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Transcription as Translation by The Orchestra NowA Night of Rediscovery and Sonic BrillianceThere are moments in music when the familiar is made fresh, and the well-trodden illuminate anew. Such was the case when The Orchestra Now took the stage at Carnegie Hall under the baton of Leon Botstein, a conductor whose boundless energy and intellectual curiosity have long fueled concert programs of unparalleled originality. In a program aptly titled Transcription as Translation, the Orchestra explored the art of reimagining musical works for different forces, bringing forth a riveting evening of discovery, expression, and virtuosity.Each transcription is an extraordinary gateway to the composer's intent, crafted from the inventive afflatus and imagination of assiduous cognoscenti. For example, tonight, the inimitable, world-renowned George Szell explains Smetana's work to us by presenting it as an orchestra piece rather than in words. On stage with Leon Botstein conducting The Orchestra Now in a program entitled Transcription as Translation at Carnegie Hall. Photo by Matt DineExplaining Music with MusicEnjoy this anecdote from a legend about an interaction between Robert Schumann and Franz Liszt to develop the example of George Szell's articulation of musical meaning by transcribing a string quartet into a symphonic work.One evening, Schumann played one of his piano compositions for Liszt. As the music unfolded, Liszt, the curious and analytical listener, interrupted at one point and asked, Read the full article

American Symphony Orchestra: C. P. E. Bach at St. BartsA Night to Remember: C. P. E. Bach’s Legacy RevivedThe magnificent St. Barts church on Park Avenue in Manhattan served as the perfect venue for an unforgettable evening of music. This historic landmark, renowned for its breathtaking architecture and superb acoustics, was alive with the sounds of C. P. E. Bach, masterfully brought to life by the American Symphony Orchestra. Maestro Leon Botstein, the orchestra’s Conductor and Director, opened the evening with a pre-concert talk that was both illuminating and engaging. His insights into the works of C. P. E. Bach painted a vivid picture of a composer whose brilliance transcended his time. Leon Botstein. Photo by Matt DineIlluminating the Genius of C. P. E. BachCarl Philipp Emanuel Bach, the second son of Johann Sebastian Bach, carved his unique identity in the musical world. Unlike his father’s baroque complexities, C. P. E. Bach’s compositions incorporated bold harmonic language, rhythmic intensity, and poetic drama. Tonight’s program showcased two of his masterpieces: Heilig, H.775, and the U.S. premiere of Die Auferstehung und Himmelfahrt Jesu, H.777. These works reflect a daring blend of tradition and innovation, qualities that inspired even Mozart to conduct three performances of Heilig in 1788.C. P. E. Bach’s contributions to the classical style—his adventurous use of sonorities, nuanced instrumental textures, and striking melodies—cement his place alongside Haydn and Mozart. As Botstein noted during his talk, these compositions remind us why his music is both timeless and transformative. Carl Philipp Emanuel Bach (1733). Public Domain via Wikipedia CommonsThe Venue: St. Barts on Park AvenueSt. Barts—a jewel of Manhattan—is celebrated for its historical significance and architectural grandeur. Its vast nave, adorned with intricate mosaics and stained glass, creates an intimate and grand environment. The church’s exceptional acoustics made it a favorite of Leopold Stokowski, a legendary conductor and organist who called St. Barts home for years. Those same acoustics elevated the performances to ethereal heights tonight, making every note resonate with clarity and warmth.The Conducting Genius of Maestro Leon BotsteinMaestro Leon Botstein’s conducting was a masterclass in artistry and leadership. His ability to draw out the finest nuances of C. P. E. Bach’s compositions demonstrated an exceptional understanding of the music’s emotional depth and structural complexity. With precise, expressive gestures and a clear vision, Botstein guided the orchestra and choir to deliver a cohesive, emotive performance. His interpretation balanced historical authenticity with a fresh, contemporary energy, bringing new life to these 18th-century masterpieces. Botstein’s dedication to uncovering and revitalizing overlooked works enriches the classical music landscape and inspires audiences worldwide. The magificent Nave at St. Barts. Photo by Edward KliszusThe Choir and Soloists: Voices That SoaredThe Bard Festival Chorale delivered a robust and moving performance. The chorale’s impeccable blend, diction, and emotional expression were fully displayed, filling the church’s nave with a celestial glow. Under the guidance of their skilled director, the Bard Festival Chorale brought C. P. E. Bach’s choral music to life with an energy that was both disciplined and passionate. Leah Wool, Mezzo Soprano. Courtesy https:::www.facebook.com:LeahWoolMezzoSopranoTheir rendition of Heilig, H.775, was a highlight, showcasing their ability to balance reverence with exuberance. Four outstanding soloists—mezzo-soprano Leah Wool, soprano Mei Gui Zhang, tenor Terrence Chin-Loy, and baritone Troy Cook—complemented the choir. Mei Gui Zhang, Soprano. Photo by by Dario Acosta.Leah Wool’s rich, velvety tones added depth and emotion to Heilig. Mei Gui Zhang’s soprano soared effortlessly, her crystalline voice lending angelic beauty to her solos. Terrence Chin-Loy’s lyric tenor captivated with its warmth and resonance, while Troy Cook’s commanding baritone anchored the performance with gravitas. Together, they brought Die Auferstehung und Himmelfahrt Jesu to life, imbuing each phrase with expressive detail and profound sensitivity. Terrence Chin-Loy, Tenor. Courtesy terrencechinloy.com Troy Cook, Baritone. Courtesy troycookbaritone.comThe Orchestra: Virtuosity in Every NoteThe American Symphony Orchestra, under Botstein’s baton, delivered a virtuosic and heartfelt performance. The orchestra’s ability to navigate C. P. E. Bach’s intricate textures and dramatic contrasts was remarkable. The woodwind section shone in its featured passages, with the flute and bassoon weaving mesmerizing counterpoints. The trumpets added brilliance and grandeur, their fanfares reverberating gloriously through the nave. Each instrumentalist contributed to an evening of musical excellence.The Program: A Perfectly Curated JourneyThe evening’s program began with Heilig, H.775, a choral work encapsulating C. P. E. Bach’s ability to balance reverence and exuberance. Following this, the audience enjoyed the U.S. premiere of Die Auferstehung und Himmelfahrt Jesu. This monumental oratorio, divided into two parts, narrates the resurrection and ascension of Christ with vivid storytelling and dramatic intensity. The juxtaposition of reflective arias and powerful choruses kept the audience enthralled from start to finish. Leon Botstein with the ASO and Bard Festival Chorale at St. Barts. Photo by Edward KliszusA Tribute to History and ArtistryThe audience erupted into a well-deserved standing ovation as the final notes echoed through St. Barts. The evening was a testament to C. P. E. Bach's enduring legacy and the transformative power of music. The American Symphony Orchestra’s dedication to reviving overlooked masterpieces is a gift to music lovers and a tribute to the rich tapestry of classical music history.Learn More and Stay ConnectedFor those inspired by tonight’s performance, we encourage you to explore more about the individuals and institutions involved:The American Symphony Orchestra: C. P E. Bach at St. BartsThe ProgramC.P.E. BACH (1714-1788)Heilig, H.775 (1776)Leah Wool, mezzo-sopranoC.P.E. BACH (1714-1788) (US Premiere performance)Die Auferstehung und Himmelfahrt Jesu, H.777 (1774 -78)Erster TeiI (Part One)Zweiter TeiI (Part Two)Mei Gui Zhang, sopranoTerrence Chin-Loy, tenorTroy Cook, baritoneAmerican Symphony Orchestra1330 Avenue of the AmericasSuite 23A, New York, NY 10019212.868.9276For information and tickets, email [email protected], or click HERE. RELATED https://youtu.be/Y-9vaO9mQQQ?si=7jM9NDamcTuTbUW2 Read the full article

New York - Beyond The Hall by the American Symphony Orchestra at Bryant ParkIt was a beautiful summer night at Bryant Park in New York City as thousands assembled to see and hear the fabulous American Symphony Orchestra. From the onset, one was struck with the charm and nostalgia of live music in the village square, with visitors, families, and friends sitting on benches, blankets, or chairs, enjoying the same experience. People sitting on blankets or in chairs chatting occasionally, the hum of their voices blending with the music, but far softer and less urgent than in the busy streets. Towering skyscrapers and Leon Botstein conducting Beyond The Hall by the American Symphony Orchestra at Bryant Park. Photo by Edward KliszusCommunal EntertainmentThe setting holds a deep sense of history, evoking memories of summer nights, outdoor festivals, or small-town celebrations, where music was a form of communal entertainment before the rise of digital entertainment. It evokes reminders of simpler times when live performances were a prime source of joy and connection.Despite being in the city and surrounded by broad avenues and skyscrapers, Bryant Park has trees and grassy areas where one might hear leaves rustling in the breeze or the faint chirping of birds or crickets in quiet moments. Of note was the striking contrast between the subtle qualities of the music and the ever-present city noises in the background. But as listeners were drawn into the music, they escaped from the city’s sirens, engines, horns, and footsteps as the cacophony of bustling sounds grew more distant.In essence, tonight’s concert by the American Symphony Orchestra was more than a concert of superb music; it was a celebration of communal heritage interwoven with the fabric of small-town life. It was an experience with a timeless quality, where modern life meets a gentler, more connected past. Leon Botstein describes the music Beyond The Hall by the American Symphony Orchestra at Bryant Park. Photo by Edward KliszusInsightful, Inspirational ExordiumsMaestro Leon Botstein opened the concert with introductions and the first of his insightful, inspirational exordiums about each musical work to be performed. Considering tonight’s collection of luminescent, brilliant works, Botstein explained that music can tell stories and support and project theatrical experiences. That’s clearly seen in the film genre. Many of my comments about the works performed are derived from Botstein’s exceptional descriptions. The ASO began with Scott Joplin’s Treemonisha, a rare blend of classical operatic structure with ragtime rhythms for which Joplin was most famous. Botstein noted the resurgence of Joplin’s music after its predominant role in David S. Ward’s film The Sting. Released in 1973, The Sting was directed by George Roy Hill and starred Paul Newman and Robert Redford.Winning several Academy Awards, The Sting is notable for its clever plot centered around two con men in 1930s Chicago and its use of Scott Joplin’s ragtime music, particularly "The Entertainer." It also incorporates African American folk songs, spirituals, and traditional call-and-response forms. This fusion was groundbreaking at the time, as it combined the high-art form of opera with the rhythms and styles of African American popular music, making it accessible and artistically complex. Cellos and Basses on stage in Beyond The Hall by the American Symphony Orchestra at Bryant Park. Photo by Edward KliszusIdentity and Cultural PrideNext, the ASO performed Florence Price's Suite of Dances, a vibrant, culturally rich composition combining African American musical traditions with classical forms. It featured fusions of rhythmic energy, melodic beauty, orchestral color, and a celebration of dance. As a product of an African American woman composing in the early 20th century, Price's Suite of Dances resonates with themes of identity and cultural pride. The suite honors the African American experience, incorporating dance and music traditions familiar to Black communities at the time while making these traditions accessible to the concert hall.PsychoBernard Hermann’s Psycho Suite is based on his score for Alfred Hitchcock’s groundbreaking film Psycho. Herrmann employed leitmotif, notably a three-note descending motif associated with Norman Bates’s troubled psyche. This minimalist approach mirrored the simplicity and emotional depth of the film’s themes, underscoring the duality in Norman’s character and the psychological complexity of the narrative.For tonight’s listeners recalling the visual and dramatic elements of Hitchcock’s oeuvre, many indeed experienced quivering horripilation from the spare, haunting qualities of Herrmann’s score. Maestro Leon Botstein conducting in Beyond The Hall by the American Symphony Orchestra at Bryant Park. Photo by Edward KliszusThe orchestra ably projected Herrmann's modernist score, which relies on dissonance to display cinematic unease in the film’s gripping, mysterious, tragic circumstances. While unresolved chordal tensions, delicious discordance, and edgy harmonies amplified the film’s atmosphere of dread, these elements ably reflected the characters' chaotic mental states. They added to an overall sense of volatility and uncertainty. Hitchcock famously said, “33% of the effect of Psycho was due to the music.”The power of this music set against the backdrop of city sounds was almost psychedelic in its sonic clarity.High and Low CultureKurt Weill’s Dreiggroschenmusik (Three Penny Opera) followed with its jaunty, catchy tunes, including the song Mack the Knife, famously recorded by Bobby Darin. This work bridges the gap between high and low culture (culture haute et basse) by merging classical forms with popular music, jazz, and cabaret elements. Drawing on the bon vivant style of 1920s Berlin, Weill blends operatic structures with the sounds of street music and dance halls. This mixture was modern and radical, challenging the separation between “serious” music and everyday entertainment. Members of the orchestra in Beyond The Hall by the American Symphony Orchestra at Bryant Park. Photo by Edward KliszusThe change in instrumentation we witnessed was delightful. As most of the orchestra left the stage, an unusual ensemble that included banjo, saxophone, piano, and percussion alongside some traditional orchestral instruments arrived. This idiosyncratic ensemble helped create the work's distinctive sound, blending the brashness of street music with refined orchestration. The banjo and saxophone contributed to the suite’s jazz and cabaret influences, giving it a raw, urban quality.Three Penny OperaReaders may recall the 1954 revival of Weill’s Three Penny Opera at the Theatre de Lys (later renamed the Lucille Lortel Theatre) in Greenwich Village. Directed by Carmen Capalbo and produced by Stanley Chase, this production was performed in English, with a translation by Marc Blitzstein preserving the satirical edge of Bertolt Brecht’s text while bolstering accessibility to American audiences. The revival ran for an astonishing 2,707 performances over seven years, making it one of the longest-running Off-Broadway shows in history at the time. A view of the Empire State Building spire at Beyond The Hall by the American Symphony Orchestra at Bryant Park. Photo by Edward KliszusLeonard BernsteinThe concert finished with Leonard Bernstein’s Three Dance Episodes from “On the Town.” This was a perfect choice to close a splendid concert in New York City. Though only three movements, the Three Dance Episodes cover a broad emotional spectrum, from the exuberance and brash confidence of "The Great Lover" to the quiet introspection of "Lonely Town" to the explosive, celebratory energy of "Times Square, 1944." This expressive resourcefulness is a hallmark of Bernstein’s work, demonstrating his ability to capture complex human emotions in a way that resonates with audiences. Psycho 1960 film (Madame Tussauds) by Max Langenbeck from Germany, CC BY 2.0 via Wikimedia CommonsThe American Symphony Orchestra is a superb organization led by the acclaimed conductor, music director, and educator Leon Botstein. Check their website for an exciting season of splendid music.Beyond The Hall by the American Symphony Orchestra at Bryant ParkLeon Botstein, ConductorAmerican Symphony Orchestra1330 Avenue of the AmericasSuite 23ANew York, NY 10019212-868-9276 [email protected] tickets and information, go to https://americansymphony.org/current-season/Readers may also enjoy our reviews of Opera in the Garden by OnSite Opera, Norm Lewis at 54 Below, Tony Danza, Meg Okura at the Met Museum, Laura Benanti at the Minetta Lane Theater, Brazilian Jazz at Le Bab Ilo in Paris, and Marilyn Maye birthday celebration at 54 Below.https://youtu.be/ygVgxGSQIsw?si=xAglaOHyiAbW3NfC

NEW YORK - The American Symphony Orchestra Performs Schoenberg’s Gurre-Lieder. Opulent, Magnificent Masterpiece With splendid soloists, the American Symphony Orchestra and the Bard Chorale joined forces and filled Carnegie Hall. Packed onto the stage was a magnificently large orchestra crafted to project Schoenberg's opulent, magnificent masterpiece rarely heard in this prodigious New York venue. Maestro Leon Botstein and the ASO have again marveled an audience with world-class artists and carefully curated musical works well beyond the three B's (Bach, Beethoven, and Brahms). Idyllic Adulation In Gurre-Lieder, listeners enjoy music expressing a range of moods, from moments of idyllic adulation to glorious cinematic soundscapes and sublime operatic dimensions. How delightful that the ASO presented Gurre-Lieder, a work that emerged as a surprise to most people with its opulent 19th-century Romanticism. Second Viennese School Particularly notable to most people about Schoenberg's oeuvre work was his focus on serialism and expressionist subjects. You may recall him as the leader of the Second Viennese School, which included Alban Berg and Anton Webern. Most music fans are better familiar with Schoenberg's expressionist works where he invoked dodecaphonic structures as he abandoned traditional tonality.Emotional Tumult In two of his famed works, "Pierrot Lunaire" (1912) and "Five Pieces for Orchestra" (1909), Schoenberg explored the use of atonal melodies, where traditional notions of key and harmonic resolution were eschewed. This departure from tonality allowed Schoenberg to create music that evoked dissonance, tension, and ambiguity, reflecting the emotional tumult of the Great War era. Other mainstay works of Schoenberg include "Verklärte Nacht" (Transfigured Night), Op. 4 (1899), "Erwartung" (Expectation), Op. 17 (1909), "Die Glückliche Hand" (The Lucky Hand), Op. 18 (1913), and Moses und Aron (Moses and Aron, Op. 7. (1912). Monumental and Grandiose Immediately apparent was the immense orchestra required for Gurre-Lieder. Schoenberg, like Mahler, Bruckner, and Wagner, pushed the boundaries of orchestration to create music requiring significant numbers of musicians to perform, resulting in some of the most monumental and grandiose works in the repertoire—indeed, such a work was presented tonight! Thank you Maestro Botstein!Tragic Love Story - Another Doomed Couple In tonight's concert marking the 150th Anniversary of Arnold Schoenberg’s birth, the monumental Gurre-Lieder was commemorated 100 years after its creation. Gurre-Lieder is based on a Danish legend retold in German by the poet Jens Peter Jacobsen. It depicts the tragic love story of King Waldemar and Tove and their love, betrayal, and inevitability of fate despite defiance against the forces of nature. Audiences love doomed couples, and tonight was no exception. Readers are likely familiar with Prokoiev's Romeo and Juliet, Verdi's Radames and Aida, or Tchaikovsky's Tatiana and Eugene Onegin. L-R: Felicia Moore, Soprano. Photo by Gillian Riesen. Hair & Makeup by Madison McLain; Krysty Swann, Mezzo Soprano. Design & Select Photography by Tricia Suriani; Brenton Ryan, Tenor. Photo by Gillian Riesen; Dominic Armstrong, Tenor. Photo by Fay Fox; Alan Held, Bass Baritone. Courtesy alanheld.com; Carsten Wittmoser, Bass Baritone. Courtesy carstenwittnoser.de.Emerging Modern Aesthetic Rarely performed, Gurre-Lieder stands at the crossroads of late Romanticism and the early modernist movement. It showcases Schoenberg's masterful grasp of orchestral and vocal writing and hints at the more radical musical directions Schoenberg was to pursue. This work is a testament to Schoenberg's early genius, bridging late Romanticism's lush, expressive world with the emerging modernist aesthetic. Its scale, ambition, and beauty make it one of the landmark compositions of the early 20th century. Massive Orchestral and Vocal Force The scope of tonight’s musical offering was colossal. On stage was a massive orchestral and vocal force with multiple vocal soloists, a narrator, and a mixed choir. Leitmotif The ASO honored Gurre-Lieder's divergent styles and grand scale. In Part One, Waldemar and Tove expressed their love through song using post-Wagnerian harmonic language, lush and expansive orchestration, and melodically driven lines foreshadowing the leitmotif technique Schoenberg would later refine.Death and Grief The ensemble commanded the complex harmonies and orchestra in Part 2 that portrayed emotional intensity driven by a tragic turn of events leading to Tove’s death and Waldemar’s grief. Ethereal Sunrise Listeners cringed in Part 3 as Schoenberg’s use of Sprechstimme evoked horripilation and dread with Waldemar's curse and the march of the dead. A final ethereal sunrise scene concluded the cycle on a note of redemption and accord. L-R: James Bagwell. Photo by Roy Lewis; Arnold Schoenberg Seated by Richard Gerstl (1906). Public domain; Leon Botstein. Photo by Steve PykeEnormous Performing Force Tonight was a spectacular performance by an enormous performing force. The audience enjoyed a rare example of Schoenberg’s early genius, bridging late Romanticism's lush, expressive world with the emerging modernist aesthetic. Be sure to follow the ASO and watch for their next concert! The American Symphony Orchestra Performs Schoenberg’s Gurre-Lieder Leon Botstein, Conductor Soprano Felicia Moore as Tove Mezzo-Soprano Krysty Swann as Waldtaube Tenor Dominic Armstrong as Waldemar Tenor Brenton Ryan as Klaus Narr Bass-Baritone Carsten Wittmoser as Narrator Bass-Baritone Alan Held as Bauer James Bagwell Leading the Bard Festival Chorale American Symphony Orchestra 1330 Avenue of the Americas Suite 23A New York, NY 10019 212-868-9276 [email protected] For tickets and information, go to https://americansymphony.org/current-season/ Readers may also enjoy our reviews of The American Symphony Orchestra performing Dvořák’s Requiem, The American Symphony Orchestra and Handel’s Judas Maccabeus, Peter & the Wolf by Works & Process, and Rachmaninoff’s Symphony No. 2.https://youtu.be/xPXuHs3Ksow?si=rEMH3-mqcqNmpViN

NEW YORK - The American Symphony Orchestra Performs Schoenberg’s Gurre-Lieder. Opulent, Magnificent Masterpiece With splendid soloists, the American Symphony Orchestra and the Bard Chorale joined forces and filled Carnegie Hall. Packed onto the stage was a magnificently large orchestra crafted to project Schoenberg's opulent, magnificent masterpiece rarely heard in this prodigious New York venue. Maestro Leon Botstein and the ASO have again marveled an audience with world-class artists and carefully curated musical works well beyond the three B's (Bach, Beethoven, and Brahms). Idyllic Adulation In Gurre-Lieder, listeners enjoy music expressing a range of moods, from moments of idyllic adulation to glorious cinematic soundscapes and sublime operatic dimensions. How delightful that the ASO presented Gurre-Lieder, a work that emerged as a surprise to most people with its opulent 19th-century Romanticism. Second Viennese School Particularly notable to most people about Schoenberg's oeuvre work was his focus on serialism and expressionist subjects. You may recall him as the leader of the Second Viennese School, which included Alban Berg and Anton Webern. Most music fans are better familiar with Schoenberg's expressionist works where he invoked dodecaphonic structures as he abandoned traditional tonality.Emotional Tumult In two of his famed works, "Pierrot Lunaire" (1912) and "Five Pieces for Orchestra" (1909), Schoenberg explored the use of atonal melodies, where traditional notions of key and harmonic resolution were eschewed. This departure from tonality allowed Schoenberg to create music that evoked dissonance, tension, and ambiguity, reflecting the emotional tumult of the Great War era. Other mainstay works of Schoenberg include "Verklärte Nacht" (Transfigured Night), Op. 4 (1899), "Erwartung" (Expectation), Op. 17 (1909), "Die Glückliche Hand" (The Lucky Hand), Op. 18 (1913), and Moses und Aron (Moses and Aron, Op. 7. (1912). Monumental and Grandiose Immediately apparent was the immense orchestra required for Gurre-Lieder. Schoenberg, like Mahler, Bruckner, and Wagner, pushed the boundaries of orchestration to create music requiring significant numbers of musicians to perform, resulting in some of the most monumental and grandiose works in the repertoire—indeed, such a work was presented tonight! Thank you Maestro Botstein!Tragic Love Story - Another Doomed Couple In tonight's concert marking the 150th Anniversary of Arnold Schoenberg’s birth, the monumental Gurre-Lieder was commemorated 100 years after its creation. Gurre-Lieder is based on a Danish legend retold in German by the poet Jens Peter Jacobsen. It depicts the tragic love story of King Waldemar and Tove and their love, betrayal, and inevitability of fate despite defiance against the forces of nature. Audiences love doomed couples, and tonight was no exception. Readers are likely familiar with Prokoiev's Romeo and Juliet, Verdi's Radames and Aida, or Tchaikovsky's Tatiana and Eugene Onegin. L-R: Felicia Moore, Soprano. Photo by Gillian Riesen. Hair & Makeup by Madison McLain; Krysty Swann, Mezzo Soprano. Design & Select Photography by Tricia Suriani; Brenton Ryan, Tenor. Photo by Gillian Riesen; Dominic Armstrong, Tenor. Photo by Fay Fox; Alan Held, Bass Baritone. Courtesy alanheld.com; Carsten Wittmoser, Bass Baritone. Courtesy carstenwittnoser.de.Emerging Modern Aesthetic Rarely performed, Gurre-Lieder stands at the crossroads of late Romanticism and the early modernist movement. It showcases Schoenberg's masterful grasp of orchestral and vocal writing and hints at the more radical musical directions Schoenberg was to pursue. This work is a testament to Schoenberg's early genius, bridging late Romanticism's lush, expressive world with the emerging modernist aesthetic. Its scale, ambition, and beauty make it one of the landmark compositions of the early 20th century. Massive Orchestral and Vocal Force The scope of tonight’s musical offering was colossal. On stage was a massive orchestral and vocal force with multiple vocal soloists, a narrator, and a mixed choir. Leitmotif The ASO honored Gurre-Lieder's divergent styles and grand scale. In Part One, Waldemar and Tove expressed their love through song using post-Wagnerian harmonic language, lush and expansive orchestration, and melodically driven lines foreshadowing the leitmotif technique Schoenberg would later refine.Death and Grief The ensemble commanded the complex harmonies and orchestra in Part 2 that portrayed emotional intensity driven by a tragic turn of events leading to Tove’s death and Waldemar’s grief. Ethereal Sunrise Listeners cringed in Part 3 as Schoenberg’s use of Sprechstimme evoked horripilation and dread with Waldemar's curse and the march of the dead. A final ethereal sunrise scene concluded the cycle on a note of redemption and accord. L-R: James Bagwell. Photo by Roy Lewis; Arnold Schoenberg Seated by Richard Gerstl (1906). Public domain; Leon Botstein. Photo by Steve PykeEnormous Performing Force Tonight was a spectacular performance by an enormous performing force. The audience enjoyed a rare example of Schoenberg’s early genius, bridging late Romanticism's lush, expressive world with the emerging modernist aesthetic. Be sure to follow the ASO and watch for their next concert! The American Symphony Orchestra Performs Schoenberg’s Gurre-Lieder Leon Botstein, Conductor Soprano Felicia Moore as Tove Mezzo-Soprano Krysty Swann as Waldtaube Tenor Dominic Armstrong as Waldemar Tenor Brenton Ryan as Klaus Narr Bass-Baritone Carsten Wittmoser as Narrator Bass-Baritone Alan Held as Bauer James Bagwell Leading the Bard Festival Chorale American Symphony Orchestra 1330 Avenue of the Americas Suite 23A New York, NY 10019 212-868-9276 [email protected] For tickets and information, go to https://americansymphony.org/current-season/ Readers may also enjoy our reviews of The American Symphony Orchestra performing Dvořák’s Requiem, The American Symphony Orchestra and Handel’s Judas Maccabeus, Peter & the Wolf by Works & Process, and Rachmaninoff’s Symphony No. 2.https://youtu.be/xPXuHs3Ksow?si=rEMH3-mqcqNmpViN

NEW YORK - The American Symphony Orchestra performs Dvořák's Requiem in Carnegie Hall.Maestro Leon Botstein and the American Symphony Orchestra brought another rarely performed musical masterpiece to a prestigious New York concert hall tonight. Maestro Leon Botstein. Photo by Edward KliszusOne might ask why Dvořák's Requiem and not the 'platinum record’ winners by Mozart, Duruflé, Brahms, or Fauré. Read on.Dvořák's marvelous Requiem has joined Botstein's collection of the visionary repertoire he meticulously curates for music lovers. You may recall Botstein's recent, fantastic artistic exploits into Händel's Judas Maccabaeus, Exodus: Jewish Composers in Exile, and composers from the Roaring 20s like George Antheil, Ruth Crawford, and Florence Price.A full house at Carnegie Hall was soon enthralled with Dvořák's marvelous Requiem performed by superb vocal soloists, the ASO, and the renowned Bard Festival Chorale. As the audience gathered, readers dove into the splendid, insightful commentary and analysis by Botstein and composer Michael Beckerman, the Carroll and Milton Petrie Professor of Music at New York University. The ASO program booklets provided both excellent written insights and authoritative text translations.I'm secretly hoping Botstein brings forth the requiems of François-Joseph Gossec, Jan Dismas Zelenka, or Teodulo Mabellini.Here are a few features of Dvořák's choral masterpiece.A late 19th-century work, some sentimentally argue that the Requiem expresses the composer's personal experiences, including the deaths of his sister-in-law and his friend and mentor, Antonín Liehmann. However, this work, which emanated from a commission for a Birmingham, England, music festival, is more likely the product of intellectual and philosophical prowess from a composer at the height of his powers. It avoids glib pretension, drama, or pathos while expressing a discernable sense of intrepid anguish. Largely absent of desolate, heartrending nuances, one wonders whether Dvořák's musical portrayals evoke more sorrow than dread. Perhaps fear of death is displaced by the ultimate tragedy of bidding farewell to life, art, nature, and loved ones.Woven among Dvořák's expressions of text, rich harmonies, lush orchestration, and poignant melodies is the mystery and beauty of Dvořák's four-note theme (F–F#–E– F), which emerges throughout the work. Some suggest the motif represents basic human emotions of love, despair, hope, and comfort.However, with its rhythmical opacity, this melancholy semitone progression may more broadly evoke the human quest for answers for which Charles Ives musically yearns in his The Unanswered Question.The opening 'Requiem aeternam' introduces the four-note motif that reappears more than 200 times throughout the work, brilliantly creating a sense of unity. The motif is poignantly restated in the final 'Agnus Dei.'One might argue that Dvořák's Requiem is infrequently performed due to its demanding vocal and instrumental requirements. The technical challenges were apparent as the orchestra, soloists, and Chorale masterfully performed the work with intent, power, and aplomb.While the audience did not applaud between segments, mass expressions of admiration, joy, and reverence abounded. While notable verbal affirmations proliferated between each section, many breathed deeply in silence, gently bowed their heads, or closed their eyes as they listened. There were gentle aural articulations of appreciation through soft 'ahs,' 'wows,' and 'mms' to convey emotional satisfaction and agreement. Many listeners maintained intense eye contact with the performers. These subtle ways demonstrated recognition and respect for the artists and music without disrupting the earnestness of the ethereal themes. L-R Leah Hawkins, Soprano (photo by Arielle Doneson), Lindsay Ammann, Mezzo-Soprano (courtesy dallasopera.org), Joshua Blue, Tenor (courtesy joshuabluetenor.com), Stefan Egerstrom, Bass (courtesy americansymphony.org)Tonight was a superb concert in a venue with the finest acoustics, seating, and stage. The Chorale was set in back of the orchestra while soloists sang directly in front of the Chorale. It worked beautifully.Music lovers are encouraged to follow Maestro Botstein, the ASO, the Bard Festival Chorale, and tonight's world-class vocal soloists. See their calendars for not only superb performances but also to experience some of the most interesting musical gems from history's finest composers.The American Symphony Orchestra performs Dvořák's Requiem in Carnegie HallAntonín Dvořák: Requiem, Op. 89 (1890)Leon Botstein, ConductorJames Bagwell, Choral DirectorThe Bard Festival ChoraleLeah Hawkins, SopranoLindsay Ammann, Mezzo-SopranoJoshua Blue, TenorStefan Egerstrom, BassAmerican Symphony Orchestra1330 Avenue of the AmericasSuite 23ANew York, NY [email protected] tickets and information, go to https://americansymphony.org/current-season/Readers may also enjoy our reviews of The American Symphony Orchestra and Handel's Judas Maccabeus, Peter & the Wolf by Works & Process, Transcendent Triumph and Rachmaninoff’s Symphony No. 2, Musica Sacra at Carnegie Hall, The Orchestra Now at Symphony Space, and The New Jersey Ballet at the Mayo Arts Center.https://youtu.be/_bjv_v5_XUE?si=UjZSWzj2ZFxlU_rw