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THE WHITE HOUSE
WASHINGTON
November 30, 1998
David Verbraska, Esq.
7 Van Rensselaer Way
Glenmont, NY 12077
Dear Mr. Verbraska:
Thank you for your enthusiastic letter and copy of
your resume.
Unfortunately, there are no positions available in
the First Lady's Office at this time. However, I have
forwarded your resume to the Office of Presidential
Personnel in hopes that an interesting opportunity becomes
available.
Best wishes.
Sincerely,
Mener Melanne Verveer
Chief of Staff to
the First Lady
NOV 06 1998 13:14 FR
518 463 8657 TO 12024566244
P.02/04
VIA FACSIMILE
7 Van Rensselaer Way
Glenmont, NY 12077
November 6, 1998
Melanne Verveer
Assistant to the President
and Chief of Staff to the First Lady
The White House
Washington, DC 20502
Dear Ms. Verveer:
Please consider me for a staff position at The White House. I have the
professional maturity, personal flexibility and ideological dedication to the
Administration's ideals to make a substantive contribution to your efforts.
Experience: Leadership positions within highly competitive and
pressured environments include Confidential Assistant to Governor
Mario Cuomo; attorney/lobbyist with New York's top ranked lobbying
firm; and director of government affairs for a prominent business/civic
association. In 1996, I was an intern in White House Legislative Affairs.
Skills: Development and implementation of all phases of
communications strategy and government policy are the core of my
career. Substantive writing experience includes high profile speeches,
press releases, policy presentations, and in-depth research & analysis.
Management background includes directing broad lobbying campaigns,
facilitating project teams including senior government and Fortune 50
corporate executives, and mediating commercial/legal conflicts.
A variety of opportunities are of interest, my main objective is to join the
important work of the Administration as soon as possible. I am prepared to
relocate within weeks and an FBI background check is already on file.
Thank you for your consideration and continued best wishes.
a
Sincerely
it pleasure meet again was her treduring recent to New First cad1 one trops for oF Schumer- to
David Verbraska, Esq.
NOV 06 1998 13:14 FR
518 463 8657 TO 12024566244
P.03/04
DAVID H. VERBRASKA, Esq.
7 Van Rensselaer Way, Glenmont, NY 12077
(518) 767-2610
EXPERIENCE
NEW YORK CITY PARTNERSHIP & CHAMBER OF COMMERCE, Albany and New York City
Leading business and civic association. Founded by Rockefellers. Time Warner, Inc. - current chair.
Director of Government Relations - January 1998 - Present
Develop and implement legislative, regulatory and public relations campaigns to advance the
organization's interests in high technology, economic development, housing and education.
Devise internal and external communications strategy to positively position the organization
utilizing traditional and new media outlets. Engage in presentations and promotional writing.
Coordinate with a team of Fortune 50 executives to accomplish specific program goals.
Negotiate with government and private/public sectors in high-pressure competitive environment.
Manage administration and personnel issues for the state office.
Generate ideas for Partner/Member outreach including web site, publications, and events.
WILSON, ELSER, MOSKOWITZ, EDELMAN & DICKER, Albany, NY and New York City
International general practice law firm.
Associate Attorney/Lobbyist - March-December 1997
Government Relations (top ranked lobbying group in New York): initiated efforts to advance the
legislative and regulatory goals of clients, including Fortune 100 companies and associations.
Litigation: researched and drafted legal pleadings, managed discovery issues, and represented
clients at conferences in multi-million dollar civil liability lawsuits.
Developed and wrote legal advisories, speeches for partners/clients, and marketing material.
Featured presenter in statewide seminar series on premises liability issues.
OFFICE OF THE PRESIDENT OF THE UNITED STATES, Washington, DC
White House East Wing - Summer 1996
Summer Intern - Office of Legislative Affairs
Drafted Presidential talking points and messages to Congress.
Edited National Security Council memorandum to the President for grammar and style.
OFFICE OF NEW YORK GOVERNOR MARIO M. CUOMO, Albany, NY and New York City
Confidential Assistant to the Governor - 1992 - 1995
Exercised a broad research, analysis and advocacy mandate.
Created multi-media communication campaigns to advance organization priorities; served as
press liaison; and wrote gubernatorial speeches, presentations, press releases, etc.
Recommended gubernatorial policy on a variety of economic development and social issues.
Supervised design and completion of projects for Research Department.
Facilitated interoffice and constituency collaboration on gubernatorial agenda items.
Directed "New Ideas" development for inclusion in annual State-of-the-State program.
Speechwriter (1992). Assistant Research Director (1990-1991). Research Associate (1989-1990).
NIXON, HARGRAVE, DEVANS & DOYLE LLP, Albany, NY
Northeast regional general practice law firm.
Student Law Clerk - Spring and Fall 1996
Lobbied state Legislature for increased budget appropriations for health corporations.
Researched and drafted memorandum of law, briefings and client pleadings.
Areas of law included corporate, securities, environmental, health and municipal.
NOV 06 1998 13:15 FR
518 463 8657 TO 12024566244
P.04/04
David H. Verbraska, page 2
NEW YORK SUPREME COURT, Justice Thomas W. Keegan, Third Judicial Department
Student Law Clerk, Clinical Legal Studies Program - Fall 1996
Drafted judicial opinions. One unedited opinion was profiled in New York Law Journal.
MEDIATION PROGRAM, Law, Order and Justice Center, Schenectady, NY
Certified Dispute Mediator, 1987 - - 1991. Honors Program Intern, 1987 - 1989
Mediated 30+ domestic and commercial cases referred from Family and Small Claims Courts.
Directed mediation case management from consultation with judges to client follow-up.
EDUCATION
STATE UNIVERSITY OF NEW YORK, Albany, NY
Master of Business Administration
Enrolled in evening MBA program
ALBANY LAW SCHOOL OF UNION UNIVERSITY, Albany, NY
Juris Doctor - December 1996 Admitted in New York.
Rank: Top 10% (Third Year), Top 20% (Second Year)
Senior Writing Requirement: A-
Major Research Papers: "White Collar Crimes" A- and "Government Ethics" A
STATE UNIVERSITY OF NEW YORK, Albany, NY
Master of Arts - Public Policy, August 1991
cum laude. Concentration: Public Law
Master Thesis: A-
SIENA COLLEGE, Loudonville, NY
Bachelor of Arts - American Studies, May 1989
cum laude. Presidential Scholar, Minor: Political Science, GPA 3.8
Honors Programs: History and Peace Studies
Honor Societies: Phi Gamma Mu and Phi Alpha Theta
ACTIVITIES
PROFESSIONAL
Member, Business Law Section, American Bar Association (since 1992).
Member, Business Law & Young Lawyers Sections, NY State Bar Association (since 1992).
Co-Founder, Legislative Committee, Albany County Bar Association (1997).
Co-Founder, Government Alumni Group, Albany Law School (1997-Present).
COMMUNITY
Co-Founder, Law Exploring Post (1997).
Eagle Scout, Boy Scouts of America (1985).
RECREATIONAL
Hiking & Boating - Treks include to Northern Maine, Florida Keys and Rocky Mountains.
Foreign Travel - Venezuela, West and East Europe, Morocco, Israel, and Egypt.
** TOTAL PAGE. 04 **
THE WHITE HOUSE
WASHINGTON
October 29, 1998
Mr. Stephen Vann
Eos Orchestra
161 Avenue of the Americas, Suite 902
New York, NY 10013
Dear Mr. Vann:
On behalf of the First Lady, thank you for your
letter and offer for the Eos Orchestra to perform at the
National Medal of Arts and Humanities Awards. We look
forward to the performance!
Very best wishes.
Sincerely,
New Chief of Staff to
Melanne Verveer
the First Lady
@
R
Eos
October 2, 1998
Artistic Director
First Lady
Jonathan Sheffer
Hillary Rodham Clinton
Board of Directors
The White House
Laurence Cohen, Esq.
Madison Cox
Old Executive Office Building, Room 100
Benjamin Doller
Washington, DC 20500
John Lyons
Joan Reagin McNeill
Ann Sheffer
Dear Mrs. Clinton,
William Wright II
Andrew Zobler, Esq.
It was a great honor to have met you recently in East Hampton at the home of Jonathan
Advisory Committee
Randall Bourscheidt
Sheffer and Christopher Barley. I am writing to express our interest in a performance
Karen Chester
by the Eos Orchestra, led by Jonathan Sheffer, Artistic Director, for the National Medal
John Corigliano
David Del Tredici
of Arts and Humanities performance on November 5, 1998.
Charles Hamlen
Harold Farberman
Harry Kraut
As you know, Mr. Sheffer is the conductor and Artistic Director of the Eos Orchestra.
Isaac Mizrahi
Now entering its fourth season, Eos focuses on American contemporary music, with an
Michael Tilson Thomas
emphasis on the rediscovery of neglected works and composers. The Orchestra
Executive Director
performed twice as part of the Lincoln Center Festival, most recently with a Leonard
Stephen Vann
Bernstein world premiere of his 1974 ballet Dybbuk. The Orchestra records for BMG
Director of Operations
Classics (RCA), and our most recent CD, the complete piano and orchestra works of
& Finance
Laura Kemsley Ames
George Gershwin (advance copy enclosed), is due for worldwide release in January.
The Eos Orchestra can be seen and heard on the A&E Network Biography series on
November 30 in a biography of Ludwig van Beethoven.
For this National Medal of Arts and Humanities performance, we propose a program of
approximately 30 minutes, consisting of two quintessentially American works: the
ever-popular Rhapsody in Blue, and Aaron Copland's effervescent Appalachian
Spring. This program is a prelude to the Millenium, since the year 2000 marks the
100th anniversary of Aaron Copland's birth. Should a shorter program be needed, we
would perform only the Rhapsody in Blue - approximately 20 minutes.
I have enclosed additional information about the Orchestra, and look forward to further
discussions. It would be our great honor and privilege to perform at this important arts
ceremony.
Best wishes,
Stephen Vana
Stephen Vann
cc: Hon. Bill Ivey, Melanne Verveer, Capricia Marshall, Ellen McCulloch-Lovell
www.eosmusic.com
161 Avenue of the Americas, Suite 902, New York, NY 10013 Tel. 212.691.6415 Fax 212.691.6648 E-Mail [email protected]
Eos
From the Winter 1998 Penguin Guide to Compact Discs, Cassettes and LPs:
Piano Concerto in F; Rhapsody in Blue; Second Rhapsody for Piano and Orchestra; Variations on "I
Got Rhythm"
(M)
Classic FM Dig. 76505 57012-2. Michael Boriskin, The Eos Orchestra, Jonathan Sheffer.
This is the most seductive pairing of the Rhapsody in Blue and the Concerto in F to have come our way
for a long time. The performances have a superb sense of style, and are for the 1990s what Bernstein's
famous versions were for the 1950s and '60s. Michael Boriskin is a native New Yorker, and he and
Jonathan Sheffer immediately establish a partnership which brings an idiomatic and freshly individual
approach to these two concertante masterpieces, which uniquely span the jazz world and the ethos of the
concert hall. The keenly sophisticated and inventive "I Got Rhythm" Variations are no less glittering and
are wonderfully infectious. The Eos Orchestra is a group of first-class freelance musicians from the New
York area: the individuality of their response is immediately set by Todd Levy's naughtily provocative
clarinet glissando at the opening of the Rhapsody. The first big tutti brings a splendid jazz-band sound,
and later, when the great lyrical tune arrives, a sultry saxophone colouring spices the strings. The
orchestral detail throughout is a joy (especially illuminating in the less-inspired Second Rhapsody), while
in the concerto the big climaxes open out to engulf the listener expansively and ardently. Boriskin's
brilliant pianism is wittily skittish in the most infectious way, both in the Rhapsody and in the delectably
played central section of the concerto's slow movement, which Neil Balm has opened so languorously
with his trumpet. The finale brings dazzling yet totally unforced bravura from ever nimble fingers,
matched by sparkling orchestra rhythms. The recording is first rate. This is not to be missed.
ROSETTES
To a very few records and cassettes we have awarded a rosette:
Unlike our general evaluation, in which we have tried to be consistent, a rosette is a quite arbitrary
compliment by a member of the reviewing team to a recorded performance which, he finds, shows special
illumination, a magic, or spiritual quality that places it in a very special class. The choice is essentially a
personal one (although often it represents a shared view), and is some cases it is applied to an issue where
certain reservations must also be mentioned in the text of the review. The rosette symbol is placed
immediately before the normal evaluation and record number. It is quite small - we do not mean to imply
an "Academy award" but a personal token of appreciation for something uniquely valuable. We hope
that, once the reader has discovered and perhaps acquired a 'rosette' CD, tape or LP, its special qualities
will soon become apparent.
PHOTOCOPY
PRESERVATION
Eos
Eos
Stephen Vann
Executive Director
161 Avenue of the Americas, Suite 902
New York, NY 10013
Tel. 212.691.6415 Fax 212.691.6648
E-Mail [email protected]
www.eosmusic.com
Eos
Eos Orchestra
Fact Sheet
Founded in 1995 by conductor & artistic director Jonathan Sheffer
Commitment: To present engaging musical programs to a diverse audience.
Focus: Innovative programming, rediscovery of important neglected composers and
works, and collaborations with other artistic disciplines to produce new and exciting
performances.
The Orchestra is composed of 65 of New York City's top freelance musicians.
Presents annual subscription series of four concerts
Performs at Lincoln Center in Alice Tully Hall and at the New York Society for Ethical
Culture Auditorium
Recordings: Eos has released 2 CDs with BMG Classics - The Music of Paul Bowles
and Music for Merce. Eos has recorded 2 additional CDs: music of George
Gershwin and Aaron Copland, scheduled for release in the Fall of 1998 on BMG
Classics.
Books: Eos has published three books - Paul Bowles: Music, Perceptible Processes:
Minimalism and the Baroque, and 1939: Music and The World's Fair. A book on
Leonard Bernstein at Harvard will be published in January 1999.
Radio: Can be heard on National Public Radio during 1998 in the U.S. and Europe
The Eos Orchestra was presented at the Lincoln Center Festival in '96 and '98.
Festivals: Eos presents an annual interdisciplinary festival involving music and other art
forms, publishes a volume of essays and images to accompany the festival and
records compact discs.
Television: Eos will appear on the A&E Biography series in a Beethoven feature.
Support: Contributions to Eos come from over 400 donors, including the New York
State Council on the Arts and the New York City Department of Cultural Affairs, as
well as the Mary Flagler Cary Charitable Trust, the Nathan Cummings Foundation,
the Greenwall Foundation, and many individual supporters.
www.eosmusic.com
7/31/98
161 Avenue of the Americas, Suite 902, New York, NY 10013 Tel. 212.691.6415 Fax 212.691.6648 E-Mail [email protected]
Eos
Eos Orchestra
History
Established in 1995, the Eos Orchestra is committed to presenting engaging musical programs
to a diverse audience. Our focus is on innovative programming, the rediscovery of important neglected
works and collaborations with other artistic disciplines to produce new and exciting performances.
The main activity is the annual subscription series of the Eos Orchestra, an ensemble composed
of up to 65 musicians, conducted by founder and Artistic Director, Jonathan Sheffer. Through the
approach to performance and choice of repertoire, Eos seeks to be a driving force in the revitalization
of the live music listening experience. Eos' annual concert season is held at venues such as Lincoln
Center's Alice Tully Hall and the New York Society for Ethical Culture. To serve the broadest audience
possible, Eos presents an annual interdisciplinary festival involving music and other art forms, publishes a
volume of essays and images to accompany the festival and records compact discs. To date, Eos has
published three books - Paul Bowles: Music, Perceptible Processes: Minimalism and the Baroque, and
1939: Music and The World's Fair and has released two CDs with BMG Classics - The Music of Paul
Bowles and Music for Merce. Eos has recorded two additional CDs for BMG Classics (RCA): the
music of George Gershwin, scheduled for worldwide release in January 1999, and the music of Aaron
Copland, scheduled for release in Fall of 1999.
The Eos Orchestra was invited to perform at the inaugural Lincoln Center Festival in 1996, and
returned to the 1998 Festival with a program entitled "Literally: Bernstein," works composed by Bernstein
accompanied by texts from a variety of literary sources, including the world premiere of his ballet,
Dybbuk, in its first concert performance. The Eos Orchestra will appear on the Arts and Entertainment
Network (A&E) in a Biography of Ludwig van Beethoven. In addition, the Eos Orchestra can be heard
on National Public Radio's Performance Today series in the United States and on public radio in Europe
throughout 1998.
rev. 9/25/98
Eos
JONATHAN SHEFFER
Founder & Artistic Director
JONATHAN SHEFFER is a composer and conductor who has moved freely in creating and interpreting
music over a wide spectrum. Born in New York City, he attended Harvard University where he studied
composition, producing a variety of vocal and theatrical works, including the college's traditional Hasty Pudding
Show. His teachers at Harvard included Leonard Bernstein, Jay Gottlieb, and Leon Kirchner. After graduation, he
worked in the New York theatre as a pianist and coach while pursuing further studies at The Juilliard School with
Renée Longy and Michael Czajkowski. Mr. Sheffer also studied counterpoint and composition with Mr.
Czajkowski at the Aspen Music School.
A conducting career for Mr. Sheffer emerged from his film composing. After recording three film scores with
the Seattle Symphony, he made his debut in 1991 with the San Diego Symphony. He has since conducted the
Oregon Symphony, OK Mozart Festival, Minneapolis Chamber Orchestra, Rutgers Summerfest Orchestra,
Bohuslav Martinu Philharmonic (Czech Republic), Pro Arte Orchestra of London, and has returned three times to
lead the Seattle Symphony. In 1992, he served as assistant to Michael Tilson Thomas with the London Symphony
Orchestra and L'Orchestre Nationale de France. Mr. Sheffer pursued further conducting study with Jorma Panula,
Tsung Yeh, Yuri Simonov, and Harold Farberman.
His orchestral compositions include a ballet (which he also conducted) for a benefit at Lincoln Center
(October 1993), and a Concerto for Soprano Saxophone and Orchestra, which had its premiere in Stockholm in
November 1996, with the Swedish Radio Symphony Orchestra. Six Piano Pieces, written in 1996, was
choreographed by Robert LaFosse and presented for the New York City Ballet Guild. Eos Orchestra was
founded by Jonathan Sheffer in 1995 and inaugurated at Alice Tully Hall with a festival of music by expatriate
novelist Paul Bowles. Eos was then presented in two concerts as part of the Lincoln Center Festival '96. Shortly
thereafter, Mr. Sheffer stepped in on one week's notice to conduct the Scottish Chamber Orchestra in four sold-
out evenings with the Martha Graham Dance Company at the Edinburgh Festival. In 1997, he conducted the
Brooklyn Philharmonic in performances of the Mark Morris dance company at BAM. Eos returned to the Lincoln
Center Festival in 1998 with a sold-out program entitled "Literally: Bernstein," including the world premiere of
Leonard Bernstein's ballet, Dybbuk, in its first concert performance.
A prolific composer of music for theatrical films and television, Mr. Sheffer has written a number of scores for
Hollywood films, including Pure Luck, Darkman (with Danny Elfman), Omen IV, Bloodhounds of Broadway, In a
Shallow Grave, and for PBS, Andre's Mother. More recently, Mr. Sheffer has conducted the recording of the
scores to several of Hollywood's biggest films, including Michael Collins, Batman Forever, Interview With the
Vampire, Alien 3, A Time To Kill, Heat, Batman & Robin, and Sphere.
Mr. Sheffer's works for the theater include two musicals, Ladies in Waiting and Going Hollywood, and a one-
act opera, The Mistake. An early work, Camera Obscura, will be performed this summer at the Festival des Arcs
in France on a double bill with Leonard Bernstein's Trouble in Tahiti. His next operatic project, Blood on the
Dining Room Floor, with text from the story by Gertrude Stein, will receive its premiere at the WPA Theater in NYC
in May 1999.
Eos
Concert Programs - 1995 to Present
DATE
PROGRAM
September 19, 1995
MUSIC OF PAUL BOWLES Festival
Alice Tully Hall
Igor Stravinsky
Suite #2 for Small Orchestra (1925)
Aaron Copland
Music for the Theatre (1925)
Paul Bowles
Pastorela: First Suite (1947)
Paul Bowles
Secret Words: A Suite of Six Songs (arr. Sheffer, 1995)
Paul Bowles
Concerto for Two Pianos & Orchestra (1946)
September 20, 1995
MUSIC OF PAUL BOWLES Festival - Bowles Chamber Music
The New School
Six Latin Pieces for Piano: Huapango #1, Tierra Mojada, El Bejuco, la Cuelga, Orosf,
Huapango #2 (El Soll (Miriam Conti, pianist)
Blue Mountain Ballads for Piano and Baritone (Chris Trakas, baritone;
Jonathan Sheffer, piano)
Seven Short Preludes for Piano (excerpts):
1, II., III., VI. Guayanilla, VII. Impasse de Tombouctou (Allison Voth, pianist)
September 21, 1995
MUSIC OF PAUL BOWLES Festival
Alice Tully Hall
Paul Bowles
Incidental Music from "The Glass Menagerie" (1944)
(Rosemary Harris & Tom Hulce, actors)
Paul Bowles
Suite for Small Orchestra (1932-33)
Peggy Glanville-Hicks
Letters from Morocco (1952) [text by Paul Bowles]
(Peter Kazaras, tenor)
Paul Bowles
Noonday, Suite of Mexican Dances (1937)
Silvestre Revueltas
Homage to Federico Garcia Lorca (1935)
Paul Bowles
The Wind Remains: A Zarzuela Based on
Federico Garcia Lorca (1941-42) (Choreography: Robert
LaFosse, stage director, Tina Landau)
July 25, 1996
HYPERINSTRUMENTS TRILOGY at the Lincoln Center Festival 1996
Alice Tully Hall
Hyperinstrumental music by Tod Machover:
Begin Again, Again for Hypercello (1991) Matt Haimovitz, soloist
Song of Penance for Orchestra & Hyperviola (1992) Paul Silverthorne, soloist
Forever and Ever for Orchestra & Hyperviolin (1993) Ani Kavafian, soloist
July 28, 1996
MERCE CUNNINGHAM: MUSIC at the Lincoln Center Festival 1996
Alice Tully Hall
John Cage
The Seasons
John Cage
Credo in Us
Morton Feldman
Ixion
Alexei Haieff
Princess Zondilda and Her Entourage
Lou Harrison
The Open Road
Eric Satie
Sting of the Jellyfish (Ruse of Medusa)
November 23, 1997
Workshop Benefit Performance of Santa Fe Opera "preview"
Apartment of
Peter Lieberson & Douglas Penick Ashoka's Dream
Leonard Bernstein
Concert Programs - 1995 to Present
Page 2
January 20, 1997
PERCEPTIBLE PROCESSES: MIMIMALISM & THE BAROQUE Festival
Alice Tully Hall
Arvo Pärt
Tabula Rasa
Ani Kavafian & Benny Kim, violins
Steve Reich
Eight Lines
Philip Glass
Violin Concerto
Eric Wyrick, violin
Handel
Solomon: Entrance of the Queen of Sheba
Handel
Lucrezia (staged dramatic cantata) Julianna Gondek, mezzo-soprano
January 22, 1997
PERCEPTIBLE PROCESSES: MIMIMALISM & THE BAROQUE Festival
Bach
From the Well-Tempered Clavier (arr. Sheffer)
John Adams
Shaker Loops
John Adams
Nixon in China (Act III)
February 17, 1997
THE CONCERTO GROSSO
Society for Ethical
Arcangelo Corelli
Concerto Grosso, Op. 6, Nr.7 (1714)
Culture Auditorium
Bohuslav Martinu
Concerto Grosso (1948)
Ernest Bloch
Concerto Grosso #1 (1925)
Philip Glass
Concerto Grosso (1992)
Alfred Schnittke
Concerto Grosso #3 (1985)
Eric Wyrick & Ellen Payne, violins
March 17, 1997
MYTH & MYSTIC
Alice Tully Hall
John Tavener
The Protecting Veil (1987) Steven Isserlis, violoncello
Peter Lieberson
King Gesar (1992) (semi-staged) Kurt Ollmann, baritone
March 22, 1997
WALL TO WALL BERNSTEIN
Symphony Space
The Works of Leonard Bernstein:
Kaddish Symphony No. 3 [excerpts] (1963)
Benediction from Concerto for Orchestra (1986-89)
Dance Suite for Brass Quintet (1989)
Piccola Serenata (1979)
Silhouette (Galilee) (1951)
So Pretty (1968) Angelina Réaux, soprano
Serenade (After Plato's Symposium) (1954) Ayako Yoshida,violin
Three Dances from "On the Town"
Leonard Bernstein's Broadway song collection
sung by Peter Kazaras & Harolyn Blackwell
May 12, 1997
Benefit for Classical Action
Alice Tully Hall
J.C. Bach
Sinfonia for Double Orchestra
Mark Adamo
Late Victorians (excerpts) (1996) Robert White, tenor
Maurice Ravel
Prelude from le Tombeau de Couperin
Billy Strayhorn
Lament for an Orchid
Claude Debussy
The Children's Corner Suite (excerpt)
J.S. Bach
Aria from Cantata No. 104, Wachet Auf
(arranged F. Hersch). With the Fred Hersch Trio
Haydn
Symphony No. 45 in F-sharp minor, Farewell Symphony
Classical Action Variations (1997 Eos Commission) composed by
William Bolcom, John Corigliano, David del Tredici, & Elliot Goldenthal
Concert Programs - 1995 to Present
Page 3
February 2, 1998
FROM THE 1939 WORLD'S FAIR Festival
Alice Tully Hall
Aaron Copland
From Sorcery to Science [staged puppet show]
Aaron Copland
Film Score to "The City" (excerpts)
Ralph Vaughan Williams
Five Variants of "Dives & Lazarus"
George Gershwin
Rhapsody in Blue [theater version]
Michael Boriskin, pianist
George Gershwin
Dawn of a New Day (arr. Sheffer) Michael Feinstein,
singer/pianist
William Grant Still
Song of a City
March 28, 1998
THE SAXOPHONE CONCERT
Society for Ethical
Igor Stravinsky
Ebony Concerto
Culture Auditorium
R.R. Bennett
Concerto for Alto Saxophone & String Orchestra John Harle, soloist
Darius Milhaud
la Création du Monde
Jonathan Sheffer
Concerto for Soprano Saxophone & Orchestra John Harle, soloist
April 23, 1998
CONCERTO GROSSO II
Society for Ethical
Handel
Concerto Grosso Op. 3, No. 2
Culture Auditorium
Ellen Taaffe Zwilich
Concerto Grosso (1985)
Alfred Schnittke
Concerto Grosso #1 (1914) Eric Wyrick and Ellen Payne,
soloists
Blomdahl
Concerto Grosso (1944)
May 21, 1998
Composer Rediscovery: ALEXEI HAIEFF, "THE AMERICAN STRAVINSKY"
Society for Ethical
Alexei Haieff
Eclogue for Harp & Strings
Culture Auditorium
Alexei Haieff
Princess Zondilda & Her Entourage
Alexei Haieff
Divertimento
Igor Stravinsky
Pulcinella (complete ballet, rev. 1965)
Paula Rasmussen, Carl Halvorson, Andrew Schroeder, soloists
Staging by Peter Kazaras, choreography by Sean Curran
July 23, 1998
LITERALLY: BERNSTEIN at The Lincoln Center Festival '98
Alice Tully Hall
Bernstein
Songfest (excerpts) (Angelina Reaux, mezzo-soprano, Richard
Bernstein, baritone, Philip Cutlip, bass)
Bernstein
Serenade (Anne Akiko Meyers, violin)
Bernstein
Dybbuk (world premiere, concert version)
Eos Orchestra
Eos
Lectures & Symposia
DATE
PROGRAM
September 20, 1995
MUSIC OF PAUL BOWLES Festival
The New School
Symposium: Panelists included Paul Bowles, Jonathan Sheffer, Philip Ramey & John
Rockwell.
January 21, 1997
PERCEPTIBLE PROCESSES: Minimalism & The Baroque Festival
Paula Cooper
Symposium: Panelists included Klaus Kertes, Brice Marden, John Rockwell, and Robert
Gallery
Rosenblum.
February 2, 1998
FROM THE 1939 WORLD'S FAIR Festival
Walter Reade
Film Screening: "The City" (dir. Pare Lorentz)
Theater
Symposium: From the 1939 World's Fair. Panelists: E.L. Doctorow, Paul Goldberger,
Vivian Perlis, John Rockwell, & Jonathan Sheffer.
March 28, 1998
THE SAXOPHONE CONCERT
Society for Ethical
Lecture: John Harle, saxophonist; composer Richard Rodney Bennett;
Culture Auditorium
and conductor/composer Jonathan Sheffer.
April 23, 1998
CONCERTO GROSSO II
Society for Ethical
Lecture: "Concert Life - What Makes a Good Program?"
Culture Auditorium
Panelists: Conductor Jonathan Sheffer and executive director Stephen Vann
May 21, 1998
Composer Rediscovery: ALEXEI HAIEFF, "THE AMERICAN STRAVINSKY"
Society for Ethical
Lecture: "Alexei Haieff & Balanchine - Neo-Classicism & Ballet"
Culture Auditorium
Panelists: Critics Martin Bernheimer and Linda Winer; conductor Jonathan Sheffer
July 8, 1998
Leonard Bernstein and his Collaborators
Kaplan Penthouse at
Moderated by Jonathan Sheffer, artistic director of the Eos Orchestra, with panelists
Lincoln Center
including Betty Comden, Adolph Green, Arthur Laurents and Stephen Sondheim.
July 13, 1998
Leonard Bernstein
Barnes & Noble at
The Eos Orchestra will present a lecture and performance, free to the public, at
Lincoln Triangle
theBarnes & Noble located across from Lincoln Center.
July 20, 1998
Leonard Bernstein as Student: Classical Education for Musicians
Kaplan Penthouse at
Moderated by Alexander Bernstein with panelists including composer and pianist Lukas
Lincoln Center
Foss, Ron Gwiazda from the Boston Latin School and Jonathan Sheffer, artistic director
of the Eos Orchestra.
July 23, 1998
Leonard Bernstein as Teacher: The Young People's Concerts and The Norton
Kaplan Penthouse at
Lectures.
Lincoln Center
A discussion featuring panelists involved in these ground-breaking programs.
Rev. 6/23/98
Eos
Eos Orchestra - Discography
PAUL BOWLES: MUSIC
BMG Catalyst 09026-68409-2
© 1996, BMG Classical
Compositions from the popular expatriate novelist. All world-premiere recordings.
The Eos Ensemble with Jonathan Sheffer, conductor
Alan Feinberg & Leslie Stifelman, pianos; Lucy Schaufer, mezzo-soprano; Carl Halvorson, tenor; Kurt Ollmann, baritone
Pastorela: First Suite (1947)
Suite for Small Orchestra (1932-33)
Concerto for Two Pianos & Orchestra (1946)
The Wind Remains: A Zarzuela based on Federico Garcia Lorca (1941-42)
Secret Words: A Suite of Six Songs (arr. Sheffer)
MUSIC FOR MERCE
BMG Catalyst 09026-68751-2
© 1997, BMG Classical
Works written for choreographer Merce Cunningham. All world-premiere recordings.
The Eos Ensemble with Jonathan Sheffer, conductor
John Cage The Seasons (1960)
Lou Harrison The Open Road (1947)
Alexei Haieff Princess Zondilda and Her Entourage (1946)
Morton Feldman Ixion (1958-1960)
John Cage Credo in Us (1942)
GERSHWIN - THE COMPLETE WORKS FOR PIANO & ORCHESTRA
The complete Gershwin piano & orchestra works, including the original theater version of Rhapsody in Blue.
Eos Orchestra with Jonathan Sheffer, conductor and Michael Boriskin, piano
George Gershwin
Rhapsody in Blue
George Gershwin
Concerto in F
George Gershwin
2ⁿᵈ Rhapsody
George Gershwin
/ Got Rhythm Variations
Recorded in February 1998 for BMG Classics. Release planned for Spring 1998.
AARON COPLAND: AMERICAN MASTER
The composer's original chamber version of Appalachian Spring and a program of American masterworks.
Eos Orchestra with Jonathan Sheffer, conductor
Aaron Copland Fanfare for the Common Man
Aaron Copland Appalachian Spring (original instrumentation for 13 instruments)
Aaron Copland Billy the Kid
Aaron Copland Music for Theatre
Recorded in February & April 1998 for BMG Classics. Release planned for Fall 1998.
All recordings are distributed world-wide by BMG Music. They are also available through Eos Music, 161 Avenue of the
Americas, Suite 902, New York, NY 10013. Phone inquiries: 212-691-6415. Fax inquiries: 212-691-6648. Email:
[email protected].
rev. 5/5/98
Eos
Eos Orchestra - Books
PAUL BOWLES: MUSIC
A collection of essays, letters, interviews and writings that describe and evoke the musical world of
composer and author Paul Bowles.
Edited by Claudia Swan. Foreword by Jonathan Sheffer. Contributors: Paul Bowles, Gena Dagel
Caponi, Peggy Glanville-Hicks, Eli Gottlieb, Philip Ramey, Rodrigo Rey Rosa, K. Robert Schwarz,
Howard Taubman, & Ben Yarmolinsky. Design: Bureau, NY. 152 pp.; 32 ill. © 1995 Eos Music, Inc.
ISBN 0-9648083-0-7.
PERCEPTIBLE PROCESSES: MINIMALISM & THE BAROQUE
This book features extraordinary images and essays exploring two groundbreaking artistic movements --
the Baroque and Minimalism - periods of contained musical gestures.
Edited by Claudia Swan. Foreward by Jonathan Sheffer. Contributors: Paolo Berdini, Elizabeth
Bergman, Eli Gottlieb, Philip Ramey, Steve Reich, K. Robert Schwarz, & Ben Yarmolinsky.
Design: Bureau, NY. 86 pp.; 26 ill. © 1997 Eos Music, Inc. ISBN 0-9648083-1-5.
1939: MUSIC & THE WORLD'S FAIR
This volume celebrates New York City's centennial with a collection of archival photos and essays
exploring the impact of the World's Fair in its own time and its reverberations over the past five and one-
half decades.
Edited by Claudia Swan. Foreward by Jonathan Sheffer. Contributors: John Bell, Rosemarie Haag
Bletter, Miles Krueger, Howard Pollack, & Robert Rosenblum.
Design: Bureau, NY. 96 pp.; 26 ill. © 1998 Eos Music, Inc. ISBN 0-9648083-2-3.
BOXED SET:
Volume
1
Paul Bowles: Music
Volume 2 Perceptible Processes: Minimalism & the Baroque
Volume
3
1939: Music & The World's Fair
Edited by Claudia Swan. Design: Bureau, NY. © 1998 Eos Music, Inc. ISBN 0-9648083-3-1.
All publications available through Eos Music, 161 Avenue of the Americas, Suite 902, New York, NY 10013.
Phone inquiries: 212-691-6415. Fax inquiries: 212-691-6648. Email: [email protected].
rev. 5/5/98
CRITIC'S NOTEBOOK
Bernstein
Revisited:
A Master
Of It All
Barton Silverman/The New York Times
IN HONOR OF BERNSTEIN AND THE CENTENNIAL Leonard Bernstein,
whose works will be played tonight at a free concert in Central Park,
conducting the New York Philharmonic in the park in August 1986.
E1
Weekend
MOVIES
K
FRIDAY, JULY 10, 1998
PERFORMING ARTS
The New York Times
By ANTHONY TOMMASINI
of Central Park, an event officially
Other coming events in the festival
the Music Shed. I was allowed to sit
To the bass players he said at one
Whenever Leonard Bernstein had to list his profession on some
offered as part of the New York City
promise more adventurous offer-
next to the violins for all the rehears-
point, "That low tune should be like
official form, like his income tax returns, he did not write composer,
100 Centennial festivities. The con-
ings. In addition to the Eos Orchestra
als.
Chaliapin singing." To a quartet of
conductor, pianist or any other limiting term. He called himself a
cert was jointly produced by the Lin-
concert, the pianist and conductor
Bernstein walked in for the first
bassoons he explained that a particu-
musician. He liked the word's embracing quality and venerable history.
coln Center Festival. Skitch Hender-
Michael Barrett will direct a pro-
session that summer on a hot August
lar passage was not a fanfare. "Ever
In earlier eras, all professional musicians were composers as well as
son and the New York Pops, and the
gram called "The Unknown Bern-
afternoon, wearing jeans and a
heard a Russian choir singing in
performers, not to mention teachers, proselytizers, organizers and
Lincoln Center Jazz Orchestra, will
stein" on July 20 at Alice Tully Hall,
sweatshirt that had Harvard spelled
elongated notes?" he asked. And to a
get things going. Then the lyricists
presenting smaller-scaled works for
in Hebrew characters. Short of
whatever else it took to keep the tradition going.
battery of brass players during the
Betty Comden and Adolph Green will
voice, piano and chamber ensemble.
Yet in evaluating Bernstein, people still look at his accomplishments
breath, stooped in the shoulders, his
fortissimo glissandi in the primordi-
separately. They argue over the quality of his compositions, his conduct-
sing songs from the great show they
The Hamburg Ballet, in three per-
sizable paunch sagging, he looked
al "Spring Rounds" section, he said,
wrote with Bernstein, "On the
formances at the New York State
endearingly unmythic. The students
"This has to be an assortment of
ing, his piano playing, even his legacy with the New York Philharmonic,
of which he was music director for 11 dynamic years from 1958 until 1969,
Town." Finally, Mr. Masur and the
Theater, on Wednesday and July 18,
greeted him with applause, whoops
groans and wails and troll sounds."
Philharmonic will offer a tribute to
will give the United States premiere
and bravos.
when he was made laureate conductor. But viewed in toto, which is the
After two days, Bernstein and the
two quintessential New Yorkers,
of "Bernstein Dances," with a score
way he viewed himself, he was one of the most dominant musicians of
First thing, Bernstein established
students had worked, in exhausting
this century. And the best thing about the Lincoln Center Festival's
Gershwin and Bernstein. Mr. Masur
that uses songs and music from all
the seriousness of the work at hand,
detail, through the first long part of
current Bernstein Celebration is the chance it provides to consider the
will conduct Bernstein's Overture to
stages of Bernstein's career.
and the importance of the tradition
this two-part piece. Coming back
"Candide" and the Symphonic
Yet the most intriguing events
wide scope, and some little-explored corners, of his work.
he represented, by explaining that
from a rehearsal break (every 45
Dances from "West Side Story." I
may be two symposiums at the Kap-
the orchestra parts on all the music
minutes or so, Bernstein, having per-
Bernstein, who would have turned 80 on Aug. 25, died eight years ago,
bet that Bernstein would have pre-
lan Penthouse in Lincoln Center's
stands were his own, a gift from his
spired right through his sweatshirt,
enough time, perhaps, for a re-evaluation of his work to make sense.
ferred a program that also included
Rose Building. The first, on July 20,
mentor, and Stravinsky's friend,
needed to change), he sensed that the
While he was alive, his presence was too galvanizing. This is the view of
Jonathan Sheffer, a composer and conductor who will direct the Eos
less familiar works. Even during fes-
"Leonard Bernstein as Student:
Serge Koussevitzky, who had always
young players could use a lift. So he
tive outdoor concerts, Bernstein
Classical Education for Musicians,"
used them. "So honor these parts,"
gave them a choice.
Orchestra in a festival program called "Literally Bernstein" on July 23
liked to challenge listeners.
will explore Bernstein's schooling
Bernstein instructed the orchestra
"I'll tell you what," he said. "Ei-
at Alice Tully Hall. In the program notes for this concert, Mr. Sheffer
I will never forget a summer con-
and training. The other, on July 23, is
with the gravity of a Talmudic schol-
ther we can play through Part One
compares the death of a "towering personality" like Bernstein to the
death of a parent, which "may be both tragic and the first opportunity for
cert I heard him do with the New
"Leonard Bernstein as Teacher: The
ar. The young musicians were in
for fun, no stopping, no matter what
York Philharmonic in a tent on the
Young People's Concerts and the
awe.
happens, I promise. Or we can begin
clarity."
campus of C.W. Post College when I
Norton Lectures." This should pro-
The rehearsals were exacting and
detailed work on Part Two." The
This week and next, the New York Philharmonic under Kurt Masur
vide a helpful context for Bernstein's
students looked at each tentatively at
is offering two programs as part of the celebration, presenting Bern-
was in high school during the mid-
detailed. Despite his penchant for
stein's first two symphonies, "Jeremiah" and "The Age of Anxiety,"
1960's. The program was Beetho-
work, because everything he did was
easily getting emotive and weepy, he
first, but soon the consensus among
ven's "Eroica" Symphony and Stra-
driven by a passion, even a compul-
was single-minded and mentally so-
them was clear; they wanted to be-
along with music by composers Bernstein championed, most notably
sion, to teach.
vinsky's "Rite of Spring." And in
ber, never asking for a particular
gin work on Part Two, they wanted
Mahler. Bernstein's early symphonies are the efforts of a clearly gifted
I witnessed the exhilaration of his
Bernstein's readings, there was a
passage to be "anguished" or "joy-
Bernstein to keep teaching them, de-
young musician to fashion American jazz, Hebraic chant, Mahlerian
striking reciprocity between the
teaching up close during the summer
ous" or anything so vague. All his
manding of them and revealing the
angst and Stravinskian propulsiveness into big, sweeping statements.
Classical symphony, which he made
of 1987 at the Tanglewood Music Cen-
suggestions were explicit and musi-
secrets of this astounding piece. The
How we react to them today probably depends upon whether they strike
sound audacious and modern, and
ter in Lenox, Mass. For six days,
cally referential.
fun of playing it would come soon
us as the searching sound of an imperfect but impassioned new voice or
Bernstein rehearsed a student or-
the path-breaking 1913 ballet, which
enough.
the slapdash product of an overreaching composer with vacuum-cleaner
chestra in "The Rite of Spring," in
was thrilling and terrifying, yet
ears. Bernstein will loom over a free concert tonight on the Great Lawn
seemed compositionally inevitable.
preparation for a special concert in
E6
THE NEW YORK TIMES, FRIDAY. JULY 10, 1998
Revisiting Leonard Bernstein, the Magnetic Master of It All
In explaining sonata form, he can't
Once Bernstein left the full-time
In 1973, Mr. Sheffer was taking a
I answered by mentioning several.
Continued From Weekend Page 1
avoid using what he calls those "nas-
Philharmonic post, he slowly with-
class with Bernstein, who was then a
of his recordings as a pianist that In
July 20
ty road map signs," the sectional
drew from the Young People's Con-
guest professor at Harvard, when
genuinely treasure, especially an ar-
The Young People's Concerts rep-
terms he had "never been fond of" -
certs. Did he also sense that televi-
one day Bernstein showed up with
resting 1947 performance of Cop-
"LEONARD BERNSTEIN AS STUDENT:
CLASSICAL EDUCATION FOR MUSI-
resent an entirely different facet of
exposition, development and reca-
sion was already getting restless
the just-completed score for "Dyb-
land's Piano Sonata.
CIANS," Kaplan Penthouse, Rose
Bernstein the teacher. And it's easy
pitulation. But he explains the over-
with substance? It's a question that
buk" in a four-hand piano arrange-
Bernstein brightened.
Building, 165 West 65th Street, 10th
to poke fun at his persona from these
all concept in terms of simple three-
should be put to one panelist in the
ment. With a student pianist to help
"The one I like is my record of the
floor. A discussion featuring panelists
famous live-broadcast perform-
part (ABA) form, and boosts the
symposium about the concerts: Rog-
Mozart Piano Quartets with mem-
who shared Bernstein's education at
out, Bernstein played the score right
ances: Uncle Lenny, the cool daddy
confidence of his young listeners by
er Englander, the producer at CBS
Harvard. 6 P.M. Free.
through, Mr. Sheffer said. At the end,
bers of the Budapest Quartet," he
of music education who will make it
giving them a diversity of compre-
who was responsible for these vision-
the giddy composer leaped to his feet
said. "Now that one is good."
"THE UNKNOWN BERNSTEIN," Alice
ary broadcasts.
Tully Hall. A program of small-scale
all clear for us, or, in Tom Wolfe's
hensible examples, from nursery
memorable phrase, Bernstein, "the
tunes to a Bizet aria.
Bernstein's legacy as a conductor
and shouted, "Another Leonard
works for voice, piano and smaller in-
rests safely with his enormous and
Bernstein triumph!"
strumentation. Performers include
village explainer."
Singing a Beatles Song
indispensable recorded discography.
He was seldom so confident. All his
Paula Robison, flutist; Carter Brey,
A Celebration
But looking at tapes of these con-
But to assess the depth of his legacy
life, Bernstein worried that other
cellist; Michael Barrett, pianist, and
others. 8:30 P.M.
certs today reveals what an astonish-
Just when he senses the kids need
as a composer, his music will need
musicians considered him a brilliant
ing achievement they were. Bern-
The Bernstein Celebration at
a charge, he uses a Beatles song,
greater exposure. A little more toler-
but superficial Jack-of-all-trades.
July 23
stein was the first great artist to
Lincoln Center Festival '98
"And I Love Her," to illustrate a
comprehend the power of television
ance in university circles would help
This struck me the only time I ever
point, playing it on the piano, singing
interviewed him, during those "Rite
runs through July 23 at Lin-
"LEONARD BERNSTEIN AS TEACH-
as an educational medium, and he
it in his croaky baritone and inviting
too. Of particular interest in this
of Spring" rehearsals at Tangle-
coln Center. Individual tickets
ER: THE YOUNG PEOPLE'S CON-
knew he had the perfect combination
them to laugh a bit at him, which
regard should be Mr. Sheffer's per-
are $20 to $60. Tickets are
CERTS AND THE NORTON LEC-
formance of the seldom-heard Bern-
wood. Bernstein was reluctant to do
TURES," Kaplan Penthouse, Rose
of telegenic charisma and musical
they do. But as the camera pans the
stein score to the Jerome Robbins
interviews just then, having just
available at the Avery Fisher
Building, 165 West 65th Street, 10th
brilliance for the job. Nothing educa-
audience, you see the face of en-
ballet "Dybbuk Variations," first
been burned by Joan Peyser's tell-
Hall box office or through Cen-
floor. A discussion featuring panelists
tional television has done since has
thralled children who get the point.
all, salacious, unauthorized biogra-
tercharge, (212) 721-6500.
involved in these programs. 6 P.M.
Eventually he discusses the com-
performed in 1974 by the New York
Free.
surpassed these broadcasts.
plex, gigantic form of the first move-
City Ballet.
phy. So to win his confidence, I men-
Take, for one, a program from the
"LITERALLY BERNSTEIN," Eos Or-
tioned that I had studied with a re-
fall of 1964, "What Is Sonata Form?"
ment of Mozart's "Jupiter" Sympho-
"The point of this entire program
Tuesday
chestra, Alice Tully Hall. Program in-
To begin, Bernstein walks to the po-
spected colleague of his, the pianist
cludes a world premiere concert per-
ny, which he performs with the Phil-
is to demonstrate the sophisticated
Leonard Shure.
NEW YORK PHILHARMONIC: BERN-
formance of "Dybbuck"; "Songfest"
dium and greets the audience, filled
harmonic twice, and very well in-
literary and intellectual aspects of
STEIN/COPLAND/IVES/GERSHWIN,
excerpts and "Serenade." 8:30 P.M.
with youngsters, by saying: "It's
deed. Never in this program do we
Bernstein's compositions,"
Mr.
Avery Fisher Hall. 8 P.M. Bernstein's
good to be back after a nice summer.
hear one word about Mozart the
Sheffer said recently.
A Mini-Tirade
"Jeremiah" (Symphony No. 1) will be
And since you are all looking so
Wunderkind or Mozart the strug-
Referring to "Dybbuk," which re-
performed, along with works by Ives,
He seemed warmer for a moment,
Gershwin and Copland.
bright and ready for work, I decided
gling Viennese composer. It's all
lates the Hebrew tale of a young man
but immediately launched into a
to try something I've avoided for
close listening, analysis, comparison
and woman whose love and intended
mini-tirade about the way he was
Wednesday
years. Not because it's so difficult,
and the joy of digging deeper into
marriage had been sworn to by their
perceived.
but because so many words have
music.
fathers, even before the children
"BERNSTEIN DANCES," New York
"I get in trouble for doing every-
been spilled about it in music appre-
State Theater. A ballet revue by John
Other Young People's Concerts
were born, Mr. Sheffer added: "I
thing," he said. "The composers
Neumeier based on the music of Leon-
ciation classes."
were similarly substantive. Bern-
think it's one of Bernstein's most
don't consider me a real composer,
ard Bernstein. The Hamburg Ballet. 8
Ready for work? Cultural pro-
stein explored modern music, modal
intensely composed works. The form
the conductors don't consider me a
P.M.
gramming today is more concerned
music, opera, jazz, the music of Sibe-
of each movement brilliantly reflects
real conductor and the pianists don't
NEW YORK PHILHARMONIC: BERN-
with entertaining or even placating
lius. He even did one program exam-
what is happening in the story. It's
consider me a real pianist."
STEIN/COPLAND/IVES/GERSHWIN,
viewers than with asking them to sit
ining Beethoven's rejected sketches
rigorous, attentive to the numerology
What was going on? Was he
Avery Fisher Hall. 8 P.M.
up, pay attention and work. Of
for the Fifth Symphony and speculat-
of Hebrew alphabet and the mysti-
shamelessly fishing for a compli-
course, Bernstein knew how to make
ing as to why he rejected them.
July 18
cism of numbers. It will surprise
ment? Or was the world's most fa-
work fun, not just because he was so
people."
mous classical musician revealing
"BERNSTEIN DANCES," New York
engaging, but because he made com-
his true insecurity, thinking that I, no
State Theater. 2 and 8 P.M.
plex musical concepts understand-
able and audible.
doubt, was another one of those pian-
ists who didn't consider him a real
pianist.
Eos
Eos Orchestra
Jonathan Sheffer,
Artistic Director & Conductor
PRESS MATERIALS
For more information, contact:
Laura Kemsley Ames
Director of Operations & Development
212.691.6415 tel / 212.691.6648 fax
[email protected] / www.eosmusic.com
September 8, 1998 Vol. XLIII No. 36 America's Largest Weekly Newspaper www.villagevoice.com
Kaballistics
Lilith
particularly fortunate, given an ending where
Climmerglass Opera
neither Eve nor Lilith find victory but are bound
Dybbuk
agonizingly to each other for eternity.
Eos Orchestra
Drattell's music feeds on that friction and
Lincoln Center Festival, July 23
hurls at you a shrewdly balanced mixture of
grating dissonance, throbbing lyricism, dark-
BY LEIGHTON KERNER
shadowed threnody, and pounding percussion.
Yes, she's basically a conservative, but Drattell,
he common noun is "cabala,"
like a few other composers on the current scene,
signifying a secret, perhaps con-
knows how to charge up the diatonic engines
spiratorial system of mystical lore
and burn up the road. Soprano Lauren Flani-
or even secular dealings among
gan, whose turf reaches from Off-Broadway and
individuals. The low end of the
Glimmerglass to La Scala, and for whom Drat-
category is "cabal," of which you may choose
tell has written much other potent music,
from among the range of current examples in
soared and blazed as Eve. She also curdled
politics, the arts, and commerce. The proper
blood with her (required) screams. The rest of
noun Kabbalah refers to a Hebraic system of
the cast came from Glimmerglass's junior con-
theosophy that involves not only apocryphal,
tingent, and that included the visually and vo-
cautionary legends, but also elements like
cally sultry Elizabeth Shammash as Lilith. Glim-
numerology and special letters and words im-
merglass's music director, Stewart Robertson,
posed on any attempt to interpret the stories.
conducted the singers and an often boiling
Why such a topic turns up in a report on
chamber orchestra with electric precision.
The piece, by the way, was to
have been performed in New York
last year at the perfectly suitable
Dicapo Opera Theater under 92nd
Street Y auspices, but a dispute
with the musicians' union
scrubbed it. However, since Drat-
tell is resident composer for New
York City Opera, as well as Glim-
merglass, maybe Lilith can even-
tually be staged here, complete
with the long stretches of chilling
music (played at Glimmerglass)
for the dancing monsters.
THE KABBALAH'S dybbuk leg-
end is better known than the Lilith
affair, thanks largely to S. Ansky's
1920 play, Between Two Worlds, a
title that has almost universally dis-
appeared in favor of the subtitle,
The Dybbuk. (Shulamit Ran's re-
cent, gripping opera on the subject
restores Ansky's original prefer-
ence.) Bernstein's Dybbuk, com-
pleted in 1974 and first danced that
year at New York City Ballet (and
never again except for excerpts),
with Robbins's choreography, is
Deborah Drattell, the composer of Lilith, a shrewdly balanced
one of the composer's most struc-
mixture of grating dissonance and throbbing lyricism
turally and emotionally complex
works. Only the original, and per-
music hinges on two works performed this
haps abandoned, version of his opera A Quiet
summer whose sources are part of the Kabbalah.
Place compares with it in that respect. Because
One is Deborah Drattell's Lilith, which had its
no dance performance of Dybbuk is allowed un-
the village
world premiere August 16 in a concert version
less Robbins's choreography is used, and be-
at Glimmerglass Opera, near Cooperstown,
cause he exhibited no intention to revive his bal-
New York. The other is an Eos Orchestra-Lin-
let up to the time of his recent death, concert
coln Center Festival revival, also in concert
performances are now the only way to hear this
form, of Leonard Bernstein's score for the Je-
nearly 50-minute score.
rome Robbins ballet Dybbuk.
Jonathan Sheffer conducting his Eos Or-
Lilith first. According to tradition (but not
chestra at Tully Hall for the Lincoln Center Fes-
the Bible), Lilith was formed from earth-as
tival certainly delivered a performance full of
was Adam-and not from his rib; she became
clashing, stomping rhythms, ghostly sound-
his first wife. But she angered God by demand-
clouds, and keening song. Philip Cutlip and
ing rights equal to Adam's, the grisly con-
Richard Bernstein (no relation to the composer)
sequences of which provided the downside to
negotiated their ornate chants dramatically
the Glimmerglass season's celebration of Susan
enough to turn the now invisible ballet into a
B. Anthony-style feminism. Being rejected, Lil-
scary music-theater of the mind. Bernstein may
ith became a queen of demons and led men
have used some of the Kabbalah's numerology
into sexual perversions (inappropriate relation-
(the vital 18 for blessings at prayer, for instance)
ships?) that produced monsters. The libretto by
and its word systems, and he may have made
David Steven Cohen, better known as a TV and
one of his rare, apprehensive invasions into se-
film writer, begins at Adam's funeral, with Eve,
rialism with this score, but what comes at you
her children, and a small chorus of Lilith's prog-
most strongly is the (here we go again!) friction
eny at the graveside. Ritual Hebrew chant and
among musical languages. Old-style Hebraic
steel-edged English lamentation and vitu-
chant becomes, for example, just as powerful a
peration are juxtaposed throughout the brief
force as the dance's atonality and ostinati. The
(about an hour) work, and the friction between
fact that the music ends in unearthly instru-
languages shoots out the right sparks. This is
mental whispers should warn you.
V
JEWISH THE SAMUEL EXOOUS OF
AUGUST 10, 1998
CLASSICAL MUSIC PETER G. DAVIS
Portrait of an Artist
Lincoln Center's tribute to Bernstein is wide-ranging but far less exuberant
than the man it set out to bonor: Caramoor's 'Lucrezia Borgia' bits its mark.
HE MUSICAL INGREDIENTS OF THIS
summer's Lincoln Center Festival
were low-key and not remarkably
enterprising. Even A Bernstein Cel-
ebration, which seemed to want to
be the festival's central musical
event, came off as something of a
knee-jerk occasion. I know, Leo-
nard Bernstein would have been 80 this
month, and his hometown had to mark the
date somehow, but how much imagination
does it take to hit on the idea of celebrating
America's most famous musician, one
whose whole life was a frantically orches-
trated fiesta? Besides, his colorful legacy, al-
ready tirelessly promoted by his family and
those with a commercial stake in it, has
enough built-in energy to sustain itself.
What this celebration lacked in any case was
a major-focus event that might put a fresh
perspective on such an overexposed figure-
a first New York performance of A White
House Cantata perhaps, an effort to salvage
the best music from Bernstein's spectacular
1976 Broadway flop, 1600 Pennsylvania
Avenue. Or even another attempt to disci-
pline that perennially unruly problem child,
Candide, would have been welcome, if only in concert.
from musicals: and two chamber arrangements, Halil, a
Under the banner of "Bernstein: Composer and
late work originally for flute and orchestra, and the two
Leonard
Champion," the Philharmonic led by Kurt Masur of-
meditations from Mass. Unlike some composers, whose
Bernstein,
fered two predictable concerts in honor of its former
unpublished posthumous manuscripts often reveal ma-
circa 1967.
music director: His first two symphonies together with
jor treasures, Bernstein apparently gave us everything
music by Mahler, Copland. Gershwin, and Ives, scores
he had while he was alive.
closely identified with Bernstein the conductor. Any
The meatiest event was presented by the Eos cham-
maestro would probably be disadvantaged presiding
ber orchestra conducted by Jonathan Sheffer. which
over such programs, especially on this memory-charged
performed three scores that may well prove to be Bern-
occasion, and Masur hardly has the American concert
stein's most enduring contributions to the concert
idiom in his blood. Still, it was instructive to hear the
repertory: the Serenade for violin, the Dybbuk ballet.
two symphonies again. I've never much cared for the
and Songfest, a collection of songs set to texts by a di-
sweaty lamentations of the Jeremiah Symphony, in
verse group of American poets. Like virtually every-
which the 25-year-old composer seems to be self-con-
thing Bernstein wrote, these pieces have a literary basis.
sciously trying to meet the high expectations of two
and all three show how passionately he responded to
stern paternal figures, his actual father and conductor
words and ideas when they truly fired his imagination.
Serge Koussevitsky. The Age of Anxiety Symphony is a
The Serenade is in effect an ingeniously plotted violin
more original and characteristically exuberant piece.
concerto reflecting the profound discussion of love at
particularly if one just listens to the music and ignores
Plato's famous dinner party in the Symposium. Dybbuk
the W.H. Auden poem that the score so diligently at-
may be the composer's toughest compositional nut to
tempts to mirror.
crack, a gnarled web of sound tightly woven from folk
"The Unknown Bernstein" was the subject of a con-
music, cantorial prayer. and serial techniques. It's a
cert prepared and presented by pianist-conductor
shame that only excerpts from Songfest could be per-
Michael Barrett. one of the great man's close musical as-
formed-this score may be Bernstein's masterpiece, dis-
sociates during his last years. Nothing startling was un-
tinguished by both its careful workmanship and deep
veiled in this subdued program consisting mainly of
expressive resonance. Anyone who could write three
amiable scraps from Bernstein's bottom drawer: brief
such imposing scores would have to be numbered among
piano pieces written for family and friends: songs cut
America's finest composers.
Arts Ideas
The New York Times
SATURDAY, JULY 25, 1998
FESTIVAL REVIEW/Music
The Role of the Literary
In the Music of Bernstein
By JAMES R. OESTREICH
may, in fact, have been the independ-
ence of a well-trained mind that al-
Leonard Bernstein, who died in
lowed Bernstein to go his own way -
1990, would have turned 80 next
make that ways - with such assur-
month, and various aspects of his
ance, flying in the face of orthodoxy
remarkable life and achievements
if not always fashion.
have been commemorated in recent
And one way was the American
weeks, notably at the Lincoln Center
Festival. To an extent, it was his
way. That was a given in the 1977
work "Songfest," selections from
education at the Boston Latin School
which opened the concert on Thurs-
and Harvard that was celebrated on
day. Its 12 songs draw mainly on
Thursday evening in "Literally:
American poets, ranging from the
Stephanie Berger
Bernstein," the program of the Eos
venerable (Whitman and Millay) to
Orchestra at Alice Tully Hall that
Jonathan Sheffer conducts the Eos Orchestra in a tribute called
the hip (Lawrence Ferlinghetti), and
ended the festival's Bernstein series.
embody sympathetic and idiomatic
"Literally: Bernstein" on Thursday at Alice Tully Hall.
"This concert addresses the fact
that Leonard Bernstein received a
responses from the composer.
Four numbers were presented
thorough classical education, and
here, those recently reorchestrated
Bernstein and the Literary
that literature played an enormous
for small orchestra by Sid Ramin,
role in his musical life," Jonathan
George Steel and Charles Harmon.
Ansky. This was said to be the first
Sheffer, Eos's artistic director,
Whitman's "To What You Said"
Continued From First Arts Page
complete performance of the work
wrote in his program notes.
made the strongest impression, in an
since the year of its birth and "its
An artist's education may seem an
excellent reading by Richard Bern-
finale in Ms. Meyers's well-matched
odd thing to single out for celebra-
premiere as a concert piece."
tion, since it is so much of a piece
stein, a bass-baritone. Philip Cutlip, a
interchange with Roger Shell, the
But it is not a concert piece, or at
with the mature creator. But when
baritone, and Angelina Réaux, a
orchestra's principal cellist.
least not an entirely effective one,
mezzo-soprano, had appropriate
the liberal arts draw scorn in many
This concertolike work, for all its
seeming fragmentary and repeti-
sport with Gertrude Stein's inscruta-
quarters and canons of all sorts are
greater formality and for all the an-
tious at times despite its many lovely
ble "Storyette H.M." and alternated
thought by some to contaminate cul-
tiquity of its subject, Plato's "Sym-
and exhilarating moments.
ture, Mr. Sheffer's notion is mildly
in works by Mr. Ferlinghetti and
posium," is hardly less American
The male singers were back as
Julia de Burgos.
provocative.
Bernstein's "Serenade," of 1954,
and up-to-date in sound than "Song-
soloists, Mr. Bernstein again sound-
Here, after all, was a composer
followed in an eloquent performance
fest."
ing especially strong. Here, as
steeped in canons, musical, literary
by the violin soloist, Anne Akiko
Another Bernstein way was that of
throughout the evening, the orches-
and otherwise; a composer who took
Meyers, who persuasively evoked
his Jewish heritage, which was rep-
tra responded capably and eagerly to
inspiration freely from his European
the work's conceit of conversation.
resented here by the ballet score
Mr. Sheffer's direction, though the
forebears and from ancient texts.
The dialogue became literal in the
"Dybbuk," a 1974 adaptation of a
overall sonority was often diffuse.
Yet was there ever a musician more
Yiddish play by the pseudonymous S.
In all, a stimulating evening.
attuned to his own time and place? It
Continued on Page B12
THE NEW YORK TIMES, WEDNESDAY, APRIL 1, 1998
REVIEWS
When Jazz
Influences
Classical
By ANTHONY TOMMASINI
Jonathan Sheffer, the music director and
conductor of Eos Music, now in its third
season, clearly has his hands on some solid
financial sources and generous patrons. Be-
sides presenting concerts, Eos has organ-
ized interdisciplinary festivals, released CD
recordings and even published three books.
But concerts are its main concern, and
Saturday night's orchestra program at the
New York Society for Ethical Culture, which
focused on 20th-century composers from the
classical tradition who have been influenced
by jazz, was a typically ambitious Eos Mu-
sic event.
The largest works were two recent con-
certos written for the impressive British
saxophonist John Harle, who was the fea
tured soloist. The 1988 Concerto for Alto
Saxophone and String Orchestra by the Brit-
ish composer Richard Rodney Bennett is a
rhapsodic piece in which an intriguing sense
of detachment between soloist and orches
tra is often created. There are long stretch
es where the alto saxophone almost floats
ruminatively or quizzically, above fidgety
string writing with just hints of jazz in it
The main problem with the other work
featuring Mr. Harle, the Concerto for So
prano Saxophone and Orchestra composed
in 1966 by Mr. Sheffer, is the scoring: a
large orchestra (here more than 60 players
with a healthy contingent of brass and per
cussion) often overpowered the plaintively
reedy tones of Mr. Harle's instrument. M
Sheffer likened the form of his concerto to a
tone poem, but it just sounded amorphous
The program also offered two contrasting
jazz-spirited works. Stravinsky's brilliantly
economical "Ebony Concerto" was written
in 1946 for the Woody Herman jazz band
The music sounds like the work of a compos
er who has heard all about jazz, but not
exactly heard it himself. Still, it is a bracing
and perky piece.
Darius Milhaud's ballet score "La Cré
ation du Monde" was written by a French-
man who had absorbed jazz firsthand in
Harlem. But, though Milhaud's evocations
are more authentically jazzy, the music
suffered by comparison with Stravinsky's.
Mr. Sheffer and his players brought skill
and verve to all the performances.
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Tomorrow never dies: futuristic images on a ticket
Fairy gathering
NEW YORK WORLD'S FAIR COMBUNATION 1939 BOOK
book, left, and a postcard from the 1939 World's Fair.
The Eos Ensemble revives music from
TICKETS 1540
work's Tin Pan Alley origins without
1375
entirely forsaking the concert world."
Flushing Meadows' 1939 World's Fair
Sheffer agrees. "Every
performance of the Rhapsody you
ead out past Flushing Meadows,
predict the
hear today Is done with 50 strings,
H
and you'll see the remnants of
future more
and it just seems over the top," he
the future-or, to be more
accurately
explains. "Gershwin was most at
precise, the relics of the "World
than anything
home in the Broadway pit, and
of Tomorrow," as the 1939 World's
else at the '39
personally that's the way I think his
Fair humbly billed itself.
Fair? Sheffer says it did,
work should be done."
But as the Eos Ensemble's
stating in his program
So prevalent was Gershwin's
director Jonathan Sheffer points
book that both the rural
spirit that-with the help of his
out, hearing the musical echoes of
simplicity of The City and
lyricist brother Ira and the
that year takes a little more effort,
the parallel harmonies of Sorcery
death two years earlier. "Gershwin
orchestrator Kay Swift-he provided
since most of the works written for
clearly anticipated Copland's folksy
was the spiritual godfather to the '39
the Fair's theme song, "Dawn of a
the occasion have maintained
Americana period of the 1940s.
Fair," says pianist Michael Boriskin,
New Day," sung this week by
about as much cultural currency
But Copland's presence paled in
who performs Rhapsody in Blue in its
Michael Feinstein.
as the Unisphere.
comparison to that of George
1926 chamber orchestration, which
Commissioning a dead Gershwin
Eos's idea to resuscitate music
Gershwin, who dominated the
exists only in manuscript at the
over a live William Grant Still (the
from the 1939 World's Fair
proceedings despite his untimely
Library of Congress.
"Jackie Robinson of classical
originated in 1995, when Copland
The chamber version
music," as Sheffer terms him) is a
biographer Vivian Perlis alerted
was the one Gershwin
touchy racial subject even today.
Sheffer to the composer's music for
himself played, since
Still was originally selected as the
From Sorcery to Science-a puppet
today's standard full-
Fair's official composer by a blind
play commissioned for the 1939
orchestra version wasn't
listening panel. His daughter, Judith,
Fair's House of Pharmacy. The
published until 1942.
has claimed publicly for years that
score has languished, unperformed,
Authenticity aside, both
her father's piece, Song of a City
ever since.
Sheffer and Boriskin-
(an anthem for chorus and
While tracking down the score
currently recording
orchestra opening Eos's concert),
in the Library of Congress, Sheffer
Gershwin's complete
was relegated to the Fair's
also found the composer's score to
works for orchestra and
Perisphere when organizers
Pare Lorentz's 1939 futuristic film,
piano for BMG Conifer-
discovered he was black.
The City. For Sheffer, who also
claim a preference for
Judith Still has few official
composes and conducts in
the smaller version.
corroborators, and Sheffer refuses to
Hollywood, the discovery of both
"The Rhapsody can
take sides. But the composer's
works was overwhelming.
survive anything," says
daughter does have one bit of
"Copland didn't consider himself
Boriskin. "But if you think
history to support her claim: Her
above or beyond anything," he says.
about the spirit of the
father couldn't even enter the
"He did it all, and each of these
piece-a brash snapshot
fairgrounds to hear his music until
works has all the excitement of
of the whole jazz age-
the designated "Negro Day."
someone trying out a new medium."
then a leaner, more
-Ken Smith
And the fact that both were written
athletic orchestration
for the World's Fair raises an
Gershwinner: Michael Boriskin plays music by the
makes that point
The Eos Ensemble performs at Alice
interesting question: Did the music
1939 World's Fair's favorite composer.
brilliantly. It shows the
Tully Hall on Monday 2.
1.95/$2.95 Outside NY Metro Area
Jan 29-Feb 5, 1998 115
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SAN FRANCISCO EXAMINER
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Cage: "The Seasons," "Credo in
Us"; Harrison: "The Open Road";
Haieff: "Princess Zondilda and her
Entourage"; Feldman: "Ixion." Eos
Ensemble conducted by Jonathan
Sheffer. BMG Classics
09026-68751.
One of the records of the year. It
was a brilliant idea to assemble
some of more illustrious scores spe-
cifically composed for dancer-cho-
reographer Merce Cunningham in
the early part of his career. The
execution by New York's superb
contemporary music group hits the
heights, too.
Here's Cage, offering both a no-
tated score in "The Seasons" and
chance elements in "Credo in Us."
Here's Lou Harrison, before Asian
music found its way to the heart of
his aesthetic. Here's the under-
rated Alexei Haieff and Morton
Feldman with the music that ac-
companied Cunningham's memo-
rable "Summerspace."
In short, this is a portrait of the
American avant-garde at a particu-
lar point in its history and should
interest both dance and music fans
alike. Grab it up; releases like this
don't remain long in the catalog.
The New York Times
FRIDAY. JANUARY 24, 1997
CRITIC'S NOTEBOOK
Minimalism as an 18th-Century Idea
Sheba" and Mr. Glass's Violin Con-
the momentary glint of sunlight on a
By PAUL GRIFFITHS
certo (with Eric Wyrick as soloist,
raised sword or the odd tuck of a
charmingly and unpretentiously giv-
passing uniform.
Jonathan Sheffer is a musician
ing us his practice session), two of
The worry at these concerts was of
with a mission, or rather with sev-
the works in Monday's concert, there
rather too many odd tucks. Mr.
eral missions. Speaking on Tuesday
is not much further to go. Mr. Pärt
Sheffer likes not only intelligent pro-
night at a symposium he had organ-
has said how much he loves Vivaldi,
grams but also long ones: the three
ized at the Paula Cooper Gallery in
and "Tabula Rasa," played at the
pieces before intermission on Mon-
Chelsea, he defended with quiet in-
same concert, bore him out, as it
day - the Pärt, the Glass and
tensity the essentialness of concerts,
always does.
Reich's "Eight Lines" - would have
for immediacy of contact between
On Wednesday Mr. Sheffer cheat-
been sufficient for an entire concert.
public and performers, and unpre-
ed a bit by giving us his own arrange-
Rehearsal time must therefore have
dictability of content. He also wants
ments of pieces from "The Well-
his concerts to make a point.
Tempered Clavier," done up to in-
been at a premium, which might
"Programming," he has written,
clude chasing Reichian marimbas
account for some raggedness from
"constitutes the very identity of an
and Adamsish strong pulsations (as
the strings (in togetherness and in
ensemble." And in two Alice Tully
well as weird touches of Alfred
tuning) and a hesitancy in the key-
Hall concerts with his own Eos En-
Schnittke). Even so, afterward, the
board playing that sapped energy
semble, on Monday and Wednesday,
real Adams - "Shaker Loops" and
from the Reich.
he showed us what he meant.
the third act of "Nixon in China" -
Mr. Sheffer is a decisive conduc-
Previous Eos endeavors have fo-
came from a different world.
tor, and when his players are totally
cused on the music of a writer (Paul
History advises caution in compar-
with him, as they were in the Glass
Bowles)
and
choreographer
ison. Creative rediscoveries of Bach
and the Handel, what results is excel-
(scores written for Merce Cunning-
date back to Mozart, by way of We-
lent. But he needs to temper his
ham); this time the theme was larg-
bern, Stravinsky, Brahms, Beetho-
enthusiasm with practicality.
er and more conjectural. It had OC-
ven and almost everyone else: it is a
"Nixon," though, is music that
curred to Mr. Sheffer, as it must
long conversation that the minimal-
adores enthusiasm, and this taste of
have occurred to many of us listen-
ist phone call has a place in. And, as
the score, coming nearly 10 years
ing to the C major Prelude from the
was suggested at the symposium, the
after the premiere, sharpened the
first book of "The Well-Tempered
connection depends not on Bach as
feeling that a full-scale production is
Clavier" or the opening of Handel's
played in 1997 but on Bach as heard
overdue. When one comes, it could
"Zadok the Priest," that minimalism
in the 1950's and 60's, when the mini-
was invented in the 18th century.
malist generation was growing up:
usefully employ Mr. Sheffer's cast.
Hence his idea of presenting music
the Bach of Glenn Gould and Wendy
James Maddalena, the original
by Bach and Handel alongside that of
Carlos.
Nixon, showed again the quiet lyrical
Arvo Pärt, Steve Reich, Philip Glass
Musicians now, responding to ex-
desperation of a man both impatient
and John Adams.
periments in Baroque style that have
and impotent; Juliana Gondek
The lessons of these concerts, how-
intervened, would be inclined to
clucked prettily as Pat; Peter Ka-
ever, did not have much bearing on
phrase more freely, as the delicious
zaras was stunning as the wild Mao
the thesis. Once one has noted the
oboes did in "The Queen of Sheba."
of this opera (madman or dream-
common foundation in arpeggios of
What has come to matter is less the
er?) and Chris Pedro Trakas took us
Handel's "Entrance of the Queen of
drill of battalions of arpeggios than
gently into the night as Chou En-lai.
American
Record Guide
November/December 1996
BOWLES: First Suite; Suite for Small Orch-
director Jonathan Sheffer) are charming set-
estra; 2-Piano Concerto: The Wind Remains:
tings of a fascinating diversity of writers,
Secret Words
including Lorca. Jane Bowles, Gertrude Stein,
Carl Halvorson, t: Lucy Schauffer, mz: Kurt
and Bowles himself. As Virgil Thomson re-
Ollmann, bar-Catalyst 68409 (BMG) 70 minutes
marked. "The texts fit their tunes like a peach
The Bowles music revival continues right
its skin." Tenor Carl Halvorson. baritone Kurt
along with the literary one. Compared to the
Ollmann, and mezzo Lucy Schaufer sing
Koch disc I reviewed in the last issue, which
sweetly and unaffectedly, which is the way to
offered Bowles's earlier chamber works, this
do Bowles. In his informative annotation, K
new program is both broader in range and
Robert Schwarz quotes Bowles as saying that
warmer in sensibility. The Eos Ensemble is
singing should aim at "distorting speech the
simply smashing: authoritative and meticu-
least amount possible".
lous but also exuberant. They somehow make
Yet how can sweetness and naturalness
this spare, miniaturist music sound larger than
have anything to do with a composer who
life. That should really come as no surprise. It
wrote such icy, controlled prose, and who
was the Eos Ensemble, after all, that presented
regarded music as remote, spatial architecture
the amazing 1995 Bowles Festival in New York,
rather than communication? The most senti-
with the composer in attendance. having
mental song here-the lovely and haunting
made a rare trip to the country he has been in
'Secret Words' composed for Bowles's
exile from for half a century. The pieces played
best friend, composer Peggy Glanville-Hicks,
at that festival and on this disc had not been
yet it was to her that Bowles wrote in 1948 that
heard for 40 or 50 years-an appropriate gap
music contains "an inherent lie" because the
given how heavily Bowles is invested in being
writing of it "can't possibly be communication:
an outsider, existing physically and spiritually
it happens, and after that one pretends one
in remote outposts of the Moroccan desert.
meant to be communicative". To Bowles,
The Eos Ensemble plays them with a freshness
music is "a communion with the unknown.
that makes them seem as if they were written
nothing more", yet the songs seem peculiarly
yesterday.
intimate and human. Perhaps the solution to
For a vivid example, punch in the opening
the paradox lies in the title 'Secret Words':
movement of the Two-Piano concerto, widely
Bowles's music does communicate, but in sec-
regarded as Bowles's masterpiece, or the mari-
ret ways he cannot apprehend as he writes it.
achi-band 'La Lucha', which opens the First
Anyone interested in these musings should
Suite. Everyone plays with a crazed momen-
get the recently published In Touch: the Letters
tum bordering on delirium, yet preserving the
of Paul Bowles. They are full of provocative,
cool elegance that holds these works together.
original musical commentary. And anyone
Whatever else makes them cohere is mysteri-
remotely interested in Bowles the composer
ous; Bowles eschews all the structural conven-
should grab this vividly recorded disc (listen to
tions of Western concert music. There is no
the biting immediacy of the brass in the open-
sonata or sectional form, no development. and
ing Suite). These are the most compelling, yes
very little repetition of any sort. Ideas seem to
communicative, performances of Bowles's
simply grow out of each other, even though
music now available.
the idioms rapidly shift, one minute sounding
SULLIVAN
like Poulenc dance hall music, another like
gamelan riffs, another like jazz. They can even
resemble, as in the opening to the Suite for
Small Orchestra, Bowles's beloved Moroccan
Berber music, which he once described as "the
childhood of melody". and which he excavated
in his desert adventures as an amateur ethno-
musicologist.
Bowles's songs are simpler. more direct.
more overtly lyrical than his instrumental
pieces. The Wind Remains and 'Secret Words'
(the latter an orchestral arrangement by Eos
THE WHITE HOUSE
WASHINGTON
September 11, 1998
F.J. van der Tol
President - International Lawyers Group
Arthur Andersen AOZT
Kosmodamianskaya nab 52/2
Moscow 113054
Dear Mr. van der Tol:
Thank you for your invitation for the First Lady to
address the members of the International Lawyers Group
during her recent visit to Moscow.
Regrettably, Mrs. Clinton's schedule during the trip
made it impossible for her to accept your kind invitation. But
she has asked me to convey her appreciation for your
thoughtfulness, and very best wishes in your important work.
All the best.
Sincerely,
Melanne Verveer
Chief of Staff to
the First Lady
28/08 98 FRI 18:40 FAX 7 095 755 97 10 4802 ARTHUR ANDERSEN
002
Regul
INTERNATIONAL LAWYERS GROUP
MOSCOW, RUSSIA
I.L.G.
1998-99
President:
August 12, 1998
By Courier and Telefacsimile
Fokke J. van der Tol
(+1 202 456-9431)
Board of Directors:
Mrs. Hillary Rodham Clinton
Fokke J. van der Tol
Office of the First Lady
phone 755-9700
telefax 755-9710
The White House
tokke.j.van.der.tol@
1600 Pennsylvania Avenue, N.W.
arthurandersen.com
Paul Backer
Washington, D.C.
phone 972-6370/71
United States of America
telefax 978-9441
[email protected]
Yorck Jetter
phone 258-3450
Dear Mrs. Clinton:
telefax 258-3456
[email protected]
Richard L. Wirthlin
I feel honored and privileged to have this opportunity to invite you, on behalf
phone 785-1234
telefax 785-1235
of the International Lawyers Group of Moscow, to address the members of
[email protected]
our group during your upcoming visit to Moscow.
Brian L. Zimbler
phone 956-3935
telefax 956-3936
We invite you to speak on a topic of your choosing. One possible topic of
[email protected]
great relevance for Russia is the role of the Rule of Law in a democratic, plu-
ralistic society, particularly as it impacts upon human, gender, civil and in-
vestors' rights.
We realize that, as the date of your visit is rapidly approaching, your schedule
probably allows very little free time. However, we believe that your speech to
the International Lawyers Group would be of great importance for the entire
legal community in Russia, where we work to promote a bright future for Rus-
sia and its successful integration into the world community of democratic
states.
The International Lawyers Group is an association of predominantly foreign
lawyers, mostly from the United States, although more and more from Russia.
FAX
7
095
755
97
10
4802
ARTHUR
ANDERSEN
003
ILG
Mrs. Clinton
August 12, 1998
Page Two
These lawyers belong to the many foreign legal firms, Big Five accounting firms and multinational corpora-
tions active in Russia. It is the only organization of its kind for foreign attorneys in Russia. Many of our
members have studied in the most reputable law schools in the United States. Many others have also studied
and practised law in various jurisdictions throughout the world. Our members represent the overwhelming
majority of the foreign investors in Russia. More and more our members also represent large Russian enter-
prises. Several of our members are U.S. governmental attorneys, here with the State Department and other
organizations.
The majority of our members are citizens of the United States and the majority of the law firms which our
members represent are based in the United States.
An important activity of the International Lawyers Group is our regular breakfast meetings at the National
Hotel where we discuss topics which are relevant for our daily work as lawyers. For that purpose, we invite
speakers who are knowledgeable and experienced in the area under attention. During the past three years, we
have had the pleasure to host a large number of high profile speakers ranging from senior cabinet ministers of
the Russian government to the opposition candidate for the last round of the 1996 presidential elections of the
Russian Federation.
We expect that your speech will be attended by the large majority of our more than 350 members. If you wish
we can also invite other prominent members of the Russian legal community to this event. The ILG will co-
operate with any security measures required. As mentioned above, while the ILG generally sponsors breakfast
meetings, allowing our members to meet prior to the start of the working day, we will of course schedule a
meeting at any other time to accommodate your schedule.
If you would like to have any further information, please feel free to contact either (a) me, at the Moscow of-
fice of Arthur Andersen (phone +7 501 755-9700 telefacsimile 755-9710); or (b) our senior Board Member
from the United States, Mr. Richard L. Wirthlin, at the Moscow office of Latham & Watkins (phone +7 503
785-1234; telefacsimile 785-1235).
Thank you for your kind consideration of our invitation.
Very Truly Yours
F.J. van der Tol,
President
International Lawyers Group
THE WHITE HOUSE
WASHINGTON
February 20, 1998
Ms. Tania Vitvitsky
Sabre Foundation
872 Massachusetts Avenue
Suite 2-1
Cambridge, MA 02139
Dear Tania:
Thank you very much for keeping us informed about
Sabre's work in promoting democracy building. We were
grateful for the letter from Mathilda Babadagly. The vital work
Sabre is doing in Ukraine is commendable.
Best wishes.
Sincerely,
Melanne Verveer
Chief of Staff to
the First Lady
02/17/1998 10:18
6178687916
SABRE FOUNDATION
PAGE 01
P
SABRE FOUNDATION, INC.
Scientific Assistance Project
telephone 617/868-3510
872 Massachusetts Avenue, Suite 2-1
fax 617/868-7916
Cambridge, MA 02139
e-mail [email protected]
FACSIMILE TRANSMISSION
To:
Melanne Verveer
At:
Chief of Staff to the First Lady
Date:
2/16/98
Fax:
202/456-6244
From:
Tania Vitvitsky
Pages (including this one): 3
Message:
Dear Ms. Verveer:
Attached please find a recent thank you letter from Ukraine, testifying to the important role played by
Sabre's Ukrainian partner, Sabre-Svitlo, in making books available to medical doctors in Ukraine. Also
attached is a recent article from The Ukrainian Weekly describing a technical assistance project in
Rohatyn, western Ukraine. This is one more example of a public-private partnership: although the
Rohatyn "gymnasium" project is privately funded, U.S. government funding (USIA and AID Ocean
Freight Reimbursement) played an important role in helping Sabre to maintain its book and information
technologies training projects in many countries, including Ukraine.
I look forward to Mrs. Clinton's presentation tomorrow at the State Department.
Tamia Vitnity
02/17/1998 10:18
6178687916
SABRE FOUNDATION
PAGE 02
2/12/98
Sample thank you letter from Ukraine (via e-mail):
Education is the best treasure society provides humans with. Wide access to modern libraries and
literature is the most essential component of education. Unfortunately, during last few years Ukraine
suffered lack of information which extremely affected medical staff. At the same time, doctors should be
always aware of new medical achievements as well as fundamental National and foreign works.
Founded by American donors Sabre-Svitlo Foundation provides unique opportunity to get acquainted with
books which were not available for a long time. Scholars of Lviv Medical University, research institutes of
biochemistry, medical genetics, microbiology, Institute of sport trainers as well as English-speaking
medical staff make everyday use of this opportunity.
I have over 30-year experience in child neurology. I am a faculty member of the Department of neurology
of Lviv Medical University and cooperate with Lviv Neonathal Center which was created due to Alliance
program of H. Ford Institute in Detroit and Lviv Treat and rehabilitation center Elita. I am author of over
80 scholarly publications, participated in numerous international conferences. I speak English fluently,
and also may read German and French.
Books I was granted by Sabre-Svitlo enable me to increase my professional level, to enhance teaching of
neurology. Our Department established a series of special students scientific workshops where students
delivered their papers in English. Ukrainian and foreign students of Lviv Medical University actively
studied fundamentals of neurology using Sabre-Svitlo's literature.
My cooperation with Treat and rehabilitation center Elita as well as scientific research in the field of the
rehabilitation of handicapped children also caused active cooperation with Sabre-Svitlo. New method of
child cerebral palsy treatment was developed in Lviv. Since 1990 this method is used by specialists
of Elita and numerous patients from Ukraine, CIS and Europe were recovered. This method was invented
by Dr. V.I.Koziavkin, honorable member of the New York Academy, director of Lviv institute of Medical
rehabilitation. Great interest to this method caused organization of numerous conferences in Italy. Swiss,
Germany, Poland. During these forums Dr.Koziavkin and we, his assistants, demonstrated practical
results of treatment and new research methods of the Institute.
Preparation to these conferences was always assisted by Sabre-Svitlo. Despite of modern information
sources (Internet, Medline) available at the Institute, Sabre-Svitlo's library is the most important source
for those who appreciate the book. Sabre-Svitlo's activity made our research and everyday practical work
more interesting and enables us to get acquainted with high level of modern medicine.
I would like to express my deep gratitude to American donors, who made Sabre-Svitlo's appearance
possible, Foundation's director Olha V. Isaievych and all the staff. 1 hope for further cooperation and
development of fruitful partnership between the USA and Ukraine.
Sincerely yours,
Mathilda Babadagly
Assistant Professor
Department of Neurology
Lviv Medical University
22 Vyshenskoho Str., App. 3
Lviv, 290010, Ukraine
tel. (0322) 75-96-30
8
THE UKRAINIAN WEEKLY SUNDAY, JANUARY 25, 1998
No. 4
PAGE 03
Sabre Foundation and Rohatyn restore educational dreams
by Irena Danysh
With the partnership of Sabre, the gymnasium and the
teachers who care, and students who want to learn," said
CAMBRIDGE, Mass. - Nestled in the hills of Ivano-
board of trustees, a project of goodwill and aspiration
Ms. Schneider.
Frankivsk Oblast lies the small but proud town of
toward fulfilling children's educational dreams was begun.
Despite the lack of resources, there have been some
Rohatyn. Rohatyn has several things of which to be proud:
The St. Volodymyr the Great Gymnasium has both
successes: the gymnasium placed fourth of 16 schools in
for starters, it is the birthplace of the famous Roxalana,
flourished and struggled throughout its history. Founded in
the academic competitions recently held in Ivano-
who in 1520, at the age of 15. was kidnapped by the Turks
1906 by a priest who was determined to save the local
Frankivsk Oblast. More impressively, gymnasium stu-
and found herself in the harem of Sultan Suliman II, yet
young scholars from the long trek to Lviv for their exami-
dents captured two positions among the 12 students cho-
rose to become his cherished advisor. Before the sultan's
nations, it flourished in the 1920s and 1930s, acquiring a
sen from 400 contestants to study in the U.S.
death, Roxalana managed to ensure that her OWN son
substantial new wing to extend its capacity. During this
Ms. Schneider produced a detailed report assessing the
would become sultan, and thereafter she continued her
time it produced many graduates renowned for cultural
gymnasium's current state and its critical needs. Her eval-
powerful advisory role. Today the silhouette of a mosque
and political achievements both at home and abroad.
uations included an itemized list of each department's
consecrated to her enlivens the picturesque skyline of
However, politics and impending war forced the gymnasi-
basic and optimum financial and material needs, as well as
Istanbut.
um to close in 1939 when the library was burned down
a modest wish lists of teachers of each subject.
SABRE FOUNDATION
But this is a story of legend and extraordinary luck from
and professors and students were sent into exile.
The denor foundation was very enthusiastic about
ancient days. Today Rohatyn has another source of pride,
The gymnasium reopened in 199L and now boasts
Sabre's report and agreed to immediately respond to rec-
which dominates its own skyline.
approximately 360 students age 7 to 17, 60 of whom are
ommendations. Sabre, the fund's board of trustees and
Atop Rohatyn's higher hills sits the handsome and his-
part of the primary school affiliate. Prospective students
gymnasium principals have been in frequent contact to
toric gymnasium (secondary school academy) of St.
must pass entrance exams at the age of 12 in order to
implement the agreements reached. The board of trustees
Volodymyr the Great. Like Rexalana, it has been fought
attend the gymnasium proper.
covered all costs of the needs assessment; a wide range of
over, and appropriated by, various groups for periods in its
Hope in renewal notwithstanding, the school has a
English-language materials obtained from Sabre's partner
colorful past. (My own great-grandfather, Judge Petro
number of dire needs. Recently housed in temporary quar-
in Ukraine, Sabre-Svitlo; and 10 reconditioned computers
Kohut, was its main champion and benefactor in the
ters near the city square, as well as in a portion of the orig-
with appropriate educational software procured by Sabre.
1920s.)
inal building that is shared with an agricultural and techni-
Lastly, on August 1, 1997, Ukraine's Cabinet of
With the advent of Ukraine's independence, Rohatyn's
cal school, the gymnasium's lack of space necessitates a
Ministers decreed that the original gymnasium campus is
teachers and parents realized that in order to instill patrio-
continual shifting of students to available classrooms.
to be vacated by present occupants and returned to the
tism and moral values in their youth, they would need to
History, for example, is taught in the chemistry room.
gymnasium's use by July 1, 1998.
"resurrect" their gymnasium. However, lack of proper
Space is but one problem for the gymnasium. Though
With these initial developments, the first steps have
facilities and dire economic conditions in the country
quite dedicated, the gymnasium's teachers have had to go
been taken on the road toward restoring Rohatyn's prized
made the survival of the fledgling school even more chal-
without pay, at times for several months. In addition,
institution to the place of honor in educational excellence
lenging.
many subjects lack basic instructional materials: physics
that its original founders had dreamt for it- to the benefit
6178687916
Fortunately. through the donation of a substantial sum
students have no workbooks or equipment to do any
of Ukrainian children for generations to come.
of money, the dream of a former "native son" to enable his
experiments. The chemistry section is so ill-equipped that
alma mater to experience a renaissance that would benefit
even the few experiments that are carried out violate safety
The Sabre Foundation Inc., founded in 1969, works to
the young people of Rohatyn for years to come is becom-
rules, endangering the health of students and teachers. The
build free institutions and to examine the ideals that sus-
ing a reality. For his gift to be wisely administered, help-
cramped library, made up largely of donated books, has
tain them. Its largest current project makes millions of dol-
ing hands were required.
not begun to meet actual needs.
lars' worth of donated new books available to needy indi-
Former Rohatynites - the late Otch Kudryk, Iwan
Book needs are the most pressing. Last year 20 percent
viduals in Eastern Europe, the former Soviet Union and
Oleksyn, Ostap Shenkiryk and Ireney Prokopovych - vol-
of the textbooks were obtained through the old Soviet dis-
02/17/1998 10:18
other developing regions through non-governmental part-
unteered to become trustees of the generous benefactor's
tribution system, and in the coming year even this will be
ner organizations, libraries, universities, schools, research
gymnasium fund.
eliminated. The gymnasium has had to rent books from
organizations and other similar institutions. In its newest
In turn, the board of trustees sought out further assis-
other schools in order to meet demands. Students will now
initiative, Library and Information Technology Services,
tance: Rebecca Schneider of the Sabre Foundation, a non-
have to purchase-thein books, whose cost is estimated at
Sabre helps organizations in these regions take advantage
profit organization in Cambridge, Mass., and the largest
$55 (U.S. dollars) per student- far more than many peo-
of rapidly evolving Internet and related information tech-
donor in the U.S. of educational materials to Eastern
ple's monthly salary.
nologies. Sabre also sponsors domestic and international
Europe and the former Soviet Union. Ms. Schneider visit-
Not surprisingly. Ms. Schneider concluded that even a
symposia and philosophical publications exploring the
ed Rohaytn in May 1997 to conduct a needs assessment of
small infusion of money and materials could improve the
nature and accountability of free institutions.
the gymnasium's computer facilities, library collection
students' situations and raise morale among faculty and
For more information see Sabre's World Wide Web
THE WHITE HOUSE
WASHINGTON
May 20, 1998
John A. Voli
64 Pearl Street
Middletown CT 06457
Dear John,
Thank you for your thoughtful letter. I am glad to hear
that you enjoyed your White House experience, and I know
you will value it over the years as well. Thank you for all your
hard work.
Best wishes in all you do. Stay in touch with us.
Sincerely,
Me Melanne Verveer
Chief of Staff to
the First Lady
May 20, 1998
John A. Voli
64 Pearl Street
Middletown CT 06457
and / know
you will value
Dear John,
me your
Thank you for your thoughtful letter. I am glad to hear
fraine
that you enjoyed your experience here Thank you for all
your work.
while House
is over me
Best wishes in all you do. stay in truel
with us:
years, well as
Sincerely,
Melanne Verveer
Chief of Staff to
the First Lady
hard
05/20/98
860/341-8253 JAV LeT: after 08/98)
melanne,
202/822-6009, (DC)
[email protected]
although we were not able to get
to know each ather, my inperience as an
intern in the affire 1th Furt Lady was
very positive. Cerelyone there was hind
and impressive. if ll can ever be
of any service to you, please do not
heretate to contant me. Sincerely,
John A. Voli
64 PeaRL SJ,
PM s 002 of
ALWAY USA 32
middletoun, CT
21 MAY 89
1998
06457
R
USE ZIP COOLGE
melanne VeRVeeR
office of The First Lady
OEOB 100
The White House
washington, DC
20500
Clinton Presidential Records
Digital Records Marker
This is not a presidential record. This is used as an administrative
marker by the William J. Clinton Presidential Library Staff.
This marker identifies the place of a publication.
Publications have not been scanned in their entirety for the purpose
of digitization. To see the full publication please search online or
visit the Clinton Presidential Library's Research Room.
OS - 1998 Season
20
(ines)
RON
PHOTOCOPY
PRESERVATION
Eos
ORCHESTRA
Artistic Director, Jonathan Sheffer
1998-99 SEASON
Bernstein: The Harvard Years - January 1999 (Benefit Event)
Richard Stoltzman, clarinet
6:00 PM Symposium and chamber performance: Eos will present two rarely performed
student works, Piano Trio and Four Studies for Woodwind Quartet, framed by a symposium
exploring Bernstein's Harvard years.
7:00 PM Cocktail Reception: Meet The Artists
8:00 PM Concert: The Eos Orchestra presents the first performance since 1939 of Bernstein's
incidental music to Aristophanes's The Birds, written while he was a student at Harvard.
First performed in Greek, Eos will offer Bernstein's original score accompanied by English
narration from the play. Soloist Richard Stoltzman will join the Eos Orchestra to perform the
jazzy Prelude, Fugue and Riffs, plus the New York premiere of the Clarinet Sonata of 1941,
orchestrated by Sid Ramin.
"Out There" Music - March 1999
This concert features the world premiere of David Del Tredici's A Tale of Possession, a
vampire monodrama for mezzo-soprano and chamber orchestra with text by the poet Alfred
Corn. Other "out there" works include unknown arrangements by the late Spike Jones of his
inimitable suites, including unique versions of Carmen and Scheherazade ("A Goose To The
Ballet Russe"). Also, Eos will perform Lygeti's Mysteries of the Macabre, a work for trumpet
and small orchestra excerpted from his opera.
John Corigliano's Red Violin - April 1999
Eos will give the world premiere of a new suite from the upcoming film The Red Violin. The
suite will include music from the soundtrack and vividly energetic cadenzas for solo violin.
Other works on the program include Bartok's Music For Strings, Percussion and Celesta.
Five 10-Minute Operas - June 1999
The season concludes with a theatrical presentation of five short operas. Eos will present
staged performances of A Hand of Bridge by Samuel Barber; Introductions and Goodbyes by
Lukas Foss; Notre Dame des Fleurs by Peter Maxwell Davies; Camera Obscura by Jonathan
Sheffer; and the world premiere of a new work by Adam Guettel.
Concerts will be held at the Society for Ethical Culture Auditorium, 2 West 64th Street and
will be conducted by Jonathan Sheffer. A subscription for preferred seating for all four
concerts is $95. Call the Eos Office at 212-691-6415.
161 Avenue of the Americas, Suite 902, New York, NY 10013
Tel. 212-691-6415 Fax 212-691-6648 E-mail [email protected]
Literally: Bernstein
EOS Orchestra
Photo: Susesch Bayat
EOS Orchestra
Literally: Bernstein
An Evening of Music Inspired by Leonard Bernstein's
Life-long Fascination with Famous Texts
The Eos Orchestra
Jonathan Sheffer, conductor
Anne Akiko Meyers, violin Philip Cutlip, baritone
Angelina Réaux, mezzo-soprano Richard Bernstein, bass
Works by Leonard Bernstein
Serenade
Excerpts from "Songfest"
World Premiere Concert "Dybbuk" Performance of the Ballet
Thursday, July 23 8:30 PM
Alice Tully Hall
Tickets: $35.
Call West 65th Street at Broadway, Open Monday Saturday from 10 AM to 6
CenterCharge at 212-721-6500 or visit the Box Office at Avery Fisher Hall, PM
and Sunday from Noon to 8 PM.
JULY
26
LINCOLN CENTER
1
FESTIVAL
98
PHOTOCOPY
PRESERVATION