Contact: Katherine E. Johnson (212) 875-5718; [email protected] National Press Representative: Julia Kirchhausen (917) 453-8386; [email protected] UPDATED May 23, 2014

JUNE 2 AND 4, 2014, AT THE DAVID RUBENSTEIN ATRIUM AT : INSIGHTS SERIES Panel Discussions with Alan Gilbert, Composers, and Curators

“WHAT IS A BIENNIAL?” To Feature Music Director ALAN GILBERT and CURATORS from the WHITNEY BIENNIAL, VENICE BIENNALE, and UNDER THE RADAR FESTIVAL, June 2, 2014

“21ST-CENTURY LANDMARKS” To Feature COMPOSERS from Across the Musical Spectrum, June 4, 2014

As part of the NY PHIL BIENNIAL, the and Lincoln Center for the Performing Arts will co-present two free discussions related to the NY PHIL BIENNIAL as part of the Philharmonic’s Insights Series. Music Director Alan Gilbert will join Massimiliano Gioni, director of the 2013 Venice Biennale; Elisabeth Sussman, co-curator of the 2012 Whitney Biennial; and Meiyin Wang, co-director of the Under the Radar Festival at The Public Theater to explore the nature, essence, and impact of biennials. Theodore Wiprud, New York Philharmonic Vice President, Education, will moderate the discussion, “What Is a Biennial?” on June 2, 2014, at the David Rubenstein Atrium at Lincoln Center.

A panel of composers from across the musical spectrum, some of whose music will be featured during the NY PHIL BIENNIAL — The Marie-Josée Kravis Composer-in-Residence Christopher Rouse; composer/conductor Matthias Pintscher; Kravis Emerging Composer Sean Shepherd; composer ; and composer and senior editor of NewMusicBox Frank J. Oteri — will discuss what they consider to be this century’s emerging masterworks. Carol J. Oja, The Scholar-in-Residence at the New York Philharmonic, will moderate the discussion, “21st-Century Landmarks,” June 4, 2014, at the David Rubenstein Atrium at Lincoln Center.

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An integral part of the NY PHIL BIENNIAL experience will be interaction among artists, composers, and audiences, and the Insights panels are among the events created by the New York Philharmonic to engender an ongoing dialogue.

A flagship project of the New York Philharmonic envisioned by Music Director Alan Gilbert, the NY PHIL BIENNIAL is a kaleidoscopic exploration of today’s music showcasing an array of curatorial voices through concerts presented with cultural partners throughout . Modeled on the great visual art biennials, the inaugural NY PHIL BIENNIAL, taking place May 28–June 7, 2014, brings the public together with a diverse roster of more than 50 composers, ranging from elementary school students to icons, for concerts of symphonies, concertos, staged opera, , and solo works, many of which will be premieres. Meet-up events, lectures and panel discussions, and online interactivity are planned to encourage audience members to directly engage with composers, scholars, and artists. The 2014 NY PHIL BIENNIAL partners include 92nd Street Y, The Museum of Modern Art, of St. Luke’s, The Metropolitan Museum of Art, The Juilliard School, Gotham Chamber Opera, Lincoln Center for the Performing Arts, , American Composers Orchestra, and Kaufman Music Center’s Special Music School High School. For complete information about the 2014 NY PHIL BIENNIAL, see press release.

Insights Series Participants

“What Is a Biennial?” Music Director Alan Gilbert began his New York Philharmonic tenure in September 2009, the first native New Yorker in the post. He and the Philharmonic have introduced the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in- Residence; CONTACT!, the new-music series; and, beginning in the spring of 2014, the NY PHIL BIENNIAL. “He is building a legacy that matters and is helping to change the template for what an American orchestra can be,” acclaimed.

In addition to inaugurating the NY PHIL BIENNIAL, in the 2013–14 season Alan Gilbert conducts Mozart’s three final symphonies; the U.S. Premiere of Mark-Anthony Turnage’s Frieze coupled with Beethoven’s Ninth Symphony; world premieres; an all-Britten program celebrating the composer’s centennial; the score from 2001: A Space Odyssey as the film was screened; and a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson. He continues The Nielsen Project — the multi-year initiative to perform and record the Danish composer’s symphonies and concertos, the first release of which was named by The New York Times as among the Best Recordings of 2012 — and presides over the ASIA / WINTER 2014 tour. Last season’s highlights included Bach’s B-minor Mass; Ives’s Fourth Symphony; the EUROPE / SPRING 2013 tour; and the season-concluding A Dancer’s Dream, a multidisciplinary reimagining of Stravinsky’s The Fairy’s Kiss and Petrushka, created by Giants Are Small and starring New York City Ballet principal dancer Sara Mearns.

Mr. Gilbert is Director of Conducting and Orchestral Studies and holds the William Schuman Chair in Musical Studies at The Juilliard School. Conductor laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading around the world. He made his acclaimed Metropolitan

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Opera debut conducting ’s Doctor Atomic in 2008, the DVD of which received a Grammy Award. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. His recordings have received top honors from the and Gramophone magazine. In May 2010 Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music and in December 2011, ’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.”

Massimiliano Gioni is the associate director of the New Museum in New York and the artistic director of the Fondazione Nicola Trussardi in Milan. In 2013 he directed the 55th Venice Biennale; then 39 years old, he was the youngest director in its 118-year history. He has collaborated with many institutions, museums, and biennials worldwide and cultivated independent initiatives such as the non-for-profit spaces The Wrong Gallery and Family Business and the independent magazines Charley and the Wrong Times. Mr. Gioni directed the Eighth Gwangju Biennial (in 2010), organized Of Mice and Men – The Fourth Berlin Biennial (2006), co-curated the fifth edition of the itinerant European biennial Manifesta (San Sebastian, Spain, 2004), and curated The Zone for the 50th edition of the Venice Biennale (2003). He directs the Nicola Trussardi Foundation, a nomadic museum that has produced solo exhibitions, special projects, and interventions in abandoned buildings, public spaces, and forgotten monuments of the city of Milan. The exhibitions he curated at the New Museum include the inaugural cycle of exhibitions Unmonumental (co-curated with Richard Flood and Laura Hoptman), the first American museum presentations of the work of, among others, Pawel Althamer, Paul Chan, Tacita Dean, Urs Fischer, Camille Henrot, Carsten Höller, and Klara Liden; in 2009 he initiated the New Museum Triennial and co-curated its inaugural edition titled The Generational: Younger than Jesus. Massimiliano Gioni’s group shows have become a signature feature of the New Museum program. His thematic exhibitions such as After Nature, Ostalgia, and Ghosts in the Machine have been praised for the breadth of their research.

Elisabeth Sussman is curator and Sondra Gilman Curator of Photography at the Whitney Museum of American Art. Most recently, along with co-curator Jay Sanders, she curated the 2012 Whitney Biennial. Exhibitions on which she has collaborated include Paul Thek: Diver, A Retrospective (co-curated by Lynn Zelevansky, recipient of the AICA award for best monographic show in New York, 2011), William Eggleston: Democratic Camera, Photographs and Video, 1961–2008 (co-curated by Thomas Weski), and Gordon Matta-Clark: “You Are the Measure” (2007, recipient of the AICA award for best monographic show in New York). Other Whitney exhibitions she has organized include Remote Viewing: Invented Worlds in Recent Painting and Drawing (2005); Mike Kelley: Catholic Tastes (1993); Nan Goldin: I’ll Be Your Mirror (1996, with David Armstrong); Keith Haring (1997); and the 1993 Biennial Exhibition. She has co-curated exhibitions of Eva Hesse at New York’s The Drawing Center (featuring her drawings) and The Jewish Museum (sculpture). For the San Francisco Museum of Modern Art, Ms. Sussman co-organized, with Renate Petzinger, a full retrospective on Hesse’s work (AICA’s First Prize for the best monographic exhibition outside of New York, 2001 and 2002), with Sandra Phillips, Diane Arbus: Revelation (the catalogue for which received the 2004 Infinity Award for Publication of the International Center of Photography). Elisabeth Sussman was a fellow of the Rockefeller Foundation at the Rockefeller Study and Conference Center in Bellagio, Italy, in 1999, and a fellow at the Getty Research Institute in 2003. She is the author of

4 many publications, including Lisette Model (Phaidon, 2001), and contributed essays on Robert Gober for the Schaulager and Lee Bontecou for an exhibition catalogue. Before coming to the Whitney, Elisabeth Sussman served as interim director (1991), deputy director for programs (1989–91) at Boston’s Institute of Contemporary Art (ICA), chief curator (1982–89), and curator (1976—82). She has taught at M.I.T. and Tufts.

Meiyin Wang is the co-director of the Under the Radar Festival, which presents new and cutting-edge theatrical work from the U.S. and abroad, as well as director of the Devised Theater Initiative, both at The Public Theater. She was the lead curator of ArtsEmerson’s TNT Festival 2013, and was an associate producer of Radar L.A. 2011. She has served on numerous local, national, and international panels including New England Foundation for the Arts National Theater Project, Association of Performing Arts Presenters, National Endowment for the Arts, Future Aesthetics Cohort, The Jerome Foundation, New York Foundation for the Arts, MAP Fund, Los Angeles Department of Cultural Affairs, and Krakow’s Boska Komedia Festival. Ms. Wang is a recipient of TCG’s Young Leader of Color award; part of the TCG network of intergenerational leaders of color; and the 2014 recipient of the Josephine Abady Award from the League of Professional Theatre Women. Born and raised in Singapore, she served as resident playwright and director with Singapore Repertory Theatre before moving to New York. She holds an M.F.A in Directing from Columbia University. Over the last decade, The Public’s Under the Radar Festival (UTR) has presented 161 companies from 37 countries. It has grown into a landmark of the New York City theater season, providing a high-visibility platform to support artists from diverse backgrounds who are redefining the act of making theater. Widely recognized as a premier launching pad for new and cutting-edge performance from the U.S. and abroad, UTR has presented works by such respected artists as Elevator Repair Service, Nature Theater of Oklahoma, Gob Squad, Belarus Free Theatre, and Young Jean Lee. Together, the artists provide a snapshot of contemporary theater: richly distinct in terms of perspectives, aesthetics, and social practice, and pointing to the future of the art form.

Theodore Wiprud, Vice President, Education, The Sue B. Mercy Chair, has directed the Education Department of the New York Philharmonic since 2004. The Philharmonic’s education programs include the historic Young People’s Concerts (which he hosts), Very Young People’s Concerts, School Partnership Program (one of the largest in-school programs among U.S. orchestras), Very Young Composers, adult education programs, and many special projects. Mr. Wiprud has also created innovative programs as director of education and community engagement at the Philharmonic and the American Composers Orchestra; served as associate director of The Commission Project; and assisted the Orchestra of St. Luke’s on its education programs. He has worked as a teaching artist and resident composer in a number of New York City schools. From 1990 to 1997, he directed national grant-making programs at Meet the Composer. Prior to that position, he taught at and directed the music department for Walnut Hill School, a pre-professional arts boarding school near Boston. Mr. Wiprud is also an active composer, whose Violin Concerto (Katrina) was recently released on Champs Hill Records. His music for orchestra, chamber ensembles, and voice is published by Allemar Music. Theodore Wiprud holds degrees from Harvard and Boston Universities and studied at Cambridge University as a visiting scholar.

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“21st-Century Landmarks” The New York Philharmonic has extended the term of The Marie-Josée Kravis Composer-in- Residence Christopher Rouse to a third season in 2014–15. By the conclusion of his tenure he will have written three new pieces commissioned by the Philharmonic (including his Symphony No. 4, to be premiered as part of the NY PHIL BIENNIAL); worked with Alan Gilbert and the Orchestra in performances of ten of his works; and advised CONTACT!, the new-music series. One of America’s most prominent composers of orchestral music and winner of the in Music for his Trombone Concerto (commissioned and premiered by the New York Philharmonic), he has created a body of work perhaps unequaled in its emotional intensity. Born in Baltimore in 1949, Christopher Rouse developed an early interest in both classical and popular music. He graduated from Oberlin Conservatory and , numbering among his principal teachers George Crumb and Karel Husa. He taught composition at the Eastman School of Music for two decades and currently teaches composition at The Juilliard School. Mr. Rouse’s music has been performed by almost every major orchestra in the United States and by numerous ensembles abroad, including the Berlin Philharmonic, City of Birmingham Symphony Orchestra, Sydney and Melbourne Symphony Orchestras, and the Austrian Radio Orchestra. Recent highlights include the world premieres of the Requiem (2007, by the Los Angeles Master Chorale), Concerto for Orchestra (2008, by the Cabrillo Festival of Contemporary Music), Oboe Concerto (2009, by the Minnesota Orchestra), Odna Zhizn (2010, by the New York Philharmonic), and Heimdall’s Trumpet (2012, by the Chicago Symphony Orchestra). His Symphony No. 3 was premiered by the St. Louis Symphony in May 2011. Mr. Rouse wrote Seeing, for Piano and Orchestra for Emanuel Ax on commission from the Philharmonic, which gave its premiere in May 1999. Christopher Rouse’s works are published by Boosey & Hawkes.

Matthias Pintscher, the only musician represented on the NY PHIL BIENNIAL both as composer and conductor, has created significant works for some of the world’s leading orchestras and regularly conducted European, American, and Australian ensembles. He became music director of the Ensemble Intercomporain in the 2013–14 season, and he continues his partnership with the BBC Scottish Symphony Orchestra as its artist-in-association. Recent and upcoming conducting debuts include the Atlanta, Colorado, National (Washington, D.C.), New World, and Quebec symphony orchestras; Los Angeles Philharmonic; National Arts Centre Orchestra in Ottawa; and the Accademia Nazionale di Santa Cecilia in Rome. Highlights this season in addition to these performances with the New York Philharmonic include tours to Geneva, Cologne, and Holland with the Ensemble Intercontemporain, and appearances with the NDR, Dresden, Naples, and Slovenian philharmonic orchestras, as well as with the Utah Symphony, Saint Paul Chamber Orchestra, Juilliard Orchestra, Paris Opera Orchestra, Frankfurt Radio Symphony, and Danish Radio Chamber Orchestra, and concerts in Chicago and Tel Aviv. As a composer, Mr. Pintscher’s numerous prizes include, most recently, the 2012 Roche Commission. His music is championed by orchestras such as The Cleveland and Philadelphia Orchestras; BBC, Chicago, London, and NDR symphony orchestras; and Berlin Philharmonic, London’s Philharmonia Orchestra, and Orchestre de Paris, and has been performed by New York Philharmonic both in subscription concerts and on the inaugural season of CONTACT!, the Orchestra’s new-music series. Mr. Pintscher works regularly with leading contemporary music ensembles and since 2011 has directed the music segment of Impuls Romantik Festival in Frankfurt. He also served as artistic director of the Heidelberg Atelier of the Heidelberg Spring

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Festival since 2007, now known as the Heidelberg Young Composers’ Academy. His works are published by Bärenreiter-Verlag. Recordings can be found on Kairos, EMI, ECM, Teldec, Wergo, and Winter & Winter.

New York Philharmonic Kravis Emerging Composer Sean Shepherd recently completed his tenure as the Daniel R. Lewis Composer Fellow of The Cleveland Orchestra, culminating with the premiere of Tuolumne in April 2013. Other recent performances include those with the New York Philharmonic; National, BBC, and New World symphony orchestras; leading European ensembles including Ensemble Intercontemporain, Scharoun Ensemble Berlin, Asko|Schönberg Ensemble, and the Birmingham Contemporary Music Group; and at festivals in Aldeburgh, Heidelberg, La Jolla, Lucerne, Santa Fe, and Tanglewood. He has been championed by conductors such as Alan Gilbert, Christoph Eschenbach, Valery Gergiev, Pablo Heras-Casado, Susanna Mälkki, Matthias Pintscher, and Franz Welser-Möst, as well as composer-conductors Oliver Knussen and George Benjamin. Mr. Shepherd’s most recent orchestral work, Magiya, written for ’s National Youth Orchestra of the United States of America, toured the U.S. and Europe in summer 2013, led by Mr. Gergiev. In March 2013, the St. Luke’s Chamber Ensemble debuted his Quintet at various New York venues. Following the premiere of These Particular Circumstances on the inaugural season of CONTACT!, the New York Philharmonic’s new-music series, he composed Songs, to be premiered by Alan Gilbert and the New York Philharmonic in June 2014. Other recent premieres include Blue Blazes, a Hechinger Commission from the National Symphony Orchestra (performed in Washington, D.C. and on a South American tour); Blur for Ensemble Intercontemporain (Paris and Cologne); Quartet for Oboe and Strings (Santa Fe and La Jolla Summer Festivals); and Trio for the Claremont Trio (Boston). Mr. Shepherd has received degrees in composition and bassoon performance from Indiana University and a master’s degree from The Juilliard School, and he pursued doctoral work at Cornell University with and Steven Stucky. From 2010 to 2012 he was composer-in-residence of the Reno Philharmonic, his hometown orchestra. His music is published by Boosey & Hawkes.

Drawing inspiration from folk, classical, and rock genres, Julia Wolfe’s music brings a modern sensibility to each while tearing down the walls between them. Her art-balled Steel Hammer, runner-up for the Pulitzer Prize in Music, was inspired by the legends and music of Appalachia. Its text is culled from more than 200 versions of the ballad — telling the story of the story. The work, for Trio Mediaeval and the Bang on a Can All-Stars, was recently released on CD in April 2014 and will be presented at Brooklyn Academy of Music’s (BAM) 2015 Next Wave Festival directed by Anne Bogart. Ms. Wolfe’s recent body concerto, riSE and fLY, for percussionist Colin Currie and orchestra, features Mr. Currie playing rapid fire rhythms on his body. Ms. Wolfe has a major body of work for strings. In addition to her quartets, Cruel Sister for string orchestra, inspired by a traditional English ballad, received its U.S. Premiere at the Spoleto Festival. A CD of the work, coupled with Fuel, performed by Hamburg’s Ensemble Resonanz, is on the Cantaloupe label. Julia Wolfe’s collaborators include Anna Deavere Smith, Diller Scofidio+Renfro, Bill Morrison, Ridge Theater, Francois Girard, Jim Findlay, Jeff Sugg, and Susan Marshall. Her music has been heard at BAM, Settembre Musica (in Italy), Theatre de la Ville (Paris), Lincoln Center, Carnegie Hall, NCPA in Beijing, and LG Arts Center Korea, among others. In 2009 Ms. Wolfe joined the –Steinhardt School composition faculty. She is co-founder and co-artistic director of New York’s music collective

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Bang on a Can. Her music is published by Red Poppy Music (ASCAP) and is distributed worldwide by G. Schirmer, Inc.

Composer and music journalist Frank J. Oteri has been a crusader for new compositional ideas and the breaking down of barriers both in his own music and as a and speaker about the music of others. His musical compositions, which reconcile structural concepts from minimalism and serialism and frequently explore microtonality, have been performed in venues ranging from Carnegie’s Weill Recital Hall and the Theatre Royal in Bath, England, to Galapagos, Knitting Factory, Sidewalk Café, and PONCHO Concert Hall in Seattle where John Cage first prepared a piano. Pianist Guy Livingston, the PRISM Saxophone Quartet, and the Los Angeles Electric 8 have released commercial recordings featuring Mr. Oteri’s music. MACHUNAS, his “performance oratorio in four colors” — based on the life of Fluxus-founder George Maciunas created in collaboration with painter/performance artist Lucio Pozzi — was staged at the Contemporary Arts Centre in Vilnius, Lithuania, as part of the International Christopher Summer Festival in a production conducted by Donatas Katkus. As the composer advocate at New Music USA, an organization formed by the merger of the American Music Center and Meet The Composer, Frank Oteri liaises with numerous musical organizations both in the United States and internationally and serves as the senior editor of New Music USA’s web magazine NewMusicBox.org, which he founded in 1999. He has also been a radio guest on as well as pre-concert speaker, and he has written articles for numerous publications including BBC Music, Chamber Music, Ear Magazine, Stagebill/Playbill, Symphony, Time Out New York and the Grove Dictionary. Mr. Oteri holds a B.A. and a M.A. (in Ethnomusicology) from Columbia University where he served as classical music director and world music director for WKCR-FM. In 2007 he was the recipient of ASCAP’s Victor Herbert Award for his “distinguished service to American music as composer, journalist, editor, broadcaster, impresario, and advocate.”

As The Leonard Bernstein Scholar-in-Residence at the New York Philharmonic for the 2013–14 season, Carol J. Oja presents Insights Series events and conducts research in the Philharmonic Archives. Dr. Oja is William Powell Mason Professor of Music at , where she is also on the faculty of the graduate program in American Studies. Her newest book, Bernstein Meets Broadway: Collaborative Art in a Time of War, is in production with Oxford University Press. Dr. Oja’s Making Music Modern: New York in the 1920s won the Lowens Book Award from the Society for American Music and an ASCAP-Deems Taylor Award. Her other books include and His World (co-edited with Judith Tick); Colin McPhee: Composer in Two Worlds; A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock; and American Music Recordings: A Discography of 20th-Century U.S. Composers. Carol J. Oja has held fellowships from the Guggenheim Foundation, the Newhouse Center for the Humanities at Wellesley College, the National Humanities Center, NEH, and the Mellon Faculty Fellows Program at Harvard. She is past- president of the Society for American Music.

* * * Credit Suisse is the Global Sponsor of the New York Philharmonic.

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Major support for the NY PHIL BIENNIAL is provided by The Francis Goelet Fund, The Andrew W. Mellon Foundation, The Susan and Elihu Rose Foundation, and The Fan Fox and Leslie R. Samuels Foundation.

* * * Insights Series is presented in partnership with Lincoln Center for the Performing Arts, Inc.

* * * Christopher Rouse is The Marie-Josée Kravis Composer-in-Residence.

* * * Classical 105.9 FM WQXR is the Radio Home of the New York Philharmonic.

* * * Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Tickets Insights Series events are free and open to the public. Seating is available on a first-come, first- served basis. Subscribers, Friends at the Affiliate level and above, and Patrons may secure guaranteed admission by emailing [email protected]. Space is limited.

Biennial Passes are $95 each and are available by calling (212) 875-5656. Select NY PHIL BIENNIAL tickets may be purchased online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday, 1:00 p.m. to 6:00 p.m. on Saturday, and noon to 5:00 p.m. on Sunday. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656. Ticket prices subject to change.

For press tickets, call Lanore Carr in the New York Philharmonic Marketing and Communications Department at (212) 875-5714, or e-mail her at [email protected].

For more information about all NY PHIL BIENNIAL events, visit nyphil.org/biennial.

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INSIGHTS SERIES: “WHAT IS A BIENNIAL?”

David Rubenstein Atrium at Lincoln Center

Monday, June 2, 2014, 7:30 p.m.

New York Philharmonic Music Director Alan Gilbert, speaker Director, 2013 Venice Biennale Massimiliano Gioni, speaker Co-curator, 2012 Whitney Biennial Elisabeth Sussman Co-director, Under the Radar Festival at The Public Theater, Meiyin Wang Vice President, Education, New York Philharmonic Theodore Wiprud, moderator

Music Director Alan Gilbert will join curators from the Whitney Biennial, Venice Biennale, and Under the Radar Festival at The Public Theater to explore the nature, essence, and impact of biennials.

INSIGHTS SERIES: “21ST-CENTURY LANDMARKS”

David Rubenstein Atrium at Lincoln Center

Wednesday, June 4, 2014, 7:30 p.m.

New York Philharmonic Marie-Josée Kravis Composer-in-Residence Christopher Rouse, speaker Composer/conductor Matthias Pintscher, speaker Kravis Emerging Composer Sean Shepherd, speaker Composer Julia Wolfe, speaker Composer and senior editor of NewMusicBox Frank J. Oteri, speaker New York Philharmonic Leonard Bernstein Scholar-in-Residence Carol J. Oja, moderator

A panel of composers from across the musical spectrum, some of whose music will be featured during the NY PHIL BIENNIAL, will discuss what they consider to be this century’s emerging masterworks with moderator Carol J. Oja, The Leonard Bernstein Scholar-in-Residence at the New York Philharmonic.

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ALL PROGRAMS SUBJECT TO CHANGE

Photography is available for the NY PHIL BIENNIAL at nyphil.org/newsroom/1314/Biennial, or by contacting the Communications Department at (212) 875-5700; [email protected].