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Home , Glenn Dicterow, Lorin Maazel, Lorne Munroe

New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION Presents: (1918-1990) Album 3 (DowNloAD oNlY) 85:51 The GleNN DicTerow Serenade (after Plato’s “Symposium”) for Violin, String Orchestra, Harp, (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 , conductor 6 Socrates: Alcibiades (Molto tenuto – June 15, 1985, Beethovenhalle, Bonn, Allegro molto vivace – Presto vivace) 11:53 (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 , 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 (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 , conductor franz WaxMan (1906-1967) Burlesque: Allegro con brio 4:50 0 Fantasie for Violin and May 19, 22, 26, 2012, Avery Fisher Hall aaron Jay kErnis (b. 1960) , conductor 1 Lament and Prayer for Solo Violin, Orchestra Based on Themes from October 9, 1982, Avery Fisher Hall the Opera of 10:56 (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, chris lee 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 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 , 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. Sânnicolau Mare, Romania, March 25, 1881 was five years his elder. Brahms was surely enriched his musical thinking through d. New York City, September 26, 1945 the greater , but Bruch was often intensive study of the orchestration and inspired and frankly original. harmonic practices of contemporary Alan Gilbert, conductor It is hard to mistake the similarity be- French . Glenn Dicterow, violin tween the openings of the third movements Although Bartók had acquired a basic of Bruch’s G-minor and Brahms’ D-major understanding of string instruments in the Performances of May 19, 22, 26, 2012 Violin Concertos, and it is only fair to point course of his conservatory education, he Avery Fisher Hall out that Bruch’s preceded Brahms’ by a full was never trained specifically as a violinist. decade. Joachim would premiere that work, Nonetheless, his instincts for that instru- too, but when he was asked to characterize ment proved uncannily nuanced. Among the four most famous German concertos in other works, he composed two violin his repertoire — by Beethoven, Mendels- éla Bartók received his most focused concertos; the Second (from 1937–38) sohn, Bruch, and Brahms — he insisted training at the Budapest Academy of has become a classic, but the First (from that Bruch’s was “the richest and the most B Music, where his principal studies 1907–08), remains a rarity in concert seductive.” were in piano and composition. Following programming. The early Violin Concerto his graduation in 1903, he embarked on a is connected to the composer’s infatuation Instrumentation: two flutes, two oboes, whitesto career as a touring pianist while continuing with Stefi Geyer. Bartók met the Hungar- two clarinets, two bassoons, four horns, two his activities as a composer. It soon became ian violinist in 1907, when he was 26 and N

Glenn with conductor with whom e P he made his New York Philharmonic debut in 1967 trumpets, timpani, and strings, in addition to hoto clear that he was likely to find greater she was 19. He was absolutely smitten, and performing the Tchaikovsky Violin Concerto. the solo violin. success and fulfillment as a composer, and he poured out his affection in a series of

20 New York Philharmonic Presents the gleNN dicterow collectioN 21 letters. By September 6 he revealed some an “idealized Stefi Geyer, celestial and very personal thoughts in an immense inward”; the second, a character that was glenn on Bartók: missive — practically 5,000 words long “cheerful, witty, amusing.” Although he — in which he spelled out his personal had not completed the piece when his The Bartók is one of the pieces that I learned philosophy, largely framed in terms of his hopes were dashed, he did go on to fi n- during Alan’s tenure. I was looking for something new that I could play with him, and rebellion against accepted Catholic teach- ish it promptly. He presented Stefi with when I suggested the piece, he said “I love ings. Stefi was apparently shocked, and a copy of the score. At the top of that it… it’s a worthy, worthy piece.” some theological disputation ensued, but it manuscript he inscribed the words “My There’s the big three movement Bartók didn’t seem to lessen Bartók’s infatuation. Confession,” followed by a dedication: Concerto that everyone knows, and then In mid-September he wrote: “One letter “For Stefi , from the times that were there’s this one — the hauntingly beautiful fi rst movement with the unfi nished ending. Be- from you, a line, even a word — and I am happy ones. Although even that was only cause of the tonality and the two-movement in a transport of joy, the next brings me al- half-happiness.” The concerto was not structure, I think it is especially palatable to most to tears, it hurts so. What is to be the performed until 1958, a year and a half concert-goers. The fi rst movement is much end of it all? And when?” The answer came after Geyer died. Bartók did, however, like the Bernstein Serenade where you start by yourself. As you progress through the at the beginning of February, when Stefi recycle the Andante sostenuto movement work you’re joined by different players in a informed him that this courtship would as the fi rst of his Two Portraits (Op. 5), pyramid of sound, the whole section playing not be continuing. presented there under the title “Ideal.” until they die out again. Through it all Bartók had been The last movement or second movement composing a violin concerto, initially Instrumentation: two fl utes (one dou- rather, is very virtuosic, very hard and maybe that’s what was a little bit of a roadblock for envisioned as three movements depict- bling piccolo), two oboes and English the young violinist that Bartók was in love ing different aspects of Stefi ’s character. horn, two clarinets (one doubling bass with. I learned the Concerto late in my life, He then decided to limit the piece to two clarinet), two bassoons, four horns, two stePhaNie Berger and I fell in love with it. connected movements that shared some trumpets, two trombones, timpani, tri- thematic content but achieved contrasting Glenn at rehearsal with Associate Concertmaster angle, bass drum, two harps, and strings, moods. The fi rst, he wrote, would depict Sheryl Staples, 2001. in addition to the solo violin.

22 New York Philharmonic Presents the gleNN dicterow collectioN 23 coNcerto iN d MaJor son began playing the piano, replied, “Erich two years later. Composers all over Europe always played the piano.” He never pursued gazed in awe at their young colleague. By the glenn on heifetz and for Violin and orchestra, a performing career, but people who heard time Korngold was 20, his orchestral works op. 35 him play always remarked on how he seemed had been played by the Leipzig Gewandhaus Korngold: almost organically connected to the keyboard. Orchestra and the , and Growing up in we had Jascha Heifetz, Erich Wolfgang Korngold Ultimately, his musical interests were not his operas Der Ring des Polykrates and Violanta , Walter Primrose, and the b. Brno, Czech Republic, May 29, 1897 those of a piano virtuoso. He was a creator had been premiered at the Court movie industry. Korngold was well known for his d. hollywood, Calfornia, November 29, 1957 rather than a re-creator, and his natural route Theatre, with on the podium. movie music, but what really put him on the map was instead a more improvisatory approach Between the wars Korngold continued from was when Heifetz recorded his Violin Concerto for the fi rst time. The colors and the virtuosity that David Robertson, conductor that allowed him to adapt a piece to express strength to strength, and in 1934 the theatrical Heifetz put into that piece were astonishing. After Glenn Dicterow, violin momentary inspirations. In 1906 his father director Max Reinhardt invited him to travel that nobody would dare to take that piece and convinced to assess the nine- to Hollywood to compose the soundtrack for try to duplicate it, but the more I thought about it, Performances of May 22, 23, 24, 2009 year-old boy. After hearing Korngold play his his fi lm adaptation of A Midsummer Night’s I was transfi xed. And then in 2007 I was looking Avery Fisher Hall (now lost) cantata, Gold, at the piano, Mahler Dream. Hollywood agreed with Korngold, for something unusual, something that wasn’t frequently performed in New York. So I decided declared him to be a genius and recommend- and Korngold, being Jewish, assuredly would to give it a try, doing a few things differently but ed that he be put under the compositional not have agreed with had he remained always with Heifetz’ inspiration in mind. care of Alexander von Zemlinsky. there. During this second phase of his career rich Wolfgang Korngold was one In 1910 Korngold’s ballet-pantomime Der Korngold would create masterful symphonic of history’s most extraordinary child Schneemann (The Snowman) was produced to scores for 20 motion pictures, including Cap- E prodigies, rivaled only by Felix Men- astonished acclaim at the Vienna Court Opera. tain Blood, The Prince and the Pauper, Anthony right. Most of its themes are drawn from delssohn. He was born into a musical family: By then he had already completed his Piano Adverse (which brought him his fi rst Academy Korngold’s fi lm scores: in the fi rst movement, his father, Julius Korngold, was a noted music Trio (Op. 1) and he would soon fi nish his Pia- Award), Robin Hood (which earned him his from Another Dawn (1937) and Juarez (1939); critic on the staff of Vienna’s Neue Freie Presse. no Sonata No. 2, which the pianist Artur Sch- second), The Sea Hawk, and Kings Row. in the second, from Anthony Adverse (1936; Music came naturally to him. His mother, nabel immediately put into his concert reper- If, while listening to his Violin Concerto, the movement’s misterioso middle section is when asked later in life about when her toire. His Sonata for Violin and Piano arrived you hear echoes of familiar fi lm music, you’re original to the concerto); in the mercurial

24 New York Philharmonic Presents the gleNN dicterow collectioN 25 theme from ing at a concert at Boston’s Symphony Hall in 2009 (at which the film’s director Steven SChiNdleR’S liSt Spielberg was also in attendance), Williams told the audience that he was flabbergasted John Williams when he first saw a rough cut of the film. “I b. Floral Park, New York, February 8, 1932 had to walk around the room for four or five minutes to catch my breath,” the composer John Williams, conductor reported. “I said to Steven, ‘I really think you Glenn Dicterow, violin need a better composer than I am for this film.” And he very sweetly said,’ I know, but Performances of April 24, 26, 2006 they’re all dead.’” B ert ert Avery Fisher Hall The Theme from Schindler’s List was B ial composed and premiered in 1993 and Glenn talking with Nate Stutch who joined the Philharmonic in 1946, and Lorne Munroe who joined in 1964, dedicated to Itzhak Perlman. The New York at a rehearsal on the 1981 tour. Philharmonic first performed it on February 10, 2004, with the composer , finale, from The Prince and the Pauper (1937). Instrumentation: two flutes (one doubling chindler’s List, based on a novel by and Glenn Dicterow as soloist. But a concerto is more than its themes, and piccolo), two oboes (one doubling English Thomas Keneally (itself drawn from John Williams is the pre-eminent com- in reworking and developing this mostly pre- horn), two clarinets and bass clarinet, two S factual occurrences), tells the story poser of Hollywood film music and has been existent melodic material Korngold crafted bassoons (one doubling contrabassoon), of an industrialist in Germany — a member for more than three decades. He was born in a virtuoso showpiece that is hard not to love. four horns, two trumpets, trombone, of the Nazi party — who managed to save 1932 into the industry, after a fashion, since While the language was in no way avant- timpani, orchestra bells, xylophone, the lives of more than 1,000 Jews during his father was a film-studio musician, and garde in 1945, it stands as an extension of vibraphone, cymbals, chimes, gong, bass the Holocaust by employing them in his Williams grew up studying piano and then lush post-Romanticism into an era that was drum, harp, celesta, and strings, in addition factories, navigating astonishing political and trombone, trumpet, and clarinet. far less concerned with charming listeners. to the solo violin. economic challenges in doing so. Appear- He orchestrated a number of feature films

26 New York Philharmonic Presents the gleNN dicterow collectioN 27 in the 1960s and by the 1970s emerged as an important fi lm composer in his own glenn on williams and right, but the breakthrough that would schindler’s list : make Williams’ name synonymous with the sounds of the screen came two years later with Steven Spielberg’s Jaws, a soundtrack I knew John [Williams] from when I on which the young Glenn Dicterow per- was in the LA Philharmonic. I did some commercial work and I played on the Jaws, formed as part of the studio orchestra. Wil- Jaws 2, and Close encounters scores. liams’ collaboration with Spielberg would He’s such a consummate musician. First go on to include more than 20 fi lms to of all he used to play in the studios as a date, as well as fi ve Academy Awards (and 49 pianist, so he’s a phenomenal pianist and can read anything, but he’s such a clever nominations) including Best Original Score guy and such a great composer that I have for his Schindler’s List. always enjoyed working with him. Steven Spielberg on his colleague: When he came to the Philharmonic “John Williams reinterprets our fi lms with we renewed our relationship and I had a musical narrative that nails the suspense the chance to play not only Schindler’s list, but we also worked on Fiddler on the we could only hint at, achieves the screams Roof, this gigantic solo that he wrote for that we were so hoping for, and pushes the initially. That was so beautifully audience from the brink of applause to done. So he and I go back a long way and breaking into it spontaneously, and when who knows, maybe I’ll end up in another session when I go back to Los Angeles. our stories make the audience’s eyes brim, chris lee You never know. John’s music makes the tears fall. Sometimes I think I direct a lot of fi lms just to discover

the music that John will write, capturing Steven Spielberg, John Williams and Glenn chat back stage before the concert featuring the music of Bernard Hermann his lightning in a bottle.” and John Williams.

28 New York Philharmonic Presents the gleNN dicterow collectioN 29 Glenn with former Music Director Lorin Maazel during a concert. New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION Conductor Biographies CHRIS LEE AlAN gilbert loriN MAAzel

usic Director Alan Gilbert began his New York orin Maazel served as Music Director of the New York Philharmonic tenure in September 2009, the first native Philharmonic from 2002 to 2009. At the start of the MNew Yorker in the post. He and the Philharmonic have L 2012–13 season he became music director of the Munich introduced the positions of The Marie-Josée Kravis Composer- Philharmonic, after completing his fifth and final season in in-Residence and The Mary and James G. Wallach Artist-in- 2010–11 as the inaugural music director of the Palau de les Arts Residence; CONTACT!, the new-music series; and, beginning in Reina Sofia in Valencia, Spain. Mr. Maazel is also the the spring of 2014, the NY PHIL BIENNIAL. “He is building a founder and artistic director of the Castleton Festival, based on his legacy that matters and is helping to change the template for what farm property in Virginia, which was launched to great acclaim an American orchestra can be,” The New York Times acclaimed. in 2009. The festival began to expand its activities nationally and In the 2013–14 season, Alan Gilbert conducts Mozart’s three internationally in 2011. final symphonies; the U.S. Premiere of Mark-Anthony Turnage’s Frieze with Beethoven’s Ninth A second-generation American born in Paris, France, Lorin Maazel began violin lessons at Symphony; world premieres; an all-Britten program celebrating the composer’s centennial; the age five, conducting lessons at age seven, and appeared publicly for the first time at age eight. score from 2001: A Space Odyssey as the film is screened; and a staged production of Sondheim’s Between ages nine and fifteen he conducted most of the major American orchestras, including Sweeney Todd. He continues The Nielsen Project — the multi-year initiative to perform and the NBC Symphony at the invitation of . record the Danish composer’s symphonies and concertos, the first release of which was named Over the course of his career Mr. Maazel has conducted more than 200 orchestras in by The New York Times as among the Best Recordings of 2012 — and presides more than 7,000 opera and concert performances, and has made more than 300 recordings. over a tour of Asia. Lorin Maazel has been music director of the Bavarian Radio Symphony Orchestra Director of Conducting and Orchestral Studies and the William Schuman Chair in Musical (1993–2002); music director of the Symphony (1988–96); general manager Studies at The , Mr. Gilbert is Conductor Laureate of the Royal Stockholm and chief conductor of the Vienna Staatsoper (1982–84, the first American to hold that Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony position); music director of The (1972–82); and artistic director and AN

Orchestra. His recordings have garnered two Grammy Awards, and his honors include chief conductor of the (1965–71). His close association with the gA rN drew c an Honorary Doctor of Music degree from The Curtis Institute of Music and Columbia hris Vienna Philharmonic has included 11 internationally televised New Year’s Concerts from l University’s Ditson Conductor’s Award. ee Vienna.

74 New York Philharmonic Presents the gleNN dicterow collectioN 75 dAvid robertsoN JohN williAMs

avid Robertson, one of today’s most sought-after American n a career spanning five decades, John Williams has become conductors, has forged close relationships with major one of America’s most accomplished and successful composers D orchestras around the world. In fall 2012 he launched his I for film and for the concert stage. He has composed the music eighth season as music director of the St. Louis Symphony, and in for more than 100 films, and his 40-year artistic partnership with January 2014 he became chief conductor and artistic director of the director Steven Spielberg has resulted in many of Hollywood’s most Sydney Symphony Orchestra in Australia. Additionally he has appeared acclaimed and successful films, including Schindler’s List, E.T. the with the New York Philharmonic, , San Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, Francisco Symphony, the Royal Concertgebouw Orchestra, Vienna the Indiana Jones films, Munich, Saving Private Ryan, and Lincoln. He Radio Symphony Orchestra, Israel Philharmonic, and many others. composed musical themes for the Olympic Games held in 1984, Over the last two and a half decades, Mr. Robertson has held sev- 1988, 1996, and 2002. He has received five Academy Awards and eral posts abroad. He was principal guest conductor of the BBC Symphony Orchestra from 2005 to forty-nine Oscar nominations (making him the most nominated living person and the second- 2012, and was the first artist ever to hold simultaneously the posts of music director of the Orchestre most nominated person in the history of the Oscars), seven British Academy Awards, twenty-one National de Lyon and artistic director of that city’s Auditorium, positions he maintained from 2000 Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, to 2004. From 1992 to 2000 he was music director of the Ensemble Intercontemporain in Paris, and he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic between 1985 and 1987 he served as resident conductor of the Jerusalem Symphony Orchestra. movement. In 2004 he received the prestigious Kennedy Center Honor, and in 2009, he received With more than 45 operas in his repertoire, Mr. Robertson has appeared at many of the the National Medal of Arts, the highest award given to artists by the U.S. Government. world’s most prestigious opera houses, including The , Milan’s Teatro alla Mr. Williams served as music director of the Boston Pops Orchestra for 14 seasons and Scala, Opéra de Lyon, Bavarian Staatsoper, Théâtre du Châtelet, Hamburg Staatsoper, Santa Fe remains their laureate conductor and artist-in-residence at Tanglewood. Mr. Williams has Opera, and San Francisco Opera. composed numerous works for the concert stage, including two symphonies, and concertos

Born in , David Robertson was educated at London’s Royal Academy of Music, Mich commissioned by the Boston Symphony Orchestra (cello, harp), the New York Philharmonic A where he studied horn and composition before turning to orchestral conducting. His numerous tAMMAel ro (bassoon), The Cleveland Orchestra (trumpet), and the Chicago Symphony Orchestra (horn). awards and honors include the Seaver/National Endowment for the Arts Conductors Award In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first and Columbia University’s Ditson’s Conductor’s Award. inaugural ceremony of President Barack Obama.

76 New York Philharmonic Presents the gleNN dicterow collectioN 77 GLENN’S ORCHESTRA 1980-2014

FIRST VIOLINS SECOND VIOLINS Glenn Dicterow, Concertmaster Kuan Cheng Lu Marc Ginsberg, Principal S heryl Staples, Principal Associate Newton Mansfi eld L isa Eunsu Kim, Associate Concertmaster Kerry McDermott Principal Michelle Kim, Assistant William Nowinski (1943-1983) Soohyun Kwon Concertmaster Theodor Podnos (1965-1984) Duoming Ba Kenneth Gordon, Assistant Anna Rabinova Concertmaster (1961-2007) Charles Rex, Associate Denise Ayres (1982-1985) Enrico Di Cecco (1961-2013) Concertmaster (1980-1999) William Barbini (1970-1983) Carol Webb Gino Sambuco (1967-2003) Eugene Bergen (1962-1986) Yoko Takebe Allan Schiller (1964-1999) Matitiahu Braun (1969-2006) Fiona Simon Marilyn Dubow Bjoern Andreasson (1949-1987) Richard Simon (1965-1998) Martin Eshelman Gabriel Banat (1970-1993) Max Weiner (1946-1994) Michael Gilbert (1970-2001) Emanuel Boder (1978-2006) Oscar Weizner (1962-2003) Judith Ginsberg Minyoung Chang (2006-2011) Donald Whyte (1972-2000) Nathan Goldstein (1964-2002)

Quan Ge Sharon Yamada Myung-Hi Kim (1977-2010) CHRIS LEE Glenn preparing for a Hae-Young Ham Elizabeth Zeltser Marina Kruglikov (1980-1987) concert on tour, 2005. Lisa GiHae Kim Yulia Ziskel Hanna Lachert (1972-2012) Hyunju Lee Gilad Karni (1992-1997) Lorin Bernsohn (1958-2000) David J. Grossman Robert Botti Gary Levinson (1988-2002) Peter Kenote Paul Clement (1963-1995) horNS Blake Hinson Albert Goltzer (1938-1984) Jacques Margolies (1964-2002) Barry Lehr (1972-2011) Nancy Donaruma (1976-2007) Philip Myers, Principal Lew Norton (1967-2006) Jerome Roth (1961-1992) Joo Young Oh Kenneth Mirkin Elizabeth Dyson Jerome Ashby, Associate Principal Michele Saxon (1970-2009) Thomas Stacy (1972-2011) Oscar Ravina (1965-2004) Judith Nelson Alexei Yupanqui Gonzales (1979-2008) John Schaeffer (1951-1996) Daniel Reed Henry Nigrine (1957-1989) Valentin Hirsu (1976-2009) L . William Kuyper, Assistant Carlo Renzulli (1957-1982) Rémi Pelletier Patrick Jee clAriNetS Principal (1969-2007) Stanley Drucker, Principal Bernard Robbins (1964-1983) Robert Rinehart Sumire Kudo FlUteS Robert Langevin, Principal (1948-2009) Mark Schmoockler Raymond Sabinsky (1943-1983) Avram A. Lavin (1963-2004) John Carabella (1960-1994) J eanne Baxtresser, Principal Mark Nuccio, Associate Principal Na Sun Basil Vendryes (1984-1985) Thomas Liberti (1966-1996) Ranier De Intinis (1950-1993) (1983-1998) Vladimir Tsypin Robert Weinrebe (1949-1983) Asher Richman (1957-1993) Aubrey Facenda (1970-1992) J ulius Baker, Principal Michael Burgio (1960-2000) Shanshan Yao Brinton Smith (2002-2006) Erik Ralske (1993-2011) (1965-1983) Stephen Freeman (1966-2009) Qiang Tu R. Allen Spanjer Sandra Church, Associate Pascual Martinez-Forteza ViolAS , Principal Nathan Vickery Leelanee Sterrett Principal Peter Simenauer (1960-1998) Cynthia Phelps, Principal L orne Munroe, Principal Ru-Pei Yeh Howard Wall Paige Brook, Associate Principal P aul Neubauer, Principal (1964-1996) Wei Yu (1952-1988) (1984-1989) Eileen Moon, Associate Principal BASSooNS trUMPetS Judith LeClair, Principal S ol Greitzer, Principal H ai-Ye Ni, Associate Principal BASSeS Philip Smith, Principal Renée Siebert, (1974-2010) Kim Laskowski, Associate (1953-1984) (1999-2007) E ugene Levinson, Principal John Ware, Co-Principal Yoobin Son Principal L eonard Davis, Principal A lan Stepansky, Associate (1984-2011) (1948-1988) Mindy Kaufman David Carroll, Associate Principal (1949-1991) Principal (1989-1999) J on Deak, Associate Principal Matthew Muckey, Associate (1983-2000) R ebecca Young, G erald K. Appleman, Associate (1968-2009) Principal M arc Goldberg, Associate Associate Principal Principal (1966-1998) S atoshi Okamoto, Acting oBoeS , Principal Principal (2000-2002) Irene Breslaw, Assistant Principal N athan Stutch, Associate Principal Ethan Bensdorf Joseph Robinson, Principal Dorian Rence Principal (1946-1989) Max Zeugner, Acting Principal Carmine Fornarotto (1963-1993) (1978-2005) Bert Bial (1957-1995) Eric Bartlett Orin O’Brien Vincent Penzarella (1978-2005) Sherry Sylar, Associate Principal Arlen Fast Eugene Becker (1957-1989) Maria Kitsopoulos Thomas V. Smith Harold Goltzer (1958-1983) William Carboni (1959-1983) William Blossom James Wilt (1993-1995) Leonard Hindell (1972-2005) Katherine Greene Bernardo Altmann (1952-1996) Walter Botti (1952-2002) Roger Nye Dawn Hannay E vangeline Benedetti Randall Butler Manuel Zegler (1945-1981) Vivek Kamath (1967-2011) James V. Candido (1966-1999)

84 New York Philharmonic Presents the gleNN dicterow collectioN 85 troMBoNeS PercUSSioN liBrAriANS New York Philharmonic Presents: , Principal Christopher S. Lamb, Principal Lawrence Tarlow, Principal the gleNN dicterow J ames A. Markey, Assistant W alter Rosenberger, Principal Louis Robbins, Principal Principal (1997-2013) (1946-1985) (1971-1985) collectioN Nitzan Haroz, Assistant Principal Daniel Druckman, Associate Sara Griffin, Assistant Principal (1993-1996) Principal S andra Pearson, Assistant Produced by Glenn Dicterow, Barbara Haws and Lawrence L. Rock E dward Erwin, Assistant Principal K yle Zerna, Assistant Principal Principal edited and Mastered by lawrence l. rock (1958-1993) Timpani John Perkel, Assistant Principal Production Assistant, ian reilly (1988-1999) editorial Assistant, gabryel Smith Gilbert Cohen (1963-1985) Elden Bailey (1949-1991) R obert DeCelle, Assistant designed by carole erger-Fass, Bug design George Curran Joseph Pereira (1997-2009) Principal (1969-1988) David Finlayson Thad Marciniak (1985-2007) Special Thanks All notes adapted by lucy Kraus from program Donald Harwood (1974-2007) hArP to the musicians of the New York Philharmonic notes by James M. Keller, except for waxman by Edward Herman, Jr. (1952-1985) , Principal orcheStrA Alan gilbert, Music director Benjamin Folkman. S arah Bullen, Principal PerSoNNel MANAger estate of leonard Bernstein tUBA (1986-1998) Carl R. Schiebler lorin Maazel Kurt Masur All rights reserved. Used by permission Alan Baer, Principal M yor Rosen, Principal James Chambers (1969-1986) Album 1 (on cd): Zubin Mehta Boosey & hawkes, london 3 – 4 W arren Deck, Principal (1960-1987) John Schaeffer, Assistant Manager david robertson B. Schott’s Söhne, Mainz 5 – 7 (1979-2003) (1965-1996) Maxim Shostakovich Universal Music, Santa Monica, cA 8 KeYBoArd John williams Album 2 (download only): tiMPANi Eric Huebner deutsche grammophon, gmbh for the performance g. Schirmer, New York (AScAP) 1 – 3, 5 – 9 4 Markus Rhoten, Principal Kent Tritle of Bernstein’s Serenade Universal edition, Vienna R oland Kohloff, Principal Jonathan Feldman (1983-2013) robert cutietta, dean USc thornton School of Music Album 3 (download only): 1 7 9 (1972-2005) Paul Jacobs (1961-1983) Aaron Jay Kernis g. Schirmer, New York (AScAP) , – John waxman Boosey & hawkes, london 2 – 6 M orris Lang, Associate Principal Lionel Party (1986-2012) Music Publishing (AScAP), Fairfield, ct 0 (1955-1996) Leonard Raver (1977-1992) New York Philharmonic Harriet Wingreen (1986-2012) gary Parr, chairman Matthew VanBesien, executive director chri Avery Fisher hall, 10 Plaza copyright © P , 2014 the Philharmonic–Symphony Society of S lee New York, NY 10023 New York, inc. All rights reserved. Unauthorized reproduction, nyphil.org performance or broadcast of this recording is prohibited.

86 New York Philharmonic Presents the gleNN dicterow collectioN 87