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The Glenn Dicterow Collection New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION New York Philharmonic Presents: LEONARD BERNSTEIN (1918-1990) ALBUM 3 (DOWNLOAD ONLY) 85:51 THE GLENN DICTEROW Serenade (after Plato’s “Symposium”) for Violin, String Orchestra, Harp, SERGEI PROKOFIEV (1891-1953) and Percussion 33:40 Violin Concerto No. 2 in G minor, COLLECTION 2 Phaedrus: Pausanias Op. 63 25:18 (Lento – Allegro marcato) 7:35 1 Allegro moderato 0:20 3 Aristophanes (Allegretto) 4:42 2 Andante assai – Allegretto – Tempo I 8:56 4 Erixymachus (Presto) 1:30 3 Allegro ben marcato 6:02 5 ALBUM 1 (CD AND DOWNLOAD) 76:12 Agathon (Adagio) 8:00 Zubin Mehta, conductor 6 Socrates: Alcibiades (Molto tenuto – June 15, 1985, Beethovenhalle, Bonn, Germany Allegro molto vivace – Presto vivace) 11:53 MAX BRUCH (1838-1920) 5 Moderato nobile 8:54 Leonard Bernstein, conductor KAROL SZYMANOWSKI (1882-1937) Violin Concerto No. 1 in G minor, 6 Romance 8:09 August 14, 1986, Blossom Music Center, Ohio 4 Violin Concerto No. 1, Op. 35 24:16 Op. 26 26:11 7 Finale: Allegro assai vivace 7:12 Kurt Masur, conductor 1 Prelude: Allegro moderato and Adagio 18:38 David Robertson, conductor SAMUEL BARBER (1910-1981) January 8, 9, 10, 13, 2004, Avery Fisher Hall 2 Finale: Allegro energico 7:33 May 22, 23, 24, 2008, Avery Fisher Hall Lorin Maazel, conductor Concerto for Violin and Orchestra, Op. 14 24:02 DMITRI SHOSTAKOVICH (1906-1975) March 9,13,14, 2009, Avery Fisher Hall JOHN WILLIAMS (B. 1932) 7 Allegro 11:31 Concerto No. 1 in A minor for 8 Theme from Schindler’s List 3:58 8 Andante 8:28 Violin and Orchestra, Op. 99 36:17 BÉLA BARTÓK (1881-1945) John Williams, conductor 9 Presto in moto perpetuo 4:03 5 Nocturne: Moderato 11:55 Violin Concerto No. 1, Op. posth., April 24, 26, 2006, Avery Fisher Hall Kurt Masur, conductor 6 Scherzo: Allegro 6:42 BB 48a 21:42 7 3 Andante sostenuto [attacca] 9:46 October 3, 4, 5, 1996, Avery Fisher Hall Passacaglia: Andante 8:18 4 ALBUM 2 (DOWNLOAD ONLY) 93:54 8 Cadenza 4:32 Allegro giocoso 11:56 9 Alan Gilbert, conductor FRANZ WAXMAN (1906-1967) Burlesque: Allegro con brio 4:50 0 Carmen Fantasie for Violin and May 19, 22, 26, 2012, Avery Fisher Hall AARON JAY KERNIS (B. 1960) Maxim Shostakovich, conductor 1 Lament and Prayer for Solo Violin, Orchestra Based on Themes from October 9, 1982, Avery Fisher Hall the Opera of Georges Bizet 10:56 ERICH WOLFGANG KORNGOLD (1897-1957) Oboe, Strings, and Percussion 25:16 Concerto in D major for Violin and Lorin Maazel, conductor Zubin Mehta, conductor Orchestra, Op. 35 24:15 January 20, 21, 22, 2005, Avery Fisher Hall January 13, 1990, Avery Fisher Hall nyphil.org/DicterowCollection 2 New York Philharmonic Presents THE GLENN DICTEROW COLLECTION 3 FROM THE MUSIC DIRECTOR his collection of recordings is an summate professionalism. I’ve seen him work important contribution in our cel- with conductors of great renown and complete T ebration of Glenn Dicterow, who is beginners, and have always been impressed by completing his fi nal season as the New York his consistent commitment and dedication. Philharmonic’s concertmaster. Numbers can In my fi rst weeks as music director, dur- hint at his contributions: he has provided a ing a concert on my fi rst Philharmonic tour, LEE CHRIS crucial underpinning and perspective during when I was hoping for something extra at a the tenures of four music directors and for certain moment in the music I looked over more than 200 guest conductors, and he has to Glenn and knew he absolutely understood presided over more than 6,000 concerts, and my intention. What happened next is an has given the Philharmonic for 34 years. has been his for decades this Orchestra will been a soloist in 219. illustration of what a quintessential concert- I am extremely fortunate to have been still benefi t from his impeccable virtuosity, true But statistics don’t capture the totality. master can do: Glenn, somehow, through the music director of the orchestra that Glenn professionalism, and beautiful playing. We wish Glenn is a legend. One of the world’s greatest force of his will and his body language, gal- Dicterow helped defi ne. He has been an es- him all success and happiness in his future. violinists, he brings his incredible musical vanized the orchestra, kicking things into a sential ingredient in the New York Philhar- point of view and inspires the highest standard turbo charge. This dramatic infl uence on the monic’s sound and approach to music. Long through the warmth of his sound and his con- entire ensemble is at the heart of what Glenn after he has stepped away from the seat that 6 New York Philharmonic Presents THE GLENN DICTEROW COLLECTION 7 New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION Album One CD and Download at nyphil.org/DicterowCollection BRUCH Violin Concerto No. 1 BARTÓK Violin Concerto No. 1 KORNGOLD Violin Concerto CHRIS LEE CHRIS Glenn backstage with WILLIAMS Music Director Alan Gilbert. Theme from Schindler’s List VIOLIN CONCERTO NO. 1 quite a few pieces for violin and orchestra, fi nally the concerto was unveiled in its including two additional full-fl edged violin defi nitive form in Bremen in January 1868. Glenn on Bruch: IN G MINOR, OP. 26 concertos, and we might do well to revisit Some years later Bruch wrote to his pub- his three symphonies from time to time, in lisher: “Between 1864 and 1868 I rewrote The Bruch was fi rst performed at the Philharmon- Max Bruch addition to his chamber works and choral my concerto at least a half dozen times, and ic by Pablo Sarasate in 1872. Since then the b. Cologne, Germany , January 6, 1838 compositions. Still, if his production were conferred with x violinists before it took two violinists who have performed the work the d. Friedenau, Germany, October 20, 1920 most with the Orchestra are Pinchas Zukerman reduced to a single work, his reputation the fi nal form in which it is universally and Glenn Dicterow with 16 performances each. would change hardly at all. famous and played everywhere.” Lorin Maazel, conductor The Violin Concerto No. 1 was a Word started to circulate about the The Bruch was one of the fi rst recordings I ever Glenn Dicterow, violin relatively early work, begun tentatively in new concerto, and soon it made its way heard with Nathan Milstein playing – Mendelssohn 1857 but mostly composed between 1864 into the repertoire of other leading violin- was on one side of the record and the Bruch on Performances of March 9, 13, 14, 2009 the other. It is the one concerto that has stayed and 1866, while Bruch was serving as music ists of the day, including Ferdinand David with me over the years. I love the piece. The Avery Fisher Hall director at the court in Coblenz. It was (who had premiered Mendelssohn’s E- second movement absolutely speaks to me – it’s premiered in April 1866, with Otto von minor Violin Concerto), Henri Vieuxtemps, so emotional, in one way pensive and in another Königslow as soloist, but Bruch immedi- and Leopold Auer, who not only per- way intimate. The last movement is gang busters, but the fi rst two movements have this other feeling ately decided to rework it. Accordingly, he formed the work himself but also cham- to them that I especially feel close to. sent his score to the more eminent violinist pioned it among such of his students as The slow parts have changed for me over the t would not quite be accurate to label Max Joseph Joachim, who responded that he Mischa Elman, Efrem Zimbalist, and Jascha years. Now I feel I’m more at home in taking more Bruch a “one-work wonder,” but his G- found the piece “very violinistic”; but that Heifetz. In correspondence with Joachim liberty with the phrasing. I re-bow it constantly – if minor Violin Concerto does account for didn’t keep him from offering a good deal during the revisions, Bruch expressed in- I feel I need more bow I take it, thinking about how I to penetrate to the back of the hall and how to be almost all of his exposure in modern concert of specifi c advice pertaining to the solo and security about calling the piece a concerto more convincing with the color. I think that’s what life. Two other Bruch pieces for solo instru- the orchestral parts. Bruch adopted many at all, and he toyed with naming the work happens when you get older, you feel you can get ment with orchestra appear occasionally on of Joachim’s suggestions, and the two soon a “fantasy” instead. “As to your doubts,” away with more things. After all these years, it’s programs: his Kol Nidrei for cello, and his tried out the piece in a private orchestral responded Joachim, “I am happy to say that still one of my favorites. Scottish Fantasy for violin. In fact, he wrote reading. Further emendation ensued, and I fi nd the title ‘concerto’ fully justifi ed; for 18 New York Philharmonic Presents THE GLENN DICTEROW COLLECTION 19 the name ‘fantasy’ the last two movements VIOLIN CONCERTO NO. 1, in 1908 he accepted a professorship at his are actually too completely and symmetri- alma mater, where he would remain until cally developed.” Bruch was inherently OP. POSTH., BB 48A 1934. By then he had immersed himself conservative, and it was accordingly his fate in the folk music of the Balkans (and of Béla Bartók to remain in the shadow of Brahms, who regions as distant as North Africa) and had b.
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