the Soviet laws were just beginning to take hold. regime. During his short career in the Soviet military, Myaskovsky took inter - Unlike many symphonies, No. 25 mittent lessons with Reinhold Glière. begins with a slow first movement, Upon leaving the military as an engi - moderato second, and ends with a neer, he took up composition at the faster third. You can feel the weight of Saint Petersburg Conservatory where the world on this composer’s shoulders he became good friends with Sergei as the piece builds in speed and fervor Prokofiev. In 1921 he was elevated to as time passes. The first movement the status of professor at the Moscow opens with a haunting bassline, a nos - Conservatory. In an interesting turn of talgic clarinet and bassoon line emerg - events, he was also jailed for a short ing from the fog. The listener can do term for refusing to shovel snow in the nothing but sympathize with the aching same year. As a musician, his work was yet tender feelings Myaskovsky holds relatively safe from regime criticism for his turbulently changing country. due to its traditionalist and simple Lovers of double-reed instruments nature. Myaskovsky’s music came will enjoy his lush wind writing in under fire from Stalin’s regime during this movement, accompanied by an Russia’s cultural shift known as the undu lating sea of strings. The second movement is brought in with a that lasts 13 minutes and is the swirling folksong in the low strings, longest of the movements. This brings where the orchestra builds to a tempo - the symphony to a triumphant yet rary climax before edging away as subdued ending. The hero of this quickly as it came bubbling to the sur - music is not a pompous one, and there face. By the end, the whole orchestra are as many gentle, intimate moments has chanted the brooding, hymn-like in this movement as there are passion - melody only to come to rest on a sweet ate ones. Myaskovsky ends his 25th major chord. The finale of this three- Symphony with a gentle embrace in movement symphony is a sonata form D-flat major. by Jonathan Wisner, Timpani

Dimitri Shostakovich From Jewish Folk Poetry, Op. 79

Although Dmitri Shostakovich’s song identified himself with the Jews as a his - cycle From Jewish Folk Poetry does not torically oppressed group, and his love have the same international acclaim as for Jewish folk music had a great some of his bigger orchestral works, it influ ence on his compositional style. still remains one of his most powerful Shostakovich admired the multifaceted pieces that acted as a vehicle for his qualities of Jewish folk music, stating artistic and moral resistance against the “it can appear to be happy while it is rise of anti-Semitism in Soviet Russia tragic. It’s almost always laughter during the end of Stalin’s life. From through tears.” Jewish Folk Poetry was first composed in 1948 for soprano, mezzo-soprano, The source of Shostakovich’s inspira - tenor, and piano, and then later orches - tion came from a book entitled Jewish trated in 1963. In 1948, not only was Folk Songs , which was edited and Shostakovich aware of Stalin’s efforts translated from Yiddish to Russian by to destroy Jewish culture, which was Y.M. Sokolov. Although Shostakovich deemed as a threat to Soviet society, he borrowed the text for this piece, he also knew the horrors of Nazism and wrote the music himself. From Jewish the Holocaust’s attempt to annihilate Folk Poetry has a total of 11 move - European Jewry. 1948 was also a signif - ments which are clearly divided into icant year because Shostakovich was two groups. The first eight are consid - once again condemned by the Commu - ered tragic and the last three are the nist government due to the Zhdanov “happy” songs, which were added doctrine. Because of these reasons, later in the orchestrated version. From Jewish Folk Poetry was not per - Shostakovich incorporates the typical formed in public until 1955, seven qualities of Eastern European Jewish years after the piece was written. folk music, using themes of irony and sarcasm, tragedy and hope, with happy Shostakovich himself was not Jewish, and sad intonations. From Jewish Folk however his interest in Jewish matters, Poetry embodies the true spirit of both musical and non-musical, was Shostakovich’s music: the misery and unprecedented among other Russian com - helplessness of an individual in the face posers. Some theorize that Shostakovich of overwhelming odds. by Paul Nemeth, Bass

Sergei Prokofiev Symphony No. 6 in E-flat minor, Op. 111

Sergei Prokofiev’s immigration to the as Zhdanovschchina , or Zhdanovism, Soviet Union in 1936 marked the begin - where culture had to be controlled by ning of a series of misfortunes sur - the state and could not show an influ - rounding his composition career. ence of the West or of cosmopolitanism. Prokofiev had previously left Russia for Prokofiev’s Fifth Symphony, written the United States in 1918, “welcoming during the war, in 1944, had been con - joyfully” the February Revolution, but sidered a great success for the com - realizing that the Soviet vision of prole - poser. He had begun writing his Sixth tariat revolution left no room for his Symphony in 1944, directly after finish - artistic visions. After living in the ing the Fifth, but in 1945, after con - United States from 1918–22 and in ducting the premiere of the Fifth, the Europe from 1922–36, he left his home composer passed out and fell down a in Paris and moved to the Soviet Union. flight of stairs. The move surprised his peers who thought that Prokofiev would have Prokofiev would return to the Sixth made a more calculated decision to put Symphony, completing it in 1947. It himself outside of Soviet censorship and premiered in Leningrad by the Leningrad criticism. To the public, he explained Philharmonic conducted by Evgeny the idea of the move as being born out Mravinsky and was appreciated by the of patriotism and homesickness. He audience. Despite this, Zhdanov wrote wrote, “I must see the real winter again negatively about the symphony, saying and hear the Russian language in my that “Prokofiev still believes in ‘innova - ears.” Prokofiev’s decision may have tion for innovation’s sake’…. it is curi - actually been based on the false ous to observe the struggle of the two assumption that he would be welcomed Prokofievs in a work like his Sixth Sym - back into Russia as a famous interna - phony. Here the melodious, harmonious tional composer and be given an offi - Prokofiev is often attacked, without cial post in the Soviet musical system. provocation, by the other, storming His biggest Russian competition out - Prokofiev.” Only a few days after the side of the Soviet Union, Rachmani - premiere Prokofiev was denounced offi - noff, would not end up returning. In cially by the Central Committee of the 1936, Shostakovich was condemned in Communist Party. While the Fifth Sym - the official state paper Pravda for his phony displays an optimism about win - opera Lady Macbeth of the Mtsensk ning the war, the Sixth Symphony is District , which temporarily ended perhaps more introspective about the Shostakovich’s career for a year. damage done by war. Prokofiev would write to his biographer that “now we Following World War II, during which are rejoicing in our great victory, but there was an unofficial relaxing of artis - each of us has wounds which cannot be tic censorship, Andrei Zhdanov, a pow - healed. One man’s loved ones have per - erful Soviet ideologue, passed four ished, another has lost his health. This resolutions that would become known must not be forgotten.” Text AND Translation

From Jewish Folk Poetry , Op. 79 DMITRI SHOSTAKOVICH

Lament Over the Death of a Small Child Soprano & Mezzo: Sontse i dozhdik, Soprano & Mezzo: Sunshine and rain, siyanye i mgla. brightness and mist. Tuman apustilsa, Fog has come down, pamerkla luna. the moon has grown dim.

M: Kavo radila ana? M: Whom did she give birth to? S: Malchika, malchika. S: A boy, a boy. M: Kak nazvali? M: And what did they call him? S: Moishele, Moishele. S: Moishele, Moishele. M: A fchom kachali Moishele? M: And where did they rock him? S: Vlulke . S: In a cradle. M: A chem karmili? M: And how did they feed him? S: Hlebam da lukam. S: With bread and onion. M: A gde sharanili? M: And where did they bury him? S: Vmagile. S: In a grave.

Both: Oi, malchik vmagile, Both: Oy, the boy is in the grave, vmagile Moishele, vmagile. Oi! in the grave is Moishele, in the grave. Oy!

The Loving Mother Mezzo: Bai, bai, bai, Mezzo: Bye, bye, bye, fselo tatunya payezhai! to the village, dear daddy, go! Privezi nam yablachka, Bring us a sweet apple shtop ne balet glazachkam! so our eyes do not hurt! Soprano & Mezzo: Bai… Soprano & Mezzo: Bye…

S: Bai, bai, bai, S: Bye, bye, bye, fselo tatunya payezhai! to the village, dear daddy, go! Privezi nam kurachku Bring us a little hen shtop ne balet zubachkam! so our little teeth do not ache! Both: Bai… Both: Bye…

M: Bai, bai, bai, M: Bye, bye, bye, fselo tatunya payezhai! to the village, dear daddy, go! Privezi nam utachku Bring us a little duck shtop ne balet grudachke! so our chests do not hurt! Both: Bai… Both: Bye…

S: Bai, bai, bai, S: Bye, bye, bye, fselo tatunya payezhai! to the village, dear daddy go! Privezi nam gusachku Bring us a little goose shtop ne balet puzachku! so our tummies do not ache! Both: Bai… Both: Bye…

M: Bai, bai, bai, M: Bye, bye, bye, fselo tatunya payezhai! to the village, dear daddy, go! Privezi nam semechek Bring us a little hare shtop nebalet temechku! so our fingers do not hurt! Both: Bai… Both: Bye…

Bai, bai, bai, Bye, bye, bye, fselo tatunya payezhai! to the village, dear daddy, go! Privezi nam zaichika Bring us sunflower seeds shtop ne balet palchikam! so our heads do not hurt! Bai… Bai… Bye… Bye…

Cradle Song Mezzo: Moi sinok fseh krashe vmire, Mezzo: My little son is the prettiest in the world, Aganok va tme. a small light in the darkness. Tvoi atets ftsepah fSibiri, Your father is chained in Siberia, derzhit tsar yevo fturme! imprisoned by the king. Spi, lu-lu, lu-lu. Sleep, lu-lu, lu-lu.

Kalibel tvayu kachaya, Rocking your cradle, mama slozi lyot. your mommy sheds tears. Sam paimosh ti padrastaya, You’ll understand when you grow up shto yei sertse zhot. what troubles her heart.

Tvoi atets fSibiri dalnei, Your father is in Siberia, far away, ya nuzhdu terplu. I suffer in need. Spi pakuda bespechalna a Sleep carefree for now and lu-lu, lu-lu, lu-lu, lu-lu, lu-lu, lu-lu. lu-lu, lu-lu, lu-lu, lu-lu, lu-lu, lu-lu.

Skorp maya cherneye nochi, My grief is darker than night, spi, a ya ne splu. sleep, but I cannot. Spi, haroshii, spi, sinochek, spi, Sleep, my sweet, sleep, my son, sleep, lu-lu, lu-lu, lu-lu, lu-lu, lu-lu, lu-lu. lu-lu, lu-lu, lu-lu, lu-lu, lu-lu, lu-lu. Before a Long Separation Soprano: Soprano: Oi, Abram, kak bes tebya mne zhit? Oh, Abram, how shall I live without you? Ya bes tebya, ti bez menya, Me without you, you without me, kak nam vrazluke zhit? how shall we live apart?

Tenor: A pomnish, vvarotah sa Tenor: And do you remember, when we mnoi stayala, were under the porch, shto pa sekretu ti mne skazala? what you told me in secret? Oi, oi, Rivachka, dai tvoi Oh, oh, little Reba, let me kiss your rotik devachka! sweet lips, my darling!

S: Oi, Abram, kak nam zhit teper? S: Oh, Abram, how will we live now? Ya besteba, ti bez menya, Me without you, you without me, oi, kak bez ruchki dver. oh, like a door without a lock.

T: A pomnish, gulali staboi mi fpare, T: And do you remember, when we were walking together, shto mne skazala ti na bulvare? what you told me on the boulevard?

Both: Oi, Oi, Both: Oh, oh, T: Rivachka, dai tvoi rotik devachka! T: little Reba, let me kiss your sweet lips, my darling!

Both: Oi, Abram/Rivachka, kak bes Both: Oh, Abram/little Reba, how shall I tebya mne zhit? live without you? Ya bes tebya, ti bez menya, Me without you, you without me, kak nam bes shastya zhit? how shall we live without happiness?

S: Ti pomnish, ya krasnuyu S: Do you remember, I wore a red skirt? yupku nasila? Oi, kak tagda ya bila krasiva! Oh, how beautiful I was then! S: Oi, Abram, oi, Abram! S: Oh, Abram, oh, Abram! T: Oi, oi, Rivachka, dai tvoi rotik T: Oh, oh, little Reba, let me kiss your devachka! sweet lips, my darling!

Warning Soprano: Soprano: Slushai, Xasya! Listen, Khassia! Nelza gulat, You must not go out, ne smei gulat, don’t you dare go out, slubim gulat apasaisa, don’t date anyone, apasaisa, apasaisa! don’t, don’t!

Paidosh gulat If you go out da-utra gulat, oi, and stay out until morning, oh, patom naplacheshsa, you’ll weep bitterly, Xasya! Slushai! Xasya! Khassia! Listen! Khassia! The Forsaken Father Mezzo: Mezzo: Ele staryofshik nadel halat. Elyeh, a clothing merchant, put on his coat. Kpristavu dochka ushla, gavarat. His daughter has left with a police officer, they say.

Tenor: Tsirele, dochka, vernis katsu, Tenor: Tsirele, daughter, come back to your father, dam tebe platyef naradnih kventsu. I’ll give you a beautiful dress for the wedding. Tsirele, dochka, Tsirele, daughter, sergei koltsa kuplu tebe sam. I’ll buy you earrings and rings. Tsirele, dochka, Tsirele, daughter, i na pridachu krasafchika, and a handsome young man, I’ll give you krasafchika dam. him also. Tsirele, dochka! Tsirele, daughter!

M: Ne nada mne naradaf, M: I don’t need a dress, ne nada mne kalets, I don’t need any rings, lish zgaspadinam pristavam I will not marry anyone paidu ya pad venets. but my police officer.

M: Gaspadin pristaf, M: Mister police officer, prashu vas, skareye please, hurry ganite fsheyu throw this old Jew starava yevreya. out on his ear.

T: Tsirele, dochka! Vernis ka mne! T: Tsirele, daughter, come back to me! Tsirele, dochka! Vernis ka mne, Tsirele, daughter, come back to me, vernis ka mne, vernis ka mne! come back to me, come back to me! Oi, vernis ka mne, vernis… Oh, come back to me, come back… Tsirele, dochka! Tsirele, daughter!

Song of Misery Tenor: Tenor: Krisha spit na cherdake The roof sleeps sweetly in the loft pat salomai slatkim snom. under the straw. Fkalibelke spit dita In the cradle sleeps a child bes pelonak, nagishom. without swaddling, all naked.

Gop, gop, vishe, vishe! Jump, jump, higher, higher! Yest kaza salomu skrishi. A goat is eating the straw from the roof. Gop, gop, vishe, vishe! Jump, jump, higher, higher! Yest kaza salomu skrishi, oi! A goat is eating the straw from the roof, oh! Kalibel na cherdake, There is a cradle in the loft, pauchok vnei tkot bedu. a little spider is weaving trouble there. Radast on mayu sasot, It is sucking out my joy mne astavif lish nuzhdu. and only leaving poverty.

Petushok na cherdake, There is a rooster in the loft, yarkakrasnii grebeshok. his crest is scarlet. Oi, zhena, zaimi dladetak Oh, my wife, borrow for our little children hleba chorstvava kusok. a slice of stale bread.

Winter Tenor: Tenor: Lezhit maya Sheindl fkravati, My Sheindle is staying in bed i sneyu rebonak balnoi. and the sick child is lying with her. Ni shepki vnetoplennai hate, There is not a branch to warm the shack, a veter gudit za stenoi. and the wind is howling at the walls.

All: Ah… All: Ah…

T: Vernulis i stuzha, i veter, T: Biting cold and wind returned, net sili terpet i malchat! I haven’t the strength to suffer in silence! All: All: Krichite zhe, plachte zhe, deti, All: So yell and cry, children, zima varatilas apat! winter returned.

Ah… Ah…

The Good Life Tenor: Tenor: A pole prastornam, druzya daragiye, About a vast field, my dear friends, pesen ne pel ya vgodi gluhiye. I have not sung songs through the many years. Ne dlya menya palya rastsvetali, The fields never bloomed for me, ne dlya menya rasinki stekali. the dewdrops never fell for me. Ftesnam padvale va tme siroi In a crowded cellar, in damp darkness, zhil ya kagdata, izmuchen nuzhdoi. I lived before, tortured by poverty. I grusnaya pesna neslas is padvala And a sad song was heard in the cellar a gore, a muke mayei nebivalai. about my grief, and my sorrow beyond words.

Kalhoznaya rechka, struyas veseleye; Farm river, flowing quickly; druzyam peredai moi paklon paskareye. give my regards to my friends, the sooner the better. Skazhi, shto fkalhoze teper moi dom, Tell them, that the farm is now my home, tsvetusheye dereva stayit pad aknom. a blooming tree is outside my window.

Teper dlya menya palya rastsvetayut, The fields bloom for me now, menya malakom i modam pitayut. I am fed with honey and milk. Ya shaslif, a ti raskazhi maim bratyam: I am happy, and tell my brothers: Kalhoznim palam budu pesni slagat ya! I shall sing praises about the farm!

Song of the Girl Soprano: Na luzhaike, vozle lesa, Soprano: In a meadow, near the forest, shto zadumchif tak fsegda, which is always so thoughtful, mi pasyom sutra da nochi, from morning till night kalhozniye stada. we looking after the farm herds.

I sizhu ya na pregorke, And I am sitting there on a hill, zdudachkai sizhu svayei. with my little pipe. Ne magu ya naglyadetsa I can’t possibly gaze enough na krasu strani mayei. at my country’s beauty.

Vyarkai zeleni derevya The bright green trees i krasivi, i straini are so beautiful and shapely, a fpalah tsvetut kalosya, in the fields are ripening ears of corn, prelesti palni. full of goodness and delight.

Oi, oi, oi, oi, lu-lu, lu-lu, lu-lu! Oh, oh, oh, oh, lu-lu, lu-lu, lu-lu! Oi, lu! Oi, lu! Oi, lu-lu, lu-lu, lu-lu! Oh, lu! Oh, lu! Oh, lu-lu, lu-lu, lu-lu!

To mne vetka ulibnotsa Now a branch is smiling at me here, kalasok vdruk padmignot, now an ear of corn is winking at me there, chustva radasti velikai and a feeling of great joy fsertse iskrayu sverknot. flickers like a spark in my heart.

Poi zhe, dudachka prastaya! Sing, little pipe! Tak lehko nam pet vdvayom! Both of us sing together! Slishat gori i dalini, Mountains and valleys hear kak mi radasna payom! how we sing joyfully.

Tolka, dudachka ne plakat! But don’t cry, little pipe! Proshluyu zabut pechal. Forget the sorrow of the past. I puskai tvai napevi And let your tunes flow mchatsa vlaskavuyu dal. into the tender distance.

Oi, oi, oi, oi, lu-lu, lu-lu, lu-lu! Oh, oh, oh, oh, lu-lu, lu-lu, lu-lu! Oi, lu! Oi, lu! Oi, lu-lu, lu-lu, lu-lu! Oh, lu! Oh, lu! Oh, lu-lu, lu-lu, lu-lu!

Ya fsvayom kalhoze shasliva. I am happy on my farm, Slishish, zhizn maya palna! don’t you hear, my life is full! Veseleye, veseleyse, dudachka, Merrier, merrier, little pipe, ti pet dalzhna! must you sing!

Happiness Mezzo: Mezzo: Ya muzha smela pod ruku vzyala, I took my husband’s arm boldly, pust ya stara, i star moi kavaler. though I am old and my beau is old. Yevo ssaboi fteatr pavela, I led him to the theatre, i vzali dva bileta mi fparter. and we bought two tickets in the parquet.

Da poznei nochi smuzhem sida tam, While sat there til very late, fso predavalis radasnim mechtam, transported by joyful dreams, kakimi blagami akruzhena what blessings surround yevreiskava sapozhnika zhena. the wife of a Jewish shoemaker.

All: Oi, oi, oi, oi, kakimi blagami All: Oh, oh, oh, oh, what blessings surround akruzhena yevreiskava sapozhnika the wife of a Jewish shoemaker! Oh! zhena! Oi!

M: I fsei strane hachu pavedat ya, M: I would like to tell the whole country Soprano & Tenor: Oi! Soprano & Tenor: Oh! M: pra radasnii i svetlii zhrebii moi: M: how joyful and radiant is my destiny: Soprano & Tenor: Oi! Soprano & Tenor: Oh! M: Vrachami, vrachami nashi M: Doctors, doctors our sons became, stali sinavya, Soprano & Tenor: Oi! Soprano & Tenor: Oh! M: zvezda garit nad nashei galavoi! M: a star shines over our heads!

All: Oi, Oi, Oi, Oi, zvezda garit, All: Oh, oh, oh, oh, a star shines, a zvezda garit, star shines, zvezda garit nad nashei galavoi! a star shines over our heads! Vrachami, vrachami nashi stali sinavya, Doctors, doctors our sons became, zvezda garit nad nashei galavoi! Oi! a star shines over our heads! THE Artists LEON BOTSTEIN, Conductor E N

I artistic co-director of Bard SummerScape D

T and the Bard Music Festival since their T A creation, and president of Bard Col - M lege since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laureate.

In 2018 he will assume artistic director - ship of Grafenegg in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Leon Botstein brings a renowned career as Quarterly , and has received many hon - both a conductor and educator to his role ors for his contributions to music. as music director of The Orchestra Now. He has been music director of the Ameri - More info online at can Symphony Orchestra since 1992, LeonBotsteinMusicRoom.com.

ILANA DAVIDSON, Soprano Max von Schillings’ Mona Lisa with Leon Botstein and the American Sym - phony Orchestra

Performances: Brahms A German Requiem with North Carolina Symphony and Berkshire Choral Festival; Mahler’s Symphony No. 4 with Fort Worth and Detroit Symphonies and at the Brevard Music Center and Bellingham Festival of Music; Handel’s Messiah with the Nashville, Pacific, Ann Arbor, and Alabama Symphonies, and National Philharmonic; Fauré’s Requiem with the Charlotte Symphony; Mozart’s Exsul - Appearances: Carnegie Hall for perfor - tate, jubilate with the Wheeling Sym - mances of Mahler’s Symphony No. 2 phony and at the Brevard Music Center; with the Boston Philharmonic, Bolcom’s Haydn’s Die Schöpfung with the Har - Songs of Innocence and of Experience risburg Symphony, Philadelphia’s Voces with the Saint Louis Symphony, and Novae et Antiquae, and at the Bellingham Festival; Bach Cantatas with Boston’s Philharmonic; and Orff’s Carmina Burana Handel and Haydn Society; Bach’s Wei - for her debuts with the Houston, Edmon - hnachtsoratorium and Jauchzet Gott in ton, Reading, and Toledo Symphonies allen Landen with the Orchestra of St. Luke’s; Mahler’s Sym phony No. 2 with Awards: Grammy Award winner the Québec, Delaware, Baton Rouge, and Acadiana Symphonies, and Rhode Island More info: ilanadavidson.com

KATHARINE GOELDNER, Mezzo-soprano T R

Upcoming: Santuzza in Cavalleria rusti - A V I S

cana, Ma Joad in The Grapes of Wrath , A N

and Dalila in Samson et Dalila D E R S O

Performances: Created the roles of N Jacqueline Onassis in David T. Little & Royce Vavrek’s JFK for Fort Worth Opera and Peggy Ophuls in Jack Perla & Rajiv Joseph’s Shalimar the Clown , based on the novel by Salman Rushdie, for Opera Theatre of St. Louis; Marcellina in Le nozze di Figaro with Dutch National Opera; Fricka in Das Rheingold with Min - nesota Opera; Mendelssohn’s Elijah with Bilbao Symphony; K.A. Hart - Orchestra, and at Carnegie Hall with mann’s Erste Sinfonie and Eisler’s New York Choral Society Deutsche Sinfonie with Berlin Konz - erthaus Orchester; Beethoven’s Ninth Chamber groups: The Prairie Song Pro - Symphony with Vienna Symphony; ject chamber trio and Mahler’s Sym phony No. 8 with the Bruckner Orchestra Commissions: Commissioned two new works for mezzo, flute, and piano: Appearances: Vienna Radio Orchestra, Peter Ash’s Paradox and Rory Boyle’s Berlin Symphony, American Symphony A Handful of Leaves SERGEY POLYAKOV, Tenor Latvian National Opera in Riga; Man - rico in Il trovatore and Cavaradossi in Tosca at Vilnius City Opera; Calàf in Turandot at the Trondheim Opera in Norway; Grigoriy the Pretender in Mussorgsky’s Boris Godunov at the Opera Royal de Wallonie in Liege, Belgium; Radamès in Aida , Carlo VII in Gioanna d’Arko , Turiddu in Caval - leria rusticana , Canio in Pagliacci , Oronte in I Lombardi alla prima cro - ciata , Prince Andrey Khovansky in Khovanshchina , Mikhail Tucha in The Maid of Pskov , Vaudémont in Iolanta , King Charles VII in The Maid of New Upcoming: Chevalier des Grieux in Orleans , and Shuisky in Boris Godunov Manon Lescaut with Swedish Royal at the Novaya Opera in Moscow Opera in Stockholm, Sergei in Lady Macbeth of the Mtsensk District with Festivals: International Rostropovich Deutsche Oper Berlin, among others Music Festival in Moscow, Festival Internacional de Santander in Spain Performances: Manrico in Il trovatore and Herman in The Queen of Spades at Education: Galina Vishnevskaya Opera the Mariinsky Theatre in Saint Peters - Centre, Russian Academy of Theatri - burg; Chevalier des Grieux in Manon cal Art Lescaut and Macduff in Macbeth at

THE ORCHESTRA NOW E N I D

T T A M

Founded in 2015, The Orchestra Now a new generation of musicians to break – (T ON) is an innovative pre-professional down barriers between modern audi - orchestra and master’s degree pro - ences and great orchestral music of the gram at Bard College that is preparing past and present. Under the leadership of conductor, educator, and music his - concerts each season at Carnegie Hall – torian Leon Botstein, TON mines the and Lincoln Center, and offer compli - wealth of underperformed repertoire, mentary concerts at venues across the reimagines traditional concert formats, boroughs of New York City in the and strives to make the experience of Around Town series. At The Metropoli - the performers a part of the listeners' tan Museum of Art they join Leon Bot - – expe rience. At a T ON concert, musi - stein in the series Sight & Sound as he cians and audience inspire one another, explores the places where musical and each following their curiosity with a visual expression meet, pairing orches - shared sense of adventure. tral works with masterpieces from the museum’s collection. – The musicians of T ON hail from across – the U.S. and 11 other countries: Aus - In addition to Mr. Botstein and TON ’s tralia, Canada, China, France, Hungary, Associate Conductor and Academic Japan, Korea, Malaysia, Spain, Taiwan, Director, James Bagwell, guest conduc - and Venezuela. In addition to a concert tors in the first two seasons include series at their home base—the Richard Fabio Luisi, Gerard Schwarz, and B. Fisher Center for the Performing Arts JoAnn Falletta. More info online at at Bard College—they perform multiple theorchestranow.org.

THE ORCHESTRA NOW Leon Botstein, Music Director

Violin I Viola Paul Nemeth Sangwon Lee, Akiko Kamigawara, Scot Moore, Zhenyuan Yao Principal Concertmaster Principal (1st half) (Prokofiev) (1st half) Omar Shelly, Flute Amos C. Fayette, Principal Thomas J. Wible, Bassoon Concertmaster (2nd half) Principal Cathryn Gaylord, (2nd half) Emmanuel Koh (Myaskovsky, Principal (1st half) Grace Choi Bonnie Heung Prokofiev) Dávid A. Nagy, Fangxi Liu Caleb Wong Moonyoung Yoon, Principal Andrés Rivas Chi Lee Principal (2nd half) Clara Engen Marie-Elyse Badeau (Shostakovich) Youyang Qu David Riker Sasha Haft Horn Coline Berland Shannon Hagan, Lili Sarayrah Cello Oboe Principal (1st half) Leonardo Pineda Andrew Borkowski, Zachary Boeding, Tim Skelly, Principal Lara Baker-Finch Principal (1st half) Principal (2nd half) Haemi Lee Jinn Shin, Principal (Myaskovsky) Philip Brindise (2nd half) Kelly Mozeik, Rachel Boehl Violin II Eleanor Lee Principal Colin Bianchi Diego Gabete, Zhilin Wang (Shostakovich) Principal (1st half) Lauren Peacock Aleh Remezau, Trumpet Erin David, Principal Hui Zhang Principal Chris Moran, (2nd half) Alana Shannon (Prokofiev) Principal Adina Mu-Ying Tsai (Myaskovsky) Michael Rau Bass Clarinet Zachary Silberschlag, Jiyoung Moon Michael Franz, Micah Candiotti- Principal Holly Nelson Principal (1st half) Pacheco, Principal (Prokofiev) Drew Youmans Milad Daniari, (Myaskovsky) Szabolcs Koczur Hao Xing Principal (2nd half) Elias Rodriguez, Jiayu Sun William McPeters Principal Kurt Munstedt Julian Lampert (Shostakovich) Trombone Tuba Guest Musicians Percussion Gabe Cruz, Principal Dan Honaker Charles Kiger (Myaskovsky) Clarinet Benny Koonyevsky Matt Walley, Timpani Benjamin Baron Jared Soldiviero Principal Jonathan Wisner (Prokofiev) Contrabassoon Piano/Celeste Federico Ramos, Percussion William Beecher Chris Oldfather Bass Trombone Tyson J. Voigt Harp Jane Yoon

– MEET THE T ON Musicians JIYOUNG MOON , Violin E

E Awards/competitions: 3rd prize, 2006 L

O CBS Violin Competition (Korea) T I J Appearances: Aspen Philharmonic Orchestra, 2014; Civic Orchestra of Chicago, 2015 –16 Musical origins: I started playing violin at the age of 11, mostly because my mom wanted me to play. Favorite piece to play: Mozart’s Violin Concerto Favorite obscure piece: Bach’s Partitas Favorite musical memory: Playing in the Civic Orchestra of Chicago Favorite fact about your instrument: It’s small enough to carry, and sounds nice! Jiyoung will talk briefly about The thing most people don’t know Myaskovsky’s Symphony No. 25 on about classical music is: It is not boring! stage before the performance. Best song to have on repeat: Billy Joel’s “New York State of Mind” – Hometown: Osan, South Korea Proudest accomplishment: Joining T ON! Alma mater: Peabody Conservatory, Favorite non-musical activity: Jogging B.M., M.M. ADINA MU-YING TSAI, Violin J I T

Adina will talk briefly about Sho - O

L stakovich’s From Jewish Folk Poetry on E E stage before the performance.

Hometown: Taichung, Taiwan Alma maters: New England Conserva - tory, B.M./M.M.; San Francisco Acad - emy Orchestra, Artist Diploma Appearances: Yellow Barn Young Artist Program, 2008; Heifetz Interna - tional Music Institute, 2010; Music Academy of the West, 2013; Spoleto Festival USA, 2014; Bard Music Festi - val, 2016 Favorite composer fact: Both Schu - mann and Brahms were into Clara. Favorite painting: The works of Monet Favorite fact about your instrument: I and Mucha can wake my sister up in the morning Piece of advice for a young classical by scratching my violin. musician: Find as many other interests Favorite non-classical musician or as possible aside from being a clas band: John Legend sical musician.

CALEB WONG, Viola J I T

Caleb will talk briefly about Prokofiev’s O

Symphony No. 6 on stage before the E E performance.

Hometown: Hong Kong Alma maters: The Chinese University of Hong Kong; Jacobs School of Music, Indiana University Musical origins: I started at 5 on the violin, and then I started playing viola in high school in chamber groups. But my official switch didn’t come until my second year of college. My par - ents supported my decision a lot because they thought I would never practice those terrible high notes at like it is going to be a great place to learn home again. and develop myself to be a better musi - – How did you hear about T ON? I heard cian and person. – about T ON from friends who were in Favorite obscure piece: Bruckner’s the orchestra and enjoyed it a lot. I feel String Quartet Favorite composer fact: Handel and Favorite non-classical musician: Penta - Bach were both blinded by the same tonix or Singaporean pop singer Stefani e “surgeon,” John Taylor. Sun Favorite musical memory: Traveling on Musical guilty pleasure: Cantonese rap the road with my quartet and performing Last book read: Chance Traveler by wherever we could, including rest areas Murakami Haruki The thing most people don’t know about classical music is: One doesn’t need any classical training to listen to or appreciate classical music.

THE ORCHESTRA NOW ADMINISTRATION

Artistic Staff Administrative Staff Leon Botstein, Music Director Lynne Meloccaro, Executive Director James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Academic Director Brian J. Heck, Director of Marketing Zachary Schwartzman, Resident Conductor Nicole M. de Jesús, Director of Development Erica Kiesewetter, Director of Audition Sebastian Danila, Music Preparation and Preparation and Principal String Coach Researcher Bridget Kibbey, Director of Chamber Music Marielle Metivier, Orchestra Manager and Arts Advocacy Alice Terrett, Marketing Associate Benjamin Oatmen, Librarian Hsiao-Fang Lin, Assistant Orchestra Manager Kristin Roca, Administrative Assistant

BARD COLLEGE BOARD OF TRUSTEES

David E. Schwab II ’52, Chair Emeritus Andrew S. Gundlach Charles P. Stevenson Jr., Chair Sally Hambrecht James C. Chambers ’81, Chair Elect Marieluise Hessel Emily H. Fisher, Vice Chair Maja Hoffmann George F. Hamel Jr., Vice Chair Matina S. Horner+ Elizabeth Ely ’65, Secretary, Life Trustee Charles S. Johnson III ’70 Stanley A. Reichel ’65, Treasurer, Life Trustee Mark N. Kaplan, Life Trustee Fiona Angelini George A. Kellner Roland J. Augustine Paul S. Levy Leon Botstein+, President of the College Fredric S. Maxik ’86 Stuart Breslow+ James H. Ottaway Jr., Life Trustee Mark E. Brossman Martin Peretz, Life Trustee Thomas M. Burger+ Stewart Resnick, Life Trustee Marcelle Clements ’69, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Craig Cogut Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Life Trustee Susan Weber Paul S. Efron Patricia Ross Weis ’52 Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee + ex officio MATT DINE D Y g p Y T e s c s A m P D T i t n o T t n e a o c n e r l r r o i a o o r O e o o x g a h c c r a o

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! i e n i i o v n o n n t N c s d y e r - - f - , , THE T O– N FUND DONORS The Orchestra Now gratefully acknowledges the generous support of each and every donor who makes our work a reality. Thank you for making this important investment in a new generation of musicians. The Andrew W. Mellon The Kurt Weill Foundation Barbara A. and Joseph Foundation for Music Schoenberg Anonymous (3) Arthur S. Leonard Stephen Shafer Tamarah Balazs Peter J. and Susan B. LeVangia Frances Sharpless Maria J. Chiu Elinor Wallach Levin Tom Ochs and Jennifer Lisa Cohen Amala and Eric Levine Shykula Elaine Dale Andrea Louie Peter Sipperley Nicole M. de Jesús Warren R. Mikulka Felicitas S. Thorne Thomas De Stefano Karen E. Moeller and Ann and Douglas William, in Vincent M. Dicks Charles H. Talleur honor of the weddings of Michael Dorf Roy Moses Chelsea & Eric Gottlieb Barbara Ewert Joanne and Richard Mrstik and Stephanie & Fred Arnold and Milly Feinsilber John D. Murphy Peters Carley C. Gooley Maury Newburger Shelley and Vic Wisner Hans R. Gunderud Mr. and Mrs. Robert Renbeck Marlene Zaslavsky Stan Harrison Ellen Reynolds Leila Zogby Erica Kiesewetter Susan and D. Richard Marilyn and William L. Rowland Kirchner Roberta Sandeman

SET THE T O– N: A CELEBRATION OF THE ORCHESTRA NOW – We also gratefully acknowledge the following donors who generously supported T ON’s first anniversary celebration at City Winery on October 13, 2016. Thank you for joining the festivities!

Rebecca Ackerman Bridget Kibbey Mr. and Mrs. James H. Paul L. Audet Sylvia and Nelson Kier Ottaway Jr. Tamarah Balazs Lise Laurent Arthur S. Reynolds Susan Beckerman Todd D. Marcus Charles Roth Miriam R. Berger Lisa Marshall Felicitas S. Thorne Dr. László Z. Bitó and Christine Munson Brian P. Walker Olivia Cariño James and Andrea Nelkin Clint White José M. de Jesús, Jr. Maury Newburger Philip and Martha White Khoa Doan Hoang-Oanh Nguyen Ingrid Yen Michael Dorf Brigitte R. Roepke, Hospital - Carrie E. Yotter Elizabeth Duby ity Committee for United Ian Zimmerman Lauren Effron Nations Delegations Scott Huang Tom Ochs and Jen Shykula Lists current as of November Laura Kaminsky Douglas Okerson and 4, 2016 Caroline Kelch William Williams THE ORCHESTRA NOW WINTER 2016-17 SCHEDULE

FREE CONCERTS IN HARLEM AND THE BRONX Works on Arabian themes by Ravel, Nielsen, and Rimsky-Korsakov Conducted by JoAnn Falletta , with mezzo-soprano Susan Platts Friday, December 16, at 7 p.m. and Sunday, December 18, at 3 p.m.

SIGHT & SOUND Conductor and music historian Leon Botstein draws parallels between music and the visual arts Brahms’ Symphony No. 3 and the artwork of Adolph Menzel & Max Klinger Sunday, January 29, at 2 p.m.

FEDERICO CORTESE CONDUCTS DEBUSSY Debussy’s La mer , Barber’s Adagio for Strings , and Franck’s Symphony in D minor at the Fisher Center for the Performing Arts at Bard College Saturday, February 4, at 8 p.m. and Sunday, February 5, at 2 p.m.

CANDIDE A semi-staged concert performance of Bernstein’s famous opera Conducted by James Bagwell , with soloists from Bard’s Graduate Vocal Arts Program at the Fisher Center for the Performing Arts at Bard College Saturday, February 25, at 8 p.m. and Sunday, February 26, at 2 p.m.

FREE CONCERTS IN BROOKLYN AND GREAT BARRINGTON Tchaikovsky’s 4th Symphony, Messiaen’s L’Ascension , and Glinka’s Overture from Ruslan and Lyudmila Conducted by Zachary Schwartzman Friday, March 3, at 7:30 p.m. and Sunday, March 5, at 3 p.m.

SUSANNA’S SECRET Wolf-Ferrari’s one-act opera in concert, plus two works by Respighi Conducted by Leon Bostein at Carnegie Hall (Stern Auditorium/Perelman Stage) Friday, March 17, at 7:30 p.m.

More information available at theorchestranow.org. Bruckner SYMPHONY CYCLE Monika Ri t tershaus

Staatskapelle Berlin Daniel Barenboim, Music Director and Conductor

Anton Bruckner’s symphonies thunder with apocalyptic power, weep with una ected grief, The ﬁ rst time in the dance with earthy country humor, and astonish history of with their sheer magniﬁ cence of sound. Most Carnegie Hall of all, Bruckner’s symphonies are transcendent experiences that communicate a sense of the divine like no other orchestral music.

Daniel Barenboim, one of the great Bruckner conductors of our time, returns to the Hall after a four-year absence to lead the legendary Staatskapelle Berlin, pairing Bruckner’s numbered symphonies with selected works by Mozart, including two of the composer’s magniﬁ cent sinfonia concertantes. Barenboim also showcases his versatility, wit, and artistry when he leads several of Mozart’s most celebrated piano concertos as soloist conducting from the keyboard—works with expressive breadth that brilliantly complement Bruckner’s music. January 19–29 carnegiehall.org/bruckner Festivals

Serenissima

Music and Arts from the Venetian Republic

February 3–21, 2017

Carnegie Hall salutes the dazzling artistic legacy of the Venetian Republic— also known as La Serenissima, or “the Most Serene Republic.” Concerts featuring vocal masterpieces and virtuoso instrumental music include The Millenarian Venice: Gateway to the East, a survey of 1,000 years of music from around the Mediterranean rim through to Persia with Jordi Savall and his three long- standing ensembles; Vivaldi’s dramatic oratorio Juditha triumphans with the Venice Baroque Orchestra; Monteverdi’s ﬁ nal opera, L’incoronazione di Poppea, performed by Concerto Italiano; and more. The celebration also extends citywide, including panel discussions, theatrical events, and art exhibitions.

La Serenissima: Music and Arts from the Venetian Republic is sponsored by Chubb. The Italian Ministry of Cultural Heritage and Activities and Tourism has granted La Serenissima: Music and Arts from the Venetian Republic its ofﬁ cial support (“Patrocinio”) in recognition of Carnegie Hall’s celebration of Italy’s extraordinarily rich cultural legacy. Carnegie Hall gratefully acknowledges the support of the Ministry of Heritage and Culture and Tourism in Rome; the Embassy of Italy in Washington, DC; and the Consulate General of Italy in New York.

carnegiehall.org/venice

Jordi Savall Jay Blakesberg Three Generations Three Changing the Direction Music of Concert four Reich curates Steve concerts that explore how the language of composition changed from the mid–20th century to the present day serial from pivoting by a more atonal music toward style harmonic and rhythmic Reich and spearheaded by such composers as Terry Arvo and Philip Glass, Riley, These four concerts Pärt. trace the development of a new music, from the pioneering generation to of Reich and his peers, composers associated with the Bang on a Can collective, and on to the young of today. innovators and 26 19, March 30 | April 6, Three Three , a work Pulse

The 2016–2017 2016–2017 The that he composed in collaboration

Composer’s Chair Composer’s carnegiehall.org/reich A highlight of his residency is an all- which celebration, Reich birthday includes a special concert performance of the groundbreaking video opera Tales Beryl Korot, with pioneering video artist and the world premiere of Steve Reich is a Pulitzer Prize–winning Prize–winning Reich is a Pulitzer Steve acclaimed for his visionary composer, use of pulse, novel where rhythmic style and ingenious repetition, contrapuntal explorations come together in new music But Reich’s and daring ways. be pigeonholed; cannot early on, he had a fascination with non-Western including Indonesian musical traditions, gamelan, African drumming, and Hebrew cantillation. Although he began his he iconoclast, career as an avant-garde respected has become one of the most composers of our time. co-commissioned by Carnegie Hall. co-commissioned by 11 | March 24 1 | February November Steve Reich Steve Richard and Barbara Debs and Barbara Richard