Magnus Lindberg the Marie-Josée Kravis Composer-In-Residence at the New York Philharmonic, 2009-12

Magnus Lindberg The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, 2009-12

New York Philharmonic Alan Gilbert, Conductor Yefim Bronfman, Piano Magnus Lindberg The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, 2009-12 EXPO · Piano Concerto No. 2 · Al largo New York Philharmonic Alan Gilbert, Conductor Yefim Bronfman, Piano

EXPO (2009) for orchestra �� 10:08

Piano Concerto No. 2 (2011-12) ��28:39 1st movement – �� 11:49 2nd movement – �� 8:43 3rd movement �� 8:07

Al largo (2009-10) for orchestra ��23:43

Total 62:32

Global Sponsor Credit Suisse is the Global Sponsor of the New York Philharmonic Breguet is the Exclusive Timepiece of the New York Philharmonic Major support for the commissioning of EXPO, Al largo, and the Piano Concerto No. 2 by the Francis Goelet Fund Yefim Bronfman’s appearance is made possible through the Hedwig van Ameringen Guest Artists Endowment Fund

Dacapo is supported by the Danish Arts Council Committee for Music MAGNUS LINDBERG

3 The Marie-Josée Kravis Composer-in-Residence When Alan Gilbert became Music Director of the New York Philharmonic in September 2009, one of his cornerstone initiatives was to establish The Marie-Josée Kravis Compos- er-in-Residence. The post was made possible by a generous gift from Henry R. Kravis in honor of his wife, Marie-Josée. The couple had already been instrumental in supporting the Orchestra’s commissioning of new works by leading composers. The first appointed to this two-year post was Finnish composer Magnus Lindberg. The collaboration was so rewarding that his tenure was extended to a third season, conclud- ing with his appearances as one of three conductors leading Stockhausen’s Gruppen at Philharmonic 360, the exploration of the impact of space on music that was performed at Park Avenue Armory in June 2012. “Magnus Lindberg is a brilliant musician; his portfolio is incredibly wide and deep,” Alan Gilbert said at the time of Lindberg’s appointment. “Not only will he be writing music for us, but he will also serve as an advocate for all the contemporary music we do, and we want him to become part of the fabric of the Orchestra and someone whom the audience really gets to know well over the years that he’s in residence.” The very first notes that Alan Gilbert conducted as Music Director were by Lindberg— EXPO (2009), the composer’s first New York Philharmonic commission. TheAssociated Press wrote of the performance: “With the crack of a whip and a blast of fresh air, a new era has begun for the nation’s oldest orchestra.” The Orchestra reprised the work on Asian and European tours and played more Lindberg over the first season of his residency, which concluded with his second Philharmonic commission, Al largo (2009-10). That piece was described by The New York Times as “a lushly colorful, brilliantly orchestrated, teeming, intriguing yet baffling work.” Other highlights of Lindberg’s tenure included the New York Premiere of Kraft (1985), one of his breakthrough pieces; the U.S. Premiere of his Clarinet Concerto at Carnegie Hall; performances of his Feria (1995-97) in New York and in Europe; and the World Pre- miere of Souvenir (in memoriam Gérard Grisey), premiered on CONTACT!, the Philharmon- ic’s new-music series, which Lindberg curated for three years, beginning with its inception.

4 The final work Lindberg created for the Philharmonic was his Piano Concerto No. 2 (2011-12), with Yefim Bronfman as the soloist in the World Premiere in New York and on performances on the CALIFORNIA 2012 tour. The New York Times wrote: “The concerto has great stylistic diversity: elusive atonal stretches; writing for the piano that evokes the spiky style of Stockhausen one moment and the voluptuous colors of Ravel the next.” Alan Gilbert agreed, quickly deciding to bring it back during the Orchestra’s 2013-14 season, with performances in New York and Asia and with Mr. Bronfman (the Philharmon- ic’s Mary and James G. Wallach Artist-in-Residence that year) again as soloist. As Magnus Lindberg approached the end of his three-year journey with the New York Philharmonic, he shared his impressions of the musicians who had been his colleagues: “There is no difference between the way they play traditional music and new music. They see them as complements to each other. Alan Gilbert has found that his approach to conducting, his approach to repertoire, can include the whole history of Western music, including the music of our time.”

5 Magnus Lindberg by Ilkka Oramo

According to Luciano Berio (Remembering the Future, 2006) the musical development of the last few decades has postulated an opposition between two kinds of musicians, one empirical and the other systematic, “an opposition between the composer as bricoleur and the composer as scientist.” The former takes whatever is at hand as a starting point and proceeds using inductive reasoning, whereas the latter “starts with a preconceived idea, and follows an all-embracing strategy.” Magnus Lindberg (born 1958) was of the latter kind in his apprentice years at the Sibelius Academy in Helsinki, where he first attended Einojuhani Rautavaara’s and then Paavo Heininen’s composition class in the latter part of the 1970s. His leading idea was to create an all-embracing strategy for every single composition—an idea that had its roots in the aesthetics of the 1950s, in the thinking of Pierre Boulez, Karlheinz Stockhausen, Iannis Xenakis and Milton Babbitt. Having an all-embracing strategy for a work to be created means that once the rules are set, the piece writes itself, as it were. This is a deductive strategy of composition, and the result is a piece that is the only one of its kind—instead of being an instance of a genre, a type, or a class. Therefore it must have a proper name; generic names, such as symphony, sonata or concerto, are out of the question. Lindberg’s first totally structured piece was a wind quintet that, characteristically enough, remained virtual, existing in essence but not in actual fact. Another example of this aesthetic is a piece for cello solo, Espressione I (1978), in which everything—pitch, rhythm, timbre, dynamics and articula- tion—changes from note to note. The piece proved to be unplayable—until the cellist Anssi Karttunen arranged it for two cellos. In its most rigid form, the systematic, deductive way of composition proved to be a dead end. Berio’s two types, composer as bricoleur and composer as scientist, are ideal types. In practice, a balance must be achieved between them, between the inductive and the deductive way of composition. Lindberg encountered the inductive way at Franco Dona toni’s summer course in Siena in 1979. Donatoni’s method of teaching was peculiar. First

6 thing in the morning he went to the blackboard and started exploring permutations. He took a fragment from somewhere, for instance from Schoenberg, and developed out of it a system of transformations in order to show how to deal with elementary musical material. “His radically different approach was a stimulating shock for me,” Lindberg told Peter Szendy in 1993. Donatoni’s “radically different approach” was nothing else than bricolage. Bricolage, by definition, is something made or put together using whatever materials happen to be available. In this practice Lindberg encountered an otherness that swerved his thinking from a previous course and set his imagination free. He immediately began to write a quintet for flute, clarinet, piano, violin and cello, Quintetto dell’estate, the score of which is dated July 24, 1979 in Siena and that he considers his de facto opus 1. In this piece he used, for the first time, an inductive method of composition. He designed a number of musical objects he called models. A model is “a situation defined in relation to several parameters.” Models are flexible. They tolerate a certain amount of variation without losing identity. The shape of a model is fixed, but its details are open. Models can grow or decrease, stretch or shrink. Music based on models has one drawback, though: discontinuity. As models are closed entities, a way must be found to tie them together, to interlock the brick-like material into a continuous flow of music. Here Lindberg could rely on another source of inspiration that was rather unexpected, Sibelius’s Seventh Symphony, a symphony in one movement with remarkable organic continuity properties. Another experience that made Lindberg rethink his former basic assumptions came from theater. In 1980 he was asked to write music to Mikhail Bulgakov’s play Molière, or the Cabal of the Devout (1929). Bulgakov was one of his favorite writers because of his technique of parallel development of independent stories. While all of Lindberg’s preceding works had been extremely unified in style and expression, this one is based on contrasts. Different kinds of music are put next to each other (as in much ofStra vinsky), and a drama unfolds that is as clear as if the story with parallel developments was told in words.

7 In April 1981 Lindberg was reflecting on the future direction of his music and wrote down some ideas in his diary. In the focus of his interest were “problems of rhythm, me- ter and time-space.” He was dreaming of a new kind of “kinetic art.” Thinking in parameters had to be reconsidered: music should be liberated from handling pure parameters such as pitch and rhythm. Instead, a network of complex fusions of parameters should be created. This would imply finding grades of friction. Friction arises when several different aspects contribute to a situation, and this means that friction is not only an entity in itself, but a result of an imbalance between ingredients. Several ingredients are necessary to make friction. In the autumn of 1981 Lindberg headed for Paris to continue his studies with Gérard Grisey and Vinko Globokar. He had met Globokar for the first time at the Helsinki Bien- nale in the spring of 1981, and, impressed by Globokar’s instrumental virtuosity, he also became interested in his aesthetics. He now felt it to be necessary to focus on the problem of form from a different angle than before. Thinking back on that time some years later, Lindberg made one of his famous statements: “My contact with Vinko Globokar in the beginning of the 1980s also made me aware of the necessity of extreme polarities as the basis for thinking on form. Only the extreme is interesting—striving for a balanced total- ity is nowadays an impossibility. An original mode of expression can only be achieved through the marginal (a romantic perception?)—the hypercomplex combined with the primitive.” (Finnish Music Quarterly, 3-4/1987.) The most impressive manifestation of this new aesthetic is Kraft (1985), a piece for six soloists and orchestra that led to Lindberg’s international breakthrough. “I was living in Berlin at that time. Nights, in the nightclub, I encountered an expression of such vio- lence that I wanted to blow something similar into the symphony orchestra.” The decisive nightclub experience was the German punk rock band Einstürzende Neubauten. One of their “trademarks” is the use of instruments made of scrap metal and building tools, and this is exactly what Lindberg took from them. In Kraft, members of the ensemble play not only clarinet, cello, piano and normal percussion instruments, but also pebbles, sand- paper, water in a bowl and all kinds of scrap metal objects found in junkyards, such

8 as buckets, boilers and shock absorbers of demolished cars. This is pure bricolage in its original physical form. But the solid backbone of Kraft, nevertheless, is the work of a composer as scientist. While Kraft is concerned with rhythm and rough sonority, abrupt contrasts and weighty sound masses, the focus of most of Lindberg’s subsequent works has been on harmony. The method is always the same: The harmony is organized in a series of 6-13 chords that is recycled over and over again as in the baroque form of chaconne. In most cases there are two harmonic layers: every chord has a “shadow” that is based on its virtual fundament and is derived from the overtone series of which the actual surface-level chord is a selection. When this chord is supported by its shadow, i.e. by other tones belonging to the same overtone series, its sound becomes more rich and resonant. Trying to combine this kind of harmonic thinking with the previous method of interlocking brick-like ges- tures proved to be a challenge. Lindberg, therefore, soon developed a more goal-oriented formal thinking that never loses sight of its telos. The chaconne principle, recycling a set of chords, remained intact but was modified to sustain a new kind of large-scale progression and development, which includes the use of the chords in different transpositions. Thinking of form as a process instead of a sequence of block-like sections has ena- bled Lindberg to adopt multi-movement forms in orchestral works since the 1990s. The continuity of form as a process is further emphasized by letting the movements follow each other without a break. The movements, of which the massive 40-minute Aura (1994) has four, Cantigas (1999) five, and Seht die Sonne (2007) three, incorporate a variety of textures. Characteristic and recurring texture types are canons, loops, chamber music, soli, chorales and machines, some of which are also present in the works on this CD.

EXPO (2009) is an inaugural piece, with its name celebrating Alan Gilbert’s first season as the New York Philharmonic’s new Music Director and Lindberg’s first season as its Marie- Josée Kravis Composer-in-Residence, but the title also refers to exposition as a musical term, to something that is exposed. The work is based on two opposed characters, fast and slow, and a friction between them in sections where the pulse is slow but the surface

9 The bow following the premiere of EXPO, September 16, 2009. Magnus Lindberg (left), Alan Gilbert (right) and the New York Philharmonic.

10 full of nervous activity. Fast music often takes the character of a perpetuum mobile in the strings, as in the very beginning, where three bars of slow chorale texture in the brass immediately answer it. In the course of the work these two characters undergo various shad- ings both after and on top of each other creating a tension that only relaxes in the final pianissimo bars of the full orchestra. EXPO was commissioned by the New York Philharmonic, Alan Gilbert, Music Director.

Before his Piano Concerto No. 2 (2012) Lindberg had written five other concertos—for piano (1991/94), cello (1999), clarinet (2002), orchestra (2003), and violin (2006)—and they all bear, in contrast to most of his other works, only a generic name that emphasizes their being instances of a long tradition within the genre. Both piano concertos may be characterized as crypto-Ravelian, the first attached to Ravel’s G-major Concerto and the second to the Concerto for the Left Hand. Lindberg’s No. 2 is in three movements played without interruption. The first movement, which contains all material, ends with a Grand Pause, after which the piano starts the second movement alone, slowly, in a quasi-improv- isatory manner, as if hesitating about how to proceed. Characteristic of this movement is the alternation of slow and fast sections, on the one hand, and a dialogue between piano and orchestra, on the other. The third movement has the more straightforward character of a finale. Towards the end there is a large written-out cadenza that neatly leads to the conclusion. The concerto bears the marks of a work written by one pianist for another, extraordinary pianist. Piano Concerto No. 2 was co-commissioned by the New York Philharmonic, Alan Gil- bert, Music Director; the Royal Concertgebouw Orchestra; and the Gothenburg Sympho- ny Orchestra.

Al largo (2010) is a work of symphonic dimensions. According to the composer, its name means being offshore, on the open sea, where no land is visible. This image includes the connotation of something vast around and deep below. The work is divided in two halves. It starts with joyous fanfares that recall the beginning of an earlier work, Feria (1997),

11 and evolves, deconstructing the fanfares, with noise and energy, toward an intimate slow section with lush, longing harmonies of divided strings. A majestic climax introduced by solo horn leads to an airy section in which a mellow oboe solo seduces the string quartet into a passage of chamber music. The return of the fanfares soon after marks the beginning of the second half. The motion gathers new momentum and develops a previously unheard richness of color until a Grand Pause suddenly interrupts it. A new wave of fast music with a hyperactive surface level takes over the fanfare topos and leads toward a climax until it must, after a final horn signal, surrender to slow music with those longing string harmonies familiar from the first half. A short coda ends with parallel oboe and horn solos above an arpeggio of a single second violin that is a quotation from the final bars of Schoenberg’s Verklärte Nacht (1899). Al largo was commissioned by the New York Philharmonic, Alan Gilbert, Music Direc- tor; the London Philharmonic Orchestra; and Casa da Música Porto (Portugal). Dedicated to Alan Gilbert. Dr. Ilkka Oramo is Professor Emeritus of Music Theory at the Sibelius Academy in Helsinki.

The Performers New York Philharmonic Music Director Alan Gilbert began his tenure in September 2009, launching what New York magazine called “a fresh future for the Philharmonic.” The first native New Yorker to hold the post, he has sought to make the Orchestra a point of civic pride for the city and country. Mr. Gilbert combines works in fresh and innovative ways; has forged important artistic partnerships, introducing the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence; and introduced an annual multi-week festival and CONTACT!, the new-music series. In the 2012–13 season he conducts world premieres; presides over a cycle of Brahms’s symphonies and concertos; conducts Bach’s Mass in B minor and an all- American program, including Ives’s Fourth Symphony; leads the Orchestra’s EUROPE / SPRING 2013 tour; continues The Nielsen Project, the multiyear initiative to perform

12 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 Classical Music Recordings of 2012. The season concludes with June Journey: Gilbert’s Playlist, four programs showcasing the Music Director’s themes and ideas, culminating in a theatrical reimagining of Stravinsky ballets with director/designer Doug Fitch and New York City Ballet Principal Dancer Sara Mearns. Last season’s highlights included performances of three Mahler symphonies, including the Second, Resurrection, on A Concert for New York; tours to Europe (including the Orchestra’s first International Associates residency at London’s Barbican Centre) and California; and Philharmonic 360, the Philharmonic and Park Avenue Armory’s acclaimed spatial-music program featuring Stockhausen’s Gruppen, building previous seasons’ suc- cessful productions of Ligeti’s Le Grand Macabre and Janáček’s The Cunning Little Vixen, each acclaimed in 2010 and 2011, respectively, as New York magazine’s number one classical music event of the year. In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where he is the first to hold the William Schuman Chair in Musical Studies. Conductor Laureate of the Royal Stockholm Philharmonic Orchestra and Principal Guest Conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading ensembles such as the Boston Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, and Berlin Philharmonic. Alan Gilbert’s acclaimed 2008 Metropolitan Opera debut, leading John Adams’s Doctor Atomic, received a 2011 Grammy Award for Best Opera Recording. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. Mr. Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). In May 2010 he received an Hon- orary Doctor of Music degree from Curtis, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his commitment to performing American and contemporary music. alangilbert.com

13 Yefim Bronfman is widely regarded as one of the world’s most talented virtuoso pian- ists, winning critical acclaim and enthusiastic audiences worldwide. His 2012-13 season includes concerts with the Berlin Philharmonic (conducted by Simon Rattle) in Berlin, Salzburg, and the London Proms, followed by appearances with the Tonhalle Orchestra Zurich (with David Zinman) and London’s Philharmonia Orchestra. He also undertakes a yearlong residency with the Bavarian Radio Symphony Orchestra; returns to Salzburg’s Easter Festival with the Dresden Staatskapelle; appears with the Vienna Philharmonic in Vienna and London; performs subscription concerts in Spain and Germany; and travels on a spring tour with Ensemble Wien-Berlin. In North America he works with Fabio Lu- isi and the Metropolitan Opera Orchestra at Carnegie Hall, and returns to the orchestras in Chicago, Dallas, Cincinnati, St. Louis, and Montreal. Mr. Bronman collaborates with mezzo-soprano Magdalena Kožená in a short winter tour of venues including Carnegie Hall, and he gives solo recitals in Los Angeles, Seattle, Denver, Atlanta, Paris, Berlin, and Lisbon. Widely praised for his solo, chamber, and orchestral recordings, Mr. Bronfman was nominated for a Grammy Award in 2009 for his recording of Esa-Pekka Salonen’s Piano Concerto, with Salonen conducting (released on Deutsche Grammophon), having received a Grammy in 1997 for his recording of the three Bartók Piano Concertos with Mr. Salonen and the Los Angeles Philharmonic. Born in Tashkent, in the Soviet Union, in 1958, Yefim Bronfman immigrated to Israel with his family in 1973. There he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. He later studied in the United States, at The Juilliard School, Marlboro, and the Curtis Insti- tute, and with Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. He became an Ameri- can citizen in July 1989.

Founded in 1842, the New York Philharmonic is the oldest symphony orchestra in the United States and one of the oldest in the world; on May 5, 2010, it performed its 15,000th concert—a milestone unmatched by any other symphony orchestra in the world. The Orchestra has always played a leading role in American musical life, championing the music of its time, and is renowned around the globe, having appeared in 431 cities

14 The bow following the premiere of Al largo, June 23, 2010. Alan Gilberg (left), Magnus Lindberg (right) and the New York Philharmonic.

15 in 63 countries—including its October 2009 debut in Vietnam and its February 2008 historic visit to Pyongyang, DPRK, earning the 2008 Common Ground Award for Cultural Diplomacy. The Philharmonic’s concerts are broadcast on the weekly syndicated radio program The New York Philharmonic This Week, streamed on nyphil.org, and have been telecast annually on Live From Lincoln Center on U.S. public television since the series’ premiere in 1976. The Philharmonic has made almost 2,000 recordings since 1917, with more than 500 currently available. The first major American orchestra to offer down- loadable concerts, recorded live, the Philharmonic released the first-ever classical iTunes Pass in 2009-10; the self-produced recordings continue with Alan Gilbert and the New York Philharmonic: 2012-13 Season. The Orchestra has built on the long-running Young People’s Concerts to develop a wide range of education programs, including the School Partnership Program, enriching music education in New York City, and Learning Over- tures, fostering international exchange. Alan Gilbert became Music Director in September 2009, succeeding Lorin Maazel in a distinguished line of 20th-century musical giants that goes back to Gustav Mahler and Arturo Toscanini. Credit Suisse is the New York Philhar- monic’s exclusive Global Sponsor. nyphil.org

16 New York Philharmonic

17 Marie-Josée Kravis Composer-in-Residence Da Alan Gilbert blev chefdirigent for New York Philharmonic i september 2009, var et af hans vigtigste initiativer at etablere posten som ‘Marie-Josée Kravis Composer-in-Residen- ce’. Stillingen var gjort mulig efter en generøs gave fra Henry R. Kravis til ære for hans hustru, Marie-Josée. Parret havde allerede støttet orkestrets bestillinger af nye værker hos førende komponister. Den første på posten var finske Magnus Lindberg, og samarbejdet var så udbytterigt, at hans periode blev forlænget med en tredje sæson, afsluttende med Lindbergs optræden som en af de tre dirigenter ved Stockhausens Gruppen ved initiativet Philharmonic 360 i juni 2012. “Magnus Lindberg er en fremragende musiker, hans meritter er ufattelig vidtfavnende og dybe”, sagde Alan Gilbert, da Lindberg blev udnævnt, og fortsatte “ikke alene kommer han til at skrive musik for orkestret, han bliver også en ambassadør for al den samtidsmu- sik, vi spiller. Målet er, at han skal blive en del af orkestrets dna – en publikum for alvor kommer til at lære at kende i løbet af de år, han er tilknyttet orkestret.” De første toner, Alan Gilbert overhovedet dirigerede som chefdirigent, var Lindbergs – EXPO (2009), komponistens første bestilling fra orkestret. Associated Press skrev om opførelsen:”Med et piskesmæld og en skud frisk luft er en ny ære begyndt for landets ældste orkester”. Orkestret genopførte værket på turneer i Asien og Europa spillede mere af Lindberg under første del af hans tilknytning, der sluttede med bestillingsværk nummer to, Al largo (2009-10). New York Times beskrev værket som “et frodigt, farverigt, bril- lant instrumenteret, besnærende og alligevel mystisk værk.” Andre højdepunkter i tiden som huskomponist talte gennembrudsværket Kraft (1985); den amerikanske premiere på hans klarinetkoncert i Carnegie Hall; Souvenir (in memoriam Gérard Grisey), der fik sin uropførelse på CONTACT!, orkestrets serie for ny musik, som Lindberg var kurator for i 3 år fra dens begyndelse. Det sidste værk Lindberg skrev til orkestret var Klaverkoncert nr. 2 (2011-12), der havde Yefim Bronfman som solist både ved uropførelsen i New York og på turneen rundt i Californien i 2012. New York Times skrev:”Klaverkoncerten har stor stilistisk række-

18 vidde: flygtige atonale stræk; klavermusik der snart minder om Stockhausens sylespidse stil, snart om Ravels vellystige farver.” Alan Gilbert var enig og besluttede tage værket med i orkestrets sæson 2013-14 med opførelser i New York og Asien og med Yefim Bronfman (der er ‘Mary and James G. Wal- lach Artist-in-Residence’ hos orkestret netop den sæson) som solist. Da Lindberg nærmede sig slutningen af sit treårige ophold med orkestret delte han nogle indtryk af musikerne, som havde været hans kolleger:”De spiller på samme måde, om det er traditionel eller ny musik – de ser det som to sider af samme sag. Alan Gilbert har fundet en måde at gå til musikken på, at dirigere på, der kan rumme hele den vestlige musikhistorie, også samtidsmusikken.”

19 Magnus Lindberg af Ilkka Oramo

Ifølge Luciano Berio (i Remembering the Future, 2006) har den musikalske udvikling de seneste par årtier formet sig som en modsætning mellem to slags musikere: den ene arbejder ud fra sin erfaring, den anden systematisk – altså “en modsætning mellem komponisten som handyman og komponisten som videnskabsmand”. Hvor den ene bruger, hvad der lige er for hånden som udgangspunkt, og går frem efter sin logiske fornuft, begynder den anden “med en på forhånd etableret idé og arbejder efter en altomsluttende metode”. Magnus Lindberg (f. 1958) var en af de sidstnævnte i læreårene på Sibeliusakademiet i Helsinki, hvor han sidst i 1970’erne først fulgte Einojuhani Rautavaaras og senere Paavo Hei- ninens kompositionsundervisning. Lindbergs kongstanke var at skabe en altfavnende stra- tegi for hver enkelt komposition – en idé med rødder i 1950’ernes æstetik, i tænkningen hos komponister som Pierre Boulez, Karlheinz Stockhausen, Iannis Xenakis og Milton Babbitt. Idéen om strategien for værket betyder, at når reglerne er sat op, skriver stykket sig selv. Det kan man kalde en deduktiv kompositionsstrategi, og resultatet er et værk, som er det eneste af sin slags – i stedet for at være et eksempel inden for en genre, en type eller en kategori. Af den grund må stykket også have et unikt navn; genrebetegnelser som symfoni, sonate eller koncert er uacceptabelt. Lindbergs første gennemstrukturerede værk var derfor, karakteristisk nok, en virtuel blæserkvintet, der eksisterede som essens, men ikke i virkelig- heden. Et andet eksempel på den æstetik er et stykke for solocello, Espressione I (1978), hvor alt – tonehøjde, rytme, klang, dynamik og anslag – skifter fra node til node. Stykket viste sig at være uspilleligt, indtil cellisten Anssi Karttunen arrangerede det for to celloer. I sin mest ekstreme form viste den systematiske metode sig altså at føre ind i en blindgyde. Berios to komponisttyper, gør det selv-manden og videnskabsmanden, er idealtyper. I praksis er det nødvendigt at skabe en balance mellem dem – mellem det deduktive, altså den strategiske tilgang og det induktive, altså den erfaringsbaserede. Hvordan den sidstnævnte tilgang fungerer, opdagede Lindberg på Franco Donatonis sommerkursus i Siena i 1979. Donatonis pædagogik var speciel. Som det første om morgenen gik han til tavlen og begyndte at lave permutationer, dvs. musikalske forvandlinger. Han tog et tilfældigt

20 fragment, f.eks. fra Schönberg, og udviklede et system af forandringer for at vise, hvordan man kan håndtere grundlæggende musikalsk materiale. “Hans radikalt anderledes tilgang var et stimulerende chok for mig”, fortalte Lindberg Peter Szendy i 1993. Donatonis “radikalt anderledes metode” var intet andet end bricolage. Bricolage er pr. definition noget, der er lavet eller sat sammen af de materialer, der nu engang er tilgæn- gelige. Her mødte Lindberg noget anderledes, der drejede hans tænkning væk fra det hidtidige spor og satte hans fantasi fri. Han begyndte med det samme at skrive en kvintet for fløjte, klarinet, klaver, violin og cello, Quintetto dell’estate, dateret 24. juli 1979, og det er det værk han selv regner som opus 1. I kvintetten brugte han, for første gang, en induktiv kompositionsmetode. Konkret de- signede han et antal musikalske objekter, “modeller”. En model er “en situation defineret af en række parametre”. Modellerne er fleksible. De kan holde til en vis variation uden at miste deres identitet. Formen på en model ligger fast, men detaljerne er frie. Modeller kan vokse eller blive mindre, de kan strækkes eller krympe. Musik baseret på modeller har dog en ulempe; manglen på sammenhæng. Eftersom modellerne er lukkede størrelser, er det nødvendigt at finde en måde at binde dem sammen på, at hæfte murstenene sammen til et fortsat musikalsk flow. Til det fandt Lindberg uventet inspiration i Sibelius syvende symfoni, en en-satset symfoni med et bemærkelsesværdigt organisk udtryk. Lindberg fik en anden erfaring, der fik ham til at gentænke sine grundlæggende idéer; fra teatret. I 1980 blev han spurgt, om han ville skrive musik til Mikhail Bulgakovs stykke Molière, or the Cabal of the Devout (1929). Bulgakov var en af hans yndlingsforfattere på grund af sin teknik med parallelle udviklinger i uafhængige historier. Mens alle Lind- bergs forudgående værker havde været ekstremt enhedsorienterede i stil og udtryk, var dette baseret på kontraster. Forskellige slags musik er sat op ved siden af hinanden (som hos Stravinsky), så et drama udfolder sig så tydeligt, som var det en historie med parallelle udviklingsspor fortalt i ord. I april 1981 skrev Magnus Lindberg nogle refleksioner over den fremtidige retning for sin musik i sin dagbog. Centralt i hans overvejelser var “spørgsmål i forhold til rytme, metrik og tid-rum” – han drømte om en ny slags “kinetisk kunst”. Der blev derfor nødven-

21 digt for ham at genoverveje sin hidtidige tænkning i musikalske parametre; musikken skulle frigøres fra udelukkende at anvende rene parametre, som tonehøjde og rytme, og i stedet skulle der skabes en kompleks sammensmeltning af parametre. Dette ville involvere at skabe forskellige grader af friktion. Friktion opstår, når adskillige forskellige forhold bidrager til en situation, hvilket betyder, at friktion ikke er noget i sig selv, men et udtryk for en manglende balance mellem forskellige ingredienser. Der skal adskillige ingredienser til for at skabe en friktion. I efteråret 1981 drog Lindberg til Paris for at fortsætte sine studier hos Gérard Grisey og Vinko Globokar. Han havde mødt Globokar for første gang ved Helsinkibiennalen i for- året samme år og, imponeret som han var over Globokars behændige instrumentbehand- ling, blev han også interesseret i hans æstetik. På det tidspunkt virkede det nødvendigt for ham at fokusere på problematikker vedrørende form – fra en anden vinkel end tidligere. I et tilbageblik nogle år senere opsummerede Lindberg tiden i en berømt betragtning:”Min kontakt med Vinko Globokar i begyndelsen af 1980’erne gjorde mig klar over behovet for ekstrem polarisering som grundlag for formtænkning. Alene det ekstreme er interessant – at stræbe efter en balanceret helhed er nu om dage umuligt. Et originalt udtryk kan kun opnås med det marginaliserede (en romantisk opfattelse?) – det hyperkomplekse kombi- neret med det primitive.” (Finnish Music Quarterly, 3-4/1987.) Det mest imponerende eksempel på denne nye æstetik er Kraft (1985), et stykke for seks solister og orkester, som samtidig blev Lindbergs internationale gennembrud. “Jeg boede i Berlin på det tidspunkt. Om natten, på natklubber, oplevede jeg så voldsomme udtryk, at jeg ønskede at blæse noget tilsvarende ind i symfoniorkestret.” Den afgørende natkluboplevelse var det tyske punkrock band Einstürzende Neubauten. Et af deres vare- mærker er instrumenter lavet af metalaffald og elektrisk værktøj, og det er præcis, hvad Lindberg tog fra dem. I ‘Kraft’ spiller musikerne ikke kun på klarinet, cello, klaver og al- mindeligt slagtøj, men også småsten, sandpapir, vand i en skål og alle mulige slags metalaffald fundet på lossepladser som spande, kogegrej, støddæmpere og smadrede biler. Det er ren bricolage i metodens originale fysiske form. Men rygraden i ‘Kraft’ er ikke desto mindre resultatet af en videnskabeligt arbejdende komponists indsats.

22 Mens ‘Kraft’ handler om rytme og rå klange, abrupte kontraster og tyngende lydmasser, er fokus i de fleste af Lindbergs efterfølgende værker harmonikken. Metoden er altid den samme. De harmoniske forløb er organiseret i serier af 6-13 akkorder, der bliver genbrugt igen og igen som i barokformen chaconne. Ofte er der to harmoniske lag; hver akkord har en ‘skygge’ hentet fra overtonerækken, som den aktuelle akkord ‘på overfladen’ er et uddrag af. Når en akkord er støttet af sin skygge, dvs. af andre toner fra den samme overtonerække, bliver dens klang bredere og får større resonans. Forsøget på at kombinere denne harmoniske tænkning med den forudgående sammensætning af ‘modeller’ viste sig at være lidt af en udfordring. Lindberg udviklede derfor en mere målrettet formal tænkning uden at tabe det overordnede sigte af syne. Chaconne-princippet, genbrug af akkordprogressioner, forblev intakt, men det blev samtidig modificeret så det også kunne håndtere en ny slags progression og udvikling – i større skala – noget der indbefatter anvendelsen af akkorder i forskellige transpositioner. Forestillingen om form som en proces snarere end en sekvens af blokagtige sektioner har gjort Lindberg i stand til at skabe flersatsede former i orkesterværker siden 1990’erne. Formen som et fortsat forløb i proces bliver også gjort tydelig ved at lade satserne følge efter hinanden uden pause. Satserne, som det massive 40 minutter lange Aura (1994) har fire af, Cantigas (1999) fem og Seht die Sonne (2007) tre, rummer et bredt spand af teksturer. Nogle af de hyppigste og mest karakteristiske er kanoner, sløjfer, kammermusik, soloer, koraler, og maskiner – og nogle af dem kan også opleves på denne udgivelse.

EXPO (2009) er et ‘tiltrædelsesstykke’, der fejrer Alan Gilberts første sæson som orkestrets chefdirigent og Lindbergs første sæson som orkestrets Marie-Josée Kravis composer-in-residence. Titlen refererer også til eksposition som et musikalsk begreb, til noget der ekspo- neres. Værket er baseret på to modsatte karakterer, hurtig og langsom, og friktionen mellem dem i afsnit, hvor pulsen er langsom, mens overfladen er fuld af nervøs energi. Den hurtige musik får ofte karakter af en perpetuum mobile i strygerne, som f.eks. helt i begyndelsen, hvor tre takter af langsom koralmusik i messingblæserne svarer den. I løbet af værket får de to karakterer forskellige nuanceringer både efter og oven på hinanden, hvilket skaber en spænding, der først forløses i de sidste ganske svage takter i hele orkestret. EXPO er bestilt af New York Philharmonic, Alan Gilbert, musikchef. 23 Før Klaverkoncert nr. 2 (2012) havde Lindberg skrevet fem koncerter – for klaver (1991/94), cello (1999), klarinet (2002), orkester (2003), og violin (2006) – og de har alle, til forskel fra hans øvrige værker, generiske navne, der understreger, at de er eksempler inden for en lang tradition i en genre. Begge koncerter kan siges at være krypto-Ravelske. Den første hænger sammen med Ravels G-dur-koncert, mens den anden er i familie med Ravels ventrehåndskoncert. Kon- cert nr. 2 har tre satser, der spilles uden pause imellem. Førstesatsen, der indeholder hele materialet, slutter med en generalpause, hvorefter klaveret begynder andensatsen alene, langsomt og nærmest improvisatorisk – som i en tøven. Det karakteristiske for den sats er en vekslen mellem langsomme og hurtige afsnit, på den ene side, og en dialog mellem klaveret og orkestret på den anden. Tredjesatsen har en mere ligefrem karakter som en finale. Mod slutningen er der en stor, udkomponeret kadence, der behændigt fører til kon- klusionen. Klaverkoncert nr. 2 er co-bestilling fra New York Philharmonic, Alan Gilbert, musikchef, Royal Concertgebouw Orchestra og Göteborg Symfoniorkester

Al largo (2010) er et værk af symfoniske dimensioner. Ifølge komponisten betyder navnet at være væk fra kysten i åben sø, hvor intet land er i sigte. Et billede, der giver associatio- ner til noget storladent rundt om og dybt nedenunder. Værket er delt i to halve. Det begynder med glædesfyldte fanfarer, mindende om begyndelsen af et tidligere værk, Feria (1997), og udvikler sig som en støjende og energisk dekonstruktion af fanfarerne hen imod en mere intim sektion med frodige, længselsfulde harmonier i delte strygere. Et majestætisk klimaks introduceret af en hornsolo leder til et luftigt afsnit, hvor en melankolsk obosolo lokker en strygekvartet ind i et forløb af kammermusik. Fanfarernes tilbagevenden kort efter markerer begyndelsen af anden del. Bevægelsen får ny energi og udvikler en hidtil uhørt rigdom af farver, indtil en generalpause pludselig afbryder den. En ny bølge af hurtig musik med en hyperaktiv overflade overtager fanfarestilen og fører til et klimaks, indtil det, efter et sidste horn signal, overgiver sig til langsom musik med længselsfulde strygerklange i slægt med dem i første del. Et kort koda slutter med

24 parallelle obo- og hornsoloer oven på en brudt akkord i en enkelt andenviolin – et citat fra de sidste takter af Schönbergs Verklärte Nacht (1899). Al largo er co-bestilling fra New York Philharmonic, Alan Gilbert, musikchef, London Phil- harmonic Orchestra og Casa da Música Porto (Portugal). Værket er tilegnet Alan Gilbert. Dr. Ilkka Oramo er professor emeritus i musikteori ved Sibeliusakademiet i Helsinki

De medvirkende Chefdirigent Alan Gilbert tiltrådte hos New York Philharmonic i september 2009 og viste hurtigt, med magasinet New York’s ord, “en lys fremtid” for orkestret. Som den første indfødte newyorker på posten har han arbejdet på at gøre orkestret til et kulturelt omdrej- ningspunkt i New York og USA. Alan Gilbert sammensætter værker på nye og opfindsom- me måder; han har skabt vigtige kunstneriske partnerskaber som ‘The Marie-Josée Kravis Composer-in-Residence’ og ‘The Mary and James G. Wallach Artist-in-Residence’, og han er initiativtager til den årlige musikfestival for ny musik ‘CONTACT!’. I sæsonen 2012-13 dirigerer han en række uropførelser, alle Brahms’ symfonier og koncerter, Bachs H-mol messe og et helt amerikansk program med bl.a. Charles Ives’ Fjerde symfoni; han står i spidsen for orkestrets Europa-turné i foråret 2013 og fortsætter ‘The Nielsen Project’ med opførelser og live-indspilninger af Carl Nielsens seks symfonier og tre solokoncerter; den første udgivelse i serien blev udvalgt af The New York Times blandt de bedste klassiske udgivelser i 2012. Sæsonen slutter med ‘June Journey: Gilbert’s Play- list’ – fire programmer med prøver på initiativer, Gilbert har iværksat, kulminerende med en dramatisk gendigtning af Stravinskijs balletter i samarbejde med instruktøren Doug Fitch og New York City Ballet’s solodanser Sara Mearns. Sidste sæsons højdepunkter talte opførelser af tre Mahler-symfonier, bl.a. Nr. 2 ‘Genopstandelsen’, som blev opført ved A Concert in New York i 10-året for 9/11, turnéer til Californien og Europa, som bl.a. talte orkestrets første residency i Barbican Centre i London, ‘Philharmonic 360’ – en meget rost ‘musikalsk rumlig’ idé med Stockhausens store orkesterværk Gruppen – samt opsætnin- ger af tidligere sæsoners succesrige produktioner af Ligetis Le Grand Macabre og Janáčeks

25 The premiere of the Piano Concerto No. 2, with Alan Gilbert and Yefim Bronfman, May 3, 2012.

26 Den fiffige lille ræv.Begge forestillinger blev hædret i hhv. 2010 og 2011 som ‘årets bedste klassiske musik-event’ af magasinet New York. I september 2011 blev Alan Gilbert leder af dirigent- og orkesterlinjerne ved Juilliard School of Music, hvor han som den første blev udnævnt til posten ‘William Schuman Chair in Musical Studies’. Han er æresdirigent for Stockholm Filharmonikerne samt 1. gæstedirigent for NDR Symphonie i Hamborg og dirigerer jævnligt førende orkestre som Boston Symfoniorkester, Concertgebouw i Amsterdam og Berlin Filharmonikerne. Alan Gilberts anmelderroste debut ved Metropolitan Operaen i 2008 med John Adams’ Doctor Atomic modtog i 2011 en amerikansk Grammy for bedste operaudgivelse på dvd. Renée Flemings seneste album for Decca, Poèmes, hvor Gilbert dirigerer, modtog en Grammy i 2013. Alan Gilbert studerede på Harvard University, The Curtis Institute of Music og Juilliard, og var assisterende dirigent hos The Cleveland Orchestra (1995–97). I 2010 blev Gilbert æresdoktor ved Curtis Institute of Music, og i 2011 modtog han Columbia Uni- versity’s dirigentpris for ‘en enestående indsats for musik af amerikanske komponister og ny musik’. alangilbert.com

YefimB ronfman er bredt anerkendt som en af de mest begavede, virtuose pianister med både kritikerros og entusiastiske lyttere over hele verden til følge. Hans 2012-13 sæson rummer koncert med Berliner Philharmoniker i Berlin, Salzburg og ved BBC Proms – efter fulgt af koncerter med Tonhalle Orchestra Zürich og Londons Philharmonia Orchestra. Derudover er han tilknyttet Bayerns Radiosymfoniorkester i et 1-årigt residency, han optræder på påskefestivalen i Salzburg med Dresden Staatskapelle og med Wiener Phil- harmoniker. Desuden giver han abonnementskoncerter i Spanien og Tyskland og tager på forårsturne med Ensemble Wien-Berlin. I USA arbejder han med Fabio Luisi og Metro- politan Opera Orchestra i Carnegie Hall, og vender tilbage til orkestrene i Chicago, Dallas, Cincinnati, St. Louis og Montreal. Bronfman samarbejder med mezzosopranen Magda- lena Kožená på en kort vinterturne og giver solo-recitals i Los Angeles, Seattle, Denver, Atlanta, Paris, Berlin og Lisabon.

27 I 2009 blev Yefim Bronfman Grammynomineret for sin indspilning af Esa-Pekka Salonens klaverkoncert efter i 1997 at have modtaget en Grammy for sin fortolkning af Bartóks tre klaverkoncerter med Los Angeles Philhamonic under ledelse af Salonen. Bronfman er født i 1958 i Sovjetunionen, men i 1973 emigrerede han til Israel med sin familie. Der studerede han hos Arie Vardi, leder af Rubin Musikakademiet ved universitetet i Tel Aviv. Efterfølgende studerede han i USA på Julliard School of Music, på Curtis Institute og med Rudolf Firkusny, Leon Fleisher og Rudolf Serkin. I juli 1989 blev han amerikansk statsborger.

New York Philharmonic blev etableret i 1842, og de er dermed det ældste symfoniorkester i USA. Den 5. maj 2010 spillede orkestret sin koncert nummer 15.000, en milepæl de er ene om at have nået i verden. Orkestret har altid haft en førende rolle i amerikansk musikliv som fortaler for samtidens musik, og er, med besøg i 431 byer i 63 lande gennem årene, kendt og anerkendt på hele kloden. Efter orkestrets besøg i Vietnam og Nordkorea i 2009 modtog de ‘Common Ground’- prisen for kulturelt diplomati. Orkestrets koncerter sendes hver uge ud til et netværk af radiostationer, ligesom de streames på www.nyphil.org – og hvert år siden 1976 har amerikanerne kunnet opleve dem på public service tv i den tilbagevendende serie ‘Live From Lincoln Center’. Orkestret er også flittigt ind- spillende med næsten 2.000 udgivelser siden 1917, hvoraf flere end 500 stadig lagerføres. Som det første større amerikanske orkester, der tilbyder koncerter til download, frigav orkestret sit første iTunes Pass inden for klassisk musik i 2009-10, og de selvproducerede optagelser fortsætter også i sæson 2012-13. New York Philharmonic arbejder desuden med skoleprogrammer bl.a. med et skolepartnerskab, der skal forbedre musikundervisningen i New York, og med programmet ‘Learning Ouvertures’, der støtter international udveksling. Alan Gilbert blev chefdirigent i 2009, hvor han efterfulgte Lorin Maazel i en lang række af store navne, der rækker tilbage til Gustav Mahler og Arturo Toscanini. Credit Suisse er orkestrets globale enesponsor. nyphil.org

28 NYew ork Philharmonic 2012-2013 SEASON

ALAN GILBERT, Music Director Fiona Simon Case Scaglione, Assistant Conductor Sharon Yamada Joshua Weilerstein, Assistant Conductor Elizabeth Zeltser Leonard Bernstein, Laureate Conductor, 1943- The William and Elfriede Ulrich Chair 1990 Yulia Ziskel Kurt Masur, Music Director Emeritus Marc Ginsberg Principal VIOLINS Lisa Kim* Glenn Dicterow In Memory of Laura Mitchell Concertmaster Soohyun Kwon The Charles E. Culpeper Chair The Joan and Joel I. Picket Chair Sheryl Staples Duoming Ba Principal Associate Concertmaster The Elizabeth G. Beinecke Chair Marilyn Dubow Michelle Kim The Sue and Eugene Mercy, Jr. Chair Assistant Concertmaster Martin Eshelman The William Petschek Family Chair Judith Ginsberg Enrico Di Cecco Hyunju Lee Carol Webb Joo Young Oh Yoko Takebe Daniel Reed Mark Schmoockler Quan Ge Na Sun The Gary W. Parr Chair Vladimir Tsypin Hae-Young Ham The Mr. and Mrs. Timothy M. George Chair VIOLAS Lisa GiHae Kim Cynthia Phelps Kuan Cheng Lu Principal Newton Mansfield The Mr. and Mrs. Frederick P. Rose Chair The Edward and Priscilla Pilcher Chair Rebecca Young* Kerry McDermott The Joan and Joel Smilow Chair Anna Rabinova Irene Breslaw** Charles Rex The Norma and Lloyd Chazen Chair The Shirley Bacot Shamel Chair Dorian Rence (continued) 29 Katherine Greene ——————— The Mr. and Mrs. William J. McDonough Chair The Herbert M. Citrin Chair Dawn Hannay Orin O’Brien Vivek Kamath Peter Kenote William Blossom Kenneth Mirkin The Ludmila S. and Carl B. Hess Chair Judith Nelson Randall Butler Robert Rinehart David J. Grossman The Mr. and Mrs. G. Chris Andersen Chair Blake Hinson Satoshi Okamoto CELLOS Max Zeugner Carter Brey Rex Surany+ Principal The Fan Fox and Leslie R. Samuels Chair FLUTES Eileen Moon* Robert Langevin The Paul and Diane Guenther Chair Principal Eric Bartlett+ The Lila Acheson Wallace Chair The Shirley and Jon Brodsky Foundation Chair Sandra Church* Maria Kitsopoulos Yoobin Son Sumire Kudo Mindy Kaufman

Elizabeth Dyson PICCOLO The Mr. and Mrs. James E. Buckman Chair Mindy Kaufman Alexei Yupanqui Gonzales Qiang Tu OBOES Ru-Pei Yeh Liang Wang The Credit Suisse Chair in honor of Paul Ca- Principal lello The Alice Tully Chair Wei Yu Sherry Sylar* Susannah Chapman++ Robert Botti Alberto Parrini++ The Lizabeth and Frank Newman Chair BASSES Keisuke Ikuma++ Fora Baltacigil Principal ENGLISH HORN The Redfield .D Beckwith Chair Keisuke Ikuma++

30 CLARINETS TRUMPETS Mark Nuccio Philip Smith Acting Principal Principal The Edna and W. Van Alan Clark Chair The Paula Levin Chair Pascual Martínez Forteza* Matthew Muckey* Acting Associate Principal Ethan Bensdorf The Honey M. Kurtz Family Chair Thomas V. Smith Alucia Scalzo++ Amy Zoloto++ TROMBONES Joseph Alessi E-FLAT CLARINET Principal Pascual Martínez Forteza The Gurnee F. and Marjorie L. Hart Chair David Finlayson BASS CLARINET The Donna and Benjamin M. Rosen Chair Amy Zoloto++ BASS TROMBONE BASSOONS ——————— Judith LeClair The Dana L. and C. Forster Chair Principal George Curran++ The Pels Family Chair Kim Laskowski* TUBA Roger Nye Alan Baer Arlen Fast Principal

CONTRABASSOON TIMPANI Arlen Fast Markus Rhoten Principal HORNS The Carlos Moseley Chair Philip Myers Kyle Zerna** Principal The Ruth F. and Alan J. Broder Chair PERCUSSION R. Allen Spanjer Christopher S. Lamb Howard Wall Principal Richard Deane++ The Constance R. Hoguet Friends of the Phil- Leelanee Sterrett++ harmonic Chair (continued)

31 Daniel Druckman* STAGE REPRESENTATIVE The Mr. and Mrs. Ronald J. Ulrich Chair Joseph Faretta Kyle Zerna AUDIO DIRECTOR HARP Lawrence Rock Nancy Allen Principal * Associate Principal The Mr. and Mrs. William T. Knight III Chair ** Assistant Principal + On Leave KEYBOARD ++ Replacement/Extra In Memory of Paul Jacobs The New York Philharmonic uses the revolving Harpsichord seating method for section string players who Paolo Bordignon are listed alphabetically in the roster. Piano Eric Huebner HONORARY MEMBERS OF THE SOCIETY Emanuel Ax Organ Pierre Boulez Kent Tritle Stanley Drucker Lorin Maazel LIBRARIANS Zubin Mehta Lawrence Tarlow The late Carlos Moseley Principal Sandra Pearson** NEW YORK PHILHARMONIC Sara Griffin** Gary W. Parr, Chairman Matthew VanBesien, Executive Director ORCHESTRA PERSONNEL MANAGER Carl R. Schiebler

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund. Steinway is the Official Piano of the New York Philharmonic. Programs are supported, in part, by public funds from the New York City Department of Cultu- ral Affairs, New York State Council on the Arts, and the National Endowment for the Arts. Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic.

32 d Recorded at Avery Fisher Hall, Lincoln Center, New York City Executive Producer: Vince Ford Producers: Lawrence Rock and Mark Travis Recording and Mastering Engineer: Lawrence Rock Assistant Producer: Nick Bremer Korb EXPO recorded live September 16, 2009 Piano Concerto No. 2 recorded live May 3, 2012 Al largo recorded live June 23, 2010 Publisher: Boosey & Hawkes, www.boosey.com. p & © 2013 Dacapo Records, Copenhagen Liner notes: Ilkka Oramo Dansk oversættelse: Henrik Friis Proofreaders: Svend Ravnkilde and Monica Parks Photo p. 4: © Hanya Chlala, Arena PAL; performance photos by Chris Lee Graphic design: Denise Burt, elevator-design.dk

8.226076

Dacapo Records, Denmark’s national record label, was founded in 1986 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world premieres, and we are dedicated to producing music of the highest international standards.

33 Anish Kapoor (British, born in India in 1954). Wounds and Absent Objects. 1998. One from a portfolio of nine pigment transfer prints. Composition: 17 ⅝ x 21 ⅟₁₆" (44.7 x 53.5 cm). Sheet: 20 ⅟₂ x 24 ⅟₄" (52.1 x 61.6 cm). Publisher: The Paragon Press, London. Printer: Permapress, London. Edition: 12. The Museum of Modern Art, New York. Jacqueline Brody Fund and Harry Kahn Fund. © 2013 Anish Kapoor / Artists Rights Society (ARS), New York / DACS, London