New York Philharmonic Presents: THE COLLECTION Presents: (1918-1990) Album 3 (DowNloAD oNlY) 85:51 The GleNN DicTerow Serenade (after Plato’s “Symposium”) for , String Orchestra, Harp, (1891-1953) and Percussion 33:40 Violin 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, , 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 , 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 , conductor franz WaxMan (1906-1967) Burlesque: Allegro con brio 4:50 0 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 10:56 (1897-1957) Oboe, 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 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, ’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 , 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 Orchestra 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 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. , October 14, 1990 summer of 1951, when the Koussevitzky Concerto with 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 Serge Koussevitzky, 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. , 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 — 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 Salzburg 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 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 Odessa 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, , 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. , 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 Marilyn Horne — 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 . 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 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 Glenn with former Music Director Lorin Maazel during a concert. New York Philharmonic Presents: THE GLENN DICTEROW COLLECTION Conductor Biographies CHRIS LEE Leonard Bernstein Lorin maazeL

eonard Bernstein was part performer (his earliest aspirations orin Maazel served as Music Director of the New York were as a pianist), part composer, part conductor, part Philharmonic from 2002 to 2009. At the start of the L lecturer and author, and part teacher. An 11-time Emmy L 2012–13 season he became music director of the Award winner, his Young People’s Concerts with the Philharmonic Philharmonic, after completing his fifth and final season in spanned more than 14 seasons. His debut on November 14, 2010–11 as the inaugural music director of the Palau de les Arts 1943, is the stuff of legend — the virtually unknown New York Reina Sofia in Valencia, Spain. Mr. Maazel is also the Philharmonic Assistant Conductor stepping onto the Carnegie Hall founder and artistic director of the Castleton Festival, based on his podium to conduct a live radio broadcast in place of the ailing guest farm property in Virginia, which was launched to great acclaim conductor, , on a few hours’ notice. in 2009. The festival began to expand its activities nationally and Bernstein’s association with the Philharmonic spanned 47 internationally in 2011. years, 1,244 concerts, and 200-plus recordings. In a program after his death, the Orchestra A second-generation American born in Paris, France, Lorin Maazel began violin lessons at remembered America’s best known classical musician: “His 11 years as our Music Director age five, conducting lessons at age seven, and appeared publicly for the first time at age eight. [1958-1969] and 21 years as our Laureate Conductor [1969–90] were periods of brilliance Between ages nine and fifteen he conducted most of the major American orchestras, including in the Orchestra’s history. Mr. Bernstein will be remembered for his genius, his leadership, the NBC Symphony at the invitation of . his humanitarianism, his ability to transmit his love of music to young and old, his dedication Over the course of his career Mr. Maazel has conducted more than 200 orchestras in d

to our Orchestra, his service to young musicians, and his unforgettable, ebullient and caring eutsche Grammophon/ more than 7,000 opera and concert performances, and has made more than 300 recordings. personality. We are grateful for his legacy.” It is only one indication of the love its current Lorin Maazel has been music director of the Bavarian Radio Symphony Orchestra players bear Lenny that the Philharmonic will occasionally play one of his works without a (1993–2002); music director of the Symphony (1988–96); general manager conductor. and chief conductor of the Vienna Staatsoper (1982–84, the first American to hold that Bernstein was also closely linked to the , Israel Philharmonic, London position); music director of The (1972–82); and artistic director and s a usesch Bayatusesch Symphony Orchestra, and Rome’s Santa Cecilia Academy. He conducted at The Metropolitan chief conductor of the (1965–71). His close association with the Garn ndrew Opera, Milan’s Teatro alla Scala, and the , taught at Brandeis University, and Vienna Philharmonic has included 11 internationally televised New Year’s Concerts from headed the conducting faculty at the Berkshire Music Center. Vienna. Kurt masur zuBin me hta

n 2008 Kurt Masur celebrated 60 years as a professional ubin Mehta was born in 1936 in Bombay and received his conductor. In 2002 he became music director of the Orchestre first musical education under the guidance of his father, Mehli I National de France and he was named the ensemble’s honorary Z Mehta, a noted concert violinist and founder of the Bombay music director for life in 2008. From 2000 to 2007 he was principal Symphony Orchestra. After a short period of pre-medical studies in conductor of the London Philharmonic Orchestra. He was Music Bombay, Mr. Mehta left for Vienna in 1954 and eventually entered Director of the New York Philharmonic from 1991 to 2002, the conducting program under Hans Swarowsky at the Akademie für when he was named Music Director Emeritus, the first New York Musik. By 1961, he had already conducted the Vienna, Berlin, and Philharmonic Music Director to receive that title. After his departure, Israel philharmonic orchestras, and he has recently celebrated 50 years the New York Philharmonic established the Kurt Masur Fund for the of musical collaboration with all three ensembles. Orchestra, to endow in perpetuity an annual conductor’s debut week. Mr. Mehta was music director of Orchestre symphonique From 1970 until 1996 Mr. Masur was Kapellmeister of the Leipzig Gewandhaus Orchestra, de Montréal from 1961 to 1967 and also assumed the music directorship of the Los Angeles a position of profound historic importance. Upon his retirement from that post in 1996, the Philharmonic in 1962, a post he held until 1978. In 1969, he was appointed music advisor to Gewandhaus named him its first-ever conductor laureate. He has been a guest conductor with the Israel Philharmonic Orchestra and was made music director in 1977. In 1981 the orchestra the world’s leading orchestras and holds the lifetime title of honorary guest conductor of the awarded him the title of music director for life. In 1978 he became music director of the New Israel Philharmonic Orchestra. York Philharmonic, beginning a tenure that lasted 13 years—the longest in the Orchestra’s history. Kurt Masur’s numerous honors include the Cross of the Order of Merit of the Federal Since 1985 he has been chief conductor of the Orchestra del Maggio Musicale Fiorentino. Republic of Germany (1995); Gold Medal of Honor for Music from the National Arts Club Mr. Mehta made his debut as an opera conductor with Tosca in Montreal in 1963. Since then (1996); the titles of Commander of the Legion of Honor from the French government, and New he has conducted at The Metropolitan Opera, Vienna State Opera, Milan’s Teatro alla Scala, the York City Cultural Ambassador from the City of New York (1997); Commander Cross of Merit opera houses of Chicago and Florence, and House, Covent Garden, as well as at c of the Polish Republic (1999); Cross with Star of the Order of Merits (2002); and Great Cross the Salzburg Festival. Between 1998 and 2006 he was music director of the Bavarian State Opera hristian of the Legion of Honor with Star and Ribbon (2007) of the Federal Republic of Germany. In Frans Jansen in Munich. In October 2006 he opened the Palau de les Arts Reina Sofia in Valencia, and since s September 2008 Mr. Masur received the Furtwängler Prize in Bonn, Germany. Mr. Masur has then has held the position of president of that city’s annual Festival del Mediterrani, where he teiner made more than 100 recordings with numerous orchestras. conducted a celebrated Ring cycle.

76 new york philharmonic presents the GLenn dicterow coLLection 77 GLENN’S ORCHESTRA 1980-2014

FIRST 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 , 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 , 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: , 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) , 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 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) 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