Friday Evening, October 16, 2015, at 8:00Isaac Stern Auditorium/Ronald O. Perelman StageConductor’s Notes Q&A with Leon Botstein at 7:00

presents

Mimesis: Musical RepresentationsLEON BOTSTEIN, Conductor

GUNTHER SCHULLER Seven Studies on Themes of Paul KleeAntique HarmoniesAbstract TrioLittle Blue DevilThe Twittering-machineArab VillageAn Eerie MomentPastorale

HENRI DUTILLEUX CorrespondancesGong (1)Danse CosmiqueInterludeÀ Slava et Galina...Gong (2)De Vincent à Théo

SOPHIA BURGOS, Soprano

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

FROM THEMusic DirectorMimesis: Musical Representationsby Leon Botstein

This season’s opening concert addressesa basic and persistent question that hasremained the subject of endless debateand speculation. The answer remainsunresolved and contested, a fact thatinspired Leonard Bernstein to appropri-ate the title of a work by Charles Ives,“The Unanswered Question,” for hisHarvard Norton Lectures on music. Thisconcert invites the audience to explorethe character of music through themedium of “classical” (or, as Bernsteinonce put it, “exact”) music written dur-ing the past century and a half.

The program seeks to inspire each of usto ask: How does music mean? Whatresemblances or divergences does ithave to words and images? What didcomposers intend to communicate andcan we know that from hearing themusic? Do we perceive or attribute sig-nificance in music differently from previ-ous generations? Is listening, like seeing,a human experience that changes overtime, rendering listening as an historicalphenomenon? Has something changedover the past century in our perceptionof the musical experience?

The oldest piece in this concert, and itsclosing work, was written at the end of

NICO MUHLY Seeing is BelievingTRACY SILVERMAN, Electric Violin

RICHARD STRAUSS Also sprach Zarathustra, Op. 30Einleitung, oder Sonnenaufgang (Introduction,or Sunrise)Von den Hinterweltlern (Of Those in Backwaters)Von der großen Sehnsucht (Of the Great Longing)Von den Freuden und Leidenschaften (Of Joysand Passions)Das Grablied (The Song of the Grave)Von der Wissenschaft (Of Science and Learning)Der Genesende (The Convalescent)Das Tanzlied (The Dance Song)Nachtwandlerlied (Song of the Night Wanderer)(No pause between sections)

This evening’s concert will run approximately two hours and 11 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 fiveboroughs. For information on how you can support this program, please call (212) 868-9276.

the 19th century. It is the best knownand perhaps the most candidly philo-sophical work of the four on tonight’sprogram. Richard Strauss was influ-enced, as were many in his generation,by Nietzsche’s startling poetic master-piece, the epic Also sprach Zarathustra(Thus Spoke Zarathustra). Strauss readliterature and philosophy closely. Hisencounter with Nietzsche informed,among other things, his lifelong athe-ism and his skeptical attitude to an ide-alistic view of music as a medium ofmetaphysical truth. Despite his deepadmiration for how Wagner wrote music,he remained skeptical about Wagner’sextravagant claims on behalf of musicwith regard to philosophy and politics.

As the famous opening of Nietzsche’spoem (and Strauss’ tone poem) makeplain, Nietzsche’s ambition is to forceus to fundamentally invert our inher-ited scale of values. It is not a meta-physical God or the Sun whom we shouldworship and feel beholden to. Rather itis the Sun who should be grateful to thehuman individual, for only humans cre-ate value and meaning. If it were not forsomeone to shine on, the Sun wouldhave neither purpose nor meaning. It isnot God (our invention), the heavens,or our soul that is of greatest value, butthe body, the physical, the time bound,mortal character of real human exis-tence on earth that is our greatest giftand merits celebration. It is we, afterall, who have invented the idea of thesoul. Our very mortality and earth-boundworld permit us to love, sense beauty,and think. The glorious, triumphant,and sensual opening (made famous byKubrick’s film 2001: A Space Odyssey)of Strauss’ tone poem is not a musicaldepiction of the sun rising, but is ratherthe bold expression of an individualimagination that helps vest what we seewith a grandeur that is not inherent inwhat is out there, but exists only in theact of lending experience meaning.

What Strauss drew from Nietzsche isthe conviction that the making of art,and music in particular, was the highestand most fully human expression ofgreatness and the most powerfulmedium by which to define, represent,and conjure human reality and experi-ence. As Strauss traverses Nietzsche’spoem, he displays his unrivaled com-mand of musical thought and sonorityto evoke the language, events, and ideasof the text, and to match the poetrywith a musical interpretation as mov-ing, beautiful, and dramatic as the liter-ary text itself.

Next in chronological sequence is the lateGunther Schuller’s best known orchestralwork, the Seven Studies on Themes ofPaul Klee. Written in the late 1950s, ahalf-century after Strauss, Schuller’sconcerns were more formalist in nature.Schuller, an eclectic and astonishinglyversatile modernist composer, exploredthe formal parallels between music andthe visual arts. By the mid-20th century,modernist painting rejected the illu-sions of visual realism, in which artgave the viewer the sense of seeing some“objective” external reality or seeinghow the painter saw external realitysubjectively. Consider a portrait, a land-scape, or a genre scene. The most aggres-sive retreat from any such connectionbetween representation and the clearlyartificial frame of a painting was abstrac-tion and non-objective art, both of whichsought to celebrate the self-referential for-mal elements of the visual as autonomousand divorced even from an impression-ist or expressionist subjective responseto the external world. In Klee, Schullerfound a painter who sought to do some-thing similar to what modernist com-posers in the 20th century hoped toachieve: a distancing from any overtinherited connection between musicalrhetoric—the shape of melodies and theuse of rhythm and harmony—and ordi-nary meaning. Music ought not illustrate

or represent reality in any manner rem-iniscent of realist painting. Music hadto become free of overt mimesis andcreate new meaning within the frame-work of its own elements and practices,using sound, silence, and time. Klee,who was also a fine musician and adevoted listener, found inspiration forhis visual creations in music, andSchuller, in turn, took inspiration fromKlee’s unabashedly “musical” approachto painting.

Henri Dutilleux, one of the great com-posers of the late 20th century, in hissong cycle Correspondances explores,as Byron Adams points out, not onlythe link between language and music,but between the visual and music.Using the tradition of speculation aboutart centered in Baudelaire, Dutillieuxalso references letter writing. Dutillieuxuses music to augment and divert fromlinguistic meaning and seeks to workout from language. The letter, as amedium, is the most direct form ofcommunication; it is private writingbetween two people. Dutillieux exploreshow composed, written music can cre-ate sensibilities and meanings beyondthe range of words. In letters there is awriter and a recipient: two subjectivevoices. In music, a unifying temporalframe is created. The writer and readermeet simultaneously, and share in atransformative reading that extends theboundaries of the text. Music neitherrepresents nor interprets the text. Yet itreveals a nascent presence of somethingin words that without music nevercomes into being. The descriptive lan-guage about the visual experience onlydeepens the link between music andwords. The irony in the title becomesevident. When we write, do we actually

correspond, and match our understand-ings? Does the reading of a recipientmatch the intentions of the writer? Ifthat is clearly a complex and open ques-tion, might one also ask whether thereare correspondences between musicand words?

Last but not least, this first ASO concertof the season presents a contemporarywork by a celebrated young Americancomposer, Nico Muhly, whose longassociation with the American Sym-phony Orchestra dates from well beforehe came into the limelight. Muhly’smusic explores not only the nature ofmusic, but also its potential connec-tions to reality, to the contemporarysocial fabric, and the cultural conceitsand expectations of audiences. Whatare the unique possibilities facing newmusic today? What functions can beascribed to contemporary music writtenwithin the classical tradition in the con-text of the rich varieties of music thatflourish today?

Music is not strictly mimetic in the lit-erary sense, particularly as most famouslyelaborated by Erich Auerbach’s classicbook Mimesis. But it is clearly in somesense mimetic of the human experience,of memory, joy and suffering, tied toconcrete realities that disappear, fade,and dissolve. Music does so in a man-ner that neither falsifies nor hides themore familiar physical and historicaldimensions of the external world.Music’s temporal nature, its capacity tobe remade, reheard, and recreated, itsdistance from but affinity to the lin-guistic and the visual, may ironicallymake it the most profoundly mimetic,with respect to the human experience,of all the arts.

THE Programby Byron Adams and Nico Muhly

Gunther SchullerBorn November 22, 1925, in Jackson Heights, New York

Died June 21, 2015, in Boston

Seven Studies on Themes of Paul KleeComposed in 1959

Premiered on November 27, 1959, at the Northrop Memorial Auditorium inMinneapolis by the Minneapolis Symphony Orchestra conducted by Antal Dorati

Performance Time: Approximately 21 minutes

Instruments for this performance: 3 flutes, 3 piccolos, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 4 French horns,

3 trumpets, 3 trombones, 1 tuba, timpani, percussion (vibraphone, glockenspiel,snare drum, bass drum, wood block, guiro, claves, triangle, hi-hat, suspendedcymbal), 1 piano, 1 harp, 32 violins, 12 violas, 12 cellos, and 8 double-basses

Gunther Schuller was a brilliant poly-math: a virtuoso horn player, a visionaryadministrator, a celebrated conductor,an author, an influential teacher, and agifted, self-taught composer. His careerbegan as a choirboy at St. ThomasChurch Choir School in New York,where he also began lessons on theFrench horn. By 1943 he was appointedprincipal horn of the Cincinnati Sym-phony Orchestra—at the age of 18. Hethen joined the horn section of the Met-ropolitan Opera Orchestra, where heremained until 1959. Schuller taughtcomposition at the Manhattan Schooland at Yale University before joiningthe New England Conservatory; he waspresident of that institution from 1967to 1977. He taught composition at theBerkshire Music Center from 1963 to1984. Much honored for his music aswell as for his championship of Americancomposers, Schuller earned a Grammyin 1974 for a recording of Scott Joplin’smusic. He received a McArthur Foun-dation “Genius” Award in 1991 and hewas awarded the Pulitzer Prize forMusic in 1994.

An unusually intellectual composer,Schuller made a connection betweenthe expressionism of Schoenberg andthe bebop style of jazz developed dur-ing the 1950s by Thelonius Monk,Dizzy Gillespie, and John Coltrane.Never a snob, Schuller sought to com-bine progressive classical music andmodern jazz into a “third stream.” Inaddition to jazz, Schuller was power-fully inspired by visual art. Several ofhis scores, such as the coruscatingSeven Studies on Themes of Paul Klee,are musical analogues of sculpture orpaintings. Schuller wrote that in SevenStudies on Themes of Paul Klee hesought a “retranslation into musicalterms of the ‘musical’ elements in cer-tain Klee pictures…. Each of the sevenpieces bears a slightly different relation-ship to the original Klee picture fromwhich it stems.” Seven Studies onThemes of Paul Klee includes one ofSchuller’s chief preoccupations: themovement entitled Little Blue Devil isan engaging example of the composer’s“third stream” practice, a witty evoca-tion of Klee’s sinister and gleeful image.

A noble man who participated in theFrench Resistance during the SecondWorld War, Henri Dutilleux was, withMessiaen, one of the two true heirs tothe grand tradition established by hispredecessors Fauré, Ravel, Dukas, andDebussy. But these composers in turninherited the aesthetic principals be -queathed to them by the incandescentpoet Charles Baudelaire. Both Fauréand Debussy set poetry by Baudelaire,and Ravel cultivated the idea of theBaudelairean dandy in both his life andart. Like Ravel, Dutilleux was a fastidi-ous composer who refused to court easypopularity. Dutilleux composed slowlyand meticulously: he was undisturbed ifa score took 20 years to complete. Inother words, he valued perfection overfacility, elegance over prolificacy, andthe lapidary over the ephemeral.

So it comes as no surprise to learn thatDutilleux’s ravishing song cycle Corre-spondances was commissioned by theBerliner Philharmoniker in 1983 and pre-miered in its final form on September 5,2003—20 years later. Dedicated toDawn Upshaw and Sir Simon Rattle,Correspondances is a Baudelairean scorefilled with subtle connections between

music, literature, and painting. As thecomposer noted, “The work’s generaltitle, Correspondances, beyond the dif-ferent meanings that could be given tothis word, refers to Baudelaire’s famouspoem, ‘Correspondances,’ and to thesynaesthesias he himself evoked.” Theopening lines of Baudelaire’s poem maywell provide a clue to Dutilleux’smusic: “Nature is a temple where livingpillars / Let escape sometimes confusedwords.”

As Baudelaire’s aesthetic of synaesthe-sia, the blending of sensory stimuli andresponses, included the visual as well asthe auditory, Dutilleux likewise fol-lowed Baudelaire’s example by evokingpainting through setting a text drawnfrom a letter written by Vincent VanGogh to his devoted brother Théo: “Igo outside in the night to paint thestars…to feel the stars and the clearinfinite shining heavens above.” Indeed,during this movement, Dutilleux, him-self the grandson of a distinguishedpainter, quotes from his orchestral scoreTimbres, espace, mouvement ou La Nuitetoilée (1978), a work that was inspiredby Van Gogh’s magnificent paintingStarry Night.

Henri DutilleuxBorn January 22, 1916, in Angers, France

Died May 22, 2013, in Paris

CorrespondancesComposed in 2003

Premiered September 5, 2003, at the Philharmonie in Berlin by the Berliner Philharmoniker, which commissioned the piece in 1983, conducted by Simon

Rattle with soprano Dawn UpshawPerformance Time: Approximately 23 minutes

Instruments for this performance: 2 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 3 French horns, 3 trumpets, 3 trombones,1 tuba, timpani, percussion (suspended cymbal, tam-tam, 3 bongos, 3 tom-toms,snare drum, bass drum, marimba), 1 celeste, 1 harp, 1 accordion, 32 violins,

12 violas, 12 cellos, 8 double-basses, and solo soprano

Nico MuhlyBorn August 26, 1981, in Vermont

Seeing is BelievingComposed in 2007

Original version premiered on January 7, 2008, at the Royal Academy of Musicin London by the Aurora Orchestra conducted by Nicholas Collon with violinist

Thomas GouldFull orchestra version premiered on January 23, 2015, at the Destiny WorshipCenter in Miramar Beach, Florida, by the Sinfonia Gulf Coast conducted by

Demetrius Fuller with violinist Tracy SilvermanPerformance Time: Approximately 25 minutes

Instruments for this performance: 2 flutes, 2 oboes, 1 English horn, 2 clarinets, 1 bass clarinet, 2 bassoons, 1 contrabassoon, 2 French horns, 2 trumpets,

1 trombone, 1 bass trombone, 1 tuba, percussion (vibraphone, claves, bass drum,marimba, wood block, metal pipe), 1 piano, strings, and solo six-string electric violin

Seeing is Believing references the excit-ing and superstitious practice of observ-ing and mapping the sky; while writingit, I wanted to mimic the process bywhich, through observation, a series ofpoints becomes a line—this seemed likethe most appropriate way to think abouta soloist versus an orchestra. The electricviolin is such a specifically evocativeinstrument and has always reminded meof the 1980s, and I tried, at times, to ref-erence the music attendant to ’80s edu-cational videos about science, whichalways sounded vast and mechanical—and sometimes, quite romantic.

The music begins and ends with the vio-lin creating its own stellar landscapethrough a looping pedal, out of whichinstruments begin to articulate anunchanging series of 11 chords whichgoverns the harmonic language of the

piece. Three minutes in, the woodwindsbegin twittering in what seems to be ran-dom, insect-like formations. Eventually,the piano and solo violin “map” theminto the celestially pure key of C major;rapturous pulses ensue. A slightly morestylized and polite version of the insectmusic appears, and the violin sings longlines above it. After a brief return to thefirst music, slow, nervous music alter-nates with fast, nervous music. The fastmusic takes over, pitches are scatteredaround, the violin calls everybody backto order with 40 repeated notes; rap-turous pulses again ensue. The pieceends as it began, with looped educa-tional music depicting the night sky.

Nico Muhly is a composer of chambermusic, orchestral music, sacred music,opera, ballet, and music for collabora-tors across a variety of fields.

Richard StraussBorn June 11, 1864, in Munich

Died September 8, 1949, in Garmisch-Partenkirchen, Germany

Also sprach Zarathustra, Op. 30Composed in 1896

Premiered on November 27, 1896, in Frankfurt conducted by StraussPerformance Time: Approximately 34 minutes

Instruments for this performance: 3 flutes, 2 piccolos, 3 oboes, 1 English horn, 2 clarinets, 1 B-flat clarinet, 1 bass clarinet, 3 bassoons, 1 contrabassoon, 6 Frenchhorns, 4 trumpets, 3 trombones, 2 tubas, timpani, percussion (glockenspiel, triangle,cymbals, bass drum, suspended cymbal, chimes), 1 organ, 2 harps, 32 violins,

12 violas, 12 cellos, and 8 double-basses

It is difficult to overestimate the darkglamour that the life and work of theGerman philosopher Friedrich Nietzschehad for his contemporaries during thefin de siècle. André Gide traced hisintellectual heritage to both Nietzscheand Wilde, and H.L. Mencken wrotethe first book in English on Nietzsche.The works of such disparate authors asJack London, Eugene O’Neill, andD.H. Lawrence rest on a foundation ofNietzsche’s philosophy. Indeed, in hisgreat novel, Doktor Faustus, ThomasMann based aspects of the unhappyfate of his protagonist, the composerAdrian Leverkühn, upon Nietzsche’sown: Mann’s hero dies of syphilis, thesame disease from which the philoso-pher perished.

Mann’s expropriation of Nietzsche’s biog-raphy demonstrated his canny awarenessof the connections between the philoso-pher’s career and German musical life ofthe early 20th century. Like Schopenhauer,Nietzsche was fascinated with music.Nietzsche had attempted to composemusic, with varying success, and wasfirst a worshipful friend—and later abitter foe—of Richard Wagner. (In thediaries kept by Cosima Wagner, it isclear that her husband treated the young

professor neither better nor worse thanhe might have treated an overenthusias-tic St. Bernard.) Gustav Mahler set a textdrawn from Nietzsche’s philosophical Bil-dungsroman, Also sprach Zarathustra, inhis Third Symphony (1896), whileFrederick Delius based his great choralfresco, A Mass of Life (which the ASOwill be performing at Carnegie Hall inApril 2016), on extended excerpts fromthe same volume.

The most famous musical work inspiredby Nietzsche is unquestionably the tonepoem Also sprach Zarathustra. (It isworth noting that Nietzsche was stillalive, although in the throes of dementia,when Strauss composed his tone poem.)Strauss carefully described his score as“freely after Nietzsche”; he had earlierread attentively the philosopher’s writ-ings. What Strauss sought to find weremusical analogies to Nietzsche’s abstractideas and exalted prose. In 1895 Strausswrote to Friedrich von Hausegger, “Whilereading Schopenhauer or Nietzsche orsome history book, I will get an uncon-trollable urge to go to the piano…. Theintellect alone is engaged.”

Byron Adams is professor of musicologyat the University of California, Riverside.

CorrespondancesHENRI DUTILLEUX

I. Gong (1)Poem by Rainer Maria Rilke

Timbrequi n’est plus par l’ouïe measurable.Comme si le son qui nous surpasse de

toutes partsEtait l’espace qui mûrit.

No longer for ears…: soundwhich, like a deeper ear,hears us, who only seem

to be hearing. Reversal of spaces.

Texts ANDTranslations

From: Ahead of All Parting: The Selected Poetry and Prose of Rainer Maria Rilke by StephenMitchell. Copyright © 1995 Modern Library, New York

II. Danse Cosmique (The Cosmic Dance)Poem by Prithwindra Mukherjee

Des flammes, des flammes quienvahissent le ciel,

Qui es-tu, ô danseur, dans l’oubli dumonde?

Tes pas et tes gestes font dénouer tes tresses,

Tremblent les planètes et la terre sous tespieds.

Des flammes, des flammes quienvahissent la terre,

Des flammes de déluge pénétrant tous lescœurs,

Effleurant les ondes de l’océan des nuits,Des foudres se font entendre au rythme

des éclairs.

Des flammes, des flammes dans les gouffressouterrains,

Des bourgeons de tournesol ouvrentleurs pétales,

Des squelettes du passé dans la caressedu feu

Engendrent les âmes d’une création nouvelle.

Des flammes, des flammes dans le coeurde l’homme,

Qui es-tu, ô barde céleste, qui chantesl’avenir?

Flames, o Flames that invade the sky,

Who are you, o Dancer in oblivion ofthe world?

Your steps and your gestures undo yourlocks,

The earth and the planets all trembleunder your feet.

Flames, o Flames that invade the earth,

Flames like a deluge rush inside hearts,

Teasing the waves of a nocturnal oceanThunders peal in a lightning rhythm.

Flames, o Flames inside abysmal caverns

Where buds of sun-flower keep onblooming,

Skeletons of the past, caressed by fire

Start souls invoking a new creation.

Flames, o Flames inside the heart ofMan:

Who are you, heavenly Bard, voicingTomorrow?

Copyright © La danse cosmique, trilingual edition of selected poemsLe Décaèdre/ Findakly, 2003, 63p; English translation by the author

III. À Slava et Galina... (Dear Galochkaand Slava!)Letter by Aleksandr Solzhenitsyn

A l’approche du dixième anniversaire demon exil, des scènes des années terribleset accablantes reprennent vie devant mesyeux. Alia et moi avons repensé à cesmoments: sans votre protection et votresoutien, jamais je n’aurais pu supporterces années-là. J’aurais fait naufrage, carma vigueur était déjà près de s’éteindre.Je n’avais pas de toit pour m’abriter: àRiazan, on m’aurait étouffé. Et vous,vous avez protégé ma solitude avec untact tel que vous ne m’avez même pasparlé des contraintes et du harcèlementauxquels vous étiez soumis. Vous avezcréé une atmosphère que je n’aurais pasimaginée possible. Sans elle, j’auraisprobablement explosé, incapable de tenirjusqu’en 1974.

Se rappeler tout cela avec gratitude,c’est bien peu dire. Vous l’avez payébien cruellement, surtout Galina qui aperdu à jamais son théâtre. Toute magratitude ne suffira jamais à compenserde telles pertes. Tout au plus peut-onretirer une certaine force de la convictionqu’en ce siècle, nous autres Russessommes tous voués au même et terribledestin et d’espérer que le Seigneur nenous punira pas jusqu’au bout.

Merci, mes chers amis. Bien à vous pour toujours.

As the tenth anniversary of my exileapproaches, scenes of the terrible, tryingyears preceding it come alive. Alya and Ihave been thinking back: without yourprotection and support, I simply wouldnot have survived those years. I wouldhave foundered—my strength wasalready coming to an end. I simply hadnowhere to live; in Ryazan they wouldhave smothered me…. And you tendedmy solitude with tact, you didn’t eventell me of the growing constraints andharassment you were subjected to. Youcreated an atmosphere I never dreamedpossible…. Without it, I most likelywould have burst, and wouldn’t haveheld out until 1974.

To recall all that with gratitude is to saylittle. You paid a cruel price for it, espe-cially Galya, who lost her theatre forever.No gratitude of mine can compensate forsuch losses. One can only derive strengthfrom the knowledge that in our time weRussians are fated to a common doom,and one can only hope that the Lord willnot punish us to the end.

Thank you, my dear friends…. Yoursalways….

From: Galina. A Russian Story, Copyright © 1984 Galina Vishnevskaya and Harcourt, Inc. forthe English translation by Guy Daniels. All Rights Reserved.

IV. Gong (2)Poem by Rainer Maria Rilke

Bourdonnement épars, silence perverti,Tout ce qui fut autour, en mille bruits se

change,Nous quitte et revient: rapprochement

étrangeDe la marée de l’infini.

A scattered humming, perverted silence,all that was around changes to a thousandnoises,

leaves us and returns: the strange harmony

of infinity’s tide.

English language translation copyright © 1986 by A. Poulin, Jr.Reprinted from The Complete French Poems of Rainer Maria Rilke with permission of GraywolfPress, Saint Paul, Minnesota

V. De Vincent à Théo (From Vincent toTheo)Letter by Vincent van Gogh

…Tant que durera l’automne, je n’auraispas assez de mains, de toile et de couleurspour peindre ce que je vois de beau.…J’ai un besoin terrible de religion.Alors, je vais la nuit, dehors, pour peindreles étoiles. Sentir les étoiles et l’infini,alors, la vie est tout de même presqueenchantée.

…Tout et partout, la coupole du ciel estd’un bleu admirable, le soleil a un rayonnement de soufre pâle et c’est douxet charmant comme la combinaison desbleus célestes et des jaunes dans les Vermeer de Delft. Malheureusement àcôté de soleil du Bon Dieu il y a, troisquarts du temps, le Diable Mistral.

…Dans mon tableau “café de nuit”, j’aicherché à exprimer que le café est unendroit où l’on peut se ruiner, devenirfou, commettre des crimes. Enfin, j’aicherché par des contrastes de rose tendreet de rouge sang et lie de vin, avec lesvertsjaunes et les verts-bleus durs, toutcela dans une atmosphère de fournaiseinfernale, j’ai cherché à exprimer, dansune atmosphère de fournaise infernale,j’ai cherché à exprimer comme la puissancedes ténèbres d’un assommoir.

…As long as autumn lasts, I shall nothave hands, canvas and colours enoughto paint the beautiful things I see.…It does not prevent me from having aterrible need of [shall I say the word– of]religion—then I go outside in the nightto paint the stars…. And all the same tofeel the stars and the infinite high andclear above you. Then life is almostenchanted after all.

…Everywhere and all over the vault ofheaven is a marvelous blue, and the sunsheds a radiance of pale sulphur, and it issoft and as lovely as the combination ofheavenly blues and yellows in a Van derMeer of Delft…. Unfortunately, alongwith the Good God sun three quarters ofthe time there is the devil mistral.

…In my picture of the “Night Café” Ihave tried to express the idea that thecafé is a place where one can ruin oneself,go mad or commit a crime. So I havetried to express, as it were, the powers ofdarkness in a low public house, by contrasting soft pink with blood-red andwine-red…with yellow-greens and harshblue-greens, and all this in an atmospherelike a devil’s furnace, of pale sulphur.

Copyright © 2001 R.G. Harrison, for the English translation

THE Artists

Leon Botstein is now in his 24th year asmusic director and principal conductorof the American Symphony Orchestra.This season he also begins his tenure asthe music director of The OrchestraNow, an innovative training orchestracomposed of top musicians fromaround the world. Mr. Botstein hasbeen hailed for his visionary zeal, oftencreating concert programs that giveaudiences a once-in-a-lifetime chanceto hear live performances of works thatare ignored in the standard repertory,and inviting music lovers to listen intheir own way to create a personalexperience. At the same time, he bringshis distinctive style to core repertoryworks. He is also artistic director ofBard SummerScape and the Bard MusicFestival, which take place at theRichard B. Fisher Center for the Per-forming Arts at Bard College, where hehas been president since 1975. In addi-tion, he is conductor laureate of theJerusalem Symphony Orchestra, wherehe served as music director from2003–11.

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,and the Jerusalem Symphony Orches-tra. Many of his live performances withthe American 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 in Caracas.He recently conducted the RussianNational Orchestra, the Taipei Sym-phony, the Los Angeles Philharmonic,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 Gedächtnisder Moderne (2013). He is the editor ofThe Musical Quarterly and the authorof numerous articles and books. He iscurrently working on a sequel to Jeffer-son’s Children, about the American edu-cation system. Collections of his writingsand other resources may be found onlineat LeonBotsteinMusicRoom.com. Forhis contributions to music he hasreceived the award of the AmericanAcademy of Arts and Letters and Har-vard University’s prestigious Centen-nial Award, as well as the Cross ofHonor, First Class from the govern-ment of Austria. Other recent awards

LEON BOTSTEIN, Conductor

RIC KALLAHER

include the Caroline P. and Charles W.Ireland Prize, the highest award givenby the University of Alabama; theBruckner Society’s Julio Kilenyi Medalof Honor for his interpretations of thatcomposer’s music; the Leonard BernsteinAward for the Elevation of Music inSociety; and Carnegie Foundation’s

Academic Leadership Award. In 2011he was inducted into the AmericanPhilosophical Society.

Mr. Botstein is represented worldwideby Susanna Stefani Caetani and in theUnited States by Columbia ArtistsManagement Inc.

Chicago-born soprano Sophia Burgoswas influenced early on by the music ofher Puerto Rican culture. During the sum-mer of 2015 she participated as a vocalfellow at the Tanglewood Music Center.There, she had the privilege of premieringtwo songs by André Previn, performing ascene from Osvaldo Golijov’s Ainadamar,and performing George Crumb’s AncientVoices of Children. Following Tangle-wood, she continued her collaborationwith Golijov in presenting freshly com-posed excerpts of his most-recentopera, Iphigenia in Aulis, for the Met-ropolitan Opera. During the summer of2014 she was invited to the LucerneFestival Academy as a soloist in LucianoBerio’s Coro and was selected for mas-ter classes and private instruction withBarbara Hannigan, performing as soloistin Schoenberg’s String Quartet No. 2and Matthias Pintscher’s Twilight Song.She also performed the title role ofHandel’s rarely-performed oratorioEsther, with the Bard College BaroqueEnsemble conducted by James Bagwell.

An advocate of contemporary music,Ms. Burgos is an active soloist with the

[Switch~ Ensemble] and has performedwith various contemporary music ensem-bles including the Eastman MusicaNova Ensemble and as soloist for theRitsos Project in Athens, Greece.

Ms. Burgos received her bachelor’sdegree in vocal performance from theEastman School of Music, where shestudied with Jan Opalach. She is cur-rently completing her master’s studiesat the Bard College Conservatory ofMusic studying with Edith Bers, KayoIwama, and Dawn Upshaw.

SOPHIA BURGOS, Soprano

Nico Muhly is a composer of chambermusic, orchestral music, sacred music,opera, ballet, and music for collabora-tors across a variety of fields. He hasbeen commissioned by St. Paul’s Cathe-dral and Carnegie Hall, and has writtenchoral music for The Tallis Scholarsand The Hilliard Ensemble, songs forAnne Sofie von Otter and Iestyn Davies,

an encore for violinist Hilary Hahn,and a viola concerto for Nadia Sirota.The Metropolitan Opera recently com-missioned him to compose Marnie forits 2019–20 season, based on WinstonGraham’s 1961 novel that was adaptedinto an Alfred Hitchcock movie.

Mr. Muhly has scored ballets for chore-ographer Benjamin Millepied, includ-ing the most recent work for ParisOpera Ballet, and films including TheReader, Kill Your Darlings, and Meand Earl and the Dying Girl, in addi-tion to arranging music by Antony &the Johnsons and the National. Hisdebut CD, Speak Volumes (2007), wasthe first of many collaborations withthe artists of Reykjavik’s BedroomCommunity label, and with singer-songwriter Thomas Bartlett (Dove-man), he is half of the gamelan-inspiredsong project Peter Pears. He lives inNew York City.

NICO MUHLY, Composer, Seeing is BelievingMATTHEW MURPHY

Tracy Silverman is the world’s foremostconcert six-string electric violinist, andwas named one of 100 distinguishedalumni by The Juilliard School. For-merly first violinist with the Turtle

Island String Quartet, he has con-tributed significantly to the repertoireand development of what he calls “21stcentury violin playing.” His work hasinspired several major concertos com-posed specifically for him, includingPulitzer winner John Adams’ TheDharma At Big Sur, premiered with theLos Angeles Philharmonic at the galaopening of Walt Disney Concert Hall in2003 and recorded with the BBC Sym-phony on Nonesuch Records. Legendary“Father of Minimalism” Terry Riley’selectric violin concerto, The PalmianChord Ryddle, was premiered by Mr.Silverman with the Nashville Sym-phony at Carnegie Hall in 2012 andrecorded by Naxos Records, and KenjiBunch’s concerto Embrace was co-commissioned by nine orchestras and

TRACY SILVERMAN, Electric Violin

MARTIN CHERRY

Now in its 54th 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 I Erica Kiesewetter,

ConcertmasterBrian KrinkeRagga PetursdottirElizabeth NielsenAshley HorneMara MilkisNazig TchakarianPhilip PaytonEmma SuttonLisa MatricardiWendy CaseBrian FoxEmily BruskinSebu SirinianMioi TakedaKate Light

VIOLIN II Richard Rood,

PrincipalSophia KessingerYana GoichmanHeidi StubnerLucy MorgansternAlexander VselenskyNaho ParriniKathryn AldousShinwon KimLisa SteinbergLisa TiptonLaura BaldRoy LewisWei TanLaura SmithSharon Gunderson

VIOLA William Frampton,

PrincipalSally ShumwayMartha BrodyShelley Holland-Moritz

Rachel RiggsCrystal GarnerAdria BenjaminLouis DayGillian GallagherAriel RudiakovAdrienne Sommerville David Fallo

CELLO Eugene Moye,

PrincipalRobert BurkhartTatyana Margulis

Anik OulianineIgor ScedrovKate SpingarnChristine KimJoseph KimuraJordan EnzingerMiho ZaitsuAlexandra JonesClara Kennedy

BASS Jordan Frazier,

PrincipalJack WengerLouis BrunoRichard OstrovskyTony FlyntWilliam SloatWilliam EllisonRichard Messbauer

AMERICAN SYMPHONY ORCHESTRALeon Botstein, Conductor

premiered by Mr. Silverman in 2014.His 2014 recording for Delos/NaxosRecords, Between the Kiss and the

Chaos, features the Calder Quartet col-laborating on Mr. Silverman’s secondelectric violin concerto of the same title.

FLUTE Karla Moe, PrincipalKatherine FinkDiva Goodfriend-Koven, Piccolo

Fania Wyrick-Flax

OBOEAlexandra Knoll,

PrincipalErin GustafsonLaura Covey, English

HornSetsuko Otake

CLARINET Laura Flax, PrincipalBenjamin BaronShari Hoffman, Eb

ClarinetDavid Gould, Bass

Clarinet

BASSOON Charles McCracken,

PrincipalMaureen StrengeGilbert Dejean,

ContrabassoonGili Sharett

HORN Zohar Schondorf,

PrincipalDavid SmithLawrence DiBelloKyle HoytChad YarbroughTheodore PrimisShelagh Abate,

Assistant

TRUMPET Carl Albach, PrincipalJohn DentMatthew MeadDominic Derasse

TROMBONE Richard Clark,

PrincipalBradley WardJeffrey Caswell

TUBAKyle Turner, PrincipalAndrew Bove

TIMPANIJonathan Haas,

Principal

PERCUSSION Matthew Beaumont,

PrincipalDavid NybergAndrew Beall

KEYBOARD Elizabeth Wright,

Principal

ORGAN Kent Tritle

HARP Victoria Drake,

PrincipalCecile Schoon

ACCORDION William Schimmel

PERSONNELMANAGER

Patty Schmitt

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 ManagerCarley Gooley, Marketing AssistantCarissa 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 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 orchestral

MAESTRO’S CIRCLE 1848 FoundationThe Achelis FoundationDelius TrustJeanne Donovan FisherThe Frank & Lydia BergenFoundation

Rachel and Shalom KalnickiThe Lanie & Ethel FoundationNational Endowment for theArts (NEA)

New York City Departmentof Cultural Affairs (DCA)

New York State Council onthe Arts (NYSCA)

Open Society FoundationsThurmond SmithgallFelicitas S. ThorneThe Winston Foundation

STOKOWSKI CIRCLE AnonymousThe Ann & Gordon GettyFoundation

Michael and Anne MarieKishbauch

Dimitri B. and RaniaPapadimitriou

Thomas P. Sculco, M.D. andCynthia D. Sculco

The Spektor FamilyFoundation

Mr. and Mrs. Richard E. Wilson

BENEFACTORSAnonymousCatharine Wilder GuilesMrs. James P. WarburgTappan WilderThe Wilder FamilyThe Vaughan WilliamsCharitable Trust

PATRONSThe Amphion FoundationAnonymous (2)

The Atlantic PhilanthropiesDirector/EmployeeDesignated Gift Program

Joel I. and Ann BersonThe David & SylviaTeitelbaum Fund, Inc.

Karen FinkbeinerGary M. GiardinaPeter L. KennardArthur S. LeonardDr. and Mrs. Peter J. LindenMary F. and Sam MillerDr. Pamela F. Mazur and Dr. Michael J. Miller

Lisa Mueller and GaraLaMarche

James and Andrea NelkinMark Ptashne and LucyGordon

Patricia E. SaigoSusan StempleskiTides Foundation, on therecommendation of KathrynMcAuliffe and Jay Kriegel

SUSTAINERSAnonymous (3)The Bialkin Family FoundationThomas and Carolyn P. CassillyEllen Chesler and Matthew J.Mallow

Veronica and JohnFrankenstein

Irwin and Maya B. HoffmanIBM CorporationPatricia Kiley and EdwardFaber

Erica Kiesewetter Jack Kliger and Amy GriggsJeanne MalterWilliam McCracken andCynthia Leghorn

Susan and Graham McDonaldJoanne and Richard MrstikShirley A. MuellerTatsuji Namba

James H. and Louise V. NorthAnthony RichterDavid E. Schwab II and RuthSchwartz Schwab

Janet Zimmerman SegalPeter and Eve SourianJoseph and Jean SullivanSiri von Reis

CONTRIBUTORS Anonymous (2)Gary ArthurDr. Miriam Roskin BergerJeffrey CaswellIsabelle A. CazeauxRoger ChatfieldB. Collom and A. MenningerElliott ForrestAnna and Jonathan HaasMax and Eliane HahnAshley HornePeter KrollAdnah G. and Grace W.Kostenbauder

Nancy Leonard andLawrence Kramer

Steve LeventisPeter A. Q. LockerAlan MallachStephen J. Mc AteerCharles McCracken, inmemory of Jane Taylor

Sally McCrackenKurt Rausch and LorenzoMartone

Roland Riopelle and LeslieKanter

Martha and David SchwartzAlan StenzlerMr. and Mrs. Jon P. Tilley Robert and Patricia Ross Weiss

SUPPORTERSAnonymous (11)American Express GiftMatching Program

music 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.

Mimesis: Musical Representations has been made possible due in part to The AmphionFoundation.

The ASO would also like to thank the following individuals for their support of tonight’sprogram:

Veronica and John FrankensteinMichael and Anne Marie KishbauchJohn D. KnoernschildPamela F. Mazur and Michael J. Miller

Rachel and Dr. Shalom KalnickiThurmond Smithgall

as of September 11, 2015

Bernard AptekarJohn and Joanne BaerMarian D. BachThe Bank of AmericaCharitable Foundation

Reina BarcanCarol Kitzes BaronRuth BaronMary Ellin BarrettDr. Robert BasnerDavid C. Beek and GayleChristian

Simone BeldaYvette and Maurice BendahanAdria BenjaminDaniel and Gisela BerksonStephen M. BrownMarjorie BurnsMoshe BursteinCA TechnologiesRichard C. CellerBarbara and Peter ClapmanTheodore and Alice GinottCohn Philanthropic Fund

Laura ConwesserHerbert and Mary DonovanPaul EhrlichRichard FarrisLynda FergusonMartha FerryLaura FlaxJeffrey F. FriedmanChristopher H. GibbsAnn and Lawrence GilmanJune O. GoldbergGordon GouldGreenwich House, Inc.Nathan GrossJohn L. HaggertyLaura HarrisEric S. HoltzPenelope HortHudson Guild, Inc. Sara HunsickerGeorge H. HutzlerJewish Communal FundJosé JiménezRonald S. KahnRobert and Susan KalishDr. Roses E. KatzRobert and Charlotte KellyDavid KernahanIrving and Rhoda KleimanCaral G. and Robert A. KleinDr. Carol LachmanShirley LeongLinda LopezWilliam LublinerJoyce F. LuchtenbergElizabeth MateoCarolyn McColley

Alan B. McDougallSally and Bruce McMillenClifford S. MillerPhyllis and Stanley MishkinMartin L. and Lucy MillerMurray

Kenneth NassauMichael NasserKaren OlahClarence W. Olmstead, Jr.and Kathleen F. Heenan

Roger and Lorelle PhillipsDavid R. Pozorski and AnnaM. Romanski

Wayne H. ReaganBonita RochePhyllis and Leonard RosenRochelle RubinsteinMichael T. RyanHenry SaltzmanPeter Lars Sandberg Albert SargentiSari Scheer and Samuel KopelNina C. and Emil SchellerSharon SchweidelGerald and Gloria ScorseMargret SellGeorgi ShimanovskyBruce Smith and Paul CastellanoGertrude SteinbergHazel C. and Bernard StraussHelen StudleyRobert SweeneyMargot K. TalentiTart-Wald FoundationCatherine TraykovskiMr. and Mrs. Jack UllmanJanet WhalenVictor WheelerDonald W. WhippleLarry A. WehrMichael P. A. WinnRichard J. WoodLeonard and Ellen ZablowAlfred ZollerMyra and MatthewZuckerbraun

FRIENDSAnonymous (4)Madelyn P. AshmanStephen BlumMona Yuter BrokawMrs. A. Peter BrownRufus BrowningJoan BrunskillConnie ChenNancy L. ClipperRobert CohenConcerts MacMusicsonPatricia Contino

Lois ConwayMichael and Frances CurranJudy Davis Thomas J. De StefanoSusanne DiamondRuth Dodziuk-Justitz andJozef Dodziuk

Barton DominusRobert DurstJonathan F. DzikLee EvansAnne Stewart FitzroyExxonMobil FoundationDonald W. Fowle Helen GarciaBarbara GatesGoldman, Sachs & Co. Robert GottliebMichael and Ilene GottsMr. and Mrs. Sidney GreenbergJohn HallDonald HargreavesAndrée HayumJohn HelzerRobert HerbertGerald and Linda HerskowitzDiana F. HobsonChristopher HollingerCyma HorowitzDrs. Russell and BarbaraHolstein

Theresa JohnsonGinger KarrenPeter KeilKaori KitaoPete KlostermanFrederick R. KochSeymour and Harriet KoenigMr. and Mrs. Robert LaPorteDavid LaurensonPatricia LucaWalter LeviJudd LevyJosé A. LopezSarah LuhbyNancy LuptonDr. Karen ManchesterRichard and MaryanneMendelsohn

John Metcalfe Mark G. MiksicMyra MillerAlex MitchellChristine MunsonMichael NassarLeonie NewmanSandra NovickJane and Charles PrussackBruce RaynorMartin RichmanCatherine Roach

John W. RoaneDr. and Mrs. Arnold RosenJoe RuddickLeslie SalzmanNick SaywardHarriet SchonDr. and Mrs. Herbert C.Schulberg

The Honorable Michael D.Stallman

Paul StumpfMadeline V. TaylorGretchen ViedermanRenata and Burt WeinsteinJon WetterauDavid A. Wilkinson

Ann and Doug WilliamKurt WissbrunDagmar and Wayne YaddowLawrence YagodaMark and Gail Zarick

List current as of September 11, 2015

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 inpartnership 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.

BE A CLASSICAL HERO: SUPPORT THE ASO!

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: 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.

ASO’S 2015–16 SEASON AT CARNEGIE HALL

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

PILVAX STUDIO

KATHY CHAPMAN