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JANUARY 31– FEBRUARY 2, 2013

Thursday , January 31, 2013, 7:30 p.m. 15,493rd Concert Open Rehearsal at 9:45 a.m.

Friday , February 1 , 2013, 8 :00 p.m. 15,494th Concert The February 1 concert is dedicated to Arnold Chavkin and Laura Chang for their participation in the Circle.

Saturday, February 2, 2013, 8:00 p.m. 15,496th Concert

Christoph von Dohnányi , Conductor Radu Lupu ,

Global Sponsor

Christoph von Dohnányi’s appearance is made possible through the Daisy and Paul Soros Endowment Fund .

Guest artist appearances are made possible through the Hedwig van This concert will last approximately one and Ameringen Guest Artists three-quarter hours, which includes one intermission. Endow ment Fund .

Avery Fisher Hall at Lincoln Center Home of the Exclusive Timepiece of the New York Philharmonic

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New York Philharmonic

Christoph von Dohnányi, Conductor Radu Lupu, Piano

ALL-BEETHOVEN PROGRAM (1770 –1827)

Overture to Die Geschöpfe des Prometheus (The Creatures of Prometheus) , Op. 43 (1800–01)

Piano Concerto No. 1 in C major, Op. 15 (ca. 1795/1800) Allegro con brio Largo Rondo: Allegro RADU LUPU

Intermission

Symphony No. 5 in C minor, Op. 67 (1804–08) Allegro con brio Andante con moto Allegro Allegro (There is no pause between the third and fourth movements)

Harvey Sachs, Leonard Bernstein Scholar-in-Residence at the New York Philharmonic, gives a talk one hour prior to these performances.

Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, and the New York Phil - harmonic: 2012 –13 Season, is now available for download at all major online music stores. The New York Philharmonic This Week, Visit nyphil.org/recordings for more information. nationally syndicated on the WFMT Radio Network, is broadcast 52 weeks per year ; Follow us on Tumblr, Facebook, Twitter, and visit nyphil.org for information . YouTube.

PLEASE SILENCE YOUR ELECTRONIC DEVICES .

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Notes on the Program By James M. Keller, Program Annotator The Leni and Peter May Chair

Overture to Die Geschöpfe dine eternally on his liver. Either way, des Prometheus (The Prometheus’s prank was punished, and his Creatures of Prometheus) , reputation was sorely stained. Op. 43 Aeschylus, on the other hand, viewed the event from the side of the mortals. Instead of No. 1 decrying Prometheus for upsetting the cos - in C major, Op. 15 mic order, he ennobled the fallen titan as the bringer of fire to humankind — and with it, the Symphony No. 5 in C minor, Op. 67 In Short

Ludwig van Born: December 16, 1770 (probably, since he was baptized on the 17th), Beethoven in Bonn, Germany Died: March 26, 1827, in Vienna, Austria Whether Prometheus was a Works composed: Overture to The Creatures of Prometheus, 1800–01; good guy or a bad guy de - dedicated to Princess Christiane von Lichnowsky (when the work was published pends on your point of view , in piano reduction) . Piano Concerto No. 1, apparently in 1795, but revised to its and on who’s telling his final form for a performance in 1800; dedicated to Princess Barbara Odescalchi . story. The basic facts — if Symphony No. 5, sketches begun in early 1804, score completed in early 1808; dedicated to Prince Franz Joseph Maximilian von Lobkowitz and Count Andreas “facts” apply when dis - Kirillovich Rasumovsky cussing Greek mythology — were enunciated by the World premieres : Overture to The Creatures of Prometheus, March 28, 1801, poet Hesiod: Prometheus at the Burgtheater in Vienna . Piano Concerto No. 1, December 18, 1795, in Vienna, with the composer at the keyboard . Symphony No. 5, December 22, was a Titan trickster who 1808, at the Theater an der Wien, Vienna stole the gift of fire from Zeus (king of the gods) New York Philharmonic premieres : Overture to The Creatures of Prometheus, January 23, 1913, Josef Stransky, conductor . Piano Concerto No. 1, and delivered it to Man. December 15, 1918, the New York Symphony Zeus retaliated by sending (which merged with the New York Philharmonic in 1928 to form today’s New Pandora and her notorious York Philharmonic), Alfred Cortot, soloist . Symphony No. 5, December 7, 1842, box to Earth, unleashing Ureli Corelli Hill, conductor, at the Orchestra’s inaugural concert

evil, drudgery, and disease Most recent New York Philharmonic performances : Overture to The among mankind. Or else Creatures of Prometheus, November 10, 2009, Neeme Järvi , conductor . Piano (Hesiod notes, alterna - Concerto No. 1, November 8, 2008, Christoph Eschenbach, conductor, Lang tively) Zeus chained Pro- Lang, soloist . Symphony No. 5, March 1, 2011, Paavo Järvi, conductor

metheus to a rock and Estimated durations : Overture to The Creatures of Prometheus, ca. 5 min - arranged for an eagle to utes . Piano Concerto No. 1, ca. 37 minutes. Symphony No. 5, ca. 31 minutes

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possibility of civilization, with all its incumbent composer Luigi Boccherini. He choreo - arts and sciences. Aeschylus, one might graphed the new Prometheus ballet to spot - argue, saw Prometheus as the fulcrum in light his wife and himself, portraying two human cultural history; if he was doomed to statues brought to life by the fallen titan. suffer, he did so to benefit the future ac - When the work was premiered the program complishments of mankind. His name, after described the title character in Aeschylean all, meant “forward thinker.” terms, as “a lofty soul, who found the people would have re - of his time in ignorance, refined them by lated. He had an out-size ego himself, and, means of science and the arts, and gave even as a fledgling composer, he assumed them manners, customs, and morals.” The ac - that the musical world would revolve around tion depicts how the two enlivened statues, his achievements — even if Vienna had so far “through the power of harmony, are made re - failed to take note of the obvious. His 18th- ceptive to all the passions of human exis - century output included such substantial tence.” Prometheus entrusts their education pieces as a symphony and two piano con - to the best of teachers — including Orpheus certos, not to mention a fair amount of cham - for music, Terpsichore for dance, and ber music, but a work for the stage would Melpomene for tragedy — depicting each probably be needed to propel him to a higher episode through the course of 16 choreo - plateau of fame. He turned that corner, along graphed numbers. The muse Melpomene with the century, in 1800, when he was com - slays Prometheus in this version, to punish missioned to compose a score for the new him for bringing mankind to life; but in the ballet Die Geschöpfe des Prometheus end he is re-deified when Apollo sees that (The Creatures of Prometheus) . humanity is not such a bad thing after all. Ballet rode the wave of popularity in turn- The new ballet scored a hit, running for 14 of-the-century Vienna. Among the city’s most performances and returning for 13 the next applauded dancers was Salvatore Viganò, a season. Beethoven provided a worthy score Neapolitan by birth and a nephew of the for what proved to be a light entertainment,

Beethoven on Stage

Ludwig van Beethoven endured an unsteady relationship with the stage. His career was littered with fervent expressions of desire, and even a few fragmentary attempts, to compose an opera worthy of his genius. In the end he managed to complete only one full-fledged opera; which, as if to underscore his unease with the genre, he actually “completed” twice under the title Leonore before it reached the final state in which it is usu - ally performed today, under the title Fidelio . But there was more to the stage than opera, and in other theatrical genres Beethoven scored better success. He wrote incidental music, ranging from a single number to complete multi-movement collections, for a half-dozen stage plays: Egmont , Coriolan, König Stephan , Die Ru - inen von Athen (and its adaptation as Die Weihe des Hauses ), Tarpeja , and Leonore Prohaska . In addition, he composed music for two ballets: the Ritterballet (WoO 1) in 1790 –91 for a production in his hometown of Bonn, and Die Geschöpfe des Prometheus (The Creatures of Beethoven in 1803 Prometheus) a decade later.

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though not without carping that Viganò had as deputy court organist when his teacher, failed to depict Prometheus’s suffering ade - Christian Gottlob Neefe, left the loft at the quately. The score offers momentary delights court church in Bonn unoccupied during a throughout, but its apogee is the high-spirited brief trip out of town. Nine months later Overture, which was published independently Neefe contributed a glowing report of his in 1804. Another highlight of Beethoven’s in - 11-year-old pupil to Cramer’s Magazine der cidental music is the finale, where he unveils Musik, noting that “he plays the piano very a theme to which he would return in three skillfully and with power, reads at sight very later works, most famously in the last move - well, and … would surely become a second ment of his Symphony No. 3, Eroica . if he were to The opening sonority of the Overture, an continue as he has begun.” Soon, Beethoven unstable seventh chord in the third inversion, was serving as keyboard player and violist in serves as a harmonic red herring. Apart from the court orchestra in Bonn, and in 1784 he demonstrating the sort of musical audacity began receiving a small salary for his efforts. to which Beethoven was disposed, it will re - In 1787 he took a trip to Vienna, where it mind many concertgoers of the very similar seems that he met Mozart and may have feint that opens Beethoven’s First Symphony, taken piano lessons from him. He also met which had been premiered almost precisely a Franz Joseph Haydn when that eminent fig - year earlier. These two works stand at the ure passed through Bonn, either on his way head of the path along which Beethoven to London in 1790 or on his way back home would travel as he developed his own to Austria two years later. In November of Promethean tendencies in orchestral music. 1792 Beethoven moved to Vienna, which would be his home for the rest of his life. Beethoven was an adept keyboard player Shortly after arriving in Vienna he signed from early on. In June 1782 he had filled in up for lessons with Haydn. The relationship

Angels and Muses

During his first decade in Vienna, Beethoven set about cultivating a circle of potential patrons. He had reason - able success in gaining access to influential aristocrats, even serving as piano teacher to some of them, and quite a few sponsored him in piano recitals at their impressive homes. These strands come together in his C-major Piano Concerto: it was writ - ten while Beethoven was living as a houseguest of Prince Carl Lich - nowsky, who would serve as one of the composer’s most important pa - trons until a rupture in their re lation - ship occurred in 1806. The work bears a dedication to Princess Bar - bara (“Babette”) Ode s calchi, another noble supporter who, at least in 1797, was also his piano pupil; and it was premiered at a concert in Vienna or - ganized by Haydn for the principal purpose of showing off some of his new London Symphonies. Prince Carl Lichnowsky (1756 –1814) and Princess Odeschalchi (? –1813)

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of the trumpets, horns, and timpani that By the Numbers Mozart was fond of using in C-major or - chestral pieces, including three of his four It is customary to point out that Beethoven’s Piano Concerto No. 1 was actually his Piano Concerto No. 2 piano concertos in that key. But on the whole and that his Piano Concerto No. 2 was his Piano Con - this work by Beethoven exhibits assertive certo No. 1. The so-called Piano Concerto No. 1 in C originality. The first movement displays the major appears to date from 1795 (it was premiered subtlety of a profound musical intelligence, on December 18 of that year), while the so-called Piano Concerto No. 2 in B-flat major occupied and connoisseurs can profitably investigate Beethoven sporadically through the decade of the its structural niceties, particularly in the mag - 1790s and may have been premiered as early as ical development section in the middle. The March 29, 1795. Both works were released to the pub - Largo is moody and contemplative, prefigur - lic in 1801, by different publishing houses in different cities, and both were probably revised shortly before ing such famous slow movements as that of they were engraved . But the C-major Concerto was the Pathétique Sonata, which would follow brought out in print first, with the result that it was within a few years. But it is in the finale that identified as the composer’s Piano Concerto No. 1. we glimpse the most unmistakable Beethoven traits, including a boisterous sense of humor, an appetite for mixing high turned out to be cordial but not particularly sophistication with less elevated references, fruitful, and when Haydn left Vienna for his and an abiding fondness for surprise. second English residency, in 1794, Beet- hoven seized the opportunity to sign on as a One is truly tempted to heed Robert Schu - pupil of Johann Georg Albrechtsberger, the mann’s advice and say nothing about Kapellmeister of St. Stephen’s Cathedral. A Beethoven’s Symphony No. 5 , which more thorough academician than Haydn everyone knows and of which seemingly was, Albrechtsberger put Beethoven through everything has already been said: his paces in contrapuntal writing at various levels of complexity, from simple note- Let us be silent about this work! No mat - against-note exercises through double ter how frequently heard, whether at home fugue, triple counterpoint, and strict canon. or in the concert hall, this symphony in - Thus did Beethoven’s native talent as a com - variably wields its power over people of poser become refined in a way that enabled every age like those great phenomena of him to master and, in his way, exceed the nature that fill us with fear and admiration musical lingua franca of his time and place, at all times, no matter how frequently we which, thanks to Haydn and Mozart, had al - may experience them. ready achieved the status of a Golden Age. Anyone writing a piano concerto in Vienna Probably no work in the orchestral canon has in the last decade of the 18th century did so been analyzed and discussed as exhaustively in the shadow of the late, lamented Mozart as has the first movement of this symphony. (Beethoven had several of the composer’s In this music we may imagine that we have concertos in his performance repertoire ). In - caught a glimpse of Beethoven’s state of deed, there is much that is Mozartean in mind during the period in which he wrote this Beethoven’s Piano Concerto No. 1 , par - piece, or at least one facet of the compli cated ticularly in sections that make prominent use prism of his being. He had tasted more than

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his fair share of disarray and anguish. He had A Chilly Reception begun losing his hearing as early as 180 2 — an adversity for anyone, but a catastrophe for The all-Beethoven marathon concert in 1808 at which the composer’s Fifth and Sixth Symphonies were pre - a musician — and his deafness had in - miered was a disaster. (Also on the program: his con - creased dramatically in the ensuing years. cert scena “Ah! perfido,” the Gloria and Sanctus from What’s more, in March 1808 a raging infec - the C-major Mass, the Piano Concerto No. 4, a piano tion threatened the loss of a finger, which fantasy improvised by Beethoven, and the Choral Fantasy.) Vienna was experiencing a particularly un - would have spelled further disaster for a pleasant cold spell at the time, and after expenses for composer who was greatly attached to the the hall and the musicians, there was not enough keyboard. He was surrounded by a nervous money for such niceties as heat. Sitting through the political climate; Vienna had been occupied four-hour program was more than most concert- goers could endure. The composer Johann Friedrich by Napoleon’s troops since November 1805, Reichardt, installed next to Beethoven’s patron Prince and the civic uneasiness would erupt into vi - Lobkowitz in the aristocrat’s box, regretfully reported: olence within months of the Fifth Sym - phony’s premiere. On the home front, his There we held out in the bitterest cold from half- past six until half-past ten, and experienced the fact brother Caspar Carl had gotten married on that one can easily have too much of a good — and May 25, 1806, leaving Beethoven a bit at even more of a strong — thing.

Listen for … the Opening

Beethoven’s Fifth Symphony opens with what must be the most famous four notes in history. In fact, three of these notes are identical: eighth notes on the pitch of G. Even if those three notes were heard alone, out of context, 99 out of 100 listeners — no, probably all 100 of them — would chime in to punctuate them with the half-note E-flat extended by a fermata, just as Beethoven did. Of course, music is made up of more than just notes. It is also composed of silences, which, in their way, are every bit as important as the sounds themselves. Beethoven’s Fifth actually opens with a silence, an eighth rest that is, in retrospect, as palpable as the eighth-note Gs that follow it. Anton Schindler, Beethoven’s sometime amanuensis, whose reminiscences, however welcome, were often highly embroidered, claimed that the composer once pointed to this motif in his score and proclaimed, “Thus Destiny knocks at the door!” Whether it happened that way or not, the comment has become so thoroughly entrenched in Beethovenian lore that most people choose to hear these notes in just that way.

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sea in his affairs without the sibling who had We are not necessarily wrong to imagine essentially served as his secretary. At the end that biogra phical overtones reside in of 1807 he found himself rejected in love, Beethoven’s Fifth Symphony, but we should - and not for the first time. Whatever confusion n’t get too carried away in seeking them, ei - these circumstances engendered in Beet - ther. When all is said and done, this is a hoven’s personal life could only have been unique work, just as all of Beethoven’s mas - exacerbated by his habit of constantly mov - terpieces are, a vehicle in which the composer ing from one lodging to another. In the explores and works out strictly aesthetic chal - course of 1808 alone — the year when the lenges that he has set for himself. Fifth Symphony was completed and pre - miered — he hung his hat at no fewer than Instrumentation: The Creatures of four addresses. Prometheus calls for two flutes, two oboes, This biographical turmoil did not, however, two clarinets, two bassoons, two horns, two represent the totality of Beethoven’s life at the trumpets, timpani, and strings . Piano Con - time, any more than the Fifth Symphony rep - certo No. 1 employs flute, two oboes, two resents the totality of his music. He frequently clarinets, two bassoons, two horns, two trum - escaped the hustle and bustle of Vienna to pets, timpani, and strings, in addition to the spend time in suburban parks and the sur - solo piano. Symphony No. 5 calls for two rounding countryside (that’s where we imag - flutes and piccolo, two oboes, two clarinets, ine the composer when we hear his Sixth two bassoons and contrabassoon, two Symphony, the Pastoral , which was roughly horns, two trumpets, three trombones, tim - coeval to the Fifth). For that matter, Beethoven pani, and strings . wrote his entire Fourth Symphony while he was engaged in his Fifth, and there is little Cadenzas: in the C-major Piano Concerto, in that score to suggest a troubled soul. by Beethoven.

The New York Philharmonic Connection

Beethoven’s Fifth Symphony has been a staple of the New York Philharmonic’s repertoire for more than 170 years, since it opened the program of the ensemble’s very first concert, on December 7, 1842. On that occasion, it was conducted by Ureli Corelli Hill, the Orchestra’s founder. The New York Philharmonic has since performed it nearly 500 times, not only in New York but on tour, from Beijing to Cologne.

— The Editors

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New York Philharmonic

2012 –2013 SEASON ALAN GILBERT, Music Director Case Scaglione, Assistant Conductor Joshua Weilerstein, Assistant Conductor Leonard Bernstein, Laureate Conductor, 1943–1990 , Music Director Emeritus

VIOLINS Soohyun Kwon CELLOS FLUTES Glenn Dicterow The Joan and Joel I. Picket Carter Brey Robert Langevin Concertmaster Chair Principal Principal The Charles E. Culpeper Duoming Ba The Fan Fox and Leslie R. The Lila Acheson Wallace Chair Samuels Chair Chair Sheryl Staples Marilyn Dubow Eileen Moon* Sandra Church* Principal Associate The Sue and Eugene The Paul and Diane Yoobin Son Concertmaster Mercy, Jr. Chair Guenther Chair Mindy Kaufman The Elizabeth G. Beinecke Martin Eshelman Eric Bartlett+ Chair The Shirley and Jon Judith Ginsberg PICCOLO Michelle Kim Brodsky Foundation Chair Hyunju Lee Assistant Concertmaster Maria Kitsopoulos Mindy Kaufman The William Petschek Joo Young Oh Sumire Kudo Family Chair Daniel Reed OBOES Enrico Di Cecco Mark Schmoockler Elizabeth Dyson Liang Wang Carol Webb Na Sun The Mr. and Mrs. James E. Principal Buckman Chair Yoko Takebe Vladimir Tsypin The Alice Tully Chair Alexei Yupanqui Gonzales Sherry Sylar* Quan Ge VIOLAS Qiang Tu Robert Botti The Gary W. Parr Chair Cynthia Phelps Ru-Pei Yeh The Lizabeth and Frank The Credit Suisse Chair Newman Chair Hae-Young Ham Principal The Mr. and Mrs. Timothy M. in honor of Paul Calello The Mr. and Mrs. Frederick Keisuke Ikuma++ George Chair P. Rose Chair Wei Yu Lisa GiHae Kim Rebecca Young* Susannah Chapman++ ENGLISH HORN Kuan Cheng Lu The Joan and Joel Smilow Alberto Parrini++ Keisuke Ikuma++ Newton Mansfield Chair The Edward and Priscilla Irene Breslaw** BASSES CLARINETS Pilcher Chair The Norma and Lloyd Fora Baltacigil Mark Nuccio Kerry McDermott Chazen Chair Principal Acting Principal Anna Rabinova Dorian Rence The Redfield D. Beckwith The Edna and W. Van Alan Charles Rex Chair Clark Chair Katherine Greene The Shirley Bacot Shamel David J. Grossman* Pascual Martínez Chair The Mr. and Mrs. William J. The Herbert M. Citrin Chair McDonough Chair Forteza* Fiona Simon Orin O’Brien Dawn Hannay Acting Associate Principal Sharon Yamada Vivek Kamath The Honey M. Kurtz Family Elizabeth Zeltser William Blossom Chair The William and Elfriede Peter Kenote The Ludmila S. and Carl B. Alucia Scalzo++ Ulrich Chair Kenneth Mirkin Hess Chair Amy Zoloto++ Yulia Ziskel Judith Nelson Randall Butler Robert Rinehart Blake Hinson Marc Ginsberg E-F LAT CLARINET The Mr. and Mrs. G. Chris Satoshi Okamoto Principal Andersen Chair Pascual Martínez Lisa Kim* Max Zeugner Forteza In Memory of Laura Mitchell Rex Surany++ (continued)

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund .

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BASS CLARINET BASS TROMBONE ORGAN Amy Zoloto++ Kent Tritle The Daria L. and William C. Foster BASSOONS Chair LIBRARIANS Judith LeClair George Curran++ Lawrence Tarlow Principal Principal The Pels Family Chair TUBA Sandra Pearson** Kim Laskowski* Alan Baer Sara Griffin** Roger Nye Principal Arlen Fast ORCHESTRA PERSONNEL TIMPANI MANAGER CONTRABASSOON Markus Rhoten Carl R. Schiebler Arlen Fast Principal The Carlos Moseley Chair STAGE REPRESENTATIVE HORNS Kyle Zerna ** Philip Myers Joseph Faretta Principal PERCUSSION The Ruth F. and Alan J. Broder Chair Christopher S. Lamb AUDIO DIRECTOR R. Allen Spanjer Principal Lawrence Rock Howard Wall The Constance R. Hoguet Friends of Richard Deane++ the Philharmonic Chair * Associate Principal Leelanee Sterrett++ Daniel Druckman* ** Assistant Principal The Mr. and Mrs. Ronald J. Ulrich Chair + On Leave TRUMPETS Kyle Zerna ++ Replacement/Extra Philip Smith Principal The Paula Levin Chair HARP The New York Philharmonic uses Matthew Muckey* Nancy Allen the revolving seating method for Ethan Bensdorf Principal section string players who are The Mr. and Mrs. William T. Knight III listed alpha betically in the roster. Thomas V. Smith Chair TROMBONES HONORARY MEMBERS OF THE KEYBOARD SOCIETY Joseph Alessi In Memory of Paul Jacobs Principal The Gurnee F. and Marjorie L. Hart HARPSICHORD Chair Stanley Drucker David Finlayson Paolo Bordignon The Donna and Benjamin M. Rosen Chair PIANO Eric Huebner the late Carlos Moseley

Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall.

Programs are supported, in part, by public funds from the Department of Cultural Affairs , New York State Council on the Arts , and the National Endowment for the Arts .

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The Artists

the New York Philharmonic, and the National Symphony, Cleveland , Philadelphia, and Boston symphony orchestras. Recent highlights include concerts with the Royal Concertgebouw Orchestra; the com - plete Brahms symphonies with the Los An - geles Philharmonic; a Philharmonia Orchestra residence at Vienna’s Musikverein , and a U .S. tour with the orchestra; guest appearances with The ; and dates with the Chicago Symphony Orchestra at Ravinia. Mr. Dohnányi frequently conducts produc - tions at the world’s great opera houses. He Christoph von Dohnányi ’s appointments has led the Vienna Philharmonic in many have included opera directorships in Frank - appearances, including the furt and Hamburg, and principal orchestral world premieres of Henze’s Die Bassariden conducting posts in Germany and Paris. He and Cerha ’s Baal. He also regularly appears enjoys a long-standing partnership with the with the Zurich Opera, and at the Théâtre du Philharmonia Orchestra in London, where he Châtelet in Paris. is honorary conductor for life. He served as Christoph von Dohnányi has made numer - principal conductor and artistic adviser there ous recordings for London/Decca with The for 10 years and for 20 years as music di - Cleveland Orchestra and Vienna Philhar - rector of The Cleveland Orchestra. monic. With the latter, he recorded Beet - His 2012 –13 season began at Tangle - hoven’s Fidelio, Berg’s Wozzeck and Lulu, wood, leading the opening concert of the Strauss’s Salome, and Wagner’s The Flying Boston Symphony Orchestra’s 75th anniver - Dutchman. With The Cleveland Orchestra, his sary summer season. He led concerts to discography includes concert performances open the seasons at Teatro alla Scala and and recordings of Wagner’s Die Walküre and for l’Orchestre de Paris. In the spring of 2013, Das Rheingold; the complete symphonies of he leads the Israel Philharmonic in Schoen - Beethoven, Brahms, and Schumann; sym - berg’s opera Moses und Aron and returns to phonies by Bruckner, Dvo rˇák, Mahler, Mozart, the Philharmonia for Beethoven’s Symphony Schubert, and Tchaikovsky; and works by No. 3, Eroica . In the U.S., Mr. Dohnányi leads Bartók, Berlioz, Ives, Varèse, and Webern.

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Genoa, Turin, Aix- en-Provence, and Vicenza, at the Brescia and Bergamo Festival, and at New York’s . He will undertake his 10th tour of Japan, and will also perform in Seoul, Korea. Mr. Lupu has made more than 20 record - ings for London/Decca, including the com - plete Beethoven concertos with the Israel Philharmonic and Zubin Mehta, the complete Mozart violin and piano sonatas with , and numerous solo recordings of works by Beethoven, Brahms, and Schubert. His recording of Schubert’s Sonatas, D. 960 Radu Lupu is acknowledged as a leading in - and 664, won a Grammy Award in 1995, and terpreter of the works of Beethoven, Brahms, a disc of Schumann’s Kinderszenen, “Kreis - Mozart, and Schubert. After winning the Van leriana” and “Humoresque” won an Edison Cliburn (1966) and Leeds Piano (1969) Award in 1995. Competitions, Mr. Lupu regularly performed Born in in 1945, Radu Lupu as a soloist and recitalist in the musical cap - began studying the piano at age six with Lia itals and major festivals of Europe and the Busuio seanu. He made his public debut with United States. His 2012 –13 season en - a complete program of his own music at age gagements include the London Symphony 12. In 1961 he won a scholarship to the Orchestra; Luxembourg Orchestra; Orches - Moscow State Conservatory, where he stud - tra of the Accademia Nazionale di Santa Ce - ied with Heinrich Neuhaus, and his son, cilia (Rome); Chicago, St . Louis, and Boston Stanislav Neuhaus and took first prize in the symphony orchestras; Orchestre de Paris; 1967 Enescu International Competition. In and the Mozart Orchestra of Bologna. He 1989 and again in 2006 he was awarded also continues a cycle of the Beethoven the Abbiati Prize by the Italian Critics’s As - piano concertos at the new concert hall in sociation. He is also the recipient of the Helsinki with the Finnish Chamber Orchestra 2006 Premio Internazionale Arturo Bene - and performs recitals in Paris, Geneva, detti Michelangeli award.

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New York Philharmonic

The New York Philharmonic , founded in 1842 (Music Director 1922–30), Wilhelm Furtwängler, by a group of local musicians led by American- (Music Director 1928–36), Igor born Ureli Corelli Hill, is by far the oldest sym - Stravinsky, , (Music phony orchestra in the United States, and one of Advisor 1947–49), (Music Di - the oldest in the world. It plays some 180 con - rector 1949–58), Klaus Tennstedt, certs a year, and on May 5, 2010, gave its (Music Advisor 1969–70), and Erich Leinsdorf. 15,000th concert — a milestone unmatched by Long a leader in American musical life, the Phil - any other symphony orchestra in the world. harmonic has become renowned around the Music Director Alan Gilbert began his tenure in globe, appearing in 431 cities in 63 countries on September 2009, the latest in a distinguished 5 continents. Under Alan Gilbert’s leadership, the line of 20th-century musical giants that has in - Orchestra made its Vietnam debut at the Hanoi cluded Lorin Maazel (2002–09); Kurt Masur Opera House in October 2009. In February 2008 (Music Director 1991–2002, Music Director the Philharmonic, conducted by then Music Di - Emeritus since 2002); Zubin Mehta (1978–91); rector Lorin Maazel, gave a historic performance Pierre Boulez (1971–77); and Leonard Bernstein in Pyongyang, D.P.R.K., earning the 2008 Com - (appointed Music Director in 1958; given the life - mon Ground Award for Cultural Diplomacy. In time title of Laureate Conductor in 1969). 2012 the Philharmonic became an International Since its inception the Orchestra has champi - Associate of London’s Barbican. oned the new music of its time, commissioning The Philharmonic has long been a media pioneer, and/or premiering many important works, such having begun radio broadcasts in 1922, and is cur - as Dvo rˇák’s Symphony No. 9, From the New rently represented by The New York Philharmonic World; Rachmaninoff’s Piano Concerto No. 3; This Week — syndicated nationally and internation - Gershwin’s Piano Concerto in F; and Copland’s ally 52 weeks per year, and available at nyphil.org. Connotations . The Philharmonic has also given It continues its television presence on Live From the U.S. premieres of such works as Beethoven’s Lincoln Center on PBS, and in 2003 made history Symphonies Nos. 8 and 9 and Brahms’s Sym - as the first symphony orchestra ever to perform live phony No. 4. This pioneering tradition has con - on the Grammy Awards. Since 1917 the Philhar - tinued to the present day, with works of major monic has made nearly 2,000 recordings, and in contemporary composers regularly scheduled 2004 became the first major American orchestra to each season, including John Adams’s Pulitzer offer downloadable concerts, recorded live. Since Prize– and Grammy Award–winning On the June 2009 more than 50 concerts have been re - Transmigration of Souls; Melinda Wagner’s Trom - leased as downloads, and the Philharmonic’s self- bone Concerto; Esa-Pekka Salonen’s Piano Con - produced recordings will continue with Alan Gilbert certo; Magnus Lindberg’s EXPO and Al largo ; and the New York Philharmonic: 2012–13 Season, ’s Swing Symphony (Symphony comprising 12 releases. Famous for its long-run - No. 3); Christopher Rouse’s Odna Zhizn; and, by ning Young People’s Concerts, the Philharmonic the end of the 2010–11 season, 11 works in has developed a wide range of educational pro - CONTACT!, the new-music series. grams, among them the School Partnership Pro - The roster of composers and conductors who gram that enriches music education in New York have led the Philharmonic includes such historic City, and Learning Overtures, which fosters inter - figures as Theodore Thomas, Antonín Dvo rˇák, national exchange among educators . (Music Director 1909–11), Otto Credit Suisse is the Global Sponsor of the New Klemperer, Richard Strauss, York Philharmonic.

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The Music Director

season finale: a theatrical reimagin ing of Stravinsky ballets, directed an d designed by Doug Fitch and featuring New York City Ballet Principal Dancer Sara Mearns. Last season’s highlights in cluded performances of three Mahler symphonies, with the Second, Resurrec - tion, on A Concert for New York; tours to Europe (including the Orchestra’s first International Associ ates residency at London’s Barbican Centre) and California; and Philharmonic 360, the Philharmonic’s and Park Avenue Armory’s acclaimed spa tial-music program featuring Stockhausen’s Gruppen, building on the success of previous seasons ’ productions of Ligeti’s Le Grand Macabre and Janá cˇek’s The Cunning Lit - tle Vixen , each acclaimed in 2010 and 2011, re - New York Philharmonic Music Director Alan spectively, as New York magazine’s number one Gilbert began his tenure in September 2009 . event of the year. has said: “Those who think In September 2011 Alan Gilbert became Di - classical music needs some shaking up routinely rector of Conducting and Orchestral Studies at challenge music directors at major orchestras to The Juilliard School, where he is the first to hold think outside the box. That is precisely what Alan the William Schuman Chair in Musical Studies. Gilbert did.” The first native New Yorker to hold the Conductor Laureate of the Royal Stockholm Phil - post, he has sought to make the Orchestra a point harmonic Orchestra and Principal Guest Con - of civic pride for the city and country. ductor of Hamburg’s NDR Symphony Orchestra, Mr. Gilbert combines works in fresh and inno - he regularly conducts leading ensembles such as vative ways ; has forged important artistic the Boston Symphony Orchestra, Amsterdam’s partnerships, introducing the positions of The Royal Concertgebouw Orchestra , Leipzig Marie-Josée Kravis Composer-in-Residence Gewandhaus Orchestra, and . and The Mary and James G. Wallach Artist-in- Alan Gilbert’s acclaimed 2008 Metropolitan Residence ; and introduced an annual multi- Opera debut , leading John Adams’s Doctor week festival and CONTACT!, the new-music Atomic , received a 2011 Grammy Award for series. In 2012–13, he conducts world pre - Best Opera Recording. Earlier releases garnered mieres; presides over a cycle of Brahms’s com - Grammy Award nominations and top honors plete symphonies and concertos; continues The from the and Gramophone Nielsen Project, the multiyear initiative to perform magazine. Mr. Gilbert studied at Harvard Univer - and record the Danish composer’s symphonies sity, The Curtis Institute of Music, and Juilliard and concertos; conducts Bach’s Mass in B minor and was assistant conductor of The Cleveland and an all-American program, including Ives’s Orchestra (1995–97). In May 2010 he received Fourth Symphony; and leads the Orchestra on an Honorary Doctor of Music degree from Cur - the EUROPE / SPRING 2013 tour. The season tis, and in December 2011 he received Colum - concludes with June Journey: Gilbert’s Playlist, bia University’s Ditson Conductor’s Award for his four programs showcasing themes and ideas commitment to performing American and con - that Alan Gilbert has intro duced, including the temporary music.

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Q & A: Randall Butler, Bass

Why did you decide to get advanced degrees in philosophy? I’ve always loved philosophy — its methods as well as its materi - als. At 14, I read Spinoza’s Ethics ; at 16, Kant’s Critique of Pure Reason. I got the degrees because it was fun. I’m thrilled to participate in and contribute to philosophy’s centuries-long dialogues. What would you be if not a musician? A writer. Though not a professional, I write philo - sophical essays, poetry, and fiction. I plan, however, to publish in philosophy. How do you prepare for a concert? Usually, I practice with my bass. But for especially difficult concerts, I often practice mentally, without my E

E bass — something I learned in studying medita - L

S tion with Thai, Burmese, and American masters. I R H

C How does your philosophical education The Facts: Born in Mansfield, Ohio. Studied influence your music-making? I see music bass privately with David Perlman, principal in its philosophical context. Take Robert Schu - bass of The Cleveland Orchestra. Attended mann, for instance; philosophers of his time the Tanglewood Music Festival; M.A., M.Phil., thought people were alienated from nature, so - and Ph.D. in Philosophy, Columbia University. ciety, and themselves. They thought art could At the Philharmonic: Hired by Pierre remedy this. Schumann’s music, surely, offers Boulez in 1976. unity with nature, society, and one’s inmost self. When did you begin studying an instru - What are you listening to now? John Tav - ment? I began the violin at 9 and the bass at erner’s Missa Gloria Tibi Trinitas performed by 12. By age 14, I was spending most of my . time practicing the bass or studying mathe - Are there musicians in your family? Only matics. At 18, I chose music. my mother, who played some piano and trum - Who have been your most important mu - pet in high school, and sang for years in a sical influences? My Philharmonic colleagues. church choir. My wife, Deborah Martinsen, is Their knowledge continually informs me; their an associate dean at Columbia University. My devotion inspires me. Likewise, our various son, Rory, 22, attends Columbia College and is Music Directors, particularly Lorin Maazel . studying math and physics. His hobby is writ - ing and recording hip-hop tracks. Most memorable moments with the Orchestra: Maazel’s first appearance with us What do you like to do outside of work? in 23 years, in November 2000. In both his Reading, particularly the latest Anglo-Ameri can Ring Without Words and Bruck ner’s Eighth philosophy, contemporary poetry, and Ameri - Symphony, he conveyed an effortless and can fiction. I also enjoy museums, films, playing flawless grasp of the music’s internal logic, chess with my son, physical exercise, and its drama, its passion. practicing Buddhist meditation.

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Q & A: Mindy Kaufman, Flute and Piccolo

the Philharmonic, I saw A Chorus Line. There’s a song called “I Hope I Get It” with lyrics like “I really need this job” and “God, I hope I get it.” It really captured the pain and torment of taking an audition. What’s the most challenging part of your job ? The stress I put on myself to sound perfect. What are you most looking forward to this season? I really like playing CONTACT! concerts. It’s interesting to hear music and sound in a different way. We played a piece that had a lot of quarter tones, and while prac -

R ticing I thought, “This isn’t going to be very E N I good .” I was surprised by the beautiful sounds E T S

and colors that were so different from the dia - N A

I tonic scale we’re used to. It was just pure T S I sound. R H C What are some of the films you’ve The Facts: Born in White Plains, New York. recorded for? The Untouchables, Julie & Bachelor of music from Eastman School of Julia, Extremely Loud and Incredibly Close, Music. Prior to the Philharmonic: Rochester Moonrise Kingdom, Hitch, Aladdin, The Alamo, Philharmonic Orchestra. At the Philhar - Cape Fear, Grey’s Anatomy, Queen, Shaft, monic : Hired in 1979 for piccolo and flute. Hudsucker Proxy, and many more. Solo debut with the Orchestra in 1981 What would you be if not a musician? performing Vivaldi’s Piccolo Concerto in Something involving mathematics: maybe busi - A minor, with Zubin Mehta conducting. Teaches privately. ness, finance , or science What was the first piece of music you What book(s) are you currently reading? fell in love with ? Growing up, we had an LP I just finished reading John Adams (the Presi - of Stravinsky conducting three of his ballets: dent, not the composer) by David McCullough. Petrushka, Firebird, and The Rite of Spring . I Adams and Mozart were contemporaries, and used to play it over and over. I loved the multi- during his Paris years, Adams heard The Mar - tonalities and uneven meters. I still have the riage of Figaro . Now I’m almost finished with recording and still own a turntable. Leon Uris’s Trinity. What’s the most rewarding part of your What do you like to do outside of work ? job? Playing great music with the New York I love sports, keeping fit, movies, plays, knitting, Philharmonic. The year before I auditioned for and sewing .

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