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Home , American Symphony, An American Symphony, Cheap Imitation, Howard Shanet, Jasper Johns, Merce Cunningham

12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 1

Thursday Evening, December 13, 2012, at 8:00 Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents The Cage Concert LEON BOTSTEIN, Conductor

ANTON WEBERN , Op. 21

MORTON FELDMAN …Out of ‘Last Pieces’

ERIK SATIE Parade Choral Prélude du rideau rouge Prestidigitateur chinois Petite fille americaine Acrobates Final Suite au “Prélude du rideau rouge”

JOHN CAGE (for ) with Solos for Voice Nos. 18 & 30 from HELEN PRIDMORE, Soprano TAMI PETTY, Soprano

Intermission

JOHN CAGE Etcetera (NY Premiere) LEON BOTSTEIN, JAMES BAGWELL, GEOFFREY MCDONALD, Conductors

JOHN CAGE Etcetera 2/4 (NY Premiere) LEON BOTSTEIN, JAMES BAGWELL, GEOFFREY MCDONALD, ZACHARY SCHWARTZMAN, Conductors This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. This project is supported by the Foundation. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 2

THE Program

ANTON WEBERN Symphony, Op. 21 Born December 3, 1883 in Vienna Died September 15, 1945 in Mittersill, Salzburg Composed in 1927–8 in Vienna Premiered in 1929 in Vienna Performance Time: Approximately 8 minutes

Instruments: , , 2 french horns, harp, violins, violas, and cellos

MORTON FELDMAN …Out of ‘Last Pieces’ Born January 12, 1926 in Died September 3, 1987 in Buffalo Composed in 1961 in New York City Premiered on March 17, 1961 at Cooper Union under Howard Shanet Performance Time: Approximately 7 minutes

Instruments: 2 , 2 , English horn, 2 , bass clarinet, 2 bas- soons, 4 French horns, 2 , bass , 3 , percussion (antique , xylophone, wood blocks, temple blocks, tenor drum, , glockenspiel, vibraphone, chimes), harp, electric guitar, , celesta, cellos, and basses

ERIK SATIE Parade Born May 17, 1866 in Honfleur, France Died July 1, 1925 in Paris Composed in 1916–7 in Arcueil, France; Choral and Final added in 1919 Premiered on May 18, 1917 by the Ballet Russes at the Théâtre du Châtelet in Paris Performance Time: Approximately 14 minutes

Instruments: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, 2 , 2 French horns, 2 trumpets, cornet, 3 trombones, , , per- cussion (bass drum, cymbals, suspended , tarole, triangle, lottery wheel, tambourine, tam tam, xylophone, siren, fog horn, water splashes, hand claps, typewriter, pistol, bouteillophone), harp, organ, and strings

(continued) 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 3

JOHN CAGE Born September 5, 1912 in Los Angeles Died August 12, 1992 in New York City

Cheap Imitation with Solos for Voice Nos. 18 & 30 from Song Books Cheap Imitation composed for piano in 1969; transcribed for orchestra in 1970–2 Premiered on May 13, 1972 in The Hague Solos for Voice composed in 1970 Premiered on October 26, 1970 in Paris Performance Time: approximately 35 minutes Instruments: 2 flutes, 2 piccolos, 2 alto flutes, 2 oboes, 2 English horns, 2 clar- inets, 2 bass clarinets, 2 E-flat alto saxophones, 2 bassoons, 2 French horns, 2 trumpets, 2 trombones, 2 , timpani, percussion (marimba, glockenspiel, vibraphone, bells), 2 harps, guitar, celesta, piano, strings, and vocal soloists

Etcetera Composed in 1973 Premiered on November 6, 1973 by the Paris Opera Ballet at the Paris Opéra Performance Time: approximately 15 minutes Instruments: , , clarinet, , , trumpet, tuba, timpani, percussion, piano, 5 strings, and cardboard boxes

Etcetera 2/4 Orchestras Composed in 1985 Premiered on December 8, 1986 by the City Harmonic Tokyo at Suntory Hall in Tokyo Performance Time: approximately 30 minutes Instruments: 3 flutes, alto flute, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, bassoon, , 4 French horns, 3 trumpets, 3 trombones, tuba, percussion, harp, piano, and strings 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 4

ABOUT THIS Concert

JOHN CAGE AT 100 Weather” with , by Leon Botstein John Ashbery, , and myself. The presence of a poet, a painter, and This ASO tribute to John Cage comes choreographer in a performance of a barely three months after what would Cage work succinctly expresses the have been the composer’s 100th birth- extraordinary influence that John Cage day, and at the end of a year of Cage cel- exerted on all of the arts during the sec- ebrations all over the world. John Cage ond half of the . Cage con- fits perfectly into the ASO’s ongoing tinues to fascinate composers, poets, exploration of the achievement of Amer- and visual artists. Perhaps no composer ican composers from the 20th century, since Richard Wagner has had as great a which during the past three seasons has following outside of music, particularly featured Henry Cowell, George Crumb, in the arts and in the realm of ideas, and Walter Piston. But there is a special owing to the power of his writings. It is reason for the ASO to focus on Cage, ironic that many more people have read and it stems from the relationship John Cage than have sought to, or man- between the ASO and Bard College, aged to listen to his music. And even a where the orchestra is in residence each larger number (as in the case of Wagner) year as part of Summerscape. believe they understand Cage and his meaning and impact without having In 2007 Cage’s longtime collaborator read Cage or heard Cage’s music. and friend, the late Merce Cunning- ham, decided that it would be better for In its own way Cage’s approach to the John Cage Trust, which oversees music emerges out of a Wagnerian con- Cage’s archives and performance mate- ceit that all of the arts are interrelated. rials, to be placed in residence at Bard. But Cage traveled from that premise The director of the archives, Dr. Laura along his own path toward exploding Kuhn, who authored the notes for the traditional boundaries and distinc- today’s concert, is now a member of the tions between art and life. He did so in Bard faculty, and helped curate this a manner inextricably linked to the program. Three of Bard’s faculty mem- events of the 20th century, particularly bers have linkages to Cage and his its challenges to inherited notions of legacy: the composer Richard Teitel- space and time. baum (who has also been a staunch advocate of the music of Henry Cowell); Much nonsense has been written about Kyle Gann, the composer and music the intellectual and aesthetic conse- historian, whose recent book on Cage quences of the discoveries of modern was met with critical acclaim; and Joan physics, beginning with Einstein’s articu- Retallack, the poet, who has written lation of the special theory of relativity. extensively on Cage. Cage paid a visit But at its core, the revolution in modern to Bard in the late 1970s. One of the physics debunked notions of absolute most memorable events I have per- time and space and the privileging of a formed in at Bard was the concert single universal frame of reference. No marking the installation of the Cage frame of reference had priority as a point Trust at Bard that included a perfor- of observation and measurement. Much mance of Cage’s “Lecture on the like the deleterious translation of 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 5

Darwinian thought into popular culture ambient sound. His writings rendered and social theory that has haunted the question of what constitutes music everyday conversations and prejudices into a never-ending, complex, ambigu- about human nature, the dynamics of ous, and exciting exploratory enter- competition, the emergence of social prise. The same cultural context fueled elites, and invidious distinctions between the opposite tendency—the effort by so-called “races,” the transporting of the composers to control musical time more precise language of physics into the precisely. Stravinsky was attracted, for realm of aesthetics (and more gravely, example, to the pianola by the idea that ethics) has resulted in many soft-headed the intentionality of a work of music notions about there being no truth in the could be rendered objectively. world and no criteria for making dis- tinctions or comparisons, just a myriad Cage contested the claim that there is a of subjective perspectives. marked difference between our efforts to locate and place every sound in relation to Nonetheless, the post-Newtonian science other sounds in a musical composition— of Einstein and his contemporaries con- which became a near obsession among tributed to a cultural climate that certain composers of the mid-20th cen- emboldened a new generation of com- tury—and the manipulation of sound posers in the first half of the 20th century using chance, indeterminacy, random- to contest what was once held as the ness, or unpredictability. Modernists natural objective validity of tonality and following in the path of Schoenberg, musical form. It inspired among Euro- with whom Cage briefly studied, pean and American composers a sought to protect their compositions renewed non-condescending respect for from the sloppy inaccuracy and roman- other systems of music outside of the tic expressiveness of performers by West. This cultural climate of the mid- using precise metronome markings and 20th century in which Cage came of age elaborate performance indications. inspired him to think in a shatteringly Cage charted a different strategy, original way about sound and silence, embracing a more fluid and permeable about the artificiality of the barriers sense of the perception of time and the between constructed musical space and creation of musical communication.

A page from the score of John Cage’s Etcetera. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 6

The issues and challenges that Cage was perhaps ’s genuinely raised remain alive and actual in our own avant-garde composer, whose music, time. His writings and works have an with its veneer of simplicity, took on increasing and not declining following all the historicist cultural traditions of the over the world. No American composer late 19th century. Indeed, in his notes with the possible exception of Duke for the performance of Cheap Imita- Ellington and George Gershwin has tion, Cage connects his imitation of exerted such a powerful international Satie’s Socrate to the I Ching, a text influence. There is something uncannily central to Cage’s thought and career. American—in the sense of Walt Whit- man—about John Cage, his thought, his The Webern on this program links Cage music, his engagement with other media, to the one composer out of the second and the conduct of his life. His career has Viennese School who pioneered in the shaped our sense of what we mean when distillation of sound and the explicit use we call an artist “original.” of silence, and the decaying spaces between types of sound and timbres as At his core, however, John Cage was a compositional elements. The Webern musician and a composer. It is as a com- points to the common biographical poser of larger scale works that we ground between Cage and Morton remember him at this concert. His most Feldman, whose work on this program famous work, 4’33’’ was performed pursues, in a manner somewhat differ- first by one instrumentalist. Further- ent from Cage, notions of indetermi- more, rather than represent Cage with nacy and the varieties of the perception an evening of all his own music taken of the musical experience as resistant to from several periods, we decided to standardization. And Feldman shared honor Cage by placing him, despite his with Cage a deep interest in the visual startling individuality, squarely within experience and the connection between the history of 20th-century music. For the aural and visual experiences. that reason the program features a Framed by one contemporary, Feld- work by Erik Satie, whom Cage man, and two predecessors, the pro- admired and who can be seen as a gram features a rare performance of the direct inspiration. Satie, alongside two sets of Etcetera, which date from Alfred Jarry (the author of ), the last phase of Cage’s career.

A page from the score of Morton Feldman’s …Out of ‘Last Pieces’ 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 7

Just in case the traditional concert audi- John Cage’s legacy will continue to ence harbors the commonplace belief command attention during the 21st that playing music that is not notated in century. His stature within the world of the traditional manner and which , the visual arts, and leaves many decisions and choices to aesthetic thought is nearly unrivaled. each individual player is somehow an But Cage the composer and his music undisciplined form of music-making still require advocacy. requiring less rehearsal and practice than the rendering of a Tchaikovsky OLD FRIENDS, NEW SETTING symphony, it should be noted that Cage by Laura Kuhn and Feldman are extraordinarily pre- cise in their instructions. Indeed per- It is a fitting finale to John Cage’s Cen- forming one of these works requires tennial Year to bring works together into more rather than less rehearsal, because a single program by individuals to whom the possibilities of what can be realized Cage expressed lifelong devotion: the are that much greater. revered Austrian composer, Anton Webern (1883–1945); the beloved The prejudices against what was American composer, Morton Feldman regarded as Cage’s form of radical mod- (1926–87); and the iconoclastic French ernism have never been quite erased. It composer, Erik Satie (1866–1925). would be foolish to dismiss them as mere philistinism, just as it would be offensive Cage first met Feldman in 1950 at a to assume that just because an approach concert that to music represents itself as a radical included Webern’s Symphony, Op. 21 departure from tradition it is superior (1928). The story goes that both com- owing to its novelty. One can get a suc- posers left just after the Webern, just cinct notion of how disciplined and seri- before a work by Rachmaninoff was to ous Cage’s enterprise as a composer was commence, Feldman in disgust at the from the closing paragraphs of his notes audience’s reaction to the Webern, Cage to the performers for Cheap Imitation: not wanting his experience of the Webern disturbed. The two became fast friends, Not less than two weeks before a pro- and in short order formed, with Christ- jected performance each musician shall ian Wolff and Earle Brown, what came to be given his part. be known as The .

During the first week he will learn the Webern was not a prolific composer, his melody, at least those phrases of it in Symphony, Op. 21 (1928) being just which he participates. He is to learn, one of 31 compositions published in his among other matters, to play double lifetime. The work is in two move- sharps and double flats without writing ments, the first embodying a four-part in simpler “equivalent” notes. mirror canon and the second palin- dromic , marked overall by During the second week there will be the composer’s signature economy of orchestra rehearsals on each day, each means and restrained expression. rehearsal lasting one and a half hours. If, Webern was proud of the work, which at anytime, it appears that any member he dedicated to his daughter, Christine. of the orchestra does not know his part, After its Vienna premiere, he wrote in he is to be dismissed. If as a result one of his diary: “Great delight. Turned out the essential 24 parts is missing, the pro- really well.” jected performance is to be cancelled. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 8

Feldman’s …Out of “Last Pieces” (1961) Cage’s Etcetera (1973) and Etcetera 2/4 is among the composer’s last works writ- Orchestras (1985) are scored for vari- ten in graphic notation, here small boxes able ensemble, with and without con- containing numbers that indicate how ductors, and recordings of the environ- many sounds are to be played, with ments in which the works were created; pitches and timings of entrances left to the instrumentation of Etcetera also the performers. As in many of Feldman’s calls for non-resonant cardboard boxes, works, the dynamics are extremely dear, which sound in performance like the revealing rich and unpredictable har- patter of raindrops. Both reflect Cage’s monic textures. It was first performed at long-standing social concerns, here his the Cooper Union, under the direction of interest in how music might assist in the Howard Shanet (March 17, 1961). “…integration of the personality, or the co-being of the conscious and the Satie’s Parade (1916–17) was a wartime unconscious mind, Law and Freedom, collaboration involving Jean Cocteau, in a random world situation.”* , Léonide Massine, and Serge Diaghilev, whose Ballets Russes In Etcetera, the performers play in two gave the premiere performance at different situations of their own choos- Paris’s Théâtre du Châtelet (May 18, ing: as soloists or in conducted groups 1917). Satie’s score contains several of 2, 3, or 4. Three stations are placed at unusual instruments—typewriter, foghorn, the front of the stage, with a conductor milk bottles—which may have been at each; when the station fills, the con- added by Cocteau in an effort to ensure ductor conducts. The work was first a succes de scandale. In his program performed with Merce Cunningham’s note for the premiere performance, Un Jour ou Deux by the Paris Opera Guillaume Appolinaire described Ballet at the Paris Opéra (Nov. 6, 1973), Parade as une sorte de surréalisme, coin- with sets and costumes by Jasper Johns. ing the word that would be used years later for the in Paris. In Etcetera 2/4 Orchestras, the situa- tion is reversed: here, the ensemble is Cheap Imitation for orchestra (1972) conducted throughout, but the per- derives from Cage’s 1944 piano formers are free to play as soloists at arrangement of the first movement of any time. The conductor beats more or Satie’s Socrate, a “symphonic drama in less conventionally, creating an three parts” (1915). In 1968, when extremely slow, non-rhythmic pulse. Cage returned to his work with the The orchestral materials consist of remaining two movements, Satie’s pub- fixed notes, but with added spice: Cage lisher unexpectedly refused permission. provides indications for playing slightly Cage’s response was to “recompose” before or after the beat and for micro- the work, using chance means, resulting tonal glissandi. The work was first per- in music with the same phrasing, formed by the City Harmonic Tokyo at rhythms, and general contours of Satie’s Suntory Hall (Dec. 8, 1986). composition, but which is otherwise quite distinct. Cage playfully renamed *From “Defense of Satie,” John Cage, his new work Cheap Imitation (1969), Satie Festival and went on to create versions for (Summer, 1948). orchestra (1972) and solo violin (1977) as well. The orchestral version is scored Dr. Kuhn is the John Cage Professor of for 24–95 variable parts, the piano part Performing Art at Bard College and serving as the conductor’s score. Founding Director of the John Cage Trust. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 9

MEET THE Artists LEON BOTSTEIN, Conductor

This season, Leon Botstein celebrates his 20th anniversary as music director and principal conductor of the American Symphony Orchestra. He is co-artistic director of the acclaimed Summerscape and Bard Music Festivals, which take place at the Richard B. Fisher Center for the Performing Arts, designed by for Bard College. He is also con- ductor laureate of the Jerusalem Sym- phony Orchestra, where he served as Music Director from 2003–2011. He DINE MATT BY PHOTO has been president of Bard College in numerous articles and books. Last year New York since 1975. he gave the prestigious Tanner Lectures in Berkeley, CA. For his contributions to Upcoming guest engagements include music he has received the award of the the Los Angeles Philharmonic, Hawaii American Academy of Arts and Letters Symphony, and Taipei Symphony. Mr. and Harvard University’s prestigious Botstein may also be heard on numerous Centennial Award, as well as the Cross recordings, including operas by Strauss, of Honor, First Class from the govern- Dukas, and Chausson, as well as works ment of Austria. In 2009 he received of Shostakovich, Dohnanyi, Liszt, Carnegie Foundation’s Academic Lead- Bruckner, Bartók, Hartmann, Reger, ership Award, and in 2011 was inducted Gliere, Szymanowski, Brahms, Copland, into the American Philosophical Society. Sessions, Perle, and Rands. Many of his He is also the 2012 recipient of the live performances with the American Award for the Eleva- Symphony Orchestra are now available tion of Music in Society. for download on the Internet. Maestro Botstein is represented by Mr. Botstein is highly regarded as a Columbia Artists Management, LLC. music historian. He is the editor of The Musical Quarterly and the author of 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 10

TAMI PETTY

the Vaughan Williams Dona Nobis Pacem (Choral Society of Grace Church), and the Four Last Songs of Richard Strauss (Fort Collins Symphony).

Ms. Petty is the winner of career grants from the Richard Tucker Foundation, the Lotte Lehmann Foundation, the Chautauqua Opera Guild, the Lotte Lenya Competition, and the Merola Opera Program of the San Francisco Opera Center. She received special PHOTO BY LISA BY KOHLER PHOTO Soprano Tami Petty credits include recognition from the Rossini’s Petite Messe Solenelle (Voices of Foundation at the Music Academy of Ascension at Alice Tully Hall), Pani the West, and is the first recipient of the Paskova in Janácˇek’s Cunning Little Emerging Artist Award from the Sorel Vixen (New York Philharmonic), Organization honoring women in music. Woglinde in the final scene from Wag- ner’s Das Rheingold (Bard Summer- Upcoming engagements include scape), the title role in Puccini’s Suor Menotti’s Amahl and the Night Visitors Angelica (Southern Arizona Symphony (Middle Collegiate Church, Grace Orchestra), Leonore in Beethoven’s Fide- Church), Handel’s Dixit Dominus lio (Opera Fort Collins), Vaughan (Crescent Choral Society), the Brahms Williams’ A Sea Symphony (Buffalo Phil- German Requiem (Summit Chorale), harmonic), Michael Tippett’s A Child of and Telemann’s Der Tod Jesu (Moun- Our Time, and the Brahms German tainside Baroque). Requiem (Manchester Choral Society),

HELEN PRIDMORE

a soloist and with the voice/electronics duo Sbot N Wo and the new music group Motion Ensemble. Recent appearances include a performance of Michael Finnissy’s major work Whit- man, with the composer at the piano, in Victoria, British Columbia; and a performance of Cage’s Aria at the “Future of Cage: Credo” conference in Toronto. A solo tour to Seattle, Van- couver, Victoria, Edmonton, and Cal-

PHOTO BY TARA BY WELLS PHOTO gary early in 2013 will celebrate the Helen Pridmore enjoys a career focused recent release of Ms. Pridmore’s solo on contemporary scored music, experi- CD, Janet, featuring new works by mental music, and improvisation. She Canadian composers and released on has performed and toured widely in the Canadian Music Centre’s Centre- Canada, the U.S., Europe, and , as discs label. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 11

Born in the U.K., Ms. Pridmore studied in Rochester, New York. She is also a in Canada and the U.S., earning a doc- teacher and writer. torate at the Eastman School of Music

JAMES BAGWELL

James Bagwell maintains an active Choirs in New York. He has trained schedule throughout the choruses for a number of major Amer- as a conductor of choral, operatic, and ican and international orchestras. orchestral music. In 2009 he was appointed Music Director of The Col- For 12 seasons, Mr. Bagwell has been legiate Chorale. He was also recently Music Director for the May Festival named Principal Guest Conductor of Youth Choir in Cincinnati. He has con- the American Symphony Orchestra and ducted some 25 productions as music director of the music program at Bard director of Light Opera Oklahoma, College. Since 2003 he has been director including Candide, Sweeney Todd, and of choruses for the Bard Music Festival, The Merry Widow, among others. He conducting and preparing choral works frequently appears as guest conductor during their annual summer festival. He for orchestras around the country and has also prepared The Concert Chorale abroad, including the Jerusalem Sym- of New York for performances with the phony, Tulsa Symphony, and the Indi- American Symphony Orchestra, the anapolis Chamber Orchestra. Los Angeles Philharmonic, and the Mostly Mozart Festival. This past sum- He has taught since 2000 at Bard College, mer marked his sixth season as chorus where he is the chair of the undergraduate master for The Mostly Mozart Festival music department and co-director of the at . From 2005 to 2009 graduate program in conducting. he was music director of the Dessoff

GEOFFREY MCDONALD

Geoffrey McDonald is assistant conduc- assistant conductor of the Princeton tor of the American Symphony Orchestra, University Orchestra and associate con- as well as conductor of the Philadelphia ductor of the Princeton University Sinfo- Young Artists’ Orchestra, and music nia. For three years he was also the director of the music director of the Princeton Katzen- Bach Society and the Gotham Chamber jammers, the nation’s oldest co-ed colle- Opera. He also serves as assistant for giate a cappella group and an award- the Summerscape and Bard Music Fes- winning chamber choir. Upon graduat- tivals at Bard College in New York. An ing he was awarded the inaugural avid instrumental and vocal performer, Edward T. Cone Memorial Prize for Mr. McDonald studied piano, cello, and excellence in combining music scholar- voice from an early age. At Mannes Col- ship with performance. A devotee of lege he was the recipient of the Alma diverse musical styles and genres, Mr. Askin Scholarship, the Felix Salzer Tech- McDonald maintains a busy performing niques of Music Award, and the Mannes schedule in the indie-rock band Miracles Theory Essay Prize for an article on of Modern Science and is an active com- Mahler’s Kindertotenlieder. At Prince- poser, most recently of incidental music ton University Mr. McDonald was the for stage and film productions. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 12

ZACHARY SCHWARTZMAN

Zachary Schwartzman has served as ductor include recordings for Albany assistant conductor for the Deutsche Records, Naxos Records, and a Oper Berlin, Opera Atelier (Toronto), Grammy-nominated world-premiere Opera Français de New York, L’Ensem- recording for Chandos Records. As ble orchestral de Paris, Bard Summer- conductor his orchestral performances scape, Gotham Chamber Opera, Oak- have been featured on NPR, including a land East Bay Symphony, Connecticut national broadcast on Performance Grand Opera, Berkshire Opera, and Today. In 2004 he received a career Opera Omaha, among others. He was development grant from the Bruno Wal- Associate Conductor for two seasons ter Memorial Foundation. He has been with New York City Opera, as well as Music Director of the Blue Hill Troupe conductor in their VOX series, and has since 2004. Mr. Schwartzman holds been associate/assistant conductor for undergraduate degrees in East Asian 15 productions at Glimmerglass Opera, studies and piano performance from where he recently conducted perfor- Oberlin College and Conservatory, and mances of Carmen and Jeanine Tesori’s a master of music in Orchestral Con- A Blizzard on Marblehead Neck (world ducting from the Moores School of premiere). His credits as assistant con- Music at the University of Houston.

AMERICAN SYMPHONY ORCHESTRA

The American Symphony Orchestra series as well as Bard’s annual Summer- was founded 50 years ago by Leopold Scape Festival and the Bard Music Fes- Stokowski, with the specific intention tival. In 2010 the American Symphony of making orchestral music accessible became the resident orchestra of The and affordable for everyone. Under Collegiate Chorale, performing regu- music director Leon Botstein, the ASO larly in the Chorale’s New York concert has kept Stokowski’s mission intact, series. The orchestra has made several and has also become a pioneer in what tours of Asia and Europe, and has per- The Wall Street Journal called “a new formed in countless benefits for organiza- concept in orchestras,” presenting con- tions including the Jerusalem Foundation certs curated around various themes and PBS. ASO’s award-winning music drawn from the visual arts, literature, education program, Music Notes, inte- politics, and history, and unearthing grates symphonic music into core rarely-performed masterworks for humanities classes in high schools across well-deserved revival. These concerts the tri-state area. are performed in the Vanguard Series at Carnegie Hall. In addition to many albums released on the Telarc, New World, Bridge, In addition, the orchestra performs in Koch, and Vanguard labels, many live the celebrated concert series Classics performances by the American Sym- Declassified at Peter Norton Symphony phony are now available for digital Space, and is the resident orchestra of download. In many cases, these are the the Richard B. Fisher Center for the only existing recordings of some of the Performing Arts at Bard College, where rare works that have been rediscovered it appears in a winter subscription in ASO performances. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 13

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I BASS Erica Kiesewetter, Concertmaster Tony Flynt, Principal Richard Clark, Principal Suzanne Gilman Jack Wenger Kenneth Finn Diane Bruce Richard Ostrovsky Jeffrey Caswell Elizabeth Nielsen William Sloat Sophia Kessinger Katherine Livolsi-Landau FLUTE TUBA Ashley Horne Laura Conwesser, Principal Kyle Turner, Principal Ragga Petursdottir Rie Schmidt Andrew Bove James Tsao Diva Goodfriend-Koven, Piccolo Ann Labin Elizabeth Brown TIMPANI John Connelly Karla Moe Benjamin Herman, Principal Jennifer Kim Susan Rotholz PERCUSSION VIOLIN II OBOE Jonathan Haas, Principal Richard Rood, Principal Alexandra Knoll, Principal Kory Grossman Yukie Handa Erin Gustafson Javier Diaz Robert Zubrycki Melanie Feld, English horn Charles Descarfino Wende Namkung Laura Covey Matthew Beaumont Yana Goichman Heidi Stubner CLARINET HARP Dorothy Strahl Laura Flax, Principal Sara Cutler, Principal Elizabeth Kleinman Maureen Hurd Victoria Drake Lucy Morganstern Lino Gomez Alexander Vselensky Christopher Cullen KEYBOARD Patricia Davis Elizabeth Wright, Principal Ann Gillette SAXOPHONE Elizabeth DiFelice Chad Smith VIOLA Allen Won GUITAR Nardo Poy, Principal Scott Kuney Veronica Salas BASSOON John Dexter Charles McCracken, Principal Debra Shufelt-Dine Marc Goldberg CONTRACTOR/ Crystal Garner PERSONNEL MANAGER Martha Brody HORN Ann Yarbrough Guttman Adria Benjamin Zohar Schondorf, Principal Rachel Riggs David Smith ASSISTANT CONDUCTOR Lawrence DiBello Geoffrey McDonald CELLO Chad Yarbrough Eugene Moye, Principal ORCHESTRA LIBRARIAN Roberta Cooper TRUMPET Marc Cerri Annabelle Hoffman Carl Albach, Principal Sarah Carter John Dent Maureen Hynes Thomas Hoyt Dorothy Lawson 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 14

ASO BOARD OF DIRECTORS

Danny Goldberg, Chair Shirley A. Mueller, Esq. Thurmond Smithgall, Vice Chair Eileen Rhulen Dimitri Papadimitriou, Treasurer Felicitas S. Thorne

Miriam Berger HONORARY MEMBERS Michael Dorf Joel I. Berson, Esq. Rachel Kalnicki L. Stan Stokowski Jack Kliger Jan Krukowski

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director Ben Oatmen, Production Assistant Oliver Inteeworn, General Manager Leszek . Wojcik, Concert Archival Brian J. Heck, Director of Marketing Recording Sebastian Danila, Library Manager Marielle Métivier, Operations Manager James Bagwell, Principal Guest Conductor Katrina Herfort, Ticketing Services Geoffrey McDonald, Assistant Conductor Coordinator Zachary Schwartzman, Assistant Conductor Jennifer Luzzo, Development Manager Richard Wilson, Composer-In-Residence Marc Cerri, Orchestra Librarian James Bagwell, Artistic Consultant Ann Yarbrough Guttman, Orchestra Personnel Manager

AMERICAN SYMPHONY ORCHESTRA PATRONS

The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agen- cies for their generosity and vital support.

This project is supported by the Robert Rauschenberg Foundation.

STOKOWSKI SOCIETY Rachel and Shalom Kalnicki The Frank & Lydia Bergen Foundation Mary and Sam Miller Michael Dorf Dimitri Papadimitriou The Fan Fox and Leslie R. Samuels Mrs. James P. Warburg Foundation, Inc. Mr. and Mrs. Richard E. Wilson Jeanne Donovan Fisher The Booth Ferris Foundation DISTINGUISHED PATRON Danny Goldberg and Rosemary Carroll The Jarvis & Constance Doctorow Family Faith Golding Foundation, Inc. Foundation Peter Linden The Elroy and Terry Krumholz Foundation Stuart K. Nelson Gary M. Giardina New York City Department of Cultural Affairs Lynne Meloccaro New York State Council on the Arts Shirley A. Mueller Open Society Institute The David and Sylvia Teitelbaum Fund, Inc. Robert Rauschenberg Foundation Thurmond Smithgall GOLDEN CIRCLE Felicitas Thorne Miriam R. Berger The Winston Foundation IBM Corporation Peter L. Kennard SUSTAINING SUPPORTER Arthur S. Leonard Dr. Leon Botstein Mimi Levitt The Ann and Gordon Getty Foundation Dr. Pamela F. Mazur 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 15

JoAnne Meloccaro Ruth Dodziuk-Justitz Bruce Slovin Robert Durst Joseph and Jean Sullivan Paul Ehrlich Leszek Wojcik Exxon Mobil Foundation W.J. Fenza BENEFACTOR Martha Ferry Anonymous Donald W. Fowle Karen and Mark Finkbeiner Deborah Franco Irwin and Maya Hoffman Veronica Frankenstein Jack Kliger Christopher H. Gibbs Marcia H. Moor Mr. and Mrs. Joseph Lawrence Gilman Richard and Joanne Mrstik MacEllis K. Glass James and Andrea Nelkin Nathan Gross Mr. and Mrs. David E. Schwab II John Haggerty David and Martha Schwartz Laura Harris Peter Sourian James Hayden Irene Zedlacher Thomas Hayden Roberta Hershenson CONTRIBUTOR Dr. and Mrs. Gerald Herskowitz Tania Ahuja Deb Hoffman Harold P. Allen George H. Hutzler Gary M. Arthur Jose Jimenez Thomas Cassilly Donald Juliano Isabelle A. Cazeaux Ronald S. Kahn Connie Chen Robert Kalish Bette R. Collom and Anthony Menninger David Kernahan Mary S. Donovan Irving Kleiman Rhea Graffman-Cohen, in honor of Caral G. Klein Miriam Berger Robert LaPorte Max Hahn Gerald Laskey Sara Hunsicker Steve Leventis Michael Kishbauch Walter Levi Peter Kroll Peter A. Locker Alan Mallach Alan B. McDougall Jeanne Malter Ellen Marshall, in honor of Louis Marshall Stephen McAteer June Meyer Maury Newburger Clifford S. Miller Lawrence Nylen Phyllis Mishkin Kurt Rausch LLC Elisabeth J. Mueller Jon P. Tilley Tatsuji Namba Wayne and Dagmar Yaddow Kenneth Nassau James North ORCHESTRA CLUB James Ottaway American Express Gift Matching Program Roger Phillips Ellis Arnstein Bruce Raynor Carol H. Ash Anthony Richter Ronald Baranowski The Kauter Riopelle Family Carol K. Baron Kenneth Rock Ruth Baron Leonard Rosen Matthew and Debra Beatrice Peri Rosenfeld David C. Beek Henry Saltzman Yvette and Maurice J. Bendahan Leslie Salzman Adria Benjamin Emil Scheller John Brautigam Gloria Scorse Mona Yuter Brokaw Janet Z. Segal Patricia R. Brophy Georgi Shimanovsky Richard C. Celler Bruce Smith Roger Chatfield Harriet Solomon-Schon Barbara Clapman Stanley Stangren Michele Cone Gertrude Steinberg Mary M. Cope Alan Stenzler Diana Davis Hazel and Bernard Strauss Elisabeth Derow Paul Stumpf Thomas J. DeStefano Andre Sverdlove Antonio Diez Madeline V. Taylor 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 16

William Ulrich Janet Whalen James Wagner Ann William Kenneth Wald Kurt Wissbrun Larry A. Wehr Leonard Zablow Renata Weinstein Alfred Zoller Barbara Westergaard Karen Zorn, Longy School of Music

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 The Honorable Andrew M. Cuomo, Governor Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner

List current as of November 7, 2012 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 17

SUPPORT ASO

Be a part of the American Symphony Orchestra this season! Give a gift and help sustain the artistic excellence, music education and preservation that are vital to our cultural life.

$50K for 50 Years Give a gift to celebrate ASO’s 50th anniversary and your gift could be matched dollar-for- dollar. Help us raise $50,000 by 12/31. If we make our goal it will be matched by an addi- tional $50,000. Give now to be a part of ASO’s 50th anniversary celebration.

Gifts That Keep Giving – NEW! We’re grateful for your annual contribution to ASO. Now, you can support ASO all year with Monthly Installment giving. Call us and tell us how much you would like to give and how often you want to give it. Monthly installment giving is easier for you and sustaining income for the American Symphony.

How to donate: Online: www.AmericanSymphony.org Phone: 646.237.5022 Mail: American Symphony Orchestra Attn: Jennifer Luzzo 263 W 38th Street, 10th Floor New York, NY 10018 (Checks Payable To: American Symphony Orchestra)

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. SUBSCRIBE TO ASO

Choose any two 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 out- reach that are vital to our cultural life. For a full list of benefits, including invitations to rehearsals, name recognition in programs, and more, visit www.AmericanSymphony.org.

Order your subscription at www.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. 12-13 ASO_Carnegie Hall Rental 12/3/12 12:34 PM Page 18

American Symphony Orchestra’s 50th Anniversary Season at Carnegie Hall

Fri, Jan 25, 2013 What Makes a Masterpiece Brahms’ 4th, Dvorˇák’s 4th, U.S. Premiere of Heinrich von Herzogenberg’s 1st

Sun, Feb 10, 2013 Truth or Truffles R. Strauss’ “Whipped Cream,” Karl Amadeus Hartmann’s “Sodom and Gomorrah”

Sun, Mar 17, 2013 The Vampire Opera-in-concert by Heinrich Marschner

Thu, May 2, 2013 Hungary Torn WWII-era Hungarian composers. Four U.S. Premieres