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Home , Joan Hammond, Kent Tritle, Lila Acheson Wallace, Nathalie Stutzmann, Peter Schreier, Steve Davislim

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HANDEL’S MESSIAH Presented by the Robert Hekemian Family Foundation

Tuesday, December 13, 2011, 7:30 p.m. 15,2 81st Concert Open rehearsal at 9:45 a.m.

Wednesday, December 14, 2011, 7:30 p.m. 15,2 82nd Concert

Thursday , December 15 , 2011, 7:3 0 p.m. 15,2 83rd Concert

Friday, December 16 , 2011, 2:00 p.m. 15,284 th Concert

Saturday, December 17 , 2011, 7:3 0 p.m. 15,286 th Concert

Peter Schreier , Conductor ( Philharmonic debut) Ute Selbig , Soprano Nathalie Stutzmann, Contralto ( debut) , Global Sponsor (New York Philharmonic debut) Peter Rose, Bass , Music Director, The Yoko Nagae Westminster Symphonic Choir holds Ceschina Chair . Joe Miller, Director Guest artist appearances are made possible through the Hedwig van This concert will last approximately two and one-half hours, Ameringen Guest Artists which includes one intermission . Endowment Fund .

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

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New York Philharmonic

Peter Schreier, Conductor (New York Philharmonic conducting debut) Ute Selbig, Soprano Nathalie Stutzmann, Contralto (New York Philharmonic debut) Steve Davislim, Tenor (New York Philharmonic debut) Peter Rose, Bass Westminster Symphonic Choir Joe Miller, Director

HANDEL Messiah (1741) (1685–1759) Part I Sinfonia (Overture) Recitative (Tenor): Comfort ye, comfort ye my people Air (Tenor): Ev’ry valley shall be exalted Chorus: And the glory of the Lord Recitative (Bass): Thus saith the Lord of Hosts Air (Contralto): But who may abide the day of His coming? Chorus: And He shall purify Recitative (Contralto): Behold, a virgin shall conceive Air and Chorus (Contralto): O thou that tellest Recitative (Bass): For, behold, darkness shall cover the earth Air (Bass): The people that walked in darkness Chorus: For unto us a Child is born Pifa (“Pastoral Symphony”) Recitative (Soprano): There were shepherds abiding in the field Recitative (Soprano): And lo! the angel of the Lord came upon them Recitative (Soprano): And the angel said unto them Recitative (Soprano): And suddenly there was with the angel Chorus: Glory to God in the highest Air (Soprano): Rejoice greatly, O daughter of Zion Recitative (Contralto): Then shall the eyes of the blind Duet (Soprano and Contralto): He shall feed His flock like a shepherd Chorus: His yoke is easy, His burthen is light

Intermission

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Part II Chorus: Behold the Lamb of God Air (Contralto): He was despised Chorus: Surely, He hath borne our griefs Chorus: And with His stripes we are healed Chorus: All we like sheep have gone astray Recitative (Tenor): All they that see Him laugh Him to scorn Chorus: He trusted in God Recitative (Tenor): Thy rebuke hath broken His heart Air (Tenor): Behold, and see if there be any sorrow Recitative (Tenor): He was cut off out of the land of the living Air (Tenor): But Thou didst not leave His soul in hell Chorus: Lift up your heads Recitative (Tenor): Unto which of the angels said He Chorus: Let all the angels of God worship him Air (Contralto): Thou art gone up on high Chorus: The Lord gave the word Air (Soprano): How beautiful are the feet of them Air (Bass): Why do the nations so furiously rage together? Chorus: Let us break their bonds asunder Recitative (Tenor): He that dwelleth in heaven Air (Tenor): Thou shalt break them with a rod Chorus: Hallelujah!

Part III Air (Soprano): I know that my Redeemer liveth Chorus: Since by man came death Recitative (Bass): Behold, I tell you a mystery Air (Bass): The trumpet shall sound Chorus: Worthy is the Lamb that was slain EILEEN MOON , Cello ORIN O’BRIEN , Bass KIM LASKOWSKI , Bassoon PHILIP SMITH , Trumpet KENT TRITLE , Portative Organ

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Notes on the Program By James M. Keller, Program Annotator The Leni and Peter May Chair Messiah the vicissitudes of his life on earth; and the third to the events surrounding the Resur - rection and the promise of redemption. Messiah was unveiled in an open re - When George Frideric Handel received an hearsal on April 9, 1742, and at two official invitation in 1741 to produce a series of con - performances, on April 13 and June 3. The certs in Dublin, the idea of an escape from premiere was given as a benefit, organized the failing fortunes of his operatic ventures in with the assistance of the Charitable Musical appealed to him. He traveled to Society, “For Relief of the Prisoners in the sev - Dublin in mid-November 1741 and remained eral Gaols, and for the Support of Mercer’s until August 13, 1742. Without a doubt, the Hospital in St. Stephen’s-street, and of the highpoint of Handel’s Dublin season was the Charitable Infirmary on the Inns Quay” (as The premiere of his new oratorio, Messiah . He Dublin Journal announced it, a couple of had composed it while still in London during weeks in advance). After the open rehearsal, the summer of 1741, over the course of The Dublin News Letter pronounced that the about three weeks. His librettist, Charles new oratorio “in the opinion of the best Jennens, had been pressed into service to judges, far surpasses anything of that Nature, assemble a text for the new work . This he which has been performed in this or any other apparently did in the early summer of 1741, Kingdom.” The Journal concurred that it “was drawing creatively on Biblical passages from allowed by the greatest Judges to be the finest the books of Isaiah, Haggai, Malachi, Mat- In Short thew, Luke, Zechariah, Born: John, Job, Psalms, Lam- February 23, 1685, in Halle,

entations, Hebrews, Died: April 14, 1759, in London, Romans, First Corinthi - ans, and Revelation to Work composed : 1741, in London cre ate a loose story World premiere: April 13, 1742, in a matinee at the Great Music Hall in Fishamble comprising historical Street, Dublin, Ireland (though an open rehearsal had been held four days earlier) narrative and reflec - tions about the life of New York Philharmonic premiere: December 28, 1878, Walter Damrosch Jesus. He organized conducting the New York Symphony (which would merge with the New York Philharmonic in 1928 to become today's Philharmonic), with Minnie Hauk, Anna the text into three dis - Drasdil, George Simpson, and Myron William Whitney, soloists crete sections: the first relating to the prophecy Most recent New York Philharmonic performance: December 14–18, 2010, of Christ’s coming and Bernard Labadie, conductor, Karina Gauvin, Marie-Nicole Lemieux, Tilman Lichdi, and Andrew Foster-Williams, soloists, with the New York Choral Artists the circumstances of his birth; the second to Estimated duration: ca. 120 minutes

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Composition of Musick that ever was heard, So Many Messiahs

and the sacred Words as properly adapted for Following its Dublin premiere in 1742 and its London the Occasion.” It continued with a bit of advice premiere a year later, Messiah was revived in London for persons lucky enough to hold tickets for in 1745, in 1749, and again in 1750. By the 1750s Mes - the official premiere: siah was becoming widely performed, specifically as an Easter tradition. Handel revised his score for many of the early productions, largely to fulfill the practical Many Ladies and Gentlemen who are well- demands of differing soloists and instrumental en - wishers to the Noble and Grand Charity for sembles, although partly (many argue) to reflect his which this Oratorio was composed, request changing conception of the piece. Surely no work in the standard repertoire offers so vast a buffet of per - it as a Favour, that the Ladies who honour forming possibilities to choose from. From one ver - this Performance with their Presence sion to the next, we find variations involving which would be pleased to come without Hoops numbers are sung and in what order, which solo as it will greatly encrease the Charity, by pieces are assigned to which vocal soloist, and which versions of competing individual movements should making Room for more Company. be used. There are no easy answers, although per - formers should not discount that practical consider - To which it added in a follow-up article: “The ations may be as important today as they were in Gentlemen are desired to come without their Handel’s time. Some modern performances adhere to the documented practices of a specific Messiah Swords, to increase audience accommoda - performance that Handel oversaw. It is more com - tion yet further.” mon, however, to encounter modern, practical Messiah was an immense success, and its solutions to the conundrum of Messiah editions, pro - ductions that hew to a basic and quite defensible reputation spread quickly to London, which Messiah text while typically shedding a few of the had to wait nearly a year to hear it. That event less popular items from the score. That is the course finally took place on March 23, 1743, at followed in this performance.

Hail, “Hallelujah”!

In 1784 a grand commemoration of Handel was held in London. The music historian Charles Burney (1726 –1814) published a detailed description of the events the following year under the title An Account of the Musical Performances in Westminster-Abbey and the Pantheon. Two of the five festival concerts were given over to Messiah, and Burney waxed ecstatic about the Hallelujah chorus:

The opening is clear, cheerful, and bold. And the words, “For the Lord God omnipotent reigneth” (Rev. XIX. 6.), set to a fragment of canto fermo, which all the parts sing, as such, in unisons and octaves, has an effect truly ecclesiastical. It is afterwards made the subject of fugue and groundwork for the Allelujah. Then, as a short episode in plain counterpoint, we have “The kingdom of this world” (Ib. XI. 15.) — which being begun piano, was solemn and affecting. But the last and principal subject proposed … “And he shall reign for ever and ever,” is the most pleasing and fertile that has ever been invented since the art of fugue was first cultivated. … And, finally, the words “King of Kings, and Lord of Lords (Ib. XIX. 16.) … is a most happy and marvelous concatination of harmony, melody, and great effects. A depiction of Westminster Abbey in the 18th century

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Covent Garden. A measure of controversy (and indeed I believe few or none go to an crept into the proceedings, however, perhaps Oratorio out of Devotion ), what a Propha - fueled the slightest bit by Jennens, who in the nation of Go d ’s Name and Word is this, to meantime had experienced a falling-out with make so light Use of them? Handel. The Universal Spectator ran an arti - cle, coinciding with the London premiere, em - Many a London wag lent his voice to the phatically calling into question the propriety of ensuing fray, either in poetry or prose; but it performing such a sacred work in any setting all added up to a tempest in a teapot and but a church. “An Oratorio ,” the article declared, audiences seem to have enjoyed Handel’s “New Sacred Oratorio” all the more for the either is an Act of Religion, or it is not; if it altercation it provoked. is, I ask if the Playhouse is a fit Temple to perform it in, or a Company of Players fit Instrumentation: two oboes, two trumpets, Ministers of God’s Word, for in that Case timpani, strings, and continuo (comprising such they are made … In the other Case, bassoon, cello, bass, and portative organ), in if it is not perform’d as an Act of Religion, addition to four vocal soloists (soprano, con - but for Diversion and Amusement only tralto, tenor, and bass) and mixed choir.

In a Jiffy

That so great — and large — a masterpiece as Messiah should have been created in so brief a span as three weeks seems all but incredible to most of us, but that it is the case is clear from the dates Handel entered on his score as work progressed. With the libretto in hand, Handel leapt into action on August 22, 1741. He finished the draft of Part One on August 28, of Part Two on September 6, and of Part Three on September 12 — and then he took another two days to polish details on the whole score. This prodigious pace was not exceptional for Handel, and it is no more than romantic fantasy to view it (as it once was routinely) as a fever of divine inspiration peculiar to the composition of Messiah . In fact, he allowed himself about a week’s rest after finishing Messiah before embarking on his next oratorio, Samson, which he wrote in the relatively leisurely span of five weeks.

Above: Portrait of Handel from the frontispiece of a 1767 edition of the score of Messiah Left: The opening of “I know that my Redeemer liveth” (from Part Three) from Handel’s autograph score of Messiah

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Handel’s Messiah Libretto assembled by Charles Jennens from passages in The Bible Part I Sinfonia (Overture) Recitative (Tenor) Comfort ye, comfort ye my people, saith your God. Isaiah XL: 1 Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d. Isaiah XL: 2 The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God. Isaiah XL: 3 Air (Tenor) Ev’ry valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight, and the rough places plain. Isaiah XL: 4 Chorus And the glory of the Lord shall be revealed. And all flesh shall see it together, for the mouth of the Lord hath spoken it. Isaiah XL: 5 Recitative (Bass) Thus saith the Lord of Hosts; Yet once, a little while, and I will shake the heav’ns and the earth, the sea and the dry land, Haggai II: 6 and I will shake all nations; and the desire of all nations shall come. Haggai II: 7 The Lord, whom ye seek, shall suddenly come to His temple; ev’n the messenger of the Covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts. Malachi III: 1 Air (Contralto) But who may abide the day of His coming? and who shall stand when He appeareth? For He is like a refiner’s fire. Malachi III: 2 Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. Malachi III: 3 Recitative (Contralto) Behold, a virgin shall conceive, and bear a Son, and shall call his name Emmanuel, “God with us.” Isaiah VII: 14 Air and Chorus (Contralto) O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Isaiah XL: 9

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Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. Isaiah LX: 1 Recitative (Bass) For, behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. Isaiah LX: 2 And the Gentiles shall come to thy light, and kings to the brightness of thy rising. Isaiah LX: 3 Air (Bass) The people that walked in darkness have seen a great light. And they that dwell in the land of the shadow of death, upon them hath the light shined. Isaiah IX: 2 Chorus For unto us a Child is born, unto us a Son is given: and the government shall be upon His shoulder: and His name shall be called Wonderful, Counsellor, The Mighty God, The Ever - lasting Father, The Prince of Peace! Isaiah IX: 6 Pifa (“Pastoral Symphony”) Recitative (Soprano) There were shepherds abiding in the field, keeping watch over their flocks by night. Luke II: 8 Recitative (Soprano) And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. Luke II: 9 Recitative (Soprano) And the angel said unto them, Fear not; for, behold, I bring you good tidings of great joy, which shall be to all people. Luke II: 10 For unto you is born this day in the city of David a Savior, which is Christ the Lord. Luke II: 11 Recitative (Soprano) And suddenly there was with the angel a multitude of the heavenly host , praising God, and saying : Luke II: 13 Chorus Glory to God in the highest, and peace on earth, good will towards men. Luke II: 14 Air (Soprano) Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee. He is the righteous Savior, Zechariah IX: 9 and He shall speak peace unto the heathen. Zechariah IX: 10 Recitative (Contralto) Then shall the eyes of the blind be open’d, and the ears of the deaf unstopped. Isaiah XXXV: 5 Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. Isaiah XXXV: 6

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Duet (Soprano and Contralto) He shall feed His flock like a shepherd: and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Isaiah XL: 11 Come unto Him, all ye that labor and are heavy laden, and He will give you rest. Matthew XI: 28 Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Matthew XI: 29 Chorus His yoke is easy, His burthen is light. Matthew XI: 30 Part II Chorus Behold the Lamb of God, that taketh away the sin of the world. John I: 29 Air (Contralto) He was despised and rejected of men, a man of sorrows, and acquainted with grief. Isaiah LIII: 3 He gave His back to the smiters, and His cheeks to them that plucked off the hair; He hid not His face from shame and spitting. Isaiah L: 6 Chorus Surely, He hath borne our griefs and carried our sorrows; Isaiah LIII: 4 He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. Isaiah LIII: 5 Chorus And with His stripes we are healed. Isaiah LIII: 5 Chorus All we like sheep have gone astray, we have turned ev’ry one to his own way; and the Lord hath laid on Him the iniquity of us all. Isaiah LIII: 6 Recitative (Tenor) All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: Psalm XXII: 7 Chorus He trusted in God that He would deliver Him: let Him deliver Him, if He delight in Him. Psalm XXII: 8 Recitative (Tenor) Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. Psalm LXIX: 20

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Air (Tenor) Behold, and see if there be any sorrow like unto His sorrow! Lamentations I: 12 Recitative (Tenor) He was cut off out of the land of the living; for the transgression of Thy people was He stricken. Isaiah LIII: 8 Air (Tenor) But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. Psalm XVI: 10 Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Psalm XXIV: 7 Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle. Psalm XXIV: 8 Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in! Psalm XXIV: 9 Who is the King of Glory? The Lord of Hosts, He is the King of Glory. Psalm XXIV: 10 Recitative (Tenor) Unto which of the angels said He at any time: Thou art My Son, this day have I begotten Thee? Hebrews 1: 5 Chorus Let all the angels of God worship Him. Hebrews 1: 6 Air (Contralto) Thou art gone up on high; Thou hast led captivity captive, and received gifts for men; yea, even from Thine enemies, that the Lord God might dwell among them. Psalms 68: 18 Chorus The Lord gave the word; great was the company of the preachers. Psalms 68: 11 Air (Soprano) How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things! Romans X: 15 Air (Bass) Why do the nations so furiously rage together: why do the people imagine a vain thing? Psalm II: 1 The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed. Psalm II: 2 Chorus Let us break their bonds asunder, and cast away their yokes from us. Psalm II: 3

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Recitative (Tenor) He that dwelleth in heaven shall laugh them to scorn, the Lord shall have them in derision. Psalm II: 4 Air (Tenor) Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. Psalm II: 9 Chorus Hallelujah! For the Lord God omnipotent reigneth. Revelation XIX: 6 The Kingdom of this world is become the Kingdom of our Lord and of His Christ; and He shall reign for ever and ever. Revelation XI: 15 King of Kings, and Lord of Lords. Revelation XIX: 16 Part III Air (Soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. Job XIX: 25 And though worms destroy this body, yet in my flesh shall I see God. Job XIX: 26 For now is Christ risen from the dead, the first fruits of them that sleep. I Corinthians XV: 20 Chorus Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. I Corinthians 15: 21–22 Recitative (Bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be chang’d, I Corinthians XV: 51 in a moment, in the twinkling of an eye, at the last trumpet. I Corinthians XV: 52 Air (Bass) The trumpet shall sound, and the dead shall be rais’d incorruptible, and we shall be chang’d. I Corinthians XV: 52 Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Revelation V: 12 Blessing and honour, glory and pow’r be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Revelation V: 13 Amen.

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New York Philharmonic

2011 –2012 SEASON ALAN GILBERT, Music Director, The Yoko Nagae Ceschina Chair Case Scaglione, Assistant Conductor Joshua Weilerstein, Assistant Conductor , Laureate Conductor, 1943–1990 , Music Director Emeritus

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

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HORNS PERCUSSION STAGE REPRESENTATIVE Philip Myers Christopher S. Lamb Louis J. Patalano Principal Principal The Ruth F. and Alan J. Broder Chair The Constance R. Hoguet Friends of AUDIO DIRECTOR Stewart Rose++* the Philharmonic Chair Lawrence Rock Acting Associate Principal Daniel Druckman* Cara Kizer Aneff The Mr. and Mrs. Ronald J. Ulrich * Associate Principal R. Allen Spanjer Chair ** Assistant Principal Howard Wall Kyle Zerna + On Leave David Smith++ HARP ++ Replacement/Extra TRUMPETS Nancy Allen Principal The New York Philharmonic uses Philip Smith The Mr. and Mrs. William T. Knight III Principal the revolving seating method for Chair The Paula Levin Chair section string players who are Matthew Muckey* listed alphabetically in the roster. KEYBOARD Ethan Bensdorf In Memory of Paul Jacobs Thomas V. Smith HONORARY MEMBERS OF THE HARPSICHORD SOCIETY TROMBONES Lionel Party Emanuel Ax Joseph Alessi Principal IANO The Gurnee F. and Marjorie L. Hart P Stanley Drucker Chair The Karen and Richard S. LeFrak Lorin Maazel Chair Daniele Morandini++* Zubin Mehta Acting Associate Principal Harriet Wingreen Carlos Moseley David Finlayson Jonathan Feldman The Donna and Benjamin M. Rosen ORGAN Chair Instruments made possible, in part, by Kent Tritle The Richard S. and Karen BASS TROMBONE James Markey LIBRARIANS LeFrak Endowment Fund . The Daria L. and William C. Foster Lawrence Tarlow Programs are supported, in part, by Chair Principal Sandra Pearson** public funds from the New York TUBA Sara Griffin** City Department of Cultural Alan Baer Affairs , New York State Council Principal ORCHESTRA PERSONNEL on the Arts , and the National MANAGER Endowment for the Arts . TIMPANI Carl R. Schiebler Markus Rhoten Steinway Principal is the Official Piano of The Carlos Moseley Chair the New York Philharmonic and Kyle Zerna ** Avery Fisher Hall.

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The Artists

Teatro alla Scala, and Buenos Aires’s Teatro Colón. Also a renowned interpreter of , Mr. Schreier has appeared in Lieder recitals in the world’s most prestigious concert halls, in - cluding New York’s . Before retiring from singing in 2005, Peter Schreier maintained a dual career as singer and conductor for more than 25 years, per - forming Bach’s Passions and Christmas Ora - torio, both conducting and singing the role of The in Cleveland, Los Angeles, Vi - enna, Berlin, Hamburg, and Cologne. He has conducted many of the world’s leading or - Peter Schreier , born in , Germany, is chestras, including the Berlin Philharmonic, Vi - a leading conductor of the music of Mozart, J.S. enna Symphony, Chicago Symphony, and Los Bach, and their respective contemporaries. After Angeles Philharmonic. Mr. Schreier has been making his operatic debut in 1959 as a tenor, given the honorary title of Kammersänger by he joined the Staatsoper, where his Austria, the former West Germany, and the first major success was as Belmonte in Mozart’s State of Bavaria, in addition to being named The Abduction from the Seraglio . This was fol - an honorary member of the Musical Society lowed by successful debuts with the Deutsche of Vienna, the Royal Swedish Arts Academy, Staatsoper Berlin, Vienna Staatsoper, Bayreuth and of the musical academies of Munich and Festival, and at the in 1970, Berlin. He was recipient of the Ernst von where he continued to appear annually for the Siemens Prize in Munich, and in 2011 the In - next 25 years. Mozart’s operatic roles formed a ternational Mendelssohn Prize and the Hugo core part of his stage work, which included Wolf Medal of the Internationale Hugo-Wolf- major debuts at The Metropolitan , Milan’s Akademie, Stuttgart.

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Donna Elvira in , Ilia in Idome - neo, and both the Countess and Susanna in The Marriage of Figaro. She has been noted for her performances of Zdenka in ’s Arabella at the Grand Théâtre de Genève and as Ännchen in Weber’s Der Freischütz at the Seattle Opera , as well as for her debut as Eva in Wagner’s Die Meis - tersinger von Nürnberg in Dresden. Ms. Sel - big’s awards and distinctions include the Christel-Goltz Preis, for her outstanding con - tributions to the Dresden Staatsoper, and first prize in Leipzig’s International Johann Se - Soloist at the Dresden Staatsoper, soprano bastian Bach Competition. She has been Ute Selbig ’s American performances have given the title Kammersängerin, the highest included Handel’s Messiah and J.S. Bach’s honor a singer can receive in Germany and with the New York Phil - in Austria. harmonic, a Live From Lincoln Center tele - cast with the Mostly Mozart Festival Orchestra, as well as appearances with the symphony orchestras of Chicago, St. Louis, Milwaukee, Charlotte, Seattle, and Indi - anapolis, and the Los Angeles Chamber Or - chestra. Her concert repertoire includes the great Bach masses, cantatas, oratorios, and Passions ; Mendelssohn’s Elijah and Lobge - sang Symphony; Beethoven’s Mass in C major and Ninth Symphony; the Brahms, Dvo rˇák, Fauré, and Mozart Requiems; Haydn’s The Creation; and Mahler’s Sym - phony No. 4 . She regularly appears with the Nathalie Stutzmann studied piano, bas - Leipzig Gewandhaus, Dresden Staatskapelle, soon, chamber music, and conducting from and Turin Radio orchestras; the Berlin Phil - an early age. Renowned for her interpreta - harmonic, Orchestre Philharmonique de tions of German songs and French melodies, Radio France, Orchestre National de France, she gives recitals worldwide with Swedish pi - and Orchestre de la Suisse Romande; and at anist Inger Södergren. Her first recording for the Salzburg, Lucerne, and Ludwigsburg fes - Deutsche Grammophon, Prima Donna, was tivals. She collaborates with conductors such released in April 2011, and a second release as Sir , Fabio Luisi, Edoardo dedicated to Bach is scheduled for October Müller, Peter Schreier, Peter Schneider, Ger - 2012. Ms. Stutzmann made her debut as a ard Schwarz, and Franz Welser-Möst. conductor in November 2008 at the invita - Ms. Selbig’s Mozart roles include Fiordiligi tion of , and has led several con - in Così fan tutte, Pamina in , certs in Japan with the Mito Chamber

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Orchestra. In 2009 she founded 55, voice at the Victorian College of the Arts with her own chamber orchestra that plays both Dame . Twice awarded the Baroque and modern instruments. For the oc - Queen Elizabeth II Silver Jubilee Award and casion of the 100th anniversary of the death Australia Council scholarship, he began his of in 2011 Ms. Stutzmann professional career as an ensemble member performed nu merous concerts focused on of the Zurich Opera. A turning point in his ca - his repertoire. She was the guest of Sir reer was his interpretation of Mozart’s Idome - as soloist in the Third Sym - neo at the opening of Milan’s Teatro alla phony and Eighth Symphony with the Berlin Scala in 2005, conducted by Daniel Harding. Philharmonic, performing at both London’s He returned to in 2007 to sing the Royal Festival Hall and Amsterdam’s Con - title role in the world premiere of Fabio Vac - certgebouw. She also sang Mahler in Munich chi’s Teneke, under Roberto Abbado, and (with the Bavarian Radio Symphony Orches - Tamino in Mozart’s The Magic Flute in 2011. tra and ), Washington, D.C. Mr. Davislim has performed with leading (National Symphony Orchestra and Chris- ensembles, including The Cleveland, San toph Eschenbach), London (London Philhar - Francisco, and Chicago symphony orches - monic Orchestra and Kazushi Ono), and São tras; Royal Danish Orchestra; the symphony Paulo (Orquestra Sinfônica do Estado de São orchestras of London, Zurich, Vienna, Turin, Paulo and Giancarlo Guerrero). Recently she Madrid, Dresden, Paris, Rome (Santa Cecilia), has appeared at Paris’s Salle Pleyel, Boston’s and Brussels; the ; and Symphony Hall, and Madrid’s Auditorio Na - at the Lincoln Center, Mostly Mozart, cional de Music. Nathalie Stutzmann is a Salzburg, and Lucerne festivals. Recently he Chevalier des Arts et des Lettres. She teaches performed Haydn’s Creation with William at the Haute école de Musique de Genève and Christie on tour, Tippett’s A Child of Our Time gives master classes throughout the world. with Sir Colin Davis at London’s Barbican Centre, J.S. Bach’s St. Matthew Passion in Munich and Boston with Bernard Haitink, and Handel’s Messiah in Washington, D.C. Mr. Davislim’s recent engagements include Beethoven’s Ninth Symphony with the Mel - bourne Symphony, London Symphony, and Radio France orchestras; Chausson’s Poème de l’amour et de la mer with the Queensland Symphony; Schubert’s Lazarus with the Deutsche Symphony Berlin; Vicente Martín y Soler’s L’Arbore di Diana at the Montpellier Festival; and Dvo rˇák’s Stabat Mater with the National Symphony Orchestra. He made his Tenor Steve Davislim began his musical Dresden debut as Titus in Mozart’s La training as a horn player before studying clemenza di Tito at the .

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solemnis with the New York Philharmonic and Kurt Masur. Peter Rose can be heard on recordings with the Berlin Philharmonic and Vi - enna Philharmonic, as well as in a variety of op - eras on the Chandos label. Upcoming engagements include the roles of Don Alfonso in Mozart’s Così fan tutte for Dijon Opéra; King Marke in Wagner’s , Pogner in Wagner’s Die Meistersinger von Nürnberg, Hunding in Wagner’s Die Walküre, and Mephistopheles in Gounod’s Faust in Ham - burg; Osmin in Mozart’s The Abduction from the Seraglio, Baron Ochs in R. Strauss’s Der Bass Peter Rose made his operatic debut in Rosenkavalier , and Daland in The Flying Dutch - 1986 with Glyndebourne Festival Opera in man for the Bavarian Staatsoper; Baron Ochs Hong Kong as the Commendatore in Mozart’s at the Deutsche Oper Berlin, Dresden Sem - Don Giovanni. He has performed at The Met - peroper, and Vienna Staastoper; and La Roche ropolitan Opera, , in R. Strauss’s Capriccio for the Paris Opéra. Deutsche Oper, Deutsche Staatsoper Berlin, Komische Oper Berlin, Vienna Staatsoper, and The Westminster Symphonic Choir, Royal Opera House, Covent Garden. He has directed by Joe Miller and comprising stu - also sung in Aix-en-Provence, Amsterdam, dents at Westminster Choir College of Rider Barcelona, Bordeaux, Bregenz, Chicago, University, has recorded and performed with Cologne, Dallas, Dresden, Glyndebourne, major orchestras over the past 77 years. A Graz, Ham burg, Istanbul, , Min - leading choral ensemble, the choir has sung neapolis, Munich, Paris, Rome, Salzburg, San more than 350 performances with the New Francisco, Santa Fe, Seattle, Sydney, and York Philharmonic alone. Recent sea sons Tokyo. His roles range from Leporello in have included performances with the Dresden Mozart’s Don Giovanni and the title tole in Staatskapelle conducted by Daniel Harding; Musorgsky’s Boris Godunov to Bottom in Lucerne Festival Orchestra conducted by Britten’s A Midsummer Night’s Dream and David Robertson; the Athlete in Berg’s Lulu. led by Michael Tilson Thomas; Berlin Mr. Rose’s concert engagements have in - Staatskapelle conducted by Pierre Boulez; and cluded Beethoven’s Symphony No. 9 with the Bavarian Radio Symphony Orchestra with Carlo Maria Giulini and ; Mariss Jansons. This season the choir has per - Mozart’s with , formed Brahms’s Ein deutsches Requiem with Daniel Barenboim, Zubin Mehta, Lorin Maazel, The conducted by Yan - , and Vladimir Jurowski; Mahler’s nick Nézet-Séguin, and will sing Mahler’s Sym - Symphony No. 8 with Michael Tilson Thomas; phony No. 2, Resurrection, with the Berlin Verdi’s Requiem with Carlo Rizzi; Berlioz’s La Philharmonic conducted by Simon Rattle. damnation de Faust with ; Ravel’s Additionally, the men from the chorus will L’Enfant et les sortilèges and L’Heure espag - perform Varèse’s Nocturnal and in Busoni’s nole with Pierre Boulez; and Beethoven’s Missa Piano Concerto in C major, Op. 39, with the

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New Jersey Symphony Orchestra conducted also founder and conductor of the West - by Jacques Lacombe, and the women will minster Chamber Choir, and also leads the sing a new work by Norwegian composer Ola annual Westminster Choral Festival. Gjeilo with the Westminster Festival Cham - His debut recording with the Choir, Flower ber Orchestra conducted by Amanda Quist. of Bea uty, was described by American Record Guide as “the gold standard.” Noël, a collection of French Christmas music recorded at New York’s Cathedral Church of Saint John the Divine earned five stars from Choir & Organ magazine. His 2011–12 sea - son with the Westminster Choir includes a concert tour of the Southern United States, several national radio broadcasts, a Carnegie Hall Community Sing concert, and their an - nual residency at the Spoleto Festival USA. This season Mr. Miller will participate in residencies at Baldwin-Wallace Conservatory of Music and Temple University; conduct the Conductor of two of America’s most Texas All-State Choir, the ACDA (American renowned choral ensembles, the Westmin - Choral Directors Association) Southern Divi - ster Choir and the Westminster Symphonic sion High School Honor Choir, and Okla - Choir, Joe Miller is also director of choral homa All-State Collegiate Choir. He will activities at Westmin ster Choir College of serve as hea dliner for the Georgia ACDA Rider University in Princeton, New Jersey, Conference, and collaborate with David where he oversees an extensive choral pro - Robertson and the Orchestra of St. Luke’s gram that includes eight ensembles. He is for Carnegie Hall’s Carmina burana Project.

Westminster Symphonic Choir Joe Miller, Director Sopranos Altos Basses Michelle Barker Liza Calisesi Brett Avery-Lawyer Anthony Alberti Marissa Chalker Esther Chen Michael Bennett Will Berman Lauren Cho Stephanie Council Ryan Cassel Kevin Bertin Alexa Cottrell Caolyn DalMonte Jeffrey Cutts Giancarlo D’Elia Michelle DiBona Lauren Delfing John Hudson Daniel Elder AmberRose Dische Erin Greenfield Brian Krajcik Steven Finkelstein Lisa Diver Elizabeth Hermanson James Mitchell John Floyd Allison Faulkner Mary Hewlett Kang Noh Park Myles Glancy Anna Friars Eva Kastner-Puschl Matthew Robertson Joshua Glasner Angela Gan Rachel Martin Kyle Schoonhoven Alex Glover Victoria Gozzi Brittany Montoro Michael Smith Derrick Goff Madeline Healey Cara Peterson George Somerville Nicholas Hwang Kristen Kozub Rebekah Poklemba Orin Strunk Ryan John Anna Lenti Melissa Richardson Dawan Turner Zachary Kriger Katy Lushman Jordan Saul Joshua Wanger Tom Chang-Wei Lin Maria Moon Samantha Scully Stephen Webb Zebulun McLellan Shari Perman Lauren Shriver Johnny Wilson Matteo Neri Jessica Williams Andrew Skitko Brandon Waddles (Current as of December 5, 2011)

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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- Arturo Toscanini (Music Director 1928–36), Igor born Ureli Corelli Hill, is by far the oldest sym - Stravinsky, Aaron Copland, Bruno Walter (Music phony orchestra in the United States, and one of Advisor 1947–49), Dimitri Mitropoulos (Music Di - the oldest in the world. It plays some 180 con - rector 1949–58), Klaus Tennstedt, George Szell 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, The Yoko Nagae globe, appearing in 430 cities in 63 countries on Ceschina Chair, began his tenure in September 5 continents. Under Alan Gilbert’s leadership, the 2009, the latest in a distinguished line of 20th- Orchestra made its Vietnam debut at the Hanoi century musical giants that has included Lorin Opera House in October 2009. In February 2008 Maazel (2002–09); Kurt Masur (Music Director the Philharmonic, conducted by then Music Di - 1991–2002, Music Director Emeritus since rector Lorin Maazel, gave a historic performance 2002); Zubin Mehta (1978–91); Pierre Boulez in Pyongyang, D.P.R.K., earning the 2008 Com - (1971–77); and Leonard Bernstein (appointed mon Ground Award for Cultural Diplomacy. In Music Director in 1958; given the lifetime title of 2012 the Philharmonic becomes an International Laureate Conductor in 1969). Associate of London’s Barbican. Since its inception the Orchestra has champi - The Philharmonic has long been a media pio - oned the new music of its time, commissioning neer, having begun radio broadcasts in 1922, and and/or premiering many important works, such is currently represented by The New York Phil - as Dvo rˇák’s Symphony No. 9, From the New harmonic This Week — syndicated nationally and World; Rachmaninoff’s Piano Concerto No. 3; internationally 52 weeks per year, and available at Gershwin’s Piano Concerto in F; and Copland’s nyphil.org. It continues its television presence on Connotations . The Philharmonic has also given Live From Lincoln Center on PBS, and in 2003 the U.S. premieres of such works as Beethoven’s made history as the first symphony orchestra ever Symphonies Nos. 8 and 9 and Brahms’s Sym - to perform live on the Grammy Awards. Since phony No. 4. This pioneering tradition has con - 1917 the Philharmonic has made nearly 2,000 tinued to the present day, with works of major recordings, and in 2004 became the first major contemporary composers regularly scheduled American orchestra to offer downloadable con - each season, including John Adams’s Pulitzer certs, recorded live. Since June 2009 more than Prize– and Grammy Award–winning On the 50 concerts have been released as downloads, Transmigration of Souls; Melinda Wagner’s Trom - and the Philharmonic’s self-produced recordings bone Concerto; Esa-Pekka Salonen’s Piano Con - will continue with Alan Gilbert and the New York certo; Magnus Lindberg’s EXPO and Al largo ; Philharmonic: 2011– 12 Season, comprising 12 re - Wynton Marsalis’s Swing Symphony (Symphony leases. Famous for its long-running Young People’s No. 3); Christopher Rouse’s Odna Zhizn; and, by Concerts, the Philharmonic has developed a wide the end of the 2010–11 season, 11 works in range of educational programs, among them the CONTACT!, the new-music series. School Partnership Program that enriches music The roster of composers and conductors who education in , and Learning Over - have led the Philharmonic includes such historic tures, which fosters international exchange among figures as Theodore Thomas, Antonín Dvo rˇák, educators . Gustav Mahler (music director 1909–11), Otto Credit Suisse is the Global Sponsor of the New Klemperer, Richard Strauss, Willem Mengelberg York Philharmonic.

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The Music Director

pre vious season included two tours of Euro - pean music capitals, Carnegie Hall’s 120th An - niversary Concert, and an acclaimed production of Janá cˇek’s The Cunning Little Vixen , hailed by The Washington Post as “another victory,” building on 2010’s wildly successful staging of Ligeti’s Le Grand Macabre, which called “an instant Philharmonic mile - stone.” Other highlights of Mr. Gilbert’s inaugu - ral season included the Asian Horizons tour in October 2009, which included the Orchestra’s Vietnam debut at the historic Hanoi Opera House; the EUROPE / WINTER 2010 tour; world premieres; and chamber performances as violinist and violist with Philharmonic musicians. In September 2011 Alan Gilbert became Music Director Alan Gilbert , The Yoko Director of Conducting and Orchestral Stud - Nagae Ceschina Chair, began his tenure at ies at The , where he is also the New York Philharmonic in September the first to hold the William Schuman Chair in 2009, launching what New York magazine Musical Studies. He is Conductor Laureate of called “a fresh future for the Philharmonic.” the Royal Stockholm Philharmonic Orchestra His creative approach to programming com - and Principal Guest Conductor of Hamburg’s bines works in fresh and innovative ways, NDR Symphony Orchestra ; he regularly con - and he has developed artistic partnerships, ducts leading orchestras in the U.S. and including the positions of The Marie-Josée abroad . His 2011–12 season engagements Kravis Composer-in- Residence and The Mary include appearances with the Munich Phil - and James G. Wallach Artist-in-Residence ; an harmonic, San Francisco Symphony, Cleve - annual three-week festival ; and CONTACT!, land Orchestra, Orchestre Philharmonique de the new-music series. The first native New Radio France, Royal Swedish Opera, and the Yorker to hold the post, he has sought to Royal Stockholm Philharmonic. make the Orchestra a point of civic pride for Alan Gilbert made his acclaimed Metropol - the city as well as for the country. itan Opera debut in November 2008 leading During the 2011–12 season Alan Gilbert John Adams’s Doctor Atomic . His recordings conducts world premieres, three Mahler sym - have been nominated for Grammy Awards , phonies, a residency at London’s Barbican and his recording of Mahler’s Symphony No. 9 Centre, tours to Europe and California, and a received top honors from the Chicago Trib - season-concluding musical exploration of une and Gramophone magazine. Mr. Gilbert space that features Stockhausen’s theatrical studied at Harvard University, The Curtis Insti - immersion, Gruppen , to be given at the Park tute of Music, and The Juilliard School, and Avenue Armory . He also made his Philharmonic served as the assistant conductor of The debut as soloist when he joined Frank Peter (1995–97). In May 2010 Zimmermann in J.S. Bach’s Concerto for Two he received an Honorary Doctor of Music from Violins in October 2011. Highlights of the The Curtis Institute of Music.

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