Thursday Evening, December 17, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00

presents Russia’s Jewish LEON BOTSTEIN, Conductor

ALEKSANDR KREIN The Rose and the Cross (“Symphonic Fragments after Aleksandr Blok”), Op. 26 (NY Premiere) The Castle of Archimbault at Dawn The Rooms of Isaure On the Ocean Shore Gaetan’s Song The Death of Bertrand: Epilog

ANTON RUBINSTEIN Cello Concerto No. 2 in D minor, Op. 96 Allegro moderato Andante Allegro (no pause between movements) ISTVÁN VÁRDAI, Cello

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. MIKHAIL GNESIN From Shelley (“Symphonic Fragment after Percy Bysshe Shelley’s Prometheus Unbound”), Op. 4 (U.S. Premiere)

MAXIMILIAN STEINBERG No. 1 in , Op. 3 (U.S. Premiere) Allegro non troppo—Poco più tranquillo— Tempo I Scherzo: Allegro vivace—Un poco più tranquillo—Tempo I Andante molto sostenuto Finale: Allegro moderato

This evening’s concert will run approximately two hours and 15 minutes including one 20-minute intermission.

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FROM THE Music Director Jews and Russians: The Case of Music as such. Yiddish rather than Hebrew by Leon Botstein was considered the Jewish national lan- guage and under Soviet rule (until the The history of the Jews in Russia, devastating purges of the late 1940s before and during the first decades after during Stalin’s final years), the Yiddish the 1917 revolution, is a complex amal- language, and the theater and music gam of segregation, poverty, exclusion, associated with Yiddish culture, received persecution, and extraordinary intellec- extensive state patronage. The sup- tual and cultural achievement both posed elevation of Jews to a national within the confines of Jewish society status, however, was both ambivalent and culture and also outside in the and disingenuous. It was designed to larger non-Jewish Russian world. The blunt the allure of Zionism and Hebrew, significance of Russian Jewry to the as well as to circumvent, with a fatal development of modern Russian cul- embrace, the hope that under commu- ture, and indeed to the central elements nism, anti-Semitism would disappear. of the modern Russian national self- The official recognition of Jewish nation- image, cannot be overestimated. ality actually ensured the persistence of anti-Semitism; after all, on all official It is therefore not surprising that from documents, including passports, one’s the very start of communism and the nationality was identified. Every Jew Soviet Union, Jews were treated as a was labeled as such. distinct nation rather than a religious group, comparable to the Georgians or All the composers on this program were the Armenians. Jews were given status Russian Jews by birth. The oldest is the piano virtuoso, conductor, and com- for their contributions as explicitly poser Anton Rubinstein, whose fame— “Jewish” composers. Both men, influ- particularly in the United States—was enced by Rimsky-Korsakov, celebrated legendary. Rubinstein, who taught the folk roots of their own specific Tchaikovsky, also was chosen to lead national origin as Jews. They became the celebrated Gesellschaft der Musik- leading members of the legendary and freunde in Vienna. His works won wide seminal St. Petersburg Society for Jew- acclaim. Posterity, however, has been ish , founded in 1908. less kind. Despite its once enormous popularity, his “Ocean” symphony has Yet the works on this program remind lapsed into obscurity, together with the us that their distinction and contribu- rest of his orchestral oeuvre. Rubinstein’s tion as composers were not limited to family (including his almost equally the extent to which they utilized their famous musician brother Nikolai) con- Jewishness in their music. It is easy to verted from Judaism when Anton was a overlook the extent of acculturation young boy. Rubinstein was brought up and symbiosis between the Jewish and as a Christian but like so many converts the Russian in ways that bypassed the he realized that baptism was never a Fiddler on the Roof stereotype; we asso- cure or antidote for anti-Semitism, since ciate that process of cosmopolitan the prejudice was racial and political, intermingling more readily with the his- not theological—once a Jew, always a torical dynamics between Jews and Jew. Rubinstein is alleged to have non-Jews in German-speaking Europe observed, “Russians say I am German, before 1933. Krein and Gnesin absorbed Germans think me Russian, Jews call and extended—as did their contempo- me a Christian, and Christians say I am raries , Lazare Saminsky, a Jew.” and —the influence of symbolism and of Scriabin and Rimsky. The fact is that more of Rubinstein’s Gnesin and Krein, at the time they wrote music deserves to be played, as this con- the works on this program, were Russ- certo for cello and orchestra makes clear. ian cosmopolitan advocates of an avant- Rubinstein’s musical output was enor- garde first and Jewish culture second. mous. Much of the best music was dra- matic music written for the stage. A vast The last work on the program is by a number of dramatic works with a “Jew- rival and contemporary of Stravinsky’s, ish” connection appear in Rubinstein’s Shostakovich’s teacher Maximilian catalogue, including an opera on the Steinberg. One of the ironies of history Maccabees, works on the Tower of is that Steinberg’s ballet Metamorpho- Babel and Moses, all alongside works sen was scheduled for the same 1913 explicitly on Christian subjects (most season as the Rite of Spring, and notably a setting of Paradise Lost). In Stravinsky, who was jealous that Rimsky the late 19th-century debate on what favored Steinberg and that Steinberg ought to be truly “Russian” music, married Rimsky’s daughter, did every- Rubinstein was unfairly derided as a thing he could to thwart Steinberg’s second-rate purveyor of German musi- competing work. cal traditions. Steinberg was the son of a major Two of the Russian Jewish composers Hebrew scholar. Despite his extensive on this program are represented with background in Jewish history and cul- works written when they were young. ture, unlike Krein and Gnesin, but Both Krein and Gnesin became prominent rather more as a latter day Rubinstein, Steinberg did not privilege his Jewish Together these four Russian composers, identity in his work and chose a quite whose lives and careers span the second eclectic array of inspirations for his half of the 19th century and the first music—from Uzbek folk material to the half of the 20th—arguably the heyday legend of Till Eulenspeigel. As Steinberg’s of classical musical culture—reveal the early —and the 1913 ballet extent of acculturation, integration, score—suggest, the talent and facility of and participation in Russian intellec- the young were extraordi- tual and artistic life by Jews. We have nary, as was his familiarity with the the unfortunate tendency to reduce the compositional traditions of Western complexity of the past to stereotypes. Europe and Russia. The Jews of Russia evoke—legitimately— the image of mass poverty, the shtetl, Steinberg is most often remembered not sardonic humor, klezmer, and Yiddish for his music but indirectly, first on eloquence: a distinctly Jewish culture account of his place in Stravinsky’s life, born out of the unique experience of and second because of his connection to the Pale Settlement. It is to those roots Shostakovich. He deserves more. None - that Krein and Gnesin—much like the theless, perhaps the most admirable young painter Marc Chagall—eventually indirect consequence of Steinberg’s turned in search of a unique source for career derives from the Shostakovich a modern art and culture of their own. connection, not the link to Stravinsky. By so doing they were following a par- Shostakovich was rather the exception allel pattern of discovery that would among Russian composers in his com- become audible in the music of Bartók plete lack of anti-Semitism. Indeed and Stravinsky. Shostakovich identified with the plight of the Jews. He showed rare courage in This concert reminds us that in litera- his support of the family of Solomon ture, science, art, and above all, music, Mikhoels, the great Yiddish actor who there was a Russian Jewish elite, fully was killed by Stalin in 1948, and his pro- conversant with Russian and European tective advocacy of and friendship with traditions that made seminal contribu- the Polish Jewish composer Mieczysław tions to the mainstream of culture and Weinberg, who settled in Russia after art without foregrounding or even ref- 1945. Perhaps it was Shostakovich’s erencing their status as Jews. That admiration and affection for his teacher remarkable achievement by an extraor- that sustained his decency and courage dinary elite is highlighted on today’s on this issue. concert program. THE Program by Peter Laki

Aleksandr Krein Born October 20, 1883, in Nizhniy-Novgorod, Russia Died April 21, 1951, in Staraya Ruza, Russia

The Rose and the Cross (“Symphonic Fragments after Aleksandr Blok”), Op. 26 Composed in 1917–21 Performance Time: Approximately 20 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 5 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (cymbals, tam-tam), 2 harps, 22 violins, 8 violas, 8 cellos, and 6 double basses

Aleksandr Blok, perhaps the greatest and a song contest in a flowering Russian symbolist poet, died in 1921, dale. The spring that sets the plot in four years after the . motion is a song so provocative that Although he had welcomed the Revolu- it haunts the dramatis personae for tion, he was hardly a Communist and by years after they hear it performed by the time of his death at the age of 41, he an itinerant troubadour. The trouba- had become disillusioned with the Bol- dour reappears at the drama’s end sheviks. Blok had a great affinity for for an encore performance…the music; his mystical drama The Rose and song’s pastoral text identifies joy and the Cross was originally planned as a suffering as equivalent emotional ballet whose score was to have been states. Its music was intended to written by Aleksandr Glazunov. (In mesmerize its listeners—both those 1914 Mikhail Gnesin composed inci- on and off the stage. dental music for the play.) Krein was deeply steeped in Eastern Euro- In the event, the play had more than pean klezmer musical traditions, and the 200 rehearsals at the Art The- majority of his works were inspired by ater but was never performed in public. Jewish folklore. But not all of his works In his book Russian Opera and the Sym- are Jewish in inspiration, and he honored bolist Movement, Simon Morrison offers Blok’s memory, a few years after the poet’s the following summary of Blok’s play: death, with the present five-movement orchestral suite, providing that “mesmer- The plot brings together dissimilar izing music” the play called for. characters, settings, images, and events: a grief-stricken lady and a dejected The score includes the following epi- knight, a dilapidated castle and a graph from the play: windswept beach, the bells of a sunken city and a ghost in a dungeon, a peas- The world’s boundless ecstasy ant dance around a decorated tree belongs to the heart that sings, the roaring ocean calls with a colorfully orchestrated, explo- to a fatal and aimless wandering. sive melody.

Surrender to the impossible dream, Movement III (On the Ocean Shore) You will fulfill your fate, reprises the main motif of the first It is the heart’s immutable law: movement in a more dramatic presen- Joy and suffering are the same! tation; it is followed without pause by (transl. P. L.) Movement IV (Gaetan’s Song), in which we hear the song that is so important in Movement I (The Castle of Archim- the play (and from which Krein took bault at Dawn) opens with a dark motif the above-quoted epigraph). The expres- for low strings and clarinets, accompa- sive melody, first heard on English horn, nied by dramatic tremolos; a gloomy viola, and cello, is later taken over by the idea that gradually rises in dynamics to entire orchestra. Movement V (The reach fortissimo, only to sink back, Death of Bertrand: Epilog) opens as a suddenly, into the mysterious atmos- funeral march that, however, segues into phere of the opening. a recapitulation of Gaetan’s Song from the previous movement, fashioned into A brief fanfare for three muted trum- the work’s triumphant conclusion, rep- pets leads into Movement II (The Rooms resenting the “boundless ecstasy of the of Isaure), a passionately romantic sketch heart that sings.”

Anton Rubinstein Born November 28, 1829, in Vikhvatinets, Ukraine Died November 20, 1894, in Peterhof, Russia

Cello Concerto No. 2 in D minor, Op. 96 Composed in 1874 Performance Time: Approximately 29 minutes

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

Anton Rubinstein, one of the most cel- work are undeniably Russian in their ebrated pianist-composers of the 19th melodic style, and the concerto consis- century and founder of the St. Peters- tently eschews the methods of thematic burg Conservatory, composed two cello development that German composers concertos for his colleague Karl Davydov, from Beethoven to Brahms were so whom Tchaikovsky described as the fond of using. “tsar of all cellists.” The first major composer in Russia to write concertos The concerto is an eminently melodic for any instrument, Rubinstein had work, in three movements played without important European models to draw pause. The first movement is serious and on, but he strove to Russianize” those expressive; the second, which begins models—something his more radically with a chorale-like introduction scored nationalist contemporaries from the for woodwinds, is delicate and lyrical. “Mighty Handful” gave him little credit Between the second and third movements for. Yet several of the themes in the present the soloist plays a cadenza, punctuated by orchestral interjections; this is followed by After a second cadenza the meter changes the finale, a rondo based on a melody from duple and triple for a varied recapit- clearly inspired by Russian folksong. ulation of the main theme.

Mikhail Gnesin Born February 2, 1883, in Rostov-on-Don, Russia Died May 5, 1957, in Moscow

From Shelley (“Symphonic Fragment after Percy Bysshe Shelley’s Prometheus Unbound”), Op. 4 Composed in 1906–08 Performance Time: Approximately 8 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 3 clarinets, 2 bassoons, 1 contrabassoon, 5 French Horns, 2 trumpets, 3 trombones, 1 tuba, timpani, 2 harps, 22 violins, 8 violas, 8 cellos, and 6 double basses

A generation before Samuel Barber wrote years of study under Rimsky-Korsakov. his Music for a Scene from Shelley after On the front page we find the following Prometheus Unbound, Mikhail Gnesin excerpt from Prometheus Unbound in was inspired by the same play for his Balmont’s translation: own “symphonic fragment.” Shelley was particularly admired by the poets of the There was a change: the impalpable Russian Silver Age; one of the leading thin air Russian poets of the time, Konstantin And the all-circling sunlight were Balmont, translated the complete works transformed, of the great English Romantic. As if the sense of love dissolved in them Had folded itself round the spherèd Gnesin studied with Nikolai Rimsky- world. Korsakov around the same time that (Act III, scene 4) Stravinsky did, and they were rather good friends for a while. (The famous Gnesin A vision of light and sun then fills the Institute of Moscow bears the name of pages of Gnesin’s short symphonic this eminent composer and his three sis- poem, which develops a single brief ters, all pianists.) Gnesin was one of the motif in rich orchestral colors, describ- founders of the Society for Jewish Folk ing a gradual crescendo and accelerando Music and later became known as the followed by a diminuendo and ritar- “Jewish Glinka” for his Jewish operas. In dando. It was all intended to please his book Music of the Repressed Russian Rimsky-Korsakov but, as we may learn Avant-garde, Larry Sitsky compares from the latter’s memoirs, the master Gnesin to Krein: “In contrast to Krein, realized that the young man was only Gnesin was a much more cerebral com- trying to placate him by the simplicity poser, concerned with the inward-looking of his music, and that the young gener- and the contemplative rather than the ation had begun to move in some new external sensuality of his colleague.” stylistic directions. Still, From Shelley was an auspicious start for a composer The present composition is Gnesin’s who went on to have a distinguished first orchestral score, written during his career in Russia and the Soviet Union. Maximilian Steinberg Born July 4, 1883, in , Lithuania Died December 6, 1946, in Leningrad

Symphony No. 1 in D major, Op. 3 Composed in 1905–06 Premiered March 18, 1908, in St. Petersburg Performance Time: Approximately 40 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 2 clarinets, 2 bassoons, 1 contrabassoon, 5 French horns, 3 trumpets, 3 trombones, 1 tuba, timpani, percussion (triangle, cymbals, bass drum), 22 violins, 8 violas, 8 cellos, and 6 double basses

Rimsky-Korsakov’s pupil and son-in-law, with influences ranging from Beethoven Stravinsky’s rival, and Shostakovich’s and Schumann to Mendelssohn and teacher, Maximilian Steinberg was a Wagner. The first movement opens with central figure in Russian musical life a pure D major that had become rare in before, during, and after the October the first years of the new century; the Revolution. Yet in spite of these illustri- 6/8 time that the classics used so often ous associations, history has not been to evoke the hunt comes to new life in kind to Steinberg, whose music is hardly this radiant Allegro non troppo. The ever heard today. Granted, he was no scherzo that follows bristles with innovator and never seemed to rock the energy, with a gentle waltz for a trio boat in any way. Still, anyone who could section. In the slow movement a single compose a symphony like the one we're melodic-rhythmic idea is exploited going to hear while still a student in his through a succession of attractive wind early 20s must be taken seriously: one solos. The dynamic Finale, complete cannot help but admire the young man’s with the obligatory fugato, also con- mastery of compositional technique— tains a slower episode offering a differ- form, harmony, orchestration—as well ent take on the fugato theme. Just as the confidence with which he before the end we hear two sustained, deploys that technique. Concurrently to mysterious chords providing a last- his musical studies, Steinberg was also minute moment of suspense, followed an aspiring scientist at the university, by the powerful final chords. and he graduated with a gold medal in biology in 1906. The Symphony was dedicated to Aleksandr Glazunov, another teacher The son of a distinguished Hebrew of Steinberg’s, who became the director scholar from Vilna, the city that used to of the St. Petersburg Conservatory in be called the “Jerusalem of Lithuania,” 1905. It received its premiere in St. Steinberg did not immediately adopt the Petersburg on March 18, 1908. Russian nationalist style of his teacher Rimsky-Korsakov. His models in the First Peter Laki is visiting associate professor Symphony seem to be entirely Germanic, of music at Bard College. THE Artists LEON BOTSTEIN, Conductor RIC KALLAHER RIC Leon Botstein is now in his 24th year as music director and principal conductor of the American Symphony Orchestra. This season he also begins his tenure as the music director of The Orchestra Now, an innovative training orchestra composed of top musicians from around the world. Mr. Botstein has been hailed for his visionary zeal, often creating concert programs that give audiences a once-in-a-lifetime chance to hear live performances of works that are ignored in the standard repertory, and inviting music lovers to listen in their own way to create a personal experience. At the same time, he brings Wiesbaden, UNAM Mexico, and the his distinctive style to core repertory Simon Bolivar Orchestra in Caracas. works. He is also artistic director of He recently conducted the Russian Bard SummerScape and the Bard Music National Orchestra, the Taipei Sym- Festival, which take place at the phony, the Los Angeles Philharmonic, Richard B. Fisher Center for the Per- and the Sinfónica Juvenil de Caracas in forming Arts at Bard College, where he Venezuela and Japan, the first non- has been president since 1975. In addi- Venezuelan conductor invited by El Sis- tion, he is conductor laureate of the tema to conduct on a tour. Jerusalem Symphony Orchestra, where he served as music director from Highly regarded as a music historian, 2003–11. Mr. Botstein’s most recent book is Von Beethoven zu Berg: Das Gedächtnis Mr. Botstein leads an active schedule as der Moderne (2013). He is the editor of a guest conductor all over the world, The Musical Quarterly and the author and can be heard on numerous record- of numerous articles and books. He is ings with the Symphony (includ- currently working on a sequel to Jeffer- ing their Grammy-nominated recording son’s Children, about the American edu- of Popov’s First Symphony), the Lon- cation system. Collections of his writings don Philharmonic, NDR-Hamburg, and other resources may be found online and the Jerusalem Symphony Orches- at LeonBotsteinMusicRoom.com. For tra. Many of his live performances with his contributions to music he has the American Symphony Orchestra are received the award of the American available online, where they have cumu- Academy of Arts and Letters and Har- latively sold more than a quarter of a vard University’s prestigious Centennial million downloads. Upcoming engage- Award, as well as the Cross of Honor, ments include the Royal Philharmonic, First Class from the government of Austria. Other recent awards include the Carnegie Foundation’s Academic Lead- Caroline P. and Charles W. Ireland Prize, ership Award. In 2011 he was inducted the highest award given by the Univer- into the American Philosophical Society. sity of Alabama; the Bruckner Society’s Julio Kilenyi Medal of Honor for his Mr. Botstein is represented worldwide interpretations of that composer’s music; by Susanna Stefani Caetani and in the the Leonard Bernstein Award for the United States by Columbia Artists Elevation of Music in Society; and Management Inc.

ISTVÁN VÁRDAI, Cello

Since Mr. Várdai’s debut concert in 1997 at the Hague, he has performed in New York, London, , Prague, Vienna, Frankfurt, Munich, Geneva, Dublin, PILVAX STUDIO PILVAX Moscow, St. Petersburg, Florence, Tokyo, and Beijing. He is a regular guest at such orchestras as the Russian National Orchestra, Mariinsky Theatre Orchestra, Suisse Romande, and the Bavarian Radio Symphony Orchestra, and festivals such as the Santander, St. Petersburg, Radio France Montpellier, Verbier, West Cork Festival, Schwetzigen, and Casals Festival.

Mr. Várdai studied in the Class of Spe- cial Talents at the Liszt Academy in István Várdai is the only cellist in the Budapest in 2004, and at the Music world to have won both the Interna- Academy of Vienna in 2005. Between tional Cello Competition in Geneva 2010 and 2013 he continued his studies at (2008) and the ARD Competition in Kronberg Academy in Germany, where he Munich (2014), the two most impor- has been on the staff since 2013. tant contests for cellists. In 2000 he was elected best rising classical musi- Mr. Várdai plays a Montagnana cello cian in the world by Prix Montblanc. from 1720.

THE AMERICAN SYMPHONY ORCHESTRA

Now in its 54th season, the American reviving rarely-performed works that Symphony Orchestra was founded in audiences would otherwise never have a 1962 by Leopold Stokowski, with a chance to hear performed live. mission of making orchestral music acces- sible and affordable for everyone. Music The orchestra’s Vanguard Series con- Director Leon Botstein expanded that sists of multiple concerts annually at mission when he joined the ASO in 1992, Carnegie Hall. ASO also performs at creating thematic concerts that explore the Richard B. Fisher Center for the music from the perspective of the visual Performing Arts at Bard College in Bard’s arts, literature, religion, and history, and SummerScape Festival and the Bard Music Festival. The orchestra has made and Sarah Chang. The orchestra has several tours of Asia and Europe, and released several recordings on the has performed in countless benefits for Telarc, New World, Bridge, Koch, and organizations including the Jerusalem Vanguard labels, and many live perfor- Foundation and PBS. mances are also available for digital download. In many cases these are the Many of the world’s most accomplished only existing recordings of some of the soloists have performed with the ASO, rare works that have been rediscovered including Yo-Yo Ma, Deborah Voigt, in ASO performances.

AMERICAN SYMPHONY ORCHESTRA Leon Botstein, Conductor

VIOLIN I CELLO CLARINET TIMPANI Erica Kiesewetter, Eugene Moye, Laura Flax, Principal Benjamin Herman, Concertmaster Principal Shari Hoffman Principal Suzanne Gilman Roberta Cooper Lino Gomez, Bass Yukie Handa Annabelle Hoffman Clarinet PERCUSSION Diane Bruce Sarah Carter Javier Diaz, Principal Ragga Petursdottir Maureen Hynes BASSOON Matthew Beaumont Elizabeth Nielsen Diane Barere Charles McCracken, David Nyberg Ashley Horne Robert Burkhart Principal Dorothy Strahl Tatyana Margulis Maureen Strenge HARP Ann Labin Gilbert Dejean, Victoria Drake, Robert Zubrycki BASS Contrabassoon Principal Brian Krinke John Beal, Principal Grace Paradise Laura Frautschi Jordan Frazier HORN Jack Wenger Eric Reed, Principal PERSONNEL VIOLIN II Louis Bruno Sara Cyrus MANAGER Richard Rood, Peter Donovan David Smith Patty Schmitt Principal Richard Ostrovsky Kyle Hoyt Sophia Kessinger David Peel, Assistant ASSISTANT Heidi Stubner FLUTE CONDUCTOR Yana Goichman Laura Conwesser, TRUMPET Zachary Lucy Morganstern Principal Raymond Riccomini, Schwartzman Elizabeth Kleinman Julietta Curenton Principal Wende Namkung Diva Goodfriend- John Dent ORCHESTRA Alexander Vselensky Koven, Piccolo Thomas Hoyt LIBRARIAN Margarita Milkis Marc Cerri Nazig Tchakarian OBOE TROMBONE Keisuke Ikuma, Richard Clark, VIOLA Principal Principal Nardo Poy, Principal Erin Gustafson Kenneth Finn Sally Shumway Melanie Feld, Jeffrey Caswell Crystal Garner English Horn Rachel Riggs TUBA Adria Benjamin Kyle Turner, Louis Day Principal Ariel Rudiakov Arthur Dibble ASO BOARD OF TRUSTEES

Dimitri B. Papadimitriou, Chair Debra R. Pemstein Thurmond Smithgall, Vice Chair Eileen Rhulen Felicitas S. Thorne Miriam R. Berger Michael Dorf HONORARY MEMBERS Rachel Kalnicki Joel I. Berson, Esq. Jack Kliger L. Stan Stokowski Shirley A. Mueller, Esq.

ASO ADMINISTRATION

Lynne Meloccaro, Executive Director James Bagwell, Principal Guest Conductor Oliver Inteeworn, General Manager Zachary Schwartzman, Assistant Conductor Brian J. Heck, Director of Marketing Richard Wilson, Composer-In-Residence Nicole M. de Jesús, Director of Development James Bagwell, Artistic Consultant Sebastian Danila, Library Manager Carley Gooley, Marketing Assistant Carissa Shockley, Operations Assistant

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Ryan Joseph and Jean Sullivan Barbara and Peter Clapman Henry Saltzman Siri von Reis Theodore and Alice Ginott Peter Lars Sandberg Cohn Philanthropic Fund Albert Sargenti CONTRIBUTORS Laura Conwesser Sari Scheer and Samuel Kopel Anonymous (2) Herbert and Mary Donovan Nina C. and Emil Scheller Gary Arthur Paul Ehrlich Sharon Schweidel Dr. Miriam Roskin Berger Richard Farris Gerald and Gloria Scorse Jeffrey Caswell Lynda Ferguson Margret Sell Isabelle A. Cazeaux Martha Ferry Georgi Shimanovsky Roger Chatfield Laura Flax Bruce Smith and Paul B. Collom and A. Menninger Jeffrey F. Friedman Castellano Elliott Forrest Christopher H. Gibbs Gertrude Steinberg Anna and Jonathan Haas Ann and Lawrence Gilman Hazel C. and Bernard Strauss Max and Eliane Hahn June O. Goldberg Helen Studley Ashley Horne Gordon Gould Robert Sweeney Peter Kroll Greenwich House, Inc. Margot K. Talenti Adnah G. and Grace W. Nathan Gross Tart-Wald Foundation Kostenbauder John L. Haggerty Catherine Traykovski Dr. Coco Lazaroff Laura Harris Susan and Charles Tribbitt Nancy Leonard and Eric S. Holtz Mr. and Mrs. Jack Ullman Lawrence Kramer Penelope Hort Janet Whalen Steve Leventis Hudson Guild, Inc. Victor Wheeler Peter A. Q. Locker Sara Hunsicker Donald W. Whipple Stephen J. Mc Ateer George H. Hutzler Larry A. Wehr Charles McCracken, in Jewish Communal Fund Michael P. A. Winn memory of Jane Taylor José Jiménez Richard J. Wood Sally McCracken Ronald S. Kahn Leonard and Ellen Zablow Christine Munson Robert and Susan Kalish Alfred Zoller Kurt Rausch and Lorenzo Dr. Roses E. Katz Myra and Matthew Martone Robert and Charlotte Kelly Zuckerbraun Roland Riopelle and Leslie David Kernahan Kanter Irving and Rhoda Kleiman FRIENDS Martha and David Schwartz Caral G. and Robert A. Klein Anonymous (4) Alan Stenzler Dr. Carol Lachman Madelyn P. Ashman Mr. and Mrs. Jon P. Tilley Shirley Leong Stephen Blum Robert and Patricia Ross Weiss Linda Lopez Mona Yuter Brokaw Mrs. A. Peter Brown John Helzer Leonie Newman Rufus Browning Robert Herbert Sandra Novick Joan Brunskill Gerald and Linda Herskowitz Jane and Charles Prussack Connie Chen Diana F. Hobson Bruce Raynor Nancy L. Clipper Christopher Hollinger Martin Richman Robert Cohen Cyma Horowitz Catherine Roach Concerts MacMusicson Drs. Russell and Barbara John W. Roane Patricia Contino Holstein Dr. and Mrs. Arnold Rosen Lois Conway Theresa Johnson Joe Ruddick Michael and Frances Curran Ginger Karren Leslie Salzman Judy Davis Peter Keil Harriet Schon Thomas J. De Stefano Kaori Kitao Dr. and Mrs. Herbert C. Susanne Diamond Pete Klosterman Schulberg Ruth Dodziuk-Justitz and Frederick R. Koch The Honorable Michael D. Jozef Dodziuk Seymour and Harriet Koenig Stallman Barton Dominus Mr. and Mrs. Robert LaPorte Paul Stumpf Robert Durst David Laurenson Madeline V. Taylor Jonathan F. Dzik Patricia Luca Gretchen Viederman Lee Evans Walter Levi Renata and Burt Weinstein Anne Stewart Fitzroy Judd Levy Jon Wetterau ExxonMobil Foundation José A. Lopez David A. Wilkinson Donald W. Fowle Sarah Luhby Ann and Doug William Helen Garcia Nancy Lupton Kurt Wissbrun Barbara Gates Dr. Karen Manchester Dagmar and Wayne Yaddow Goldman, Sachs & Co. Richard and Maryanne Lawrence Yagoda Robert Gottlieb Mendelsohn Mark and Gail Zarick Michael and Ilene Gotts John Metcalfe Mr. and Mrs. Sidney Greenberg Mark G. Miksic List current as of John Hall Myra Miller November 19, 2015 Donald Hargreaves Alex Mitchell Andrée Hayum Michael Nassar

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: National Endowment for the Arts The City of New York Jane Chu, Chairman The Honorable Bill De Blasio, Mayor NYC Department of Cultural Affairs in New York State Council on the Arts with partnership with the New York City the support of Governor Andrew Cuomo Council and the New York State Legislature EXPAND OUR REPERTOIRE: SUPPORT THE ASO!

Since 1962 the American Symphony Orchestra has done something incredible: Present the widest array of orchestral works, performed at exceptional levels of artistry—and offered at the most accessible prices in New York City. Be they rare works or beloved masterpieces, no other orchestra dares to present the same depth of repertoire every single season. But the ASO has urgent need of your support. Production costs for full-scale, orchestral con- certs are ever increasing, while public philanthropy for the arts has decreased at an alarm- ing rate. As always, we keep to our mission to maintain reasonable ticket prices, which means ASO depends even more than most other orchestras on philanthropic contributions. That’s why we must call on you—our audiences, artists, and community partners, who can- not imagine a world without opportunities to hear live Strauss, Muhly, Delius, or Reger. Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program- ming now and ensure another season! ANNUAL FUND Annual gifts support the Orchestra’s creative concert series and educational programs. In appreciation, you will receive exclusive benefits that enhance your concert-going experience and bring you closer to the Orchestra. SUSTAINING GIFTS Make your annual gift last longer with monthly or quarterly installments. Sustaining gifts provide the ASO with a dependable base of support and enable you to budget your giving. MATCHING GIFTS More than 15,000 companies match employees’ contributions to non-profit organizations. Contact your human resources department to see if your gift can be matched. Matching gifts can double or triple the impact of your contribution while you enjoy additional benefits. CORPORATE SUPPORT Have your corporation underwrite an American Symphony Orchestra concert and enjoy the many benefits of the collaboration, including corporate visibility and brand recognition, employee discounts, and opportunities for client entertainment. We will be able to provide you with individually tailored packages that will help you enhance your marketing efforts. For more information, please call 646.237.5022 HOW TO DONATE Make your gift online: www.americansymphony.org/support Please make checks payable to: American Symphony Orchestra Mail to: American Symphony Orchestra 263 West 38th Street, 10th Floor New York, NY 10018

For questions or additional information: Nicole M. de Jesús, Director of Development, 646.237.5022 or [email protected]. ASO’S 2016 SEASON AT CARNEGIE HALL

Thursday, March 17, 2016 Giant in the Shadows with Peter Serkin, piano The reputation of Max Reger today belies his dominant presence in music during his lifetime and the legacy he left.

KATHY CHAPMAN KATHY Here we celebrate two of his works, and one by his friend and contemporary, Adolf Busch. Adolf Busch – Three Études for Orchestra Max Reger – Piano Concerto Max Reger – Variations and Fugue on a Theme of J.A. Hiller

Tuesday, April 5, 2016 A Mass of Life with the Bard Festival Chorale Delius was a fervid follower of Nietzsche, and here he set pas- sages from the philosopher’s book Also sprach Zarathustra to music, creating a grand and compelling work celebrating life at its highest. Frederick Delius – A Mass of Life