Friday Evening, May 29, 2015, at 8:00Isaac Stern Auditorium/Ronald O. Perelman Stage

Conductor’s Notes Q&A with Leon Botstein at 7:00

presents

American Variations: Perle at 100LEON BOTSTEIN, Conductor

GEORGE PERLE Adagio

WILLIAM SCHUMAN New England TriptychBe Glad Then, AmericaWhen Jesus WeptChester

AARON COPLAND Orchestral Variations

Intermission

GEORGE PERLE Transcendental Modulations

LUKAS FOSS Baroque Variations

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

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

American Symphony Orchestra welcomes the many organizations who participate in our Community AccessProgram, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For

information on how you can support this program, please call (212) 868-9276.

ASO’S 2015–16 SEASON AT CARNEGIE HALL

Friday, October 16, 2015Mimesis: Musical Representationswith Tracy Silverman, electric violinArt, poetry, philosophy, and even the stars—as representedin music. Van Gogh, Nietzsche, Paul Klee, and others inspiredthese works.Gunther Schuller – 7 Studies on Themes of Paul KleeHenri Dutilleux – CorrespondancesNico Muhly – Seeing is BelievingRichard Strauss – Also sprach Zarathustra

Thursday, December 17, 2015Russia’s Jewish Composerswith István Várdai, celloThese Russian Jews exploded ethnic stereotypes by refusingto be known only as Jewish composers. These works iden-tified them more with their homeland than their ethnicity.Aleksandr Krein – The Rose and the Cross (N.Y. Premiere)Anton Rubinstein – Cello Concerto No. 2Mikhail Gnesin – From Shelley (U.S. Premiere)Maximilian Steinberg – Symphony No. 1 (U.S. Premiere)

Thursday, March 17, 2016Giant in the Shadowswith Peter Serkin, pianoThe reputation of Max Reger today belies his dominantpresence in music during his lifetime and the legacy he left.Here we celebrate two of his works, and one by his friendand contemporary, Adolf Busch.Adolf Busch – Three Études for OrchestraMax Reger – Piano ConcertoMax Reger – Variations and Fugue on a Theme of J.A. Hiller

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

Subscriptions for the 2015–16 season are now on sale at AmericanSymphony.org/subscribeand (212) 868-9ASO (9276). Just choose three or four concerts, and all seats in all locationsare just $25.

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FROM THE Music DirectorGeorge Perle at 100by Leon Botstein

George Perle was a unique figure withinthe world of 20th-century Americanclassical music. He was part of a “sec-ond” generation that followed the pio-neers of the 1920s, which includedAaron Copland, Roger Sessions, CarlRuggles, Roy Harris, Edgard Varèse,and Henry Cowell. With the exceptionof Cowell and Ruggles, the others wereall linked closely to European influ-ences; they either trained in Europe orstudied in America under the tutelageof European masters. But one of theambitions of this first generation ofpost-World War I American composerswas to create a distinctly Americanvoice. On today’s program the work byWilliam Schuman powerfully repre-sents that goal.

At the same time, these American com-posers and their successors sought totake their rightful place within a mod-ernist movement whose aesthetics werefree of clear markers of the national.Copland’s 1930 Orchestral Variations,originally for piano and presented herein its orchestral version, is a case inpoint. The Orchestral Variations maybe Copland’s most abstract and angularwork. It was the piece that young col-lege student Leonard Bernstein playedfor Copland at a memorable encounterthat was the starting point of a lastingclose friendship. Not surprisingly, GeorgePerle greatly admired this work.

Although influenced by the work of theSecond Viennese School of ArnoldSchoenberg, Alban Berg, and Antonvon Webern (Perle studied with ErnstKrenek), Perle charted his own path.He did not attempt to express a musical

nationalism. But he also did not imitateor adopt Schoenberg’s technique of “ser-ial” composition. He was not a twelve-tone serial composer. He developed hisown version of how to use a 12-noteseries, primarily as a basis of harmonyand counterpoint, and not as a source formusical motives. Using “cycle sets” hecrafted a modern musical language thatwas translucent, expressive, and lyrical.There is an elegance and eloquence in hismusic that never fails to reach the listeneron first hearing. Perle also kept his dis-tance from a more abstract, dense, andoften brutal anti-expressive characteristicof mid-20th-century avant-garde mod-ern music. As a result his music has awarmth, intensity, and beauty evocativeof Classical and Romantic practice, with-out any hint of a sentimental nostalgia.

Perle was, in addition, a scholar whosepioneering work on Alban Berg willremain as the foundation of all subse-quent writing on Berg. Indeed Berg’sown adaptation of Schoenberg’s 12-tone strategy was Perle’s inspiration.Like Berg, Perle found the means towrite music that communicated emo-tion and meaning in a manner that wasadequate to modernity, yet within a tra-dition that went back to Bach and themasters of the first Viennese “school”of Mozart, Haydn, and Beethoven. Andlike Berg (as opposed to Schoenberg),the legacy of late romanticism, particu-larly of Mahler, left its mark.

Perle’s writings are, like his music, amodel of economy, clarity, and insight.It was he who unraveled the “secret”program of the Lyric Suite. His two-volume analysis of Wozzeck and Luluare without peer in terms of clarity,detail, and deep original insight. Like-wise, his 1962 book on the Viennese

school Serial Composition and Atonal-ity, his 1977 Twelve Tone Tonality, andhis 1990 volume The Listening Com-poser are classics. They will long remainamong the most essential readings formusicians, particularly composers. Perle’swritings reflect the significance of hiscareer as a teacher. For more than 20years he taught at Queens College ofthe City University of New York.

Perle represents, therefore, the best ofAmerican musical modernism. I had thehonor and pleasure of getting to knowhim towards the end of his career. WalterTrampler, the distinguished violist,repeatedly urged me to program Perle’sSerenade for viola and chamber orches-tra from 1962. He and his wife, Shirley,a terrific pianist (and lifelong close friendof Leonard Bernstein’s), introducedthemselves after a Bard Music Festivalperformance of Schumann’s Das Paradiesund die Peri, a work they had knownabout but never heard live. The Perlesand I became friends. They were unfail-ingly curious and generous. In subse-quent years I had the honor of recordingTranscendental Modulations with theASO, and performing the 1990 FirstPiano Concerto with the Bard Conser-vatory Orchestra at Alice Tully Hall(with Melvin Chen as soloist).

The pianist Arthur Rubinstein oncequipped about Bernstein (who admiredPerle as a musician and a man) that hewas the “greatest pianist among con-ductors, the greatest conductor amongcomposers, [and] the greatest composeramong pianists.” The same could besaid about Perle using his trio of accom-plishments as composer, scholar, and

theorist. If that weren’t enough, Perlewas himself a fine pianist. Perle wasamong the first composers to be awardeda MacArthur “genius” Award.

In this concert Perle’s place in musichistory is framed not only by Copland—the dominant and consistently gra-cious “dean” of 20th-century Americanmusic—but also by the contrasting andparallel careers of two contemporaries,both of whom shared with Perle achieve-ments apart from composition. LukasFoss, the startlingly gifted pianist, wasdistinguished as well as a composer andconductor. William Schuman was notonly a major figure as a composer, butan eminent administrator. Schumanserved as president of Julliard and subse-quently as the first president of LincolnCenter. The music of Foss and Schumanis quite distinct and different from Perle’sand offers the listener a glimpse of therich, vital, and varied musical culture ofthe American 20th century.

More than in the other arts, in musicwe have developed the bad habit ofneglecting the achievements of the past.Too much of great 20th-century music,particularly American music, has fallenaway from the repertory. Some com-posers were strikingly prolific (one thinksof Martinu and Milhaud, for example).Perle’s output may have been restrainedin quantity, but it is rigorously consis-tent in refinement and quality. Hismusic—the orchestral music, the musicfor piano, for the voice, for solo instru-ments, and the chamber music—deserves to prevail in the 21st centuryalongside his remarkable contributionsto music history and music theory.

THE Programby Richard Wilson

George PerleBorn May 6, 1915, in Bayonne, New JerseyDied January 23, 2009, in New York City

AdagioComposed in 1992, commissioned by Carnegie Hall

Premiered April 13, 1993, in New York City by the Baltimore Symphony Orchestraconducted by David Zinman

Performance Time: Approximately 9 minutes

Instruments for this performance: 2 flutes, 2 piccolos, 3 oboes, 1 English horn, 3 clarinets, 1 bass clarinet, 3 bassoons, 1 contrabassoon, 4 French horns, 4 trumpets,4 trombones, 1 tuba, timpani, 1 celesta, 1 harp, 22 violins, 8 violas, 8 cellos, and

6 double basses

George Perle’s Adagio is wistful in tone,direct in expression, and free of rhythmiccomplexity. As the title suggests, its pace isslow, with an eighth-note pulsation pre-vailing. The loudest dynamic marking ismezzo-forte—and that only fleetingly.Formally the work is a transparent ter -nary, or A-B-A, in which the middlesection is only slightly faster than its sur-roundings. When the opening material re -turns, its pitch level is raised a minor third.Rather than presenting an exact reprise,the composer artfully modifies both scor-ing and continuity. The harmonic lan-guage is chromatic without being serial; it

especially favors the interval of the minorthird as well as chords constructed from it.These descriptive details, however, fallshort of conveying the beauty and powerof this jewel of restraint.

On the subject of his compositionalapproach, George Perle had this to say:

I have a language that permits pro-gressions, and cadences, and keys. Ican think in a systematic way aboutmusic. That’s what you can do whenyou have a language—as with Mozart,Brahms, Palestrina, and Schubert.

William SchumanBorn August 4, 1910, in New York City

Died February 15, 1992, in New York City

New England TriptychComposed in 1956, commissioned by André Kostelanetz

Premiered October 26, 1956, in Miami by the Miami University Symphony Orchestraconducted by André Kostelanetz

Performance Time: Approximately 15 minutes

Instruments for this performance: 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 E-flat clarinet, 1 bass clarinet, 2 bassoons, 4 French horns,

In conversation with Edward T. Cone,Aaron Copland reflected on his PianoVariations and works such as OrganSymphony and Symphonic Ode writtenabout the same time: “I had also a—shall we say Hebraic—idea of the gran -diose, of the dramatic, and the tragic….”That conception is surely enhanced by theorchestration the composer made in 1957

of his landmark piano work from 1930.A large ensemble, including 13 percussioninstruments in addition to timpani, givesvoice to the stentorian opening, to be fol-lowed by contrasting sections that arehymn-like, pointillistic, fearsome, balletic,or majestic. The theme consists of fouradjacent pitches upon which 20 connectedvariations and a coda are crafted. These

Aaron CoplandBorn November 14, 1900, in Brooklyn

Died December 2, 1990, in North Tarrytown, New York

Orchestral VariationsComposed as Piano Variations from January to October 1930; arranged fororchestra in 1957 on commission from the Louisville Symphony Orchestra

Premiered March 5, 1958, in Louisville, Kentucky, by the Louisville SymphonyOrchestra conducted by Robert Whitney

Performance Time: Approximately 12 minutes

Instruments for this performance: 2 flutes, 2 piccolos, 1 oboe, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones,1 tuba, timpani, percussion (cowbell, tenor drum, bass drum, glockenspiel, B-flat

antique cymbal, snare drum, cymbals, bongos, conga, xylophone, cymbals,woodblock, chimes), 1 harp, 22 violins, 8 violas, 8 cellos, and 6 double basses

William Billings (1746–1800), friend ofSam Adams and Paul Revere, may bedeemed America’s first composer. Despitea missing eye, a withered arm, a short leg,and an addiction to snuff, he wrote morethan 300 anthems, fuguing tunes, rounds,and hymns, many of which became popu-lar during the Revolutionary era. It is fromBillings that William Schuman derivedthe melodic materials for his New Eng-land Triptych. The beginning movement,Be Glad Then, America, understand-ably popular with players of the tim-pani, draws its themes from Billings’anthem of that title and much of its tex-ture from the block-chord style of churchhymns. The exuberant, celebratory toneturns mournful in When Jesus Wept, anexpressive arch framed by dirge-like oboe,

drum, and bassoon. The symmetricalshape mirrors Billings’ original round,but Schuman employs triadic har-monies in relationships that would havepuzzled the 18th century. Billings’ patri-otic anthem, “Chester,” the text ofwhich is “Let tyrants shake their ironrod/And Slav’ry clank her gallingchains/We fear them not, we trust inGod/New England’s God for everreigns,” became a marching song forPatriot soldiers during the war, a factnot lost on William Schuman as he ele-vates the level of exuberance to make atriumphant ending.

Following its premiere, André Koste-lanetz led the New York Philharmonicin the work on November 8, 1956.

3 trumpets, 3 trombones, 1 tuba, timpani, percussion (snare drum, bass drum,cymbals, tenor drum), 22 violins, 8 violas, 8 cellos, and 6 double basses

George Perle

Transcendental ModulationsComposed in 1993

Premiered November 21, 1996, in New York City by the New York Philharmonicconducted by Jahja Ling

Performance Time: Approximately 25 minutes

Instruments for this performance: 3 flutes, 1 alto flute, 2 piccolos, 3 oboes, 1 Englishhorn, 3 clarinets, 1 E-flat clarinet, 1 bass clarinet, 4 French horns, 4 trumpets, 2 tenor trombones, 2 bass trombones, 1 tuba, timpani, percussion (xylophone,glockenspiel, vibraphone, chimes, tamtam, bass drum, temple blocks, cymbal), 1 piano, 1 celesta, 1 harp, 22 violins, 8 violas, 8 cellos, and 6 double basses

To modulate one’s voice means to varythe tone, to avoid monotone. To modu-late in music has traditionally meant tochange the key. In recent compositionanother usage has emerged: tempomodulation, which involves changingthe speed of the beat by keeping somefraction of that beat common in theshift to another beat. Thus the triplet inone tempo might become the eighth-note in a faster tempo.

George Perle’s Transcendental Modula-tions, the title of which evidently arosefrom a slip of the tongue intending“Transcendental Meditations,” may be

said to reflect all three meanings—andmore. This work presents a successionof character images, contrasting inmood, and including even a trace ofjazz in the bass pizzicatos toward theend. Musical ideas (such as the bub-bling up of clarinets at the opening)reappear at different pitch levels toeffect changes in tonality as well as tim-bre. Twelve distinct tempos are care-fully linked by common pulses. Aftercompleting the work, the composerchanced upon a paragraph from, appro-priately enough, Ralph Waldo Emerson,that he felt might serve as a motto forthe piece:

notes are employed horizontally, verti-cally, widely-spaced over several octaves,crunched together within one octave, inmany different tempos and styles of artic-ulation. Rather than being “12-tone,”Piano Variations—and its reincarnationon the present program—might be con-sidered a “four-tone” work. Schoenberg’sinfluence is palpable as Copland manipu-lates the notes of the motto. The resultingmultum in parvo aspect has been a sourceof fascination to music theorists and fel-low composers for more than 80 years.Even Pierre Boulez, distant from Coplandin style and outlook, praised Piano Varia-tions—though for its “violence” ratherthan its structure—and chose to conduct

the orchestrated version during his timewith the New York Philharmonic.

Copland’s approach to orchestration,honed during a long association withSerge Koussevitzky and the BostonSymphony, consisted of first making acomplete piano version, with as manydetails of pitch, rhythm, dynamics, andarticulation as possible in place. Onlythen would he imagine the orchestralcoloration. Thus this transformation ofPiano Variations fit closely with his cus-tomary procedure. The secret of hisscoring method was, he liked to say,“keeping the instruments out of eachother’s way.”

Our life is an apprenticeship to thetruth, that around every circle anothercan be drawn; that there is no end innature, but every end is a beginning;that there is always another dawnrisen on midnoon, and under everydeep a lower deep opens.

It has been suggested that Perle’s musicin general meets a description of a newclassicism envisioned by Thomas Mann:

Something conspicuously logical, wellformed and clear, something at onceaustere and cheerful, no less imbuedwith strength of purpose, but morerestrained, refined, more healthyeven in its spirituality.

The recording of this work by theAmerican Symphony Orchestra, LeonBotstein conducting, appeared in 2005on a New World Records CD.

Lukas FossBorn August 15, 1922, in Berlin

Died February 1, 2009, in New York City

Baroque VariationsComposed in 1967

Premiered July 7, 1967, in Chicago by the Chicago Symphony Orchestra conductedby Seiji Ozawa

Performance Time: Approximately 25 minutes

Instruments for this performance: 2 flutes, 1 recorder, 1 piccolo, 2 oboes, 1 Englishhorn, 2 clarinets, 1 E-flat clarinet, 1 soprano saxophone, 1 bassoon, 3 French

horns, 2 trumpets, 1 trombone, 1 tuba, timpani, percussion (vibraphone, cymbals,chimes, gong, xylophone, triangle, bass drum), 1 celesta, 1 electric piano,

1 electric organ, 1 harpsichord, 1 electric guitar, 22 violins, 8 violas, 8 cellos,and 6 double basses

A decade before John Cage hit on sub-traction as a compositional device,Lukas Foss was busy erasing notes froma Handel piece to create the first move-ment of Baroque Variations. The unsus-pecting listener might think he or she isconfronted by an orchestral malfunc-tion. Perhaps players have ingestedAmbien and are dozing off only to wakeup suddenly, having lost their place. Anatmosphere of gentle confusion prevails.

The second movement, based on a harp-sichord sonata by Domenico Scarlatti,appears to have difficulty getting intomotion. Once it does, the music fades inand out, sometimes alarmingly, comingat different and conflicting speeds.

J.S. Bach provides material for the finalmovement of this phantasmagoria. His

E-major solo violin Partita is subjectedto a series of interruptions, often comic,that suggest zoo animals on the loose,right-hand-only piano practice, stuckvinyl records, chaos suddenly brokenoff then turned back on. Finally: anorgan appearing out of nowhere bat-tling out-of-control percussion.

In his long and varied compositionalcareer, Lukas Foss moved in and outof tonality, of neo-classicism, of im -provisation, and of electronics. Hewas constantly exploring and experi-menting. In Baroque Variations hecreated an endearing icon of Dream-state Modernism.

Richard Wilson is ASO’s composer inresidence and the Mary Conover MellonProfessor of Music at Vassar College.

Remembering George Perleby Shirley Gabis Perle

I first met George in 1946 when he wasjust out of the army and getting his Ph.D.at NYU. Already an experienced com-poser, and wanting to take advantage ofthe G.I. bill, he majored in musicology andfound himself carried away by the Renais-sance composers. All he could talk aboutwas Machaut, Busnois, and Josquin…andBartók…and left-wing politics, which hadbeen a crucial part of his experience inChicago before the war. By 1982, whenwe married, he had given up politics anddiscovered Berg’s music along with thewritings of Proust and Henry James—whose entire work he had read. The classicswere a given. He told the woman who was to be his first wife that he loved her butloved Beethoven more. He was crazy about Louis Armstrong and the great jazzartists. Central to George’s composing was his enormous enthusiasm for dance; theballet especially attracted him. The intricacy and wit of Balanchine’s choreographysomehow influenced the “steps” his notes took: he wanted to make them dance. Heworked round the clock, stopping every so often for a few hours of sleep. This enabledhim to produce the prodigious amount of work for which he has become known.

Remembering Lukas Fossby Cornelia Foss

A man of contradictions, Lukas Foss was fun-loving as well as enormously serious(“…but never earnest,” to quote him). Everything about music came impressivelyeasily to him, yet he worked incessantly.

Born in Germany, he studied in Paris from ages seven to 15. In New York at 16,he rented a very small room, slept under his piano, and composed the oratorio ThePrairie, which was performed by the Robert Shaw Chorale and later the BostonSymphony Orchestra under Koussevitzky. In 1949 the Rome Prize brought him tothe American Academy in Rome, where we met and married two years later.

In 1951 Foss accepted a professorship at UCLA. When the Bel Air fire of 1961destroyed our house, we stayed a year at Elliott Carter’s apartment in New York.Subsequently, Foss became the conductor of the Buffalo Philharmonic, andfounded the Center for Creative and Performing Arts.

Remembrances

THE Artists

Leon Botstein is now in his 23rd year asmusic director and principal conductorof the American Symphony Orchestra.He has been hailed for his visionaryzeal, often creating concert programsthat give audiences a once-in-a-lifetimechance to hear live performances ofworks that are ignored in the standardrepertory, and inviting music lovers tolisten in their own way to create a per-sonal experience. At the same time hebrings his distinctive style to core reper-tory works. He is also co-artistic direc-tor of Bard SummerScape and the BardMusic Festival, which take place at theRichard B. Fisher Center for the Per-forming Arts at Bard College, where hehas been president since 1975. He isalso conductor laureate of the Jerusalem

Symphony Orchestra, where he servedas music director from 2003–11.

Mr. Botstein leads an active schedule asa guest conductor all over the world,and can be heard on numerous record-ings with the London Symphony (includ-ing their Grammy-nominated recordingof Popov’s First Symphony), the Lon-don Philharmonic, NDR-Hamburg, andthe Jerusalem Symphony Orchestra.Many of his live performances with theAmerican Symphony Orchestra areavailable online, where they have cumu-latively sold more than a quarter of amillion downloads. Upcoming engage-ments include the Royal Philharmonic,Wiesbaden, UNAM Mexico, and theSimon Bolivar Orchestra. Recently heconducted the Russian National Orches-tra, the Taipei Symphony, the Los AngelesPhilharmonic at the Hollywood Bowl,and the Sinfónica Juvenil de Caracas inVenezuela and Japan, the first non-Venezuelan conductor invited by El Sis-tema to conduct on a tour.

Highly regarded as a music historian,Mr. Botstein’s most recent book is VonBeethoven zu Berg: Das Gedächtnis derModerne (2013). He is the editor of TheMusical Quarterly and the author ofnumerous articles and books. He is cur-rently working on a sequel to Jefferson’s

LEON BOTSTEIN, Conductor

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In 1971 Foss became the director of the Brooklyn Philharmonic, where he startedthe New Wave Festival. A composer of more than 350 works, he never tired ofnew ideas.

Sadly, Foss contracted Parkinson’s disease when he was 78. He would sit at thepiano for hours and meticulously change fingering so he could still play.

Children, about the American educationsystem. Collections of his writings andother resources may be found online atLeonBotsteinMusicRoom.com. For hiscontributions to music he has receivedthe award of the American Academy ofArts and Letters and Harvard Univer-sity’s prestigious Centennial Award, aswell as the Cross of Honor, First Classfrom the government of Austria. Otherrecent awards include the Caroline P.and Charles W. Ireland Prize, the highest

award given by the University of Ala -bama; the Bruckner Society’s JulioKilenyi Medal of Honor for his inter-pretations of that composer’s music; theLeonard Bernstein Award for the Eleva-tion of Music in Society; and CarnegieFoundation’s Academic LeadershipAward. In 2011 he was inducted intothe American Philosophical Society.

Mr. Botstein is represented by Colum-bia Artists Management, LLC.

Now in its 53rd season, the AmericanSymphony Orchestra was founded in1962 by Leopold Stokowski, with amission of making orchestral music acces-sible and affordable for everyone. MusicDirector Leon Botstein expanded thatmission when he joined the ASO in 1992,creating thematic concerts that exploremusic from the perspective of the visualarts, literature, religion, and history, andreviving rarely-performed works thataudiences would otherwise never have achance to hear performed live.

The orchestra’s Vanguard Series con-sists of multiple concerts annually atCarnegie Hall. ASO also performs atthe Richard B. Fisher Center for thePerforming Arts at Bard College in Bard’s

SummerScape Festival and the BardMusic Festival. The orchestra has madeseveral tours of Asia and Europe, andhas performed in countless benefits fororganizations including the JerusalemFoundation and PBS.

Many of the world’s most accomplishedsoloists have performed with the ASO,including Yo-Yo Ma, Deborah Voigt,and Sarah Chang. The orchestra hasreleased several recordings on the Telarc,New World, Bridge, Koch, and Vanguardlabels, and many live performancesare also available for digital down-load. In many cases these are the onlyexisting recordings of some of the rareworks that have been rediscovered inASO performances.

THE AMERICAN SYMPHONY ORCHESTRA

VIOLIN IErica Kiesewetter,

ConcertmasterSuzanne GilmanYukie HandaJohn ConnellyAshley HornePatricia DavisJames TsaoAnn LabinCyrus BeroukhimEllen Payne

Mara MilkisKatherine HannauerSarah ZunEmma Sutton

VIOLIN IIRichard Rood,

PrincipalRobert ZubryckiWende NamkungHeidi StubnerYana Goichman

Alexander VselenskyLucy MorgansternPhilip PaytonLisa TiptonLisa Steinberg

VIOLAWilliam Frampton,

PrincipalDebra Shufelt-DineRachel RiggsAdria Benjamin

Louis DayArthur DibbleAriel RudiakovArdith Holmgrain

CELLOEugene Moye,

PrincipalRoberta CooperAnnabelle HoffmanSarah CarterDiane Barere

AMERICAN SYMPHONY ORCHESTRALeon Botstein, Conductor

Tatyana MargulisAnik OulianineJordan Enzinger

BASSJohn Beal, PrincipalJordan FrazierLouis BrunoRichard OstrovskyTony FlyntWilliam Sloat

FLUTELaura Conwesser,

PrincipalRie SchmidtKarla MoeDiva Goodfriend,

Piccolo

OBOEAlexandra Knoll,

PrincipalKeisuke IkumaKeve WilsonMelanie Feld,

English horn

CLARINETLaura Flax, PrincipalLiam BurkeMaureen HurdLino Gomez, Bass

clarinet

BASSOONCharles McCracken,

PrincipalJeffrey MarchandMark TimmermanGilbert Dejean,

Contrabassoon

HORNJulie Landsman,

PrincipalDavid SmithWei-Ping ChouMichelle BakerSara Cyrus, Assistant

TRUMPETRay Riccomini,

PrincipalJohn Dent

Lorraine CohenMatthew Mead

TROMBONEKenneth Finn,

PrincipalMichael SeltzerChristopher OlnessSteve Norrell

TUBAKyle Turner,

Principal

TIMPANIBenjamin Herman,

Principal

PERCUSSIONJonathan Haas,

PrincipalKory GrossmanJavier DiazCharles Descarfino

KEYBOARDElizabeth Wright,

PrincipalElizabeth DiFelice

GUITARScott Kuney

HARPSara Cutler, Principal

PERSONNELMANAGER

Ann YarbroughGuttman

ASSISTANTCONDUCTOR

Zachary Schwartzman

ORCHESTRALIBRARIAN

Marc Cerri

Dimitri B. Papadimitriou, ChairThurmond Smithgall, Vice Chair

Miriam R. BergerMichael DorfRachel KalnickiJack KligerShirley A. Mueller, Esq.

Debra R. PemsteinEileen RhulenFelicitas S. Thorne

HONORARY MEMBERSJoel I. Berson, Esq.L. Stan Stokowski

ASO BOARD OF TRUSTEES

Lynne Meloccaro, Executive DirectorOliver Inteeworn, General ManagerBrian J. Heck, Director of MarketingNicole M. de Jesús, Director of DevelopmentSebastian Danila, Library ManagerMarielle Métivier, Operations ManagerCarley Gooley, Marketing AssistantMarc Cerri, Orchestra Librarian

Ann Yarbrough Guttman, Orchestra Personnel Manager

Ben Oatmen, Production AssistantLeszek M. Wojcik, Concert Archival Recording

James Bagwell, Principal Guest ConductorZachary Schwartzman, Assistant ConductorRichard Wilson, Composer-In-ResidenceJames Bagwell, Artistic Consultant

ASO ADMINISTRATION

MAESTRO’S CIRCLE 1848 FoundationThe Achelis FoundationMichael DorfJeanne Donovan FisherThe Frank & Lydia Bergen

FoundationRachel and Shalom KalnickiThe Lanie & Ethel

FoundationNational Endowment for the

Arts (NEA)New York City Department

of Cultural Affairs (DCA)New York State Council on

the Arts (NYSCA)Open Society FoundationsDimitri B. and Rania

PapadimitriouThurmond SmithgallFelicitas S. ThorneThe Winston Foundation

STOKOWSKI CIRCLE AnonymousThe Ann & Gordon Getty

FoundationMichael and Anne Marie

KishbauchMary F. and Sam MillerThomas P. Sculco, M.D. and

Cynthia D. Sculco The Spektor Family FoundationMr. and Mrs. Richard E. Wilson

BENEFACTORSAnonymousThe Amphion FoundationCatharine Wilder GuilesMrs. James P. WarburgTappan WilderThe Wilder FamilyThe Vaughan Williams

Charitable Trust

PATRONSAnonymous (2)The Atlantic Philanthropies

Director/EmployeeDesignated Gift Program

Joel I. and Ann BersonThe David & Sylvia

Teitelbaum Fund, Inc.Karen FinkbeinerGary M. GiardinaPeter L. KennardRoss LipmanArthur S. LeonardDr. and Mrs. Peter J. LindenDr. Pamela F. Mazur and

Dr. Michael J. MillerLisa Mueller and

Gara LaMarcheJames and Andrea NelkinMark Ptashne and Lucy

GordonPatricia E. SaigoSusan StempleskiTides Foundation, on the

recommendation ofKathryn McAuliffe and Jay Kriegel

SUSTAINERSAnonymous (3)The Bialkin Family FoundationThomas and Carolyn P.

CassillyEllen Chesler and

Matthew J. MallowVeronica FrankensteinIrwin and Maya B. HoffmanIBM CorporationPatricia Kiley and

Edward FaberJack Kliger and Amy GriggsJeanne MalterWilliam McCracken and

Cynthia LeghornSusan and Graham McDonaldMarcia H. MoorJoanne and Richard MrstikShirley A. Mueller

Tatsuji NambaJames H. and Louise V. NorthAnthony RichterDavid E. Schwab II and

Ruth Schwartz SchwabJanet Zimmerman SegalPeter and Eve SourianJoseph and Jean SullivanSiri von Reis

CONTRIBUTORSAnonymous Gary ArthurDr. Miriam Roskin BergerJeffrey CaswellIsabelle A. CazeauxB. Collom and A. MenningerNicole M. de Jesús and

Brian P. WalkerElliott ForrestAnna and Jonathan HaasMax and Eliane HahnAshley HorneErica Kiesewetter Adnah G. and Grace W.

KostenbauderSteve LeventisPeter A. Q. LockerAlan MallachCharles McCracken, in

memory of Jane TaylorSally McCrackenPeter Lars Sandberg and

Nancy WhitakerMartha and David SchwartzAlan StenzlerMr. and Mrs. Jon P. Tilley Robert F. WeisWilliam C. Zifchak

SUPPORTERSAnonymous (9)American Express Gift

Matching ProgramMadelyn P. AshmanJohn and Joanne BaerBank of AmericaReina Barcan

AMERICAN SYMPHONY ORCHESTRA PATRONS

Ticket sales cover only a small percentage of the expenses for our full-size orchestral con-certs. The American Symphony Orchestra board of trustees, staff, and artists gratefullyacknowledge the following individuals, foundations, corporations, and government agen-cies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestralmusic accessible and affordable for everyone. While space permits us only to list giftsmade at the Friends level and above, we value the generosity of all donors.

This project has been made possible with the support of The Amphion Foundation.

Carol Kitzes BaronRuth BaronMary Ellin BarrettDr. Robert BasnerDavid C. Beek and

Gayle Christian Simone BeldaYvette and Maurice BendahanAdria BenjaminDaniel and Gisela BerksonStephen M. BrownMarjorie BurnsMoshe BursteinCA TechnologiesRichard C. CellerRoger ChatfieldAlice and Theodore CohnLaura ConwesserHerbert and Mary DonovanPaul EhrlichRichard FarrisLynda FergusonMartha FerryLaura FlaxJeffrey F. FriedmanChristopher H. GibbsMichael and Ilene GottsGreenwich House, Inc.Nathan GrossJohn L. HaggertyLaura HarrisEric S. HoltzPenelope HortHudson Guild, Inc. Sara HunsickerGeorge H. HutzlerJewish Communal FundJosé JiménezRonald S. KahnRobert and Susan KalishRobert and Charlotte KellyDavid KernahanIrving and Rhoda KleimanCaral G. and Robert A. KleinPeter KrollKurt Rausch LLCDr. Nancy Leonard and

Dr. Lawrence KramerLinda LopezWilliam LublinerElizabeth MateoStephen J. Mc AteerCarolyn McColleyAlan B. McDougallSally and Bruce McMillenClifford S. MillerPhyllis and Stanley MishkinJudith MonsonMartin L. and Lucy Miller

MurrayKenneth Nassau

Michael NasserKaren OlahClarence W. Olmstead, Jr.

and Kathleen F. HeenanRoger and Lorelle PhillipsDavid R. Pozorski and

Anna M. RomanskiWayne H. ReaganRoland Riopelle and

Leslie KanterBonita RochePhyllis and Leonard RosenMichael T. RyanHenry SaltzmanAlbert SargentiSari Scheer and Samuel KopelNina C. and Emil SchellerSharon SchweidelGerald and Gloria ScorseGeorgi ShimanovskyBruce Smith and Paul CastellanoGertrude SteinbergHazel C. and Bernard StraussHelen StudleyRobert SweeneyTart-Wald FoundationElisabeth F. Turnauer, M.D.Janet WhalenVictor WheelerDonald W. WhippleLarry A. WehrMichael P. A. WinnKurt WissbrunRichard J. WoodLeonard and Ellen ZablowAlfred ZollerMyra and Matthew

Zuckerbraun

FRIENDSAnonymous (4)Stephen BlumMona Yuter BrokawMrs. A. Peter BrownRufus BrowningJoan BrunskillConnie ChenLeonard ChibnickSoriya ChumConcerts MacMusicsonPatricia ContinoLois ConwayMichael and Frances CurranJudy Davis Thomas J. De StefanoSusanne DiamondRuth Dodziuk-Justitz and

Jozef DodziukBarton DominusRobert DurstLee Evans

ExxonMobil FoundationDonald W. Fowle Helen GarciaBarbara GatesJune O. GoldbergGoldman, Sachs & Co. Robert GottliebMr. and Mrs. Sidney GreenbergJohn HallDonald HargreavesAndrée HayumRobert HerbertGerald and Linda HerskowitzDiana F. HobsonChristopher HollingerCyma HorowitzDrs. Russell and

Barbara HolsteinTheresa JohnsonPeter KeilKaori KitaoPete KlostermanFrederick R. KochSeymour and Harriet KoenigMr. and Mrs. Robert LaPortePatricia LucaWalter LeviJudd LevyJosé A. LopezSarah LuhbyDr. Karen ManchesterRichard and Maryanne

MendelsohnJohn Metcalfe Mark G. MiksicAlex MitchellChristine MunsonMichael NassarJane and Charles PrussackBruce RaynorMartin RichmanCatherine RoachJohn W. RoaneDr. and Mrs. Arnold RosenLeslie SalzmanNick SaywardHarriet SchonDr. and Mrs. Herbert C.

SchulbergThe Honorable Michael D.

StallmanPaul StumpfAndre SverdloveLorne and Avron TaichmanMargot K. TalentiMadeline V. TaylorMr. and Mrs. Jack UllmanGretchen ViedermanJames Wagner and

Barry HoggardRenata and Burt Weinstein

National Endowment for the ArtsJane Chu, Chairman

New York State Council on the Arts withthe support of Governor Andrew Cuomoand the New York State Legislature

The City of New YorkThe Honorable Bill De Blasio, MayorNYC Department of Cultural Affairs in

partnership with the New York CityCouncil

Music plays a special part in the lives of many New York residents. The American SymphonyOrchestra gratefully acknowledges the support of the following government agencies thathave made a difference in the culture of New York:

Since 1962 the American Symphony Orchestra has done something incredible: Present thewidest array of orchestral works, performed at exceptional levels of artistry—and offered atthe most accessible prices in New York City. Be they rare works or beloved masterpieces, noother 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, whichmeans ASO depends even more than most other orchestras on philanthropic contributions.

That’s why we must call on you—our audiences, artists, and community partners, who can-not imagine a world without live Schubert, Strauss, Cage, or Ives.

Every dollar counts. Please donate at any level to safeguard the ASO’s distinctive program-ming now and ensure another season!

Annual FundAnnual gifts support the Orchestra’s creative concert series and educational programs. Inappreciation, you will receive exclusive benefits that enhance your concert-going experienceand bring you closer to the Orchestra.

Sustaining GiftsMake your annual gift last longer with monthly or quarterly installments. Sustaining giftsprovide the ASO with a dependable base of support and enable you to budget your giving.

Matching GiftsMore 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 giftscan double or triple the impact of your contribution while you enjoy additional benefits.

Corporate SupportHave your corporation underwrite an American Symphony Orchestra concert and enjoy themany benefits of the collaboration, including corporate visibility and brand recognition,employee discounts, and opportunities for client entertainment. We will be able to provideyou with individually tailored packages that will help you enhance your marketing efforts.For more information, please call 646.237.5022

BE A CLASSICAL HERO: SUPPORT THE ASO!

Jon WetterauAnn and Doug William

Dagmar and Wayne YaddowLawrence Yagoda

List current as of May 12, 2015

How to DonateMake your gift online: www.americansymphony.org/support

Please make checks payable to: American Symphony Orchestra

Mail to:American Symphony Orchestra263 West 38th Street, 10th FloorNew York, NY 10018

For questions or additional information: Nicole M. de Jesús, Director of Development,646.237.5022 or ndejesus@americansymphony.org.