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Home , An American Symphony, Janai Brugger, Jessye Norman, Kent Tritle, Muriel Foster, The Apostles (Elgar)

Thursday Evening, October 31, 2019, at 8:00 Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents LEON BOTSTEIN, Conductor

EDWARD ELGAR The Kingdom, Op. 51 I. In The Upper Room II. At the Beautiful Gate III.

Intermission

IV. The Sign Of Healing V. The Upper Room

The Blessed Virgin Mary: JANAI BRUGGER, : EVE GIGLIOTTI, Mezzo-soprano St. John: COOPER NOLAN, St. Peter: ALEXANDER BIRCH ELLIOTT,

BARD FESTIVAL CHORALE JAMES BAGWELL, Director

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

This program has been made possible due in part to The .

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PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. from the Music Director Elgar’s The Kingdom a pervasive sense among those who by Leon Botstein could support concert life that the cost of putting on one live large-scale pro- During the Bard Music Festival in fessional performance, which remains 2007, which had as its only in one’s memory, seems utterly focus, the American Symphony Orches- wasteful and capricious. Nonetheless, tra planned to present in the New 75 percent of the costs of an evening York area the composer’s three great at the symphony are wages that make . The festival, at the Richard it possible for musicians to earn a B. Fisher Center for the Performing respectable but modest middle-class Arts at Bard College, closed with a per- living. In a society that is unwilling formance of . to provide tax-based economic sup- The title role was brilliantly sung by port for the performing arts, we are Vinson Cole. The performance took on dependent on private charity and a special significance when the audience therefore we can only put on large- realized that had come scale programs intermittently. Fur- to hear Cole in this daunting but mag- thermore, the number of high-caliber nificent role. The chorus was prepared amateur choruses in New York has by James Bagwell, who also prepared fallen, making it essential to work with the chorus for today’s performance of professional singers in the chorus. The Kingdom. The superb Princeton University volume that accompanies Yet, the 2017 Apostles performance each year’s festival was entitled Elgar was successful. A century had passed and His World, and was edited by between it and the previous performance the author of the program notes that in New York. created a accompany today’s concert, the distin- groundswell of support for completing guished Elgar scholar, Byron Adams. the ASO plan to perform all three Elgar oratorios. Emails and letters came in In 2017 the ASO performed Elgar’s urging us to schedule The Kingdom— The Apostles on the stage here at Car- the least well known and least appre- negie Hall. The reason for the gap of ciated of Elgar’s oratorios. The ASO is a decade between Gerontius and The pleased that only a two-year hiatus was Apostles was a combination of financial needed, not a decade. and cultural factors. Choral-orchestral works are expensive and, from a com- The cultural factor behind all this is a parative standpoint regarding the value lingering prejudice against unfamiliar of money, extravagant affairs, especially music within the public. It seems that in our society where hoarding money only a few choral-orchestral works and acquiring permanent assets have are guaranteed to fill a large concert gained an improbable prestige. The per- hall—Beethoven’s Ninth Symphony, forming arts that require large forces— the , the Verdi . many performers with no potential When was the last time one heard, of a CGI-like digital equivalent— in a major venue in New York, a suffer, despite the fact that we live performance of Dvor˘ák’s Requiem, in an era of extreme wealth. There is Schumann’s Scenes from Faust, or Mendelssohn’s St. Paul, all undisputed dering of a well-known work from the great works, much less the many less past than encountering some glorious well-known gems from the choral- but unfamiliar work once considered as orchestral repertoire? great by past generations of musicians and listeners. It is hard not to notice a generous ero- sion in the public’s interest in history. Neither literature or painting operate There is now a welcome enthusiasm with such an obsession with a small for new music, but there is a palpable canon deemed to represent unmatched loss of curiosity in the music of the greatness. The recent re-opening of the past, again with the exception of famil- Museum of Modern Art easily reveals iar and acknowledged masterpieces. It the contrast. A treasure trove of his- therefore bears repeating that the way toric works, not all icons and not all we tell the story of the past influences hyper-familiar, are displayed alongside what we choose to do in the present more recent art. The ASO has sought and future. We neglect the rich history to reclaim the rapidly forgotten past of music at our own peril. for many years through performances. It has hung, on the stage, so to speak, We justify our neglect on account of an the kind of works proudly displayed by appeal to history as the ultimate arbi- MOMA and visible permanently at the ter of judgment. The world of music Metropolitan Museum of Art. suffers from the illusion that the only music worth hearing are works that Within this somewhat dispiriting con- have survived the test of time. They text of the absence of enthusiasm for are said to have persisted as part of great but unfamiliar music from the the repertory and therefore deserve past with a slim performance history, to be classified as masterpieces. The English music, written in the 19th and truth is, however, more complicated. 20th centuries, has struggled. Elgar was Not all works that one might deem the first composer since Henry Purcell masterpieces survive the test of time. to achieve worldwide fame and broad The reasons for that are not issues of acknowledgement as a major figure. His quality, but matters of accident, pol- breakthrough to fame as a composer itics, or mere bad luck. As the taste came rather late in life and it marked and education of our audiences have the beginning of an English renaissance shifted from active amateur participa- in music that has continued to this day. tion in making music, at home and in But in New York, Elgar’s reputation the community, to an audience accus- has failed to lift the works of Parry and tomed to listening on electronic devices, Stanford, or Bridge, Bliss, and Walton more and more pieces of music find into view. A concert of English music themselves passed over, even though from the past is not one that seems some sound document of them can naturally to draw a crowd, with the be found on the Internet. Even recent possible exception of music by Britten. works vanish a few performances. The music that remains and is played Even though among English compos- practically every season gets validated ers, Elgar remains the best known, The by an obsession peculiar to classical Kingdom has remained virtually hidden music; the obsession with some saintly from American audiences. Gerontius status of an aesthetic of perfection that (I still remember from my childhood is granted to a few works. The audience a mesmerizing account with the New seems more interested in the next ren- York Philharmonic at Carnegie under Sir ) has gained some performances before a listening audience currency. But The Apostles and The made up of many amateurs would in Kingdom continue to experience resis- turn inspire the audience to participate tance. Part of that resistance is once in and organize future performances, again financial since given the expense much like today’s many amateur, sum- of choral works, most organizations mer stock, provincial, and high school retreat to the most popular, works such performances of works from the musical as the Verdi Requiem and the Messiah. theater that began their life with success- The irony is that the travesty of neglect ful premieres and runs on Broadway. that persists for orchestral music may be even more severe when it comes to It also should be remembered that the sacred and secular choral music with generations of musicians and listeners instrumental accompaniment from immediately preceded us were far 19th and 20th centuries. Therefore, more allergic to the on-the-sleeve piety the ASO is justly proud to present of Elgar’s lush writing. There is some- The Kingdom. thing self-consciously emotional and beautiful about the music in this work. This performance is a rare opportunity. Despite its monumental Edwardian and The critical evaluation of the work, as British Imperial grandiosity and rheto- Byron Adams has suggested, has been ric, The Kingdom has the unmistakable compromised by a sense that Elgar’s character of using music to turn theol- own enthusiasm for the subject and ogy and faith into an accessible dem- the form may have waned. I think that ocratic experience. It is Elgar’s music view is unfair, even though there are that permits the generous dissemination good reasons to consider Gerontius a of the highest aspirations of a universal “greater” work. In preparing the 2017 church, one marked by humility and performance of The Apostles, I came to belief in the divine. Elgar may himself the view that The Apostles is not infe- have become more skeptical in his faith, rior to Gerontius, as most literature on but his music, as the audience encoun- music history would have you believe. ters the music of The Kingdom, enables That sense of inferiority should also be a religious idealism to triumph. Elgar dismissed in the case of The Kingdom. succeeds in mirroring to us the best For all its virtues, the musical and of ourselves. Through the quintessen- poetic argument of Gerontius is pro- tially human art of the imagination— foundly obscure, subtle, and perhaps music—the human invention of the even dark. The subject matter of The divine and its ethics, through faith, Kingdom is, in contrast, transparent suggest the highest standard for human and, given the ending with the touching behavior. Human virtue finds its elo- setting of The Lord’s Prayer, generously quent incarnation in sound. directed toward a broad audience. In our age of strife, hate, greed, invec- Although today’s performance is by tive, and conflict, Elgar’s lyric and dra- a professional chorus, one needs to matic eloquence is a welcome reminder remember that all three works by of what we, as a community and a Elgar were written with large amateur nation, might aspire to, and how we choruses in mind. These works were might interact with one another in our also written with the expectation that public and private lives. the Program by Byron Adams

Edward Elgar Born June 2, 1857, Broadheath, United Kingdom Died February 23, 1934, Worcester, United Kingdom

The Kingdom, Op. 51 Composed in 1906 Premiered on October 3, 1906 in , at Birmingham Music Festival conducted by Elgar with soloists Agnes Nicholls, , and William Higley Performance Time: Approximately 95 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 , 1 English horn, 2 , 1 , 2 , 1 , 5 French horns, 3 , 3 , 1 , , percussion (, side drum, crash , suspended ), organ, 2 harps, 18 violins, 6 , 6 cellos, and 5 double-basses

Due to the popularity of Elgar’s first clergymen, Edward Capel Cure and major , The Dream of Gerontius, Charles Vincent Gorton. the directors of the 1903 Birmingham Festival commissioned him to compose Elgar had been attracted to the subject a large choral score on a religious topic. of the Apostles since childhood: one Elgar proposed the subject of the Apos- of his teachers at the Roman Catholic tles, which was accepted with relief by boys’ school that he had attended in his the festival organizers. For The Dream native Worcester had characterized the of Gerontius, Elgar had redacted St. John Apostles as “poor men, young men, at Henry Newman’s eponymous poem; the the time of their calling; perhaps before whiff of incense in Newman’s Roman the descent of the Holy Ghost not clev- Catholic verse had caused unwelcome erer than some of you here.” The proj- controversy among censorious Anglican ect, originally to consist of a trilogy of clergy when the work was premiered oratorios, was of grandiose Wagnerian during the 1900 Birmingham Festival. proportions. The trilogy was to cover By contrast, the text for the new orato- no less than the calling of the Apostles rio was to be drawn from the officially and their acts; the founding of the early sanctioned Authorized Version of the church; and the Last Judgment. As the (known in America as the “King composer wrote in 1902 to Ivor Atkins, James Version”). As Robert Anderson organist of Worcester Cathedral, “I am notes, “His method [for creating the now plotting GIGANTIC WORK.” libretto] was largely improvisatory, a Elgar traveled to Bayreuth in 1902 for procedure daring and risky, but very inspiration, attending performances of Elgarian.” In the course of creating his the first three of Wagner’s tetralogy of text, Elgar took care to consult with two music dramas, Der Ring des Nibelungen, broad-minded and musical Anglican as well as . In the end, Elgar’s ambitious plan behavior that his long-suffering wife, proved unworkable due to the open- Alice, endured with almost superhu- ended nature of the subject itself. As man patience. This meant that part of Jerrold Northrop Moore observes, “It the original plan of The Kingdom had was literally a story without end, for to be modified, making it the most con- where was the end of Christian Apostle- cise of Elgar’s three major oratorios. hood?” Elgar truncated his original design for the 1903 performance of None of this creative or religious The Apostles. Despite the composer’s trauma is evident in this score, which procrastination over its composition centers on St. Peter. High points include and proofreading, The Apostles was a a rousing orchestral prelude that reca- success at its premiere on 14 October pitulates leitmotifs from The Apostles; 1903. Looking to build on that success, the descent of the Holy Ghost at Pente- the festival committee commissioned cost; and a moving solo for the Virgin Elgar for another large sacred choral Mary, “The sun goeth down.” Elgar’s score for 1906; this was to be a sequel Roman Catholic faith lingers in his to The Apostles, in accordance with the use of the Gregorian chant O sacrum composer’s original plan. convivium, which is sung during Feast of Corpus Christi, a Eucharistic cele- The composition of The Kingdom was bration. In an elaborate program essay fraught with difficulties, not the least written for the oratorio’s premiere on of which was Elgar’s growing disen- 3 October 1906, Elgar’s friend August chantment with his Roman Catholic Jaeger labelled this theme “The Real faith and with Christianity in general. Presence,” alluding to the Catholic Ironically, Elgar’s loss of belief was due doctrine of transubstantiation, which in part to his work on the texts of both posits the transmutation of Eucharistic The Apostles and The Kingdom. Elgar’s elements into the actual Body of Christ. religious education had been doctrinal Elgar’s use of this chant thus foreshad- and liturgical rather than theological, ows the oratorio’s serene conclusion, so that he was unprepared for the con- during which the Apostles sing The tradictory speculations of the authors Lord’s Prayer in rapt communion. that he consulted, such as the skeptical Ernest Renan. The emotional crisis Byron Adams is a Distinguished Profes- provoked by this work caused Elgar sor of Musicology at the University of to evince a series of illnesses—possibly California, Riverside. psychosomatic—as well as petulant Text and Translation

Edward Elgar The Kingdom, Op. 51

PART I

In the Upper Room

The Disciples and the Holy Women Mary Magdalene Seek first the Kingdom of God, and The Dayspring from on high hath vis- His righteousness. ited us, to guide our feet into the way of peace. Peter Peace be multiplied unto you. The Disciples and the Holy Women The Way, the Truth, and the Life. The Disciples and the Holy Women Peace; peace be unto thee, and peace be John to thine helpers. Did not their heart burn within them, while He talked with them by the way? Peter ‘Where two or three are gathered Peter together in My Name, there am I in He took bread, and blessed it, and the midst of them.’ brake, and gave it to us.

Mary, Mary Magdalene, John and Peter The Disciples and the Holy Women Remember the words of the Lord , The true Vine; the Bread of Life.

The Disciples and the Holy Women All Jesus, the Holy One. Let them give thanks whom the Lord hath redeemed; He remembered His John holy promise. In the concord of breth- ‘Surely they are My people’: ren, in the love of neighbors, O praise the Name of the Lord our God. The The Disciples and the Holy Women true Vine, the Bread of Life: He brake, so He was their Saviour; and gave It to us. Praise the Name of our God, that hath dealt wondrously Mary with us. Amen. For while all things were in quiet silence, and that night was in the midst Peter of her swift course, Thine almighty Men and brethren: it was needful that Word leaped down from heaven out of the scripture should be fulfilled, which Thy royal throne. the Holy Ghost spake before by the mouth of David concerning Judas, who The Disciples and the Holy Women was guide to them that took Jesus: for The Light of the world. he was numbered among us, and had obtained part of this ministry. The Disciples and the Holy Women John, Peter, Mary, Mary Magdalene, “Let his habitation be desolate, and let the Disciples and the Holy Women no man dwell therein, and his office let The Lord hath chosen you to stand another take.” before Him to serve Him; you shall be named the Priest of the Lord. Peter Wherefore of these men which have Chorus companied with us all the time that the O ye priests! Seemeth it but a small thing Lord Jesus went in and out among us, that God hath separated you to bring must one be ordained to be a witness you near to Himself, to stand before the with us of His resurrection. congregation to minister unto them? For it is not ye that speak, but the Spirit of Peter, John and the Disciples your Father which speaketh in you: the Thou, Lord, which knowest the hearts Lord hath chosen you; ye are the mes- of all men, shew of these two the one sengers of the Lord of hosts. It is not ye whom Thou hast chosen, to take the that speak, but the Spirit of your Father place in this ministry and apostleship. which speaketh in you. O ye priests! This commandment is for you. Choral They gave forth their lots: (The lot is cast; but the whole disposing thereof is of the Lord) and the lot fell upon Matthias; and he was numbered with the eleven Apostles.

PART II

At the Beautiful Gate

The Morn of Pentecost

Mary and Mary Magdalene The singers are before the altar; they things as we have. The blind and the make sweet melody, and sing the words lame came to Jesus in the temple, and of David, the sweet psalmist; he beau- He healed them, He knew their sorrows; tified the feasts that the temple might Himself took their infirmities, and bare sound from morning. The Lord hath their sicknesses. He hath looked down prepared a sacrifice; the day of the First- from the height of His sanctuary, to hear Fruits. This man, lame from his mother’s their sighing. The service of the Lord is womb, is carried daily to the Beautiful prepared; the day of the First-Fruits: let Gate; To him that is afflicted pity should us go into the house of the Lord. be shewed; let us give alms of such PART III

Pentecost

In The Upper Room

Recitative (Tenor) Recitative (Mezzo-soprano) And when the day of Pentecost was And suddenly there came from heaven a fully come, they were all with one sound as of the rushing of a mighty wind, accord in one place. and it filled all the house where they were sitting; and there appeared unto them The Disciples tongues parting asunder, like as of fire; When the great Lord will, we shall be and it sat upon each one of them:- And filled with the Spirit of understanding. they were all filled with the Holy Spirit, and began to speak with other tongues, Mystic Chorus ( and ) as the Spirit gave them utterance. The Spirit of the Lord shall rest upon them; the spirit of wisdom and under- The Disciples standing. The spirit of counsel and He, Who walketh upon the wings of the might, the spirit of knowledge. Come wind, shall baptize with the Holy Ghost from the four winds, O Spirit! ‘I will and with fire, He, Whose ministers are pour forth of My Spirit, and they shall flaming fire, shall baptize with the Holy prophesy; and I will shew wonders Ghost, and with fire. in the heaven above and signs on the earth beneath.’ Mystic Chorus (Sopranos and Altos) (The Lord put forth His hand, and John touched their mouth; God hath spoken, When the Comforter is come, we shall who can but prophesy?) bear witness; Recitative (Mezzo-soprano) Peter And there were dwelling at Jerusalem and speak as moved by the Holy Spirit. Jews, devout men, from every nation under heaven; and when this sound was The Disciples heard, the multitude came together, When the great Lord will, we shall be and were all amazed, and marveled. filled with the Spirit of understanding.

In Solomon’s Porch

The People The People Behold, are not all these which speak, We do hear them speak in our tongues Galileans? And how hear we, every man the wonderful works of God! in our tongue, wherein we were born? Peter John He, Whose ministers are flaming fire, He, Who walketh upon the wings of hath baptized with the Holy Ghost, and the wind, hath baptized with the Holy with fire. Ghost, and with fire. The People Peter What meaneth this? These men are Therefore, being exalted at the right full of new wine. They are truly full hand of God, and having received of the of power, even the Spirit of the Lord. Father the promise of the Holy Ghost, They drink, and forget the law, and He hath poured forth this, which ye now pervert the judgement. With stammering see and hear. Let all the house of Israel lips and another tongue will He speak know assuredly, that God hath made to this people. When they heard, they Him both Lord and Christ:- this Jesus trembled; like men whom wine hath Whom ye crucified. overcome, their lips quiver. Because of the Lord, and because of the words of The People ( and Basses) His holiness. We hear them speak in our (‘His blood be on us, and on our chil- tongues; what meaneth this? dren.’)

Peter Peter (‘I have prayed for thee, that thy faith Whom ye crucified: fail not; and thou, when thou art con- verted, strengthen thy brethren.’) Ye Mezzo-soprano (Solo) men of Judea, and all ye that dwell at (‘Daughters of Jerusalem, weep not for Jerusalem, be this known unto you, and Me, but weep for yourselves, and for give ear unto my words: This is that your children.’) which was spoken by the Prophet, ‘It shall come to pass in the last days, saith The People God, I will pour forth of My Spirit upon Men and brethren, what shall we do? all flesh: and your sons and your daugh- We have denied the Holy and Righteous ters shall prophesy, and your young One, and asked for a murderer to be men shall see visions, and your old men granted to us; we have killed the Prince of shall dream dreams; and it shall be that life. Men and brethren, what shall we do? whosoever shall call on the Name of the Lord shall be saved.’ Ye men of Israel, Peter hear these words: Jesus of Nazareth, Repent, and be baptized every one of a Man approved of God unto you by you, in the Name of Jesus Christ; for to mighty works, and wonders, and signs, you is the promise, and to your children, which God did by Him in the midst of and to all that are afar off, even as many you, as ye yourselves also know; Him, as the Lord our God shall call unto Him. being delivered up by the determinate counsel and foreknowledge of God, ye, The People by the hand of lawless men did crucify In the Name of Jesus Christ; for to us is and slay: this Jesus hath God raised up, the promise, and to our children and to whereof we are all witnesses. all that are far off, even as many as the Lord our God shall call unto Him. Pour Chorus (Sopranos and Contraltos) upon us the Spirit of grace. (The Lord put forth His hand, and touched their mouth; God hath spoken, Peter who can but prophesy?) In the Name of Jesus Christ.

The People Pour upon us the Spirit of grace. All There shall be a fountain opened to the we should be a kind of First-Fruits of house of David. In the Name of Jesus His creatures, in the Name of Jesus Christ: of His own will, God brought Christ, Whom the God of our fathers us forth by the word of truth, that hath glorified.

PART IV

The Sign of Healing

At The Beautiful Gate

Recitative (Mezzo-soprano) Peter Then they that gladly received his word Ye men of Israel, why marvel ye at this were baptized, and continued stead- man? The God of Abraham, of Isaac, fastly in the Apostles’ teaching, and in and of Jacob, the God of our fathers Fellowship, in the Breaking of Bread, hath glorified His Servant Jesus, Whom and the Prayers; and fear came upon ye delivered up: by faith in His Name every soul, and many wonders and hath His Name made this man strong, signs were done by the Apostles. The whom ye behold and know. man that was lame, at the Beautiful Gate, seeing Peter and John about to John go into the temple, asked to receive an Unto you that fear His Name shall the alms; and Peter, fastening his eyes upon Sun of righteousness arise with healing him, with John, said:- in His wings. Unto you first God, hav- ing raised up His Servant, sent Him to Peter bless you, in turning away every one of Look on us. Silver and gold have I you from your iniquities. none; but what I have, that give I thee. In the Name of Jesus Christ of Naza- Peter and John reth, rise up and walk. Turn ye again, that your sins may be blotted out, that so there may come The People seasons of refreshing from the presence This is he which sat for alms, lame from of the Lord. his mother’s womb. He entereth the temple, walking and praising God! The Arrest

Recitative (Mezzo-soprano) His Name’s sake; all this is come upon And as they spake, the priests and the them:- some shall they kill and crucify; Sadducees came upon them, being sore Blessed are ye, reproached for the Name troubled, because they proclaimed in Jesus of Christ. Rejoice, ye partakers of His the resurrection from the dead: and they sufferings, that when His glory shall laid hands on them, and put them in ward be revealed ye may be glad also, with unto the morrow; for it was now eventide. exceeding joy. How great are Thy signs, how mighty are Thy wonders; Who Mary healeth all infirmities. The of the The sun goeth down; Thou makest Kingdom shall be preached in the whole darkness, and it is night: I commune world; the Kingdom and patience, which with mine own heart, and meditate are in Jesus. The Branch of the Lord on Thee, in the night watches. Blessed shall be beautiful and glorious. Thou are ye when men shall persecute you makest darkness, I meditate on Thee; in for His sake. They deliver them up to the night Thy song shall be with me a the council, they are hated of men for prayer unto the God of my life.

PART V

The Upper Room

In Fellowship

The Disciples and the Holy Women in His Name; we cannot but speak the The voice of joy is in the dwelling things we saw and heard. of the righteous: the stone which the builders rejected is become the head of John the corner. Finding nothing how they might punish us, concerning a good deed done to an John impotent man, they further threatened The rulers asked: ‘By what power, or us; and being let go, we are come to our in what name, have ye done this?’ Then own company. Peter, filled with the Holy Spirit, said ‘In the Name of Jesus Christ.’ The Disciples and the Holy Women Lord, Thou didst make the heaven, and The Disciples and the Holy Women the earth, and the sea, and all that in them In none other is there salvation: neither is. The rulers gather together against the is there, under heaven, any other name Lord and His Anointed: Lord, behold wherein we must be saved. their threatenings; grant Thy servants to speak Thy word with all boldness, while Peter Thou stretchest forth Thy hand to heal. And when they took knowledge of Praise the Name of our God that hath us that we had been with Jesus, they dealt wondrously with us. charged us not to speak at all, nor teach The Breaking of Bread

The Disciples and the Holy Women John Thou, Almighty Lord, hast given food Give thanks – first for the Cup. and drink to mankind; but to us, Thou hast vouchsafed spiritual food and drink The Disciples and the Holy Women and life eternal through Thy servant. We thank Thee, our Father, for the Holy Vine. Peter If any is holy; Peter Give thanks – for the Broken Bread. The Disciples Let him come. The Disciples and the Holy Women We thank Thee, our Father, for the Life Peter and Knowledge. As this Broken Bread If any is not; was grain scattered upon the moun- tains, and gathered together became The Disciples and the Holy Women one, so may Thy Church be gathered let him repent. together from the bounds of the earth into Thy Kingdom. Mary, Mary Magdalene John and Peter In the Name of Jesus Christ.

The Prayers

All John Our Father, Which art in Heaven, Ye have received the Spirit of adoption. hallowed be Thy Name; Thy Kingdom come, Thy will be done on earth as it is Peter in Heaven. Give us this day our daily whereby we cry, Abba, – bread; and forgive us our trespasses, as we forgive them that trespass against Men us, and lead us not into temptation, but Father. deliver us from evil: for Thine is the Kingdom, the power, and the glory; for All ever and ever, Amen. Thou, O Lord, art our Father, our Redeemer, and we are Thine. THE Artists

LEON BOTSTEIN, Conductor RIC KALLAHER Leon Botstein has been music direc- tor and principal conductor of the American Symphony Orchestra since 1992. He is also music director of The Orchestra Now, an innovative training orchestra composed of top musicians from around the world. He is co-artistic director of Bard SummerScape and the Bard Music Festival, which take place at the Richard B. Fisher Center for the Performing Arts at Bard College, where he has been president since 1975. He is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. In 2018 he assumed artistic directorship of the Grafenegg Academy in Austria. Mr. Botstein is the author of numer- Mr. Botstein is also active as a guest con- ous articles and books, including The ductor and can be heard on numerous Compleat Brahms (Norton), Jefferson’s recordings with the Symphony Children (Doubleday), Judentum und (including a Grammy-nominated re- Modernität (Bölau), and Von Beethoven cording of Popov’s First Symphony), zu Berg (Zsolnay). He is also the edi- the London Philharmonic, NDR- tor of The Musical Quarterly. For his Hamburg, and the Jerusalem Symphony contributions to music he has received Orchestra. Many of his live performances the award of the American Academy of with the American Symphony Orches- Arts and Letters and Harvard Univer- tra are available online. His record- sity’s prestigious Centennial Award, as ing with the ASO of Paul Hindemith’s well as the Cross of Honor, First Class The Long Christmas Dinner was named from the government of Austria. Other one of the top recordings of 2015 recent awards include the Bruckner by several publications, and his recent Society’s Julio Kilenyi Medal of Honor recording of Gershwin piano music for his interpretations of that compos- with the Royal Philharmonic was hailed er’s music; and the by and called “some- Award for the Elevation of Music in thing special...in a crowded field” by Society. In 2011 he was inducted into Musicweb International. the American Philosophical Society. , - - Ninth Gloria . In her . She thenShe . Porgy and . She sang and . and joined Dutch , by Gregory Spears Mass in C in Mass with musicAeterna Theresienmesse Choral Fantasy Choral Le nozze di Figaro from . At Cincinnati she. At Cincinnati Sanctus , a role she also sang at Cincin at sang also she role a , Symphony opera,in the premier of new performs Castor and Patience joins musicAeterna on tour in Germany on tour in joins musicAeterna of for performances and Austria in the role of Wilhemina. return to GrantLast season saw her in performancesPark Music Festival of Haydn’s Mahler’s Fourth Symphony with TheMahler’s Fourth Symphony at Saratoga Per Orchestra under the batonforming Arts Center and made herof Yannick Nézet-Séguin in Beethoven’sSalzburg Festival debut Symphony No. 9 conducted by Teodor Currentzis. At Lyric Opera of she sang the role of Ilia in National Opera for Clara in Bess nati Opera alongside performances as Susanna in artistic home at , the Angeles artistic home at Los artist appeared in the role of Servilia in La Clemenza di Tito and Symphony Orchestra she performs in performs she Orchestra Symphony Beethoven’s

- - - at the Met

Soprano

. With the Cincinnati . With the Cincinnati Porgy and Bess JANAI BRUGGER, BRUGGER, JANAI of Clara in begins the 2019–20 season in the role itan Opera National Council Auditions,itan Opera National winner of and of the Metropol winner of Operalia Amerian soprano, Janai Brugger, a 2012Amerian soprano, Janai The Kingdom tra at to sing Elgar’s joining the American Symphony Orches the Detroit Symphony Orchestra before for performances of Mahler 4 with season. The artist travels to Michigan Washington National Opera later in the ropolitan Opera, a role she also sings at DARIO ACOSTA ARIELLE DONESON

- - - Il La . at the Candide Sweeney Todd Eugene Onegin , and returns to and returns to , , as well as to the , as well with Opera Santa in his debut with with Opera Omaha. Messiah , followed by performances , followed by performances , as well as with New York’s New York’s as with , as well , directed by James Darrah and by James Darrah and , directed Mass Cosi fan tutte with Portland Opera; and as Guglielmo as and Opera; Portland with in Opera, joins the Detroit Symphony Opera, joins the Detroit Symphony for Orchestra Opera; Figaro in New York City Opera; Figaro Tanglewood Festival. Recent operatic Tanglewood Festival. as Sonora in appearances include fanciulla del West barbiere di Siviglia Barbara; Anthony in and the title role of Alexander made two significant festival Alexander made two in both 2018, of summer the in debuts Bernstein’s cen celebration of Leonard tennial. He appeared with the Ravinia tennial. He appeared the baton of Festival in June under Singer in Bern Marin Alsop as a Street stein’s and Captain, Sea the Maximilian, of in the Grand Inquisitor Kingdom Lucifer in Festival as PROTOTYPE Rev 23 He by Daniela Candillari. conducted perfor Tulsa Opera for returns to mances of Symphony for Pittsburgh Baritone

. - - - - - , ). The ), with Roméo Roméo ). Alex , collab Mezzo-soprano Les Pêcheurs de Perles New York Times with Washington Concert with Washington Concert , and at National Sawdust , and at National Sawdust

It All Goes Through You Hamlet

EVE GIGLIOTTI, ALEXANDER BIRCH ELLIOTT BIRCH ALEXANDER in RB Schlather (director), and com Gertrude performs season, she the in orating with Royce Vavrek (libretto), orating with Royce Vavrek (libretto), posers Nico Muhly, Missy Mazzoli, Paola Prestini and Ellen Reid. Later handsome-toned” ( voice that been described as “spirited, Mezzo-soprano Eve Gigliotti has a a Mezzo-soprano Eve Gigliotti has “impassioned” ( a stage presence that is “strong” and Francisco Opera as Gertrude in curates and performs a program enti This season Ms. Gigliotti returns to San This season Ms. Gigliotti returns to San et Juliette in a highly anticipated residency she tled Symphony Orchestra for Elgar’s at Carnegie Hall with the American at Carnegie Hall with the American In the 2019–2020 season he debuts In the 2019–2020 season he debuts mahogany” ( intensity and beguiling timbre of timbre of intensity and beguiling tinues to garner praise for his “heated tinues to garner praise Baritone Alexander Birch Elliott con Baritone Alexander of Zurga in Houston Grand Opera singing the role Houston Grand Opera singing the role at both The and at both The Metropolitan Opera and ander made major debuts last season last major debuts made ander the Metropolitan Opera, singing Gla- Ring Cycle, both the Eugene Symphony sha in Kat’a Kabanova. and the Seattle Symphony for Handel’s Messiah, and Opera Parallèle as the Last season, Eve Gigliotti was seen at Pilot in The Little Prince. the Metropolitan Opera as Siegrune in Die Walküre, reprised The Little Prince Ms. Gigliotti has also been seen recently with Opera Parallèle, and appeared with the Metropolitan Opera, Houston with the Prototype Festival. Grand Opera, Minnesota Opera, Flo- rentine Opera, Opera Santa Barbara, During the 2017–2018 season, and Washington National Opera. She Ms. Gilgiotti joined the Los Angeles created the role of Ruth in Nico Muhly’s Philharmonic for the U.S. premiere of Dark Sisters, produced by Gotham A Trip to the Moon, San Francisco Chamber Opera, Music Theater Group, Opera for their production of Wagner’s and Opera Philadelphia.

COOPER NOLAN, Tenor KRISTIN HOEBERMANN Aachen for Hermann in a new produc- tion of Pique Dame.

Last season, he made his role/house debut as Canio in I Pagliacci with Opera San Jose. Concert appearances included the Verdi Requiem with Lex- ington Philharmonic and TO¯ N (The Orchestra Now), Act III of with the Victoria Symphony (Canada) conducted by Christian Kluxen, Act I of Die Walküre with the Harvard- Radcliffe Orchestra conducted by Federico Cortese, and was a feature soloist in Charlottesville Opera’s Encore: Opera Favorites conducted Tenor Cooper Nolan, praised for by Steven Jarvi. Mr. Nolan made his his “bright, shining, tenor” (Musical Oper Frankfurt debut as the title role America) and his “powerhouse voice” in Verdi’s Stiffelio and made his role (Opera News), is increasingly making debut as Cavaradossi in Tosca with the a name for himself as an important Fort Wayne Philharmonic. He made interpreter of some of opera’s most his role/house debut as Bacchus in a demanding tenor roles. Cooper begins new production of the 2019–2020 season making his Car- at Theater Aachen and sang Don José negie Hall debut in Elgar’s The King- in Carmen with El Paso Opera and dom with the American Symphony in his European debut with Theater Orchestra, followed by debuts with the Kiel. He returned to Santa Fe Opera, Quad Cities Symphony Orchestra in singing Tybalt in Roméo and Juliette the Verdi Requiem and the Jacksonville under Harry Bicket, while covering Symphony in Beethoven’s Symphony Dick Johnson in La fanciulla del West No. 9. He will also return to Theater under Emmanuel Villaume. AMERICAN SYMPHONY ORCHESTRA

Now in its 58th season, the American investigations into popular classical Symphony Orchestra was founded in works; and various other events ded- 1962 by , with a icated to enriching and reflecting the mission of providing great music within diverse perspectives of American cul- the means of everyone. Music Director ture. During the summer months, the Leon Botstein expanded that mission ASO is the orchestra-in-residence at when he joined the ASO in 1992, cre- Bard’s SummerScape Festival and per- ating thematic concerts that explore forms at the Bard Music Festival. music from the perspective of the visual arts, literature, religion, and history, and As part of its commitment to expand- reviving rarely-performed works that ing the standard orchestral repertoire, audiences would otherwise never have a the ASO has released recordings on the chance to hear performed live. Telarc, New World, Bridge, Koch, and Vanguard labels, and live performances The ASO’s signature programming are also available for digital download. includes its Vanguard Series, which In many cases, these are the only exist- presents concerts of rare orchestral ing recordings of some of the forgotten repertoire at Carnegie Hall and Lincoln works that have been restored through Center; an adult educational series at ASO performances. Symphony Space that offers interactive

BARD FESTIVAL CHORALE

The Bard Festival Chorale was formed its members have distinguished careers in 2003 as the resident of the as soloists and as performers in a Bard Music Festival. It consists of the variety of choral groups; all possess a finest ensemble singers from New York shared enthusiasm for the exploration City and surrounding areas. Many of of new and unfamiliar music.

JAMES BAGWELL, Director, Bard Festival Chorale

James Bagwell maintains an active Beatrice di Tenda, Rossini’s Möise international schedule as a conduc- et Pharaon, and Boito’s Mefistofele. tor of choral, operatic, and orchestral He conducted the New York premiere music. He was most recently named of ’ Toltec Symphony and associate conductor of The Orches- Golijov’s Oceana, both at Carnegie tra Now (TO¯ N) and in 2009 was Hall. His performance of Kurt Weill’s appointed principal guest conductor Knickerbocker Holiday at Alice Tully of the American Symphony Orches- Hall was recorded live for Gaslight tra, leading them in concerts at both Records and is the only complete Carnegie Hall and . recording of this musical. Since 2011 he From 2009–15 he served as music has collaborated with singer and com- director of The Collegiate Chorale, poser Natalie Merchant, conducting a with whom he conducted a number number of major across the of rarely-performed -in-concert country, including the San Francisco at Carnegie Hall, including Bellini’s and Seattle Symphonies. Mr. Bagwell has trained choruses for a He conducted some twenty-five pro- number of major American and inter- ductions as music director of Light national orchestras, including the New Opera Oklahoma. At Bard Summer- York Philharmonic; Los Angeles Phil- Scape he has lead various theatrical harmonic; San Francisco, NHK (Japan), works, most notably The Tender Land, and St. Petersburg Symphonies; and the which received glowing praise from the Budapest Festival, Mostly Mozart Fes- New York Times, The New Yorker, tival, American Symphony, Cincinnati and Opera News. From 2005–10 he Symphony, Cincinnati Pops, and Indi- was music director of The Dessoff anapolis Symphony Orchestras. Since in New York, who under his 2003, he has been director of choruses leadership made numerous appearances for the Bard Music Festival, conducting at Carnegie Hall in addition to their and preparing choral works during regular season. the summer festival at The Richard B. Fisher Center for the Performing Arts at Bard College.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO CLARINET TUBA Cyrus Beroukhim, Eugene Moye, Daniel Spitzer, Jon Hill, Principal Concertmaster Principal Principal Robert Zubrycki Roberta Cooper Benjamin Baron TIMPANI Pauline Kim Harris Annabelle Hoffman Lino Gomez, Benjamin Herman, Ashley Horne Alberto Parrini Principal Yukie Handa Sarah Carter Patricia Davis Maureen Hynes PERCUSSION Diane Bruce Oleksiy Zakharov, Jonathan Haas, Katherine Livolsi- BASS Principal Principal Landau John Beal, Principal Maureen Strenge Kory Grossman John Connelly Jack Wenger Gilbert Dejean, Charles Descarfino Bruno Peña Louis Bruno Contrabassoon Peter Donovan HARP VIOLIN II Richard Ostrovsky HORN Victoria Drake, Suzanne Gilman, Zohar Schondorf, Principal Principal Principal Frances Duffy Ragga Petursdottir Laura Conwesser, David Smith Yana Goichman Principal Steven Sherts ORGAN Alexander Vselensky Rie Schmidt Rachel Drehmann , Principal Wende Namkung Diva Goodfriend- Eric Huckins, Lucy Morganstern Koven, Piccolo Assistant PERSONNEL Nazig Tchakarian MANAGER Sarah Zun Matthew Dine Alexandra Knoll, James Ross, Principal Principal Thomas Hoyt ASSISTANT William Frampton, Julia DeRosa Dominic Derasse CONDUCTOR Principal Erin Gustafson, Zachary Schwartzman Sally Shumway English Horn Martha Brody Richard Clark, ORCHESTRA Rachel Riggs Principal LIBRARIAN Adria Benjamin Bradley Ward Marc Cerri Jason Mellow Jeffrey Caswell, Bass Trombone BARD FESTIVAL CHORALE James Bagwell, Director

SOPRANO ALTO TENOR BASS Wendy Baker Maya Ben-Meir Jack Colver David Baldwin Kendra Berentsen Donna Breitzer Jack Cotterell Blake Burroughs Leonie Donato Teresa Buchholz Joseph Demarest Anicet Castel Margaret Dudley Katharine Emory Matthew Deming Benjamin Cohen Lori Engle Catherine Hedberg Mark Donato Jonathan Estabrooks Aine Hakamatsuka Erin Kemp Sean Fallen Jared Graveley Manami Hattori Erica Koehring Ethan Fran James Gregory Melissa Kelley Nicole Mitchell Chad Kranak Jonathan Guss Michele Kennedy Margaret O’Connell Matthew Krenz Nicholas Hay Liz Lang Heather Petrie Eric William Lamp Paul Holmes Jessica Marsten Elizabeth Picker Anthony McGlaun Brian Mummert Kathryn Papa Hillary Schranze Nathan Siler Wayne Arthur Paul Rachel Rosales Suzanne Schwing Kannan Vasudevan Mark Rehnstrom Ellen Taylor Sisson Lara Stevens Tommy Wazelle Michael Riley Christine Sperry *Nancy Wertsch Aaron Theno Elizabeth Van Os *Choral Contractor

ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Hans-Jurgen Knoch Shirley A. Mueller, Esq. Helen Baron Eileen Rhulen Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski

ASO ADMINISTRATION

Oliver Inteeworn, Executive Director James Bagwell, Principal Guest Conductor Brian J. Heck, Director of Marketing Zachary Schwartzman, Assistant Conductor Katherine C. Peck, Director of Development Richard Wilson, Composer-In-Residence Ally Chapel, Marketing Manager Joshua Winograde, Vocal Casting Director Sebastian Danila, Library Manager Carissa Shockley, Operations Coordinator AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover less than a quarter of the expenses for our full-size orchestral concerts.

The American Symphony Orchestra Board of Trustees, staff, and artists gratefully acknowl- edge the following individuals, foundations, corporations, and government agencies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessi- ble and affordable for everyone.

MAESTRO’S CIRCLE CONTRIBUTORS Janet Z. Segal Anonymous Anonymous Margret Sell Jeanne Donovan Fisher Gary Arthur Dr. M. Lana Sheer and The Frank & Lydia Bergen Nancy L. Banks Dr. J.P. Jesson Foundation William Diggs Lynda W. Swanson Rachel and Shalom Kalnicki Helen Garcia Mr. and Mrs. New York City Department Gerald Laskey David Wilkinson of Cultural Affairs (DCA) Alan Mallach New York State Council on John D. Metcalfe FRIENDS the Arts (NYSCA) Alan Stenzler Anonymous Open Society Institute Theodore and Alice Ginott Francine Abeles Cohn Philanthropic Fund Murray Aronson STOKOWSKI CIRCLE Michael and Judith Thoyer Karen Bedrosian-Richardson Anonymous Larry A. Wehr Yvette Bendahan The E. Nakamichi Foundation Daniel B. Berkson The Kurt Weill Foundation SUPPORTERS Jesse Blumberg for Music, Inc. Anonymous Mona Yuter Brokaw Dimitri B. and Carol Kitzes Baron Wendy Byrne Rania Papadimitriou Mary Ellin Barrett Jon Carter Patricia E. Saigo Diane Bruce and John Sinclair Stefania P. Clegg Felicitas S. Thorne Richard Celler Marc Alon Embree Mr. and Mrs. George A. Hirsch Christopher H. Gibbs Richard E. Wilson Hudson Guild, Inc. Max and Eliane Hahn Oliver Inteeworn Linda Herskowitz BENEFACTORS David Kernahan Drs. Russell and Anonymous Irving and Rhoda Kleiman Barbara Holstein Fross Zelnick Lehrman & Zissu Peter Kroll Peggy Karp in honor of The David & Sylvia Michelle Lowes and Paul Hyde Vivian Fine Teitelbaum Fund, Inc. Dr. Karen Manchester Ralph B. Lawrence Stephen McAteer Anita Randolfi PATRONS Myra K. Miller Morey Ritt Anonymous Steven Morvay Rochelle Rubinstein Joel I. and Ann Berson Shirley Mueller Georgi Shimanovsky Gary M. Giardina Lucy M. and Martin L. Murray Robert and Sarah Stephens James and Andrea Nelkin Kenneth Nassau and David C. Pixley, in honor of Ms. Lee Hebner Dorothy Pixley Rothschild Maury Newburger List current as of Clary Olmstead and October 16, 2019 and SUSTAINERS Kathleen Heenan represents support for Anonymous David Pozorski and our 2018–2019 and Anthony H. Richter Anna Romanski 2019–2020 seasons. The Elgar Society Henry Saltzman Kevin M. Shanley Nina C. and Emil Scheller 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 with The City of New York the support of Governor Andrew Cuomo The Honorable Bill De Blasio, Mayor NYC and the New York State Legislature Department of Cultural Affairs in partner- ship with the New York City Council

KEEP US ON POINT! 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 alarming 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 cannot imagine a world without opportunities to hear live Schubert, Strauss, Elgar, or Bernstein.

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: 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: Katherine C. Peck, Director of Development, 646.237.5022 or [email protected].

ASO’S 2019–20 VANGUARD SERIES AT CARNEGIE HALL

Friday, January 31, 2020 Beyond Beethoven with Lucas Debargue, Piano In honor of the 250th anniversary of Beethoven’s birth, the ASO examines how his music inspired others. Louis Spohr – Symphony No. 6, “Historical Symphony” Galina Ustvolskaya – Piano Concerto Franz Liszt– Fantasy on Motifs from Beethoven’s Ruins of Athens Max Reger – Variations and on a Theme of Beethoven

Thursday, March 12, 2020 with the Marcus Roberts Trio The ASO celebrates the genre-defying genius of Duke Ellington, performing his iconic music with a full orchestra. Three Black Kings (arr. Marcus Roberts) World Premiere New World A-Comin’ (arr. Marcus Roberts) World Premiere Satin Doll Harlem Sophisticated Lady Night Creature for Jazz Band and Orchestra Black, Brown and Beige Suite