sign in sign up
<<
Home , Glenn Dicterow, Hans Swarowsky, Jascha Heifetz, Maxim Shostakovich, Nathan Milstein, Robin Spielberg

New York Philharmonic Presents: THE COLLECTION Presents: (1918-1990) Album 3 (DowNloAD oNlY) 85:51 The GleNN DicTerow (after Plato’s “Symposium”) for , String , Harp, (1891-1953) and Percussion 33:40 No. 2 in G minor, collecTioN 2 Phaedrus: Pausanias Op. 63 25:18 (Lento – Allegro marcato) 7:35 1 Allegro moderato 0:20 3 Aristophanes (Allegretto) 4:42 2 Andante assai – Allegretto – Tempo I 8:56 4 Erixymachus (Presto) 1:30 3 Allegro ben marcato 6:02 5 Album 1 (cD AND DowNloAD) 76:12 Agathon (Adagio) 8:00 , conductor 6 Socrates: Alcibiades (Molto tenuto – June 15, 1985, Beethovenhalle, Bonn, Germany Allegro molto vivace – Presto vivace) 11:53 (1838-1920) 5 Moderato nobile 8:54 Leonard Bernstein, conductor karol szyManoWski (1882-1937) Violin Concerto No. 1 in G minor, 6 Romance 8:09 August 14, 1986, Blossom Music Center, Ohio 4 Violin Concerto No. 1, Op. 35 24:16 Op. 26 26:11 7 Finale: Allegro assai vivace 7:12 , conductor 1 Prelude: Allegro moderato and Adagio 18:38 David Robertson, conductor saMuEl BarBEr (1910-1981) January 8, 9, 10, 13, 2004, Avery Fisher Hall 2 Finale: Allegro energico 7:33 May 22, 23, 24, 2008, Avery Fisher Hall Lorin Maazel, conductor Concerto for Violin and Orchestra, Op. 14 24:02 (1906-1975) March 9,13,14, 2009, Avery Fisher Hall John WilliaMs (b. 1932) 7 Allegro 11:31 Concerto No. 1 in A minor for 8 Theme from Schindler’s List 3:58 8 Andante 8:28 Violin and Orchestra, Op. 99 36:17 Béla Bartók (1881-1945) John Williams, conductor 9 Presto in moto perpetuo 4:03 5 Nocturne: Moderato 11:55 Violin Concerto No. 1, Op. posth., April 24, 26, 2006, Avery Fisher Hall Kurt Masur, conductor 6 Scherzo: Allegro 6:42 BB 48a 21:42 7 3 Andante sostenuto [attacca] 9:46 October 3, 4, 5, 1996, Avery Fisher Hall Passacaglia: Andante 8:18 4 Album 2 (DowNloAD oNlY) 93:54 8 4:32 Allegro giocoso 11:56 9 Alan Gilbert, conductor franz WaxMan (1906-1967) Burlesque: Allegro con brio 4:50 0 Carmen Fantasie for Violin and May 19, 22, 26, 2012, Avery Fisher Hall aaron Jay kErnis (b. 1960) , conductor 1 Lament and Prayer for Solo Violin, Orchestra Based on Themes from October 9, 1982, Avery Fisher Hall the Opera of Georges Bizet 10:56 (1897-1957) , Strings, and Percussion 25:16 Concerto in D major for Violin and Lorin Maazel, conductor Zubin Mehta, conductor Orchestra, Op. 35 24:15 January 20, 21, 22, 2005, Avery Fisher Hall January 13, 1990, Avery Fisher Hall nyphil.org/Dicterowcollection

2 New York Philharmonic Presents The GleNN DicTerow collecTioN 3 From The music DirecTor

his collection of recordings is an summate professionalism. I’ve seen him work important contribution in our cel- with conductors of great renown and complete T ebration of Glenn Dicterow, who is beginners, and have always been impressed by completing his fi nal season as the New York his consistent commitment and dedication. Philharmonic’s concertmaster. Numbers can In my fi rst weeks as music director, dur- hint at his contributions: he has provided a ing a concert on my fi rst Philharmonic tour, chris lee crucial underpinning and perspective during when I was hoping for something extra at a the tenures of four music directors and for certain moment in the music I looked over more than 200 guest conductors, and he has to Glenn and knew he absolutely understood presided over more than 6,000 concerts, and my intention. What happened next is an has given the Philharmonic for 34 years. has been his for decades this Orchestra will been a soloist in 219. illustration of what a quintessential concert- I am extremely fortunate to have been still benefi t from his impeccable virtuosity, true But statistics don’t capture the totality. master can do: Glenn, somehow, through the music director of the orchestra that Glenn professionalism, and beautiful playing. We wish Glenn is a legend. One of the world’s greatest force of his will and his body language, gal- Dicterow helped defi ne. He has been an es- him all success and happiness in his future. violinists, he brings his incredible musical vanized the orchestra, kicking things into a sential ingredient in the New York Philhar- point of view and inspires the highest standard turbo charge. This dramatic infl uence on the monic’s sound and approach to music. Long through the warmth of his sound and his con- entire ensemble is at the heart of what Glenn after he has stepped away from the seat that

6 New York Philharmonic Presents The GleNN DicTerow collecTioN 7 New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION Album One CD and Download at nyphil.org/DicterowCollection

BRUCH Violin Concerto No. 1

BARTÓK Violin Concerto No. 1

KORNGOLD Violin Concerto

CHRIS LEE Glenn backstage with WILLIAMS Music Director Alan Gilbert. Theme from Schindler’s List VioliN coNcerto No. 1 quite a few pieces for violin and orchestra, fi nally the concerto was unveiled in its including two additional full-fl edged violin defi nitive form in Bremen in January 1868. glenn on Bruch: iN g MiNor, oP. 26 concertos, and we might do well to revisit Some years later Bruch wrote to his pub- his three symphonies from time to time, in lisher: “Between 1864 and 1868 I rewrote the Bruch was fi rst performed at the Philharmon- Max Bruch addition to his chamber works and choral my concerto at least a half dozen times, and ic by Pablo Sarasate in 1872. Since then the b. Cologne, Germany , January 6, 1838 compositions. Still, if his production were conferred with x violinists before it took two violinists who have performed the work the d. Friedenau, Germany, October 20, 1920 most with the Orchestra are Pinchas Zukerman reduced to a single work, his reputation the fi nal form in which it is universally and Glenn dicterow with 16 performances each. would change hardly at all. famous and played everywhere.” Lorin Maazel, conductor The Violin Concerto No. 1 was a Word started to circulate about the The Bruch was one of the fi rst recordings I ever Glenn Dicterow, violin relatively early work, begun tentatively in new concerto, and soon it made its way heard with playing – Mendelssohn 1857 but mostly composed between 1864 into the repertoire of other leading violin- was on one side of the record and the Bruch on Performances of March 9, 13, 14, 2009 the other. It is the one concerto that has stayed and 1866, while Bruch was serving as music ists of the day, including Ferdinand David with me over the years. I love the piece. The Avery Fisher Hall director at the court in Coblenz. It was (who had premiered Mendelssohn’s E- second movement absolutely speaks to me – it’s premiered in April 1866, with Otto von minor Violin Concerto), Henri Vieuxtemps, so emotional, in one way pensive and in another Königslow as soloist, but Bruch immedi- and , who not only per- way intimate. The last movement is gang busters, but the fi rst two movements have this other feeling ately decided to rework it. Accordingly, he formed the work himself but also cham- to them that I especially feel close to. sent his score to the more eminent violinist pioned it among such of his students as The slow parts have changed for me over the t would not quite be accurate to label Max , who responded that he , Efrem Zimbalist, and Jascha years. Now I feel I’m more at home in taking more Bruch a “one-work wonder,” but his G- found the piece “very violinistic”; but that Heifetz. In correspondence with Joachim liberty with the phrasing. I re-bow it constantly – if minor Violin Concerto does account for didn’t keep him from offering a good deal during the revisions, Bruch expressed in- I feel I need more bow I take it, thinking about how I to penetrate to the back of the hall and how to be almost all of his exposure in modern concert of specifi c advice pertaining to the solo and security about calling the piece a concerto more convincing with the color. I think that’s what life. Two other Bruch pieces for solo instru- the orchestral parts. Bruch adopted many at all, and he toyed with naming the work happens when you get older, you feel you can get ment with orchestra appear occasionally on of Joachim’s suggestions, and the two soon a “fantasy” instead. “As to your doubts,” away with more things. After all these years, it’s programs: his for , and his tried out the piece in a private orchestral responded Joachim, “I am happy to say that still one of my favorites. for violin. In fact, he wrote reading. Further emendation ensued, and I fi nd the title ‘concerto’ fully justifi ed; for

18 New York Philharmonic Presents the gleNN dicterow collectioN 19 the name ‘fantasy’ the last two movements VioliN coNcerto No. 1, in 1908 he accepted a professorship at his are actually too completely and symmetri- alma mater, where he would remain until cally developed.” Bruch was inherently oP. Posth., BB 48a 1934. By then he had immersed himself conservative, and it was accordingly his fate in the folk music of the Balkans (and of Béla Bartók to remain in the shadow of Brahms, who regions as distant as North Africa) and had b. Sânnicolau Mare, Romania, March 25, 1881 was five years his elder. Brahms was surely enriched his musical thinking through d. , September 26, 1945 the greater composer, but Bruch was often intensive study of the orchestration and inspired and frankly original. harmonic practices of contemporary Alan Gilbert, conductor It is hard to mistake the similarity be- French composers. Glenn Dicterow, violin tween the openings of the third movements Although Bartók had acquired a basic of Bruch’s G-minor and Brahms’ D-major understanding of string instruments in the Performances of May 19, 22, 26, 2012 Violin Concertos, and it is only fair to point course of his conservatory education, he Avery Fisher Hall out that Bruch’s preceded Brahms’ by a full was never trained specifically as a violinist. decade. Joachim would premiere that work, Nonetheless, his instincts for that instru- too, but when he was asked to characterize ment proved uncannily nuanced. Among the four most famous German concertos in other works, he composed two violin his repertoire — by Beethoven, Mendels- éla Bartók received his most focused concertos; the Second (from 1937–38) sohn, Bruch, and Brahms — he insisted training at the Academy of has become a classic, but the First (from that Bruch’s was “the richest and the most B Music, where his principal studies 1907–08), remains a rarity in concert seductive.” were in piano and composition. Following programming. The early Violin Concerto his graduation in 1903, he embarked on a is connected to the composer’s infatuation Instrumentation: two , two , whitesto career as a touring pianist while continuing with Stefi Geyer. Bartók met the Hungar- two , two , four horns, two his activities as a composer. It soon became ian violinist in 1907, when he was 26 and N

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

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

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

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

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

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

28 New York Philharmonic Presents the gleNN dicterow collectioN 29 New York Philharmonic Presents: the gleNN dicterow collectioN album two download only at nyphil.org/dicterowcollection

KERNIS Lament and Prayer

BERNSTEIN Serenade

BARBER

Violin concerto sherMaN steVeN

Glenn with former Music Director Leonard Bernstein rehearsing in WAXMAN Central Park, 1986. Carmen Fantasie laMeNt aNd PraYer image of a cantor and a congregation. In the and in 1999 it premiered his Garden of Light, composer’s own words, “the music proceeds commissioned by the Walt Disney Company glenn on Kernis: for solo Violin, oboe, strings, as statement and response in much of the fi rst to celebrate the new millennium. and Percussion part, which is very chromatic, rather severe- His works for violin represent a signifi - I was looking for more cutting edge pieces since sounding and intense; the prayer is mostly cant volume of his repertoire, not surprising the Orchestra’s guest artists were playing most of Aaron Jay Kernis quiet, and spun from a very simple, long line since that is the instrument he principally the standards, such as, the Beethoven, Brahms, and the Bruch, in addition to the fact that I had b. Bensalem Township, Pennsylvania, with pulsing harmonies underneath — just studied when he began his path as a musi- already played them. I happened to listen to a January 15, 1960 the hint of the minimalist elements that oc- cian. His music is characterized by poetic recording of Pamela Frank playing Lament and casionally crop up in my music.” imagery, brilliant instrumental tones, a keen Prayer, and I was absolutely blown away. Lorin Maazel, conductor Glenn Dicterow, Lorin Maazel and the sense of exploration, and the feeling that It was the emotional content in the work Glenn Dicterow, violin New York Philharmonic performed the La- the composer gets under the skin of his with which I felt a great kinship. It’s heartfelt and it’s about the plight of the Jewish people and it ment and Prayer in January, 2005, building on a subject matter, reinventing his language to speaks for itself – lament and prayer. And I said, Performances of January 20, 21, 22, 2005 relationship that started with the Orchestra’s serve the project at hand. Among his other I have to play this piece! Even though it’s only Avery Fisher Hall premiere of Kernis’ Dream of the Morning Sky works are Color Wheel (2001, written for The about 21 minutes I felt it was very important and in its 1983 Horizons Festival that catapulted on the opening of its one of Aaron’s best works. Working with Aaron was wonderful and I think quite successful. the young composer to national attention and new concert hall at the Kimmel Center for proclaimed his talent for composing for the the Performing Arts); a Toy Piano Concerto aron Jay Kernis’ Lament and Prayer more-or-less standard symphony orchestra. (2002, written for Margaret Leng Tan); a song marks the culmination of a group By the end of that decade Kernis had begun cycle for the soprano Renée Fleming; and complement described by the composer as A of compositions motivated by the to display a style marked by expressive lyri- an ambient-sound installation for the Rose “triangles (with thin triangle beaters), jingles, composer’s reaction to war, suffering and cism and was sometimes cited as a leading ex- Center for Earth and Space at the American metal shakers, sizzle cymbals (with thin genocide. Completed in 1996, the dedica- ponent of the “New Romanticism.” In 1994 Museum of Natural History in New York. triangle beaters, light sticks, or brushes), small tion in the score reads: “In commemoration the Philharmonic premiered his New Era Asian bells, and other metal percussion in- of the 50th anniversary of the end of World Dance, one of the commissions the Orchestra Instrumentation: oboe (offstage); chimes struments”; two harps; and strings; in addition War II and the Holocaust” and invokes the extended to celebrate its 150th anniversary, (offstage), and an additional percussion to the solo violin.

32 New York Philharmonic Presents the gleNN dicterow collectioN 33 sereNade concerto for Isaac Stern to premiere at the Venice Festival in September.” Candide would (after Plato’s “symposium”) end up dragging on and on. The “violin glenn on Bernstein and his serenade: for Violin, string orchestra, concerto,” however, was accomplished in less harp, and Percussion than a year once he set about working on it Since his fi rst performance of the Serenade to do it with the composer on the podium. seriously in the fall of 1953, and those close in 1986, Glenn has performed the work 22 The fi rst time I played it was at a daunt- times with the Philharmonic alone, seven of ing Parks Concert in 1986. There must have to Bernstein reported that it remained one of those with Bernstein. In 1990, four days been 75,000 to 100,000 people in Central Leonard Bernstein his favorite works. after Leonard Bernstein’s death Glenn was Park, and Bernstein having just returned b. Lawrence, Massachusetts August 18, 1918 The roots of the piece go back to the scheduled to perform the Beethoven Violin from a tour performing it with other violinists d. New York City, October 14, 1990 summer of 1951, when the Koussevitzky Concerto with conducting including 14-year-old with the front Music Foundation commissioned Bernstein the Philharmonic. In memory of Bernstein, page Times story of her Tanglewood perfor- the Serenade replaced Beethoven in a mance where she broke two strings. Leonard Bernstein, conductor to write a work in memory of the recently deeply emotional and moving performance Additionally, it was a little bit of a chal- Glenn Dicterow, violin deceased conductor , that was released in 1999 in a Philharmonic lenge because I went beyond what I think who had served as mentor to the young Special Editions recording. Lenny had in mind for the solo part. After Performance of August 14, 1986 Bernstein. That Bernstein was a highly about the third performance he said, “You I found it so profound what Bernstein know, you play the piece beautifully but it’s Blossom Music Center, Ohio literate man is beyond question. Fellow managed to do in those movements of the overly romantic. I said, but Lenny, that’s the composer-conductor-pianist Lukas Foss Serenade; every one is unique. It’s very chal- way I feel it. He replied: it’s neoclassical — once said in an interview: “Probably the lenging technically, with double stops almost think Stravinsky.” But there’s so much depth eonard Bernstein and his wife, Felicia reason he had so much success with his col- against the violin, but the melodies are amaz- and profundity that, even if he did fashion it Montealegre, spent the summer of 1954 laborations in the music theatre was that he ing. You can hear West Side Story (which after Stravinsky in certain ways, it ends up hadn’t been written when he composed the a blood and guts type of piece. In order to L in a home they rented on Martha’s was fi red by the intrusion of the other arts, Serenade) in addition to thematic material give it that aspect you have to go beyond the Vineyard, a site suffi ciently isolated to allow that they inspired his imagination. I would from Bernstein’s other theater work. I got pristine, crystal-like Stravinsky approach. I do Bernstein to concentrate on two major com- say that Lenny was the most well-read com- such a thrill out of learning it and being able think I convinced him of that toward the end. positions. “My life is all Lillian Hellman and poser I have ever met.” Candide,” he wrote to friends, “and the violin A number of Bernstein’s works relate to

34 New York Philharmonic Presents the gleNN dicterow collectioN 35 The decision to call this half-hour-long coNcerto for VioliN work a serenade, rather than a concerto, also seems to have come quite late in the com- aNd orchestra, oP. 14 position process, as is evident from Bern- stein’s regular reference to a concerto during Samuel Barber the months preceding its completion. b. West Chester, Pennsylvania, March 9, 1910 The composer penned this program note d. New York City, January 23, 1981 for his Serenade the day after signing off on the score: “There is no literal program for this Kurt Masur, conductor

chris lee Serenade, despite the fact that it resulted from Glenn Dicterow, violin a re-reading of Plato’s charming dialogue, The Symposium. The music, like the dialogue, is a Performances of October 3, 4, 5, 1996 Glenn with Philharmonic violinist Newton Mansfield who joined the Orchestra in 1961, at a Central Park concert. series of related statements in praise of love, and Avery Fisher Hall generally follows the Platonic form through literary sources of grand standing, includ- attach the philosopher to the project until the succession of speakers at the banquet. The ing his early incidental music for The Birds later. Bernstein biographer Humphrey Bur- ‘relatedness’ of the movements does not depend hen The Curtis Institute of Music and The Peace (two plays by Aristophanes), ton believes that the connection may have on common thematic material, but rather on a opened its doors to students on Candide (from Voltaire’s novella, itself a been forged “not long before the comple- system whereby each movement evolves out of W October 1, 1924, Samuel Barber response to Leibniz), West Side Story (from tion of the work, since a glance at Plato elements in the preceding one.” was second in line. His musical gifts had Shakespeare’s Romeo and Juliet), and the reveals obvious discrepancies between Bern- been apparent from an early age, and he Age of Anxiety Symphony (after poems by stein’s adaptation and the original.” He adds: Instrumentation: Chinese blocks, orches- was fortunate to be born into a family that Auden). He is known to have been reading Bernstein names the individual movements tra bells, tenor drum, xylophone, bass drum, recognized them. Though his parents were Plato around the time that the Koussevitzky of the concerto after the various speakers at snare drum, tambourine, chimes, suspended not professional musicians, his aunt, the con- Foundation extended its commission, but the banquet but has changed the order of cymbals, triangle, strings, and harp, in addition tralto Louise Homer, was a mainstay at The there’s no indication that he decided to the speeches and modified their character.” to the solo violin. Metropolitan Opera, and her husband, Sidney

36 New York Philharmonic Presents the gleNN dicterow collectioN 37 Homer, was well known as a composer of light Lieder. glenn on Masur and At Curtis Barber principally studied pi- Barber: ano, composition, and voice. While a student there he produced several works that have I got along with all the Music Directors, entered the repertoire, including his Dover but I especially loved Masur. I loved his Beach for baritone and string quartet and his old world knowledge and the fact that he orchestral Overture to The School for Scandal was the conductor at the Gewandhaus — and Music for a Scene from Shelley. Thanks to a I mean that’s where Mendelssohn was a conductor! His knowledge and his special Rome Prize, he spent 1935–37 at the Ameri- feel for Beethoven, Bruckner, Brahms, and can Academy in Rome completing, among Schumann were for me very profound and other pieces, his Symphony in One Move- Glenn with Lisa Kim, who studied with Glenn before winning the audition with the Philharmonic. I enjoyed working with him a lot. ment, which quickly received high-profi le That said, for him to do accompani- performances in Rome, Cleveland, and New Air Force. During this period Barber com- in Sils-Maria, Switzerland. When Briselli ments wasn’t always easy, but he was open to my suggestions. Some of the York, and at the opening concert of the 1937 posed his Violin Concerto, which also grew received the fi rst two movements he worried things that I recommended he had never Festival. The following year Barber’s out of a Curtis connection. Samuel Fels, of that they were “too simple and not brilliant performed before but he never hesitated reputation was cemented when Arturo To- Fels Naptha soap fame, served on the Curtis enough for a concerto.” Barber moved on in tackling them which I found really scanini conducted the NBC Symphony in a Board of Directors, and had taken it upon to Paris, planning to complete a fi nale that amazing. For him the Barber was a new piece. He fell so much in love with it that broadcast of his Essay No.1, and the Adagio for himself to support a needy child-prodigy vio- would allay Briselli’s concerns; but as war he had me come to Leipzig to perform the Strings — now one of the most recognized linist named Iso Briselli, who had come from clouds gathered, he returned to America to work which, for me, was really an amazing compositions of the 20th century. Barber was his native to enroll at Curtis at the continue writing. experience — to play in the city where famous, and he was not yet 30. age of 12. In early 1939 Fels offered Barber a For whatever reason Briselli rejected the Mendelssohn and Bach had worked. In 1939 he returned to Curtis as com- $1,000 commission to write a violin concerto concerto. Barber told his publisher that Briselli position professor, a position he maintained for Briselli. Barber accepted, and that summer found the fi nale too diffi cult; Briselli later until 1942, when he joined the U.S. Army he got to work on the piece while staying argued that he had found it “too lightweight.”

38 New York Philharmonic Presents the gleNN dicterow collectioN 39 Nonetheless, the “playability” question loomed carMeN faNtasie instrumental adaptation of the opera was large. Fels wanted the initial installment of his the Carmen Fantasy for violin and orchestra commission payment refunded, and Barber felt for Violin and orchestra by the legendary Spanish violinist Pablo glenn on waxman’s the way to counter this was to demonstrate Based on themes from Sarasate (1844–1908), who did little more carmen fantasie: that the piece was indeed feasible for violinists. the opera of georges Bizet than string together popular melodies A Curtis student was recruited to test the from the opera and provide them with I didn’t learn the Carmen Fantasie in the typical piece; he was allowed to study a portion of the pyrotechnical ornament. Nonetheless, it way, from a violin teacher that is. My father, who was friends with double bassist and operatic fi nale for just two hours, and then played what Franz Waxman was effective enough to gain a place in the conductor Henry Lewis, said, “In order to all listeners agreed was a dazzling performance. b. Chorzów, Poland, December 24, 1906 repertories of numerous violinists. understand this piece you have to know what’s In the wake of this experiment, Fels paid d. Los Angeles, February 24, 1967 Franz Waxman’s more recent Car- happening in the opera, so you must study it the rest of the commission fee and Briselli men transcription came into existence in with an opera man.” So I learned it from Lewis and his wife — one of the great relinquished the right of fi rst performance. Zubin Mehta, conductor the context of motion pictures. In 1946 Carmen’s of the day. After further work on the fi nale, provisional Glenn Dicterow, violin Warner Brothers produced a fi lm noir Now, I tell my students to learn from opera. read-throughs, and technical input from the entitled Humoresque, starring John Garfi eld When you’re imitating the human voice, those violinist Oscar Shumsky, Barber showed his Performance of January 13, 1990 as a naïve young concert violinist who theatrical and operatic qualities must come concerto to the noted violinist Albert Spald- Avery Fisher Hall becomes enmeshed in the decadent milieu across, so I say “go listen and see what’s happening!” ing, who signed on instantly, subsequently of the cultural elite, but fi nally extricates introducing the work with himself from the clutches of a wealthy, and The Philadelphia Orchestra. self-destructive mantrap, played by Joan Crawford. Providing the audio for Gar- Instrumentation: two fl utes (one dou- ithin a few years of its premiere fi eld’s on-screen violin pantomimes was a Carmen fantasy, was assigned to a skilled bling piccolo), two oboes, two clarinets, two in 1875, Georges Bizet’s opera young soloist of promise: Isaac Stern. The staff composer with extensive fi lm and bassoons, two horns, two trumpets, timpani, W Carmen gained a worldwide background music, which was to include experience, Franz Waxman. snare drum, piano, and strings, in addition to popularity that made it prime material for violin showpieces, a violin-piano-orchestra Throughout his life, Waxman’s classical the solo violin. virtuoso transcription. The fi rst prominent version of Wagner’s Liebestod, and a music activities ran side by side with his

40 New York Philharmonic Presents the gleNN dicterow collectioN 41 work in popular music. In Berlin, while esque, the famed violinist Jascha Heifetz training as a composer, he earned money became acquainted with the Carmen as a jazz pianist in cafes and restaurants; in transcriptions. Realizing that a new Carmen fact, his first film credit was for music for fantasy would be ideal repertory for his the classic German production Der Blaue upcoming radio appearance on the Bell Engel (The Blue Angel). Waxman began Telephone Hour, Heifetz asked Waxman to his Hollywood career with The Bride of expand the film’s Carmen music into a full- Frankenstein (1935), later producing scores length concert piece. for such films as The Philadelphia Story, Waxman completed his score on August Captains Courageous, Rebecca, Peyton Place, 13, 1946, and Heifetz premiered it less The Nun’s Story, and Taras Bulba, for a total than a month later on the Bell Telephone of 144, and winning Academy Awards for Broadcast of September 9, giving the work Sunset Boulevard (1950) and A Place in the its first concert exposure several days later Sun (1951). at . After these performances Waxman’s early Hollywood activities Waxman seems to have made some revi- left little time for outside work, but in the sions, and the final version was ready on mid-1940s he resumed serious composi- October 18. Heifetz made his celebrated tion, and thereafter produced a substantial recording of Waxman’s Carmen Fantasie on series of concert works. Among them are November 8, 1946. The film Humoresque the Athaneal the Trumpeter Overture (1946); was not released until January, 1947; thus Passacaglia for Orchestra (1953); Sinfonietta the Heifetz version was known to the for String Orchestra and Timpani (1956); public before Isaac Stern’s film rendition chris lee the oratorio Joshua (1959); Goyana (1960); had been heard. It has since been played by and The Song of Terezin (1965). After the leading violinists in virtually every major filming of the Garfield/Crawford Humor- country of the world. Glenn with then Music Director Kurt Masur.

42 New York Philharmonic Presents the gleNN dicterow collectioN 43 New York Philharmonic Presents: the gleNN dicterow collectioN Album three download only at nyphil.org/dicterowcollection

PROKOFIEV Violin concerto No. 2

SZYMANOWSKI Violin concerto No. 1

SHOSTAKOVICH BiAl Bert Glenn with former Music Director Zubin Mehta onstage at Avery Fisher Hall. Violin concerto No. 1 VioliN coNcerto No. 2 berian Railway to Vladivostok, then sailing on to Japan, Honolulu, and San Francisco. From iN g miNor there he proceeded to New York, where glenn on Prokofi ev and mehta: he arrived in September 1918. New York Sergei Prokofi ev (1891-1953) would be his base, more or less, for the next The Prokofi ev has been a favorite piece of b. Donetsk Oblast, , April 23, 1891 several years, after which he moved to Paris mine for many years. As a kid, I fi rst heard the Concerto as a kid played by the great Polish d. Moscow, March 5, 1953 in 1923. It was the place to be if you were violinist , who used to stay with on the cutting edge of the arts, and Proko- us when he was performing in Los Angeles. I Kurt Masur, conductor fi ev cultivated important friendships during got to study with him whenever he was through Glenn Dicterow, violin his decade in France. By 1932, although he and that particular piece he had recorded early maintained his principal residence in Paris, he in France with one of the French . The lyricism of Prokofi ev’s second Performance of June 15, 1985, paid increasingly frequent visits to what had concerto juxtaposed with the mechanical ele- Beethovenhalle, Bonn, Germany become the , and in the spring ments involved is what drew me to the piece. of 1936 he settled in Moscow for good. Pro- The industrial revolution is there. It’s got these Glenn with former Music Director Zubin Mehta, 1980. kofi ev’s artistic experiments continued in the gorgeous haunting melodies and yet it’s got Soviet Union, but they did so in the shadow this pyrotechnical aspect as well. The incredibly rhythmic and jutting aspect of the last movement dreams of working with Zubin. I think the fact t the end of World War I most of of his more politically acceptable efforts in with the dialog between bass drum and violin that he’s so sensitive and he knows the violin Europe breathed a sigh of relief, but Socialist-Realist style. really affords the solo violin a great deal of sonic parts very well is because his father was a very in tough times eroded into He must have wondered over the years projection because of the way it’s orchestrated. good violinist, as well as a conductor. His sen- A The fi rst time I performed the work with sitivity is such that he has this ability to second general anarchy, paving the way for the Rus- if his decision had been for the best. The Zubin was in L.A. and then, of course, we guess what you’re going to do before you even sian Revolution. Sergei Prokofi ev, who had Soviet musical establishment was subjected performed it after he brought me to New York. do it. That is a talent very few have. You can be already gained a reputation as a composer to a severe purge in 1937, but Prokofi ev With Zubin, I had this very special relationship. a great conductor, but this one area of being a and pianist, slipped away just ahead of the survived unscathed thanks to the personal I don’t think there’s a greater accompanist in consummate accompanist is elusive. Not too Revolution, departing from Petrograd for an intervention of Stalin himself. In 1948, how- the business. Every violinist, pianist, and cellist many have that gift. 18-day journey across Russia on the Trans-Si- ever, Stalin (through the mouthpiece of his

46 New York Philharmonic Presents the gleNN dicterow collectioN 47 cultural officials in the Central Committee movement in Voronezh, the instrumentation VioliN coNcerto No. 1, fully apparent to the composer, so he joined of the Communist Party) reprimanded a was completed in Baku, and the premiere with several colleagues to found the Young bevy of important Soviet composers for not took place in December of 1935 in Madrid.” oP. 35 Polish Composers’ Publishing Company in contributing to the Soviet program in the Prokofiev had already been amassing Berlin. Also known as “Young Poland in Mu- way he saw fit, and this time Prokofiev was sketches for some vaguely imagined violin Karol Szymanowski sic,” the group remained active for six years, not spared. He created a scandal — and risked piece when he was approached by some b. Kamianka Raion, Ukraine, October 3, 1882 providing Szymanowski and his contempo- serious censure — when he turned his back admirers of the French-Belgian violinist d. Lausanne, Switzerland, March 28, 1937 raries with a forum for presenting their music on the Committee as its indictment against Robert Soëtens, who asked for a concerto in the rest of Europe and facilitating their him was read. But when all is said and done, that their friend might premiere and to Kurt Masur, conductor connections to the avant-garde. Prokofiev basically did cave in and pledged which he would maintain exclusive perfor- Glenn Dicterow, violin The style of Szymanowski’s oeuvre proves to follow the approved path of Socialist mance rights for a year. Soëtens, a devoted hard to pin down. Following an initial Cho- Realism. There is no question that important champion of new music, had previously Performances of January 8, 9, 10, 13, 2004 pinesque period, he became infatuated with masterpieces resulted from the second half of joined with Samuel Dushkin to present the Avery Fisher Hall German late-Romanticism (especially Wagner, his career. Nevertheless, it is in his pre-Soviet premiere, in 1932, of Prokofiev’s Sonata for for a while) and then with the whole cata- oeuvre that Prokofiev-the-experimenter Two , and Prokofiev was eminently logue of early 20th-century “isms”: impres- makes his most dependable appearances. disposed toward providing a follow-up lthough he was born in Ukraine sionism, expressionism, orientalism, symbolism. He composed his Violin Concerto No. piece. Jascha Heifetz started programming and died in Switzerland, Karol Szymanowski spent the decade of the 2 while he was still based part-time in Paris it immediately after Soëtens’s year expired, A Szymanowski was Polish to the core. 1920s in Poland, although he traveled fre- and on the verge of returning to the Soviet and the concerto has been a staple of the The town in which he was born had been quently to the musical centers of Western Union. Prokofiev wrote in his so-called Short repertoire ever since. annexed temporarily by the , Europe (especially Paris) as the leading emis- Autobiography of 1939-41: “Reflecting my no- Instrumentation: two flutes, two oboes, but his family was of long-standing, patriotic, sary of Polish music. In 1927 he was offered madic concertizing experience the concerto two clarinets, two bassoons, two horns, two and highly cultured Polish extraction. None- the directorships of two conservatories, those was written in the most diverse countries — trumpets, bass drum, snare drum, triangle, theless, the Poland in which he grew up was of Cairo and of Warsaw; he accepted the lat- the main subject of the first movement was cymbals, castanets, and strings, in addition to far from the musical mainstream of Europe. ter, seeing in it the opportunity to reinvigo- written in Paris, the first theme of the second the solo violin. Musical training in Warsaw made this pain- rate Polish musical education. This he would

48 New York Philharmonic Presents the gleNN dicterow collectioN 49 ideals of Debussy and Ravel, to some degree replacing the Straussian inclinations of his glenn on szymanowski: earlier pieces. Some years later he wrote: “I shall never cease in the conviction To me, the Szymanowski is an evocative and that a true and deep understanding of French even erotic piece. What can I say? He wrote two music, of its content, its form, and its further concertos, but I was more attracted to the fi rst evolution, is one of the conditions for the one and mainly because of the dialogue between development of our Polish music.” orchestra and violin that extends throughout the whole piece. Because of this exchange of ideas French models continued to infl uence that does not just involve pyrotechnics, I felt that it him deeply when he composed his single was something almost written for my style. Masur

chris lee movement First Violin Concerto in 1916, knew the piece as it was very well known in Eu- although the piece is also infused with a vast, rope, but not so much in America. We brought it back several times and I especially loved working mystical fl avor we might identify with Scri- Glenn with members of his section in Pyongyang, 2008. with Masur on it. abin, who died the year before. The orchestral sound is positively sumptuous (benefi ting achieve, but with diffi culty, and exhausted the violin.” He collaborated closely with from a texture of triple winds), providing a by the political pressures of his mission, he Kochánski while writing the fi rst concerto, rich palette for the composer to employ in resigned in 1929. and the nearly two-minute unaccompanied tracing an emotional world that he suggested English horn), three clarinets (one doubling The violin fi gures signifi cantly in Szy- cadenza near the end of the piece was almost was inspired by the poem “May Night,” by E-fl at clarinet) and bass clarinet, three bas- manowski’s output. He composed two violin entirely the violinist’s work. Tadeusz Mici´nski, a philosopher-poet friend soons (one doubling contrabassoon), four concertos as well as numerous shorter violin Szymanowski was exempted from mili- from the Young Poland circle who would horns, three trumpets, three trombones, , works. All of these were written specifi cally tary service in World War I; in fact, those four soon perish in the First World War. timpani, triangle, tambourine, snare drum, for his close friend Paweł Kochánski (1887– years were among his most prolifi c. He spent cymbals, bass drum, bells, celesta, piano, two 1934), with whom he believed he had created part of the summer of 1914 in Paris, when Instrumentation: three fl utes (one dou- harps, and strings, in addition to the solo “a new style, a new mode of expression for he began to infuse his scores with the sonic bling piccolo), three oboes (one doubling violin.

50 New York Philharmonic Presents the gleNN dicterow collectioN 51 VioliN coNcerto No. 1 recent decades. The composer spent most of until 1960 contented himself with writing his career falling in and out of favor with the generally lighter fare, keeping his musical iN A miNor, oP. 99 Communist authorities. By the mid-1940s his behavior in check as if he suspected the official approval ratings had soared, plummet- Soviet cultural thaw to be simply an illusion Dmitri Shostakovich (1906-1975) ed, soared again, plummeted again, and soared that might reverse itself at any moment. b. , September 25, 1906 anew. In 1945 his stock crashed yet another In 1960, however, his Seventh and Eighth d. Moscow, August 9, 1975 time when the Ninth Symphony struck So- String Quartets launched a “late period” viet bureaucrats as insufficiently reflecting the of productivity that would include many Maxim Shostakovich, conductor glory of Russia’s victory over the Nazis. notable works of searing honesty. Glenn Dicterow, violin By 1948 Shostakovich found himself Shostakovich wrote his Violin Concerto condemned along with a passel of composer No. 1 in 1947–48 and assigned it the opus Performance of October 9, 1982 colleagues for “formalist perversions and number 77, which accurately depicted where Avery Fisher Hall antidemocratic tendencies in music, alien the piece fell in his output. But the Violin to the Soviet people and its artistic tastes” Concerto No. 1 is universally identified as (as the Zhdanov Decree phrased it). He his Op. 99, which corresponds to its belated responded with a pathetic acknowledgement publication in 1956. What occasioned the cannot forecast to you the action of Rus- of guilt, and the next year redeemed himself delay? Cellist blamed sia,” said Winston Churchill in a 1939 with The , a nationalistic it on the violinist . “I despised Iradio broadcast. “It is a riddle wrapped oratorio that gained him yet another Stalin Oistrakh,” he told the Shostakovich scholar in a mystery inside an enigma.” His famous Prize, backed by 100,000 rubles. After Sta- Elizabeth Wilson, “because the brilliant formulation might well have been applied lin’s death, in 1953, the Soviet government violin concerto written for him in 1948 was to Dmitri Shostakovich, that nation’s most stopped bullying artists quite so much, but allowed to lie around waiting for its first per- exceptional composer at the time. Few by then Shostakovich had grown indelibly formance.… To my mind this was shameful chris lee composers have been debated with the fervor traumatized and paranoid. He retreated to a Carl Schiebler, Orchestra Personnel Manager, tells and cowardly.” that has been applied to Shostakovich in somewhat conservative creative stance and Glenn where to go. Yes, well … the amount of finger-

52 New York Philharmonic Presents the gleNN dicterow collectioN 53 pointing that went on after the fact in Soviet glenn on shostakovich: musical circles was staggering and some- times offensive. A complete account would “The Shostakovich fi rst violin concerto, with not neglect to mention that the piece was its four movements and slow beginning is of completed on the heels of the Zhdanov course not a typical structure. Unlike most Decree, the authoritarian slapdown that concertos where you’re blasting away from got Shostakovich fi red from the faculty of the beginning to the end except for the slow movement, here it’s inverted. The mood at Leningrad Conservatory. That Shostakovich the beginning is very calm, ethereal and himself might well have had qualms about fl oating, very much like the Tenth Symphony releasing such a piece at that moment must with its pensive opening. I like slow. I like to at least be entertained as a possibility. The fact get deep in thought, underneath the surface to what it’s really all about. is that Oistrakh provided considerable advice Performing the piece for the fi rst time on the crafting of the solo part, did see the with Shostakovich’s son, Maxim, I was of piece through its premiere, and, furthermore, course inspired by Oistrakh’s benchmark was honored by the composer through the performance. Shostakovich worked very score’s dedication. closely on the work with him, and the mas- sive cadenza at seven or eight minutes was obviously written for Oistrakh. Instrumentation: three fl utes (one dou- This was my fi rst time studying this bling piccolo), three oboes (one doubling piece and I remember being a little cowed English horn), three clarinets (one doubling by trying it out for the fi rst time in New York especially since the Philharmonic hadn’t per- bass clarinet), three bassoons (one doubling formed the work since 1956 when they did contrabassoon), four horns, tuba, timpani, stePhANie Berger the United States premiere with Oistrakh. tam-tam, tambourine, xylophone, celeste, two harps, and strings, in addition to the solo violin. Glenn with former Music Director Lorin Maazel during a concert. New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION Conductor Biographies CHRIS LEE leoNard BerNsteiN alaN gilBert

eonard Bernstein was part performer (his earliest aspirations usic Director Alan Gilbert began his New York were as a pianist), part composer, part conductor, part Philharmonic tenure in September 2009, the first native L lecturer and author, and part teacher. An 11-time Emmy MNew Yorker in the post. He and the Philharmonic have Award winner, his Young People’s Concerts with the Philharmonic introduced the positions of The Marie-Josée Kravis Composer- spanned more than 14 seasons. His debut on November 14, in-Residence and The Mary and James G. Wallach Artist-in- 1943, is the stuff of legend — the virtually unknown New York Residence; CONTACT!, the new-music series; and, beginning in Philharmonic Assistant Conductor stepping onto the Carnegie Hall the spring of 2014, the NY PHIL BIENNIAL. “He is building a podium to conduct a live radio broadcast in place of the ailing guest legacy that matters and is helping to change the template for what conductor, Bruno Walter, on a few hours’ notice. an American orchestra can be,” acclaimed. Bernstein’s association with the Philharmonic spanned 47 In the 2013–14 season, Alan Gilbert conducts Mozart’s three years, 1,244 concerts, and 200-plus recordings. In a program after his death, the Orchestra final symphonies; the U.S. Premiere of Mark-Anthony Turnage’s Frieze with Beethoven’s Ninth remembered America’s best known classical musician: “His 11 years as our Music Director Symphony; world premieres; an all-Britten program celebrating the composer’s centennial; the [1958-1969] and 21 years as our Laureate Conductor [1969–90] were periods of brilliance score from 2001: A Space Odyssey as the film is screened; and a staged production of Sondheim’s in the Orchestra’s history. Mr. Bernstein will be remembered for his genius, his leadership, Sweeney Todd. He continues The Nielsen Project — the multi-year initiative to perform and his humanitarianism, his ability to transmit his love of music to young and old, his dedication record the Danish composer’s symphonies and concertos, the first release of which was named d to our Orchestra, his service to young musicians, and his unforgettable, ebullient and caring eutsche by The New York Times as among the Best Classical Music Recordings of 2012 — and presides personality. We are grateful for his legacy.” It is only one indication of the love its current over a tour of Asia. g players bear Lenny that the Philharmonic will occasionally play one of his works without a rammo P Director of Conducting and Orchestral Studies and the Chair in Musical conductor. Studies at The , Mr. Gilbert is Conductor Laureate of the Royal Stockholm Bernstein was also closely linked to the Vienna Philharmonic, Philharmonic, London ho N/s Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Symphony Orchestra, and Rome’s Santa Cecilia Academy. He conducted at The Metropolitan Ba usesch Orchestra. His recordings have garnered two Grammy Awards, and his honors include c Opera, Milan’s Teatro alla Scala, and the , taught at Brandeis University, and an Honorary Doctor of Music degree from The Curtis Institute of Music and Columbia hris l Y ee headed the conducting faculty at the Berkshire Music Center. at University’s Ditson Conductor’s Award.

74 New York Philharmonic Presents the gleNN dicterow collectioN 75 loriN maazel Kurt masur

orin Maazel served as Music Director of the New York n 2008 Kurt Masur celebrated 60 years as a professional Philharmonic from 2002 to 2009. At the start of the conductor. In 2002 he became music director of the Orchestre L 2012–13 season he became music director of the Munich I National de France and he was named the ensemble’s honorary Philharmonic, after completing his fifth and final season in music director for life in 2008. From 2000 to 2007 he was principal 2010–11 as the inaugural music director of the Palau de les Arts conductor of the London Philharmonic Orchestra. He was Music Reina Sofia opera house in Valencia, Spain. Mr. Maazel is also the Director of the New York Philharmonic from 1991 to 2002, founder and artistic director of the Castleton Festival, based on his when he was named Music Director Emeritus, the first New York farm property in Virginia, which was launched to great acclaim Philharmonic Music Director to receive that title. After his departure, in 2009. The festival began to expand its activities nationally and the New York Philharmonic established the Kurt Masur Fund for the internationally in 2011. Orchestra, to endow in perpetuity an annual conductor’s debut week. A second-generation American born in Paris, France, Lorin Maazel began violin lessons at From 1970 until 1996 Mr. Masur was Kapellmeister of the Leipzig Gewandhaus Orchestra, age five, conducting lessons at age seven, and appeared publicly for the first time at age eight. a position of profound historic importance. Upon his retirement from that post in 1996, the Between ages nine and fifteen he conducted most of the major American orchestras, including Gewandhaus named him its first-ever conductor laureate. He has been a guest conductor with the NBC Symphony at the invitation of . the world’s leading orchestras and holds the lifetime title of honorary guest conductor of the Over the course of his career Mr. Maazel has conducted more than 200 orchestras in Israel Philharmonic Orchestra. more than 7,000 opera and concert performances, and has made more than 300 recordings. Kurt Masur’s numerous honors include the Cross of the Order of Merit of the Federal Lorin Maazel has been music director of the Bavarian Radio Symphony Orchestra Republic of Germany (1995); Gold Medal of Honor for Music from the National Arts Club (1993–2002); music director of the Pittsburgh Symphony (1988–96); general manager (1996); the titles of Commander of the Legion of Honor from the French government, and New and chief conductor of the Vienna Staatsoper (1982–84, the first American to hold that York City Cultural Ambassador from the City of New York (1997); Commander Cross of Merit position); music director of The Cleveland Orchestra (1972–82); and artistic director and of the Polish Republic (1999); Cross with Star of the Order of Merits (2002); and Great Cross Fra aNdrew aNdrew

chief conductor of the Deutsche Oper Berlin (1965–71). His close association with the of the Legion of Honor with Star and Ribbon (2007) of the Federal Republic of Germany. In N s Ja s g Vienna Philharmonic has included 11 internationally televised New Year’s Concerts from September 2008 Mr. Masur received the Furtwängler Prize in Bonn, Germany. Mr. Masur has N ar se N Vienna. N made more than 100 recordings with numerous orchestras.

76 New York Philharmonic Presents the gleNN dicterow collectioN 77 zuBiN me hta david roBertsoN

ubin Mehta was born in 1936 in Bombay and received his avid Robertson, one of today’s most sought-after American first musical education under the guidance of his father, Mehli conductors, has forged close relationships with major Z Mehta, a noted concert violinist and founder of the Bombay D orchestras around the world. In fall 2012 he launched his Symphony Orchestra. After a short period of pre-medical studies in eighth season as music director of the St. Louis Symphony, and in Bombay, Mr. Mehta left for Vienna in 1954 and eventually entered January 2014 he became chief conductor and artistic director of the the conducting program under Hans Swarowsky at the Akademie für Sydney Symphony Orchestra in Australia. Additionally he has appeared Musik. By 1961, he had already conducted the Vienna, Berlin, and with the New York Philharmonic, , San Israel philharmonic orchestras, and he has recently celebrated 50 years Francisco Symphony, the Royal Concertgebouw Orchestra, Vienna of musical collaboration with all three ensembles. Radio Symphony Orchestra, Israel Philharmonic, and many others. Mr. Mehta was music director of Orchestre symphonique Over the last two and a half decades, Mr. Robertson has held sev- de Montréal from 1961 to 1967 and also assumed the music directorship of the Los Angeles eral posts abroad. He was principal guest conductor of the BBC Symphony Orchestra from 2005 to Philharmonic in 1962, a post he held until 1978. In 1969, he was appointed music advisor to 2012, and was the first artist ever to hold simultaneously the posts of music director of the Orchestre the Israel Philharmonic Orchestra and was made music director in 1977. In 1981 the orchestra National de Lyon and artistic director of that city’s Auditorium, positions he maintained from 2000 awarded him the title of music director for life. In 1978 he became music director of the New to 2004. From 1992 to 2000 he was music director of the Ensemble Intercontemporain in Paris, and York Philharmonic, beginning a tenure that lasted 13 years—the longest in the Orchestra’s history. between 1985 and 1987 he served as resident conductor of the Symphony Orchestra. Since 1985 he has been chief conductor of the Orchestra del Maggio Musicale Fiorentino. With more than 45 operas in his repertoire, Mr. Robertson has appeared at many of the Mr. Mehta made his debut as an opera conductor with Tosca in Montreal in 1963. Since then world’s most prestigious opera houses, including The Metropolitan Opera, Milan’s Teatro alla he has conducted at The Metropolitan Opera, Vienna State Opera, Milan’s Teatro alla Scala, the Scala, Opéra de Lyon, Bavarian Staatsoper, Théâtre du Châtelet, Hamburg Staatsoper, Santa Fe opera houses of Chicago and Florence, and the Royal Opera House, Covent Garden, as well as at Opera, and San Francisco Opera. c m N s hristia the Salzburg Festival. Between 1998 and 2006 he was music director of the Bavarian State Opera Born in , David Robertson was educated at London’s Royal Academy of Music, ichael in Munich. In October 2006 he opened the Palau de les Arts Reina Sofia in Valencia, and since where he studied horn and composition before turning to orchestral conducting. His numerous t ammaro then has held the position of president of that city’s annual Festival del Mediterrani, where he tei awards and honors include the Seaver/National Endowment for the Arts Conductors Award N conducted a celebrated Ring cycle. er and Columbia University’s Ditson’s Conductor’s Award.

78 New York Philharmonic Presents the gleNN dicterow collectioN 79 maxim shostaKovich JohN williams

on of the composer Dmitri Shostakovich, Maxim Shosta- n a career spanning five decades, John Williams has become kovich was born in 1938 in Leningrad. He studied piano at one of America’s most accomplished and successful composers S the with Yakov Flier and conducting I for film and for the concert stage. He has composed the music with and Igor Markevich. In 1971 he was for more than 100 films, and his 40-year artistic partnership with appointed principal conductor and artistic director of the U.S.S.R.’s director Steven Spielberg has resulted in many of Hollywood’s most Radio and Television Symphony Orchestra, with which he toured acclaimed and successful films, including Schindler’s List, E.T. the worldwide. He premiered many important works, including his Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, father’s Symphony No. 15 at the Moscow Conservatory in 1972. the Indiana Jones films, Munich, Saving Private Ryan, and Lincoln. He Maxim Shostakovich has conducted the New York composed musical themes for the Olympic Games held in 1984, Philharmonic, Washington National Symphony, the orchestras of 1988, 1996, and 2002. He has received five Academy Awards and Boston, Chicago, Cleveland, Philadelphia, Los Angeles, Detroit, Pittsburgh, Cincinnati, Atlanta, forty-nine Oscar nominations (making him the most nominated living person and the second- Toronto, Ottawa, Vancouver, Calgary, San Diego, Dallas, Houston, and others. From 1986 to 1991 most nominated person in the history of the Oscars), seven British Academy Awards, twenty-one he was music director of the Symphony Orchestra. His European appearances Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, include the London Symphony Orchestra, City of Birmingham Symphony Orchestra, and he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic Royal Liverpool Philharmonic. In Sweden he worked with the symphony orchestras of Malmö, movement. In 2004 he received the prestigious Kennedy Center Honor, and in 2009, he received Helsingborg, Norrköping, and Göteborg Symphony. He led a production of his father’s Lady the National Medal of Arts, the highest award given to artists by the U.S. Government. Macbeth of Mtsensk at the Royal Opera House in Stockholm. Mr. Williams served as music director of the Boston Pops Orchestra for 14 seasons and Maxim Shostakovich made his North American opera debut conducting Lady Macbeth of remains their laureate conductor and artist-in-residence at Tanglewood. Mr. Williams has Mtsensk at The Juilliard School. In January 1984 he led a production of Tchaikovsky’s Eugene composed numerous works for the concert stage, including two symphonies, and concertos Onegin at the Washington Opera to critical acclaim. He conducts regularly at the famous St. commissioned by the Boston Symphony Orchestra (cello, harp), the New York Philharmonic Petersburg White Nights Festival. He has recorded for Teldec, Koch/Schwann, Angel, Philips (), The Cleveland Orchestra (trumpet), and the Chicago Symphony Orchestra (horn). Records, and Chandos, and has an ongoing project with Supraphon to record his father’s In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first symphonies with the Prague Symphony Orchestra. inaugural ceremony of President Barack Obama.

80 New York Philharmonic Presents the gleNN dicterow collectioN 81 GLENN’S ORCHESTRA 1980-2014

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

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

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

86 New York Philharmonic Presents the gleNN dicterow collectioN 87