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Home , 2012 Echo Klassik Awards, Apollo e Dafne (Handel), Collegium Vocale Gent, Daniel Harding, Echo Klassik, Glimmerglass Festival

FOR IMMEDIATE RELEASE February 6, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected]

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL

Perspectives on Bach by , , BERNARD LABADIE, and ANDRÁS SCHIFF , Orchestral Suites, Mendelssohn, and Schumann

CARTER BREY To Perform BACH’S COMPLETE SUITES SECOND DATE ADDED: APRIL 1, 2013

MARCH 6–APRIL 6, 2013 A COLLABORATION WITH 92ND STREET Y

The will present The Bach Variations: A Philharmonic Festival March 6–April 6, 2013. Four orchestral programs will be led by different conductors — Masaaki Suzuki, Alan Gilbert, Bernard Labadie, and András Schiff — each bringing a different perspective to the composer’s works. The Bach Variations marks the first time the New York Philharmonic has presented a festival of the music of the Baroque master.

“Bach is the composer who, more often than not, ends up at the top of anybody’s list of greatest or favorite composers,” Music Director Alan Gilbert said. “The idea that great music, and particularly Bach’s music, can withstand interpretation — by which I mean it can be treated in different ways — led us to try to find different conductors who would approach the music through varied perspectives.”

The festival’s first orchestral program, March 6–9, 2013, will be conducted by Bach specialist Masaaki Suzuki in his Philharmonic debut; Alan Gilbert will lead the festival’s second orchestral program, featuring Bach’s Mass in B minor, March 13–16, 2013; Bernard Labadie, who takes an early-music approach performed with modern instruments, will conduct the concerts March 20–23, 2013; and pianist András Schiff will make his Philharmonic debut leading the final program, April 3–6, 2013.

“I think it will be fascinating to see Suzuki, who has mostly worked with his own ensembles, with his rigorous performance practice. Bernard Labadie has been very successful in applying the principles of historic performance practice with modern symphony . András Schiff’s program, in which he’ll be playing and conducting, is really exciting because it (more)

The Bach Variations: A Philharmonic Festival / 2 combines the music of Bach with that of Mendelssohn and Schumann, composers who both loved Bach very much and were very influenced by him. I’m conducting the B-minor Mass; I’m not a Bach specialist, but I will try to approach the music with sincerity as a musician. I think these weeks will be illuminating,” Alan Gilbert said.

New York Philharmonic Principal Cello Carter Brey will perform Bach’s Complete Cello Suites at Holy Trinity Lutheran Church. Due to popular demand, a second date for the concert has been added on April 1, 2013, as the previously announced performance on March 27, 2013, is sold out.

Also in 2012–13, 92nd Street Y presents Bach Through the Season, which began in fall 2012 and includes performances by some of the artists featured at the Philharmonic as well as “Interpreting Bach: A Symposium,” March 3, 2013, which will feature Alan Gilbert, Masaaki Suzuki, and Jennifer Koh, moderated by Hanna Arie-Gaifman. Current and upcoming Bach Through the Season events at the 92nd Street Y include guitarist Raphaella Smits performing Bach’s Lute Suite in G minor, BWV 995, and Partita in D minor, BWV 1004, plus works by Mertz, March 23, 2013, and guitarist Benjamin Verdery performing Bach’s Suite in E-flat major, BWV 1010, plus works by Albéniz, Laderman, Verdery, Mozart, and others, May 23, 2013. Together, the two institutions are offering a multidimensional portrait of Bach, featuring events that will explore varying interpretations of some of the composer’s greatest works. For more information visit 92Y.org/Bach.

Related Events  Pre-Concert Talks New York Philharmonic Program Annotator James M. Keller, The Leni and Peter May Chair, will introduce the program March 6–9; violist/violinist and Philharmonic Senior Teaching Artist David Wallace will introduce the program March 13–16; Joelle Wallach, composer and visiting professor at College of Music, University of North Texas, will introduce the concerts March 20–23; and composer/conductor Victoria Bond will introduce the concerts April 3–6. Pre-Concert Talks are $7; discounts available for multiple concerts, students, and groups. They take place one hour before each performance in the Helen Hull Room, unless otherwise noted. Attendance is limited to 90 people. Information: nyphil.org or (212) 875-5656.

 Insights Series Event — “The Bach Variations: Mass in B Minor” Sir Nicholas Kenyon, speaker Monday, March 11, 2013, 6:30 p.m. New York Institute of Technology Auditorium on Broadway, 1871 Broadway at 61st Street Coinciding with the Philharmonic’s month-long The Bach Variations: A Philharmonic Festival, Sir Nicholas Kenyon — managing director of London’s Barbican Center and author of the Faber Pocket Guide to Bach — examines Bach’s changing reputation and explores his great Mass in B minor, which Philharmonic Music Director Alan Gilbert will conduct, March 13–26, 2013. Tickets: $20; $15 for Philharmonic Friends (Affiliate level and above) and current Subscribers; and $10 for Patrons. (more) The Bach Variations: A Philharmonic Festival / 3

 New York Philharmonic Offstage Carter Brey, speaker Isabelle Faust, speaker Jeff Spurgeon, host Tuesday, March 19, 2013, 7:00 p.m. David Rubenstein Atrium, Broadway between 62nd and 63rd Streets New York Philharmonic Offstage events are free and seated on a first-come, first-served basis.

 National and International Radio Broadcast The first program will be broadcast the week of March 27, 2013,* on The New York Philharmonic This Week, a radio concert series syndicated weekly to more than 300 stations nationally, and to 122 outlets internationally, by the WFMT Radio Network. The second program will be broadcast the week of April 3, 2013,* the third program will be broadcast the week of April 10, 2013,* and the final program will be broadcast the week of April 17, 2013.*

The 52-week series, hosted by actor Alec Baldwin, is generously underwritten by The Kaplen Foundation, the Audrey Love Charitable Foundation, the National Endowment for the Arts, and the Philharmonic’s corporate partner, MetLife Foundation. The broadcast will be available on the Philharmonic’s Website, nyphil.org. The program is broadcast locally in the New York metropolitan area on 105.9 FM WQXR on Thursdays at 8:00 p.m. *Check local listings for broadcast and program information.

PROGRAM I

Japanese Bach Specialist Masaaki Suzuki To Make His Philharmonic Debut Conducting J.S. Bach and Mendelssohn With the Bach Collegium Japan, Yale Schola Cantorum, and Soloists

For the first orchestral program of the festival, March 6–9, 2013, Japanese Bach specialist Masaaki Suzuki, known for his mastery of Bach and his work with period instruments, will make his New York Philharmonic debut conducting the , Sherezade Panthaki (debut) and Joelle Harvey (debut), (debut), Nicholas Phan, Tyler Duncan (debut), the Bach Collegium Japan (debut), and Yale Schola Cantorum (debut) in an historically informed interpretation of Bach’s motet Singet dem Herrn and , as well as Mendelssohn’s Christus and Magnificat. Bach composed the first version of the Magnificat in E-flat in 1723 for Christmas Vespers, during his first year as director of music at St. Thomas Church in . A revised version, from which Bach had removed the Christmas-specific portions and which he transposed to D major, was premiered at that church in July 1733. The Magnificat — a grand work for large orchestra, five-part , and five soloists — sets a libretto that is based on the canticle of the Blessed Virgin Mary, which is perhaps the most often-used liturgical text other than the Mass. Mendelssohn began to compose his unfinished Christus in 1846, and continued working on it until just before his death the (more) The Bach Variations: A Philharmonic Festival / 4 following year. With a German libretto by Christian Karl Josias von Bunsen (who had suggested the idea of the piece to Mendelssohn), the completed portions include a tenor on Christ’s birth, the chorus “Where is the Newborn,” the chorus “There Shall a Star from Jacob Shine Forth” (based on Philipp Nicolai’s chorale Wie schön leuchtet der Morgenstern), and the concluding chorale “Welt, sieh’ hier dein Leben.” Heavily influenced by Bach, Mendelssohn completed his own Magnificat in 1822, when he was only 13, while he was studying the music of the pre-Classical composers with Carl Friedrich Zelter at the Singakademie. Although he was still a student, Mendelssohn interpreted the Baroque ideas for a contemporary orchestra, creating a sound world that, while tipping his hand to Bach, is definitely Mendelssohn’s own.

PROGRAM II

Alan Gilbert Conducts the Mass in B minor With Dorothea Röschmann, Mezzo-Soprano , Tenor , and -Baritone Eric Owens, with the New York Choral Artists

On the festival’s second orchestral program, March 13–16, 2013, Alan Gilbert will conduct the Philharmonic in Bach’s Mass in B minor, with soprano Dorothea Röschmann, mezzo-soprano Anne Sofie von Otter, tenor Steve Davislim, bass-baritone Eric Owens, and the New York Choral Artists, Joseph Flummerfelt, director. The 1749 work is considered by many to be one of the composer’s greatest, and one of the late-Baroque era’s monumental pieces. A setting of the complete Latin Mass — unusual for someone working in the Lutheran tradition — the Mass in B minor includes pieces Bach had previously composed, as well as new sections that were ultimately his last major compositions. The New York Philharmonic has presented selected movements from the Mass in B minor five times in the past (in 1917, 1918, 1927, 1935, and 2011), and has presented the entire work on only four occasions: in 1965, conducted by ; 1982, with Erich Leinsdorf conducting his own arrangement; 1989, with Helmuth Rilling; and in 1996, with Kurt Masur.

PROGRAM III

Bernard Labadie Conducts Two Bach Orchestral Suites, Two Concertos with Violinist Isabelle Faust, And the Sinfonia from Cantata No. 42

The third orchestral program, March 21–23, 2013, will be led by Bernard Labadie — a conductor whose perspective blends traditional and modern — overseeing a program comprising Bach’s Sinfonia from Cantata No. 42, Orchestral Suites Nos. 3 and 4, and Violin Concertos in A minor and E major, performed by violinist Isabelle Faust in her Philharmonic debut. Bach wrote his two violin concertos — No. 1 in A minor, BWV 1041 (1723), and No. 2 in E major, BWV 1042 (1730) — for his concertmaster at the court of Prince Leopold at Cöthen. The genesis of Bach’s (more) The Bach Variations: A Philharmonic Festival / 5

Orchestral Suites is uncertain: the Orchestral Suite No. 3 in D minor, BWV 1068, may have been written circa 1730 when he was the director of Leipzig’s Collegium Musicum; it contains one of the composer’s most famous movements, the Air, which was arranged by German violinist August Wilhelmj and has become known as Air on the G String. The original version of Bach’s Orchestral Suite No. 4, BWV 1069, has never been found, but it is likely to have been written during the same period of the composer’s career. Mr. Labadie will also lead the Rush Hour Concert on March 20, 2013, featuring the Sinfonia from Cantata No. 42, the Violin Concertos in A minor and E major with Isabelle Faust, and the Orchestral Suite No. 3.

PROGRAM IV

Pianist András Schiff To Make His Philharmonic Conducting Debut Leading and Performing Bach’s Keyboard Concertos in F Minor and D Major And Conducting Mendelssohn’s String Symphony No. 9 and Schumann’s Symphony No. 4

For the final orchestral program of the festival, noted pianist András Schiff will make his Philharmonic conducting debut, April 3–6, 2013, in a program juxtaposing Bach’s Keyboard Concertos in F minor and in D major — which Mr. Schiff will lead from the keyboard — with Mendelssohn’s String Symphony No. 9 and Schumann’s Symphony No. 4. Bach wrote the Keyboard Concerto in F minor, BWV 1056 — believed to be a transcription of a lost concerto (perhaps for violin or oboe) — in the late 1730s. The shortest of his keyboard concertos, it was composed in three movements, each in ritornello form, and its popular Adagio was used as the introduction to his cantata Ich steh’ mit einem Fuß im Grabe (“I stand with one foot in the grave”). The 1738 Keyboard Concerto in D major, BWV 1054, is an adaptation of his earlier Violin Concerto in E major, BWV 1042. Composed for the Leipzig Collegium Musicum, it is one of the few keyboard concertos whose source material also survives, allowing scholars insight into how the composer transformed his previously-written works into something entirely new.

Mendelssohn, who would go on to be a champion of Bach, composed the String Symphony No. 9 in 1823, when he was only 14 years old. It is one of two pieces that he composed after a family trip to Switzerland, and the young Mendelssohn not only utilizes the influences of the composers he was studying at the time, but also of the traditional Swiss folk melodies that he collected during the trip. Schumann completed the first version of his Symphony No. 4 in 1841, the year following his marriage to Clara Wieck. The symphony wasn’t much of a success when it premiered that December in Leipzig; he eventually revised it in 1851, to much greater success.

Mr. Schiff’s appearances with the New York Philharmonic are part of his own two-season-long focus on Bach in concerts throughout New York that began October 27, 2012, at 92nd Street Y and will conclude at Carnegie Hall in the fall of 2013.

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The Bach Variations: A Philharmonic Festival / 6

Artists

March 6–9, 2013 Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has been its music director ever since, appearing regularly at major venues and festivals in Europe and the U.S., and becoming renowned for the expressive refinement and truth of his performances. He has worked with early-music ensembles such as and Philharmonia Baroque Orchestra. He has also conducted modern-instrument orchestras in repertoire as diverse as Britten, Fauré, Haydn, Mahler, Mendelssohn, Mozart, and Stravinsky. Last season saw his debut appearances with the Deutsches Symphonie Orchester Berlin, Symphony, Rotterdam Philharmonic, and St. Paul Chamber Orchestra. Engagements for this season include return visits to the Netherlands Radio Chamber Philharmonic Orchestra, Orchestre de Chambre de , and Verbier Festival, and his debuts with the New York Philharmonic and the Stuttgart Radio Symphony Orchestra. In 2011–12 Mr. Suzuki and Bach Collegium Japan made a European tour incorporating concerts at Amsterdam’s Royal Concertgebouw, Palais des Beaux-Arts in Brussels, and Salle Pleyel in Paris, among others. It culminated in a performance of Bach’s St. Matthew Passion at the Thomaskirche, Leipzig, where he was presented with the 2012 Leipzig Bach Prize. This season the group will be in residence at the Festival Oude Muziek Utrecht and Bremen Musikfest. Mr. Suzuki’s acclaimed discography on the BIS label includes Bach’s complete works for harpsichord and Bach’s major choral works and sacred cantatas, of which he has completed more than 50 volumes of a project to record the complete series. In 2010 Mr. Suzuki’s recording of Bach motets received a German Record Critics’ Award and a Diapason d’Or de l’Annee, and in 2011 it was awarded a BBC Music Magazine Award. Masaaki Suzuki combines his conducting career with his work as an organist and a harpsichordist. Born in Kobe, Japan, he graduated from the Tokyo University of Fine Arts and Music with a degree in composition and organ performance, and went on to study harpsichord and organ at the Sweelinck Conservatory in Amsterdam under Ton Koopman and Piet Kee. Founder and head of the early music department at the Tokyo University of the Arts, he is a visiting professor of choral conducting at the Yale School of Music and Yale Institute of Sacred Music, and the conductor of Yale Schola Cantorum. In April 2001 Mr. Suzuki was decorated with a Das Verdienstkreuz am Bande des Verdienstordens der Bundesrepublik award from Germany.

Soprano Sherezade Panthaki — an acknowledged star in the early-music field whose repertoire extends well beyond the music of the Renaissance and Baroque — has developed collaborations with conductors Nicholas McGegan, William Christie, Simon Carrington, and Masaaki Suzuki. Recent highlights include performances of Orff’s with the Houston Symphony; Handel and Bach with Philharmonia Baroque Orchestra; Handel’s with the Nashville Symphony; featured roles in Handel’s under Kenneth Montgomery, with the Radio Kamer Filharmonie in Utrecht, and in Bach’s St. Matthew Passion and Monteverdi’s Vespers of 1610 with the Yale Schola Cantorum; Poulenc’s Stabat Mater; Handel’s Messiah and Bach’s Cantata BWV 51 with the Portland (Oregon) Baroque Orchestra; Bach’s St. Matthew Passion at the Baldwin-Wallace Bach Festival; Handel at Carnegie Hall with William Christie and the Yale Philharmonia; a solo concert of Bach, Handel, and Vivaldi with the Rebel Baroque Orchestra; (more) The Bach Variations: A Philharmonic Festival / 7

Bach’s and solo cantatas with Orchestra of St. Luke’s; and Bach’s St. John Passion, St. Matthew Passion, and Brahms’s with John Scott and the Choir and Orchestra of St. Thomas Fifth Avenue. Ms. Panthaki is a founding member of the early music vocal quartet Gravitación, with which she has recorded medieval, Renaissance, and Baroque works. Sherezade Panthaki was born in India and earned a master’s degree in voice performance from the University of Illinois. In 2011 she graduated with an artist diploma from the Yale School of Music and the Yale Institute of Sacred Music. She won multiple awards at Yale, including the prestigious Phyllis Curtin Career Entry Prize. Ms. Panthaki has served as vocal coach for the Yale Baroque Project since 2011. The March 6–9 program marks her New York Philharmonic debut.

A native of Bolivar, New York, soprano Joélle Harvey is the recipient of a First Prize Award in 2011 from the Gerda Lissner Foundation Vocal Competition, a 2009 Sara Tucker Study Grant from the Richard Tucker Foundation, and a 2010 Encouragement Award (in honor of Norma Newton) from the George London Foundation Vocal Competition. In the summer of 2012 Ms. Harvey made her Glyndebourne Festival Opera debut in Purcell’s The Fairy Queen, and sang Bach’s B-minor Mass with at both the BBC Proms and in Leipzig. During the 2012–13 season she sang in Mozart’s of Figaro on tour with the Glyndebourne Festival and with Arizona Opera; Handel’s Messiah in a return to the ; Tigrane in a U.S. tour of Handel’s , with and The English Concert; and Iphis in Handel’s on tour with and the Handel and Haydn Society. Future seasons will include further performances with the Glyndebourne Festival Opera, Arizona Opera, and the Dallas Opera, as well as concert appearances with the Handel and Haydn Society and the Kansas City Symphony. Additional engagements of note include Orff’s Carmina burana and Gilbert & Sullivan’s Iolanthe with the San Francisco Symphony, Handel’s Messiah with The English Concert, and Michal in Handel’s with . Ms. Harvey appears on Coro’s recording of Saul, conducted by Harry Christophers and released in 2012. Forthcoming albums include Tod Machover’s Death and the Powers, recorded by Modern Opera Project. The March 6–9 program marks Ms. Harvey’s New York Philharmonic debut.

After graduating from St. John’s College, Cambridge University, in archaeology and anthropology, countertenor Iestyn Davies studied at London’s . He has sung the roles of Creonte in Steffani’s Niobe for the , Covent Garden; in Monteverdi’s L’incoronazione di Poppea for Zürich Opera and Glyndebourne Festival Opera; Arsace in Handel’s for Opera; Oberon in Britten’s A Midsummer Night’s Dream for Houston Grand Opera and ; and in Britten’s Death in Venice for English National Opera and in his debut at Teatro alla Scala. He made his debuts at The Metropolitan Opera in Handel’s , and at the as Eustazio in Handel’s . In concert, Mr. Davies has performed at Teatro alla Scala with , Amsterdam’s Concertgebouw and Zurich’s Tonhalle with Ton Koopman, and the Barbican, Théâtre des Champs-Élysées, , and the BBC Proms. He recently made his Carnegie Hall recital debut, and released a recording of written for the 18th century castrato Gaetano Guadagni for the Hyperion label. Iestyn Davies’s future engagements (more) The Bach Variations: A Philharmonic Festival / 8 include returns to The Metropolitan Opera and debuts at the and Festivals. He continues to enjoy a successful relationship with Wigmore Hall, where he curates his own residency this season. He is the recipient of the Royal Philharmonic Society’s 2010 Young Artist of the Year prize and the 2012 Gramophone Recital Award. The March 6–9 program marks Mr. Davies’s New York Philharmonic debut.

This season American tenor Nicholas Phan appears in concert with the San Francisco Symphony, Cincinnati and Lucerne symphony orchestras, and the Philadelphia, Cleveland, and Los Angeles Chamber orchestras. He also performs at Carnegie Hall, the National Arts Center in Ottawa, and the Washington National Cathedral. He returns to Portland Opera as Fenton in Verdi’s Falstaff, and makes his Bolshoi debut in a concert performance of Handel’s . Mr. Phan has appeared with the San Francisco Symphony, Los Angeles Philharmonic, St. Paul Chamber Orchestra, Orchestra of St. Luke’s, Les Violons du Roy, English Chamber Orchestra, Philadelphia Orchestra, and the BBC, Chicago, Pittsburgh, Baltimore, Atlanta, St. Louis, and National symphony orchestras. He has toured throughout Europe with Il Complesso Barocco, and has appeared at the BBC Proms and the Edinburgh, Ravinia, Rheingau, Saint-Denis, and Marlboro music festivals. Among the conductors he has worked with are James Conlon, Rafael Frühbeck de Burgos, , Bernard Labadie, Nicholas McGegan, , Helmuth Rilling, David Robertson, and . In recital, he has been presented by Carnegie Hall, The Metropolitan Museum of Art, Philadelphia Society, and Oberlin Conservatory of Music. Mr. Phan’s most recent solo album, Still Fall the Rain (AVIE), was named one of the best classical recordings of 2012 by The New York Times. His discography includes Winter Words (AVIE), the Grammy-nominated recording of Stravinksy’s Pulcinella with and the Chicago Symphony Orchestra (CSO Resound), and the opera L’Olimpiade with the Venice Baroque Orchestra (Naïve). Mr. Phan graduated from the University of Michigan, and also studied at the Manhattan School of Music and the Aspen Music Festival and School. He is the artistic director of the Collaborative Arts Institute of Chicago, an organization devoted to promoting the teaching, performance, and development of the vocal chamber music repertoire. Nicholas Phan last appeared with the New York Philharmonic in Orff’s Carmina burana, conducted by Rafael Frühbeck de Burgos in May–June 2012.

Canadian baritone Tyler Duncan’s concert appearances include Mahler’s Eighth Symphony with the Toronto and American Symphony Orchestras; Haydn’s with the Montreal and Québec Symphony Orchestras; Beethoven’s Ninth Symphony with the Calgary Philharmonic; Handel’s Messiah with the Montreal, Boston, and Toronto symphony orchestras, Boston’s Handel and Haydn Society, and San Francisco’s Philharmonia Baroque; Brahms’s A German Requiem with the Rochester Philharmonic and at the Chautauqua Festival; and Bach’s St. Matthew Passion with the Montreal Symphony, Munich Bach Choir, and Dresdner Kreuzchor, and at the Oregon Bach Festival. He also performed Vaughan Williams’s Five Mystical Songs at Carnegie Hall with the Oratorio Society of New York. A prizewinner of the Naumburg, Wigmore Hall (London), ARD (Munich), Joy-in-Singing, and Prix International Pro Musicis Competitions, he has given acclaimed recitals in New York, Boston, Paris, and Montreal, as well as throughout Canada, Germany, Sweden, France, and South Africa. He is a founding member of the faculty of the Vancouver International Song Institute. Equally active in (more) The Bach Variations: A Philharmonic Festival / 9 opera, in 2010 he made his debut at the American Spoleto Festival in the 18th-century ballad opera Flora, returning the following season to perform as the Speaker in Mozart’s . He has sung Dandini in Rossini’s with Pacific Opera Victoria, Demetrius in Britten’s A Midsummer Night’s Dream at the Princeton Festival; roles in Lully’s Armide with Houston’s Mercury Baroque and in Purcell’s The Faerie Queen and King Arthur with Early Music Vancouver; and Papageno in Mozart’s The Magic Flute at Greensboro Opera. He is in his debut season on the roster of The Metropolitan Opera. In current release are his Boston Early Music Festival recording of the title role of John Blow’s Venus and Adonis; Bach’s St. John Passion with Portland Baroque; works by Purcell and Carissimi’s oratorio Jepthe with Les Voix Baroque; and a DVD of Handel’s Messiah with the Montreal Symphony under . The March 6–9 program marks Mr. Duncan’s New York Philharmonic debut.

Bach Collegium Japan was founded in 1990 by music director Masaaki Suzuki with the aim of introducing Japanese audiences to period-instrument performances of great works from the Baroque period. Comprising both orchestra and chorus, its activities include an annual concert series of Bach’s cantatas and a number of instrumental programs. Since 1995 it has acquired a formidable international reputation through its acclaimed recordings of the major choral works and church cantatas of Bach for the BIS label. It has released 50 CDs of Bach’s cantatas, and its recent recording of Bach Motets was honored with a German Record Critics’ Award, a Diapason d’Or de l’Année 2010, and a BBC Music Magazine Award. Bach Collegium Japan and Masaaki Suzuki have appeared in Berlin, Hong Kong, London, Los Angeles, Melbourne, New York, and Seoul, and at festivals including the BBC Proms, Bremen Musikfest, and the Edinburgh International Festival. Highlights of the 2011–12 season included a European tour with concerts at Amsterdam’s Concertgebouw, the Brussels Palais des Beaux-Arts, and Paris’s Salle Pleyel, and culminating in a performance of Bach’s St. Matthew Passion at the Thomaskirche, Leipzig. This season the group is in residence at the Festival Oude Muziek Utrecht and Bremen Musikfest. The March 6–9 program marks the Bach Collegium Japan’s New York Philharmonic debut.

Yale Schola Cantorum, founded in 2003 by Simon Carrington and directed by Masaaki Suzuki since 2009, is a 24-voice chamber choir that sings in concerts and choral services. Supported by the Yale Institute of Sacred Music with the Yale School of Music, and open by audition to all Yale students, it specializes in music from before 1750 and from the past century. In addition to performing regularly in New Haven and New York, Schola Cantorum records and tours nationally and internationally. Its live recording with and Yale Collegium Musicum of Heinrich Biber’s 1693 Vesperae longiores ac breviores received international acclaim from the early music press, as have subsequent CDs of J.S. Bach’s rarely heard 1725 version of the St. John Passion and Antonio Bertali’s Missa resurrectionis. A commercial recording, on the Naxos label, of the Mendelssohn and Bach Magnificats was released in the fall of 2009. Schola Cantorum has toured in England, Hungary, France, China, South Korea, Italy, Greece, and Turkey and will travel to Japan and Singapore in June 2013. It has sung under the direction of Helmuth Rilling, Krzysztof Penderecki, , , Paul Hillier, Nicholas McGegan, and others. Highlights of this season include performances of Bach

(more) The Bach Variations: A Philharmonic Festival / 10 cantatas in New Haven and Boston and Bach’s Mass in B minor with Juilliard415 in New Haven and New York. The March 6–9 program marks Yale Schola Cantorum’s New York Philharmonic debut.

March 13–16, 2013 Music Director Alan Gilbert began his tenure at the New York Philharmonic in September 2009, launching what New York magazine called “a fresh future for the Philharmonic.” The first native New Yorker in the post, he has introduced the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence, an annual multi-week festival, and CONTACT!, the new-music series, and he has sought to make the Orchestra a point of civic pride for the city and country. In 2012–13, Alan Gilbert conducts world premieres; presides over a cycle of Brahms’s complete symphonies and concertos; continues The Nielsen Project, the multi-year initiative to perform and record Nielsen’s symphonies and concertos; and leads the EUROPE / SPRING 2013 tour. The season concludes with June Journey: Gilbert’s Playlist, four programs showcasing themes he has introduced, including the season finale: 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 tours of Europe and California, several world premieres, Mahler symphonies, and Philharmonic 360, the Philharmonic and Park Avenue Armory’s acclaimed spatial-music program featuring Stockhausen’s Gruppen, about which The New York Times said: “Those who think needs some shaking up routinely challenge music directors at major orchestras to think outside the box. That is precisely what Alan Gilbert did.” Mr. Gilbert is Director of Conducting and Orchestral Studies and holds the William Schuman Chair in Musical Studies at The . Conductor Laureate of the Royal Stockholm Philharmonic Orchestra and Principal Guest Conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras around the world. He made his acclaimed Metropolitan Opera debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award. His recordings have received top honors from the Chicago Tribune and Gramophone magazine. In May 2010 Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music and in December 2011, ’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.”

Born in Flensburg, Germany, Dorothea Röschmann gained international recognition in 1995 when she sang the role of Susanna in Mozart’s at the Festival, conducted by . She has returned to Salzburg regularly to perform Mozart roles — including Donna Elvira in , Countess Almaviva in The Marriage of Figaro, Ilia in , Servilia and Vitellia in La clemenza de Tito, and Pamina in Mozart’s The Magic Flute under conductors such as , Daniel Harding, , Christoph von Dohnányi, and Yannick Nézet-Séguin — as well as Nannetta in Verdi’s Falstaff. Ms. Röschmann recently made her debut at ’s Teatro alla Scala and is a regular guest at the Deutsche Staatsoper, Munich Staatsoper, Vienna Staatsoper, Royal Opera House, Covent Garden, and The Metropolitan Opera. Her recent concert engagements have included the with and ; with Christoph (more) The Bach Variations: A Philharmonic Festival / 11

Harnoncourt, , and Pierre Boulez; Chicago Symphony Orchestra with Daniel Barenboim; Munich Philharmonic with ; with Franz Welser- Möst; Bavarian and Swedish Radio Symphony Orchestras with Harding; and Rotterdam Philharmonic with Nézet-Séguin. A prestigious recitalist, Dorothea Röschmann has given acclaimed concerts in venues such as Amsterdam’s Concertgebouw, Carnegie Hall, the Schwarzenberg Schubertiade, and the Edinburgh and Munich Festivals, and with Daniel Barenboim at the Deutche Staatsoper. Her recordings include The Marriage of Figaro with Nicholas Harnoncourt; ’s Four Last Songs with Nézet-Séguin; Brahms’s A German Requiem with Rattle (winner of a Grammy and a Gramophone Award); Mahler’s Symphony No. 4 with Harding; and a CD of Schumann songs with and Graham Johnson. Dorothea Röschmann made her New York Philharmonic debut in December 2010 performing Mahler’s Des Knaben Wunderhorn, conducted by . She most recently appeared with the Orchestra in Mahler’s Symphony No. 2, Resurrection, conducted by Alan Gilbert, as part of A Concert for New York, in remembrance and renewal on the tenth anniversary of 9/11.

Internationally acclaimed Swedish mezzo-soprano Anne Sofie von Otter has a lengthy and exclusive relationship with Deutsche Grammophon, with which she has produced a wealth of recordings and garnered numerous awards, including Recording Artist of the Year and a Grammy Award for best classical vocal performance. Her most recent recording, Sogno Barocco (Naïve), is a collection of Italian baroque arias, scenes, and duets that has been nominated for a Grammy. Anne Sofie von Otter earned international acclaim as Octavian in Richard Strauss’s Der Rosenkavalier with performances at the Royal Opera House, Covent Garden, Bavarian Staatsoper, Opéra national de Paris, and Vienna Staatsoper. She also performed the role as part of a series of engagements with The Metropolitan Opera. Recent opera highlights have included her role debut in Charpentier’s Médeé for Oper Frankfurt, Countess Geschwitz in Berg’s Lulu at The Metropolitan Opera conducted by Fabio Luisi, Clytemnestre in Gluck’s Iphigenie en Aulide at De Nederlandse Opera conducted by Marc Minkowski, and Geneviève in Debussy’s Pelléas et Mélisande under Philippe Jordan for Opéra national de Paris. She appeared in Handel’s at the 2012 with an all-star cast including and . Her ever-evolving repertoire has led to her adding the roles of Brangäne in Wagner’s Tristan und Isolde, Baba the Turk in Stravinsky’s The Rake’s Progress, Didon in Berlioz’s Les Troyens, and Waltraute in Wagner’s Götterdämmerung. This season Ms. von Otter appears in concert with the Berlin Philharmonic, Royal Stockholm Philharmonic Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, and the Gothenburg, Boston, and National symphony orchestras. Anne Sofie von Otter was born in Stockholm, graduated from the Stockholm College of Music, and studied further at the Guildhall School of Music and Drama in London. She made her New York Philharmonic debut in September 1987 performing Berlioz’s The Damnation of Faust, conducted by Colin Davis. Her most recent appearance was in December 2011 singing Schubert songs, conducted by Alan Gilbert.

Australian tenor Steve Davislim has appeared with many of the leading opera companies of the world, including the Berlin Staatsoper, Vienna Staatsoper, Hamburg Opera, Royal Opera, Covent Garden, Australian Opera, Chicago Lyric Opera, and The Metropolitan Opera. In 2005 he made (more) The Bach Variations: A Philharmonic Festival / 12 his debut with Milan’s Teatro alla Scala singing the title role in the season-opening performance of Mozart’s Idomeneo, conducted by Daniel Harding, and has been reengaged there several times, most recently as Tamino in Mozart’s The Magic Flute. Mr. Davislim has performed with prestigious orchestras throughout the world, including the New York Philharmonic, The Cleveland Orchestra, San Francisco Symphony, Australian Chamber Orchestra, Munich Philharmonic, and the Melbourne, Chicago, London, and National symphony orchestras, as well as in major international festivals, including the BBC Proms and the Lincoln Center, Mostly Mozart, Lucerne, and Salzburg festivals. He has worked with conductors Claudio Abbado, , , Colin Davis, Rafael Frühbeck de Burgos, Bernard Haitink, , Charles Mackerras, and David Zinman. Mr. Davislim’s numerous recordings include Brahms’s Rinaldo, Holliger’s Schneewittchen, Beethoven’s Ninth Symphony (with David Zinman), Szymanowski’s der Nacht (with Pierre Boulez and the Vienna Philharmonic), Beethoven’s Christ on the Mount of Olives, Tippett’s A Child of Our Time (with Sir Colin Davis), Rossini’s Petite Messe solennelle, Martin’s Le Vin herbé, Haydn’s Creation, and Martinu’s (with Charles Mackerras). His numerous recordings on Australia’s Melba and Deutsche Grammophon labels include Bach cantatas with Sir and Mozart’s Requiem under Christian Thielemann. Steve Davislim made his debut with the New York Philharmonic in 2011 in a performance of Handel’s Messiah conducted by .

American bass-baritone Eric Owens received acclaim for portraying the title role in the World Premiere of Elliot Goldenthal’s Grendel with the Los Angeles Opera, and again at Lincoln Center Festival in a production directed and designed by Julie Taymor. A champion of new music, Mr. Owens enjoys a close association with John Adams, for whom he performed the role of General Leslie Groves in the World Premiere of Doctor Atomic at the San Francisco Opera, and of the Storyteller in the World Premiere of A Flowering Tree at ’s New Crowned Hope Festival in Vienna and with the Los Angeles Philharmonic. Mr. Owens later recorded Doctor Atomic, conducted by Alan Gilbert, which received the 2012 Grammy for Best Opera Recording. His portrayal of Alberich in The Metropolitan Opera’s current Ring cycle, directed by Robert Lepage, has garnered rave reviews. During the 2012–13 season Mr. Owens performs Bellini’s I Capuleti e i Montecchi at the San Francisco Opera and Puccini’s Madama Butterfly at the Los Angeles Opera; Beethoven’s Symphony No. 9 with the Seattle Symphony; and concerts with the Baltimore and Detroit symphony orchestras. Last season Mr. Owens performed engagements in Washington, D.C., Berkeley, Portland, Philadelphia, and Carnegie Hall’s Zankel Hall. He sang Bach cantatas with the Chamber Music Society of Lincoln Center and Beethoven’s Missa solemnis with the Boston Symphony Orchestra at Carnegie Hall. He also appeared at Carnegie Hall as Jochanaan in Strauss’s Salome with The Cleveland Orchestra. He spent last summer at Glimmerglass Festival as the Artist-in-Residence, appearing in Verdi’s Aida and Weill’s Lost in the Stars, and performing a concert. Mr. Owens first appeared with the New York Philharmonic during the Orchestra’s June 2003 residency at the Teatro Lirico di Cagliari in Sardinia, singing excerpts from Gershwin’s , conducted by . He made his subscription debut in Ligeti’s Le Grand Macabre, conducted by Alan Gilbert, in May 2010. Most recently he performed with the Philharmonic in Beethoven’s Missa solemnis, conducted by Alan Gilbert, in June 2010 at Avery Fisher Hall and the New Jersey Performing Arts Center. (more) The Bach Variations: A Philharmonic Festival / 13

New York Choral Artists, a professional chorus founded and directed by Joseph Flummerfelt, has been heard with the New York Philharmonic in recent seasons performing repertoire ranging from ’s A Child of Our Time to Mozart’s Requiem. Among the memorable collaborations with the New York Philharmonic was the concert on September 20, 2001, of Brahms’s A German Requiem, commemorating the events of September 11, which was broadcast nationally. The chorus opened the Philharmonic’s 2002–03 subscription season performing the World Premiere of John Adams’s On the Transmigration of Souls, commissioned by the New York Philharmonic with Lincoln Center’s Great Performers. Other highlights of the group’s history include participation in the 1995 New York Philharmonic concert celebrating the 50th anniversary of the United Nations, and a televised performance of the 1986 Statue of Liberty Concert in Central Park. The chorus performed Britten’s War Requiem and Mahler’s Symphony No. 8 in June 2009 during Lorin Maazel’s final weeks as the New York Philharmonic’s Music Director; in May 2010 in the Philharmonic’s staged presentation of Ligeti’s Le Grand Macabre; in June 2010 for Beethoven’s Missa solemnis; and in June 2012 for Mozart’s Mass in C minor, Great, on the final program of the season.

Performances March 20–23, 2013 Bernard Labadie has established himself worldwide as one of the leading conductors of the Baroque and Classical repertoire, a reputation that is closely tied with Les Violons du Roy and La Chapelle de Québec which he founded and continues to lead as music director to this day. With these two ensembles he regularly tours Canada, the , and Europe, with appearances in major venues and at festivals such as Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, the Kennedy Center, London’s , Amsterdam’s Concertgebouw, and the Salzburg Festival. Passionate about opera, Mr. Labadie has also been artistic director of L’Opéra de Québec and L’Opéra de Montréal. He has conducted Handel’s with Glimmerglass Opera, Mozart’s Così fan tutte at the Mostly Mozart Festival, and Mozart’s Lucio with Santa Fe Opera. September 2009 marked his debut with The Metropolitan Opera in Mozart’s The Magic Flute, a work he conducted again at Cincinnati Opera in 2011. Ever since his debut with the in 1999, Mr. Labadie has become a regular presence on the podiums of the major North-American orchestras, including the New York and Los Angeles Philharmonic orchestras, The Philadelphia Orchestra, and the Chicago, Boston, San Francisco, St. Louis, Houston, Atlanta, Detroit, Montreal, Toronto, and Vancouver symphony orchestras. He made his debut with The Cleveland Orchestra in 2010. During the 2012–13 season, Mr. Labadie conducts the New York Philharmonic, the Handel and Haydn Society, and the San Francisco, St. Louis, and Toronto symphony orchestras. Overseas he goes on his third Australian journey to conduct the Melbourne Symphony Orchestra and leads the , WDR Symphony Orchestra in Cologne, Hamburg Symphony, Northern Sinfonia, BBC Scottish Symphony, Swedish Chamber Orchestra, and the Brussels Philharmonic. Bernard Labadie’s extensive discography includes many critically acclaimed recordings on the Dorian, ATMA and Virgin Classics labels, including Handel’s Apollo e and his collaboration with Les Violons du Roy and La Chapelle de Québec of Mozart’s Requiem, both of which received Canada’s Juno Award. A complete recording of C.P.E. Bach’s Cello Concertos with Truls Mørk and Les Violons du Roy was released in 2011, as was a recording of J.S. Bach Piano Concertos with Alexandre Tharaud, both for Virgin Classics. For his achievements, the Canadian (more) The Bach Variations: A Philharmonic Festival / 14 government honored him with the appointment as Officer of the Order of Canada in 2005 and Quebec made him a Chevalier de l’Ordre National du Québec in 2006.

Violinist Isabelle Faust has performed with conductors including Claudio Abbado, Charles Dutoit, Daniel Harding, , and , and orchestras including the Berlin Philharmonic, Munich Philharmonic, , Boston Symphony Orchestra, BBC Orchestras, and the . Ms. Faust founded a string quartet when she was 11 years old, and won the Leopold Mozart Competition when she was 15. She studied with , the long-time first violinist of the Cherubini Quartet. After winning the 1993 Paganini Competition, she came to international attention with her first recording, comprising sonatas by Bartók, Szymanowski, and Janácek. In 2003 Ms. Faust released a recording of Dvořák’s Violin Concerto, which she first performed at the age of 15 under the direction of . In 2007 she released a recording of Beethoven’s Violin Concerto. Ms. Faust can be heard with her duet partner, the pianist Alexander Melnikov, in recordings for ; their recording of the complete Beethoven Violin Sonatas received an Award, a Gramophone Award, and a Grammy nomination. Her solo recording of the Bach Partitas and Sonatas received a 2010 Diapason d’Or, among other honors. The list of contemporary composers whose works Ms. Faust has premiered extends from Messiaen to and Jörg Widmann. She is a fervent proponent of music by György Ligeti, Morton Feldman, , and Giacinto Scelsi. In 2009 she premiered works dedicated to her by Thomas Larcher and Michael Jarrell. Isabelle Faust performs on the 1704 “Sleeping Beauty” Stradivarius, on loan to her from Germany’s L-Bank Baden-Württemberg. These performances mark her New York Philharmonic debut.

April 3–6, 2013 András Schiff is world renowned as a pianist, conductor, pedagogue, and lecturer. Born in Budapest, Hungary, in 1953, he started piano lessons at age five with Elisabeth Vadász. He continued musical studies at the Ferenc Liszt Academy with Pál Kadosa, György Kurtág, and Ferenc Rados, and in London with George Malcolm. One of the most prominent proponents of the keyboard works of J.S. Bach, Mr. Schiff has long proclaimed that Bach stands at the core of his music-making. In October 2012, April 2013, and October 2013, Mr. Schiff is performing The Bach Project in North America, comprising six Bach recitals and a week of orchestral music with Mr. Schiff at the piano and on the podium. The complete Project visits Davies Symphony Hall (presented by the San Francisco Symphony), Disney (Los Angeles Philharmonic), and New York City (in a partnership among the New York Philharmonic, Carnegie Hall, 92nd Street Y, and Great Performers at Lincoln Center). Individual recitals take place in Vancouver, Seattle, Washington, D.C., Chicago, Santa Barbara, Chapel Hill, Ann Arbor, Boston, and Toronto. Mr. Schiff has a prolific discography, and since 1997 has been an exclusive artist for ECM New Series and its producer, Manfred Eicher. Recordings for ECM include the complete solo piano music of Beethoven and Janáček, two solo discs of Schumann, as well as Mr. Schiff’s second recordings of Bach’s Partitas and Goldberg Variations. His September 2012 recording of The Well-Tempered Clavier is one of the preeminent performances of the work. András Schiff has worked with most of the major international orchestras and conductors. In 1999 he created the Cappella Andrea Barca, a chamber orchestra consisting of international soloists, chamber (more) The Bach Variations: A Philharmonic Festival / 15 musicians, and friends. In 1995, with Heinz Holliger, he founded Ittinger Pfingstkonzerte in Kartause Ittingen, Switzerland. In 1998 Mr. Schiff started “Homage to Palladio” at the Teatro Olimpico in Vicenza, Italy. He has been awarded numerous international prizes, and his relationship with publisher G. Henle has produced a joint edition of Mozart’s piano concertos and both volumes of The Well-Tempered Clavier. András Schiff was named an honorary professor by the music schools in Budapest, Detmold, and Munich, as well as a special supernumerary fellow of Balliol College, Oxford University.

March 27 and April 1, 2013 Carter Brey was appointed Principal Cello, The Fan Fox and Leslie R. Samuels Chair, of the New York Philharmonic in 1996. He made his official subscription debut with the Orchestra in May 1997 performing Tchaikovsky’s Rococo Variations under the direction of Music Director Kurt Masur, and has since performed as soloist each season. From the time of Mr. Brey’s New York and Kennedy Center debuts in 1982, he has been regularly hailed by audiences and critics for his virtuosity, flawless technique, and complete musicianship. He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition. The winner of the Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, Young Concert Artists’ Michaels Award, and other honors, he also was the first musician to win the Arts Council of America’s Performing Arts Prize. Mr. Brey has appeared as soloist with virtually all the major orchestras in the United States, and performed under the batons of prominent conductors including Claudio Abbado, Semyon Bychkov, Sergiu Comissiona, and Christoph von Dohnányi. His chamber-music career is equally distinguished; he has made regular appearances with the Tokyo and Emerson string quartets as well as The Chamber Music Society of Lincoln Center and at festivals such as Spoleto (both in the United States and Italy), and the Santa Fe and La Jolla Chamber Music festivals. He presents an ongoing series of duo recitals with pianist Christopher O’Riley; together they have recorded Le Grand Tango: Music of Latin America, a disc of compositions from South America and Mexico released on Helicon Records. On another CD he collaborated with violinist Pamela Frank and violist Paul Neubauer in Aaron Jay Kernis’s Still Movement with Hymn (on Decca’s Argo label). He recently recorded all of Chopin’s works for cello and piano with pianist Garrick Ohlssen (currently available on Hyperion). Mr. Brey was educated at the Peabody Institute, where he studied with Laurence Lesser and Stephen Kates, and at Yale University, where he studied with Aldo Parisot and was a Wardwell Fellow and a Houpt Scholar. His violoncello is a rare J. B. Guadagnini made in Milan in 1754.

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

* * * The March 6–9 performances are sponsored by Mitsui & Co. (U.S.A.), Inc.

* * * Programs of the New York Philharmonic are supported, in part, by public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. (more) The Bach Variations: A Philharmonic Festival / 16

Tickets Tickets for the March 6–9 performances start at $35; for March 13–16, $32; for March 20–23, $29; for April 3–6, $41. Tickets for the March 27 recital are sold out; tickets for the April 1 recital are $45. Tickets for Open Rehearsals are $18. Pre-Concert Talks are $7; discounts are available for multiple concerts, students, and groups (visit nyphil.org/preconcert for more information). Tickets for Insights Series events are $20; $15 for Philharmonic Friends (Affiliate level and above) and current Subscribers; and $10 for Patrons. All other tickets may be purchased online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday, 1:00 p.m. to 6:00 p.m. on Saturday, and noon to 5:00 p.m. on Sunday. Tickets may also be purchased at the Avery Fisher Hall Box Office. The Box Office opens at 10:00 a.m. Monday through Saturday, and at noon on Sunday. On performance evenings, the Box Office closes one-half hour after performance time; other evenings it closes at 6:00 p.m. A limited number of $13.50 tickets for select concerts may be available through the Internet for students within 10 days of the performance, or in person the day of. Valid identification is required. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656. [Ticket prices subject to change.]

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

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL SYMPOSIUM AT 92ND STREET Y

92nd Street Y 1395 Lexington Avenue

Sunday, March 3, 11:00 a.m.

“Interpreting Bach: A Symposium”

Hanna Arie-Gaifman, moderator Panel to include Alan Gilbert, Masaaki Suzuki, and Jennifer Koh

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL BACH AND MENDELSSOHN WITH MASAAKI SUZUKI

Avery Fisher Hall

Wednesday, March 6, 2013, 7:30 p.m. Thursday, March 7, 2013, 7:30 p.m. Friday, March 8, 2013, 8:00 p.m. Saturday, March 9, 2013, 8:00 p.m.

Pre-Concert Talk (one hour before each concert) with New York Philharmonic Program Annotator James M. Keller, The Leni and Peter May Chair

Masaaki Suzuki, conductor/harpsichord* Sherezade Panthaki, soprano* Joélle Harvey, soprano* Iestyn Davies, countertenor* Nicholas Phan, tenor Tyler Duncan, baritone* Bach Collegium Japan, chorus* Yale Schola Cantorum, chorus*

J.S. BACH Singet dem Herrn, BWV 225 MENDELSSOHN Magnificat MENDELSSOHN Christus J.S. BACH Magnificat

*denote New York Philharmonic debut

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL INSIGHTS SERIES EVENT

New York Institute of Technology Auditorium on Broadway, 1871 Broadway at 61st Street

Monday, March 11, 2013, 6:30 p.m.

“The Bach Variations: Mass in B Minor”

Sir Nicholas Kenyon, speaker

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL MASS IN B MINOR WITH ALAN GILBERT

Avery Fisher Hall

Wednesday, March 13, 2013, 7:30 p.m. Thursday, March 14, 2013, 7:30 p.m. Friday, March 15, 2013, 8:00 p.m. Saturday, March 16, 2013, 8:00 p.m.

Pre-Concert Talk (one hour before each concert) with violist/violinist and Senior New York Philharmonic Teaching Artist David Wallace

Alan Gilbert, conductor Dorothea Röschmann, soprano Anne Sofie von Otter, mezzo-soprano Steve Davislim, tenor Eric Owens, bass-baritone New York Choral Artists, Joseph Flummerfelt, director

J.S. BACH Mass in B minor

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL NEW YORK PHILHARMONIC OFFSTAGE

David Rubenstein Atrium, Broadway between 62nd and 63rd Streets

Tuesday, March 19, 2013, 7:00 p.m.

Carter Brey, speaker Isabelle Faust, speaker Jeff Spurgeon, host

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL RUSH HOUR CONCERT: ISABELLE FAUST WITH BERNARD LABADIE

Avery Fisher Hall

Wednesday, March 20, 2013, 6:45 p.m.

Pre-Concert Talk (one hour before each concert) with composer Joelle Wallach

Bernard Labadie, conductor Isabelle Faust, violin*

J.S. BACH Sinfonia from Cantata No. 42 J.S. BACH Violin Concerto in A minor J.S. BACH Violin Concerto in E major J.S. BACH Orchestral Suite No. 3

*denote New York Philharmonic debut

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL ISABELLE FAUST WITH BERNARD LABADIE

Avery Fisher Hall

Thursday, March 21, 2013, 7:30 p.m. Open Rehearsal — 9:45 a.m. Friday, March 22, 2013, 2:00 p.m. Saturday, March 23, 2013, 8:00 p.m.

Pre-Concert Talk (one hour before each concert) with composer Joelle Wallach

Bernard Labadie, conductor Isabelle Faust, violin

J.S. BACH Orchestral Suite No. 4 J.S. BACH Violin Concerto in E major J.S. BACH Sinfonia from Cantata No. 42 J.S. BACH Violin Concerto in A minor J.S. BACH Orchestral Suite No. 3

THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL CARTER BREY PERFORMS THE COMPLETE BACH CELLO SUITES

Holy Trinity Lutheran Church 65th Street and Central Park West

Wednesday, March 27, 2013, 7:30 p.m. Monday, April 1, 2013, 7:30 p.m.

Carter Brey, cello

J.S. BACH Complete Cello Suites

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THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL BACH, MENDELSSOHN, AND SCHUMANN WITH ANDRÁS SCHIFF

Avery Fisher Hall

Wednesday, April 3, 2013, 7:30 p.m. Open Rehearsal — 9:45 a.m. Thursday, April 4, 2013, 7:30 p.m. Friday, April 5, 2013, 11:00 a.m. Saturday, April 6, 2013, 8:00 p.m.

Pre-Concert Talk (one hour before each concert) with Victoria Bond, composer and conductor

András Schiff, conductor† and piano

J.S. BACH Keyboard Concerto in F minor MENDELSSOHN String Symphony No. 9 J.S. BACH Keyboard Concerto in D major SCHUMANN Symphony No. 4

†denotes New York Philharmonic conducting debut

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