Thursday Evening, March 1, 2018, at 8:00Isaac Stern Auditorium / Ronald O. Perelman StageConductor’s Notes Q&A with Leon Botstein at 7:00

presents

IntoleranceLEON BOTSTEIN, Conductor

LUIGI NONO Intolleranza 1960 Part I Scene 1: The Emigrant decides to return to his country Scene 2: The Woman unsuccessfully tries to hold him back and finally curses him Scene 3: The Emigrant finds himself in the midst of a demonstration and is arrested Scene 4: The Emigrant is interrogated Scene 5: The Emigrant is tortured Scene 6: The Emigrant is sent to a concentration camp Scene 7: The Emigrant escapes

Intermission

Part II Scene 1: Absurdities of contemporary life Scene 2: The Emigrant meets his new companion Scene 3: Images of violence—The Emigrant’s old lover appears as a symbol of fanaticism Scene 4: The Emigrant and his companion arrive home—Flood

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

FROM THEMusic DirectorIntoleranceby Leon Botstein

It would be hard to imagine a workmore pertinent to our times than LuigiNono’s Intolleranza 1960. It is a workof musical theater that tells the story ofan emigrant worker who encountersprejudice, injustice, incarceration, andviolence. It assumes a political contextin Europe of the threat of a return tofascism. Intolleranza 1960 suggeststhat none of us can afford to assumethat we are immune to the character ofthe public life we not only live in, butpassively and actively helped create.

Whatever one’s politics may be, there isno question that the tolerance of immi-grants, the subject of Intolleranza1960, is declining in the present day,and the distinctions we make betweenourselves and “others,” the basis ofanti-immigrant sentiment, is on the riseboth in Europe and the United States.We are also witnesses to the steady riseof illiberalism in politics, an appetitefor violence, and a populist embrace ofautocracy. We seem content with agrowing inequality of wealth and arereluctant to address the economic andsocial realities that have emerged since1960, particularly as a consequence of

An Emigrant: DANIEL WEEKS, TenorHis Companion: SERENA BENEDETTI, SopranoA Woman: HAI-TING CHINN, Mezzo-sopranoAn Algerian: MATTHEW WORTH, Baritone

A Torture Victim: CARSTEN WITTMOSER, Bass-baritoneSolo: ELIZABETH SMITH, Soprano

Policemen: GREGORY PURNHAGEN, BLAKE BURROUGHS, STEVEN MOORE, MICHAEL RILEYVoice of Alleg: MARK REHNSTROMVoice of Sartre: ALEX GUERREROSpeaker: THOMAS MCCARGAR

BARD FESTIVAL CHORALEJAMES BAGWELL, Director

This evening’s concert will run approximately 1 hour and 45 minutes including one 20-minute intermission.

American Symphony Orchestra welcomes the many organizations who participate in our CommunityAccess Program, 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.

new technologies and that overused andpoorly understood term, globalization.

What distinguishes 1960 from 2018 isthat in 1960 the central element in pol-itics was the critique of capitalism. Thatis not the case now. We no longer acceptthe idea that socialism and communismmight challenge the unrestrained embraceof the market and private property. Thecontrast between “left” and “right” in1960 still derived from World War IIand the experience of fascism in Italy,Germany, and Spain. Members of LuigiNono’s generation believed in the possi-bility, if not the necessity, of radicalpolitical change. Rightly or wrongly,they were in part inspired by countriesbehind the Iron Curtain. Stalinismseemed in retreat (despite the suppres-sion of the Hungarian Revolution in1956). In the post-world war West, twocontradictory sentiments prevailed: thebelief in Communism as a viable alter-native, and the fear of it as an ominousevil threat from Eastern Europe. Bothof these beliefs strengthened the case inthe West for the welfare state and socialdemocracy. In America, the New Dealremained until the late 1960s, a gloriousexample of how fairness and justice—the realization of Roosevelt’s four free-doms of speech and religion, and fromfear and want—might be possiblewithin the framework of democracy.

When Nono wrote Intolleranza 1960the trauma of fascism and the WorldWar had not become a faded memory.The two questions—why the catastro-phe that had come to an end in 1945had happened in the first place, andhow a repeat of that disaster could beaverted—were the central preoccupa-tions of the composers, artists, andwriters who rose to prominence in the15 years between the end of the warand 1960. As a result, it seemedimplausible to simply continue aes-thetic traditions that had flourished

before the 1930s. If the making of artstill had relevance, it needed to workagainst continuity, tradition, and com-placency. Art needed to be unsettlingand not merely affirmative of the statusquo. It needed to challenge traditionalnotions of beauty. It had to be adequateto the dangers of contemporary life andconfront the contradictions, absurdi-ties, and brutality of the historicalmoment, including the threat of nuclearwar that marked the Cold War. It is nosurprise then that 1960 was a high-water mark of 20th-century modernismin the arts. Nono’s score seeks to be res-olutely new and defiant of conventionalexpectations. It still evokes the mix ofenthusiasm and shock that accompa-nied its first performances. It celebratesthe departures from late Romanticismand Neo-classicism in sound and formpioneered by modernism.

A singular irony of Nono’s modernismis that during the Cold War, radicalinnovations in music composition werecelebrated in the West as markers of afree society. Despite Nono’s overt polit-ical intent, his manner of music-makingwas in stark contrast to the kind ofmusic supported by the Soviet state anddominant throughout Eastern Europe.That music (Shostakovich, for example)was viewed in the West as regressiveand conservative, even though it wasthought to be populist and acceptableby Communist ideology. The irony wasclear. Nono was using his freedom tomake a case with music that never quitegained a wide following, whereas in thepresumably progressive albeit autocraticsocialist state, a regressive conservativemusic was cherished by the public. Pro-gressive politics in the West was brieflytied to an innovative and radical aes-thetic. Its credibility was enhanced bythe idea that Nono’s modernism wasevidence of the power and potential ofthe freedom of the individual, to whoseprotection the West was committed.

Fifteen years after the end of WorldWar II, the wounds of Europe were farfrom being healed. Italy in particularhad barely begun to come to terms with

the legacy of fascism; the country had aprofound economic and political crisisto overcome. Luigi Nono came of ageas a composer during these turbulent

THE Programby Peter Laki

Luigi NonoBorn January 29, 1924, in VeniceDied May 8, 1990, in Venice

Intolleranza 1960Composed in 1960–61

Premiered on April 13, 1961, at Teatro della Fenice in Venice with the BBC Symphony Orchestra conducted by Bruno Maderna

Performance time: Approximately 1 hour and 45 minutes including intermission

Instruments for this performance: 3 flutes, 3 oboes, 3 clarinets, 2 bass clarinets,3 bassoons, 7 French horns, 4 trumpets, 4 trombones, timpani, percussion(glockenspiel, xylophone, vibraphone, marimba, chimes, triangle, cymbals,

tam-tam, tambourine, whip, side drum, snare drum, bass drum), 1 harp, 1 celeste, 19 violins, 6 violas, 6 cellos, 5 double basses, 5 vocal soloists, and chorus

Nono has much to say to us inIntolleranza 1960, because we live in atime when his synthesis of radical poli-tics and aesthetics is very pertinent.1989 and the end of the Cold War didnot usher in a new golden age ofdemocracy, freedom, and justice. Thechallenges we face once again suggestthat art needs to be more than a deco-rative enterprise. It must possess an eth-ical and political dimension, as well asan obligation to speak independentlyand truthfully. In 1960 Nono under-stood how to electrify and shock theconcert and opera audience; the conti-nuities with 19th-century practices hadnot been entirely broken. In 2018 thosecontinuities no longer dominate, and theentire enterprise of concert and operatic

music carries less significance. Further-more, Nono’s musical modernism is, atbest, in retreat. It retains whatever cur-rency it has mostly as a noble fragmentof the past. Nevertheless it is an intense,innovative, and passionate experimentin sonority that pervades the listener’sconsciousness. It is a reminder that forNono, art and music mattered, that lit-erature and philosophy needed to informthe making of music and help shapemusic so that it might challenge the pub-lic to address injustice and inhumanity.These beliefs need to be cherished andemulated. Intolleranza 1960 is a uniquemasterpiece that can inspire music andtheater in our own times. Its startling rele-vance today justifies Nono’s faith in theethical power of the aesthetic imagination.

times. His first mature composition, writ-ten in 1950, was a series of variations ona tone row by Arnold Schoenberg, whosedaughter, Nuria, he married five yearslater. Nono, who joined the Italian Com-munist Party in 1952, combined his rev-olutionary agenda with the avant-gardestyle of the Darmstadt school, of whichhe was a prominent member.

Intolleranza 1960 is the culminatingwork of Nono’s first artistic period.The composer called this one-act operaan azione scenica, a “stage action” inwhich the plot proceeds in briefepisodes resembling a series of snap-shots. The protagonist (The Emigrant)is an innocent miner returning homefrom a period of work abroad. He isarrested on his way, tortured, sent to aconcentration camp, and finally released,only to reach his home at the precisemoment when a new disaster—a cata-strophic flood—strikes. The stages ofthe Emigrant’s journey are marked bytwo women—one who becomes hisenemy when he leaves her behind, andanother who joins him as his new Com-panion. There are five main charactersin all, representing five voice types tocover the entire spectrum of the humanvoice: the two women (soprano andcontralto), the Emigrant (tenor), anAlgerian who joins him during hisescape (baritone), and a tortured man(bass-baritone).

Nono had originally conceived thework in collaboration with poet AngeloMaria Ripellino, who was also ascholar of Russian language and litera-ture. Ripellino composed an extensivelibretto, of which Nono ended up usingless than half, causing a major rift betweenthe two former friends. Ripellino aug-mented his original lines with quotesfrom various sources, including PaulÉluard’s famous poem Liberty, VladimirMayakovsky’s Our March (concludingPart I), and Bertolt Brecht’s To Those

Born After (concluding Part II). Thespoken excerpts describing or reflectingon torture are by Henri Alleg, a French-Algerian journalist who fought forAlgerian independence and was tor-tured by the French; Julius Fučík, aCzech journalist killed by the Nazis;and Jean-Paul Sartre, in whose seminalphilosophical oeuvre an entire era ofviolence and devastation found its mosteloquent expression. This textual col-lage broadens the work’s scope of refer-ences to include World War II; theatomic bomb; the Algerian war of inde-pendence; the reappearance of neo-fascistelements in Italy; the mining disaster inMarcinelles, Belgium, where more than300 people were killed in 1956; and the1951 flood in Polesine in the North ofItaly, where 100 people died and morethan 180,000 lost their homes.

Man-made disasters exacerbate naturalones throughout Nono’s “stage action,”which makes clear that it is only a smallstep from intolerance to torture andannihilation. The composer’s messageof protest is expressed by means ofvocal and instrumental lines spanning awide range and projecting extreme dra-matic tension. The sounds of the livemusicians are complemented by cho-ruses relating “absurd scenes from con-temporary life.” The original productionwas a real Gesamtkunstwerk involvingsets and costumes by Emilio Vedovaand stage direction by Josef Svoboda,the founder of the world-famous Laternamagica theater of Prague. The stagewas divided in up to six different areasin which simultaneous actions weretaking place.

The world premiere of Intolleranza1960 took place at the Teatro dellaFenice in Venice on April 13, 1961, aspart of the 24th International Festivalof Contemporary Music, held duringthe Venice Biennale. The performance,with Bruno Maderna conducting the

BBC Symphony Orchestra, caused ascandal. The great poet Eugenio Mon-tale, future Nobel Prize winner, was inattendance; in his review published twodays later he wrote:

The work’s reception was stormy asone could expect, given the plot andthe provocations in the music. Thetwo acts came off with great diffi-culty, among boos, shouts, alterca-tions, fascist flyers raining downfrom the galleries…

It should be remembered that in theearly 1960s the neo-fascist MovimentoSociale Italiano (Italian Social Move-ment) was the fourth-largest party inItaly, and violent clashes between rightist

and leftist forces were rather frequentin the country.

Following this premiere, Intolleranza1960 was not performed again in Italyin the original Italian for 50 years,although it had several successful stag-ings in a German translation, mostly inGermany. In 2018 intolerance is onceagain, unfortunately, a timely topic,and Nono, who fought against crueltyand injustice with his music, has muchto say to those who, in the words ofBertolt Brecht quoted in the piece, were“born after.”

Peter Laki is visiting associate professorof music at the Bard College Conserva-tory of Music.

THE Artists

Leon Botstein has been music directorand principal conductor of the Ameri-can Symphony Orchestra since 1992.He is also music director of The

Orchestra Now, an innovative trainingorchestra composed of top musiciansfrom around the world. He is co-artisticdirector of Bard SummerScape and theBard Music Festival, which take placeat the Richard B. Fisher Center for thePerforming Arts at Bard College. Hehas been president of Bard Collegesince 1975. He is also conductor laure-ate of the Jerusalem Symphony Orches-tra, where he served as music directorfrom 2003–11. This year he will assumeartistic directorship of Campus Grafeneggand Grafenegg Academy in Austria.

Mr. Botstein is also active as a guestconductor whose recent appearancesinclude the Mariinsky Orchestra in St.Petersburg, Russia, and the Los AngelesPhilharmonic. Upcoming engagements

LEON BOTSTEIN, Conductor

RIC KALLAHER

include the Danish National SymphonyOrchestra. He has made numerousrecordings with the London Symphony(including a Grammy-nominated record-ing of Popov’s First Symphony), theLondon Philharmonic, NDR-Hamburg,and the Jerusalem Symphony Orchestra.Many of his live performances with theAmerican Symphony Orchestra are avail-able online. His recording with the ASOof Paul Hindemith’s The Long ChristmasDinner was named one of the top record-ings of 2015 by several publications,and his recent recording of Gershwinpiano music with the Royal Philhar-monic was hailed by The Guardian andcalled “something special…in a crowdedfield” by Musicweb International. Forth-coming from Hyperion in fall of 2018 isa CD of music by Ferdinand Ries withThe Orchestra Now.

Mr. Botstein is the author of numerousarticles and books, including TheCompleat Brahms (Norton), Jeffer-son’s Children (Doubleday), Judentumund Modernität (Bölau), and VonBeethoven zu Berg (Zsolnay). He is alsothe editor of The Musical Quarterly.For his contributions to music he hasreceived the award of the AmericanAcademy of Arts and Letters and Har-vard University’s prestigious CentennialAward, as well as the Cross of Honor,First Class from the government ofAustria. Other recent awards includethe Bruckner Society’s Julio KilenyiMedal of Honor for his interpretationsof that composer’s music, and theLeonard Bernstein Award for the Eleva-tion of Music in Society. In 2011 he wasinducted into the American Philosophi-cal Society.

Serena Benedetti has appeared with theNew York Philharmonic, the NationalCathedral Choir, and the National,Danish Radio, Atlanta, and Eugenesymphonies, among many others. Shecollaborated with the late Dave Brubeckin his oratorio La Fiesta de la Posada,and concert highlights include Handel’sMessiah at Carnegie Hall, as well asperformances with the New York Orato-rio Society at Carnegie Hall, in repertoireranging from Vivaldi to Mendelssohn.

Ms. Benedetti has won a MarianAnderson Career Grant for EmergingClassical Artists. Highlights of heroperatic appearances include the roleof Frantik in the New York Philhar-monic’s production of Janáček’s TheCunning Little Vixen, Susanna in Lenozze di Figaro with Sarasota Opera,Musetta in La bohème with PalmBeach Opera, Fiordiligi in Così fantutte with the Utah Symphony and

Utah Opera, Marzelline in Fidelio withVirginia Opera, and many others.

Ms. Benedetti has been heard exten-sively in both recital and chamber per-formances with the Ludwig vanBeethoven Easter Festival (Warsaw,Poland), the Guggenheim Museum

SERENA BENEDETTI, Soprano

(New York), Maverick Music Festival,and the Songfest Series, as well as invenues including the WashingtonNational Cathedral, Alice Tully Hall,

Merkin Concert Hall, and Detroit Sym-phony Hall. She began singing at ayoung age as a member of the Metro-politan Opera Children’s Chorus.

Hai-Ting Chinn performs in a widerange of styles and venues, from Purcellto Pierrot Lunaire, Cherubino to TheKing & I, J.S. Bach to P.D.Q. Bach. Shewas featured in the 2011–14 revivaland tour of Phillip Glass’ Einstein onthe Beach, and she is currently singingthe role of Belle in Glass’ La Belle et LaBête at various venues around theworld. She has performed with NewYork City Opera, The Wooster Group,Opera Omnia, Orpheus Chamber

Orchestra, the Israel Philharmonic,Orchestra of St. Luke’s, and the WaverlyConsort; and on the stages of CarnegieHall, the Mann Center for the Perform-ing Arts, the Edinburgh Festival, VerbierFestival, Grimeborn Festival, and onLondon’s West End. Operatic rolesinclude Didone in Cavalli’s La Didonewith The Wooster Group, Poppea inMonteverdi’s L’Incoronazione di Poppeaand Medea in Cavalli’s Giasone withOpera Omnia, Nicklausse and the Musein Offenbach’s Les Contes D’Hoffmann,Hansel in Hansel and Gretel, Dorabellain Così fan tutte, and in Peter MaxwellDavies’ monodrama The Medium. Shehas premiered new works by ConradCummings, Yoav Gal, Renée Favand-See, Amy Beth Kirsten, Tarik O’Regan,Matthew Schickele, Stefan Weisman,and Du Yun, and she was featured inthe 2017 Resonant Bodies Festival, asinger-centered celebration of new music.In April 2016, as an artist-in-residence atHERE Arts Center, Ms. Chinn devel-oped and premiered Science Fair: AnOpera With Experiments, a stagedshow of science set to music.

HAI-TING CHINN, Mezzo-soprano

KATE M

ILFO

RD

Daniel Weeks’ varied career encompassesthe opera stage, oratorios with orches-tras, and recitals. His 2017–18 seasonincludes performances as a soloist inVerdi’s Requiem with Grand RapidsSymphony and Beethoven’s SymphonyNo. 9 with the Augusta SymphonyOrchestra. Last season Mr. Weeks per-formed Handel’s Messiah with theRochester Philharmonic. Recent seasonengagements include Belmonte in a con-cert version of Mozart’s Die Entführungaus dem Serail with the HuntsvilleSymphony Orchestra, Mahler’s DasLied von der Erde with the PrincetonUniversity Orchestra, the world pre-miere concert staging of Gregory Vajda’sopera Georgia Bottoms with theHuntsville Symphony Orchestra, Han-del’s Messiah with the Orquesta Sin-fónica Naciónal de México, concertperformances and a new recording ofMozart’s Requiem with the Winter ParkBach Festival (Florida), and Elijah withthe South Dakota Symphony. Otherhighlights include Beethoven’s Sym-phony No. 9 with the Dallas Symphonyand Orchestra of St. Luke’s, Haydn’sLord Nelson Mass with the ColumbusSymphony and Huntsville Symphony,

Verdi’s Requiem with the Orquesta Sin-fónica Naciónal de Costa Rica, andBruckner’s Te Deum and Bach’s Magni-ficat with the Houston Symphony.

Mr. Weeks serves on the faculties of theUniversity of Cincinnati and theCincinnati Conservatory of Music. Heand pianist Naomi Oliphant have col-laborated on Women of Firsts, a recitalshowcasing art songs of internationallyrecognized female composers, whichthey have recorded with a grant fromthe University of Louisville.

DANIEL WEEKS, Tenor

Carsten Wittmoser began his career atthe State Opera of Stuttgart. He becamea principal soloist of the StaatstheaterStuttgart, which led to engagementswith the Landestheater Linz, the FreiburgOpera, and the Hamburg State Opera.Mr. Wittmoser has sung with suchprestigious opera houses as Berlin StateOpera, Deutsche Oper Berlin, Komis-che Oper Berlin, State Opera Munich,Teatro Real de Madrid, Opéra deMonte-Carlo, Seattle Opera House,Michigan Opera Theater, Ópera de Bel-las Artes Mexico City, and recently at

CARSTEN WITTMOSER, Bass-baritone

the Metropolitan Opera. He has per-formed at the Bayreuth Festival, theLucerne Festival, the Gergiev Festival inRotterdam, Bard SummerScape, and inTaiwan and Singapore. Concert appear-ances include the Musikverein in

Vienna, Sala São Paulo, Herkulessaal inMunich, Brucknerhaus in Linz, the Cul-ture and Convention Center in Lucerne,and Carnegie Hall. He recently debutedat the Metropolitan Opera as Kurwenalin Tristan und Isolde.

Matthew Worth’s performances in the2017–18 season include the title role inDavid T. Little and Royce Vavrek’s JFKwith Opéra de Montréal, Bernstein’sArias and Barcarolles with the NewYork Festival of Song at Lyric Opera of

Kansas City, Laura Kaminsky and MarkCampbell’s As One with CincinnatiOpera, recitals at the University ofCincinnati and Austin Peay State Univer-sity, as well as continuing his doctoralstudies at the University of CincinnatiCollege–Conservatory of Music, wherehe will perform Bach’s Mass in B minor.Next season he will return to BostonLyric Opera in a title role. Highlights ofrecent seasons include the title role inthe world premiere of JFK with FortWorth Opera, the world premiere ofThe Manchurian Candidate with Min-nesota Opera, his European debut withWexford Festival Opera in Silent Night,and Moby Dick at Washington NationalOpera. He has performed principal rolesat Santa Fe Opera, Lyric Opera ofChicago, Castleton Festival, TanglewoodMusic Festival, Boston Lyric Opera, andOpera Theatre of Saint Louis.

MATTHEW WORTH, Baritone

KRIST

IN H

OEBERMANN

Now in its 56th season, the AmericanSymphony Orchestra was founded in1962 by Leopold Stokowski, with amission of making orchestral musicaccessible and affordable for everyone.Music Director Leon Botstein expandedthat mission when he joined the ASOin 1992, creating thematic concertsthat explore music from the perspec-tive of the visual arts, literature, reli-gion, and history, and reviving rarelyperformed works that audiences wouldotherwise never have a chance to hearperformed live.

The orchestra’s Vanguard Series consistsof multiple concerts annually at CarnegieHall and Lincoln Center. ASO has alsoperformed at the Richard B. Fisher Cen-ter for the Performing Arts at Bard Col-lege in Bard’s SummerScape Festival andthe Bard Music Festival. The orchestrahas made several tours of Asia andEurope, and has performed in countlessbenefits for organizations including theJerusalem Foundation and PBS.

Many of the world’s most accom-plished soloists have performed with

AMERICAN SYMPHONY ORCHESTRA

the ASO, including Yo-Yo Ma, DeborahVoigt, and Sarah Chang. The orches-tra has released several recordings onthe Telarc, New World, Bridge, Koch,and Vanguard labels, and many live

performances are also available for dig-ital download. In many cases these arethe only existing recordings of some ofthe rare works that have been rediscov-ered in ASO performances.

BARD FESTIVAL CHORALE

The Bard Festival Chorale was formedin 2003 as the resident choir of theBard Music Festival. It consists of thefinest ensemble singers from New YorkCity and surrounding areas. Many of

its members have distinguished careersas soloists and as performers in a vari-ety of choral groups; all possess ashared enthusiasm for the explorationof new and unfamiliar music.

James Bagwell maintains an activeinternational schedule as a conductorof choral, operatic, and orchestralmusic. He was most recently namedassociate conductor of The OrchestraNow and in 2009 was appointed prin-cipal guest conductor of the AmericanSymphony Orchestra, leading them inconcerts at both Carnegie Hall and Lin-coln Center. From 2009–15 he servedas music director of The CollegiateChorale, with whom he conducted anumber of rarely performed operas-in-concert at Carnegie Hall, includingBellini’s Beatrice di Tenda, Rossini’s Möiseet Pharaon, and Boito’s Mefistofele. Heconducted the New York premiere ofPhilip Glass’ Toltec Symphony andGolijov’s Oceana, both at CarnegieHall. His performance of Kurt Weill’sKnickerbocker Holiday at Alice TullyHall was recorded live for GaslightRecords and is the only completerecording of this musical. Since 2011he has collaborated with singer andcomposer Natalie Merchant, conduct-ing a number of major orchestrasacross the country, including the SanFrancisco and Seattle Symphonies.

Mr. Bagwell has trained choruses for anumber of major American and inter-national orchestras, including the NewYork Philharmonic; Los Angeles Phil-harmonic; San Francisco, NHK (Japan),and St. Petersburg Symphonies; and theBudapest Festival, Mostly Mozart Fes-tival, American Symphony, CincinnatiSymphony, Cincinnati Pops, and Indi-anapolis Symphony Orchestras. Since2003 he has been director of chorusesfor the Bard Music Festival, conductingand preparing choral works during thesummer festival at The Richard B.Fisher Center for the Performing Artsat Bard College.

Mr. Bagwell conducted some 25 produc-tions as music director of Light OperaOklahoma. At Bard SummerScape hehas led various theatrical works, mostnotably The Tender Land, whichreceived glowing praise from The NewYork Times, The New Yorker, andOpera News. From 2005–10 he wasmusic director of The Dessoff Choirs inNew York, who under his leadershipmade numerous appearances at CarnegieHall in addition to their regular season.

JAMES BAGWELL, Director, Bard Festival Chorale

VIOLIN I Cyrus Beroukhim,

ConcertmasterYukie HandaDiane BruceElizabeth NielsenRagga PetursdottirPatricia DavisJohn ConnellyAshley HorneMara MilkisBruno Peña

VIOLIN II Richard Rood,

PrincipalWende NamkungYana GoichmanAlexander VselenskyDorothy StrahlLucy MorgansternJames TsaoNazig TchakarianSarah Zun

VIOLAWilliam Frampton,

PrincipalSally ShumwayMartha BrodyShelley Holland-

MoritzRachel RiggsAdria Benjamin

CELLO Eugene Moye,

PrincipalRoberta CooperAnnabelle HoffmanSarah CarterDiane BarereEliana Mendoza

BASS John Beal, PrincipalJordan FrazierLouis BrunoRichard OstrovskyTony Flynt

FLUTE Laura Conwesser,

PrincipalRie SchmidtDiva Goodfriend-

Koven

OBOEAlexandra Knoll,

PrincipalMelanie FeldErin Gustafson

CLARINET Todd Palmer, PrincipalShari Hoffman,

Bass ClarinetBenjamin Baron,

Bass Clarinet

BASSOON Cynde Iverson,

PrincipalMaureen StrengeGilbert Dejean

HORN Zohar Schondorf,

PrincipalDavid SmithKyle HoytSteven ShertsPatrick MilandoIan DonaldJudy Lee, Assistant

TRUMPET Carl Albach, PrincipalJohn SheppardThomas HoytMatthew Gasiorowski

TROMBONE Richard Clark,

PrincipalDavid ReadAndrea NeumannJeffrey Caswell, Bass

Trombone

TIMPANI Benjamin Herman,

PrincipalSean Statser

PERCUSSION Jonathan Haas,

PrincipalKory GrossmanJavier DiazCharles DescarfinoDavid NybergMatthew BeaumontJoseph PassaroPablo RieppiMorris LangDavid FeinJim NegliaJames Musto

HARPVictoria Drake,

Principal

CELESTE Elizabeth Wright,

Principal

PERSONNEL MANAGER Matthew Dine

ASSISTANT CONDUCTOR Zachary Schwartzman

ORCHESTRA LIBRARIAN Marc Cerri

AMERICAN SYMPHONY ORCHESTRALeon Botstein, Conductor

SOPRANOWendy BakerMegan BrunningAmal El-ShrafiSarah GriffithsAine HakamatsukaManami HattoriChloe HolgateMelissa KelleyRachel RosalesEllen Taylor SissonElizabeth SmithChristine Sperry Elena Williamson

ALTOLuthien BrackettBrooke CollinsKatharine EmoryB. J. FredricksHelen KarloskiErin KempMary MaratheMargaret O’ConnellHeather PetrieSuzanne SchwingNancy Wertsch*Carla Wesby

TENORNathaniel AdamsJack ColverEthan FranAlex GuerreroJohn KawaChad KranakAdam MacDonaldMukund MaratheRobert MayNathan SilerMichael SteinbergerJason Weisinger

BASSDaniel Alexander Jordan BarrettBlake Burroughs James GregoryNicholas HayPaul HolmesThomas McCargarSteven MooreJose Pietri-CoimbreGregory PurnhagenMark RehnstromMichael RileyJohn Rose

*Choral Contractor

BARD FESTIVAL CHORALEJames Bagwell, Director

Lynne Meloccaro, Executive DirectorOliver Inteeworn, General ManagerBrian J. Heck, Director of MarketingNicole M. de Jesús, Director of DevelopmentSebastian Danila, Library ManagerAlice Terrett, Marketing AssociateCarissa Shockley, Operations Assistant

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

ASO ADMINISTRATION

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 acknowledgethe following individuals, foundations, corporations, and government agencies who help usto fulfill Leopold Stokowski’s avowed intention of making orchestral music accessible andaffordable for everyone. While space permits us only to list gifts made at the Friends leveland above, we value the generosity and vital support of all donors.

MAESTRO’S CIRCLE Jeanne Donovan FisherThe Frank & Lydia Bergen

FoundationNew York City Department

of Cultural Affairs (DCA)New York State Council on

the Arts (NYSCA)Open Society Foundations

STOKOWSKI CIRCLE AnonymousThe Faith Golding

Foundation, Inc. Rachel and Shalom KalnickiDimitri B. and Rania

PapadimitriouMr. and Mrs. Richard E. Wilson

BENEFACTORS AnonymousThe David & Sylvia

Teitelbaum Fund, Inc.

PATRONS Anonymous (3)The Amphion FoundationJoel I. and Ann BersonConnie S. P. ChenThe Elgar Society Karen FinkbeinerGary M. GiardinaArthur S. LeonardDr. Pamela F. Mazur and

Dr. Michael J. MillerShirley A. MuellerPatricia E. Saigo

SUSTAINERS Anonymous (4)Veronica and John FrankensteinStephen M. GrahamIBM CorporationDoug B. JonesErica Kiesewetter Patricia Kiley and Edward

FaberJeanne MalterJoanne and Richard Mrstik

James and Andrea NelkinAnthony RichterDavid E. Schwab II and Ruth

Schwartz SchwabDr. and Mrs. Thomas P. SculcoJanet Zimmerman SegalJoseph and Jean SullivanSiri von Reis

CONTRIBUTORS Anonymous (3)Gary ArthurJeffrey CaswellRoger ChatfieldElliott ForrestMax and Eliane HahnAshley HorneAdnah G. and Grace W.

KostenbauderDr. Coco LazaroffNancy Leonard and

Lawrence KramerSteve LeventisPeter A. Q. LockerStephen J. Mc Ateer

Dimitri B. Papadimitriou, ChairThurmond Smithgall, Vice Chair

Miriam R. BergerMichael DorfRachel KalnickiJack Kliger

Shirley A. Mueller, Esq.Debra R. PemsteinEileen Rhulen

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

ASO BOARD OF TRUSTEES

Christine MunsonKurt Rausch and Lorenzo

MartoneRoland Riopelle and

Leslie KanterHarriet SchonMartha and David SchwartzAlan StenzlerMichael and Judith ThoyerMr. and Mrs. Jon P. Tilley Patricia Ross Weis

SUPPORTERS Anonymous (13)American Express Gift

Matching ProgramBernard AptekarMarian D. BachJohn and Joanne BaerThe Bank of America

Charitable FoundationReina BarcanCarol Kitzes BaronRuth BaronMary Ellin BarrettDr. Robert BasnerDavid C. Beek and Gayle

Christian Simone BeldaYvette BendahanAdria BenjaminDaniel and Gisela BerksonMona Yuter BrokawStephen M. BrownMarjorie BurnsMoshe BursteinCA TechnologiesRichard C. CellerBarbara and Peter ClapmanBette Collom and Anthony

MenningerLaura ConwesserMichael and Frances CurranWilliam DiggsHerbert and Mary DonovanPaul EhrlichRichard FarrisLynda FergusonMartha FerryJeffrey F. FriedmanHelen GarciaAnn and Lawrence GilmanJune O. GoldbergDiva Goodfriend-KovenGordon GouldGreenwich House, Inc.John L. HaggertyLaura HarrisLinda HerskowitzPenelope HortHudson Guild, Inc.

Sara HunsickerGeorge H. HutzlerJewish Communal FundJosé JiménezRonald S. KahnRobert and Susan KalishDr. Roses E. KatzRobert and Charlotte KellyRobert KeohaneDavid KernahanIrving and Rhoda KleimanCaral G. and Robert A. KleinPeter KrollDr. Carol LachmanShirley LeongLinda LopezWilliam LublinerJoyce F. LuchtenbergAlan MallachElizabeth MateoCarolyn McColleyAlan B. McDougallSally and Bruce McMillenClifford S. MillerMyra MillerPhyllis and Stanley MishkinLucy M. and Martin L. MurrayKenneth NassauMichael NasserKaren OlahClarence W. Olmstead, Jr.

and Kathleen F. HeenanMather PfeiffenbergerRoger and Lorelle PhillipsDavid R. Pozorski and

Anna M. RomanskiAnita RandolfiWayne H. ReaganLeonard Rosen and Phyllis

RosenJack Rosenthal and Holly

RussellRochelle RubinsteinJoe Ruddick and Mary Lou

SchempMichael T. RyanHenry SaltzmanPeter Lars Sandberg Nina C. and Emil SchellerSharon SchweidelGerald and Gloria ScorseMargret SellGeorgi ShimanovskyBruce Smith and Paul

CastellanoGertrude SteinbergSuzanne SteinbergSusan StempleskiHazel C. and Bernard StraussRobert SweeneyMargot K. Talenti

Theodore and Alice GinottCohn Philanthropic Fund

Catherine TraykovskiSusan and Charles TribbittMr. and Mrs. Jack UllmanLarry A. WehrJanet WhalenVictor WheelerDonald W. WhippleLeonard and Ellen ZablowAlfred Zoller

FRIENDS Anonymous (4)Madelyn P. AshmanRudolph BakerStephen BlumMrs. A. Peter BrownDiane Bruce and John

SinclairJoan BrunskillStephen J. and Elena ChopekNancy L. ClipperRobert CohenConcerts MacMusicsonPatricia ContinoLois ConwayJudy Davis Thomas J. De StefanoSusanne DiamondRuth Dodziuk-Justitz and

Jozef DodziukBarton DominusJonathan F. DzikLee EvansExxonMobil FoundationAnne Stewart FitzroyDonald W. Fowle Christopher H. GibbsGoldman, Sachs & Co. Robert GottliebMichael and Ilene GottsMr. and Mrs. Sidney

GreenbergJohn HallDonald HargreavesAndrée HayumJohn HelzerRobert HerbertDiana F. HobsonChristopher HollingerDrs. Russell and Barbara

HolsteinCyma HorowitzTheresa JohnsonGinger KarrenRobin KatzPeter KeilKaori KitaoPete KlostermanFrederick R. Koch

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 inpartnership with the New York CityCouncil

Music plays a special part in the lives of many New York residents. The AmericanSymphony Orchestra gratefully acknowledges the support of the following governmentagencies that have made a difference in the culture of New York:

Seymour and Harriet KoenigMr. and Mrs. Robert LaPorteDavid LaurensonWalter LeviJudd LevyJosé A. LopezPatricia LucaSarah LuhbyNancy LuptonDr. Karen ManchesterRichard and Maryanne

MendelsohnJohn D. Metcalfe Mark G. Miksic

Alex MitchellDavid MortonMichael NassarLeonie NewmanSandra NovickJane and Charles PrussackBruce RaynorMartin RichmanCatherine RoachJohn RoaneDr. and Mrs. Arnold RosenLeslie SalzmanDr. and Mrs. Herbert C.

Schulberg

The Honorable Michael D.Stallman

Paul StumpfMadeline V. TaylorRenata and Burt WeinsteinDavid A. WilkinsonAnn and Doug WilliamKurt WissbrunDagmar and Wayne YaddowLawrence YagodaMark and Gail Zarick

List current as of February 15, 2018

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 alarmingrate. As always, we keep to our mission to maintain reasonable ticket prices, which meansASO 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 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 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.

HOW TO DONATEMake your gift online: 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.

KEEP US ON POINT! SUPPORT THE ASO